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Title: The history of silhouettes
Author: Jackson, Emily Nevill
Language: English
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SILHOUETTES ***
THE HISTORY OF SILHOUETTES
[Illustration: PORTRAIT OF A PRIVATE IN AN ENGLISH REGIMENT
About the end of the 18th century
In the possession of the Author]
THE HISTORY
OF SILHOUETTES
BY
E. NEVILL JACKSON
[Illustration: THE CONNOISSEUR
A MAGAZINE FOR COLLECTORS
ILLUSTRATED]
LONDON:
THE CONNOISSEUR
1911
_All rights reserved
Copyright by E. Nevill Jackson in the United States of America, 1911._
FAR IN AND OUT, ABOVE, ABOUT, BELOW,
’TIS NOTHING BUT A MAGIC SHADOW SHOW,
PLAY’D IN A BOX WHOSE CANDLE IS THE SUN
ROUND WHICH WE PHANTOM FIGURES COME AND GO.
_Stanza XLVI.
Fitzgerald’s translation of the Rubyat of Omar Kayyam._
FOREWORD.
Amongst my reminiscences of personal belongings and the charm of old
portraiture, none has given me greater pleasure than the silhouette of
bygone days.
The souvenir, sometimes cut by gifted amateurs, was exchanged amongst
friends in my early days as the photograph is to-day. We had many at
Wolterton, our Norfolk home, and the picture of my grandmother, Lady
Orford, and the cuttings of Princess Elizabeth are amongst my treasured
possessions.
I remember Mr. Guest collected silhouettes, and had some fine examples of
the work of Miers (who lived near Exeter Change), of Rosenberg, and of
Field.
Mr. Guest was a very good judge of such things, having, by many years of
collecting, perfected a naturally cultured sense of art. Like myself, he
had learnt much from Mr. Pollard.
Lady Evelyn Cobbold shewed me three silhouettes of Mr. Cobbold, his
father, and his grandfather, all perfect portraits, and very interesting.
[Illustration: Dorothy Nevill]
CONTENTS
PAGE
PREFACE 1
CHAPTER I. BLACK PROFILE PORTRAITURE, ITS PLACE IN ART,
LITERATURE AND SOCIAL LIFE 3
CHAPTER II. THE COMING OF THE SILHOUETTE AND ITS PASSING 13
CHAPTER III. PROCESSES: (1) BRUSHWORK 20
CHAPTER IV. PROCESSES: (2) SHADOWGRAPHY AND MECHANICAL AIDS 35
CHAPTER V. PROCESSES: (3) FREEHAND SCISSOR-WORK 47
CHAPTER VI. AUGUST EDOUART AND HIS BOOK 59
CHAPTER VII. SCRAP-BOOKS. A ROYAL CUTTER AND HER WORK 73
CHAPTER VIII. SILHOUETTE DECORATION ON PORCELAIN AND GLASS—THE
SILHOUETTE THEATRE 81
ALPHABETICAL LIST OF SILHOUETTISTS, MAKERS OF SILHOUETTE MOUNTS
AND OTHERS CONNECTED WITH THE CRAFT 87
BIBLIOGRAPHY 117
INDEX LXXIII
LIST OF ILLUSTRATIONS
Portrait of a Private in an English Regiment _Frontispiece_
FACING PAGE
Silhouette Portraits of the Ansley Family 1
_Painted in black and orange-red on convex glass_
Silver Wedding Anniversary Picture 16
_With portraits and emblems_
Captain Robert Conig 32
_Of H.M. 90th Regiment of Infantry_
Silhouette Portraits of Members of the Ansley Family 48
_Painted in black and orange-red on convex glass_
Portrait of Lord Mansfield 64
_Painted in black and gold on glass_
Silhouette Portrait of a Man 80
_Painted in black and gold on glass_
Silhouette Portrait of a Lady 96
Painted Silhouettes 112
Illustrations in Monochrome I to LXXII
[Illustration: SILHOUETTE PORTRAITS OF THE ANSLEY FAMILY
Painted in black and orange-red on convex glass. Dated 1793. Signed by W.
Spornberg, Bath
In the possession of Lady Sackville, Knole]
PREFACE.
It has not been easy to gather up the threads of history concerning an
art and handicraft long fallen into desuetude. Amongst the few who still
work at black profile portraiture, none has been found who is cognisant
of the traditions, nor who has any knowledge of the complex processes by
means of which the fine eighteenth-century work was accomplished.
My sincere thanks are due to Mrs. Head, Mrs. Whitmore, Madame Nossof,
Mrs. Wadmore, Mrs. Lea Carson (of Philadelphia), Mrs. Whetridge, Mr.
Francis Wellesley, Mr. H. Palmer, Mr. Desmond Coke, Mr. Holworthy,
Captain Pringle, Mr. H. Terrell (of Boston), Mr. Laurence Park, Dr.
Beetham (descendant of Mrs. Beetham, the fine eighteenth-century
silhouettist), Mr. J. A. Field, for the interesting series of portraits
painted by his great-grandfather, and many others, who, possessing
silhouettes, have allowed me to visit and make a study of their
collections or have sent specimens for examination. Without their
courtesy, and that of many others who gave me facilities for studying
some thousands of specimens and advertisements, it would have been
impossible to write this book. A subject on which there exists no written
history, and which has hitherto received scant attention, requires much
research amongst a large number of examples, amongst old newspaper
matter, contemporary social history, and the trade labels of the
silhouettists, for its faithful record.
More especially I am grateful to those who have kindly permitted me to
reproduce their silhouettes, thus making clear to art lovers, and those
who take pleasure in the curio, how manifold are the charms of family
treasure, which would not otherwise have been available for study. To
Herr Julius Leisching, Director Erzerzog Rainer Museum, I am indebted
for information concerning silhouettists of Germany and Austria contained
in his memorandums of the Industrial Museum; to Sir Sidney Colvin, Keeper
of the Prints in the British Museum; to Mr. C. J. Holmes, Director of
the National Portrait Gallery; to Mr. T. Corsan Morton, of the National
Galleries of Scotland; to Mr. D. E. Roberts, of the Library of Congress,
Washington, for access to special collections; to Mr. Horace Cox and
Mr. T. P. O’Connor, with regard to pictures under their control in the
“Collector” and the Magazine; to Lady Dorothy Nevill, for placing at my
disposal the beautiful silhouette work of Princess Elizabeth, daughter of
George III.; to Lady Sackville, for allowing me to study the silhouettes
of Knole, and to reproduce some of the silhouette porcelain in her
possession.
If fresh interest is kindled in the graceful art of the silhouettist,
and the names of some little known artists are rescued from oblivion, my
pleasant task will not have been in vain. Perhaps those who read these
pages will find a charm and wistfulness in the shadow portrait. Beauty
is not alone recorded by the brush of great artists, but also by minor
workers. Gainsborough painted portraits of beautiful women at Bath, and
Charles and Spornberg worked at their shades in the same street; the
same clients visited both studios. The silhouette, poor relation of the
miniature, the forerunner of Daguerre, shows the Belle of Cheltenham,
or the Dandy of Bath and the Wells, appealing and dainty in shadowland,
while the laughter of the shadow children echoes ghost-like as we note
their toys and sports; they flit across the pages, they cast a shadow,
and are gone.
E. J.
_Oak Lodge, Sidcup._
CHAPTER I.
BLACK PROFILE PORTRAITURE: ITS PLACE IN ART, LITERATURE, AND SOCIAL LIFE.
Figures in black profile join hands round the wine-cups and oil-jars made
by Etruscan potters; in silhouette men are armed to battle, women weave
cloth and grind corn, children play at ball and knuckle-bones, life-like
in shadow.
There is a pageant of profile portraiture on the mummy cases and frescoed
tombs of ancient Egypt. Strange peoples are shown in outline as they
lived; they go to war, they marry, their children play, the ritual of
their Book of the Dead is pictured in profile three thousand years before
the Christian era.
These flat and unsubstantial ghost figures come to us down the ages.
From those mystic times when Crates of Sicyon, Philocles of Egypt,
and Cleanthes of Corinth first worked in monochrome, there is an
unbroken tale of men and women who have lived, loved, hated, and
triumphed—Pharaohs and their slaves, Greek gods, and athletes; a French
king, a murdered queen; Napoleon and his generals; statesmen and
politicians; Goëthe, Beethoven, Burns, Wellington, Dickens, Washington,
Harrison, Scott, and ten thousand others down to the present day. They
come as colourless ghosts, relics of bygone men and women, shadows caught
and held, while the realities have flitted across life’s stage and
vanished.
Old Omar Khayâm, “King of the Wise,” in the twelfth century knew
“We are no other than a moving row
Of magic shadow shapes that come and go
Round with the sun, illumined lantern held
In midnight by the master of the show.”
He had not been busied with winning knowledge without seeing the deep
significance of the shadow portrait. The familiar figure of the showman
whose lantern displays the black moving figures in the midnight streets
of Teheran appealed to him with vital force. He uses the shadow picture
constantly as a simile in his matchless quatrains—
“Heav’n but the vision of fulfilled desire,
And hell the shadow from a soul on fire,
Cast on the darkness into which ourselves
So late emerged from, shall so soon expire.”
The subtle appeal of the silhouette is inevitably associated with death,
in its legendary origin. Filled with joyous anticipation, thrilling with
the thought of the woman he would soon hold in his arms, a lover returned
after a short absence to find that his betrothed was dead; he rushed into
the death chamber, maddened with grief, to look his last on the face of
his beloved before it should be hidden from him for ever. There on the
wall the shadow of the dead woman’s features appeared in perfect outline,
for a taper at the head of the bier cast the shadow. With reverent hand
the man traced the portrait, which he believed to have been specially
sent as consolation.
There are other variants of the story. The Greek legend attributes the
invention of painting to the daughter of Dibutades. Knowing that the
passion of her lover was waning, she furtively sketched his shadow
on the wall as he stood with the sun behind him. We are not told if
this delicate way of indicating that even a shadow outline can be made
permanent by a sufficiently determined young woman was of any use in
making the love of the inconstant swain indelible.
Many artists have illustrated different phases of the basic idea as to
the shadow having first suggested portraiture. Le Brunyn, Schenan, B.
West, R.A., and Mulready are some of them.
We make no apology for studying the history of this art of the
silhouettist in its latter-day manifestations. At its best, black
profile portraiture is a thing of real beauty, almost worthy to take its
place with the best miniature painting; at its worst, it is a quaintly
appealing handicraft, revealing the fashions and foibles, the intimate
domestic life and conventions of its day. It was executed by so many
distinguished amateurs, from Etienne de Silhouette himself to Queen
Charlotte and Princess Elizabeth of England, that few social histories
or collections of letters of the eighteenth century fail to show how its
strange chequer fitted into the fashionable life of the period.
Surely it is high time the art of black profile portraiture had a
historian of its own and the great masters of silhouette portraiture were
rescued from oblivion. Shadows are impalpable things which fade away
almost before we are aware of their existence.
Year by year accident and the ravages of time lessen the number of these
fragile curios; the beautiful portraits on ivory and glass, being the
most fragile, are the first to go. Already it is not easy to find good
examples in their original frames complete with convex glass and trade
label of the artist pasted on the back. Mutilated examples with cracked
wax filling or plaster paintings, chipped and incomplete, are still to
be found; but even these have often been reframed, or have been broken
open to renew glass or back, and so the trade label has been lost. The
searcher who hopes to be successful in his quest has now to go very far
afield, unless he be satisfied with the paper pictures of indifferent
quality, interesting perhaps on account of the identity of the sitter
or the fame of the cutter, but very far from equalling in beauty the
best work of the masters in black profile portraiture. Some enthusiasts
maintain that the least artistic profile shadow portrait has a curious
individuality which redeems it from overwhelming ugliness; certainly the
infinite variety of the processes and the fresh and vigorous outlines in
unexpected media give a charm to the portrait in monochrome.
There is no sequence in the production of the different types. Some of
the earliest specimens were cut in paper, for Mrs. Pyburg is said to
have cut out the portraits of William and Mary in 1699; and certainly
some of the beauties of Versailles were cut by Gonard in paper; the
mid-Victorians worked in paper, and there are still a few cutters
busy with their scissors. Glass, ivory, and plaster, oil-painting,
smoke-staining, and Indian ink, all were used one by one or together.
There is no evolution and gradual development to trace in the art and
craft of the silhouettist; the pictures come before us like the shadows
that they are, each process appearing and disappearing. Sometimes the
same man worked in half a dozen different processes, using now one and
now another, according to the taste or purse of the sitter, or guided
by his own judgment as to the suitability of his subject for this or
that medium of expression. The miniature shades for mounting in rings,
brooches, scarf-pins, and pendants were not done exclusively by a few
men, as one might surmise from their rarity; they were painted with the
delicacy of a miniaturist by many of the silhouettists, who usually
painted silhouettes of ordinary size. These jewel shadows are now very
difficult to find, and it is probable no such collection as that of the
late Mr. Montague Guest will ever come into the market again.
Into the lives of great personages, such as Goëthe, Napoleon, our English
kings, queens, and princesses, the silhouette creeps with colourless
persistence; there is no escaping it. Goëthe writes letters to his
mother, and to Lavater, being touched with enthusiasm for the silhouette
and its uses by the zealous Zürich minister. The poet cut a few himself.
Napoleon presents glass profile portraits of himself in black on gold
tinsel ground to his generals. Princess Elizabeth, daughter of George
III., is a famous scissor-woman, and many are the pictures she cut, not
only of her father, mother, and sisters, but also of trees, birds and
flowers, rural scenes, cupids, and cupid groups.
Fanny Burney delights in the black portraits; all the Burney family are
grouped together. She records her visits to the silhouettist Charles,
when her attendance on the Queen as Maid of Honour was over. This
portrait shows the famous creator of “Evelina” to be sprightly indeed;
her delicate profile is well set off with curled and powdered hair, lace
ruffle, and beribboned hat, whose tilt must surely have been learnt at
Versailles.
Pepys lived too early to have his shadow taken. We feel sure the old
coxcomb would have had a dozen of himself, mighty fine in new clothes,
and perchance, if in generous mood, a single one of his wife in her old
ones. [My father’s profile, cut in paper, is spoken of by Bulwer Lytton
in “The Caxtons,” in the second volume.]
Horace Walpole, in his letter to Sir Horace Mann, written in 1761,
desires him to thank the Duchess of Grafton on his behalf for the
_découpure_ of herself, this being, he explains in a note, “her figure
cut out in card by M. Herbert, of Geneva, who was famous in that art.”
This allusion at this early date again indicates that the cut silhouette
was the earliest, as it certainly is the last survival, of the art. The
scissor-type, it is still called by the old inhabitants of Suffolk, who
well remember the visits of the itinerant artists.
Strange confusion has arisen in the minds of many admirers of silhouettes
on account of the name. Black profile portraiture was practised long
before Etienne de Silhouette economised in the public finance department
of Louis XV., and the wits of the day nicknamed “silhouette” whatever was
cheap and common.
In Swift’s “Miscellanies,” ed. 1745, vol. x., page 204, is a whole series
of poems (full of the most eccentric rhymes) on silhouette portraits,
_e.g._:—
“_On Dan Jackson’s Picture Cut in Paper._”
“To fair Lady Betty Dan sat for his Picture,
And defy’d her to draw him so oft as he piqu’d her.
He knew she’d no Pencil or Colouring by her,
And therefore he thought he might safely defy her.
Come sit, says my Lady, then whips out her Scissar,
And cuts out his Coxcomb in Silk in a trice, Sir.
Dan sat with Attention, and saw with Surprize
How she lengthen’d his Chin, how she hollow’d his Eyes,
But flattered himself with a secret Conceit
That his thin leathern (_sic_) Jaws all her art would defeat.
Lady Betty observ’d it, then pulls out a Pin
And varies the Grain of the Stuff to his Grin;
And to make roasted Silk to resemble his raw-bone
She rais’d up a Thread to the jett of his Jaw-bone,
Till at length in exactest Proportion he rose
From the Crown of his Head to the Arch of his Nose.
And if Lady Betty had drawn him with Wig and all,
’Tis certain the Copy’d out-done the Original.
Well, that’s but my Outside, says Dan with a Vapour;
Say you so? says my Lady; I’ve lin’d it with Paper.”
_Swift, “Miscellanies,” vol. x., p. 205._
ANOTHER.
“Clarissa draws her Scissars from the Case,
To draw the Lines of poor D—n J—n’s Face.
One sloping Cut made Forehead, Nose, and Chin,
A Nick produc’d a Mouth and made him grin,
Such as in Taylor’s measure you have seen.
But still were wanting his Grimalkin Eyes,
For which grey Worsted-Stocking Paint supplies
Th’ unravell’d Thread thro’ Needle’s Eye convey’d,
Transferr’d itself into his past-board Head.
How came the Scissars to be thus out-done?
The Needle had an Eye, and they had none.
O wond’rous Force of Art! now look at _Dan_—
You’d swear the Past-board was the better man.
The Dev’l, says he, the Head is not so full—
Indeed it is, behold the Paper Skull.”
THO. S⸺D, _Sculp_.
_Swift, “Miscellanies,” vol. x., p. 206._
ANOTHER.
“Dan’s evil Genius in a Trice
Had strip’d him of his Coin at Dice;
_Chloe_ observing this Disgrace,
On _Pam_ cut out his rueful Face.
By G⸺, says _Dan_, ’tis very hard,
Cut out at Dice, cut out at Card!”
G. R⸺D, _Sculp._
Now, Swift died in 1745, and may be said to have died to literature
some years earlier. Silhouette’s cheese-paring economy was, we are
told, induced by the deficit entailed “by the ruinous war of 1756,”
consequently it could not have been before 1760 that his name would have
become synonymous with cheapness. We thus have evidence that the art
was in use at the least twenty years before his name could have been
applied to it; and it does not at all appear that it was new then, as
Mrs. Pyburg cut William and Mary’s portrait out of black paper in 1699.
This nomenclature must, therefore, have been caused by his adoption of
it as a pastime, and not by the reason given by I. D’Israeli and the
_Dict. Hist._ This is an instance of how easily false derivations may
be published even within so short a time of the events for which they
profess to account.
A very slight study of silhouettes shows how characteristic is the pose
of many of the old black profile portraits. In the shadow of George III.,
do we not see the embodiment of Lord Rosebery’s inimitable description,
“the German Princelet of his day,” and in Pitt’s silhouette, with its
“damned long, obstinate upper lip,” as his royal master so vigorously
described it, there is the very ego of the man who was premier at
twenty-five.
Goëthe’s letters to his mother are full of allusions to the novel
portraiture which had been brought to his notice by Lavater, the Zürich
divine, whose essay on Physiognomy, written for the promotion of the
knowledge and love of mankind, is still read in Germany. The edition of
1794 is before us, and shows hundreds of silhouette drawings, for he
wrote of the importance of reading character from people’s faces, and
used the silhouette for this purpose. Thus the shadow portrait, once the
amusement of amateurs, now began to have scientific significance.
Goëthe testifies that Lavater wished all the world to co-operate with
him, and he arrived at Goëthe’s house on June 23rd, 1774, not only to
take portraits of the young genius, but also of his parents. A year later
Goëthe implores Lavater in a letter, “I beg you will destroy the family
picture of us; it is frightful. You do credit neither to yourself nor us.
Get my father’s cut out and use him as a vignette, for he is good. You
can do what you like with my head too, but my mother must not stand there
like that!”
An amusing sequel to this is that when, in the third volume of the
“Physiognomy,” the councillor’s portrait appeared, but not that of
Goëthe’s mother, she was much annoyed, and said that Lavater evidently
did not think her face worthy to appear. The matter rankled, for in
1807 she had her head examined by Dr. Gall, “to find out if the great
qualities of her son had, by any chance, been passed on to her.”
This much discussed silhouette of Goëthe’s mother is illustrated in
“Goëthe’s Mother,” by Dr. Karl Heinemann, and fuller accounts of the
poet’s attitude towards the silhouettists of his day, and the instructive
and exciting deductions from their work, will be found further on in our
volume.
In a letter from Fräulein von Göchhausen to Frau Rath—we use the
translation of Mr. A. S. Gibb—the delight in the novel portraiture is
shown, and incidentally the vivacity of the writer:—
“WEIMAR, _the 27th December, 1781_.
“I am sure, dearest mother, that you in your life have had
many and varied joys; but whether you know any such joy as
you have given me on Christmas Day, at least I wish it you!
Your silhouette, so like! of such an excellent, dear, beloved
woman! in such a costly, pretty, and stylish setting; and your
letter—O your dear letter!—could I only say how indescribably
admirable the letter is! Enough, dearest mother: from all my
exclamations there is, alas, nothing further to be learned than
that I am half out of my wits with excessive joy. The first day
Goëthe had much to bear from me, for I almost ate him up. By
monstrous good luck there was on that joyous day a grand dinner
at the Duchess’s, and nearly half the town was assembled. I
could, therefore, produce at once my splendid present (which
will not so soon come off my so-called swan-like neck); and
there was a questioning and a glancing at the beautiful
novelty, and I was thoroughly wild, and people thought I must
have had a gift of clear quicksilver.[1]
“Dearest woman, how shall I thank you! how ever deserve so
much goodness—so without all desert and worthiness on my part!
In return, I can, alas! do nothing, except to go on in my old
jog-trot—love, honour, and obey you my life long. Amen!
“L. GÖCHHAUSEN.”
[1] This seems a strange expression; but at that time, when
anyone showed a restless activity, they would say that someone
had given them quicksilver.
Later the craft of the silhouettist fell into disrepute when it had
become part of the curriculum of young ladies’ schools; unskilful artists
itinerated, pursuing their craft in booths and at fairs—one in the Thames
Tunnel, several on the Chain Pier at Brighton. At street corners magic
figures, with concealed workers, were used to entice the unwilling with
mystery. Even Sam Weller, in his inimitable letter to Mary, laughs at the
methods of the “profeel macheen.”
“So I take the privilidge of the day, Mary, my dear—as the
gen’l’m’n in difficulties did ven he valked out of a Sunday—to
tell you that the first and only time I see you your likeness
was took on my hart in much quicker time and brighter colours
than ever a likeness was took by the profeel macheen (wich
p’raps you may have heerd on, Mary, my dear), altho’ it _does_
finish a portrait and put the frame and glass on complete, with
a hook on the end to hang it up by, and all in two minutes and
a quarter.”
Such is the story, in brief, of the silhouette. Sometimes we see in
it a little social document, elevated by fortuitous circumstances or
scarcity of other pictorial record to historical value. As in the case of
Robert Burns’s portrait, by J. Miers, and that of his brother, Gilbert
Burns, by Howie, in the Scottish National Portrait Gallery, at all times
it is passively charming. Surely we need not scorn this step-sister
of photography—this poor relation of the art world. In the words of
Seraphim, when, in 1771, he flung wide the doors of his Shadow Theatre at
Versailles—
“Venez garçons, venez fillettes,
Voir Momus à la silhouette;
Ou, chez Seraphim venez voir
La belle Lumeur en habit noir,
Tandes que ma salle est bien sombre
Et que mon a cleur n’est que l’ombre,
Puisse messieurs votre gaîté
Devenir la réalité.”
[Illustration]
CHAPTER II.
THE COMING OF THE SILHOUETTE AND ITS PASSING.
There is a simplicity in the silhouette picture which brings it nearer to
the Japanese print in its effect upon the mind than any other expression
in art. All our attention is concentrated on outline, and in consequence
there is a directness and vigour in the likeness which are lacking in
more complex studies. Some Japanese artists, recognising this peculiar
quality in the black profile portrait, supplement a conventionally drawn
coloured portrait with a silhouette.
In Europe, during the last decade of the eighteenth century, the time was
ripe for some popular outlet for the newly awakened interest in the old
Greek classical method, for the recently excavated wonders revealed at
Pæstum and Pompeii had appealed strongly to the popular taste, causing
Greek purity of line and simplicity to dominate all ornament.
There was a natural rebound towards simplicity after the over-gorgeous
detail in all domestic decoration under _Le Roi Soleil_, though
exuberance survived for many years; the Greek influence may be traced
from the latter half of the eighteenth century. Gradually the rococo
absurdities disappeared; purity of line came back to architecture, and
was manifested in furniture, in damask, brocade, and all ornamental
expression, until at the beginning of the nineteenth century the mode in
building design, decoration and dress was of the First Empire, and that
is pure Greek.
The silhouette was another answer to the demand which gave us the reliefs
after the antique which Flaxman and Josiah Wedgwood supplied.
At first these paper portraits must have seemed grotesquely cheap and
ineffective to men to whom portraiture had hitherto meant a painting
on canvas or panel, a delicate miniature, or an enamel of Limoges;
but economy was in the air, the palmy days of reckless expenditure on
personal matters by the few were over. Marie Antoinette was soon to wear
India muslin instead of costly hand-made lace—very soon she might not
even wear her own head; the gorgeously painted equipages of the Martin
Brothers would give way to the less costly tumbrils. The days of fustian
and the proletariat were coming; paper portraits instead of painting;
then the apothecary picture-man, as Ruskin calls the photographer
Daguerre.
The silhouette was the pioneer of cheap portraiture, which is now so
great a factor in modern life. No wonder that, like all pioneers, the
shadow portrait was made the butt of the wits.
Born in France, flourishing greatly in Germany, the silhouette soon
reached England, and penetrated to the middle class, through the upper
classes and court circles, the first English cut portrait that we can
find record of being the cut silhouette of William and Mary in 1699.
Then, while such men as Gonard were working in France, some of our best
English exponents came to the fore. Miers, first of Leeds, then of
London, painted generally in unrelieved black on plaster or ivory; John
Field, his partner for thirty-five years, whose studio was thronged at
11, Strand, close to the old Northumberland House, which has now given
way to Northumberland Avenue. Mrs. Beetham painted in shadowgraphy
with exquisite skill, some of her jewel portraits rivalling the finest
miniatures in quality. Charles, of 130, Strand, worked in Indian ink with
pen on card, and produced such beautiful work that his trade description,
“the first Profilist in England,” may well be excused.
It is interesting to note the very varied nomenclature of this art of
black profile portraiture. H. Gibb and many others, besides Charles, call
themselves _Profilists_.
_Skiagraphy_ is used early.
The fashionable _Shade_ is mentioned by half a dozen diarists and
social writers of the eighteenth century, and was in more common use
early in the nineteenth century. Horace Walpole gives us _Découpure_.
_Scissargraphist_ is used by Haines, of Brighton; in rural districts in
Suffolk silhouettes are still called _Scissartypes_, quite regardless of
whether the picture is of cut black paper or done with brush or pencil.
Hubard, of Kensington and American fame, calls himself a _Papyrologist_,
and his art that of _Papyrolomia_. In the _Art Journal_, 1853, p. 140, we
read _Papyrography_ is the title given to the art of cutting pictures in
black paper.
_Shadowgraphy_ was frequently used by the artists who took the portrait
in shadow with or without the patent chair and wax candle so carefully
described by Lavater, while some silhouettists are content to describe
themselves as artists.
It was August Edouart, the Frenchman, who, wishing to emphasize the
superiority of his methods over the machine-made shadows of his day,
first used the words silhouette and silhouettist, or silhouetteur, in
England. So great a novelty were these names that Edouart relates in his
treatise how visitors constantly came to his salon to obtain the new
silhouette portrait, and retired disappointed when they found it was only
the familiar black shade which was offered to them.
Not only has there been much confusion in the popular mind with regard
to the name of the silhouette, but also on account of the many different
processes, and mixture of processes, used in their execution. Many
silhouettists, as we have said, used several different ways of gaining
the desired result. Mrs. Beetham, for example, painted exquisitely on
ivory and plaster, with and without gold; she also cut out black paper,
pasted it on card, and finished the edges with softening lines of paint
on the background. This artist also painted on plaster and also on glass,
so that very considerable study is required in order to judge unsigned
examples.
Occasionally the whole process in silhouette cutting is reversed, and
not only is a white paper portrait mounted on black, as in Mrs. Leigh
Hunt’s silhouette of Byron, but the portrait is cut as a hole in a sheet
of paper, and, on placing black paper, silk, or velvet at the back, the
portrait outline is seen. The author owns an interesting silhouette
locket in this manner, but examples are rare in England, though there are
several at the Congressional Library at Washington.
Shadow portraits began to receive popular attention about 1770. At this
date a picture was painted by J. C. Schenan (1740-1806), who also worked
under the name of Johann Eleazar Zeisig.
The picture, which was extremely popular, was called “L’Origine de la
peinture ou les portraits à la mode.” This showed a modern version of
the old Greek legend. A lady, in a modish cap and deshabille, is having
her shade outlined by a youth who holds a paper against the wall. This
is the first hint at the movable picture which can be executed in one
place and hung elsewhere; hitherto the wall or ground itself has been in
place of the canvas. Two children are in the foreground, one holds up
the cat while the other wields the pencil; another child makes a rabbit
shadow with his fingers. Against the wall are many shadow pictures, all
life-size, including one of a man, a dog, and a donkey. The dedication
of the engraving of this picture runs thus: “Dediée à Son Altesse
Serenissime Monseigneur le Prince Paladin du Rhin Duc regnant des Deux
Ponts.”
[Illustration: SILVER WEDDING ANNIVERSARY PICTURE WITH PORTRAITS AND
EMBLEMS.
In the possession of the Author.]
A century before, Frances Chauveau engraved a picture by C. le Brunyn
which shows the traces of a shadow portrait on the wall. The figures are
in classical dress—the woman steadies her subject with one hand while she
pencils the shadow with the other. A winged love superintends the process.
The popularity of such pictures was easily accounted for. Those whose
accuracy of vision and skill of hand were insufficient to achieve the
fashionable freehand scissor-work, saw in this tracing method an easy way
of making the black profile portraits.
The tracing of shadow pictures was considered to be of Greek origin, and
the enthusiasm for any art of Greek origin was assured, and the amateurs
prospered.
The inevitable book of instruction for amateurs appeared in 1779 in
Germany, “Directions for silhouette drawing, and the art of reducing
them, together with an introduction dealing with their physiognomical
use.” It must be remembered, in its early days silhouetting was supposed
to be the handmaid of scientific research, and it was very many years
before the artists in black portraiture threw off this pose in connection
with their work. This book is published by Römhild, Leipzig.
Another little book of 258 pages, with eleven copper-plate illustrations,
is now very rare, dated 1780; it was published by Philip Heinrich
Perrenon, bookseller, of Münster. Rules are given, advice as to
materials, the reduction of portraits, their finish, ornamentation, etc.
Processes on glass, in relief, etc., are described.
Pantographs and other mechanical processes were invented, the names
of such things varying from the high-sounding _parallelogrammum
delineatorium_ to the “monkey” indispensable for silhouette artists.
Other books are described more fully in our chapters on the processes.
The silhouette mania affected the engravers of the day; black portraits
in copper-plate appeared, and were used to illustrate histories and
biographies. Also domestic scenes, with elaborate backgrounds, such as
the death of the Empress Marie Theresa, which occurred in 1780. This
was to be had of Loeschen Köhl, of Vienna, in the High Market, No.
488. It appeared in “An Almanack for the year 1786,” with fifty-three
silhouettes, published by Loeschen Köhl.
Large engraved silhouette pictures also appeared, and were sold
separately, such as the Festivity on the Prater. Another variety now
in the Höhenzollern Museum in Berlin shows Friedrich Wilhelm II., with
his wife, four sons, and three daughters, walking in a garden. This
picture is painted on glass, and is mounted on a red ground. Later,
August Edouart achieved elaborate pictures, such as a skirmish of cavalry
or sports. His figures were entirely scissor-work—and extraordinarily
clever. The black portraits were mounted on drawn or lithographed
backgrounds.
Many English books of a biographical nature were entirely illustrated
with portraits in silhouette, notably, “The Warrington Worthies,” by
James Kendrick, M.D., published in 1854 by Longman Brown, London; “Hints,
designed to promote Beneficence, Temperance, and Medical Science,” by J.
C. Lettsom, published in 1801, by J. Mawman. In the second volume of this
work there are nine fine silhouette portraits.
In the memoir of Hannah Kilham, by her daughter-in-law, published by
Darton Harvey, London, 1837, there is a beautiful silhouette portrait.
Field, of the firm of Miers & Field, notifies on his trade label that he
cuts silhouettes suitable for “frontispieces in literary work.”
In the porcelain factories of England and Germany silhouette pictures
were used for the ornamentation of gift-pieces, and also for souvenir
examples. In connection with such factories we may mention that a cup
was made on which Dr. Wall, of Worcester fame, is painted in silhouette,
and at the museum belonging to the Meissen factory, sixteen miles from
Dresden, there is a portrait of Johannis Joachim Kändler, born 1706,
King’s Court Commissioner and model master at the Royal porcelain
factory. Rare and interesting specimens of silhouette porcelain are dealt
with in a separate chapter. In glass, too, silhouette portraits were
etched in gold leaf and in black on glass, which was then enclosed in
another transparent layer of glass for protection.
The taste for the silhouette spread its glamour over many arts; it became
vitiated on account of unskilled and inartistic work, and may be said to
have fallen into disrepute in the early days of Queen Victoria.
It was then that the art of Miers and Field, Gibb and Charles, fell into
the hands of unworthy exponents, whose works partake of the ineptitude
of so much of the early Victorian art. There are silhouette portraits of
the second quarter of the nineteenth century and later, which are amusing
because of their vitality, interesting because of the people whom they
portray, or because of a quaint bygone fashion; but with the exception
of the work of Edouart, which stands alone on account of its superb
technique, they are as a rule no longer examples which connoisseurs
sincerely admire for their beauty. On the production of the real
treasures of black portraiture the curtain was rung down about 1850. At
that date the pageant of shadow pictures since the days of black outline
on Etruscan vases ceased to be hauntingly beautiful, mystic, alluring;
its subtle appeal was over.
CHAPTER III.
PROCESSES.
(1) _Brushwork._
Research regarding the processes by which the shadow portraiture
was produced, results in a baffling amount of material. Besides the
professional silhouettists, who worked on definite lines of their own,
or who used several of the processes from time to time according to the
wishes of the sitter and the purpose for which the portrait was intended,
there was a very large number of amateur workers who used any materials
that came to hand and any process or mixture of processes which seemed
good to them for gaining the desired result.
The silhouette portrait produced by the brush on ivory, card, or plaster
is not necessarily the highest type, although it approaches most
nearly to the work of the miniature painter, for the technique of one
or two of the cutters, such as Edouart, is so fine that it lifts this
humbler process on to the highest plane. Many miniature painters of the
eighteenth century worked alternately in black profile portraiture and
colour. Silhouettes thus done are, in fact, original profile portraits
in monochrome; the process employed for producing them has nothing to do
with scissor or penknife cutting.
Those who know only the picture of more or less shiny black paper stuck
on card by inferior cutters of the early and mid Victorian era, are apt
to consider the silhouette beneath contempt from the artistic point of
view; but the collector who has studied fine examples, and who knows many
processes, understands that each variety has its special charm, and that
many have an individuality and dignity which raise them to a very high
level.
John Miers, whose silhouette of Robert Burns is in the National Portrait
Gallery of Edinburgh, worked at Leeds, and afterwards had headquarters in
the Strand, opposite Exeter Change, where he was in partnership for many
years with John Field, another silhouettist, whose work is of very fine
quality. On most of Miers’ work he is described as “late of Leeds.” His
early business label in Leeds is extremely rare. It is on a fine portrait
of a man which lies before us. This is painted on plaster, and, like
nearly all his early work, is untouched with gold.
Miers did an enormous amount of work on plaster and ivory, in the usual
2½ to 3 inch oval size, as well as the inch to half-inch size for
mounting in rings, brooches, and pins. These latter are frequently signed
“Miers,” sometimes “Miers and Field.” On a fine portrait by Field, during
the time of the partnership with Miers, there is an advertisement on the
back; the partners set forth the announcement at this period that they
“Execute their long approved Profile Likenesses in a superior
style of elegance and with that unequalled degree of accuracy
as to retain the most animated resemblance and character, given
in the minute sizes of Rings, Brooches, Lockets, etc. (Time
of Sitting not exceeding five minutes.) Messrs. Miers & Field
preserve all the original shades by which they can at any
period furnish copies without the necessity of sitting again.”
In the _London Directory_ of 1792 John Miers’ name is first mentioned
as “Profilist and Jeweller, 111, Strand”; in 1817, in the _London
Directory_, “Miers & Son, Profilists and Jewellers”; ten years later,
in _Kent’s London Directory_, 1827, “Miers & Field, Profilists and
Jewellers”; and in the _London Directory_ of the same date, “Profile
Painters and Jewellers.”
Miers is frequently called the Cosway of silhouettists. This name is
correctly suggestive in a double sense, for not only was he amongst the
most charming and successful exponents of his art, as was Cosway, but
his methods and brushwork on ivory were, with well-defined limitations,
identical with those of the miniaturist.
We are able to reproduce the portrait of John Field, the partner of
Miers, through the courtesy of his great-grandson. This silhouette was
done by himself, and that of his wife is a companion picture. Portraits
also of his two daughters, Sophie, afterwards Mrs. Webster, and her
sister, who married E. J. Parris, the artist who decorated the dome
of St. Paul’s, are amongst an interesting collection belonging to the
Field family. All these are painted on plaster, and beautified with
exquisite pencilling in gold. The muslin cap and dainty neck frills of
the artist’s wife are handled with great skill. Field’s shop was next
door to Northumberland House, No. 11, Strand, and here he amassed a very
substantial fortune. He usually had several apprentices, both male and
female, in his studio, and his brother being a skilled frame-maker, the
Field frames, in black papier-mâché and brass mounts, are very dainty,
while the jewel work in gold and pinchbeck is always suitable and
sometimes beautiful. After many years the partnership between Miers and
Field was dissolved, as a cloud seems to have settled on the life of the
former artist, and we have not been able to find details of his latter
years.
Mrs. Beetham also painted in unrelieved black on ivory or plaster, and
connoisseurs are divided in opinion as to whether her work should not
bear the palm instead of that of Miers. Examples are much more rare. Her
label on the portrait of a woman in cambric stock and ruffle runs thus:—
“Profiles in Miniature by
Mrs. Beetham,
No. 27, Fleet Street.
1785.”
Sometimes Mrs. Beetham cut black paper, and used a little brushwork in
the more delicate hair outlines, softening the hard paper line. This
artist excels not only in the delicacy of her profile portraits, but also
in the way in which she depicts, with the very limited materials at her
command, the texture of hair, gauze, and ribbon ornaments.
A third process employed by Mrs. Beetham was the painting on glass of
flat or convex shape. The painting was done on the back of the glass, and
usually a backing of wax or plaster was placed to preserve the portrait.
As a consequence of this filling of wax, many of these old pictures have
suffered severely from extremes of temperature, cold shrinking the wax
and causing disfiguring cracks, and heat, when the portraits were hung on
the chimney wall, as they so frequently were, being no less disastrous.
Occasionally a shade painted on convex glass is found with a flat
composition card or plaster background, upon which, standing away behind
the rounded glass on which the portrait is painted, a beautiful shadow is
cast by the painting.
This is perhaps one of the loveliest embodiments of the miniature shadow
portrait, created independently of all shadow tracing, for the portrait
is simply painted on the inside of a convex glass; yet the shade is
there, dainty, alluring, created through the workings of one of nature’s
laws; the brushwork becomes of secondary importance, and nature’s shadow
the likeness. Rosenberg of Bath (1825-69), whose son was an associate
of the Old Water-Colour Society, was a proficient in this process. His
advertisement is quaintly worded in the small card found pasted on the
back of his framed specimens:—
“Begs leave to inform the Nobility
And Gentry that he takes most striking
Likenesses in Profile, which he Paints
On Glass in imitation of Stone.
Prices from 7s. 6d. Family pieces,
Whole Lengths in different Attitudes.
N.B. Likenesses for Rings, Lockets,
Trinkets, and Snuff-boxes.”
This unusual allusion to imitation on stone is doubtless written to
attract those who, cognisant of the recent discoveries in Pæstum and
Herculaneum, were on the alert for portraiture in profile and ready to
patronise an art which was well in accordance with the return to Greek
feeling in matters artistic.
Another type of glass painting was executed by W. Jorden, who in 1783
painted the portraits of the Deverell family. These six fine examples
show Thomas Deverell in ribbon-tied wig and shirt frill, Ann, Caroline,
Susan, Elizabeth, and Hester; they were formerly in the collection of
Mr. Montague Guest, and were sold for a large price at Christie’s. The
work of Jorden differs considerably from the glass painting of other
profilists, as he used flat glass instead of the convex, and his work is
extremely bold and without detail, except in outline. He does not depend
on any shadow casting for his charm in the work. Examples by Jorden are
exceedingly rare.
A. Charles was another profilist of the eighteenth century, whose work
has extraordinary charm. He used Indian ink and fine line together with
the solid black work. Sometimes examples are to be found where the
draperies and dress are in colour. A good specimen in the original wood
oval frame, in the possession of Mr. Rowson, has a trade label on the
back as follows:—
“Profiles taken in a new method by A. Charles, No. 130,
opposite the Lyceum, Strand. The original miniaturist on
glass, and the only one who can take them in whole length by
a pentagraph. They are also worked on paper and ivory, from
2s. 6d. to £4 4s. They have long met the approval of the first
people and deemed above comparison.
“N.B.—Drawing taught.”
Glass portraits were executed with a mixture of carbon made with
pine-soot and beer, which gives an intense blackness. The process was
sometimes inverted, and the flat or convex glass having been blackened
with pine-smoke all over, the outline of the head or figure was then
drawn in with a sharp point and the blackness removed, except where it
served as the filling of the outlined objects to be silhouetted.
The back of such a portrait was then treated in one of the several
different ways—gold leaf or gold tinsel paper was placed over the back,
and was as a rule covered with a thin layer of wax, so that, looked at
from the front, the silhouette portrait stood out from a gold ground; or,
if the blacking process had been reversed, the gold portrait showed on a
black ground.
Sometimes silver leaf was used instead of gold, and occasionally, as in
the Forberger memorial picture in the Wellesley collection, and in a
fine, small example at Knole, both gold and silver are used in the same
picture.
In the Graz Museum in Germany there is a beautiful head of a youth
painted on glass. A pyramid-like building also figures in the picture,
both gold and silver foil being used as background.
We have seen gold-backed silhouette portraits showing profiles which,
like the old puzzle pictures popular at the same period, are hard to
decipher. Thus an urn is made the central feature of the picture, but the
outline, varying slightly on either side, gives the profile of a man and
his wife. Such quaint conceits were popular at the time. George III. and
Queen Charlotte, or his successor and Queen Caroline, are sometimes the
subject of such freakish portraiture in silhouette; this method in black
and white survives to the present day.
The richness of the gold-leaf background made this variation of the
profile portrait especially suitable for jewels. Lockets, brooches, and
pins are the most usual form; these may be set in gold or in carved
pinchbeck. Occasionally a tiny silhouette picture is in pearl framing, or
an ornamental one of paste.
The silhouette rings are most frequently in the marquise setting; it
was not unusual for a bequest to be made for profile portrait memorial
rings. Occasionally some apt motto was engraved inside, such as, “Il ne
reste que l’ombre.” The ethereal shadow picture seems to have specially
appealed to the sentimental of the eighteenth century as a suitable
reminder after death.
In the Wellesley collection there is a charming patch-box with three
gold-backed profile portraits set in a row. None measures more than
half an inch across; the faces are those of three lovely women. Another
example is of a fine silhouette portrait of somewhat larger size, set in
the lid of a small, round black lacquer snuff-box.
A mirror case was exhibited at the Silhouette Exhibition held in Maehren,
Germany, in 1906, which had, on one side, the head and shoulders of a
woman painted in black on glass. This was mounted on a yellow ground.
Finer than either of these is a patch-box in ivory, set in gold, with
gold hinges and snap. In the centre is a gold set profile portrait of a
man, signed by Miers; on either side there are beautiful panels of blue
enamel. Doubtless this was a well-thought-out gift of a devoted admirer
to the lady-love whose patches were to be held in this artistic box. A
tiny oblong looking-glass is set in the inside of the lid to facilitate
the adjustment of the beauty spots.
It is in work for the embellishment of such dainty things as these that
the art of the profilist touches its highest point in minute work.
Those who had the opportunity of examining the marvellous collection
of the late Mr. Montague Guest can judge how these rare gems are not
only beautiful in themselves, but speak of the illusive charm of the
eighteenth century more eloquently than many other more costly bibelots.
The dainty sentimentality of a gold ring set with the shadow of a
beautiful woman, or the scarf-pin with the shade of a friend; a locket
with the unsubstantial reflection of a child’s face; who can resist the
colourless appeal of so unobtrusive a jewel, which is yet one of such
rich association and rare beauty?
The method most usual for profile portraits in minute size is the
painting with Indian ink on ivory or plaster. We have seen these as small
as a pea, but this is unusual; they are generally double that size for
rings, or, for lockets and brooches, larger still.
J. Miers must have painted many of these jewels. Amongst the examples
we have examined, some are plain black, probably of early date; some
pencilled with gold. This process we cannot help surmising to have been
a concession on the part of the artist to the popular demand which
came early in the nineteenth century. In two signed examples, in the
possession of the author, one is plain black—a man’s head, with tied
queue wig and high stock with ruffle; the other, a woman exquisitely
pencilled in gold, a lawn cap of Quaker shape on her head, a folded
kerchief crossing her breast. Both are signed.
Authentic examples by Mrs. Beetham are rare, for she seldom signed her
work; but there is a quality in them which usually proclaims their
authorship. The nervous delicacy of the work equals that of Miers: the
manipulation of accessories excels it when she is at her best.
These silhouette jewels, of fine quality, are very rare, and are much
sought after. Unfortunately, like so many of our beautiful and artistic
treasures, the boundless wealth of America is absorbing many good
examples. Is it possible that a frame containing about forty of the
finest examples of Field’s work went to America before the collection
came up for public inspection in the auction room, when the Guest
collection was dispersed?
A variant of the shadow portrait, painted on glass, shows a blue, rose,
or green coloured paper or coloured foil taking the place of the gold
or silver leaf ground. A beautiful locket in the Wellesley collection
demonstrates the charm of this method to perfection. It is probably
French.
In a book of instructions for the amateur silhouettists of Germany,
published in Frankfurt and Leipzig by Philip Heinrich Perrenon,
bookseller, of Münster, 1780, we are told: “One can use tinfoil for the
ornamentation of silhouettes for hanging. When the glass is turned round,
the places where the tinfoil is form a sort of mirror. If the background
be black and the portrait the mirror, the effect is pretty, but it is as
contrary to nature as a white shadow. It is best to have the ground of
looking-glass, and to blacken or colour the silhouette.”
One of the earliest silhouettists was François Gonard, a Frenchman,
whose processes seem to have been very varied. Unlike most of the early
shade-makers, he did not make a speciality of any particular process.
His profile portraits were painted on ivory and plaster, and were
occasionally cut out in paper and engraved on copper for reproduction; in
fact, he seems to have practised every kind of profile portraiture.
Born at St. Germain in 1756, he was taught copper engraving at Rouen, and
was specially clever in reducing copper-plate engravings. In the _Manuel
de l’amateur d’estampes_, Joubert relates having seen a plan of St.
Petersburg engraved in minute size by Gonard, who had reduced it from one
of much larger size. This brings us to the pantograph.
In _Le Journal de Paris_, 1788, Le Sieur Gonard, who is called a
_dissenateur physionomiste_, announces that he is in a position to take
silhouette portraits quicker than any other artist. He will make these
for 24 sols each, but he will not make less than two for each person. The
price of those of minute size, suitable for mounting, as boxes, lockets,
and rings, is £3. He also announces silhouettes à l’Anglaise; these have
the dress and head-dress added, and the price is £6 each, whether they
be on ivory for wearing as an ornament or on paper to be framed. Whether
the paper is scissor-work—the profile cut out of black paper—or the black
drawing is made on paper, we are not told. For this latter type a sitting
of one minute only was necessary, and the following day the portrait was
finished.
Another process, which he describes as _silhouette colorée_, can also be
done. These seem to have been more like miniatures; they cost £12, and a
three-minute sitting was required. The portrait was finished on the next
day but one.
Gonard’s address is given as the Palais Royal, under arch No. 166, on the
side of the Rue des bons Enfants, and he describes how a lantern shall be
lit each evening to facilitate the finding of his salon on dark nights.
The lantern had silhouettes on it, as a sign for the footmen bringing
carriages.
One cannot help imagining the scene when gay aristocrats, with powdered
heads and dainty brocades, drove up to have their pictures taken in the
fashionable mode, and beaux, with lace cravats and wigs, trod the floors
of the studio with steps as firm as they might be three years hence when
mounting the steps of the guillotine. How many of those beauties of the
court of Louis XVI. were left when the terrors of the Revolution were
past? How many of the pathetic little paper shadows have come down to us,
fragile, indeed, but outliving the doomed originals by a century and a
half?
As would be imagined, Gonard used elaborately engraved mounts to add to
the grace of his portraits, and occasionally he used relief in white,
grey, or colour in the execution of the portrait.
The view that the shadow portrait should remain a shadow always in black
is held by one of the most prolific of all silhouettists, Edouart, whose
work is fully described in the chapter on Freehand Scissor-work. In
deploring the decline of the public taste for shadow portraiture, he says
in his treatise on _Silhouette Likenesses_:—“As something was wanting to
revive the expiring taste of the public for these black shades, some of
the manufacturers introduced the system of bronzing the hair and dress.
To what species of extravagant harlequinade this gave rise, the public
is sufficiently aware. I cannot avoid making my observations concerning
profile likenesses taken by patent machines, which possess sometimes
all the various colours of the rainbow: for example, every day there is
to be seen in the shops this kind of profile, with gold hair drawn on
them, coral earrings, blue necklaces, white frills, green dress, and
yellow waistband, etc. Is it not ridiculous to see such harlequinades?
The face, being quite black, forms such a contrast that everyone looks
like a negro! I cannot understand how persons can have so bad and, I may
say, _a childish taste_! Very often those likenesses are brought to me to
have copies made of them, and it is with the greatest trouble I am able
to make them understand that it is quite unnatural; and that, taking a
silhouette, which is the facsimile of a shade, it is unnecessary for its
effect to bedizen it with colours.
“I would not be surprised that by-and-by those negro faces will have blue
or brown eyes, rosy lips and cheeks; which, I am sure, would have a more
striking appearance for those who are fond of such _bigarrades_.
“It must be observed that the representation of a shade can only be
executed by an outline; that all that is in dress is only perceived by
the outward delineation; consequently, all other inward additions produce
a contrary effect of the appearance of a shade.
“Here it may be said that every one has not the same taste; some like
colour which others dislike; some find ugly what others find beautiful;
and, in fact, _des gouts et colours on ne peut pas disputer_. But every
artist or real connoisseur will allow with me that when nature is to be
imitated, the least deviation from it destroys what is intended to be
represented.”
Edouart concludes with some severe remarks. “It is a pity that artists,
in whatever line they profess, should give way to those fantastic whims,
and execute works against all rules; for if they would employ their time
in proper studies, and try to show the absurdity of encouraging whatever
deviates from the true line of nature, they would improve themselves, and
in time would derive greater benefit than in executing things which only
bring scorn and ridicule from people of discernment.”
Despite the opinion of Edouart, with which most connoisseurs of the
present day heartily agree, much silhouette work was finished in colour.
We have before us a delicately painted lady of the Early Victorian
period. She wears a grey dress with graceful pleated sleeves, a deep
embroidered muslin collar, and the most bewitching cap tied with blue
ribbons. Her face and hands only are shadow black. The delightful
ringlets of the period are marked in gold, and she is writing in a
note-book with a gold pencil, quite a blue-stocking occupation for a lady
of that period. In the collection of Dr. A. Figdor, Vienna, there is an
elaborate picture of a mother with a young child on her knee; two elder
children and her husband complete the group. Only the heads in this group
are black. Again, Professor Paul Naumann, of Dresden, owns the silhouette
of a Moor. The clothing is brightly coloured, the head alone black. Every
collector will find he has some examples where colour has been used to
relieve the black of the card, ivory, or glass painting.
It must be remembered that this was the time of glass pictures of the
ordinary coloured type, and this glass painting—_Églomisé_, as the
process is called by the learned Dr. Leisching—would naturally influence
the minds of the profile portrait painter on glass. So it came about
that the two allied crafts gradually overlapped in ideas, and method and
points of colour began to appear in uniform or other parts of the picture
where colour would obviously add interest of a historical or sentimental
character to the silhouette portrait, and in the glass picture of saint
or Bible history. The glaring colours hitherto used to appeal to the
popular taste began to be modified, and examples are found where the
figures are all in black, the background alone being coloured; so that
the glass picture is to all intents and purposes a silhouette on a
coloured ground.
Of this type is the picture at the Francesco Carolinum Museum at Linz,
where eight musicians in uniform are shown in black in the chapel. There
is a good deal of wreath and ribbon decoration, and two small curtained
windows are in the background.
An important example of the black glass painting on coloured ground is
the picture on a red ground in the Berlin Museum. Other red and black
silhouette works are owned by Lady Sackville, who has an extraordinarily
interesting collection of the Ansley family, painted by Spornberg in
1793. Each portrait is signed and dated, the address of the artist, No.
5, Lower Church Street, Bath, being given on one. These pictures are
painted on convex glass in black; the background, outlines of the face,
dress, hair, and elaborate wigs, caps and hats, together with the eyes,
and slight shading, being painted in black. Over the whole an orange red
paint is then worked in at the back, so that one sees from the front the
red bust figure shown in black lines on the black background.
[Illustration: CAPTAIN ROBERT CONIG
Of His Majesty’s 90th Regiment of Infantry
Painted on Card. In the possession of Lady Sackville, Knole]
Coloured grounds are very rarely found in connection with English
silhouette work. One, in the possession of the author, is of a boy’s head
finely painted on ivory; the background is tinted blue, the whole mounted
in a chased gold locket of the period, early eighteenth century.
Abroad, especially in Germany, we constantly find coloured backgrounds
and coloured cardboard mounts, with or without wreaths or other
ornamental frames.
In the catalogue of the Silhouette and Miniature Exhibition held at Brünn
from April 22nd to May 20th, 1906, there was much work of the kind:—
The silhouette numbered 67. Head and shoulders of a young man. Silhouette
painted on glass on a brown ground. At the back the letters A. J. L.
No. 77. Round lacquer box with head and shoulders of a man in silhouette
on a yellow ground, gold glass mount. Owner: R. Blümel, Vienna.
No. 99. Head of an officer, silhouette, painted on glass, blue ground.
No. 106. Lady walking, silhouette on glass, blue ground.
No. 26. Gentleman sitting at a writing-table, painted on glass, yellow
silk background. French, Louis XVI.
No. 127. Lady sitting at a table, companion picture.
Other silk-mounted pictures are numbered 154.
Elise Herger (_née_ V. Pige) and the Countess Chotek, both painted on
glass and mounted on silk.
No. 159. Two female and two male heads, probably members of the noble
family of Belcredi, silhouettes, cut out of paper and mounted on
mother-of-pearl, 1800.
No. 184. In this there is a fresh variety of mounting. The head and
shoulders of a man in painted silhouette, on glass; this shows up over
white paper. Above this portrait, within the same frame, is a semicircle
of nine female figures in silhouette over blue foil; completing the
circle is a gold laurel branch. This example is signed “Fecit Schmid,
Vienna, 1796.”
Schmid, of Vienna, seems to have constantly used coloured backgrounds.
A fine drawing by him, on glass, of Sophie Landgravine Fürstenberg,
1787-1800, is mounted on green; this was painted in 1800. It is an
interesting specimen, as it is one of the rare examples of silhouette
work in which human hair is used. At the back there is a landscape
drawing in silhouette, on glass. The brook in the sylvan scene is put
in with the waved lines of hair. It is remarkable that Edouart, who was
a skilled worker in human and animal hair before he was a silhouette
cutter, never combined the two crafts.
A strange variant of the dressed picture must be mentioned in connection
with silhouettes where colour and exotic processes are employed. In four
examples in the possession of Dr. Beetham, descendant of Mrs. Beetham,
the fine silhouette painter, of 27, Fleet Street, the face, hair, arms,
hands, and neck are cut out of black paper. The vase, in the example
illustrated, is also in black, in this case, as in the less rare dressed
engravings of the same period. The dress of the figure is made up of
deftly arranged scraps of material. The head-dress is of spotted black,
outlined by narrow bands of black paper; the bodice and skirt are of
linen, with purple bands; the outstanding paniers are of faded scarlet
flowered cotton; the flowers in the vase are painted, being outlined in
gold. There are also dressed silhouettes in the possession of the Beck
family. These show the Quaker dress in folded material with the black
silhouette. All these examples are probably the work of clever amateurs.
CHAPTER IV.
PROCESSES.
(2) _Shadowgraphy and Mechanical Aids._
Up to this point we have discussed only those processes which entail hand
drawing with pen, pencil, or brush, which are undoubtedly an attractive
type of the shadow picture, whether they are executed on ivory, plaster,
or paper; their backing with wax, gold, or silver leaf tinsel, on
coloured paper makes accidental varieties of the one type.
Any of these processes require a good deal of artistic training, even
if the shade is used as a guide, for unless there is skill in catching
a likeness, or delicacy and charm in drawing, black portraiture has
nothing whatever to recommend it. However the silhouette is executed,
the mechanical appliances play so important a part in nearly all the
processes that they need a chapter to themselves. In order to popularise
the black portrait, some means of achieving it was required which could
be used by persons without talent or artistic training.
It was here that shadowgraphy came to the fore. Even the most ignorant
in art work could trace a shadow when thrown upon white paper on a wall
or specially made screen, and if the full life-size were considered too
large, the Singe, pantograph, or other contrivance could reduce its
size; then only scissors were required, and the silhouette-by-machinery
maker felt himself to be as gifted as the black portrait painter, or the
freehand scissor-cutter, whose work we describe in another chapter.
Etienne de Silhouette, born in 1709, amused himself with the craze of
the day. His craft, belonging essentially to this section of mechanical
execution, deserves special mention, not because he invented the black
profile portrait, for they were made sixty years before he was born, but
because his name was given to it in derision, and has stuck to it ever
since. Being finance minister, he was supposed to be a promoter of the
fine arts, but such was his economy, or meanness, that artists styled
his paper pictures “portraits à la silhouette,” a name synonymous with
paltry effort and cheapness. This did not, however, deter people from
patronising the silhouette artists, nor of attempting, themselves, to
achieve the machine-made variety of the fashionable black portrait.
In the _Journal Officiel_, published in Paris, August 29th, 1869, we
read:—“Le Chateau de Berg sur Marne fut construit en 1759 par Etienne de
Silhouette ... une des principales distractions de se seigneur consistait
à tracer une ligne autour d’un visage, afin d’en avoir le profil dessiné
sur le mur: plusieurs salles de son chateau avaient les murailles
couvertes de ses sortes de dessins que l’on appelle des silhouettes du
nom de leur auteur de nomination que est toujours resté.”
In the seventeenth century, dillettantism was an obsession with the
leisured classes. The tendency of the time towards Greek art, as has
been indicated in another chapter, helped to popularise the scissor-work
of this type of shadow portraiture, and it became a fashionable craze.
Though the cutting out with scissors and penknife sometimes took the
form of landscape groups and small whole figures, the profile alone in
small, though not miniature size, proved the most fascinating branch of
scissor-work, and survived the longest in the favour of amateurs, because
the purely mechanical shadow tracing required no skill, and inevitably
gave a life-like likeness if traced with reasonable care.
There were several methods of securing steadiness on the part of the
sitter and the best result as to arrangement of candle-light essential
to the success of the portrait. Lavater, who believed so sincerely in the
infallibility of the silhouette as an assistance in his physiognomical
studies, gives elaborate directions as to how to obtain the best results.
He says in Lecture XVI. (we spare our readers the long observations on
silhouettes):—
“It may be of use to point out the best method of taking this species of
portraits.
“That which has hitherto been pursued is liable to many inconveniences.
The person who wants to have his portrait drawn is too incommodiously
seated to preserve a perfectly immovable position; the drawer is
obliged to change his place; he is in a constrained attitude, which
often conceals from him a part of the shade. The apparatus is neither
sufficiently simple nor sufficiently commodious, and, by some means or
other, derangement must, to a certain degree, be the consequence.
“This will happen when a chair is employed expressly adapted to this
operation, and constructed in such a manner as to give a steady support
to the head and to the whole body. The shade ought to be reflected on
fine paper, well oiled and very dry, which must be placed behind a glass,
perfectly clear and polished, fixed in the back of the chair. Behind
this glass the designer is seated; with one hand he lays hold of the
frame, and with the other guides the pencil. The glass, which is set in a
movable frame, may be raised or lowered at pleasure; both must slope at
bottom, and this part of the frame ought firmly to rest on the shoulder
of the person whose silhouette is going to be taken.
“Toward the middle of the glass, is fixed a bar of wood or iron furnished
with a cushion to serve as a support, and which the drawer directs as he
pleases by means of a handle half an inch long.
“Take the assistance of a solar microscope, and you will succeed still
better in catching the outlines; the design also will be more correct....
“There are faces which will not allow of the most trifling alteration
in the silhouette, or strengthen or weaken the outline but a single
hair’s-breadth, and it is no longer the portrait you intended; it is one
quite new, and of character essentially different.”
In this work of silhouette-making and physiognomical study, Lavater
wished the whole world to co-operate with him, as Goëthe testified.
On a long journey down the Rhine, he had the portraits taken by his
draughtsman, Schmoll, of a great number of important people. This served
the secondary purpose of interesting his sitters in his work. He also
asked artists to send him drawings for his purpose, and wrote much on the
physiognomical character of the figures in the pictures of such artists
as Raphael and Vandyck.
Goëthe was intensely interested, and there is much of his correspondence
extant on the subject. Enthusiastic at first, his zeal seems to have
waned. On June 23rd, 1774, Lavater arrived at Goëthe’s house with
Schmoll, and portraits were taken of the author of “The Sorrows of
Werther,” and of his parents.
A year later, in August, 1775, Goëthe writes, imploring Lavater, “I beg
you will destroy the family picture of us; it is frightful. You do credit
neither to yourself nor to us. Get my father cut out, and use him as a
vignette, for he is good. I do entreat of you to do this; you can do what
you like with my head too, but my mother must not be recorded like that.”
An amusing sequel to this correspondence is that when the third volume
of Lavater’s “Physiognomy” appeared containing her husband’s portrait
alone, the councillor’s wife was extremely offended, and says that
evidently the author did not think her face worthy to appear.
A scrap-book full of these machine- and scissor-made silhouettes, with
copious notes made by Lavater on the character of the sitters, judged by
the shadow portraits, is one of the chief treasures in the collection of
Mr. Wellesley, and forms an important item in silhouette history in its
use for scientific purposes.
A machine for the use of amateurs is owned by Dr. Beetham, descendant
of Mrs. Edward Beetham, the clever silhouettist of Fleet Street. This
machine for taking silhouettes is a box about the size of a cigar box.
One end has a lens glued into a sliding block or frame for focusing
purposes. A piece of looking-glass reflects the object on to a piece
of frosted glass on the top of the box. The subject is drawn from this
reduced shadow.
There were others besides Lavater who published advice as to the best way
of taking silhouettes.
In “A Detailed Treatise on Silhouettes: their Drawing, Reduction,
Ornamentation and Reproduction,” published in 1780, the author, after
many allusions to prisma, cylinder, pyramid, cone, the sun and moon, and
perpendicular and horizontal lines, gives indispensable rules for the
silhouetteur:—
1. The surface on which the shadow is made must be upright.
2. It must be parallel with the head of the sitter.
3. The imaginary line running from the centre of the flame to
the middle of the profile must be horizontal with the surface
on which the shadow is to be cast.
4. The light must be as far from the head as possible, but the
surface for drawing on must be as near the head as possible.
As will be seen from the print taken from Lavater’s book, these rules
were fairly accurately carried out in the chair depicted. Practical hints
are also given in the treatise as to paper, light, pencils, etc. Great
stress is laid on the importance of obtaining paper large enough for the
drawing of the enormous modern head-dress of women, for which, sometimes,
two pieces were put together. We have seen interesting examples of this,
where the paper is actually joined together with the thin old-fashioned
pins of the period, and life-size heads, executed in black paper, in a
country house in Sussex.
“A wax light is better than tallow or suet,” this careful mentor
continues, “as there is nothing so harmful as a flare, which makes the
shadow tremble. If one cannot obtain a wax candle, and must use a lamp,
let it be dressed with olive oil. Coughing, sneezing, or laughing are to
be avoided, as such movements put the shadow out of place.”
The reduction of shadow portraits so taken is then described at length,
and by various methods, “as the physiognomical expression is more piquant
in a reduced silhouette.” “The best of these mechanical reducers is
the Stork’s Beak or Monkey (this is our present-day pantograph), which
consists of two triangles so joined by hinges that they resemble a
movable square, which is fixed at one point of the base of the drawing,
while a point of the larger triangle follows the outline of the life-size
silhouette. A pencil attached to the smaller triangle traces the same
outline smaller and with perfect accuracy. By repeating these reductions,
silhouettes may be made in brooch and locket size.”
“With regard to the ornamentation and finish of the silhouette portrait,
black paint should be used.” We presume this would be for the fine lines
of the hair, which are sometimes added to the background after paper-cut
silhouettes are mounted. Chinese or Indian ink is advised, or pine-soot,
mixed with brandy, gum, or beer.
Advice is also given as to painting round the paper outline: the paint
should be put on from the pencil outline towards the centre. The
anonymous author suggests that two portraits should be cut at once; the
first to be stuck into the family album, the second to be hung upon the
wall.
For such decorative purposes elaborate instructions are given. “Take a
nice clear sun-glass and clean it with powdered chalk and clean linen
to remove all grease and dirt. Cover this glass on one side with finely
powdered white lead mixed with a little gum-water. When this is dry take
the silhouette, which has been cut out of strong paper, place it on the
powdered surface, and trace round the outline with a needle; remove the
silhouette, and scrape away all the white within the drawn line. Thus one
obtains a transparent silhouette, which can be turned into a black one
by laying a piece of black velvet at the back of the glass, or if not
velvet, fine black cloth or taffeta or paper.”
This silhouette recipe maker also suggests that the cut-out black
silhouettes can be stuck on to the glass with Venetian turpentine, and
the glass then treated with the white covering; or one can use tinfoil,
which forms a mirror.
This brings us back to the background treatment for painted silhouettes
without the aid of shadowgraphy and scissor-work, so that we need not
repeat the various kinds.
In this remarkable book, which is in the possession of Professor Dr.
Th. Slettner (Münich), and for a description of which we are indebted
to Herr Julius Leisching, a further description of silhouette-making is
given:—“By sticking together three or four sheets of paper and working at
the back with a polishing steel, one can actually make a profile portrait
in slight relief out of a cut-out silhouette in white paper, ‘giving it
the appearance of a marble tablet or a plaster cast done by a sculptor,’”
adds this enthusiast.
A treatise on this method exists in English, entitled “Papyro-Plastics;
or the Art of Modelling in Paper, with Directions to cut, fold, join, and
paint the same,” with eight plates, published in the first quarter of the
nineteenth century.
Mention is also made of silhouettes in enamel on copper for snuff-boxes,
lockets, and rings, and the black profile portraits on porcelain in the
German volume.
Finally, the author praises a process by which, by means of a stencil,
one can make one hundred copies a minute, and the reproduction of the
silhouette portrait by woodcut and copper-plate impressions.
A second book appeared simultaneously, if not immediately before the
treatise. It was published by Römhild at Leipzig, and in the following
year (1780) Philip Heinrich Perrenon brought out a third, which is called
“Description of Bon Magic; or the Art of Reduplicating Silhouettes easily
and surely.”
The principal process is one which the author describes as “so simple
that every woman who can make silhouettes can practise it as well as the
best artist.”
“Take a piece of flat tin, polish it on one side, put the drawing on
it and cut out the tin accordingly, and the form is obtained. Rub this
form on the side to be printed off on a flat stone with sand. Damp some
paper, and make a black mixture out of linseed oil and pine-soot. Make
a pair of balls of horsehair covered with sheepskin. Get a small piece
of hat felt. Blacken the shape or form with the black mixture put on
with the horsehair ball; place it on the table, and over it, on the
blackened side, the damp paper, on this a few sheets of waste paper and
then the felt. Now nothing but the press is required; this consists of a
rolling-pin, which can be made by any turner. Roll it over, and when the
paper is taken away the silhouette, _en Bon Magic_, appears printed off.”
Illustrations of various implements are given, besides a simple
pantograph for reducing the life-size shadow. Many pantographs are
mentioned in connection with silhouette work. It is probable the earliest
one was invented by Christopher Scheiner, a Jesuit, at the beginning
of the seventeenth century, and was called the _parallelogrammum
delineatorium_.
We meet it again in England, where mercifully its name is shortened, and
it is interesting to see that it is a woman who applies for protection of
her invention. The abridgment of her specification runs thus:—
_Patents for Inventions._
_Abridgments of Specifications._
_Artists’ Instruments and Materials._
1618-1866.
_A.D. 1775, June 24.—No. 1100._
Harrington, Sarah.—“A new and curious method of taking and
reducing shadows, with appendages and apparatus never before
known or used in the above art, for the purpose of taking
likenesses, furniture, and decorations, either the internal
or external part of rooms, buildings, &c., in miniature.”
The person whose likeness is to be taken is placed so “as
to procure his or her shadow to the best advantage, either
by the rays of the sun received through an aperture into a
darkened room, or by illuminating the room.” The face is then
brought “directly opposite the light, so that the shadow may be
reflected through a glass (or transparent paper);” the glass
is movable in a frame “so as to fix it on a level direction
with the head of the person.” The outline of the shadow is then
traced with a pencil, &c., after which it is “reduced to a
miniature size by an instrument called a pentagrapher.”
Respecting furniture, &c., “the articles required to be taken
are to be placed in such a direction that their shadows may be
reflected as above described, traced out in the same manner and
reduced.” The shadows (as also the likenesses) are cut out “and
placed upon black or other coloured paper or any dark body” and
the external parts are, if required, decorated with cut paper,
&c.
When a likeness is to be taken, accompanied with the external
“part of a room or buildings,” a camera obscura is used; the
reflected shadows are received on paper, the outlines are
carefully marked, and then “either fill’d up with Indian ink or
coloured, or cut out as above directed.”
[Printed, 4d. No Drawings.]
On December 22nd, 1806, Charles Schmalcalder applied for a patent for a
machine of the same type, but of more complicated construction. We give
the abridged specification, for it forms a humble though important link
in silhouette history, having been much used by itinerant silhouettists
at the beginning of the nineteenth century.
_A.D. 1806, December 22.—No. 3000._
Schmalcalder, Charles.—“A delineator, copier, proportionometer,
for the use of taking, tracing, and cutting out profiles,
as also copying and tracing reversely upon copper, brass,
hard wood, cardpaper, paper, asses’ skin, ivory, and glass,
to different proportions, directly from nature, landscapes,
prospects, or any object standing or previously placed
perpendicularly, as also pictures, drawings, prints, plans,
caricatures, and public characters.” This apparatus is
composed of (1) a hollow rod “screw’d together, and from two
to twelve feet, or still longer, chiefly made of copper or
brass, sometimes wood, or any metal applicable;” the diameter
is from half an inch to two inches and upwards, according
to the length; one end carries a fine steel tracer, made to
slide out and in and fastened by a milled-head screw, and in
the other is “a round hole to take up either a steel point,
blacklead pencil, or any other metallic point, which may be
fastened therein by a mill’d-head screw;” (2) a tube about ten
inches long and sufficient in diameter to allow the rod “to
slide easily and without shake in it;” (3) a ball (in which
the tube is fixed) “moveable between two half sockets;” (4)
a frame of wood about two and a half or three feet long (the
length depending on the length of the rod) and supported by
two brackets; (5) a swing-board attached to the frame; (6) a
clamp-screw; (7) a hook hanging on a string for the rod to
rest in; (8) a weight on the back of the frame, connected
thereto by a hook, “to which is attached a string forming a
pulley, serving to prevent the point from acting upon the paper
when not wanted.” Through the sides of the frame are holes at
certain distances corresponding with marks on the rod, and “in
copying any original, supposing to the size of ⅛, ¼, ½, ¾,
&c.,” the swing-board and clamp-screw “must be transplanted to
the different holes and divisions corresponding.” The paper or
other substance is fastened to the swing-board by screws or is
placed in a brass frame which slides up and down the board, and
is kept in position by a spring. “The machine is fixed either
to a partition in any room or to any piece of wood portable,
and so constructed as to be easily fixed upright with a
screw-clamp upon a table or any other stand.” In turning the
rod round in the sockets “the tracer and point in the two ends
of the rod must remain in the centre, to obtain which sometimes
an adjustment with four screws” is required.
Directions are given for using the apparatus in taking
profiles, in copying and tracing pictures, landscapes, &c., and
in copying from nature “landscapes or whatever object exposes
itself to view.”
[Printed, 6d. Drawing. See “Repertory of Arts,” vol. 10 (second
series), p. 241; “Rolls Chapel Reports,” 7th Report, p. 195.]
Still lower was the shadow portrait to fall, when another contrivance was
invented to trick the public into the belief that magic played a part in
producing the likeness. An automatic figure was taken round the country
which it was claimed could draw silhouettes. Somewhere about 1826 the
automaton was brought to Newcastle, and is described as a figure seated
in flowing robes with a style in the right hand, which by machinery
scratched an outline of a profile on card, which the exhibitor professed
to fill up in black. The person whose likeness was to be taken sat at one
side of the figure, near a wall. “One of our party,” says an eye-witness,
“detected an opening in the wall, through which a man’s eye was visible.
This man, no doubt, drew the profile, and not the automaton. Ladies’
heads were relieved by pencillings of gold.”
The son of the great, little Madame Tussaud, who began her wax
modelling in the Palais Royal in the days of the French Revolution,
taking death-masks of many of the guillotine victims, thus advertises
in 1823:—“J. P. Tussaud (son of Madame T.) respectfully 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.”
This machine was probably of the kind described by Blenkinsopp in _Notes
and Queries_:—“A long rod worked in a movable fulcrum, with a pencil
at one end and a small iron rod at the other, was the apparatus. He
passed the rod over the face and head, and the pencil at the other end
reproduced the outline on a card, afterwards filled in with lamp-black.”
It is probable that Edward Ward Foster, who described himself
as “Profilist from London,” used such a machine, which he thus
describes:—“The construction and simplicity of this machine render it one
of the most ingenious inventions of the present day, as it is impossible
in its delineation to differ from the outlines of the original, even the
breadth of a hair.
“Mr. F. wishes the public to understand that, besides sketching profiles,
this machine will make a complete etching on copper-plate, by which means
any person can take any number he thinks proper, at any time, from the
etched plate; and for the further satisfaction of the public, he will
most respectfully return the money paid if the likeness is not good.
Profiles in black at 5s. and upwards, etc. Derby, January 1, 1811.”
Mr. West, miniature and profile painter, from London, worked with the
same machine. His prices were:—profiles on card, in black, 5s.; in
colours, 10s. 6d.; on ivory, in colours, one guinea and upwards.
We have succeeded in tracing the recorded description of one of the
sitters who actually had a portrait taken by such an instrument, and also
one who saw such an instrument as late as 1879. The account is by Mr. H.
Hems, Fair Park, Exeter, and brings our tale of mechanical contrivances
in connection with silhouette portraiture to a fitting close:—
“Happening to be at Dundee at the time of the Tay Bridge disaster (it
occurred upon the last Sunday evening in 1879, when 67 people were
drowned), I recollect a Mr. Saunders, a saddler at Broughty Ferry, in the
immediate neighbourhood, possessed and showed me as a curio one of these
identical portrait-taking machines.”
CHAPTER V.
PROCESSES.
(3) _Freehand Scissor-work._
In the foregoing accounts of black profile painting, the cutting out of
a sketched outline obtained by shadowgraphy or any other means, little
mention has been made of the freehand scissor artist, who, without pencil
or pen sketch, cut a small likeness after studying the sitter for a few
seconds.
Though there were many other processes which gave charming and artistic
results, there is no doubt that from the dated convent work of 1708 and
the first known record in England of Mrs. Pyburg, who _cut_ the portraits
of William and Mary, up to the few remaining cutters of the present day,
this type of freehand scissor-work has persisted in England, and also in
Germany.
Some of the early cut-work examples were made with the assistance of
fine small-bladed knives. Specimens of cut vellum exist, which it would
have been impossible to cut with scissors alone. A notably fine example
is in the Francisco-Carolinum Museum at Linz; it is an Ex Voto offering,
and represents the Flight of the Holy Family into Egypt. The parchment
mount has the most elaborate tendrils cut out, while typically German
flourishes and mantling support birds and beasts. A stag-hunt is seen
in one part, while the imperial eagle is not wanting in this skilful
production. The picture is dated 1708.
In the same museum is a magnificent Dedication to the State Deputation of
the Province of Nymwegen. Justice is surrounded by angels and trophies,
painted and gilded, and the arms of the province are cut with much
delicacy, and with richly foliated ornament. The whole is mounted on
red, and dated 1710, but the artist wielder of the penknife unfortunately
does not sign his work.
It is possible that these examples were convent-made. The cutting out
of religious subjects and the extreme elaboration of their ornamental
borders flourished, to a small extent, for some years after the
printing press had destroyed the occupation of the monks in copying and
illuminating manuscripts. A reproduction of one of these is now before
us. It represents St. Benedict seated in the habit of a monk; a cross,
skull, and other symbols are on the rocks at his side; the saint has a
halo. A large tree is in the background, and birds and a squirrel are
amongst the branches; two steps lead down to a sylvan scene, where the
saint is seen walking away in the distance. Conventionalised roses,
cornucopia, and floriated forms compose the wide border; this is all
cut on the same piece of vellum, but there is no colour used. Another
convent-made cut picture, which was exhibited at the Brünn Exhibition,
shows a picture of the Baptism of Christ in the Jordan; it is signed “F.
Agathaugdus, _Bonnensis Capuchin_.” In this picture, which is of paper,
not vellum, the arms of a bishop appear, together with the inscription,
“Johanni Ernesto, S.R.I., Principi Metropolitanæ Eccl., Salisbury.”
An achievement of arms seems to have been a favourite subject for such
pieces. A remarkable specimen in cut paper, mounted on looking-glass,
is in the collection of Lady Dorothy Nevill. It displays the arms,
supporters, and motto of Robert Walpole, Earl of Orford, the ancestor of
Lady Dorothy. These examples are very difficult to find; it is probable
that many have been destroyed.
[Illustration: SILHOUETTE PORTRAITS OF MEMBERS OF THE ANSLEY FAMILY
Painted in black and orange-red on convex glass. Dated 1793. Signed by W.
Spornberg
In the possession of Lady Sackville, Knole]
Another example, in the possession of the author, shows a heraldic
escutcheon, with wolf and hound supporter, etc. This lies between two
sheets of glass. The minuteness of the cutting of this fine paper is
extraordinary.
A very fine specimen has a miniature of Charles I. In the centre an
elaborate mount is cut out of thin paper; the whole is in a fine
tortoiseshell frame of the period. This type of work is rare.
Little mention is made of freehand paper or vellum cutting in the early
written treatises, probably because, needing only talent for catching a
likeness and skill in wielding the scissors, there was little to be said
about it; so that the early writers on the black profile work turned
their attention to the less gifted workers who needed their help with
extraneous and complicated processes.
Of all those who cut the likeness direct after glancing at the sitter,
the Frenchman, August Edouart, was undoubtedly the most skilful and
prolific. He styles himself “Silhouettist to the French Royal Family.
Patronised by His Royal Highness the late Duke of Gloucester and the
principal nobility of England, Scotland, and Ireland.” When he first came
to England as a refugee, he seems to have supported himself by a strange
industry, invented by himself, which he calls mosaic hair-work. In the
descriptive catalogue which is before us, of an exhibition of this work
held about 1826, such items appear as a wolf’s head; a squirrel, made
with real hair, climbing a tree; a marine view with a man-of-war.
“This performance in human hair imitates the finest true engraving; the
curious may perceive, with the help of a magnifying glass, the cordage
and men on board. This work has taken at least twelve months in its
execution.” When he made hair portraits of men, women, or animals, he
used their own natural hair, “raising them from the ivory and making
bas-reliefs.”
“These works,” writes Edouart, “being of my own invention and execution,
I have desisted from making for the last twelve years, since the death
of my royal and distinguished patrons, Queen Charlotte, the Prince of
Saxe-Coburg, and others.”
It is strange that Edouart never combined hair-work with shadow
portraiture, as did some of the German exponents. Being so expert a hair
artist, it would have been natural to expect some examples of this rare
combination; none, however, have as yet come before the author, though,
knowing Edouart was an expert in both crafts, such examples have been
sought.
Edouart wrote a treatise on “Silhouette Likenesses,” a book which is
now very rare. It was published by Longman & Co., Paternoster Row, in
1835, and is illustrated with eighteen full-page plates, and it is
characteristic of the man that the first is a portrait of himself; others
are of celebrated personages of the day, and there are also several genre
pictures executed with considerable skill. It is in portraiture, however,
that his unrivalled skill has placed him high above all other workers in
black paper cutting.
He describes his discovery of his talent for likeness cutting at some
length. At the end of 1825 he was shown black shades which had been taken
with a patent machine, and condemned them as unlike the originals. He was
challenged to do them as well. “I replied that my finding a fault was not
a reason that I could do better, and that I had never even dreamed of
taking likenesses .... I then took a pair of scissors, I tore the cover
off a letter that lay on the table; I took the old father by the arm and
led him to a chair, that I placed in a proper manner, so as to see his
profile, then in an instant I produced the likeness. The paper being
white, I took the black snuffers and rubbed it on with my fingers; this
likeness and preparation, made so quickly, as if by inspiration, was at
once approved of, and found so like that the ladies changed their teasing
and ironical tone to praises, and begged me to take their mothers’
likeness, which I did with the same facility and exactness.”
There is much long-winded explanation in this egotistical and somewhat
priggish style, but delightful sidelights are thrown on the adventures
of a silhouettist in the performance of his craft, of the status of the
artist, his contempt of all methods except his own, and the naïve devices
used for gaining advertisement. As these have no place in the present
chapter, they will be found elsewhere under “August Edouart and his Book.”
Edouart nearly always cut the full-length figure. Amongst some thousands
of his portraits which have been examined, only about fifty of bust size
have been discovered.
“The figure adds materially to the effect that produces a likeness,
and combines with the outline of the face to render, as it were, a
double likeness in the same subject. From this combination of face and
figure arises the pleasing and not less surprising result of a striking
resemblance. The many thousands I have taken of the full-length enable me
confidently to make this assertion.”
He argues that, in catching a likeness, attitude and demeanour are as
important as the features of the face and contours of the head. The
silhouette is the representation of a shade, he says, and if it be not
critically exact, the principal part of its merit is lost.
He considers that the grouping of several figures makes the emphasising
of a likeness in any one of the figures more noticeable, the difference
existing between individuals, whether in height, gesture, or attitude,
being a great advantage to the artist in giving point to the likeness.
He also lays great stress on the proportions in the figure of the sitter,
which can be shown only in the full-length. Some have a long body and
small legs, others long legs and a short body; in fact, everything in
nature varies, and all these variations help to make the portrait of the
individual, and not the features alone. Beauty, he continues, has respect
to form. Now, one part of a figure may exhibit a beautiful form, and
yet that figure may not be well proportioned throughout. For instance,
a man may have a handsome leg, or arm, considered in itself, but the
other parts of his figure may not equal this part in beauty, or this part
may not be accurately proportioned to the rest of the figure; and so on
through many pages, in which Edouart proves to his own satisfaction that,
in order to give a correct shade likeness of a person, it is necessary to
portray the whole and not one part only of that person. He goes further,
and maintains that, as the manner of dress is often as characteristic as
the gait, what is most usual for the sitter to wear should be depicted.
Edouart’s portraits are to be found in many parts of the British Isles
and the United States of America, for his custom was to take up his
abode in a town, to advertise in the papers, and to stay there while he
took the silhouette portraits of the surrounding gentry and noblemen.
Quite early in his career, his albums of duplicates contained 50,000
(the late Mr. Andrew Tuer computes them at 100,000) portraits, so that
his whole output must have been enormous. He seems to have worked with
great method, keeping a note of “the names of the persons I take, and
the dates. These are written five times over—first, on the duplicate of
the likeness; secondly, in my day book; thirdly, in the book in which
I preserve them; fourthly, in the index of that book; and fifthly, in
the general index. Without this arrangement, how could I at a minute’s
notice tell whether I had taken the likeness of any person enquired for,
and could it be otherwise possible to produce the silhouette, or to know
from about 50 books, folio size, and above 50,000 likenesses, if I had
taken the one required?”
The value of such method and classification, when some of these long-lost
volumes came to the writer for identification, can be imagined. The
story of the romance of the lost folios is too long a one to include
in a general chapter on silhouette cutters and their work. It will
appear in its place elsewhere, together with a notice of some of the
extraordinarily interesting groups of famous people, especially those
of the United States, where presidents and senators, public officials,
professional men, famous characters, their wives and children, appear in
startling sequence, crowded with order and method on to the pages of the
numerous large volumes.
It was when on his way home from the American continent that Edouart
met with that misfortune which so preyed upon his mind that he died in
a short time. The ship “Oneida,” on which he travelled, was wrecked off
the coast of Guernsey, and a large portion of Edouart’s collection was
lost, together with much personal luggage, and a good deal of the cargo
of cotton from Maryland. He died near Calais in 1861.
The very clever freehand scissor pictures of Paul Konewka are justly
famous. Like Edouart, he was of the nineteenth century. Born in 1840, he
was the son of a university official in Greifswald. After a public school
education, he studied under Menzel, for whose influence he was ever
grateful. He dedicated his _Falstaff and his Companions_ to him while his
master lay dying.
During his travels through Germany, Konewka cut a very large number of
portraits which are now treasured in the possession of private owners.
The actress, Anna Klenk, served as a model for many of his very beautiful
figures.
While in Tübingen, at the Clinical Institute, he used quietly to cut the
portraits of many of the listeners, and the professor who was lecturing
as well. Such was his skill that he did his work by touch alone under
the table. He was introduced to a general in Berlin, who flattered him,
but called his gift dangerous. Konewka immediately handed him his own
likeness, cut out of the lining of his dress-coat at the back while the
general addressed him. Surely the same might be said of Konewka as was
said of Runge, “the scissors have become nothing less than a lengthening
of my fingers.”
It is as a book illustrator that Konewka is best known to the world.
Besides the _Falstaff and his Companions_ dedicated to Paul Heyse,
illustrations for _Midsummer Night’s Dream_ and twelve sheets for
Goëthe’s _Faust_, children’s picture books, loose sheets, and many other
illustrations, were cut by him. Konewka died in Berlin in 1871, his last
silhouette being that of a dying trooper to illustrate the German song,
“O Strasburg du wunderschœn Stadt.”
No less gifted in the art of scissor-cutting was Karl Fröhlich, once a
compositor. His skill was chiefly directed towards little genre pictures
of children plucking flowers, winged cupids, old men and women drinking
coffee, and much fine landscape work. Unlike Konewka, he never cut wood
blocks, so that his work has not been accessible for publication.
P. Packeny was an enthusiastic amateur, who worked in Vienna from 1846.
He cut landscapes and genre pictures, but unfortunately did not confine
himself to black and white effects, so that much of his work is spoilt by
the use of brightly coloured papers.
Runge, the German artist, it is said, learnt silhouette cutting by
watching his sister at her embroidery. In 1806 he sent some marvellously
cut-out flowers to Goëthe. The poet was so charmed with them that he
declared he would decorate a whole room with Runge’s work; this was never
done. The artist wrote early in his career: “If chance had put a pencil
instead of scissors into my hand, I would draw you all, so plainly do I
see you.” Herr Julius Leisching agrees with Lichtwark that the cutting
out of silhouettes had great influence on Runge’s pictures. Runge’s
studies of plants with scissors and paper have been privately published.
He cut out while out walking; saw and cut nature down to the roots.
One of the most remarkable of the paper cutters of the early nineteenth
century was Hubard, who seems to have been the inevitable infant prodigy
of the craft. He began his freehand scissor-work in portraiture and
landscape at the early age of thirteen. The handbill which lies before
us advertises his art as “Papyrolomia”—a terrible word, which doubtless
had its uses in whetting the appetite of the public by mystifying them
and suggesting terrifying adventures. This leaflet is illustrated with
a grotesque figure, which has obviously been some of the printer’s
stock-in-trade, for it is hardly germane to the subject of silhouette
cutting, nor could it be the portrait of a scissor-worker of such tender
years as Master Hubard, though this artist is only a secondary attraction
in the show. The handbill runs thus:—
Facing the George Hotel, Galway.
Entrance, 376, High Street.
The Papyrolomia of the celebrated Master Hubard.
Little John, the Muffin Man.
[_Then follows the rough wood block representing
a grotesque figure._]
Collection of accurate Delineations of Flowers, Trees,
Perspective Views, Architectural, Military, Sporting Pieces,
Family Groups, Portraits of Distinguished Individuals, etc.,
Elegantly Mounted Pictures and Backgrounds, by W. G. Wall,
Esqre., Dublin, together with 7 grand Oriental Paintings of the
most celebrated views of North America, taken on the spot by
eminent British artists.
Admission 1/-.
For which money each visitor is to receive a correct Likeness
in Bust, cut in 20 seconds, without drawing or machine, by
sight alone, and simply with a pair of scissors, by a boy
of 14. Those who are averse to sitting for the Likeness are
presented with some small specimen of the youthful artist’s
talents.
Likenesses both in ink and in colours.
Style from 7s. 6d. up, by artists. Frames in Gilt.
Visitors are enabled to return to the Gallery by
introducing a Stranger.
Open from 10 till Dusk.
This device with regard to a return visit to the gallery was probably
highly successful, and adopted by Master Hubard on his visit to the
United States about 1833. He was seventeen years of age when he went to
America and established a Hubard Gallery in New York, where for fifty
cents he cut the portraits of many well-known people. His gallery was
thronged. His pictures are usually full-length portraits, and are pasted
on card, having “Hubard Gallery” embossed in the left-hand corner. The
example before us shows a handsome man with frock-coat and high stock
collar. Though most of his work was done with scissors, Hubard also
worked in Indian ink, and sometimes used gold pencilling to heighten the
effect. An interesting example of his work is the portrait of little
Princess Victoria, when about ten years of age. This was doubtless cut at
Kensington Palace; possibly the little maid would be allowed to visit the
gallery, or Hubard may have been summoned to the palace, as Edouart was
to Holyrood.
J. Gapp was another early Victorian profile cutter, whose skill with
the scissors is markedly in advance of his artistic sense. In his
advertisement of about the year 1829, at the back of a boy’s full-length
in Eton suit and aggressively large white collar, he describes himself
as “The original Profilist for cutting accurate Likenesses attends
daily at the Third Tower in the centre of the Chain Pier (Brighton), and
begs to observe that he has no connection with any other person, and
that he continues to produce the most wonderful Likenesses, in which the
expression and peculiarity of character are brought into action in a very
superior style on the following terms:—Full-length likenesses at 2s. 6d.
each, two of the same 4s., or in bronze 4s.; profile to the bust 1s., two
of the same 1s. 6d., or in bronze 2s. Ladies and gentlemen on horseback
7s. 6d.; single horses 5s.; dogs 1s. 6d. N.B.—A variety of interesting
small cuttings for Ladies’ Scrap-books.”
Here we have a clue to the great scrap-book mania of the day. Everyone,
from royalty downwards, collected treasures to paste in scrap-books,
and Gapp, of the Chain Pier, like Hubard, was clever enough to offer to
supply the want of interesting items.
E. Haines, patronised by the Royal Family, also worked on the Chain Pier
at Brighton, at “the first left-hand tower.” He describes himself as a
“Profilist and Scissorgraphist.” His trade label is on the back of a fine
full-length portrait of a man, once in the collection of Mr. Montague J.
Guest. There is great vigour and character in Haines’ work; the specimen
before us is untouched with gold.
G. Atkinson (1815) also describes himself as “Silhouettist to the Royal
Family.” He lived at Windsor, and there are some fine portraits of George
III. and his sons, which, though stilted and without imagination, show
considerable skill in the cutting. A group cut out in black and touched
with gold was exhibited by G. Sharland, Esq., at the Royal Amateur Art
Society’s Exhibition in 1911.
Though there are many other scissor-workers who might be mentioned, and
examples described of graceful women in hooped skirts and fascinating
side ringlets, maidens in cottage bonnets, and dainty children whose
ringing voices one can almost hear as the shadow pageant passes, yet
sufficient examples have been mentioned to show how popular was the craze
for black portrait cutting, and how large a branch it was of the black
profile processes.
That silhouettes are kept in the reference library of our National
Portrait Gallery, because, on account of their life-like resemblance,
they are of great value to the authorities in the identification of
unknown portraits, is a fact which speaks for the great historic value
of these pictorial records. In the cuttings of Edouart there is the ego
of the man or woman as well as the bodily form. A gesture, the poise of
the body, the arrested movement of the limbs, are shown with more than
photographic correctness—when photography was as yet unborn. In the
picture of a blind man we see by the tilt of the chin, the angle of the
head, that, like all so afflicted, the man is exercising senses which
are dormant in those who have sight. The simple black outline of the
American deaf and dumb poet Nack, by this master-cutter, is instinct with
the patient silence of the dumb, the aloofness of the deaf. Fine oil
paintings and miniatures give us a man or woman interpreted through the
senses of the artist and idealised or distorted through the alchemy of
the artist’s mind. The shadow portrait is nature herself, and its very
simplicity of line imposes a keener effect on the mind of the student,
because there are no contours to confuse the outline.
CHAPTER VI.
AUGUST EDOUART AND HIS BOOK.
The introduction of the name Silhouette into England seems to have been
due to August Edouart, a Frenchman, who, though only commencing the black
portrait cutting after leaving his own country, used the French word for
his craft instead of the black shade, which had hitherto been the name in
England for such profile portraits.
“How many times,” writes Edouart, in the chapter in his treatise which
he naïvely calls “The Grievances and Miseries of Artists,” “have I had
people who, immediately after entering my room, departed, exclaiming,
‘Oh! they are all black shades,’ and would not stop to inspect them.”
“The name silhouette, which appeared in the newspaper advertisements,
seems to have given them to understand that it was a new kind of likeness
done in colours, each of which (full-length figure) they expected to get
for five shillings.”
Again, on another page, he exclaims, “Why does such prejudice exist
against black shades, which I call silhouette likenesses?” Certainly
none of the early shadow portrait painters on paper, glass, or plaster
ever used this name, taken from the French Finance Minister. It was not
used in England until after the commencement of Edouart’s work and the
publication of his book. By this time, it must be remembered, black
profile portraiture had deteriorated in beauty, and the artists who
frequented fairs and places of amusement were less skilled, indeed, than
the Miers, Fields, Beethams, and Rosenbergs of the eighteenth century.
“Obliged to quit my country in consequence of a change in its
Government,” Edouart, the most prolific and important of all the
scissor-men, describes himself as “thrown upon foreign ground, without
friends and without knowledge of the language. I had then very little
money left, for I had lost all I possessed in the evacuation of Holland
in 1813. A few months after my arrival in England, I found myself, after
payment of all my travelling expenses, in possession of no more than a
five-pound note, which I immediately expended in advertising myself as a
French teacher.”
Succeeding in this at first, the arrival of so many other Frenchmen after
a time reduced his work, and Edouart sought other means of livelihood. He
began to make devices, landscapes, etc., with human hair, though what led
him to this quaint handicraft, or what previous training he had in it, we
have not been able to discover.
After receiving the patronage of Her Royal Highness the late Duchess of
York, and making the portraits of some of her dogs with the animals’ own
hair, he worked for the Queen and Princess Charlotte. Edouart, whose
industry seems always to have been remarkable, executed over fifty of
these strange hair portraits, and held an exhibition, the catalogue of
which lies before us.
In 1825, Madame Edouart died, and August was persuaded to try his hand
at likeness cutting in order to better the performance of some machine
artist, whose work he had condemned. Finding, much to his surprise,
that he was able to produce likenesses with extraordinary facility and
exactness, he was persuaded by his friends to employ his time in this
way, “so as to divert the gloom from my sinking mind, and alleviate
my sorrows.” It seems probable also that his new talent was useful in
filling his much depleted purse.
After many expressions of reluctance that he, August Edouart, should be
cut by society and become a black profile taker, he decided to make
an art of what had been so long considered a mere mechanical process,
for Edouart never seems to have heard of black painted profiles and the
exquisite work of the early profile painters, but only the machine-made
pictures by the itinerant workers.
The first full-length that Edouart took was of the Bishop of Bangor,
Dr. Magendie. “I succeeded so well,” he says in his introduction, “that
I took all his lordship’s family; and so pleased were they that I made
forty duplicates. This _début_, being so far above my expectation,
encouraged me to continue, and from that time, being much engaged by the
first visitors of Cheltenham, I took a resolution to keep a copy of every
one to form a collection.”
“This talent,” he continues, “showed itself so strongly, and I was so
anxious, that I worked from morning till night, and even in my dreams my
brain was so much overheated by that anxiety, that in those dreams I was
cutting likenesses of great personages, kings, queens, etc.”
His method of holding the scissors was unusual. The reason for this
peculiarity is thus described: “One day, when crossing a stile, a lady
tore her dress by a nail which was put on the step mischievously. To
prevent the recurrence, I took a stone to take the nail away: in the
act of doing so my index finger was lacerated in such a manner that I
could not use my scissors. I suffered a great deal for several days, and
my mind being so much excited about it, I dreamt that I cut likenesses
without using the index finger. I was so much struck by this that, as
soon as I awoke, I took my scissors and have ever since used them in that
manner.” In an old daguerrotype he is seen cutting a portrait in this
manner.
In his treatise Edouart gives no detailed account of his journeys, though
he notes that he has always kept a diary.
From newspaper advertisements we learn that he was in Cheltenham in June,
1829, where he is described in the _Cheltenham Journal_ as assisting in
Lavater’s system with regard to Physiognomy. At this stage the old idea
that silhouette portraits must have a scientific use still clung to the
craft.
In 1830 Edouart is in Edinburgh. In the _Scotsman_ of February 13th
the collection of ingenious works executed by Monsieur Edouart is
mentioned. “This may be seen gratuitously at 72, Princes Street. Mr.
Edouart makes silhouette likenesses, not only of the profile, but also
of the whole person, by cutting them by the hand, out of black paper.”
The account ends thus: “In his rooms the curious will find amusement
and the philosophic employment.” The cannie Scotsman would attract the
“unco’ guid” with learning and occupation as well as the frivolous with
amusement.
On May 8th of the same year the _Edinburgh Evening Courant_ takes
notice of Edouart’s success in his likenesses of Sir Walter Scott (this
portrait of Scott was recently purchased by the Director of the National
Portrait Gallery, on account of its fine technique and the human and
life-like attitude of the great novelist), the Dean of Faculty, and other
distinguished characters of the city, and slyly regrets that Edouart
departs so soon.
The clever hint at departure evidently had the desired effect, for in
the following February, 1831, Edouart is still at Edinburgh, “his rooms
thronged with visitors since his threatened departure. Six hundred
likenesses in a fortnight, and declining to take new ones till the orders
given by the first families are executed.” Five thousand duplicates are
now on view, and his books are exhibited at Holyrood Palace, where they
are much approved of by the Royal Family.
It was at the end of 1830 that Charles X., ex-king of France, and
suite, arrived at Holyrood, and though Edouart acknowledges “a feeling
of ill-will towards the Bourbon family is still lingering in my bosom,
remembering—as I did—the losses I suffered in consequence of their
restoration to the throne of France,” he attended, when requested in
person by the Duchesse de Berri. He found “His Majesty pacing up and
down, and the Duchesse presented me, reminding the King that I was a
Frenchman. He seemed pleased and affable.”
The whole Royal Family, attended by the suite, nearly forty in number,
formed a circle, in the centre of which Edouart cut his first paper
portrait of Charles X. “By mistake,” he says, “I took paper of four
folds, in place of one of two, and, as I had begun, so I cut out the
likeness. As soon as I had finished it the little Prince (the Duke of
Bordeaux) took one, Mademoiselle, his sister, took another, the Duchesse
de Berri another.”
Edouart cut the likenesses that evening of the Duke d’Angoulême, the
Duchesse d’Angoulême, the Duchesse de Berri, Mademoiselle Louise Marie,
the Duke de Bordeaux, the Cardinal de Latil, and many of the suite. After
this Edouart declares that he “was a daily visitor at Holyrood, and my
exhibition was often honoured by Royalty.” The Duke de Bordeaux declared
that if Edouart would become one of his suite, he should be called the
Black Knight.
Two of the Holyrood portraits by Edouart were exhibited at the Amateur
Art Society’s Exhibition in 1902, by Miss Head. They were thus described
in the Catalogue:—
“119. Duchesse de Berri and her children (Henry V. and the Duchesse de
Parma) at Holyrood, by Edouart.”
“120. Henry V. and the Duchesse de Parma as children at Holyrood.”
In the recently discovered folios which belonged to Edouart himself,
and which serve as an invaluable record of the entourage of Charles X.
at Holyrood, very many of these likenesses appear; most of them have the
original autograph of the sitter. From the wonderfully interesting groups
of shadows we see the _vie intime_ of the exiled king. He is surrounded
by his children, his chamberlains and equerries, intimate friends,
physicians (for body and soul). Even L’Abbé Focart, Confesseur du Roi,
figures amongst them; and visitors to Holyrood, such as the Baron de Size
and the Baron de Sepmanville, are included; besides the dogs and horses,
the ponies of the children, and the toys and playthings with which they
amused themselves in those days of exile.
Even when such success rewarded the efforts of Edouart, he is still in
apologetic mood with regard to his art, and declares that if his work had
not been good the French Royal Family would not have encouraged it. “They
had seen a great quantity of those common (machine-made) black shades in
Paris, and had also a great dislike to them, which was soon removed when
they saw the nature of mine.” He is never able to refrain from a sneer at
the other silhouettists.
In December, 1831, the _Glasgow Free Press_ declares that “Monsieur E.’s
rooms need only to be known to become a fashionable resort for lovers
of the fine arts.” The hair models seem to have formed part of the
exhibition.
In October, 1832, Edouart is still in Glasgow, and his likenesses now
number 45,000, including the Orphan Asylum and all its managers, the
directors of the Commercial Bank, and several others. In London he took
800 members of the Stock Exchange, of which he sold several books.
[Illustration: PORTRAIT OF LORD MANSFIELD
Painted on glass by A. Forberger, Paris]
Edouart seems to have moved on to Dublin in 1833, but we doubt if he was
pleased when the _Dublin Evening Mail_ of July 24th describes him as “the
most _comical_ and at the same time the cleverest artist from Paris.
His art gives the scissors all the expressive powers of the pencil, and
extracts from a single tint of black the miraculous effects of a whole
rainbow of colours.”
Edouart is by now cutting out genre pictures, and subjects from “Æsop’s
Fables” are mentioned, while the portraits increase rapidly in number,
6,000 being taken in Dublin alone. The Archbishop of Dublin and a great
number of clergy and the officers of the garrison head the list. In his
exhibition he shows, amongst thousands of others, His Royal Highness the
late Duke of York, the Duke of Gloucester, and the Duke of Wellington;
the Bishops of Norwich, Bangor, St. Davids, and Bristol; Doctors Chalmers
and Gordon; Edward Irving, Charles Simeon, Rowland Hill, Joseph Wolfe,
Jabez Bunting, Sir Walter Scott, Mrs. Hannah More, Mrs. Opie (herself a
silhouettist), Kean, Liston, Power, Sir Astley Cooper, Baron Rothschild,
etc.
In August, 1834, Edouart went to Cork. Later he visited Kinsale, Fermoy,
Mallow, Limerick, and many other places. Paganini’s portrait was taken at
Edinburgh in October, 1832, where Edouart went, travelling from Glasgow
on purpose to obtain it. Signor Paganini declared it was the first
likeness of himself which was not caricatured. This full-length portrait
shows the maestro standing, violin in hand, just ready to begin. In the
background are lithograph portraits of the members of an orchestra: they
are seated in a domed music-room.
It was in 1835 that Edouart’s book was published. We presume it had
been written during the time of his prodigious activities in silhouette
cutting while he moved from place to place and conducted his exhibition.
It is a thin demy octavo volume of 122 pages, now extremely rare.
The copy in the possession of the author was presented to Miss C. J.
Hutchings by Edouart at Cheltenham, August 25th, 1836. There are
eighteen full-page plates, showing black portraits or fancy figures
mounted on lithograph backgrounds, by Unkles & Klasen, 26, South Mall,
Cork. In the original volumes of duplicates kept by Edouart many of these
mounts were found, as the silhouettist doubtless kept a number by him
ready for mounting his portraits.
In a chapter headed “The Vexations and Slights my Profession has brought
upon me,” Edouart deplores “the vulgarity into which silhouettes have
fallen, so that I could not walk in public with a lady on my arm without
hearing such remarks as this, ‘Who can she be—that lady with the black
shade man?’ The same disposition to cast odium on me was displayed
whenever I was seen walking arm-in-arm with friends who moved in circles
of high life. It went so far that, being in the habit of walking at the
Wells of Cheltenham, and accustomed to go to the balls at the Rotunda,
I was forced to deprive myself of the pleasure of being with my friends
in these places. On different occasions several persons of high rank in
society accused me of being somewhat proud,” and so on through many pages.
On one occasion his greeting was of the most cordial description, owing
to an amusing mistake. “A friend having given a recommendatory letter to
a particular friend in town, I was received in a better manner than ever
I was received since I began taking black shades. As my friend would not
recommend me to a suitable lodging, we went to the editor of a newspaper,
to whom he spoke, and then presented me to him. Upon this we all went
to the governor of the castle, who had a house to let in the town. The
governor willingly consented to let me have the house, though he feared
the boards might not be strong enough for the exercise of my profession,
and the quantity of people it would be likely to attract; indeed, it
would be advisable to practise on the ground floor, that the noise and
bustle would not be so great, and the like....
“The governor, who had been a military man, asked me very good-humouredly
if it were not trespassing on my goodness to allow him to take a round
with me, saying that he had taken lessons, and took off his coat. I
declared that I had not brought my tools with me.” The scene is described
in several pages, and shows how the governor offers eventually to lend
gloves, when it dawns upon the _profilist_ that the letter has been
misread, and the sports around him imagine he is a _pugilist_.
Edouart seems to have suffered much at the hands of his sitters.
“But, Monsieur Edouart,” says one of these, “you have taken John, who is
a head taller than his brother William, a great deal smaller. How can
that be? It is a mistake of yours; you must correct that.”
“You must know, madam,” replies the silhouettist, “that it is according
to the rule of perspective. Do you not see that John is at least six
yards farther in the background than his brother?”
“Yes! but his is cut smaller,” persists the aggrieved parent.
Gentlemen demanding ladies’ profiles were refused by this veritable Mrs.
Grundy of silhouettists. His refusal is given in language worthy of the
Fairchild family.
“Ladies are never exhibited, nor duplicates of their likenesses either
sold or delivered to anyone but themselves or by their special order.
This resolution I have taken, and I follow it very strictly, being
fully aware of the consequence that would result if this measure was
not adopted. Gentlemen presume that they are entitled to possess the
likenesses of any ladies they like. But no—no—they cannot deceive me by
false pretences. I am too much upon my guard to be surprised. The books
in which I keep duplicates are all defended with a patent lock.”
Monsieur Edouart rivals the serpent in wiliness when a lady’s portrait is
so desired and the gentleman offers the address where it should be sent.
The artist says, “I do not require to know your direction, gentlemen.
I know that of the lady, to whom I shall send it, and she herself will
deliver it to you.” We should imagine that, under those conditions,
orders were usually cancelled.
“Some make themselves pass for relations,” adds Edouart, who is not
without a sense of humour, though he does take himself so seriously, “as
a brother, cousin, uncle, etc., but all this is in vain.”
Edouart seems to have used special means of his own to extract payment
of debts, and his illustration “The Screw” shows in what manner his
clients were brought to book. The episode is described at great length
in his book, but unfortunately the name of the sitter for “The Screw”
is withheld. Briefly, a young man had his portrait cut, approved of
the likeness, but regretted, after seeing a picture of a friend in a
dress-coat, that he had not also worn that kind. In a very rude manner
he said he would not pay for the completed likeness until another was
done in a dress-coat. Edouart said he must be paid for both. This the man
refused, so the artist refused to cut the second picture and was left
with the portrait on his hands. To cut the screw and add the ring and
hook was the work of a few moments, and the picture was then exhibited
in a conspicuous position in the window, where everyone recognised it.
“Since that time, I have not had occasion to make a screw,” adds Edouart,
naïvely.
The subject of caricature in silhouette is a very interesting one, but
cannot be fully treated here. There are few examples, and it is strange
that so virile and graphic an art as that of the silhouette should show
so few specimens of caricature work.
In August Edouart’s work just such aptitude for seizing the salient
feature in face or figure is invariably shown which is the quality most
required by the caricaturist, but Edouart never allows his scissors to
swerve from faithful and exact portrayal; no note of exaggeration is seen
even when executing the fine studies, such as his beggar and itinerant
groups in the streets of Bath or Cheltenham.
In the figure of George Cary, porter at Price’s auction rooms, Bath,
taken April 4th, 1827, there is no exaggeration. The man appears
balancing two fine candlesticks on a small tray; the unerring likeness
is self-evident. It is the same with the blind gingerbread-seller of Gay
Street; the bill-sticker who is about to paste up one of Edouart’s own
labels; John Hulbert, the old scavenger; and with several of the no less
clever street characters of Bath. In these we see consummate skill in
depicting the man or woman in life as they were, but with no sense of
bias towards caricature.
Amongst the old letters recently discovered with the precious folios of
Edouart’s duplicates is one from “S. H.,” dated Birmingham, June 1st,
1838:—
“MY DEAR FRIEND,—On seeing your Exhibition, I was astonished at the
application you must have bestowed on an art I had till then considered
as useless. I found likenesses of unrivalled talent, not only accurate
outlines, but giving the character of those whom they represented. Write
to me from America. The Americans are known to encourage talent of every
description, and I hope to see you return laden with the produce of your
labours in that fresh and interesting country to the place you are now
quitting.”
For how long Edouart had been contemplating his American tour we are not
aware. In the year 1839 he was in Liverpool, working at his profession.
In the same year he sailed for the United States, taking with him his
volumes of English, Scotch, and Irish portraits for exhibition purposes.
He seems to have met with immediate success, and the volumes which
contain his American portraits give so complete a pictorial record of the
social and political history of the time (1839-1849) as probably no other
nation possesses. During his first year three hundred and eighty-one
portraits were taken in New York, Saratoga, Boston, and Philadelphia,
amongst them being Mr. Belmont, who is entered as “August Belmont, Agent
of the House of Rothschild, New York.” There are two portraits, 8½ inches
in height, of this man, who was an important social and financial figure
of the day, and founder of the Jockey Club of New York; congress-men,
editors, journalists, and officers of the Army and Navy in uniform.
The wives and children of these interesting men are also included in
the collection, and later, when he visited New Orleans and other States
where slavery was permitted, we find occasionally a slave’s picture
“belonging” to the family. As in his English collections, the names of
his sitters, the date, and name of place where taken, and sometimes
curious details such as height and weight, are all entered, not only
beneath each portrait in the folio, but also at the back of the portrait
itself; and also in his list-books newspaper cuttings are sometimes
added. In 1840 five hundred and thirty-one portraits were taken in the
same places, in Washington and Saratoga Springs. Major-General Winfield
Scott (Commander-in-Chief) is amongst them.
The year 1841 was the time of the great Log Cabin election, and Harrison,
the hero, is shown with two autographs in Edouart’s books, besides
his whole Cabinet and the orators, demagogues, place-hunters, and
abolitionists, who all seem to have visited the studio of the artist,
whatever their political opinions. Seven hundred and sixty-five portraits
were taken in this year at Washington and elsewhere.
After the tragic death of Harrison, John Tyler, the only man who was
President without election, was taken by Edouart, and it gave the
author great pleasure to present to the American nation his autographed
silhouette. It was taken at the White House in 1841, and was returned
there through Mr. Taft in June, 1911, after seventy years’ wandering.
When arranging the presentation, His Excellency, James Bryce, our
Ambassador in Washington, was much interested, because Edouart had
visited his old home in the north of Ireland and cut the portraits of his
father and grandfather, which are still preserved there, and are fine
likenesses.
In 1842 Edouart travelled further afield, and made six hundred and
forty-one pictures in New Orleans and other States he had not yet
visited; in Cambridge he cut Longfellow, the Appleton family, the
President of Harvard, and dozens of professors and students of the
College.
In 1843 four hundred and sixty of the citizens of Philadelphia, New York,
Saratoga Springs, Norwich (Conn.), Charlestown, and other towns too
numerous to mention, were taken, named, dated, and placed in his folios.
There are an interesting crowd of congress-men, senators, financial
celebrities, actors, musicians, editors, men of science, and the
members of the Army and Navy, mostly in uniform, including Macomb, then
Commander-in-Chief of the U.S. Army.
In 1844 five hundred and eighty-nine portraits are extant from a dozen
different cities, and then we come down to eight pictures taken in 1845,
four only in 1846, and four only in the next three years.
The reason for this falling off in numbers is so extraordinary that we
give it in continuing Edouart’s life-story. It is probable that the
artist was just as industrious during the last five years of his tour in
America as he had been in the first four, but his work is destroyed.
In December, 1849, he packed all his folios in great cases, and set out
for home, sailing in the ship “Oneida,” laden with bales of Maryland
cotton. When off the coast of Guernsey she was caught in a great gale,
and was wrecked in Vazon Bay on December 21st. The crew and passengers
were saved and some of the baggage; a case, containing fourteen of the
precious folios, some old letters and list-books, was saved; all the rest
was lost, with much of the cargo, when the ship broke up two days after
she had gone on the rocks.
Edouart suffered much from exposure, for he was then an old man, and
the loss of the greater part of his life’s work so preyed upon his mind
that he never again practised his profession. The Lukis family, resident
at Guernsey, hospitably entertained the old artist, and he gave his
remaining volumes, fourteen in number, containing his European collection
and his American portraits, to Frederica Lukis before he left for Guines,
near Calais, where he died in 1861, in his seventy-third year.
The writer was fortunately enabled to secure these volumes through the
medium of _The Connoisseur Magazine_, and has included illustrations from
them in the present work.
CHAPTER VII.
SCRAP-BOOKS.
_A Royal Cutter and her Work._
In the Georgian days the cutting of animals, landscapes, groups, and
single profiles was the fashionable pastime of a large number of
amateurs. Girl-friends cut for each other mementos in black paper or in
white; these were then gummed on to a black or coloured ground. They vied
with each other in cutting some clever little piece of scissor-work,
which, for safe storage, would be placed in an album or scrap-book.
Sometimes the little cutting is found gummed in amongst tiny steel
engravings, some Bartolozzi tickets, a treasured sheet of music, or
wreaths and scraps of faded flowers. The fragrance of such a collection
does not lie only in the shrivelled rose or violet leaves; there is an
aroma of sentiment, a reminder of those past days when everyone had
leisure and the polite elegances of the little arts had full sway.
The cuttings usually show groups of children, reminding us of Buck’s
work of contemporary date; or of animals, sometimes alone, and sometimes
set in a landscape of such elaboration that one wonders how so great an
effect can be packed into the two square inches of paper, which is often
the size of the complete silhouette picture. It would be unusual to find
so much and such accurate detail in a pen-and-ink drawing; the fact that
the picture is cut out with a pair of scissors or a penknife makes it the
more extraordinary.
Many professional portrait cutters also cut landscapes, animals, groups
of flowers, and other trifles, notably Patience Wright, who accomplished
much fine work of this kind, as well as her lovely portraits.
J. Gapp, who worked on the Chain Pier at Brighton, advertised pieces
suitable for ladies’ scrap-books. At the end of his trade label are
the following words:—“N.B.—A variety of interesting small cuttings for
ladies’ scrap-books.” The label from which we take the words is on a
full-length profile portrait of a boy in the old Eton School dress.
Much black shade cutting was done at the Court of George III., both
in profile portraiture and also in fancy groups and landscapes. Queen
Charlotte was an ardent collector, and delighted to have her own portrait
taken in shadow, if we can judge by the very large number of pictures
of this type which have come down to us. King George III. was no less
enthusiastic, and must have sat to every profilist of the day, both
professional and amateur. In most of these silhouette portraits the
vitality is clearly seen in this “German Princelet of his day,” as Lord
Rosebery’s inimitable description has it. The character of the Princelet
is as plain to see as if the veritable embodiment of His Majesty were
before us, and not alone his shadow picture.
We can imagine that the whole of the Court entourage would feel or assume
an interest in the pastime beloved of the royal mistress, the king,
and their artistic daughters, whose story one thinks of with mingled
feelings of sympathy and interest. Their fair faces on the canvases of
Gainsborough, Hoppner, and Beechey haunt us as they gaze from the walls
of the royal residences. How each of the six girls must have thought of
the suitors which were so long in coming! Their graceful and gracious
young days sped away, only half filled by the mild excitements of Court
life, with their embroidery, their pencil, brush, and scissor work,
cutting the portrait of Fanny Burney, or admiring the family group of the
Burney family, and imitating with their amateur scissor-work the elegant
curtains and tassels of the professional cutter’s background. Perhaps
they showed their efforts to Mrs. Delany, who was living so near to them
at Windsor, and had herself been cut by a professional profilist with
so great success—the dainty goffered cap with its becoming chin-strap,
and a love-knot and wreath are beneath the picture. Did their parents
dread the unstable glories of Continental courts for their girls in those
revolutionary days? The prudent Queen Charlotte would shudder to think
of a repetition of the disastrous Danish marriage of her husband’s young
sister, and King George would try to shield his golden-haired girls from
such a loveless match as that of his eldest sister, Augusta, to the Duke
of Brunswick.
It was Princess Elizabeth, born May 22nd, 1770, whose artistic talents
were most marked; she studied with her pencil and brush under various
masters until she attained great proficiency. There is a charming
portrait of her painted by Edridge, engraved in mezzotint by S. W.
Reynolds, Engraver to the King. She is shown pencil in hand, her
sketch-book on her knee; her turban, which would be of correct fashion
for the present day, only half hides her fair curled hair. Her diaphanous
gown is not specially becoming to her ample shape, already showing signs
of the enormous proportions she afterwards attained. Fine octagon-shaped
brooches adorn her sleeves and breast, a thin scarf is laid over her
chair, and on the writing bureau is a work basket, flower vase, and
inkstand.
The dedication of the picture runs thus: “Her Royal Highness the
Landgravine of Hesse Homburg, dedicated by Permission to His Most
Gracious Majesty, William IV., by His Majesty’s devoted Subject and
Servant, Edward Harding, Librarian to Her Late Gracious Majesty Queen
Charlotte, May 21st, 1830.” Published by E. Hardy, 13, Rochester Terrace,
Pimlico.
It was long after irreverent courtiers had ceased to think of the
princess as anything but a confirmed spinster that the Prince of Hesse
Homburg, of whose person and manners the caustic Creevy paints a very
unattractive picture, appeared on the scene, and considerable mirth
greeted the news of her engagement at the mature age of 47. The fact that
the princess was severely criticised by a censorious world for quitting
her aged and dying mother, and that as Landgravine of Hesse Homburg her
good qualities were displayed to great advantage, do not concern us here,
where we are chiefly concerned in her industry and artistic talents.
These were evidently more marked in her than in any other member of her
family, and we have read that many of her silhouettes were engraved and
published, but we have not been able to trace any of these reproductions.
That the small and very charming single figures or groups were frequently
given as souvenirs is certain, for on a specimen we have examined there
is an inscription, “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.”
Lady Dorothy Nevill is the owner of a most interesting relic of this
favourite pastime of a royal princess. It is the original scrap-book
given by Princess Elizabeth to her friend, and is filled with every
variety of cutting executed by the princess herself. The book is of dark
blue morocco leather, 9 inches by 6 inches in size. On its silver lock
and clasp is the initial of the royal donor, and between the pages are
the little gem cuttings, a selection of which we are able to reproduce
here. Many varieties of silhouette cutting are shown; none of the
specimens are gummed into the book, or, if they have been, the mucilage
has perished. Faint pencil notes head the pages, and the cuttings are
placed separately between the leaves. Some of the groups are cut out in
black paper; some, notably the shadow perforation type, are in white
paper; and some are painted in Indian ink and then cut out. The groups of
children playing are most animated; there is real movement in the baby
toddling downstairs held by ribbon strings by its nurse.
The portraits of Queen Charlotte and King George III., the parents of the
artist, are naturally of great interest. These have a note on the page in
which they lie that they were taken in the year 1792. They are drawn in
Indian ink, and not cut, and those who have had occasion to examine the
profiles of the king and queen will at once see that Princess Elizabeth
was proficient in catching a likeness. There are two other bust portraits
of George III. in this interesting scrap-book, and a full-length picture
in black profile, in which the stiff coat-tails and dangling court sword
or rapier are admirably portrayed.
The cutting of the shadow perforation pictures seem to have been an
agreeable variety in scissor-work. These strange silhouettes were so cut
that, on holding a light at a particular angle behind the picture, a
shadow was cast by it which resembled some special character or object
group. Thus the head of Christ is thrown in shadow upon any white surface
when the strange-looking mask is held up between the candle and the
board; the child on the rocking-horse is arranged for the same effect,
which thus reverses the shadow portraiture of long ago.
In the Victoria and Albert Museum there is a large portfolio with
examples of scissor-work and black portraiture. Amongst the specimens are
many of the perforated shadow-throwing type, some well-known pictures
being thus reproduced. They were bequeathed by the Rev. Chauncey Hare
Townshend, and consist of shadow and silhouette pictures and portraits
“done by C. H. Townshend and his family.” This donor also bequeathed
many paintings to the Museum. Little groups, such as “A Child and a
Goat,” “Children Playing,” “A Lady holding up a Child,” give glimpses
into the domestic scenes it was considered pleasing to portray in
silhouette. Some of these are done by Charlotte Townshend; some by other
members of the family. There is no very great interest attaching to these
amiable records of a bygone day.
“Copied by Mrs. Wigston from Lady Templetown’s designs” gives us an
insight into the part played by those not sufficiently skilful to
originate but who, by copying, could take their share in the fashionable
pastime.
The late Andrew W. Tuer, who was keenly interested in the subject of
silhouettes, wrote thus in _Notes and Queries_ concerning silhouettes of
children:—“Much should I like to know who designed and cut out in black
paper a remarkably clever series of about eighty minute silhouettes of
child life, mainly groups. They are loosely placed in a book of blank
leaves bound in contemporary citron morocco, lettered on the front ‘M.
G.’ To some the artist has written a verse, and to others a date—the
earliest 1796, the latest 1806. Inferentially, the work is that of
gentlefolk. Between two of the leaves is a piece of black paper, on the
reverse or white side being written ‘J. Poulett, Twickenham, Middlesex,’
and on another piece of paper the name ‘Lucy’ is cut out in silhouette.”
Later Mr. Tuer wrote:—“From the Earl Poulett I gather that these
interesting and clever silhouettes were probably the handiwork of the
first wife, whose initials were A. L., of the fourth Earl Poulett, of
Poulett Lodge, Twickenham. What the initials M. G. stand for his lordship
does not know.
“ANDREW W. TUER.
“The Leadenhall Press, E.C.”
Though more a note-book than a scrap-book, an interesting relic of the
laborious methods of Lavater must be mentioned here. This volume, which
is one of the chief treasures of the Wellesley collection, is a small
leather-bound book, in which the philosopher pasted the silhouette
portraits of those persons whose heads he wished to measure, study, and
compare with others in his collection, and then to pronounce judgment
upon as to their mental and moral qualities. The fact that Goëthe was
for a time enthusiastic with regard to Lavater’s work casts a glamour
over the little book, with its many pictures and vast store of minutely
written notes.
Another album, which is also in Mr. Wellesley’s collection, is most
elaborate. Each page has a finely wrought border, in the centre of which
is pasted the silhouette portrait of a friend; the male sex is largely in
the majority, but a few women’s profiles are included. We cannot imagine
a more charming souvenir of an interesting circle of friends than such a
shadow pageant. Old comrades would be brought to remembrance through the
extraordinarily vivid personal touch that the silhouette picture retains;
friends almost forgotten seem to rise up in the memory as we handle their
black profile portrait, for there is a direct appeal in outline, which is
more profound than when contour blurs the recollection.
In examining such a collection, one cannot help being interested in the
very great variety of wigs—no two are alike; long and short queues, large
and small ribbons, coquettish curls, majestic rolls, are shown amongst
the men’s profiles, till we are bewildered with the variety, and cease to
wonder that all kinds of fanciful names were given by the beaux of the
day to the special hair-dressing they affected.
No less remarkable is the head-dressing of the ladies, and the
elaboration of the curls and coifs is only eclipsed by the intricacy of
the flowers, feathers, bows of ribbon gauze and taffeta with which the
great erections are garnished. Even when there is no gilt pencilling to
throw up the detail, the effect is marvellously interesting; and, for
this reason alone, the old black shadow collections make a very absorbing
study.
An extraordinarily interesting collection of upwards of one hundred and
fifty is in a narrow folio volume in paper cover, dated 1804. Religious
processions and ceremonies, rural and domestic scenes and children’s
games, are cut with the utmost delicacy and mounted on white paper.
Here are a few of the subjects:—Carrying the Host to a sick person
at Nice; Cleaning Shoes in Paris; Drinking the Waters at Wiesbaden;
Gathering Apples near Paris; Sprinkling Clothes at Bergen; Procession
on Palm Sunday; Procession of the Virgin Mary; Jewish Wedding; The Pope
carried round St. Peter’s; A Fish-market; Wine-making; and a dozen other
complicated scenes. All are depicted with wonderful accuracy. This
important collection has now unfortunately left England.
Another interesting little scrap-book of yellow paper, bound in calf,
contains the portraits of—the King (George III.); Edw. King, Esq.; Mrs.
King; Mrs. Carter, the translator of Epictetus; Tiberius Cavallo, Esq.;
Mrs. Fiere, mother of the Rt. Hon. S. H. Fiere; Baron Rechausen, Swedish
Minister; Madame Rechausen; two favourites; Miss H. Randall; Warren
Hastings, Esq., Governor-General of India; General Paoli. Some of these
are in Indian ink, some in cut paper.
[Illustration: SILHOUETTE PORTRAIT OF A MAN
By A. Forberger, Paris. Signed and dated 1791]
CHAPTER VIII.
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
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