DOI Kapitel:
Chapter XII
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.62095#0149
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Eighteenth-Century Colour-Prints
none of his works seem to have been published. Wolcot and Paye were friends, but they
quarrelled, and the venomous tongue of the unscrupulous satirist was never weary of
maligning his sensitive friend. Paye made a feeble effort at retaliation : he published a
caricature of the Doctor in a bad imitation of Hogarth’s satire on Churchill ; Wolcot was
depicted as a bear standing before an easel. But after this issue he discovered himself to
be too sensitive, or too proud, to continue the warfare. He made no further fight : he
suffered in silence, and unfortunately his work suffered with him. He became ill and
poor, and the one evil accentuated the other, until death ended both. To me he is
another of those pathetic shadow-figures of the eighteenth century ; wanting little more
than a Forster to prove him a veritable Goldsmith. J. Young and Valentine Green
engraved his pictures, and he himself engraved “ Puss in Durance,” “ No Dance, no
Supper,” and “ Disappointment,” all of them printed in colour, and nothing but the
eccentric configuration of the eighteenth-century cat put the first of these prints out
of court. Paye left a son who also engraved in stipple.
Phillips (Sam), about 1797, is chiefly remarkable because he was neither Charles
Phillips, the early mezzotint engraver, nor George Henry Phillips, the late one, with both
of whom he has at one time or another been confused. “ The Birth of Shakespeare,” and
“ The Birth of Otway,” after Westall, are two of his well-known colour-prints, as are
also “ Meditation ” and “ Gaiety ” after the same artist : “ The Guardian Angel,” after
Maria Cosway, is another. He also engraved “ Ariadne,” “ Bacchus,” and “ Innocence,”
after Richard Cosway, and three of the set of “ The Five Senses,” after Schiavonetti.
Perhaps his best stipple-plate is “ Taste in High Life,” after Hogarth.
Picot (Victor Marie), 1744-1802, was another of Ryland’s foreign friends who
joined him in England. Picot married Ravenet’s daughter, and was elected a member
of the Incorporated Society of Artists. His son, Louis Victor, was the well-known
miniaturist. On the death of his first wife Picot returned to his native country, and
settled at Abbeville, where he joined his brother in engraving and exporting prints.
Among his best works in stipple are a number of female heads with oriental head-dresses,
and a pretty print entitled “ Lovers,” from his own design, all printed in red. One of
his best-known works is Mrs. Cargill as “ Clara,” in Sheridan’s Duenna, after Peters ;
it is generally attributed to Walker, by whom it was published. This celebrated actress
was drowned in 1784 in the wreck of the Nancy packet, on her way from India. Her
body was found on the rocks of Scilly, with an infant in her arms. Picot also engraved
the well-known and much-sought-after print of “ The Fencing Match.” This famous
match between Chevalier D’Eon and M. de St. George took place before the Prince of
Wales, several of the nobility, and many eminent fencing-masters, on the 9th of April
1787, at Carlton House. Other colour-prints by Picot are the “Nymphs Sporting,” and
“ Diana and her Nymphs Bathing,” after Zuccarelli.
Pollard (Robert), 1755-1835.—An artist, driven into the ranks of the engravers by
poverty and a non-appreciative public. He was a pupil of the equally unfortunate genius
Richard Wilson, and was the last surviving member of the Incorporated Society of Artists.
He engraved in various styles, and mingled several in a number of his works with anything
but satisfactory results, but when he kept to stipple and superintended the colour-printing
he was more successful. Amongst the proofs of his success are to be found, in addition
Eighteenth-Century Colour-Prints
none of his works seem to have been published. Wolcot and Paye were friends, but they
quarrelled, and the venomous tongue of the unscrupulous satirist was never weary of
maligning his sensitive friend. Paye made a feeble effort at retaliation : he published a
caricature of the Doctor in a bad imitation of Hogarth’s satire on Churchill ; Wolcot was
depicted as a bear standing before an easel. But after this issue he discovered himself to
be too sensitive, or too proud, to continue the warfare. He made no further fight : he
suffered in silence, and unfortunately his work suffered with him. He became ill and
poor, and the one evil accentuated the other, until death ended both. To me he is
another of those pathetic shadow-figures of the eighteenth century ; wanting little more
than a Forster to prove him a veritable Goldsmith. J. Young and Valentine Green
engraved his pictures, and he himself engraved “ Puss in Durance,” “ No Dance, no
Supper,” and “ Disappointment,” all of them printed in colour, and nothing but the
eccentric configuration of the eighteenth-century cat put the first of these prints out
of court. Paye left a son who also engraved in stipple.
Phillips (Sam), about 1797, is chiefly remarkable because he was neither Charles
Phillips, the early mezzotint engraver, nor George Henry Phillips, the late one, with both
of whom he has at one time or another been confused. “ The Birth of Shakespeare,” and
“ The Birth of Otway,” after Westall, are two of his well-known colour-prints, as are
also “ Meditation ” and “ Gaiety ” after the same artist : “ The Guardian Angel,” after
Maria Cosway, is another. He also engraved “ Ariadne,” “ Bacchus,” and “ Innocence,”
after Richard Cosway, and three of the set of “ The Five Senses,” after Schiavonetti.
Perhaps his best stipple-plate is “ Taste in High Life,” after Hogarth.
Picot (Victor Marie), 1744-1802, was another of Ryland’s foreign friends who
joined him in England. Picot married Ravenet’s daughter, and was elected a member
of the Incorporated Society of Artists. His son, Louis Victor, was the well-known
miniaturist. On the death of his first wife Picot returned to his native country, and
settled at Abbeville, where he joined his brother in engraving and exporting prints.
Among his best works in stipple are a number of female heads with oriental head-dresses,
and a pretty print entitled “ Lovers,” from his own design, all printed in red. One of
his best-known works is Mrs. Cargill as “ Clara,” in Sheridan’s Duenna, after Peters ;
it is generally attributed to Walker, by whom it was published. This celebrated actress
was drowned in 1784 in the wreck of the Nancy packet, on her way from India. Her
body was found on the rocks of Scilly, with an infant in her arms. Picot also engraved
the well-known and much-sought-after print of “ The Fencing Match.” This famous
match between Chevalier D’Eon and M. de St. George took place before the Prince of
Wales, several of the nobility, and many eminent fencing-masters, on the 9th of April
1787, at Carlton House. Other colour-prints by Picot are the “Nymphs Sporting,” and
“ Diana and her Nymphs Bathing,” after Zuccarelli.
Pollard (Robert), 1755-1835.—An artist, driven into the ranks of the engravers by
poverty and a non-appreciative public. He was a pupil of the equally unfortunate genius
Richard Wilson, and was the last surviving member of the Incorporated Society of Artists.
He engraved in various styles, and mingled several in a number of his works with anything
but satisfactory results, but when he kept to stipple and superintended the colour-printing
he was more successful. Amongst the proofs of his success are to be found, in addition