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Mezzotints by Samuel Cousins, RA

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Mezzotints Samuel Causing, &. &. SAMUEL COUSINS, R. A. G. MEZZOTINTS BY Samuel Cousins, R. A. Catalogue of an Exhibition given at M. KNOEDLER & COMPANY 556-558 Fifth Avenue Between 45th and 46th Streets New York October 20th to U^ovember 1st 1913 FOREWORD HE art of mezzotinto consists in cut­ ting a metal plate with a multitude of lines in every direction, so that if printed from with printer's ink the impression will be of a fine, velvety tone. The subject of the picture is then made by scraping away the sur­ face to different depths, producing many tones as desired, the deepest being the high lights, the various other depths expressing the various other tints required by the subject. Cousins was esteemed the greatest mezzotint artist of the 19th century. Most of his work was done upon steel, owing to its greater durability, in contradistinc­ tion to that done upon copper by the great artists of the 18th century. His greatest works were of pictures painted by Sir Thomas Lawrence, many of which are shown in the present exhibition. He lived and worked constantly for many years and produced, according to a catalogue by Alfred Whitman, 326 plates. He com­ menced his artist's career in 1815, working until 1884, the date of his last plate. CATALOGUE \Y refers to Alfred Whitman's Catalogue. 1 NATURE (OALMADY CHILDREN, EMILY AND LAURA), (Daughters of Mr. and Mrs. Chas. Calmady.) W—205. After the painting by Sir Thomas Lawrence. "Nature" first published August 1, 1835, al­ though it is contended that those dated in August were simply trial proofs; the first real publication of the work was made September 1, 1835, such as the one shown here. The following is an interesting account of Lawrence's experience while painting these two lovely children, of whom he was very fond: "He set to work, and never did artist proceed with more increasing zeal and pleasure. The children caught his amiable humor and played with him as with la bonne nourrice. Having once fed the children with their dinner, as they sat on his knees, he drew to the table to take his lunch; but when he rose, to his sur­ prise he found that one of the children had gotten hold of his pallette and paints, and with her hands had daubed her face in a ludicrous manner. When Mrs. Calmady entered the room she was surprised, until she knew the cause, to find Sir Thomas and his servant busily employed, not in painting, but in washing the child. ..." When the painting was finished Sir Thomas declared, "This is my best picture. I have no hesitation in saying so—my best picture of the kind, quite—one of the few I should wish here­ after to be known by." Original painting in the Collection of Mrs. Huntington. LADY JULIA PEEL. W—124. Engraver's proof. After Sir Thomas Lawrence. Published July 17, 1832. Born in India, 1795. Daughter of General Sir John Floyd, Bart. Married in 1820 to the celebrated statesman, Sir Robert Peel, 2nd Bart. She was the closest and only companion of the statesman in his inmost thoughts. She died in 1859- Original painting in the Collection of Mr. H. C. Frick. MASTER LAMBTON. W—98. Proof before title. After Sir Thomas Lawrence. First published by Sir Thomas Lawrence, January, 1827. Charles Wiliam Lambton, born 1818, died 1831, aged 13 years. He was the eldest son of John George, 1st Earl of Durham (created x833), by his second wife, Lady Louise Grey, daughter of 2nd Earl Grey. The painting was exhibited in the Royal Academy in 1825, but was not placed in the great room. Mr. Lamb­ ton was so incensed because the picture was not placed in the great room that he determined never to give another commission to any of the Academicians. Original painting formerly hung in Sir Robert Peel's house. Original painting in the Louvre, Paris. 4 THE SUNSHINE OF LOVE. W—225. First State, signed by Samuel Cousins. After John Raoux. Published October 7, 1837. 5 MASTER HOPE. W—87. First -State, signed by Samuel Cousins. After Sir Thomas Lawrence. Published April 10, 1836. He was the eldest son of Mr. Thomas Hope, author of "Anastasius," "Costume of the An­ cients," etc; born 1808, died 1862, age 54. Original painting belonging to the Hope family. 6 LADY HARRIET CLIVE. W—36. First State, signed by Samuel Cousins. After Sir Thomas Lawrence. Published June 1, 1840. She was born in 1797, died in 1869. Daugh­ ter of the 5th Earl of Plymouth. Married, 1819, Honorable Robert Henry Clive, M.P. Became Baroness Windsor, 1855. 7 Miss BOWLES (LOVE ME, LOVE MY DOG). W—23. Artist's proof, signed by Samuel Cousins. After Sir Joshua Reynolds. Published March 18, 1875. A portrait of Jane, eldest daughter of Old- field Bowles. Married, in 1791, Richard Palmer, died in 1812. In the "Life and Times of Tom Taylor," 1865, there is an interesting account of how this picture was painted in 1775: "The father and mother of the little girl in­ tended she should sit to Romney. Sir George Beaumont, however, advised them to employ Sir Joshua Reynolds. They answered, 'But his pictures fade.' 'No matter, take the chance; even a faded picture from Reynolds would be the finest thing you can have. Ask him to dine with you—and let him become acquainted with her.' The result turned out every way very happily, for the next day after the dinner she was delighted to be taken to his house, where she sat down with a face full of glee, the ex­ pression of which Sir Joshua caught at once and never lost. The picture did not fade, and has until now escaped the ravages of time. Sir Joshua received fifty guineas for this picture. Lord Hertford gave 1071 guineas for it at the General Bowles Sale made 1850." The original painting is in the Wallace Col­ lection. 8 Miss PENELOPE BOOTHBY. W—22. Artist's proof, signed by Samuel Cousins. After Sir Joshua Reynolds. Published December 1, 1874. She was the only child of Sir Brooke and Dame Susannah Boothby. Born April ir, 1785, died March 13, 1791, being only six years of age. She was three years old when Sir Joshua painted her portrait. There is a monument to her in Asbourne Church. It is said that Queen Charlotte burst into tears at the sight of this monument. Original painting in the Collection of Earl Dudley. 9 MARY ISABELLA (SOMERSET), DUCHESS OF KUTLAND. W—139. Artist's proof, signed by Samuel Cousins. After Sir Joshua Reynolds. Published May 1, 1878. Born 1756, died 1831. Youngest daughter of Charles, 4th Duke of Beaufort, wife of Charles Manners, 4th Duke of Rutland. Original painting destroyed by fire at Bel- voir Castle, 1816. 10 THE AGE OF INNOCENCE. W—226. Artist's proof, signed by Samuel Cousins. After Sir Joshua Reynolds. Painted 1787. Published May 1, 1874. Mr. Vernon bought this at Christie'.'- for 1520 guineas. Original picture in the Vernon Collection, National Gallery. 11 PRINCESS SOPHIA MATILDA OF GLOUCESTER. W—149. Artist's proof, signed by Samuel Cousins. After Sir Joshua Reynolds. Painted 1774. Published November 3, 1879. Daughter of William Henry, Duke of Glou­ cester, and Maria, Countess Dowager Walde- grave. Duchess of Gloucester; born. May 20, 773'- died, November 29, 1844. "The public, viewing the paintings in the Royal Academy of 1774, were able to enjoy the loveliness of her (Duchess of Gloucester's) lit­ tle daughter, rolling on the ground, with her fat, rosy arms around the neck of her play­ mate lapdog, and her sweet round cheeks laid lovingly by the side of his curly head and wet black muzzle." (Tom Taylor, Vol. II, p. 77.) Original painting in the Royal Collection. GEORGIAXA (SPENCEE), DUCHESS OF DEVONSHIRE. W—SI. Artist's proof, signed by Samuel Cousins. After Sir Joshua Reynolds. Published November 25, 1878. Born 1757, died 1806. Daughter of John, 1st Earl Spencer; first wife of William Cavendish, 5th Duke of Devonshire. It was through her influence and powers of attraction that Fox gained his election to Westminster. Walpole styles her "The Empress of Fashion." Wraxall says, "Her hair was not without a tinge of red; and her face, though pleasing, yet had it not been illumined by her mind, might have been considered an ordinary countenance." Original painting in the Collection of Earl Spencer . THE STRAWBERRY GIRL W—228. Artist's proof, signed by Samuel Cousins. After Sir Joshua Reynolds. Published May 1, 1873. This is supposed to be a portrait of Theophila Palmer when young. The picture was painted in 1773. Reynolds once said, "No man ever could produce more than about half a dozen really original works in life." He added, "This (above subject) is one of mine." Original painting is in the Wallace Collection. LAVINIA (BINGHAM), COUNTESS SPENCER. W-151. Artist's proof, signed by Samuel Cousins. After Sir Joshua Reynolds. Published February 1, 1877. Born 1762, died 1831. Eldest daughter of Sir Charles Bingham, 1st Earl of Lucan, and sister to Lady Ann Bingham (No. 18). Mar­ ried, March, 1781, George John, 2nd Earl Spen­ cer, K.G. Original painting in the Collection of Earl Spencer. GEORGINIA (HOWARD), LADY DOVER AND HER SON. W-52. First Published State, with Arms and Motto. Signed by Samuel Cousins. After Sir Thomas Lawrence. Published October, 1831. Lady Dover was the daughter of George, 6th Earl of Carlisle. In 1822 she married George James Agar-Ellis, who in 1831 was created Baron Dover.
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