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Xviiith Century English and French Prints in Colour : December, 1918

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Xviiith Century English and French Prints in Colour : December, 1918 XVIIITH Century English and French PRINTS COLOUR 1918 c*k\o*oe ^ XVIIITH CENTURY ENGLISH and FRENCH PRINTS in COLOUR GALLERIES OF M. KNOEDLER & CO. 556-558 Fifth Avenue December, 1918 INTRODUCTI O N PRINTING IN COLOR HE art of Printing in Color from an engraved metal plate passed through many phases and many years before it reached its final goal in the XVIIIth Century. Both France and England were tak­ ing great interest in its devel­ opment, both finally obtaining their objective, but in different ways. France being the first to arrive; we will endeavor to describe in a general way their method of procedure. Attention must be first drawn to the fact that their finest printing has been with aquatint-plates, employing three in their earlier printing, increasing the number as more colors were required. The three plates mentioned were for the three primary colors, Red, Blue, Yellow, superim­ posing one over another, where the combination would result in the sought-for color. This process was the invention of an artist named James Christo­ pher Le Blon, who, although of French extraction, was born at Frankfort-on-the-Main, May, 1667. He lived, as many of the artists did at that time, a wan­ dering life, receiving most of his training at Zurich. From there he journeyed to Rome, finally leaving 3 that city with a Dutch friend to live in Holland, set­ tling down there as a miniature painter at Amster­ dam in the early part of the XVIIIth Century. It was here that he learned about the Isaac Newton theory, that the variegated hues of the spectrum of white light are merely combinations of certain pri­ mary colors, which are simple and uncompounded, i. e., are not the product of any other combination. He held that all other tints and shades in nature are the result of combinations of these in varying pro­ portions. He was of the opinion that there were about seven of these primary colors, whilst Hooke, another scientist, held that there were but two, Scar­ let and Blue. The Newtonian color theory was sub­ sequently modified to the present one, that there are three color sensations which can be represented by Red, Blue and Yellow. Le Blon seems to have been attracted to this idea, and has been given the credit of having first applied it to the processes of printing in color by the means of separate plates. This all transpired in the early part of the cen­ tury. Le Blon died in 1741, but he left a number of pupils who carried on his ideas, improving them with the final result of producing in the last quarter of the century the perfection in printing with separate plates, increasing the number as more colors were required; the final printing was usually black. The following are some of his most prominent pupils and imitators: J. G. Dagoty, his sons, Edward Gautier Dagoty 4 and Armand E. Gautier Dagoty; A. Robert, Carlo Lasinio and Jan L'Admiral. The really great French artists were those who came in the last quarter of the century, viz.: P. L. Debucourt, Louis Bonnet, P. M. Alix, J. F. Janinet, Charles M. Descourtis, J. M. Moreau le Jeune, etc. Most of these artists were bom within a year of each other. Jean Baptiste Le Prince was the inventor of Aqua­ tint Engraving about 1768. The exact year is not known. In regard to the XVIIIth Century English Prints in color, both from Mezzotinto plates and Stipple Engraved plates, printing in color was brought over to England from France by an engraver named Wil­ liam Wynne Ryloned (born in London, 1732), sup­ posed to be about the year 1774, whose work con­ sisted mostly of prints from the Stipple engravings, inking the plate with several colors with the aid of a stump brush. The invention of the process of printing in a number of colors from one plate at a single impression must be chiefly credited to a Lon­ don engraver, Robert Laurie (1749-1804), who com­ municated to the "Society of Arts in 1776 a method of producing copperplate pictures in colors at a single impression by inking the plate with stump brushes." This method requires great care and patience, and the printer must be an artist, not an artisan, for the colors which are generally thick and pasty must be rubbed into the plate in their proper 5 places without running over into the next neighbor­ ing color, the surface of the plate being kept clean; neither must it be left to dry, but kept in a pliable state until all the colors are placed in their proper places; the plate is kept warm for this purpose. As soon as the plate has received all the colors required, print paper is placed over it and passed into the press, where it is subjected to great pressure, with the result that all the colors have been transferred to the paper from the copperplate; the paper is then "pulled" off and left exposed until dry. It is need­ less to say that to produce good and satisfactory results requires an artist's touch and an artist's knowledge of tones and values. The English XVIIIth Century prints in color from both Mezzotints and Stipple Engraving plates have a delicacy of tone and color which are exceptional for the reason that they are not only printed from the soft copper, but are done by the best artists of that remarkable cen­ tury. France did not practice to any great extent the art of Mezzotinto. 6 CATALOGUE ENGLISH PRINTS IN COLOUR 1 ALMEIDA. Published in 1787. Wm. Ward, Painter. W. Ward, Engraver. Stipple Engraving. 2 THE ANGLER'S REPAST. Published Nov. 28, 1789. George Morland, Painter. Wm. Ward, Engraver. Mezzotint. 3 H. R. H. PRINCESS AUGUSTA, Second daughter of George III. Ramberg, Painter. William Ward, Engraver. Stipple Engraving. 4 VISCOUNTESS LADY ISABELLA ANNA BEAUCHAMP. Published 1790. Sir Joshua Reynolds, Painter. W. Nutter, Engraver. Mezzotint. Lady Beauchamp was the daughter of Charles In­ gram, 10th Viscount Irvine: married, 1776, Francis Beauchamp, afterwards 2nd Marquess of Hertford. 7 5 BLINDMAN'S BUFF. Published Dec. 14,1768. Geo. Morland, Painter. Wm. Ward, Engraver. Mezzotint. 6 CALCULATION. Published Aug. 1, 1798. B. Westall, R. A., Painter. A. Cardon, Sculptor. Stipple Engraving. 7 CERES. Published latter part 18th Century. Drawn by G. B. Cipriani. F. Bartolozzi, Engraver. Stipple Engraving. 8 CHARLOTTE. Published Aug. £1, 1783. H. Bunbury, Painter. F. Bartolozzi, Engraver. Stipple Engraving. 9 CHILDREN BIRD NESTING. Published Feb. 27, 1789. Geo. Morland, Painter. Wm. Ward, Engraver. Mezzotint. 8 10 CHILDREN NUTTING. Published July 1, 1788. Geo. Morland, Painter. E. Dayes, Engraver. Mezzotint. 11 CRIES OF LONDON. Plate I. MILK BELOW MAIDS. Published July 2, 1793. F. Wheatley, R. A., Painter. L. Schiavonetti, Engraver. Stipple Engraving. 12 CRIES OF LONDON. Plate III. SWEET CHINA ORANGES, SWEET CHINA. Published July, 1794. F. Wheatley, R. A., Painter. L. Schiavonetti, Engraver. Stipple Engraving. 13 CRIES OF LONDON. Plate IV. Do You WANT ANY MATCHES? Published July, 1794. F. Wheatley, Painter. A. Cardon, Engraver. Stipple Engraving. 14. CRIES OF LONDON. Plate VI. KNIVES, SCISSORS AND RAZORS TO GRIND. Published Jan. 1, 1795. F. Wheatley, R. A., Painter. G. Vendramini, Engraver. Stipple Engraving. 9 15 CRIES OP LONDON. Plate XI. A NEW LOVE SONG, ONLY HA' PENNY A PIECE. Published Mar. 1, 1796. F. Wheatley, R. A., Painter. A. Cardon, Engraver. Stipple Engraving. 16 GUINEA PIGS. Published 1789. Geo. Morland, Painter. T. Gaugain, Engraver. Stipple Engraving. 17 DELIA IN THE COUNTRY and DELIA IN TOWN. Published 12th, 1788. (Pair.) Geo. Morland, Painter. J. R. Smith, Engraver. Stipple Engraving. 18 DUTY and AFFECTION. Published Mar. 20, 1792. (Pair.) Drawn by Miss Julia Conyers. P. W. Tomkins, Engraver. Stipple engravings. 19 EVENING, OR THE SPORTSMAN'S RETURN. Published May, 1795. Geo. Morland, Painter. J. Grozer, Engraver. Mezzotint. 10 20 LADY (EMMA) HAMILTON. Published Dec. 29, 1785. George Romney, Painter. John Jones, Engraver. Stipple Engraving. 21 THE FARMER'S STABLE. Published July 1, 1795. Geo. Morland, Painter. Wm. Ward, Engraver. Mezzotint. Miss FARREN (COUNTESS OF DERBY). Published Jan. 1, 1792. Sir Thomas Lawrence, Painter. F. Bartolozzi, Engraver. — Stipple Engraving. 23 FELINA. Published March, 1790. Sir Joshua Raynolds, Painter. J. Collyer, Engraver. Stipple Engraving. This is probably a portrait of Theophila (Offy) Palmer, niece of the artist, Sir Joshua Reynolds. 24 MRS. MARIA ANNA FITZHERBERT. Published Feb. 7, 1792. R. Cosway, Painter. J. Condi, Engraver. Mrs. Fitzherbert was the daughter of Walter Smythe, Esq., of Bambridge; born, 1756; married, 11 first Edw. Weld of Lulworth, second Thos. Fitzher- bert; was twice a widow before she was twenty-five years of age; privately married to George, Prince of Wales, at Carlton House, 1785; died in Brighton, 1837. 25 THE FORTUNE TELLER. Published 1784. Sir Joshua Reynolds, Painter. J. K. Sherwin, Engraver. Line Engraving. 26 LADY ELIZABETH FOSTER. Published Aug. 10, 1787. Sir Joshua Reynolds, Painter. F. Bartolozzi, Engraver. Stipple Engraving. Daughter of Frederick Augustus, 4th Earl of Bristol, Bishop of Derry; married, first J. T. Foster, Esq., and second, William, 5th Duke of Devonshire. 27 ELEANOR GWYNN. Published June 2, 1802. Sir Peter Lely, Painter. John Ogborne, Engraver. Stipple Engraving. 28 GIRL FEEDING CHICKENS. Published latter part 18th Century. Sir John Russell, Painter. P. W. Tomkins, Engraver. Stipple Engraving. 12 29 LADY HAMILTON, AS "THE SPINSTER." Published Aug. 1, 1789. George Romney, Painter. Thomas Cheesman, Engraver. Stipple Engraving. 30 LADY HARRINGTON AND CHILDREN, LORD PETERSHAM AND HON. LINCOLN STANHOPE. Published March 15, 1789. Sir Joshua Reynolds, Painter. F. Bartolozzi, Engraver. Stipple Engraving. 31 INFANCY. (LADY CAROLINE PONSONBY.) Published 1794.
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