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XVIIITH Century Prints in Color c at a 1 o g u e of XVIIIth c e n t ury Prints in

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GALLERIES if c5M. KNOEDLERj <& CO. 556-558 Fifth ^Avenue between 45th and 46th Streets December 7th to 31st inclusive 1914 PLEASE TAKE NOTICE

Messrs. M. Knoedler & Co. have in addition to this selection of Old English Prints in color a number of very beautiful and rare FRENCH PRINTS IN COLOR.

Subjects which are not hung may be seen in our Print Rooms, on the second floor (elevator).

Prices given upon request. WHAT IS A MEZZOTINT?

HE following are extracts from Mr. Hind's treatise upon Mezzotints, Stipples, Aquatints, etc., published in the British Museum "Guide to the Processes and Schools of En­ graving," printed in 1914:

MEZZOTINT PROCESS

"Mezzotint is a negative process, inasmuch as the engraver works at his design from a black ground to the high lights, not from a white ground to the black lines or shadows. The surface of the plate is first roughened all over in such a way that if it were filled with ink it would print a deep black. This roughening, or grounding, of the surface of the plate is generally obtained by the tool called the Rocker (see illustration), of which the essential feature is a curved, serrated edge with cutting teeth of thread smaller or larger (ranging from about 50-100 teeth to the inch), according to the quality of grain re­ quired. This tool is held with its grain at right angles to the plate, and the cutting edge rocked regularly over the surface of the plate at several angles, caus­ ing a uniform indentation of the plate, with a burr to each indentation. The hollows hold the ink, and the burr adds the rich, velvety quality characteristic of mezzotint. The engraver then removes the burr with a mezzotint scraper, where he wishes to obtain his lighter portions, and if he desires a high light, he will polish the surface of the plate with a mezzotint bur­ nisher, so that no ink at all can be retained.

The scraping is so important a feature in the process that a mezzotint is often described as scraped rather than engraved. And one of the German terms for it is Schabkunst (i.e., the scraping-art).

As the true quality of mezzotint, like that of dry- point, depends largely on the delicate burr, it follows that as few rich impressions can be obtained from a mezzotint as from a dry-point. STIPPLE ENGRAVING

The essence of stipple-engraving is the rendering of tone by a conglomeration of dots or short strokes (flicks). The plate is first covered with the ordinary etching ground, and the contours and a light indication of the main shadows dotted through the ground with the etching needle (or with one or two bound to­ gether), or with the simple roulette (a toothed wheel). (See illustration.) This preliminary part of the work is bitten with the acid. The subject is then completed and given brilliance by dotting or flickering directly on the surface of the plate with the point of the stipple-engraver, i.e., a graver specially curved for use in this process. Roulettes (of various shapes) may also be used directly on the surface of the plate. Crayon (or chalk) engraving is closely applied to stipple, but it aims at rendering the quality of lines of a chalk drawing, rather than mere surfaces of tone. Various forms of roulettes with grains corresponding to the texture of chalk, and the mace-head or mattoir (an instrument with butt-end provided with irregular points), as well as etching needles, are used through the ground to prepare the plate for biting; and as in stipple the graver, dry-point and roulettes are also used directly on the surface. Stipple and crayon engrav­ ing are, of course, constantly combined, the face of a portrait often being finished in pure stipple like a miniature, while the body and accessories are lightly sketched in the crayon manner. The earliest indications of methods comparable to stipple (though without the aid of etching, as assen- V NNMI

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^^-^c/ctUyO tial part of stipple proper) is seen in the engravings of Giulio Campagnola (about 1482—after 1514). The immediate forerunner and constant companion of stipple was crayon engraving, which was discovered about the middle of the eighteenth century in France by J. C. Francois (Nancy, Lyons, Paris; 1717-69), and developed almost contemporaneously, and carried to greater perfection by Gilles Demarteau (Liege, Paris; 1722-76), and Louis Marin Bonnet (St. Peters­ burg, Paris; 1735 (43?)-i793)- Bonnet excelled in printing in colors from numerous plates in imitation of pastel. The head of the school of stipple engraving in its most limited signification was Francesco Bartolozzi (Florence, Venice, Rome, London, Lisbon; 1728- 1813), an Italian who settled in London in 1764. Bar­ tolozzi and most of the stipple engravers found their truest vocation in engraving the drawing-room fancies of artists, such as G. B. Cipriani and Angelica Kauff- man. Other designers of the period who are largely represented in stipple engravings are Richard Cosway, Thomas Stothard, E. F. Burney, R. Westall, W. Ham­ ilton, Francis Wheatley, Bigg and Singleton.

I AQUATINT PROCESS

Tone effects of a more transparent quality, but of less depth and richness than mezzotint, are obtained by the method of aquatint. It gives the nearest imita­ tion that prints can offer of the quality of the washes of water-colour. As the name implies, the tone or tint is obtained by biting with the acid (aqua fortis). The essential element of the process is the partial pro­ tection of the surface of the plate with a porous ground, through whose pores or reticulations the acid can bite. There are two methods of laying the ground form­ ing (a) the dust ground, (b) the spirit ground. In the first method (a) powdered asphaltum or resin is placed in a box and blown into a cloud by bellows, or by a flywheel worked from without; the plate is then put into the box to collect the dust, which de­ scends in a regular coating on to its surface. This porous coating, or ground, is then fixed to the surface by heating the back of the plate. By the second meth­ od (b) resin is dissolved in spirits of wine, and the solution spread evenly over the surface of the plate. As evaporation takes place the resin will be left in a grain on the surface.

The porous ground being laid, an even tint, vary­ ing according to the grain or reticulation of the ground, could be obtained by biting with the acid. But before biting the etcher will cover those parts of the ground where he wishes to obtain pure white with protecting varnish and allow the rest of the plate to be bitten to the depth of his next lightest tone. He will then cover with varnish in the same way such parts of the plate as he wishes to remain in this light tone, biting again, and varnishing again in stages, until the parts which have been constantly bitten are, of course, his darkest portions. A grained surface similar to aquatint can also be produced by other means. One of these (sand-grain} is obtained by sand-paper, pulled through the press in conjunction with the copper plate, whose surface it roughens. By another method (sulphur-tint) pow­ dered sulphur is dusted on to the surface of the plate which has been spread with a layer of oil. The parti­ cles of sulphur gradually corrode the surface in a delicate grain. Effects of wash can also be achieved by leaving acid in patches on the surface of the plate. For the sake of convenience these analogous methods, by which similar effects to aquatint are produced, are classed under the same heading.

I PRINTING IN COLOR There are two methods of color-printing: I. From the single plate. II. From various plates, blocks, or stones. I. The first method (chiefly confined to intaglio prints) practically implies the painting of the plate be­ tween each printing, rag-stumps ("dollies" or pou- pees) being used to fill the lines with the different col­ ors. It was used to a certain extent by seventeenth century line-engravers (e.g., by JOANNES TEYLER), but it was far more generally adopted by the stipple- engravers, and, though less often, by the mezzotint engravers. II. The second process, the use of several plates, blocks, or stones, is more truly a printer's method, as once given the proper tint for each printing the printer should be able to repeat the impression without the direct intervention of the artist. Whether the printer be a professional printer, or the artist himself, it would in either case be possible to obtain greater uniformity in the effect of different impressions than by the single plate method. The process of using several wood-blocks in con­ junction on one subject to render various tones or col­ ors, is called the chiaroscuro method, from its imita­ tion of light and dark tones. The main black outlines are given on one block (the key block), and the spaces of tone or color cut out on other blocks, one being used for each tone. In ordinary chiaroscuro cuts it is not often that more than two or three tone blocks are used. In color wood-cuts a much larger num­ ber might, of course, be used. The printing from several blocks needs care to insure the corresponding parts of the subject being exactly superposed. The exact register in making the tone-blocks would be ob­ tained by transferring to the surface a print from the key-block. And by the use of pins, exactly correspond­ ing places in the corners of each block could be marked so that the impressions could be pulled with exact register. The greatest care is needed to secure the exact reg­ ister of the different blocks or plates by means of marking the points which correspond in the corners of each plate. Pin-holes in the corners of a color im­ pression, or rather round marks printed from the holes, are indications of the method of obtaining the perfect register. This method of printing from sev­ eral blocks, plates, or stones is largely used in wood cuts, crayon, and pastel engravings, and lithography. Also to a certain extent by etchers. A special process by which the three cardinal colors were combined in the impression to render the com­ plete gamut of color has also been used in mezzotint (first by J. C. Le Blon). The "three-color" process depended on Newton's theory that the whole range of colors is composed of the three cardinal colors—blue, yelloxv and red. The idea of the color printer is to analyze his subjects into these three colors and ob­ tained the combined effect by printing from plates in each color. But even granting the scientific truth of the theory, J. C. Le Blon and his imitators seldom se­ cured satisfactory results, and often helped out defects in the working of the theory by the use of a fourth plate (with black or dark gray ink). The impurity of pigments and impossibility of attaining the true colors into which a color subject might be scientifically analyzed is enough to explain the imperfection of results. CATALOGUE

1 MORNING, OR THE BENEVOLENT SPORTSMAN EVENING, OR THE SPORTSMAN'S RETURN (Pair) George Morland Joseph Grozer Published May, 1795 ill 2 THE CITIZEN'S RETREAT SELLING RABBITS (Pair) James Ward William Ward Published January, 1796

'rfi 3 INSIDE OF A COUNTRY ALEHOUSE George Morland William Ward Published March, 1797

'y>i . 4 OUTSIDE OF A COUNTRY ALEHOUSE James Ward William Ward Published March, 1797

/A,° - 5 THE FARMER'S STABLE George Morland William Ward Published January, 1792

/ hoc - Q CHILDREN BIRD-NESTING George Morland William Ward Published February, 1789

n>Ot> - CHILDREN NUTTING George Morland E. Dayes Published July, 1788 /£ »~* BLIND MAN'S BUFF George Morland William Ward Published December, 1788 '#* 9 DANCING DOGS GUINEA PIGS (Pair) George Morland T. Gaugain Published 1790 and 1789

^* *>-*>- 10 A VISIT TO THE CHILD AT NUESE A VISIT TO THE BOARDING SCHOOL (Pair) George Morland William Ward Published 1788 and 1789

^" 11 INDUSTRY IDLENESS (Pair) George Morland C. Knight Published May, 1788 e?<5Vo - 12 RURAL AMUSEMENT RUSTIC EMPLOYMENT (Pair) George Morland J. R. Smith Published February, 1788

^£0- 13 DELIA IN TOWN DELIA IN THE COUNTRY (Pair) George Morland J. R. Smith Published February, 1788 /o-&0- 24 THE SAILOR BOY'S RETURN FROM A PROSPER­ OUS VOYAGE A SHIPWRECKED SAILOR BOY TELLING HIS STORY AT A COTTAGE DOOR (Pair) W. R. Bigg T. Gaugain Published about 1787

*-^-»-o. 15 THE HISTORY OF LAETITIA (Six Plates) Plate I—Domestic Happiness Laetitia with her Parents. Plate II—The Elopement Laetitia seduced from her Friends under a promise of Marriage Plate III—The Virtuous Parent Laetitia endeavors in vain by pres­ ents to reconcile her Parents Plate IV—Dressing for the Masquerade Laetitia flies from reflection to pub­ lic entertainments Plate V—The Tavern Door Laetitia deserted by her Seducer is thrown on the Town Plate VI—-The Fair Penitent Laetitia in penitence finds relief and protection from her Parents George Morland J. R. Smith Published January, 1789 7' A MAID J. R. Smith J. R. Smith Published January, 1791 O- i <€lcrS

1A) i< 17 THE GHOST R. Westall Schiavonetti Published about 1790 18 CUPID SLEEPING R. Westall vO. >zutt^ Published about 1790 19 AN ENGLISH FIRESIDE A FRENCH FIRESIDE (Pair) Charles Ansell Peltro William Tomkins Published about 1795 20 STERNE AND THE GRISETTE VICAR OF WAKEFIELD F. Wheatley J. M. Delattre (Pair) Published August, 1789

91 Miss FARREN Sir Thomas Lawrence F. Bartolozzi Published January, 1792 22 COMMODORE SIR NATHANIEL DANCE J. R. Smith J. R. Smith Published January, 1805

23 MADEMOISELLE PARISOT J. F. Masquerier Charles Turner Published January, 1799 24 THE HON. MR. LEICESTER STANHOPE Sir Joshua Reynolds F. Bartolozzi Published June, 1789 ^7^ 25 GEORGE WASHINGTON Gilbert Stuart W. Nutter Published January, 1798

*5*-t> . gg MRS ROSOMAN MOUNTAIN J. F. Masquerier Charles Turner Published January, 1804

•3S^o 2>7 WHAT YOU WILL < J. R. Smith J. R. Smith/ Published January, 1791791 __—— - ^ /^W/^ S^Jty**- *¥$o - 28 THE SOLILOQUY William Ward William Ward Published October, 1787

f°* - 29 ALINDA William Ward William Ward Published about 1786

%3o , 50 ALMEIDA William Ward William Ward Published June, 1787

/3^o_ 31 LOUISA William Ward William Ward Published January, 1786

J-S'o . 32 MORNING, OR THOUGHTS OF AMUSEMENT FOR THE EVENING George Morland William Ward Published November, 1790 V^° - 33 HESITATION THE CHOICE (Pair) William Ward William Ward Published 1786 and 1787

/lro-t> - 34 THE LOVELY BRUNETTE William Ward E. Williams Published September, 1786

•*• - 35 A ST. JAMES BEAUTY A ST. GILES BEAUTY (Pair) J. H. Benwell F. Bartolozzi Published September, 1783

' 36 THE RIGHT HON. LADY BEAUCHAMP Sir Joshua Reynolds W. Nutter Published December, 1790

" 37 LADY ELIZABETH FOSTER Sir Joshua Reynolds F. Bartolozzi Published August, 1787

7*°- 38 SIMPLICITY (Miss Gwatkin) Sir Joshua Reynolds F. Bartolozzi Published May, 1789

0 ' 39 PRINCESS AUGUSTA Ramberg William Ward Published about 1786 Oo-a , 40 MRS. COSWAY MRS. DAMAR (Pair) R. Cosway L. Schiavonetti Published about 1790

/^ ' 41 ARTHUR AND EMMEIINE Charles Ansell P. W. Tomkins Published January, 1787

3*** - 42 THE SAVOYARDS H. Singleton Charles Turner Published April, 1800

77 43 THE COUNTESS OF HARRINGTON AND HER CHILDREN (Lord Petersham and Hon. Lincoln Stanhope) Sir Joshua Reynolds F. Bartolozzi Published March, 1787 rroo - 44 A SNAKE IN THE GRASS Sir Joshua Reynolds William Ward Published June, 1802

45 THE KITE COMPLEATED J. Barney T. Gaugain Published April, 1800

46 CRIES OF LONDON, Plate II "MILK BELOW MAIDS" F. Wheatley L. Schiavonetti Published July, 1793 *7 CRIES OF LONDON, Plate IV "Do You Want Any Matches?" F. Wheatley A. Cardon - Published July, 1794 48 / CEIES or LONDON, Plate V "New Mackrel, New Mackrel" F. Wheatley N. Schiavonetti, Jr. Published January, 1795 0 49 • CEIES OF LONDON, Plate VI "Knives, Scissors and Razors to Grind" F. Wheatley G. Vendramini / __' Published January, 1795 50 ' CEIES OF LONDON, Plate VIII "Round and Sound, Five-Pence-a-Pound Duke Cherries" F. Wheatley A. Cardon Published June, 1795 0 ' 51 NEST OF CUPIDS Miss J. Aspinall I. Schiavonetti Published 52 THE MOENING THE EVENING (Pair) W. Hamilton p. W. Tomkins Published 1780 and 1797

5® FEEDING CHICKENS J. Russell Peltro William Tomkins Published about 1795 /^•^ - 54 COUNT DE BELEMIBE I. F. Rigaud James Hogg Published about 1790 7^° ' 55 INFANCY R. Cosway C. White Published June, 1794 2y^ • 57 JANUAEY Hamilton W. N. Gardiner Published April, 1788 f*° - 58 CHAELOTTE H. Bunbury F. Bartolozzi Published August, 1783

^° ' 59 THE LITTLE DOMESTIC R. Westall Hellyer & Gaugain Published about 1790 r s-£o - 60 THE COTTAGE DOOE THE SCHOOL DOOE (Pair) F. Wheatley G. Keating Published May, 1800