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º
*...* As
ICAL and besCRIPTIVE Account of, by A. W.
TUER, with 13 of his original engravings, with
Observations on the present Demand for and
Value of his Prints; the Way to detect Modern
Impressions, Deceptions attempted with Prints,
Print Collecting, etc.; also List of over 2000 of
his Works, 2 vols. 4to. vellum, uncut, *:::::
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OTE.-cA few of the ‘Principal Plates * in
“Bartolozzi and his Works" can be obtained
through the ‘Publishers, at the rate of half-a-
guinea, and on Large ‘Paper (early impressions) at fifteen
shillings each.
* CA St. James's ‘Beauty (in red or brown).
cA St. Giles's ‘Beauty ( do.. )
Love and Fortune (Oignette).
Cupid and ‘Psyche ( do. ).
Ticket for the dºſansion House ‘Ball.
The Earl of Kinnoull.
The Countess of Kinnoull.
-
A STJAMES's BEAUTY.
/*//, /a/ .” ** "ºº-º-º-º//vºmar. Aºz.ºrmat.

38-22.
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(13artolozzi
• And his 70)orks
By Andrew Wºº'ſuer
A BIOGRAPHICAL AND DESCRIPTIVE ACCOUNT OF
The Life and Career of FRANCEsco BARTolozzi, R.A.
(ILLUSTRATED)
WITH SOME OBSERVATIONS ON
The present Demand for and Ualue of his ‘Prints; the way to detect &Modern Impressions from Worn-out Plates
and to recognise Falsely-tinted Impressions, ‘Deceptions attempted with Prints;
‘Print Collecting, judging, Handling, &c., together with a
List of upwards of 2,000—the most extensive record yet compiled—of the
Great &ngraver's Works.
“Sous leurs heureuses mains le cuivre devient or.”
V. O. L. I.
London: Field & Tuer, ye Leadenhalle Preſſe. Hamilton, Adams & Co., Paternoster Row.
New York: Scribner & Welford, 743 & 745, Broadway.
[copyRIGHT.]

4Dedicated
by
Gracious Permission
fo
HE GR M.47 ESTr
The Queen.
Preface. -
O long ago the mention of Bartolozzi amongst those even fairly
acquainted with the fine arts would have aroused no enthusiasm :
his works were overlooked if not entirely neglected, and his memory was
fast drifting into the limbo of the forgotten. Only the vaguest ideas existed as to who
he was, what he was, and what he did. As to who he was, little indeed is known ; as to
what he was, his name is generally remembered as that of the engraver of the fanciful
stippled prints now so keenly sought after, in which, graceful maidens, chubby cupids,
and sportive children play prominent parts: whereas he achieved his real and lasting
reputation as a line engraver; and as to what he did, it is the object of this book to show.
Bartolozzi's engravings have literally had their ups and downs: first ascending to the
drawing-room, later climbing to the bedroom, and eventually to the attic or lumber room,
where they remained half or perhaps wholly forgotten, until a revival of the taste for his
fine work brought them down by the same stages to the drawing-room and boudoir.
That they never again will be “skyed" is tolerably certain.
The fascination exercised on the present generation by these prints is hardly to be
wondered at, for they are not only exquisitely beautiful in themselves, but, being the
production of a past age, they boast the peculiar charm, the quaint interest, and the
seductiveness of a time for which we have just now a fancy, that of our great-great-grand-
mothers; and they harmoniously accord with the prevailing taste for old-fashioned furniture.
They are therefore delightful both to taste and to fashion.
Some dissentients there are to the general and enthusiastic chorus of admiration, and
these are the Realists, the disciples of that robust school of modern art which insistently
reproduces nature according to whatever mood she happens to be in. Now Bartolozzi:
was essentially an Idealist, and he treated the human form according to the principles of
a perfect beauty which nature seldom altogether reaches, though she suggests it and leads
up to it, and plants the idea of it in the artist's mind.
The present work is manifestly imperfect. Sufficient material cannot be found
(in spite of the most diligent search) from which a complete life of Bartolozzi could be
compiled. The life of this great and prolific engraver ought, indeed, to have been written
half a century earlier, for those who could have given information to his biographer
are no longer living. Apparently there is material in plenty, but apparently only, for
nearly every writer on the subject has been chiefly or entirely indebted to some one
else; or, to put it plainly, the very many have stolen from the very few, so that in read-
ing one or two of the numerous short accounts in the works of reference, biographical,
cyclopaedical
VOL: I. 4. * * * A
*.
* *
Preface.
cyclopaedical, and artistic, in this and other languages, the searcher finds the same state-
ments, whether false or true, reiterated with painfully wearisome monotony.
A complete collection of Bartolozzi's prints—which are probably more numerous
and better known than those of any other engraver, English or foreign—is perhaps
not in existence, and can hardly be hoped for. Le Blanc, in his Manuel de l'Amateur
d'Estampes, has compiled by far the largest list hitherto published; it comprises in all seven
hundred examples, and the present writer has revised and extended it, adding an enumera-
tion of examples from his own and other collections, including that of the British Museum
(hitherto uncatalogued), until a total, exclusive of “states,” of upwards of two thousand has
been reached.
To supply a tolerably complete list of his works, and place on record what little is
known of the great engraver, have been the principal aims of the author, in doing which
he has introduced much matter of an excursive character, but still it is hoped of some
little interest to those of kindred tastes. He earnestly requests that any particulars of
engravings by Bartolozzi not herein mentioned, any corrections where prints have been
inaccurately described, and any information bearing on the subject matter which his
readers may possess, may be sent to him under care of the publishers. .
It is a pleasure to the author here to express his appreciation of the courtesy univer-
sally extended to him by all with whom the prosecution of his researches in connection
with this work has brought him in contact. Their names are too numerous to record; but
he would particularly acknowledge in grateful terms the kindly help of Mr. George W.
Reid and Mr. Louis Fagan, the chiefs of the Print Department, British Museum; of Her
Britannic Majesty's Consul at Lisbon (Mr. George Brackenbury); of the Director of the
Royal Academy of Fine Arts, Lisbon; of Mr. John Saddler, the talented engraver, whose
recent translation in pure line of Macwhirter's “Lady of the Woods” is a masterpiece of
art; of Mr. Algernon Graves (Messrs. Henry Graves & Co., the eminent print publishers
of Pall Mall); of Mr. Francis Harvey, of St. James's Street, the well-known print dealer;
of Mr. F. J. Minasi, who supplies an interesting sketch of the life of his father, James
Minasi, one of Bartolozzi's pupils; and of numerous friends.
A word may be said as to the arrangement of the paragraphs in small type, usually,
from their position, termed footnotes. Readers who study their ease and comfort, mental
and physical, may not be averse from finding offshoots bearing on the text wedded closely
to it, instead of being relegated to the bottom of the page.
December, 1881.
Illustrations.
—
Illustrations.
(1) LovE AND FORTUNE; Vignette on title-page of Vol. I.;
(2) CUPID AND PSYCHE; Vignette on title-page of Vol. II. These prints, forming a
pair, and so beautifully reproduced by Mr. George Cook, the engraver, are in the originals
much larger, while the figures are full length. It will be observed that “Love and For-
tune" was designed by Cipriani, and engraved by Bartolozzi; and “Cupid and Psyche"
was drawn by Bartolozzi, and engraved by his pupil and assistant, J. M. Delattre. The
two prints were published as a pair on the 25th of March, 1800, by R. Ackermann, at his
Repository of the Arts, Iol, Strand, London.
(3) A St. JAMES's BEAUTY; frontispiece to Vol. I. (printed in brown);
(4) A St. GILES's BEAUTY; frontispiece to Vol. II. (printed in brown). These fine
examples of his stippled work are printed direct from the original copperplates engraved
by Bartolozzi in 1783, from paintings by J. H. Benwell, who practised from about 1782.
to, 1785, and who is best known by his “Children in the Wood,” engraved by Sharp. The
ladies who sat for these portraits were the second and third of the seven daughters of
James Burrough, Lord of the Manor of Alton Priors, county Wilts, and lineally descended
on their mother's side from the old Earls of Huntingdon. Priscilla, the elder of the two
—the St. James's beauty, married Mr. Brooks, founder of the well-known club of that
name; Elizabeth, the St. Giles's beauty, married Mr. Barnett, a solicitor. , Miss Burrough,
a cousin of the beauties, married Mr. Beckford, of Fonthill, and became the mother of
Susan, Duchess of Hamilton.
(5) THE WILKES MANSION House BALL TICKET-"Pleasure accompanied by
Abundance”; engraved by Bartolozzi, reproduced in facsimile from a fine proof in the
writer's collection. Wide chapter on “Benefit Tickets.”
(6) Robert AURIOL, EARL OF KINNOULL;
(7) SARAH, CountEss OF KINNOULL; were engraved from a pair of Sam. Shelley's
paintings in miniature of the same size, by the celebrated Caroline Watson in 1798–9, and
are fine examples of the elaborate and highly finished style of stippling in which she
excelled. The plates owe their present brilliant condition to the fact that only about one
hundred
A 2
A//ustrations.
hundred and fifty impressions were taken from each prior to their being used for the
purposes of this work; to prevent further wear, these and the other copperplates were
steel-faced * before being printed from.
* Wide page 97, Vol. I.
(8) Plate illustrating THE ART OF STIPPLE ENGRAVING, chapter on which see (p. 82).
(9) MoDERN IMPRESSION FROM A worn-out STIPPLED Plate (UNTOUCHED),
showing the extent to which plates of the Bartolozzi school continue to be worked long
after the finer parts have entirely disappeared. Wide p. 16, Vol. II.
(IO) An impression from a worn plate, which, in order to do further duty, has been
strengthened or deepened in the hair, feathers in the hats, etc., with the graver. This
and the preceding plate (No. 9) are in precisely the same condition as when recently
purchased, up to which time they were being printed from, and impressions vended as
genuine old stippled engravings. Wide p. 18, Vol. II.
(II) An impression from a much worn plate recently doing duty. The right-hand
portion only has been re-bitten or deepened.
(12)* A St. JAMES's BEAUTY (printed in red), p. 76, Vol. II.
(13)* A ST. GILES's BEAUTY (printed in red), p. 84, Vol. II.
* The pair of plates 3 and 4, and 12 and 13 (duplicates) illustrate the principal Bartolozzi colours. Wide page 120,
Vol. I.
Contents
sº
º
Contents of Vol. I.
PREFACE e © e ſº e e e . tº e º & e
ILLUSTRATIONS e e ſº e º e º e ſº wº
BARTOLozzi: SKETCH of HIs LIFE e g e o tº tº e
BARTOLozzi's FAMILY . e ge • . º º ſº tº e
ANALysis of STYLE © e e e © e º & e e
BARTOLOzzi's IMPROVEMENTS AND ALTERATIONS IN CopyLNG . . . º
THE ROYAL ACADEMY DIPLOMA . gº e ſº e e wº g
THE MARLBorough GEMs . ſº e • e tº © i.e. e
BENEFIT TICKETs . © tº tº º g e * ſº e ©
PRICES PAID to BARToLozzi . . . . . . . . .
METHODS OF SIGNING . . . . . . . . . .
ENGRAVERs' IMPRINTs ALTERED TO THAT of BARTOLozzi . . .
BARTolotti . tº º e e e º • . . . . .
CoPPERPLATEs ENGRAVED BY BARTOLOzzi KNOWN to BE STILL IN ExISTENCE
Increase in Value of Bartolozzi's PRINTs * • • © e º
CIPRIANI * te © tº º tº e © tº © g •
THE BOYDELLs . tº e tº º g • * * tº . te
ANGELICA KAUFFMAN . e º . . * © sº e •
ON THE ART of ENGRAVING. o & tº o & e • •
ON THE ART of STIPPLE ENGRAVING—ITS DISTINCTIONS AND METHODs
PAGE
111
I
22
26
32
37
43
45
48
5O
52
54
56
57
6o
62
66
75
77
78
82
PAINTERS'
*&
Cozzfeſtfs.
PAINTERS' ETCHING © © o e © g ©
PRINT RESTORING, INLAYING, SPLITTING AND CLEANING.
CoPPER- AND STEELPLATE PRINTING . e e -
FINE ART PLATE PRINTERs . . e e g e
THE PRINTSELLERs' Association . . e e º
PRINT SALEs. g º o tº º © e o
ART AUCTION Rooms . o o e e o e
VALUE OF BARTOLOzzi's PRINTs, PAST AND PRESENT . .
PAGE
88.
9 I
96
99
IO3
Io?
I IO
I 2C)
CHAPTER I.
Bartolozzi: Sketch of his Life.
• have been noble, was the son of Gaetano
Bartolozzi, a goldsmith and worker in filigree. He was born, in 1727, in
Florence,” where his family had long been settled.
(133 QTOI/OZºZº. whose more remote ancestors are said to
* The year of Bartolozzi's birth, and the date of his death, are generally given incorrectly; and it will be noticed
that in the following dozen or so authorities—more it is unnecessary to quote—only two are accurate : “Dictionnaire
Historico-Artistique du Portugal,” by Le Comte A. Raczynski, Paris, 1847; born 1727; died in Lisbon, 1815, age
38. “Colleccio de Memorias, Relativas as vidas dos Pintores,” etc., por Cyrillo volkmar Machado, Lisboa, 1823:
born 1727; died in Lisbon, 1815, age 88. “ Biographie Universelle,” Paris, 1834; born 1725; died in London in
1819, age 94. “ Biographie Nouvelle des Contemporains,” par M. Arnault, etc., Paris, 1820 : born 1725; died in
London, 1812: “Biographie Universelle,” Paris, 1843 ; born 1725; died in Lisbon, 1813. “ Künstler-Lexicon,” von
Pr. G. K. Nagleſ, München, 1835; born, Florence, 1730; died, Lisbon, 1813. Rose’s “Biographical Dictionary,”
London, 1857; born 1730; died about 1816. M. Bryan’s “Bio. Dict,” Lond., 1858 : born 1730; died, Lisbon,
18. 3. Redgrave, S., “A Dictionary of Artists of the English School,” London, 1878 ; born 21st September, 1725;
died, Lisbon, 7th March, 1815, aged 91. Le Blanc, Ch., “Manuel de l'amateur,” Paris, 1854; born, Florence, 1730;
died, Lisbon, 1813. Spooner, “Dictionary of Painters,” New York, 1853 ; born, Florence, 1730; died in 1813 at
Lisbon. Scott's Magazine; born in Florence in 1728; died at Lisbon, 1815. Heller's, “Handbuch für Kupfer-
stichsâmmler”; born 1730; died 1813. Bartolozzi was proud of his powers, and fortunately added his age to some
few of his prints, the earliest example being a ticket for the benefit of Mr. Banti, on which is engraved, F. Bartolossi
*... & scules: 1797 atatissue 69. On a portrait of Pope Pius VII, engraved in 1809, his age appears as 82; and on
that of Lord Wellington, engraved in 1810, as 83. The latest example seen by the writer is in “The Sacred Form,” after
Claudio Coelho, engraved by Bartolozzi in 1814, when 87 years of age. The following is the full lettering : Claudio
Coelho pinx. 9osé Camaron pintor de SM Catholica delin. F. Bartolossi esculp. de idade de 87 annos em. Lzº (Lisbon)
ent is 14. The painting is in the sacristy of the Royal Monastery of the Escurial. The sworn certificate of his death
(see p. 20) corresponds with the dates on the prints mentioned.
Bartolozzi is by no means an uncommon name in Italy: there was a Francesco Barto-
lozzi belonging to another family altogether, a doctor of medicine, settled in Milan during
the second half of the last century, where he published a number of somewhat abstruse
treatises on therapeutics, and also contributed to the scientific literature of the period.*
* Some six or eight of his works are in the British Museum, and appear in the catalogue as by the subject of this
sketch, Francesco Bartolozzi, the engraver, an error now pointed out, the writer believes, for the first time.
I There
VOL. I. B
Aazºo/ozzz azza! Az's /ī/orks.
There was also a third Francesco Bartolozzi of note, a lawyer and author in Tuscany,
whose doings made some-noise. He was implicated in a trial for forgery, and condemned
to hard labour in contumaciam by the principal court at Florence, but at a second trial was
acquitted : he died in 1793. Notwithstanding the thoroughly Italian origin of Francesco
Bartolozzi, the engraver, the fact that his principal works were executed during his resi-
dence in England, has caused him to be always looked upon and recognised as an English
engraver.
The parents of Bartolozzi being Roman Catholics, their son was naturally trained
in the same faith. Although we have no record of his being particularly steadfast in his
religion, we do know that underlying a sufficiently careless and worldly disposition were evi-
dences of religious feeling; and we further know that during his final illness he received the
last sacraments of the Church. Gifted with a warm imagination and a keen sense of the
beautiful, to which his pencil gave the fullest expression, he possessed a simple mind, and
an even, kindly temperament; and in the height of his prosperity, when commissions poured
in upon him, he was never inflated by his success, nor did he ever attach undue importance
to his own work. So much was this the case, that very fair collections of his prints were
made by professed friends—sharp persons who begged from him proofs, which he almost
invariably handed over as if they were things of little or no worth ; to ask was to receive.
The father of Bartolozzi had intended to bring him up to his own business; but, observ-
ing the child's attempts to copy from prints casually thrown in his way, had the wisdom to
encourage his natural inclinations, with the result that he made his first effort with the
graver when only nine years old, and in his tenth year produced a couple of heads—im-
pressions of which, although very scarce, are still in existence—showing in a remarkable
degree his wonderfully precocious, though as yet undeveloped, powers. It is not unlikely,
although there is no absolute evidence on the subject, that young Francesco first used the
graver in his father's business.” In his fifteenth year, Bartolozzi, having, it is said, previously
* “Bewick's first master was a goldsmith and engraver—else he could never have been an artist.”—Ruskin.
received some slight instruction from Gaetano Biagio, was placed at the Florentine Academy
under the tutelage of Ignazio Hugford, an historical painter, who was born at Florence of
English parents in 1703. Hugford was perhaps better known as a keen judge of the works
of the various masters than as a handler of the brush, his paintings—principally fresco–
being weak and formal. While working under Hugford, Bartolozzi studied anatomy from
the living model with close and steady perseverance. He soon showed a vein of invention,
combined with scrupulous truthfulness of form, which left the teachings of his master far
behind. -From the pencil he went to the palette, though beyond the mere mechanical
handling of the brush and colours, he had little to learn from Hugford, and probably a
great deal to dread. He closely examined the styles of the great masters in the various
private collections, and continued his anatomical studies during the time he was painting in
oils. His countless drawings and sketches of the bones and muscles—and how close, con-
stant, and reiterated such studies should be, London has lately been convinced by the
exhibitions of old masters’ sketches—bore precious fruit in his excellent figure-drawing.
He understood the forms in the manner in which only first-class artists have understood
2 - them,
Aartolozza'. Sketch of his /'life.
them, for he combined a knowledge of anatomy with an intelligent and observant experi-
ence of life. Modern Münich has shown us what the dissecting room can produce; but
Bartolozzi knew to the full as much as the insistently anatomical painters of that school
about the origins and insertions of the muscles, and he mastered what they never did—
the countless changes, modifications, and expressions of movement and action. For
all the bones, muscles, and sinews of the body act with one another by a system of inter-
dependence, the fine intricacies of which a study of free and active life in its outward
aspect alone can reveal. He was also great in his knowledge of the beautiful and signifi-
cant alterations of the forms in all the stages of human age. From his early boyhood Bar-
tolozzi had had a passion for the antique. He studied not only among the great mediaeval
masters of Italy, but in the schools of Greece and Rome. From Raphael's “Transfigura-
tion” in the Vatican to the “Dying Gladiator” in the Capitol is but a stroll; and the
“Listening Slave” and the “Faun” of Praxiteles stand close to the masterpieces of Peru-
gino and Andrea del Sarto in the Tribune. The Italian student need not go far afield.
For a fellow-pupil at the Florentine Academy, Bartolozzi had one who was to work
with him in future days and in another country, and with whose name his own was to be
closely connected—Cipriani. The two were constantly thrown together, and an acquaint-
ance was formed which ripened into a life-long friendship.
After a three years' course of study under Hugford, and closely following that great
event in an artist's career—a first visit to Rome—Bartolozzi was articled, at the age of
eighteen, for a term of six years to Joseph Wagner, at Venice. Wagner made a reputa-
tion as an historical engraver, and a fortune as a printseller. His trade was large, and
he had extensive dealings in the markets of France, Germany, and Italy. In art he
closely followed the pedantic and feeble style of Amiconi, his master, from which he had
neither the power nor the genius to extricate himself. With his own pupil the case
proved otherwise; and the Continental system of master and scholar has always formed
a mould for those who have not what the French call temperament, while those who have
are not confined by it.
During Bartolozzi's earlier studies, some of Giacomo Frey's prints had come into his
possession, and he had been impressed by their masterly drawing and mellow tone: he
made a successful attempt to copy with the graver the four circles representing Justice,
Temperance, Fortitude, and Prudence, after Domenichino, and other prints by the same
engraver. These earliest unassisted efforts at engraving, although rudely executed, are
spiritedly drawn, and the expression in some of them has been caught to a nicety; their
broad treatment contrasts with the cramped handling of his first productions under his
new master. At this time, Bartolozzi not only had the mechanical part of his profession
to learn, but was in the unpleasant position of having to unlearn what he had previously
taught himself. Wagner made his pupil practise neatness and regularity of detail, with
the result that in this transition stage he appeared to have almost lost faith in his own
Powers as a draughtsman. His mind, however, soon grasped the technical details insisted
upon by his instructor, and his facile hand closely followed in their execution. . An early
Print, “La Miracolosa Imagine della Madonna delle Grazie del Casentino,” and some large
ecclesiastical subjects signed Gian. Batta Piaggetta pin. (F. Bartologgi, sculp. J. Wagner
3 recognovit
B 2
Aazºo/ozzz and /ºz's M/orks.
recognovit et vend), in the possession of the writer, exhibit, in a remarkable degree, the
mechanical thraldom under which he then laboured, and are utterly wanting in even a
trace of the masterly freedom of style afterwards attained. The lessons he received at
this time were of the greatest possible importance, for without them he could never have
been more than a clever but undeveloped dabbler in the art.
The fate of genius and mediocrity alike is to be the slave of circumstance. At this
time Italian art was at a low ebb, and Bartolozzi had little voice in the choice of subjects
given him to copy, or perhaps he would have avoided reproducing some of the fabulous
monstrosities of Giacomo Guarana. These plates are of a gigantic size, and their pro-
duction can only be described as a work of drudgery which must have been utterly disgust-
ing to the engraver. For their rapid completion he worked more boldly than usual—
doubtless to more quickly terminate a thoroughly distasteful task. This resolution and
rapidity of execution fortunately tended to a greater freedom of manner. Nor indeed can
any grave deterioration or serious arrest of development be traced in his work as a result
of the copying of bad pictures at this stage of his career. A certain waste of time and the
negative loss of the advantage of fine models must of course be lamented, but as soon as he
was emancipated from working for corrupt tastes, his free and masterly style, and sweetness
of touch, became more and more apparent. In the course of a short time he may be said
to have loosed his graver from all restraint, and thenceforward to have given full play to his
transcendent abilities. He continued to design, and engraved many of his own drawings.
He appears also to have almost abandoned oil-painting, but on rare occasions he showed
conclusively that his hand had not lost its cunning with the brush. He is known to have
successfully painted some miniature portraits in water colours with remarkable delicacy
and finish. The numerous examples of his drawings and sketches in various private and
public collections are generally on white paper in black and red chalks, the most pleasing
being fanciful and classical subjects, in which cupids, children, young Bacchanals, and
beautiful women are most prominent in the composition. These original designs
possess, like his engravings, an irresistible charm; his figures are joyous in expression and
redundant with all the sportive innocence, beauty, full vitality, and sparkling grace of
youth.
Shortly after the expiration of his apprenticeship to Wagner, he married Lucia Ferro,
a young Venetian lady of good birth, with whom, on the invitation of Cardinal Bottari,
he resided for some time in Rome, where was born his son Gaetano, of whom we shall
have more to say later on. During his stay in Rome he worked much after Domenichino
and other masters of the Italian school. He does not appear to have met, during his
residence there, with that encouragement which attended him elsewhere. Other Govern-
ments in Italy befriended him—the Emperor Francis I. of Austria, Ferdinand IV. of
Naples, and the Medici, who then ruled in Tuscany, having apparently shown him favour.
More than one of his pupils owed their introduction to his studio to direct Royal recom-
mendation. In after life he was not ungrateful for the protection thus extended to him
when unknown to fame.
On his return to Venice, Bartolozzi engraved for various patrons, and also took com-
missions from the printsellers, his fame rapidly spreading all over Europe. The turning-
4. point
Bartolozzi: Sketch of his Life.
point in his career arrived in 1764, when he was persuaded, at the age of thirty-seven, to
come to England by Dalton,” the king's librarian, who had been sent to Italy on a royal
* Dalton, who had studied in Rome, is said to have been originally a coach-painter, and was subsequently appointed
Librarian to the Prince of Wales, afterwards George III., by whom, on his accession to the throne, he was sent to Italy
to purchase works of art for His Majesty. He etched a number of plates in a hard and mechanical manner; amongst
others, the Holbein heads, about which the best that can be said is that a quantity of good copper was spoilt.
commission to purchase pictures. Dalton appears to have been fully aware of the value
of Bartolozzi's talents, for he had previously employed him on a series of etchings from
drawings by Guercino, which alone would have ensured the engraver lasting fame. After
promising Bartolozzi the appointment of Engraver to the King (George the Third)—an
appointment almost immediately ratified, Dalton engaged him on his private account for
a term of three years, at a salary of three hundred pounds per annum.
Mrs. Bartolozzi, being somewhat out of health, remained behind with her son, Gaetano,
and Bartolozzi on his journey to England was accompanied only by Vitalba, one of his
pupils. Bartolozzi is described as being at this time a tall, heavy man, of robust and un-
impaired constitution, long face and slightly curved nose; large eyes, broad forehead, with
firm, well-shaped lips; and when not engaged in conversation his countenance usually
bore a somewhat serious expression.*
* The portrait of Bartolozzi has been often engraved :-(1) Small circular portrait, after Sir Joshua Reynolds, by
J. C. Haid. (2) Mezzotint (square), after Sir Joshua Reynolds, by Thomas Watson. (3) A half-length painted by Foscosy,
engraved by L. Rados. (4) A medallion portrait by R. Menageot, stippled in red. (5) A medallion portrait by P.
Bettoni. (6) A medallion portrait, after F. Bonnevilla, by Marriage. (7) Medallion portrait engraved by Liebe. (8) An
oval half-length portrait, in which he is represented in a furred coat, crayon in hand, was engraved by Robert Marcuard,
after Sir Joshua Reynolds, and published by Colnaghi & Co., Jan. 1st, 1778. (9) A three-quarter length by Pastorini
and P. W. Tomkins, after W. Artaud, 1803. (Io) Small full-length, drawn by himself, with facsimile signature under-
neath, engraved by J. Romney, 1817. He is represented, pencil in hand, engaged in copying a picture placed on an
easel to his right (11) Full-length by Pastorini and Tomkins, after Artaud. (12) Carlini, Bartolozzi, and Cipriani,
folio, a remarkably fine and vigorous mezzotint by J. R. Smith; Bartolozzi forms the central and most important figure,
and is represented graver in hand; Cipriani is on his right, with brush in right and palette in left hand; Carlini on the
left holding a mallet (13) Half-length by E. Scriven, after J. Vendramini, in vol. 4 of the “Library of the Fine Arts,”
published by Arnold in 1832. (14) A half-length, side face, from a slight though spirited sketch by his pupil Minasi,
engraved in stipple by C. E. Wagstaff in 1839. Bartolozzi is intently engaged in reading, and is wearing a pair of old-
fashioned heavy-rimmed silver spectacles; in this portait there are two mistakes in the lettering, Bartolozzi being spelt
with two t's, and the name of his pupil Manassah instead of Minasi. (15) A beautifully finished miniature of Francesco
Bartolozzi, and another of his son Gaetano, painted by Violet, were purchased by Mr. Harvey, of St. James's Street,
at Charles Matthews' sale; the former was engraved by Bouilliard. (16) In the frontispiece-engraved by P. W.
Tomkins—to Thomson’s “Seasons," published in 1807, representing “The Seasons adorning the bust of Thomson,”
there are incorporated medallion portraits of Bartolozzi, Hamilton, and Tomkins. (17) Dance painted his portrait, half-
length; the hair is tied behind in a queue. This was engraved in stipple by Daniell. (18) There is also a small oval
Portrait in line, surrounded by a ribbon, knotted at the top, side face, hair worn as in No. 17; no painter or engraver's
name ; lettered, Franz Bartolozzi, Esq. He engraved a portrait of himself shortly before his death at Lisbon, but left it
unfinished. A fine portrait of Bartolozzi, painted by Angelica Kauffman, which has not been engraved, is in the posses-
sion of Mr. C. C. Fuller, M.D., of Albany Street, Regent's Park.
On reaching London he immediately found out his old fellow-student, Cipriani (who
had arrived in England some four years earlier), and took lodgings with him at the house
of a Mr. Burgess, in Warwick Street, Golden Square. Bartolozzi's first work of importance
under Dalton was a fine series of prints from Guercino's drawings in the Royal Collection.
He also engraved for Dalton, amongst other admirable prints, the magnificent one º line
5 nown
Aarfo/ozzz azza! /ázs /l/orks.
known as “The Silence,” after Annibal Caracci, representing the Virgin and Child and St.
John, and the exquisitely charming “Sleeping Boy,” after Sirani. The red-chalk manner
of engraving was successfully practised in Paris by Demarteau—who imitated by this pro-
cess the chalk studies of Boucher and Vanloo—before Bartolozzi came to this country, and
Demarteau taught the method to Ryland and Picot in Paris, who introduced it here about
the time of Bartolozzi's arrival, when it almost at once became the rage.* Every one raved
* Bartolozzi is erroneously stated, by some writers, to have been the inventor of the stippled or “chalk” style of
engraving.
about “those charmingly beautiful red prints,” and the method of production not being
difficult, many engravers at once turned their attention in this profitable direction,
Bartolozzi being perforce compelled to follow—at first from outside pressure by the
printsellers, who loaded him with commissions, and perhaps afterwards, when he better
understood the wonderful capacities of the method, by inclination. Angelica Kauffman,
then in the zenith of her fame, warmly encouraged the new taste amongst her fashionable
patrons—hence the great number of “red chalk” engravings after her prettily-conceived
but weak compositions. Such was the rage, shared alike by-every grade of society, for
examples of chalk, stippled, or dotted engraving, as it was variously termed, that for a time
line engraving was almost abandoned, and the public eagerly purchased the flood of sickly
and sentimental designs with which the numerous mediocre engravers—mere tasteless
mechanics—flooded the market. Novels, reprints of the poets, and in fact any works of
average popularity illustrated in this style, were sure of a ready sale. Any one turning over
collections of engravings and of the illustrated periodical literature of the time, will light
upon examples of the prints of some hundreds of stipple engravers—mostly men who
abandoned line and other methods of engraving for stipple. Of these, the number who
were true artists, and whose works will live, may almost be counted on the fingers. First
is the great master himself, Bartolozzi, who elevated the French method of stippling, from a
mere copying process into a distinct art, in the practice of which he has seldom been
equalled except by some few of his own pupils, or other naturally talented and expert
engravers, who frankly took him as their guide and counsellor, and were at first content to
imitate where they could not originate.
At the close of his engagement with Dalton there were many eager competitors for
Bartolozzi's services. He began engraving for himself and the printsellers, and received
numerous commissions from the celebrated print publisher, Alderman Boydell, who did
vastly more for art than any other man of his time, and for whom he engraved, amongst
many other works, the “Venus, Cupid, and Satyr,” from Luca Giordano; “Clytie,” one
of his masterpieces;* “The Mother and Child,” from Cipriani; “Mater Dolorosa," from
* Sir Robert Strange, the line engraver, sarcastically observed that Bartolozzi was capable of doing nothing but
benefit tickets, which remark is said to have resulted in the production of his “Clytie.” On its completion, Bartolozzi is
reported to have said : “Let Strange beat that if he can t” Benefit tickets, it should be added, were tickets of admission
to theatres and balls, etc., more often than not engraved gratuitously for friends.
Carlo Dolci ; “Lady and Child,” from Sasso Ferrato; “Mary Queen of Scots and her
son, James I.,” from Zucchero. -
6 In
Bartolozzi: Sketch of his Zife.
In 1765 Bartolozzi joined the Incorporated Society of Artists, and exhibited in the
same year “three”—undescribed—“prints from drawings”—presumably his own. In
1766 he exhibited in the rooms of the same Society two crayon portraits of gentlemen, a
proof of the “Circumcision,” after Guercino, and a drawing of a sleeping Cupid, afterwards
engraved; in the year following a drawing of a picture by Caracci, and in 1768 (he had
then removed from Warwick Street to Broad Street, Carnaby Market) a “Woman and
Child” and “Venus and Cupid,” from Luca Giordano; but whether these were drawings or
prints is not known. -
In 1769 took place an important event in the history of England—the foundation of
the Royal Academy, which has become, through the measures taken by its projectors, one of
the most important and national art institutions in the world. The original members were,
of course, nominated, not elected as all their successors have been ; and in that group, which
was headed by the great figure of Joshua Reynolds, Bartolozzi was called to take a place.
To this is to be attributed the bursting into flame of a long smouldering though one-
sided quarrel or grievance between himself and Sir Robert Strange, which gave rise to a
great deal of acrimonious and anonymous newspaper writing, in which mud was freely
bespattered by intemperate partisans on both sides. There is no record of Bartolozzi
having at any time been personally engaged in the strife, and his friend, Mr. William
Carey, has placed it on record that Bartolozzi never spoke of Sir Robert Strange in any
but terms of the sincerest admiration and respect. Strange's account of the unfor-
tunate misunderstanding is fully related in a little work by himself, published in 1775,
entitled, “An Inquiry into the Rise and Establishment of the Royal Academy of Arts, to
which is prefixed a Letter to the Earl of Bute. By Sir Robert Strange, Member of the
Royal Academy of Painting at Paris, of the Academies of Rome, Florence, and Bologna,
Professor of the Royal Academy at Parma, etc.” The late Mr. James Denistoun, of
Denistoun, in his interesting “Memoirs of Sir Robert Strange” (Longmans, 1855), fully
discusses the quarrel; but even he, who, as a connection by marriage of Sir Robert's,
might naturally be expected to attach a portion, at any rate, of the blame to Bartolozzi,
refrains from so doing. -
Though honourable and upright, Strange was of an excitable temperament and of
warm passions, and was further possessed of an almost consuming ambition to rise in his
profession. *
On Bartolozzi's engagement with Dalton at Venice, it had been hinted in the English
newspapers that the former was about to visit this country in the hope of receiving the
favour and patronage of the King, from which Strange appears to have considered himself
debarred by previous misrepresentations on the part of Dalton, and the feeling of jealousy
in regard to Bartolozzi, which led to the quarrel, was at this time no doubt engendered.
In Strange's “Inquiry,” he says: “In my journey from Florence to Parma, in the
year 1763, I passed through Bologna; and being informed that Mr. Dalton, accompanied
by M. Bartolozzi, was there, I stopped a day on purpose to wait on the former.” And he
further goes on to relate that he met Mr. Dalton,” and, on being questioned, communicated
* Anthony Pasquin, in a short account of Bartolozzi which he wrote for his “Memoirs of the Royal Academicians”
(1794, p. 104), puts the cause of the quarrel between Strange and Bartolozzi in a very few words. He says :- le
* Whi
- 7 &
Aazºo/ozzz azed /ăz's /l/orks.
“While pursuing his studies at his native city, he (Bartolozzi) was invited to England by Mr. Dalton, who was at
that time employed by his present Majesty to collect drawings in the Italian states and discover the best historical en-
graver. Mr. Bartolozzi was thus solicited in consequence of a violent dispute which had previously taken place between
the late Lord Bute and Sir Robert Strange, relative to the engraving of two portraits of the King and Lord Bute from
paintings by Ramsay, which he was requested to perform, but eluded the request in pursuance of a resolution he had
formed to go to Italy that summer. This denial highly exasperated the vain and powerful party, who despatched
Mr. Dalton, then librarian to His Majesty, upon the important expedition alluded to ; in the interim, the unfortunate but
meritorious William Wynne Ryland presented himself, and did the graphic deed of note and glory.”
The same writer observes, that after Bartolozzi had engraved his “Venus,” his “Cupid and Satyr,” and his almost
incomparable “Clytie,” he “suffered his high reputation to moulder by admitting (allowing) his name to be affixed to
works which he had scarcely touched with his own magic graver. . . . It is a prostitution derogatory to his talents.
e If such measures arose from his overweening good nature, I must pity such an amiable weakness; but if they
arose from his love of money, I regret it, though it were acquired to strengthen his excessive habits of benevolence, for
he solaces all who come within his gates.” In another portion of the same work (p. 36) Bartolozzi is alluded to in con-
nection with his drawings of the human figure, as “the Achilles of Art.” “He draws better than any other man in the
world, and can give a truth and durability to that design beyond the powers of any other individual in the same depart-
ment.”
unsuspiciously to him the names of those pictures he intended copying for the purpose
of afterwards engraving. Strange mentioned amongst others the “Circumcision” and
“Abraham putting away Hagar,” by Guercino, and “SS. Peter and Paul" and the
Aldrovandi “Cupid,” by Guido. Strange further relates that he asked Dalton whether he
meant to employ Bartolozzi at Bologna, and was assured by Dalton, in the presence of
Bartolozzi, that he did not; the librarian adding that their visit to Bologna was a jaunt of
recreation, and that they should both return to Venice on the following Wednesday. The
trio parted with mutual good wishes, Strange continuing his journey to Parma, where he
remained about three months, during which time it appears that Bartolozzi, instead of
returning to Venice, remained in Bologna, where he was employed by Dalton to make
drawings of the very pictures Strange had indicated as the objects of his journey.
Dalton further availed himself of his position as librarian to the King to use his
master's name in order to obtain permission to copy pictures usually difficult of access.
He also effectually debarred Strange from copying the Aldrovandi “Sleeping Cupid.”
by pretending to negotiate for its purchase for the King of England, and requesting that
Bartolozzi might be allowed a drawing of it to submit to his august master for approval ;
which permission was given. When Strange applied for a similar permission, it was
refused on the ground that, in the face of impending negotiations, it would be unfair to
allow another copy to be made. Strange was the more mortified, as he shortly afterwards
discovered that Bartolozzi's drawing had not been sent to England at all, but remained in
his possession for the purpose of engraving. -
That Dalton acted in these transactions in a disloyal and discreditable manner is, if
we take Sir Robert Strange's word, sufficiently evident; but as to Bartolozzi's share in
them, there is a doubt of which he is entitled to the benefit.
Dalton had gone so far in his negotiations with Senator Aldrovandi as to agree,
subject to the King's confirmation, to pay him a sum equal to a thousand pounds for the
“Sleeping Cupid.”; but after the drawing had been obtained by false pretences, the
negotiations were allowed to completely fall through; and within a very few weeks after-
wards the picture was purchased by Strange himself, for Mr. Dundas, an English collector
on a visit to Bologna, for a much smaller sum.
8 w Without
Bartolozzi . Sketch of his Zife.
Without understanding Bartolozzi's share in these affairs, Strange, on his return to
England, openly attacked him in the newspapers; but it was not until some years later-
during which period his wrongs had rankled and grown—that he produced his “Inquiry
into the Rise and Establishment of the Royal Academy of Arts.”
Strange's jealousy of Bartolozzi reached its height when the latter artist was nomin-
ated a member of the Royal Academy, while he, notwithstanding several attempts to
gain admission, was rejected. He appears to have lost sight of the fact that, although
Bartolozzi had won a great name by engraving, having become an engraver through
force of circumstances,<-he had been and was a designer and a painter also ; and that it
was in these capacities that he was invited to become a member of the Royal Academy,
and to contribute to its opening exhibition. Bartolozzi always spoke of himself as painter,
designer, and engraver; notwithstanding that, when at the height of his renown, he had
few opportunities of handling the brush. Strange had never been a painter, and therefore
was only entitled by the rules to join the Academy, if he joined it all, as an Associate; an
honour, or rather as he appeared to consider it, a dishonour, which he scorned. Strange
was so blinded by a sense of his injuries, both real and imaginary, as, in his “Inquiry,”
to openly accuse Bartolozzi of having obtained the assistance of his fellow-countryman
and friend, Cipriani, in producing his exhibition painting, a charge in support of which
there is not one tittle of evidence. Bartolozzi's powers as a draftsman placed him far
above the necessity of any such subterfuge. Nor must it be forgotten that Bartolozzi
exhibited original works in many succeeding years, not only at the Royal Academy,
but at the Society of Artists and the Free Society.
Strange had a complete mastery over the graver, but when he attempted to draw,”
* Sir Robert, according to the mild joke of a critic of the time, exhibited Strange carelessness in his delineation of
the human figure.
he was generally faulty; whereas Bartolozzi had an almost equal mastery over the graver,
the pencil, and the brush; and it was well known to the committee of the Royal Academy
that he had regularly studied, and to a considerable extent practised, as a painter at
Florence; and that his pictures and original designs were in many Italian collections. Very
few of his paintings are now in England, but examples of his drawings, which are generally
boldly stumped with black and red chalks, are by no means scarce.
Strange says, moreover, that “the Royal Academicians had insisted upon Bartolozzi
furnishing them with a picture at the opening of their exhibition,” whereas no minute of
such resolution appears on their books, neither had any such resolution been adopted or
even mentioned at their meetings; and many years after this unfortunate wrangle had died
a natural death, Bartolozzi assured his friend, William Carey, that he had received no other
direction to exhibit a painting than the ordinary official notice.
Bartolozzi was warmly urged at the time to publish a reply to Strange's attack, but he
always declined. He appears to have stood the repeated attacks made upon him, both by
Strange and by anonymous newspaper writers, with the most perfect equanimity. Carey”
* See European Magazine for 1815, vol. lxviii. p. 313.
said that Bartolozzi was never conscious of having intentionally offended or injured sº.
9 either
T--—
Aarfo/o3.22 azed /ăz's /l/orks.
either abroad or at home; and furthermore, that Bartolozzi was of opinion that it was only
natural for an artist of Strange's acknowledged abilities to feel hurt by the reception of a
foreigner, like himself, into the Royal Academy, when the governing body refused to admit
their own distinguished countryman. Indeed, Bartolozzi accorded unaffected praise to
the magnificent effects Strange produced with the graver, more especially to the exquisite
tone of his flesh tints, and the skill and fine taste shown in the treatment of all the
mechanical parts of his prints. He used, also, when defects of Strange's drawing were
pointed out, to express unfeigned regret that his rival had not had the advantage of early
study under experienced masters in drawing from the living figure. It is gratifying to
know that in Strange's later years he looked back on the events connected with this
troubled portion of his career with very different feelings from those animating him in the
writing of his “Inquiry,” and that he did not hesitate to do full justice both to Bartolozzi's
splendid abilities and to his kindly nature; but he never altered his opinion of Dalton,
who, he believed to the end of his days, had injured him by his intrigues. By the way,
Bartolozzi himself had no complete faith in his employer, for he could seldom be induced
to speak of his three years' engagement with Dalton; but he always considered himself
as having been ill-used, and believed that undue advantage had been taken of his
ignorance of business matters.
So much for an incident which, in addition to its biographical bearing, serves to remind
us that from the jealousies, the piques, and the misunderstandings which taint so many of
the more commonplace professions, not even the noblest of the arts are free.
The engraving of the Diploma of the Royal Academy, which is still in use, ranks
among Bartolozzi's finest works in line. It was executed from a design made by Cipriani
at the special invitation of the committee, on the establishment of that institution, among
the treasures of which the original drawing—as fresh as on the day it was sent in for
approval—is preserved and exhibited.*
* A proof of the “Headpiece of the Diploma given by His Majesty to the Academicians,” was exhibited by Barto-
lozzi at the second Royal Academy Exhibition in 1770, the original drawing being shown by Cipriani at the same time.
Bryan says that the original drawing of the diploma was sold (date not given) by
auction, and bought by Mr. Baker,” the collector, for thirty-one guineas; and there
* A laceman and well-known collector of St. Paul's Churchyard.
appears to be no record under what circumstances it came into possession of the Royal
Academy. -
Bartolozzi exhibited at intervals at the Academy for a period of thirty years, begin-
ning at its establishment in 1769, and ending in 1799, three years before he finally left
the land of his adoption for Portugal. The following is a complete list of these exhibits:—
(During his residence at Mr. Forsyth's, Broad Street, Carnaby Market.)
1769 (the first Exhibition). Cupid and Psyche, in crayons.
Clytie; a drawing from A. Caracci.
1770. A print of the Headpiece to the Diploma, after Cipriani.
Venus—drawing. -
IO - 1771.
Aartolo227. S.Ketch of his Zife.
1771. Venus embracing Cupid—crayon.
Head of Madonna—drawing.
1773. Portrait of a Lady, in chalks.
1774. Woli me tangere—drawing from a picture by Mengs.
(During his residence at 1, Bentinck Street, Berwick Street, Soho)
1776. Charity—drawing in colours.
1778. Zephyrus and Flora—drawing in crayons.
• 1780. Origin of Painting—a fan.
(During his residence at North End, Fulham.)
1792. Death of Chatham—a proof.
1793. Portrait.
I794. Portrait of a Lady.
29 Ditto.
1797. Rigaud's “Samson” (an aquafortis, or etched, proof).
1798. A Drawing.
I799. 29
He also exhibited proofs of his “Death of Dido,” and “Charity,” after Vandyke, at
the Free Society in 1783.
Bartolozzi earned money easily, and in his intervals of leisure led a tolerably gay life.
His studio was the resort of fashionable idlers and art-patrons. A sidelight is thrown
upon his popularity at this time by a letter from one of his numerous pupils, J. Minasi,
to his uncle, the Padre Minasi, in which is the following somewhat egotistical passage:
“I managed to get instruction from the celebrated Bartolozzi, who from his natural kind-
ness esteems me very much—so much that I am the wonder not only of noblemen who go
to Bartolozzi's studio, but also of other artists, there being nobody who can imitate so well
the God of Drawing—the famous Bartolozzi—who has presented me at Court and the
Royal Academy, and has obtained for me the honours and privileges of free admission
for life, and other benefits.”
But if Bartolozzi made money easily, he spent it with an equal ease. A day's pleasure,
for instance, with Cipriani is recorded to have cost him thirty guineas—a sum which,
though it is not large when we consider the expense of posting and of French wines in
those days, accentuates the engraver's impecuniosity on other occasions. His habit of
keeping his gold loose in one of his waistcoat pockets may be taken as typical of his
general carelessness in the matter of money. He could never save, and no matter what
the income earned, he was generally ahead of it in expenditure. He was thus tempted, at
times, to employ his skill on inferior book plates and in the perpetuation of the villainous
and puerile conceptions of amateurs, or the humorous fooleries of Bunbury 4 and other
* Bunbury was far from excellent in his drawing, and he is much indebted to Bartolozzi in his transcriptions to
copper for its improvement; but that he could do good work is vouched for by Sir Joshua Reynolds, who declared that
he never saw a better drawing than Bunbury’s “Barber's Shop.” * *
caricaturists, the reproductions of whose works by the powerful burin of Bartolozzi-
- II however
*--—
Aa2 fo/o3.22 azed /ăz's M/orks.
however useful and prized they may be as illustrating the foibles of the time, cannot but
be considered as instances of a waste of talent. But Bartolozzi was tempted through his
good nature as well as his interest; for artists and amateurs vied with each other in their
persuasions to induce him to engrave their works: artists hoped through him to strengthen
a weak reputation, and amateurs were sure that their rudimentary sketches would develop
under his masterly touches to a maturity that had no pre-existence.
Bartolozzi, like almost every other distinguished man of his day, was a visitor at
Holland House,” and he is said to have often declared that a statue therein by Nollekenst
* See Faulkner's “History and Antiquities of Kensington" (1820), p. 97.
+ Vide J. T. Smith's “Nollekens and his Times.” Colburn, New Burlington Street, 1828.
was one of the finest specimens of sculpture since the days of Phidias and Praxiteles. But
his relations were not all with the rich, for Faulkner, in his “Account of Fulham,” says
that when Bartolozzi came to reside at North End, in the house opposite to Foote's villa,
about the year 1780, his benevolent disposition was shown in many instances, and that the
poor of the neighbourhood frequently experienced his liberality.
Here, as elsewhere, Bartolozzi was overpowered with work. Mr. Carey says” that
* Wide Ackermann’s “Repository of Arts,” vol. xiv., 1815.
when he passed the engraver's house—which he frequently did—late at night or in the
small hours of the morning, the lamp in his workroom was generally burning; and in
regard to the time at which he began his labours in the morning, Mrs. McQueen, the
mother of the present members of the firm of J. H. & F. C. McQueen, fine-art copper-
plate printers, remembers her father having frequently to go to Mr. Bartolozzi's house at
Fulham (where he had a copperplate press), at six o'clock in the morning, to prove his
plates under the artist's personal superintendence.
Of Bartolozzi's Fulham life we have a few other glimpses. On Mr. Carey going up
on one occasion into the room where Bartolozzi and some of his select pupils worked, the
engraver pointed out some fine impressions of Gerard Audran's “Battles of Alexander,”
from Le Brun, with which the walls were hung, enthusiastically exclaiming, “There is my
master: every time I look up he speaks to me, and I take lessons from him every day.”
Bartolozzi was a great snuff-taker, and used to keep a large box at his side when at
work, throwing the remains of each huge pinch on the floor, so that a heap had gathered
by the end of the day. His living rooms were decorated with framed proofs of some of his
own works, including many proofs of musical tickets designed by Cipriani; the “Clytie,”
the “Silence,” and some few of his etchings from the well-known set after Guercino. There
was also a proof example of the “Italian Ball and Wedding,” from Zuccarelli, of which
Bartolozzi engraved the figures, and Vivares *—for whose conscientiously accurate work
* Francis Vivares was a Frenchman, the son of a tailor, and for some time followed the occupation of his father;
he became one of the most eminent landscape engravers of his time.
he had the warmest admiration—the landscapes. On a friend calling and expressing his
enthusiastic appreciation of these proofs, Bartolozzi modestly referred to them as inferior
productions, merely put up to “cover the walls,” and turned the conversation to the
I2 excellence
Bartolozzi: Sketch of his Life.
excellence—which he pointed out—of Vivares' style in the “Italian Ball and Wedding."
exclaiming, “Vivares I Ah, he is the finest landscape engraver in the world; his needle
paints upon the copper, so light, so full of taste, so airy; his skies are in motion l I
esteemed it an honour to engrave the figures in his landscapes, for then I was sure to live
for ever.” And, indeed, whenever real talent was shown by his brother-artists, Bartolozzi
was unstinting in praise. In showing to one of his visitors some proofs stippled by
Thomas Burke from Angelica Kauffman, he remarked upon the mellowness, delicacy,
power, and richness of their effect in terms of the highest commendation. Burke was an
Irishman; he studied mezzotint engraving under his able countryman, Dixon, and learned
stippling from Ryland, whom he far surpassed in taste and general beauty of effect. He
gave to his plates a peculiar quality, in which the high finish of stippling and the force
and delicate softness of mezzotinto were united. Burke is mentioned by Anthony
Pasquin" as an engraver who is “much applauded for the soft and beautiful tone of his
* “Authentic History of the Professors of Painting, Sculpture, and Architecture who have practised in Ireland.”
London, 1796; to which there is a frontispiece portrait of the author engraved by Bartolozzi.
prints, and is so much a favourite with Angelica Kauffman, that she stipulates as
frequently as occasions offer, that he shall copy her pictures.” Prints by Burke can at
present be purchased for comparatively little, but it is perfectly safe to prophesy that the
time is not far distant when they will command very high prices indeed. SN
A record of Bartolozzi, showing him in a more prosaic and less attractive aspect than
that in which he is presented to us by most of his contemporaries, is preserved in the
“Memoirs of the Life of Madame Vestris,”—a sixpenny gossipy and somewhat scurrilous
book, in which there is evidently more fiction than fact:-
“The engraver, the uncle * of Madame Vestris, was amiable in private life, though
# * An error : the grandfather, of course.
every way eccentric; he was fond of his bottle. Lord Craven, who fancied himself an
artist, sent for Bartolozzi, and engaged him to make one of his best engravings from an
East India design of his, for which he agreed to give him two hundred pounds.
“‘Good God, 'tis little money, put I'll do it, mine lort, you are my very goot friend.'
“Everything was arranged; the engraver was to work in the house, and dine at his
lordship's table. Lord Craven was only liberal unto his mistresses. The first day, after
the bottle had passed, he showed the engraver into the working-room, and there left him.
Bartolozzi had no idea but this was only a visit of ceremony, to inspect the apparatus, and
then return to his ‘bottle and friend’; so he untied his neckcloth, according to custom,
spread it over his face, threw himself into the arm-chair, and fell asleep. -
“About two hours after, Lord Craven, anxious to see the progress of the engraver, went
himself to call Bartolozzi to take coffee. Entering the room, he was surprised to find the
artist sound asleep, and snoring like the bass of his brother's 4 fiddle. His lordship looked
... " His son's 5 he was a musician via chapter on Bartolozzi's family.
*
round, and, horror-struck, found all was in ‘statu quo,'—no stroke of the engraver was
visible on the plate; upon which his lordship shook him by the collar until he awoke
him.
- I3
*--—
Aartolozzi and /*as M/orks.
him. The engraver was in very ill-humour; he possessed the irritation of genius in a
painful degree, and exclaimed,—
“Why wake me when I was dream for your lordship's good º'
“My good,' bellowed his lordship, in surprise; “why Bartolozzi, why man, you have
not put a graver upon the plate l’
“Bartolozzi rose up and replied, “Oh yes, my lort, all my engraving are there, laying
upon the plate, and dere dey may lay, and be damn."
“‘What is the meaning of this 2 * said his lordship, “are you going mad?’
“‘Yes, mid vexation; you take me away from good table, lock me up in cold room, and
I can't do things more vorse than at my own house. You go back and trink, and trink, and
eat, and eat de fruits, and then come to see vot I do in this hungry dungeon. My lort,
ven I work, I must eat, trink, and smoke, at the same time; you send me mine bottle of
bort, mine shiggar, and mine pish.cat, and I will do you ; but I must have mine own things,
and mine own way, or tammee, I give up the bargain.' His lordship took the hint, and
every day supplied him with the things he mentioned, and his engraving was soon finished.
Bartolozzi's port, his cigar, and his biscuit, were always a necessary part of his working
tools. This anecdote was given on the authority of the Lord Redesdale of that day.”
Beyond such fragmentary records as these, little is known as to Bartolozzi's private life,
and the few letters now preserved do not add much to our means of information. There is
one, however (in the possession of the author), written in his native language to his friend
Colnaghi, showing so much genial kindliness of nature and religious spirit, as to warrant its
reproduction in full. - *
MUCH BELOVED SIGNOR COLNAGHI,-
Pardon the liberty I take in troubling you in the present circumstance—the
departure of my dear little girl—an event which, as you may believe, causes me great grief,
and from which I shall probably even suffer in my health, as I feel pain already at the
thought of it. I pray you, then, as earnestly as I can or as I know how, to recommend her
to the care of your friend, Signor Gasperini, and to that of his good wife; so that they may
guard her in every possible way, and give her up safe and sound to the arms of her parents.
Otherwise I should have the keenest heart-ache which I have ever endured. I beg you also
to tell them they had better give her no meat for supper, and as little butter as possible, and
that they should keep their eyes upon her, for she is so lively that she might escape them
and run some danger, particularly in carriages and (sedan) chairs; she must not go near
the door, a thing which children are very fond of doing. Let them be careful not to allow
her to sleep in damp beds. But I pray them, besides, to keep her with that strictness to
which she has always been accustomed—that is, not to allow her all her caprices, and to
make her obey; also to keep her in practice in French and in a little Italian. I know it is
difficult to make her read on a journey, but in some intervals of travel it would give me
great pleasure that she should not forget the little Italian she has learnt; and they will find
that the child is good, but she must not be left to her own will. She is healthy and stout,
and on that account I should wish them to keep her to a rule of diet, and, as I pray them
once more, to give her no meat in the evening; for let her be satisfied with good bread for
I4. . Supper.
Bartolozzi. Sketch of his Zife.
Supper. I think I hear you say, “Oh, what a bore l’ But you are a father, and know what
love for children is; and though she is not my own, I am as much interested in her as
though she were, having taken a particular affection for her. Furthermore, I am very
anxious that her parents should find her in the same state of health, and in every respect
the same, as she has been under the care of Signora Maria, who has brought her up with
great pains, and who, I foresee, will also suffer much from losing her, for she loves her
as her own. And I hope they will not forget to make her say her prayers morning
and evening, as she is accustomed to do. I know that you will do me the favour of recom-
mending her warmly to them; the price of her journey seems to me rather high—but no
matter, so long as she is well; her parents, too, wished for her so much, and certainly they
could not have a better opportunity. In the meantime keep me your friendship and believe
me your *
Most humble and most devoted Servant,
NORTH END, FULHAM,
6th 9 uly, 1800. - jºu.% 4.*%ie
Who the “dear little girl” was, towards whom so much affectionate regard is evinced,
there is nothing to show, but it would most probably be one of his grand-daughters.
But of all testimonies to Bartolozzi's character which we possess, direct or indirect,
that of Pasquin is perhaps the most enthusiastic:-“When I connect,” he says, “my know-
ledge of his amazing industry with his philosophic disregard of riches, it produces the most
rapturous sensations, and I glow with ardour to do homage to a man who is singularly
great without vanity, and singularly good without ostentation; he approaches so near to
'what is perfect, that he amends whatever comes within his cognisance. His decided
superiority as an engraver over all existing competition is so manifest that I should feel a
particular pride in calling him a Briton; but as that gratification is denied, I shall take
much honour to myself in belonging to that order of species which he has so sublimed by
his professional excellence, and so cherished by his practical philanthropy.”
It is in evidence that Bartolozzi was a freemason, as on the large plate, “Charity
Exerted on ‘Proper Objects,” the names of painter and engraver appear as follows:-
“Painted by Brother Stothard, R.A.; Engraved by Brother Bartologgi, R.A., Engraver to
His Majesty.” The print, which is of an unusually important size, represents a Masonic
Hall and a procession of Charity-school children defiling before the members of the
Lodge. The procession is headed by the Grand Master, who is leading a child on
either hand. -
He reproduced few of Hogarth's paintings, as he never had an opportunity of
seeing a good collection, for when the exhibition of Hogarth's works was held at the
British Institution, Bartolozzi had already left the country. He once said of that great
artist, “Hogarth knows everything; he is a designer and painter; his prints are a theatre
of human life; and if he had been born in Italy he would have been a great Italian.”
Bartolozzi's income was large, and might have been much larger had he chosen to insist
& I5 Orl
*T--
Bartolozzi and his Works.
on heavy prices for his plates; but he was always moderate in his demands, and often allowed
the price of a plate to be settled by the publisher. Nor were needy brothers of the brush
and of the graver slower to take advantage of his carelessness or his goodness than were
the toadying compatriots in difficulties, who clustered about him in his prosperity after
the fashion of impecunious international waifs. Sometimes Bartolozzi succoured merit in
distress, but oftener he was the victim of imposture. When did the professionally impecu-
nious ever spare a man of good nature if they had him at their mercy It is said that
difficulties, brought about by Bartolozzi's generosity to Italian artists in London, were at
last the cause of his leaving England for ever. -
After a residence of thirty-eight years in England, and in his seventy-fifth year,
Bartolozzi received a twice-repeated invitation, coupled with the promise of a pension
and knighthood, from the Prince Regent of Portugal to reside in that country. The offer
was accepted, and on the 2nd of November, 1802, Bartolozzi finally quitted the land
of his long labours. -
On reaching the capital of Portugal, he wrote to a dear and valued friend : “I arrived
here after a five days’ passage from Falmouth. My health was not in the least impaired
at sea; on the contrary, my good spirits and my appetite never left me. Yet our Venetian
companion, poor fellow, has been very sick and ill indeed. Happy I was that I gave to
him, as well as to others, all the assistance in my power. In this country, to which destiny
in the evening of my mortal course has sent me, I have experienced from every one the
most flattering reception. The cordiality and affability with which I have been treated
by three distinguished noblemen have surpassed my most sanguine expectation. It is the
more flattering to me, as for a series of years I have not been accustomed to such kindly
behaviour from those I have looked up to as my patrons. I have had the honour of dining
with some of the first personages at this place, and to-morrow I am invited, and shall be
introduced to the Prime Minister. I am most perfectly contented, and hope to God I shall
be able to show by my exertions, old as I am, my gratitude for the celebrity with which all
my friends are pleased to distinguish me.”
The honour of knighthood was conferred on the artist according to promise, Portuguese
punctilio being satisfied by the discovery (to which allusion has already been made) of
nobility amongst his remote ancestry. Bartolozzi had been accompanied in his journey to
Lisbon by Gregorio Francisco de Queiroz, who had been commissioned by Don Rodrigo
de Souza Coutinho, Administrator of the Royal Printing Press, to ratify the engagement.
A friendship was formed between Bartolozzi and Queiroz, who became his pupil, and this
lasted through life. There is a short sketch in Portuguese of the life of Bartolozzi, contained
in a “Collection of Memoirs of the Lives of Painters, Sculptors, Architects, and Portuguese
Engravers, and also of Foreign Artists residing in Portugal, by L. Cyrillo Volkmar Machado,
Painter to His Majesty Don Juan VI.,” published at Lisbon in 1823. After reciting a few
particulars of Bartolozzi's earlier life, the author proceeds:–“D. Rodrigo de Sousa Cou-
tinho, when Inspector of the Printing Office in the Royal Palace, wished to publish a
magnificent edition of “Las Lusiadas, by Camoens, and in order to attain the object he had
in view, he sent for Bartolozzi in 1802, requesting him to settle in Lisbon, and offering him
a pension of 800,000 reis (about £166), besides a free residence; he was also to be paid
I6 for
Bartolozzi. Sketch of his Life.
for his work. The School of Engraving, which had become extinct by the resignation of
Joaquim Carneiro, was re-established, and Francisco Vieira made several little sketches,
painted in oil-colours, for the prints of the said work, and they were cleverly done; how-
ever, D. Rodrigo having relinquished his appointment, no further steps were taken." The
remuneration for this proposed work will not sound exceedingly tempting to modern
artistic ears, nor were the emoluments attached to his knighthood valued at more than some
;380. Nevertheless, the cost of living was low. A Captain Owen, who saw Bartolozzi
soon after his arrival at Lisbon, expressed his astonishment that he, who could make one
thousand a year by his pencil in England, should be content with an insignificant pension
in Portugal. “Ha, ha!” replied the artist, “in England I was always in debt for the
honours showered on my talents, and I was quite tired of work. Here I go to Court, see
the King, have many friends, and on my salary can keep my horse and drink my wine. In
London it would not allow me a jackass and a pot of porter.” A comparison which many
of our own countrymen have since made, and upon which they have acted, to the great
increase of their enjoyment of life.
Notwithstanding his great age he continued, after taking up his residence in Lisbon,
to instruct pupils, and to work with a closeness and celerity that excited the amazement
of the most laborious artists with whom he was associated. It is a marvellous fact that
he retained in his old age the firmness and the complete mastery of the graver which had
distinguished his earlier career, incontestable proofs of this maintenance of power existing
in his numerous later engravings. Among his private Portuguese clients was the distin-
guished Swiss landscape engraver Benjamini Comte, Professor at the Academy of Fine
Arts in Lisbon. He used to employ Bartolozzi—whose friend he was, and whose artistic
capabilities he greatly admired—to engrave the figures in his landscapes, Bartolozzi
greatly enhancing the beauty and attractiveness of the professor's works.
Notwithstanding the infirmities incidental to his advanced age, Bartolozzi continued,
so far as his failing health permitted, to work on; but the following letter foreshadows the
end :—
Extract from a Letter addressed to a pupil of Bartologgi's. Dated Lisbon,
26th March, 1814.
“About a fortnight or three weeks since, I discovered the residence of your good old
friend Mr. Bartolozzi, and immediately waited on him with the letter which you had the
kindness to give me for him. I found him at work on a large plate of a male head
[the Duke of Wellington], which, from a proof of it that was on the table, seemed to me
to be very fine. He is so infirm that he can scarcely walk across his room; his mental
faculties are likewise evidently impaired; so much so, indeed, that when, after he had
read your letter, I asked him if you did not mention a box of colours which you had sent
him, and which you wished to know if he had received, he replied he had not observed
that you mentioned anything of it. However, on reading the letter attentively over again,
he discovered the passage in question, and told me that he had not the least recollection
of ever having received such a present; but that, as his memory was apt to betray him,
he would seek carefully to ascertain if he really possessed such an article. He added that
17 - whether
-
VOL. I. * • * C
Aazºo/ozzz azza! /.2s M/orks.
whether he found it or not, he should write to you soon to return thanks. I told him you
had written to him several letters, and would feel much gratified at receiving one from
his hands. He informed me that he had never received any one of them ; a circumstance
by no means astonishing, if they were transmitted by the post; for here letters are not
delivered to individuals at their residences, as in London, but kept at the post-office till
sent for; the effect of which is, that those who expect no letters, get none.”
It was at one time Bartolozzi's intention to revisit the land of his adoption, towards
which he always entertained the tenderest of sentiments; and he even in 1814, shortly
before his death, went so far as to cause his passport to be forwarded to him by his son
Gaetano, but for some reason he changed his mind as to making the journey. The follow-
ing letter from one of his favourite pupils, James Minasi, with the accompanying very
sad effusion from Bartolozzi himself, would seem to present poverty, and a dread of worse;
but after what has been said, on the great artist's own authority, as to the comforts and
contentments of his life in Lisbon, the reader may be inclined to conclude that the affec-
tionate pupil took too literally the querulous expressions of, perhaps, the depression of a
day. Men of eighty-six are not always equal in their spirits; Bartolozzi's gaiety lasted
long, but it could not be perpetual. Minasi writes as follows:—
LETTER FROM MR. BARTOLOzzI.
To the Editor of the New Monthly Magazine.*
* Vol. ii. 1814.
SIR,-
It is not too much to assert, that never were the arts and their professors so highly
honoured and so powerfully patronized here as at the present moment. So universally is
a taste for their productions diffused among all classes of the inhabitants of this opulent
country, that living excellence is sure of obtaining its reward; and deceased merit does not
fail to receive that homage which can alone be paid to it. Arguing from these circum-
stances, I presume that the inclosed extract of a letter which I have just received from the
venerable Bartolozzi, will not be read without painful interest. Though he makes no com-
plaints of his situation, yet it must be evident, I think, from the whole tenor of this
epistle, that he is fast sinking into the grave, without those comforts to which his age and
eminence justly entitle him ; and that his anxiety to return to the country where he
passed his best days, and where the finest productions of his talents were given to the
world, is restrained solely by apprehensions respecting his future subsistence. An artist
who has done so much as Bartolozzi, might certainly at the advanced age of eighty-six,
claim the privilege of retiring from the practice of his profession; and every feeling mind
must lament that, at so late a period of his life, he should be dependent for support on the
precarious bounty of princes.
- . I am, etc.,
Foley PLACE, J. MINASI.
June 24 (1814).
18 “LISBON,
Bartolozzi. Sketch of his Life.
“LISBON, May 7th, 1814.
Pardon me if I have not answered your cordial letter, which I received by the hands
of Mr. James Smith. I should have called on him; but the infirmities of my advanced
age prevent me from going abroad, except to church, and then not without an attendant;
my legs being so feeble, and the streets so bad, that I run the risk of falling every moment.
Your letter has afforded me very great consolation, as it shows that you keep in remem-
brance a poor old man already forgotten in the world, though you know that I have done
a great deal, and that my humble performances have been borne with : now they are
despised; but so it happens when one reaches the age of eighty-six years. Yet God gives
me the grace to be able to continue to do something.
I was in hopes last summer of seeing London once more; but was detained by some
work which I had in hand, and by the indifferent state of my health, and want of strength,
though I had no expectation of obtaining employment, especially as you have so many
eminent men in our profession. Some of those dealers, you well know, have made for-
tunes by my poor works—now there is no fortune, to be made. Since, however, Divine
Providence has wrought so great a miracle as to send us peace, let us hope that things will
change in this respect also. -
I might have written to my son, who informed me he was in hopes that, if I returned,
the Prince Regent would do something for me; but I must not trust to mere hope, since
my good Prince here affords me a maintenance; I would, nevertheless, have sacrificed
everything with pleasure to revisit that country to which I owe such a debt of gratitude for
the benefits that I have received from it, that will never be erased from my memory, and
which I shall ever humbly pray to the Almighty to prosper as it deserves. *
Here at present we are destitute of every requisite in our profession,-gravers, varnish,
tracing paper, and black for printing, are all very dear and very bad. I have engraved one
of the views of Lisbon; the copper furnished me resembled lead; so that with a bad draw-
ing, and worse copper, I have made a wretched thing of it. Thus is an artist sacrificed
With sincere friendship and esteem, I subscribe myself, your poor old master and
servant,
F. BARTOLOZZI.”
In spite of these melancholy words, the writer has come to the conclusion, on full con-
sideration, that Bartolozzi did not die in abject poverty. He had his allowance from the
Government up to the time of his death, and he earned money as long as he lived. Cyrillo
states that he died in easy circumstances. Terms are, of course, comparative, but we may
have a tolerably assured belief that Bartolozzi did not die in want. Further than this
there is no trustworthy evidence on the subject. .
A statement appeared in the Gentleman's Magazine (December, 1808, vol lxxviii. p.
1116), that “Bartolozzi, the engraver, when the Prince entered Portugal, had the pension
allowed him by the Prince Regent continued by Junot, who subsequently conveyed him to
France. Bonaparte has since increased his allowance.” A similar assertion made by other
writers has evidently been extracted from the same source, but there does not appear to be
- I9 any
Tº"-
C 2
Bartolozzi and his /l/orks.
%
.*
any evidence of its truth. M. Georges Duplessis,* of the Bibliothèque Nationale, Paris—
* M. Georges Duplessis, who has made the various schools of engraving his special study, is the author of, amongst
other standard works, “Les Merveilles de la Gravure.”
an authority on whom reliance may be placed,—when communicated with by the present
writer, replied that he could find no evidence whatever on this point, neither had he before
heard of the circumstance. It is hardly likely that a man of Junot's rapacious and un-
principled character—during whose residence Lisbon daily and nightly witnessed scenes of
the grossest extortion, license, and revelry, should have done anything to foster the Fine
Arts; and it is equally improbable that Bonaparte had instructed him, or even that either
of them knew anything of the existence of a man so entirely removed from the paths of
their own career of violence. Bartolozzi was asked to undertake some of the plates to
“Le Musée Français,” + a magnificently illustrated work of art produced under the
* There is a perfect and unusually fine copy in the Soane Museum Library.
protection and patronage of Bonaparte, and it is probably from this fact that the miscon-
ception arose. But the best proof of the groundlessness of the assertion comes from the
artist himself, for the only plate he engraved for “Le Musée Français”—“Le Massacre
des Innocens,” after Guido Reni, is signed, Grave d Lisbonne par François Bartolozzi d
l'ége de 82 ans. And we know from his imprints or signatures to his later plates, that
he must have spent the latter portion of his life (probably in comparative retirement)
in Lisbon. His “Sacred Form,” after Claudio Coelho, bears the following wording:
“F. Bartolozzi esculp. de idade de 87 annos em Lxt em 1814”; the translation being :
“Engraved by F. Bartolozzi when 87 years of age, in Lisbon, in 1814.”
After a short and almost painless illness, the gifted artist expired at his residence in the
Travessa de Santa Quiteria, Lisbon, on the 7th of March, 1815, aged 88, leaving a fame
which, so long as his countless works endure, can never be forgotten or even dimmed.
He was buried in the Church of Sta. Isabel, Lisbon. The following is an official
certificate of his death :—
“On the 7th March, 1815, Francisco Bartolozzi breathed his last, after having received
the last Sacraments, in the Travessa de Sta. Quiteria, in the aforesaid parish of Saint
Isabella; he was married to Luzia Bartolozzi; he left one son, and according to the state-
ment of the notary, Izidoro Manuel de Passos, he appointed Francisco Thomas Mendanho
his executor; he was buried in the cemetery attached to the above Church, and the funeral
services were performed by the Rev. C. José G. Ferrara.
LISBON, 22nd November, 188o.
FR. J. MAXIMO,
Prior of the Church of Saint Isabella.”
Unfortunately the tombstone erected to his memory was, together with its fellows,
quite recently removed when the church was refloored, decorated, and repaired, and all
trace of it appears to have been lost. ~
To Bartolozzi work was pleasure, and pleasure work. Although for the last year or
two of his eventful career he in a measure ceased the accustomed daily routine of excessive
2O drudgery,
Bartolozzi. Sketch of his Life.
drudgery, he may be said to have died with the graver in his hand. There is an extensive
collection of his prints in the Academy of Fine Arts in Lisbon, and it is conjectured
with a considerable degree of probability, that the works executed by him during the time
which he spent there number considerably over one hundred.
At the outset of his career, Francesco Bartolozzi had set himself, with a true artist's
integrity of intention, to do the best work of which his mind and hand were capable, and
his later days were consoled by the reflection that his resolution had been well kept.
CHAPTER
21
Aazºo/o3.22 azza! / as M/orks.
CHAPTER II.
Bartolozzi's Family.
(A& & G.JA 4R&DIVG the engraver's family history little has been
said, because little is known. Between him-
self and his wife there was a long separation, after she had borne him several
children, for she did not, as has already been noticed, accompany her husband to this
country. She survived him, and died at a great age, having been blind for many years.
Of their family of several sons and daughters, all died young save Gaetano Stephen,
the eldest son, who inherited his father's talents, allied, unfortunately, to an indolent
disposition and Bohemian proclivities that eventually marred his life.
Gaetano was named after Gaetano Gandolfi, a painter of singular ability, between
whom and Bartolozzi a warm friendship existed. There are several copperplates bearing
their joint names as painter and engraver. Gandolfi occasionally used the point himself,
one of his best works being an etching of the Nativity, from a picture by Niccolò degli
Albati, in the Palazzo Leoni, at Bologna.
Born in 1757, even in his younger days Gaetano was passionately devoted to music,
and later wielded the fiddle bow—his favourite instrument was the tenor violin—with more
effect than the graver. He lived abroad for some time, but followed his father to England
in the hope of sharing some of his prosperity, which, had he been commonly prudent, he
might easily have done. The few plates he engraved show considerable talent. His father
did what he could to further his career by starting him as a print-publisher in Great Titch-
field Street, and allowing him to publish, under the style of F. Bartolozzi & Co., numerous
examples of his own works. Bartolozzi's engraving of a Bacchante, after Cipriani, for
instance, bears the imprint: “London: published December 15th, 1789, by F. Bartolozzi
& Co., No. 81, Great Titchfield Street.” Gaetano wasted a great deal of the time that
ought to have been devoted to business in the society of congenial, convivial, and especially
of musical companions; and his passion for the art led him into a marriage, in May, 1795,
with Miss T. Jansen, the daughter of a dancing master of Aix-la-Chapelle. She was a
pupil of Clementi, the great composer and pianist, and had the reputation of being the
22 best
Bartolozzi's Family.
best of his school. After the marriage, which was not a happy one, she partly supported
herself and husband by giving music lessons. Of their two children—daughters—the
elder, Lucy Elizabeth, who was born in January, 1797, married Armand Vestris" in 1813,
* Armand Vestris was the grandson of the celebrated dancer of that name, who was designated by the Parisians,
“Le Dieu de la Danse.”
and became the celebrated Madame Vestris, whose history is well known; while the
younger sister, Josephine, married a Mr. Anderson, a singer, and appears to have dropped
into the obscurity of private life. An exquisite miniature of her by the Count de la
Morinière, on ivory, painted after marriage, is in the possession of the author. Miniatures
too often seem to bestow a kind of regulation beauty, but in the present case we cannot
but credit the original with more than ordinary loveliness. The features are pleasing, but
hardly sufficiently regular to be strictly classical; fine lustrous dark eyes, with arched,
delicately pencilled eyebrows; a Roman nose, perhaps a trifle too long ; a mobile, smiling
mouth, sufficiently open to disclose a suspicion of pearly teeth; a profusion of auburn hair,
slightly shot with gold, tucked behind small, shell-like ears, and gathered into a simple
knot; and a skin of pearly fairness, flushed with health. Being the sister of Vestris,
her face deserves thus much of description.
Madame Vestris made her first appearance when 18 years of age, as Proserpina, at
the King's Theatre in the Haymarket, in Winter's opera, “Il Ratto di Proserpina,” on the
20th July, 1815, for her husband's benefit. In 1816 she left London for Paris with her
husband, and they afterwards visited Italy. She left him at Naples, where he settled for
some time as a ballet-master. Madame Vestris returned to London in 1819, and next
appeared at Drury Lane Theatre, then under the management of Elliston and Glossop,
in February, 1820, as Lilla, in the opera, “Siege of Belgrade,” which was first acted at
Drury Lane, 1791.
On the decease of her husband, Madame Vestris married, in 1838, the celebrated
comedian, Charles Matthews the younger. She died at Gore Lodge (Holcroft's), Fulham,
in 1856, aged 59.
Gaetano Bartolozzi eventually became involved in financial difficulties, and in 1797 his
stock of copperplates—including many by his father-prints, and drawings, was sold by
auction at Christie's.” He went to Paris, and opened a musical and fencing academy
* “A Catalogue of the genuine and entire stock of capital and valuable Prints, Drawings, and Copperplates (some of
which have never been published), and a few pleasing Cabinet Pictures, the property of Mr. G. (Gaetano Stephen,
Francesco Bartolozzi's son) Bartolozzi (retiring from business): comprising an extensive assemblage of Prints of the finest
impressions; drawings by Cipriani and Bartolozzi ; and amongst the plates the celebrated one by N. Poussin, in the
possession of the Marquis of Lansdowne; a ditto, after the ‘Four Elements’ of Albano; and a capital engraving in strokes,
after the celebrated picture of the “Madonna del Sacco,” of A. Del Sarto, at Florence, by Bartolozzi, lately finished, and
it may be truly deemed the finest plate ever executed by that artist. Which will be sold by auction by Mr. Christie, at his
great room in Pall Mall, on Friday, June 23rd, 1797, at 12 o'clock.” At this sale a great number of minor undescribed
subjects by Bartolozzi were disposed of in lots from a couple to three dozen prints in each, and so far as can be judged
realized good prices : some drawings, Academy figures by Cipriani and Bartolozzi, about a couple of shillings each; and
the original drawing of “Acis and Galatea,” by Bartolozzi, brought ten guineas. A set of four—the “Elements”-
after Albano, by F. Bartolozzi, brought seven guineas, an extraordinarily high price considering the times. Some
copperplates by Francesco Bartolozzi, with the stock of engravings, coloured and plain, proofs and prints, realized
in some cases remarkable prices, and from them may be gathered an idea of the relative estimation in which his
23 works
Aazºo/o3.22 azza! /*as M/o?%.S.
works were held. A pair of copperplates, “Love and Innocence,” corrected by Bartolozzi (the engraver's name is
not given), with fifty-four plain impressions and fourteen printed in colours, only brought 43 3s. A copperplate of
the “Princess Charlotte Augusta in the Cradle,” after Cosway, with thirty-eight proofs, three etchings, thirty-four
impressions, and twelve coloured ditto, brought 413 9s. 6d. The plate of an unfinished head, representing “Honour,”
after Cipriani, brought 43 8s. “The Holy Family,” after the original picture by N. Poussin, in the collection of the
Marquis of Lansdowne, with four etchings, ninety-three proofs (some with variations), forty-eight impressions, and one
proof in colours—the only one taken off this plate—brought 4130. The celebrated “Madonna del Sacco,” of
A. Del Sarto, ornamented with a portrait of the painter, with a drawing by Fide, of Florence, and the finished proof,
brought £350. The “Elements,” after Albano (four plates), with one hundred and fifteen complete sets of etchings,
twenty-eight odd ones, thirty-nine in colours, and the original drawings by F. Bartolozzi, highly finished in crayon and
chalk, realized the extraordinarily high price of £350.
in the Rue de St. Martin, where he met with considerable patronage. He appears to have
maintained a good position for some years; but the natural indolence of his character
gradually asserting itself, he drifted into poverty, and died at the age of 64, on August
25th, 1821. -
In a clever caricature sketch (shown to the author) of “Calais Market,” by Miss M. A.
Cook, sister of George Cook, the well-known engraver, Madame Gaetano Bartolozzi is
represented dressed in the fashion of the period. She was evidently inclined to corpulence,
and wears an enormous bonnet decorated with a prodigious quantity of flowers—a complete
flower garden. She is described as a very vain woman, with highly coloured—her enemies
said enamelled—cheeks, who prided herself on the smallness of her feet and ankles. This
foible is taken advantage of in the caricature referred to, where she appears with her dress
slightly raised, showing an ankle and a foot of elephantine proportions. Madame Gaetano
Bartolozzi lived to the age of 73, and passed the later years of her life at Calais, where she
died in 1843.
The works engraved by Gaetano Bartolozzi are few in number, and include the follow-
ing portraits: Annibale Caracci, in Otley's Italian School of Design; Mrs. Rudd, and
Madame Recamier, after Cosway; and the following illustrations in the British Gallery
of Contemporary Portraits:– # -
* “The British Gallery of Contemporary Portraits. London: printed for T. Cadell, in the Strand, bookseller to
the Royal Academy, 1822.”
VOL. I.
1. The Honble. Samuel Barrington, Admiral of the White,
Engraved by G. Bartolozzi, from picture by A. G. Stuart.
2. The Rt. Rev. John Douglas, D.D., Lord Bishop of Salisbury.
Engraved by G. Bartolozzi, from a picture by R. Müller.
3. John Ferriar, D.D.
Engraved by G. Bartolozzi, after T. Stothard, R.A.
4. James, Lord Gambier, Admiral of the Blue.
Engraved by G. Bartolozzi, after Sir W. Beechey, R.A.
24 VOL.
Aartolozzi's Family.
VOL. II.
5. The Rt. Honble. George Macartney, Earl Macartney, K.T.
Engraved by G. Bartolozzi, after H. Edridge.
6. Richard Warren, M.D., F.R.S., and S.A.
Engraved by G. Bartolozzi, after G. Stuart.
Of any descendants of the great Bartolozzi living at this moment we have nothing to
record. As with other famous men, his memory is independent of the continuation of
his name, which was made illustrious by himself alone. The inheritance of a noble
ancestry added nothing to his fame: he is remembered by his own individual greatness
and genius.
CHAPTER
25
Bartolozzi and his Works.
CHAPTER III.
Analysis of Style.
‘U CHſ difficulty besets any attempt to analyse the characteristics of
Bartolozzi as a draftsman and engraver; for his efforts were
necessarily governed and contracted by the spirit of the age in which he
... lived, and it is idle to speculate on what he might have effected if he had belonged
to another time. The production of his engravings was chiefly controlled by the
printsellers, or what are now termed print-publishers, of that date; and they in turn
were governed by the taste of the art-patrons of the period. This unavoidable sub-
mission to the caprices of his surroundings unquestionably had a levelling tendency,
and resulted in the production of a certain amount of work which in no wise does full
justice to his grand powers as an engraver. It is an easy task to merely indicate, by
means of a few words strung together, the chief characteristics of Bartolozzi as an engraver;
but it is hopeless to attempt to describe the subtle power and fascinating charm of the
results he achieved. His more fanciful subjects, especially those from his own designs,
are remarkable for their mellowness, classic purity, and gracefulness of outline, with an
almost ideal beauty of form and sweet tenderness of expression. His grouping is always
harmonious, and his backgrounds and subordinate objects generally are treated with
an unfettered carelessness, richness and breadth of effect, which do not detract from
the principal subject by undue elaboration. In subjects of a higher nature, as in his
grand historical prints, the same purity of outline is always observable, with a perhaps
simpler style of execution, showing strength and power, as if he had handled the pencil
instead of the graver. It is treading on delicate ground to assert that Bartolozzi as an
engraver improved on the painter whose work he copied ; and yet in many instances such
is the undoubted fact, and his improvements were not only seldom objected to, but
generally courted by painters of inferior powers. His reproductions exhibit a free and
interpretative rather than a close translation. Where the original had impulse and
intention, he made them his own as freshly as though they sprang from the emotions
of his mind; and where it had none or little of either, he supplied them—his work in
each case being free from the coldness and indecision of the mechanical copyist.
26 Bartolozzi's
Analysis of Style.
Bartolozzi's work in line may be considered first—that manner of engraving being
foremost in dignity.
It is unnecessary, and would be out of place here, to compare Bartolozzi with the
other great engravers of his day—Strange, the father of the English school of historical
engraving; Woollett, who carried landscape engraving to a perfection unequalled by any
of his predecessors; Sharp, whose portraits and figure subjects are of the highest possible
order—or with men of lesser note. This trio, and the imperishable productions of their
gravers, have been discussed so frequently and so fully, that there is probably little new
ground left to be broken.
It will be noticed, on an examination of Bartolozzi's prints, that his method was to
“work up the lights," as it is termed, on the flesh, by open lines, and the half-tints. and
shadows by closer lines of cross hatchings. This treatment is opposed to that of many
engravers, who have sought to produce the lustre and mellowness of nature by close but
fine tooling in their gradations from the shadows to the lights. In the shading of a face
or limb, the beauty of Bartolozzi's lines is seen to the fullest advantage; they approach
near enough to each other to produce a rich mellowness and obscurity of shade, while
retaining the peculiar clearness of flesh. The hatchings of his shadows are more inclined
to be lozenged than square, and in the half-tints the curves insensibly open out, the
crossings becoming still more lozenged. In tracing the work of his graver, it is impossible
to help admiring the masterly negligence by which some of his sweetest finishing is
effected; the lines break, melt, and become lost in irregular dots, which insensibly fade
away. His effects are always obtained without excessive elaboration. No engraver ever
knew so well how much to do and how much to leave undone. As a rule, paintings are
best seen at a distance, and many that are well-defined, solid, and even precise in effect,
resolve themselves on near approach into an unintelligible and confused mass. Engrav-
ings, while also producing on the beholder their proper effect at a distance, are expected
to stand close and critical examination; and in this respect the works of Bartolozzi are
unsurpassed.
In etching, the decision and impulse of his hand had even freer way. To reproduce
in facsimile the rapid strokes of Guercino's outlines and his powerfully contrasted masses
of light and shade, would appear an easy task; but to infuse the real power and fire of
the master's handiwork, is one that many have unsuccessfully attempted. Bartolozzi not
only caught the spirit that actuated the artist in the handling of his pen or chalks, but
succeeded in transferring its subtle and varied charm to his plates, with the result that
immediately on the publication of his etchings from Guercino, they were rapidly absorbed,
principally by appreciative artists and amateurs. Few etchers or engravers have succeeded
in reproducing the works of this master with anything like the success of Bartolozzi: in
Dalton's poor efforts, and in those of many other engravers, the fire of the originals is
entirely wanting. In Pasquilini's and Muci's the style is coarse and drawing bad; and
even Ryland failed to successfully emulate the life-like and breathing touches of Bartolozzi,
the bold and unfettered sweep of his lines in his etchings after Guercino, the vivacity,
airy lightness, and delicate gradations of light and shade in his exquisitely fine translations
of Bacchanalian subjects after Franceschini. His slighter works with the point are pro-
27 duced
Bartolozzi and his //orks.
*
duced with a vigour and freedom peculiar to the etchings of a painter; the rapid play of
his etching-point on the copper was aptly compared to “the contact of flint and steel”;
and, indeed, from that point leapt the spark of genius. Whether he produces his effects by
pure line engraving, stippling, or etching, by a union of line engraving and stippling, or
of etching and stippling, or even by the three processes united, with an occasional wash
of aquatinta in addition, there is always the same freedom, and an entire absence of
ostentation in manner.
In the art of stippling he was even more pre-eminently a master, insomuch as that
method was in its perfections more exclusively his own. His exquisite skill in this
seductive art—so full of the ever-popular qualities of roundness, softness, and finish–
produced with the graver effects which might have been deemed altogether peculiar to
the freely moving brush or pencil. His most beautiful achievements in grace of form and
undulations of line are, in the classical and allegorical compositions, reproduced in this
Iſlan Ileſ,
In many of Bartolozzi's stipple prints which deal with the figure, beauty and grace
run riot, and it may almost be said that the excess of these qualities is their only fault.
But it is in the quasi-voluptuous and in the luxurious, rather than in the severe, that
Bartolozzi's real power is shown; besides, these classical prettinesses are in the taste of his
time, and every true collector must prize the genius temporis. His women are in the first
blush of womanhood; invariably gracefully posed and beautifully formed, but never un-
duly developed,—fleshy, but not exuberant, round, but not gross; while his children are
as they should be, fat, chubby, glowing with health, and beaming with innocent happiness.
His maidens, children, and cupids are endowed with the grace, sparkling freshness
and delicacy of youth, and the charming and almost breathing animation of unaffected
innocence, and warm and palpitating vitality. The roundness and delicacy of flesh could
never be conveyed by laborious straining, and it was Bartolozzi's incomparable facility
and freshness which gave him such a mastery over the form and surface of the figure.
Bartolozzi worked in stipple freely and unmechanically, and apparently by no fixed
rules. In looking at his work, one is at once struck with the subject itself, while in
examples of many other engravers of the same school—though there are brilliant ex-
ceptions,—the method of production obtrudes itself painfully on the attention; the dots
are too pronounced, and a crude hardness is produced, which, with difficulty and only
to the sight of half-closed eyes, resolves itself into the effect intended by the artist.
With Bartolozzi the manner is so accomplished that, like the brush-work of some great
painters, it does not strike the eyes. The subtlety, richness, and solidity of his effects are
nevertheless obtained with instinctive artifice, force being given to certain passages, for
instance, by sparing and judicious touches of the graver in some of the half-tints and
shadows, while the lighter and more delicate parts are finished entirely in stipple.
The engraver who works by rule is too apt to rely for success on strong oppositions,
diversified hatching, tricky flourishing, and elaborate fineness; with a result, however
masterly in technique, that cannot ſail to be hard and stiff;-a song without feeling, a
poem without inspiration, a bravura without expression;–brilliant but soulless. Every
stroke of the graver ought to tell; and mere mechanical elaboration, however beautiful in
28 execution,
Analysis of Style.
execution, enfeebles rather than enriches if carried beyond the point necessary for the best
development of the subject. The engraver who obtrusively forces attention to the me-
chanical excellence of his work by glittering details, does not altogether understand his
art; and in this respect Bartolozzi never erred. His lightness, simplicity, and play of
stroke are always adapted to the most perfect expression of the subject on which he is
employed. He scorned the tricks of brilliant tooling, because his work had a truer com-
pleteness. His figures are modelled and palpable; his drapery is flowing and dignified; and
his trees, water, clouds, and other background accessories are lightly and vividly indicated;
for, whereas the dexterous school of French engravers gave such passages too much im-
portance by the finish of the work applied to them, Bartolozzi always kept them in com-
plete subservience to his principal subject.
Bartolozzi was essentially Italian in taste and grace; his somewhat luscious charm
was founded on a study of the antique which the Italians have never neglected, and
which, as we have said elsewhere, he practised with special devotion. That affection for
softness and beauty which is so often the companion of weak draftsmanship, was with
him the flower of a severe training in anatomy and the forms. Still, the Italians called
him the engraver of the graces, for grace is his most apparent quality, as tone and texture
constituted that of Sir Robert Strange, a perfect command of outline that of Marc'Antonio,
and a full richness that of Woollett. And it is well, in this art as in others, that distinctive
tastes should be delighted by distinctive merits, that an especial love of delicacy should find
keen gratification in the marvellous elaboration and high finish of detail marking the works
of Edelinck and other French engravers of the same school, that Rembrandt's grand effects
of light and shade should satisfy the stronger tastes of one dilettante, and that the free and
sportive grace and delicate pencil of Bartolozzi should please the more luxurious fancy of
another. The beauty and elegance of which so much has been said were frequently
sensuous, but never vulgar and never licentious. There are, indeed, a few examples of
classical subjects, which must now-a-days perforce be relegated to an abiding place in the
portfolio; but then, in spite of our increased freedom of thought and expression on some
subjects, eyes and ears are notoriously more easily shocked by pictorial and literary
freedoms now than they were a hundred years ago.
Bartolozzi's “style” is sometimes spoken of as if it were a distinctive “manner,”
sealing his work with an unmistakable cachet. But, in truth, he had neither manner nor
mannerism; for he worked in all styles, and always without affectation. In dealing with
great originals, he was grand or graceful, fanciful or fiery, gentle or powerful, according to
the temper of the artist after whom he was at work. No engraver ever reproduced with
more truthful fidelity the character of the painter; but it cannot be denied that while he ad-
hered to the spirit of the original, he often added a dignity and force, or infused a sweetness
and grace, as the subject demanded, softening hardness of treatment, and even correcting
drawing, in a manner which in many cases added vastly to the reputation of the painter.
He possessed, moreover, a creative capacity, which was often happily used in developing
effects but dimly and indecisively suggested in the originals. It became generally under-
stood at last, and even expected, that when Bartolozzi was employed to engrave works of
second or third-rate artists, he would correct any deficiency or neglect in the drawing, and
29 the
Aazºo/o3.22 azza! / as M/orks.
the printsellers had a common phrase, when looking over paintings and designs of a
mediocre description: “Bartolozzi will put it to rights”; and in some instances the
deficiencies or faults were so glaring, that an extra sum was paid and an express stipulation
made for their correction, and as a rule painters were anything but displeased with the
improvements. Even Sir Joshua Reynolds, in showing a print by Bartolozzi from one of
his own portraits, once said, “The hands in my picture are very slight, but here they are
beautifully drawn and finished, Mr. Bartolozzi having made them what they really ought
to be : we are all much indebted to him.” It was, indeed, in the hands and feet, the all-
important and interesting forms of which have been too much neglected, both as regards
construction and character, by the English school, that the thoroughness of his science
showed itself most valuably. Sir Joshua recognised the national insufficiency of drawing
in this respect, and recommended Bartolozzi's carefulness to the imitation of English
students.
Bartolozzi's remarkable quickness in the production of his plates was due to the abso-
lute certainty of his manipulation; he produced his effects without any of those slow and
discouragingly laborious alterations that most engravers are compelled to resort to ; and
his few progressive proofs, while showing nothing to undo, furnished him with a guide as to
what was still undone, and directed him how and where he should mellow the various parts
into complete and expressive unity. Woollett, who assiduously calculated every stage in the
progress of the plates of his celebrated line engravings, and had reduced his method to an
exact science, was filled with amazement in viewing Bartolozzi's extraordinary facility, and
spoke of him in terms of the most unqualified praise. Woollett used to own that he seldom
looked at a proof of one of his own prints in course of progress without feelings of anxiety
and dread; and on one occasion, after he had taken a proof, these feelings so far mastered
him, that he put it away in a drawer, and kept it there for a fortnight without taking
courage to look at it : he feared that the proof would show him work to be undone rather
than progress made. -
Working so quickly and so felicitously, Bartolozzi received and executed a prodigious
number of commissions. There are certainly many coppers bearing his signature, which
it is difficult to believe he could ever have touched; some of his prints are utterly un-
worthy of his powers, and there are many examples which can find a place only in the
folio of a collector who is aiming at absolute completeness. This ease of manipulation
was so great that he is said to have worked with no less accuracy and more pleasure when
chatting with a visitor or friends than when entirely undisturbed. Mr. William Carey
relates that on the occasion of his introduction to Bartolozzi, at his house at North End,
by Sir Joshua Reynolds, the engraver was engaged on a small plate of an Apollo, where
the outline of the figure was marked in with the dry point, and a portion of the back-
ground was etched in. During the progress of the work, Bartolozzi was kept almost inces-
santly conversing about his art with Mr. Carey and other visitors, and amused them with
many “sallies of pleasantry.” Notwithstanding the apparent interruption, and the fact that
the conversation after dinner was prolonged an hour longer than usual, the plate was so
far advanced as to be proved the same evening, and only required half an hour's work the
next day for the finishing touches. -
3O During
Analysis of Style.
During his lifetime Bartolozzi received a full measure of praise, even from rivals. In
the course of a lecture on engraving, delivered at the Surrey Institution in the year 1809,
by that eminent stipple engraver, Robert Mitchell Meadows, whose untimely death imme-
diately afterwards was an irreparable loss to the profession, he said: “By what epithet shall
I do justice to the genius, taste, and fancy of that mighty master of grace, elegance, and
beauty, Mr. Bartolozzi, whose high example during his long residence in this country
contributed, above all things, to the improvement of British engraving ; and whose best
works, being executed amongst us, and therefore considered as English prints, in no
small degree enhance the reputation of British art from all the rest of Europe?”
Nor has modern criticism, even in the rapid phases of taste, and in the robust reaction
of realistic times against much that the last century regarded as the only civilized art,
brought any serious charges against the work of Bartolozzi. It has been asserted that his
figures are too much alike—all brothers and sisters; but this effect is rather the result of
his aim at ideal beauty than of a lack of invention. Sir Joshua held that it was below the
dignity of ideal art to be very individual.
It has also been said that Bartolozzi's prints lack colour, i.e., the due subordination
and relative force of minor objects, and in many plates bearing his name, but probably
only touched by him, the accusation is just; but in his finer and more important works the
very reverse is the fact, colour constituting one of his many charms. Another fault averred
is a lack of depth and strength in his shadows—the delicacy and luminosity of his half-
tones being beyond denial ; but this criticism springs directly from a certain modern love
of abruptness of effect. Our time, which cares for vivid art, approves Bartolozzi eminently
for the animation and life which he always gives to the eyes, and this is a distinguishing
note of his works among those of almost all other engravers.
CHAPTER
31
Aarfo/o322 and has M/orks.
CHAPTER IV.
Bartolozzi's Improvements and Alterations
in Copying.
altering—and altering very largely—some of the
works which it was his task to reproduce. But if he altered, he always
improved ; and many amateur daubers and indifferent artists were indebted to him for
the addition of beauties in the engraved reproduction of their works which it may be
charitably supposed existed in the imagination of the draftsmen, the skill of transferring
to paper or canvas being unfortunately wanting. A somewhat ludicrous example of
Bartolozzi's adherence to his own particular treatment, which he sometimes either would
not, or could not, abandon, may be found in one of the folio illustrations to Captain Cook's
voyages, “A Young Woman of Otaheite bringing a Present.” A semi-nude Otaheitan
damsel appears as a savage with the head of a beautiful Bacchante; and while, as a picture,
the plate is by far the most pleasing in the book, it is certainly the most incorrect.
Sherwin, who probably worked for Bartolozzi at this time, falls into precisely the same
error, while the other engravers exhibit the natives in their natural repulsiveness—a feat
apparently beyond Bartolozzi, who at times appeared to think that he was nothing if
not pleasing. And yet his portraits—witness especially that of Lord Thurlow, a mixture
of chalk and etching—are not only splendidly executed, but were admittedly faithful and
favourable likenesses. - -
His determination to produce beauty was a quality which, in the matter of portraits at
least, gave far more satisfaction than offence. It is now a matter of impossibility to identify
the numerous portraits in his classical and fancy prints, but it is known that both he and
Cipriani were in the habit of laying their female friends—it may be supposed the prettier
ones-under embargo; and many of the beautiful and titled women of the day were
perhaps only too well pleased to know that they would be thus gracefully handed down to
posterity, with the certainty that any little blemishes would be hidden and forgotten, and
32 their
(1)0% ‘77. & S S Bartolozzi exposed himself to the charge of
Aartolozzi's Improvements in Copying.
their best points made the most of Miss Hester Choppin and her two sisters, Mrs. Towne
and Mrs. Bale—wife of the well-known physician—tall, graceful, classically featured girls,
frequently sat to Bartolozzi and Cipriani; and a descendant of the family now living has
assured the writer that Bartolozzi many times introduced the three beautiful sisters into his
tickets, and also into more important subjects.
The well-known line engraver, William Sharp, was employed by Macklin (best
remembered in connection with his Bible) to engrave Sir Joshua Reynolds’ “Holy Family,”
and produced a plate which is generally admitted to be almost unsurpassable for light,
shadow, brilliancy, and all the highest attributes of the art. A hundred proofs and a few :
prints were taken from it, when Bartolozzi, at the instance of Macklin, but only after
repeated protests, undertook to improve—some of his critics say “spoil"—it, by nearly
obliterating the lines and converting it into a dotted engraving.
As Bartolozzi was known to have the habit of improving the weak parts of works in
which improvement was desirable, he has been accused of altering where he was bound by
respect for a great master to do nothing but copy and translate. The charge was brought
against him by Dr. Dibdin,” with regard to the “Holbein Portraits of the Illustrious
* Wide “Library Companion,” vol. ii. p. 102, by the Rev. T. F. Dibdin, F.R.S., A.S. London, 1824.
Persons of the Court of Henry VIII.” The sumptuous work containing Bartolozzi's
engravings from the portraits was published in 14 parts by Mr. John Chamberlaine, in the
year 1792, the biographical notices being written by Mr. Edmund Lodge, then Lancaster
Herald. It may be as well to give Dr. Dibdin's accusation in his own words in extensor—
“First, let it be observed that all the engravings are taken from Original Drawings in the
possession of his late and present Majesty. These engravings are eighty-two in number.
They are executed in the stippling manner, with great freedom of outline and delicacy of
execution. But there is some reason to believe that a few of them are faithless perform-
ances; and I will tell the reader why. Bartolozzi had a notion that he could improve
everything he touched; and he also knew the force of his own powers, and the popularity
of his own name with the public. He was fond, too, of Italianising his faces; and you
generally see something like the same face in all his graphic productions. This, however,
may be mere surmise or declamation. Now for ‘proof positive.' Do any of my readers
remember the first anonymous female portrait, which has been thought to be Margaret
Roper, Sir T. More's eldest daughter That portrait, as engraved by Bartolozzi, is NOT
the portrait as drawn by Hans Holbein. Most of the ornaments are added, and the features
are wholly different. I have examined the facsimile of the original drawing, executed by
Mr. Frederick Lewis, the engraver, in a manner so minute and so faithful to the original
(allowed by those who have seen both) as to leave it beyond dispute that the production of
Bartolozzi is, comparatively, faithless. Those who have seen Mr. Lewis's facsimiles of the
drawings of Sir Thomas Lawrence, will be readily disposed to admit the extraordinary
truth and delicacy of that artist's burin. Even to an experienced eye these drawings may
now and then be mistaken for originals. They are singularly sweet and masterly. What
should follow * First, in every degree of probability, a few other of these portraits by
Bartolozzi are faithless; and, if faithless to the extent which appears in this of Margaret
- 33 Roper,
VOL. I. - D
Aarto/ozzz and /ets A/orks.
Roper, then we have many of Bartolozzi's conceits, and not Holbein’s truths, in the volume
under consideration.” Notwithstanding these strictures, in another portion of the same
work,+ Dr. Dibdin speaks of Bartolozzi's “peculiar and unrivalled powers.”
* Wide Preface to vol. i. p. 22.
By the courtesy of Mr. Holmes, the Queen's Librarian, the writer has had an op-
portunity of carefully examining and comparing at Windsor Castle many of Holbein's
Original Drawings with Bartolozzi's reproductions. It may be stated at once, that
the engravings, except in general outline, are not what Chamberlaine,” their publisher,
* Chamberlaine was preceded in his office of Keeper of the King's Drawings and Medals by Richard Dalton, who
brought Bartolozzi over to this country. Dalton is said to have been the first Englishman who devoted any considerable
attention to the drawing and engraving of Greek and Egyptian monuments. In addition to the post mentioned, he held
the appointment of Antiquarian to His Majesty, and his brother, Dr. Dalton, was Rector of St. Mary-at-Hill, Eastcheap,
London. Richard Dalton was elected F.A.S. in 1767, and wrote several works, the more important being “Remarks
on the Pyramids of Egypt,” “A Short Dissertation on the Ancient Musical Instruments used in Egypt,” “Remarks on
Prints intended to be published relative to the Manners, Costumes, etc., of the Inhabitants of Egypt, from drawings
on the spot, 1749.” He died Feb. 6th, 1791, at his apartments in St. James's Palace.
professes them to be in his introduction to the collection—facsimiles. To begin with,
Bartolozzi has, broadly speaking, put into his work three times over what appears in the
original drawings, which in their details are of the sketchiest, their evident truthfulness
being due to the wonderful vigour and intensity of outline, the dress, jewellery, and ad-
juncts generally being indicated in the slightest possible manner. It will be observed that
Dr. Dibdin draws special attention to an anonymous female portrait which has been
thought to be that of Margaret Roper, Sir T. More's eldest daughter (though it really
represents Cicely Heron,” her sister), and the copy from which he says is not the portrait
* A fine engraving—an absolute facsimile of Holbein’s drawing of Cicely Heron—was presented by Sir A. W. Call-
cott, who was appointed Surveyor of the Royal Pictures in that year, to the Queen's Library in 1844; it bears the
following inscription at foot, signed by him : “When Bartolozzi's prints after the Holbein drawings in the Royal
Collection were nearly completed, Chamberlaine, their publisher, thought it might answer his purpose to give the public
a smaller edition, if he could find any engraver of less celebrity, at a smaller price, to supply Bartolozzi's place in this
second series. His first and only application was to Frederick Lewis, the engraver of this print, and in order to more
clearly test his power he gave him the original drawing, requiring it to be rendered the full size of the original. When
Lewis had completed his task he took an impression to Chamberlaine, who, on seeing its truthfulness when compared
with Bartolozzi's print, felt convinced that the reputation of the great work would be inevitably destroyed if the public
ever had a chance of comparing the faithful rendering of Lewis with the false and mannered prints of Bartolozzi. He
therefore desired Lewis to let him have the plate; as there have been no impressions seen but these few proofs which
Lewis had taken for him, there is no doubt Chamberlaine had the plate destroyed. This impression is one of those
proofs Lewis kindly gave me about twenty-five years ago.”
as drawn by Hans Holbein. If the learned Doctor had gone a little farther, and stated that
the whole of the portraits as engraved by Bartolozzi are not the portraits as drawn by
Hans Holbein, he would simply have been stating the exact fact. As regards the details .
of the portrait in question, which aroused the Doctor's ire, the shape of the bead or pearl
double-necklet in the original is only faintly indicated; ten only of the beads are shown—
a curve made by a single stroke indicating the continuation;–but Bartolozzi has completed
and elaborated the necklet. Further, a locket in the original, with a smudge of colour
in the middle which might mean anything, is suspended by a ribbon. Bartolozzi has
34 transformed
Bartolozzi's Improvements in Coffying.
transformed the smudge into a pretty and highly finished medallion of a female head.
But pages might be filled with a description of liberties or “improvements” of this kind,
which in fact extend more or less through the whole of the portraits. Dibdin says truly
that Bartolozzi had a notion that he could improve everything he touched. He did, in
fact, improve nearly everything he touched; but why, in the name of common sense, the
multitude of “improvements” in the Holbein portraits should be laid to Bartolozzi's charge
it is difficult to conceive. Be it remembered that Chamberlaine held the appointment of
Keeper of the King's Drawings; to these he had free and constant access, and Bartolozzi
no doubt frequently saw them also; and be it further remembered that the assertion in the
Introduction to the finished work, that the engravings were facsimiles of the original draw-
ings, was Chamberlaine's and not Bartolozzi's. It is simply monstrous to suppose that
Chamberlaine, with the original drawings in his keeping and before his very face, would
have allowed Bartolozzi to proceed with plate after plate, proofs of which he must have
seen, unless he had not only been content with the work, but satisfied that his instructions
were being carried out. The inference is, that in Chamberlaine's idea absolute facsimiles
of the Holbein portraits would not have been appreciated by the public, and he therefore
selected Bartolozzi as the most suitable and skilful engraver he could employ, who, while
not deviating too far from the originals, would make pleasing pictures that the public would
like and purchase. Dibdin seems to think that copies of the drawings were made for
Bartolozzi to engrave from ; but if so, they have disappeared. It is more probable he had
the original drawings; and there is, in the writer's opinion, internal evidence of a distinct
understanding between Chamberlaine + and Bartolozzi as to the general character of the
* In the advertisement preceding the issue of the work, it is notified—“In regard to the present publication of these
portraits, it is merely necessary to state that it will exhibit the most faithful copies of the originals—for it were idle
to say more of a work which can require no recommendation ; the world need not be told what to expect from
Bartolozzi's engravings after Holbein’s drawings.” The Introduction says : “Every man of taste must discern how
much the beauty of this work is indebted to that inimitable artist, Francis Bartolozzi, Esqre.”
engravings, the sketchiness of the originals, notwithstanding their intense vigour and
strength, being evidently considered unattractive to the public. If this explanation be
not accepted, then the further difficulty remains to be disposed of, as to why Chamberlaine
allowed Bartolozzi to proceed, not only from proof to proof of a plate, but from plate to
plate of the series; and why on its completion he himself, with an intimate knowledge
of the original drawings, described them in the Introduction as facsimiles.
Under Chamberlaine's supervision the copperplates were beautifully printed in
colours.”. Being of opinion that the public would take up a prodigious number of
* “Printing has not produced anything finer than these heads.”—Manuel des Curieux et des Amateurs de l’Art, par
Michel Huber. Zurich, 1800.
copies of the work, which they did not, he kept his printers going for many months. The
over-production was so great that examples can everſ now be obtained at a very small
cost. The two small portraits of the children of Charles Brandon, Duke of Suffolk,
at the end of the work, instead of being printed in colours direct from the copperplates,
are coloured by hand, so as to more closely approximate to the original miniatures, now
preserved in the Queen's Library at Windsor.
35 Lowndes
D 2
Aarfo/ozza azza! /*as M/orks.
Lowndes says that an intended edition of this fine work, so extended and continued as
to include portraits of the court of Francis II. of France, was begun, “but proceeded only
to the extent of eight portraits, which remained unpublished until acquired by Mr. Bohn.”
They have since been added to some copies of the original book, with memoirs by Mrs.
Jameson.* Another edition, reduced to large quarto, was published by Nichols, in 1812,t
* All the copperplates, including the eight referred to, were, after lying by many years, disposed of by Mr. Henry
Bohn, a portion of whose stock they formed, to Mr. Bernard Quaritch, of Piccadilly, who has republished the work
from the original plates.
t Two copies of this edition, with the plates printed in colours on satin, are in the Royal Library at Windsor.
at fifteen pounds, the whole of the plates—with the exception of the two small miniatures
at the end (in this edition printed in colours), for which the original coppers by Bartolozzi
were again brought into requisition—being magnificently re-engraved in reduced facsimile
by R. Cooper, Facius, J. Minasi, Cheesman, Cardon, and others.”
* Cooper was paid thirty guineas for his portrait of Holbein, and ten guineas each for the others bearing his name.
Facius was paid sixteen guineas for “Holbein's Wife.” The remainder of the plates were engraved at prices varying from
six guineas upwards, according to the amount of work in them.
The Arundel Society published in 1877, with the sanction of the Science and Art
Department, South Kensington, photographs of the Holbein Heads, with which were re-
printed the historic memoirs by Edmund Lodge, F.S.A. The whole series was reproduced
in a dreadful-looking red pigment, though for what reason, except to pander to the supposed
popular taste, it is difficult to conceive. It is equally difficult to understand why the words,
“With the sanction of the Science and Art Department, South Kensington Museum,”
should appear on the cover of each part, the drawings themselves being in Her Majesty's
private library at Windsor Castle, which is not generally understood to be amongst the
numerous institutions, “travelling collections,” or what not, affiliated to the great art-parent
at South Kensington. -
CHAPTER
36
The Roya/ A cademy Diploma.
CHAPTER V.
The Royal Academy Diploma.

(D QQQBA 415 IAE)^ the most keenly coveted Bartolozzi print in
existence is the Royal Academy Diploma, –
always provided it is filled in with the name of the fortunate possessor, and
bears the royal sign-manual, making him a Royal Academician, or an Associate of the
Royal Academy. Something more than the collector's ardour fires the heart at this
acquisition. The diploma measures to the outside of the plate marks, 193x264 inches,
and is engraved on two separate plates, the impressions being joined after printing.
The writing engraver, who added Bartolozzi's name as engraver, spelt it with two l's,
instead of one, an error apparently considered of so little importance as not to be worth
while correcting—at any rate, the correction has never been made. On the upper plate
(the copper measures 20x12%) is the allegorical design, and the lower (20× 1.4%) bears
the inscription or diploma—an address from the Sovereign to his or her favoured subject;
in the centre of the upper and principal plate is a medallion, surrounded by a border of
laurel leaves and berries, with oak leaves and acorns at foot. LABOUR and GENIUS are
represented on either side by two full-length male figures—the former being symbolised
by Hercules, and the latter personified by Apollo, -who are standing on a square pedestal,
which bears the principal inscription, and supporting a scroll with the motto “LABOR
ET INGENIVM.” The gracefully grouped and exquisitely engraved subjects in the
medallion are on a much smaller scale: Art is represented by a crowned female,
seated on a throne, with left arm extended, the right hand grasping a statuette of
Minerva; on the pedestal of the throne are the words: “Roy AL ACADEMY OF ARTS,
INSTITvTED MDCCLXVIII.” To the right of Art, and slightly in the background, is a
winged boy distributing wreaths of laurel; while at her feet are three female figures
representing Architecture, Sculpture, and Painting, who are listening to the dictates of
Art. Britannia is seated on the left, and at her feet reposes the indispensable British
lion, which powerful and majestic brute is impartially surveying the scene with an air of
proprietorship and calm sufferance distinctly edifying to behold. The Temple of Fame is
seen on the right in the distance.
37 The
Bartolozzi and his //orks.
The stamp of the Royal Academy, embossed in white on coloured paper, is inserted
at the foot of the diploma; and at the left—underneath all—is the imprint, G. B. Cipriani,
invé et delt, and on the extreme right, F. Bartollozzi, engraver to His Majesty, sculpt
The lettering of the diploma, inscribed on the pedestal, is is plain Roman open letter
capitals throughout, thickened on the right or shaded side. A background of fine irregular
lines running horizontally covers the front of the pedestaſ, but, probably for the sake of
increased legibility, is stopped in the lettering, so that the interior or middle of each letter
is left white. The blanks left in the lettering for the insertion of the name, etc., of the
Academician, are skilfully filled up with pen and ink, as required, in letters of precisely
the same form ; in fact, so skilfully is the extra wording added, that it looks exactly like
the other portions of the engraved lettering, the only difference being that in the added
portions the background lines necessarily run through the letters. Had the engraver, in
the first instance, chosen to carry his “shading” lines through the lettering, instead of
stopping them as he has done, a recipient of Academy honours might, unless assured to
the contrary, and no one, probably, would think it necessary to give the assurance,—
have fondly believed that the authorities had caused a special plate to be engraved in
his honour.
The following is the form of the original diploma, until the King had affixed his
royal sign-manual to which, no election was valid. Notwithstanding the differences
rendered necessary in the lettering by lapse of time, the lower plate containing Bartolozzi's
name has always been used, the old wording being stopped out and the new substituted
by the copperplate printer:—
George the Third, by the grace of God, King of Great Britain, France, and Ireland,
Defender of the Faith, etc., to our trusty and well-beloved , Greeting.
Whereas we have thought fit to establish in this our City of London a Society for the
purposes of cultivating and improving the arts of Painting, Sculpture, and Architecture,
under the name and title of the Royal Academy of Arts, and under our own immediate
patronage and protection; and whereas, we have resolved to intrust the sole management
and direction of the said Society under us to Forty Academicians, the most able and
respectable artists in Great Britain: We, therefore, in consideration of your great skill
in the art of [Painting] do by these presents constitute and appoint you to be one of
** he Foºt {\ºlºgicians of our said Royal Academy, hereby granting unto you all the
ś ereof, according to the tenor of the institution under our sign-manual upon
the to daye; bec • V766 : And we are the more readily induced to confer upon you
this honourable distinction as we are firmly persuaded you will upon every occasion exert
yourself in support of the honour, interest, and dignity of the said establishment, and that
you will faithfully and assiduously discharge the duties of the several offices to which you
may be nominated. In consequence of this our gracious resolution, it is our pleasure that
your name be forthwith inserted in the roll of the Academicians, and that you subscribe
the obligation in the form and manner prescribed.
Given at our Royal Palace of St. James, the day of in the
year
38 The
The Royal Academy Diploma.
The following is a copy of the Associate's diploma, the wording of which is not only
engraved in the usual manner, but repeated in letterpress, the type being kept standing,
and alterations made as required. Many Associates' diplomas exist in this form, but an
engraved plate was afterwards made and the type discarded, so that the Associate's
diploma should harmonise more closely with that of the Academician :—
His Majesty having been graciously pleased to establish in this his City of London
a Society for the purposes of cultivating and improving the Arts of Painting, Sculpture,
and Architecture, under the name and title of the Royal Academy of Arts, and under his
own immediate patronage and protection, and his Majesty having thought fit to intrust
the sole management and direction of the said Society under himself unto forty Acade-
micians, with a power to elect a certain number of Associates:
We therefore, the President and Academicians of the said Royal Academy, by virtue
of the said power, and in consideration of your skill in the Art of , do by these
presents constitute and appoint you, - , Gentleman, to be one of the
Associates of the Royal Academy; hereby granting unto you all the privileges thereof,
according to the tenour of the laws relating to the admission of Associates, made in the
general assembly of the Academicians, and confirmed by His Majesty's sign manual.
In consequence of this resolution, you are required to sign the obligation in the
manner prescribed, and the Secretary is hereby directed to insert your name in the roll of
Associates. -
Royal Academy,
On the accession of Her Majesty Queen Victoria, the form of the Academicians'
diploma underwent extensive alterations; the following is the wording, which is that in
use at the present time:—
Victoria, By the Grace of God, of the United Kingdom of Great Britain and Ireland
Queen, Defender of the Faith, etc.
To our trusty and well-beloved, , Greeting.
Whereas His Majesty, our Royal grandfather, King George the third of blessed
memory, thought fit to establish in this his City of London, a society for the purposes of
cultivating and improving the Arts of Painting, Sculpture, and Architecture, under the
name and title of “The Royal Academy of Arts,” and under his own immediate patronage
and protection; and whereas we have been pleased to adopt the gracious views of our
Royal grandfather towards the said Society, and to take the same under our Royal care,
We, therefore, in consideration of your great skill in the Art of , do,
by these presents, constitute and appoint you to be one of the forty Academicians of our
said Royal Academy; hereby granting unto you all the honours, privileges, and emolu-
ments, thereof, according to the tenor of the institution, given under our Royal grand-
father's sign manual, on the Ioth day of December, one thousand seven hundred and
sixty-eight, and in the ninth year of His Majesty's reign.
And we are the more readily induced to confer upon you this honourable distinction
39 as
Bartolozzi and his Works.
as we are firmly persuaded that you will, upon every occasion, exert yourself in support
of the honour, interest, and dignity, of the said establishment; and that you will faithfully
and assiduously discharge the duties of the several offices to which you shall be nominated.
In consequence of this our gracious resolution, it is our pleasure that your name be
forthwith inserted in the roll of the Academicians, and that you do subscribe the obligation
in the form and manner prescribed. -
Given at our Royal Palace of Saint James's, the
in the year of our reign.
In 1868, the centenary of the foundation of the Royal Academy, honorary foreign
members were first admitted. Bartolozzi's plates were still used, and the following is the
wording of the diploma :—
Her Most Gracious Majesty Queen Victoria, Patron of the Royal Academy of Arts,
London, founded by Her Royal Grandfather, King George 3rd, A.D. 1768, having
been pleased to approve and confirm the Institution of a Class of Members to be called
Honorary Foreign Members of the said Royal Academy of Arts, to consist of distinguished
Continental Artists, Painters, Sculptors, Architects, and Engravers, according to resolu-
tions submitted to Her Majesty by a general assembly of Academicians, held in the year
1868, being the centenary of the foundation of the Royal Academy: we, the President and
Members of the Royal Academy of Arts, in consideration of your great skill as a
have had the honour to elect you
an honorary Foreign Member, as by rules set forth and enacted.
The large size of this diploma rendering it an awkward object to transmit abroad,
Mr. George Doo had the honour of being requested to re-engrave it in facsimile on a single
plate, reduced to half size—a task, considering the merit of Bartolozzi's original work,
by no means easy. The writer is indebted to Mr. Doo for an unlettered proof, and it is
sufficient to say the original diploma is most exquisitely and truthfully reproduced.
The diploma granted to Bartolozzi himself may now be in existence: the last heard
of it was at the sale of Mr. Anthony Molteno, of Pall Mall, the well-known print publisher,
where, on the 26th April, 1824, it was put up to auction, and figures in the catalogue as
“Lot 485. Mr. Bartologgi's own diploma when elected R.A.—a print of singular curiosity.”
But what it fetched, who was the purchaser, or what became of it, is not known.
In the British Museum collection there is but one diploma—that of Michael Moser,
R.A., dated 1768.
Mr. Graves, who intends bequeathing it to the Royal Academy, purchased Sir Joshua
Reynolds' diploma, as Academician, at a sale at Christie, Manson & Woods', April 28th,
1873, when it was knocked down to him for the insignificant sum of £6.” Previously to
• Mr. Sandby, of the War Office, one day, not so very long ago, called upon Mr. Graves in Pall Mall, and told him
that he was very anxious indeed to possess the diploma of his illustrious ancestor, Paul Sandby, surmising Mr. Graves to
be the man most likely to know something of it, or best able to trace and discover it. Mr. Graves went to a portfolio,
took out a diploma, and laid it before Mr. Sandby, saying quietly, “I suppose this is the sort of thing you require?”
It was, in fact, the diploma itself, and the find is a curious example of fortunate chances. It is hardly necessary to say
that the diploma at once changed hands, the very moderate sum of ten guineas being asked and unhesitatingly paid.
4O its
The Royal Academy Diploma.
its being brought to the hammer, the diploma was in the possession of Mr. J. Reynolds
Gwatkin, to whom it had been left—together with the interesting ledgers and diaries of
appointments for sittings used by the illustrious painter—by Mrs. Theophila Gwatkin,
Sir Joshua's niece.
Messrs. Henry Graves & Co., who for many years past have made a point of purchas-
ing all the examples they have met with, have in their possession the following diplomas,
together with a proof in the etched state, which is of rare occurrence:—
ROYAL ACADEMY DIPLOMAS.
Sir Joshua Reynolds, R.A. December 15th, 9th year (of the reign).
Signed by George III.
Sir Thomas Lawrence, A.R.A. November 10th, 1791.
Signed by Sir Joshua Reynolds.
Sir Thomas Lawrence, R.A. December 4th, 35th year.
Signed by George III.
Edward Penny, R.A. December 15th, 9th year.
Signed by George III.
Sir William Ross, A.R.A.
Sir William Ross, R.A.
Signed by Queen Victoria.
Richard Cook, R.A. March 25th, 2nd year.
Signed by George IV.
Francis Cotes, R.A. December 15th, 9th year.
Signed by George III.
Sawrey Gilpin, A.R.A. November, 1745.
Signed by Benjamin West.
Andrew Geddes, A.R.A. November 5th, 1832.
Signed by Sir M.A. Shee.
John Jackson, A.R.A. November 6th, 1815.
Signed by Benjamin West.
Richard Cook, A.R.A. November 14th, 1816.
Signed by Benjamin West.
Joseph Nollekins, R.A. February 6th, 13th year.
Signed by George III.
François Simon Ravenet, A.R.A. October 1st, 1770.
Signed by Sir Joshua Reynolds.
4 I - Mr.
Bartolozzi and his M/orks.
Mr. Robert Edmund Graves, of the British Museum, owns an almost equal number,
Peter Charles Canot, A.E. October 1st, 1770. Letterpress.
Signed by Sir Joshua Reynolds.
Alfred Edward Chalon, A.R.A. November 2nd, 1812.
Signed by Benjamin West.
Alfred Edward Chalon, R.A. July 2nd, 1816.
Signed by George IV. as Prince Regent.
John James Chalon, A.R.A. November 5th, 1827.
Signed by Sir Thomas Lawrence.
John James Chalon, R.A. September 26th, 1841.
Signed by Queen Victoria.
Henry Edridge, A.R.A. November 6th, 1820.
Signed by Sir Thomas Lawrence.
George Garrard, A.R.A. November 4th, 1800.
Signed by Benjamin West.
John Richards, R.A. December 15th, 1768.
Signed by George III.
Thomas Stothard, R.A. December 4th, 1749.
Signed by George III.
John Webber, A.R.A. December 16th, 1785. Letterpress.
Signed by Sir Joshua Reynolds.
CHAPTER
42
7%e //arborough Gemes.
CHAPTER VI.
The Marlborough Gems.
folios, ill - h - 1 e h
4PL-85VADIT).º.º.º.º.
collection, known as “The Marlborough Gems" in Cameo and Intaglio, were
issued by the third Duke of Marlborough, for private distribution, between the years
1780–91. The illustrations were drawn by Cipriani, and engraved by Bartolozzi. One
hundred copies only of the first edition were printed. The Marlborough Gems consist
of several united collections, including the Arundel Gems, collected by the famous Earl
of Arundel; that of William, second Earl of Bessborough ; and portions of other fine
collections acquired by the Duke at home and during his travels in Italy. The history
of this grand collection is ably and fully described in the interesting work on the
Marlborough Gems, printed for private distribution in 1870, by Professor H. Nevil
Story-Maskelyne, M.P.; but since which time the treasure has been overtaken by the
vicissitudes of fortune, for the collection in its entirety was put up to auction at Messrs.
Christie, Manson & Woods', on the 28th June, 1875, it being stated in the catalogue
that unless a satisfactory bid were obtained in one lot, the collection would be broken
up and sold separately. During the view days the sale rooms were inconveniently
crowded, and the writer has a lively recollection of the difficulty of reaching the carefully-
guarded cases containing the gems, and the still greater difficulty, notwithstanding the
unwearying attention of the attendants, in getting an opportunity for separate exam-
ination. On the morning of the sale the rooms were still more crowded, and after a
short introductory explanation from Mr. Woods, the auctioneer, a bid was demanded for
the collection as it stood, and after a momentary pause, Mr. Agnew, the well-known picture
dealer, asked for the reserve price, which was at once stated to be £35,000, with an in-
timation that an advance of five per cent would be accepted as a bidding. Mr. Agnew bid
guineas, and there being no further offer, the collection was knocked down to him amidst
some applause, and the sale terminated. It was understood that Mr. Agnew purchased the
gems for Mr. D. Bromilaw, and they now, it is believed, form a portion of that collector's
art-treasures. Bartolozzi's illustrations of the Marlborough Gems are all in stipple, very
- 43 beautifully
W
Aazºo/ozzz azed /ăzs M/orks.
beautifully engraved and exquisitely finished, and at the time of their first publication
impressions were much sought after. A reprint of the work, in which the old plates were
used, with a painfully unsatisfactory introduction by Mr. Thomas Vaughan, was brought
out by the late Duke of Marlborough in 1845; but on comparison with the impressions in
the original edition, it is evident that the plates had lost much of their original bloom and
sharpness.
Mr. Quaritch, of Piccadilly, purchased the entire remaining stock of the second
edition, and the copperplates of the Marlborough Gems engraved by Bartolozzi (1oo
coppers), in July, 1876, at a sale by auction at Christie's, for the sum of £115.
CHAPTER
44
Chathama.
CHAPTER VII.
Chath a m.
‘U57M& 4RO:0S and widely various as are the works of
Bartolozzi, the large print of Copley's
“Death of the Earl of Chatham,” though it is not the most popular or
* “The Death of the Earl of Chatham,” containing in all above sixty portraits, was painted by the celebrated
John Singleton Copley, R.A. (father of Lord Lyndhurst), who finished it just before he received his full membership
to the Royal Academy in 1779.
pleasing, must be considered one of the most important of his engravings. For the
subject deals with the tragic end of the man who, towards the close of his long career,
had, by his conduct, estranged nearly all his former friends; whom (says Lord Brougham)
George III. “most feared and most hated;” who after his death was found to live in
the affection of the nation; and who, if he had not won a fitting resting-place in West-
minster Abbey, where he lies surrounded by Fox, Grattan, Mansfield, Canning, Wilber-
force, and other illustrious persons, would have rested under the dome of St. Paul's.
The subject must of necessity be a gloomy and sombre one; and although the engraving
is of great historical interest, it cannot by any means be ranked at present amongst
Bartolozzi's most popular works. The plate is of an unusual size-32 inches long by
26 inches high. Copley is said to have refused 1,500 guineas for his picture, thinking
that he could make more by having it engraved and selling the prints. For this purpose
he employed Bartolozzi, agreeing to give him £2,000 for his work, which sum Bartolozzi,
as we have said elsewhere, frequently stated did not pay him; as during the long period
the plate was in hand, he expended altogether a larger amount in assistance in “forward-
ing.” Much of the assistance paid for by Bartolozzi was worse than useless, the work
having to be taken out and done over again. Testolini* was employed on it for three or
*Testolini was an indifferent Italian engraver, who induced Bartolozzi to send for him by submitting specimens of
work by other hands, and who resided with his employer in the capacity of assistant for many months. He so ingratiated
himself into the good graces of Bartolozzi, that it was not until he had “assisted” in spoiling a great deal of work that
his want of ability was discovered. He afterwards kept a print-shop in Cornhill, and there are a few well-stippled plates
bearing his name; but it is hardly unfair to assume that he employed other hands, and practised on the credulity of the
45 public
Aazºo/ozzz and his Mºorks.
public as he had done before on Bartolozzi's good nature. The following example of his (or some other person's) work
is in the collection of the writer :—“The Duchess of C– giving her Daughter to Count Belmire,” engraved by
G. Testolini, after Rigaud. The source of illustration is from Madame le Genlis's Lettres sur l'education. Published
June 1, 1790, by Molteno, Colnaghi & Co., 132, Pall Mall.
four years; but when he and Bartolozzi quarrelled, the latter cancelled and erased the
major part of what Testolini had done. The plate was also worked upon considerably
by Delattre, one of Bartolozzi's pupils and regular assistants. Delattre was afterwards
commissioned by Copley to make a smaller engraving of the same subject, for which the
latter agreed to pay 600 guineas, a contract which he afterwards repudiated, refusing to
receive the plate, as being of inferior workmanship (vide “Memoirs and Recollections of
Abraham Raimbach,” privately printed, 1843). Delattre brought an action against him to
recover the amount, and won his suit. The witnesses at the trial were equal in number
—thirteen on each side,-and consisted of painters, engravers, and publishers; the painters
mostly giving their support to Copley, and the engravers, with Bartolozzi at their head,
to Delattre. The work, though paid for, was withdrawn from publication.*
* The plate is somewhat smaller and much more coarsely finished than that engraved by Bartolozzi, and is lettered
as follows : THE DEATH of THE EARL of CHATHAM : 5. S. Copley, pinxit : 5. M. Delat(t)re, sculesit; F.
Æartolozzi, direxit. According to the publication line, it was issued on March 1st, 1820, by that eccentric printseller,
William Johnstone White, of 14, Brownlow Street, Holborn, London, into whose hands it must eventually have fallen,
and at the sale of whose long-treasured stock, by Messrs. Christie, Manson & Woods, in the summer of 1879, some
impressions appeared. -
The drawing from the original picture for Bartolozzi's use in copying was executed in
water colours by Henry, youngest son of Cipriani. It was said to be most carefully made,
and the copyist received a hundred guineas and considerable praise. Henry Cipriani,
afterwards forsaking art, accepted a commission in the Huntingdonshire Militia, and
subsequently held a clerkship in the Treasury, and on his appointment as Exon in the
Court of Gentlemen Pensioners, received the honour of knighthood. -
The circumstances attending the death of the Earl of Chatham are minutely described
by William Belsham, the essayist and historian; and we gather that on the last day of the
public life of this renowned statesman he was dressed in a rich suit of black velvet, with
his wig, and covered up to the knees in flannel, but so feeble that he had to be led into the
House by his son and son-in-law, Mr. William Pitt and Lord Viscount Mahon, the members
respectfully standing up on his appearance, and making a lane for him to pass to the Earl's
bench. He was pale and fearfully emaciated, and in his speech following that of the Duke
of Richmond, he lamented that his bodily infirmities had so long, and at so important a
crisis, prevented his attendance on the duties of Parliament: he declared he had made an
effort almost beyond his physical capacity in venturing down to the House on that day,
perhaps the last time he should ever be able to enter its walls. He made an impassioned
speech, and was followed by the Duke of Richmond, who spoke again. After which Lord
Chatham, appearing to labour under intense excitement, made a great effort to rise and give
vent to his feelings; but before he could utter a word he was seized with a convulsive fit,
and pressing his hand to his chest was only prevented falling prostrate by the Duke of
Cumberland and others standing near, who caught him in their arms. The House was at
46 On Ce
Chatham.
once cleared, the debate adjourned, and the great statesman removed into one of the
adjoining apartments.
The title chosen by Copley for his picture is not literally correct; as, although the
Earl was stricken down by apoplexy in the House of Peers while in the act of speaking,
he afterwards so far recovered as to bear a journey to Hayes, where, after lingering some
weeks, he expired in his 70th year.
The plate was published by subscription, and from April, 1780, to August, 1782, there
were 1,750 subscribers, the total number of impressions taken from the copper, including
320 proofs, being 2,438.* Soon after the engraving of the plate was finished, anonymous
* Immediately after the publication, a key to the plate of “The Death of the Earl of Chatham” was engraved by
Abraham Raimbach, then an apprentice of Hall's, for which Copley charged subscribers an additional sum of three and
sixpence. Raimbach's Key was his first money-bringing work: Hall received fifteen guineas for it.
newspaper paragraphs appeared to the effect that Bartolozzi had fraudulently withheld
many of the early impressions from the subscribers who were entitled to them in the order
in which their names had been received. There was not the slightest truth in this report,
which was promptly and satisfactorily refuted by the engraver's friends. Had Bartolozzi
been ever so disposed, he could not have acted in the dishonest manner charged against
him, as Copley had the plate printed by Madame Hocquet, under his own superintendence,
in the coach-house and stabling of his private residence, in George Street, Hanover Square,
which he had converted into a printing office for the special purpose.
Although the subject is not popular, an example of Bartolozzi's “Death of the Earl
of Chatham” is sometimes required by the collector; and as it seldom appears in print-
sales, a note may be made that Messrs. Henry Graves & Co., of Pall Mall, many years ago
purchased the surplus stock, and now hold what few copies remain.
CHAPTER
47
Barfo/o3.22 a.22d /ăzs M/orks.
CHAPTER VIII.
Benefit Tickets.
Ir'70)21y'S much sought and prized by collectors, Bartolozzi's beauti-
ful tickets of admission to concerts, balls, dinners, and
entertainments of many kinds, were generally designed in a spirit of fanciful
and classical allegory by his friend Cipriani. A very great number of these were
produced. They are sometimes described as etched, and sometimes as engraved. But
it is hardly necessary to say, that while both terms might be used, the latter would
be the more correct; for like all line engravings, they are first etched and afterwards
finished with the graver. On many examples, Bartolozzi himself describes them as
etched; and no doubt the graver played a very subordinate part, otherwise he could not
have produced them at the rate he did. It is said that he would begin a ticket in the
morning and finish it before he retired to rest. The tickets being chiefly for benefits
and entertainments of a semi-charitable character, he was seldom paid for his work.
Bartolozzi's benefit tickets were, unlike the greater portion of his stippled subjects,
engraved entirely by his own hand, and on this account are not the less interesting to
the lover of his works.
At the beginning of the century, Miss Banks, daughter of Sir Joseph Banks, made
a splendid collection of engraved tickets, which was presented by Lady Banks in 1818 to
the British Museum. Comprised amongst them, and arranged in a separate column, are
numerous and choice examples of Bartolozzi's tickets, many in proof states. The col-
lection is in the print room, and is well worthy of special and careful examination.
It may have probably been observed by others as well as the writer, that in impres-
stons of one of Bartolozzi's tickets, an oval subject + after Cipriani, in a square border,
* Mercury attended by Cupid.
for the benefit of his countryman, Mr. Giardini, the engraver's imprint is more to the
left than usual, leaving a blank space between the final letter in “sculp.” and the finish
of the border of about three-quarters of an inch, which, as Cipriani's name appears in
the usual position at the extreme left, gives the print a somewhat lopsided appearance.
48
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Benefit Tickets.
A rare proof of this ticket, in the possession of Mr. R. E. Graves, of the British Museum,
bears the singular imprint, F. Bartologgi sculp. for the last , just enough space being
left for the insertion of one more short word. There seems to be no record under what
circumstances so singular an imprint came to be engraved, or as to what the omitted
word was intended to be ; probably time—“F. Bartolozzi sculp. for the last time,” which
may have been meant as a hint to those whom it might concern, that he was tired of
this class of work, or rather of producing it without making any charge whatever. That,
however, he sometimes broke through his custom, and received payment—and handsome
payment—for these little works, is apparent from the following extract from a letter
written by Mr. Richard Gough, antiquary and topographer, to the Rev. Michael Tyson,
English divine and author, dated Enfield, March 6, 1776: “I am told Dr. Burney has
acquitted himself well in his account of Antient Music. He might have saved the hundred
guineas which he gave Bartolozzi for three of Bach's concert tickets.”
The Wilkes ticket (see illustration), engraved by Bartolozzi in 1775,” was more or less
* Extract from letter of John Wilkes to Philo-Wilkes (Samuel Cutler) : “Monday, Sept. 29, 1771. Permit me
then to send you a ticket, in which I was concerned, for the Easter festival of my Mayoralty. I saved it from the
wreck of those spoiled by door-keepers. In my opinion it does honour to the two great artists, Cipriani and Bartolozzi,
and to a country, which distinguishes their merit, and I hope in time will emulate it.”
used, both for balls and dinners at the Mansion House, during a period extending over
twenty years. The lettering on the lower part of the plate was probably taken out and
rečngraved a considerable number of times, the latest example (printed in red), which the
writer can find, being for a ball during the mayoralty of the Hon. William Curtis, in 1796.
The plate, notwithstanding its having probably been deepened several times, shows signs
in the later impressions of considerable wear. The earlier impressions from this plate
bear the date 1775 after Bartolozzi's name, but the figures were subsequently removed
altogether.
He engraved his age on one ticket only, that for the benefit of Mr. Banti—F. Bart:
invt: and sculp: 1797 attati suae 69. -
CHAPTER
VOL. I. E
49
Bartolozzi and has M/orks.
CHAPTER IX.
Prices Paid to Bartolozzi.
q’ has grown generous towards art of late. It is questionable,
SQ GI.& Y- judging by the modern standard, whether any engravers of
the last, or in fact of any preceding century, were well remunerated for their
work. Some of Hogarth's earlier plates were considered—on one side at least–well or
sufficiently paid for at double the price of the copper used for working on, the artist being
sharp enough to take care that the plate should be of an abundant thickness. It is also
on record that Major, who made himself a name during the last two decades of the
eighteenth century, applied when a young man to a publisher, showing him two exquisite
little landscapes he had engraved, with a view to their introduction to the art-loving
public. Praise was freely bestowed, and the liberal offer made to exchange for each of
his engraved plates two plain ones, so that the artist might not be without the material
to continue his so successfully-commenced career; but whether this generous proposal
was accepted no tradition remains. * ~ *
The record of fees paid to Bartolozzi for his work is unfortunately scanty; they were
unquestionably larger than usually prevailed, though when compared to the heavy sums
paid to the best engravers of the present time, they may be considered very inadequate.
During the earlier part of his career in this country, he is somewhat vaguely said to have
earned but a few pounds per plate. The largest fee he ever received was for his plate of
“The Death of the Earl of Chatham,” for which he obtained £2,000. But as the copper
was of unusually large size, crammed with portraits, and was five years in hand, he can
hardly be said to have been over-paid; he himself said, as mentioned elsewhere, that he
had expended more than that sum in assistance alone, and was out of pocket by the work.
Being so quick at his labour, Bartolozzi was able—his merits once fairly established—to
“make his ten guineas a day.”* A set of ten plates of medals from the antique—
* Wide “Somerset House Gazette and Literary Museum,” vol. ii. p. 249 (1824).
engraved for Mr. Duane,—comprising several examples on each, were produced by
5O • Bartolozzi
Prices Pazal fo Barto/ozzz.
śºkº& “"
Bartolozzi at the marvellous rate of one copperplate per day: he made no drawings, but,
with the medals before him, drew and etched them on the copper direct.
For his etched print after the “Holy Family” from the Marquis of Lansdowne's
collection—the work of ten days, he received a fee of one hundred guineas, an amount
vastly in excess of his earlier receipts when he was working for Dalton, and afterwards
for the printsellers, at a small salary.
Raimbach states that Macklin paid Bartolozzi five hundred guineas for his portrait of
Lord Mansfield. The receipts following (the first of which refers to a marble statue in
York Minster) speak for themselves: --
sº
NORTH END, FULHAM.
42 Io September 18th, 1790.
Received of Mr. Fisher the sum of two hundred and ten pounds in full, for the
Engraving of the public statue of Sir George Saville, Bart.
- FRANCIS BARTOLOZZI.
SIR,-Not having any answer from you concerning the proof which I sent the 20th
of August last, I have now delivered to you the plate and the enclosed account, which I
hope you will do me the favour to discharge. -
I am, Sir, your most obedient servant,
- - E. BARTOLOZZI.
North END, FULHAM, 9th March, 1801.
JoHN JOHNSON, ESQ.
Dr. to F. BARTOLOzzI.
March 9th, 1801.
To engraving the plate of Marc Anthony and Cleopatra 4. Ioo o o
(Addressed) John JoHNSON, ESQ., Berners Street.
CHAPTER
51
Bartolozzi and has M/orks.
CHAPTER X.
Methods of Signing.
CA 2 ‘TOIf OZ. 2.IS name is usually found on his prints in
QPQ. one of the following forms:—Bf ; F.B.,
F.B.f.; F.B. inc.; F.B. exc.; F.B. sc; F.B. sculp.; F, Fra, Fran, or Franciscus
Bart. ſc.; Fr. Bartolozzi inci (or incise). Engraved by F. Bartolozzi; F. Bartolozzi,
Londini, sculpsit. Etched by F. Bartolozzi, or F. Bartolozzi etch'd, F. Bartolozzi del
et sculp. Fr. Bartolozzi, Engraver to His Majesty, sculp. F. Bartolozzi Aqua Forti Fecit.
F. Bartolozzi, Esq R.A.: Invº. Del. & Sculp. Francesco (F, Fras or Fran) Bartolozzi
del and scule, inv del and sculp.
There are other combinations and abbreviations, including amongst the latter the
extraordinary one of his own name F. Bart. ſº, but those given are the more commonly
found.
It would have been perhaps better, and more in accordance with the strict truth as
regards a great number of his plates, had Bartolozzi used the word perfecit in his imprints,
instead of sculpsit. J. Heath, and other engravers whose plates were regularly “forwarded”
by their pupils or assistants, adopted it; and there is no evidence that the public ever found
fault with the practice. It must not, however, be lost sight of, that the wording or lettering
—even the artist's own name—is not added by himself, the services of a writing-engraver*
* The multitudinous mistakes in spelling made by writing-engravers would, if gathered together, afford material for
an amusing and instructive chapter. -
being employed for the purpose, who receives his instructions from the publisher.
An attractively designed oval plate, entitled “The Young Maid and the Old Sailor,”
after Walton, in which the young maid (Phyllis) is amusing herself by reading the bills
displayed on a wall by a broken-down old sailor, bears the unusual imprint, “Prepared
by J. Walker and Finish’d by F. Bartolozzi.” And there are examples by his pupils in
which his name appears, F. Bartologgi, recognovit. -
It is well known that in the earlier part of his career he put neither date nor name to
52 his
Methods of Signing.
his prints, and although he executed a great number after Italian painters of his own time,
including Sebastian and Marco Ricci, Panini, Pelegrini, Zucchi, Fontebasso, Amiconi,
Guarana, Bellucci, Balestra, Zais, Piazzetta, and others, which are recognised and admitted
as his productions, there must be many prints by him that have never been catalogued .
as his, and even many which have been wrongly attributed to other hands. Some of
his earlier prints are marked F. B. only, and there are others without any means of
identification whatever.
CHAPTER
53
Bartolozzi azza! /*zs M/orks.
wº
CHAPTER XI.
Engravers' Imprints Altered to that of
* Bartolozzi. *
º&47° numbers of stipple engravers followed Bartolozzi's style very
closely, and this has been sometimes taken advantage of by
erasing the name of the real engraver, and substituting that of Bartolozzi. In a
large quarto edition of Thomson's “Seasons,” illustrated by Bartolozzi and P. W.
Tomkins—one of his pupils, and almost as celebrated as himself—a pair of full-page plates,
“Palemon's First Sight of Lavinia,” and the illustration to the hymn entitled “The
Shepherd's Flute, the Virgin's Lay,” engraved, as may be seen by a reference to the book
itself, by P. W. Tomkins, have been thus tampered with.. The work is scarce, and an
indication by which the prints may be recognised may, perhaps, be useful. The engraved
portion of the plates measures 8x Io. The first represents a cornfield on the left, with
trees in the foreground and farmhouse in the distance; Lavinia, a graceful maiden,
though with a somewhat too robustly developed right arm, bare a little above the elbow,
is slightly stooping in the act of gleaning; while Palemon, in tight-fitting costume and
cavalier hat with feathers, appears to be struck dumb with astonishment and admiration
on beholding such beauty. A dog is looking up into Palemon's face with an expression of
inquiring uncertainty. The second depicts a beautiful girl seated on a rock by the side of
a miniature waterfall; while slightly in the background, and in shadow, a shepherd sits
on a stile playing the flute, from which, to judge by the maiden's entranced look, he is
producing the most exquisite strains. The illustrations to Thomson's “Seasons” were
originally printed in black, but most of the modern impressions are in red; and the
whole of the lettering has been removed, nothing appearing except the false imprint,
F. Bartologgi R.A. Neither of these plates is very much worn.
There is a capital portrait, in stipple, of Mrs. Jordan, by John Ogborne, one of Barto-
lozzi's pupils. Some time ago a scamp obtained possession of the copperplate, and in
order to make the prints sell more readily, changed the name of the engraver, which he
54 had
Imprints A/tered to that of Bartolozzi.
had re-engraved, from Ogborne to Bartolozzi. The plate has been much worked from.
Any one in possession of an example of this print, with Bartolozzi's name as engraver,
may be quite certain that it is valueless.
A portrait of Eleanor Gwynn, after Sir Peter Lely, likewise engraved by Ogborne, has .
been treated in the same infamous manner.
Another mystification took place with regard to the beautiful print known as “The
Nest of Cupids,” which was engraved by Louis Schiavonetti, from a drawing by J. Aspinall,
Naples, and published March 1st, 1803, by Gaetano Bartolozzi, at 82, Wells Street, Oxford
Street, London. For some reason or other few impressions were printed, and the plate,
then little worn, fell into the hands of some dishonest person, who caused Schiavonetti's
name as engraver to be obliterated, and Bartolozzi's to be substituted. The plate must have
proved quite a fortune to somebody, for a great number of impressions have been printed
both in brown and red ink on old paper, and have found their way into the possession of
collectors, to some of whom the foregoing statement will doubtless cause considerable
surprise if not consternation. For although it is known that the copperplate is still in
existence, and that modern impressions are freely offered, it is generally believed that
Bartolozzi engraved it; but a fine proof in the author's collection, with Schiavonetti's
name as engraver proves the contrary.
It would hardly be supposed that Bartolozzi's name would be removed from a copper-
plate, and another engraver's substituted; yet the stippled print known as “The Doll,"*
* A proof before letters is in the collection of the authors—G. B. Cºpriani, dal. F. Bartolossi, scule. London:
published 5%une 21st, 1786, by W. Dickinson, Engraver, Bond Street. -
in which a child in bed has fallen asleep closely hugging her doll, has been so treated. The
plate was republished by W. Allen, of Dame Street, Dublin, with the name of H. Brocas,”
* Henry Brocas was teacher of landscape painting in the Dublin Society's School, to which he was appointed in
18on. He drew well in chalks, and occasionally engraved. -
substituted for Bartolozzi's. The print in its altered condition still remained unchristened,
but a quotation, probably meant to indicate the title, was added,—
“Fond cares the little SLEEPER's mind employ,
While to her breast she hugs the cherished TOY.”
CHAPTER
55
Bartolozzi and his Works.
***
CHAPTER XII.
Bar to lotti.
(TD90ſ. ‘Tiró S S all collectors of Bartolozzi's prints will have
observed the occurrence of a somewhat similar
name—Bartolotti—on stippled plates, more especially of fancy subjects, en-
graved at the time Bartolozzi was at the height of his popularity. Examples of the
signature are to be met with, having a single instead of the double t in the third
syllable; and the name is also spelt “Bartollotti,” and “Bartolotty,” the latter of which
forms the writer has seen on a print of “Winter,” after J. Ward. He has also met with
a small oval plate, “Venus Presenting the Cestus to Juno,” after Cipriani, published by
Jaunet, in Paris, engraved by Bartolonii.
The generally-accepted theory amongst dealers, and one that they are very fond of
putting before their customers, is that Bartolotti was a name assumed by Bartolozzi
when in Paris;* but of this there is not a shadow of evidence. Had it been so, the name
* It is almost a matter of certainty that Bartolozzi never visited Paris at all
of Bartolotti, in some of its varieties, would certainly have been quoted by authorities;
but no mention is made of it either by French or English writers, or in the latest text-
book, “Allgemeines Künstler-Lexikon,” of Meyer and Lucke, of Leipzig; and further,
M. Georges Duplessis, of the Bibliotheque Nationale, Paris, in reply to an inquiry from the
writer says, “I know absolutely nothing of Bartolotti.” It is true that the name appears
on stippled prints of the period published in Paris; but there are quite as many or more
thus signed, bearing the imprint of English publishers, with the descriptive lettering also in
English. The probability appears to be that unscrupulous publishers, both at home and
abroad, took advantage of Bartolozzi's fame, and employed a number of inferior engravers
to produce imitations of his work, which they signed with a manufactured name, trusting
that BARTOLOzzi and BARTOLOTTI would be easily confused. None of the numerous
examples of “Bartolotti” that the writer has from time to time met with are in any
way comparable with the works of the great engraver; and the theory of there having
been any person really entitled to that name, may be said to be pretty well exploded.
56 CHAPTER
Plates by Bartolozzi still in Existence.
**:ºxº-... tº &ººr
CHAPTER XIII.
Copperplates Engraved by Bartolozzi
known to be still in Existence.
JVO ‘70ſ."S 47D G& on the subject of old and modern Bartolozzi
prints is very desirable for the amateur. It,
therefore, may be as well to place on record, for his guidance, a list of the
coppers engraved, or said to have been engraved, by Bartolozzi, which are still in exist-
ence, and from which modern impressions are freely offered. That there are others, the
titles of which he has unfortunately been unable to ascertain, the writer is well aware;
and many readers will be able to add examples from their own experience.
Some years ago a pair of copperplates of classically-designed circular subjects, in
both of which a cupid and maiden played prominent parts, were purchased by a London
print dealer at a sale, and judging from their brilliant condition, could never have been
worked from at all. They were in fact in proof state; that is, unlettered, with the exception
of the engraver's name, F. Bartolozzi, Sculp!, in the centre. The engraving is extremely
good, and the drawing unusually bad, which may have had something to do with their
withdrawal from publication. The subjects are probably—they have not hitherto been
christened—“Love Inspiring the Poesy of Sappho,” and “Camilla Unarming before
Retiring to Rest” +
*To be characteristic there must be a plentiful besprinkling of capitals.
Modern impressions of these prints are in the market here, but the copperplates have
changed hands, and are now held by a dealer in New York.
The Disconsolate Maid; History, Air, Nature, Spring; all after Cipriani.
Innocence and Justice.
The Frugal Meal.
Virgin and Child.
Countess of Lanesborough. 2-
Mrs. Hartley.
- 57 Sincerity.
..º.º.º.º. 3: …”...ºf
Bartolo222 and has M/orks.
Sincerity.
Plates illustrating Thomson's “Seasons,” published in 1807: headpiece to Spring,
“Virtuous Love”; the large print, “Spring”; headpiece to Summer, “The
Monarch Swain"; the large print to Summer, “Sheep Shearing.”
Serena; oval: girl reading, with table in front, on which is a lighted candle.
Nest of Cupids.”
Mrs. Jordan.*
Eleanor Gwynn.”
* Wide chapter on “Engravers' Imprints Altered to that of Bartolozzi.”
The Cottagers.
Musidora.
The Spinning Wheel.
The Storm.
Archangel Uriel, and Adam and Eve (a pair), after Stothard.
Faery Elves.
Uriel gliding through the evening on a sunbeam.
Pandemonium. §
Hebe, after Cipriani.
Bacchante, after Cipriani.
Ma petite amie.
Cupidon achet(t)é trop cher.
L'amour à vendre.
Rural Innocence.
The Cottage Girl. -
Oliver Cromwell finding his Chaplain on his knees before his Daughter.
Jealousy of Lord Darnley. ~. -
Affection and Innocence.
Composition and Study.
The Lyric Muse. -
Love Caressed—Love Rejected (a pair).
Genius and Beauty—Prudence and Beauty (a pair).
The Benevolent Lady—A Happy Meeting (a pair).
Adelaide and Fonrose (a pair).
Love crowning the bust of Shakespeare.
A B C–teaching the young idea how to shoot, and companion picture.
Judgment of Paris (set of four circles).
Abelard and Heloíse. -
Death of Lady Jane Grey.
Flight of Mary Queen of Scots to England.
Queen Margaret and the Robber. -
The Dukes of Northumberland and Suffolk praying Lady Jane Grey to accept the
CrOWII.
58 Among
Plates by Bartolozzi still in Existence.
Among Bartolozzi's still-existent copperplates, which are in honourable hands, and not
used for the purposes of deception, the “Clytie" plate, it may be mentioned, belongs
to Messrs. Henry Graves & Co.; while Mr. Quaritch,+ the well-known bookseller of
* Mr. Bernard Quaritch is also the possessor of the whole series of copperplates engraved by Hogarth, from-
which, from first to last, some thousands of impressions have been taken. The vicissitudes they have undergone, and
the numerous changes in their ownership, form an instructive episode in the annals of fine-art publishing. After their
original issue as separate prints—some by Messrs. Boydell, of Cheapside, and others by Messrs. Laurie & Whittle, of
Fleet Street, they were collected in book form, and published in 1790 by Messrs. Boydell, the volume containing one
hundred and three plates. In 1820–22 Messrs. Baldwin, Craddock & Joy, who had purchased the copperplates at the
sale of Boydell's stock, took up the re-publication of them. Heath, the engraver, was employed to repair and rebite the
... whole series, and also to re-engrave several missing ones, for which his charge was upwards of £1,000. The collection
now numbered one hundred and nineteen plates, which were issued by Messrs. Baldwin in twenty-four parts at one guinea
each. Some further additions were afterwards made, the whole being sold in volume form at £30, or proofs on India
paper at £50. Some years afterwards, upon the failure of Messrs. Baldwin & Co., the plates were offered to that
veteran publisher, Mr. Henry G. Bohn, for 1,000 guineas, by Messrs. Salt & Co., the bankers, who held them as
security for an advance of £2,000; but as a monetary panic was then prevailing, he declined to give more than £500,
which offer was refused. After some further but futile negotiations, the plates were put up to public auction by Messrs.
Hodgson, the only real bidder being Mr. Bohn, who went up to £475; but the person representing the proprietors made,
unfortunately for them, a mistake by bidding guineas when he meant pounds, and, consequently, they were bought in.
Mr. Bohn thereupon refused to have anything more to say in the matter. But a year or so afterwards (about 1835), Mr.
Salt came to him to re-open negotiations, stating he was determined to realize the property. Mr. Bohn at first refused
to make a bid, but on being pressed, said, “Well, once for all, I'll make you a final offer of £250; and if you decline to
accept that, I will have nothing further to say.” This offer was promptly accepted, and Mr. Bohn became the possessor
of the plates at exactly half the price he had previously offered for them. The coppers having again become worn, Mr.
Bohn had them thoroughly repaired by Ratcliff, of Birmingham, at the moderate cost of about £250; and no doubt he
made a considerable sum of money by their republication. Mr. Bohn also became the possessor of the two suppressed
plates, and of the smaller one known as the “Snuff Box” (engraved on silver), which he purchased from Hamlet, the
celebrated silversmith. These were also republished, and inserted in a pocket at the end of the volume. On Mr. Bohn's
retirement from business, he sold the plates to Messrs. Chatto & Windus, for £500, who continued the publication, until
they were tempted to sell them to Mr. Bernard Quaritch, their present possessor, who has had them again repaired at
a considerable cost, since which time he has continued to publish the work.
In John and Josiah Boydell's scarce catalogue of prints for 1803, they advertise copies of the original works of
William Hogarth, in one volume, imperial folio, in boards, £21, with the following explanation:—
“It having been supposed that the original plates were either destroyed, or repaired by other artists, it becomes
necessary to state the following facts : On Mr. Hogarth's death, his plates became the property of his widow, and during
the twenty-five years she survived him, the printing of them was necessarily entrusted to the management of others. From
this circumstance they were sometimes negligently and imperfectly taken off; and a report was spread that some of them
had been retouched. To refute this Mrs. Hogarth requested three eminent engravers to inspect the plates and give their
opinion, which they did in the following testimony: “We whose names are underwritten, having carefully examined the
plates published by the late Mr. Hogarth, are fully convinced that they have not been retouched since his death.-Francis
Bartolozzi, W. Wynne Ryland, W. Woollett.” Soon after Mrs. Hogarth's death, Messrs. Boydell purchased all his plates,
and since they have been in their possession they have not been retouched or repaired : Hogarth's peculiar power of
manner in etching and engraving renders this unnecessary. Messrs. Boydell are, besides, of opinion, that as the printing
presses now in use are on an improved principle, the paper superior, and the art of printing better understood, impressions
are now printed more clearly and accurately than they have been at any preceding period.”
Piccadilly, has in his possession the Holbein Heads; the Italian School of Design,
consisting of one hundred and fifty-two plates chiefly engraved by Bartolozzi; and the
Marlborough Collection of Gems, with one hundred examples engraved by him.
CHAPTER
59
Aartolozzi and Ais morºs.
CHAPTER XIV.
Increase in Value of Bartolozzi's Prints.
• M •AN/Y of those best qualified to judge, hold the opinion—fully shared
by the writer—that uncut examples of the more important
prints of Bartolozzi and his school, which—owing greatly to the reckless
practice of trimming the margins for close framing—are rapidly becoming absorbed
and scarce, will bring before long much higher prices than now prevail. All things
which are at once prized greatly, and inevitably limited in numbers, increase in market
value owing to the competition among those who desire to possess them. But when the
competition is greatly increased by the multiplication of those admirers; when, more-
over, taste and fancy take the form of an enthusiasm; and when the things cannot be
forged or imitated,—then we have three strong additional reasons for a rise in value.
The limitation of numbers in the case of Bartolozzi's prints is of course evident; and
their quantities are not only limited, they are very small. His stippled copperplates,
for instance, yielded only four to six hundred impressions, the softer coppers giving out
at the smaller number. Nor can his prints be ever successfully imitated; for re-engraving
—besides being an undertaking of immense cost—could hardly be accomplished in
Bartolozzi's manner by any living engraver.
Bartolozzi's etchings and line engravings, more especially those of a somewhat severe
type, which do not lend themselves readily to decorative purposes, are worth consider-
ably less than when published.” But his numerous allegorical and fancy subjects—in the
* Wide writer's sale catalogue, p. 202, lots 4 and 5; proof of “The Silence” and a fine print of “Clytie"
realized but eleven shillings. There being no bid for the first, the two lots were sold together.
idea of a great many persons constituting all that he ever engraved—now fetch fancy
prices, the tendency being constantly upwards; really fine and pleasing examples of his
stippled prints, especially, have not seen their highest prices. After Bartolozzi died, his
prints went gradually out of fashion; and for very many years all kinds could be bought
of the printsellers at from 6d, or less, to 2s. 6d. each, the latter sum being considered a
6O high
Increase in Palue of Bartolozzi's Prints.
sº.3&º
high price. This disesteem of course favoured the slow destruction of hundreds and
thousands of examples, and aided in making such as survived rarer and more precious
for our times.
Although Bartolozzi's prints were during his lifetime, and are again now, appreciated
equally in this country and on the Continent, it is only of late years that Americans have
shown any general taste for his works. When our cousins take it into their heads that a
certain thing is the thing to possess, they are not accustomed to let a few dollars stand
in the way of their obtaining the finest known examples of their craze. American agents
over here now steadily compete with the home dealers, in order to supply their own market,
with a striking result as regards increase in price. The very goodness and beauty of the
fine engravings will of course secure their advancing value in the present general growth
of taste; but, on the other hand, unimportant and mediocre prints, which have won a
fictitious price owing to the ignorant fashion of buying them for the great signature alone,
will probably sink to their own dead level when the craze is past, and will only find
purchasers among those amassers of complete collections who let nothing go by.
CHAPTER
61
Aazºo/ozza azed has M/orks.
CHAPTER xv.
Ciprian i.
(13CA QQOL. OZ. 2.I and Cipriani are said to have played into
each other's hands; but it would be more
correct to say that their artistic tastes were by education and natural inclina-
tion in close union. They may be said to have been born for each other. Henry
Angelo—who, when a lad, took lessons from both—says in his “Reminiscences”:
“They thought and felt like twin brothers, designed by nature with similar perceptions
and coequal capacities in art. . . . Cipriani possessed the readiest and most
prolific fancy for composition, practising as a painter; yet Bartolozzi, as an engraver,
drew with no less spirit and correctness. Such indeed was his knowledge of drawing,
and such the freedom of his hand, that he has been known in many instances, when
urged to despatch, to sketch the figures for a concert ticket with his etching-point upon
the copper without any prototype, and to finish the plate with his graving tool. Some
of those inimitable engravings now purchased by collectors of vertu at a large price,
were the productions of only a few days.” While according full praise to his friends
and instructors, Angelo probably errs, or rather hardly goes far enough, in stating that
some of Bartolozzi's tickets were the “productions of only a few days,” for, as has been
said, he is known to have begun a ticket in the morning, and finished it completely
during the course of the day. Angelo relates that he distinctly remembers, when a boy,
Bach and Abel—whom he describes, the former as the “celebrated performer on the
harpsichord,” and the latter as the “memorable professor on that now obsolete
instrument the Viol di Gamba"—and Bartolozzi and Cipriani, frequently meeting under
his father's roof, and amusing themselves with drawing, music, and conversation until
long after midnight. Cipriani used to make sketches of heads and groups of figures, to
which Bartolozzi would, with red, black, and white chalks, add the effect. One of these
—a head of a Bacchante—is described, although the work of but two or three hours,
as beautiful in sentiment, and apparently the labour of a whole day. Angelo's father had
a collection of these productions of joint genius, some of which he presented to Queen
Charlotte, and others to his friend and patron the Earl of Pembroke.
62 Giovanni
Cipriant.
Giovanni Battista Cipriani, R.A., was a Florentine, and a fellow-pupil with Bartolozzi of
Hugford, an English artist living in Florence. He studied in Rome, and took Coreggio for
his model. Though he became an historical painter, he was better known for his drawings,
of which he executed a vast number, mostly small, graceful renderings of graceful subjects,
but remarkable for learned and correct, if not very vigorous, drawing. As a colourist he
had fine qualities of harmony. He was brought to England by Sir William Chambers
four years before Bartolozzi's arrival, and married an Englishwoman, by whom he had three
children. He was one of the original Royal Academicians, appointed by Royal Charter,
and long lived a popular man and an admirable artist—simple and genial in nature, and
full of charm in his work. He was buried in the cemetery at Chelsea, given to the parish
by Sir Hans Sloane in 1733. On the north side is his tomb, bearing the following inscrip-
tion:—
“Eximis viro, artifici, et amico, Johanni Baptistae Cipriani, Florentino, hic humi defosso
honoris, luctus et benevolentiae, uno inscripto lapide triplex editit monumentum Fran-
Sciscus Bartolozzi superstes. Obiit die decimā quartà Decembris, Anno Domini 1785,
AEtatis 58.” -
The following is an entry in the obituary of the Gentleman's Magazine, 1786:—
“June 14th: at his house, near the King's Mews, Mr. Cipriani, the celebrated artist,
of a rheumatic fever.”
Cipriani was commissioned by the Royal Academy to make the design of the
diploma (afterwards engraved by Bartolozzi), for which he was presented with a suitably-
inscribed silver cup. The medals of the Royal Academy, executed by Mr. Pingo, were also
designed by him. He excelled in refined and elegant figure drawing; and lightly-draped
classically-formed women and charming children will be found in most of his compositions.
It is partly owing to this similarity of taste—and, perhaps, still more to the constant and
close friendship subsisting between himself and Bartolozzi—that so vast a number of the
one artist's designs were engraved by the other; and it is not too much to assert, that in
their lifetime their joint productions were almost without rivals in public favour. That
Cipriani's style may sometimes be charged with exaggerated prettiness, is shown in the
too-rounded limbs of his angels, cupids, and children, and in the fulness of contour in his
female figures, many of which, with their pretty but weak faces, might have belonged to
the same sensuously charming family. Certainly some of his cupids, if deprived of their
wings—which, by the way, are far too ethereal ever to have lifted them an inch from the
ground—might have taken first prizes in a modern baby-show. It has been said, that
“had it not been for Bartolozzi, Cipriani might have attended as chief mourner at the
funeral of his own artistic fame;" so much did the designer gain in popularity from the
exquisite reproductions of the engraver. -
In the County Magazine for 1787, there is a short notice, under “The Arts," of
Cipriani's drawings sold after his death by Christie. The sale is said to have attracted
many connoisseurs and eager purchasers. His original picture (engraved) of “Cephalus
and Procris,” sold for eighty guineas; a drawing of the figure of Procris alone, fetched
63 - twenty-six
Bartolozzi azza! /*z's M/orks.
twenty-six guineas; three drawings of children in groups, sold for fifteen guineas each.
“Cupid and Pysche” produced eighteen guineas. “The Virgin and Child,” a most
beautiful and highly-finished drawing in colours, was purchased by Mrs. Piozzi for £40.
Several of Bartolozzi's drawings, the property of Cipriani, were sold at the same time
at “great prices.” The greatest bargain, according to the chronicler of the sale, was “a
chamber organ, by Snetzler, in a case painted by Cipriani and Rebecca, the figures by the
former and the flowers by the latter. This fine instrument, with its inimitable decoration,
was sold to Mr. Angerstein for only fifty guineas.”
In the frontispiece (engraved by Bartolozzi) illustrating the 35th Canto of Ariosto—
in which Time is represented emptying an urn of medallions into the Waters of Oblivion,
and swans are rescuing them,-the name of Cipriani is perpetuated on one of the numerous
small medallions which a swan is carrying off in its mouth. At the time this plate was
engraved (1773), it was understood that the addition of Cipriani's name in this manner was
made by Bartolozzi as a compliment to his best friend. The name is engraved backwards
and upside down, and is also so diminutive in size as to require a good pair of eyes to read
it at all. The other medallions apparently have names engraved on them also; but it is in
appearance only, for on examination the lettering resolves itself into mere scratches, and
yet so much alike are the medallions, that it is doubtful whether the publisher of the
plate, or in fact any one else, was aware at first of the honour paid by the engraver to
the designer. This is the generally accepted version of the episode referred to ; which is
made still pleasanter if we are to believe a writer in The Wew Monthly Magazine,” who
* Vol. v. p. 229, 1816.
declares that it was Cipriani who put Bartolozzi's name into the original drawing, but
“this the elegant mind of the engraver caused him to omit, and he introduced the name
of Cipriani.” -
It is related that in the house occupied by Bartolozzi at North End, there was a window
of ground glass. “Stand still, Chip,” said the engraver, as Cipriani was one day passing on
the other side, “and I'll draw your portrait.” The profile was taken, and Cipriani entered
the room. “What! that my portrait *" said the artist; “you have given me the air of
a voluptuary;” and he dashed his hand through the pane. Fortunately the face was not
injured; and it was afterwards given by the late Mr. Cromek to Mr. Tomkins, the writing
master. This story was corroborated by Bartolozzi; and an engraving is said to have
been executed from this sketch.
When Beckford's book on hunting * was first published, there was affixed to it,
* “Thoughts upon Hunting,” by Peter Beckford, 1782, 4to. Frontispiece, Diana, with three females.
as a frontispiece, a design by Cipriani engraved by Bartolozzi. Charles Fox one day
entering a bookseller's shop in Piccadilly, saw the book lying open, ran over the leaves,
and then inquired the price of the work. He was answered five guineas, Mr. Fox put
down the money, and tearing out the frontispiece, which he preserved, left the book behind
him on the counter. .*
John Alexander Gresse, irreverently called, on account of his corpulence, “Jack
64 Grease,”
Cipriant.
Grease,” was a favourite pupil of Cipriani's, with whom he lived for many years, and whose
style he closely imitated. In his youth he made the drawings for “Kennedy's Account of
the Pictures, Statues, etc., at the Earl of Pembroke's, at Wilton” (published by Boydell),
and etched the figures himself, which were improved by the inimitable hand of Bartolozzi.
Angelo relates that Gresse had studied under many masters besides Cipriani, and that on
one occasion, in an argument with Bartolozzi in connexion with some professional matter,
he differed with the engraver, who, Italian like, was hasty, and Gresse harping on the word
style, Bartolozzi, losing his temper and adopting the traditional Britannic juron, exclaimed,
“Cot dam, Mister Gresse, hold your tongue; you have copy so many mastare, you have not
left no style at all.”
A collection of fifty of the sketches and drawings made by Cipriani was engraved,
principally by Richard Earlom, a few being by Bartolozzi, and published in 1819, in folio
form, by H. R. Young, 56, Paternoster Row. The work opens with a capitally engraved
oval stippled portrait of “Giovan Battista Cipriani, Esq., R.A.,” by Earlom, from a painting
by Rigaud.
CHAPTER
VOL. I. F
65
Aazºo/ozzz azza! /*z's M/orks.
CHAPTER XVI.
The Boydells.

210 & S is a name of renown in the print-publishing world. The
present firm of Henry Graves & Co., of Pall Mall, is directly
descended from the famous house of Boydell & Co., started by John Boydell
(afterwards Lord Mayor, 1791–2), in Cheapside in 1752. John Boydell, to whom
the art of engraving in this country is vastly indebted, is intimately associated with the
career of Bartolozzi,” to whom, as well as to the other leading engravers of the day, he
* A list of engravings by Bartolozzi, with sizes and prices, published by Boydell, will be found at the end of this
chapter.
gave very numerous commissions. Had Alderman Boydell—the title he is best known by
—been an amateur, he might in the natural order of things have spent a fortune on art;
but being a print-publisher, he might have been rather expected to make one. It is said,
however, that he actually expended £350,000 in fostering art; and it is to his discrimin-
ating generosity that many of the principal engravers of the period owed their advance-
ment in life.* Before his time prints had been chiefly imported from abroad; but in 1787,
*Alderman Boydell voluntarily paid Woollett £100, instead of the agreed price of 50 guineas, for his “Niobe.” But
this act of generosity may be said to have gone a long way towards ruining him; for when they heard of it, the numerous
bad and doubtful engravers employed by Boydell immediately doubled their prices.
“Mr. Tresham informed us that this patron of artists (Boydell) sent to him while in Italy, to request that he
would paint a picture for the Shakespeare gallery, for which he offered him 200 guineas. When Mr. Tresham arrived
in England, the Alderman showed him the design by Opie, from Romeo and juliet: “There, sir,” said he, “look at
that white sheet in which Juliet is laid Sir, there are five and twenty pounds of white lead in that sheet !”—Wew
Monthly Magasine, vol. v., 1816.
when Boydell visited Paris, he had the satisfaction of finding his own publications exhibited
as the principal attractions in the windows of the leading printsellers of that city. The
works published by Boydell are almost too many to be numbered, but his name will ever
be remembered in connexion with his magnificently illustrated edition of Shakespeare,
which involved him in a capital expenditure of £150,000. Unfortunately for the financial
success of this grand undertaking came the French Revolution, which affected the
66 prosperity
- *** **
** - ******* *-* *
The Boydells.
prosperity of the house to such an extent as to cause a heavy loss on a venture that at
one time appeared of the most hopeful character. He, however, honourably carried out his
original intention, completing the work within the time proposed; but his loss on this and
on other undertakings was so heavy, that in 1804 he petitioned Parliament for a readily-
accorded permission to dispose of the Shakespeare gallery, and other collections of pictures
and prints, by lottery. Every ticket was taken up; but he died before the drawing
began, on December 11th, 1806. Alderman Boydell was not only an employer, but the
generous patron of artists, and the mark he left on British art is ineffaceable.
Of his early life some interesting and curious facts are preserved. Boydell was
brought up as an engraver, and served an apprenticeship to a Mr. Thompson. He began
by etching small plates of landscapes, asking sixpence for a set of six; and as there were
few printsellers in London at that time, he prevailed upon the proprietors of toy shops to
allow his little prints to be shown in their windows. He regularly visited these shops once
a week, and the best field for his talent was the shop bearing the sign of the Cricket-bat,
in Duke's Court, St. Martin's Lane, where in one week he received five shillings and six-
pence. Such was the boyhood of a famous alderman.
The numerous changes from the time that the house of Boydell & Co. was established,
at the corner of Ironmonger Lane, 90, Cheapside—whence it was shortly transferred to the
Shakespeare Gallery, Pall Mall—down to the present time, may be briefly indicated:—
On the death of the celebrated John Boydell, his nephew, Josiah Boydell—who had
also been his partner—continued the business in conjunction with Mr. Harrison; these were
in turn succeeded by Hurst & Robinson, who first took the Cheapside business, and then
that at 6, Pall Mall, which had been established about 1825. Both Hurst and Robinson
had been brought up as book and printsellers. Hurst was a brother of Longmans Hurst,
the bookseller, and originally came from Wakefield ; and Robinson—a relative of W.
Robinson, portrait painter, who exhibited at the Royal Academy from 1822–34—was a
native of Leeds. About the year 1826 the partners got into financial difficulties, and had
to give up. Mr. Henry Graves, who is now the head of the firm, was at that time in the
employ of Hurst & Robinson, as manager of the print-business, having previously gained
considerable experience with Mr. Horatio Rodd, the picture dealer, and before that with
Mr. Woodburn, the printseller. At this period Mr. Graves undertook the business in
conjunction with Messrs. Moon & Boys, the firm trading as Moon, Boys & Graves. Mr.
Moon, who retired from the firm in 1834, continued the business of print publisher in
Threadneedle Street, and was afterwards Alderman and finally Lord Mayor. The firm,
then Boys & Graves, was joined in 1834 by Mr. Richard Hodgson, the style being altered
to Hodgson, Boys & Graves; and, on Mr. Boys retiring, in 1841, to Hodgson & Graves.
On Mr. Hodgson's retirement, Mr. Walmsley took his place, the style then being
Graves & Walmsley. Mr. Walmsley retired in 1844, and although another partner
succeeded (Mr. Wrench, who died in 1866), his name did not appear, the firm being
then known as Henry Graves & Co., under which style it has been since continued.
Mr. Henry Graves,” the veteran of the print trade, has, during his long and prosperous
* About forty years ago, Lady Strange, widow of Sir Robert Strange, the line engraver, sent for Mr. Henry Graves,
of Pall Mall, and showed him some boxes containing in all about 3,000 impressions of her late husband's engravings, for
67 which
F 2
Aarto/o322 and /ăz's M/orks.
which she asked the sum of £1,000. Mr. Graves, on opening the first box, found at the top about thirty im-
pressions of the print of Charles I. in his robes, then worth about £30 apiece (now 450), and he at once concluded the
purchase without further examination. The contents did not turn out to be plums all through, but nevertheless Mr.
Graves did not do so badly, having realized in all about 4, Io, ooo by the transaction. He was not ungrateful, and ten
years ago offered to erect in the Church of St. Paul's, Covent Garden, a monument in marble to the memory of Sir
Robert; but the then Rector—who probably had never heard of the great engraver—asked him £100 for the privilege of
putting up the monument, which was naturally at once flatly, and perhaps angrily, refused. The present Rector, who
has a high appreciation of art and its associates, reversed the decision of his predecessor, and the monument is at
the present moment in progress. Many years ago Mr. Graves commenced a hunt for the tombstone of Sir Robert,
which was found buried two feet under the soil, and sadly defaced. Mr. Graves had the inscription restored, and
the stone re-erected in its proper position.
career, been intimately associated with numerous transactions of great magnitude con-
nected with print publishing, the mere mention of which would occupy more space than
could well be spared. It may be stated, however, that he published about three-fourths
of the finest of Landseer's pictures, sinking in copyrights alone upwards of £50,000.
He has also published continuously in book form for the past twenty years the works of
Sir Joshua Reynolds and Gainsborough, reduced to a small scale; and he has also in
former years collected and published, in the same manner, many of the works of the
principal artists, including those of Lawrence, Liverseege, Newton, and others equally
well known. He is also the publisher of Frith's celebrated “Railway Station,” and of the
principal works of Turner, Faed, Dobson, Millais, and a host of other artists whose names
are household words. -
Mr. Graves formerly possessed three fine portraits of Alderman Boydell. One,
painted by Miller, a half-length in Mayor's robes, was exhibited at the National Portrait
Exhibition in 1867, and perished in the same year in the great fire that originated at Her
Majesty's Theatre, when Messrs. Graves & Co's. premises in Pall Mall were almost entirely
destroyed. The second is a small whole-length, also in civic robes, by the same artist; and
the third, a half-length, by Gilbert Stuart (“American Stuart”), which was engraved in
Cadell's “Contemporary Portraits.” It may be hoped that one of these may eventually
find its way to the National Portrait Gallery, where at present the worthy and famous
alderman is unrepresented. -
It may fitly be mentioned here, that Mr. Algernon Graves, son of Mr. Henry Graves,
whose list of the works of Sir Edwin Landseer is a masterpiece of comprehensive cata-
loguing, has, for many years past, daily devoted a considerable portion of his time to
the classification of a series of alphabetically arranged catalogues of the works of exhibitors
at all the English exhibitions of paintings, including the Royal Academy, 1769 to 1830;
the British Institution (modern pictures), 1806 to 1867; Suffolk Street, 1824 to 1880; the
Incorporated Society of Artists, 1760 to 1791; the Free Society of Artists, 1761 to 1783;
and the British Institution of Old Masters' Exhibitions, 1813 to 1867. The artists' names
are arranged alphabetically, and the dates, numbers, and full titles of all the works
exhibited by each painter are given under his name, every change of address being also
recorded. As works of reference, Mr. Graves's painstaking compilations will be of the
greatest possible service; but from their magnitude, the cost of printing is considered too
great to encounter, and the numerous manuscript volumes will probably find an ultimate
resting-place in the Print Room of the British Museum.
68 , LIST
7%e Boyde//s.
LIST OF BARTOLOZZI'S WORKS PUBLISHED BY THE BOYDELLS.
The Boydells published a great number of prints engraved by Bartolozzi, and the
following list has been extracted from a scarce catalogue now in the possession of Messrs.
Henry Graves & Co., of Pall Mall :
An Alphabetical Catalogue of Plates engraved by the most esteemed artists, after the
finest pictures and drawings of the Italian, Flemish, German, French, English, and
other Schools, which compose the stock of John and Josiah Boydell, Engravers
and Printsellers, No. 90, Cheapside, and at The Shakespeare Gallery, Pall Mall;
preceded by an account of various works, sets of prints, galleries, etc., forming
part of the same stock. London: Printed by W. Bulmer & Co., Cleveland Row,
St. James's, 1803.
The Principles of Beauty, relative to the Human Head. Drawn by Alexander
Cozens, engraved by Bartolozzi. This book contains thirty-six plates,
printed on half a sheet of Imperial. Price, half-bound e * > e g
Guercino, etc. A collection of one hundred and fifty-six prints, engraved by
Bartolozzi, etc., from original pictures and drawings by Guercino, etc., in the
collection of His Majesty, etc. Vol. I contains eighty-two prints, all after
Guercino, and chiefly engraved by Bartolozzi, from His Majesty's collection.
Vol. 2 contains seventy-four prints, engraved by Bartolozzi, etc., from
original pictures and drawings in the collection of His Majesty, etc., after
M. Angelo, the Caraccis, C. Marratti, Guercino, P. Cortona, etc.
N.B.-The prints contained in these two volumes are the first pro-
ductions of Mr. Bartolozzi on his coming into this country,” and are
* This statement is incorrect, as the plates in the first volume were engraved by Bartolozzi before his
arrival in this country. Wide chapter, “A Sketch of the Life of Bartolozzi.”
universally esteemed by connoisseurs to be in the best style of this cele-
brated artist; they have also the peculiar merit of possessing all the spirit
and character of the exquisite works of Guercino, etc., after which they
were engraved. Separate prints may be had, see article Guercino, etc.
Russian Gallery. A collection of prints after the most capital pictures in the
possession of the Emperor of Russia, formerly belonging to the Earl of
Orford, at Houghton. Vol. I contains sixty-two prints. Vol. 2 contains
seventy-one prints, which are engraved by the most celebrated artists of
the present day, viz., Earlom, Browne, Bartolozzi, Sharpe, Green, etc., after
the most esteemed pictures of Caracci, Rosa, Snyders, Poussin, Rubens,
Van Dyke, Vanderwerf, Guido, Titian, Claude, Rembrandt, etc., etc. In
two volumes, Imperial Folio. Price, sheets. tº e e e e o
Plans of Houghton . e o tº e e e tº e e e
N.B.-This collection has always passed amongst connoisseurs for
one of the first in Europe.
36 s. d.
IO IO O
69
Aazºo/o3.22 amed /ăz's M/orks.
AN ALPHABETICAL CATALOGUE OF PLATES ENGRAVED BY
BARTOLOZZI (PUBLISHED BY THE BOYDELLS).
In the size of the prints are included the writing at the bottom, and a small margin on the top and sides.
Cupid's Manufactory, making Bows and Arrows, after Albano .
Peter the Wild Boy, 1782; with an account of him, after Alefounder.
A Figure in the Last Judgment, after Angelo
A Battle; an emblematical subject, after Angelo
Prometheus, after Angelo o
Cupid and Psyche, after Bartolozzi
Young Bacchanalian; oval, after Bartolozzi
Prometheus, after Bartolozzi © º e º -
Portrait of Annibale Caracci, after Louis Caracci - ſº
The Silence.
The Woman taken in Adultery, after Augustin Annibale .
Clytie ; a circle, after Augustin Annibale ©
Venus Sleeping, after Augustin Annibale . e e e e
Orlando rescues Olympia from Orca, after Augustin Annibale .
Fortune leaning on a Globe, after Augustin Annibale.
Night, after Augustin Annibale .
Ancient Sacrifice. e º º Q . \
Noah Sacrificing . e e • e
Tobit burying his Brother at Nineveh . .
Jacob's Departure e º e
Wise Men's Offering . - º e
. Shepherds' Offering . e • *
The Flight . - . . . c
. The Resurrection of Lazarus . º e
Minerva and the Nine Muses, after Cipriani º e tº
Bacchus presented to Jupiter and Juno by Minerva, after Cipriani
The Death of Dido, after Cipriani
Virgin Mary, after Cipriani.
An Angel, after Cipriani . te º e
St. Cecilia, after Cipriani . o º º
Mother and Child, after Cipriani.
A Sibyl; circle, after Cipriani .
Head of Niobe; circle, after Cipriani . e e
The Ball Ticket for the Mansion House, after Cipriani
Triumph of Venus, after Cipriani © Q e º
Tritons, etc., after Cipriani . O - o e
Venus attired by the Graces; oval, after Cipriani
Judgment of Paris; oval, after Cipriani
after Castiglione.
zo
In His Majesty's collection, after Augustin Annibale .
I6 x 14
5#x 74
I4 × I7
I3}× Io
I4}x Ioł
8 x Io;
7 x Io
9 x 7
7 × 8%
20 x 16+
164 × 144
18 x 19%
I4}x II #
17 × 16#
13 x 18
17 × 12
Io; x 64
Io; x 64
18% x 15%
4}x 7
4}x 7
Io x 114
6 × 9
IO XI 2
IO XI 2
8}x II
9 × 3}
9 × 3}
9 × 7%
9 × 7%
;
I
I
T
h
e
The Boydel/s.
The Muse Clio; oval upright, after Cipriani
The Muse Erato; oval upright, after Cipriani
Nymphs Bathing, after Cipriani . . .
The Storm, after Cipriani e - e e tº e
The Tempest. Act I. Ferdinand and Miranda, after Cipriani.
As you Like it. Act 4. Orlando and Oliver, after Cipriani
The Laocoon, after Pietro da Cortona e t º
Laban seeking for his Images, after Pietro da Cortona
A Landscape, after Pietro da Cortona.
Omai, after Nath. Dance . - e -
Madonna and Child; oval, after C. Dolce .
Head of a Madonna; circle, after C. Dolce.
Boys at Play, after Franceschino. º o º º - e e
Boys, Bacchanalians (companion to Boys at Play), after Franceschino
Venus, Cupid, and Satyr, after Luca Giordano
Portrait of Guercino, after Guercino
Flora with Boys, after Guercino . e º
Four Women with a Boy, after Guercino . tº te
Three Women with a Boy lying down, after Guercino
Virgin, Joseph, and Jesus with a Globe, after Guercino o
Three Women with a Sketch of a Design, after Guercino . te
Holy Family, with an Angel playing on a Violin, after Guercino
Banditti quarrelling, after Guercino - º e e e
Companion to ditto, after Guercino
Two Boys, after Guercino
Infant Bacchus, after Guercino . e
St. John with a Cross, after Guercino .
Flora, with a Boy, after Guercino e e e
Virgin and Child, holding a Book, after Guercino e e
Old Man, Woman, and a Boy, with a Model, after Guercino
St. John in the Wilderness, after Guercino . o e o
Sophonisba, with a Bowl, after Guercino . & e º p
Warrior, with a Truncheon, after Guercino .
A Sibyl with a Book, after Guercino . •
A Turkish Woman Reading, after Guercino
A Concert, after Guercino . e e º
Queen Esther and Ahasuerus, after Guercino
A Vocal Concert, after Guercino.
A Sacrifice, after Guercino . º º e © o
St. Matthew, with an Angel and Book, after Guercino
Virgin, Infant, and St. John, after Guercino
Woman and Two Boys, after Guercino
64 × 9
6}x 9
19 × I5
I9 × 15
I9 × I5
I9 × I5
16 × 1.1%
15% x II*
I4 x Iok
124 x 21
7 x 9}
44 × 7
17 x 124
I5 × 20
IO XI4
124 × II
I 1 × 84
12 × 94
I2 X IO
16 x 11:
17 × 12
12% × 9
I24 × 9
84 × II*
Io; x 13
124 x II
II+ x94
7 x 11
II x 8
84 x 11
8#x Ioł
IO* x 124
II+ x 17
7 x II*
124 x 8%
124 x IO;
I64 × 12!
16} x 124
164 x 124
9 x II #
6 x 74
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Barfo/ozzi and his Works.
St. Paul Reading, after Guercino e e gº
Eight Heads, Men and Women, after Guercino .
Five Boys Playing, after Guercino . e ſº e te
Two Men playing on a Guitar, and Singing, after Guercino
Boy with a Lamb, after Guercino e e te © º
Woman on her Knees with a Child, after Guercino
Guercino's Daughters, after Guercino .
Saint Jerome, after Guercino c g e e e © tº
Young Man with a Boy, and a Boy in the Clouds, after Guercino
Young Woman in a Pensive Attitude, after Guercino. e
Woman with a Book, after Guercino .
Woman Studying, after Guercino
Portrait of a Woman, after Guercino .
Old Man Weeping, after Guercino . te
Portrait with a long beard, after Guercino .
Ditto with naked shoulders, after Guercino .
Woman with a Turban, after Guercino * e & tº tº
Naked Woman lying down with a Child, after Guercino . *
Virgin teaching the Infant Jesus, after Guercino. tº sº
The Almighty in the Clouds, after Guercino
Circumcision, after Guercino º © e
Lady, Boy, and two old Men, after Guercino
St. John Writing, after Guercino. e tº tº
Cupid with a Dart, in flames, after Guercino e
Salvator Mundi, with a Globe and Cross, after Guercino . .
Portrait of a Young Man, after Guercino e e
St. John, after Guercino . . . . . . . . .
The Cornaro Family, after Guercino . &
Old Man Sleeping, etc., after Guercino * g g tº e
One Old and Three Young Men singing Psalms, after Guercino.
Old Man in Armour, after Guercino º e
A Deathbed, after Guercino.
Janus, after Guercino . º © *
Joseph and Infant Jesus, after Guercino ſº
Portrait of Leonardo da Vinci, after Guercino . tº
Portrait of an Artist, after Guercino
Guercino's Daughters; oval, after Guercino.
The Circumcision, after Guercino ©
St. Matthew, after Guercino e tº *
St. Peter and Paul, after Guercino . o º
Virgin, and Jesus on her Knee, after Guercino
Flora, after Guercino .
72
8#x 124
II+ x 9
II #x 84
12#x Io
IO × 9
9 x II
8#x 13;
Iožx I.2%
8 x 12
74x Ioł
8 x Io
9 × II
84 × 1.8%
94 × 12
Iołx 13
94 × 74
I24 × II
II+ x 9%
II X IO
Iołx 9
9 × I3
6 x 9
84x II
74 × 84
9% x II?
84 x 9%
8 x Io!
164 × II*
174 × 12!
154 × 10%
8}x IO
9 x 104
7 x 84
8 x 9
64 × Io
54 x 9
II+ x 13%
14 ×22}
Iołx 134
IO XI.3
84 x 13
9}x Io;
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The Boydells.
Boys Dancing, after Guercino º e
Boys Pressing Grapes, after Guercino. e e
Boys with a Garland of Flowers, after Guercino.
Cupid and Psyche with a Dart, after Guercino . . e
Lady Mayoress' Ticket for 1790, after W. Hamilton .
Portrait of Angelica; oval, after Angelica Kauffman.
1. Design; oval, Landscape, after Angelica Kauffman
2. Invention; oval, Landscape, after Angelica Kauffman .
3. Composition; oval, Landscape, after Angelica Kauffman
4. Colouring ; oval, Landscape, after Angelica Kauffman .
Hermione; oval, upright, after Angelica Kauffman
Angelica and Medora, after Ben Luti .
Mercury Instructing Cupid, after Ben Luti. O º e º
A Monument. Time, with a Bust treading on Envy, after C. Maratti
Companion to the above, after C. Maratti . e -> e
The Angel and Tobias, after C. Maratti © e e
St. Luke painting the Virgin, after S. de Pesaro. e e e º
The Resurrection of a Pious Family from their Tomb at the Last
Day, after the Rev. Wm. Peters e e º e c
The Spirit of a Child arrived in the Presence of the Almighty, after
the Rev. Wm. Peters . º º tº & -> o ©
Ditto, the above three in colours . º
Angelica Kauffman, after Sir J. Reynolds .
Lady and Child, after Sasso Ferrato . e
Child Asleep, after Elizabeth Sirani . - e - - e
“My Son, attend unto my Wisdom,” Prov. v. 18, after P. Tibaldi
Van Dyke's Wife and Child, after Van Dyke . . . . .
Prince William Henry when a Midshipman on board the Prince
George, after B. West, President of the R.A.. © º e
Mary Queen of Scots and James I., from a capital picture in Draper's
Hall, after Zuccheri e e o e e
A Repose, after Castiglione e o e
Jacob's Departure, after Castiglione . te tº º º º
Twelve Months of the Year in Fruits, after Casteel . . . .
Ditto, coloured, of all the various kinds produced in this Kingdom,
represented in a picturesque and monthly order, painted from
real fruit, after Casteel . º e e º
Twelve Months of the Year in Flowers, after Casteel .
Ditto, coloured, after Casteel º º e
Twelve Months of the Year in Flowers, after Casteel .
Ditto, coloured, after Casteel ©
Penelope; oval, after A. Kauffman
‘e
73
13}× 9}
I24 × 8%
I24 × 74
IO x 7%
64 × 5
9 x 12
II+ x 114
II+ x 1.1%
II}x II*
II}x II*
8% x II
134 x 17%
I2 × 1.7%
124 x 1.7%
I6 x 114
84 × Ioł
I9 ×28
I5+ x22
Iołx 13
6 x9
I2 XIO
18 x 134
64 x9
17+x23%
12 x 18%
Iołx 16
Iołx 16
124 x 16%
IO XI4
Iołx 14%
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Bartolozzi and his Works.
36 s. d.
Dido; oval, after A. Kauffman . tº e & ſº ge e . Iok × 14% o 5 o
Jupiter and Europa, after Guido Reni g e tº e & . I2 × 16 o 5 o
Prometheus; oval, unknown e e g º tº * º . 54 x8 O I O
Ancient Ruins, unknown . te e e e º e e . 7 × IO O I O
CHAPTER
74
Ayland.
CHAPTER XVII.
Ryland.
'Yº…AJV (7) (WILLIAM WYNNE), a native of London, was born in
1732, and studied under Symon Francis Ravenet, best
known for his prints after Hogarth. At the conclusion of his engagement
with Ravenet, he went to Paris, where, under the patronage of the fashionable painter,
Boucher, he studied figure drawing, and also continued to apply himself to engraving.
At that time he was a line engraver, and produced several good plates after Boucher,
including a large one of Jupiter and Leda. Ryland learnt the art of stippling while in
France, and was chiefly instrumental in introducing it into this country, where it soon
became the fashionable rage. Shortly after his return to his native country, he was
appointed engraver to the King, and received an annual salary. He carried the art
of stipple engraving to great perfection, and his work is characterised by exquisitely
modulated gradations of tone and the highest finish. His principal works in stipple are
engraved after the fancy subjects of Angelica Kauffman, Cipriani, and other painters of
the same school. Good impressions of Ryland's prints are scarce, and now bring high
prices; amongst some of the best are a pair of circles, “Cupid Bound,” and “Cupid
Asleep”; “Juno obtaining the Cestus of Venus”; “A Sacrifice to Pan"; “Lady
Elizabeth Gray soliciting Restitution of her Lands”; an upright oval “Maria,” from
Sterne's “Sentimental Journey”; “Queen Eleanor Sucking the Poison from the Wounded
Edward I.”; and “King John Ratifying Magna Charta,” begun by him and finished by
Bartolozzi. He also engraved several plates in line, after Boucher: “Antiochus and
Stratonice,” from Pietro da Cortona; and “The First Interview between Edgar and
Elfrida,” from Angelica Kauffman. Ryland's stippled plates were mostly printed in
red. As a line engraver he was also eminent. Anthony Pasquin says that the harmonious
conjunction of strokes was managed better by Ryland than even by Bartolozzi; but
they were soul-less and automatic. He and his school achieved the highest possible
finish by means of patient labour.
It is related in Gilchrist's “Life of William Blake,” author, printer, and visionary,
75 that
Bartolozzi azza! /ázs M/orks.
that his father took him when a lad to Ryland, the engraver, then living in great style
and in the zenith of his popularity, with the idea of apprenticing him to learn the art
of engraving. Young Blake—who even at that early age allowed himself to be swayed
by impulse rather than reason—is said to have looked at Ryland, and observed to his
father, “I don't like the man's face; it looks as if he'll live to be hanged.”
When, in effect, Ryland was in prison, and under sentence of death for forgery, he
sent for Bartolozzi, and begged him to complete, for the benefit of his wife, a partly
finished plate, after Hamilton—“King John Ratifying Magna Charta,”—which Bartolozzi
at once generously undertook to do, and faithfully carried out. This plate is generally
ascribed to Bartolozzi only, and is looked upon as one of his best.
In a little work published in 1784, entitled “Authentic Memoirs of William Wynne
Ryland,”—it is stated that he was an industrious worker—a fact to which the number
of fine plates he engraved bear witness. He worked a great part of his time while
under confinement; and finding that he could not live to finish many of the plates he
had in hand, besides the “King John,” he touched the proofs with Indian-ink, to enable
his pupils to finish everything the better for the benefit of his widow and children. Prints
stippled by Ryland are much sought after by collectors of Bartolozzi's works.
CHAPTER
76
Angelica Kauffman.
CHAPTER XVIII.
Angelica Kauffman.
4% Slºž Kºſºvº:
number of
fancy subjects, particularly in ovals and circles—forms in which she seemed to
delight. Alderman Boydell published upwards of sixty plates from pictures painted by
her. She was born in 1740, and died November 7th, 1807, her funeral, in Rome, being
attended, it is said, by more than one hundred ecclesiastics in the habits of their several
orders, and the members of the literary societies. In the procession were displayed
some of her best pictures, borne on the shoulders of the mourners.
Marie Anne Angelique Catherine Kauffman, R.A.—better known as Angelica Kauff-
man—was the daughter of a Swiss portrait painter, under whom she studied. She accom-
panied Lady Wentworth to England in 1765, where her brilliant reputation, both as a
painter and musician, had preceded her. Her beauty, charm of manner, and versatile
talent soon made her a public favourite, which she remained during the whole of her
residence in this country, extending over a period of seventeen years. Her designs are
elegant and pleasing, and her drawing—which Bartolozzi in his reproduction of her works
often put right—weak and faulty; her colouring was always harmonious. The story of
her career does not need re-telling here. The ignominious tragedy of which she was
the heroine—the trick played on her by a lackey, who married her in his master's name
—ruined her life as a woman, though it did not mar her artistic career. Sir Joshua
Reynolds had previously admired her, and proposed for her hand. She was over-praised,
but bore her honours meekly.
CHAPTER
77
Aarfoſo2.27 and his M/orks.
CHAPTER XIX.
On the Art of Engraving.
says, “Engraving is in brief terms the art of
Jſº 4-0SKEY jº *::::::.. which, in spite of its some-
* what ignominious sound, recognises the fact that
“scratch,” employed upon form, tone, light, and shadow, is an art. Mr. Ruskin is
notoriously jealous on behalf of colour, for which he has so especial a love; but opinions
differ about the extent to which processes for reproducing colours can be acknow-
ledged as in any sense artistic. All large reproduction argues a certain mechanism in
some part or other of the process. The impression of a line, the depth of a shadow,
or the luminosity of a tone, may be multiplied with absolute precision, but hardly the
subtlety or force or beauty of a tint. Reproduction of colour may, of course, be effected
by copying; but to such an extremely limited extent, that this method can hardly be
reckoned among the means of multiplying, or at least of popularizing, a work of art. To
translate with fine intelligence into black and white, and to print such translations
mechanically, is the surest way yet approved as combining true art with multiplicity of
production.
An engraver must possess intellect; he must undergo thorough mechanical training,
and combine artistic perception with a natural and intelligent deftness of hand and power
of expression. He is no mere copyist; and yet a mere copyist cannot do his work well
without such qualities as these. There is something in the human mind which effectually
prevents the possibility of a close copy without the exertion of a thoroughly understanding
and intelligent power. Otherwise, something will be surprisingly and curiously wrong.
The result of the ignorant but well-meant attempt to imitate Gothic architecture in the
last century may be cited as an example of this fact. Where the mind works at all, it
must work with knowledge, if the negative gain of avoiding blunders is to be achieved;
much more if the positive gain of right interpretation is to be added to the truth of
copying. And the engraver, as we have, said, is not only a copyist; like the translator of
78 3.
On the Art of Engraving.
a book, he has to think in two languages—in colour and in black and white. The fact
that he has to translate brush-work and colour into black and white, and lines or specks,
makes him an interpreter rather than an imitator. He aims at making the spirit and
manner of the master, after whom he is working, so entirely his own, that picture and
engraving shall be informed by the same impulse and thought. The principles of art,
therefore, must be known to both, and to both in the same degree. The performing
musician has almost as great a glory as the composing musician ; for he must assimilate
his composer's music, and make it live by expression. To do this thoroughly and finely
requires something like genius—receptive genius. And if the same music were put into a
street organ, and automatically and correctly ground out, the difference of performances
would be far less than that between a good and a mediocre engraving : for in the first case
there would be mechanical precision and faithfulness; in the second, as we have said,
the process is mental, and the performance, therefore, would be not only spiritless, but in
some way wrong.
To become a skilful line engraver requires keen artistic instincts, a love of the work
and years of devoted and persevering study. It is sincerely to be regretted that the art-
loving public of the present day fails to offer sufficient encouragement to warrant the
younger generation in aspiring to fill the gaps in the present rapidly dying-out school of
line engravers. The reason is not far to seek: photography” and lithography, with their
* * * * “too surely superseded in the windows that stop the crowd by the more material and almost tangible
truth with which the apothecary-artist stereographs the stripped actress and the railway mound.”
* * * * “And, above all, to request you if you will not look at pictures instead of photographs, at least not
to allow the cheap merits of the chemical operation to withdraw your interest from the splendid human labour of the
engraver.”—Ruskin. -
tens of thousands of cheaply-produced impressions; and still more, wood engraving, in
conjunction with its handmaiden electrotyping, by which millions of impressions are
produced without the original wooden block being worked from, have struck a death-blow
at line engraving. Wood engraving has, since the days of those pioneers of a new school,
the brothers Bewick,” advanced with rapid strides, and printing machinery has kept pace
* Ruskin says: “I know no drawing so subtle as Bewick's since the fifteenth century, except Holbein's and
Turner’s.” - -
with it; and woodcuts, of a fineness and delicacy rivalling that of the productions from
steel plates (as in The Century, Harper’s Magazine, Cassell's Magazine of Art, and
others), are produced at a price which places them within the reach of the many.
Mr. Ruskin explains the essential difference between metal and wood engraving in
very few words: “In metal engraving you cut ditches, fill them with ink, and press
your paper into them ; in wood engraving you leave ridges, rub the tops of them with
ink, and stamp them on your paper.”
The utility of the art of engraving, or artistic reproduction of pictures, scarcely needs
to be insisted upon. Thousands of paintings have disappeared through carelessness,
accident, theft, the action of fire and water, or chemical defect in the original compo-
sition of the pigments, by which the colours, and even the form, have faded out of all
recognition. An engraving in black and white never fades: it is otherwise open to the
79 Saſſle
jazz ºn arº-rººrºº
Aarfo/o3.22 and has M/orks.
same accidents as a painting, but being usually produced in considerable numbers, utter
annihilation is almost impossible. -
The various methods of engraving that have been, or are now, practised, include line,
or engraving proper, executed with the graver; engraving with the dry point; dotting
with a punch and mallet, superseded by stippling; etching; soft-ground etching; mezzo-
tinto ; chalk engraving (principally practised by the French); dotting or stippling, an
English improvement on chalk engraving; aquatinta, giving the effect of a sketch in
bistre or monochrome; besides more or less skilful combinations of the various methods.
Soft-ground etching and aquatinta were driven out of the field by the cheaper process of
lithography, to which, in results, they bear a close resemblance. -
An engraving executed by any one of the foregoing methods is usually described as
“pure,” in contradistinction to the several processes used in combination in the production
of many of the beautiful works of modern artists. Some engravings are distinguished as
pure line, pure mezzo, and so on ; while in others will be observed a combination of two, or
even several, processes. But to whatever style the collector may give his preference, to line
engraving must be accorded the permanent place of honour, all the other processes being
later offshoots from it. The origin of line engraving is lost in the mists of antiquity.
Those who have given little attention to the subject are apt to imagine that the curves,
lines, hatchings, and all the variety of strokes that appear in a line engraving, are produced
by a slow and laborious operation, combining skilful drawing and severe mechanical labour
with a burin or graver. And so far as relates to a few of the earliest line engravings, they
are right; but the hard manual work involved in the production of the furrows or ditches
in the metal, has been almost entirely superseded, since the days of Albert Dürer, and
possibly before, by the use of the engraver's best auxiliary, aquafortis.
In line engraving the gradations of tone are produced by lines only, of various
degrees of length, breadth, and relative closeness, crossings being used for the denser
portions or shadows.
In dry-point the work is scratched into the plate without the intervention of acid; this
method is chiefly used for final finishing touches in line engravings. Very beautiful results
are occasionally achieved by pure dry-point; but as the ink lies close to the surface, the
plate yields comparatively few good impressions.
In pure mezzotint, which often presents noble contrasts of light and shade, no strokes
or lines are visible; the work bears the appearance of having been produced with the
brush, and is wrought up to the utmost softness and delicacy; while in pure stipple, which
aims at somewhat like results, nothing is found but specks of varying size and intensity.
Mezzotint engraving, which has always been recognised as an almost purely English art,
has of late years received a slight impetus in the reproduction on steel * of some of Sir
* Steel engraving was invented and introduced about fifty-five or sixty years ago. The first to practise it was
George Maile, a stipple engraver, whose two earliest steel plates were illustrations to “Walton and Cotton's Angler.”
Joshua Reynolds' charming subjects, including the “Strawberry Girl” by Cousins, published
by Agnew ; and the “Mob Cap,” “Innocence,” “Simplicity,” etc., published by Agnew &
Maclean; “Mrs. Abingdon” and the “Ladies Waldegrave,” published by Mrs. Noseda,
8o etc.
On the Art of Engraving.
etc. The publication of these prints after Sir Joshua Reynolds has proved a great boon
to collectors, the early mezzos having risen to prices beyond the reach of all but the very
wealthy. -
Landseer's engravings are magnificent examples of etching finished with the graver,
machine ruled tints being used as auxiliaries for tone; they show little dry-point; while
in many by Cousins may be found a happy union of almost all the known methods.”
* “Probably, as time passes, some of the nineteenth century engravings will become monumental.”—Ruskin.
Better effects are often produced with less trouble by combining various processes than
by strict adherence to one.
The various processes of engraving being more or less fully treated in all the best
cyclopædias, it is unnecessary to describe them in further detail here. In the case of stipple
engraving, the art with which the name of Bartolozzi is chiefly associated, an exception
may be allowed, more especially as the writer has hitherto failed to find any intelligent
description. And a plea may be added for a few words on modern etching, a fascinating
art that has of late years taken the public by storm, and the capabilities of which are not
as yet half developed.
A lover of prints learns to distinguish in time—and his knowledge grows with his
experience—the difference between good and bad work, irrespective of state or condition.
He learns also that amongst modern, as well as ancient, engravers, there are too many
mechanics and too few artists; plenty of men who can accurately copy, and are capable of
any amount of fine and laborious tooling, but few who possess the true and appreciative
artistic instinct. Unremitting patience, a microscopic eye, and a steady hand, are valuable,
and perhaps indispensable, to those who follow the profession; but without higher quali-
fications than these, an engraver cannot hope to win undying laurels.
CHAPTER
81
vol. 1. G
<s, ºr r *.*, *zzºrszziºzºº tºº-º-, *-* *
Aartolozzi and /hts /ſ/orks.
CHAPTER XX. -
.**
**
On the Art of Stipple Engraving—Its
Distinctions and Methods.
& Yºr nearly approaching to what is now recognised as stipple engraving
was the method styled opus mallei, where each dot was formed by
a separate blow from a punch and mallet. The operation was not only tedious,
but ineffective in its results, with the further disadvantage that very few impressions could
be obtained before the plate became worn out. Specimens of this kind of work are very
rare, and James or John Lutma, a Dutch goldsmith who flourished towards the middle of
the 17th century, is mentioned as one of the best followers of this style. Bartsch, how-
ever, speaks of five engravers who identify themselves with the opus mallei method, Giulio
Campagnola, who flourished at the beginning of the 16th century, being the earliest.
It would be perhaps almost impossible to assign any certain date for the first employ-
ment of stippling, as examples of it may be seen, to a limited extent, in the works of some
of the earliest line engravers, the stippling or dotting being judiciously intermingled with
their work, more especially in the treatment of portraits. But it was not until a com-
paratively recent period that pure stippling, or stipple with a small admixture of lines—
producing an imitation of highly finished crayon drawings, was used for effects hitherto
obtained by lines only. -
Stippling was used, but to a very moderate extent, by Martin Schoen and Albert
Dürer, the latter producing by its aid rich effects in the texture of his draperies. Vene-
ziano (Agostino di Musis), Boulanger, and Giulio Campagnola occasionally introduced
stipple work into their plates: the two former being well acquainted with its suitability for
representing flesh, the latter also using it for his backgrounds. John Landseer * mentions
* See “Lectures on the Art of Engraving, delivered at the Royal Institution of Great Britain, by John Landseer,
F.S.A.” (London : Longmans, 1807.) .#
a small plate by Veneziano, of an old man seated on a bank with a cottage in the back-
82 ground,
-
-
- - -
-
-
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- - -
* 2 */ * * º ** 4. º ^,
- - - -
ROBERT AURIOL
º
- - - - - --
-
KINNOULL.
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* º% º %.” * º º 4.
-



On the Art of Stºpple Engraving.
ground, where the face is entirely stippled with the graver. The French portrait engravers
made use of stippling somewhat extensively, introducing it between the lines in their
draperies and other parts where it was sought to produce a richer effect. John James *
* Bryan says he is called by Brulliot and Zani john Charles.
François, a French artist born in Nancy, in 1717, is stated to have been the first who
engraved entirely in the chalk or stipple manner, of which process he was recognised as
the inventor, receiving as reward a pension of 600 livres. The invention is also claimed
for two other artists, viz.: Louis Bonnet,” a Parisian, and G. Demarteau, of Lièges, the
* Bonnet engraved some very beautiful prints in this manner after Boucher.
latter of whom taught the art to Ryland, who introduced it to this country.
Though of foreign origin, stipple engraving was perfected in this country, and is
simply an improvement on the French method of “chalk” engraving (which closely
reproduced the appearance of drawings), the dots being much finer and closer, and pro-
ducing a purer and more highly-finished class of work, closely resembling in appearance
a finely painted stippled miniature. Bartolozzi, who made this beautiful process peculiarly
his own, is sometimes spoken of as the inventor, but Jacob Bylaert, a painter and engraver,
published a short treatise on the elements of this then little practised art, at Leyden, in
1760. To Bartolozzi may certainly be ascribed the honour of having founded the English
school of engravers in stipple, and of having improved and perfected the process or system
of working. --
In stipple engraving the stipples or dots are intended to imitate the marks produced
by a crayon or piece of chalk on paper. In drawing with chalk a granulated effect is
produced, of a coarseness or fineness depending on the description of paper used. The
granular marks will be found, if closely examined, to be separated from each other by
well-defined intervals; or rather, to touch the paper only on the eminences, leaving the
depressions white. In stipple engraving the same effect is observable, each point or dot
representing a single granular chalk-mark.
Thus much having been said as to the effect, it may be deropos to describe the
method.
In the early days of stipple engraving—before it was discovered that steel, while being
almost as easy to manipulate as copper, gives a practically unlimited number of impressions
before showing signs of wear-copperplates were exclusively used. The manufacture and
preparation of the plates for the engraver is a special trade, which it is unnecessary to
describe. The engraver on receiving a plate of the size required, begins by cleaning it
with turpentine, finishing off with whiting applied with a soft rag. The plate is then
heated and rubbed over with a bituminous mixture termed “etching ground,” which is
tied up in a piece of silk, the heat from the plate causing the mixture to melt and come
through. A soft pad or “dabber,” formed of cotton-wool covered with silk, is used for
dabbing the etching ground evenly over the surface. A hand-vice is then fixed on to the
plate, which is held face downward and smoked by means of four or five wax tapers, or
bougies twisted together, so as to produce a good flare. The plate is then allowed to cool.
- 83 The
§ G 2
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Aazºo/oazz azza! / as M/orks.
* †.
The work to be engraved is outlined with a blacklead pencil on drawing or tracing paper,
which, after being damped, is laid face downward on the smoked etching ground, and fixed
at the corners with wax. The plate is then passed, with the tracing affixed, through a
copperplate printing press, when, the paper being removed, the design is found transferred
on to the etching ground. The engraver proceeds first with an etching-point * to put in
* This instrument is invariably called by professional engravers an etching-point, and generally by amateurs and
critics an etching needle. -
the whole of the outlines by a series of dots or specks; he then works on the darker
portions or shadows, filling them in with a series of dots formed in groups. (See illustra-
tion.) In using the etching-point, only sufficient force is necessary to pierce the etching
ground and slightly cut the copper, the after application of the acid actually doing what
would otherwise be, mechanically considered, the hardest part of the work. The dots are
of various sizes: strong shadows and the darker portions are generally put in with a
coarser point, and are comparatively far apart; while the lighter and more delicate parts,
including the flesh tints, are composed of finer and closer dots, varying in texture and
grouping according to the judgment and skill of the artist. In Bartolozzi's time the dots
were put in with the etching-point, but now that steel has almost superseded copper, the
graver * is found to be better adapted for the purpose. Both tools are, however, used: the
• Frequently termed by amateurs, and also by early writers on engraving, a burin.
etching-point raises the copper around each dot and produces a burr, while the graver
picks or throws the metal out. The burr raised by the pecks of the etching-point is
afterwards removed by a three-sided edged tool termed a “scraper.” When the public
admiration for stipple engraving was at its height, and plates could hardly be produced
fast enough, many ingenious devices were used for hastening their progress. Some
engravers would keep a number of apprentices employed who spent most of their time in
filling in the heavier and darker portions of plates in progress; and to expedite matters
still further, complicated toothed wheels, or roulettes, were invented, containing two,
three, four, and even half a dozen roulettes on one axis, and these were made with teeth
of various sizes and at various distances apart. It is stated that no less than forty of these
complicated tools were at one time known and more or less used.
The work having progressed so far, the plate now requires “biting”. The margin
of the plate is first painted over with Brunswick black, to preserve it from the action
of the acid ; then a wall of wax is raised all round the plate to the height of about an
inch, a slight depression being formed in one place, to act as a spout to carry off the
acid. For “biting in "copper plates, a mixture of one part of nitrous acid to five of water
is used, and for steel plates, nitric acid takes the place of nitrous—water in the same
proportion. The air bubbles that form under the acid on the plate, are removed by
a camel's hair pencil. The acid attacks wherever the etching-point or graver has gone
through the etching ground and exposed the copper or steel, and corrodes or bites to a
depth according to the time the plate is exposed to its action. About a quarter of an hour
generally suffices for the first biting, when the acid is poured off, and the plate washed
- 84 * with
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On the Art of Stężple Engraving.
with water, and dried by means of a pair of bellows. The action of the acid is judged
by scraping off a small portion of the etching ground from the lighter work; and
presuming the finer parts to be sufficiently bitten in, they are stopped out, i.e., covered
over with black varnish, so as to prevent the action of the acid during its next and ,
succeeding applications. The acid is again applied, and the lightest remaining portions
stopped out as before; the process being again repeated, until the very darkest shadows
are considered sufficiently bitten, and the operation is over. During the successive bitings,
the coarser or closer combinations of dots, representing the heaviest shadows, will often
burst into each other, and will be no longer separated. This however, instead of spoiling
the work, is an intentional result produced by fresh dots being added at each rebiting, and
unless carried too far, an increased depth of velvety richness is added. The plate is then
slightly warmed, the wax border removed; and the Brunswick black and etching ground
are cleaned off with turpentine and a rag. The plate is, however, by no means finished:
the engraver now proceeds to add the more delicate portions with the graver, and the
whole of the plate wherever bitten is worked over with the graver, so as to produce a
delicate and even finish. Should any portions of the work be judged too dark, a steel
burnisher is used for reducing or lightening them up, and the same instrument is also
used for removing scratches. The plate is then sent to the copperplate printer to be
proved, so that the imperfections may be seen, and rectified with the graver. When the
proof is examined, it will probably be found that some of the shadows require what is
technically called “more colour,” that is, deepening, and the plate in these places will
have to be rebitten,* probably more than once. Laying a rebiting ground is a delicate
* The first bit of rebiting work done in this country, is said to have been on one of Woollett's (line) plates by
Bartolozzi. The story has been handed down amongst engravers, and is to the effect that Woollett had the misfortune
to spoil an elaborate copperplate on which he was engaged, and Bartolozzi coming in at the time found him in despair.
Bartolozzi suggested that the plate being already spoilt, no further harm could come by trying the new method of rebiting
said to be practised in Italy. Woollett consenting, Bartolozzi went out and purchased a bandanna silk handkerchief,
out of which he constructed a dabber, and having heard something of the process of rebiting, he managed successfully to
lay a fresh ground, and saved the plate. *
operation requiring considerable skill, and is performed by gently dabbing over the surface
of the plate-leaving the incisions only exposed—a resinous composition, on which the acid
will not act, care being taken to avoid filling in the engraved work. Those portions
of the plate that are considered already sufficiently deep are completely stopped out
or covered over with Brunswick black, so that on them the acid in the process of rebiting +
* The lower halves of the circles 1 and 2 in the illustration have been once rebitten. .
has no effect. Two or three more proofs, leading to further corrections with the graver
or by rebiting, will probably be necessary before the engraver is thoroughly satisfied with
his work. Engravings in pure stipple are sometimes talked of, but, strictly speaking,
have no existence, a few lines being almost invariably introduced to “sharpen up" the
darkest portions, as in the shadows of the hair, the pupil of the eye, etc.; but lines, when
so used, are always made completely subservient, and cannot be detected as such without
close examination with a magnifying glass.
85 - Almost
$º
.
Aazºo/o3.22 azza! Az's M/orks.
Almost every stipple engraver* adopted a style of dotting peculiar to himself, and
* Sir Robert Strange's opinion of stipple engraving as an art, may be best given by an extract from the original
draft of his descriptive catalogue of reserved proofs of his own prints. This and some other portions of the draft
were suppressed by the advice of Dr. Blair (sermon Blair), to whom, at the latter part of 1791, Sir Robert submitted
his M.S. for critical revision. He (Sir Robert) “cannot help lamenting an innovation which of late years has crept
into the art of engraving, and has in no small degree retarded its progress. Scarce had this art (line engraving) been
introduced into this country on a respectable footing, and had begun to be cultivated with success by its natives, when
a species of invention took place, best known by the name of stippling or dotting, and has insensibly made so rapid
a progress in the course of a few years, that it has deluged this metropolis, and the country at large, with a superfluity
of inferior productions. Far be it from me to depreciate this talent when it is confined to the hands of ingenious artists;
but what is much to be regretted, is that from the nature of the operation, and the extreme facility with which it is
executed, it has got into the hands of every boy, of every printseller in town, and of every manufacturer of prints,
however ignorant and unskilful.”
of those who carried the art to its utmost degree of perfection, none ever excelled Caroline
Watson, whose translations of the microscopically finished miniatures and portraits of
Cosway and his school are now the delight of connoisseurs. The pair of portraits of
the Earl and Countess of Kinnoull, forming a portion of the illustrations to this work, are
good examples of her style.
The transition from the grained stipple to the modern method of grouping clusters
of dots, was somewhat sudden. James Thomson was perhaps the last engraver who
practised the beautiful grained style. Agar, who worked from about 1800 up to 1828–30,
used what is termed by engravers “Agar's grain,” or the “lemon grain,” which, while
forcible in character, was still not by any means so painfully pronounced or “small-poxy.”
in style as that used by modern stipple engravers. There are groupings of dots known as
the “cocked hat,” of which Walker was the great exponent; the “butterfly's wing,” etc.;
and the Holls are said to have christened others by curiously eccentric names, recognised
chiefly amongst themselves. The same family is to be credited with the modern style of
stipple engraving. There is no doubt that, although the art has been almost suffered to
die out, stipple engraving was not only executed with great celerity, but could be easily
learned. The British Museum collection contains a large circular stippled print, “Nymphs
awakening Cupid,” designed by Angelica Kauffman,” with a quotation from Horace +
* The original painting is in the collection of the Duke of Northumberland. Probably dissatisfied with the result,
Angelica painted the same subject, in which the figures are more gracefully and elegantly posed, and festooned with
flowers, a second time. This painting is in the possession of the author, and has never been engraved.
+ “Dormio innocuus : vix impune expergefeceris.”
underneath, which the imprint states to have been “in Graved by Rose le Noir, aged 14
years, 1782;" and as the publication line at foot further states that impressions are
“sold by Lenoir, printseller to His Majesty,” it may be assumed that the prodigy was
the daughter of the publisher. Ryland had previously engraved the same subject, and
the print by Rose le Noir is evidently copied from his beautiful translation; but in
reproducing she forgot to reverse. -
Rose Le Noir also executed other plates of a similar character, but she does not
appear to have improved in style. -
In describing the processes of the earlier or purer kinds of stipple (grained), such as was
used by Bartolozzi, we prefer the word specks to dots. Dots, conveying the idea of round
- 86 punctures,
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EXAMPLES OF STIPPLE ENGIQAVIN ſº.
Published by Field and Tºº Londºn





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On the Art of Stift/e Engraving.
punctures, is an incorrect term when applied to stipple engraving; and it will be observed
on examining figure 2 in the illustration—figure I enlarged as with a magnifying glass,
that the term speck is far more applicable, the punctures being by no means round. No. 4
is an example of the modern cluster system of stippling, each dot being much more
strongly pronounced than in the old style; each dot is, however, as will be seen by
examining illustration No. 5–No. 4 strongly magnified,—composed of a group or cluster
of small specks. No. 3 represents the effect produced by a hand roulette, or toothed
wheel, passed over a plate, the dots being dots pure and simple. The roulette is used to
save time, and its effects in the heavier parts of a plate would not be readily distinguished
from hand work. Machine rouletting (No. 6) is a modern invention, which still further
saves the time of the engraver; and its use, as well as that of the hand roulette, is, of
course, perfectly legitimate. Figures 7 and 8 are described in Chapter XXXIV.
If ever stipple engraving is to be revived in this country, it must be, in the writer's
opinion, by a return to the early grained or “peppered" style used by Bartolozzi and his
school, the effect, as in fine miniature painting, being equally beautiful when viewed at a
distance and at close quarters. The modern style of stippling, produced by groups of
dots, is cold and severe; and although, in some degree, suitable for copying statuary (the
Art 3 ournal plates are good examples), is hard and unsatisfactory for almost every other
class of work, portraits not excepted. A modern stippled portrait, produced by clusters
of dots, is certainly bold and effective when viewed from a distance, but on close examina-
tion the dots or specks resolve themselves into scars, such as would result from a virulent
attack of smallpox. *
In regard to the comparative quickness of production of the dotted or stippled
method compared with line engraving, Boydell, the great print publisher—and there could
have been no better judge, used to assert that it was as three to one; in other words,
a line engraving that would occupy twelve months, would, if engraved in the speckled
manner, take but four.
CHAPTER
87
Aazºo/o3.22 azed /ăz's M/orks.
CHAPTER XXI.
Painters' Etching.

QP .941,5&T&RS’ etching, as it was formerly called—or simply
etching, as we now say—is to line engraving as
a free sketch to an elaborately finished drawing; and one of its greatest
charms is, that in it can be recognised the actual characteristic touch of the artist. In
line engraving the graver is slowly and accurately pushed, and the furrows as they are
opened, being hidden by the instrument, are unseen in their progress. The etcher draws
with a steel point, and sees his work as he proceeds, which gives him the inestimable
advantage of an unfettered freedom of touch.
The work of an etcher, so far as its mechanical part is concerned, is otherwise pretty
much the same as that of a line engraver; * the term etching, or painters' etching, being
* In etching the point must slightly cut the copper; if it remove the ground only, the acid will not bite.
applied to a free and unfettered production minus—in the English school—that elaborate
attention to minute details observable in a line engraving. Some of the French portrait
etchers, however, work their plates up with an elaboration that leaves ordinary line
engraving far behind. On the other hand, in etching from nature, and landscape work
generally, the French are far greater “impressionists” than the English. The modern
taste for etchings has indeed been caught to a considerable extent from the French,
with whom the etching point is more freely used, and its wonderful results when skilfully
handled, better appreciated, than with us. The names of some of their best etchers are
now, however, almost as well-known here as at home. *
In the late rapid development of English etching, Mr. Gilbert Hamerton's valuable
treatise, “Etching and Etchers,” with its numerous examples and its practical and close
criticisms of etchers' work, has proved of considerable value. Mr. Hamerton is himself a
skilful manipulator of the etching-point. Mr. Seymour Haden, too, as an exponent of the
English school of etching, is to be credited with having rendered important service,
practical and theoretical. 3.
88 There
Painters' Etching.
There are strong indications that the art will before long hold a place in public favour
that it has hitherto not been accorded in England. The art market must, however, first
be purged of its bad work, and the prices charged for examples be reduced literally from
guineas to shillings. Five or ten guineas for an average etching is a prohibitive price; and
moreover, if reduced to as many shillings, and the number of impressions increased twenty
or even fifty fold, which, by steel-facing the plate might be readily done without lowering
the work, its publication would pay better. Anyone who can draw well—or, for the matter
of that badly—can etch, though it does not follow, by any means, that the result will be
worth looking at ; and a dozen plates may be etched in the time that a single one would
take if executed by line engraving. Briefly, etching is a process in which the design, after-
wards bitten in with acid, is freely drawn on copper with a metal point; the long appren-
ticeship, with close study and constant exercise in mechanical details, necessary to ensure
excellence in line engraving, being in the practice of étching unnecessary. A modern
etching, while owing its conception and draftsmanship to the artist, is chiefly indebted
for its warm richness of effect to the printer,” who, after wiping the plate and before
* Were it not a trifle too suggestive, the term Printers' Etching would appear to be equally—some may think more—
appropriate than that which heads this chapter. An etched plate, the work of a well-known painter, recently came
under the notice of the writer, that was so uniformly or evenly bitten as to necessitate in the printing the use of no less
than five inks, of varying density or strength, applied to as many portions of the work, before a satisfactory result could
be obtained; the workman-artist could only produce seven impressions per day.
printing, skilfully dabs or “drags” it when in a heated condition, in certain indicated places,
with a piece of rag, which causes the ink to splurge (printers use a more expressive term)
over the sides of the incisions on to the surface. “Dragging,” or retroussage, is quite a
recent innovation, of French origin, dating back not more than twenty years. It ought
rather, however, to be accepted as a revival of the method experimentally practised by
Rembrandt, who printed some of his plates in an almost similar manner.
Dragging is to etching as the modiste to the woman of fashion; it adds to the mere
outlines a subtle brilliancy and gracious richness that the artist would often fain have
us believe exist in the original. And it is certain that an etcher who understands the
capabilities of his art will so work his plate as to admit of the best possible, or even a
special, effect being produced in the after printing, by dragging. A full velvet-like
quality is obtained in parts where, in the opinion of the artist, the general effect will be
improved by its use. When the first proofs are pulled after the plate is finished, the artist
indicates what portions of the plate shall be thus treated; and when he has finally made up
his mind, the printer keeps the last proof before him as a guide from which to work.
Nevertheless, whether retroussage, being actually accomplished by the printer and not
by the artist, is or is not a legitimate process, has been recently the subject of much con-
troversy. And in comparing an etching printed in the ordinary manner with one that
under the guidance of the artist has been skilfully “dragged,” it is at times difficult to
believe that impressions so utterly unlike are from the same plate—the one is a hard, skinny
outline, and the other a rich, glowing picture. Some plates occupy but an extra minute or
so in “dragging,” and others as long as an hour or more for a single impression.
x- 89 It
*=-—
Aarfo/ozza azza! Az's M/orks.
It has been sought to produce the effect of “dragging” by preparing a plate in a
manner that would admit of more expeditious and, therefore, cheaper printing, and the
nearest approach to success has been achieved by laying an aquatint ground in parts only;
but this, while deepening the shadows on any desired portions, fails to produce the
spreading fulness of line, dark and ample in the centre and toning down at the edges by
gradations to a mere tender shadow, hitherto attained only by slow and artistic retroussage.
CHAPTER
Print Restoring.
CHAPTER XXII.
Print Restoring, Inlaying, Splitting, and
Cleaning.

q}ºgy –48&STO 4KQVG Prints having so
- •Tmany enemies, and
being so easily injured, it becomes a source of wonder how the countless
examples of the old masters—a large proportion almost as fresh as they were the day
they were printed—have continued in existence. Millions must have perished through
the action of fire and water, mildew and rot, and the numerous accidents to which,
from their fragile nature, they are peculiarly liable. A badly stained, torn, or defaced
print is usually considered spoilt; but if it be a valuable one the advice of an expert
is sought, sometimes with astonishing results. There are men who have a reputation as
print restorers; and, provided they are sufficiently well paid for their time, nothing seems
beyond their powers. A torn print they make nothing of; the edges are brought together
and joined so skilfully that the tear cannot be detected, and practically ceases to exist.
The passage of the point of a walking-stick through a print, a piece the size of a shilling
being carried away, and not to be found when wanted, might be considered a totally
hopeless kind of accident; but the print can be repaired in two ways. Say it is a valuable
proof; a print of the same subject of inferior value is procured, the corresponding piece
cut out, the edges of both pared down, and the piece accurately fitted in from behind.
The print is then subjected to considerable pressure, and when dry the join cannot be
detected. If an inferior impression of the injured print is not obtainable for the purpose,
the operation becomes more delicate and artistic. A piece of plain paper, to exactly match
in tint, is let into the wound from the back, the print, when dry, being subjected to
pressure as before. The blank place is then laboriously filled in, line for line and stroke
for stroke, with a very fine steel pen. The writer has in his possession some prints re-
paired in this manner, over which it is evident that weeks of the closest labour mus
have been spent. .
Some of the print restorers, so it is whispered, have ugly deeds to answer for; deeds
- 9I made
*-__
*****…r-ºws:...º.º.º. cars.
Bartolozzi and /*z's M/orks.
made good, or rather, bad deeds made perfect. But this is an aside, which concerns the
lawyer and not the collector. -
Mr. Grisbrook, of Panton Street, Haymarket, who has been in the business for over
thirty years, is perhaps the best living restorer and inlayer of prints, and when anything
very special is required, his are the services generally sought.
Mr. Grisbrook's predecessor was William Baldwin–originally with Holloway the
printseller,-who some thirty or thirty-five years ago was the only person then engaged
in the special trade of cleaning and restoring prints. He began business in Lambeth,
and shortly afterwards removed to Great Newport Street, where he continued until he
died, about twelve years ago. Baldwin had a great reputation amongst print collectors
and dealers; but for very many years he personally seldom touched a print, leaving every-
thing to his manager, Mr. Grisbrook. gº
Print restoring, although often abused by the unscrupulous, is not only a legitimat
but a highly artistic industry. Mr. Grisbrook has drawers full of old paper of every shade,
age, and texture, from which he can match almost anything, and his additions—as a piece
torn from the margin, or even the grafting on of a new margin entirely,–are so skilfully
made as to be unobservable except by the closest examination. Mended or restored
prints can be recognised by an examination against transmitted light, which reveals the
varying thicknesses of the paper. But a print shorn of its margin has had another one of
ample dimensions added by Mr. Grisbrook in such a manner that this test fails; for by the
ingenious method pursued, no inequality in the thickness of the paper can be detected.
He takes a sheet of clean paper of the desired size and quality, and splits it about two-
thirds of its length. The print to be operated upon is now split completely through, so as
to make it extremely thin, the edges having been previously cut perfectly square and close
to the engraved work. A square piece, corresponding exactly to the size of the print, is
then cut in its proper position (about the centre) from the face of the split portion of the
clean sheet of paper; the print is inserted in its place, and the whole is carefully mounted
up, or pasted together, forming a solid and homogeneous sheet. A print thus treated
naturally shows no marks of inlaying at the back, which is a perfectly unbroken sheet of
paper, and the edges of the print having been pared down to the substance of tissue
paper before mounting, the front is equally unimpeachable.
All so-called restorers are not to be trusted with fine prints. For instance, con-
noisseurs know that proofs and early impressions of engravings and etchings owe some of
their richest charms to the fact of the printing ink standing up in ridges, as it were, in the
stronger parts. Let a creased print, say one from Turner’s “Liber Studiorum,” be sent
to one of this numerous body; and what is the result The print will most probably be
returned with all the beautiful raised work crushed as flat as a piece of polished ivory—in
fact spoilt.—the result of its having been passed through steel rollers or a powerful litho-
graphic press. Mezzotints suffer least from this treatment, but even they come back with
an unnatural and photograph-like polish, which, when the print is viewed at an angle,
cannot but painfully arrest the attention, and is cruel to the eye of the connoisseur. In
restoring prints great pressure is sometimes necessary, as in repairing or adding mar-
gins. Mr. Grisbrook, by some ingenious method, positively known only to himself, but
92 . probably
Print Imlaying and Sø/itting.
probably by the use of metal plates hollowed in the centres,-applies pressure on the
margins or damaged portions only, which of course leaves the print in its original beauty.
Perhaps one of the maddest tricks in connexion with the services of the print restorer
—and the incident possesses the merit of being true—was that perpetrated not many years
ago by a wealthy amateur, who, wishing to illustrate a book with a head of the Madonna,
one day walked into the room of one of the largest print dealers, and after having negoti-
ated the purchase of a proof, worth about £60, of Müller’s “Madonna di San Sisto,” after
Raffaelle, and paying for it, calmly proceeded, in the presence of the astonished dealer, to
cut out the head of the Madonna with a penknife, saying he did not want the remaining
portion of the print, which he left behind. It remained knocking about in a drawer for
some years. At last this very eccentric amateur died, and his effects were disposed of at
Christie's, amongst them being the small book containing the head of the Madonna; and
the print dealer, hearing of this, bought it at the sale for a mere trifle. The head was
carefully removed from the book, and sent, together with the remaining portion of the
print, to the restorer, who inlaid it so beautifully that its previous maltreatment became,
so far as appearance went, a thing of the past.
PRINT INLAYING-The artificial restoration of a lost margin, or “inlaying,” a process
already described, adds unquestionably to the appearance of a print which is required for
framing or exhibition, but perhaps not to the intrinsic value. Although the repair, when
skilfully and professionally made, cannot be perceived, it can hardly be attempted by
the amateur with much hope of success. -
PRINT SPLITTING-Print splitting used at one time to be followed as a trade, or
rather as a branch of trade, and the late Mr. Nicholls, the well-known printseller of Green
Street, Leicester Square, was in the habit of inserting a line in his catalogues to the effect
that he undertook to split prints.” Print splitting is legitimate enough when it is used to
* Nicholls was the factotum of the more celebrated Edward Evans, print dealer, cleaner, restorer, and splitter, of
Great Queen Street, Lincoln's Inn, and afterwards of 403, Strand, whose father, Edward v. Evans, had conducted a
similar business (begun in 1820), before him. Edward Evans, who was in partnership with, and assisted by, his
brother Albert, was perhaps more especially known as possessing an extensive knowledge of portraits, and his two bulky
catalogues are even now standard works of reference. The last of the family died some ten or twelve years ago.
aid the remounting of a marginless print, in the manner already described; but it is some-
times abused for the manufacture, with the object of obtaining higher prices, of spurious
Proofs, in a manner detailed in the chapter headed “Deceptions with Prints.”
e There are two plans usually adopted in splitting prints. The first is to paste a piece of
linen over the face and another over the back of the print, and when dry to violently tear
them asunder, the two pieces of paper that will be found adhering being afterwards re-
moved by damping. A simpler plan, but one requiring more care, is to coat both face and
back of the print with ordinary flour paste, which is allowed to dry, the process being
repeated several times. A corner of the print is then nicked with a penknife, and it will
be found that the double coating of paste has rendered the print sufficiently strong to bear
Pulling completely asunder. The paste is afterwards removed with luke-warm water.
- 93 Landseer's
ºzº - w
*****, *.sºa-ºº-ºº:
--
*
|
Aartolozzz and /ºz's works
Landseer's painting of the “Eagle's Nest,” which had not been previously engraved,
appeared not very long ago in the Illustrated London Wews, and Mr. Algernon Graves,
who is a known enthusiast on all matters connected with Landseer, caused a dozen copies
of the leaf containing the cut to be split ; after cutting close, he had these mounted on
large pieces of cardboard with an India paper ground, showing about an inch of margin all
round the print. Splitting was of course resorted to in this case in order to get rid of the
letterpress on the reverse side, which would otherwise have shown through after the
mounting. The examples thus treated have a remarkably good effect, and were presented
by Mr. Graves to various Landseer collectors, by whom it is hardly necessary to say they
were received with considerable satisfaction.
It was Baldwin who had the credit of splitting a Bank of England note, but it was
really Grisbrook who did it. He laid the two halves before the astonished Governors of
that very respectable institution; but whether they at once impounded them, or humbly
handed over to the clever manipulator a sum of money sufficiently large to insure him a
respectable income for the remainder of his days, and begged him to bury the matter in
silence—which, according to popular tradition, would have been their proper course,_
history sayeth not, and Mr. Grisbrook himself is equally reticent.
PRINT CLEANING.—There are many so-called print cleaners, who are apparently of
opinion that to clean a print means to bleach it, which is really worse than allowing the
accumulated dirt of ages to remain untouched upon it. In order to clean a print properly,
dirt and stains should be thoroughly removed, but the deep tone of the paper, partly
natural and partly acquired by age, should no more be disturbed than the engraving itself.
Many persons practise the art of print cleaning, but the great majority of them might more
truthfully term their vocation print ruining. In cleaning, chloride of lime is their great
friend, an agent which, though effectually cleansing, bleaches to a painful whiteness, and,
if not afterwards thoroughly removed, rots the paper. A solution of chloride of lime, if
carefully used by an experienced person, is a useful agent for cleaning line engravings; but
in stippled prints, even when treated with a very weak solution, the bloom constituting
their chief beauty vanishes as if by magic, and the print is ruined.
An old writer recommends foul prints to be boiled in water and then bleached by
exposure on a grass-plot to the sun for several days, and quaintly concludes: “Don’t
leave your prints on the grass-plot at night, for fear of the worms and cows.”
The safest and most effective method practised by professional cleaners is as follows:
A stout common deal frame without a back is provided, and over it is stretched a piece of
thin muslin, secured at the sides by tacks. The engraving to be operated upon is laid face
upwards on the muslin, and the frame is placed over a copper filled nearly to the brim with
boiling water. The hot steam penetrates through the muslin to the engraving, and the
stains and dirt gradually disappear. The removal of the more obstinate stains may be
expedited by pouring boiling water on the face of the print while it is undergoing its
steaming. When a thorough cleaning has been effected—a matter sometimes of several
hours—the frame and print are removed bodily, placed on one side, and left until
thoroughly dry. The final operation consists in passing the print through a press, which
renders it perfectly flat.
94 Another
Print Cleaning.
Another safe way is to lay the print face downward in a sufficiently large vessel,
and gently pour boiling water over it to a depth of one or two inches, and in the course
of an hour or two the dirt will disengage itself.
A third manner of proceeding, answering well when prints are very dirty indeed, is
to go several times, gently but firmly, over the face and back, alternately, with a large
paste-brush charged with common bookbinder's paste reduced to the consistency of cream
by the addition of water. An hour's after-soaking in warm water, and a final application
of the brush charged with tepid water only, effect wonders in the way of cleansing, and
there is moreover by this treatment no danger of injury to the most delicate print. Prints
that are on soft, unsized paper require very cautious treatment, as they readily tear or
burst into holes if roughly handled while wet. -
The only bleaching and cleansing agent that the writer has successfully used on
prints of every description, is prepared by a firm of wholesale manufacturing chemists
in Leadenhall Street, London—Messrs. Hodgkinson, Prestons & King.”
* The makers speak of it as follows —“The principal merit of this fluid is, that it does not, like many bleaching
compounds, contain any insoluble salts. It is a compound of hypochlorous acid, one of the most powerful bleaching
agents known, and an alkaline base which is perfectly soluble in water, and consequently is easily washed out after the
operation of bleaching has been finished. Being in a liquid state, and being miscible with water in all proportions, it is
easy of application; whilst the perfect elimination of the base by simple washing prevents the action which usually takes
place in the paper after it has been dried, and which is the most prevalent cause of rottenness.”
CHAPTER
95
x-r ** ***… ... - * ºr - <-- ...a… Sºº "ºº" -z. *...**
** *-axº~cººrºº:
... .3:.#~
–
Bartolozzi and his Works.
CHAPTER XXIII.
Copper- and Steelplate Printing.
.210 & in a few details of minor importance, the process of copperplate
printing has remained unchanged for a very long period. The first
copperplate presses were made entirely of wood, the heavy roller under which
the plate is passed while receiving the impression, being usually of lignum vitae; and
presses of this description may still occasionally be seen doing good service. The more
recent are, however, made entirely of iron, and are much less cumbersome, besides being
easier to handle. In printing, the copperplate is entirely covered over on the engraved
side with an ink composed of burnt linseed oil and German or French black—the latter
is considered the better, the finest kinds are supposed to be manufactured from the
tendrils of the vine. The colour of the ink varies with its quality, and the charm of
a fine engraving is much enhanced by the tone of the black in which it is printed.”
* Turner was very particular as to the ink used for his Liber plates, as may be gathered from a note on an
engraver's proof: “A fine rich bistre colour is the tint I want.” t
The sunk or engraved portions of the plate are completely filled with ink, the face
being also necessarily covered by the operation, but to obtain a clear impression from
the plate, line for line, the surface must be carefully cleaned, which is done with a
species of coarse canvas of open texture, made specially in Dundee for the purpose.
The canvas is first washed and dried, so as to render it soft; it is then rolled up into a
ball or pad, and passed over the face of the plate, but across the direction of the lines
as much as possible. That is, if the chief work of the plate runs from top to bottom,
then the dabber would be passed from side to side, otherwise too much of the ink would
be removed. In the first wiping a foul piece of canvas is used—a piece that has before
done duty—and in the next, one that is not quite so dirty, the third rubbing being given
with a perfectly clean pad. The plate then receives a rubbing with a somewhat finer
material, known as leno, subjected before use to washing, so as to render it soft and
pliant. If the plate be a heavy one, a little whiting on the leno greatly facilitates the
cleaning, and the final polish is given with the palm of the hand, to which a little of the
* 96 Same
Coffer and Steel/ate Printing
& sº ºr ººzºº.º.º.º. º.º.º. ºr
same material has been previously applied. It is a curious fact, that although whiting not
only facilitates the cleaning, but gives a more brilliant face to a print from a copperplate, it
is totally unsuitable for printing with the steel plate, the impressions from which, if treated
with whiting, are blurred or broken, or, as it is termed, “rotten.” For very delicate work a
piece of wash-leather is occasionally used after the leno. It is necessary, in order to render
the printing ink sufficiently soft, to heat the plate before it is applied, and this, until about
five and twenty years ago, was done over a charcoal stove, which took some three and four
hours each day to prepare. Mr. Brooker was the first copperplate printer to substitute
gas for the troublesome and somewhat expensive charcoal stove, and it is to Mr. Brooker
also that copperplate printers are indebted for the use of whiting for the lessening of their
labour. The paper to receive the impressions is invariably damped before printing,
sufficient time being allowed for the moisture to soak evenly through. The plate having
been charged with ink and cleaned as described, is laid, face upwards, on to the bed of the
press, with the paper to receive the impression carefully adjusted in its place, and “pulled
through,” during which operation the plate is protected from the injury which might occur
from inequalities in the paper or the introduction of foreign matter, by several thicknesses
of soft blanket placed between it and the roller; a better and more uniform impression is
also insured by this addition to the press.
By judicious wiping, a plate may be either lightened or darkened in parts, as desired;
and by the use of a thick dense ink and extra pressure in the printing, termed “forcing,”
impressions from worn plates may be much strengthened. Mr. Cousins leaves nothing to
the printer: “All I want is what is in the plate,” he sternly remarks, if anything be said
on the subject.
The wearing of a copperplate does not take place in printing—that is, in the actual
passing of the plate through the press, but in the wiping, scrubbing, and polishing to
which it is subjected before each impression, in order to remove the ink from the
surface of the plate.
Since the introduction of steel-facing,” a copperplate may be said to practically last
* Steel-facing was invented by Monsieur Garnier, who, in 1859, sold the English patent to Monsieur F. Joubert, to
whom, in the same year, the Society of Arts awarded its silver medal.
for ever; for as soon as the harder metal begins to wear and shows the underlying copper,
it is re-faced, and the process may be repeated as often as desired.
Printing in black, or in one colour, requires judgment and dexterity; but printing in
several colours, the history of which is given in another place,” supposes the printer to be
* See Chapter XXXIV., “Falsely-tinted Prints, and How to Distinguish.”
himself a painter. A whole day was sometimes employed in the production of a single
coloured impression. The painter-printer had a coloured pattern before him as a guide,
and a number of pots containing the printing inks to be employed. He then set to work
and, strictly following his copy, laboriously painted into the copperplate itself the various
coloured inks, until the whole of the engraved work was filled in. Printing inks dry very
slowly, so that there was little danger of the pigments hardening before the impression
97 could
VOL. I. - º H
3.
.
º
.
ey
r;
*
:
*
º
§
;
Aartolozzº and /*z's M/orks.
could be pulled. Soft stubs or stumps were used for laying in the ink, a separate one
being kept for each colour, and in the more delicate parts, such as the lips or cheeks of a
portrait, a flower in the hair, or other small work, much finer tools would be used, and
resource even had to small pieces of rags twisted into delicate points. The most highly
prized examples are entirely coloured from the plate; but there are many fine prints
which owe a portion of their finish—generally in the minor details—to the after applica-
tion of the brush.
CHAPTER
98
Fine A77 A/afe Printers.
CHAPTER XXIV.
Fine Art Plate Printers.
º& T’ astonishment can hardly be felt if fine art copperplate printers
are classed in the minds of the majority of people with “butchers
and bakers and candlestick makers,” when the public is too apt to thought-
lessly look upon engravers themselves as “a set of ingenious mechanics.”*
* See “Evidence relating to the Art of Engraving taken before the Select Committee of the House of Commons on
Arts” (1836), and the Committee's report made to the House thereon.
thick head and a strong arm was fit for a mezzotint printer; but to work an etched plate
effectively requires brains, or rather artistic instincts rarely found in the British workman.
Many etchers, in ignorance to whom they should apply, and in despair of getting their
plates properly printed, have undertaken the mechanical part themselves, and a copper-
plate printing press as an adjunct to the studio is now by no means uncommon.
The professional engraver is very largely indebted to the skill of the plate-printer
who follow this calling are few in number, and, except to the print-publishers, to whom
they owe their principal employment, are utterly unknown outside their own class. In
London there are five firms of plate-printers, who for many years have devoted them-
selves exclusively to fine art work; and a short history of their antecedents will doubtless
prove of interest:—k -
* There are other firms, some in a much more extensive way of business than those mentioned, as Messrs. Virtue &
Co., Limited, who print the Art journal; Messrs. Vincent Brooks, Day & Son, who have in their employ the Goldings
—father and son; but the writer is unaware of any plate printers who practise fine art plate printing exclassively, save
those mentioned.
THE FIRM OF J. H. & F. C. McQUEEN was established at the beginning of the
present century, in Newman Street, Oxford Street, London, by the grandfather of the
in the year 1819. In the year 1832 the business was removed from Newman Street to
Tottenham Court Road, where new premises were erected from designs by John Finden,
99 - architect.
*=====-—
© H 2
gºººººººººººººººººººººººº… **
* * e & 3. tº -
It used to be a common saying amongst copperplate printers, that any one with a
in bringing out and making manifest the beauties and excellencies of his work. Those
present members, William Benjamin McQueen, who was joined by his son, William Henry,’
Bartolozzi and his Works.
architect. The workshops, which cover nearly 20,000 square feet of ground, are in the
shape of a parallelogram, with a large open space in the centre, and are built almost
entirely on one floor, well lighted throughout. The founder died in 1842, and his son,
William Henry, continued the business until 1856, when he was joined by his two elder
sons, William Benjamin and John Henry. In 1861 William Henry retired from the
business, and his two sons took their brother, Frederick Charles, into partnership.
William Benjamin, the eldest of the three brothers, died in 1867. The Art 9 ournal in
recording his death spoke of him as “an artist in his craft.” The father, William Henry,
died in the same year, and the two brothers, constituting the present firm, have since
continued the business.
The house of McQueen was celebrated in its early days for printing in colours direct
from the single copper plate; an impression in many cases occupying the workman,
although the subjects were but small, at least an hour, and sometimes two or three. Some
of the finest specimens, after designs by the Princess Elizabeth, daughter of George III.,
published by Orme, of Bond Street, and Fuller & Co., of Rathbone Place, almost equal
miniature paintings in detail and finish. Through the introduction of the cheaper process
of chromo-lithography the art of direct copperplate printing in colours has died out.
Some fine examples placed at his disposal by the present members of the firm are now
in the collection of the author.
A great number of plates engraved by Bartolozzi were printed by the McQueens, and
amongst more or less important books, the illustrations, both in black and colours, of which
were printed by them, may be mentioned: “The Bridgewater Gallery”; Bartolozzi's
Drawing Book; Moore's “Irish Melodies,” illustrated by Maclise; “The Dulwich Gallery”;
Daniel's “Oriental Scenery”; Holbein Heads; many medical works, the last of modern
times printed in colours being Silvestre's “Paleographie Universelle”; Chamberlaine's
Drawing Book; Batty's Scenery; Boydell's Shakespeare; Brockendon's Alps; Britton's
“Cities and Cathedrals”; Byron's Works; Finden's Gallery; Gell's “Pompeii”; Harding's
Drawing Book; Johnson's Life and Works; “National Gallery,” published by the
Associated Engravers; Nash's Works; Pugin's Architectural Works; Parry's, Rogers',
Southey's, Sowerby's, Henry Shaw's, and Swan's Works; “Don Quixote"; Smirke's
Shakespeare; Turner's “England and Wales,” “Scotland,” “Rivers of France”; and the
Waverley novels. One important book, Sibthorpe's “Flora Graeca,” printed by the firm,
contained nearly one thousand quarto plates, the largest number, it is believed, ever
issued in a single work. In fact, Messrs. McQueen assisted in the production of most of
the illustrated works published by nearly all the old leading firms, including James Bohn;
Henry G. Bohn ; Cadell; Hurst & Robinson; Longman; Murray; Molteno; Rodwell &
Martin; Tilt & Bogue, and others; while the engravings printed by them comprise many
of the finest plates engraved by J. B. Allen; R. Brandard; Burnet; Chant; S. Cousins;
George T. Doo; Gibbon; E. Goodall; W. Greatbatch; E. Finden; W. Finden; J. Faed;
J. Heath; C. Heath; W. Holl; F. Holl; Lane; W. Miller; John Pye; H. T. Ryall;
J. H. Robinson; Lumb Stocks; C. W. Sharpe; W. H. Simmons; Thomson; J. T.
Willmore; A. Willmore; J. H. Watts; and many others issued by Colnaghi; Fores;
Gambart; Hogarth; Hayward & Leggatt; Hill; Lloyd; M'Lean; Moon, Boys &
IOO Graves;
Pºzze A77 A/afe Pºzſers.
Graves; Schaus; and other leading publishers. Most of the works published by the
Art Unions of London and Glasgow, and some of the works published by the British
and the Geological Museums, have been printed by this firm. They at present print for
most of the modern print and book publishing houses. It is stated that George T. Doo
never engraved a plate that was not printed by the McQueens, and the same might be
said of those by John Pye. The illustrations to the once popular annuals published by
C. Heath, including the “Book of Beauty,” “Keepsake,” and “Picturesque Annual,” were
also printed by them.
Messrs. McQueen are the custodians of many thousands of steel and copper plates,
which are stored in two fireproof rooms, one for steel and the other for copper; and the
contents of each are so systematically arranged that any plate is forthcoming in a few
minutes. Some time ago, through some mysterious and never-explained cause, damp,
or rather mildew, found its way into the steel plate room, and the results, notwithstanding
that each plate is protected with a thick coating of beeswax, might, if the enemy had not
been discovered at once, have been most disastrous. Ordinary business was stopped, each
plate had to be separately examined, the old beeswax melted off, and the plates refaced
with new and re-wrapped. Some weeks were thus taken up; but fortunately the damage
was found to be inconsiderable.
MR. T. BROOKER's business dates back to the latter part of the last century. It was
established in Clerkenwell, by Mr. Ebsworth, a celebrated copper-plate colour printer,’
who managed during the political troubles of 1801, when the Habeas Corpus Act was
suspended, to get himself incarcerated in Coldbath Fields prison. During his enforced
absence, his business was managed by his apprentice James Lahee, who succeeded to it
on his employer's retirement. Later on, Lahee built a large factory in Castle Street,
Oxford Street, and was employed by Turner, who was in the habit of personally
superintending the work, to print the “Liber Studiorum.”
During a long career of over thirty years, he printed, amongst others, most of the works
of the following celebrated mezzotinto engravers: Charles Turner, A.R.A.; S. W. Reynolds,
the introducer of the mixed style of engraving; Jas. Ward, R.A.; Wm. Ward, A.R.A.;
Wm. Say; H. Meyer; F. C. Lewis; Thos. Lupton; and Geo. Clint. Conspicuous amongst
these works were—“The Trial of Queen Catherine,” painted by Harlow and engraved by
Clint; Turner's Liber Studiorum, and other plates; and a small edition of the works of Sir
Joshua Reynolds, engraved by S. W. Reynolds. About forty years ago, Thomas Brooker,
having served the usual apprenticeship of seven years to James Lahee, became a partner,
and eventually his successor; continuing the business as before in Castle Street, until larger
premises became a necessity; and the present range of buildings in Margaret Street,
Cavendish Square, were erected by him. Mr. Brooker has printed many of the leading
works of the following eminent engravers: S. Cousins, R.A.; Thos. Lupton; S. W. Rey-
nolds; G. Clint; W. Ward; G. R. Ward; Wagstaff; Walker; Wass; Jas. Faed; T. O.
Barlow, A.R.A.; F. Stackpoole, A.R.A.; and Geo. Zobel; including the following well-'
known examples: “The First of May,” many portraits, after Sir Joshua Reynolds; “The
Ports of England”; “Tyndal Translating the Bible”; “Evangeline”; “Scott and his
IOI Friends,”
*=–
Bartolozzi and his Works.
Friends”; “Shakespeare and his Friends”; “The Diet of Spires”; “Distinguished Men
of Science”; “The Shadow of Death,” after Holman Hunt; “My First Sermon,” “My
Second Sermon,” “Asleep and Awake,” and “The Huguenot,” after Millais; “La Gloria,”
and “Prayer in Spain,” after John Phillip; “The Palm Offering,” and Elizabeth Thomp-
son's celebrated series of military subjects, etc., etc. During the last ten years, Mr.
Brooker has given considerable attention to the artistic printing of etchings, in connexion
with which he enjoys a merited reputation. º
THE House OF HOLDGATE BROS, in London Street, W., was founded by the late
Mr. Holdgate in 1851, who was succeeded by his three sons, Edward, Alfred and Richard,
now conducting it. Amongst some of the more important and well-known engravings
printed by this firm may be mentioned: the complete works of Sir Joshua Reynolds;
the complete works of T. Gainsborough ; the works of Sir Edwin Landseer, notably the
“Monarch of the Glen,” the “Deer Pass,” “Sanctuary,” etc.; “The Railway Station,”
after W. P. Frith; “The Horse Fair,” after Rosa Bonheur; “Mors Janua Vitae,” after Sir
Noel Paton, etc., etc.
THE FIRM OF DIxoN & Ross (now Thomas Ross) has been engaged in fine art
plate printing at 70, Hampstead Road, nearly half a century; and during that time has
printed, with very few exceptions, the plates of that eminent engraver, Samuel Cousins, R.A.
Amongst other fine works may be mentioned “Lady Dover, Duchess of Sutherland,”
painted by Sir Thomas Lawrence, P.R.A., and published by P. & D. Colnaghi; “The Queen
taking the Sacrament at the Coronation,” after Leslie; “The Queen, Prince Albert, and
Family,” painted by Winterhalter; “Lord and Lady Egerton's Return from Hawking,”
painted by Landseer: all published by the late Francis Graham Moon. The “Bolton
Abbey,” after Landseer, published by Thomas Boys; “The Midsummer Night's Dream,”
after Landseer; “The Abercorn Children,” after Landseer; “The Sutherland Children,”
after Landseer; “The Mitherless Bairn,” after Faed ; “The Minuet,” after Millais, and
many others, all engraved by Samuel Cousins. The “Peace and War,” engraved by that
close follower and only pupil of Samuel Cousins, Thomas L. Atkinson. “Windsor Castle
in the Present Time,” “Forester's Family,” “Dialogue at Waterloo,” the latter three
engraved by Atkinson after Landseer; also many other fine engravings published by
Henry Graves & Co., Pall Mall. -
The same firm has printed, among Mr. Cousins' later works, “The Strawberry Girl,”
after Sir Joshua Reynolds, published by Agnew and Sons; “Yes or No," after Millais, also
Agnew & Sons; “Miss Boothby,” after Sir Joshua Reynolds, published by P. & D. Colnaghi
and Thomas M'Lean. The proofs of these three plates realize at public sale about twenty
pounds each. They have also printed one of Mr. Cousins' very recent works, “The Princes
in the Tower,” after Millais, published by the Fine Art Society, New Bond Street. It may
be added that Mr. Cousins is now (1881) in his eightieth year, and still appears to retain his
wonderful manipulative powers unimpaired: he is at the present time engraving Millais'
“Cherry Ripe" for Mr. Thomas McClean, of the Haymarket, who owns the copyright of
the picture. º
IO2. CHAPTER
7%e Pºzłse/lers' Association.
º
ºw8"º wr ºxº-
CHAPTER XXV.
The Printsellers' Association.
SC) & QRZ!Tr times in the course of the present work has mention been
made of the trade tricks of print publishers and print-
sellers. The most common of these frauds is the simplest—a multiplication of proofs
after the promised number has been taken. To such an unconscionable extent is the
printing of so-called proof impressions sometimes carried, that plates have been known
to become worn out and to require retouching—termed mending or repairing—before the
requisite quantity could be supplied, and before the production of the prints had been
even begun.
The practice of printing extra “proofs” is, though largely developed of late, by no
means confined exclusively to modern engravers. Raimbach laments an error of judg-
ment on his own part in having had printed five hundred proof copies of the engraving of
Wilkie's “Blindman's Buff,” and narvely remarks, “That quantity, great as it is, does not
reach half the amount that has been taken of impressions under that denomination from
various plates published by the printsellers.” -
The injury to the purchaser no longer consists, as it did formerly, in his having to
accept, at the price of a proof, a late copy from which the sharp crispness of the earliest
impressions has departed, for the modern processes of steel engraving and steel facing
allow of a very large number of clear and sharp impressions without visible signs of wear
in the plate. The real loss of the buyer is rather commercial than artistic. When a
limited number of proofs of a celebrated engraving are advertised at a fancifully large and
altogether arbitrary price, the buyer naturally hopes that in course of time his purchase
will become more valuable, or if he ever wishes to realize, that he will be able at least to
get his money back again. What, however, is the fact? The so-called “proof” impres-
sions of many well-known plates are so numerous that the market is flooded with them,
and when they appear in print sales, as they frequently do, a tithe only of the original
price can be obtained, or perhaps even only a shilling for every pound invested. Art-
patrons have found this out for themselves, and many in disgust have abandoned their
– IO3 hobby,
-
Aazºo/o322 and /*z's M/orks.
hobby, or else confine their purchases to prints bearing the mark of the Printsellers'
Association.
The primary object of this Society, which was incorporated in 1847, was to prevent
fraud and to give a guarantee of real value to engravings which passed through its hands,
by means of an official stamp indicating that only the number of impressions promised on
publication had been worked off. Fresh rules were adopted on the 29th September, 1874,
from which it appears that the Association—which is conducted by a president, vice-
president, treasurer, auditor, and secretary—consists of publishers of prints, printsellers,
artists, engravers, printers of steel and copper plates, and others connected with the print
trade. Any eligible person desiring to join it is elected by ballot. No engraving, the
artist's proofs of which are issued at a less price than one guinea and a half, is stamped
or in any way recognised by the Association. The artist's proofs are stamped at the left
hand, and all other classes of proofs at the right hand corner. The larger stamp shown in
the cut (
© for engravings and etchings, the engraved work of which does not exceed twelve
inches in measurement either way.
The letters of the alphabet on the stamps, which are movable, are changed at each
impression, according to a recognised sequence; and the changes that can be rung
without any two combinations being alike amount, it is stated, to twenty-six thousand.
The rules governing the Association—forty in all—are extremely stringent, and a
member breaking one of them in any particular is liable to immediate expulsion. One of
the most important and protective is that the Association declines to have anything to do
with a plate that has been previously issued unstamped, for the obvious reason that it
could have no positive knowledge of the number issued. A publisher wishing to have his
prints stamped by the Association, fills up a declaration form, which is not allowed to be
altered in any way after being once in the Secretary's hands. If it be advertised that after
a certain fixed number of impressions a plate is to be destroyed, the publisher is, within a
certain period, compelled to deposit with the Secretary of the Printsellers' Association a
principal piece of important size of such plate. Even the printing of the trial proofs that
are struck off for examination during the progress of the plate is hedged in with restric-
tions; for when the engraver begins his plate, Rule 32 specifies that the words, “in progress
for proprietor,” together with the name and address of such proprietor of copyright, shall be
etched in the middle of the bottom margin in letters not less than one-eighth of an inch in
height, and shall remain until the engraving is finished. Such proofs are further to be
confined to the number strictly requisite for testing the plate, are all to be delivered to the
publisher on completion, and are declared not to be marketable property. Members of
the Association are not allowed to employ any printer who has not also been duly elected
a member of the Association, such plate printer being compelled to hang up in a
prominent position in his office or workshop a framed copy of the rules supplied by
the Association and duly subscribed by him. It will be gathered that the Printsellers'
Association plays an honourable and important part in connexion with the legitimate
IO4 publication

7%e Pºznańse/lers' Association.
publication of prints. It is to be regretted that there are certain well-known publishers
of high standing, and etchers whose works command a big price, who refuse to be
governed by the rules of the Association, or to consent to their productions being
stamped with its mark. -
It must not for a moment be inferred that the stamp of the Printsellers' Association
forms any sort of guarantee, like the hall-mark on plate for instance, as to the quality of
the engraving itself; it is simply an assurance that the print is one of a fixed number of
impressions. -
It will be inferred that the primary object of the Printsellers' Association is the main-
tenance of public confidence in the print trade. The Association has done good work, but
from the very nature of the trade it controls, its regulations, although stringent, are not
stringent enough. It has no penal power; and in some cases its preventive effectiveness is
not perfect. The publisher of an engraved plate has to fill up a paper (form A) entitled
Publisher's notice to the Printsellers' Association, on which amongst other things he has to
declare the number of artist's proofs, proofs before letters and lettered proofs, which he
binds himself not to exceed in printing, together with the published price of each descrip-
tion. The blot in this system is that the publisher is allowed to declare any number
of impressions he chooses, a privilege which is occasionally most flagrantly abused. In
several well known instances the gross value of the declared proofs, irrespective of prints,
have reached sums ranging between twenty and forty thousand pounds. The word
“proof,” as applied to the enormous number of impressions here indicated, is absolutely
without meaning, for that word is understood to mean an early impression, and it is easy to
understand that the stamp of the Printsellers' Association is no protection whatever in this
direction. There is no question that the absolute license given to publishers in the
number of impressions they may declare ought to be not only curtailed, but absolutely
controlled. Of course this exaggeration of the numbers of “proofs" is not exactly a
fraud, inasmuch as the purchaser or subscriber may inform himself of the real value of
what he is buying by asking to see a copy of the declaration ; but as a matter of fact he
seldom does so, and is thus indirectly cheated by the misleading designation of proofs.
On the other hand, some prints are occasionally issued, as witness Frith’s “Railway
Station,” + published by Messrs. Henry Graves & Co., the cost of which is so enormous
* A sum of twenty thousand pounds was sunk in the production of this print, which was specially engraved with a
view to stand an extra number of proof impressions without showing signs of undue wear.
that their publication would never pay at all unless a large number of proofs were printed
and disposed of; but this by no means applies to all plates, the number of impressions
from some of which appears to be regulated by the greed of the print publisher and the
gullibility of the public. .
Some of the second-rate print publishers are in the habit of marking prints with a
stamp which, although worded differently from that used by the Association, is obviously
from its size and general appearance intended to deceive the public, many of whom,
is like.
IO5 The
—
although they may have seen or heard of the genuine stamp, do not know exactly what it
r:
|
Bartolozzi and his Works.
The rules of the Printsellers' Association are, it has been stated, very stringent, but, as
it has been often proved, not unnecessarily so. There is one well authenticated instance
of an eminent engraver, who, in collusion with his plate printer, caused some extra im-
pressions from one of his own plates to be struck off, which he sent to a print sale to be
disposed of. The purchaser finding on after examination the mark of the Association
absent, and knowing that the engravings ought to have passed through its hands, instructed
his solicitor to proceed against the engraver for the amount paid at the sale, which, to
save exposure, was at once promptly refunded together with expenses.
Every copper or steel plate has a certain blank margin, the impression from which
upon the paper outside the print is termed the plate-mark. The writer would suggest that
the exact dimensions of the plate should be engraved and appear on the proofs, and that
when the proofs had all been taken, the margin of the copperplate should be reduced ; say
one inch, more or less, according to size, all round. The descriptive lettering might then
be added and the ordinary prints taken, the dimensions of the plate when in proof state
being left as a guide to the purchaser. If this plan were adopted, the system of printing
false proofs" and extra impressions would necessarily be completely put a stop to ; but
* Wide Chapter XXXII., “Deceptions with Prints.”
whether the Association will adopt it, and if they adopted it, whether the print publishers
would back them up, are questions which need not here be discussed.
CHAPTER
Pºzzaf Sa/es.
CHAPTER XXVI.
Print Sales.
‘U & notice by advertisement in the newspapers is given of print sales held
in London; the principal auction rooms, which are described in another
chapter, being those of Messrs. Christie, Manson & Woods; Sotheby, Wilkinson
& Hodge; and Puttick & Simpson. Print sales begin at one, and are usually over about
four o'clock. A list of collectors and probable buyers is kept by the auctioneers, to
whom catalogues are forwarded by post a day or two before each sale; they are also in-
variably forwarded on a written application, accompanied by a stamp for postage.* Prints
* Sale catalogues are usually very carefully compiled and accurately printed, although minor blunders are not
uncommon; the mistake, however, of turning “Coins and Curiosities” into “Cans and Canisters,” which appeared in a
catalogue printed in a northern town, could hardly occur in London.
are “on view” two days before they are brought to the hammer, and if a purchase be
contemplated, it is highly advisable, after a perusal of the catalogue at home, to take
advantage of the opportunity thus afforded for a careful examination. The prints will be
found in large portfolios arranged side by side on long tables in the sale-room.
Unless prints are rare and valuable, and worthy of being disposed of separately, they
are usually in lots of from two upwards; the smaller the number in each lot the better as
a rule the class of prints. It is no unusual thing to find in one sale lots containing
varying numbers, from six up to sixty or more; and when a lot gets into high numbers,
it will generally be found to come within the collector's laconic but slaughtering description
—“rubbish.” -
The intending purchaser will find the lots numerically arranged in batches. If, for
instance, lot No. 76 be the first which he wishes to examine, he will look along the benches
on which the portfolios are placed, until he comes to one bearing the figures, say, 60–94,
and on opening he will find the lots arranged consecutively, beginning at No. 60, each
being enclosed for protection in a large sheet of cartridge paper of uniform size. The
tyro is apt on a first examination to mix the lots, which can easily be avoided by
carefully turning over the first, No. 60, to his left, placing 61 on the top of that, the others
- IO/ - following
Bazºfolozzz azed /ăzs M/orks.
following in the same order. To save time several lots may be turned over together, until
No. 76, is reached; which can then be examined, and the price fixed upon and noted
against the lot number in the catalogue. In buying at a sale, the collector may attend
personally, or by representative ; or he may send his catalogue, each lot required being
marked with the outside price he is willing to give, to the auctioneer, who will bid for him
without charging commission. The novice is warned to guard against excitement in the
sale-room; for when bids are flying about, he will be very apt to be drawn into giving a
price, which in his cooler moments he may have reason to repent. Print collectors in
their early days are often thus led away, and there is nothing for them but to buy their
experience; but it is astonishing how soon the lessons are taken to heart. There are
collectors constantly frequenting sale-rooms whose pulse never varies a beat a minute:
they have their price, and if things are going cheap they buy; they will bid up to a certain
predetermined figure, but nothing will induce them to offer a shilling beyond. Nor is it
advisable to start the bidding—let that be left to other people. It is best to begin when
bids are lagging, and if the price previously fixed upon be reached, there ought to be no
temptation or occasion to bid at all. Auctioneers have sharp eyes, and a nod is caught
at once; if the bid is made verbally, the practice is to advance by a shilling or so at a
time when under a sovereign, and so on in proportion, no advance being accepted of less
than five shillings when the amount of the bid is above five pounds. In low-priced lots
that go for a shilling or two, an advance of sixpence is taken.
It may happen that the attendance, both of dealers and the public, is thin at some
auctions where really fine prints are on sale, on which occasions bargains may be secured;
but it may also happen that not only dealers but private buyers are largely represented,
and if, as is sometimes the case, several people want the same print, and are determined
to have it, absurd prices will be reached. The dealers never go beyond what they consider
the value—a price which from their experience they know they will be able to obtain
plus their usual profit, from their customers. But there may be and frequently are
several private buyers with long purses in the room, who, when they get excited, and
their acquisitiveness is keenly stimulated, will go on bidding one against the other until
the most fearless becomes the possessor of a coveted print, the duplicate of which could
probably have been purchased from a dealer at half the auction price or even less.
There is at print sales the inestimable advantage of absolute freedom of purchase, i.e.,
the absence of that touting for commissions usually practised elsewhere by the Israelitish
fraternity. Whether or no dealing in prints has a humanising tendency, although there is
a fair admixture of the Jewish element in the print trade, the proclivities of the race never
crop out in an objectionable manner in the rooms of the principal fine-art auctioneers, who
long ago sternly set their faces against professional touts, their insolent advances at sales
by auction being, if not responded to, more often than not coupled with dark threats of
running up the price. It appears to be an article of faith with these gentry, that they have
a prescriptive right to purchase cheaply, and not allow the public to do so unless smart
money be paid in the shape of commissions; and into such an intolerable nuisance has the
system developed, that would-be private buyers, who object to the morally foul atmosphere
pervading sales by auction,-more especially those held at private houses,—must perforce
Io8 stay
Aºzá Sales.
stay away, and hence the constant sacrifice of a houseful of furniture at half or a quarter
of its market value. The iniquitous system is unfortunately in full force at certain second
and third-rate London auction rooms, where prints and curiosities are sometimes sold;
and, if a purchase be contemplated, it will be found absolutely necessary to employ a
broker, with the chance, should he be a scamp, of having the price run up to the full limit,
in order that he may pocket a shilling or two extra in the shape of commission. If the
sale be held without reserve, say by order of executors in order to realize at once,—
and the public is sparsely represented, then the vampires, who understand each other
thoroughly, have it all their own way. They have two systems: one, and the simplest, is
that of not bidding against each other, in order that the lots may be knocked down in fair
proportion to A, B, and C, in rotation, at ridiculously low prices, sometimes for shillings
that ought to be pounds. Let an outsider, tempted by the cheapness of the lots, try to
secure a bargain, and observe what happens:–he is jeered and abused, and unless he be
too dense and thick-headed to take the hint and subside into silence, the price of the
article is run up to its full value or beyond, and then, amidst the derision of the company,
he is allowed to have it. If, however, he suddenly drop the bidding when the article has
already been run up beyond its value, but not quite high enough to please the vampires,
and one of the fraternity, unaware of his intention to stop, makes another bid and the
hammer falls, then there is a bullying demonstration, and the most barefaced and lying
assertions are freely made on all sides that the last bid was made by the victim, who, if he
has not by this time had his eyes opened, will be saddled with the bargain. Should he,
however, remain firm, and the auctioneer feel quite certain as to who really made the last
bid, the blackguard is declared the purchaser, the loss on the transaction being afterwards
made up in due proportion by his brother blood-suckers. The confusion will sometimes
be so great that the auctioneer will be unable to positively identify the last bidder, or it
may be—there are auctioneers and auctioneers—that it hardly serves his purpose to do
so, and then the lot is again put up for competition. The outsider will probably have had
enough of it, and the lot will be knocked down to a broker for a mere song. The other
system, “knocking out,” is perhaps a trifle more iniquitous, as it is more elaborate. By
previous agreement one or two buyers are selected, and as there is no real competition in
the bidding, everything is knocked down for next to nothing. Should there be any public
competition, the bidding is treated in precisely the same manner as before explained.
After the sale, those in the “knock-out” repair to a convenient spot, as the parlour of a
public-house, and hold another sale amongst themselves,—this time a real one,—and at the
finish the difference in the prices is divided in equal proportions. Many men gain their
living in this manner, and it is by no means unusual for large sums, sometimes in three
figures—instances are on record of four-to be divided as the extra plunder of a single sale.
There are of course occasionally “rigs” at print as at other sales, when the principal dealers
and the outside public are either practically unrepresented—which rarely happens,—or
when the true value of the prints offered is generally unknown. It is hardly necessary to
say that really respectable print dealers entirely hold aloof from shady transactions of this
nature; and as they are present at all important sales, opportunities for petty conspiracies
Occur but seldom. p
IO9 CHAPTER
•ºgºziº
Aarto/ozzz and Azs M/orks.
CHAPTER XXVII.
Art Auction Rooms.
57MO5\ſ the principal London fine-art auction rooms, where collec-
* G tions of old prints are disposed of during the season, are
those of Messrs. Christie, Manson & Woods, King Street, St. James's ; Messrs.
Sotheby, Wilkinson & Hodge, Wellington Street, Strand; Messrs. Puttick & Simpson,
Leicester Square; Messrs. Phillips & Son, of New Bond Street; and Messrs. Foster,
Pall Mall. These are all well known and old established rooms, and for our purpose
may stand in the order given. The collector looks to these sources for a steady supply,
sales of prints being held at frequent intervals throughout the season. Messrs. Puttick
& Simpson, while at times having valuable collections of prints passing through their
hands, often hold sales consisting of the stock of retired or defunct dealers, the refuse and
duplicates of collectors, and odd miscellaneous lots which appear to gravitate naturally
toward their rooms for disposal. The prints at these sales are very “mixed”; good, bad,
and indifferent examples, speculative lots, and parcels of what wealthy collectors would
term “rubbish,” being offered in one day. They are, however, to the beginner all the more
worthy of careful attention, prizes being frequently drawn in the lottery of such a mixture.
But the print sales held by Messrs. Sotheby, Wilkinson & Hodge, are looked to by
collectors as the great source for the increase of their treasures, and by far the largest
proportion of fine collections brought to the hammer pass through the hands of this firm.
Print sales at Christie's well-known rooms are not so frequent as at Sotheby's, but, when
they do occur, usually embrace fine and costly examples, both modern and ancient. The
other firms mentioned are more eminent in other directions, print sales at their rooms
being rather the exception than the rule.
MESSRs. CHRISTIE, MANSON & WooDS—The celebrated fine-art auction rooms of
Messrs. Christie, Manson & Woods were established in 1767, by Mr. James Christie,” in.
* The writer may be excused for mentioning here an incident in connection with a celebrated collection of pictures,
valued by Mr. Christie, which before finding a permanent resting-place was submerged in Russian waters by the sinking
I IO of
Art Auction A&ooms.
of the vessels employed in transportation, but afterwards fished up comparatively little injured. In a rare book,” pur-
chased by Mr. Harvey at the sale of the library of Mr. Bull, of Ongar, the friend of Walpole, the following MS. note
appears in the handwriting of Mr. Bull : “This noble collection of pictures was sold to the Empress of Russia in the
year 1779, for the sum of £40,555, being the value set upon them by West and Cipriani. Most of the family portraits
were reserved. N.B.—The pictures were valued separately, and may be seen in the following catalogue of the Houghton
collection. Mr. Horace Walpole told me the whole cost his father something short of £40,000, including the pictures
that were at the Treasury; but it should be remembered that several were presented to Sir Robert Walpole, and which
(sic) are specified in the catalogue.”
- [Copy.]
This is to certify that this collection was valued at forty thousand and five hundred pounds by Mr. James Christie, of
. Pall Mall, and that said collection was purchased by Her Imperial Majesty of Russia at said valuation.
A 4o,5oo. - A. M. Pouschkin.
a MEdes Walpolianae; or, a Description of the Collection of Pictures at Houghton Hall, in Norfolk, the seat of the Right Hon. Sir Robert
Walpole, Earl of Orford. The Third Edition. *
“Artists and Plans relieved my solemn Hours,
I founded Palaces and planted Bow’rs.”—Prior's Solomon,
London: Printed in the year mocclxvii.
Pall Mall, next door to Gainsborough's house, and close to the War Office. Mr. James
Christie died in 1802, and was succeeded by his son James, an author and scholar of
no mean attainments, on whose singularly critical judgment in connection with the fine
arts, patrons learned to implicitly rely.” The removal of the firm to its present well-
* Mr. James Christie was the author of the following works: (1) A Disquisition upon Etruscan Vases. 1806. Fol.
(2) An Enquiry into the Antient Greek Game, supposed to have been invented by Palamedes, etc., with reasons for
believing the same to have been known in China. 1801. 4to. (3) Dissertation on the Lanti Vase. Outline Engravings
and Descriptions of the Woburn Abbey Marbles. 1822. fol. (4) Disquisitions upon the Painted Greek Vases, and
their probable connection with the Shows of the Eleusinian and other Mysteries. London, 1825. 4to. (5) An Essay
on that Earliest Species of Idolatry, the Worship of the Elements. Norwich, 1814. 4to, (6) An Enquiry into the
Early History of Greek Sculpture. London, 1833. 4to.
known position in King Street, St. James's, occurred in 1825. Mr. James Christie died in
1829, having been previously joined by Mr. Manson, Mr. George Christie succeeded his
father, and his brother, Mr. Stirling Christie, was also a member of the firm for the few
years he lived. Mr. William Manson died in 1852, and was succeeded by his brother,
Mr. Edward Manson. In 1859, Mr. James Christie, the great-grandson of the founder,
and Mr. Thomas Woods joined the firm. Mr. Edward Manson retired about five years
ago, leaving in the firm the present members, Mr. James Christie and Mr. Thomas Woods,
whose faces are so well known to habitués of the St. James's Street rooms.
The descriptive catalogues of art sales, contained in about one hundred volumes,
approximately numbering in all five thousand catalogues, held at Christie, Manson &
Woods' from its establishment to the present time, a complete priced set being in the
offices of the firm, contain matter the importance of which it is almost impossible to over-
estimate.” The art treasures of most of the principal personages—actors, artists, authors,
e * The writer had intended adding to this outline a synopsis of the more important sales; but an examination of the
immense mass of material convinced him that it would be better to leave the task to abler hands.
from A to Z–of the noble, the gentle, the learned, and the notable, et hoc genus omne,
who have figured on the stage of life during a period of upwards of a century, have passed
under the hammer in these rooms; and could a pen be found worthy of the task, would
suggest material for a grand biographical art history. The compiler of such a work would .
- III find
..º.º.º.º. §T sº -ºº-ºº-ºº: " - $º...? zºº &
Bartolozzi and his Works.
find the nucleus of his material all ready arranged to his hands; as, in addition to a
complete set of catalogues, commencing in 1767, there is an alphabetically arranged index
to the whole, comprised in two bulky volumes. Scenes at Christie's have frequently
formed a subject for the pencil of the caricaturist, and many celebrities have been thus
handed down by Gillray and other masters of the art. There is a telling caricature,
entitled “The Specious Orator,” of James Christie, from the versatile and humorous
pencil of Robert Dighton. Mr. Christie, who is in the rostrum, is represented as a middle-
aged, fresh-coloured, and comfortably stout individual, arrayed in a blue coat with enor-
mous lapels, unimpeachable and well-starched ruffles, hair brushed back, powdered, and
tied behind in a queue, spectacles pushed up on to forehead, and hammer daintily held
in right hand. The expression on the face is one of courteous and smiling persuasion, and
he is supposed to be saying: “Will your ladyship do me the honour to say £50,000—a
mere trifle—a brilliant of the first water—an unheard-of price for such a lot, surely.” R.
Dighton, 1794. Pub. by R. Dighton, March 25th, 1794.
During the season the art treasures displayed in these rooms are a constant source of
attraction and art education.
MESSRs. SoTHEBY, WILKINSoN & Hodge.—The well-known firm of Sotheby,
Wilkinson & Hodge dates back to 1744, when Mr. Samuel Baker was at its head, whose
fine-art auction rooms were at York Street, Covent Garden. Since then the following
changes of partnership and name may be noted: Messrs. Samuel Baker & George Leigh,
1775–77; Mr. George Leigh, 1778–80; Messrs. Leigh & Sotheby, 1780 to 18oo; Messrs.
Leigh, Sotheby & Son, 1800–3; Messrs. Leigh & S. Sotheby, 1804–16 (removed to
145, Strand); Mr. Sotheby, 1816 to 1830 (in 1818 Mr. Sotheby removed to the present
premises, 13, Wellington Street, Strand); Messrs. Sotheby & Son, 1830–37; Mr. Sotheby,
1837 to 1843; Messrs. Sotheby & Wilkinson, 1843–64, when Mr. Hodge joined, and the
firm of Sotheby, Wilkinson & Hodge has since remained as then constituted.
The series of catalogues of the sales held by Messrs. Sotheby, Wilkinson & Hodge,
complete from 1744, and forming upwards of eight hundred large quarto volumes—a small
library in itself—is in the British Museum library, where the volumes are open to the
inspection of readers. The catalogues are deposited in the Museum at intervals of ten
years; those of recent date are in the offices of the firm.
Some of the principal and more interesting art sales held by this firm since its
establishment, in 1744, up to the present year are appended :-
1744.
The first sale conducted by the Firm.
36 s. d.
Library of T. Pellet. Jan. 7 and 15 following evenings. . e • * 859 11 I
I754-55. -
Library of R. Mead. Nov. and Jan., 28 days' sale . . . . . . 2,34O O O
1756.
Library of Martin Folkes. May, etc., 4o days' sale . • e 0. . 3,091 6 o
II 2 1765.
Azºf Azechoſe Rooms.
1765. 36 s. d.
Library of Joseph Leatherland. March 14, and 22 evenings º º I,34I I9 O
1773.
Library of Joseph Smith, Esq., British Consul at Venice. Jan. 25, and
I4. days e tº - o ſº “g • o . º e e º º 2,245 6 O
* 1791.
Library of Michael Lort. April 5, and 21 days . 1,269 I 6
I794.
Library of John, Earl of Bute (Botanical Library). May 8, and 9 days 3,470 3 6
I799.
Library of Rt. Hon. Jos. Addison, author and Secretary of State. May 27,
and 4 days . © º e º e º e e e º e 553 4 4
18O2.
Library of Samuel Tyssen, Esq. (Library, Coins, Portraits, and Antiquities)
April 12, and 37 days © e ſe o o e º . 9, IO2 I6 7
1809.
Library of Rt. Hon. Richard Lord Penrhyn. March 20, and 4 days . 2,OOO O O
* 1810.
Prints of Richard Gough, F.A.S. April 5, and 19 days . e ºr 3,552 3 O
- 1812.
Library of George, Marquis of Townshend. May 11, and 15 days 5,745 O O
I816.
Library of Prince Talleyrand. May 8, and 17 days . . 8,399 O O
1818.
Library of Edmond Malone, Editor of Shakespeare. Nov. 26, and 7 days. 1,649 9 o
- 1819.
Library of James Bindley (Library, Portraits, Prints, and Medals). Jan. 25,
and 27 days . e e e - e o e o e © . 7,692 6 6
1823.
July 23.
Library of Emperor Napoleon Buonaparte. The Library formed at St.
Helena . º o o O e e º e º © º 450 9 6
The sale included Buonaparte's walking-stick made of tortoise-shell, which was sold for
338 17s, to Mr. Boone. -
- I 13 1824.
VOL. I. * I
Barfolozzi and his Works.
1824.
Library of — Dimsdale, Esq. July 2, and I day
Coins of gy yy July 6, and 14 days
Sir M. M. Sykes' Prints, 1st portion, March 29, and 11 days
2nd , May 11, and 2 days .
3rd , May 24, and II days.
4th , June 24, and 6 days .
5th , December 6, and 7 days .
Coins. March 8, and 4 days .
1825.
Library, Prints, and Drawings of George Baker. June 6, and 12 days
1827.
Library of H.R.H. Duke of York. May 7, and 25 days
I828.
Drawings of T. Rowlandson, the Caricaturist. June 23
e 1832.
Coins of Marmaduke Trattle, Esq. May, June, and July, 28 days
Library of Richard Heber, Esq. :- 1834.
Part I. April Io, and 25 days
, II. June 5, and 24 days
, III. Nov. Io, and 16 days . g o t
1835.
The Melanchthon MSS., collected by Dr. Kloss. May 7, and 19 days
1838.
Library of Mr. Kemble, the actor. May 16.
1839–40.
Coins of Mr. Young. 5 parts, 41 days.
1843.
Library of Lord Berwick. April 26, and 12 days
Coins of Mr. Thomas:– 1844.
Part I. Feb. 23, and 7 days e o º
,, II. July 8 . e te e .
, III. July 29, and 12 days
:
II.4.
36
952
6,850
367,802
6,7 29
I, I4O
6,897
959
I,979
I,462
4, 19,168 4
5,790
5,718
7oo
Io,888
5,615
5,958
2,116
3613,690
2,261
249
6,678
6,726
3,778
6,283
. 7,242
3617,314
I
3
6
3
17
2
2
:
2 O
O O
I4 6
O
I9
9
O
II
:
O
1845.
I
Art Auction Rooms.
1845.
Library of Mr. Bright:— 36 s. d.
Part I. March 3, and II days 4,526 7 6
99 II. 29 3 I, 92 pº 3,916 I5 6
,, III. July 7, and 5 days . 554 I 6
368,997 4 6
+ 1846. -
Coins of Cavaliere Campana. July 23, and II days . o o e 3,191 IO 6
Library of Josiah Wedgwood (the potter). November 16, and 5 days. I,OI3 O O
- 1847.
Coins of Colonel Durrant. April 19, and 8 days. 3,405 I3 6
Prints py 99 May 6, and 6 days 2,324 6 6
- 365,730 o o
- 1849. *
Library and Prints of Duke of Buckingham, removed from Stowe 14,155 6 O
In addition to this, the Stowe MSS. were sold by the firm to the Earl of Ashburnham by
private contract for 48,000. -
- 1850.
Books of Messrs. Payne & Foss. Three portions, held in March, April, and
May e º e º e tº w º tº º º © t . 8,645 5 o
Coins of John Brumell. April 19, and 7 days 2,865 5 6
99 Lord Holmsdale. July 8, and 6 days 2,04I 5 6
1851.
Library of Grenville Penn, Esq., descendant of William Penn, founder of
Pennsylvania. June 16, and 5 days 7,845 I 6
Books and MSS. of the poet Gray. August 28 . I,038 O
1852. - e
Library of E. V. Utterson, Esq., and Drawings. April 19 and 7 days. 5,494 6 6
Drawings of late Sam Prout. May 19 • º º e - e 1,788 11 6
Coins of H. P. Borrell, of Smyrna. July 12, and 9 days 3,295 II O
1853.
Library of Dawson Turner. March 7, etc. 4,562 15 o
Library of Baron Taylor. June 1, etc. . 4,087 9 O
1854.
Private Library of Mr. W. Pickering . . IO,7OO o o
Coins of J. Dodsley Cuff, Esq. June, 18 day 7,201 5 6
1857. *
Library of Earl of Shrewsbury, and Prints. June 22, and 11 days 3,250 9 o
- II 5 1858.
I 2
Aazto/o322 azed /ăz's M/orks.
1858. 36 s.
Coins of Rev. T. F. Dymock. June 1, and 3 days. e e e o . I,928 I9
1858–66.
Rev. W. Wellesley: Prints, Drawings, Books, MSS., and Medals. Five
portions, equal to 82 days' sale . o e e º . 20,023 8
1859.
The Hertz Collection of Antique Gems, etc. Feb. 7, and 15 days . . IO,OII 2
1859–60.
Coins of Lord Northwick: Greek series. Dec. 5, etc., 1859. - e . 8,568 15
Roman series. March 20, etc., 1860 . * . 3,32O II
A 11,889 6
1859–64. mº-
Mons. G. Libri: MSS., Library, and Articles of Vertu. Six parts, equal to
e 46 days' sale © e g º e 29,879 6
I86 I.
Engravings of George Smith. March 4, and 7 days . º to º . 4,835 4
I862.
Library of Miss Richardson Currer. July 30, and 9 days . e e . 5,984 13
1863.
Library of the Princess Elizabeth. April 7, and 4 days . © e o 915 I2
1864.
Library of George Daniell, Esq. July 20, and 9 days. o e e . I 5,865 2
In this sale Mr. Daniell's copy of the First Folio Shakespeare, of 1623, was purchased by the
Baroness Burdett Coutts for £7162s., the highest price ever realized for a copy.
Engravings of Julian Marshall Esq. June 30, and 11 days . º e . 8,352 I
1864 and 1866.
Coins of Captain R. Murchison. Two parts, equal to 7 days . . . 4,943 4
1865.
Library of J. B. Nicholl. Two parts: May 24, and 6 days; Dec. 19, and 3
days . . o - º e º e e e e - e. e . 6, 175 2
1867.
Library of Sir Charles Price. Feb. 13, etc... º o e e º 5,858 14
Collection of Prints formed by Sir Charles Price. Feb. 21 . e. e • 2,374 3
In the sale of Sir Charles Price's prints, Feb., 1867, was sold the “Hundred Guilder,” of Rem-
brandt, for £1,180, the highest price ever realized for one engraving. This was resold by
the firm in the following year, viz., May, 1868, in the sale of Mr. Palmer's prints, for
4, 1,100, and purchased by Mons. Clement, of Paris, for Mons. Détuit, of Rouen, in
whose collection it now is.
1868. -
Library of W. C. Macready, the actor. March 13 e • * 1,216 II
Prints of the late C. J. Palmer, Esq. (including the “Hundred Guilder”
.
O
from the above collection, sold for £1,100). May 18 . © o . 6,08o 14 6
II6 1868–70-72.
Art Auction A’ooms.
& 1868–70–72. 36
Books of Mr. H. G. Bohn. Three parts, equal to 51 days' sale, Feb., May,
I6
:
369,228
and July. e e º • tº o e ſº te I3,333
- 1868–69–70–71–73.
Library of Rev. T. Corser. Eight portions, equal to 30 days' sale g . I9,781
1869. -
John Dillon: Library, Engravings, and Autographs. June 7, and II days. 8,700
1870.
Coins of Mons. Sambon, of Naples. May 23. o © 3,148
In this sale a Brass Roman Coin sold for £500 (the highest price ever paid for a single coin);
it was purchased by Mr. Samuel Addington against a Russian Prince, who showed
excessive chagrin at having to return home without the coveted treasure.
1871 and 1873.
Books of late Mr. I. Lilly. Five parts, equal to 52 days' sale . e . I3,080
1872, -
Library of Lord Selsey. June 20, and 8 days . e * g e . 4,757
1873. •
Coins of Mr. Bergon. May 20, and Io days . e p e g e 6, Io2
Late T. H. Lacy: Theatrical Portraits and Books. Feb., Nov., and Dec.,
II days' sale . . . tº e º tº e e e 5, I57
Late Hugh Howard, Esq.:— 1873 and 1874.
Engravings, 1st pt. Dec. 12, and 7 days, 1873 . te . 4,604
,, 2nd pt. Nov. 27 and 28, 1874 . e e . 3,O3O
Coins. May 20, 1874 . & º e * te e . I,593
1874.
China of W. Edkins, Esq. April 21, and 3 days . . . . . . 6, 193
Library of Sir W. Tite. May 18, and 15 days . . . tº I9,943
R. C. Taylor, Esq. : China, Coins, Antiquities, and Books. June 9, Io, and
29, and 3 days ºr 9 º' s g & * * º e . 5,733
Gems of Mons. Lettrcq. June 17, and 3 days . . . . . . 3,742
1875.
Autographs of John Young, Esq. April 12, and 5 days . . . . 4,OI5
Engravings of George Vaughan, Esq. May 18 and 19. . . . . 4,888
Scotch Coins: John Wingate, Esq. Nov. 29, and 2 days . º * . 3,263
- 1876.
W. T. B. Ashley, Esq.; China, Library, and Autographs. March . . 7,085
Autographs of Samuel Addington, Esq. April 24, and 2 days . e . 2, ISI
MSS. of W. Bragge, Esq. June 7, and 3 days . . . . . , 12,272
Prints of John Anderson Rose, Esq. June 27, and IO days. & e . 3,704
Library of Rev. C. H. Crawfurd. July 10, and 4 days . . . . . 6,229
117
§
:
.
.
:
i
O.
17
1877.
gº º żºłº $º
|

Aartolozzz and has M/orks.
- 1877. tº £ s. d.
The “Hugo” Collection of Bewick's Works. August 8, and 1 day . . I, I24 I O
A portion of the Collection of Prints of Rev. J. Burleigh James. March,
April, and May, 28 days - º © e e e & . 4,221 7 6
1878.
Duplicate Etchings from the Fitzwilliam Museum, Cambridge. April 2,
and I day . tº o © & º e te tº g e . 2,259 I3 O
Miniatures and Books of J. T. Payne, Esq. April Io . g e e . 2,843 7 O
1879. -
Japanese Porcelain of Major Walter. The “Walter Collection.” July 1o . 3,048 16 o
• 1879–80–81.
Library of late Dr. Laing. Part I. Dec. 4, and Io days; Part II. April 5,
1880, and Io days; Part III. July 20, and 4 days; equal to 27 days;
fourth and concluding portion, Feb. 21, and 3 days © © I6,536 19 O
I88O.
The Collection of Coins of George Sparkes, Esq. Feb. 2, and 1 day . . 3,375 18 6
British Museum duplicate Prints. April 21 . wº o e e g . 2, I53 9 O
Portion of Library of Cecil Dunn Gardener, Esq. June 21, and 5 days . 4,734 4 o
Cinque Cento Medals of late Mons. His de la Salle. Nov. 22, and 3 days . 9,709 3 o
1881.
Portion of the Library of the late Earl of Clare. Jan. 31 . e º . 2,130 19 6
The original MS. of Sir Walter Scott's “Guy Mannering” was in this sale, and was bought
by Mr. H. Stevens, for America, for £390.
Portion of Library of late Rt. Hon. Lord Hampton, Feb. 14, and 2 days . 3,539 14 o
Coins of James Halliburton Young, Esq. April 7, and 4 days . tº • 3,O4I 4 O
Library of late John Hill Burton, Esq., D.C.L., etc. May 16, and 2 days . 786 19 6
Library, Autographs, and Engravings of the late H. Sanford Bicknell, Esq.
June 9, and 2 days . ſº º e © . 1,396 18 6
Portion of the Library of the late G. L. Way, Esq. July 1 . tº º . 2,324 7 6
This Library was formed about the end of the last century and the beginning of the present ;
and the prices given, when compared with those realized, show how very much the value
of early printed books has increased during the last half century or so. The following
are the most striking instances :-Shakespeare's Poems, 1640, bought by Mr. Way for 7s.,
sold for £30. Sir P. Sidney's “Defence of Poesie,” 1595, bought by Mr. Way for 7s.6d,
sold for £38. E. Spencer’s “Brittain's Ida” and M. Parker’s “Rape of Philomela,”
bound together in one volume, for which Mr. Way gave 1.s. 6d., sold for £68. Earl of
Surrey’s “Songs and Sonnets,” 1585, bought by Mr. Way, for 42 3s., sold for 469.
J. Milton’s “Comus,” 1637, Mr. Way obtained for 5s, sold for 468. J. Gower's
“Confessio Amantis,” imperfect, wanting six leaves, printed by Caxton, 1483, cost £5
and sold for 4, 199. -
MESSRS. PUTTICK & SIMPSON.—The house of Puttick & Simpson (literary and fine-
art sale rooms) dates from 1794, when it was founded by Mr. Stewart, of 191, Piccadilly,
who was afterwards joined by Mr. Wheatley and Mr. Adlard, the style of the firm being
II 8 º then
Art Auction Rooms.
rººrººººººººº -:
then Stewart, Wheatley & Adlard. Some years later Messrs. John and James Fletcher
acquired the business, succeeded in turn by Messrs Puttick & Simpson, who purchased
the goodwill, etc., in 1846. Messrs Puttick & Simpson continued the business in Piccadilly
until December, 1858, when, owing to the falling in of the lease, the premises were
so curtailed as to compel them to seek quarters elsewhere, which they found at their
present address, 47, Leicester Square, formerly the residence of Sir Joshua Reynolds,
whose extensive and well-lighted studio forms their present sale room, perhaps one
of the largest and most central in London. Mr. Puttick died in 1873, and the sur-
viving partner, Mr. William Simpson, now continues the business under the old style
of Puttick & Simpson.
In addition to old prints, books, autographs, curiosities, and works of art generally,
music is a specialty of this firm; frequent sales of music, music copyrights, and musical
instruments, taking place in their rooms. Amongst the more remarkable book collections
sold by them have been those of Bolton Corney, Sir. Ed. Dering, Count Libri, Duke
of Marlborough (duplicates), C. E. Swanston, W. B. Turnbull, Dawson Turner, Ansley
Windus, Sir Travers Twiss, Sir Edward Ryan, Dr. Tregelles, John T. Delane, Dr. S.
Holmes (Plymouth), Emperor Maximilian, O. Rich, Señor Ramirez; and the Crownin-
shield Collection.
MESSRs. PHILLIPs, SoN & NEALE.—The firm, generally known as Phillips & Son,
of 73, New Bond Street, was founded by Harry Phillips in 1796. He was succeeded by
his son, who, with his son, son-in-law, and Mr. Frederick Neale, now carries on the business
of fine-art and general auctioneers. Amongst some of the more important art sales by
this firm are:—The Beckford Collection at Fonthill Abbey, in 1823; Sir Simon's Clarke's
-engravings; a thirty-days' sale of engravings from Paris; the Duke of Buckingham's
engravings, in 1830; Duke of Lucca's Collection, in 1841; the Count de Morny's
Collection, in 1848; Lady Blessington's property, in 1849; Lord Northwick's pictures,
in 1859; the Marquis of Hastings' pictures, books, and engravings in 1869; Sir Charles
Rushout's pictures and engravings in 1880, including a small collection of about one
hundred examples by Bartolozzi (many duplicates) in a folio, which sold for 225 guineas.”
* Purchased by a private collector, Vice-Admiral Arthur Cumming, C.B., etc.
Another lot in the same sale, containing ninety-eight prints by Bartolozzi and school, sold
for 174 guineas.
MESSRS. H. & C. R. FOSTER.—The house of H. & C. R. Foster, of Pall Mall,
was established in the early part of this century by Mr. Edward Foster, and the business
has been in the same family ever since. Many notable auctions, including collections
of pictures and articles of vertu, have been held in their rooms, and occasionally—
although not by any means so frequently as at other auction rooms mentioned—collections
of prints are disposed of
I I9 CHAPTER
Aarfoſo2.22 and has M/orks.
CHAPTER XXVIII.
Value of Bartolozzi's Prints,
Past and Present, as
Illustrated by Sale Catalogues.
FIS' approximate value of Bartolozzi's prints, as gleaned from sale catalogues
extending from the year of his decease (1815) to the present time,
affords a most interesting study.
In regard to position in public estimation, fanciful subjects stand first, and following
in order, allegorical, classical, and historical. Bearing this in mind, the list of his works,
which is arranged under heads, will be found useful, and a further reference may be advan-
tageously made to the writer's own sale catalogue. -
It will be a startling assertion to many—nevertheless it is a literal fact—that Barto-
lozzi's engravings have not now, and never have had, except at the time of publication, any
absolutely fixed monetary value. The changes are like those of a thermometer, sometimes
varying but little, and at others showing sharp and unaccountable fluctuations—up one
day, down the next. Printsellers are by no means agreed as to uniform prices, nor is it
possible for them to be, some finding a ready disposal for prints of a certain class at high
prices, that others could hardly sell at all, even if offered at much more tempting rates.
Prices of stippled prints—and the same remarks apply to all descriptions—depend upon a
number of things, including condition, i.e., whether clean, in good preservation, and with
uncut edges; state of the impression, i.e., whether an early, clear, and brilliant impression,
a late and worn one, or the intermediate stage of neither very brilliant nor very much
worn; the scarcity of the print; whether printed in black, * brown, red, or in colours—
* Stippled engravings by Bartolozzi and his school were printed in black but seldom, oftener in deep brown, and
still more often in a full rich red, sometimes toned down by an admixture of a more sombre colour, which in ageing
has become still darker. Wide illustrations St. James's and St. Giles's Beauties.
those in colours at present being the most sought for, and in black the least;-and, most
important of all, demand. - *
The fickleness of public taste is well exemplified in the past and present value of
I2O * Bartolozzi's
!/alue of Bartolozzi's Prints.
Brºgºº::::::::: *º 3:.
Bartolozzi's prints. When the great engraver was alive, his etchings after Guercino were
eagerly sought after and purchased at high prices; and his engravings of the Marlborough
Gems were considered so important as to be sold separately at print sales, a single example
frequently realizing very large sums.” His beautiful fancy subjects, now so fashionable
* The hundred plates illustrating the Marlborough Gems, engraved by Bartolozzi, were originally privately
published in two folio volumes. A copy of the first volume sold at Woodhouse's sale for £145. Of the second volume
Woodhouse could only collect twenty-three subjects in the course of twenty years. In 1823, at Watson Taylor's sale, the
two volumes fetched 499 15s.; the impressions in general were very indifferent.
for decorative purposes, and so much sought for, brought nothing like such large sums.
At the present time his etchings after Guercino * are almost uncared for, and prints
* A copy of the original edition, in two folio volumes, containing the complete set of one hundred and fifty plates
(some slightly “foxed,” i.e., discoloured and spotted by mildew), mostly by Bartolozzi (lot 326), fetched £52s. 6d. in a
sale at Puttick's, on June 13th this year (1881); and about two years earlier the writer purchased another copy of the
original edition at Sotheby's, in first-rate condition, for a still smaller sum.
of the Marlborough Gems hardly find purchasers at any price, and are only to be found
in the folio of the collector anxious to secure as many examples as possible.
At a sale of miscellaneous prints at Puttick & Simpson's, on the 7th of February this
year (1881), lot 22, consisting of fifty-eight of the Marlborough Gems in fair condition—
described as “all proofs, some being in red”—sold for sixteen shillings; and a couple
of days afterwards a similar lot of eighty-five impressions, in, if anything, better con-
dition, sold in Nicholls' sale at Sotheby's for eight shillings, a fraction over a penny each t
In connection with the prices, it may be borne in mind that the first edition of the Marl-
borough Gems consisted of one hundred impressions only, and it was not until some years
later, on the publication of the second edition, that impressions became common. The
proofs referred to would probably be (so-called) proofs of the second edition.
In examining the prices obtained at sales for Bartolozzi's prints, the reader will doubt-
less be struck with their want of uniformity, the same print that in one sale would fetch a
sovereign, in another being sold for three; and this is accounted for by the ever-varying
condition of the examples submitted, the catalogues, as a rule, being judiciously silent on
appended. The gradations in the value of prints are infinite, and can only be learned
by experience. It may, however, after this statement, be some consolation to learn that
the prices obtained for prints by Bartolozzi and his school, in the author's own sale, may
be taken as fairly representing the present value, as they were all, with one or two minor
exceptions only, in the finest possible condition—clear, brilliant, and clean examples
with full margins. It is a noteworthy fact that the purchasers at this sale included
certain dealers who had hitherto confined their transactions to paintings and works of art
involving heavy outlay, which means that they now consider Bartolozzi's prints to be of
sufficient importance to take up. •
The perusal of the Sykes' sale catalogue makes one's mouth water: it is especially
notable as showing the relative estimation in which the two classes of engraving—line and
stipple—were at that time (1824) held, in so far as regards Bartolozzi's productions. His
fancy subjects in stipple—presumably in the finest and most brilliant condition—were
I2 I sold,
that point, except when unusually fine prints are offered, when a note to that effect is often
Aarfo/o3.22 azza! /ets /ſ/orks.
sold, or rather “given away,” in lots containing numerous impressions, which realized but a
few pence each. On the other hand, prints that would now hardly be looked at by the
general public, brought what appear to be extravagant prices; as, £3 10s. for an etched .
proof, and proof before letters, of that dreadful print entitled “A Young Woman of
Otaheite bringing a Present”; £1 13s. for three subjects from Captain Cook's Voyages;
A7 15s. for two proofs of the “Death of the Earl of Chatham "; £4 14s. 6d. for a proof
of the “Silence”; £3 6s. for a proof of the “Woman taken in Adultery”; £2 18s. for a
proof of “Clytie"; £33s. for four impressions, in various states, of Sir Joshua Reynolds'
funeral ticket; £5 7s. 6d for seven of Giardini's tickets; £4 14s. 6d. for a couple of
impressions of Wilkes' Mansion House Ball (see illustration) and Mansion House Dinner
tickets.
Public interest in Bartolozzi and his works appears to have begun to wane about the
time the great engraver quitted the land of his adoption. In the year of his decease (1815)
a portion of the stock of Molteno, the printseller, including many fine coppers, and the
remainder of impressions, was sold at prices which, in many instances, would now be
pounds where pence were then obtained. Being in heavy lots, and the copperplates in-
cluded, there would probably be no public competition. The prices realized at the Sykes'
sale—the Bartolozzis' alone, of which there was a matchless collection, were said to have
cost Sir Mark £5,000—were higher, but still absurdly low. The total sum realized by
the Bartolozzis' was £442 6s. 6d, or about a twelfth of what they cost in bringing
together.
Quite recently a collector, known to the writer, privately purchased a pair of framed
and beautifully coloured prints, “Bacchanalian Boys,” by Bartolozzi, after Cipriani, and its
fellow, “The Infant Toilet,” by A. Cardon, after Bartolozzi. Both prints were cut rather
close, but fortunately the titles were left; and on removing them from the frames, the
marginal pieces cut off—which had been used as a stuffing to keep the prints against the
glass—were found behind, and on one was scrawled in pencil, “12 like this, 7/-.” In other
words, for what the print dealer, perhaps five and twenty or thirty years ago, gave seven-
pence for—presumably at a sale—the collector was glad to obtain for fifty shillings.
The writer has now in his possession a great number of Bartolozzi's most precious
prints, pieked up a generation ago by collectors who preceded him, marked on the back,
and often, he regrets to say, on the face margin, with the prices the dealers were content
to ask; fourpence occurs often, and a shilling would appear to have been considered an
extravagant figure. For many of the prints marked in pence, half as many pounds had
to be given. -
It will be gathered from the prices realized about thirty years ago at Thomas Havi-
land Burke's sale at Christie's, on June 28, 1852, that the revival of the rage for Bartolozzi's
prints had hardly set in. Numerous examples were catalogued in each lot; and, as will be
seen, they brought next to nothing. Portrait of Bartolozzi, after Sir Joshua Reynolds, by
Violet, numerous drawings in coloured chalk and sepia, and a note to Alderman Boydell,
etc., in all fifteen, realized eight shillings. Another lot, containing twenty-four English and
foreign portraits, described as mostly proofs, brought fifteen shillings. Various fancy
subjects engraved in the dotted manner, proofs, etc., in all sixty-nine, which would now
I22 probably
//alue of Bartolozzi's Prints.
probably be lotted singly or in pairs, brought twenty-nine shillings. For a lot consisting
of twenty-one plates to Tasso there was no bidding, so it was incorporated with the next
lot of twenty-three plates to Bell's Theatre and Bell's Poets (all proofs before letters),
making forty-four in all, which brought nine shillings. Seventeen frontispieces to musical
and other works brought four shillings. Some of Bartolozzi's early works, including “Jero-
boam's Widow,” etc. (proof before all letters), twenty-one in all, brought seven shillings.
A lot of thirty-seven fancy subjects, “part line and dotting,” amongst which were several
proofs, brought seven shillings; while “Handel Crowned,” “Britannia,” “Cupid,” “Cortez
landing in Peru,” all proofs, etc., in all eleven subjects, brought three shillings. A lot of
ten, amongst which were some proofs, including “Madonna and Child,” after Vandyck,
Cipriani, etc., brought seven shillings. Four important prints, amongst them being two of
the “Marriage of Cupid and Psyche” (proof and print), brought fifteen shillings. Twenty
years ago, Bartolozzi's prints again began, but to a very limited degree, to attract public
attention, and there has since been a gradual upward tendency in value, which has gained
in strength the nearer we approach our own time.
Walter SHRopshire's Catalogue": being a most beautiful collection of books of
* Shropshire's price list is interesting as indicating the prices charged to the public at this period.
prints, and prints, in the finest preservation, for the year 1778, (No. 158) New
Bond Street, near Grafton Street. The sale to begin on Thursday, March the
19th. The lowest prices marked without abatement, and to continue till all is
sold, for ready money only. •
ADVERTISEMENT—To the nobility and gentry: The prints are so fine in this
collection that it is impossible any can be suffered to go out from the place of
sale; therefore it is most humbly requested they will come, or send commissions
to his shop, where they may see them with pleasure.
The works of that much-esteemed and celebrated engraver, Mr. Francis
Bartolozzi, after Michael Angelo, Ag. Caracci, Annibal Caracci, Carlo
Maratta, Pietro Cortona, Domenichino, Zuccarelli, Guercino, Cipriani, etc.,
a great many unfinished proofs and letters, all in the finest preservation,
with all the scarcest of his works, pasted on fine grand Dutch eagle paper,
in 5 vol., elegantly bound, Russia back and corners, containing 450 prints . Wo price.
The works of that much-esteemed master, Francis Bartolozzi, after the best
Italian masters, etc., in fine preservation:— - 36 s. d.
The Circumcision, after Guercino; exceeding fine and scarce . . . . I 1 o
Silence, after Annibal Caracci; exceeding fine . e g e e e . o 18 O
The Woman taken in Adultery, after Agostino Caracci e o g e ... O I5 O
Abraham and Lot's Departure from Egypt, after Zuccarelli, by Bartolozzi and
Byrne; proof . g tº e e e iº e • ". e . 2 2 O
I6 O
Ditto, with letters, very fine e • e * e tº ſº e
123 + Holy
O
ſ
Bartolozzi and has M/orks.
Holy Family, after Rap. Urbino wº
One Monumental Design, after C. Maratta .
Tobias and the Angel, after C. Maratta. tº *
Laban searching for his Idols, after P. Cortona . . . . . . e e tº
Six Historical, after Guercino, in the collection of Joseph Smith, F. Barberii, etc.;
very scarce . ſº e g e e e g
Madonna and Child, after Carlo Dolce; very fine, black
Ditto in red . tº º & e e º e e te g
Vandycke's Wife and Child, after himself; an unfinished proof, scarce.
Ditto, a proof, in black, very fine
Ditto, letters . tº e
:
:
:
I
I
Ditto, red & e o e e tº •
Lady and Child, after Salva Farrata; black, proof
Ditto, letters, very fine, black. ſº * - e.
Ditto, red e e e e e g
Queen Esther and King Ahasuerus, after Guercino g g e
Virgin and Child, whole length, in red, exceeding fine, after Guercino .
Holy Family, an Angel playing to the Child, after Guercino
Virgin and Child and St. John, after Guercino . . .
An Angel instructing St. Luke, after Guercino; red, very fine
St. Luke Painting, after Pesaro; scarce. e e e º
Salvator Mundi, in red, after Le Brun; proof
• St. Péter and St. Luke, after Guercino; in red
An Angel, after Cipriani, with the Glory; very fine
Ditto, different . . e e o g e
A Madonna, after Dolce; proof, scarce. º º e
Ditto, after Hussey; the first, very fine and scarce
Ditto, different . . . . . . . tº e
Two, Madonna with a Vase, and Companion, after Cipriani; very fine
One, ditto . gº & © g
Six Historical, fine, after Guercino º o e º º tº .
Two Bacchanalian Subjects of Boys, after Guercino and Cipriani.
Seven Historical, after Guercino; fine .
Seven ditto, after Guercino; different . . . tº º e ę e
Prometheus Destroyed by an Eagle, after M. Angelo; exceeding fine.
An Academic Figure, whole length, after M. Angelo e &
An Emblematical Design, after Tibalde; very fine
Jonah, after West; fine. © e e g
St. Cecilia, after Cipriani; proof . e e e e a
Ditto, letters, very fine . & º e g * * s sº tº
Clytie, after An. Caracci; very fine . . . e gº
Orlando and Olympia, after An. Caracci; very fine and scarce e e
I24 - Jupiter
I
I
I
I
gº
I
I
O
O
7
:
:
:
l’alue of Bartolozzi's Pºints.
Jupiter and Europa, after Guido; very fine, in red
Two, Cupids at Play, and Companion; very fine, red .
Turkish Lady, after Cipriani; proof, very scarce .
Ditto, letters, fine . º º º º e e o e
Venus, Cupid, and Satyr, after L. Giordano ; very fine and scarce
Ditto, fine . º e e e • . . .
The Storm, after Baralet; a proof, very fine. e o
Two, the Storm, and the Nymphs Bathing, after Barale
Two fine Landscapes, after Zuccarelli . e e e e e
Two fine circles, ditto, after Loutherbourg; proof, exceeding fine
One, Tom Jones, after Baralet
One ditto; an unfinished proof . e o e
Frontispiece to Adams's Book of Architecture; fine
Four of Ruins, after Cleriseau; fine e e
Guercino's Two Daughters, after Guercino; fine .
Fine Landscape, after P. Cortona.
Small ditto, after Poussin . e -> o e
Two fine Landscapes, after Zocchi; very fine, scarce
One ditto, after Marca Rizzi.
Two ditto, after Panini; fine. º
One ditto, after Guercino; fine . e e e º º * te º
The Italian Wedding, by Bartolozzi and Vivares; proof, very fine e o e
Four, Vulcan and Venus, Minerva visiting the Muses, Neptune and Amphitrite,
and a Sacrifice to Jupiter, after Cipriani, in aquatinta; very fine
One, Minerva visiting the Muses; an aqua fortis proof
Two, the Triumph of Neptune, etc., after an aqua fortis proof
Prometheus Destroyed by an Eagle; a mere Sketch
A Burlesque on Gluttony; scarce. © e tº © º e o º
Five fine gems in the Duke of Marlborough's collection; exceeding scarce .
Two, the Founders, Henry VI. and Henry Chychele, after Taylor and Sherwin,
º e
from an ancient window in All Souls' College; very fine and Scarce
Mr. Beckford, after Carlini; whole length, very fine .
Lady Chesterfield, with an Urn; scarce, very fine • • e - e
Ditto . tº © o o e te e º º tº e * * *
Mr. Harris; fine . - e
Mr. Handell; scarce, very fin
Mr. Addison; scarce, very fine . e e te e
Omai, a Native of Otaheite, after Dance; very fine . &
Carlo Broschi detto Farinelli, after Amiconi; very fine.
Portrait in an Oval, unknown e e
Mr. Giardini's Frontispiece to his Work
La Signora Bastardini; scarce and fine
I25
-
:
:
:
;
rS.
Bartolozzi and his Works.
Mrs. Rudd at the Bar . º - º e
La Signora Rosalba, after Rosalba; red, fine
Ditto, black . e e © e e - - º e
Ten Historical, from Ariosto, after Cipriani, by ditto; very fine .
Frontispiece to Sir William Chambers's Book on Oriental Gardening; fine.
Vertumnus and Pomona, after Cipriani; very fine.
Seven Giardini's Tickets, after Cipriani; very scarce
Two ditto; proofs, very fine . - ſº e
Tragedy and Comedy, after Cipriani . g
Masqued Ball, New Club, Soho, after Cipriani -
Frontispiece to a Book for the Violoncello, after Cipriani
Mr. Wilkes's Ball Ticket, after Cipriani e e -> e
Frontispiece to six Sonatos for the Pianoforte, after Cipriani
Ditto to six Cantos by C. Bach, after Cipriani
The Regatta Ball Ticket, after Cipriani; proof
Ditto, letters . º e -> º g -
Frontispiece to the Duenna, after Cipriani; proof.
Venus, whole length, Subs. Ball, after Cipriani; very fine
For the Benefit of Mr. Savoia, his ticket, after Cipriani; fine
Savoir Vivre Masquerade, after Cipriani; scarce . º
Frontispiece to Mr. F. Abel's six Concerts, after Cipriani
Salpietro's Ticket, after Cipriani; red .
Ditto, black . º e º º o o º º e
Ticket for a Concert of Vocal and Instrumental Music, after Dance
Ticket of Apollo, for Mr. Borghii, after Cipriani; fine .
Ditto for the Haymarket Theatre, after Cipriani; scarce
Frontispiece to a book entitled, “The British Theatre”
The Three Graces, after Cipriani . º g e {->
Cupid with a Mask, after Cipriani.
I
I
I
COLLECTION of prints, etc., of PETER ROMILLY, Esq., of Frith Street, Soho, sold by
auction by Mr. Hutchins, at his rooms in King Street and Hart Street, Covent
Garden, on Monday, February 28, 1785, and the nine following evenings, at six
o'clock.
Twenty-seven, by Bartolozzi, of Mr. Duane's Medals
One, Portraits of Bartolozzi, Cipriani, and Carlini. e e
Two, Charity and Holy Family, after himself and Raphael; proofs
Ten by Bartolozzi, after Guercino. º e e º tº e
Two by Bartolozzi, after A. Kauffman . . . .
Six of the Madonna, after Hussey, with variations . . . s tº º
I26
2
:
O
8
I2
I I
15
I3
Two,
:
//a/ue of Bartolozzi's Pºints.
36 s. d.
Two, Lord Chatham's and Bach's Monuments, by Bartolozzi . º o ... O 13 6
One, the Death of Dido; proof . e & o e tº e o 12 6
Four Seasons, after A. Kauffman, by Bartolozzi; proofs I I2 O
Three Tickets—Lord Mayor's tickets, proof: Dinner and Ball 2 7 O
One, Frontispiece to the Duke of Marlborough's Gems, by Bartolozzi . I 4 O
Three Gems by Bartolozzi: Semiramis, Sylla, Nerva . * o e 3 3 O
The Circumcision, and Orlando, by Bartolozzi O 15 O
Clytie; proof, without the arms, by Bartolozzi . 2 2 O
The Diploma, by Bartolozzi . e g 5 15 6
CATALOGUE of an extraordinary fine and curious collection of ancient and modern
prints, collected with the utmost taste and at a great expense, by the late
JonATHAN BLACKBURNE, Esq., of Liverpool : sold by auction by Mr. Hutchins,
at his rooms in King Street and Hart Street, Covent Garden, on Monday, the
20th of March, 1786, and the twelve following evenings (Sundays excepted), at
six o'clock.
BARTOLOZZI’S PRINTS.
The Duchess of Devonshire; a first impression after the aquatinto . . . I 11 o
Ditto ; the etching, very curious • e e we tº tº tº • 2 I3 O
Two of Lady Beauclerk's Children, with and without the aquatinto ; fine and
curious . . . . . . . . . . . . I I O
The Silence; a very fine proof before the letters . 2 2 O
Clytie; a fine proof e ge e * > g º tº tº g O 2 O
The Circumcision, from Guercino; a beautiful proof before the letters. 2 IO O
Two Portraits of Angelica Kauffman; proof, and letters . ſº e e . I 3 O
Three, after F. Zucchero, of Mary Queen of Scots; proof, and letters . . . 1 4 o
Two, the Italian Wedding and Ball, from Zuccarelli, by Bartolozzi and Vivares;
one a proof . o © g º g * & gº © iº • 2 O O
The Departure of Abraham and Lot, after Zucchero; a first impression I I O
Fifteen of Gems, etc., from the antique; some proofs . º * I I O
The Statue of Beckford; very fine g tº O TO O
A CATALOGUE * of the choice and valuable collection of antient and modern prints
* The Bartolozzi prints alone in this sale realized £1,2564s. 6d., and took four days to dispose of
the property of John WooDHouse, Esq.; selected with the highest taste from
all the collections at home and abroad at a liberal expense: consisting of
specimens of Albert Dürer, Lucas Van Leyden, and other antient masters, . . .
and nearly the entire works of the English school, viz., Bartolozzi, Woollett,
127 Earlom,
..
--
--
Bartolozzi and his M/orks.
Earlom, and Sir Robert Strange, proof impressions: which will be sold by
auction by Mr. Christie, at his great room, Pall Mall, on Thursday, 22nd January,
18or, and following days, at twelve o'clock.
ADVERTISEMENT.-The amateurs of the fine arts will find in this collection the
choicest works of each master, selected by Mr. Woodhouse, with the greatest
taste, from the cabinets of Gulston, Blackburn, Earl of Bute, Bernard, Rogers,
Marquis Donegal, and Daulby, with large additions from the Continent.
TWELF TH DA Y'S SALE.
BARTOLOZZI'S WORKS.
Lot. ALBANO AND ARTAUD. 36 s. d.
I. Four. The Elements, after Albano; proofs before the letters, very fine 3 13 6
2. One. The Triumph of Mercy, from Collins' Ode, after Artaud; proof
before the letters, very fine ºp e e tº ... O 6 O
BACON.
3. Two. Mars; proof and etching, engraved for the Philosophical Trans-
actions, before letters . ſº ſº e o e . I I3 O
4. Two. Venus; proof and letters, ditto, both rare e te g . I 8 O
5. One. Guy's Monument; proof without letters, and before the alter-
ation in the head of the standing, and the drapery of
the reclining, figure; extremely rare, a touched proof
before any letters whatever tº e ‘º Ke ... I IO O
6. One. Ditto; finished proof, very fine . . e ... O 18 O
7. Two. . Earl Chatham's Monument in Guildhall; letters and proof,
before the plate was reduced, very rare . . . I 2 O
BARKER. -
8. Two. The Woodman; etching and proof with the letters, a finished
print, a first impression . º tº “e e . I 19 O
9. Two. The Benevolent Lady and Companion; figures by Loutherburg,
etchings . e o o o e tº tº . I 3 O
IO, Two. Same subject; proofs before the introduction of the corners I II 6
II. Two. Ditto ; finished proofs before the letters . . . te I IO O
I 2. One. Nymphs Bathing; figure by Cipriani, an etching, rare I I O
I3. Two. Nymphs Bathing, and its companion The Storm ; most un-
commonly beautiful proofs, very rare, from Mr.
Woollett's collection . . . . . . . 2 I2 6
BARRETT.
14. Two. From Shakespere: Scenes in As you Like it, and The Tem-
pest, figures by Cipriani, etchings . . . . . I 9 O
I5. Two. The same subject; finished proofs . • ? º e ... O IQ O
16. One. Hunting, after Barrett and Gilpin; the landscape by Morris,
and the figures by Bartolozzi, proof . © tº ... o 16 o
I28 BARTOLOZZI.
Value of Bartolozzi's Prints.
:6 s. d.
BARTOLOZZI.
I7. Portrait of Bartolozzi, by Bouillard, after Violet; proof . . O I3 O
I8. Three. Pantheon Ticket Grand Masked Ball, etc. e g g o 6 O
I9. Two. The Correspondent; proof and etching . O I2 O
2O. Two. A Bacchante; proofs, with variations , , d g e ... O 9 O
2I. Two. . The Grecian Daughter; proofs, one before the background
was filled up, rare . e º ſº te e ... O 18 o
22. Four. Faith, Hope, Prudence, Merit, and Vanity; proofs . O 9 O
23. Two. Guardian Angel and Silence; proofs before any letters . O I6 O
24. Two. Children at Play, and Cupids at Play; proofs in red. O 8 o
25. One. Madonna and Child; proof, rare, proof in red . . o O 5 O
26. Two. Cupidon achete trop cher, from the antique; proof . . ... I I O
27. Six. Allegorical Subjects of Commerce; proofs, with very curious
alterations; and one by Heath, engraved for Mr. Pyke,
banker, in Bridgewater, extremely rare . e . 3 IO O
28. Seven. The Drawing Book; proofs before the letters, rare. g • 2 2 O
29. Two. Apollo with the Lyre; proof and etching engraved for Mr.
Fabris e e e e gº e e e . 2 2 O
3O. Two. St. Cecilia, etc.; proof and etching for Mr. Borgis. Ditto 2 O O
3I. Three. The Macaroni Orange Girl going to the Bagnio, and returning
from the Bagnio; fine and rare . . . . . o 6 o
32. Two. An Allegorical Subject of Commerce; proof, engraved for
Mr. Molteno's card. The Infant Academy; proof,
Mr. Violett's ditto g tº tº e ... O II O
33. Three. Genius Studying Music; proof, letters, and etching on a large
plate, extremely rare. A Ticket for Hanover Square
Concert, 1791 o o ſº g tº 3 I5 O
34. Seven. Genius holding a Glass; proof and letters, a pit check
Apollo Crowned with Laurel, a ticket for the Pantheon
Masked Ball.
An Emblematical Figure of History, vignette in Sancho's
Letters, proof; Justice and Peace United, ditto in
Mr. Sastre's.
A Study of Ears, and a Boy's Head; etchings for Lavater,
plates designed for Hunter's Translation . . . 3 o o
35. Two. Music surrounded by Cupids; proof, engraved for Madame
Banti: and Love supporting a Medallion; proof
before any letters o • te tº © g . I 5 O
36. Six. Apollo, with a Cupid supporting a Lyre. Cupid reclining on a
Medallion; proof and etching. A Young Bacchus on
a Tub; proof and etching. Three Cupids with Music
Books, engraved for Mr. Salpietro . . . . 4 12 o
129 37.
VOL. I. w K
Aartolozzz and has M/orks.
37.
38.
39.
4O.
4I.
42.
43.
43.
44.
45.
46.
47.
48.
49.
5.I.
52.
One.
Four.
Two.
Ten.
Three.
Three.
Fourteen.
Four.
Two.
Two.
Two.
Two.
Two.
An Allegorical Figure of Sculpture, Cupid dictating to her;
engraved for the Portuguese Ambassador's lady, proof,
rare . e e ſº tº º g g g g
Charity; a proof, beautiful, in red . g o º © g
The Gardens; proofs, before any letters, designed by Barto-
lozzi- and Vieira, for Mrs. Montilieu's poems, very
beautiful and rare * e e
Etchings; ditto, curious . & g º º
A Child Sleeping; proof, one before the letters
Subjects originally intended for Fans, viz.:
The Origin of Design—ipse inv. and delin.—in black.
The Power of Love, from the antique; J. B. Cipriani, in
black.
The Marriage of Cupid and Psyche. -
Hope Nursing Love; A. Kauffman, in black and etching.
The Fine Arts; ditto in brown.
St. Cecilia; B. West.
The Family of the Gracchi; ditto.
Hope Nursing Love ; Sir Joshua Reynolds, in black, and
the etching. t -
Venus Chiding Cupid ; ditto. *
An Emblematical Figure of Victory, by Lady Duncannon;
in black.
Proofs, and presumed to be the finest and most complete set
ever offered to the public . e e e e º
LADY DIANA BEAUCLERC. -
Children at play, and Frontispiece to Leonora, a poem ;
etchings, very rare . . . tº
Ditto; proofs before the engraver's name, very beautiful.
Dryden's Fables; proofs, very fine, the complete set
BENWELL.
Fonrose and Adelaide; proofs and etchings, rare * ſº
St. James's and St. Giles's Beauties; proofs, in brown, very
fine and rare, the etching . e
Ditto; in red, ditto . g e o g e e
Love (proof before the engraver's name); and Maria, from
Sterne; before the plate was reduced e tº º
Jenney, from Auld Robin Grey; proofs, with a variation on
the tree near the top of the wheel, rare . º
The Orange Girl; proofs before the engraver's name
The Beggar Girl, and Serena; proofs
I3O
:
I I
o 17
18 O
II O
.
II
I2 O
I2 O
II O
II O
I
9
O
%
:
53.
!/a/ue of Bartolozzi's Prints.
53.
54.
55.
56.
57.
58.
59.
61.
62.
63.
64-
65.
67.
68.
70.
Two. The Sailor's Farewell, and Return; proofs before the publi-
cation. g e e tº tº gº g e e
BOTH AND P. BRILL.
Three. Morning, and Evening, after Both (proofs—the landscape by
Byrne, the figures by Bartolozzi); and Europa, after
Brill; fine—landscape by Browne, and figures by
Bartolozzi . tº se g tº ſº * g
BUNBURY.
Two. Going to Market, and Companion; proofs . . . ©
Two. Auld Robin Gray; proofs before the engraver's name . o
Two. Lord Thomas and Fair Annette, and Lady Bothwell's
Lament; ditto, ditto . tº e
Two. Love and Honour, and Adelaide; ditto, ditto.
Two. Charlotte, and Lady Bothwell's Lament; ditto, ditto
Two. The Song, and the Dance; ditto, ditto tº
Two. Ditto, ditto; in black, ditto, ditto * * te
Two. The Mouse's Petition, and the companion Marianne (by
Tomkins); etchings . . . . . . .
Two. Ditto, ditto; proofs, one without the engraver's name,
very fine, a proof before letters . te * © e
Two. The Ticket for Wynstay Theatre, with curious variations in
the figure of Tragedy, Harlequin's dress, and in the
spelling of the word Pantomime; very rare, presque
unique, a proof . º © o & º e
Two. The Breakfast, Carlton Gardens, and Prospero Disarming
Ferdinand; proofs and etchings • tº © *
Two. Lucy of Leinster, and Margaret's Tomb; proofs, the etching .
* BURNEY. .
One. Genius supporting a Medal, in commemoration of Handel;
rare e ‘º o e g te º gº ſº
Four. Mercury, Minerva, etc., from the Il Mercurio Italico; proofs,
- with variations . ſº e e g e e ſº
Three. An Allegorical Subject; with etching, proofs, and letters,
engraved for Madame Banti . . . . .
Two. A Concert of Music, engraved for Dr. Burney's History: and
The Judgment of Paris; proofs before the letters, for
the Il Mercurio Italico.
Three. The Genius of Music attended by Mercury; proof, before the
plate was cut, and letters, engraved for Mr. Le
Texier: and the Figure of Music seated near a
pedestal, a ticket for the benefit of Mr. Pacchierotti .
I31
*
36 s. d.
I 5 O
2 2 O
O IO 6
O IO O
o 7 o
o 7 O
o 6 O
o 7 O
o 7 o
I 6 O
I 4 O
I I4. O
I I2 O
I I O
O 8 O
I 19 o
2 8 O
I 6 o
One
Aartolozzz and /ºz's Works.
7.I.
72,
73.
74.
75.
87.
88.
:
Five.
Two.
Three.
Two.
One.
One.
One.
One.
One.
One.
One.
One.
One.
Eight.
One.
Six.
Six.
Four.
Six,
An Allegorical Subject of Tragedy, three figures; proof,
engraved for Madame Banti.
Apollo instructing Love; etching, proof, and letters, engraved
for Mr. Dragonnetti . tº e e o te e
Various scenes from Bell's British Theatre; proofs, one before
the letters . e o © e o º
A Female Figure embracing an Urn, reclining on a Tomb,
attended by Genius; proofs—one before the letters,
engraved for Sir Joshua Reynold's funeral, a proof
with the inscription before publication,
CARLINI.
Immortality trampling upon Envy, supporting a medallion
of Mr. Bach; etching, proof, and letters, very fine,
engraved as a design for a monument . . .
A Design for a Monument to the memory of the late Alder-
man Beckford, with a curious alteration in the wig;
fare . e tº e © g dº o e •
A. CARACCI.
Orlando and Olympia; proof, and letters, extremely fine and
rare, with the date 1768 . tº tº ©
The Woman taken in Adultery; an etching, very rare
Ditto; proof, very fine and rare e e
Ditto; with letters, very fine .
Clytie; an etching, extremely rare .
Ditto; proof, very brilliant e; e e e
The Silence; proof, as fine as possible . tº e e
Venus, Satyr, and Cupid ; proof before the arms, very fine
Ditto; proof with the arms, beautiful . tº º
An Allegorical Subject of Fortune; rare.
2.
CASTIGLIONE.
Historical, the complete set; proofs, extremely fine and rare .
CIPRIANL
The Portraits of J. B. Cipriani, F. Bartolozzi, and A. Carlini,
after Rigaud by J. R. Smith; proof . . . tº
Heads—Admiration, Liberality, Harmony, Felicity and Love;
proofs, the etching in red . tº e ſº e º
Ditto; in colours, proofs . © tº e 3 e e g
Contemplation and Attention; proofs, in black and in colours.
Ditto; proofs, in brown, red, and in colours . e &
I32
I
:
O
I6 O
18
IO
I8
I2
I2
I6
I4
18 O
18 O
92.
O
i
Value of Bartolozzi's Pºints.
92.
93.
95.
97.
98.
IOO.
IOI.
IO2.
IO3.
IO4.
IO5.
IO6.
IO7.
Io&.
IO9.
I IO.
III,
II2.
II.3.
II.4.
II.5.
II6.
I 17.
I 18.
II8.
Six.
Four.
Six.
Four. .
Two.
Two.
Two.
Two.
One.
Two.
Two.
Two.
Two.
One.
Two.
Two.
Two.
Two.
One.
Fourteen.
Five.
Five.
Five.
Four.
Four.
Four.
Four.
Four,
Poetry and Music, Tragedy and Comedy, Constancy and
Affection; proofs . e - º º e -
The Seasons; proofs • *
The Seasons; proofs e o
The Angel Gabriel, and Madonna, after Hussey; with the
alteration in the hands, very fine and rare. º
Lais and Lamia; proofs, very fine . • º te t
Astronomy; proofs with and without the letters, etching.
A Bacchante, and Hebe; proofs, before the names of the
artists, and the etching of Hebe
Ditto; proofs in black . * - e. e. tº e
A Turkish Lady; proof without the letters and arms, ex-
tremely rare . . . . . . . . .
Ditto, one with the arms and dedication; proofs, very fine
St. Cecilia; proofs with and without the letters . . .
Ditto, engraved from drawings in the possession of Mr.
Lock; proofs before the publication, extremely rare
and beautiful . e e o g e e º
Angelica and Medora; proofs, one before the plate was cut,
extremely rare. From a drawing in Mr. Wood-
house's collection; the etching . . e e O
The Child and Doll; proof before the name of Cipriani, very rare
Ditto; and Companion ; proofs, fine. e e o e
Conjugal Love, and Companion; etchings, rare e ©
Ditto; proofs before the alteration of the Madonna's head.
Mother and Child; proofs with and without the letters .
Ditto; proof, ditto, extremely fine . o g º º
Cipriani's Rudiments of Drawing; etchings and proofs before
any letters, extremely beautiful and rare .
The Second Part; proofs . e º º e o e e
Subjects engraved for Bell's Poets; proofs, one most beautiful,
before the letters. tº o - º e -
Ditto; one very curious o º e te º
Ditto; proofs, with variations, and one with the letters,
very fine . o ë o © º * o º
The Happy Father, Filial Affection, and Companion; proofs
before the titles . o º e º e º º
Ditto; with the titles, red and brown. From Drawings in
Mr. Woodhouse's collection o o º
Ditto; proofs, with variations . e º e e •
L'Allegro, and Companion; proofs, in red and brown, before
the letters, very fine and rare . º º
36
:i
2
s. d.
I3 O
I2 O
IO O
II 6
:
:
2
:
.*.*.*.*.*.* ºrºžººn
I.33
Aarfo/ozza azza! /*z's M/orks.
II9.
I2O.
I2 I.
I22.
I23.
I24.
I25.
I26.
I27.
I28.
I29.
I3O.
I31.
I32.
I33.
I34.
I35.
I36.
I37.
138.
I39.
Two.
Two.
Four.
Four.
Two.
Five.
Four.
Two.
Four.
Two.
Four.
Two.
Three.
One.
Two.
Five.
Five.
Two.
Two.
Two.
Two.
Prudence endeavouring to restrain Beauty from following the
insinuation of Love: and Genius describing Beauty,
and Cupid dictating to him; proofs before the pub-
lication. From Drawings in the collection of Mr.
Woodhouse, in red
Ditto; proofs, in red. e gº e e g e e
The power of Love, and the power of Beauty; proofs, in red
and brown, very fine. From Drawings in the collec-
tion of Mr. Woodhouse . e g g © ſº
The Graces adorning the bust of Raphael, and Companion (by
Tomkins); proofs and etching . º tº e tº
Proofs before the letters, very rare e e tº º e
Love Caressed, and Companion; proofs, red and brown, before
the letters, extremely fine, the etching
Ditto; proofs, red and brown, beautiful
Alexander and Nerina; proofs, red and brown & e e
Nymphs Bathing, and Companion ; proofs, red and black.
From Drawings in the collection of Mr. Woodhouse.
The Triumph of Beauty and Love, and A Sacrifice to Cupid ;
proofs before the publication, extremely fine. From
Drawings in the same collection. o
Ditto; proofs, red and brown, very fine . e e g
Ditto; proofs, before any letters. From Drawings in the
- same collection . º * o º º tº º
Le Premier Baiser de L'Amour, and Venus surrounded by
Cupids; etching, and proofs, very fine
Ditto; in colours, a most beautiful proof . e e e
The Shepherdess of the Alps, and A Naiad; fine proof and letters
Mythological Subjects; etchings, extra rare. From Drawings
in Mr. Woodhouse's collection; engraved for the
Book of Sketches . e e • . ſº
Ditto: proofs, and etchings with variations, extra rare
Cipriani's Sketches, First and Second Part; very fine . {}
The Mother and Child, and Lady and Child, after S. Ferrati;
proofs before the arms or letters, extremely fine and
scarce . . . . . . . . . .
Ditto; proofs with the arms, most beautifully engraved .
An Allegorical Subject—Cupid and Thalia, with emblems;
proof before the horizontal lines at the bottom of the
plate were added, brilliant and rare, , Engraved as a
Frontispiece for the Songs of the Duenna; proof with
the lines on. tº
134
I2 6
I4O.
:
!/a/ue of Bartolozzi's Prints.
I4O.
I4 I.
Four.
Four.
Two.
Two.
Three.
Ten.
Two.
Three.
Two.
Two.
Two.
One.
Allegorical—Music and Poetry; etchings and proofs before
the letters, very fine and rare, Engraved for Mr.
Tompkins' well-chosen selection from the English
Poets . G º tº º g wº dº g
Cupid with a Mask, and the Graces crowning Merit; very
SCarCC. e tº e e e g e tº
Ditto; with letterpress at the back. Engraved for Mr.
O'Brien's comedy of The Duellist g o
END OF THE TWELFTH DAY'S SALE.
THIRTEENTH DAY's SALE.
BARTOLOZZI'S WORKS,
From Ariosto; proofs before the letters . wº º N
Ditto; all extremely rare. These specimens alone would
immortalize the talents both of Painter and Engraver
Ditto; very fine. All that were engraved by Mr. Bartolozzi
for Mr. Molini's elegant edition of that celebrated poet
A Moralist among the Tombs; proofs with and without the
letters. Engraved for Mr. Grannini's Italian transla-
tion of Gray’s “Elegy" . e & º e g
Sir F. Cunliffe's Arms, a Sybil in Contemplation, and another
inscribed “est ulubris”; proofs before the letters,
extremely fine . e o gº e * te e
Beauty attended by Cupid, and Psyche igniting the torches of
Love; and an emblematical subject of three figures,
Painting, etc. Engraved for Mrs. Parker's card, and
Sir Jos. Reynolds' ditto; very scarce. o *
An emblematical subject of Love and Peace (Lady Bes-
36 s. d.
|
(Lady Shelburne's visiting ditto); a proof before the
letters, very rare © g e * º w e
Children with Masks; proof and letters, extremely rare, one
before the names of the artists, and the other with
the inscription at the top. Engraved for a masquerade
ticket, Hanover Square . . . . . .
Comus attended by Cupid, with masks, inviting Thalia to the
Revels; a most curious proof, before the masks were
finished and the background behind Thalia's leg was
darkened, extra rare. A masquerade ticket for Mrs.
O'Neill, Shanes Castle
I 35
borough's card), and an Infant Mercury with Cupids |
3 15 O
2 2 O
3 4 O
6 O O
IO.
** *gºry ºxº.º.º.º.
Bartolozzi and /*as M/orks.
IO.
II,
I2.
I3.
I4.
I5.
I6.
I7.
I8.
I9.
Two. Love inspiring Sappho to write an Ode to Music; and Beauty
attiring, attended by Love and Hymen. Engraved
for Mr. Giardini; very beautiful, one a proof on India
paper, very rare . g tº e te tº © o
Two. The Head of Apollo, in a Masonic Symbol. Engraved for
Baron 's concert at Freemason's Hall
Two. Figures emblematical of Music; proofs before the letters,
& both fine. Engraved for the benefit of Mr. Savoia,
with letters. to e e e tº o e g
Three. Infant Mercury listening, and two emblematical figures of
Children, with variations; very rare. Both engraved
for the Pro-sessional Concert, Hanover Square . o
Three. Fame, with emblems on the top of a wreath formed by palm
and olive branches; one a curious proof, before the
music was engraved on the scroll, and without the
names of the artists, very rare; and an Emblematical
Figure, with Scroll. Both engraved for the Grand
Concert, Hanover Square . . . . tº e
Two. A Pastoral subject, Infant Performers. Engraved for Mr.
Fierville's Ball
Two emblematical figures of Vocal and Instrumental Music,
with a Harp. Engraved for Mr. Jones's Benefit º
Three. An emblematical figure with a Griffin; proof before any
- letters. Engraved for Mrs. Grassi . G tº e
Three. Cupid resting on his Bow, admiring a figure of Thalia; etching,
proof, and letters, fine and rare. Engraved for the
Sçavoir Vivre Masquerade . . . . . .
Two. An Angel with a mantle; proof and letters, extra rare. En-
graved for an Oratorio . . . . . .
Two. Love receiving Masks from a Triton near a pedestal, on which
are placed musical instruments, etc. Engraved for a
masked ball at the Opera House, 1771
Thalia Unveiled, with a mask in her hand, attended by a boy,
with grapes near him, holding a tablet on which is
written, “Masqued Ball, New Club, Soho, Feb. 24th,
1778"; in black, most uncommonly brilliant and
falſe . e tº e º e © e o e
Two. An emblematical figure of Commerce, with attributes, seated
within a wreath composed of oak, olive, and palm
branches; proof and letters, the first most un-
commonly fine. Engraved for the late Mr. Alderman
Wilkes e ‘p e e e tº e
136
3 3
O
2O,
->
i
Value of Bartolozzi's Pºints.
2O,
2I.
22.
23.
24.
25.
26.
27.
28.
29.
3O.
3I.
Two, Father Thames, attended by Britannia and Commerce, exciting
Competition; etching and proof without any letters,
and before the shell was enlarged . . ſº (
Two. Ditto; proof, and lettered impression, with variations.
Engraved for the Regatta Ball at Ranelagh; in
black and brown te © e ſº ſº ſº e
N.B.-Both the preceding lots are curious, and extremely
? &^e.
One. Genius Crowning Handel ; a most beautiful proof, in black,
before the alteration in the neck-cloth. Engraved
for the Commemoration in Westminster Abbey.
Two. Ditto; proof and letters, with the alteration in the neck-
cloth . e o o o e * © te º
One, Mercury, attended by Cupid, Stringing the Lyre; proof with-
out the letters, very fine and rare. Engraved for Mr.
Giardini, from a drawing in Mr. Woodhouse's col-
lection © a . e. • * § e ſº e
One. Ditto ; very fine, with a curious inscription after the
engraver's name, rare, before the letters, but with
“for the last” . . . . . . . .
One. An Emblematical Subject, Tragedy and Comedy; a proof
before the letters, exquisitely fine, and rare, engraved
for Mr. Giardini, with the letters g e g o
Three. Orpheus and Eurydice, 1st and 2nd plates, and Venus at-
% tended by Love and Music; engraved for Mr. Giar-
dini . ſº e tº g e e tº & e
Three. Psyche giving instructions to Hymen for the arrangement of
the Concert; etchings and proofs, with variations,
extremely fine and rare, engraved for Mr. Giardini .
Four. Two, Apollo with his Lyre, with variations, engraved for
Mr. Borgi, one a proof before the letters. Orpheus
Charming Cerberus; ditto for Mr. Tenducci. Apollo
and Daphne; ditto for Mr. Giardini. All very fine .
Three. Apollo Crowned by Mercury, the Judgment of Midas, and
- - Apollo Instructing the Muses; most uncommonly
beautiful, engraved for Mr. Giardini. It is very
difficult to obtain impressions of this brilliancy, being
generally printed on cards. ſº º ſº e e
One. Venus Rising from the Sea, attended by Doves and Boys
with Masks; a proof before the letters, most brilliant
and extra rare, engraved for a Masquerade Ball at .
Ranelagh . o º tº e o
137
I3 O
16 o
I8 O
IO O
II 6
II 6
II O
32.
Aazºo/o322 azed /ăz's M/o??.S.
32.
33.
34.
35.
37.
38.
4O.
4I.
42.
43.
45.
46.
47.
48.
49.
5O.
5.I.
52.
Two.
Two.
Two.
Four.
Three.
Four.
Four.
Four,
Four,
Four.
Two.
Four.
Two.
Four.
Four.
Two.
Four.
One.
Two.
Four.
Four.
Two.
Vertumnus and Pomona, within a wreath of the most
beautiful foliage; proof and letters very rare
Venus in a Shell, surrounded by Cupids; the large plate, a
very beautiful proof. Ditto; with the letters, very fine
History and Music; proofs before the corners, very rare
Ditto; with variations, also rare tº e o
History, Music, and Sculpture; etchings, rare g o g
Sculpture, Painting, Music, and History; etchings and proofs,
some rare . tº ſe tº & tº º g o
Same subjects; proofs before the letters, engraved from
drawings in the collection of Mr. Woodhouse
The Elements; proofs before the titles, very rare . Q
Ditto; proofs, fine, the etching of Air . & g g
Faith and Hope; proofs, in brown, before the letters . e
Ditto; in red, very fine, from drawings in Mr. Wood-
house's collection © & ſº e o e
Fortune and Prosperity; proofs before any letters, very rare .
Ditto; proofs, in black and brown, fine, from drawings in
the same collection in red . tf
Ditto; in colours, fine . . g o © e *
Beauty, Meekness, Harmony, and Prudence; proofs, fine
Contentment and Friendship ; proofs, in black. Ditto; in
colours, very beautiful. From drawings in the col-
lection of Mr. Woodhouse, in red e e e
Tragedy and Comedy; proofs before the letters, extremely
fine. From drawings in the same collection, proofs
with the letters . tº ſe ſº tº C e *
Cupid and Psyche; proof, with variations, fine, and etchings .
Hebe; proof, most beautiful . . . . . . .
Juno Borrowing the Cestus from Venus, Jupiter and Juno;
proofs, in brown, before the letters, scarce, in black,
and a proof in red . tº g tº tº te g
The same subjects—Hercules and Omphale, and Bacchus and
Ariadne; all proofs, fine . º e . * g g
The Judgment of Paris, and Venus Attired by the Graces;
proofs before any letters, very fine, proofs in red
before the letters . . . . . .
The Drawings of the three preceding lots are in the Collec-
tion of Mr. Woodhouse. -
Psyche Going to Bathe, and Companion; proofs before the
letters and the line round the oval, beautiful and
extremely rare, the etching & • . e. & tº
138
:6
:
:
2
..I2
s, d.
O
I5
9
I9
I6
:
I8
I2
II
:
I8 O
17 o
17 o
18 O
18 o
I8 O
18 - O
I3 O
53.
//a/ue of Bartolozzi's Prints.
53.
54.
55.
56.
57.
•. 58.
59.
61.
62.
63.
Two.
Two.
Two.
Two.
Three.
Four.
Two.
Four, tº
Two.
Seven.
One.
Ten.
The same subjects; proofs with the line, equally beautiful,
before any letters . . . . . . .
Perseus and Andromeda, and Companion; proofs before the
names of the artists, very fine
The same subject; proofs tº o ſº ſº * e º
Pegasus Feeding on Roses, and Apollo Tuning his Lyre;
proofs, one before any letters, engraved for Mr.
Borgi, with and without letters . e
Pan and Syrinx (engraved for Mr. Bach's Sonatas; dedicated
to the Duke of Mecklenbourg); The Mask of Apollo
within a Wreath of Laurel, supported by Boys
(engraved for six Canzonettes; dedicated to Lady
Glenorchy); Pan Playing near a Bust of Martial,
which is placed on a Pedestal (engraved for Graglia's
Italian Translation of Martial's Epigrams). All very
fine, proof and letters. e tº © Q g *
Apollo Playing on his Lyre; etching and proof before the
name of painter or engraver; and letters. Very fine,
and difficult to be obtained in such high preserva-
tion. Engraved for Abel's Six Concerts, etc.
Diana Preparing for the Chase; proofs, one before any letter,
very fine. Engraved for Mr. Beckford's Essay on
Hunting, from the original drawing in the collec-
tion of Mr. Woodhouse, proof . e o tº tº
Ditto, from Metastasio; three proofs before the letters in
black, and one in brown; very fine and rare . e
Summer; proof and etching (engraved for Pergolesi's Book
of Ornament), extra fine and rare . e tº e
Luna, Apollo, a Sacrifice to Hymen, Spring and Autumn;
these are false proofs, and two others—the Marriage
of Cupid and Psyche, and Venus on the Waves.
Bacchus and Ariadne; on a large plate. An impression in
this state is uncommon e e
Subjects designed for Fans, viz.:-
The Power of Love, from the antique; after G. B.
Cipriani.
An Emblematical Figure of Victory; after Lady Dun-
Ca1111Oil.
The Marriage of Cupid and Psyche; in red.
The Origin of Design, after Bartolozzi; in red, unfinished.
Hope Nursing Love, after A. Kauffman; etching in red.
The Fine Arts, after A. Kauffman; in red
I 39
I2 O
I6 O
The
** ***** * *.sº
Bartolozzz and has M/orks.
The Family of the Gracchi, after West; in red, and the
etching.
St. Cecilia, after West; in red.
Hope Nursing Love, after Sir J. Reynolds; in red.
Venus Chiding Cupid, after Sir J. Reynolds; in red.
Proofs in brown; very fine . . . . . . .
64. Three. Hope Nursing Love, Hercules and Omphale, and Bacchus and
Ariadne; extra rare . o © e o e tº
65. Five. Hercules and Omphale, Bacchus and Ariadne, from a draw-
ing in Mr. Woodhouse's collection. Cephalus and
Procris; in red, a proof before the marginal line,
and any letters whatever. Love forming Darts, and
Love sharpening Darts. All proofs on large paper,
very fine . e e g gº º wº e gº
66. Four. A Medallion of His Majesty, with a Reverse between a Cadu-
ceus, ornamented with palm and laurel branches,
and Zephyrus adorning the bust of Priapus; very
fine, engraved for a Disertation on Oriental Garden-
ing, by Sir Wm. Chambers. & e e g
67. Three. Christ appearing to a Suppliant; letters and proof, with
curious variations. Engraved for Dr. Priestley's
publication on Matter and Spirit, from the drawing
in the collection of Mr. Woodhouse. And a sub-
ject with three figures in a cell. Engraved for Mr.
Howard ; likewise a proof before any letters . • I I
68. Four. A View of the Great Room at Freemason's Hall; the archi-
tectural part by Mr. T. Sandby, the figures by Mr.
Cipriani are allegorical, viz., Religion, Faith, Hope,
Charity, etc.; variations in etchings and proofs.
From drawing in Mr. Woodhouse's collection, proof
and etching © e wº e e e tº e
69. Three, Virtue directed by Prudence, and Innocence taught by Love;
proofs before the titles, very fine, proof in red, with
the letters . e ë , e. te tº , tº © . I 8
7O. Two. Religion and Faith; proof fine, etchings in red e e • I I I
71. Two. The Nymph of Immortality crowning the bust of Shakespeare,
and Euphrosyne, from Amiconi; proofs, most beauti-
ful, and one before any letters, proof with and without
letters, and with the letters in black and red . . I 8
72. Two. Ditto; proofs in red, fine . tº • * * e & ... O I7
73. Two. Britannia, with the Cap of Liberty (engraved for Mrs. Macau-
lay’s “Treatise on Civil Liberty"); very fine and rare,
I I6
I4O
Palue of Bartolozzi's Prints.
74.
75.
76.
77.
78.
79.
8O.
81.
82.
A Female Figure, standing, with various allegorical
devices; an etching, extra rare, never published.
Engraved for Mr. Hollis . g e t e o
One. The figure of Fame seated under a tablet; an unfinished proof
before any letters, extremely rare. Engraved for
Hollis's Memoirs © * * g e tº &
Pive. The same subject, with the portraits of Fras. Hutcheson,
Laurence Natter, B. Whitlock, and Thomas Hollis:
also medallion of Timoleon, Phthia and Iole; ex-
tremely fine tº e º e º 'º tº e
Fame receiving a Scroll from Music (engraved for Abel's six
quartettes), Fame supporting a Medallion of Handel
(engraved for a frontispiece to his Sacred Music);
both remarkably fine, and one a proof before the
letters. e e e e e e' gº º
Seven. Hercules conducting Virtue to the Temple of Fame, Britannia
supporting the Royal Arms, and Religion with
Attributes, the Arms of the Earl of Abingdon, Lord
Middleton, and Lord Scarsdale, the Supporters of the
last; a proof, very curious and extremely rare. En-
graved for Edmonton's Peerage g
Two. The Fine Arts receiving Models from Genius; a proof before
the inscription on the scroll, the top of the easel
darkened, and before the marginal lines were intro-
duced, and the alterations of the names of the artists
at the corners; proof. And another, Boys with a
Lamb, and one Boy Piping, from Simon de Pesaro;
proof, extra rare. tº g e e g º e
Four. Two the same subjects; and one of Time Destroying the Fine
Arts, after Rebecca; and one a Holy Family, from
Guido Reni. Uniform in colour, and most extra rare.
Engraved for Mr. Rogers' Book of a Century of
Prints. tº e g e te g © e tº
Two. Genius Stopping the Ravages of Time; and Caesar, with a
casket, in the Temple of Venus. Engraved as frontis-
pieces to the Duke of Marlborough's celebrated
volumes of Gems . . tº © º e º ©
Two. St. Bruno and Sappho; proofs before any letter, extra fine
and rare. Engraved for Travels which were never
published . o o º g {º e o
Four. Columbus, standing under the Spanish Banner, receiving
presents of Bread-fruit from the American Indians;
I4 I
2 II O
3 16 o
proof
Yºgºś
Aarfo/ozza azza! /ēz's M/orks.
83.
85.
86.
87.
88.
89.
9I.
92.
93.
95.
97.
proof and etchings, very fine. Engraved for Edwards'
History of West Indies. And two, the Interview be-
tween Coriolanus and his Mother; proofs, with vari-
ations. Engraved for the play; proofs and letters
Three. Hector and Andromache, Ulysses and Penelope; one an
* etching, the etching . o e te e º 'º
Three. Edward the Fourth's first interview with Jane Shore, and
Henry the Second and Fair Rosamond; etchings and
proof . tº g * e © e e tº
Two. Achilles and Briseis, and Companion; most beautiful, proofs .
Two. Tancred and Erminia, Tancred and Clorinda; etchings and
proofs, very fine . e o e © o e tº
Two. The Queen of Edward Fourth parting with the Duke of York,
and the Dukes of Northumberland and Suffolk pray-
ing Lady Jane Gray to accept the Crown; etchings,
very fine and rare. Engraved from two most capital
drawings in Mr. Woodhouse's collection
Two. Ditto; proofs in brown, very fine in red
Two. Ditto ; before the artists' names. tº G g tº e
Three. The Heroism of Prince Edward, son of Henry VI. ; proof,
and etching : and the Interview between Edward V.
and his Brother, after Ramberg; proof before letters,
pub. and an. . e g o © ſe g
Two. Earl Darnley, and Oliver Cromwell; etchings, very fine.
Two. Ditto; proofs, very fine . e o © tº e tº
Two. The Arrival of Eloisa in the Elysian Field; proof and etching
One. The Death of Dido; proof without any letters, and before the
drapery around the neck was finished; very rare .
One. Ditto; proof, very fine, the etching . tº e e
One. An emblematical subject on two sheets: the Diploma for the
- Royal Academy. The figures of Hercules and
Apollo supporting a medallion, encircled with a
wreath, in the right of which the Fine Arts are
represented with their various attributes; Britannia
on the left directs their attention to a figure, which
represents Majesty embracing Wisdom seated on a
throne, elevated on a pedestal, inscribed “Royal
Academy of Arts, instituted MDCCLXVIII.,” near
which an attendant, Genius, is holding wreaths of
laurel. A remarkably fine impression. The united
talents of these great artists are not more conspicuous
in any performance than in this, in which elegance
I42
:
:
II
:
I4
2
O
O
:O
.
of .
Palue of Bartolozzi's Prints.
98.
IOO.
IOI.
IO2.
IO3.
IO4.
IO5.
IO6.
IOZ.
IO8.
IO9.
I IO.
I I I.
II 2.
II.3.
One.
Two.
Four.
Four.
Four.
Four.
Two.
Two.
Three.
Eighteen.
Three.
Three.
- Five.
Two.
of design, correctness of drawing, strength and
delicacy in finishing, are transcendently apparent,
and rank this production, as a specimen of art,
unrivalled in any School o e g © g
The Descent from the Cross, after Vandyck; etched by Cip-
riani; very fine .
Adam and Eve: figures by Cipriani, and landscape by
Hearn ; etching and proof before any letters. En-
graved by Bartolozzi and Pouney, from a drawing in
Mr. Woodhouse's collection o º © e tº
Minerva on Mount Parnassus receiving the Muses, and Hercu-
les presented in Heaven to Jupiter and Juno by
Minerva and Mercury; proofs with and without the
letters; an etching, proof with the letters . © º
The Triumph of Venus, Carrying off a Sea Nymph, Hercules,
and another; after the antique, proofs and etchings,
curious
Minerva visiting the Muses, + A Sacrifice to Jupiter, * Neptune
and Amphitrite, Vulcan and Venus; proofs before
the aquatint, extremely fine and rare e - ©
* These two drawings are in the collection of Mr. Woodhouse.
Same subject; first impressions with the aquatint, very fine .
A Fawn, and Hermaphroditus, engraved from Mr. Lock's
statues; very fine . tº e § e e te
A Military Subject, from an ancient basso-relievo; proof and
etching, rare. Engraved for Jephson's Roman Por-
traits . e ſº º * º e e e tº
Basso-relievos from the Antique: one a most curious varia-
tion, before the face of the figure of Hector on the
Bier was introduced. All very rare. Engraved for
Wood’s “Life of Homer" . º * © tº e
Sheets of Coins, sixteen of which are proofs before the letters;
very fine and rare . te e g tº g º
The Portland Vase; proofs without the letters, extremely fine
and rare o e wº e e g
Ditto ; etchings, very fine and curious º e o
Ditto ; with the letters and the title, all fine . . . ſº
Jupiter Dodonaeus; proof before the letters, engraved for
Mr. Duane. tº º e * º e e G
Ditto and Trypho; a proof before the letters . e ſº
Antinous, and Ptolemeus Philadelphus; both proofs before the
letters tº tº e e e - gº e e e
I43
:
:
O
O I2 O
O 13 O
I 6 O
II.4.
*ś
Bartolozzi and has M/orks.
II.4.
II 5.
:
§
e
II.
I2,
I3.
I4.
I5.
16.
s, d.
Eighteen. From Drawings by various Masters in the King's Collection;
fine old impressions . e t e ſº © . 3 3 O
Three. Etchings; very scarce, two from the above collection . . 2 7 O
END OF THE THIRTEENTH DAY'S SALE.
FOURTEENTH DA Y'S SALE.
BARTOLOZZI'S WORKS,
CORREGGIO.
One. The Magdalen ; proof before the letters, very fine . ſº ; O 16 O
Two. Jupiter and Juno, and Cupid Cutting his Bow; proofs, before
the letters . g gº * © º e • 3 I5 O
R. AND M. COSWAY.
Two. Love and Innocence; red and brown; proofs, one before any
letters, proofs with the letters . . . . . o Io o
One. Latona; proof in black, before the letters, very fine tº O 9 O
One. Ditto, in brown ; ditto . o ſº te e e O IO O
Two. The Hours; etching and proof, before any letters . tº O I4 O
One. A Pastoral Subject, for Mr. Napier's music . . . t ... O 8 O
Two. Venus and Adonis; proofs, very rare, before the head of Adonis
was altered ; one without any letters.
- Miss EMMA CREWE.
Two. The Gypsies, and Companion; proofs before any letters ... O 8 O
DANCE, LADY DASHWooD, C. Dolci, AND EDWARDS.
Two. One an allegorical subject of two figures, after Dance; Sir W.
W. Wynne's Concert Ticket . ge e e ... O I4 O
Four. Etchings by Lady Dashwood; rare e e º • I I2 O
One. Madonna and Child, after C. Dolci ; proof, very fine.
Three. Madonna and Child, after C. Dolci ; proof and etching. And
Vandyke's Wife and Child, after Vandyke; proof,
very fine, the etching . tº e e © te . I 8 O
Two. Emblematical figures, by Edwards, engraved for Goldsmith's
Roman History; proof before the plate was re-
duced, very rare. And the Good Samaritan; a proof. 1 2 o
Two. Ditto; the small plate, proof; Good Samaritan, ditto . I 8 o'
FUSELI, GABLANI, GAINSBOROUGH, L. GIORDANO, GUARANA, GUIDO, AND
GUERCINO. º
Two. Queen Catherine's Dream, from Fuseli; proof and etching,
fine . . . . . . . . . . o 17 o
I44 17.
ºx& gº ºxº~ x&aº ºzºx sº... : : «x-xx-xx-xx-xx-x-x-xx- ----- ... ...— –
Value of Bartolozzi's Prints.
VOL. I.
- 36 s. d.
17. Two. Hobbinol and Lavinia, by Bartolozzi; and companion, the
Cottage Children, after Gainsborough, by Tomkins;
etchings . g e ſº º e e g ... O I3 O
I8. Two. Ditto; proof, ditto, ditto, before the letters, very fine I O O
I9. Three. Etchings, after Gainsborough, fine : and Diana in the Chace,
* after Gabiani, ditto . te º e e e ... O 18 O
2O, Two. Queen Elizabeth Striking the Earl of Essex; and the Murder
of David Rizzio, from Guarana; proofs, fine, etchings I 6 o
21. Two. Jupiter and Europa, after Guido ; in brown and red, very fine o 13 o
22. One. Guercino's Daughters, after Guercino; in the square, remark-
ably fine . tº e e º e e is ... O 18 o
23. Three. The Mother and Child, after ditto, with variations; proofs,
- very fine . ſº e tº t tº e e . 2 2 O
24. One. The Circumcision, after Guercino; most beautiful; proof 3 8 o
25. One. Ditto; with the letters, very fine . tº g O I4. O
26. Six, Etchings on stained paper, after ditto ; beautiful I I3 O
27. Eleven. Ditto; after ditto, engraved at Venice . e © . I 8 o
28. One. Venus, Cupid, and Satyr, after L. Giordano; an etching, very
Tare . e e * & * e * > g . I I O
29. One. Ditto; proof, very fine . º e e o tº • 2 2 O
30. Seventy. Etchings, after drawings in the King's Collection, from
Guercino; old impressions. & © 3 3 O
HAMILTON.
31. Two. The Boy Gathering Apples, and the Girl with a Squirrel;
* proofs before the publisher's name, fine . e . o 8 o
32. Two. Hamlet and his Mother, Romeo and Juliet; proofs. g O IO O
33. Two. Historical : Edward the Martyr, and Edgar and Elfrida . I O O
34. Two. Ditto: Caractacus, and the Treaty of Troy I I2 O
35. Two. Ditto: Etchings, Death of Arcite O 9 O
36. Two. Palemon and Arcite, and the Death of Arcite . I I2 O
37. Ten. Of the Months; proofs before the letters . tº o gº . I I 3 O
38. Twenty-one. Plates for Thomson's Seasons; brilliant proofs, the complete
- set, remarkably fine g tº º 5 18 o
39. g Ditto; etchings, very fine, and extra rare. te e . 5 IO: O
4O. Two. The Transparency Painted for the Bank on His Majesty's
Recovery, exhibited April 24th, 1789; an etching,
very rare . g e g e * > º º ... O 8 o
4I. One. Ditto; proof, very fine . * g o § e ... O 17 o
42. One. Ditto; in which His Majesty is represented sitting under
an arch, etc. Exhibited by Sir Joseph Banks, Bart., in
Soho Square, on the same occasion ; proof, very fine. o 12 o
– - I45 * 43.
L
Barfo/ozzz and has M/orks.
43.
45.
46.
47.
48.
49.
5O.
5.I.
52.
53.
54-
55.
56.
57.
58.
One.
Four.
Four.
Two.
Three.
Two.
One.
Two.
Three.
One.
Three.
Two.
Seven.
Two.
Two.
Four.
Two.
Four.
The Earl of Clare's State Carriage, as Lord Chancellor of
Ireland: on the panels are painted various allegorical
subjects; an etching, rare . & o e e
Children playing at Marbles, and Companion; proofs with and
without the letters tº g ſº © º e
Children playing at Hunt-the-slipper, and Companion, ditto
at Trap-ball ; proofs, very fine . g ſº e te
The Three Graces, and Belinda ; etchings, engraved for Du
Rouveray's edition of Pope's “Rape of the Lock”
Ditto, and one from Glover's Leonidas; proofs before any
letters o g tº g e º ſº e
Genius unveiling Nature; proof and etching. Ticket to Mr.
Walker's Lectures; very beautiful o g tº
An emblematical figure of the City of London, with attributes;
unfinished proof, before the artists' names, extra
rare. A Ticket for the Lady Mayoress's Ball, in the
Mayoralty of Mr. Alderman Boydell.
Ditto; proof, in black and brown c tº © tº
Poetry and History presenting Painting with subjects for her
pencil; proofs, with variations, exceedingly beautiful;
engraved for Mr. Macklin's Catalogue of Prints;
proofs. & e e º e ſº . . .
Britannia distributing laurels to Music and Poetry; for Mr.
Napier's music book; two proofs, with variations in
the publication © g . . g ſº ſº
The Winter's Tale; etching, proof and letters, very fine; for
Boydell's Shakespeare e e & * ſº
HARDING, HEARNE, AND HOGARTH.
From Sterne, La Fleur, and The Sword, after Harding; proofs
From the Antiquities; Views after Hearne, figures by Barto-
- lozzi; proofs, very fine . g g e g *
From Joseph Andrews, after Hearne, figures by Bartolozzi ;
proof and etching, very fine tº º
The Shrimp Girl, after Hogarth; proofs with and without the
letters. © e o e * * * tº tº
Two portraits of Lords Melbourne and Winchelsea; proof
and letters. North and South Britain; with and
without the aquatint. .
Groups of Angels, after Howes; proofs . . . . tº e
Two plates, containing eight subjects; proofs, and letters:
engraved for Richardson's “Iconology”
I46
o 15 o
o 17 O
O I 5 O
O II O
JONES
//alue of Bartolozzi's Prints.
61.
7O.
7.I.
72.
73.
74.
75.
76.
One.
Four.
Three.
Three.
Two.
Two.
Two.
Four.
Three.
Four.
Four.
Four.
Four.
Four.
Four.
Five.
Two.
Two.
Four.
Two.
Two.
Two.
Two.
Four.
JONES.
Dido and Æneas, after Jones and Mortimer; the landscape
engraved by Wooſlett, and the figures by Bartolozzi;
proof, very fine . e e e º © g
A. KAUFFMAN.
Apollo, and Companion ; proofs, before the letters. Celia
and Rosalind; ditto . º º e tº e
Fatima; proofs, with variations
Zoraida; ditto, ditto, a proof e e e & º
Adoration and Humility; proofs before any letters, very rare
Ditto; in colours . o e © g © e e g
The Fair Alsatian; proofs. The Liberal Fair; proof and
etching, fine º º e tº t © º tº
A Muse; proof and letters, engraved for Scott's Poems. The
Tragic Muse; proof, very fine, and rare. Socrates,
with a scroll . . . . . . . .
Two of Leonora; proofs, one before the names of the artists.
Miss Eyre; proof before any letters, very rare .
Science in the arms of Peace; a proof, in red . e e t
Diana preparing for the Chase, Paris and CEnone; proofs in
red and black, very fine . e * te º *
The Death of Clorinda, and Companion ; proofs, in black and
brown, before any letters, very fine, in red
Damon and Musidora, Celadon and Amelia; proofs, and
letters, in black and red, fine . tº o e tº
The Tambourine and Castanet; proofs, in brown and red,
very beautiful, in black * Qº * e
Hebe and Antiope, and two others; proofs, very fine, one
before the letters. . . . . . . .
Two proofs, and etchings, engraved for Hoole's Translation
of Ariosto e , º gº wº ge e e tº
Two.—Harmony, engraved for Mr. Legat; proof and etching
before letters. -
Rural Sports, from a drawing in Mr. Woodhouse's collection.
Companion; etching, one before any letters, very fine.
Ditto; with the aquatint, fine . . tº te ſº e
Invention, Design, Composition, and Colouring; proofs, fine .
Cleone and Cordelia; proofs, one before letters, very fine
Ditto. © © © © e © tº e
Virgil and Homer; proofs before the letters, very fine
Eurydice and Sylvia; proofs, one before the letters.
The Seasons; proofs, very fine, before letters .
I47
i
S.
I2
I9
I6
17
:
O
i
8
Aarfo/ozzz azed /ăz's M/orks.
93.
94.
95.
97.
98.
IOO,
IOI.
IO2.
IO3.
IO4.
IO5.
IO6.
IOZ.
Two.
Two.
Two.
Two.
Two.
Two.
Two.
Two.
Two.
Two.
Two.
Two.
Two.
Two.
Two.
Two.
Two.
Two.
One,
Two.
One.
Emma Corbett, and Griselda; proofs, the latter without any
letters, extremely beautiful. From Pictures in the
Collection of Mr. Woodhouse
Ditto; fine. e g c g º e g &
The Birth and Tomb of Shakespeare; proofs, very fine .
Faith and Religion; proofs, very fine . g g te º
The Shepherdess of the Alps, and Griselda; proofs before
any letters, extra fine and rare . º e o
Ditto ; very fine. • . & e
Proofs before the letters, very fine . e e e e e
The Mother of the Gracchi, and Telemachus in the Island of
Calypso; proofs, beautiful. g e g
Zeuxis, and Telemachus; etchings, rare, in brown .
Ditto; proofs, very fine o ſº g
Nymphs Bathing, and Companion; proofs, extra fine wº
Rhodope in Love with Esop, and Companion ; proofs in
brown, very fine . te c g sº g s ſº
Ditto, ditto, in red, before any letters º e
Paulus Emilius, and Cleopatra and Meleager; proofs, rare
Venus attired by the Graces, and the Judgment of Paris;
proofs, extra fine and rare . e te • . e
Coriolanus and Delia weeping over a wounded stag; proofs,
very fine, one before any letters. & e gº
Proof and etching, very fine .
LE BRUN.
St. John, after C. Le Brun, 1st proof. Innocenče under the
protection of Justice, after Madame Le Brun; proofs,
both fine, proof before any letters, in red .
LAURENSO.
Bacchus and Venus adorning the bust of Priapus, a ticket for
the Anacreontic Society; one, a proof before the
letters, very rare. e e e •
MISS LISTER AND W. LOCK.
The Flight into Egypt; a curious proof, the ground unfinished,
extra rare, touched up with a little colour . g
Ditto: a finished proof, before the publication . e wº
The Market of Love, after Mr. Lock; proof and etching, very
beautiful, unfinished proof. o tº e g g
A Dance, Neapolitan, after Lock; proof.
I48
:
I
I
:
I
º
:
I
7
O
I
5
O
I
5
O I5
O I3
I 5
O I2
:.:
º
O
O
O
CLAUDE
!/a/ue of Bartolozzi's Primås.
IO3.
IO9.
I IO.
I I I.
II 2.
II.3.
II.4.
II 5.
I 16.
I 17.
II8.
II9.
I2 I.
I22.
I23.
CLAUDE LORRAINE. :6
Two. The Morning, by Canot, and The Evening, by Bartolozzi and
Mason; very fine. The etching tº e
tº ... I
One. AEneas landing in Italy, by Mason; the figures by Bartolozzi;
fine . g e tº & O
J. B. DE LOUTHERBOURG.
One. The inside of the Royal Exchange; a most beautiful etching,
very rare . . . tº tº ge º e ... I
Two. Tom Jones; proof and etching, very fine. . . . . I
Two. The Shepherdess of the Alps, and Companion; etchings, very
fine and rare . © gº tº te © e ... 2
Two. Ditto; proofs, beautiful . tº e ſº tº e ... I
. Two. The Snuff-box, and Dead Ass; proofs before any letters, very
rare . . . . . . . . º ... I
Two. Ditto; with the letters, very fine . º 9. tº e
Two. The Tempest, and Perdita; proofs before any letters . . 1
Seven. Different subjects, from Bell's Edition of Shakespeare; five
proofs before the letters, very fine . * g ... 2
Five. Ditto; Bell's Theatre, from various masters; proofs
before the letters o e * g I
Four. Ditto; proofs and etchings, extra rare . e e ... I
One. Signora Bastardelli .
B. LUTI.
Two. Narcissus, and Hippomanes and Atalanta; proofs, very rare
and fine . e ſº tº * te te • ... O
Five. A Holy Family, Angelica and Medora, and Mercury teaching
Cupid. e e * tº e e $º ... O
s, d.
IO O
I6 o
:
O
I
6
O
8
%
I5 O
8 O
MADAN, DUCHESS OF MontroSE, MARTIN, C. MARATTI, MIDDLETON, MORTIMER,
I24.
I25.
126.
I27.
I28.
I29.
I3O.
I3 I.
AND NIXON.
Two. Ophelia, after Madan; proofs . © * * e g • O IO O
One. The Exalted Soul, after Her Grace the Duchess of Montrose;
proof before the letters . e * e * ... O I3 O
Two. The Death of Lady Jane Grey, and the Death of Eleanora,
after Martin ; proofs before the letters . te , I 2 O
One. Imogen's Chamber, after ditto; proof, very fine . e ... O I2 O
One. Lady Macduff, after ditto; proof before any letters and
marginal lines, very rare; etching ditto . tº ... O I2 O
One. Ditto, after ditto; proof, very fine . º tº © , I I O
One. Flight into Egypt, after C. Maratti; proof before the letters. o II o
One. Ditto, after ditto; proof, very fine . • * . ... O I3 O
I49 I32.
*
Bartolozzi azza! /*z's M/orks.
I32.
I 33.
I34.
I35.
I36.
I37.
I38.
I39.
I4O.
I4 I.
I42.
5.
;
8.
Two.
Two.
Two.
One.
Two.
One.
Two,
One.
Two.
Two.
Five.
One.
One.
One.
One.
Two.
Two.
Two.
One.
A Landscape with Figures, by Lady Middleton; a most beau-
tiful etching. A Holy Family after C. Maratti; fine
The death of Sir P. Sidney, after Mortimer; proofs, one
before any letters, proof . e Q e g e
Venus and Adonis, after ditto; etching and proof before
the letters, very fine, and extra rare . e e
A Toxophilite Ticket, after Martin; proof with the letter
Ophelia, from Nixon; proof, one before the publication .
An Allegorical Subject, by Martin; proof before any letters .
Proofs and letters, by Mortimer. Engraved for Miss Burney's
Novel of “Evelina.” º te e e tº
John Opie, R.A.
The Freeing of Amoret; an etching. tº e e
Ditto; proof before the letters, very fine . * c e
Henry and Emma, and Musidora; proofs before any letters,
extremely fine o e e * © gº
Henry and Emma, and Damon and Musidora; etchings,
extra rare ,
END OF THE FOURTEENTH DAY'S SALE.
APIFTEENTH DA Y'S SAA. E.
BARTOLOZZI'S WORKS.
G. AND N. POUSSIN, AND PANINI.
The Death of Eudamidas, and four others after Panini
An Etching, after G. Poussin; fine.
A Holy Family; an etching, very rare, before the name of the
artists.
Ditto, ditto; with the names, rare
Ditto; finished, proof, fine
PETERS.
The Angelic Child; remarkably scarce. The Companion, after
Violet; proofs, very fine . tº • • & g
Angels and Cherubims, after Vieira; proofs before any letters,
very fine . e tº tº ©
Same subject; with the letters, ditto e © © • * *
The Spirit of a Child ascending into Heaven; an etching,
very rare . . . . • , , te tº e
Ditto; a proof, with a curious inscription after the en-
graver's name, PRESQUE UNIQUE sº
Ditto; with the arms; very fine
15o
:
O
O
17
IO
I5
I I
:O
6
IO.
*ś%.” “ºf 3.x-3, wºx ºvºº
l/a/ue of Bartolozzi's Prints.
IO.
II.
I3.
I4.
I5.
I7.
18. -
I9.
2O.
2I.
22.
24.
25.
26.
27.
28.
29.
3O.
3I.
32.
One.
One.
One.
One.
One.
Two.
Two.
Two.
Two.
Two.
Two.
One.
Two.
Nine.
One.
One.
One.
Two.
One.
Two.
Two.
The Apotheosis of a Lady; proof, very fine . e e
The Resurrection of a Pious Family, with the crest; very fine,
and extra rare, without the crest g
The same ; a proof, also fine
The Deathbed of the Just; an etching
Ditto, ditto; proof o
PATEL.
Venus attired by the Graces; 2 proofs, one unfinished. The
Rustic Traveller; the landscape engraved by Vivares,
the figures by Bartolozzi; proofs, very fine © t
Cottagers at the bottom of Mount Vesuvius; proofs before the
letters, very fine. º e e g e
RAMBERG.
Faith, Hope, and Charity; proofs . º g e e e
Alphonso and Aciloe, and The Death of Cora; proofs, from
Miss Williams's “Peru. ” e º e tº
From the Sorrows of Werther; proofs . . . e e
From the Vicar of Wakefield; proofs before the letters .
Ditto, ditto; the etching . gº tº e
The Strawberry-basket . g cº g g e e
Ditto; by Landseer and Bartolozzi; etchings, rare .
Proofs, with variations, engraved for Mr. Ernst; very rare
RAPHAEL, REBECCA, AND REINAGLE.
The Lady of the Fish, after Raphael; an etching, very fine
and rare e tº e º e gº e
Ditto; proof before the letters, uncommonly brilliant
Ditto; with the letters before the alteration . o e
The Madonna della Sedia, after ditto; proofs with and with-
out the arms, one very rare, an unfinished etching .
An Emblematical subject of Four Figures, after Rebecca;
proof, very rare. Ticket for Cox's Museum Lottery.
Cupid inspiring the Plants with Love, after Reinagle. The
Landscape by Landseer, and the figures by Barto-
lozzi; proofs, one before the artists' names, engraved
for Dr. Thornton's Botanical History.
SIR Joshua REYNOLDS.
Girl and Kitten, and Lesbia; proofs, very fine tº º gº
Venus Chiding Cupid; proofs, brown and red etchings, ditto .
I5 I
36 s. d.
o Io 6
3 3 O
2 2 O
O I4. O
O 15 O
I I5 o
I 5 O
o 18 o
o 6 o
O 5 O
O 6 O
O 5 O
O IO O
O 6 O
3 3 O
3 IO O
5 2 6
I 6 O
2 2 O
2 5 O
1 7 o
o 18 O
33.
Aazºo/ozzz azza! Az's M/orks.
46.
47.
• 48.
49.
5O.
5 I.
52.
53.
54.
55.
Two.
One.
One.
One.
One.
One.
Two.
Two.
Two.
Two.
Three.
One.
One.
One.
One.
One.
Three.
Two,
Two.
One,
Four.
Fourteen.
Four.
The Cottagers; proofs, in black, before the letters, rare .
Ditto; proof, in brown, with the letters . gº
Thais; proof, in black, before the letters, scarce
Ditto, ditto; brown, brilliant
RIGAUD.
Sampson and Delilah ; an etching, extra rare .
Ditto; proof before the letters, extremely fine . ©
Lovelace in Prison, and The Death of Lindamore; etching .
Ditto; proofs without the letters
Ditto; proofs with the letters . e º e gº ſo
The Empress Matilda, and Jane of Flanders; fine proof–the
Empress Matilda before the letters . g g g
Vortigern and Rowena, and Edward the Black Prince pre-
senting his Prisoner, the King of France, to his
father; fine proofs in red and brown, and the etchings
A. DEL SARTO.
A Holy Family; before the letters, an etching, rare
Ditto; before any letters, extremely rare.
Ditto, ditto; with the letters, very fine
LADY SPENCER.
Cupid and Psyche; engraved for a description of Marchant's
Gems. g tº is tº wº g e tº e
Comfort; a beautiful etching, rare .
STOTHARD.
Allegorical subjects: one, the Graces presenting the Cestus to
Diana, engraved on the occasion of M. D’Aguilar's
marriage; etching and proofs, with variations, rare .
One ditto, with the letters and the Royal Cumberland;
Freemason's School Ticket º e g g
The Origin of Design; engraved for Mr. Jeffries' card . .
St. Cecilia, attended by Angels; with extra etchings and
proofs, variations, extremely curious, for Dr. Arnold's
concert, both before letters º e e e e
Different subjects; engraved for Good's Prayer-Book; proofs.
From Milton's Paradise Lost; proofs, some without the
artists' names, extremely fine *
TOMKINS. *
Two subjects from the Fool of Quality; proofs with and with-
out the letters . & e •
:
i
:
I9
I5
i
:
I
I
O
18 O
I
O IO O
I52 TRESHAM.
* ***… sºº-ºººººº...º.
Value of Bartolozzi's Prints.
59.
61.
62.
63.
64.
67.
68.
7O.
7.I.
72.
73.
74.
Two.
Six.
Three.
Two.
Two.
Three.
Two.
Three.
One.
One.
One.
One.
Two.
One.
One.
One.
One.
Two.
Two.
TRESHAM.
La Gara Fra L'Amore e la Musica; proof and etching, rare .
From Shakespeare; proofs and etchings . © e tº º
An Allegorical subject, in which is introduced a medallion of
His Majesty; etching and proof, rare, engraved for
Mr. Bowyer's History of England
VIEIRA AND VIOLET.
The Death of Dido, and Apollo, after Vieira; proof before any
letters, engraved for Dulau’s edition of Virgil
Fancy Heads; proofs . º © º º o e - tº
WEST.
Britannia, under the auspices of George 3rd, offering En-
couragement to the Arts; etching, proof, and letters,
very fine and curious, engraved for Mr. Barnard's
Catalogue of Drawings . . o e o º
An Indian Family, and Jonah ; proofs, extra rare. For a
Frontispiece to an Oratorio composed by Felsted
The Origin of Design; proofs, all with variations; engraved
for Mr. Sandby's Card; proof before letters
Agriculture: a most beautiful etching, from a picture at
Windsor Lodge. g * e e e tº tº
Genius Raising the Fine Arts, its companion; ditto © *
St. Paul at the Island of Melita; proof before the alteration of
the head of St. Paul, and the small figures near the
ship; extremely rare. & o e º g e
Ditto; proof, very fine, and before the corners.
WESTALL.
The Departure of Mary Queen of Scots, and companion ;
proofs before letters . tº º & te e º
Joan D'Arc; proof before any letters, very fine, and the
etching . * e e g e e
WEBBER,
The Death of Captain Cook; etching, extra fine and rare, a
proof upon India paper . e g º º e
Ditto; proof before the alteration, extra rare .
Ditto; after the alteration, very fine . . . g º
Ditto; small plate, proof and etching . g g e
The Dance, and Indians sitting round a fire. From Cook's
Voyages, before the numbers; extremely fine and
SC3ſ.Ce . . . tº e e ſº º tº gº
;
I
O
:
I
IO O
II 6
I5 O
I6 O
i
:
I53
75
Aazºo/o3.22 azed /ăzs M/orks.
75.
76.
77.
78.
79.
8O.
8I.
82.
84.
85.
86.
87.
88.
9I.
92.
93.
95.
One.
One.
One.
Two.
Two.
Four.
Two.
Two.
One,
One.
Twelve.
One.
One.
Two.
One.
Two.
Two.
Two.
Two.
Two.
A Woman Bringing a Present. From Cook's Voyages, etch-
ing, presque unique . e o º o e tº
Ditto; proof, on large paper, extra fine and rare
A Head, after Hodges; ditto, from ditto, very fine .
WHEATLEY.
The Goldfinch, and Lauretta; proofs e º e e e
Summer, and Winter; most beautiful proofs, before the artist's
name; and a proof of Summer unfinished.
The Seasons; proofs to e e e º e G º
The Raree-Show, and the Fairing; proofs in black and brown
The Watercress Girl; proofs before the letters, the etch.
The Return from Shooting; an etching, extra fine and rare .
Ditto; proof, very fine
ZOCCHI, ZUCCHI, AND ZUCCARELLI.
The Months, from Zocchi; very fine º º e e º
An Allegorical Subject, after Zucchi: a Student conducted to
Minerva, who points to Italy as the country from
whence all elegance in the arts is derived; proof
before any letters. Frontispiece to Adam's Architec-
ture . e g © e o O o e o
Ditto; with the letters, with a variation in the trumpet,
and in the figure above the ram's head . e e
The Departure of Abraham and Lot, from Zuccarelli; a most
- beautiful proof before any letters, very rare e
The Italian Ball, and Wedding; etchings very fine. e e
Ditto; the Ball, before the alteration in the heads of the
female figures; proof, extra rare © º e e
Ditto; proofs, very beautiful, unfinished proof. e e
The Storm, and Companion, after ditto; proofs—landscape
by Byrne, and figures by Bartolozzi; the etching
ENGLISH PORTRAITS.
KINGS, PRINCES, PEERs, ETC.
Henricus 6th, and Archbishop Chychele; rare º e tº
Henry 8th, and Edward 6th ; proofs, one before the names of
the artists . e º e © e o º e
Henry, and Charles Brandon, Dukes of Suffolk; proofs before
the corners, very curious . te o • ‘ e &
Ditto; in one plate, proofs .
I 54
:
3
O
I
I
O
6
:
12 O
IO
O
:
:
97.
********w-ºxº-ºxºg--"º"
- *- ****º-º-º-º-ºx. ..º. *º-º-º-º-º-º-º-º-ex”xº~~
Value of Bartolozzi's Prints. -
97.
Ioz.
IO8.
IO9.
I IO.
III.
II 2.
II.3.
II.4.
II 5.
II6.
117.
II8.
119.
I2O.
I 2 I.
I22.
One.
. One.
One.
One.
One.
One.
One.
One.
One.
One.
One.
Three.
Two.
One.
One.
One.
Three.
Two.
Three.
Three.
One.
- One.
Three.
Two.
One.
Three.
Three.
George, Prince of Wales; proof, very fine, and one before
letter . e g e * º º o
Wm. Henry, Duke of Clarence; proof and etching, curious
The Death of Earl Chatham, in which are introduced the
portraits of most of the nobility; proof on India
paper, very fine . * * e & o
Ditto; the etching, extra fine and rare
Clinton, Duke of Newcastle; proof . te e * e e
Clive, Lord Clive; proof before any letters, and the etching .
Cornwallis, Marquis Cornwallis; large plate, proof before any
letters. -
Ditto; after Hamilton, and Sir H. Clinton; proof, scarce.
Dunning, Lord Ashburton; etching, extremely fine and rare.
Ditto; proof, before the plate was altered, presque
unique º & g © e º e e e
Ditto; proof without any letters, extra fine, and with
letters & tº & e • . e e
Ditto; ovals, etching, and proofs, with variations, very
fine . e º tº g & e tº te gº
Egerton, Bishop of Durham; proofs, with and without the
arms, very beautiful * tº & & e
Elliott, Lord Heathfield; etching
Ditto; proof, very fine . tº e e
Fane, Lord Burghersh; etching, proof . e g e tº
The Portrait of a Nobleman; rare. FitzGibbon, Lord Fitz-
Gibbon; proofs, one before the letters e wº
Dr. Irvine, and Dr. Kippax ; proofs before any letters, very
SCarCe , e © e tº e te © tº e
Lunardi, Mrs. Sage, and Mr. Biggin, after Rigaud ; proof, and
etching; and one after Cosway; proofs, with varia-
tions . e g º e * > e e * e
Maggi, Malone; proofs; Martinelli; one very curious, with
the letters, proof before the letters -
Murray, Earl Mansfield ; etching, unique e g te &
Ditto ; proof, very fine, on India paper, before the letters
Petty, Marquis of Lansdowne; etching, and proofs, with
curious variations g te e ſº e te we
Pitt, Rt. Hon. Wm. ; proofs, very fine . e © e e
Pratt, Earl Camden; proof before any letters, very fine.
The Bust of Pope, Rudiman, and Sancho; proofs before the
letters e e © º e ſº te ſe *
Philidor; proof and letters. Dr. Woide; a proof, very rare .
36
:
O
s, d.
8 O
17
:O
I3
O
II
O9
:O
I
7
O
I
:
.
I
O
:
I55
Aazºo/o3.22 azza! /*z's M/o??&s.
I23.
I24.
I25.
126.
I27.
I28.
I29.
I3O.
I3 I.
I32.
I33.
I34.
I35.
136.
I37.
138.
I39.
I4O.
I4I.
I42.
I43.
I44.
Two.
One.
Two.
One.
One.
One.
One.
One.
One.
Two. .
Two.
Two.
Three.
Two.
One.
Three.
Two.
Robinson, Lord Grantham, and his Brothers; proofs with and
without the letters. And companion to ditto; proof,
extra rare . e e tº tº © ſº tº e
Spencer, Duke and Duchess of Marlborough ; private plate,
before any letters, an etching, very rare. Ditto;
proof before any letters, beautiful
Spencer, Earl Spencer; very fine and rare . . . e e
Stuart, Viscount and Viscountess Mount Stuart; proofs be-
fore any letters, private plate, very fine and rare.
The etching, the print e ׺ tº e g
Thurlow, Lord Thurlow; etching, extra fine . & e º
Ditto; proof before the arms, very rare, on India paper .
Ditto; ditto, with the arms, very fine, before any letters .
Wederburn, Lord Loughborough ; etching, extra fine e
Ditto; proof before the arms, and before the alteration .
Ditto; with the arms, but before the alteration • 2
N.B.-The three preceding are exceeding rare.
• Ditto ; with the alteration, and with the name of
Northcote . & © e e e º e ©
Sir Richard Wynne; proof before any letters, very fine and
rare, a print * e * * e e e
ARMY, NAVY, AND PRIVATE PERSONs.
Alderman Beckford, and Colonel Cox; one, a proof before the
letters & º ©
Captains Cook and King ; proofs, rare e o e
Master Jeffrey, Omai, and Peter the Wild Boy; proof and
letters, very scarce . g * & º tº ©
Lieutenant Riddell ; proof before the letters. And — Rogers,
of Liverpool; proof and etching, extremely rare,
private plates, a proof before any letters whatever
One, A Feast, in which is introduced the portrait of Sir
Thomas Robinson ; and one of Colonel Stanley;
proof, very rare . * © gº tº . º te * >
Sir George Saville's Monument; an etching, very rare, perhaps
unique & º e º e e
Ditto; proof before the letters were filled in ©
Sir Cloudesley Shovel, Hawke, and ; proofs before the
letters, fine. º g te e g e ë e
Hon. Walter Stanhope; proofs, with and without the letters,
the etching. e º © e e o o e
Theobald Wolfe; proofs, with and without the letters, rare .
156
O
I2
IO
I2
IO
:
7
i
O I4. O
O 13 O
O I2 O
I IO O
I45.
//a/ue of Bartolozzi’s Prints.
I45.
I46.
I47.
I48.
I49.
I5O.
I5 I.
I52.
I 53.
I54.
I55.
I 56.
:
Two.
Three.
Two.
Three.
Three.
Two.
Two.
Two.
Two.
Three.
Three.
Two.
Two.
Four.
Three.
One.
Three.
Hon. P. Yorke; proof, etching, rare. e e e º
Cherubs' Heads: a monument erected to the memory of Mr.
Woodmason's children; very fine
AUTHORS.
Addison, Milton, and Watts; proofs, two before any letters;
a proof before the letters º º º e
Capel, a bust; proof, and letters, very rare . e e
Earl Chesterfield; proof, and letters, very fine and rare .
Cicero, Cowper, and Edmondson; very scarce, an unfinished
proof. - e e e -> º e
Evelyn; proof, and letters, uncommonly fine . º o ©
Leonard Euler; proofs, one before the name, private plate;
proof with the name . e o gº to ©
Captains Grose and Harris; proofs, very rare . e e ©
Hollis and Whitlock; proofs, extremely rare, engraved for
Hollis's Memoirs -e e e e e e -
The Bust of Homer; small plate, and before the background
was added in the large one, scarce, engraved for
Mr. Townley, private plates º e ©
Dr. Johnson ; proof before any letters. Joannes Secundus;
proof, before the head was engraved on the medal,
scarce; a proof with letters e e e e e-
END OF THE FIFTEENTH DAY'S SALE.
SIXTEENTH DA Y'S S.A.A.F.
BARTOLOZZI'S WORKS.
PROFESSIONAL MEN.
Dr. Ash; proof and etching, fine, and letters . º º ->
A Lecture on Gadding, in which the Portrait of Mr. Bannister
is introduced; proof before any letters. Dr. Burney;
proof, very fine . e e tº gº e º e
Two, Dr. Fothergill; proofs, in red and brown. Foote's
Funeral Ticket; etching and letters, very rare .
Giardini, Girri, and Handel; one a curious proof, a print.
The Statue of Handel, from Roubillac; proof before the
letters. º • -º o o e e º
One, Haydn ; proof before the letters. Two, Henderson;
proofs, with variations
I57
Aartolozzi and has M/orks.
II.
I2.
I3.
I4.
I 5.
I6.
17.
18.
I9.
2O.
2 I.
22.
23.
24.
25.
26.
27.
28.
29.
3O.
One. Kemble, in the character of Richard ; an etching before the
plate was cleaned at the bottom, very curious .
One. Ditto; proof, very fine . e º e o e -
Two. Dr. Maty and Dr. Leak; proofs before any letters, private
plate . e º e º º º e -
Three. A Sunday Evening's Concert, in which are introduced the
Portraits of Pacchierotti, and several well-known .
characters; proof. Two of Vestris; proofs and
letters, with and without the aquatint o -
Four. Two, Violet; proofs, with variations. Dr. Willis; a proof.
Woollett ; an etching before any letters, extra
rare e -> e - e -
FOREIGNERS.
Three. Portraits of the King of France, and the Dauphin, and
Madame Elizabeth ; proof and etching . e º
One. Frederick, King of Prussia; proof before any letters, very
fine, the etching. e s º e © e º
Two. Henry Lubomirski; proofs, with variations, very beautiful;
proof before any letters . te e -
One. General Acton; proof without the letters, very fine.
Five. M. D'Ageno, Cardinal Bembo, Baron Goertz, etc.; proofs
before the letters, very rare, private plates.
One. Martin V. Juchen; etching, very fine and rare.
One. Ditto ; fine º o tº tº º tº
One. Count De Lufi and Pinelli; rare . -> e •
One. Aloysius Pisani ; proof, very fine, before the letters.
One. Ditto; with the letters outlined
Three. And. Quirino and Cardinal Richelieu ; proofs, with variations;
proof and etching . s e e o e
Two. Van Noort ; etching and proof before any letters, extra rare;
- proof with arms and publication tº - e
One. The Apotheosis of Louis XVI.; proof before any letters.
One. The Assassination (?) of Buonaparte, with the Portrait of
Cherachi the Sculptor; proof before any letters
LADIES, ROYAL PERSONAGES, NOBILITY, ETC.
One. Charlotte, Queen of Great Britain; etching, very fine
One. Ditto; proof without the letters, beautiful º e p
One. The Princess Charlotte of Wales; proof, and the etching
One. The Royal Children; proof, very fine, a print. º © e
Two. Princess Mary and Princess Sophia of Gloucester; proofs
before any letters; beautiful proof with the letters .
158
:
:
I
I9
I4
.
:
o
O
O
3I.
:
Value of Bartolozzi's Prints.
3I.
32.
33.
34.
37.
39.
4O.
43.
45.
46.
47.
49.
5O.
5 I.
52.
53.
54. '
Two. Mary Queen of Scots; proof and etching, rare • .
Two. The Empress of Russia, and the Queen of France; proof
Two. Maria Christine; proofs with and without the arms, very fine,
the etching º tº
Two. Lady Ashburton, and Miss Boyd; private plate, very rare .
Two. Lady Bath, and Lady D. Beauclerc ; proofs before any letters
Three. The Countess of Bulkeley; etching and proofs, with varia-
* tions .
Two. Lady Cathcart; proofs, one before the border, extremely rare.
Two. Countess Cowper; etching and proof before any letter, very
rare, on India paper . e e g e g e
One. Countess Derby; proof, extremely rare; proof with letters .
One. The Duchess of Devonshire; an etching, before the plate was
cut, extremely beautiful and rare
One. Ditto; proof, very fine . tº tº e & tº g
Five. Ditto; after Nixon, proof, one before any letters. One
after Downman, ditto. Two of Lady Duncannon,
with variations; very rare, the etching, a proof with
letters o e gº º * e g º
Three. Lady Duncannon, proof and etching; and An Infant, very
* fine . s e e tº o g e ſº e
Two. Lady E. Foster; etching and proof, extra rare proof before
the letters . . . . tº e e e *
Four, Gertrude, Marchioness of Halifax ; one the long plate, ex-
tremely rare, two proofs. Ditto, with and without
the letters, and a Monumental Figure Embracing an
Urn; proof before any letters, extremely beautiful
One. Countess Harrington, after Hone; proof before any letters,
very fine . . e e s e tº gº º
Four. . The Duchess of Kingston, and Companion; proofs. Countess
Lanesborough ; proofs, with variations
One. Countess Lanesborough's Apotheosis; proof, very fine
Four. The Duchess of Nivernois; proofs, with curious variations,
rare , tº º : g te o ©
One. The Duchess of Rutland; proof, very rare . g © e
Two. Lady Smyth and Family; etching and proof before any
letters, extra rare e e tº o º tº e
Two. Dowager Lady Spencer; proofs, one before any letters, extra
rare e gº tº g Q e e e *
Two. Countess Spencer, and Miss Bingham ; proofs before any
letters, very beautiful and rare . &
Two. . Ditto; before the address, equally beautiful .
I
&
º
º
:
.
I2 6
I9 O
I59
Bartolozzz and /tes M/orks.
55.
56.
57.
58.
59.
61.
62.
64.
65.
7O.
71.
36 s. d.
One. The Countess of Westmoreland; proof before any letters,
extra fine, private plate . º e e ſº . I I O
Two. Mrs. Abingdon; proofs, one before any letters, extremely fine,
a print e e e g e º g g ... O I7 O
Three. Two, Sig. Allegranti; proofs. Mrs. Baldwin, in the dress
of a Turkish Lady . e tº e e tº ... O I9 O
Three. Two, Mrs. Bellamy; proofs, one before any letters. Mrs. Cas. -
Borghi; proof . º e tº e e e . I O O
Three. Miss Brunton; proofs, with variations, with and without the
line round the oval, and without the feathers; and
ditto with the feathers º We tº * e . I 2 O
Two. Mrs. Chambers; proof, private plate. Mrs. Billington;
proof, fine . . . . e tº * e e . 2 I 5 O
One. Miss Cipriani; private plate, extra rare . e & e ... O I4. O
Two. Mrs. Cosway, and Madame Crumpholtz; fine and rare . ... O IQ O
One. Mrs. Crouch, the celebrated actress; most beautiful proof
before any letters, rare, the plate being destroyed . I 1 o
Five. Miss Eyre, Mrs. Gibson (with variations), and Miss Gunning;
proof without the letters, extra rare . ſº º . I 7 O
Two. Miss Gwatkin; proofs, with and without the letters, very fine,
and the etching . & e e e e © ... O I4 O
Three. Mrs. Hardinge, in the character of Miranda; proof, with three'
variations, extra fine and rare o o © ... O IO O
Two. . Ditto, the Fair Moralist; etching and proofs with varia-
tions, very fine; proofs, before any letters. e . 2 2 O
Two. A. Kauffman; proof, very fine. Miss Macklin, ditto. . ... O I2 O
Five. Portraits engraved for Harding's Shakespeare; proofs, before
any letters, extremely rare; viz.: Mrs. Montague,
with and without letters; Mrs. Lennox, ditto; Jane
Shore, two plates; and the Earl of Essex, ditto. . 5 o o
Four. Mrs. C. Rudd, Mrs. Siddon, Mrs. Sparks, and Mrs. Udny,
(the two last private plates); extra rare . * . I I3 O
One. Miss Wallis; an etching, very rare . º e e g . I 2 O
MARLBOROUGH GEMs.
This assemblage, the result of twenty years' collecting, contains a greater number than
ever has been at one time offered to the public. The first volume is complete, and may be
accounted unique, as all the impressions are before the numbers, the artists' names, or proofs
without any letters, as in the presentation copies. The subject of Cupid and Psyche is with
variations; and/the whole may be regarded as a great rarity. Those of the second volume
are few in number, but in point of curiosity no ways inferior.
I6O DUKE
J^a/ue qf Barfo/ozzz's Primfs.
VOL. I.
DUKE OF MARLBOROUGH. ;£ s. d.
72. One, Caesar in the Temple of Venus; proof before any letters. . 3 I3 6
73. Two. No. 1. Scipio Africanus � ¢
2. Lucius C. Sylla . . « » } 2 O O
74. Two. 3. Julius Cæsar, caput laureatum
4. Marcus Junius Brutus . � ę } 5 I5 O
75. Two. 5. Marcus Junius Brutus cum caduceo }
6. Lepidus cum lituo. e e ¢ 2 17 6
76. Two. 7. Augusti caput, cum corona radiata }
8. Augusti Pontificis maximi insign, etc. . . . 4 I4 6
77. Two. 9. Marcelli Octaviae filii, Augusti nepotis caput,
opus, elegantissimum . ę ę ę e
Io. Liviæ protome cum capitel aureato et velato pec- 3 O o
tore; simul Tiberii pueri prope adstantis
caput arboris ignotae foliis redimitum .
78. Two. 1 I. Tiberii caput juvenile . ę «• • ¢
12. Germanici togati protome cum capite laureato } 3 3 O
facie plena, etc. . . e � ę �
79. Two. 13. Agrippinæ majoris uxoris Germanici, and Cali-
gulæ matris caput laureatum sub effigie Dianae } 5 5 O
14. Ejusdem Agrippinæ sub effigie Cereris.
8o. Two. 1 5. Galbae caput laureatum. ę •
16. Ejusdem Galbæ caput . ■ e ά � * } I 19 eo
8I. Two. 17. Nervae togati protome, cum capite laureato plena
facie, opere pulcherrimo } 4. 4 O
18. Ejusdem Nervae caput .
82. Two. 19. Marcianæ, Trajani sororis, caput .
2o. Sabinæ, Hadriani uxoris, caput . } IO IO O
83. Two. 21. Antinoi caput cum pectore velato.
22. Caracalla togati protome faciè plena } 5 O o
84. Two. 23. Caracallæ caput laureatum
24. Juliae Domnæ, Severi uxoris, caput } I I8 o
85. Two. 25. Laocoontis caput . «e ¢ � ¢ «• « ò
26. Semiramidis, vel potius Musæ, caput cum pectore } 7 7 o
86. Three, 27. Minervae Alcidæ caput galeatum, operis egregii
edit var . o e ę υ œ ę � 3 8
87. Two. 28. Phocionis caput . «• ę o 0 � e
29. Jovis et Junonis capita jugata � ę e ę } 3 3 O
88. Three, 3o. Veneris caput. ç «* e «» �
31. Bacchæ caput, var . ę } 4 14 6
89. Two. 32. Hercules Bibax stans . ę ¢ e � 6
33. Bacchus stans , . o ¢ «e ę ę } 15 I4
I61 9o.
I-—
va M.
Æa/rfo/o222 a//a/ /22S M^oprÂS.
9I.
92.
93.
95.
97.
98.
IOO,
IOI.
IO2,
IO3.
IO4.
IO5.
\io6.
Io7.
Io8.
IO9.
I IO.
Two.
Two.
Two.
Two.
Two.
Two.
Two.
Two.
One.
One.
One.
Two.
Two.
Two.
Two.
Two.
Two.
Two.
Two.
No. 34. Faunus Tigridis pelli insidens cauda, etc.
35. Athleta stans, qui dextra manu strigilem, etc.
36. Mercurius stans
37. Mars, stans, armatus . • e. -• ę •
38. Miles de rupe descendens eximii sculptoris Græci
opus . �
39. Diomedes Palladio potitus cum Ulysse alterca-
tione contendit
4o. Dei Marini Natantes e • - • ©
41. Miles vulneratus a militibus duobus sustentatur .
42. Miles militi vulnerato opitulatu .
43. Mulier stolata cum virgine . © e ©
44. Faunus pelle caprina ex humeris pendente
vestitus; pedem super suggestum ignotæ
figuræ figit et infantem genu sustinet .
45. Alexandri magni effigies . e- «-* e
46. Æneam a Diomede saxo percussum conservat
47. Pompæ cujusdam ob victoriam partam des-
criptio • «• • • • • e •
48. Amazon, Amazonem, morientem sustinet juxta
equos . • e �
5o. Nuptiae Psyches et Cupidonis Rariss .
5O. Ditto, ditto, ditto, Rariss . � � -
Frontispiece to second volume ; proof before
the inscription on the arms, very rare .
I. Ptolemaeus .
2. Metrodorus .
3. Socrates et Plato.
5. Sappho e» • • - •
8. Ignotum caput. Scyllacis opus .
9. Ignotum caput ę.
I I. Medusa • • •
18. Hercules et Iole . • e -
19. L. Junius Brutus .
2O. Annibal -»
22. Mecænus -
25. Drusus Tiberii filius • •
31. Caput ignotum Antonini forsan junioris
36. Equi . o* • © � <»
. 38. Mercurii templum e e •
4o. Coronis
162
;
I
4
6
3 O o
I I I.
Palue of Bartolozzi's Pºints.
|-
II.3.
II.4.
III.
II 2.
Two, Lady and Child, from Sasso Ferrato and Cipriani; proofs, very fine .
Three etchings of Friezes; very rare . e º e g e
Two, Venus and Adonis; one, a proof, very fine and rare
One etching of Tom Jones; very fine and rare . . . e º e
One, the Dutch General, Martin van Juchen; a proof, very fine and scarce.
One, ditto, ditto; the etching or unfinished proof, very rare. •
One, the Duchess of Devonshire; an etching, very rare e e e e
One, the Marriage of Cupid and Pysche, after Cipriani; a proof, extremely fine
Seventeen Duane's Medals; very fine . . . .
One,
One, * tº © C ë
One Regatta Ticket, before the body is hid by the shell; very fine and rare
36 s. d.
Two. No. 41. Cupidones . & e tº te © g &
45. Faunus e © ſº & ge ſe } 2 I2 6
Three. 46. Omphale incedens e • , a • g &
48. Biga, var. . e & e g & ſº } 3 13 6
Two. 50. Silenus, tigris, etc., var. * gº e o º 3 3 O
Two. The Vignette to the second volume; proof, very
fine; and etching, perhaps unique. . tº 7 Io o
COLLECTION of engraved proofs, prints, and etchings, done by the inimitable artist
Bartolozzi; late the property of a nobleman (deceased). Sold by auction by Mr.
Stewart, at his auction room, (194) opposite York House, Piccadilly, on Wednes-
day, the 28th of January, 1801, and the following day, at twelve o'clock.
PREFACE.-The following assemblage of the works of Mr. Bartolozzi was offered in
one lot, in the sale of the very valuable library of the late Marquis of Donegall;
but, owing to particular instructions, Mr. Stewart had orders to purchase them for
one of the family; but since then he has received orders, owing to some circum-
stances, to sell them in separate lots.
The amateur and collector of the works of this great master will be gratified with a
great variety of his most rare and valuable prints, a number of which are proofs,
and many etchings; and are all in the finest preservation. For any inaccuracies
which may appear in taking the catalogue, Mr. Stewart begs leave to claim the
indulgence of the collectors, etc. They will be lotted and on view as placed in
the portfolios, and afterwards cut out on the morning of each day's sale.
.
i
and very rare . e º
Dancing Girls, from Hawkesworth's Voyages; a proof, very fine and scarce
ditto, an etching; very fine and rare . e
O
:
I
I
I
3 I3
2 I2
The following were done by Mr. Bartolozzi in Italy, prior to his coming to this country,
and are, in general, remarkably fine impressions.
- 163 * Four
w M 2
.
Aarfo/o322 azed /ăz's M/o?%.S.
Four Scripture Subjects, St. Francis, etc.; very fine
One ditto; a proof, from Agostino Caracci; very fine .
Twelve, the Months; very fine . te e e
Two Landscapes, from Zuccarelli; fine. tº º
Two, Side View of the Temple of Jupiter, etc.; fin
Two, View of the Temple of Æsculapius . ſº o o © e e
Nine etchings from the Original Drawings in a Grand Collection; very fine
i
I
:
|
THE EXTENSIVE CollectION of maps, charts, and books of prints of the late most
noble WILLIAM, MARQUIS OF LANSDOWNE; comprising a considerable portion of
the works of Bartolozzi, including many proofs and private plates, etc., etc.
by auction by Leigh & S. Sotheby, booksellers, at their house, 145, Strand,
opposite Catherine Street, on Monday, the 14th day of April, and five following
days.
BARTOLOZZI'S WORKS. TOTAL NO, OF
IMPRESSIONS,
Venus Attired by the Graces (oval, in brown); proof. Coriolanus, Tancred,
and Clorinda (in brown, lengthways). Rurual Sports. ſº o
Angelica Kauffman. The Fair Alsatian. Sincerity. Felicity, etc. (ovals)
Lord Chatham's Monument. Guy's Monument, with a view of the Hos-
pital, etc. (in brown), after Bacon e tº
Clytie (circle, in black), Carracci g º C.
The Adulteress before Christ; and three others
The Silence te o e ſº º • . . o o te o
Pomona and Ceres (in brown); proofs, two. Prudence endeavouring to
retain Beauty, etc. Genius describing Beauty, two; Psyche
going to Bathe and Dress (in brown); proofs, two
Tancred and Erminia, etc., after Cipriani . e g *
Polypheme sitting on a Rock; and two others, two proofs
Tickets for the Benefit of Giardini (different)
Death of Dido (in brown); proof . & e tº e
Britannia, with the Cap of Liberty; very scarce e G º e
The Departure and Flight of Mary Queen of Scots (in brown); proofs
The Italian Ball, and Wedding (two large ovals); proofs . * *
A Female carrying Presents; proof . o o © & tº e e
The Duchess of Devonshire (private plate); before the name, very rare .
The Rt. Honble. W. Pitt (half-length), Gainsborough tº e & ©
;
:
O
:
Sold
I3 O
I2 O
4 O
I4 O
17 o
O O
18 O
I4 O
2 O
II O
13 6
IO O
IO O
3 O
17 o
I9 O
5 O
CATALOGUE of prints of the modern celebrated engravers of the English, French, and
Italian schools: comprising the best works of Strange, Woollett, Bartolozzi, etc.,
etc. The whole collected by a gentleman who has spared no expense to procure
I64
fine
Value of Bartolozzi's Pºints.
Portraits of Artists: Bartolozzi (proof” and letters), Caracci, Guercino,
One, Allegorical Subject by Bartolozzi and Delattre e e e
Three, Felicity, 18 letters, 2 proofs, and 2 in colours; Sincerity, 2 proofs,
Two, Liberal Fair, 17 letters, and 7 proofs in colours; and Socrates (4) . 28 .
One, Blindman's Buff, etching (proofs) . . . . . . . 16 . O I3
fine impressions. Which will be sold by auction, by Mr. Sotheby, bookseller, at
his house, No. 145, Strand, on Friday, January 9th, 1818, and four following days
(Sunday excepted), at twelve o'clock.
BARTOLOZZI'S WORKS. 36 s.
TOTAL NO. OF
IMPRESSIONS,
Evelyn, etc.. e e e o º & © e o . I 3 ... O I 3
Mary Queen of Scots, very fine; Marchioness of Halifax, etc. . o . 3 . O I5
The Departure of Abraham and Lot from Egypt. Market People, after
Gainsborough, etc.; proof . tº te º e e e . 3 . I 6
Jupiter and Leda, and Companion; fine proofs - e. tº e 3
Mansion House Ticket; ditto, for Mr. Borghi; ditto, for Macchi; Ver-
tumnus and Pomona, etc. © º o º e . 7 . O 3
After Gabbiani, etc. . e e © © a e º e e 7 , O 2
After Cipriani, A. Kauffman, etc.; mostly choice proofs . tº º 9 . O 5
The Circumcision, after Guercino; fine old impression I , o 6
Clytie, after Caracci; brilliant impression . e e º º e e . o 17
The Holy Family, after Poussin. The Shipwreck of St. Paul, after West;
fine . © o o e º º º © © e e ... O 3
Two, The Death of Captain Cook; the large and small plates, fine im-
pressions . o © º º © e © o g ... 2 O 6
d.
.
i
6
SALE of coPPERPLATES, etc., of MR. ANTHONY MOLTENO, of Pall Mall. Sold by
auction by Mr. George Jones, at 102, St. Martin's Lane, on Monday, the 12th of
April, 1819, commencing at six o'clock.
WORKS OF BARTOLOzzi, AFTER ANGELICA.
Duplicate Impressions.
82 . o 13
and 2 in colours; Fatima, 15 proofs, and 12 in colours
O
II
WoRKS OF BARTOLOzzi, AFTER CIPRIANI,
Duplicate Impressions.
One, Innocence taught by Love and Friendship, and Virtue directed by
Prudence to Honour; 7 pair letters, and 4 ditto in colours . 22 ... O I5
Three, Liberality, Admiration, and Harmony; 11 sets . e g . 33 - O I4
Two, Comedy and Tragedy, 4 pair proofs; and 2 Comedy, letters . . Io . o 18
O
O
165 Two,
Aazºo/o3.22 azed /ăz's M/orks.
TOTAL, NO. OF 36 S. d
IMPRESSIONS,
Two, Tancred and Clorinda, and Tancred and Erminia, after Cipriani and
Angelica; 7 pair letters, 6 pair proofs, 8 pair ditto in colours,
and 4 extra proofs in colours of the latter . te e e
Five, Drawing Book, after Cipriani and Bartolozzi, by Schiavonetti; Ioo
sets, and 8 odd prints . te gº º ſº e e e . 508
WORKS OF BARTOLOzzi, AFTER VARIOUS MASTERS.
Duplicate Impressions.
Four, Zephyrus and Flora, after Colibert, 5 pair proofs, and I pair in
colours; and Guardian Angels, and Silence, after his own designs,
6 pair proofs • 24
46
One, Frontispiece to Il Mercurio Italico, after Burney; 113 and 29 proofs 142 . .
One, Judgment of Paris, after ditto; proofs . te ſe • . . I25
One, Cecilia, after Engleheart, 16 letters, 44 proofs, and 3 in colours . 63
Two Subjects from the Works of Sterne: La Fleur at Amiens, and The
Sword, after W. Harding; I pair letters, and 8 ditto proofs • II
Two, Ophelia, after Madan, 15 proofs; and Ophelia, after Nixon, 77
letters . . 92
Two, Frontispiece to Barnard's Catalogue, after West (24); and Apo-
theosis of the Emperor Joseph, after Zocchi (56) & wº º
Four Subjects to Jeffryes's Edition of Milton's Paradise Lost, after Stot-
hard ; proofs e g º e e e e g e . 17O
BARTOLOZZI.
Duplicate Impressions—Portraits.
8O
One, His Grace the Duke of Wellington, after Pellegrini. º º
One, The Marquis of Lansdowne, after Gainsborough, 91 letters, 35 -
proofs, and 2 in colours . tº o © e g g . I28 .
. One, Charles, Marquis Cornwallis, after Hamilton . e e 74
Two, Anthony Pasquin (Williams) (36); Title to his Satire and Bio-
graphy, after Stothard (15); and Vignette, Pin Basket (27) . 78
. One, John Dunning (afterwards Lord Ashburton), after Sir Joshua; 51
letters, 9 proofs, and 19 in colours . Q sº g e ... 79
WORKS OF BARTOLOzzi, AFTER ITALIAN AND FRENCH MASTERS.
Duplicate Impressions.
Three, Study of Two Heads, after M. Angelo (16); Diana Hunting the
Stag, after Gabbiani (10); and Sacrifice to Diana, Peter da Cor-
tona (4) e o g o © o © e e e
Two British Historical Subjects: Queen Elizabeth giving a Box on the
Ear to the Earl of Essex; and David Rizzio Assassinated by
order of Lord Darnley (C. Guarana, Venetus, pinx), 26 pair
letters, 32 pair proofs, and 4 pair proofs in colours . e . I24
I66
3O
3O .
&
I
:
I6 o
I3
18
I9
:
O
I3
15 O
IO O
I2 O
8 O
SALE
Value of Bartolozzi's Prints.
SALE OF PRINTS of MR. ANTHONY MoLTENO, of Pall Mall. Sold by auction
by Mr. George Jones, at his rooms, Leicester Street, Leicester Square, on
Monday, the 20th of January, 1823.
BARTOLOZZI, AFTER ITALIAN MASTERS.
TOTAL NO, OF 36 s. d.
IMPRESSIONS. & g
Last Judgment, after M. Angelo; Ecce Homo, after Guido; and Varia,
after L. da Vinci; proofs . & t to e o tº • 9 O IO O
The Elements, after Albano; and Holy Family, after And, del Sarto;
proof and letters . g e g e g e e ... 6 o 17 o
The Silence, after A. Caracci; fine proof . I 2 I6 o
Clytie, after A. Caracci; fine proof I I 15 O
Clytie, after A Caracci . º e I 2 6 O
Clytie ; beautiful proof on India paper I 5 7 6
Orlando Rescuing Olympia, after A. Caracci; and Venus, Cupid, and
Satyr, after L. Giordano ; both proofs. o e te e . 2 . O I6 O
Venus, Cupid, and Satyr, after ditto; death of Dido, after Cipriani;
etc.; both proofs . . . e * e e te e e • 3 O I2 O
Clytie, after A. Caracci; Orlando and Olympia, after ditto; Descent
from the Cross, after Vandyke ; etc. . º ſº e e • 4 I I O
Etchings, after Guercino; his own Portrait, etc.. e p tº e . 2C) o 16 o
Ditto, ditto. . e • • g wº e tº e . 2C) I 2 O
Ditto, ditto. e g tº & te tº º e wº . 2C) O I5 O
Ditto, ditto. . . tº 2I I 5 O
Scriptural Subjects: Madonna with the Fish, after Raphael; and others
after C. Maratti, Le Sueur; etc . wº e o g º tº
Madonna and Child, and Vandyke's Wife, proofs; Madonna after C.
Dolci, ditto; Lady and Child, after Sasso Ferrato, proof and
letters, etc. . g e ſº e e ... • & e . 6 . I 9 O
Historical and Landscapes, after Gabbiani, P.da Cortona, Domenichino, etc. I6 . O I2 O
Circumcision, after Guercino; Woman taken in Adultery; and Orlando
and Olympia, after A. Caracci; etc., fine . e e e e
Narcissus, and Companion; and Cephalus and Aurora, proofs; Bacchana-
lians, and Companion, after Franceschini; etc. . . . . . 8 . o 17 O
Cupid making his Bow; and Jupiter and Io, after Correggio; Holy
Family, after A. del Sarto; proofs, etc. . e IO 7 o
Set of the Months, after Zocchi . * e i.e. tº a º tº ... I 2 . I O O
Departure of Abraham and Lot, after Zuccarelli; proof . & * . I . O I5 O ,
MARLBOROUGH GEMS.
A collection of Gems, engraved by Bartolozzi, from the antique, in the posses-
sion of the Duke of Marlborough, and amongst which are the Marcianae,
Antinous, Hannibal, the Amazons, etc., in the line manner, and extremely
- 167 rare,
Aazºo/ozzz azed his Works.
rare, most of them proofs before any letters, and others in the first state,
with the Latin inscriptions. The Marriage of Cupid and Psyche, with
and without the lightened Veil; together with duplicates of the Frontis-
pieces in different states, and two unpublished Gems from the same
collection; containing in the whole Seventy-four pieces, in a portfolio
with leaves . tº e • e o e o te º g o . 47 5 O
DRAWINGS.
BARTOLOZZI AND CIPRIANI. TOTAL NO, OF
IMPRESSIONS,
Sketches of Cupids (red chalk), Girl Sleeping (red chalk), and various
sketches by Bartolozzi and Cipriani . tº * > e e e
Venus and Cupid, after Correggio; Cupid and Psyche; and Poetry (black
and red chalk); and Head of a Youth (black and red chalk),
by Bartolozzi . ſº e º º • . e * e
Lady Jane Grey going to Execution; Separation of the Duke of York
from Queen Elizabeth, his mother; and Flight of Mary Queen -
of Scots (sketches in black and red chalk), by Bartolozzi . • 3 . I 5 O
Prudence and Victory (represented by Cupids), and Scenes from the
Novel, “The Fool of Quality” (black and red chalk), by Barto-
I3 . O I3 O
lozzi . e & o g º e gº e e e • 4 ... I I4. O
The Circumcision (sketch in black chalk after the original of Guercino),
by Bartolozzi; from which the print was engraved . te I . O I 3 O
Historical Subjects, after Angelica; and Emblematical ditto of Night,
(beautiful sketch in red chalk), by Bartolozzi . . . . *
Frontispiece (“I have laid the foundation,”) pen and Indian ink; Death
of Prince Edward in the presence of King Edward IV., ditto,
etc., by Cipriani . * o tº * As º e o . 3 . I 6 O
Original Sketches for Hollis's Memoirs, on one of which is a note from
him addressed to Mr. Cipriani; ditto of Perseus and Andromeda
(in bistre, etc.), by Cipriani . e tº tº o o e tº
Cephalus and Procris, study from Michael Angelo (pen and bistre);
Venus, Cupid, and Pallas (black chalk), etc., by Cipriani . . 6 . I 2 o
Ceres and Pomona (a pair of ovals); Bacchus and ten Female Figures
(pen and bistre), by Cipriani e & c e * * ©
Original designs for the Monument of Lady Monteith, etc. (free pen and
bistre), by Cipriani; fine . tº º g to tº gº &
Scriptural Subject, after C. Maratti (pen and ink); Boreas and Arythoia
(black chalk), etc., by Cipriani ; very spirited e g e
Britannia leaning on a Shield, and surrounded by emblems of Husbandry
(free pen and bistre); and Designs for a Nobleman's Coat of
Arms, with two Female Supporters (in colours), by Cipriani;
fine . º te. o g o * g e g e . 2 ... O I5 O
I68 Jane
Walue of Bartolozzi's Prints.
TOTAL NO, OF
IMPRESSIONS,
Jane Shore's first Interview with King Edward IV. (beautiful, highly-
finished drawing in colours), by Cipriani . e - e ... I
Henry II. and Fair Rosamond discovered by Queen Eleanor (com-
panion drawing to the preceding, and equally fine), by Cipriani. I
DRAWINGS BY CIPRIANI. Framed and Glazed.
Series of Humorous Subjects (in colours),satirical of musical composers,etc. 5
Studies of Female Heads, and Single Figure of a Female Meditating
(spirited sketch in bistre) . . . . . . . . . º
Bust of Memory, and Profile of a Female Head (coloured chalks); fine . 2 .
Britannia seated on a Globe, with emblems of an olive branch and Cap
of Liberty in her hands (original drawing in pen and bistre);
from which the frontispiece to Hollis's Memoirs was engraved . 1 .
Britannia Encouraging the Fine Arts (delicately finished in blacklead
pencil); the first design for the Diploma of the Royal Academy
Bust of a Grecian Lady (spirited, in coloured chalks) -e- tº e
Hebe, and Bust of a Female (masterly drawings in ditto).
Poetry Described by a Female Crowned with Laurel (ditto) e
Genius of History Recording past Events (in colours); very fine . º
Venus Disrobing Herself for the Bath (tastefully designed, in coloured
chalks). © e º º © tº g º tº e • I •
Maternal Solicitude: a parent consoling her weeping infant (beautiful, in
coloured chalks) . º o -> e e º e O e
Apollo and Daphne; original ticket for the Benefit of Giardini, engraved
by Bartolozzi (charming composition in Indian ink) . e • I •
Vertumnus and Pomona (original drawing, from which the ticket was
engraved, ditto) . . . . . . . . . . . . .
Innocence Instructed by Wisdom, and Knowledge and Prudence Direct-
ing Love; represented by infantine characters (a pair of exqui-
3
:
sitely beautiful drawings in colours) . e. e -> o ... 2
Thais and Lesbia: the former is represented adorning herself at a toilet,
the other described playing on a musical instrument (charming
drawings in colours) . º 2
Original Design for a Monument erected to the Memory of Lady Mon-
teith, in Westminster Abbey, by Sir William Chambers (grand
composition in bistre). e ºr * tº tº tº e ... I
Parental and Filial Affection (lovely compositions, most exquisitely
finished in coloured chalks). N.B.-The above beautiful pair of
drawings have generally been considered among the chef d’auvres
of Cipriani . e e º tº º e º - e. • 2
169
36 s. d.
I 17 o
2 5 O
I 2 O
O I6 o
I 8 o
o 17 o
O I5 O
O 9 O
I I O
I I O
I 9 O
I 9 O
I I I O
2 I6 O
3 4 O
7 o o
2 6 O
3 8 O
12 5 O
SALE
:
Aartolozzi and his M/orks.
SALE OF COPPERPLATES, prints, etc., of MR. ANTHONY Molteno, sold by auction
by Mr. George Jones, at Leicester Street, Leicester Square, on 5th and 6th of
March, 1823.
COPPERPLATES.
BARTOLOZZI.
TOTAL NO. OF
IMPRESSIONS.
Playing at Marbles, and Thread the Needle (a pair), after Hamilton; 44,
and 4 pair proofs. o e * e tº . e. e e e
Angels (a pair of small oblong ovals), after Howes; I pair letters, 22
pairs in colours, and 26 proofs . º g te © • •
Infancy (3 proofs), and Youth (4 proofs), from Shakespeare's Seven Ages
of Man, unpublished plate . e G © º © e g
Allegorical Subjects: the prosperity of Great Britain contrasted with the
misery of France, after T. Martyn ; Io letters, 9 proofs, and 16
in colours o e e e e o e e &
Emblematical Subjects: Lewis XVII. and the Princess Royal throwing
themselves into the arms of Hope, and Helas Voyes (the com-
panion print), after De Rigny; Io letters, 7 proofs, 3 proofs
before the inscriptions, and 9 proof etchings . º e e
Coriolanus, after Angelica; 6o letters, 36 proofs . © e © tº
The Seasons (four plates), illustrated by Cupids diverting themselves in
various pastimes, after Filippe Laura; 9 sets with the letters,
26 ditto proofs, 2 ditto before inscriptions, 30 sets in colours, and
16 proofs and 8 extra impressions . ſe ſº e e
Angels and Cherubims (a pair), after Peters and F. Vieira; the former, 2
plain, 73 proofs, 12 proof etchings, and 31 in colours; and the
latter,.54 plain, 66 proofs, II proofs with the altered inscription,
II etchings, and 34 in colours e tº e te
Holy Family, after N. Poussin; 8 letters, 55 proofs, and I etching .
Cottagers at the bottom of Mount Vesuvius, after Catherine Gauffier,
F.A.; 48 letters, 30 proofs, II proofs before any inscriptions, 12
unfinished proofs, and 11 in colours ©
52
72
7
35
29
96
. 292
• 294
64
• I I2
36
• I 3
, 29
, IO
. I 5
J.
8
I5
CATALOGUE of the sale of the collection of prints the property of the late SIR MARK
MASTERMAN SYKES, BT,” containing amongst others, “a capital assemblage of
* “The prints go to Sotheby's. There is an immense collection, probably fifty thousand. Mr. Ottley has been
down to arrange them, and he expresses his opinion that it is the rarest and best selected assemblage, particularly of
portraits, of any private collection in the kingdom; the engravings by Bartolozzi alone consisting of a complete and
matchless series of his works (proofs and etchings), and are said to have cost Sir Mark nearly 45,000. The sale of the
prints alone will probably occupy two months. The paintings and curiosities are intended for Christie's.”—Gentleman's
Magasine, Wov. 1823.
17o
Value of Bartolozzi’s Prints.
the Works of F. Bartolozzi, R.A., embracing nearly the whole of that celebrated
Master's productions; choice proofs, and first impressions, including a complete
set of the Marlborough Gems, which, by order of the executors, will be sold by
auction, by Mr. Sotheby, at his house, No. 3, Wellington Street, Strand, on
Monday, the 6th day of December, 1824, and seven following days (Sunday
excepted), at Twelve o'clock.
WORKS OF F. BARTOLOZZI, R.A.
TOTAL NO, OF
IMPRESSIONS.
Bartolozzi's Drawing Books, with several additional proofs and proof
etchings . e º e - e e - º e º
Infant Bacchanals and Cupids, Cupid and Hymen; Hope, Prudence,
etc., represented by Cupids; proofs and etchings º *
Guardian Angels and Silence, Market of Love, Sleeping Child, etc.;
choice proofs in different states of the plates . . . .
Charity, print, proofs and etching; Grecian Daughter, Madonna and
Child, proofs and letters . © tº e * º & º
Bacchante; Peace, touched proof, etc.; Macaroni Orange Girl, Return
from the Bagnio, etc. . e - e e e e te e
Emblematical Subjects, originally intended for Fans; The Fine Arts, and
Love Sleeping, after Angelica; Venus chiding Cupid, and Hope
nursing Love, after Sir Joshua ; St. Cecilia and the Family
of the Gracchi, after West; Cephalus and Procris; and the
Origin of Design, after Bartolozzi; beautiful proofs, in different
states and colours -
CIPRIANI.
Fan Mounts: Hercules and Omphale, Bacchus and Ariadne, Marriage
of Cupid and Psyche, etc.; choice proofs and etchings. A com-
pletion of the preceding lot. -> e e - tº & º
Admiration, Contemplation, Harmony, Liberality, Love, Serenity,
Vigilance, etc.; fine proofs . - e º e - e º
Achilles and Briseis, and Chryseis restored to her Father; Bacchus and
Ariadne (the larger plate), Beauty looking in the Mirror of
Prudence; prints, proofs and etchings g o º * º
Alcander and Nerinda, Affection and Constancy, Apollo, Ariadne for-
saken by Theseus, etc.; proofs and etchings e te º
Ariadne and Hebe, Contentment and Friendship, Sacrifice to Cupid,
and Triumph of Beauty and Love, etc.; proofs . - e e
Comedy and Tragedy (ovals), Comedy and Tragedy (full lengths), Con-
templation, Child Sleeping; proofs, etc. . e º º º
Constancy and Fondness, Power of Beauty and Power of Love, Diana
Bathing, and Companion, etc.; proofs and etchings
171
29
24
I5
33
27
17
:6 s. d.
O 6 O
o 8 o
O IO O
O I2 O
O II O
o 8 6
Cupids
Bartolozzi and his Works.
TOTAL NO, OF
Cupids and Children at play; Cupids instructed and Mirror of Beauty;ESSIONS,
Happy Father and Distressed Mother; ditto . o e . I5
Conjugal Love, Hebe and Bacchante, etc.; ditto . e e . . I3
Death of Dido; proofs with variations . e 3
Diploma for the Royal Academy (granted to J. Webber, Esq., 1785);
very fine . º e e e e gº gº tº e e -
Diploma of the Royal Academy; a remarkably fine impression, but with-
out the pedestal . iº e g g e e e
Diploma of the Royal Academy (the etching); extra rare. e * > e
Darnley's jealousy of Rizzio, and Cromwell's Discovery of Jeremiah
White; proofs and etchings. . . . . . . . 7
Edward IV.'s interview with Jane Shore, Henry II. and Fair Rosamond,
Heroism of Prince Edward; proofs and etchings. º tº . I I
Edward IV.'s Queen parting with the Duke of York, and the Dukes of
Northumberland and Suffolk entreating Lady Jane Grey to
accept the Crown ; choice proofs and etchings . . IO
The Elements; prints, proofs, and etchings. g tº e tº º . I6
Eloisa and Abelard meeting in Elysium; Faith, Fortune, Hope, Prosperity,
etc.; proofs . e º Q tº e º º e g . I2
Faun and Hermaphrodite (Mr. Lock's statues); proofs. Frontispieces to
Mr. C. Rogers's Century of Prints from Drawings; proofs and
letters . & G º * © e e we * ** ... 7
Frontispieces and Coats of Arms to Edmondson's Baronagium Genealo-
gicum . e tº . . . e º e & g & ... I I
Friezes; first proofs and letters, with and without the aquatint. The same,
a set with borders, and the two smaller friezes . tº e . I 5
Genius describing Beauty, and the Companion; the Graces crowning the
bust of Raphael ; proofs and letters . º e º © . I3
Geography, Parting of Hector and Andromache, Hercules presented to
Jupiter and Juno ; ditto I6
History, Music, Painting and Sculpture; proofs and etchings in various
States . g e tº * © g e tº e Jºe . 18
Lais and Lamia; proofs and etchings in different states. Loyalty; ditto 16
Jupiter borrowing the Cestus from Venus, and Jupiter and Juno on
Mount Ida; Judgment of Paris; Maternal Love and Filial
Affection, etc.; proofs. e e * g te g te . I6
Innocence taught by Love and Friendship, and Companion; Juno, Love
Rejected and Caressed, First Kiss of Love; ditto . e . I7
Meekness, Harmony, Prudence, etc.; Mildness, touched proof; Psyche
embracing Cupid, and the Companion; ditto . . . . 13
Mother and Child, and the Companion, after Sasso Ferrato; proofs.
Flora and a Muse, Music and Poetry; ditto . . e . I3
#6 s. d.
O
9
3
O II O
O
%
O
172
//alue of Bartolozzi’s Prints.
TOTAL NO. OF
IMPRESSIONS, 36 S. d.
Nymph Bathing, and Companion; Venus Bathing, with Cupids, and ditto;
proofs and etchings . e e * g tº e º º
Naiad; Nymphs of Immortality crowning the bust of Shakespeare;
Psyche going to Bathe, and the Companion; proofs . e º
Perseus and Andromeda, and the Companion; The Seasons, etc.; proofs
and etchings. e tº tº • • e e e e
Shepherdess, Tenderness, Tancred and Erminia, etc.; ditto . . .
St. Cecilia; The Songstress; Turkish Lady, Vestal, and Companion;
ditto . e e © tº o º ſº ſº o e e
Venus surrounded by the Loves; choice proofs and etchings . tº e
Wisdom and Religion; proofs. Cipriani's Rudiments of Drawing, with
additional proofs, etc. . e e e g te © te
Set of Etchings in imitation of Drawings from the sketches of Cipriani,
with additional proofs and proof etchings . . e Լ g
Miscellaneous, after Cipriani, by Mariano Bovi, Marcuard, etc.; prints,
proofs and etchings . . . * * g sº * *
BARTOLOzzi, AFTER ANGELICA.
Adoration and Humility, Fair Alsatian, Antiope, Celia and Rosalind,
Cossuccia, etc.; choice proofs . . e g tº tº e g
Celadon and Amelia, Damon and Delia, Diana and her Nymphs, Paris
and AEnone, etc.; ditto * e o : e © e
. Cleone and Cordelia; Cornelia, Mother of the Gracchi; Coriolanus;
Eurydice; proofs and etchings º e tº te * e
Fatima and Zoraida, Felicity and Sincerity, the Fine Arts, Hebe,
Leonora, etc.; ditto o e e e tº te e tº
Lady Jane Grey, and Queen Margaret attacked by the Robber; Gual-
therus and Griselda, and the Shepherdess of the Alps; proofs,
in brown and black, etc. . e e * e tº * wº e
Horace and Virgil, Judgment of Paris, Louisa Hammond, Nymphs
after Bathing; prints, proofs and etchings . e e g te
Invention, Design, Colouring, and Composition, from Paintings on the
ceiling of the Royal Academy; Cleopatra and Meleager; Paulus
AEmilius, etc.; proofs with variations, etc. . e tº tº ë
King Psammeticus and the Fair Rhodope, and Rhodope in love with
AEsop ; proofs, counter proofs, and etchings ty wº * e
Birth and Tomb of Shakespeare, and the Seasons; proofs and etchings .
Socrates; the Tambourine and Castanet; Tancred and Clorinda; Death
of Clorinda, and Companion; ditto . . * *s we e
Death of Sylvia's Stag, and Companion; Telemachus in the Island of
Calypso, and Zeuxis painting Juno ; ditto . e tº º tº
I5
IO
I5
I3
I I
5
24
3O
26
I6
17
17
I2
17
I2
IO
I6
o 16 O
O I2 O
O II O
O I2 O
O IO O

173
Aartolozzz and his M/orks.
sº
TOTAL NO. OF
IMPRESSIONS, 36 S. d.
Venus attired by the Graces, Virgil reading his AEneid, and the Death of
Alcestes; proofs and etchings e © g º tº tº
Bacchus teaching the Nymphs verses; King John ratifying Magna
Charta, after Mortimer; and Edgar and Elfrida, by Ryland,
after Angelica, etc. . e c e g e e º
Etchings in Aquatinta, etc., by Angelica Kauffman . * * º g
Fancy Subjects, after Angelica, by Delattre, Pastorini, Tomkins, etc.;
- proofs . e e ty e e & g e º © tº
II ... O IO O
IO ... O I3 O
23 ... O 9 O
18 . o 19 O
SECOND DAY'S SALE.
WORKS OF BARTOLOZZI, AFTER BRITISH ARTISTS.
The Woodman, after Barker; print, proof and etching. Woodcutter
- attacked by Wolves; proofs . . . . . . 5 . O I6 o
Benevolent Lady and Companion, after Barralet; proofs and etchings .. 8 . o 6 6
The Storm and Nymphs Bathing, after Barralet; Scenes from As you
like it, and the Tempest, after Barrett, etc.; finished and un-
finished proofs and etchings e tº e e º o e
Children at play; Infant Bacchanals and Cupids sporting, after Lady
Beauclerc.; proofs and etchings . e tº e e º e
Adelaide and Fonrose, St. James's and St. Giles's Beauties, Jenny from
Auld Robin Gray, Orange Girl, Sailor's Farewell and Return,
I2 . O 9 O
after Benwell; proofs of various colours . e to tº • 20 . I O O
Hop Pickers and Gleaners; the Mouse's Petition; Carlton Gardens, after
Bunbury; Departure of the sons of Tippoo Saib, and the Com-
panion, after Mather Brown; proofs . . - 11 : o II o
Alderman's Dinner, Auld Robin Gray, Adelaide, Fair Annette, and Lady
Bothwell's Lament, etc., after Bunbury; proofs and etchings . Io . o 11 o
The Song and Dance, Charlotte and Werter, Love and Honour, etc.,
after Bunbury; ditto . º e g º º e g ge º
Bunbury's Scenes from Shakespeare's Plays; ditto . . . . . 16 . I
Zephyrus and Flora, after Colibert; Venus and Adonis (with variation),
after Cosway; Love and Innocence, after Cosway; the Gypsies,
and Companion, after Miss Emma Crewe, etc.; proofs e
Peasants returning from Market, and Furze Cutters, after Gainsborough ;
proofs before any letters, and proof etchings & e º
Sportsman preparing for the Chase, after Gilpin and Barrett; proofs and
etchings, in different stages of the plate $ tº ... 7
Infantine Amusements, after Hamilton; proofs, etc.. . . . , 28 . 1 7 o
Hamlet, and Romeo and Juliet, Britannia distributing rewards to Music .
and Poetry; proof and unique etching. Painting, Poetry, and
History; Berenice, etc., after Hamilton; proofs and letters . 16 . o 16 o
I74 The
I
O
18 . o. 11 o
5
6
//a/ue of Bartolozzi's Prints.
TOTAL, NO, OIF
IMPRESSIONS.
The Months, after Hamilton; proofs and etchings . tº tº tº 22
Marriage of King Henry V. and the Princess Catherine; Caractacus;
Edward the Martyr, and Companion, after Hamilton ; proofs
and etchings © g © e e * c e tº e
Lord Clare's State Carriage; Scenes from Shakespeare's Twelfth Night,
after Hamilton; proofs in different states, etc. . © te • I2
Rural Innocence; Innocence and Fidelity; Subjects from Sterne's Senti-
II
mental Journey, etc., after Harding ; proofs and etchings . • I4
Views from Hearne's Antiquities; proofs and letters o e e • IO
Adam and Eve in Paradise; Subjects from Joseph Andrews, after
Hearne; prints, proofs and etchings e e e e • 9
North and South of Great Britain, and the Shrimp Girl, after Hogarth;
Groups of Angels, after Howes; Madonna (with variations),
after Hussey; ditto . tº º * e e e tº . 17
Dido and Æneas, after Jones and Mortimer, by Woollett and Bartolozzi;
print, proof and proof etching . e 3
Flight into Egypt, after Miss D. Lister; one a touched proof. Tarentella
Dance, and Neapolitan Costume, after Lock; proofs.. . . 9
Tom Jones (the landscape by Woollett); Shepherdess of the Alps, and
Companion; Snuff Box and the Dead Ass, after Loutherbourg;
prints, proofs and etchings . e • ... • e ſº g • I4
Interior and Exterior view of the Royal Exchange, after Loutherbourg,
etc.; proofs and etchings . e ‘º & wº t º • 5
Scenes from Shakespeare's Tempest, and the Winter's Tale, after
Loutherbourg, etc.; proofs and etchings in different stages of
the plates . * e º * * ſe e e & . IO
Lady Macduff and Companion, Death of Queen Eleanor, and ditto of
Lady Jane Grey, after Martin; proofs and etchings . I4
Imogen's Chamber, after Martin; Ophelia, after Madan and Nixon;
Death of Sir Philip Sidney, after Mortimer; proofs and letters Io
The Exalted Soul, after the Duchess of Montrose; Spirit of a Child
ascending to heaven, after Peters; proofs and etchings . • 9
THIRD DAY'S SA L.E.
WORKS OF BARTOLOZZI (continued).
Resurrection of a Pious Family, after Peters; proofs with and without
the crest. Apotheosis of a Beautiful Female, after Peters; one
a touched proof . ge e - e. tº e e tº o º
Death-bed of the Just, after Peters; proofs in different stages of the
plate. Angel and Child, by Dickinson, after Peters; proof . Io
I75
I O
O IO O
3 I5 O
O I2 O
O I6 o
O 15 O
o 4 6
Angels
Aartolozzi and his ///o/*S.
:
TOTAL NO. OF
IMPRESSIONS.
Angels and Cherubims (a pair), after Peters; proofs in various states, one
touched with red and white chalk by Bartolozzi. Bacchante, after
Pellegrini; Venus and Cupid, after Pernotin; proofs and etchings 16
Alphonso and Acilae, and the Death of Cora; Sorrows of Werter; Faith
and Hope, after Ramberg; prints, proofs and etchings . • 20
Strawberry Basket; Scenes from the Vicar of Wakefield; Plates engraved
for Mr. Ernst's Work, after Ramberg; proofs, etc. . e • I9 .
British Historical Subjects: Vortigern and Rowena; the Black Prince
presenting John, king of France, to his father, after Rigaud;
Meeting of Edward V. and his Brother, after Ramberg; proofs. Io .
Empress Matilda and Jane of Flanders, after Rigaud; ditto, proofs and
etchings; Death of Sindamore, and Companion, after Rigaud ;
proofs and etchings . . e e º 'º e º º
Meeting of Ulysses and Penelope; Youth and Harmony; Griselda and
Companion, etc., after Rigaud ; proofs and etchings . e o
Girl and Kitten, Lesbia, etc., after Sir Joshua Reynolds; proofs and
etchings . o º º e gº e o º o e
Venus chiding Cupid, after Sir Joshua Reynolds; Samson and Delilah,
after Rigaud; ditto . -> g º o º e º º
Cupid inspiring Plants with Love, after Reinagle; Allegorical Subjects
relating to the French Revolution, after De Rigny; Angelic
Child, after Robinson ; Lecture on Gadding and Tick, after
J. R. Smith; proofs, etc.. . . . . . . . . .
Comfort, after Lady Spencer; Cupid and Psyche, after Lady Spencer,
engraved for Marchant's Gems; small subjects of Cupids, after
Stephanoff, etc.; proofs and letters . e º e e e
The Sacraments, and Adoration of the Shepherds, after Stothard; Titles
and Vignettes to Pasquin's Satires and Biography, after Stot-
hard; proofs, etc. © e e º e º e º e
Scenes from Shakespeare's Plays, after Stothard and Tresham; proofs and
etchings, with and without the aquatint . º c º . I6
La Gara Fra l'Amore e la Musica, after Tresham; Cupedon acheté trop
cher, after the antique; Astronomy and Meditation, after Violet,
etc.; prints, proofs and etchings. o º o o • • 2 I
Historical and Fancy Subjects; Venus and Cupids in a Landscape, after -
F. Vieira; proofs and etchings, etc. . & e º e . I6 .
Vieira's Drawing-Book; proofs with and without the addresses . . 20
Young Woman of Otaheite bringing a present, after Webber; proof before
any letters. Ditto, the proof etching, very rare . . . . 2 .
Young Woman of Otaheite; proof etching in a more unfinished state.
Ditto, with the inscription. Man of Easter Island, after Hodges;
proof and letters. . o e e o © © º • 4 •
I4. tº
I6
IO ,
I4 g-
I2
2I
3.
176
!/a/ue of Barfo/ozzi’s Prints.
TOTAL NO. OF 36 S. d.
IMPRESSIONS,
Man of Easter Island; proof before any letters, etc. Woman of Otaheite;
proof etching. Indians sitting round a Fire; proofs with and
without the number . o e e tº • º º ... 7 I I2 6
The Dance, from Cook's Voyages, after Webber; proof before any inscrip-
tion. Ditto, with the number; and ditto, the proof etching . 3 ... I I3 O
Death of Captain Cook, after Webber. Ditto (the smaller plate), proof
and letters; and various from Cook's Voyages, etc., proofs • I2 O IO O
King James of Scotland wounded by a Stag, after West; proofs and -
proof etching . º c º e e e - º • 4 I 3 O
St. Paul shaking off the Viper at the Island of Melita, after West; proofs
and letters. Indian Cacique addressing Columbus concerning a
future state; proof and etching . . . . . . . 7 o Ii o
Genius raising the Fine Arts, and Emblem of Agriculture (a pair), after
West; proofs and etchings. © o e tº. * e ... 7 O 5 O
Young Maid and Old Sailor, after Walker: The Seasons (described by
Females), after Westall; proofs and letters º º º . I8 O I9 O
Departure of Mary Queen of Scots to France, and her Flight into Eng-
land, after Westall; proofs, together with the original sketches .
(in black and red chalk), by Bartolozzi o e © o . I I - O 19 O
Joan of Arc receiving the Consecrated Banner, after Westall; print, proof,
and etching. The Goldfinch and Lauretta; Watercress Girl,
and Companion; the Fair and Show, after Wheatley; proofs
and etchings - º e - - º e - º . I6 I I O
Various . . e º - -> e e º g • - º • I4 O IO 6
FOURTH DA Y'S SALE.
WORKS OF BARTOLOZZI.
Fancy Subjects, after the designs of Bartolozzi, and engraved under his
direction, by Marcuard, etc. e -> e º - o . 22 O O
Ditto, by Cardon, Clarke, Delattre, etc.; proofs, etc. - - . 2C) O II O
Miscellaneous, after C. Ansell, Lady D. Beauclerc, etc., by Tomkins, etc.;
ditto . º © e to. e - * ©. -> º . I 5 O 2 6
Ditto, by Van der Berghe, Schiavonetti, Vendramini, etc.; proofs and
etchings e p * > e •. e. e • -> º . I7 O I 6
Ditto, by D. Allan, P. Bell, C. Marcuard, etc.; unfinished proofs
and etchings . . . . . . . . . . 17 o 5 o
Ditto, by Benedetto, Mango, Tomkins, etc. (pupils of Bartolozzi);
ditto . e * ... ge ºw * 9. e. g e ºn tº . 2C) o 3 6
Leonora, after Lady Diana Beauclerc ; proofs in various stages of the
plates, with the vignettes (head and tail pieces) on large paper,
etc. tº º - e º º -> º ©. - º: . 59 . I O O
177 The
VOL. I. * N
** *g war.
Bartolozzz azed his M/o/ºks.
TOTAL NO, OF 36
IMPRESSIONS.
The Gardens, designed by Bartolozzi and Vieira, for Mrs. Montileu's
Poems; proofs before any letters, with the etchings (a few
printed on the letterpress) . Ke g º g o tº o
Macklin's British Poets—Selim, after Angelica; Triumph of Mercy, after
Artaud; Lucy, of Leinster; Margaret's Tomb ; Marian and the
Mouse's Petition, after Bunbury; proofs and etchings e e
Ditto, Lodona and the Hours, after Maria Cosway; Prince Arthur'
Vision, and Queen Katherine's Dream, after Fuseli; ditto .
Ditto, Hobbinol and Lavinia, after Gainsborough ; Palemon and
Arcite; and Gray's Elegy, after Hamilton ; ditto . e e
Ditto, Freeing of Amoret; Henry and Emma; and Damon and
Musidora, after Opie ; ditto. & tº e e * > e gº
Ditto, Constantia, after Rigaud ; Cottagers, after Sir Joshua
Reynolds; Deserted Village, after Stothard ; ditto e
Illustrations of Milton's Paradise Lost, after Stothard ; proofs and etch-
ings, vignettes before the letterpress, etc. . t e e
Ditto, Thomson's Seasons; proofs, with vignettes on large paper
Ditto, Macklin's Bible; proofs and proof etchings
PORTRAITS BY BARTOLOZZI.
His own Portrait, after Sir Joshua, by T. Watson; ditto, by Marcuard,
proofs; and ditto (profile), by Menageot e g e tº
Ditto (in profile), by J. Bouilliard; ditto, by Pastorini and Tomkins,
proof and letters; ditto, with Cipriani and Carlini, by J. R.
Smith, proof e gº * e gº e e e e e
His late Majesty, prefixed to Bowyer's History of England; ditto, with
emblems, after Corbould ; Queen Charlotte, engraved for Dr.
Thornton's Botanical Work, etc.; proofs and etchings e
Ditto (Equestrian Statue), after Carlini; Transparency, exhibited at
Sir Joseph Banks's House, 1789; ditto, at the Bank, by Tom-
kins; Allegorical Representation of the Prosperity of Great
Britain, after Martin, etc.; prints, proofs and etchings tº g
Queen Charlotte, after Livesay; ditto (in profile), after Ramberg; Prin-
cesses Mary, Sophia, and Amelia, after Copley; Princesses
Amelia and Sophia, of Gloucester; ditto e © tº
His present Majesty (when Prince), W. L. after Russell; proofs, with
variations. Ditto, in the print of the Free Masons' Charity
children, after Stothard; William, Duke of Clarence, W. L. after
West; proofs and etchings g * > © & e wº
George, Prince of Wales (when a boy), small oval; ditto, after Violet;
ditto, with the Princess Caroline (profile medallions); the late
178
27 .
17
I3
I3
IO
9
56
28
71
I4
I5
8
S.
d.
I4
O
I 2 O
Queen
Value of Bartolozzi's Prints.
TOTAL NO. OF w
jors. A s. d.
Queen Caroline, with her child, W. L.'s after Cosway; and the
Princess Charlotte (an infant sleeping), after Cosway; prints,
proofs and etchings e te tº º º e º º
Mary Queen of Scots, with her son, W. L.'s after Fred. Zucchero, proof;
ditto, proof etching, rare . e * up e e e e
Lord Ashburton (oval), after Sir Joshua ; ditto, sitting in his Chancellor's
Robes, after Sir Joshua; proofs and etchings, with variations 12 . I 15 o
John, Earl of Bute (when Viscount Mountstuart), W. L. in his robes; p.p.
proof and letters; ditto, a touched proof; and ditto, the proof
etching, very rare e * * * * * º * g
Lord Burghersh, W. L. after Sir Joshua ; Earl Camden, after Gains-
borough ; Marquis Cornwallis, after Davis; proofs and etchings.
Lord Chesterfield, profile medallion gº º e tº
Lord Clive, after Dance; p. p. print, proof and etching. Marquis Corn-
wallis; proofs on India paper . tº & g te g e
Death of the Earl of Chatham, after Copley; proof and proof etching . 2 . I O O
Ditto, proof before the inscription; and ditto, choice proof on
India paper . . . . . e * e ſº o dº tº
Lord Chatham's Monument; Lord Clare ; Lord Cornwallis, after Ham-
ilton; Robert, Earl of Essex; Duke of Grafton, W. L. p.p.
22 ... O II O
proofs, etc. . * : e e º º • • e e • II I 6 O
Lord Grantham and His Brothers, W. L.'s after Sir Joshua ; Philip, Lord
Hardwicke (two different); Lord Hawke; Marquis of Lans-
down, etc.; proofs and etchings . © I9 I O O
Admiral Thomas Lord Graves, proofs with variations; Lord Heathfield,
proof and etching, etc. ºp g e ſº e º º . 7 . O II O
Lord Graves, and Lord Heathfield; proofs in different states . . . 6 . O I2 O
Lord Kilwarden, after Hamilton; Lord Loughborough (with variations);
proofs and etchings . ſº g g º º g g *
Lord Mansfield, after Sir Joshua, proof on India paper; Lord Thurlow,
after ditto, proof before the arms were filled in . o e
Lord Mansfield, proof before the arms, on India paper; Lord Thurlow,
choice proof. e ſº g º tº ge * e e e
Lord Mansfield, unfinished proof; Lord Thurlow, proof before the arms;
and ditto, proof etching . º o e g e e o
Marlborough Family, after Shelley, p. p. proofs and etchings, in different
states; and the late Duke of Marlborough, after Bartolozzi, by
7 . o 17 o
2 . I I I O
Ogborne, print, proof and etching . . © tº * ſº . 9 I O O
The Duke of Newcastle returning from Shooting; print, proof and
etching. Duke of Northumberland (profile); Lords Melcombe
and Winchelsea, W. L. (caricatures) after Hogarth; proof and
letters, etc. . e º & & e • • * > º . 9 . I O O
I79 George
Bartolozzi and his Mºorks.
TOTAL NO. OF
IMPRESSIONS,
George John, Earl Spencer (bust in profile), proof; another impression
(less finished); ditto (the smaller medallion), with the inscrip-
tions, both private plates, very scarce . . . . . .
Ditto, proofs in a more finished state; and the smaller medallion
of Lord Spencer, ditto. tº e e te g e tº
Ditto (the large and smaller gems); proofs, before the inscriptions .
Lord Thurlow, after Sir Joshua; proof and proof etching *
FIFTH DA Y'S S.A.L.E.
PORTRAITS BY BARTOLOZZI (CONTINUED).
Sir Ralph Abercrombie: Commemoration of the Victory of the 1st June,
with Medallions of the Commanders; proofs and etchings 2-
Alderman Beckford's Monument, with variation; Dr. Hugh Blair, proofs
and etchings; Sir Francis Buller, proofs and letters . *> 4 º'
Beckford's and Guy's Monuments, etc.; proofs with variations . . .
Archbishop Chicheley, W. L.; scarce. Tomb of William of Wickham, by
J. K. Sherwin . º
Captains Cook and King, proofs and letters; Death of Captain Cook,
print and etching; ditto (the smaller plate), proof etchings gº
Captains Cook and King, proofs; Death of Captain Cook (the large
plate), on India paper, and the smaller print of ditto, proof and
etchings e * • . • e w t º e e wº
Oliver Cromwell, after Walker; Sir Henry Clinton; Lieut. Col. Cox;
Abraham Goldsmid, Esq.; proofs and etchings . e º e
Egerton, Bishop of Durham; Hon. John Foster; Dr. Kippis, etc.; proofs
Warren Hastings, Esq., W. L. (introduced in the Judgment of Britannia);
proofs and etchings. Right Honble. W. Pitt, after Gains-
borough Dupont; proof and letters, the former before the arms
or any inscription g iº e • • e tº e e
Right Honble. William Pitt, after ditto; proofs with and without the
arms. Ditto, after Copley, proof and letters; Sir Ralph Mil-
banke, after Sir Joshua, proof and etching e tº e g
Lieut. J. G. Riddell; Mr. Rogers, of Liverpool; Mr. Shone, p.p.'s, etc.;
proofs and etchings, etc. . fe v. * tº © tºp tº
Sir George Rooke, Sir George Savile's Statue, General Stewart, Sir
James Wishart, etc.; proofs and etchings . º g º w
Honbles. Leicester Stanhope and Philip Yorke, after Sir Joshua;
prints, proofs and etchings . te t gº º o & g
Colonel Stanley, after a miniature by Edridge; in a variety of proof
states, etc. . * g & te * * º e ge • 3.
Bulstrode Whitelock (medallion encircled with laurel), proof before any
f letters; Sir Richard Wynne, after C. Janssens, proof and letters
3
8
3
.
IO O
I5 O
I2 O
I3 O
13 O
I3 O
I8O
!/a/ue of Bartolozzi's Pºints.
TOTAL NO, OF
IMPRESSIONS,
Dr. Isaac Watts; Addison and Milton, from Bell's Poets; proofs and
letters . º e - e e º o e e º e
Dr. John Ash, W. L. after Sir Joshua, proofs in different states; Dr.
Arne, etc. . * º g º º © e e º e
John Aubrey (Antiquarian); p.p. proofs with and without the border,
very scarce . o - e Q e º e e e e
Dr. Charles Burney, after Sir Joshua; proofs before the artist's name,
etc.; Cowper, the Poet, and Bach's Monument, after Carlini;
proofs and letters. © e º e e t; e o e
Edward Capell (medallion), with drawing in blacklead pencil ; Cipriani
and his Son; Cosway, Cobbett; proofs and etchings e º
Rev. Mr. Downs, 1760; and Miss Ford, afterwards Mrs. Thicknesse
(drawings in blacklead pencil from the life), by Cipriani . e
Joseph Edmondson; John Evelyn; proofs and letters . e - º
Dr. Fothergill, Captain Grose, James Harris, proofs and letters;
Gainsborough, proofs and etchings . º o e
Giardini, Handel, Haydn ; prints, proofs and etching º & & e
Henderson in the character of Iago, etc.; Kemble in Richard III.; W.L.,
proofs and letters. Head of a Child, after S. Harding; proofs
and etchings in different states e te º e º º
Francis Hutcheson and Dr. Johnson (medallions); Eyles Irwin, proof,
scarce; Busts of Dr. Mayhew, Marvell, Milton, etc., by Cipriani,
some proofs . º - g e -> e º e o e
John Leke, M.D., Edmond Malone, Dr. Matthew Maty, Charles and
Mary Molteno; proofs and letters w -> tº - e
Lunardi, after Cosway; ditto, ascending with Mrs. Sage, etc.; Busts of
Pope and Homer; proofs and etchings in various states . º
Philidor, Mr. Rose, Thomas Ruddiman, Sir Richard Steele, J. E. Smith,
M.D., Hen. Swinburne; proofs and letters . {-> e © e
Dr. Thornton, proof and letters; Tomkins, the Writing Master, proof,
rare; F. Vieira, P. Violet, W. Woollett, etc., proofs and letters .
Dr. John Wallis, Dr. Willis, Sir J. Eardley Wilmot, after Sir Joshua;
J. Williams (Ant. Pasquin), etc.; prints, proofs and etchings
Anonymous Portraits, Signor Vestris, proof and letters; Sunday Even-
ing's Concert; Satirical Print of Charles James Fox, etc. .
BARTOLOZZI'S PRODUCTIONS, AFTER ITALIAN AND
MASTERS.
Sets of the Elements, after Albano (etchings); proofs before and after
the inscriptions were filled in, etc. . . . . . .
Cupid's Manufactory, after Albano; Euphrosyne, after Amiconi, proofs
and etching; Prometheus, etc., after Michael Angelo
181
36 s. d.
7 . I 5 O
IO O 5 O
3 . I I3 O
8 . I 13 o
I4 - 2 O O
2 ... O II O
4 - 2 IO O
I3 O I2 O
9 O 13 O
I3 I 7 o
I3 I I I O
II o 13 o
17 o 17 o
I3 O I5 O
IO ... I IO O
Io . o 7 o
II O 9 O
FRENCH
9 : o 5 o
IO ... O II O
Subjects
Aarfo/ozzz and /ºis M/orks.
TOTAL NO. OF 36 S. d.
IMPRESSIONS.
Subjects from Sacred History, after Amiconi, by Bartolozzi and Wagner. I4 o 6 O
Bartolozzi's Drawing Book (etchings); Rural Employments, and various
Saint Subjects tº e º . . e e • 34 o 7 O
Innocence fleeing for refuge to the arms of Justice, after Madame Le
Brun; proofs and letters. Sleeping Nymph, after Annibal
Caracci; proofs . . . . . . . . . . 9 I O O
Landscape and Figures, after both, by Bartolozzi and Byrne; proof. Sea
Port, after Claude, by Mason; proof and etching, etc. tº . 4. . I 4 O
Varia, after F. Capella, A. Caracci, Castiglione (proofs), Cignani and
Cignaroli . tº º º º e º e º º . I6 o 7 O
Orlando rescuing Olympia from the Orca, after Annibal Caracci; ditto,
proof before any letters, etc. e tº te e o o . . 3 I 3 O
The Silence, after Annibal Caracci, proof before any letters; ditto with
the letters . t e e & º e tº e e - 2 - 2 IO O
The Silence; choice proof before any inscription . . . . . I 4 I4 6
Woman taken in Adultery, after Agostino Caracci, proof; and ditto in
an unfinished state, rare . e tº * e 2 3 13 6
Woman taken in Adultery; fine proof before any letters. I 3 6 O
Clytie, after Annibal Caracci; proof. I 2 I 8 O
Clytie; proof etching, rare. g o e I I 13 O
Specimens from Original Designs in the King's Collections, after Annibal,
Agostino, and Ludovico Caracci; prints, proofs and etchings . I5 - O 13
Engravings from the originals of Claude, Poussin, Raphael, and the
Caraccis, published by Chamberlaine, with some duplicate proofs 31 . o 19 O
Landscapes and Historical Subjects, after Claude, P. da Cortona, etc.;
proofs and letters. e & e ſº º e o g
Jupiter and Io, and Cupid making his Bow, after Correggio; proofs and
letters. The Magdalen, after Correggio; proofs and etching, etc. 9 . I 13 O
Madonna and Child, after Carlo Dolci; proofs in different states. Mater
O
II ... O IO O
Dolorosa, after Carlo Dolci; proof and letters . . . . 6 . I 14 O
Scripture and Saint Subjects, etc., after Domenichino . * e . I 5 O 8 6
Views in the Gardens of Scooneberg, after Le Fevre, by Bartolozzi and
Byrne; proofs. Aqueduct of Alcantara, and companion print,
after L'Eveque, by B. Comte, the figures by Bartolozzi; proofs
and etchings. § º e 6 O 4 - O
Infant Bacchanals (a pair), with curious variation in the etching of the
print with the goat, after Franceschini; Varia, after Feretti
and Fontebasso . e tº g * tº e jº e e ... O
Sacred and Profane Subjects, after Gabbiani and Gandolfi e . . . I2 ... O
Peasants at the foot of Mount Vesuvius, after Madame Gaufier; proof
and etching. Mount Parnassus, after Guttenbrunn, with variation -
in the inscription. & º º o & e e º . 6 . O 8 6
182 Venus,
9 O
6 O
//a/ue of Bartolozzi's Pºints.
TOTAL NO. OF
IMPRESSIONS. 36 S. d.
Venus, Cupid, and Satyr, after L. Giordano; fine. Ditto, the proof
etching, rare. º e º º 2 O 9 O
Ditto, fine proof on India paper. e e g g º g ... I O 9 O
The Circumcision, after Guercino; choice proof before any letters . ... I 3 I3 6
SIXTH DA Y'S SALE.
PORTRAITS BY BARTOLOZZI (CONTINUED).
LADIES.
Lady Apsley and Lady Bath (small oval); proofs. Lady Catherine
Beauclerc, Harriet Viscountess Bulkeley, Jane Lady Cathcart;
proofs and letters. e tº e e e e o gº e
Countess of Bute (when Lady Mountstuart); W. L. p.p. print, proofs and
etching, very scarce . g e e e º e e e
The Misses Clive; proofs and etchings in different states. Countess
Cowper; Lord Derby's Children, after Cosway; Duchess of
Devonshire, after Nixon ; proofs and letters º e tº e
Countess of Derby (when Miss Farren), W. L.; Lady Elizabeth Foster
(late Duchess of Devonshire); proofs and etchings . e . IO ... O IQ O
Duchess of Devonshire; with and without the artists' names, after Lady
IO ... O I5 O
D. Beauclerc.; proofs and the proof etching, very scarce . . 3 . O IQ O
Duchess of Devonshire and Lady Duncannon, after Downman; Countess
of Bessborough; W. L. prints, proofs and etchings . e . IO ... O 4 O
Lady Jane Dundas, Lady Grenville, Lady Hamilton, W. L.'s, after Rom-
ney, etc.; proofs and etchings . o e e º e 9
Marchioness of Halifax, after Sir P. Lely; proofs in different states (the
oblong plate, etc.). Jane, Countess of Harrington, and Lady
Smyth and Family, after Sir Joshua; proofs and etchings. . 8 . O II o
Countess of Lanesborough, proof and letters; Duchess of Rutland,
proofs; Countess of Radnor, W. L. proofs in different states . Io . 1 7 o
Dowager Lady Spencer, proof; Countess Spencer, after Sir Joshua,
proofs before the border, etc.; Lady Westmoreland, p.p.
proof, etc. . e wº e * e tº o e g . I2 - 2 7 O
Mrs. Abington as Thalia, proofs and etching; Signora's Allegranti and
Bastardella, etc., proofs . . g e e tº ſe © . I 2 I IO O
Mrs. Baker, Mrs. Baldwin, Miss Bingham, after Sir Joshua ; proofs in e
different states, etc. . * I2 I 5 O
George Ann Bellamy, Mrs. Billington, W. L. as St. Cecilia, etc.; Miss
Brunton, Signora's Casentini and Catalini; proofs and letters . 17 . I o o
Mrs. Chambers, p.p., Mrs. Cholmondeley, Maria Cosway, Mrs. Crouch;
proofs in various states º g © * G e IO ... I O O
183 Madame
Bartolozzi and his /l/orks.
TOTAL NO, OF
IMPRESSIONS.
Madame Dubois, by Van der Berghe; Mrs. Estcourt, Miss Eye, Mrs.
Gautherot, Miss Gunning, Miss Gwatkin, after Sir Joshua ;
proofs and letters. e º tº ſe e e e & º
Mrs. George Hardinge (the Fair Moralist), W. L.; ditto, as Miranda;
proofs, etchings, etc. e g t e e tº º e
Mrs. Lenox, Mrs. Montague, and Jane Shore (two plates), engraved for
Harding's Shakespeare; Miss Price and Lady Robarts, from
Count Grammont's Memoirs; proofs and etchings º º
Angelica Kauffman, Miss Macklin (Rural Innocence); Miss Julia Mar-
cuard (Infant. Sleeping), touched proof; Mrs. Billington, etc.,
proofs . e e tº te e © ge e º º *
Miss Caroline Ponsonby, Miss Emily Pott, W. L. in the character of
Thais, after Sir Joshua; proofs and etching, rare, etc.. te
Mrs. Rudd (different states), Mrs. Siddons, Mrs. Hannah Sparke, Miss
Violet, etc.; proofs and letters e e te tº &
Vandyck's Wife, etching, proof and letters; Mrs. Udney, W. L. p.p.
proofs; Madame Vieira (when Mrs. Fabri), proof etching . e
The Vestal (Mrs. Seaforth), after Sir Joshua; Miss Wallis, W. L. proofs
and etchings in different states; ditto, with diamond, in Romeo
and Juliet, proofs . . . e e e * *
BARTOLOZZI, AFTER ITALIAN MASTERS (continued).
Etchings after Guercino, from his drawing-book, etc., including the por-
* trait of Guercino, on India and tinted paper, etc. e º ©
Guercino's daughters (the square and oval plates); Mother and Child,
with the alphabet; proofs, with variations, etc. . e º wº
Etchings from Drawings in the King's Collection, after Guercino
Ditto, after Guercino . . . . .
Ditto; proofs before the artist's name ge o e e g tº
Massacre of the Innocents, Jupiter and Europa, the Ecce Homo, and
various Madonnas, etc., after Guido ; proofs, etc. e º e
Queen Elizabeth and the Earl of Essex, and the Death of David Rizzio,
after Guarana; proofs and etchings. Varia, after Guarana, J. S.
Joannes and P. Longhi tº e tº * e e • tº
Sacred and Profane History, after B. Luti, D. Maiotto, C. Maratti, A.
Masucci, and G. Menescardi * º e & e * g
Holy Family, after C. Maratti; Reposo with Angels, after N. Poussin;
proofs and etchings, with variations ... • g º º
Rovine, della citta di Pesto, detto Anocra Posidonia, F. Panini del Rome
1784: small Scripture Subjects, after Piazetta, etc. . . .
Varia, after Parmigiano, S. da Pesaro, L. Pecheux, Pellegrino Tibaldi,
Eustache le Sueur, etc.; proofs and letters. e e º g
I6
I 2
17
IO
I6
I3
I5
I I
24
24
17
I 3
:
36
I2 6
I4 O
I5 O
17 o
17 o
:
:
7
O
§3 ºt...sº sº ***.ºx º' -- 3:2.4.x.

184
Value of Bartolozzi's Pºints.
šš33&
TOTAL NO, OF
IMPRESSIONS,
Venus attired by the Graces, after Patel; and the Rustic Travellers, after
P. Potter (landscapes by Vivares, figures by Bartolozzi); proofs
and proof etchings in different states . * * * *
Pergolesi's Ornaments, with detached proofs of Cupids, etc., after Cipriani
Lady of the Fish, after Raphael ; proof before the letters; ditto, with the
artists' names, and proof etching of the same, very scarce . *>
Ditto, ditto; very fine, and scarce tº tº • e & * se
Madonna della Sedia, after Raphael; proofs and etching. Sleeping
Child, after Sirani; and various Catholic Subjects, after F.
Riviera, G. F. de Queiroz, J. C. da Silva, etc.; proofs and
etchings gº © © e e te te e e
Landscapes and Historical, after Marco and Sebastian Ricci, etc. . º
Holy Family, after And, del Sarto, on India paper; ditto proofs and
etchings, with and without the vignette portrait of the painter,
under the arch, etc. . e e e se -se gº * *
Scripture and Saint Subjects, after Tiepolo, Tievisani, Varana, etc.;
Descent from the Cross, after Vandyck, by Cipriani . e
Venus, after Titian, by Cheesman; proofs, and etchings. Allegorical
Subject (Frontispiece to Adams's Architecture), after A. Zucchi;
print, proof and etching . g e e º º e e
Set of the Apostles, and various small subjects of Saints, by Bartolozzi
and Wagner e ge sº * * & gº º p *
Imitations of Original Designs, by Leonardo da Vinci, from drawings
in His Majesty's Collection, 2 Nos. published by Chamberlaine,
with numerous additional proofs and etchings -- e º
Devotional and Saint Subjects, by Leonardo da Vinci; head-pieces and
vignettes to different publications tº e
Sets of the Months and Times of the Day, after Zocchi
Italian Landscapes and Figures, after Zuccarelli lº e tº gº g
Landscape with Storm, and Companion, after Zuccarelli, by Bartolozzi and
Bryne; proofs and etchings. sº g & e º e e
Italian Ball, and Wedding, after Zuccarelli, proofs before any letters;
ditto, proof etchings and counter-proofs, one touched upon with
colour . e tº e g tº tº e © º e
Departure of Abraham and Lot, after Zuccarelli; choice proof before any
letters, and proof etching of the same. tº e
SE VENTH DA Y'S SALE.
BARTOLOzzI's works (continued).
TICKETS, CARDS, TITLES, BOOK-PLATES, ETC.
Tickets engraved for the Benefit of Madame Banti; Music surrounded by
Cupids (two different); prints, proofs and etchings . e *
185
*
7
28
3
I I
I I
IO
I3
o 17 o
o 17 o
O I5 O
O IO O
O 19 O
O IO 6
Tomb
Bartolozzi and his M/orks.
TOTAL NO. OF :6 J. d
e wº IMPRESSIONS. tº tº
Tomb inscribed to the memory of General Barthol. Costa ; Vignette to
Sancho's Letters; Title to the Elegy on the Death of Foote;
Study of Ears, from Lavater; ditto . tº e o º e
Genius studying Music, Tickets for the Concert at Hanover Square,
Salpietro's Benefit, Fierville's Ball, etc.; ditto e º ge
Tickets for the Oratorio at Covent Garden; Cupid designing, and the
Infant Academy (M. Violet and Molteno's cards); proofs in
different states of the plates tº o e ſº º . . .
Cupid supporting a Medallion ; Cupid flying with a Scroll ; proofs.
Two Cupids supporting a coat of arms; motto, Est Ulubris. All
17 . o 17 O
II ... O I2 O
very scarce . & a lº * tº * tº e e e • 3 I I I 6
Allegorical Subject of Commerce (Mr. Pike of Bridgwater's Arms),
proofs; Duke of Ancaster's Arms . . . 7 I I I O
Sir M. M. Sykes's arms; proofs on Indian paper, etc., very scarce, with
the original sketch in pen and ink . . tº e e e
Plates to Sterne's Sentimental Journey, Howard on Prisons; proofs, etc. 9 . I 11 6
Pastoral Subject from the AEneid; Hayley's Art of Painting, etc.; proofs
and etchings tº g ſº g * > * º e º . IO I I3 O
Benefit and Admission Tickets, Cards, Vignettes, etc., by various pupils
of Bartolozzi, etc. tº e e o * & e 22 IO O
Ditto, ditto . . . . . . . . . . . .
Mars and Venus (Statues by Mr. Bacon), proofs and letters; Hercules
reclining on his club, proofs and etching . & º e º
Apollo instructing Love and Tragedy, engraved for Dragonetti and Mad.
Banti's Benefits, after Burney; etching, proofs and letters . . 8 . I O o
Brandenbourg House Masquerade; Pacchierotti's Benefit; Commemora-
tion of Handel; Allegorical Subject, etc., after ditto; proofs and
letters . tº e e e © © * º te o º
Sir Joshua Reynolds' Funeral Ticket, after Burney; proof before any
letters. Ditto, with Latin inscription on the vase; and ditto,
with the letters; Sir Joshua's card, very scarce . tº e e
Frontispiece to Zimmerman's Solitude; Il Mercurio Italico; Judgment of
Paris; Shepherd's family, after ditto ; proofs and letters . . I 3 . O I4. O
Ticket for Wynnstay Theatre, after Bunbury; proofs and letters. Titles
and book-plates to the ancient Poets, after Burney, by Bartolozzi,
Heath, etc.; proofs . . . . 25 . I 6 O
CIPRIANI.
Giardini's Tickets: Psyche giving instructions to Hymen for the arrange-,
ment of the Concert; etching and proofs, with variations, very
fine and rare g gº e • ... • e e g * . 6 . I 4 O
186 Giardini's
//a/ue of Bartolozzi's Prints.
TOTAL NO, OF
IMPRESSIONS,
Giardini's Tickets: Beauty attiring, attended by Cupid and Hymen (4):
Mercury, attended by Cupid, stringing the Lyre (3); proofs and
letters . º e o e © ſº e * ſº e . 7 . I
Ditto: Apollo pursuing Daphne, proof and letters; Orpheus and
Eurydice (two plates), ditto. te e ſº © o e
Ditto: Apollo crowned by Mercury; Apollo instructing the Muses;
Judgment of Midas (three of each); proofs and letters º • 9 . I
Ditto: Love inspiring Sappho to write an Ode to Music (5); Mel-
pomene and Thalia (3); proofs and letters. tº e . 8 . 3
Ditto: Venus on a Couch, attended by three Cupids, proof and
letters; Scavoir Vivre Masquerade, proof etching, etc.; Shane's
Castle Masquerade, proof and letters . e e 7 . 5
Ditto: Venus Anadyomene, engraved for the Masquerade Ball at
Ranelagh (4); Venus in a Shell, surrounded by Cupids (3);
ditto . e g g e e e tº e e o . 7 - 2
Cupid and Thalia (Frontispiece to the Songs of the Duenna), proof before
the artists' names, etc.; Vertumnus and Pomona, proof and
letters . º g e º º º e º e gº - 4 - 2
Wilkes's Mansion House Dinner Ticket, proof and letters; Mansion
House Ball Ticket, in black and brown . e © ſº • 4 - 4
Regatta Ball at Ranelagh, proof and letters; ditto, proof etching, very
SCarCe , e º e ge º e e e g g • 3 4.
Emblem of Love and Peace (Lady Bessborough's card); etching, proofs
and letters . g tº e tº º e tº e e . 6 . O
Apollo with his Lyre (Borghi's Benefit Ticket) (4); proofs and varia-
tions. Hanover Square Masquerade (3); ditto . e . 7 . O
Arms of Sir Foster Cunliffe, Bart, ; proofs in brown and black, on India
paper, etc. Ditto, with the inscription • . . . 4. I
Orpheus enchanting Cerberus (Ticket for Tenducci's Benefit); Fierville's
Ball (Carlisle House); Free Masons' Concert; Sibyl Contempla-
ting; proofs and letters g <e e te tº wº e ... 8 O
Hanover Square Concerts (four different), proofs and letters; Bach's and
Abel's Concertos; Mrs. Grassi's Benefit ; Mrs. Parker Sack-
ville's card . e ſº II ... O
Handel Composing Sacred Music, proofs in the first and second states,
etc.; Borghi's Divertimentos, proof and letters; Bach's
Sonatas . . . . . . . . . . . . 6 . I
Ticket for Masqued Ball at the Opera, 1771; Masqued Ball, Soho, 1775,
proofs and letters; Abel's Quartettos, ditto; Kammell's Trios,
IO ... O
etC. o * > º e tº , º e º e * vº te
Abel's Concertos, Fabri's Duetts, Borghi's Solos, Bach's Canzonettas;
proofs with variations, etc. . {º o g e tº o . I 3 - O
187
17 o
IO 6
I6 o
Diana
Aazºo/ozzz azza! /ázs M/o?%5.
TOTAL NO. OF
IMPRESSIONS.
Diana Preparing for the Chase, engraved for Mr. Beckford's Essay on
Hunting (3), proofs in brown and black; Acis and Galatea (3),
ditto; Frontispiece to Gray's Elegy . . . . . .
Coriolanus; Scenes from Metastasio; proofs and letters . tº ſº *
The Death of Sappho, and St. Bruno; proofs before any letters, etc.,
very fine and scarce * & e e g & º wº
Great Room at Free Masons' Hall, proofs and etchings on India paper,
etc. (4); Tragedy of the Fall of Rosamond, proofs with and
without the aquatinta; and ditto with the letters • • e
Frontispiece and Vignette to Sir W. Chambers's Dissertation on Oriental
Gardening; Our Saviour appearing to a Suppliant, proof and
letters; Churchill's Poems, ditto, etc. . tº tº e o ©
Bust of Cicero ; Frontispiece to Martial's Epigrams, proofs and letters;
Plates to Ariosto's Orlando Furioso e te g tº
Plates to Ariosto, large paper, with variation in the inscription of
Canto 24 . g * e tº ſº tº © º g ſº
Plates to Ariosto, the Ghost of Argalia, Death of Zerbino, Desertion
of Olympia; proofs before the inscriptions or borders, etc.
Britannia with the Cap of Liberty; Plates to Hollis's Memoirs, by Bar-
tolozzi and Cipriani, etc. . & & tº * &
Set of the Portland Vase, with proof etching of the same. te o *
Ancient Basso Relievos (military subjects), proofs and etchings; Antique
Gems from Dr. Hunter's and Dr. Cracherode's Museums, by
Bartolozzi, etc. i- e tº tº
Plates to the Seleucidae Medals; first impressions . º e ‘ e g
Ditto, proofs before the numbers; Medals of the Kings of Mace-
don, from M. Duane's Collection. e te tº e º tº
Ticket for Sir W. W. Wynne's Concert, after Dance; Vignettes engraved
for Dr. Goldsmith's Roman History, after Edwards; the Good
Samaritan, proof before the plate was reduced, etc.; Plates to
Hamilton's Iconologia, proofs and letters . e º & º
Mansion House Ball Ticket, after Hamilton; proof and letters, with
variations. Ticket to Walker's Lectures, ditto . te * > º
Plates to Leonidas; the Three Graces; Belinda; Du Roveray's edition
of Milton's Paradise Lost, etc., after ditto; proofs and etchings.
Angelica appearing to Sacripant, from Hoole's Translation of Ariosto,
after A. Kauffman; proofs and etching. Plates to Bell's Poets;
proofs and letters. tº g e e e e e e
Beauty Charmed by Music (Mr. Legard's Benefit Ticket); Harmony,
etc., after ditto; proofs and letters . . . . .
Venus and Adonis, and Frontispiece to Evelina, after Mortimer; etching,
proofs and letters. $ e
* e
w 2
I88
%
IO
I 2
I I
26
25
I6
18 .
I5
7
s. d.
3 O O
3 6 O
3 3 O
I I O
I 2 O
O II O
I I O
2 '5 o
I I O
2 3 O
I 2 O
o 17 O
I I O
I 2 O
O 13 O
I I O
2 7 o
O IO 6
2 3 O
Tickets
//a/ue of Bartolozzi's Prints.
TOTAL NO. OF 36 J.
IMPRESSIONS,
Tickets for Cox's Museum, and Solomon's Benefit, after Rebecca ;
etching, proofs and letters . e tº w & g º *
Monument erected to the Memory of Mr. Wood; Mason's Offspring,
proofs and etchings in various stages of the plate, with the
original drawing by C. B. Ryley, in Indian ink . tº e e
St. Cecilia attended by Angels; the Graces presenting the Cestus to
Diana; Royal Cumberland Free Masons' School Ticket, after
Stothard ; proofs and etchings . e tº * ſº g t
Tickets for the Benefit of M. Salpietro; Tomb of D. Isabel de Menezes;
Venus with Cupids in the Clouds, after F. Vieira; etchings,
proofs and letters . . . . . . . .
Emblematical Subject, descriptive of a Mission to Africa; proofs and
etchings, letters, plates, etc., one printed on satin; Death of
Dido, and Nisus and Euryalus (from Virgil's AEneid), after
ditto, ditto . . . ſº tº e © g º o e
Marlborough Gems: A very choice and complete collection, including a
beautiful original drawing of the Frontispiece to the first volume
—Julius Caesar Offering Sacrifice in the Temple of Venus, by
Cipriani, with additional portraits of the late Duke of Marl-
borough and his Family; 2 vol. uncut, elegantly bound in blue
morocco, and lettered Gemmae Ducis Marlburiensis .
I4
I3
I4
I I5
O I3
O I3
89 5
A very ExtRAORDINARY COLLECTION of English prints of the best works of the
most eminent engravers, selected by a late distinguished virtuoso and collector,
on their first appearance about forty years ago, for their particular beauty or
distinctive peculiarities; . . . presenting to the lovers of English Chalcography
such an opportunity of procuring first-rate scarce prints as can never occur again ;
which will be sold by auction by Mr. Stanley, at his rooms, 21, Old Bond Street,
on Thursday the 1st of June, 1826, and following day, at Twelve o'clock.
BARTOLOZZI'S WORKS.
Clytie, proof by Bartolozzi e
The Months, by Bartolozzi (12) . tº gº
Sleeping Nymph, and six proofs . e tº º
Three of Bacchus presented to Jupiter, and three of Minerva and the Muses;
all proofs before the letters, by Bartolozzi . . . .
Death of Dido, fine proofs; Sacrifice to Pan, proof and four Landscapes
The Clytie, fine proof (Boydell's collection) .
Sixteen by Bartolozzi, chiefly red . tº
189
§
:
:
3
.
:

Aarfo/o3.22 and has M/orks.
A VERY SELECT COLLECTION of prints and drawings, the property of the late ISAAC
PILLEAU, ESQ., formerly of the Bank of England, sold by auction by Mr Evans,
at his house, No. 93, Pall Mall, on Friday, June 6th, and following day, 1828.
BARTOLOZZI'S WORKS.
Lady Jane Grey refusing the Crown, and other English Historicals, after
Cipriani; Eloisa, and others, after Angelica Kauffman, etc.; all
proofs . e $º º tº tº g tº gº ſº e g
Design for the Diploma of the Royal Academy, Faith, Hope, etc., after
Cipriani, Angelica, etc.; by Bartolozzi, Ryland, etc. . e o
Venus, Cupid, and Satyr, after Luca Giordano, proof; and the same
with the letters. Venus attired by the Graces, after Angelica;
proof, etc. e * e e tº g tº g
The Silence, after Annibal Caracci; beautiful proof . . . . .
The Clytie, after Annibal Caracci; a choice proof, before any letters,
and before the lines intersecting the border, very rare.
TOTAL NO. OF
IMPRESSIONS.
I3
A s. d.
;
I
:
:
CATALOGUE of the very valuable collection of engravings, etc., of MESSRS. MOLTENO
& GRAVES, the old-established printsellers, of Pall Mall (in consequence of a
dissolution of Partnership): sold by auction by Messrs. Southgate & Son, at
their rooms, 22, Fleet Street, on Thursday, July 23rd, 1835, and eight following
days (Sunday excepted), at Twelve for One o'clock precisely.
BARTOLOZZI'S WORKS.
The Diploma of the Royal Academy, after Cipriani, granted to John
Russell, with the signature of Sir Joshua Reynolds . e * >
The Diploma of the Royal Academy, and the Clytie; proof etchings,
- very rare c e s tº tº 8 tº 9 s tº
Orlando rescuing Olympia, after A. Caracci, by Bartolozzi; and the same
proof before any letters g e & tº e e º
Woman taken in Adultery, after Caracci; proof before any letters, very
rare tº gº * & e e º te tº gº e
The Circumcision, after Guercino; Guy's Monument, after Bacon, etc.; by
Bartolozzi e * e & te e † gº g
Series of engravings to the Orlando Furioso, after Cipriani; in the first
states before the plates were cut . º e t e e
Portrait of Magliabechi, the celebrated and learned librarian of Florence;
oval in square border . º te * e e tº e - e.
Henry VIII, Prince Edward, and the Princesses Mary and Elizabeth, in .
one piece, after Holbein; 37 proofs, 18 proofs printed on Holbein
paper, and II proofs in different states te e º te e
. I90
. IOS
18
66
3 6 o
Portraits
Palue of Bartolozzi's Prints.
TAL NO. OF
TOTA O. O A s. d.
IMPRESSIONS,
Portraits of eminent personages of the French Court, during the reigns of
Henry II. and Francis II., consisting of a series of eight un-
published plates, engraved by Bartolozzi, from drawings in the
collection of the Earl of Bessborough, and intended to form a
continuation of Chamberlayne's Holbein Heads. viz:—Francis II.,
14 plain, Io on tinted paper, Mary Queen of Scots, 15 plain, Io
on tinted paper; Marechal de Montmorency, 17 plain, Io on
tinted paper; M. de Piénne L'Ainé, 18 plain, Io on tinted paper;
Connétable d'Armagnac, 7 plain ; Mons. de la Faille, 7 plain;
Sieur de Sainte Corneille, 7 plain ; Sieur de Laval, 7 plain
Series of Nine unpublished Sheets of Coins of the Kings of Macedonia,
engraved by Bartolozzi, executed for Mr. Mat. Duane; including
his portrait, engraved by James Mitan ; (6 sets of each)
Marlborough Gems. A volume containing forty-three Gems, by Barto-
lozzi, in a very early state, before they were used for the
privately-printed book; being either with the Latin inscription,
“Ex Dactyliotheca Ducis Marlburensis” (afterwards erased), or
proofs before any inscriptions beneath; with variation of title
to vol. 2, and of the tailpiece. Extremely rare, in green morocco
portfolio, gilt leaves
54
O 16 O
6 I 5 o
CATALOGUE of the very valuable collection of engravings and drawings, of MESSRs.
MOLTENO & GRAVES (in consequence of a dissolution of partnership). Part II.,
consisting of the works of the most distinguished British artists, etc., etc., the
works of Bartolozzi; including not only his portraits, but his beautiful tickets and
book-plates, his rare Marlborough Gems, etc.; which will be sold by auction by
Messrs Southgate & Son, at their rooms, 22, Fleet Street, on Wednesday, August
I9th, 1835, and six following days (Sunday excepted), at twelve for one o'clock
precisely. s
WORKS OF BARTOLOZZI.
The Mansion House Ticket, for John Wilkes, after Cipriani; proof
before any letters, very rare (from the Barnard Collection)
Sir Joshua Reynolds' Funeral Ticket, in two states; Arms of Sykes,
Cunliffe, and Gage; proofs, very scarce, etc. . . . .
Set of Plates of the Portland Vase, now in the British Museum, from
drawings of Cipriani . te tº º te ſº te ſº º
Augustus (with crown), Agrippina, and Sappho; first state, with Latin
lines below (from Marlborough Gems). e e e e g
Plates to Virgil, after the designs of Vieira; proofs, very scarce; and the
same in different states sº
I9I .
Aazºo/o3.22 azed /ăz's /l/o/*S.
TOTAL NO. OF
IMPRESSIONS. 36 3. d.
Bonaparte, after Appiani, in five different states; Sir Ralph Aber-
crombie, in three states; General Acton, in two states g e
Georgiana, Duchess of Devonshire, after Lady Diana Beauclerc, private
plate, in three states; Miss Farren, after Lawrence, whole
length proof, etc. e te g g e te © º e
Holbein Heads: a collection of one hundred and five of the heads by
Holbein, in his Majesty's possession; the large plates, chiefly
in a proof state, or in a state of impression prior to their use in
the published volume; in portfolio . . . . tº
Abelard and Eloisa, Conjugal Love, and other fancy subjects, after Cip-
riani; proofs, etc. g º tº & & & e tº tº.
Woman bringing a Present (from the Third Voyage of Captain Cook);
proof, very fine and rare te . . . * tº te
IO
O 5 O
A CATALOGUE of an extensive and valuable collection of engravings; consisting of
the works of Strange, Sharp, Woollett, etc., etc. A large assemblage of prints by
Bartolozzi, including a beautiful set of the Marlborough Gems, in proof state, and
many duplicates, etc., etc., the entire property of a gentleman; which will be sold
by auction, by Messrs. Foster & Son, at the Gallery, 54, Pall Mall, on Thursday,
the 3rd of March, 1842, and two following days, at one o'clock precisely each day.
WORKS OF BARTOLOZZI.
Wilkes's Mansion House Dinner and Ball Tickets; Handel's Commemo-
ration Ticket, first state, etc. wº e © * •' • •
Lord Spencer, in profile, large and small plate; The Marlborough
Family, proof and etching; Colonel Stanley, two states; J.
Aubrey, etc., private plates and proofs, rare º º:
The Circumcision, after Guercino; choice proof, and lettered impression.
The Woman Accused of Adultery, after Caracci; brilliant proof, and
with the letters e g e e º e e e
The Massacre of the Innocents, after Guido; beautiful proof, before any
letters, on India paper. . . º wº * º g e wº
Clytie, after Caracci; before any letters, and before the line round the
circle, excessively rare. * e º º tº te e
The Diploma granted by the Royal Academy, with the signature of Sir
Joshua Reynolds as President; fine and rare . . . .
Marlborough Gems—the complete work; a beautiful and choice set of
proofs. The first volume loose; the second bound in green
In OTOCCO - . & g
The Death of Chatham, with the Key
192
o 7 o
I O O
I I O
I 3 O
2 O O
3 IO O
3 I 5 O
. 29 8 O
O I2 O
THE
Value of Bartolozzi’s Prints.
THE IMPORTANT and valuable stock of prints, the property of MESSRS. W. & G.
SMITH, the long-established, well-known, and eminent printsellers, of Lisle Street,
Leicester Square, who have retired from business; comprising some of the
works of the most eminent engravers of the early Italian, German, English,
etc., etc., schools: sold by auction by Messrs. S. Leigh, Sotheby & Co., at their
house, 3, Wellington Street, Strand, on Monday, the 13th of May, 1850, and five
following days, at one o'clock precisely each day.
BARTOLOZZI'S WORKS.
TOTAL NO. OF
IMPRESSIONS,
Circular Subjects, after Bunbury, etc.; including many proofs. e . 25
The Repose in Egypt, circular subjects after Bunbury, etc.; mostly
proofs . e - º o - o º e º e . 22
The Death of Arcite, Marriage of Henry V., Telemachus and Mentor,
after Hamilton, etc.; fine proofs and etchings e . . 24
Illustrations to Homer, Metastasio, etc.; Music, History, etc., after
Cipriani; fine proofs and etchings, etc. . e e e . 3O
Music, Painting, History, Minerva, and the Muses, after Cipriani; very
fine proofs . . . . . . . . . . 31
Illustrations to Homer, after Hamilton; Queen Eleanor, Marriage of
Henry V., etc., after Angelica Kauffman, Rigaud, etc.; fine
proofs . ſº © º tº o . e - © © º . 27
Queen Margaret and the Robber, Griselda, Cupid's Pastime, etc., after
A. Kauffman, Rigaud, etc.; fine proofs, etc. e º e . 26
Death of Sir P. Sidney, after Mortimer; Repose in Egypt, after Poussin,
etc. . c º -> o o o e º - e . I2
Various Tickets; many very fine proofs I9
THE CELEBRATED COLLECTION of valuable engravings formed during the last century
by THE PRINCE DE PAAR, of Vienna: sold by auction by Messrs. Sotheby &
Wilkinson at their house, 3, Wellington Street, Strand, on Thursday, the 13th of
July, 1854, and thirteen following days, at one o'clock precisely.
*- BARTOLOZZI'S WORKS.
Clytie, Orlando, and Olympia; Woman taken in Adultery, all after
Caracci *O o o e e o e e e e • 3 O 2 O
Madonna del Sacco, after A. del Sarto; The Silence, after Caracci;
Circumcision, after Guercino; and Dido, after Cipriani • 4 O 4 O
Abraham and Lot, the Rural Wedding, and Companion, after Zucarelli;
Nymph and Satyr, after Giordano, etc. e e o © • 5 O 4 O
Adam and Eve, after Cipriani; Virgin, after C. Dolce, Sasso Ferrato, -
etc.; proofs . e º - 6 O IO O
I93 Various
VOL. I. º O
Aarfo/ozzz azed /ăzs MZorks
TOTAL NO, OF :6 S d.
e IMPRESSIONS. tº ºve
Various Tickets, Marlborough Gems, etc., after Cipriani, etc. . e . 23 . O 7 O
Alexander, King of Scotland, and the Stag, after West; proof g ... I , "O II O
Historical, Mythological, and Fancy Subjects, after Cipriani, Kauffman,
etc. tº e * e o gº e º º tº e . 2C) ... O II O
Subjects of Venus, Cupids, etc., mostly after Cipriani . . . . . 3O . O 9 O
Imitations from Cipriani's designs, Subjects after Bunbury, etc. e . 25 . O I9 O
The Pious Family, Three Holy Children, etc., principally after the Rev.
Mr. Peters, by Bartolozzi and Schiavonetti. © * te . IO ... O 3 O
Cupid making his Bow, and Jupiter and Io, after Correggio . tº . 2 ... O 8 O
N.B.-These two prints were the gift of Şoseph II. to the late proprietor, Prince Paar.
CoLLECTION of ancient and modern engravings: sold by auction by Messrs. S. Leigh,
Sotheby & John Wilkinson, on Tuesday, the Ioth of July, 1860, and following
day, at one o'clock precisely.
BARTOLOZZI'S WORKS.
Madonna del Sacco, after Andrea del Sarto; fine proof before letters,
and before the change of the date from 1797 to 1798, with large
margin. * g ſº te * º e * ſº tº . I - O 5 O
Etchings, after Guercino da Cento, in imitation of ancient drawings, of
different sizes . e e e e e e º e . I9 . O 17 O
Another lot, smaller sizes . o g e • , e. gº 27 . O IO O
Another lot, Cherubims, and other subjects e e º * e . 23 . O I2 O
A valuable COLLECTION of modern engravings, the property of T. F. MARSON,
ESQ.: sold by auction by Messrs. Leigh, Sotheby & Wilkinson, on Tuesday, the
17th of July, 1860, at one o'clock precisely.
BARTOLOZZI'S WORKS.
The Circumcision, after Guercino; the Woman taken in Adultery, after
Caracci; and various unfinished proofs e © tº º . 7 - O 4
Sir Joshua Reynolds' Funeral Memorial; Various Benefit Tickets, etc. . Io . o Io o
Frontispiece to Hollis's Memoirs, Ranelagh Regatta, various Benefit
Tickets, and others; some unfinished . © g g te . I3 - O
Frontispiece to Marlborough Gems; a Naiad, after Cipriani; and others. 11 . o 4 o
Illustrations to Ariosto, fine proofs; Frontispiece to Marlboróugh
Gems, proof; and others, proofs . e º g * . I2 ... O 5
Original drawing of Mercury; in crayons, fine . . . . . . I
I94
6
6o
.
Value of Bartolozzi’s Prints.
wºr
A very CHOICE COLLECTION of engravings, the property of JULIAN MARSHALL,
ESQ.: sold by auction by Messrs. Sotheby, Wilkinson & Hodge, on Thursday,
30th of June, 1864, and eleven following days.
BARTOLOZZI'S WORKS.
IMPRESSIONS.
Madonna della Seggiola, after Raffaelle, printed on satin; Madonna, after.
Sasso Ferrato; and various proofs of Book-plates, Tickets, etc. .
Ariadne, after Cipriani, choice and rare proof before the lines; with 2
others, in equally choice proof states . - e e º o
Jupiter Dodaenaeus, Marlborough Gem, choice proof; and two proofs of
Sir Foster Cunliffe's Book-plate, very scarce e e º
Nymphs Bathing, after Barralet and Cipriani; proof before letters .
The Flood Landscape, oval, in a square border, after Barralet and Cipri-
ani; proof before letters . e • ... • * e e e
Murder of the Innocents, after Guido; artist's proof, the last and best
work of this talented engraver © e o º o
Clytie, after Caracci; choice and rare proof, before arms or any letters
7
3
I
TOTAL NO, OF 36 s. d.
O I3 O
O I3 O
I6
O
O
FROM SEVERAL COLLECTIONS of engravings sold by Messrs. Sotheby, Wilkinson &
Hodge in 1868. -
BARTOLOZZI'S WORKS.
Mater Dolorosa, after Carlo Dolce; fine proof . - º
The Silence, after Caracci; fine proof before any letters . e º e
Holy Family, with St. Jerome, after Correggio; fine proof, with etched
names only . e - e º - º e
Tickets, etc. -> º o - o e ©
Psyche going to Bathe, and Companion; proofs
Henry VIII. and his Children; proof ... e. te wº & º
Virgin and Child, after C. Dolce, Cipriani, and Sasso Ferrato; proofs
Death of Captain Cook, after Webber; Dido, after Cipriani - e
Innocence flying into the arms of Justice, after Madame Le Brun . e
Death of the Earl of Chatham, after Copley; choice India proof, with the
white sword . º - e o º º - gº e e
Napoleon in his Robes, after Geraud; and as General, after Appiani;
proofs . º e -> te - e e º º e º
Portrait of Mary Queen of Scots; curious, unfinished proof etching, of
which only three were taken off. Tickets and Book-plates of
Sir Joshua Reynolds, Mrs. Parker, Mr. Giardini, the Anacreontic
Society, etc.; some very scarce e º e -
I95
I O 6 O
I O I2 O
I I I O
32 I I I O
2 O 5 O
I O 8 O
3 O 5 O
2 O 2 O
I O I O
O I5 O
2 o 2 6
I4. I 6 O
CollectION
O 2
Bartolozzz and has M/orks.
CollectION OF RARE PRINTS sold by Messrs. Sotheby, Wilkinson & Hodge
Friday, the 20th December, 1872, and following day.
BARTOLOZZI'S WORKS.
Thomas, Lord Graves, after James Northcote; fine proof, open letters
William Pitt, after Gainsborough . e e tº wº & gº te
Saint Cecilia, after Sir J. Reynolds; beautiful proof, before the plate was
Cut g g *
Design for a Fan Mount; fine proof, very rare. e g e e wo
Cornelia, Mother of the Gracchi, after Benjamin West; brilliant proof
before the plate was cut. An Allegory of Time. e e
Narcissus, after Cipriani; proof. An Allegory of Time . g e e
Berenice and Lycidas introduced to Minerva, after Hamilton; Aderlande,
or the Shepherdess of the Alps, after Cipriani; proofs * •
Children Playing and Drawing, after Lady Diana Beauclerc ; all proofs .
Tickets, etc., after Cipriani; Triumph of Venus, Marriage of Cupid and
Psyche, Mr. Fierville's Ball, etc.; proofs, some before the letters
Tickets, etc., after Cipriani; Triumph of Venus, Sancho's Letters, Judg-
ment of Paris, Mr. Fierville's Ball, “Il mercurio Italico,” etc.;
proofs . ty º e e tº * is * > te e e
Designs from Gems, etc.; Britannia, Cupid and Psyche, after Louisa
Countess Spencer; proofs in two states, etc. . g sº tº
Three Friezes: Neptune and Amphitrite, A Sacrifice to Jupiter, and
Minerva Visiting the Muses; proofs, before the aquatint ground
of each, and finished impressions, very rare sº re e e
The Shepherd and Shepherdess, etched by Bartolozzi; “Sforzata Vinta,"
e after Cipriani; a Lady parting with her Son, after Ramberg,
etc.; proofs. g º º g e e * tº g e
Children Playing, after Cipriani, after Boucher; “Pax Artium Nutrix,”
“Sforzata Vinta”; proofs . te gº g g tº " tº e
Classical Subjects: Death of Lucretia, Rape of Dejanira, etc.; proofs
Illustrations to Ariosto's Orlando Furioso, after Cipriani and Mortimer;
very fine . * tº tº te * se º * * º
. TOTAL NO. OF
IMPRESSIONS.
5
I 3
O
O
I
:6 s.
I4
I2
I8
I6
A CHOICE COLLECTION of engravings by Bartolozzi: sold by auction by Messrs.
Sotheby, Wilkinson & Hodge, on Friday, the 9th day of May, 1873.
The Ecce Homo, after Guido
Set of the Months, after Zocchi. © º
Francis Bartolozzi, after Sir J. Reynolds . .
Contentment and Friendship, after Cipriani
196
*
I
I2
I
2
O
6
O I2
O
I
8
I
:
Psyche
Palue of Bartolozzi's Prints.
• . - *...* g. s. d.
IMPRESSIONS. º e
Psyche going to the Bath, after Cipriani . e e º e g ... I O II O
Felicity and Sincerity, after A. Kauffman. e e & we 2 O IO O
Sappho listening to Love, etc., after Cipriani . tº e e ºr 2 o 17 o
The Three Fine Arts, after A. Kauffman . . . . º I O IO 6
Duchess of Kingston as Iphigenia, designed by Bartolozzi I O I3 O
Charity, designed by Bartolozzi . . . . . . . I o 17 o
Griselda and Cleone, after A. Kauffman . . . . . . 2 I 9 O
Cupid and Nymphs, after A. Kauffman; proof. I I 5 O
Ceres and Flora, after A. Kauffman . p º & * 2 I 3 O
Olivia's Elopement and Return, after Ramberg. I 6 O
Winter and Pomona, after A. Kauffman 2 I 2 O
Joan of Arc, after Westall, etc. . 3 O 9 O
Cupids, designed by Bartolozzi, etc. . . . tº g g e e . 6 - O Io o
The Madonna, after Carlo Dolce; Mother and Child, after Vandyck;
and another . . . . . . . . . . . 3 , o 9 o
IN THE REv. W.M. Johnson's SALE at Christie, Manson & Woods, Tuesday, April 1st,
1873, a portrait, “Miss Gwatkin as Simplicity,” by Bartolozzi, went for £3 13s.6d. ; “Miss
Emily Pott as Thais,” by Bartolozzi (proof), £3 10s.; and the print of “Lady Smith and her
Three Children,” by Bartolozzi, brought £5 15s. ; “Venus Chiding Cupid,” 42 ; a proof of
ditto, 365 5s.
IN ANDREw JAMES's SALE at Christie, Manson & Woods, April 28th, 1873, a proof
before letters of the “Girl and Kitten,” brought £2; ditto, ditto, “Affectionate Brothers,”
41 13s. ; and “Lesbia and her Sparrows,” proof before letters, £1 10s. ; “Lord Mansfield,”
proof with arms, £1 1s. ; “Miss Gwatkin,” proof before letters, £2 6s.
At CHARLEs HAMPDEN TURNER's SALE at Christie, Manson & Woods, June 9th,
1873, the print of “Lady Smith and her Children,” brought £2, and that of Mr. Philip
Yorke, 61 Ios.
At A SALE of engravings at Christie's, Feb. 9th, 1874 (the property of a collector), a
portrait of Miss Farren, after Lawrence, proof before letters, brought seven guineas.
“SIMPLICity,” by Bartolozzi, in George Barker's collection, sold at Christie, Manson
& Woods, March 24th, 1875, for 62. . -
I97 THE
Aazºo/o322 azed /ăz's Works.
THE FINE COLLECTION of engravings formed by the REv. J. BURLEIGH JAMES, M.A.,
late of Knowbury, Salop : sold by auction by Messrs. Sotheby, Wilkinson &
Hodge, at their house, 13, Wellington Street, Strand, W.C., on Monday, the 19th
of March, 1877, and nine following days; on Monday, the 23rd of April, 1877,
and seven following days; on Wednesday, 23rd of May, 1877, and nine following
days, at one o'clock precisely.
SELECTION FROM BARTOLOZZI'S WORKS.
TOTAL NO, OF
ºn 6 s. d.
Psyche going to Dress, and Psyche going to Bathe, the companion print,
after G. B. Cipriani; very fine . e e e e © . 2 . I 5 O
The Seasons: Flora, Ceres, Pomona, and Winter, after A. Kauffman;
very fine . e * 4 - 4 O O
Genius and Beauty, and Prudence and Beauty, companion subjects, after
G. B. Cipriani; printed in red, very fine . © e e e
Death of Dido, after G. B. Cipriani; and second state, before the date
was altered to 1780. The King Psammetichus, of Egypt, in
Love with Rhodope, after A. Kauffman; very fine . e . 3 . O IO O
Mary Queen of Scots, and her Son, after Zucchero; artist's proof, very
fine . o ſº C o º g © e tº o ... I I I9 O
Napoleon Bonaparte when First Consul, after A. Appiani; proof, open
letters, very fine and rare e ge ge tº • I I 2 O
Kemble as Richard III., after W. Hamilton ; fine . o © o e
William Warham, Archbishop of Canterbury, after Hans Holbein, the
original drawing by Bartolozzi; in colours . g º e . I . O 3 O
Jupiter and Io, after Correggio; proof, open letter, fine and rar ſº
Venus and Adonis, after Cosway; Judgment of Paris, after A. Kauffman,
t fine, but cut; Cupid wounded; Venus instructing Cupid 4
Cupid and Psyche, etc. . tº g tº e © tº e e e
Group of Three Naked Children, after G. B. Cipriani, 1787; The Fair
Ariadne, designed by Bartolozzi; proof, open letters, printed in
colours e g e e tº . * ge tº tº tº . 2 . O 18 o
The Judgment of Britannia, in commemoration of the honourable ac-
quittal of Warren Hastings, after H. Richter; proof, open
I
I
5
O
5
O
letters, very rare . e º ſº º e e g wº • I o 6 O
Children Swinging, after W. Hamilton; Rural Felicity, G. B. Cipriani;
The Liberal Fair, after A. Kauffman . © o e • 3 o 16 O
Tickets: For Regatta Ball at Ranelagh, etc . g tº e o ... 8 I 5 O
Five Title Pages e º º g e © e e g e o
The Escape of Mary Queen of Scots, after R. Westall, proof, before
letters, very fine; Elizabeth Receiving News of the Death of
Queen Mary, proof before letters, very fine; Queen Katharine's
Dream, after Fuseli, No. 1 of “The British Poets.” . © . 3 . 2 I5 O
& 198 King
//a/ue of Bartolozzi's Prints.
- TOTAL NO. OF
IMPRESSIONS.
King Charles I. Taking Leave of his Children; proof before letters, very
fine and rare © tº e e º ſº g e e ... I
Francis Bartolozzi, after W. Artaud, proof, open letters, fine; Petrus
Bembus, after Tizian . te e e e © e tº ... 2
Oliver Cromwell, after R. Walker, fine; Abraham Goldsmid, Esq.,
proof before any letters, very fine and rare . º e ... 2
Prince of Wales, whole length, as a Kentish Bowman, after T. Russell, R.A.,
from the Brenteano collection ; very fine . e e gº ... I
36
O
O
O
O
s. d.
I4 O
I5 O
17 o'
I6 O
THE FOLLOWING EXAMPLES have been extracted from print sales of miscellaneous
July,
July 31,
Aug.,
Jan. Io,
Jan.,
Feb. 4,
Feb. 5,
Feb. 21,
Feb.,
March,
May,
June,
July 17,
Aug. 12,
1877.
1877.
1877.
1878.
1878.
1878.
1878.
1878.
1878.
1878.
1878.
1878.
1878.
1878.
character, held at Christie's, Sotheby's, and Puttick's.
Venus Sleeping.
Elizabeth Farren
The Elements .
Countess of Derby
Countess Harrington e g te * & º e
Peasants going to Market (Gainsboro'). Peasants Regaling
William IV., and Mrs. Jordan . tº e e º
Mary Queen of Scots and her Son
Clytie (Caracci). Dido (Cipriani) . tº º te te
Duchess of Devonshire. Nymphs and Cupid (Barbieri).
Sappho inspired by Love. Ariadne abandoned by Theseus
(Kauffman). Angelica and Medora (West) i.e.
Charity; St. Cecilia (Cipriani). tº e e
Children at Play e e & º º
Portland Vase . e e
Summer and Winter (Wheatley)
St. James's and St. Giles's Beauties .
Lady Smith (Reynolds) . º & * g e º e
Meeting of Elois and Abelard (Cipriani). The Beautiful
Rhodope. Lais and Lamia (Cipriani) . e e g
Frontispieces and Scenic Subjects to Bell's Theatre and
Shakespeare . º • ſº e
The Four Elements (Albano) . . tº e º
Duchess of Kingston at Masqued Ball, June 3, 1779
Biggin and Lunardi, with Mrs. Sage. te º
Ceres and Pomona, a pair (Cipriani). e e
Telemachus and Mentor. Auld Robin Gray . & o º
Children with a Bird (Tomkins). The Miniature (Hamilton).
Hope and Fortune. Nymphs Bathing (Wheatley).
Death of Earl Chatham (Copley) . . . .
I99
O
I:
O
17
2
I
i
I I
O
IO
IO
I9
I9
I I
D
eC.
Bartolozzi and his Works.
Lady Smith . tº tº * e º te te
March 4, 1880. Genius and Beauty; Prudence and Beauty (Cipriani)
- Bacchus and Ariadne. Hercules and Omphale
Sculpture and Painting (Cipriani) º tº e
2OO Marc
36 s.
Dec. 9, 1878. First Kiss of Love. Vertumnus and Pomona . * . 2 2
Psyche going to Bathe; Psyche going to Dress (Cipriani) . 3 Io
Cecilia (Engleheart). Henrietta, Viscountess Duncannon
(Lavinia, Countess Spencer) . e e gº e º II
Georgiana, Duchess of Devonshire (Downman) . . . . I IO
Lord Shelburne (Gainsboro'). Right Hon. W. Pitt (Copley).
Miss Gunning . gº gº e & g e Up . 2 2
Dec. 13, 1878. Lady Bulkley (Cosway) . le © e e © te I I I
Mrs. Cosway and Child 2 I6
Mrs. Swinburne. & © e I 3
Mrs. Udny tº e e g * I 17
Dec. 17, 1878. Miss Wallis . * te tº e tº g g e • I I
Feb. 1, 1879. The Fine Arts, after Cipriani; and the companion, Apollo, by
Bovi (framed) . tº tº e te e te e . 8 18
Commerce, and the companion (framed) . IO IO
March 24, 1879. Miss Wallis g º g ſº e O I9
g May, 1879. Countess Spencer (Sir J. Reynolds). I I
Viscountess Bulkley (Cosway) . © º e tº * Is I
Amyntor and Theodora; Bacchus and Ariadne (Stothard) 2 4
May 15, 1879. Market of Love. Sappho inspired by Love. Griselda 2 O
May 16, 1879. Death of Earl Chatham. Death of Major Pierson . I I4.
June 12, 1879. Countess of Derby (Lawrence). © e ſº ſe 2 IO
June 20, 1879. Mrs. Crouch (G. Romney). I 6
Mrs. Abingdon . e g I 3
Viscountess Bulkley. , - gº I 5
Family of Henry VIII. . wº e tº tº e I I5
July 11, 1879. Queen Catherine's Dream. Illustrations to Werter. 2 I 8
tº Psyche going to Bathe. Psyche going to Dress I 6
Aug. 1, 1879. Daughters of Guercino. Cupids, etc. * º I I I
Genius and Beauty. Affection and Innocence I I5
Dec. 8, 1879. Kemble as Richard III. . tº e e I O
Dec. 15, 1879. The Four Elements (Cipriani) . . . . 5 O
Dec. 15, 1879. Lais and Lamia (Cipriani) e e e I I5
Venus attired by Graces (Kauffman) I 2
Pomona. Lady in Oriental Costume I I3
Jan. 26, 1880. Miss Bingham. Lord Burgersh 5 IO
Miss E. Pott as Thais te º 2 I 5
Jan. 26, 1880. Hon. Lester Stanhope I I4.
3
2
2
I
.
.
:

Value of Bartolozzi’s Prints.
March 4,
June 1,
June 3,
June II,
July 1,
July 26,
Dec. I5,
Jan. 21,
April 13,
I88O.
188O.
I88O.
I88O.
1880.
I88O.
1880.
1881.
I88I.
36 s. d.
Painting & g tº tº e tº tº © . . I IO O
Three Cupids; Power of Love (Cipriani) . . . . . 3 5 o
Charity . & e º © & e e * e . I I3 O
Fair Ariadne. Diana and her Nymphs . º e . . I IO O
Shanes Castle Masquerade. Giardini's Benefit. e e - I 3 O
Duchess Devonshire (Downman) . e I 6 O
Mrs. Udny. w I I2 O
Sir J. Reynolds. 1 7 o
W. Beckford . • • . I O O
Rinaldo and Armida. Erminia 2 I2 O
Bacchanalians. Nymphs Bathing 2 2 O
Vortigern and Rowena tº tº 2 3 O
Calypso and Telemachus (Kauffman) . . . . . I 1 o
Queen Catherine's Dream. Elizabeth, Queen of Edward IV. 2 12 o
Achilles discovered by Ulysses. “Of such is the kingdom of
God”. . . . . . . . . . . 2 o o
“Merry Wives of Windsor” (Smirke). Queen Margaret and
the Robber . e tº gº g tº e e . I I4. O
“Mouse's Petition" (Bunbury). Death of Sylvia's Stag . 4 IO O
Nymphs Sacrificing to Venus (Kauffman) * e tº I 7 o
Rustic Benevolence (Zuccarelli). . Minerva and the Muses I IG O
Fair Rosamond (Stothard). Lady Jane Grey refusing the
Crown.(Cipriani). . . . . . . . . 1 18 o
Tancred and Erminia. Achilles mourning Patroclus (Kauff-
man) . e . . 2 IO O
Gualtherus and Griselda . 2 I2 O
Four Seasons º 2 I2 O
Friendship. Contentment 2 I 3 O
Lais, etc. . • • © * º * I I5 O
Hope, Prudence, Mirth, and Vanity. 3 O O
St. Giles's Beauty. Ariadne. Hebe 4 4 O
Set of the Months (Hamilton) (12) . 5 I5 O
Lady Jane Grey refusing the Crown. wº g wº • I 2 O
Perseus and Andromeda (Cipriani). Ariadne. Venus (Caracci) 4 o o
Venus Sailing on a Shell . º * . . . . . I 5 O
Miss Bingham . tº tº e I 9 O
Countess Spencer g I I2 O
Hon. L. Stanhope . e w * te 2 15 O
Affectionate Brothers (Reynolds) . I 5 O
2OI CATALOGUE
• * ~~~~~~
Bartolozzi and his Works.
CATALOGUE of a choice and valuable collection of engravings, by Bartolozzi and his
school, the property of ANDREW W. TUER, ESQ., author of “Bartolozzi and his
Works,” now in the press; comprising, principally, fancy subjects after Wheatley,
Morland, Angelica Kauffman, Westall, Stothard, Bunbury, etc., in unusually fine
condition; also, choice mezzotints after Morland, Wheatley, etc., mostly with
uncut margins as published : which will be sold by auction by Messrs. Christie,
Manson & Woods, at their great rooms, 8, King Street, St. James's Square, on
Tuesday, April 12th, 1881, at one o'clock precisely.
NAME OF
PURCHASER,
Heath
Lauser
Hambro
Glaister.
Child.
Hambro.
Harvey.
Lauser.
Fawcett.
Lauser.
Lauser.
Harvey.
Harley.
Heath.
Harley.
Hogarth.
Harvey.
I
º
2.
3.
{:
6.
7. Prelude to Matrimony; The Sword—proofs; etc.
8.
ENGRAVED BY F. BARTOLOZZI, R.A.
MISCELLANEOUS.—Many printed in red.
NUMBER OF
PRINTS
IN EACH LOT,
Cupid Making his Bow, after Correggio—prints and
proofs . º e e
Lady Jane Grey led to Execution, etc.—unlettered
proofs . º
Triumph of Venus, after Bartolozzi, by Clarke—proof;
and Maria Cosway, after R. Cosway
The Silence—proof tº º te e
Clytie . e tº º e e e e
“He was wounded for our transgressions”.
By BARTOLOzzi, AFTER G. B. CIPRIANI.
Music; History; Earth
8.* Earth; Faith—proofs .
9. Geography; etc. .
IO.
II.
Cephalus and Procris; Tancred and Ermina
The Heroism of Prince Edward, etc.—2 proofs .
4.
:
By BARTOLOzzi, AFTER ANGELICA KAUFFMAN, R.A.
I 2.
I3.
I4.
I5.
I6.
17.
Tancred and Clorinda. e gº g tº º
Telemachus and Mentor in the Island of Calypso
Winter; and Sincerity g ſº g
By BARTOLOzzi, AFTER W. HAMILTON, R.A.
I
Edward II. and Elfrida; and Prince Edmund and
Algitha. e ©
Caractacus delivered up to Ostorius—print and proof; ,
- and Conclusion of Treaty of Troyes
Three of the Months, April, June, and December
:
SOLD FOR
36. s. d.
I 4 O
O 19 O
I 2 O
O 8 O
o 7 o
2 12 6
o 17 O
I 7 o
O I5 O
I I3 O
I 2 O
I 3 O
I I4 - O
I I O
I I I 6
I IO O
2 5 O
2O2
BY
Palue of Bartolozzi's Prints.
NAME OF
PURCHASER,
Walford.
Bruen.
Williams.
Agnew.
Boore.
Williams.
Cox.
Heath.
Child.
Millard.
Agnew.
Hoare.
Lauser.
Child.
Hoare.
Williams.
y?
Agnew.
92
Harvey.
Agnew.
Hogarth.
NUMBER OF
PRINTS SOLD FOR
IN EACH LOT,
BY BARTOLOZZI, AFTER RAMBERG. A s. d.
18. Alphonso and Aciloe; and the Death of Cora . . 2 . I 6 O
19. Doctor Primrose finds his Daughter Olivia in Distress;
and Esqr. Thornhill persuades * Olivia to
elope with him . © te e e e
* Spelt perswades in the print.
BY BARTOLOzzi, AFTER RIGAUD.
20. Vortigern and Rowena ; and Jane of Flanders assem-
bling the Inhabitants of Rennes . . . 2 . 1 o o
21. Ditto; ditto—one a proof . . . . . . -
22. Edward, Prince of Wales, presenting the Captive
King to his Father—2 impressions e e
23. The Death of Lindamore; etc. . te {e e . 2 . I O o
2
I
O
O
BARTOLOZZI.–Framed.
24. The Sailor's Departure; and the Sailor's Return—
proofs, after Benwell . tº º tº º
25. Cupid and Psyche; and Love and Fortune, after Cip-
riani . tº ſe tº • & I I 4 O
26. Sorrows of Werter, after Ramberg . e g ... 2 O 18 O
27. Earth and Water, after Cipriani . . . • .. 2 2 I 5 o
28. Psyche going to Bathe; and Psyche going to Dress,
etc., after Cipriani. e e e tº te . 3 . 6 Io o
29. The Reading Magdalen—proof, after Correggio. I O II O
30. Fan Mount—proof . . . . . . . I O I9 O
31. Pomona, after Kauffman I I 7 o
32. Ceres, after ditto . iº I 2 6 O
33. Flora, after ditto . e tº © e e I 2 2 O
34. Contentment; and Friendship, after Cipriani 2 6 o' o
35. Lovelace in Prison, after Rigaud. I I 2 O
36. Hebe; and Bacchante, after Cipriani . 2 . I I I 6
37. Romeo and Juliet, after Hamilton . e e ... I 2 2 O
38. Rinaldo et Armida; and Morte di Clorinda, after wn
Kauffman . e tº * e & tº . 2 . 5 IO O
39. Cupids at Play; and Children at Play, after Cipriani 2 . 7 17 6
40. Love and Innocence, after Cosway & © . I - 3 IO O
41. Louisa Hammond, after Kauffman I . . 3 5 O
42. The Dance, after Bunbury . * I . 4. 5 O
43. A Sacrifice to Cupid, after Cipriani I . 2 4 O
2O3 Millard.
Bartolozzi and his Works.
NAME OF
PURCHASER,
Millard.
Hoare.
Agnew.
Williams.
Harvey.
Cumming.
Agnew.
Heath.
py
Hogarth.
Harvey
Hogarth.
Heath.
Hogarth.
williams.
Reynolds.
Hogarth.
Lauser.
Hambro.
99
Vokins.
Cumming.
46.
47.
48.
49.
5O.
5.I.
52.
53.
54.
55.
56.
57.
58.
59.
61.
62.
63.
64.
65.
66.
67.
NUMBER OF
PRINTS SOLD FOR
IN EACH LOT,
s. d.
L'Allegro, after Kauffman . e g º ... I 2 2 O
The Beautiful Rhodope in Love with AEsop, after
Kauffman, etc. . g e º g e ... 2 2 O O
Eurydice, after Kauffman . e º I O I5 O
Fortune-teller and Gipsies, after Crewe 2 3 O O
Perseus; and Andromeda, after Cipriani . e ... 2 4 I4 6
Spinning Top, after Hamilton; and Zephyrus, after
Colibert. e º ge g º e e ... 2 I I5 O
Antiope, after Kauffman; and Minerva and the
Muses, after Cipriani . . . © º 2 3 O O
Thais (Emily Pott), after Sir Joshua Reynolds . I 3 O O
Venus Attired by the Graces, after Kauffman I 6 6 O
Coriolanus, after Kauffman. - I 2 4 O
SCHOOL OF BARTOLOZZI.
MISCELLANEOUS.
Comedy, after Cheesman, etc. . g tº ſº 5 2 O O
The Music Grinder, by Cook, after Collett; etc.. 9 o 17 o
Alope, by Richard Earlom, after Romney; etc. . 2 2 2 O
The Duchess of C. coming out of the Cavern, by
Schiavonetti, after Rigaud; etc. . e . . 2 I O O
Music, by Marcuard, after P. da Cortona; etc. 2 o 17 o
Lord Dungarvan; and the Hon. Courtenay and
Charles Boyle, after Cosway and Lovers . ... 2 3 IO O
A Village Girl Gathering Nuts; and a Cottage Girl
Shelling Peas, by Tomkins, after Bigg. te ... 2 I I I O
Two Scenes out of The Merry Wives of Windsor;
one a proof, by Parker and Tomkins, after Hard- e
ing and Saunders. e” e * & ... 2 2 2 O
The Meeting of the Sisters at Reculver; etc., by
Haward, after A. Zucchi . tº * >e * • 2 I3 O
Miss Linwood, by P. W. Tomkins; one in colours .. 2 I 4 O
Orga and Elfrida, by Marcuard; and Damon and
Phoebe, by Delattre . º ſº e tº • 2 I II 6
The Handmaid, by Jas. Hogg, after Walton I 3 O O
Innocence and the Old Beau, after J. R. Smith . I 2 IO O
Friendship and Innocence, after Correggio, by Men-
ageot . tº tº, g ſº tº e * ... 2 I IO O
Bacchantes, series of four, by M. Bovi, after Lavinia,
Countess of Spencer . . . te & * 4 - 5 IO O
2O4 Cumming.
!/a/ue of Bartolozzi's Prints.
NUMBER OF
rº. & is º. * *
Cumming. 69. Isabella and Theodore; and Theodore and Matilda, A s. d.
by W. N. Gardiner, after Harding e . 2 . o 18 O
Vokins. 70. The Cottage Breakfast; and the Cottage Supper, by
Ogborn, after Bigg . g o e o . 2 . 3 I5 O
Hogarth. 71. Inkle and Jarico, by Pollard, after Singleton . . 2 . I O 6
Heussuer. 72. The English Fireside, by Tomkins, after Ansell. . 3 . I I I O
Bruen. 72.* Domestic Happiness; and the Lover's Parting, by
T. Ryder, after Huck . * e e . 2 . I I5 O
AFTER CIPRIANI.
Bruen. 73. Composition, by Marcuard; and Achilles instructed -
by Chiron, by J. Clarke . º * g • 2 . I I O
Harvey. 74. A Nymph Asleep, by P. Bettelini . . I . O 18 O
Cumming. 75. Urania, by Ryland ; etc. . e ge e e . 6 . 2 o o
AFTER W. HAMILTON, R.A.
Vokins, 76. Children at Play, by Bartolozzi and C. Knight . . 4 . I 6 O
99 77. Winter's Amusement; and Summer's Amusement, by
T. Gaugain . e o e º e * ... 2 2 IO O
py 78. Children and Rabbits; and Children and Pigeons, by
J. Barney . © e º e tº gº . 2 . 2 IO . O
Walford. 79. Edwin and Angelina; and Fonrose and Adelaide, by
Marcuard . e o e tº e e . 2 . I 8 o
Vokins. 80. Two of the Months, January; and November, by
Gardiner . e e ſe e e g . 2 . 4 IO O
99 81. Morning; Noon; Evening; and Night, by P. W.
Tomkins and Delattre . . . . . . 4 - 4 4 o
Cumming. 82. Autumn; and Winter, by Michel g º te ... 2 I O O
99 83. Fonrose and Adelaide, by Marcuard ; and Hebe, by
Facius . • . te e * * e • 2 . I O O
Talbot. 84. The Resignation of Lady Jane Grey; and the Mag-
nanimity of Mary Queen of Scots, by Ogborne . 2 . I 2 o
Cumming. - 85. The Resentment of Queen Catharine, by Ogborne;
and the Fortitude of Sir Thomas More, by .
Meadows 2 I I I O
AFTER ANGELICA KAUFFMAN, R.A.
Heath. 86. Royal Children, by Marcuard; and the Muses Crown-
ing the Bust of Pope (2) 3 I IO O
Cumming. 87. Cymon and Iphigenia, by Ryland; and Aglaia Bound
by Cupid © e tº gº e . 2 . 2 IO O
2O5 Hogarth.
Aarfo/o 222 azed /ăz's M/orks.
NAME OF
PURCHASER,
Hogarth.
Cumming.
Hogarth.
Atkins.
Bruen.
Heath.
Cumming.
Heath.
Lauser.
Cumming.
Millard.
Hogarth. &
Philpot.
Hambro.
Hoare.
Agnew.
NUMBER OF
PRINTS SOLID FOR
IN EACH LOT,
88. Electra and Chrysothemis, by Harding; and In- A. s. d.
dustry attended by Patience, by the Facius Bros. 2 I 2 O
89. Papirius Praetextatus, by Burke; and Posthumio,
Consul of Rome, by Delattre . e e . 2 . 2 IO O
90. The Handkerchief, by Delattre; etc. . º te . 2 . 2 8 O
91. The Death of Mark Antony, by Delattre; etc. . . 2 . 3 3 O
92. Ariadne Awaked from Sleep, by the Bros. Facius; and
Penelope Weeping over the Bow of Ulysses, by
Delattre . . . . . . . . 2 . 2 4 o
93. Cupid's Pastime, by the Bros. Facius . g e o . I O O
94. Peleus and Thetis, by Macklin; etc. . . . . 2 . I Io o
95. Theseus finding his Father's Sword and Sandals; and
the Death of Procris, by Fielding • * . 9 - 2 I5 O
96. Laura, by Bettelini; and Ariadne, by Delattre . 2 I 3 O
97. Juno cestum a Venere postulat, by Ryland. te ... I I 11 6
AFTER T. STOTHARD, R.A.
98. Illustrations to Bunyan's “Pilgrim's Progress,” by
Strutt . te e g o © e tº . 9 . I I O
99. Rasselas, Prince of Abyssinia, by J. Parker; and the
Children in the Wood, by Collier and Julius
Tidd . e o gº º e e e . 2 ... O I4 O
100. The Village Maids, by Ogborne . & d * . I . 2 8 O
IoI. Faire Emmeline, by Simon. tº ge º * . I . O 16 o
AFTER R. WESTALL, R.A.
102. The Young Fortune-teller; and The Sheltered Lamb,
by T. Gaugain . . . . . . . 2 . 3 o o
After F. WHEATLEy, R.A.
103. Love in a Mill, by Delattre; and The Discovery, by
Stanier . te e e © e * ... 2 I IO O
104. The Rustic Lover; and The Industrious Cottager, by
C. Knight • - - - - - 2 2 17 6
BARTOLOZZI SCHOOL.
FRAMED.
IOS. Nymphs Sacrificing to Mercury, after Kauffman, by
Marcuard • . . . . . . I I IO O
106. The Power of Love, by Ogborne; and The Power of
. . 2 . 5 5 O
Music, by Hogg, after Kauffman.
2O6
Agnew.
!/a/ue of Bartolozzi’s Prints.
NAME OF NUMBER of
PURCHASER, is ... * *
Agnew. 107. Cupid and Ganymede; and a Flower, painted by A s. d.
Verelst, by Thomas Burke, after Kauffman. 2 . 8 8 O
Cox. 108. The Cottager, after Bunbury, by Baldrey . º . I . 4 O O
Harvey. 109. The Bunch of Grapes, proof, after ditto, by Shepheard 1 . 2 4 o
Agnew. 1 Io. Dormio innocuus, by Ryland, after Kauffman I . 4 IO O
Cumming. III. Olim truncus eram ficulnus inutile Lignum, by
Ryland, after Kauffman e e e I 3 O O
Hogarth. 112. Jupiter and Calisto, by T. Burke, after Kauffman I 4 O O
Agnew. 113. Beauty governed by Reason, by Delattre, after ditto. I 3 13 6
" 114. Beauty directed by Prudence, by ditto, after ditto . I 4. I 5 O
Bot, in, Tuer. I 15. Orpheus and Eurydice, by T. Burke, after Kauffman. I 2 I2 6
Hogarth. 116. Abelard offering Hymen to Eloisa, by Ogborne, after
ditto . . . . . . . . I - 3 3 o
Harvey. 117. Una, by T. Burke, after ditto . e º e • I 3 5
Agnew. 118. The Fair Ariadne, in colours, after a drawing by
Bartolozzi . º e e w I 3 O O
Hambro. 119. Children, proof, by Delattre, after Regard . I I I5 O
Lauser. 120. Mrs. Quinton, the Brighton Beauty, by Maile I 3 3 O
p.) 121. Mrs. Fitzherbert, proof, by Condé, after Cosway. I 6 6 O
Hambro. 122. A Tea Garden, by Soiron, after G. Morland I 4 4 O
Harvey. 123. The Farmer's Door, proof, by Duterrau, after ditto I 4 16 o
Hoare. 124. Louisa, a pair, by Gaugain, after G. Morland . 2 3 O O
The prints by Bartolozzi and his school end at lot 124; the remain-
der consist of mezzotints of the fancy character now so popular
for decorative purposes. The prices realized may be found useful
for reference.
MEZZOTINTS, MISCELLANEOUS.
Vokins. 125. A Young Shepherd, by W. Ward, after Opie I 2 O O
Noseda. 126. A Winter's Tale, by Val. Green, after Opie • I I I O
Vokins. 127. The Village Ghost, by Robt. Laurie, after Singleton . I I 13 O
Talbot. 128. The Sailor's Farewell, by Hudson, after Ramberg I O 9 O
Agnew. 129. Europa, by J. R. Smith, after Cosway; and “Like
Patience on a Monument,” by Val Green,
after Cosway—damaged º 2 O I2 O
Vokins. 130. A Shepherdess, by Dean, after Hoppner º ... I I 13 O
Sawyer. 131. The Watercress Girl, by J. Young, after Zoffany; and
the Flower Girl, proof, ditto. © e • 2 6 6 O
Talbot. 132. Children Reading Inscription; and a Girl Sketching
a Portrait on the Ground, by W. Ward, after
Paye . º • • e & e ... 2 I IO O
2O7 Cumming.
Bartolozzi and his M/orks.
NAME OF
PURCHASERs
Cumming.
y?
Vokins.
Cumming.
Harvey.
Colnaghi.
Talbot.
Heath.
Talbot.
Tyler.
Bruen.
Child.
Talbot.
Lauser. .
Heath.
Lauser.
Harvey.
Noseda.
Lauser.
Hambro.
Lauser.
I 33.
I34.
I35.
136.
I37.
138.
I39.
I4O.
I4 I.
I42.
I43.
I45.
146.
I47.
I48.
I49.
I5O.
I5 I.
I52.
I 53.
I54.
I55.
156.
I57.
158.
NUMBER OF
PRINTS SOLD FOR
IN EACH LOT.
Children Throwing Snowballs, by W. Ward, after 36 s. d.
Paye wº e e o º e g . 3 3 O
Children Spouting Comedy; and Children Spouting
Tragedy, by Hodges, after Paye . e ... 2 5 IO O
Death of Robin ; and Robin's Interment, by Dawe,
after Paye . * tº g tº e ... 2 2 IO O
Angelica and Medora, by Earlom, after B. West;
and The Return of the Prodigal Son, by J.
Young, after ditto. e g © e ... 2 O I2 O
Cupid Stung by a Bee, by Val. Green, after West I I 4 O
The Children in the Wood, by Jas. Watson, after Sir
- Joshua Reynolds . e º te g • I 2 2 O
Il Penseroso, by Robt. Dunkerton, after Romney I I Iſ O
Antiope Sleeping Surprised by Jupiter, by Val. Green,
after Vandyke ; and Danae by the Bros.
Facius, after Titian e º e ... 2 o, 9 o
Faith, by J. Walker, after Gardner c I O 9 O
The Gamesters, by W. Ward, after Peters . I I 6 O
The Beggar, proof, by P. Dawe, after Murrellia . I O I4 O
Schoolboys giving Charity to a Blind Man, by J. R.
Smith, after Bigg . * G o o ... I I 5 O
William and Margaret, by J. R. Smith, after Wright. I O I O
The Dancing Nymphs, by Fisher, after Werff . . I O IO O
The Beggar and his Dog, by Kingsbury, after Kitch-
ingman . wº g * e te e ... I O II O
The Boy and his Pi(d)geons, by Phillips, after Mola . I O 5 O
An Iron Forge, by Richard Earlom, after Wrigh I 2 4 O
Youth, by Val. Green, after Kettle . & * I O 6 O
Maria, by Pether, after Hurleston I O 13 O
The Orrery, by Pether, after Wright . & tº ... I O 3 O
The Enraptured Youth, by Jas. Watson, after Paul
Moreelse . . . . . . . I 2 4 O
A Good Mother Educating her Children; and Duti-
ful Children, by J. Dean g * ... 2 2 O O
Vertumnus and Pomona, by W. Dickinson, after Pyne I O 19 O
The Pretty Maid Buying a Love Song, “Printed and
sold for Carrington Bowles”. . . . I o 16 O
Grisette, by J. R. Smith; and A Boy taking Physic, -
by Dean, after Bambocci . . . . 2, ... O I9 O
The Positive Argument; and The Philosopher of -
Bacchus. g e & e e ... 2 O II O
2O8
Cumming.
Value of Bartolozzi’s Prints.
NUMBER OF
NAME OF
PRINTS SOLD FOR
HASE
PURCHASER. IN EACH LOT,
36 s. d.
Cumming. 159. Children Playing, by W. Dickinson, after Amiconi . 1 . 3 3 o
De la Rue. 160. The Nursing of Jupiter, by Huck; and Venus and
:
Cupid, by Phillips. & e g e • 2 . O 4 O
Heath. 161. The Shepherdess, by Dean, after Russell . g . I . O 5 O
Noseda. 162. Reading by a Paper-bell Shade, by Dawe; the
Humorous Fidler; etc. . ſº g tº • 4 I I
Harvey. 163. The Silver Age, by J. R. Smith ; etc. . tº º * • 2 4
Talbot. 164. A Dutch Peasant, by T. Burke; etc.—2 proofs . . 3 . o 6
Lauser. 165. Samma the Demoniac, by T. Burke; etc. . • ' .. 3 O 3
AFTER GEORGE MORLAND.
Bourke. 166. Recruit Deserted; and Deserter Pardoned, by G.
Keating. º º tº e e g ... 2 3 O O
Harvey. 167. Credulous Innocence; etc., by J. Young 2 2 I2 O
Vokins. 168. Harley and Old Edwards, by J. Pettit I 2 4 O
99 169. The Widow, by J. Dean . g e I 2 16 O
Heath. 170. The Effects of Youthful Extravagance I I 5 O
AFTER F. WHEATLEy, R.A.
Harvey. 171. The Full of the Honeymoon; and The Wane of the
Honeymoon, by R. Laurie . . . . 2 I4 6
Bruen. 172. The Love-sick Maid; and the Marriage, by J. Dean. 2 I 8 O
MEZZOTINTS.–Framed.
Hambro. 173. Miss Duncan; and Henry Yorke © º *
2 2 2 O
Child. 174. Madness, by Dickinson, after Pine—proof . e I o 7 o
Harvey. 175. The Unlucky Boy, by Dawe, after Henry Morlan I I IO O
Noseda. 176. The Letter Woman, by Dawe, after Henry Morland . I I I I O
Bot. in, Tuer. 177. Miss Kitty Dressing, by T. Watson, after Wright I 4 I4 6
Hambro. 178. Female Lucubration, by P. Dawe, after Faldson—
proof . e g e tº tº * • I 5 5 O
Noseda. 179. The Oyster Woman, by Dawe, after Henry Morland. I 2 2 O
Agnew. 18O. A Connoisseur and Tired Boy, /öy ditto, after ditto I I O O
Lauser. 181. Money and Little Wit, by Okéy, after Herbert . I O I2 O
Talbot. 182. Lady's Maid Soaping Linen, by Dawe, after Henry
Morland . . . e te tº g • I 3 I5 O
Atkins. 183. The Royal Academy in 1771, by Earlom, after
Brandon © • e tº tº . I - 3 7 O
209 Vokins.
VOL. I. v P

Aartolozzi and has M/orks.
NUMBER OF
*::::::.. is ... * *
& #6 s. d.
Vokins, 184. The Inside of the Pantheon in Oxford Road, by
Earlom, after Brandon . . . . . I . 4 4 o
Harvey. 185. Cymon and Ipigene, by J. R. Smith, after Lawrinson;
and Palamon and Lavinia, proof, by ditto,
after ditto
2
7
O
O
Heath. 186. A Lady and her Children, by Thomas Watson, after
Gardener e gº * e e e ... I 2 O O
Vokins. 187, A School, by Val. Green, after Opie I 5 5 O
Agnew. 188. Card Players, by Dean, after Opie . e I I I I 6
Heath. 189. The Bird's Nest, by Val. Green, after Huck I I II 6
Noseda. . 190. The Wood Pigeons, by T. Park, after ditto I 2 O O
39 191. Drawing for King and Queen, by ditto, after ditto I 2 O O
29 192. The Mouse Trap, by ditto, after ditto. * g • I 2 O O
Hambro. 193. Hop-pickers; and Gleaners, by Ward, after Westall .. 2 4 IS O
Talbot. 194. Spring ; Summer; Autumn; and Winter . • 4 2 IO O
Campbell. 195. Pheasant Shooting; and Partridge Shooting . ... 2 4 O O
Harvey. 196. Affluence Reduced, by Hudson, after George Morland I 4 I2 6
Jy 197. The Fortune-teller, by J. R. Smith, after Rev. W.
Peters, R.A. . ſº e tº tº o ... I 4 4 O
Vokins. 198. A Rural Feast, by J. Dean, after George Morland . I 3 13 6
29 199. The Disaster, by W. Ward, after F. Wheatley, R.A. . I 3 6 o
Harvey. 200. The Entangled Kite, by W. Ward, after George Mor-
land ſº ſº º tº º e t ... I 6 IO O
Campbell. 201. Valentine's Day, by J. Dean, after ditto . Q ... I I 13 O
Vokins. 202. A Visit to Grandfather, by W. Ward, after J. R.
* Smith ; and A Visit to Grandmother, by
J. R. Smith, after Northcote. g e ... 2 7 17 6
Harvey 203. A Visit to the Boarding-school, by ditto, after George
w Morland g º º g e e ... I 5 5 O
yy 204. A Visit to the Child at Nurse, by W. Ward, after º
George Morland º g º . I . 6 16 6
29 205. Cottagers, by ditto, after ditto I - 3 3 O
35 2O6. Travellers, by ditto, after ditto I - 3 3 O
Colnaghi. 207. Fan Mount . . . . . . I . 5 15 6
Talbot. 208. The Village Choir º * • • g º I . O 16 O
Heath. 209. The Cottage Sty, by Bell, after George Morland. I . I 2 O
Talbot. 210. The Rustic Hovel, by ditto, after ditto I . I 9 O
Heath. 2II. Mad Bull, by Dodd, after ditto . º g e I . I I O
y) 212. Portrait of George Morland, published by Orme. I O I2 O
33 213. An Ass Race, by Ward, after George Morland . I I 4 O
Powell. 2I4. The Ass, by G. Morland e * e I I 8 O
2 IO º Vokins.
l/a/ue of Bartolozzi's Prints.
NUMBER OF
rº. is ... * *
36 s. d.
Vokins. 215. After George Morland—cut close I 2 5 O
y) 216. Ditto—ditto. I 2 IO O
39 217. Ditto—ditto. I 2 7 6
Colls. 218. Ditto—ditto. e - e I 2 I5 O.
Heath. 219. Six Ovals—in one frame, fancy subjects - ... I 2 7 6
Child. 220. Portraits of Rubens, Kneller, Thornhill, and Jones—
in one frame . . . e
I
:
:
e e I
Talbot. 221. Seventeen oval fancy subjects—in one frame I
Heath. 222. Seventeen ditto—ditto I
Heussuer. 223. Three ditto—ditto º - e • º ... I
Mackenzie. 224. Three circular subjects, painted in red; and one oval. 4
Heath. 225. Three oval ditto, original drawings; and one coloured 4
:
Index to Vol. I.
Academicians’ Diploma (Royal Academy), 39.
“Agar's Grain,” 86.
Agnew's purchase of the “Marlborough Gems,”
43-
American taste for Bartolozzi, 61.
Analysis of style, 26.
Angelica Kauffman, 77.
Angelo on Cipriani, 62.
Art auction rooms:
Christie, Manson & Woods, 1 Io.
Foster, H. & R. C., 119.
Phillips, Son & Neale, 119.
Puttick & Simpson, 118.
Sotheby, Wilkinson & Hodge, 112.
Arundel Society's photographs of the Holbein
Heads, 36. #
Associates’ Diploma (Royal Academy), 39.
“Bacchanalian Boys,” by Bartolozzi, after Cip-
riani, 122.
Baldwin (W.), and print restoring, 92.
Bale, Mrs., 33.
Banks' (Miss) collection of Benefit Tickets, 48.
Banti's Benefit Ticket, 49.
Bartolotti and Bartolotty, 56.
Bartolozzi—his birthplace, 1 ; his religion, 2 ;
first effort in engraving, 2 ; enters Floren-
tine Academy, 2 ; studies anatomy, 2 ;
rapid success in figure drawing, 2 ; forms
his connection with Cipriani, 3; first visit
to Rome, 3; articled to Wagner, 3 ; copies
successfully after Domenichino, 3, 4; re-
production after Giacomo Guarana, 4 ;
paints miniature portraits, 4 ; marries, 4;
resides in Rome, 4; befriended by the
Italian Government, 4; returns to Venice,
4; the turning-point in his career, 4;
arrives in England, 5; engaged by Dalton,
5; physical description, 5; portraits, 5;
lodges with Cipriani, 5; first important
work under Dalton, 5; commissions from
Ald. Boydell, 6; reply to Sir R. Strange's
remark on Benefit Tickets, 6; joins the
Incorporated Society of Artists, 7; copies
the Aldrovandi “Sleeping Cupid,” 8; at-
tacked by Strange in the newspapers, 9 ;
engraves Royal Academy Diploma, Io; ex-
hibits at the Royal Academy, Io; exhibits
at the Free Society, 11 ; his popularity, 11 ;
visits Holland House, 12 ; life at Fulham,
12 ; accepts the invitation to Portugal, 16;
arrives in Portugal, 16; is knighted, 16;
pension from Portuguese Government, 16;
employed by Comte, 17 ; foreshadowing
the end, 17; intention to revisit England,
18; indications of poverty, 19; false state-
ment respecting being in France, 19 ;
illustrates “Le Musée Français,” 20 ; his
death, 20 ; burial, 20; certificate of death,
2O.
Bartolozzi a Freemason, 15.
95 a snuff-taker, 12.
yy and Bartolotti, 56.
yy and Lord Craven, 13.
y? and the Bunbury engravings, 11.
53 and the Holbein portraits, 33.
39 as a draftsman, 26.
25 as an engraver, 26.
y? as engraver improves upon the
painter, 26.
33 eulogised by Robert Meadows, 31.
99 finishes Ryland's plate after Hamil-
ton, 76.
y? on Vivares, 13.
33 plates printed by the McQueens, 1oo.
39 plates still in existence, 57.
ag
Bartolozzi
-3.
:
!
;
|

Azzdex.
Bartolozzi
59
99.
Bartolozzi
93
Bartolozzi'
practises rebiting, 85.
print collection in Lisbon Academy
of Fine Arts, 21.
the founder of English stipple en-
gravers, 83.
(Francesco), 1.
interest wanes in, 122.
letter from, indicating the end, 17.
letter to Minasi indicating poverty,
I9. -
modern criticism of, 31.
Pasquin's description of, 7, 8, 15.
plates engraved by, and published
by the Boydells, 70.
sketch of his life, 1.
Strange's jealousy of, 7, 9.
(Gaetano), 23. -
(Madame Gaetano), 24.
salterations in copying, 32.
admiration of Hogarth, 15.
Benefit Tickets, 48. , -
benevolent disposition, 12, 16.
character, Pasquin on, 15.
characteristics, difficulty of analysis
of, 26.
engraving of Copley’s “Death of
the Earl of Chatham,” 45 ;
where now to be obtained, 47.
engravings, want of fixed monetary
value, 12o.
etching, analysis of, 27.
faculties unimpeded by age, 17.
fame self-made, 25.
family, 22.
fidelity in reproduction, 29.
frequent sitters, 33.
friendship with the McQueens, 12.
frontispiece to Ariosto, 64.
hours of work, 12.
illustrations to Cook's Voyages, 32.
illustrations to Thomson's Seasons
tampered with, 54.
improvements in copying, 32.
Italian taste, 29.
largest fee, 5o.
letter to Colnaghi, 14.
life at Fulham, 12.
line engraving, analysis of, 27.
Bartolozzi's love of pleasure, 11.
Marlborough Gems, 43 ; value of,
I2 I.
method of improving Sharp's en-
graving of Reynolds’ “Holy
Family,” 33.
methods of signing, 52.
modesty, 12.
name removed from stippled print,
“The Doll,” 55.
own Royal Academy Diploma print,
when last heard of, 40.
popularity, 11.
portrait of Cipriani on ground glass,
64.
portraits, 178, 183.
39 difficulty of identification,
32.
prices, 5o.
prints, sale of Gaetano's stock of 23.
, sum realized at the Wood-
house sale, 127. º
prints, value of, 12o.
, want of uniformity in prices
at sales, 121.
quickness in reproduction, 30.
real power, where shown, 28.
reasons for leaving England, 17.
recommendation by Sir Joshua Rey-
nolds, 30.
reproductions compared with Hol-
bein’s originals, 34.
Royal Academy Diploma print, Io,
37.
stipple processes, 86.
stippling, 28.
success in reproducing Guercino's
etchings, 27.
talent for improvements, 35.
tickets, cards, titles, book-plates,
185.
want of faith in Dalton, Io.
willingness to correct defects, 29.
works after Angelica in Sykes' sale
catalogues, 173.
works after British artists, ditto, 174.
, after Italian and French mas-
ters, ditto, 181, 184. -
Bartolozzi's
Index.
Bartolozzi's works executed in Lisbon, estimated
number of, 21.
Bartolozzi's works published by the Boydells, 69.
Belsham's description of Chatham's death, 46.
Benefit Tickets, 48.
y3 39 singular imprint on, 49.
“Biting” in stipple engraving, 84.
Blackburne's (Jonathan) Bartolozzi prints, 127.
Blake's (W.) remarks on Ryland, 76.
Bleaching agent, 95.
Bohn's purchase of the Hogarth plates, 59.
Boulanger and stipple engraving, 82.
Boydells, The, 66.
Boydell & Co., changes in the firm, 67.
Boydell's (Alderman) early life, 67.
95 collection of Bartolozzi's works, 69.
99 encouragement of the fine arts, 66.
99. generosity to Woollett, 66.
95 Shakespeare illustrations, how dis-
posed of, 67.
Boydell, works engraved for, by Bartolozzi, 6.
Brooker (T.), 1or.
Brooker's improvements in copperplate printing,
97. .
Bull's collection of pictures, value of, I 11.
Burke's (Haviland) sale of Bartolozzi prints,
I 22,
Campagnola and the opus mallei method of
engraving, 82.
Carey on the Bartolozzi-Strange quarrel, 9.
Chamberlaine requests Lewis to reproduce the
Holbein portraits, 34.
Chatham, Bartolozzi's fee for engraving, 5o.
Choppin, Miss, 33.
Christie (James), works by, 111.
, caricature of, II 2.
Christie, Manson & Woods, 1 Io.
Cicely Heron, 34. -
Cipriani, 62.
Cipriani's Drawings, sale of, 63.
99 Marlborough Gems, 43.
portrait on ground glass by Bartolozzi,
64.
99 sketches, 65.
Cipriani and Bartolozzi's similarity of taste, 63.
,, and in what he excelled, 63.
,, forms his connection with Bartolozzi, 3.
y?
Cipriani receives a commission from Royal
Academy, 63.
Circumstances regulating the prices of prints,
I 2 O.
Clytie, 59.
Cooper's Holbein, price paid for, 36.
Copley’s “Death of the Earl of Chatham,” 45.
Copperplate printing, 96.
Copperplates engraved by Bartolozzi, 57.
County Magazine on Cipriani, 63.
Dalton and the Aldrovandi “Sleeping Cupid.”
Incident, 8. -
Dalton, Bartolozzi's want of faith in, Io.
Delattre engaged on Copley's “Death of
Chatham,” 46.
Dibdin's charge against Bartolozzi respecting
the Holbein portraits, 33
Dighton’s “Specious Orator,” 112.
Dixon & Ross, 1oz.
Domenichino, Bartolozzi copies after, 3.
Donegall (Marquis of) collection of Bartolozzi,
sale of, 163. -
Doo reduces the Hon. Foreign Members’ Royal
Academy Diploma, 4o.
“Dragging” in etching, 89, 9o.
Durer and stipple engraving, 82.
Eleanor Gwynn, 55.
Engraver, qualification for an, 78.
Engravers' imprints altered, 54.
Engraving, dry point, 8o.
99 line, 8o.
33 methods of 79.
95 pure, 8o
93 pure mezzotint, 8o.
y; the art of, 78.
39 utility of, 79.
Engraving on steel, when introduced, 8o.
Error in Bartolozzi's Royal Academy Diploma
print, 37. e
Etching, 88. 3.
,, Analysis of Bartolozzi's, 27.
Etchings, care requisite in printing, 89.
Fickleness of public taste, 12o.
Fine-art plate printers, 99.
Fine-art sales, professional touts at, IoS.
- Foreign
Andex.
Foreign (Hon.) Members’ Diploma (Royal
Academy), 4o.
Foster (H. & C. R.), 119.
Fox (Charles) and the frontispiece to Beckford's
“Thoughts on Hunting,” 64.
Frequent sitters to Bartolozzi, 33.
Gaetano Bartolozzi, 22; his devotion to music,
22 ; commences business as a print-pub-
lisher, 22; marries, 22 ; his family, 23;
involved in difficulties, 23; visits Paris, 23;
his death, 24; his engravings, 24.
Giacomo Guarana, Bartolozzi's reproductions, 4.
Gough's (R.) letter respecting Bartolozzi's price
for Benefit Tickets, 49.
Haden (Seymour), 88.
Hamerton (Gilbert), 88.
Haviland Burke's sale, 122.
Hints to purchasers at print sales, Io".
Hogarth, Bartolozzi's admiration of, 15.
Hogarth's plates, purchase of, by Mr. Bohn, 59.
Holbein Heads, 59.
,, Portraits—Dibdin and Bartolozzi, 33. .
Holbein’s drawings compared with Bartolozzi's
reproductions, 34.
Holbein, Lewis requested to reproduce, 34.
33 price paid for Cooper's, 36.
Holdgate Bros., 102.
“Holy Family,” Bartolozzi's fee for, 51.
Hugford (Ignazio), 2.
Illustrated Zondon Mews, splitting the, 94.
Inlaying prints, 93.
Italian School of Design, 59.
,, taste of Bartolozzi, 29.
James's (Andrew) Bartolozzi sale, 197.
James's (J. Burleigh) collection of Bartolozzi,
198.
Johnson's Bartolozzi sale, 197.
Jonathan Blackburne's Bartolozzi prints, 127.
Jordan (Mrs.), 54.
Kauffman (Angelica), 77.
99 encourages the “chalk” style of en-
graving, 9. -
Kauffman's “Nymphs awakening Cupid,” 86.
Kinnoull (Earl and Countess), examples of
Caroline Watson's stipple engraving, 86.
“Knocking out" at sales, Io9.
Lahee (James), IoI.
Lansdowne's (Marquis of) Bartolozzi collection,
164.
Laying a rebiting ground in stipple engraving,
85.
Lewis requested to reproduce the Holbein
Portraits, 34.
Line engraver, qualifications for, 79.
Line engraving, analysis of Bartolozzi's, 27.
dying out, 79.
29 y? origin of, 8o.
Lutma and stipple engraving, 82.
92 99
Mad trick in connection with print restoring, 93.
Maile (George) the first practiser of steel engrav-
ing, 8o.
Marlborough Gems, the, 43, 59, 121.
32 , Sales of, 43, 121, 16o, 167.
Marshall's (Julian) Bartolozzi collection, 195.
Marson's (T. F.), Bartolozzi collection, 194.
McQueen (J. H. and F. C.), 99.
McQueen (Mrs.) on Bartolozzi's hours of
work, 12.
Meadows' eulogy of Bartolozzi, 31.
Mended prints, how to recognise, 92,
Metal and wood engraving, Ruskin's analysis
of 79. -
Methods of engraving, 79.
Mezzotint (pure) engraving, 8o.
Minasi, letter from, indicating Bartolozzi's
poverty, 18.
Miniature of Josephine Bartolozzi, 23.
Modern criticism of Bartolozzi, 31.
Molteno's Bartolozzi collection, 165.
Molteno & Graves' Bartolozzi collection, 190.
Morinière's miniature of Josephine Bartolozzi,
23.
Moser's Royal Academy Diploma, 40.
“Nest of Cupids,” dishonesty respecting, 55.
Opus mallet, 82. "...º
Owners of Bartolozzi prints, etc.:
Graves & Co. (copperplate), “Clytie,” 59.
Owners
Andex.
Owners of Bartolozzi's prints, etc., continued.
Quaritch, Mr. B. (copperplates), Holbein
Heads; Italian School of Design; and
Marlborough Gems, 59.
Tuer, Mr. A. W., “The Doll,” 55.
Painters' etchings, 88.
Pasquin's (Anthony) account of the Bartolozzi-
Strange quarrel, 7.
Pasquin on Bartolozzi's character, 15.
,, on Ryland, 75.
Peter Romilly's collection of prints, 126.
Phillips, Son & Neale, 119.
Pilleau's Bartolozzi Collection, 190.
Plate printers:
Brooker, IoI.
Dixon & Ross, 1oz.
Holdgate Bros., Io2.
McQueen (J. H. & F. C.), 99.
Plate printing, suggestion to prevent decep-
tion, Ioff.
Portraits of Bartolozzi, 5.
Position in public estimation of Bartolozzi's
prints, 12o.
Practices of professional touts at fine-art sales,
Io9.
Practices of second-rate print publishers, IoS.
Prices of prints regulated by circumstances, 12o.
Prince de Paar's Bartolozzi collection, 193.
Print bleaching agent, 95.
, cleaning, 94.
, inlaying, 93.
,, publishers' trade tricks, Io 3.
, restorer, mad trick in connection with, 93.
, restoring, 91.
, sales, Ioz.
, splitting, 93.
Printing etchings, 89.
,, from copperplates, 96.
Printsellers' Association, 103.
33 35 stringent rules, Io4.
99 99 rules evaded, Io9.
Professional touts at fine-art sales, Io9.
Public estimation of Bartolozzi's prints, 120.
,, taste, fickleness of, 12o.
Pure engraving, 8o.
, mezzotint engraving, 8o.
Puttick & Simpson, 118.
Quaritch's Hogarth plates, 59.
39 Holbein Heads, 59.
92 Italian School of Design, 59.
Rebiting (in stipple engraving), laying ground for,
85. -
Rebiting, first work done in England, 85.
Receipts showing fees received by Bartolozzi,
I. º
Red chalk engraving, the introduction of, 6.
Restored prints, how to recognise, 92.
Reynolds' (Sir Joshua) recommendation of Bar-
tolozzi, 30.
Reynolds' prints engraved on steel, 8o.
Rome, Bartolozzi's first visit to, 3.
Romilly's (Peter) collection of prints, 126.
Roper (Margaret), 34.
Rose le Noir, 86.
Ross (Thomas), Ioz.
Royal Academy, the foundation of, 7.
3. 39 introduction of Honorary
Foreign Members, 40.
Royal Academy Diplomas, 37.
original form, 38.
Bartolozzi's engrav-
99 99
99 - 99
ing of, Io.
Royal Academy, Academicians' diploma, 39.
Associates' diploma, 39.
Honorary Foreign Members'
99 92
29 99
diploma, 4o.
Royal Academy diplomas, Graves & Co.'s col-
lection, 41.
Royal Academy diploma Graves' (R. E.) collec-
tion, 42.
Royal Library at Windsor, collection of Barto-
lozzi prints, 36.
“Rubbish” at print sales, IoT.
Ruskin's analysis of metal and wood engraving,
79.
Ruskin on engraving, 78.
Ryland (William Wynne), 75.
Ryland, industry of, 76.
Ryland's prints, a list of, 75.
Sandby's (Paul) Royal Academy diploma, 40.
Schoen and stipple engraving, 82.
Sharp's engraving of Reynolds’ “Holy Family.”
improved by Bartolozzi, 33. -
“Shepherd's
VOL. I.
* Q
Azadex.
“Shepherd's Flute, the Virgin's Lay,” Barto-
lozzi's illustration to, 54.
Shropshire's (Walter) catalogue of Bartolozzi
engravings, etc., 123.
Signing, Bartolozzi's methods of 52.
Smith's (W. & G.) Bartolozzi collection, 193.
Sotheby, Wilkinson & Hodge, 112.
99 Sales at, I 12.
Splitting prints, 93.
39 a Bank of England note, 94.
29 the Illustrated London Mews, 94.
Steel engraving, introduction of, 8o.
Steel-plate printing, 96.
Steel-facing copperplates, 97.
Stipple engraving, 82. '
eccentric names in, 86.
inventor of 83.
methods of, 83.
Strange's (Sir R.) opinion of,
86.
Watson's (Caroline) perfec-
tion in, 86.
Stippling, Bartolozzi's art of, 28.
Strange (Sir R.) and Bartolozzi, 7.
33 , attacks Bartolozzi in the news-
papers, 9.
Strange's (Sir R.) jealousy of Bartolozzi, 7, 9.
33 , opinion of stipple engraving,
86.
Style, analysis of Bartolozzi's, 26.
Sykes' (Sir M. M.) sale catalogue of Bartolozzi
prints, 121, 17o.
Testolini, 45.
Thomson’s “Seasons,” the Bartolozzi illustra-
tions to tampered with, 54; how to recog-
nise the same, 54.
Towne (Mrs.), 33.
Trade tricks of print publishers, 103.
Tuer's (Andrew W.) Bartolozzi collection, 202.
Turner's (C. H.) Bartolozzi sale, 197.
Uncut examples of Bartolozzi, rareness of, 60.
Utility of engraving, 79.
Value of the Bartolozzi prints, 60, 12o.
Veneziano and stipple engraving, 82.
Vestris (Madame), 23 ; her marriage, 23 ; her
first appearance, 23; visits Paris, 23; re-
turns to London, 23; appears at Drury
Lane Theatre, 23; remarries, 23 ; her
death, 23.
Wagner (Joseph), 3.
Walter Shropshire's sale catalogue of Bartolozzi
prints, 123.
Watson's (Caroline) art of stipple engraving, 86.
Wilkes' Benefit Tickets, 49. w
Wood and metal engraving, Ruskin's analysis
of, 79.
Woodhouse's (John) sale catalogue of Bartolozzi
prints, etc., 128, 135.
“Young Maid and the Sailor,” unusual imprint
On, 52.
“Young Woman of Otaheite,” Bartolozzi's en-
graving of 32.
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Ten Journalistic Commandments. How to Correct Proofs ; and a Directory of
the Periodical Press; being a List of Journals and Magazines, the Address of
their Offices, the Names of their Editors, and a Sketch of their History and Scope.
(London: Field & Tuer, y” Leadenhalle Presse, 50, Leadenhall Street, E.C.)
“There are hundreds of young men, who are now living at home and doing nothing, who might be making
very tolerable incomes by their pens.”—Zhe Wineteenth Centary.
* This volume." says the Athenaeum, “which is studded with the autographs of literati, is written by s
practical journalist. -
“The author is evidently qualified to speak of the subject on which he treats; and his advice is as wise as
his assertions are truthful.”—7%e Echo. -
“John Oldcastle, who hides a well-known entity under anom de plume, speaks as one of the scribes, though
also with authority."—The Examiner.
“We can imagine its cheering the heart of many a weary toiler. John Oldcastle is to be congratulated
alike on the lucidity of his style and the thoroughness of his workmanship.”—Fact. tº
“A clever little volume brought out in the #: fashion.”—Life.
.* “The well-known littérateur who commonly writes under the nom de plume of John Oldcastle has produced
a chatty and interesting introduction to literary life. . A perusal of it will supply many a young person with
valuable hints for winning name and fame and some share of fortune's favours by means of the press."-The
Preeman's journal. ~. s *
“An interesting book.”—7%e Weekly Register.
“Written by a well-known London littérateur, this kindly guide book for literary amateurs is invaluable.
Hints are given for which scores of 'forlorn and shipwrecked brothers' will certainly thank Mr. Oldcastle.”-
Morthern Avening Mail.
“In addition to its advice to beginners, the volume contains some interesting ana connected with journalism
and journalists. The author is refreshingly frank."—The Globe.
“John Oldcastle's book will be a very useful one : it is full of hints and bits of advice to journalistic
}.} and it told me a variety of things which I never knew before."—G. A. SALA in the Illustrated
. London Wews. *
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