DOI chapter:
Chapter XII
DOI Page / Citation link:https://doi.org/10.11588/diglit.62095#0147
118 Eighteenth-Century Colour-Prints
Meadows (R. M.) worked about 1780-1811. His best works are: “Gathering
Wood” and “Gathering Fruit,” after G. Morland, 1795 ; “ A Ferncutter’s Child” and
“ A Girl Gathering Mushrooms,” after Westall ; and a large print after the same artist
entitled “ A Storm in Harvest.” “Attention” and “Inattention,” after J. R. Smith (a
charming pair) ; “ Juvenile Culprits Detected,” after R. M. Paye ; “ The Fortitude of
Sir T. More,” after Hamilton ; “ Ethelinda and the Knight ” and “ Ethelinda restored to
her Father,” after Stothard ; “ The Marchioness of Thomond,” after Thomson ;
stealing a Child ” and “ The Child Restored,
prints.
published by Macklin, 1792-1796.
and died in 1812.
“ Gipsies
after Singleton, are others of his colour-
He worked for the Boydell Shakespeare and also for the Bunbury Shakespeare,
He published three lectures on engraving in 1811,
The best are Mrs. Jerningham as “Hebe”;
Hoppner ; Lady Leicester as “ Hope,” after Lawrence ; “ Pam, Flush, and Loo,
Opie ; “ Father’s Delight,
Meyer (Henry), 1782-1847, was a nephew of Hoppner, and a pupil of Bartolozzi.
He engraved in mezzotint as well as in stipple, and was peculiarly successful in portraits.
One that he engraved of Aiderman Boydell, after Stuart, is remarkable at once for its
vigour and its delicacy. He was one of the original members of the Society of British
Artists. Now and again, stipple-prints in colour by Henry Meyer come up in salerooms :
they are always refined, but somewhat mechanical and not particularly interesting.
“Psyche” (Honble. Mrs. Paget), after
“ Hope,” after Lawrence ; “ Pam, Flush, and Loo,” after
after W. Derby (companion to “ Mother’s Pride,” after
Lodder). He also engraved a number of ladies’ portraits for Ann Mee’s Gallery of
Beauties.
Minasi (James Anthony), 1776-1865, of whom an excellent account is to be found
in Mr. Tuer’s Bartolozzi and His Works, worked late into the present century. He
was one of Senefelder’s earliest victims, and I should never have considered him among
the possible illustrations but for his stipple-prints after Cosway. “ A Lady with a Young
Girl,” for instance, proves that it was only lack of inclination and not of capacity that
prevented him successfully pursuing this branch of his art. “ The Apotheosis of
Princess Amelia,” after L. A. Byam; “Ferdinand IV. of Italy,” a portrait of “Mrs.
Whiteford,” and some of the Holbein Heads are amongst the work that has survived him.
In the later twenties of the present century he was living in Regent Street, and his son,
a clever young flautist, gave concerts and gathered around him a musical circle, while, to
any of their friends who were interested in olden days and the plastic arts the old man
would gossip with great freedom. My own first interest in stipple-engraving dates from
the recollection of some of these conversations repeated by my grandfather in his
old age.
Ogborne (John), 1725-1795.—Ogborne is another almost inexcusable omission from
the illustrations. He was a pupil of Bartolozzi, indefatigable in industry, successful in his
results, thoroughly characteristic of the period. He was largely employed by Boydell, and
he associated his daughter Mary with him in some of his later prints. He started his
professional life as a line-engraver, and did some fairly good plates after Van Dyck and
Lucas de Heere. He also etched and bit his plates with aquafortis, using the graver
afterwards, but very sparingly, which accounted for the comparative failure of this series of
his work. He had a shop at one time in Great Portland Street, and it was here that the
Meadows (R. M.) worked about 1780-1811. His best works are: “Gathering
Wood” and “Gathering Fruit,” after G. Morland, 1795 ; “ A Ferncutter’s Child” and
“ A Girl Gathering Mushrooms,” after Westall ; and a large print after the same artist
entitled “ A Storm in Harvest.” “Attention” and “Inattention,” after J. R. Smith (a
charming pair) ; “ Juvenile Culprits Detected,” after R. M. Paye ; “ The Fortitude of
Sir T. More,” after Hamilton ; “ Ethelinda and the Knight ” and “ Ethelinda restored to
her Father,” after Stothard ; “ The Marchioness of Thomond,” after Thomson ;
stealing a Child ” and “ The Child Restored,
prints.
published by Macklin, 1792-1796.
and died in 1812.
“ Gipsies
after Singleton, are others of his colour-
He worked for the Boydell Shakespeare and also for the Bunbury Shakespeare,
He published three lectures on engraving in 1811,
The best are Mrs. Jerningham as “Hebe”;
Hoppner ; Lady Leicester as “ Hope,” after Lawrence ; “ Pam, Flush, and Loo,
Opie ; “ Father’s Delight,
Meyer (Henry), 1782-1847, was a nephew of Hoppner, and a pupil of Bartolozzi.
He engraved in mezzotint as well as in stipple, and was peculiarly successful in portraits.
One that he engraved of Aiderman Boydell, after Stuart, is remarkable at once for its
vigour and its delicacy. He was one of the original members of the Society of British
Artists. Now and again, stipple-prints in colour by Henry Meyer come up in salerooms :
they are always refined, but somewhat mechanical and not particularly interesting.
“Psyche” (Honble. Mrs. Paget), after
“ Hope,” after Lawrence ; “ Pam, Flush, and Loo,” after
after W. Derby (companion to “ Mother’s Pride,” after
Lodder). He also engraved a number of ladies’ portraits for Ann Mee’s Gallery of
Beauties.
Minasi (James Anthony), 1776-1865, of whom an excellent account is to be found
in Mr. Tuer’s Bartolozzi and His Works, worked late into the present century. He
was one of Senefelder’s earliest victims, and I should never have considered him among
the possible illustrations but for his stipple-prints after Cosway. “ A Lady with a Young
Girl,” for instance, proves that it was only lack of inclination and not of capacity that
prevented him successfully pursuing this branch of his art. “ The Apotheosis of
Princess Amelia,” after L. A. Byam; “Ferdinand IV. of Italy,” a portrait of “Mrs.
Whiteford,” and some of the Holbein Heads are amongst the work that has survived him.
In the later twenties of the present century he was living in Regent Street, and his son,
a clever young flautist, gave concerts and gathered around him a musical circle, while, to
any of their friends who were interested in olden days and the plastic arts the old man
would gossip with great freedom. My own first interest in stipple-engraving dates from
the recollection of some of these conversations repeated by my grandfather in his
old age.
Ogborne (John), 1725-1795.—Ogborne is another almost inexcusable omission from
the illustrations. He was a pupil of Bartolozzi, indefatigable in industry, successful in his
results, thoroughly characteristic of the period. He was largely employed by Boydell, and
he associated his daughter Mary with him in some of his later prints. He started his
professional life as a line-engraver, and did some fairly good plates after Van Dyck and
Lucas de Heere. He also etched and bit his plates with aquafortis, using the graver
afterwards, but very sparingly, which accounted for the comparative failure of this series of
his work. He had a shop at one time in Great Portland Street, and it was here that the