SILHOUETTE DECORATION ON PORCELAIN AND GLASS.
THE SILHOUETTE THEATRE.
As the oldest type of black profile representation is undoubtedly
connected with the decoration of pottery, it is not to be wondered
at that when silhouette-making by brush, pencil, or scissors was at
the height of its popularity, a return should be made in style to the
antique. The porcelain and glass makers ornamented their work _in
silhouette_, sometimes in the modern form, when the head and neck
would be shown, generally in black upon white china, but also in a few
instances in black upon a reddish terra-cotta colour, when the full
figure would be given in the Greek style, and designs more or less
elaborate would be used as borders, notably, the key pattern, so usually
associated with Greek art, though, as a matter of fact, such patterns
appear in all Oriental decoration. A Vienna factory, and also some of
the French factories of the end of the eighteenth and beginning of the
nineteenth century, made objects with the reddish ground. Silhouette
porcelain was not infrequently made for private individuals, such, for
example, as the specimen owned by Dr. A. Figdor, of Vienna. A female head
painted in black is surrounded by a wreath of forget-me-nots in colour,
and on the back is the inscription, “In remembrance of your affectionate
grandmother, M. J. C.” A fine cup and saucer is in the collection at
Carnavalet, in Paris; amongst those pieces which are associated with
the Revolution, within a frame of olive or laurel, is the silhouette
of Mirabeau, with the name printed below. There is a beautiful tray
belonging to Mr. FitzHenry, of French manufacture. This shows the
silhouette portrait at its best, in gold, as centre ornament. Wreaths
of ribbon garlands and pierced ornament make this fine piece specially
attractive. Besides these individual pieces, specially ordered for
special occasions, there are the pieces of silhouette china ornamented
with portraits of the king or of the reigning family. In Mr. Wellesley’s
collection there is a mug with a portrait of George IV. rather coarsely
done, and we have examined some custard cups with lids, which were also
English. At the Worcester and Bristol factories such painting was done,
though usually less elaborately than at some of the German porcelain
factories. There is an exception, however, in the very fine vase shown in
our illustration. This is in the possession of Mr. Spink, and was made at
Worcester. It stands thirteen-and-a-half inches high, and its elaborate
decoration in gold and colour is extremely effective. The wide band above
the portrait is of chocolate colour, with pencillings of gold in a Greek
design; blue, green, and brown figure on other parts of the vase, and the
lid has a gold knob. The black profile of the king has a band round it,
on which are the words, “Health and prosperity attend His Majesty.”
At Knole there are several beautiful Worcester vases with silhouettes of
George III. and a remarkable breakfast service of German workmanship.
This is complete, and gives the different portraits of the reigning royal
family. Even more elaborate are two vases also connected with royalty;
they were evidently made for centre-pieces when a special dinner service
was used. There are no silhouette portraits on the plates and dishes, but
on the two splendidly ornamental vases, which match in decoration, there
are profiles of the King and Queen of Sweden respectively. These fine
examples are in Copenhagen porcelain; swags of flowers in high relief
show up well on the white ground. Cupids ornament the lids and hold as
a shield gold-framed medallions, where, on a rose-coloured ground, the
silhouettes show with excellent effect. These vases stand sixteen inches
in height.
Amongst the German examples there is a good specimen from Wallenstein
with a silhouette portrait of Frederick the Great in a frame of laurel
picked out in gold. In the Höhenzollern Museum at Monbijou Castle
there is a large service entirely decorated in this way. Teapots and
cream-jugs, basins, sugar and slop bowls, and coffee-cups, all are
complete, and six female and three male heads appear, all being members
of the Royal Family. Frederick the Great is on the coffee-pot.
Undoubtedly such ware was made for presentation. We can well imagine the
special pleasure in a gift which has this very personal touch; the royal
attribute of picture presentation must have been most acceptable when the
useful service became the portrait background.
Not only did the silhouette cast its glamour over the porcelain makers,
but glass manufacturers also utilized the fashion for the original
decoration of their wares. Dr. Strauss, of Berlin, owns a remarkable
glass with a well-cut shank, which shows the head and shoulders of a
woman, with the inscription, “With best wishes for your welfare, your
faithful wife presents you with this. L. W. V. R., August 6th, 1795.”
The silhouette is in gold, and is done by means of a curious process
practised by one Glomi, and called after him _Églomisé_, though the
method was known and utilized long before his time; in fact, as early
as the fourteenth and fifteenth centuries, this etching in gold between
glass was done. Fine specimens, usually cups, goblets, and chalices, for
the use of the Church, enrich our museums. The process is thus described
by Larousse in the _Nouveau Dictionnaire_:—
“_Églomisé_,”
art. _Larousse, “Nouveau Dictionnaire,” Tom. 4_.
Églomisé, ée. (de Glomi, n. pr.) adj.
Se dit d’un objet en verre décoré au moyen d’une dorure
intérieure, suivant le procédé de l’encadreur Glomi, qui paraît
en avoir été l’inventeur au XVIIIe siècle.
Encycl. Les verres églomisés sont ces petits tableaux dont le
sujet est peint sur le verre même qui les recouvre. On fait un
fréquent usage de ses petits panneaux ou de ces lentilles pour
former des dessus de bonbonnières, etc. Ordinairement, le tracé
est fait à la pointe, sur une feuille d’or fixée au vernis
sur le verre. Le mot “églomisé” a été inventé, en 1825, par
l’archéologue Carrand et appliqué par lui aussi bien aux verres
modernes décorés suivant la méthode de Glomi qu’aux objets
beaucoup plus anciens, datant du plus haut moyen âge, où la
feuille d’or est soudée au feu entre deux pellicules de verre.
The work was done on one glass, and another was made to literally
enclose the finely etched gold lines, so that no harm could come to the
decoration. Delicate landscapes as well as figures and portrait busts are
done, and the glass is found coloured as well as clear white. There is
a fine example in the Imperial Austrian Museum at Vienna, in which the
silhouette in gold of a man appears with the inscription, “P. Ferdinand
Karl, Professi Hilariensis. Mildner fec. à Gullenbrunn, 1799.”
In the Glass Gallery at the Victoria and Albert Museum, and at the
British Museum, there are very fine specimens. At the former there is
a drinking glass specially worthy of note. It is of tumbler shape, 3½
inches by 2¾ inches, and is formed of two layers of glass, one of which
is etched in gold leaf, with a group of St. George and the Dragon,
foliated scrolls, festoons, and arabesques. The bottom is coloured red
and etched in gold, with the sacred monogram I.H.S., and the legend,
“Benedictine sit nomen Domini.” The outside is cut in facets. This
example is German early eighteenth century.
Wonderfully vivid hunting scenes are shown in gold-silhouette on an
example of sixteenth-century work owned by Mr. FitzHenry; while black
silhouette work of Nuremberg manufacture is painted in black with flowers
and sacred emblems. Besides the gold ornamented glass, there was also a
good deal made in the same way but decorated in very dark brown or black.
Hunting scenes, elaborately sketched with the minutest detail in tree,
hound, and huntsman, often figure on such pieces.
A volume on the silhouette in all its aspects would be incomplete without
some reference to the use which, from earliest times, has been made of
shadowgraphy to represent isolated scenes, and also complete plays on the
stage.
In Paris, in 1771, the celebrated Theatre Seraphin was founded by
Seraphin Dominique François, who opened his little theatre for
shadowgraphy alone, in the gardens at Versailles.
Slight and dainty were the plays, and we can imagine the silk-clad
audience in powder and patches who would come with the children, or
with no excuse at all, to amuse themselves at the antics performed in
this shadowland. Little they cared for the real shadows of the terrible
Revolution which were already gathering as they applauded the silhouettes
of Seraphin.
“Venez garçons, venez fillettes,
Voir Momus à la silhouette.”
Twenty-six years later, after the stormy days of the Revolution,
marionettes were added to the attraction of Chinese shadowgraphy, which
still lingers in the magic-lantern shows of to-day.
For the palmy days of the silhouette theatre we must look a long way
down the centuries, and the recent astounding find of a large collection
of ancient figures used in the shadow plays of old Egypt enables us to
actually see how the Egyptian figures looked and how they worked. The
history of their discovery by Dr. Paul Kahle in one of the villages of
the Delta is a fascinating one, too long for these pages, but the signs
and proofs of antiquity are complete. The coats of arms of the Mamelukes
used in the thirteenth century are used as ornaments, and the leather, of
which the human figures, ships, and birds are made, is cleverly cut, so
that a mosaic of richer colouring is visible.
In the twelfth and thirteenth centuries there are renowned actors in the
shadow theatre, and even as early as the eleventh century performances
are mentioned. The stage was formed by a thin sheet, behind which there
was a strong light, and the figures were moved with two sticks fastened
in the middle of the back.
In Java legendary history is taught by means of itinerant silhouette
shows. These figures are also of leather, from eighteen inches to two
feet in height. They are moved by means of horn sticks; they were in
existence before Mahometanism came to the island. In China silhouette
plays always represent a priest of Buddha as the central figure, and he
is made to dance in imitation of the movements made in the performance of
religious rites.
On the night of the festival of Diwali in India men exhibit a huge
cylindrical paper lantern, over the sides of which shadow figures pass in
succession, so that Gonard’s lamp in the Palais Royal, that was decorated
with silhouettes to guide his clients to his salon, might have come
straight from the East.
Special plays for performance on the stage of the shadow theatre were
published as late as 1850, written some years before by Brentano for the
amusement of his family, for shadowgraphy was often practised in the
middle-class houses.
Pocci also wrote a play for the shadow theatre, and Henri Rivière
produced the “Prodigal Child” and the “March to the Star,” both shadow
tableaux rather than plays, arranged in seven elaborate scenes.
ALPHABETICAL LIST OF SILHOUETTISTS, MAKERS OF SILHOUETTE MOUNTS, AND
OTHERS CONNECTED WITH THE CRAFT.
In attempting this the first list which has ever appeared of silhouette
artists, apology must be made for inevitable omissions. Since commencing
it six years ago, obscure examples have been found which give the names
of unknown painters or cutters, possibly amateurs, who have left no
other sign of their work except this ghost of the past. Sometimes a rare
specimen has been the means of adding to the list of silhouettists a man
or woman already well known in some other branch of artistic work, such
as Dicky Doyle and the late Phil May, examples owned by Mr. Desmond Coke.
It is well known that while the fashion for shadow portraiture lasted,
many artists used the method but did not sign their work, thinking
perhaps that this passing mode was not one altogether worthy of their
reputation in other branches. It is the exception rather than the rule
for silhouettes to be signed, whatever the process chosen. Connoisseurs
are enabled by careful study to recognise at a glance examples of
well-known silhouettists, such as Miers, Rosenberg, Mrs. Beetham, or
Edouart, by their treatment of hair or some slight characteristic touch;
but as a rule the shadow pageant passes before us nameless, elusive. We
hope to rescue from final obscurity some of the names of the lesser men,
and perhaps the list, however incomplete, may help owners to identify the
originals of these shadow sitters of the past. When possible, dates of
birth and death are given; but often only a single date is available—that
when the portrait was taken. In many cases the advertisement at the
back of the frame gives us the desired information; but comparatively
few examples are still in the original frames provided by the artist.
Even if the frame has not been changed, the glass may have been broken,
rendering the opening of the back necessary for renewal, with destruction
to the trade label. Beneath a second covering, for dust-proof purposes,
it is sometimes possible to find a name, but each year the chances of the
preservation of such clues is lessening. The author will be glad to have
information sent to her in order to add further information in view of a
later edition of her work.
It has been thought advisable for purposes of reference to arrange the
names in alphabetical rather than chronological order. As the methods
of silhouetting in different countries do not vary to any large extent,
and as most of the workers travelled widely, so that, for example,
Hubard, though an Englishman, did much of his work in America, and August
Edouart, a Frenchman, is best known in the British Isles and the United
States, the artists have not been grouped according to their nationality,
nor with regard to their mode of work. The alphabetical order seemed on
the whole to be the most convenient.
ACKERMAN. Published a sheet of silhouettes of children playing in groups,
about 1830.
ADAM, J., Vienna. Engraved mounts for silhouettes.
ADOLPHE. Signature on silhouette of George IV. in black ink, gold on
hair and rings. XXIII. Advertisement on a signed portrait of Lady John
Townshend, 1840, in the National Portrait Gallery. “The Origin of
Profiles, sketched by Mons. Adolphe, Portrait, Animal, Miniature and
Profile Painter, 113, St. James’s Street, Brighton.” Then follow verses
commencing—
“’Twas love, ’twas all inspiring love ’tis said,
Directed first a female hand to trace.”
ALDOUS. On the silhouette portrait of his late Royal Highness Frederick
Duke of York is written, “Drawn on stone by Mr. Aldous.”
ANTHING, F. (1783-1800). One of the finest painters of silhouettes.
Volume of 100 silhouettes of his notable personages was published (see
Bibliography). Three large silhouettes by this artist were exhibited at
the Berlin Exhibition. Worked in St. Petersburg.
ASMUS, HILDEGARD. Cut genre subjects in black paper.
ATKINSON, G. (1815). Lived at Windsor. Was called Silhouettist to the
Royal Family. A large group of George III. and his sons, cut in black
paper and touched with gold, was exhibited at the Royal Amateur Art
Society’s Exhibition in 1911. Owner: G. Sharland, Esq. XXXVII.
AYRER, GEORG FREDERICK. Late eighteenth century. Did much of his work
at Lausanne. Of him was written by Madame Weston (_née_ Bry) in 1778:
“Tous les talents meritent qu’on les prise. Le votre est amusant joli
interessant. En le perfectionnant vous rendez inutile qu’au bas de vos
portraits on ecréve son nom.”
BARBER (1821).
BAUSER, M. (1779). Head of a man published in Germany in a book of
operettas (see Bibliography).
BEAUMONT. Signature on portrait of Ed. Copleston, D.D., taken 1845.
BECKMAN, JOHANNA. Fine foliage work, black paper. Modern.
BEETHAM, MRS. (1785), 27, Fleet Street. Painted on card, plaster, and
convex glass, sometimes filled with wax. Jewel examples of her work are
rare—one brooch in the Wellesley collection, one owned by Mrs. Head. Mrs.
Beetham’s work is very fine; ribbon gauze and hair are done with great
taste and dexterity. Her advertisement on an example in the possession
of her descendant, Dr. Beetham, runs thus: “Profiles in miniature by Mrs.
Beetham, No. 27, Fleet St., 1785.” X., XI., XLIX.
BETTS. Made a “newly-invented machine” for reducing the life-size shadow.
BLACKBURN, J. (1850), King Street, Manchester.
BLUM (1795). Cut silhouette portraits for the _Annalen der neueren
theologischen Literatur in Kirchengeschichte_, 7th vol., 1795.
BLY. Cut silhouettes in black paper at the West Pier, Brighton. Present
day.
BOCKTON. On portrait of Sir Wm. Wynne Knight, LL.D., Dean of the Arches
and Judge of the Prerogative Court of Canterbury. “Mr. Bockton, his
Proctor, took his resemblance as he sat giving judgment.”
BÖHLER, DR. OTTO, Vienna. Cut twenty-one silhouettes of musicians and
others, which have been reproduced. He is considered by Herr Julius
Leisching to be one of the best modern German silhouettists.
BONNES.
BOUVIER, J. Signature on the portrait of the Right Hon. Sir R. Peel,
Bart., M.P., showing the New Exchange, Glasgow, in the background.
Published by Wm. Spooner, 377, Strand. Lithograph in the National
Portrait Gallery.
BRANDES, MINNA. Born 1765, in Berlin. A girl’s head thus named, probably
herself, done by some silhouettist of the day, appears in the operettas
published in Germany in 1799 (see Bibliography).
BRETTANER, BARBARA (1721). Parchment cutter.
BROWN, MISS. Said to have cut Gibbons’s profile without a sitting.
BROWN, WILLIAM HENRY. Born May 22nd, 1808, in Charlestown, South
Carolina. Itinerated in the United States. He cut mostly full-length
portraits, and called his studio the Brown Gallery in whatever town
he worked. A book was published with twelve silhouettes by him, mostly
full-lengths with elaborate backgrounds, also facsimile autograph letters
of the people whose portraits are given (for full title of book, see
Bibliography).
BRUCE, I., 85, Farringdon Street; and 3, Somerset Place, Brighton.
Signature on a series of early nineteenth-century portraits in the
National Portrait Gallery, which include Lord John Russell and William IV.
BURMESTER (1770). Court silhouettist in Berlin.
CAPUCHIN, F. AGATHAUGDUS BONNENSIS. Signature on fine cut paper; ornament
with bishop’s arms.
CHARLES, 130, Strand. Worked with pen and Indian ink; sometimes he
used colour on the dress. A signed specimen of Georgina, Duchess of
Devonshire, and one of Fanny Burney, owned by Mr. Wellesley; others owned
by Mr. Leslie and Mr. F. G. Rowson. In his advertisement, which bears an
engraved head on the label, he describes himself as “the first profilist
in England,” 138, Strand, XI., XV., XIX.
CLARKE, W. (1781), of Newcastle. Painted on plaster. Label on an example
in the Wellesley collection.
COOPER. Signature on portrait of a man painted on card in red brown
touched with gold. Date 1833. At Knole.
COOS (1782). Signature on woman’s profile portrait on gold glass
background; in the collection at Knole. XXI.
CURTIS, ELEANOR PARK (1779-1852), step-daughter of Washington, first
President U.S.A., whose silhouette she cut at Mount Vernon in 1798. This
portrait is bust size, looking right.
DEINVEL, F. Silhouettes cut out of paper blackened with Indian ink, the
hair, lace, and other ornaments being added with the pen on the mount;
engraved mounts sometimes used.
DEMPSEY. “Profilist. Established No. 30, Manchester Street. Likenesses in
shade, 3d.! Bronzed, 6d.!! Coloured, 2s. 6d. Observe it is Dempsey’s.”
Advertisement label on two full-length men’s portraits with painted sepia
background. Owner: Mr. Desmond Coke.
DENON, DOMINIQUE. Medallist, engraver, silhouettist. Born
Châlon-sur-Saone, died in Paris. He accompanied Napoleon to Egypt. His
silhouettes are mounted with elaborate borders.
DESFONEAUX, T. E.
DEWEY (1800). Name on silhouette of Ambrose Clarke, in the possession of
Mrs. Wm. A. Fisher, U.S.A.
DEYVERDUNS. Eighteenth-century silhouettist.
DIEFENBACH. Cut genre pictures in black paper. Present day.
DIETERS, HANS. Silhouette cutter, nineteenth century. A fine portrait of
Bismarck, with two of the great hounds named after him, is used as an
illustration in “The Revival of the Silhouette.”
DÖHREN, JACOB VON, Hamburg. Reduplication of silhouettes; process
mentioned in book on Bon Magic (see Bibliography).
DUMPLE. Advertisement label on an example in the Wellesley collection.
EBERLE, CONSTANCE, Brünn. Cut silhouettes.
ECKART. A labouring man of Berlin; his clever silhouette cutting was
brought to the notice of the public by Werkmeister.
EDOUART, AUGUST. Born 1789, died 1861; a Frenchman. Served under
Napoleon, and was decorated. He married Mademoiselle Vital, and during
the political crisis came to England. Cut silhouettes in doubled black
paper; itinerated in the large towns in England and on the Continent. He
kept books of duplicates which contained upwards of 100,000 portraits;
these included the French Royal Family taken at Holyrood, hundreds of
the gentry and nobility of Great Britain, besides professional men,
statesmen, politicians, and almost every man and woman of note of his
time. He wrote a treatise on silhouettes (see Bibliography), a demy
octavo volume with many illustrations, which is now very rare. When
upwards of fifty years of age, Edouart went to America, and while
there cut the portraits of presidents, soldiers, sailors, senators,
and famous men and women in the States. In 1849 the ship “Oneida,” on
which the artist returned, was wrecked, and many of his valuable volumes
of duplicates were lost. Some 9,000 portraits, however, in fourteen
volumes, were saved, and form a remarkable collection of the celebrities
of his day (see chapter on “Edouart and his Book”). IV., V., VI., VII.,
XV., XXIV., XXV., XXVII., XXXVII., XXXVIII., XL., XLI., XLIII., XLIV.,
XLVIII., L., LVII., LX., LXIV.
EDWARDS, E. C. (1824). Name on silhouette of Thomas Coke, of Holkham,
afterwards Earl of Leicester. From a drawing made at Holkham.
EDWIN, HENRY. Silhouettist of the second half of the nineteenth century.
Cut the portraits of Lords Iddesleigh, Tennyson, and Salisbury, Mr.
Gladstone, and many other famous men. A small paper book was published
with a few of his fancy subjects.
ELIZABETH, PRINCESS, XIII., XXXIV., XXXV., XXXVI., LXII., LXIV.
FERPELL (1837). Signature on a sheet of five engraved silhouettes at
Knole. The portraits are of the Duke and Duchess of Dorset, of the
eighteenth century, and their three children.
FIELD, J. Born 1771, died 1841, at Molesey. Painted in black on glass,
plaster, and card; nearly always pencilled with gold. He was for many
years in partnership with Miers, when the names Miers & Field appear on
the label. Afterwards, “J. Field, 11, Strand, late of the firm of Miers
& Field,” is found on the backs of his fine portraits. Thus: “J. Field,
Profilist to their Majesties, and H.R.H. the Princess Augusta, No. 2,
Strand, London, two doors east from Northumberland House. Upwards of
thirty years sole profile painter, and late of the firm of Miers & Field.
Continues to execute his long approved likenesses, combining expression
and character with accuracy of finish, so as to give the most pleasing
resemblance, for frames, cases, frontispieces for library works, and even
in minute size for bracelets, brooches, lockets. Time of sitting, three
minutes. Mr. F. preserves all the original shades, by which he can at
any time furnish copies, if required, without the necessity of a second
sitting. Copies correctly taken from profile busts. Miniature frames and
cases of every description manufactured by H. W. Field; also jewellery
and seal engraving.” This label is on a portrait of himself by J. Field,
in the possession of his great-grandson. VIII., IX., X., XXII.
FINKENTSCHER, OTTO. Cut silhouettes, chiefly animals.
FIRTH, FREDERICK. Cut silhouettes, which are generally pencilled with
gold. Advertisement in the possession of Mrs. Wadmore: “The nobility,
gentry, and inhabitants of Tunbridge Wells are respectfully informed that
Master Firth will remain but one week longer in this town. Those ladies
and gentlemen who have not yet completed their family sets are requested
to make early application. That extraordinary talented youth, Master
Firth, who has been the astonishment of all lovers of the fine arts, will
exercise his ingenious and interesting profession for one week longer in
this town, next door to the Ladies’ Bazaar, Parade, etc. His prices—A
plain bust, 1s.; duplicate of ditto, 6d. A bust in gold bronze or shaded,
with drapery, 2s. 6d. Whole-length figure in plain black, 2s. 6d.; ditto,
duplicate of ditto, 1s. 6d.; ditto, very highly finished, 2s. 6d. The
much-admired coloured profiles, 10s. 6d. Whole-length figure in bronze
or shaded, with drapery, developing every characteristic peculiarity of
hair, dress, etc., 5s. 6d.”
FLINT, ANDREAS.
FOLWELL, S. Signature on a portrait of George Washington, 1791. Painted
on card.
FORBERGER, A. (1795), Paris. Painted on glass, gold lined. A memorial
silhouette is in the Wellesley collection. (See Plates.)
FOSTER, EDWARD WARD. Born in Derby 1761, died 1864. Described on his
trade label as from London. In 1811 he was at Mr. Abbott’s, Trimmer,
Friar Gate. Most of Foster’s work is in sanguine reddish colour, painted
on card. There is often a minute diaper pattern of stars on the dresses
of women and children; occasionally greens and blue tints greatly enhance
the beauty of his silhouettes. His signature is rare. Occasionally it is
found written minutely, as on the portrait of the Countess of Blessington
in the collection at Knole, Sevenoaks. His name is occasionally embossed
in the brass ornamental ring of the papier-mâché frame.
FOWLER. On signed portrait of George III., with minute writing forming
ornamental lines.
FRANÇOIS. French silhouette cutter of the present day. Worked at Earl’s
Court Exhibition, 1911.
FRANKLIN. Worked in the Thames Tunnel. Early nineteenth century.
FRERE, J. Signature on painted silhouette portrait of a man, white collar
and stock, in the possession of the author.
FRÖHLICH, KARL, of Berlin. Cut silhouettes after drawing.
GABILLON, Vienna. Illustrated “Puss in Boots” in silhouette, 1876-1877
(see Bibliography).
GAPP, J. (1829), Brighton. Worked on the Chain Pier. Label on full-length
cut portrait of a boy, in the collection of the author. “Daily at the
Third Tower on the Chain Pier. Full length, 2s. 6d.; bronze, 4s.; on
horseback, 7s. 6d.; horses, 5s.; dogs, 1s. 6d.; small cuttings for
scrap-books.” Sala in his “Brighton as I have known it” writes: “Old
Chain Pier cabins, where they took portraits known as silhouettes, which
were profiles, cut out apparently of black sticking plaster, stuck on
pieces of card.” XLI.
GEIGNER, FRANZ. Born 1749, died 1841. Cut silhouettes with indented
outline.
GIBBS, H. Painted on glass, plaster and card. “H. Gibbs, profilist,” on
the back of a portrait of a woman in Empire dress, painted on glass with
wax filling. Owner, the author. “H. Gibbs, profile painter, Queen Street,
Ranelagh, Chelsea,” on silhouette painted on card, black profile, blue
coat, yellow buttons. At Knole, Sevenoaks.
GIBBS, M. Painting on glass, white relief, card back. Early nineteenth
century.
“M. G.” Signature on book of silhouettes of children mentioned in _Notes
and Queries_.
GILLESPIE, J. H. (1793). “Likenesses drawn in one minute by J. H.
Gillespie, profile painter,” on three painted silhouettes owned by Mrs.
Whitmore, Bromley. Greyish black with dead black lines, white relief, LIV.
GNESIENAN, FRAU VON.
GODFREY, W. F. Label on the portrait of a woman painted on convex
glass in possession of the author. The face is black, the dress white,
gold earrings and a tortoiseshell comb in her hair. “W. F. Godfrey
announces to the nobility and gentry of this town and its vicinity,
that he executes likenesses in profile shadow in a style particularly
striking and elegant, whereby the most forcible animation is reduced to
the miniature size for setting in rings, lockets, bracelets, etc. W.
F. G. having a successful practice for the last seven years, and the
honour of taking the principal families in Somerset, Cornwall, and North
Devon to their fullest and entire satisfaction; and one trial only is
required to ensure confidence and recommendation. Likenesses, beautified
and enamelled on flat and convex glass, in bronze on paper or glass.
Likenesses taken in colour. Ladies and gentlemen waited on at their own
houses in town or country.”
[Illustration: SILHOUETTE PORTRAIT OF A LADY
On Plaster]
GOËTHE (1749-1832). German poet. Cut the silhouette of Fritz von Stein
and others, now in the Goëthe Museum at Weimar.
GONARD (1784), Paris. At the Palais Royale cut paper and painted; used
elaborate printed mounts. His address in 1788 was Palais Royale, under
arch No. 167, at the side of Rue des Bons Enfants. Here his studio was so
frequented that a special lantern, decorated with silhouettes, was used
at night, that carriages and chairs might draw up for the convenience of
his aristocratic sitters. XXII.
GRAFF, A. Born 1736, died 1813. Portrait profilist, German.
GRAFF. Described as “Portraitist.”
GRAPE (1793), Göttingen. Signature on silhouette portraits in the fifth
volume of _Annalen der theologischen Literatur in Kirchengeschichte_ (see
Bibliography).
GRASSMEYER. Signature on cut silhouette in engraved mount.
HAINES, E. Worked on the Chain Pier, Brighton, 1850. Label on a man’s
full-length portrait from the collection of Mr. Montague J. Guest, now
belonging to the author: “Profilist and Scissorgraphist, patronised by
the Royal Family, most respectfully informs the nobility and gentry, and
visitors of Brighton, that he continues to execute the peculiar art of
cutting profile likenesses in one minute with the aid of scissors only,
so as to equal any yet produced by the most accurate machine. Terms:
Full-length portrait, 2s. 6d.; ditto bronzed, or two of one person, 4s.;
bust, 1s., or two of one person, 1s. 6d. Portraits of many interesting
living characters may be seen at the first left-hand tower on the Chain
Pier. Families attended at their own residences without additional
charge. Proprietor of original weighing machine.” Bishop, writing of the
Brighton Chain Pier in 1897, writes of the old tower keeper, Mr. Haynes,
a skilful silhouette cutter, “was very deaf, and his invariable reply to
any question was ‘1s. 6d. head and shoulders; 2s. 6d. full length.’” XXXI.
HAMLET (1779-1808). Label on a portrait painted on glass of His Serene
Highness Count Beaujolais, brother to Louis Philippe of Orleans,
afterwards King of France, “done for the Parry family, Bath, April,
1807.” His addresses are 12, Union Street, on a portrait of Princess
Sophia in the Wellesley collection, and 17, Union Passage.
HANKS, MASTER. Silhouettist mentioned in the Catalogue of the Exhibition
of the Maryland Society of Colonial Dames of America, held January, 1911.
The name occurs on a silhouette of Miss Henrietta Moffet, belonging to
Mr. and Mrs. Whitbridge.
HARDING, Henry Street, London (Foster & Harding, London). Cut in paper by
Mr. Harding “on the silhouette of Mr. Lawless, Irish Agitator,” in the
National Portrait Gallery.
HAYD, H. Painted silhouettes.
HEINEMANS. Cut silhouette of Goëthe, about 1763.
HEINRICH, ERNST (1792-1862). Cut the portrait of Countess Salm Proshan;
also painted silhouettes.
HENNING, C. D. Born 1734. Engraver, painter, and silhouettist.
HENSEL, F. and C. Cut twelve silhouettes to illustrate “Grimm’s Fairy
Tales,” published in a book entitled “Lus Märchenland.”
HENVE, HENRY, 12, Cheapside. Label on silhouette owned by Mr. Wellesley.
HERBERT, M., of Geneva. In 1761 Horace Walpole writes to Sir Horace
Mann and asks him to thank the Duchess of Grafton on his behalf for the
découpure of herself, “her figure cut out in card by M. Herbert, of
Geneva.”
HERVÉ. “Artist, 172, Oxford Street,” on cut paper silhouette of a lady in
early Victorian dress. It is painted in gold. Owner: E. Jackson.
HESSELL, L. H. (1757), St. Petersburg. Painter of silhouettes and copper
engraver. Invented a machine to take silhouettes by daylight.
HOERING. German.
HOWIE. Painted the silhouette of Gilbert Burns, brother of Robert Burns,
now in the Scottish National Portrait Gallery, Edinburgh.
HUBARD, MASTER (1833). Began to cut silhouettes at the age of twelve.
Label on portrait of Princess Victoria when a little girl. He also
painted in Indian ink touched with gold. The Hubard Gallery was at
109, Strand. When seventeen years of age he landed in New York, and
itinerated in the United States for many years, charging fifty cents for
his silhouettes. A full-length portrait of a man, in the possession of
the author, has “Hubard Gallery” embossed in the corner of the cardboard
mount. Cut with scissors without drawing or machine at the Gallery of
Cutting and Philharmonic Concert Room. This is the silhouette of John
Grey Park, of Groton, Mass.: “cut in 1824” is on one of his figures.
Hubard also visited Boston, and worked at the Exchange Coffee House. XLV.
HUBERT. Cutter of two silhouette portraits of Voltaire _en deshabille_,
published in _Illustrated London News_, June 9th, 1860.
HÜBNER (1797). On a fine painted silhouette of a child with long hair,
belonging to Madame Nossof, Moscow. LIX.
HULM. Eighteenth century. Signature on silhouette scarf-pin, metal.
HUNT, MRS. LEIGH. Cut Byron’s silhouette. LI.
HONIGSMANN, R. Painted silhouettes in Indian ink.
ICHIYEISAI YOSHIIKU (1824-1895). Japanese artist, who worked in
silhouette. Two examples of his shadow prints show a cray-fish and red
shell-fish, gold-fish and carp, in silhouette. A portrait of the actor
Onoye Takanojo in colour and with silhouette is one of a series entitled
“Mako no tsuki Hana no Sugata-ye” (“A flower form picture (before) a real
moon”).
JEFFRESON. Name on label, gold bronze silhouette. Early nineteenth
century.
JONES. Advertisement in the _Northampton Mercury_, December 30th,
1752:—“Shading Likenesses in Miniature Profile, on an entirely new plan
and with great improvements. Taken in one minute by Mr. Jones, Artist and
Drawing Master, from the Royal Academy, London. That no person may be
deprived of their own friend’s likeness, they will be done at so small
a sum as 2s. 6d. Nothing required unless the most striking likeness is
obtained. Specimens may be seen each day from 12 till 7, at Mr. Balaam’s,
Saddler, Northampton.”
JORDEN, RICHARD (1780). Painted on glass. No relief.
JORDEN, W. (1783). Painting on flat glass, six portraits of the Deverell
family, formerly in the collection of Mr. Montague J. Guest, now owned by
the author.
JOUBERT. Name on silhouette at Knole of boy cut, in ornamental engraved
mount. Printed beneath the portrait is, “Fait par Joubert, peintre en
miniature.” XLVII.
KAFFKA, J. C. Head of a young man in the operettas. Probably himself (see
Bibliography).
KAY, G. (_alias_ WIRER). “Scissor-worker, photographist, miniature
painter of the city of Oxford.” In 1877 was in Scarborough.
KELFE, M. LANE. Fecit April 16th, 1781, Bath. On man’s portrait, black
profile, uniform in grey relief. E. A. Girling. Owner: Mr. Desmond Coke.
KEMPTON, W. Name on profile shade of “Francis, late Duke of Bedford,”
taken at Ampthill Park.
KINDERMANN, JOHANN (1809). Gold-backed silhouette with pencil drawing.
Sacred picture, with colours in landscape.
KING, WILLIAM, “Taker of profile likenesses, respectfully informs the
ladies and gentlemen of Portsmouth that he will take a room at Col.
Woodward’s on Wednesday next, and will stay ten days only to take profile
likenesses. His price for two profiles of one person is twenty-five
cents, and frames them in a handsome manner with black glass in elegant
oval, round, or square frames, gilt or black. Price from fifty cents to
two dollars each, etc.”—Advertisement in the _New Hampshire Gazette_,
U.S.A., Tuesday, October 22nd, 1805.
KNIGER, HEINRICH. Silhouettes with touches of colour, black faces, bodies
in water-colour. Signature on town criers’ and bell-ringers’ silhouettes.
KOCH, F. R. (1779). Name on a girl’s head in the operettas (see
Bibliography).
KÖMPF. Designed silhouettes for book “Martin Spitzbauch,” 1806.
KONEWKA, PAUL. Born 1840, died 1871. One of the best known silhouettists
of the nineteenth century. Illustrated several books with silhouettes,
cut portraits for plays and children’s books, designed, but did not
himself cut, some of his early work. Much of it is signed “K.” XIV.
KORINTHEA. Daughter of the potter Dibutades. First traced shadow of her
lover when he was leaving her (600 B.C.) in Corinth; related by Pliny.
KUNST, FRIEDRICH, Möllen. Made scissor-cut silhouettes.
KUNST, THEODOR. Began to cut silhouettes when twelve years of age.
LANGERVELS, H. (1820).
LASSE. Signature on portrait of the Emperor Paul of Russia as a child. In
the possession of Madame Nossof, Moscow.
LAVATER, J. G. The famous Swiss divine and author, whose learned work on
physiognomy is largely illustrated by the silhouette portraits of the
famous men of his day, cut or drawn by himself or his assistants. Many
profile portraits by artists such as Michael Angelo, Vandyck, and others,
are used in his book for purposes of examination.
LEA, of Portsmouth. Signature on portrait painted on glass of Admiral Sir
J. Lawford.
LEU, Portsmouth. Painted on convex glass, end of eighteenth century. Much
the same method as Mrs. Beetham, but not so fine.
LEWIS. Profilist. Signature on portrait of Mr. J. Cunliffe, of York
(1808). In the possession of Mrs. Fleming. XXVI.
LIGHTFOOT, MRS. About 1785. Advertisement on two silhouettes, painted,
in the possession of Miss Cumings, North Wales:—“Perfect likenesses in
miniature profile, taken by Mrs. Lightfoot, Liverpool, and reduced on a
plan entirely new, which preserves the most exact symmetry and animated
expression of the features. Much superior to any other method. Time of
sitting one minute. N.B.—She keeps the original shades, and can supply
those she has once taken with any number of duplicates. Those who have
shades by them may have them reduced and dressed in perfect taste.
All orders addressed to Mrs. Lightfoot, Liverpool, will be punctually
despatched.”
LINCOLN, P. S. Signature on several portraits in the collection of Mr.
Montague J. Guest, sold at Christie’s, April 11th, 1910.
LLOYD, A. E., Chain Pier, Brighton. Second half of nineteenth century.
Cut paper pencilled with gold.
LOCKE, M. (_fecit_ 1843). Signed on full-length of lady holding book, 9
inches by 6½ inches. Owned by Mr. J. R. Hall.
LOEKSI. A Polish silhouette cutter who itinerated in Ireland, holding
exhibitions in each city. Advertisement on an example in the Wellesley
collection.
LONGINATE, 81, Margaret Street. On printed silhouette of Granville Sharp,
Esq., born 1734, died 1813. Published by L. Nichols & Co., December,
1818. In the N. P. G.
LÖSCHENKOHL (1780), Vienna. Painted originals of engraved silhouettes.
Published in an almanack for 1786.
MACKENZIE. Signed “F.M., after Atkinson,” on silhouette portrait, full
length, of Prince of Wales (late King Edward VII.) in his perambulator
(1847) with the Princess Royal. At Knole.
MACKINTOSH. 19th century. Address: St. Andrew Street, Edinburgh.
MACLISE (1806-1870). Born at Cork. Historical painter. Amongst his
drawings bequeathed to the Victoria and Albert Museum by Mr. Foster,
there are two heads in black silhouette and two cut silhouettes measuring
1¼ inches.
MANDERER, E. Illustrated a children’s book with silhouettes.
MANNERS, W. H. Cut the silhouette of Sir Thomas Swinnerton Dyer, R.N.,
eighth baronet. Born 1770, died 1854.
MAPLETOFT. A fellow of Pembroke College. Cut a black shade of Thomas
Gray, “taken after he was 40.” In the Strawberry Hill collection a
profile of the poet was described as “Mr. Thomas Gray, etched from his
shade by W. Mason.” Mr. George Sharf, in the _Athenæum_, February 24th,
1894, considers it a happy instinct to make use of the silhouette for
producing a more complete portrait. The black shade of the poet preserved
at Pembroke College directly inspired the best known portrait of Gray by
Basire.
MARIA THERESA. Two white paper cuttings appeared in the Brünn Exhibition
attributed to the scissors of the Empress.
MARTINI, VIGER. On painted silhouette of Blondin, dancer at the Théatre
Italien, Comedié Français, and others. In the National Portrait Gallery.
These portraits are usually about 5 inches by 2½ inches. Sometimes
modelling in the face is suggested by brushwork.
MASON, W. Profile painter and printseller, Cambridge. Label on portrait
of Ed. Daniel Clarke, LL.D., Professor of Mineralogy, Cambridge, who died
March 9th, 1822, aged 53 years.
MAY, PHIL. Died 1910. This brilliant black and white artist occasionally
worked in silhouette, giving to each portrait his inimitable touch of
good-natured caricature. Signature on several silhouettes owned by Mr.
Desmond Coke. XV., XLIX.
MAYER, JOSEF. Signature on silhouette of a young lady on a gold ground.
MAYER, STEPHANUS (1813). Signature on a portrait finely etched on glass
with gold ground.
MELFOR, S. Name on cut silhouette of early Victorian lady in lace collar,
gold lines on black dress.
MERINSKY, F. D. Cut silhouettes, the paper afterwards stamped in slight
relief.
MERRYWEATHER. Profilist. Label on the back of cut silhouette of a girl,
in black paper bronzed with gold.
MEWES, Magdeburgh.
MIERS, JOHN. Silhouette painter; generally painted in unrelieved black
on plaster. His earliest label is very rare. “Perfect likenesses in
miniature profile taken by J. Miers, Leeds,” on a portrait of a man in
the possession of the author. Other labels give “John Miers, 111, Strand,
opposite Exeter ’Change, Profilist and Jeweller, late of Leeds.” His name
is first mentioned in the _London Directory_ of 1792. Another address is,
“J. Miers, late of Leeds, 162, Strand, opposite New Church.” Also, “Miers
& Field,” when he commenced a partnership with John Field, which lasted
many years. “Miers & Field, 111, Strand,” appears in Kent’s _London
Directory_ of 1827. Considerable trouble clouded the latter years of the
artist’s life. IX., X., XI., XIX., XXIII.
MILDNER (1799). Gold silhouette on glass goblet enclosed in second glass
(_églomisé_).
MILNER, JAMES, 78, Grange Hill Road, Eltham. Pen-and-ink silhouette
portraits. Present day.
MÖGLICH (1742), Augsburg. Drew silhouettes or etched on glass on a gold
ground.
MORSE, LEONARD BECHER (1783), St. John’s College, Cambridge.
MOSER, KOLOMAN, Vienna. Illustrated a book of caricatures in silhouette
cut out of coloured papers (see Bibliography).
MULACZ, OLGA, Vienna. Cut silhouette pictures to illustrate Goëthe’s
“Faust,” etc.
MÜLLER, H. Silhouette in Indian ink.
MÜLLER, WILHELMINA. Cut very minute landscapes in black paper. A man of
humble origin, who possessed the gift, but made little use of it.
MURATORI, SIGNOR. Extract from _Art Journal_, 1853:—“Papyrography is the
title given to the art of cutting pictures in black paper. Some specimens
that have recently been shown by Signor Muratori are certainly the most
ingenious works we have ever seen; they are executed with scissors only.”
MUYBRIDGE. Mentioned as English silhouettist by Gardner Teall.
NEÄTHER (1809). Cut silhouettes.
NEVILLE, J., Pool Lane.
NILSON (1721-1788). Member of the Vienna and Augsburg Academy. Cut a
silhouette of Josef II.
NILSON, ANDREAS, father of above. Silhouette and miniature painter.
NOETHER, J. (1776). German.
NOWAK, ANTON. Cut portraits and genre pictures.
OCCOLOVITZ, L. Died 1799. Fine gold-back glass painted silhouettes, also
jewel gold-back silhouettes with fine black drawing.
OLDHAM, JOHN (1807). Miniature painter, engraver, and mechanic, of
Dublin. “Invented the Ediograph for taking profile miniatures, price 11s.
4½d.” He also invented a machine for engraving bank-notes, which was
adopted by the Bank of Ireland.
OPIE, AMELIA (_née_ ALDERSON), wife of the artist. Cut the portrait of
Mrs. Edward Beetham, silhouettist, of Fleet Street. This portrait is now
in the possession of Dr. Beetham, of Bradford. It is cut hollow in white
paper, which, when laid on black, gives the effect of a black shadow
portrait. XXII.
OPITZ, JOHANN ADOLF (1763-1825), Dresden. Portraits in silhouette.
OSTERMEYER. Glass painted silhouettes with gold ground.
OUVRIER (1725-1754). Engraved Schenan’s painting, “L’origine de la
peinture à la mode,” and those of Eisen, Falconet, Boucher, etc.
PACKENY, P. (1846-1905), Vienna. Cut silhouettes cleverly in variously
coloured papers.
PAHLY. Signature on two fine silhouettes of officers in uniform of the
early nineteenth century. In the possession of Madame Nossof, Moscow. LIX.
PAREY, AUGUSTE (1855).
PASKIN, Colchester. Painted silhouettes on glass, wax filling. “Miniature
and Profile Painter; profiles painted in a new and elegant style
producing the effect of aquatinta engraving, with the beauty and softness
of enamel, in imitation of marble, conveying the most perfect likeness.
In rings, brooches, lockets. Time of sitting, one minute. Ladies and
gentlemen attended at their own houses, if required, by leaving their
address at Mr. Good’s, hairdresser, 14, Head Street, Colchester.”
PAVEY, AUGUSTE (1855).
PAVEY, C. H.
PEALE, C. W. Began business in the United States; cut Washington and
other famous men.
PEARSE, JAMES. Portsmouth. Cut Nelson just before sailing for Trafalgar,
and the Duchess of Kent in unrelieved black; in the National Portrait
Gallery.
PEARSE, B., father of above. Cut the portrait of the Duke of Wellington
from life. In the National Portrait Gallery.
PELHEN, J. Painted on glass, eighteenth century.
PFEILHAUER (1796). Silhouette pictures painted on glass, with several
portraits of court musicians.
PICK, G. Cut the portrait of King Edward VII. at Marienbad, Carlyle, and
others. In the Knole collection.
POCCI, F. G., Münich. Silhouette play, and silhouette illustration in
books.
POKORNY. Gold glass silhouette with some blue ground.
PRIXNER (1784). Silhouettes cut in paper, on elaborate engraved mounts.
PULHEN, E. B. (1819). Cut silhouettes.
PYBURG, ELIZABETH. Cut profile of William and Mary, 1699. See _Harper’s
Magazine_, June, 1882.
QUIETENSKY, E. M. Cut silhouettes of theatrical characters.
RAYNER (_fecit_ 1808). On the painted silhouette of a boy, the property
of Madame Nossof, Moscow. LVIII.
READHEAD. Eighteenth century. On glass, painted to resemble a stipple
engraving, card back.
REHSEINER, MARIE. German modern silhouettist.
REINHOLD. Cut silhouettes in black paper.
RICHTER (about 1780). Painted on glass, gold leaf or silk background.
RIDER, T. (1789). Temple Bar Advertisement. “Any lady or gentleman in the
country, by taking their own shade, can have reduced for 3s. 6d. rings
in the new method, which has the effect of topases, gilt border, plaster
filling. Profile painting on convex glass; inventor of gold borders on
convex glass, which gives a painting, print, or drawing the effect of
fine enamel.”
RITZSCH (1788). Cut battle-scene in white paper.
RIVIÈRE. Cut silhouettes in coloured papers, which have been published as
book illustration in “L’enfant Prodigue Scènes Bibliques en 7 Tableaux”
and “La Marche à l’Etoile” (see Bibliography).
ROBERTS, H. P. On glass, white relief, sometimes silk back.
RODE, B. (1770), Berlin. Court silhouettist.
ROSENBERG, T. E. Painted on plain or convex glass with backings of wax
or plaster. Worked sometimes in colour. Address: 14, The Grove, Bath.
Painted lockets, trinkets, and snuff-boxes. Prices from 7s. 6d. to £1 1s.
Also Rosenberg, of Bath, at Mrs. Barclay’s, ye Temple. XLV.
ROUGHT, W., Corn Market, Oxford. Painted on glass. “One-minute sittings
from 5s. to 10s. 6d.,” on female figure. Owner: Mr. A. B. Connor.
ROWE, G.
ROZEN (1766). Russian silhouettist. Signature on two fine portraits in
the possession of Madame Nossof, Moscow. LVIII.
RUNGE, PHILIP OTTO (1777-1810). Painter and silhouettist. Cut out in
white paper, flowers, animals, human figures. His works have been
collected and published in Germany.
SANDHEGAN, M. Painted on card and glass. Marlborough Street, Dublin.
SCHÄDER, K. (1799). Silhouette painted on glass.
SCHARF. Black cut silhouette on blue ground. Eighteenth century.
SCHELYMAC, I. W. (1779).
SCHENAN, J. C. (1768). Painted picture, “L’Origine de la peinture ou les
portraits à la mode.”
SCHINDLER, ALBERT (1805-1861), Silesia. Coloured silhouette portraits.
SCHMALCALDER, C. Invented profile machine, patented 1806. Address: Little
Newport Street, Soho. Mathematical and philosophical instrument maker.
SCHMED (1795-1801), Vienna. Many examples of his work were at the
Exhibition at Brünn, 1906. He painted on glass, using Indian ink
decorations; sometimes coloured foils as background.
SCHREINER, CHRISTOPHER. Eighteenth century. Inventor of an instrument of
the pantograph type for the reduction of silhouettes.
SCHROTT, G. Silhouette landscapes and portraits with gold backgrounds.
SCHUBRING, G. Illustrated, in cut silhouettes, songs and stories. (See
Bibliography.)
SCHÜLER (1791). Engraved silhouette portrait in _Annalen der neueren
theologischen Literatur in Kirchengeschichte_.
SCHÜTZ, FRANZ. Born 1751, in Frankfort-on-Maine. Landscape painter and
silhouettist.
SCHWAIGER, HANS (1906), Prague. Cut and painted silhouettes.
SCOTT, M. (1911). Draws silhouette portraits in Indian ink. 11, South
Molton Street, W.
SCROOPE, G. (1824).
SEIDL, C. Gold background, black silhouette, locket size.
SEIGNEUR. Cut silhouette of Gibbon. Lent by Miss Adam to Royal Amateur
Art Society’s Loan Collection, March, 1902; also Monsieur and Madame de
Sévery by same artist.
SEVILLE, W. (1821), Lancaster. Advertisement: “At a large room adjoining
the Merchant’s Coffee Room, Market Street. Striking likenesses cut with
scissors in a few seconds, 1/-.” LVI.
SHERWELL, MRS. (_née_ LIND). “Cut with scissors, without any other
instrument,” a series of silhouette portraits presented to the library
of the Society of Antiquarians of Scotland by her son, Lieut.-Col. W.
Stanhope Sherwell, in 1877. Amongst them is a bust portrait of George
III., Queen Charlotte, Princess Amelia, Mr. and Mrs. Delaney, and many
other persons of distinction, including the only known full-length
portrait of Thomas Gray. This is 4¼ inches in height, and turned right;
it represents the poet in his later years.
SHIELD. Signature on cut black paper silhouette of Washington, in Library
of Congress, Washington, U.S.A.
SILHOUETTE, ETIENNE DE. The silhouette took its name, but no more, from
Louis XV.’s miserly finance minister, Etienne de Silhouette (1709-1767).
Born at Limoges on July 8th, he received as good an education as could
then be obtained in a provincial town, studying such books on finance
and administration as he could obtain. After travelling in Europe, he
settled in London for a year to examine our practice of public economy
(the Progressive of our present County Council had not yet been born); he
then determined that one day France should have the same sound financial
system. On returning to Paris, he translated some English works, which
made his name known, and, becoming attached to the household of Marshal
Nivelles, was appointed Secretary to the Duc d’Orleans, the son of the
Regent, who in a short time made him his Chancellor. At this time costly
wars were depleting the treasury of France, and ministers were rapidly
succeeding each other as head of the finance department of the State.
Silhouette had always preached economy, a most uncommon plank in the
political platform of those days of huge personal and State expenditure.
Disgusted at the extremes of the Grand Monarque and the Regency, a
section of thinking men gathered round Silhouette, seeing in him the
controller who would straighten out the finances of the State. A party
headed by the Prince de Conde opposed him, on the ground that he had
committed a crime by translating English books into French. Silhouette,
however, possessed the powerful influence of Madame de Pompadour, and
was, through her, elected Contrôleur-General in March, 1757. It is said
that he saved the treasury seventy-two millions of francs before he had
been in office twenty-four hours. “This is the more remarkable,” naïvely
comments the old biographer Michaud, “because many of his relations
were amongst those whose salaries he cut down.” Economies next came in
the household expenditure of Louis XV., and it is owing to Silhouette’s
policy that so many of the splendid masterpieces of the goldsmith’s and
silversmith’s art of that epoch found their way into the melting-pot.
Silhouette next proposed a novel system of banking. This led to the
unpopularity which eventually brought about his downfall. He was forced
to resign after a term of office lasting eight months, and on retiring
he spent his time in regulating his estate on economical lines, and in
silhouette cutting at Brie sur Marne.
SINTZENICH (1779). Silhouette engraver.
SKOYMSHER. Eighteenth century. Cut paper. Address: 280, Holborn.
SMITH, J., Edinburgh. Painted on plaster. Eighteenth century.
SOLLBRIG, JOHANN GOTTLIEB (1765-1815). Miniature painter and
silhouettist.
SPECKBERGER. Silhouette portraits with gold backgrounds.
SPORNBERG, W. Painted in black on convex glass, ground in black, profile,
and pattern in orange red, elaborate borders. Portrait, one of eight,
signed and dated, in the possession of Lady Sackville. “W. Spornberg,
inventor, No. 5, Lower Church Street, Bath, 1793.” Portraits of the
Ansley family.
STANZELL. Silhouette portrait with gold ground.
STARCH (1806). Silhouette of Wieland, in the Goëthe Museum at Weimar;
also group of a family at the tomb of a child, at the same Museum.
STEELL. Advertisement from the _Northampton Mercury_, October 8th,
1781:—“Mr. Steell most respectfully solicits those inclined to honour him
by sitting to be immediate, as his stay will be so short.” “Likenesses in
Profile. Dec. 22, 1781. Mr. S., having been sent for back to Northampton
to wait on some families in the neighbourhood, and being informed that
several ladies and gentlemen have applied during his absence, takes this
opportunity of acquainting the public that he purposes stopping for about
a week at Mr. Mawby’s, in Mercer’s Row, where he hopes those who are
inclined to honour him will apply.”
STRÖHL, KARL FRÖHLICH. Modern German silhouettist.
TAPP, F. Frontispiece for a cookery book. Silhouettes cut out of black
paper, red background.
TERSTAN, A. T. XVIII.
THOMAS, 83, Long Acre. “Undertakes to supply silhouette portraits at
1s. each. Mr. T. is able to make this liberal offer in consequence
of an order he has received from a gentleman of eminence to procure
50,000 different profiles of the human countenance for a treatise on
physiology.” On Indian ink portrait of an officer, engraved mount.
[Illustration: Painted silhouette, with gold pencilling. In the
possession of Lady Sackville, at Knole.
Painted silhouette, with gold pencilling and blue stock tie, at Knole.
Painted silhouette, with gold pencilling, at Knole.
Silhouette, painted on card. In the possession of the Author.
The COUNTESS OF BLESSINGTON, 1829. By Foster, at Knole.]
THOMASON, I. (1793), Dublin. Itinerated in Cheshire, Lancashire, and
Staffordshire. Painted on glass and plaster, black faces, white relief.
His advertisement says:—“Silhouettes in miniature profile taken by
Thomason on a peculiar plan and reduced to any size. Silhouettes set
in rings, lockets, and pins, and he keeps original shades; can supply
those he has once taken with any number of copies, reduces old ones, and
dresses them in present taste. Address: 25, Great George Street, Dublin.”
Also advertisement in _Dublin Chronicle_, May, 1792. Address: No. 30,
Capel Street, Dublin.
THONARD. Cut silhouette groups and family pieces between 1790 and 1820.
Sometimes worked in dark olive green with touches of gold.
TOWNSHEND, BARBARA ANNE. Cut groups of figures in black paper. A
collection of these was published in paper covers by Ed. Orms, Bond
Street, London, in 1808. Price, 5s. the book, or 1s. each print.
TURNER. Published a silhouette of “Queen Charlotte of Great Britain,”
1782, opposite the Church, Snow Hill. In the National Portrait Gallery.
TUSSAUD, J. P. (1823), son of the great Madame Tussaud. “Respectfuly
informs the nobility, gentry, and the public in general that he has a
machine by which he takes profile likenesses. Price 2s. to 7s., according
to style. Biographical and descriptive sketches of the whole-length
composition figures and other works of art forming the unrivalled
collection of Madame Tussaud, etc.”
UNGER, Berlin. Reduplicated silhouettes by means of printing press,
mentioned in “Bon Magic,” one of the early books of instruction in
silhouette-making. (See Bibliography.)
URICH, R. Signature on engraved mount.
VALENTINI (1759-1820). Silhouettist and painter. Worked at Turin, Milan,
Florence, and Berlin. Originally a bookseller in Frankfort. Practised
drawing and silhouetting in his leisure hours. One of his portraits
gained sufficient notoriety for him to throw up his book-selling and go
to Italy to study.
VALLOTON. Obtained silhouette effects by woodcuts and lithographs in two
shades.
VIDEKI, LUDWIG, Salzburg.
V., L. Signature on white heads on dark blue ground. Hair, eyes, and
shadows indicated by light grey shading in imitation of cameos.
WAGNER, GEBHARDT. Silhouette post-card caricatures.
WALCH, JEAN BAPTIST NICOLAS (1773). Silhouette of Mozart and his sister
at the piano, as children. Cut out of small pieces of silk of various
colours gummed on card.
WALKER, J., Trowbridge. Eighteenth century. Painted on card, white relief.
WALLER, H. & J.
WALLSON. Signature on silhouettes owned by Mrs. Young.
WASS, JOHN, Cornhill, London, Feb., 1823. On portrait of a lady wearing a
frilled lace collar and high comb, in the possession of Mr. Alfred Doxey.
WATKINS. Cut paper, signature on portrait of Nelson’s mother; also on
portrait of Nicholas Brooking family, taken in Devon. Painted card, white
relief. LIV.
WELLINGTON, W. Painted on card in reddish brown. Also cut black and white
paper with brushwork details. Formerly of Trafalgar House.
WEST (1811). Advertisement: “Miniature and profile painter from London,
respectfully informs the ladies and gentlemen of Derby and its environs
that he has taken apartments at Mr. Price’s, in the Market Place,
where he intends for a short time practising the above art, and where
specimens may be seen. Mr. W. requires only two short sittings, and will
reduce the likeness with the greatest exactness to within the compass
of rings, brooches, etc. Miniatures from two to six guineas. Profiles
taken correctly in one minute by means of his improved portable machine.
The construction and simplicity of this instrument render it one of the
most ingenious inventions of the present day, as it is impossible in
its delineation to differ from the outline of the original, even in the
breadth of a hair. Profiles on card, in black, 5s.; in colours, 10s. 6d.;
on wood, in colours, 1 guinea and upwards. Attendance from ten in the
morning till five in the evening.
“⁂ Mr. W. never permits a painting to quit his hands but what it’s a
likeness.”
WESTON, 149½, Bowery, New York.
WHEELER (1799), Windsor.
WHIELER, J. (1793). On portrait of coachman in elaborate livery, probably
an amateur’s study. In the possession of Mr. Desmond Coke.
WHITTLE, E. (1830). “Cut with scissors. Mr. E. Whittle, artist.” On
portrait of a lady in black paper, book in hand, gold touches. In the
possession of the author.
WILL, J. M. German.
WILLSON, MISS. Painting on convex glass. Signature at the back of
portrait of Elizabeth Mitchell. Black head, cap, fichu, and lace in
relief. Owner, the author.
WILLTON (1809), Queen Street, Portsea. Advertisement on an example in the
Wellesley collection.
WINKLER, ROLF, Münich. Cut silhouettes without previous drawing.
WIRER. See KAY.
WISH, R. Signature on portrait of a man with ribbon, decorated engraved
mount. At Knole.
WRAG, MRS. On silhouette of Daniel Wrag, Esq. Profile taken by Mrs.
Wrag. Published by J. Nichols & Co., April, 1816. In the National
Portrait Gallery.
WRIGHT, PATIENCE. Came to London from America. Cut silhouettes and
modelled wax figures. Also cut flowers and animals.
YOUNG, G. M. (1836). On a full-length portrait in dark olive green, white
relief, cap, etc. Owner: Mrs. Nickson.
ZIMMERHAKEL (1810). Painted on glass.
(_The Roman numerals at the end of a biography refer to the page in the
illustrations in which an example of the work of the silhouettist is
included._)
BIBLIOGRAPHY.
In compiling a list of books and essays in which the art of taking black
shades is described, or in which silhouettes are used as illustrations,
it is impossible to enumerate all the fragmentary notes which have
appeared from time to time in modern magazines and newspapers. Amongst
such, we have mentioned those which will best repay the attention of the
student.
“Heft mit heiteren Schnitten weiss auf Schwarz.” 1653.
Swift’s “Miscellanies.” Edition 1745. Vol. X.
“Physiognomische Fragmente zur Beförderung der Menschenkenntnis und der
Menschenliebe.” Lavater. 1775.
“Anweisung zum Silhouettenzeichnen und zur Kunst, sie zu Verjüngen,
nebst einer Einleitung von ihrem physiognomischen Nutzen.” 1779. Anonym.
Römhild und Leipzig.
“Operetten,” von C. F. Bretzner. 1777. C. F. Schneider, Leipzig.
“Schattenrisse von hohen Herrschaften.” 1779.
“Ausführliche Abhandlung über die Silhouetten und deren Zeichnung,
Verjüngung und Vervielfältigung.” Von dem ungenannt bleibenden Verfasser
des “physiognomischen Kabinets.” Philip Heinrich Perrenon. 1780.
Frankfurt und Leipzig.
“Beschreibung der Boumagie oder der Kunst, Schattenrisse auf eine leichte
und sichere Art zu vervielfältigen.” Anonym. 1780. Perrenon, Münster und
Hamm.
“Kalender für das Jahr 1786.” Mit 53 Schattenbildern. Herausgegeben von
Heronim, Löschenkohl.
“Collection de Cent Silhouettes de Personnes illustres et célèbres
Dessines d’après les originaux par Anthing.” A. Gotha. 1791.
“Annalen der neueren theologischen Literatur und Kirchengeschichte.”
Silhouette Bildnisse 1793, 1795, 1796. Rinteln, Leipzig, Frankfurt.
“Die neuen theologischen Annalen.” Marburg, 1799. Mit gestochenen
Schattenrissen nach hervorragenden Geistlichen.
“Essays on Physiognomy calculated to extend the Knowledge and Love of
Mankind,” written by the Rev. John Caspar Lavater, Citizen of Zürich.
Translated from the last Paris edition by the Rev. C. Moore, LL.D.,
F.R.S. Illustrated by several hundred engravings, accurately copied from
the originals. London, 1793.
“Hints designed to promote Beneficence,” by John Coakley Lettsom, M.A.,
LL.D., etc. Published by J. Mawman, London, 1801.
“Erster Teil Meusel’s Lexicon.” 1789. Zweite Auflage desselben 1808-9.
“Portrait Gallery of Distinguished American Citizens, with Biographical
Sketches,” by William H. Brown, and facsimiles of original letters.
Hartford. Published by E. B. and E. C. Kellogg. 1845.
“Sermons par M. J. G. Ch. de la Saussaige à la Haige et à Amsterdam chez
les frères vaullerf Imprimeurs Libraires.” 1817.
“Treatise on Silhouettes,” by Monsieur Edouart, Silhouettist to the Royal
Family, and patronised by His Royal Highness the late Duke of Gloucester.
Published by Longmans & Co., Paternoster Row; J. Bolster, Patrick Street,
Cork; and Fraser, Edinburgh. 1835.
“Memoir of the late Hannah Kilham,” chiefly compiled from her journal,
and edited by her daughter-in-law, Sarah Beller, of St. Petersburg.
Published by Darton & Harvey, London. 1837.
“Profiles of Warrington Worthies,” collected and arranged by James
Kendrick, M.D., Warrington. Longman, Brown, Green, and Longman, London;
Haddock & Son, Warrington. 1854.
“Der Gestiefelte Kater.” 1876-77. Bilder von Hermine Gabillon.
“Till Eulenspiegel.”
Moser, Bilderbuch. Wien.
“L’enfant Prodigue, Scènes Bibliques en 7 Tableaux.” Von Henri Rivière.
Paris: Enoch & Co., 1895.
“La Marche à l’étoile.” Von Henri Rivière.
“Kochbuch.” 1840.
“Liederbücher mit Silhouetten.” Von Gertrud Schubring.
“Frauenzimmer-Almanache und Damen-Konversationslexicon,” 1816, 1817,
1819, 1820, 1831, 1846.
“Beschreibung eines sehr einfachen zur Verjüngung der Schattenrisse
dienenden Storchschnabels, den sich jeder Liebhaber selbst verfertigen
kann.” Anonym. Von dem Verfasser der “Boumagie.”
“Ins Märchenland.” 12 geschnittene Silhouetten zu Grimm’s “Märchen.” Von
Fanny and Cecilie Henzel. Berlin: B. Behr (E. Bock).
“Der Schwarze Peter.” Von P. Konewka. Stuttgart: J. Hoffmann.
“Osterspaziergang.” Von P. Konewka. München. G. D. W. Callwey.
“Falstaff und seine Gesellen.” Von P. Konewka. Text von Hermann Kurz.
Strassburg: Moritz Schauenburg.
“Ein Sommernachtstraum von W. Shakespeare.” Mit 24 Schattenrissen.
Heidelberg: Fr. Bassermann, 1868. Von P. Konewka, in Holz geschnitten von
A. Vogel.
“Schwarze Kunst.” 12 Silhouetten von P. Konewka. Mit einem Titelblatt von
H. Braun. Holzschnitte aus der xylographischen Anstalt von W. Hecht in
München und Phototypien von Angerer and Göschl in Wien. Verlag L. Unflad.
1880.
“Lose Blätter.” Fünf Silhouetten, erfunden von Paul Konewka. Berlin: Paul
Bette.
“Allerlei Tiergeschichten.” Von. P. Konewka. Text von J. Trojan.
Strassburg: M. Schauenburg.
“Zerstreute Blätter.” Von P. Konewka. Gesammelt und unter Mitwirkung von
F. Freiligrath, H. Kurz, H. Leuthold, H. Lingg, H. Noe. Herausgegeben von
Fritz Keppler. München: G. Beck.
“Schattenbilder.” (Zweiter Teil des Schwarzen Peters.) P. Konewka. Mit
Reimen von F. Trojan. Stuttgart: J. Hoffmann.
“Komm’ Mit!” Ein schwarz fröhliches Bilderbuch von Frida Schanz. Bilder
von E. Mauderer. Stuttgart: Levy & Müller. Hofbuchhandling, Gerold & Ko.,
Wien.
“Schattenspiel.” Von Franz Pocci. München.
“Zweites Schattenspiel.” Franz Pocci.
“Kinderspiele, Puppenspiele, Volksschauspiele.” Franz Pocci.
“Geschichten und Lieder.” Mit Bildern, als Fortsetzung des Fest
Kalenders. Von Franz Pocci und Anderen. Zweiter Band. 1843.
“Sammelband von Runge’s Werken.” Philip Otto Runge. Pflanzenstudien mit
Schere und Papier. Herausgegeben von Alfred Lichtwark. Hamburg, 1875.
Gesellschaft Hamburgischer Kunst freunde. Jahrbuch, 1904. A. Lichtwark.
Neue Silhouetten von P. O. Runge. Theaterstück: Die Jäger, in 5 Aufzügen.
“Das verunglückte Ständchen.” Chimt a Vogerl gefloge, Zerstreute Blätter
und Biographische Skizze von Keppler. Die Bilder von Paul Konewka.
Obernetter, München.
“Martin Spitzbauch.” Ein satyrischcomischer Roman in Versen, im
Geschmacke der Jobsiade, herausgegeben von G⸺ L⸺ Mit dem Porträt des
Verfassers, dem satyrischen Porträt des Martin Spitzbauch und einigen
Kupfern zur Versinnlichung versehen. Würzburg, 1896. Auf Kosten des
Verfassers.
“Saute-au-Ciel.” Der unglückliche Franzose oder der deutschen
Freiheit Himmelfahrt. Ein Schattenspiel mit Bildern. Manuscript
1816. Herausgegeben von Chr. Brentano. Aschaffenburg, 1850. Mit 8
Schattenrissen.
“L’Auge Conducteur dans les prières et exercises de pieté.” Französisches
Gebetbuch, Wien. Mit Bildnissen 1832, 1834, and 1837.
“Es regnet, es regnet!” Kinderbilder und Kinderreime von Nelly Bodenheim.
Steglitz, Berlin. Bei Enno, Quehl.
“Silhouette Sketches and Portraits,” by Harry Edwin. 1887.
“The Revival of the Silhouette.” Article in “The Bookman,” published by
Dodd, Mead & Co., New York, 1910. Written by Gardner Teall.
“Die Silhouette.” Maehrisches Gewerbe Museum Mitteilungen. Director,
Julius Leisching.
“The Art of cutting out Designs in Black Paper.” Barbara and Ann
Townshend. 1815.
“Histoire des Marionnettes.” Charles Maguire.
“The History of Java.” Thomas Stamford Raffles.
“A Newly-discovered Portrait of Thomas Gray, the Poet.” “The Athenæum,”
February 24th, 1894.
“An Undescribed Silhouette Portrait of Thomas Gray,” by J. M. Gray,
F.S.A., Scot. “The Athenæum,” April 14th, 1894.
“Geschichte des Schattentheaters.” 1907. By Georg Jacob of Erlangen.
“Islamische Schattenspiel-Figuren aus Egypten.” By Dr. Paul Kahle. Qu Die
Islam. Vol. I. in 1910.
[Illustration: I.
Advertisement of Silhouettist, early nineteenth century. In the
possession of Lady Sackville, Knole.]
[Illustration: II.
The Origin of a Painter, from a sketch by Wm. Mulready, R.A., in the
possession of W. Mulready, Esq. From a lithograph published 1828.]
[Illustration: III.
Greek Wine jugs, ornamented with black profile pictures, in the British
Museum.
1.—Quadriga, 8¼ inches. 2.—The Forge of Hephoisso, Canino Collection, 10⅛
inches. 3.—Ship on the wave from Vulci, 9½ inches.]
[Illustration: IV.
1.—MARIE THERÈSE CHARLOTTE of France, Duchesse d’Angoulême, the Dauphine.
2.—CHARLES X., crowned King of France, 1825. 3.—LOUIS ANTOINE, Duc
d’Angoulême, the Dauphin.
These portraits, together with those of all the court entourage, were cut
by Edouart during the exile of the King at Holyrood Palace, Edinburgh, in
1831. In the possession of the Author.
1.—EDMUND LAW ROGERS. 2.—LLOYD N. ROGERS. 3.—ELEANOR A. ROGERS.
(Great-grandchildren of Martha Washington, wife of first President of
U.S.A. Taken at Saratoga Springs, by Edouart, in 1840.) 4.—A. BOISAUBIN.
Taken at Morristown, New Jersey. 5.—SIR WALTER SCOTT. Taken in 1831, at
Edinburgh. Recently purchased by the National Portrait Gallery.]
[Illustration: V.
1.—THOMAS KEMPHALL. 2.—CHRISTOPHER MORGAN. 3.—H. VAN RENSELLAER. 4.
MILLARD FILLMORE, President. 5.—D. D. BARNARD. 6.—DANIEL WEBSTER.
7.—HENRY CLAY. 8.—FRANKLIN PIERCE, one of the seven Presidents of the
U.S.A. in Edouart’s American Folios. 9.—HENRY HUBBARD.
These portraits were all cut, named, and dated by August Edouart during
his tour in the United States, 1839-1849. They form part of the most
remarkable social-pictorial record of any nation.]
[Illustration: VI.
THE BISHOP OF BANGOR. The first full-length portrait taken by Edouart,
about 1823.
Portrait of AUGUST EDOUART, by himself. He is seated in his library,
where some of the folio volumes are displayed which are now in the
possession of the Author.]
[Illustration: VII.
Silhouette cut in white paper.
Portrait in Indian ink, probably German, in the possession of the Author.
Formerly in the Montague Guest Collection.
The famous tragedienne, MRS. SIDDONS. TYRONE POWER in the character of D.
O’Toole, and in ordinary dress. By August Edouart.]
[Illustration: VIII.
Portrait of JOHN FIELD, by himself. Painted on plaster, pencilled with
gold, and signed.
MRS. JOHN FIELD, wife of the silhouettist. Painted on plaster, pencilled
with gold, and signed.
Cut portrait of MARY, COUNTESS OF ORFORD, grandmother of Lady Dorothy
Nevill, in whose possession the silhouette now is.
Portrait of MISS FIELD. Painted on plaster, pencilled with gold, by John
Field.
Portrait of MISS FIELD. Painted on plaster, pencilled with gold, by John
Field.
The portraits of the Field family are in the possession of Mr. J. A.
Field, great-grandson of the silhouettist.]
[Illustration: IX.
Portrait painted on plaster. Signed, Miers and Field.
Frill brooch, mounted in gold, painted on ivory.
Signed portrait by Miers, painted on plaster.
Portrait on plaster, elaborately pencilled with gold. Unsigned. Probably
by Field.
Portrait on plaster. In the possession of Mr. J. A. Field.
Signed portrait by Miers, in brown and gold, on plaster, mounted in a
turned wooden box.
Portrait on plaster. In the possession of Mr. J. A. Field.
The portraits on this page are in the possession of the Author, with the
exceptions stated.]
[Illustration: X.
Coloured silhouette portrait of a lady in a gown of apple green; cap and
kerchief buff colour; about 1780.
Signed portrait by Miers, mounted in gold.
Signed portrait by Miers, mounted in gold.
Portrait of a man painted on plaster, probably by Miers; at the back is
the trade label of Miers & Field.
In the possession of Mrs. Head, together with the three above.
Painted on card by Mrs. Edward Beetham; on the back is the trade label
and date, 1785. In the possession of Dr. Beetham.]
[Illustration: XI.
Signed portrait by Miers, in gold-mounted pendant.
Boy with bow, painted on glass, dated 1798.
Frenchman, in gold touched uniform, mounted with pearls as a pendant.
Painted on convex glass.
Portrait of a man painted on card, signed Charles. Owner: Mr. J. A. Field.
Painted on card by Mrs. Beetham.
All on this page in the possession of Mrs. Head, with the exception
stated.]
[Illustration: XII.
Silhouette portraits in caricature, probably German, first half of the
nineteenth century. In the possession of Mrs. F. N. Jackson.]
[Illustration: XIII.
ELISABETH VON WALDON.
GEORGE III.
Portrait of GEORGE III., painted in Indian ink, by his daughter, Princess
Elizabeth. In the possession of Lady Dorothy Nevill.
MARY LADY CLERK OF PENICUIK. In the possession of Lord Montagu of
Beaulieu.
Portrait of QUEEN CHARLOTTE, painted by Princess Elizabeth. In the
possession of Lady Dorothy Nevill.]
[Illustration: XIV.
DUKE OF WELLINGTON, life size. In the possession of the Author.
SHELLEY. In the possession of Mr. Desmond Coke.
A Painful Subject, by Konewka, the German silhouettist.]
[Illustration: XV.
Portrait, by Charles, painted on card.
Portrait, by Charles, painted on card.
Portrait of a CAMBRIDGE DON, cut by August Edouart.
Portrait of MICKIEWICZ, sketched by Phil May in 1888.
All these portraits are in the possession of Mr. Desmond Coke.]
[Illustration: XVI.
LIEUT. BLAYTHWAITE, 52nd Regiment.
UNKNOWN.
LORD CORRY.
UNKNOWN.
UNKNOWN.
The portraits are in the possession of Francis Wellesley, Esq.]
[Illustration: XVII.
Rare dressed picture in silhouette. One of four owned by Dr. Beetham,
probably German. Dated 1745.
Silhouette drawn in Indian ink, late eighteenth century. In the
possession of Mr. Desmond Coke.
Black cutting, from a single sheet of paper. In the possession of Mr.
Desmond Coke.
China plate with black profile picture, red border, with Greek pattern in
black. One of a pair in the possession of Mr. Desmond Coke.]
[Illustration: XVIII.
Portraits in black and colour. Signed A. T. Terstan fecit, 1787, at
Knole.]
[Illustration: XIX.
Portrait of unknown man by Charles, painted on card. In the possession of
E. Jackson.
MRS. PRINGLE, of Forwoodlea, _née_ Tod, of Dryburgh Abbey. By J. Miers,
on plaster. At the back is his early Leeds label. In the possession of
Captain Pringle.
Silhouette in printed mount, painted pink ribbon. In the possession of
Lady Sackville, Knole.
Printed silhouette portrait of CAPTAIN PAUL CUFFEE. Published by Darton,
Henry & Barton. Nov. 1st, 1818.]
[Illustration: XX.
MARIA MARCHIONESS OF AILESBURY.
“PERDITA” ROBINSON.
MR. HOPE.
The portraits on this page are in the possession of Francis Wellesley,
Esq.]
[Illustration: XXI.
Coffee cup in Sèvres china in white and gold. Silhouette portrait of
Mirabeau. In the Musée Carnavalet, Paris.
Portrait painted on glass with gold ground. Signed Coos, 1789. In the
possession of Lady Sackville, Knole.
Black portrait on gold ground, silver shield and vase. On the vase is
written, “Pensez à moi.” Date 1812. In the possession of Lady Sackville,
Knole.]
[Illustration: XXII.
WILLIAM ALEXANDER WILLIS, born 1799. Taken prisoner by Napoleon in
1812. Portrait in the possession of Capt. Richard ffolliott Willis, his
grandson.
Portrait painted on convex glass filled with wax. In the possession of
Lady Dorothy Nevill.
Portrait painted on plaster, pencilled with gold. Signed, J. Field. In
the possession of A. C. Field, Esq.
Early French portrait, about 1770. Cut in shiny black paper, probably by
Gonard. In the possession of the Author.
Portrait of MRS. BEETHAM, cut hollow in white paper, by Mrs. Opie. In the
possession of Dr. Beetham, descendant of the silhouettist.
MR. RAMSAY. Portrait painted on glass. In the possession of Miss Gatliff.
Picture in white paper. A scrap-book piece in the possession of Miss de
la Chaumette.]
[Illustration: XXIII.
Painted silhouette of MARIE ANTOINETTE, at Knole.
Signed portrait of GEORGE IV., by Adolph, hair and jewels pencilled in
gold.
In the possession of Mrs. F. N. Jackson.
Portrait of a man painted on plaster by Miers, rare early Leeds label on
back.
In the possession of Mrs. F. N. Jackson.
Painted silhouette at Knole.]
[Illustration: XXIV.
Two of the sons and one married daughter of Joseph and Sarah Lea, with
their children. The room and all the furniture then in use is faithfully
represented in the picture, which was drawn by Edouart in 1843.
Joseph Lea and his wife Sarah, with one son and eight unmarried
daughters. Taken by August Edouart in 1843, at Philadelphia.
Both these portrait groups are in the possession of Mrs. Hampton Lea
Carson, Philadelphia, Pa., U.S.A.]
[Illustration: XXV.
The CARY FAMILY, of Boston, taken February 15th, 1842, by August Edouart
while on a tour in the United States, when he made many thousands of
silhouette portraits. Height of adult figures about 8½ inches, each
figure being named and dated.
1.—SAMUEL FOOTE. Taken at New York, October 31st, 1839. 2.—JOHN FOOTE, by
Edouart, whose children’s portraits are particularly happy. 3.—EUPHEMIA
FOOTE. 4.—J. NIMS, portrait painter. Taken at New York, May 16th, 1840.
From the American collection by August Edouart. In the possession of the
Author.]
[Illustration: XXVI.
Portrait cut in shiny black paper, folds of dress and trimmings are
indicated by indented lines, the chain and brooch are painted in gold.
In the possession of Lady Sackville, Knole.
MR. JOHN CUNLIFFE, of York, 1808. Signed, Lewis, Profilist. 11 × 9 ins.
In the possession of Mrs. Fleming.
The Anglers’ Repast, by William Ward, after Morland, cut out in black
paper in facsimile size, mounted on card.
In the possession of Mr. Desmond Coke.]
[Illustration: XXVII.
Cut silhouette, probably by Edouart, of verger, with stave of office.
In the possession of Mrs. Head.
Painted silhouette, black face, buff coat, blue tie. In the possession of
Mrs. Head.
Memorial card cut out of black and coloured papers, some gilt, green,
blue, and red. Peacocks, grapes, pickaxe, shovel are shown, besides the
weeping willow and other symbols of grief. The mourning widower is also
depicted, and a verse beginning “Farewell, dear wife, thy loss to us is
great.” In the possession of Mr. Desmond Coke.]
[Illustration: XXVIII.
Painted silhouette figures of comic character, probably by the same
artist who decorated the screens on opposite page.
In the possession of Lady Sackville, Knole.]
[Illustration: XXIX.
Hand-screen, with dancing figures in silhouette, painted on orange-yellow
card. In the possession of Mr. Desmond Coke.
Hand-screen showing scene at a musical party, painted on orange-yellow
card. In the possession of Mr. Desmond Coke. A similar screen, probably
by the same artist, is in the possession of Dr. Beetham, descendant of
Mrs. Beetham, Silhouettist, of Fleet Street.]
[Illustration: XXX.
DICK ANTONY.
LORD YARBOROUGH. Taken at Cowes.
WHITEMAN, of Southampton.
LORD HENRY RUSSELL.
SIR THOS. MCMAHON, Lieut.-Governor of Portsmouth.
MR. J. P. DIXON.
These brushwork portraits are in the collection of Francis Wellesley,
Esq.]
[Illustration: XXXI.
Portrait by E. Haines. Formerly in the Montague Guest Collection. “Cut by
E. Haines, Profilist and Scissorgraphist.”
MRS. KENNING. Painted, with gold pencilling.
MR. KENNING.
The portraits on this page are in the possession of the Author.]
[Illustration: XXXII.
Worcester Vase, 13½ inches high, with silhouette of George III. and motto
commemorating his Jubilee.
In the possession of Mr. C. F. Spink.]
[Illustration: XXXIII.
Worcester Vase, 13 inches high, with silhouette of George III., from
Knole, Sevenoaks.]
[Illustration: XXXIV.
GEORGE III. Cut by his daughter, Princess Elizabeth. Now in the
possession of Lady Dorothy Nevill.
MRS. JORDAN, the Actress. In the collection of Lady Dorothy Nevill.]
[Illustration: XXXV.
Indian Ink drawing in silhouette. On it is written: “H.R.H. Princess
Elizabeth was pleased to give me (Lady Bankes) at Windsor, August 27th,
1811, where I had the honour of seeing her by chance.” From MS. book
belonging to Lady Dorothy Nevill.
Silhouettes of the Exley family. Cut in black paper, about 1840.]
[Illustration: XXXVI.
GEORGE BROWN, Esq., of Everton, Liverpool.
Painted in dark olive green touched with white. Unsigned.
A Member of the Withers Family, Everton, Liverpool.
Figures cut out in white paper by Princess Elizabeth. The centre figure
is cut so that it throws a shadow when held between a light and screen.
In the possession of Lady Dorothy Nevill.]
[Illustration: XXXVII.
QUEEN VICTORIA AND LORD MELBOURNE.
Probably cut by Atkinson, of Windsor, pencilled with gold. In the
possession of Francis Wellesley, Esq.
DANIEL O’CONNELL.
From Edouart’s _Treatise on Silhouettes_, published in 1835.]
[Illustration: XXXVIII.
Painted family group, relieved with colour. In the possession of A. W.
Searley.
MR. and MRS. FISK, of Oxford, with their sons, Marshall and Fred, and
daughter, Elizabeth Prudence, who married Thomas Jackson. Signed, “Aug:
Edouart, fecit 1828.” In the possession of Miss Emily E. Jackson.]
[Illustration: XXXIX.
THE BURNEY FAMILY.
MISS HARRIET CONNELL AND MISS FANNY BARTON.
The portraits on this page are in the possession of Francis Wellesley,
Esq.]
[Illustration: XL.
Full-length portrait of FRAU VON STEIN. From Lavater’s _Essays on
Physiognomy_, published in 1793.
NAPOLEON. Cut by Edouart, with lithograph background. From the _Treatise
on Silhouettes_, published in 1835.]
[Illustration: XLI.
Portrait of a Boy, early nineteenth century.
NAPOLEON. Shade on skeleton leaf. From _The Collector_.
Portrait by J. Gapp, of the Chain Pier, Brighton.
In the possession of Mr. C. L. Exby.
NAPOLEON. Cut from a single piece of black paper by unknown artist.
In the possession of Mr. Desmond Coke.
Portrait of NAPOLEON on lithographed background. Reproduced from
Edouart’s _Treatise on Silhouettes_, published in 1835.]
[Illustration: XLII.
THE GIRL WITH THE BONNET.
Cut portrait with elaborate gold pencilling. In the possession of Mr.
Desmond Coke.
PORTRAITS À LA MODE.
French print, showing the life-size shades in process of making.]
[Illustration: XLIII.
The late LORD FAUCONBURG. Size 15 × 20 ins. Painted silhouette picture at
Knole.
Coloured silhouette portrait, early nineteenth century. Grey dress, blue
cap ribbons.
In the possession of Mrs. E. N. Jackson.
SIR HENRY JOHNSON, G.C.B., and SIR JOHN JOHNSON, Welsh Baronet, taken
at Bath in 1827. From _Bath Characters_, by August Edouart. In the
possession of the Author.]
[Illustration: XLIV.
ISABELLA LUCAS, aged 36 years, hawker of tinware.
From Edouart’s _Folio of Bath Characters_.
Portrait of a slave, G. WRIGHT, born in Virginia, belonging to Ch. Oxley.
Taken by Edouart at New Orleans, March 1st, 1844.
This portrait is reproduced to show the artist’s method of naming and
dating all the portraits in his folios, also his method of adding white
for collar, which is seen as a thin line when the black paper side of the
portrait is shown.
JOHN HOWARD PAYNE, author of “Home, Sweet Home,” etc. Washington, April
22nd, 1841.
MR. DAVID HOFFMAN. Taken at Baltimore, Dec. 9th, 1840.
All the portraits on this page are in the possession of the Author.]
[Illustration: XLV.
UNKNOWN. In the possession of Francis Wellesley, Esq.
Supposititious silhouette of WILLIAM MAKEPEACE THACKERAY reading.
THE PARSON’S LADY. By Master Hubard.
MRS. DELANEY.
In the possession of Francis Wellesley, Esq.
Portrait painted on glass, by Rosenberg, of Bath. Original frame. In the
possession of Mr. Desmond Coke.]
[Illustration: XLVI.
BRAY, Historian of Surrey.
In the possession of Francis Wellesley, Esq.
WELLINGTON.
Cut paper portrait, touched with gold. In the possession of Francis
Wellesley, Esq.
Silhouette in black and colour. In the possession of Mrs. Leggett.
In the possession of Francis Wellesley, Esq.]
[Illustration: XLVII.
Painted silhouette. In the possession of Lady Sackville, Knole.
_Fait par_ JOUBERT, _Peintre en miniature_.
At Knole.
Quaint portrait of a child. In the possession of Mrs. Head.
Portrait of George III., surrounded by minute lines of writing, actual
size. In the possession of the Author.]
[Illustration: XLVIII.
Silhouette portrait group. In the possession of Mr. Maberly Phillips,
F.S.A.
CHECKMATE.
From the _Treatise on Silhouettes_, published in 1835.
Silhouettes from Lavater’s _Lecture XVII._, published in 1794.]
[Illustration: XLIX.
Portrait of himself, sketched by Phil May, 1894.
Kennedy, of the Aquarium, sketched by Phil May, 1890.
Glass painting by Mrs. Beetham, showing the real shadow portrait behind.
GEORGE III., his wife and family, with footman. A large, authentic group
painted on glass.
All these portraits are in the possession of Mr. Desmond Coke.]
[Illustration: L.
“OLD” CROME.
Silhouette, by August Edouart.
PAGANINI, by Edouart, considered by the musician to be the only
likeness ever taken which was not a caricature. From the _Treatise on
Silhouettes_, published in 1835.
Family group in the all-in-a-row method of the Georgian period.]
[Illustration: LI.
Painted portrait with elaborate gold pencilling. This remains in its
original maple-wood frame. In the possession of Mrs. Fleming.
Portrait of LORD BYRON, as he appeared after his daily ride at Pisa and
Genoa. Cut by Mrs. Leigh Hunt, between January and July, 1822.]
[Illustration: LII.
Family portraits cut out in black paper, mounted on white satin. A wreath
of forget-me-nots, roses, ivy, jessamine, and fern is embroidered, and
at intervals lovers’ knots of plaited hair are tied. The nine plaits of
white, grey, brown, auburn, and golden hair are probably souvenirs of the
portrait subjects. This interesting specimen is in the possession of Mrs.
Wadmore.]
[Illustration: LIII.
Miniature of CHARLES I. cut out of thin paper. In tortoiseshell frame.]
[Illustration: LIV.
REBECCA TOWN, born 1799.
CAPT. J. SMITH, of Dartmouth.
FRANCIS TOWN, born 1796. Painted on card.
MRS. TOWN. Painted on card by J. H. Gillespie. In the possession of Mrs.
Whitmore.
NICOLAS BROOKING, born 1755, died 1830.
In the possession of Mrs. Whitmore.
MRS. NICOLAS BROOKING, died 1840.
Painted on card by Watkins.
ELIZABETH HOLDSWORTH BROOKING, died 1822. By Watkins.
SALLY CORNISH (_née_ BROOKING), of Scobell, Devon.
All the portraits on this page are in the possession of Mrs. Young, with
the exceptions stated.]
[Illustration: LV.
SOPHIA MAGDALENE HOLWORTHY, youngest daughter of Rev. S. Holworthy.
Portrait cut in card.
F. C. JONES, wife of Bishop of St. Davids, eldest daughter of S.
Holworthy.
SAMUEL HOLWORTHY, ESQ., born 1758.
NICHOLAS HADDOCK HOLWORTHY, R.N., born 1761. In the possession of Mrs.
Loggin, of Brighton.
EMILY THURSTON. In the possession of Mrs. Nicholls.
REV. J. DIXIE CHURCHILL, Rector of Blickley, Norfolk. Cut hollow in white
paper over black. In the possession of F. M. Holworthy, Esq.
EDWARD JOHN HOLWORTHY, ESQ., 3rd son of Rev. S. Holworthy, of Croxall,
Derbyshire, Major 14th foot. Died 1864.
REV. W. H. HOLWORTHY, 4th son of Captain Matthew Holworthy, born 1792.
Cut hollow in white paper.]
[Illustration: LVI.
HANDBILL ADVERTISEMENT OF MR. SEVILLE.
THE METTERNICH FAMILY.]
[Illustration: LVII.
QUEEN VICTORIA.
Cut paper pencilled with gold. In the possession of Francis Wellesley,
Esq.
SPORTS.
From Edouart’s _Treatise_, published in 1835.]
[Illustration: LVIII.
Jewelled silhouette clasp on a bracelet of garnets.
Portrait by the Russian silhouettist, A. Rozen. Signed and dated 1796.
Signed portrait by Rayner, 1808.
Silhouette mounted as a ring. It is shown twice the natural size.
These portraits are in the possession of Madame Nossof, Moscow.]
[Illustration: LIX.
Signed portrait on glass, by Hübner, dated 1797.
Signed portrait of an Officer, by Pahly.
In the possession of Madame Nossof, Moscow.
Machine for drawing silhouettes life size.
Portrait of GEORGE III. In the possession of Lady Sackville, Knole.]
[Illustration: LX.
ROBERT BURNS.
Given by the poet to his friend, J. Cotterall.
WASHINGTON.
Two silhouettes by August Edouart.
The portraits on this page are in the possession of Francis Wellesley,
Esq.]
[Illustration: LXI.
MARIE ANTOINETTE.
DUCHESS OF DEVONSHIRE.
MRS. HOPE.
MRS. GRAY.
The portraits on this page are in the possession of Francis Wellesley,
Esq.]
[Illustration: LXII.
Silhouette drawings in Indian ink, by Princess Elizabeth, daughter of
George III. They were given by the Princess to Lady Bankes, at Windsor,
August 27th, 1811, and are now in the possession of Lady Dorothy Nevill.]
[Illustration: LXIII.
KINGSLEY FAMILY.
In the possession of Francis Wellesley, Esq.
Silhouette of the eighteenth century, painted on card.
In the possession of Mr. Desmond Coke.
KINGSLEY FAMILY.
In the possession of Francis Wellesley, Esq.
CUPID.
Cut silhouette. In the possession of Mr. Desmond Coke.]
[Illustration: LXIV.
Blue Morocco bound volume with silver clasp, in which is preserved the
silhouette work of Princess Elizabeth. Now owned by Lady Dorothy Nevill.
Group of volumes, containing 5,579 English portraits taken from 1825 to
1839, and 3,625 American portraits taken from 1839 to 1845, by August
Edouart, who used them for exhibition purposes, and also as records, as a
photographer keeps his negatives.]
[Illustration: LXV.
Ann
Thos Deverell
Caroline
Susan
Elizabeth
Hester
WILLIAM JORDEN 1783
Portraits of the Deverell family, painted by Jorden on glass. Formerly in
the Montague Guest collection, now in the possession of the Author.]
[Illustration: LXVI.
Portrait painted on convex glass, so that the shadow picture is seen on
the flat card behind.
Shadow portrait of a lady delicately painted on glass. The tortoiseshell
comb and gold ear-ring are in colour.
Shadow picture painted on convex glass.
All the portraits on this page are in the possession of the Author.]
[Illustration: LXVII.
Saucer with blue fish-mark, with _x_ in gold. Portrait of Danté.
Basin and cover in white china with gold ornaments and black silhouette
portraits.
Tea-cup of Fürstenberg china, in white and gold, with black silhouette
portrait, 3 inches high. In the possession of the Author.
Tea-cup with gold floral ornament and black silhouette.
Coffee-cup with gold and coloured garlands, black silhouette.
This porcelain, with the exception stated, is at Knole.]
[Illustration: LXVIII.
MEMBERS OF THE BINNS FAMILY.
FAMILY GROUP.]
[Illustration: LXIX.
Signed portrait of JAMES SWORD, ESQ., of Armfield, May 25th, 1832, in
original bird’s-eye maple frame provided by the artist. This portrait was
identified through the discovery of its duplicate, cut at the same time,
named, dated, and pasted in Edouart’s reference folios.]
[Illustration: LXX.
Portrait of the actor Onoye Takanojo with one of his poems, also a
silhouette portrait of the same actor. One of a series, “Mako no tsuki
Hana no Sugata-ye.”
(“A flower form picture (before) a real moon.”)
Signed, Ichiyeisai Yoshiiku, Shasei.
Ichiyeisai Yoshiiku, facsimile.
Dated, Ausei Hare 4 = 4th month, 1855.]
[Illustration: LXXI.
Painting on ivory, unrelieved black.
Gold mounted brooch, signed Miers. The portrait is pencilled in gold.
Painting on ivory. Drapery border on glass.
Patch-box of ivory mounted in gold. Portrait signed Miers. Blue enamelled
lid.
Portrait, cut hollow in white paper laid over black satin, brushwork
added.
Portrait painted on blue tinted ivory mounted in gold.
Painted on glass with composition backing. The other side of the pendant
has a brown silhouette on card, by Foster.
All the objects on this page are in the possession of the Author.]
[Illustration: LXXII.
A. ROZEN, dated 1796.
Portrait of the EMPEROR PAUL OF RUSSIA as a child. Signed Losse.
Signed picture by Anthing, the finest silhouettist of Goëthe’s time. The
central figure is that of Gustav Adolph.
All the silhouettes on this page are in the possession of Madame
Nossof, Moscow.]
INDEX
“Æsop’s Fables”, 65
Agathaugdus, F., 48
Amateur Art Exhibition, 63
America, 69
Angoulême, Duc d’, 63
— Duchesse d’, 63
Ansley Family, 32
Appleton, 71
Atkinson, 57
Bangor, Bishop of, 61, 65
Bankes, Lady, 76
Baptism of Christ, 48
Bath, 69
Beck, 34
Beechey, 74
Beetham, Dr., 34, 39
— Mrs., 14, 15, 22, 23, 27, 34, 39, 59
Belcredi Family, 33
Berlin Museum, 32
Berri, Duchesse de, 63
Blenkinsopp, 45
Bordeaux, Duke de, 63
Boston, 70
Brighton, 57
Bristol, 82
— Bishop of, 65
Brünn Exhibition, 33, 48
Brunyn, le, 17
Bryce, 71
Buck, 73
Bunting, J., 65
Burney, Fanny, 7, 74
Burns, 12
Byron, 16
Cambridge (U.S.A.), 71
Carnavalet Museum, 81
Caroline, Queen, 25
Carter, Mrs., 80
Cary, G., 69
Cavallo, T., 80
Chalmers, Dr., 65
Charles, A., 7, 14, 15, 24
Charles I., 49
Charles X. of France, 62-64
Charlestown, 71
Charlotte, Queen, 5, 25, 60, 74, 75
Chauveau, 17
Cheltenham, 61, 62, 66, 69
Chotek, Countess, 33
Cleanthes of Corinth, 3
Cooper, Sir A., 65
Copenhagen Porcelain, 82
Cork, 65
Cosway, 21
Crates of Sicyon, 3
Creevy, 76
Daguerre, 14
“Dedication to the State Deputation of Province of Nymwegen”, 47
Delany, Mrs., 75
“Description of Bon Magic”, 42
“Detailed Treatise on Silhouettes, A”, 39
Deverells, The, 24
Dibutades, 4
“Directions for Silhouette drawing”, 17
Diwali, Festival of, 86
D’Israeli, 9
Dublin, 64
— Archbishop of, 65
Edinburgh, 62, 65
Edouart, 15, 18-20, 30, 31, 34, 49-53, 56, 59-72
Edridge, 75
Egyptian shadow plays, 85
Elizabeth, Princess, 5, 7, 75-77
Eton School, 74
Etruscan potters, 3
“Falstaff and His Companions”, 54
Faust, 54
Fermoy, 65
Field, E. J., 22
— J., 14, 18, 21, 22, 27, 59
— Sophie, 22
Fiere, Mrs., 80
Figdor, Dr., 31, 81
FitzHenry, 81, 84
Flaxman, 13
Focart, l’Abbé, 64
Forberger, 25
Foster, E. W., 46
Frederick the Great, 83
Friedrich, Wilhelm II., 18
Fröhlich, K., 54
Fürstenberg, Landgravine, 34
Gainsborough, 74
Gapp, J., 56, 57, 74
George III., 9, 25, 57, 74, 77, 80, 82
George IV., 25, 82
Gibb, 15
— and Charles, 19
Glasgow Commercial Bank, 64
— Orphan Asylum, 64
Glomi, 83, 84
Gloucester, Duke of, 65
Göchhausen, von, 10, 11
Goëthe, 6, 9, 10, 38, 55, 79
Gonard, 6, 14, 28, 29, 86
Gordon, Dr., 65
Grafton, Duchess of, 7
Graz Museum, 25
“Grievances and Miseries of Artists”, 59
Guest, Montague, 6, 24, 26, 57
Guines, 72
Haines, 15, 59
Harding, E., 75
Hardy, E., 75
Harrington, Sarah, 43
Harrison, 70, 71
Harvard, 71
Hastings, Warren, 80
Head, Miss, 63
Heinemann, Dr. Karl, 10
Hems, H., 46
Henry V., 63
Herbert of Geneva, 7
Herger, E., 33
Hesse Homburg, 75, 76
Heyse, P., 54
Hill, Rowland, 65
Höhenzollern Museum, 83
Holyrood, 56, 62-64
Hoppner, 74
Howie, 12
Hubard, 15, 55-57
— Gallery, New York, 56
Hulbert, J., 69
Hunt, Mrs. Leigh, 16
Hutchings, Miss C. J., 65
Irving, Edward, 65
Jorden, 24
Joubert, 28
Kahle, Dr., 85
Kändler, 19
Kean, 65
Kendrick, 18
Kilham, 18
King, E., 80
— Mrs., 80
Kinsale, 65
Klenk, Anna, 54
Knole, 25, 82
Köhl, L., 18
Konewka, P., 53, 54
Latil, Cardinal de, 63
Lavater, 6, 10, 15, 38, 39, 40, 62, 79
Le Brunyn, 4
Leisching, J., 41, 55
Lettsom, 18
Lichtwark, 55
Limerick, 65
Linz, Francesco Carolinum Museum, 32, 47
Liston, 65
Longfellow, 71
Louise Marie, Mdlle., 63
Lukis, F., 72
Lytton, Bulwer, 7
Macomb, 71
Maehren Exhibition, 26
Magendie, Dr., 61
Mallow, 65
Mamelukes, 86
Mann, Sir Horace, 7
“March to the Star”, 86
Marie Theresa, Empress, 18
Menzel, 53
“Midsummer Night’s Dream”, 54
Miers, J., 12, 14, 18, 21, 22, 26, 27, 59
Miers and Field, 18, 19, 21
Mildner, 84
Mirabeau, 81
Monbijou Castle, 83
More, Hannah, 65
Mulready, 4
Napoleon, 6
Naumann, Prof., 31
Nevill, Lady Dorothy, 48, 76
New Orleans, 71
New York, 70, 71
Norwich (U.S.A.), 71
— Bishop of, 65
Nuremberg work, 84
“Oneida”, 72
Opie, Mrs., 65
Packeny, P., 54
Pæstum, 13
Paganini, 65
Paoli, General, 80
“Papyrolomia”, 55
“Papyro-Plastics”, 42
“Parallelogrammum Delineatorium”, 43
Parma, Duchesse de, 63
Parris, E. J., 22
Perrenon, 17, 28, 42
Philadelphia, 70, 71
Philocles of Egypt, 3
Pitt, 9
Pocci, 86
Pompeii, 13
Poulett, 78
Power, 65
“Prodigal Child”, 86
Pyburg, Mrs., 6, 9, 47
Randall, H., 80
Raphael, 38
Rath, 10
Reynolds, S. W., 75
Rivière, H., 86
Römhild, 17, 42
Rosebery, Lord, 74
Rosenberg of Bath, 23, 59
Rothschild, Baron, 65
Runge, 54, 55
Ruskin, 14
Sackville, Lady, 32
Saratoga, 70, 71
Saunders, 46
Scheiner, Christopher, 43
Schenan, 4, 16
Schmalcalder, 44
Schmid (Vienna), 34
Schmoll, 38
Scott, Sir Walter, 62, 65
Sepmanville, Baron de, 64
Seraphin, 12, 85
Sharland, G., 57
Silhouette, Etienne de, 5, 7, 9, 35, 36
“Silhouette Likenesses”, 50
Simeon, C., 65
Singe Pantograph, 35
Size, Baron de, 64
Slettner, Dr., 41
Spink, 82
Spornberg, 32
St. Benedict, 48
St. Davids, Bishop of, 65
Stock Exchange, 64
“Stork’s Beak or Monkey”, 40
Strauss, Dr., 83
Sweden, King and Queen of, 82
Swift, 8
Taft, President, 71
Templetown, Lady, 78
Townshend, C. H., 78
— Rev. C. H., 77
Tuer, A., 51, 78
Tussaud, 45, 48
Twickenham, 78
Tyler, J., 71
Unkles and Klasen, 66
Vandyke, 38
Vazon Bay, 72
Versailles, 85
Victoria and Albert Museum, 77, 84
Victoria, Princess, 56
Vienna, 81
— Museum, 84
Wall, W. G., 55
— Dr., 19
Wallenstein, 83
Walpole, Horace, 7, 15
— Robert, 48
“Warrington Worthies”, 18
Washington, 70, 71
Wedgwood, 13
Wellesley Collection, 25, 26, 28, 39, 79, 82
Wellington, Duke of, 65
West, Benjamin, 4
— Mr., 46
Wigston, Mrs., 78
William IV., 75
William and Mary, 6, 9, 14, 47
Winfield Scott, 70
Wolfe, J., 65
Worcester, 82
Wright, P., 73
York, Duke of, 65
— Duchess of, 60
Zeisig, 16
CONNOISSEUR PUBLICATIONS
_All Profusely Illustrated._
=HISTORY OF SILHOUETTES= By MRS. NEVILL JACKSON 10/6 net.
=HISTORY OF THE SPUR= By C. DE LACY LACY ”
=LADY HAMILTON= By J. T. HERBERT BAILY ”
=NAPOLEON= ” ” ” ”
Cloth. Paper.
=SIR HENRY RAEBURN, R.A.= By JAMES GREIG 7/6 5/- net.
=GEORGE MORLAND= By J. T. HERBERT BAILY ” ”
=FRANCESCO BARTOLOZZI= ” ” ” ” Paper.
(_Out of print_)
=FRANÇOIS BOUCHER= By HALDANE MACFALL ” 5/- net.
=FRANCIS WHEATLEY, R.A.= (Containing 11 of “The Cries
of London” in colour) By WILLIAM ROBERTS ” Paper.
(_Out of print_)
=JAMES WARD, R.A.= By C. REGLD. GRUNDY ” 5/- net.
=JOHN DOWNMAN, A.R.A.= By G. C. WILLIAMSON, Cloth. ”
LITT.D. (_Out of print_)
=VELASQUEZ PORTFOLIO= By P. G. KONODY 2/6 net.
Paper only.
_The following have been sold out, and are out of print_:—
Cloth. Paper.
=OLD SPORTING PRINTS= By RALPH NEVILL 7/6 5/-
=BRITISH MILITARY PRINTS= ” ” ” ”
=FAIR WOMEN PORTFOLIO= of the Eighteenth Century 2/6
Paper only.
PUBLISHED BY THE CONNOISSEUR MAGAZINE (published monthly)
AT HANOVER BUILDINGS, 35, 37, and 39, MADDOX STREET, LONDON, W.
PRINTED BY
BEMROSE & SONS LIMITED
LONDON AND DERBY