,,the ,,history ,,of ,,silhouettes ,illustration3 ,,portrait ,,of ,a ,,private ,,in ,,an ,,english ,,regiment ,about the end of the #ahth century ,in the possession of the ,author ,,the ,,history ,,of ,,silhouettes ,,by ,e4 ,,nevill ,,jackson ,illustration3 ,,the ,,connoisseur ,a ,,magazine ,,for ,,collectors ,,illustrated ,,london3 ,,the ,,connoisseur #aiaa ,all rights reserved ,copyright by ,e4 ,nevill ,jackson in the ,united ,states of ,america1 #aiaa4 ,,far ,,in ,,and ,,out1 ,,above1 ,,about1 ,,below1 ',,tis ,,nothing ,,but ,a ,,magic ,,shadow ,,show1 ,,play',d ,,in ,a ,,box ,,whose ,,candle ,,is ,,the ,,sun ,,round ,,which ,,we ,,phantom ,,figures ,,come ,,and ,,go4 ,stanza ,,xlvi4 ,fitzgerald's translation of the ,rubyat of ,omar ,kayyam4 ,,foreword4 ,amongst my reminiscences of personal belongings and the charm of old portraiture1 none has given me greater pleasure than the silhouette of bygone days4 ,the souvenir1 sometimes cut by gifted amateurs1 was exchanged amongst friends in my early days as the photograph is to-day4 ,we had many at ,wolterton1 our ,norfolk home1 and the picture of my grandmother1 ,lady ,orford1 and the cuttings of ,princess ,elizabeth are amongst my treasured possessions4 ,i remember ,mr4 ,guest collected silhouettes1 and had some fine examples of the work of ,miers 7who lived near ,exeter ,change71 of ,rosenberg1 and of ,field4 ,mr4 ,guest was a very good judge of such things1 having1 by many years of collecting1 perfected a naturally cultured sense of art4 ,like myself1 he had learnt much from ,mr4 ,pollard4 ,lady ,evelyn ,cobbold shewed me three silhouettes of ,mr4 ,cobbold1 his father1 and his grandfather1 all perfect portraits1 and very interesting4 ,illustration3 ,dorothy ,nevill ,,contents ,,page ,,preface #a ,,chapter ,i4 ,,black ,,profile ,,portraiture1 ,,its ,,place ,,in ,,art1 ,,literature ,,and ,,social ,,life #c ,,chapter ,,ii4 ,,the ,,coming ,,of ,,the ,,silhouette ,,and ,,its ,,passing #ac ,,chapter ,,iii4 ,,processes3 7#a7 ,,brushwork #bj ,,chapter ,,iv4 ,,processes3 7#b7 ,,shadowgraphy ,,and ,,mechanical ,,aids #ce ,,chapter ,v4 ,,processes3 7#c7 ,,freehand ,,scissor-,,work #dg ,,chapter ,,vi4 ,,august ,,edouart ,,and ,,his ,,book #ei ,,chapter ,,vii4 ,,scrap-,,books4 ,a ,,royal ,,cutter ,,and ,,her ,,work #gc ,,chapter ,,viii4 ,,silhouette ,,decoration ,,on ,,porcelain ,,and ,,glass--,,the ,,silhouette ,,theatre #ha ,,alphabetical ,,list ,,of ,,silhouettists1 ,,makers ,,of ,,silhouette ,,mounts ,,and ,,others ,,connected ,,with ,,the ,,craft #hg ,,bibliography #aag ,,index ,,lxxiii ,,list ,,of ,,illustrations ,portrait of a ,private in an ,english ,regiment ,frontispiece ,,facing ,,page ,silhouette ,portraits of the ,ansley ,family #a ,painted in black and orange-red on convex glass ,silver ,wedding ,anniversary ,picture #af ,with portraits and emblems ,captain ,robert ,conig #cb ,of ,h4,m4 #ijth ,regiment of ,infantry ,silhouette ,portraits of ,members of the ,ansley ,family #dh ,painted in black and orange-red on convex glass ,portrait of ,lord ,mansfield #fd ,painted in black and gold on glass ,silhouette ,portrait of a ,man #hj ,painted in black and gold on glass ,silhouette ,portrait of a ,lady #if ,painted ,silhouettes #aab ,illustrations in ,monochrome ,i to ,,lxxii ,illustration3 ,,silhouette ,,portraits ,,of ,,the ,,ansley ,,family ,painted in black and orange-red on convex glass4 ,dated #agic4 ,signed by ,w4 ,spornberg1 ,bath ,in the possession of ,lady ,sackville1 ,knole ,,preface4 ,it has not been easy to gather up the threads of history concerning an art and handicraft long fallen into desuetude4 ,amongst the few who still work at black profile portraiture1 none has been found who is cognisant of the traditions1 nor who has any knowledge of the complex processes by means of which the fine eighteenth-century work was accomplished4 ,my sincere thanks are due to ,mrs4 ,head1 ,mrs4 ,whitmore1 ,madame ,nossof1 ,mrs4 ,wadmore1 ,mrs4 ,lea ,carson 7of ,philadelphia71 ,mrs4 ,whetridge1 ,mr4 ,francis ,wellesley1 ,mr4 ,h4 ,palmer1 ,mr4 ,desmond ,coke1 ,mr4 ,holworthy1 ,captain ,pringle1 ,mr4 ,h4 ,terrell 7of ,boston71 ,mr4 ,laurence ,park1 ,dr4 ,beetham 7descendant of ,mrs4 ,beetham1 the fine eighteenth-century silhouettist71 ,mr4 ,j4 ,a4 ,field1 for the interesting series of portraits painted by his great-grandfather1 and many others1 who1 possessing silhouettes1 have allowed me to visit and make a study of their collections or have sent specimens for examination4 ,without their courtesy1 and that of many others who gave me facilities for studying some thousands of specimens and advertisements1 it would have been impossible to write this book4 ,a subject on which there exists no written history1 and which has hitherto received scant attention1 requires much research amongst a large number of examples1 amongst old newspaper matter1 contemporary social history1 and the trade labels of the silhouettists1 for its faithful record4 ,more especially ,i am grateful to those who have kindly permitted me to reproduce their silhouettes1 thus making clear to art lovers1 and those who take pleasure in the curio1 how manifold are the charms of family treasure1 which would not otherwise have been available for study4 ,to ,herr ,julius ,leisching1 ,director ,erzerzog ,rainer ,museum1 ,i am indebted for information concerning silhouettists of ,germany and ,austria contained in his memorandums of the ,industrial ,museum2 to ,sir ,sidney ,colvin1 ,keeper of the ,prints in the ,british ,museum2 to ,mr4 ,c4 ,j4 ,holmes1 ,director of the ,national ,portrait ,gallery2 to ,mr4 ,t4 ,corsan ,morton1 of the ,national ,galleries of ,scotland2 to ,mr4 ,d4 ,e4 ,roberts1 of the ,library of ,congress1 ,washington1 for access to special collections2 to ,mr4 ,horace ,cox and ,mr4 ,t4 ,p4 ,o',connor1 with regard to pictures under their control in the 8,collector0 and the ,magazine2 to ,lady ,dorothy ,nevill1 for placing at my disposal the beautiful silhouette work of ,princess ,elizabeth1 daughter of ,george ,,iii42 to ,lady ,sackville1 for allowing me to study the silhouettes of ,knole1 and to reproduce some of the silhouette porcelain in her possession4 ,if fresh interest is kindled in the graceful art of the silhouettist1 and the names of some little known artists are rescued from oblivion1 my pleasant task will not have been in vain4 ,perhaps those who read these pages will find a charm and wistfulness in the shadow portrait4 ,beauty is not alone recorded by the brush of great artists1 but also by minor workers4 ,gainsborough painted portraits of beautiful women at ,bath1 and ,charles and ,spornberg worked at their shades in the same street2 the same clients visited both studios4 ,the silhouette1 poor relation of the miniature1 the forerunner of ,daguerre1 shows the ,belle of ,cheltenham1 or the ,dandy of ,bath and the ,wells1 appealing and dainty in shadowland1 while the laughter of the shadow children echoes ghost-like as we note their toys and sports2 they flit across the pages1 they cast a shadow1 and are gone4 ,e4 ,j4 ,oak ,lodge1 ,sidcup4 ,,chapter ,i4 ,,black ,,profile ,,portraiture3 ,,its ,,place ,,in ,,art1 ,,literature1 ,,and ,,social ,,life4 ,figures in black profile join hands round the wine-cups and oil-jars made by ,etruscan potters2 in silhouette men are armed to battle1 women weave cloth and grind corn1 children play at ball and knuckle-bones1 life-like in shadow4 ,there is a pageant of profile portraiture on the mummy cases and frescoed tombs of ancient ,egypt4 ,strange peoples are shown in outline as they lived2 they go to war1 they marry1 their children play1 the ritual of their ,book of the ,dead is pictured in profile three thousand years before the ,christian era4 ,these flat and unsubstantial ghost figures come to us down the ages4 ,from those mystic times when ,crates of ,sicyon1 ,philocles of ,egypt1 and ,cleanthes of ,corinth first worked in monochrome1 there is an unbroken tale of men and women who have lived1 loved1 hated1 and triumphed--,pharaohs and their slaves1 ,greek gods1 and athletes2 a ,french king1 a murdered queen2 ,napoleon and his generals2 statesmen and politicians2 ,gothe1 ,beethoven1 ,burns1 ,wellington1 ,dickens1 ,washington1 ,harrison1 ,scott1 and ten thousand others down to the present day4 ,they come as colourless ghosts1 relics of bygone men and women1 shadows caught and held1 while the realities have flitted across life's stage and vanished4 ,old ,omar ,khaym1 8,king of the ,wise10 in the twelfth century knew 8,we are no other than a moving row ,of magic shadow shapes that come and go ,round with the sun1 illumined lantern held ,in midnight by the master of the show40 ,he had not been busied with winning knowledge without seeing the deep significance of the shadow portrait4 ,the familiar figure of the showman whose lantern displays the black moving figures in the midnight streets of ,teheran appealed to him with vital force4 ,he uses the shadow picture constantly as a simile in his matchless quatrains-- 8,heav'n but the vision of fulfilled desire1 ,and hell the shadow from a soul on fire1 ,cast on the darkness into which ourselves ,so late emerged from1 shall so soon expire40 ,the subtle appeal of the silhouette is inevitably associated with death1 in its legendary origin4 ,filled with joyous anticipation1 thrilling with the thought of the woman he would soon hold in his arms1 a lover returned after a short absence to find that his betrothed was dead2 he rushed into the death chamber1 maddened with grief1 to look his last on the face of his beloved before it should be hidden from him for ever4 ,there on the wall the shadow of the dead woman's features appeared in perfect outline1 for a taper at the head of the bier cast the shadow4 ,with reverent hand the man traced the portrait1 which he believed to have been specially sent as consolation4 ,there are other variants of the story4 ,the ,greek legend attributes the invention of painting to the daughter of ,dibutades4 ,knowing that the passion of her lover was waning1 she furtively sketched his shadow on the wall as he stood with the sun behind him4 ,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 indelible4 ,many artists have illustrated different phases of the basic idea as to the shadow having first suggested portraiture4 ,le ,brunyn1 ,schenan1 ,b4 ,west1 ,r4,a41 and ,mulready are some of them4 ,we make no apology for studying the history of this art of the silhouettist in its latter-day manifestations4 ,at its best1 black profile portraiture is a thing of real beauty1 almost worthy to take its place with the best miniature painting2 at its worst1 it is a quaintly appealing handicraft1 revealing the fashions and foibles1 the intimate domestic life and conventions of its day4 ,it was executed by so many distinguished amateurs1 from ,etienne de ,silhouette himself to ,queen ,charlotte and ,princess ,elizabeth of ,england1 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 period4 ,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 oblivion4 ,shadows are impalpable things which fade away almost before we are aware of their existence4 ,year by year accident and the ravages of time lessen the number of these fragile curios2 the beautiful portraits on ivory and glass1 being the most fragile1 are the first to go4 ,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 back4 ,mutilated examples with cracked wax filling or plaster paintings1 chipped and incomplete1 are still to be found2 but even these have often been reframed1 or have been broken open to renew glass or back1 and so the trade label has been lost4 ,the searcher who hopes to be successful in his quest has now to go very far afield1 unless he be satisfied with the paper pictures of indifferent quality1 interesting perhaps on account of the identity of the sitter or the fame of the cutter1 but very far from equalling in beauty the best work of the masters in black profile portraiture4 ,some enthusiasts maintain that the least artistic profile shadow portrait has a curious individuality which redeems it from overwhelming ugliness2 certainly the infinite variety of the processes and the fresh and vigorous outlines in unexpected media give a charm to the portrait in monochrome4 ,there is no sequence in the production of the different types4 ,some of the earliest specimens were cut in paper1 for ,mrs4 ,pyburg is said to have cut out the portraits of ,william and ,mary in #afii2 and certainly some of the beauties of ,versailles were cut by ,gonard in paper2 the mid-,victorians worked in paper1 and there are still a few cutters busy with their scissors4 ,glass1 ivory1 and plaster1 oil-painting1 smoke-staining1 and ,indian ink1 all were used one by one or together4 ,there is no evolution and gradual development to trace in the art and craft of the silhouettist2 the pictures come before us like the shadows that they are1 each process appearing and disappearing4 ,sometimes the same man worked in half a dozen different processes1 using now one and now another1 according to the taste or purse of the sitter1 or guided by his own judgment as to the suitability of his subject for this or that medium of expression4 ,the miniature shades for mounting in rings1 brooches1 scarf-pins1 and pendants were not done exclusively by a few men1 as one might surmise from their rarity2 they were painted with the delicacy of a miniaturist by many of the silhouettists1 who usually painted silhouettes of ordinary size4 ,these jewel shadows are now very difficult to find1 and it is probable no such collection as that of the late ,mr4 ,montague ,guest will ever come into the market again4 ,into the lives of great personages1 such as ,gothe1 ,napoleon1 our ,english kings1 queens1 and princesses1 the silhouette creeps with colourless persistence2 there is no escaping it4 ,gothe writes letters to his mother1 and to ,lavater1 being touched with enthusiasm for the silhouette and its uses by the zealous ,zrich minister4 ,the poet cut a few himself4 ,napoleon presents glass profile portraits of himself in black on gold tinsel ground to his generals4 ,princess ,elizabeth1 daughter of ,george ,,iii41 is a famous scissor-woman1 and many are the pictures she cut1 not only of her father1 mother1 and sisters1 but also of trees1 birds and flowers1 rural scenes1 cupids1 and cupid groups4 ,fanny ,burney delights in the black portraits2 all the ,burney family are grouped together4 ,she records her visits to the silhouettist ,charles1 when her attendance on the ,queen as ,maid of ,honour was over4 ,this portrait shows the famous creator of 8,evelina0 to be sprightly indeed2 her delicate profile is well set off with curled and powdered hair1 lace ruffle1 and beribboned hat1 whose tilt must surely have been learnt at ,versailles4 ,pepys lived too early to have his shadow taken4 ,we feel sure the old coxcomb would have had a dozen of himself1 mighty fine in new clothes1 and perchance1 if in generous mood1 a single one of his wife in her old ones4 ,my father's profile1 cut in paper1 is spoken of by ,bulwer ,lytton in 8,the ,caxtons10 in the second volume4 ,horace ,walpole1 in his letter to ,sir ,horace ,mann1 written in #agfa1 desires him to thank the ,duchess of ,grafton on his behalf for the dcoupure of herself1 this being1 he explains in a note1 8her figure cut out in card by ,m4 ,herbert1 of ,geneva1 who was famous in that art40 ,this allusion at this early date again indicates that the cut silhouette was the earliest1 as it certainly is the last survival1 of the art4 ,the scissor-type1 it is still called by the old inhabitants of ,suffolk1 who well remember the visits of the itinerant artists4 ,strange confusion has arisen in the minds of many admirers of silhouettes on account of the name4 ,black profile portraiture was practised long before ,etienne de ,silhouette economised in the public finance department of ,louis ,,xv41 and the wits of the day nicknamed 8silhouette0 whatever was cheap and common4 ,in ,swift's 8,miscellanies10 ed4 #agde1 vol4 x41 page #bjd1 is a whole series of poems 7full of the most eccentric rhymes7 on silhouette portraits1 e4g43-- 8,on ,dan ,jackson's ,picture ,cut in ,paper40 8,to fair ,lady ,betty ,dan sat for his ,picture1 ,and defy'd her to draw him so oft as he piqu'd her4 ,he knew she'd no ,pencil or ,colouring by her1 ,and therefore he thought he might safely defy her4 ,come sit1 says my ,lady1 then whips out her ,scissar1 ,and cuts out his ,coxcomb in ,silk in a trice1 ,sir4 ,dan sat with ,attention1 and saw with ,surprize ,how she lengthen'd his ,chin1 how she hollow'd his ,eyes1 ,but flattered himself with a secret ,conceit ,that his thin leathern 7sic7 ,jaws all her art would defeat4 ,lady ,betty observ'd it1 then pulls out a ,pin ,and varies the ,grain of the ,stuff to his ,grin2 ,and to make roasted ,silk to resemble his raw-bone ,she rais'd up a ,thread to the jett of his ,jaw-bone1 ,till at length in exactest ,proportion he rose ,from the ,crown of his ,head to the ,arch of his ,nose4 ,and if ,lady ,betty had drawn him with ,wig and all1 ',tis certain the ,copy'd out-done the ,original4 ,well1 that's but my ,outside1 says ,dan with a ,vapour2 ,say you so8 says my ,lady2 ,i've lin'd it with ,paper40 ,swift1 8,miscellanies10 vol4 x41 p4 #bje4 ,,another4 8,clarissa draws her ,scissars from the ,case1 ,to draw the ,lines of poor ,d--n ,j--n's ,face4 ,one sloping ,cut made ,forehead1 ,nose1 and ,chin1 ,a ,nick produc'd a ,mouth and made him grin1 ,such as in ,taylor's measure you have seen4 ,but still were wanting his ,grimalkin ,eyes1 ,for which grey ,worsted-,stocking ,paint supplies ,th' unravell'd ,thread thro' ,needle's ,eye convey'd1 ,transferr'd itself into his past-board ,head4 ,how came the ,scissars to be thus out-done8 ,the ,needle had an ,eye1 and they had none4 ,o wond'rous ,force of ,art6 now look at ,dan-- ,you'd swear the ,past-board was the better man4 ,the ,dev'l1 says he1 the ,head is not so full-- ,indeed it is1 behold the ,paper ,skull40 ,,tho4 ,s,d1 ,sculp4 ,swift1 8,miscellanies10 vol4 x41 p4 #bjf4 ,,another4 8,dan's evil ,genius in a ,trice ,had strip'd him of his ,coin at ,dice2 ,chloe observing this ,disgrace1 ,on ,pam cut out his rueful ,face4 ,by ,g1 says ,dan1 'tis very hard1 ,cut out at ,dice1 cut out at ,card60 ,g4 ,r,d1 ,sculp4 ,now1 ,swift died in #agde1 and may be said to have died to literature some years earlier4 ,silhouette's cheese-paring economy was1 we are told1 induced by the deficit entailed 8by the ruinous war of #agef10 consequently it could not have been before #agfj that his name would have become synonymous with cheapness4 ,we thus have evidence that the art was in use at the least twenty years before his name could have been applied to it2 and it does not at all appear that it was new then1 as ,mrs4 ,pyburg cut ,william and ,mary's portrait out of black paper in #afii4 ,this nomenclature must1 therefore1 have been caused by his adoption of it as a pastime1 and not by the reason given by ,i4 ,d',israeli and the ,dict4 ,hist4 ,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 account4 ,a very slight study of silhouettes shows how characteristic is the pose of many of the old black profile portraits4 ,in the shadow of ,george ,,iii41 do we not see the embodiment of ,lord ,rosebery's inimitable description1 8the ,german ,princelet of his day10 and in ,pitt's silhouette1 with its 8damned long1 obstinate upper lip10 as his royal master so vigorously described it1 there is the very ego of the man who was premier at twenty-five4 ,gothe's letters to his mother are full of allusions to the novel portraiture which had been brought to his notice by ,lavater1 the ,zrich divine1 whose essay on ,physiognomy1 written for the promotion of the knowledge and love of mankind1 is still read in ,germany4 ,the edition of #agid is before us1 and shows hundreds of silhouette drawings1 for he wrote of the importance of reading character from people's faces1 and used the silhouette for this purpose4 ,thus the shadow portrait1 once the amusement of amateurs1 now began to have scientific significance4 ,gothe testifies that ,lavater wished all the world to co-operate with him1 and he arrived at ,gothe's house on ,june #bcrd1 #aggd1 not only to take portraits of the young genius1 but also of his parents4 ,a year later ,gothe implores ,lavater in a letter1 8,i beg you will destroy the family picture of us2 it is frightful4 ,you do credit neither to yourself nor us4 ,get my father's cut out and use him as a vignette1 for he is good4 ,you can do what you like with my head too1 but my mother must not stand there like that60 ,an amusing sequel to this is that when1 in the third volume of the 8,physiognomy10 the councillor's portrait appeared1 but not that of ,gothe's mother1 she was much annoyed1 and said that ,lavater evidently did not think her face worthy to appear4 ,the matter rankled1 for in #ahjg she had her head examined by ,dr4 ,gall1 8to find out if the great qualities of her son had1 by any chance1 been passed on to her40 ,this much discussed silhouette of ,gothe's mother is illustrated in 8,gothe's ,mother10 by ,dr4 ,karl ,heinemann1 and fuller accounts of the poet's attitude towards the silhouettists of his day1 and the instructive and exciting deductions from their work1 will be found further on in our volume4 ,in a letter from ,frulein von ,gchhausen to ,frau ,rath--we use the translation of ,mr4 ,a4 ,s4 ,gibb--the delight in the novel portraiture is shown1 and incidentally the vivacity of the writer3-- 8,,weimar1 the #bgth ,december1 #agha4 8,i am sure1 dearest mother1 that you in your life have had many and varied joys2 but whether you know any such joy as you have given me on ,christmas ,day1 at least ,i wish it you6 ,your silhouette1 so like6 of such an excellent1 dear1 beloved woman6 in such a costly1 pretty1 and stylish setting2 and your letter--,o your dear letter6--could ,i only say how indescribably admirable the letter is6 ,enough1 dearest mother3 from all my exclamations there is1 alas1 nothing further to be learned than that ,i am half out of my wits with excessive joy4 ,the first day ,gothe had much to bear from me1 for ,i almost ate him up4 ,by monstrous good luck there was on that joyous day a grand dinner at the ,duchess's1 and nearly half the town was assembled4 ,i could1 therefore1 produce at once my splendid present 7which will not so soon come off my so-called swan-like neck72 and there was a questioning and a glancing at the beautiful novelty1 and ,i was thoroughly wild1 and people thought ,i must have had a gift of clear quicksilver4#a 8,dearest woman1 how shall ,i thank you6 how ever deserve so much goodness--so without all desert and worthiness on my part6 ,in return1 ,i can1 alas6 do nothing1 except to go on in my old jog-trot--love1 honour1 and obey you my life long4 ,amen6 8,l4 ,g,,chhausen40 #a ,this seems a strange expression2 but at that time1 when anyone showed a restless activity1 they would say that someone had given them quicksilver4 ,later the craft of the silhouettist fell into disrepute when it had become part of the curriculum of young ladies' schools2 unskilful artists itinerated1 pursuing their craft in booths and at fairs--one in the ,thames ,tunnel1 several on the ,chain ,pier at ,brighton4 ,at street corners magic figures1 with concealed workers1 were used to entice the unwilling with mystery4 ,even ,sam ,weller1 in his inimitable letter to ,mary1 laughs at the methods of the 8profeel macheen40 8,so ,i take the privilidge of the day1 ,mary1 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 7wich p'raps you may have heerd on1 ,mary1 my dear71 altho' it does finish a portrait and put the frame and glass on complete1 with a hook on the end to hang it up by1 and all in two minutes and a quarter40 ,such is the story1 in brief1 of the silhouette4 ,sometimes we see in it a little social document1 elevated by fortuitous circumstances or scarcity of other pictorial record to historical value4 ,as in the case of ,robert ,burns's portrait1 by ,j4 ,miers1 and that of his brother1 ,gilbert ,burns1 by ,howie1 in the ,scottish ,national ,portrait ,gallery1 at all times it is passively charming4 ,surely we need not scorn this step-sister of photography--this poor relation of the art world4 ,in the words of ,seraphim1 when1 in #agga1 he flung wide the doors of his ,shadow ,theatre at ,versailles-- 8,venez garons1 venez fillettes1 ,voir ,momus la silhouette2 ,ou1 chez ,seraphim venez voir ,la belle ,lumeur en habit noir1 ,tandes que ma salle est bien sombre ,et que mon a cleur n'est que l'ombre1 ,puisse messieurs votre gat ,devenir la ralit40 ,illustration ,,chapter ,,ii4 ,,the ,,coming ,,of ,,the ,,silhouette ,,and ,,its ,,passing4 ,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 art4 ,all our attention is concentrated on outline1 and in consequence there is a directness and vigour in the likeness which are lacking in more complex studies4 ,some ,japanese artists1 recognising this peculiar quality in the black profile portrait1 supplement a conventionally drawn coloured portrait with a silhouette4 ,in ,europe1 during the last decade of the eighteenth century1 the time was ripe for some popular outlet for the newly awakened interest in the old ,greek classical method1 for the recently excavated wonders revealed at ,pstum and ,pompeii had appealed strongly to the popular taste1 causing ,greek purity of line and simplicity to dominate all ornament4 ,there was a natural rebound towards simplicity after the over-gorgeous detail in all domestic decoration under ,le ,roi ,soleil1 though exuberance survived for many years2 the ,greek influence may be traced from the latter half of the eighteenth century4 ,gradually the rococo absurdities disappeared2 purity of line came back to architecture1 and was manifested in furniture1 in damask1 brocade1 and all ornamental expression1 until at the beginning of the nineteenth century the mode in building design1 decoration and dress was of the ,first ,empire1 and that is pure ,greek4 ,the silhouette was another answer to the demand which gave us the reliefs after the antique which ,flaxman and ,josiah ,wedgwood supplied4 ,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 panel1 a delicate miniature1 or an enamel of ,limoges2 but economy was in the air1 the palmy days of reckless expenditure on personal matters by the few were over4 ,marie ,antoinette was soon to wear ,india muslin instead of costly hand-made lace--very soon she might not even wear her own head2 the gorgeously painted equipages of the ,martin ,brothers would give way to the less costly tumbrils4 ,the days of fustian and the proletariat were coming2 paper portraits instead of painting2 then the apothecary picture-man1 as ,ruskin calls the photographer ,daguerre4 ,the silhouette was the pioneer of cheap portraiture1 which is now so great a factor in modern life4 ,no wonder that1 like all pioneers1 the shadow portrait was made the butt of the wits4 ,born in ,france1 flourishing greatly in ,germany1 the silhouette soon reached ,england1 and penetrated to the middle class1 through the upper classes and court circles1 the first ,english cut portrait that we can find record of being the cut silhouette of ,william and ,mary in #afii4 ,then1 while such men as ,gonard were working in ,france1 some of our best ,english exponents came to the fore4 ,miers1 first of ,leeds1 then of ,london1 painted generally in unrelieved black on plaster or ivory2 ,john ,field1 his partner for thirty-five years1 whose studio was thronged at #aa1 ,strand1 close to the old ,northumberland ,house1 which has now given way to ,northumberland ,avenue4 ,mrs4 ,beetham painted in shadowgraphy with exquisite skill1 some of her jewel portraits rivalling the finest miniatures in quality4 ,charles1 of #acj1 ,strand1 worked in ,indian ink with pen on card1 and produced such beautiful work that his trade description1 8the first ,profilist in ,england10 may well be excused4 ,it is interesting to note the very varied nomenclature of this art of black profile portraiture4 ,h4 ,gibb and many others1 besides ,charles1 call themselves ,profilists4 ,skiagraphy is used early4 ,the fashionable ,shade is mentioned by half a dozen diarists and social writers of the eighteenth century1 and was in more common use early in the nineteenth century4 ,horace ,walpole gives us ,dcoupure4 ,scissargraphist is used by ,haines1 of ,brighton2 in rural districts in ,suffolk silhouettes are still called ,scissartypes1 quite regardless of whether the picture is of cut black paper or done with brush or pencil4 ,hubard1 of ,kensington and ,american fame1 calls himself a ,papyrologist1 and his art that of ,papyrolomia4 ,in the ,art ,journal1 #ahec1 p4 #adj1 we read ,papyrography is the title given to the art of cutting pictures in black paper4 ,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 ,lavater1 while some silhouettists are content to describe themselves as artists4 ,it was ,august ,edouart1 the ,frenchman1 who1 wishing to emphasize the superiority of his methods over the machine-made shadows of his day1 first used the words silhouette and silhouettist1 or silhouetteur1 in ,england4 ,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 portrait1 and retired disappointed when they found it was only the familiar black shade which was offered to them4 ,not only has there been much confusion in the popular mind with regard to the name of the silhouette1 but also on account of the many different processes1 and mixture of processes1 used in their execution4 ,many silhouettists1 as we have said1 used several different ways of gaining the desired result4 ,mrs4 ,beetham1 for example1 painted exquisitely on ivory and plaster1 with and without gold2 she also cut out black paper1 pasted it on card1 and finished the edges with softening lines of paint on the background4 ,this artist also painted on plaster and also on glass1 so that very considerable study is required in order to judge unsigned examples4 ,occasionally the whole process in silhouette cutting is reversed1 and not only is a white paper portrait mounted on black1 as in ,mrs4 ,leigh ,hunt's silhouette of ,byron1 but the portrait is cut as a hole in a sheet of paper1 and1 on placing black paper1 silk1 or velvet at the back1 the portrait outline is seen4 ,the author owns an interesting silhouette locket in this manner1 but examples are rare in ,england1 though there are several at the ,congressional ,library at ,washington4 ,shadow portraits began to receive popular attention about #aggj4 ,at this date a picture was painted by ,j4 ,c4 ,schenan 7#agdj-ahjf71 who also worked under the name of ,johann ,eleazar ,zeisig4 ,the picture1 which was extremely popular1 was called 8,l',origine de la peinture ou les portraits la mode40 ,this showed a modern version of the old ,greek legend4 ,a lady1 in a modish cap and deshabille1 is having her shade outlined by a youth who holds a paper against the wall4 ,this is the first hint at the movable picture which can be executed in one place and hung elsewhere2 hitherto the wall or ground itself has been in place of the canvas4 ,two children are in the foreground1 one holds up the cat while the other wields the pencil2 another child makes a rabbit shadow with his fingers4 ,against the wall are many shadow pictures1 all life-size1 including one of a man1 a dog1 and a donkey4 ,the dedication of the engraving of this picture runs thus3 8,dedie ,son ,altesse ,serenissime ,monseigneur le ,prince ,paladin du ,rhin ,duc regnant des ,deux ,ponts40 ,illustration3 ,,silver ,,wedding ,,anniversary ,,picture ,,with ,,portraits ,,and ,,emblems4 ,in the possession of the ,author4 ,a century before1 ,frances ,chauveau engraved a picture by ,c4 le ,brunyn which shows the traces of a shadow portrait on the wall4 ,the figures are in classical dress--the woman steadies her subject with one hand while she pencils the shadow with the other4 ,a winged love superintends the process4 ,the popularity of such pictures was easily accounted for4 ,those whose accuracy of vision and skill of hand were insufficient to achieve the fashionable freehand scissor-work1 saw in this tracing method an easy way of making the black profile portraits4 ,the tracing of shadow pictures was considered to be of ,greek origin1 and the enthusiasm for any art of ,greek origin was assured1 and the amateurs prospered4 ,the inevitable book of instruction for amateurs appeared in #aggi in ,germany1 8,directions for silhouette drawing1 and the art of reducing them1 together with an introduction dealing with their physiognomical use40 ,it must be remembered1 in its early days silhouetting was supposed to be the handmaid of scientific research1 and it was very many years before the artists in black portraiture threw off this pose in connection with their work4 ,this book is published by ,rmhild1 ,leipzig4 ,another little book of #beh pages1 with eleven copper-plate illustrations1 is now very rare1 dated #aghj2 it was published by ,philip ,heinrich ,perrenon1 bookseller1 of ,mnster4 ,rules are given1 advice as to materials1 the reduction of portraits1 their finish1 ornamentation1 etc4 ,processes on glass1 in relief1 etc41 are described4 ,pantographs and other mechanical processes were invented1 the names of such things varying from the high-sounding parallelogrammum delineatorium to the 8monkey0 indispensable for silhouette artists4 ,other books are described more fully in our chapters on the processes4 ,the silhouette mania affected the engravers of the day2 black portraits in copper-plate appeared1 and were used to illustrate histories and biographies4 ,also domestic scenes1 with elaborate backgrounds1 such as the death of the ,empress ,marie ,theresa1 which occurred in #aghj4 ,this was to be had of ,loeschen ,khl1 of ,vienna1 in the ,high ,market1 ,no4 #dhh4 ,it appeared in 8,an ,almanack for the year #aghf10 with fifty-three silhouettes1 published by ,loeschen ,khl4 ,large engraved silhouette pictures also appeared1 and were sold separately1 such as the ,festivity on the ,prater4 ,another variety now in the ,hhenzollern ,museum in ,berlin shows ,friedrich ,wilhelm ,,ii41 with his wife1 four sons1 and three daughters1 walking in a garden4 ,this picture is painted on glass1 and is mounted on a red ground4 ,later1 ,august ,edouart achieved elaborate pictures1 such as a skirmish of cavalry or sports4 ,his figures were entirely scissor-work--and extraordinarily clever4 ,the black portraits were mounted on drawn or lithographed backgrounds4 ,many ,english books of a biographical nature were entirely illustrated with portraits in silhouette1 notably1 8,the ,warrington ,worthies10 by ,james ,kendrick1 ,m4,d41 published in #ahed by ,longman ,brown1 ,london2 8,hints1 designed to promote ,beneficence1 ,temperance1 and ,medical ,science10 by ,j4 ,c4 ,lettsom1 published in #ahja1 by ,j4 ,mawman4 ,in the second volume of this work there are nine fine silhouette portraits4 ,in the memoir of ,hannah ,kilham1 by her daughter-in-law1 published by ,darton ,harvey1 ,london1 #ahcg1 there is a beautiful silhouette portrait4 ,field1 of the firm of ,miers ,field1 notifies on his trade label that he cuts silhouettes suitable for 8frontispieces in literary work40 ,in the porcelain factories of ,england and ,germany silhouette pictures were used for the ornamentation of gift-pieces1 and also for souvenir examples4 ,in connection with such factories we may mention that a cup was made on which ,dr4 ,wall1 of ,worcester fame1 is painted in silhouette1 and at the museum belonging to the ,meissen factory1 sixteen miles from ,dresden1 there is a portrait of ,johannis ,joachim ,kndler1 born #agjf1 ,king's ,court ,commissioner and model master at the ,royal porcelain factory4 ,rare and interesting specimens of silhouette porcelain are dealt with in a separate chapter4 ,in glass1 too1 silhouette portraits were etched in gold leaf and in black on glass1 which was then enclosed in another transparent layer of glass for protection4 ,the taste for the silhouette spread its glamour over many arts2 it became vitiated on account of unskilled and inartistic work1 and may be said to have fallen into disrepute in the early days of ,queen ,victoria4 ,it was then that the art of ,miers and ,field1 ,gibb and ,charles1 fell into the hands of unworthy exponents1 whose works partake of the ineptitude of so much of the early ,victorian art4 ,there are silhouette portraits of the second quarter of the nineteenth century and later1 which are amusing because of their vitality1 interesting because of the people whom they portray1 or because of a quaint bygone fashion2 but with the exception of the work of ,edouart1 which stands alone on account of its superb technique1 they are as a rule no longer examples which connoisseurs sincerely admire for their beauty4 ,on the production of the real treasures of black portraiture the curtain was rung down about #ahej4 ,at that date the pageant of shadow pictures since the days of black outline on ,etruscan vases ceased to be hauntingly beautiful1 mystic1 alluring2 its subtle appeal was over4 ,,chapter ,,iii4 ,,processes4 7#a7 ,brushwork4 ,research regarding the processes by which the shadow portraiture was produced1 results in a baffling amount of material4 ,besides the professional silhouettists1 who worked on definite lines of their own1 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 intended1 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 result4 ,the silhouette portrait produced by the brush on ivory1 card1 or plaster is not necessarily the highest type1 although it approaches most nearly to the work of the miniature painter1 for the technique of one or two of the cutters1 such as ,edouart1 is so fine that it lifts this humbler process on to the highest plane4 ,many miniature painters of the eighteenth century worked alternately in black profile portraiture and colour4 ,silhouettes thus done are1 in fact1 original profile portraits in monochrome2 the process employed for producing them has nothing to do with scissor or penknife cutting4 ,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 era1 are apt to consider the silhouette beneath contempt from the artistic point of view2 but the collector who has studied fine examples1 and who knows many processes1 understands that each variety has its special charm1 and that many have an individuality and dignity which raise them to a very high level4 ,john ,miers1 whose silhouette of ,robert ,burns is in the ,national ,portrait ,gallery of ,edinburgh1 worked at ,leeds1 and afterwards had headquarters in the ,strand1 opposite ,exeter ,change1 where he was in partnership for many years with ,john ,field1 another silhouettist1 whose work is of very fine quality4 ,on most of ,miers' work he is described as 8late of ,leeds40 ,his early business label in ,leeds is extremely rare4 ,it is on a fine portrait of a man which lies before us4 ,this is painted on plaster1 and1 like nearly all his early work1 is untouched with gold4 ,miers did an enormous amount of work on plaster and ivory1 in the usual #b to #c inch oval size1 as well as the inch to half-inch size for mounting in rings1 brooches1 and pins4 ,these latter are frequently signed 8,miers10 sometimes 8,miers and ,field40 ,on a fine portrait by ,field1 during the time of the partnership with ,miers1 there is an advertisement on the back2 the partners set forth the announcement at this period that they 8,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 character1 given in the minute sizes of ,rings1 ,brooches1 ,lockets1 etc4 7,time of ,sitting not exceeding five minutes47 ,messrs4 ,miers ,field preserve all the original shades by which they can at any period furnish copies without the necessity of sitting again40 ,in the ,london ,directory of #agib ,john ,miers' name is first mentioned as 8,profilist and ,jeweller1 #aaa1 ,strand02 in #ahag1 in the ,london ,directory1 8,miers ,son1 ,profilists and ,jewellers02 ten years later1 in ,kent's ,london ,directory1 #ahbg1 8,miers ,field1 ,profilists and ,jewellers02 and in the ,london ,directory of the same date1 8,profile ,painters and ,jewellers40 ,miers is frequently called the ,cosway of silhouettists4 ,this name is correctly suggestive in a double sense1 for not only was he amongst the most charming and successful exponents of his art1 as was ,cosway1 but his methods and brushwork on ivory were1 with well-defined limitations1 identical with those of the miniaturist4 ,we are able to reproduce the portrait of ,john ,field1 the partner of ,miers1 through the courtesy of his great-grandson4 ,this silhouette was done by himself1 and that of his wife is a companion picture4 ,portraits also of his two daughters1 ,sophie1 afterwards ,mrs4 ,webster1 and her sister1 who married ,e4 ,j4 ,parris1 the artist who decorated the dome of ,st4 ,paul's1 are amongst an interesting collection belonging to the ,field family4 ,all these are painted on plaster1 and beautified with exquisite pencilling in gold4 ,the muslin cap and dainty neck frills of the artist's wife are handled with great skill4 ,field's shop was next door to ,northumberland ,house1 ,no4 #aa1 ,strand1 and here he amassed a very substantial fortune4 ,he usually had several apprentices1 both male and female1 in his studio1 and his brother being a skilled frame-maker1 the ,field frames1 in black papier-mch and brass mounts1 are very dainty1 while the jewel work in gold and pinchbeck is always suitable and sometimes beautiful4 ,after many years the partnership between ,miers and ,field was dissolved1 as a cloud seems to have settled on the life of the former artist1 and we have not been able to find details of his latter years4 ,mrs4 ,beetham also painted in unrelieved black on ivory or plaster1 and connoisseurs are divided in opinion as to whether her work should not bear the palm instead of that of ,miers4 ,examples are much more rare4 ,her label on the portrait of a woman in cambric stock and ruffle runs thus3-- 8,profiles in ,miniature by ,mrs4 ,beetham1 ,no4 #bg1 ,fleet ,street4 #aghe40 ,sometimes ,mrs4 ,beetham cut black paper1 and used a little brushwork in the more delicate hair outlines1 softening the hard paper line4 ,this artist excels not only in the delicacy of her profile portraits1 but also in the way in which she depicts1 with the very limited materials at her command1 the texture of hair1 gauze1 and ribbon ornaments4 ,a third process employed by ,mrs4 ,beetham was the painting on glass of flat or convex shape4 ,the painting was done on the back of the glass1 and usually a backing of wax or plaster was placed to preserve the portrait4 ,as a consequence of this filling of wax1 many of these old pictures have suffered severely from extremes of temperature1 cold shrinking the wax and causing disfiguring cracks1 and heat1 when the portraits were hung on the chimney wall1 as they so frequently were1 being no less disastrous4 ,occasionally a shade painted on convex glass is found with a flat composition card or plaster background1 upon which1 standing away behind the rounded glass on which the portrait is painted1 a beautiful shadow is cast by the painting4 ,this is perhaps one of the loveliest embodiments of the miniature shadow portrait1 created independently of all shadow tracing1 for the portrait is simply painted on the inside of a convex glass2 yet the shade is there1 dainty1 alluring1 created through the workings of one of nature's laws2 the brushwork becomes of secondary importance1 and nature's shadow the likeness4 ,rosenberg of ,bath 7#ahbe-fi71 whose son was an associate of the ,old ,water-,colour ,society1 was a proficient in this process4 ,his advertisement is quaintly worded in the small card found pasted on the back of his framed specimens3-- 8,begs leave to inform the ,nobility ,and ,gentry that he takes most striking ,likenesses in ,profile1 which he ,paints ,on ,glass in imitation of ,stone4 ,prices from #gs4 #f;d4 ,family pieces1 ,whole ,lengths in different ,attitudes4 ,n4,b4 ,likenesses for ,rings1 ,lockets1 ,trinkets1 and ,snuff-boxes40 ,this unusual allusion to imitation on stone is doubtless written to attract those who1 cognisant of the recent discoveries in ,pstum and ,herculaneum1 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 artistic4 ,another type of glass painting was executed by ,w4 ,jorden1 who in #aghc painted the portraits of the ,deverell family4 ,these six fine examples show ,thomas ,deverell in ribbon-tied wig and shirt frill1 ,ann1 ,caroline1 ,susan1 ,elizabeth1 and ,hester2 they were formerly in the collection of ,mr4 ,montague ,guest1 and were sold for a large price at ,christie's4 ,the work of ,jorden differs considerably from the glass painting of other profilists1 as he used flat glass instead of the convex1 and his work is extremely bold and without detail1 except in outline4 ,he does not depend on any shadow casting for his charm in the work4 ,examples by ,jorden are exceedingly rare4 ,a4 ,charles was another profilist of the eighteenth century1 whose work has extraordinary charm4 ,he used ,indian ink and fine line together with the solid black work4 ,sometimes examples are to be found where the draperies and dress are in colour4 ,a good specimen in the original wood oval frame1 in the possession of ,mr4 ,rowson1 has a trade label on the back as follows3-- 8,profiles taken in a new method by ,a4 ,charles1 ,no4 #acj1 opposite the ,lyceum1 ,strand4 ,the original miniaturist on glass1 and the only one who can take them in whole length by a pentagraph4 ,they are also worked on paper and ivory1 from #bs4 #f;d4 to #d #ds4 ,they have long met the approval of the first people and deemed above comparison4 8,n4,b4--,drawing taught40 ,glass portraits were executed with a mixture of carbon made with pine-soot and beer1 which gives an intense blackness4 ,the process was sometimes inverted1 and the flat or convex glass having been blackened with pine-smoke all over1 the outline of the head or figure was then drawn in with a sharp point and the blackness removed1 except where it served as the filling of the outlined objects to be silhouetted4 ,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 back1 and was as a rule covered with a thin layer of wax1 so that1 looked at from the front1 the silhouette portrait stood out from a gold ground2 or1 if the blacking process had been reversed1 the gold portrait showed on a black ground4 ,sometimes silver leaf was used instead of gold1 and occasionally1 as in the ,forberger memorial picture in the ,wellesley collection1 and in a fine1 small example at ,knole1 both gold and silver are used in the same picture4 ,in the ,graz ,museum in ,germany there is a beautiful head of a youth painted on glass4 ,a pyramid-like building also figures in the picture1 both gold and silver foil being used as background4 ,we have seen gold-backed silhouette portraits showing profiles which1 like the old puzzle pictures popular at the same period1 are hard to decipher4 ,thus an urn is made the central feature of the picture1 but the outline1 varying slightly on either side1 gives the profile of a man and his wife4 ,such quaint conceits were popular at the time4 ,george ,,iii4 and ,queen ,charlotte1 or his successor and ,queen ,caroline1 are sometimes the subject of such freakish portraiture in silhouette2 this method in black and white survives to the present day4 ,the richness of the gold-leaf background made this variation of the profile portrait especially suitable for jewels4 ,lockets1 brooches1 and pins are the most usual form2 these may be set in gold or in carved pinchbeck4 ,occasionally a tiny silhouette picture is in pearl framing1 or an ornamental one of paste4 ,the silhouette rings are most frequently in the marquise setting2 it was not unusual for a bequest to be made for profile portrait memorial rings4 ,occasionally some apt motto was engraved inside1 such as1 8,il ne reste que l'ombre40 ,the ethereal shadow picture seems to have specially appealed to the sentimental of the eighteenth century as a suitable reminder after death4 ,in the ,wellesley collection there is a charming patch-box with three gold-backed profile portraits set in a row4 ,none measures more than half an inch across2 the faces are those of three lovely women4 ,another example is of a fine silhouette portrait of somewhat larger size1 set in the lid of a small1 round black lacquer snuff-box4 ,a mirror case was exhibited at the ,silhouette ,exhibition held in ,maehren1 ,germany1 in #aijf1 which had1 on one side1 the head and shoulders of a woman painted in black on glass4 ,this was mounted on a yellow ground4 ,finer than either of these is a patch-box in ivory1 set in gold1 with gold hinges and snap4 ,in the centre is a gold set profile portrait of a man1 signed by ,miers2 on either side there are beautiful panels of blue enamel4 ,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 box4 ,a tiny oblong looking-glass is set in the inside of the lid to facilitate the adjustment of the beauty spots4 ,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 work4 ,those who had the opportunity of examining the marvellous collection of the late ,mr4 ,montague ,guest can judge how these rare gems are not only beautiful in themselves1 but speak of the illusive charm of the eighteenth century more eloquently than many other more costly bibelots4 ,the dainty sentimentality of a gold ring set with the shadow of a beautiful woman1 or the scarf-pin with the shade of a friend2 a locket with the unsubstantial reflection of a child's face2 who can resist the colourless appeal of so unobtrusive a jewel1 which is yet one of such rich association and rare beauty8 ,the method most usual for profile portraits in minute size is the painting with ,indian ink on ivory or plaster4 ,we have seen these as small as a pea1 but this is unusual2 they are generally double that size for rings1 or1 for lockets and brooches1 larger still4 ,j4 ,miers must have painted many of these jewels4 ,amongst the examples we have examined1 some are plain black1 probably of early date2 some pencilled with gold4 ,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 century4 ,in two signed examples1 in the possession of the author1 one is plain black--a man's head1 with tied queue wig and high stock with ruffle2 the other1 a woman exquisitely pencilled in gold1 a lawn cap of ,quaker shape on her head1 a folded kerchief crossing her breast4 ,both are signed4 ,authentic examples by ,mrs4 ,beetham are rare1 for she seldom signed her work2 but there is a quality in them which usually proclaims their authorship4 ,the nervous delicacy of the work equals that of ,miers3 the manipulation of accessories excels it when she is at her best4 ,these silhouette jewels1 of fine quality1 are very rare1 and are much sought after4 ,unfortunately1 like so many of our beautiful and artistic treasures1 the boundless wealth of ,america is absorbing many good examples4 ,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 room1 when the ,guest collection was dispersed8 ,a variant of the shadow portrait1 painted on glass1 shows a blue1 rose1 or green coloured paper or coloured foil taking the place of the gold or silver leaf ground4 ,a beautiful locket in the ,wellesley collection demonstrates the charm of this method to perfection4 ,it is probably ,french4 ,in a book of instructions for the amateur silhouettists of ,germany1 published in ,frankfurt and ,leipzig by ,philip ,heinrich ,perrenon1 bookseller1 of ,mnster1 #aghj1 we are told3 8,one can use tinfoil for the ornamentation of silhouettes for hanging4 ,when the glass is turned round1 the places where the tinfoil is form a sort of mirror4 ,if the background be black and the portrait the mirror1 the effect is pretty1 but it is as contrary to nature as a white shadow4 ,it is best to have the ground of looking-glass1 and to blacken or colour the silhouette40 ,one of the earliest silhouettists was ,franois ,gonard1 a ,frenchman1 whose processes seem to have been very varied4 ,unlike most of the early shade-makers1 he did not make a speciality of any particular process4 ,his profile portraits were painted on ivory and plaster1 and were occasionally cut out in paper and engraved on copper for reproduction2 in fact1 he seems to have practised every kind of profile portraiture4 ,born at ,st4 ,germain in #agef1 he was taught copper engraving at ,rouen1 and was specially clever in reducing copper-plate engravings4 ,in the ,manuel de l'amateur d'estampes1 ,joubert relates having seen a plan of ,st4 ,petersburg engraved in minute size by ,gonard1 who had reduced it from one of much larger size4 ,this brings us to the pantograph4 ,in ,le ,journal de ,paris1 #aghh1 ,le ,sieur ,gonard1 who is called a dissenateur physionomiste1 announces that he is in a position to take silhouette portraits quicker than any other artist4 ,he will make these for #bd sols each1 but he will not make less than two for each person4 ,the price of those of minute size1 suitable for mounting1 as boxes1 lockets1 and rings1 is #c4 ,he also announces silhouettes l',anglaise2 these have the dress and head-dress added1 and the price is #f each1 whether they be on ivory for wearing as an ornament or on paper to be framed4 ,whether the paper is scissor-work--the profile cut out of black paper--or the black drawing is made on paper1 we are not told4 ,for this latter type a sitting of one minute only was necessary1 and the following day the portrait was finished4 ,another process1 which he describes as silhouette colore1 can also be done4 ,these seem to have been more like miniatures2 they cost #ab1 and a three-minute sitting was required4 ,the portrait was finished on the next day but one4 ,gonard's address is given as the ,palais ,royal1 under arch ,no4 #aff1 on the side of the ,rue des bons ,enfants1 and he describes how a lantern shall be lit each evening to facilitate the finding of his salon on dark nights4 ,the lantern had silhouettes on it1 as a sign for the footmen bringing carriages4 ,one cannot help imagining the scene when gay aristocrats1 with powdered heads and dainty brocades1 drove up to have their pictures taken in the fashionable mode1 and beaux1 with lace cravats and wigs1 trod the floors of the studio with steps as firm as they might be three years hence when mounting the steps of the guillotine4 ,how many of those beauties of the court of ,louis ,,xvi4 were left when the terrors of the ,revolution were past8 ,how many of the pathetic little paper shadows have come down to us1 fragile1 indeed1 but outliving the doomed originals by a century and a half8 ,as would be imagined1 ,gonard used elaborately engraved mounts to add to the grace of his portraits1 and occasionally he used relief in white1 grey1 or colour in the execution of the portrait4 ,the view that the shadow portrait should remain a shadow always in black is held by one of the most prolific of all silhouettists1 ,edouart1 whose work is fully described in the chapter on ,freehand ,scissor-work4 ,in deploring the decline of the public taste for shadow portraiture1 he says in his treatise on ,silhouette ,likenesses3--8,as something was wanting to revive the expiring taste of the public for these black shades1 some of the manufacturers introduced the system of bronzing the hair and dress4 ,to what species of extravagant harlequinade this gave rise1 the public is sufficiently aware4 ,i cannot avoid making my observations concerning profile likenesses taken by patent machines1 which possess sometimes all the various colours of the rainbow3 for example1 every day there is to be seen in the shops this kind of profile1 with gold hair drawn on them1 coral earrings1 blue necklaces1 white frills1 green dress1 and yellow waistband1 etc4 ,is it not ridiculous to see such harlequinades8 ,the face1 being quite black1 forms such a contrast that everyone looks like a negro6 ,i cannot understand how persons can have so bad and1 ,i may say1 a childish taste6 ,very often those likenesses are brought to me to have copies made of them1 and it is with the greatest trouble ,i am able to make them understand that it is quite unnatural2 and that1 taking a silhouette1 which is the facsimile of a shade1 it is unnecessary for its effect to bedizen it with colours4 8,i would not be surprised that by-and-by those negro faces will have blue or brown eyes1 rosy lips and cheeks2 which1 ,i am sure1 would have a more striking appearance for those who are fond of such bigarrades4 8,it must be observed that the representation of a shade can only be executed by an outline2 that all that is in dress is only perceived by the outward delineation2 consequently1 all other inward additions produce a contrary effect of the appearance of a shade4 8,here it may be said that every one has not the same taste2 some like colour which others dislike2 some find ugly what others find beautiful2 and1 in fact1 des gouts et colours on ne peut pas disputer4 ,but every artist or real connoisseur will allow with me that when nature is to be imitated1 the least deviation from it destroys what is intended to be represented40 ,edouart concludes with some severe remarks4 8,it is a pity that artists1 in whatever line they profess1 should give way to those fantastic whims1 and execute works against all rules2 for if they would employ their time in proper studies1 and try to show the absurdity of encouraging whatever deviates from the true line of nature1 they would improve themselves1 and in time would derive greater benefit than in executing things which only bring scorn and ridicule from people of discernment40 ,despite the opinion of ,edouart1 with which most connoisseurs of the present day heartily agree1 much silhouette work was finished in colour4 ,we have before us a delicately painted lady of the ,early ,victorian period4 ,she wears a grey dress with graceful pleated sleeves1 a deep embroidered muslin collar1 and the most bewitching cap tied with blue ribbons4 ,her face and hands only are shadow black4 ,the delightful ringlets of the period are marked in gold1 and she is writing in a note-book with a gold pencil1 quite a blue-stocking occupation for a lady of that period4 ,in the collection of ,dr4 ,a4 ,figdor1 ,vienna1 there is an elaborate picture of a mother with a young child on her knee2 two elder children and her husband complete the group4 ,only the heads in this group are black4 ,again1 ,professor ,paul ,naumann1 of ,dresden1 owns the silhouette of a ,moor4 ,the clothing is brightly coloured1 the head alone black4 ,every collector will find he has some examples where colour has been used to relieve the black of the card1 ivory1 or glass painting4 ,it must be remembered that this was the time of glass pictures of the ordinary coloured type1 and this glass painting--glomis1 as the process is called by the learned ,dr4 ,leisching--would naturally influence the minds of the profile portrait painter on glass4 ,so it came about that the two allied crafts gradually overlapped in ideas1 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 portrait1 and in the glass picture of saint or ,bible history4 ,the glaring colours hitherto used to appeal to the popular taste began to be modified1 and examples are found where the figures are all in black1 the background alone being coloured2 so that the glass picture is to all intents and purposes a silhouette on a coloured ground4 ,of this type is the picture at the ,francesco ,carolinum ,museum at ,linz1 where eight musicians in uniform are shown in black in the chapel4 ,there is a good deal of wreath and ribbon decoration1 and two small curtained windows are in the background4 ,an important example of the black glass painting on coloured ground is the picture on a red ground in the ,berlin ,museum4 ,other red and black silhouette works are owned by ,lady ,sackville1 who has an extraordinarily interesting collection of the ,ansley family1 painted by ,spornberg in #agic4 ,each portrait is signed and dated1 the address of the artist1 ,no4 #e1 ,lower ,church ,street1 ,bath1 being given on one4 ,these pictures are painted on convex glass in black2 the background1 outlines of the face1 dress1 hair1 and elaborate wigs1 caps and hats1 together with the eyes1 and slight shading1 being painted in black4 ,over the whole an orange red paint is then worked in at the back1 so that one sees from the front the red bust figure shown in black lines on the black background4 ,illustration3 ,,captain ,,robert ,,conig ,of ,his ,majesty's #ijth ,regiment of ,infantry ,painted on ,card4 ,in the possession of ,lady ,sackville1 ,knole ,coloured grounds are very rarely found in connection with ,english silhouette work4 ,one1 in the possession of the author1 is of a boy's head finely painted on ivory2 the background is tinted blue1 the whole mounted in a chased gold locket of the period1 early eighteenth century4 ,abroad1 especially in ,germany1 we constantly find coloured backgrounds and coloured cardboard mounts1 with or without wreaths or other ornamental frames4 ,in the catalogue of the ,silhouette and ,miniature ,exhibition held at ,brnn from ,april #bbnd to ,may #bjth1 #aijf1 there was much work of the kind3-- ,the silhouette numbered #fg4 ,head and shoulders of a young man4 ,silhouette painted on glass on a brown ground4 ,at the back the letters ,a4 ,j4 ,l4 ,no4 #gg4 ,round lacquer box with head and shoulders of a man in silhouette on a yellow ground1 gold glass mount4 ,owner3 ,r4 ,blmel1 ,vienna4 ,no4 #ii4 ,head of an officer1 silhouette1 painted on glass1 blue ground4 ,no4 #ajf4 ,lady walking1 silhouette on glass1 blue ground4 ,no4 #bf4 ,gentleman sitting at a writing-table1 painted on glass1 yellow silk background4 ,french1 ,louis ,,xvi4 ,no4 #abg4 ,lady sitting at a table1 companion picture4 ,other silk-mounted pictures are numbered #aed4 ,elise ,herger 7ne ,v4 ,pige7 and the ,countess ,chotek1 both painted on glass and mounted on silk4 ,no4 #aei4 ,two female and two male heads1 probably members of the noble family of ,belcredi1 silhouettes1 cut out of paper and mounted on mother-of-pearl1 #ahjj4 ,no4 #ahd4 ,in this there is a fresh variety of mounting4 ,the head and shoulders of a man in painted silhouette1 on glass2 this shows up over white paper4 ,above this portrait1 within the same frame1 is a semicircle of nine female figures in silhouette over blue foil2 completing the circle is a gold laurel branch4 ,this example is signed 8,fecit ,schmid1 ,vienna1 #agif40 ,schmid1 of ,vienna1 seems to have constantly used coloured backgrounds4 ,a fine drawing by him1 on glass1 of ,sophie ,landgravine ,frstenberg1 #aghg-ahjj1 is mounted on green2 this was painted in #ahjj4 ,it is an interesting specimen1 as it is one of the rare examples of silhouette work in which human hair is used4 ,at the back there is a landscape drawing in silhouette1 on glass4 ,the brook in the sylvan scene is put in with the waved lines of hair4 ,it is remarkable that ,edouart1 who was a skilled worker in human and animal hair before he was a silhouette cutter1 never combined the two crafts4 ,a strange variant of the dressed picture must be mentioned in connection with silhouettes where colour and exotic processes are employed4 ,in four examples in the possession of ,dr4 ,beetham1 descendant of ,mrs4 ,beetham1 the fine silhouette painter1 of #bg1 ,fleet ,street1 the face1 hair1 arms1 hands1 and neck are cut out of black paper4 ,the vase1 in the example illustrated1 is also in black1 in this case1 as in the less rare dressed engravings of the same period4 ,the dress of the figure is made up of deftly arranged scraps of material4 ,the head-dress is of spotted black1 outlined by narrow bands of black paper2 the bodice and skirt are of linen1 with purple bands2 the outstanding paniers are of faded scarlet flowered cotton2 the flowers in the vase are painted1 being outlined in gold4 ,there are also dressed silhouettes in the possession of the ,beck family4 ,these show the ,quaker dress in folded material with the black silhouette4 ,all these examples are probably the work of clever amateurs4 ,,chapter ,,iv4 ,,processes4 7#b7 ,shadowgraphy and ,mechanical ,aids4 ,up to this point we have discussed only those processes which entail hand drawing with pen1 pencil1 or brush1 which are undoubtedly an attractive type of the shadow picture1 whether they are executed on ivory1 plaster1 or paper2 their backing with wax1 gold1 or silver leaf tinsel1 on coloured paper makes accidental varieties of the one type4 ,any of these processes require a good deal of artistic training1 even if the shade is used as a guide1 for unless there is skill in catching a likeness1 or delicacy and charm in drawing1 black portraiture has nothing whatever to recommend it4 ,however the silhouette is executed1 the mechanical appliances play so important a part in nearly all the processes that they need a chapter to themselves4 ,in order to popularise the black portrait1 some means of achieving it was required which could be used by persons without talent or artistic training4 ,it was here that shadowgraphy came to the fore4 ,even the most ignorant in art work could trace a shadow when thrown upon white paper on a wall or specially made screen1 and if the full life-size were considered too large1 the ,singe1 pantograph1 or other contrivance could reduce its size2 then only scissors were required1 and the silhouette-by-machinery maker felt himself to be as gifted as the black portrait painter1 or the freehand scissor-cutter1 whose work we describe in another chapter4 ,etienne de ,silhouette1 born in #agji1 amused himself with the craze of the day4 ,his craft1 belonging essentially to this section of mechanical execution1 deserves special mention1 not because he invented the black profile portrait1 for they were made sixty years before he was born1 but because his name was given to it in derision1 and has stuck to it ever since4 ,being finance minister1 he was supposed to be a promoter of the fine arts1 but such was his economy1 or meanness1 that artists styled his paper pictures 8portraits la silhouette10 a name synonymous with paltry effort and cheapness4 ,this did not1 however1 deter people from patronising the silhouette artists1 nor of attempting1 themselves1 to achieve the machine-made variety of the fashionable black portrait4 ,in the ,journal ,officiel1 published in ,paris1 ,august #bith1 #ahfi1 we read3--8,le ,chateau de ,berg sur ,marne fut construit en #agei par ,etienne de ,silhouette 444 une des principales distractions de se seigneur consistait tracer une ligne autour d'un visage1 afin d'en avoir le profil dessin sur le mur3 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 rest40 ,in the seventeenth century1 dillettantism was an obsession with the leisured classes4 ,the tendency of the time towards ,greek art1 as has been indicated in another chapter1 helped to popularise the scissor-work of this type of shadow portraiture1 and it became a fashionable craze4 ,though the cutting out with scissors and penknife sometimes took the form of landscape groups and small whole figures1 the profile alone in small1 though not miniature size1 proved the most fascinating branch of scissor-work1 and survived the longest in the favour of amateurs1 because the purely mechanical shadow tracing required no skill1 and inevitably gave a life-like likeness if traced with reasonable care4 ,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 portrait4 ,lavater1 who believed so sincerely in the infallibility of the silhouette as an assistance in his physiognomical studies1 gives elaborate directions as to how to obtain the best results4 ,he says in ,lecture ,,xvi4 7we spare our readers the long observations on silhouettes73-- 8,it may be of use to point out the best method of taking this species of portraits4 8,that which has hitherto been pursued is liable to many inconveniences4 ,the person who wants to have his portrait drawn is too incommodiously seated to preserve a perfectly immovable position2 the drawer is obliged to change his place2 he is in a constrained attitude1 which often conceals from him a part of the shade4 ,the apparatus is neither sufficiently simple nor sufficiently commodious1 and1 by some means or other1 derangement must1 to a certain degree1 be the consequence4 8,this will happen when a chair is employed expressly adapted to this operation1 and constructed in such a manner as to give a steady support to the head and to the whole body4 ,the shade ought to be reflected on fine paper1 well oiled and very dry1 which must be placed behind a glass1 perfectly clear and polished1 fixed in the back of the chair4 ,behind this glass the designer is seated2 with one hand he lays hold of the frame1 and with the other guides the pencil4 ,the glass1 which is set in a movable frame1 may be raised or lowered at pleasure2 both must slope at bottom1 and this part of the frame ought firmly to rest on the shoulder of the person whose silhouette is going to be taken4 8,toward the middle of the glass1 is fixed a bar of wood or iron furnished with a cushion to serve as a support1 and which the drawer directs as he pleases by means of a handle half an inch long4 8,take the assistance of a solar microscope1 and you will succeed still better in catching the outlines2 the design also will be more correct4444 8,there are faces which will not allow of the most trifling alteration in the silhouette1 or strengthen or weaken the outline but a single hair's-breadth1 and it is no longer the portrait you intended2 it is one quite new1 and of character essentially different40 ,in this work of silhouette-making and physiognomical study1 ,lavater wished the whole world to co-operate with him1 as ,gothe testified4 ,on a long journey down the ,rhine1 he had the portraits taken by his draughtsman1 ,schmoll1 of a great number of important people4 ,this served the secondary purpose of interesting his sitters in his work4 ,he also asked artists to send him drawings for his purpose1 and wrote much on the physiognomical character of the figures in the pictures of such artists as ,raphael and ,vandyck4 ,gothe was intensely interested1 and there is much of his correspondence extant on the subject4 ,enthusiastic at first1 his zeal seems to have waned4 ,on ,june #bcrd1 #aggd1 ,lavater arrived at ,gothe's house with ,schmoll1 and portraits were taken of the author of 8,the ,sorrows of ,werther10 and of his parents4 ,a year later1 in ,august1 #agge1 ,gothe writes1 imploring ,lavater1 8,i beg you will destroy the family picture of us2 it is frightful4 ,you do credit neither to yourself nor to us4 ,get my father cut out1 and use him as a vignette1 for he is good4 ,i do entreat of you to do this2 you can do what you like with my head too1 but my mother must not be recorded like that40 ,an amusing sequel to this correspondence is that when the third volume of ,lavater's 8,physiognomy0 appeared containing her husband's portrait alone1 the councillor's wife was extremely offended1 and says that evidently the author did not think her face worthy to appear4 ,a scrap-book full of these machine- and scissor-made silhouettes1 with copious notes made by ,lavater on the character of the sitters1 judged by the shadow portraits1 is one of the chief treasures in the collection of ,mr4 ,wellesley1 and forms an important item in silhouette history in its use for scientific purposes4 ,a machine for the use of amateurs is owned by ,dr4 ,beetham1 descendant of ,mrs4 ,edward ,beetham1 the clever silhouettist of ,fleet ,street4 ,this machine for taking silhouettes is a box about the size of a cigar box4 ,one end has a lens glued into a sliding block or frame for focusing purposes4 ,a piece of looking-glass reflects the object on to a piece of frosted glass on the top of the box4 ,the subject is drawn from this reduced shadow4 ,there were others besides ,lavater who published advice as to the best way of taking silhouettes4 ,in 8,a ,detailed ,treatise on ,silhouettes3 their ,drawing1 ,reduction1 ,ornamentation and ,reproduction10 published in #aghj1 the author1 after many allusions to prisma1 cylinder1 pyramid1 cone1 the sun and moon1 and perpendicular and horizontal lines1 gives indispensable rules for the silhouetteur3-- #a4 ,the surface on which the shadow is made must be upright4 #b4 ,it must be parallel with the head of the sitter4 #c4 ,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 cast4 #d4 ,the light must be as far from the head as possible1 but the surface for drawing on must be as near the head as possible4 ,as will be seen from the print taken from ,lavater's book1 these rules were fairly accurately carried out in the chair depicted4 ,practical hints are also given in the treatise as to paper1 light1 pencils1 etc4 ,great stress is laid on the importance of obtaining paper large enough for the drawing of the enormous modern head-dress of women1 for which1 sometimes1 two pieces were put together4 ,we have seen interesting examples of this1 where the paper is actually joined together with the thin old-fashioned pins of the period1 and life-size heads1 executed in black paper1 in a country house in ,sussex4 8,a wax light is better than tallow or suet10 this careful mentor continues1 8as there is nothing so harmful as a flare1 which makes the shadow tremble4 ,if one cannot obtain a wax candle1 and must use a lamp1 let it be dressed with olive oil4 ,coughing1 sneezing1 or laughing are to be avoided1 as such movements put the shadow out of place40 ,the reduction of shadow portraits so taken is then described at length1 and by various methods1 8as the physiognomical expression is more piquant in a reduced silhouette40 8,the best of these mechanical reducers is the ,stork's ,beak or ,monkey 7this is our present-day pantograph71 which consists of two triangles so joined by hinges that they resemble a movable square1 which is fixed at one point of the base of the drawing1 while a point of the larger triangle follows the outline of the life-size silhouette4 ,a pencil attached to the smaller triangle traces the same outline smaller and with perfect accuracy4 ,by repeating these reductions1 silhouettes may be made in brooch and locket size40 8,with regard to the ornamentation and finish of the silhouette portrait1 black paint should be used40 ,we presume this would be for the fine lines of the hair1 which are sometimes added to the background after paper-cut silhouettes are mounted4 ,chinese or ,indian ink is advised1 or pine-soot1 mixed with brandy1 gum1 or beer4 ,advice is also given as to painting round the paper outline3 the paint should be put on from the pencil outline towards the centre4 ,the anonymous author suggests that two portraits should be cut at once2 the first to be stuck into the family album1 the second to be hung upon the wall4 ,for such decorative purposes elaborate instructions are given4 8,take a nice clear sun-glass and clean it with powdered chalk and clean linen to remove all grease and dirt4 ,cover this glass on one side with finely powdered white lead mixed with a little gum-water4 ,when this is dry take the silhouette1 which has been cut out of strong paper1 place it on the powdered surface1 and trace round the outline with a needle2 remove the silhouette1 and scrape away all the white within the drawn line4 ,thus one obtains a transparent silhouette1 which can be turned into a black one by laying a piece of black velvet at the back of the glass1 or if not velvet1 fine black cloth or taffeta or paper40 ,this silhouette recipe maker also suggests that the cut-out black silhouettes can be stuck on to the glass with ,venetian turpentine1 and the glass then treated with the white covering2 or one can use tinfoil1 which forms a mirror4 ,this brings us back to the background treatment for painted silhouettes without the aid of shadowgraphy and scissor-work1 so that we need not repeat the various kinds4 ,in this remarkable book1 which is in the possession of ,professor ,dr4 ,th4 ,slettner 7,mnich71 and for a description of which we are indebted to ,herr ,julius ,leisching1 a further description of silhouette-making is given3--8,by sticking together three or four sheets of paper and working at the back with a polishing steel1 one can actually make a profile portrait in slight relief out of a cut-out silhouette in white paper1 #8giving it the appearance of a marble tablet or a plaster cast done by a sculptor1'0 adds this enthusiast4 ,a treatise on this method exists in ,english1 entitled 8,papyro-,plastics2 or the ,art of ,modelling in ,paper1 with ,directions to cut1 fold1 join1 and paint the same10 with eight plates1 published in the first quarter of the nineteenth century4 ,mention is also made of silhouettes in enamel on copper for snuff-boxes1 lockets1 and rings1 and the black profile portraits on porcelain in the ,german volume4 ,finally1 the author praises a process by which1 by means of a stencil1 one can make one hundred copies a minute1 and the reproduction of the silhouette portrait by woodcut and copper-plate impressions4 ,a second book appeared simultaneously1 if not immediately before the treatise4 ,it was published by ,rmhild at ,leipzig1 and in the following year 7#aghj7 ,philip ,heinrich ,perrenon brought out a third1 which is called 8,description of ,bon ,magic2 or the ,art of ,reduplicating ,silhouettes easily and surely40 ,the principal process is one which the author describes as 8so simple that every woman who can make silhouettes can practise it as well as the best artist40 8,take a piece of flat tin1 polish it on one side1 put the drawing on it and cut out the tin accordingly1 and the form is obtained4 ,rub this form on the side to be printed off on a flat stone with sand4 ,damp some paper1 and make a black mixture out of linseed oil and pine-soot4 ,make a pair of balls of horsehair covered with sheepskin4 ,get a small piece of hat felt4 ,blacken the shape or form with the black mixture put on with the horsehair ball2 place it on the table1 and over it1 on the blackened side1 the damp paper1 on this a few sheets of waste paper and then the felt4 ,now nothing but the press is required2 this consists of a rolling-pin1 which can be made by any turner4 ,roll it over1 and when the paper is taken away the silhouette1 en ,bon ,magic1 appears printed off40 ,illustrations of various implements are given1 besides a simple pantograph for reducing the life-size shadow4 ,many pantographs are mentioned in connection with silhouette work4 ,it is probable the earliest one was invented by ,christopher ,scheiner1 a ,jesuit1 at the beginning of the seventeenth century1 and was called the parallelogrammum delineatorium4 ,we meet it again in ,england1 where mercifully its name is shortened1 and it is interesting to see that it is a woman who applies for protection of her invention4 ,the abridgment of her specification runs thus3-- ,patents for ,inventions4 ,abridgments of ,specifications4 ,artists' ,instruments and ,materials4 #afah-ahff4 ,a4,d4 #agge1 ,june #bd4--,no4 #aajj4 ,harrington1 ,sarah4--8,a new and curious method of taking and reducing shadows1 with appendages and apparatus never before known or used in the above art1 for the purpose of taking likenesses1 furniture1 and decorations1 either the internal or external part of rooms1 buildings1 c41 in miniature40 ,the person whose likeness is to be taken is placed so 8as to procure his or her shadow to the best advantage1 either by the rays of the sun received through an aperture into a darkened room1 or by illuminating the room40 ,the face is then brought 8directly opposite the light1 so that the shadow may be reflected through a glass 7or transparent paper720 the glass is movable in a frame 8so as to fix it on a level direction with the head of the person40 ,the outline of the shadow is then traced with a pencil1 c41 after which it is 8reduced to a miniature size by an instrument called a pentagrapher40 ,respecting furniture1 c41 8the articles required to be taken are to be placed in such a direction that their shadows may be reflected as above described1 traced out in the same manner and reduced40 ,the shadows 7as also the likenesses7 are cut out 8and placed upon black or other coloured paper or any dark body0 and the external parts are1 if required1 decorated with cut paper1 c4 ,when a likeness is to be taken1 accompanied with the external 8part of a room or buildings10 a camera obscura is used2 the reflected shadows are received on paper1 the outlines are carefully marked1 and then 8either fill'd up with ,indian ink or coloured1 or cut out as above directed40 ,printed1 #d;d4 ,no ,drawings4 ,on ,december #bbnd1 #ahjf1 ,charles ,schmalcalder applied for a patent for a machine of the same type1 but of more complicated construction4 ,we give the abridged specification1 for it forms a humble though important link in silhouette history1 having been much used by itinerant silhouettists at the beginning of the nineteenth century4 ,a4,d4 #ahjf1 ,december #bb4--,no4 #cjjj4 ,schmalcalder1 ,charles4--8,a delineator1 copier1 proportionometer1 for the use of taking1 tracing1 and cutting out profiles1 as also copying and tracing reversely upon copper1 brass1 hard wood1 cardpaper1 paper1 asses' skin1 ivory1 and glass1 to different proportions1 directly from nature1 landscapes1 prospects1 or any object standing or previously placed perpendicularly1 as also pictures1 drawings1 prints1 plans1 caricatures1 and public characters40 ,this apparatus is composed of 7#a7 a hollow rod 8screw'd together1 and from two to twelve feet1 or still longer1 chiefly made of copper or brass1 sometimes wood1 or any metal applicable20 the diameter is from half an inch to two inches and upwards1 according to the length2 one end carries a fine steel tracer1 made to slide out and in and fastened by a milled-head screw1 and in the other is 8a round hole to take up either a steel point1 blacklead pencil1 or any other metallic point1 which may be fastened therein by a mill'd-head screw20 7#b7 a tube about ten inches long and sufficient in diameter to allow the rod 8to slide easily and without shake in it20 7#c7 a ball 7in which the tube is fixed7 8moveable between two half sockets20 7#d7 a frame of wood about two and a half or three feet long 7the length depending on the length of the rod7 and supported by two brackets2 7#e7 a swing-board attached to the frame2 7#f7 a clamp-screw2 7#g7 a hook hanging on a string for the rod to rest in2 7#h7 a weight on the back of the frame1 connected thereto by a hook1 8to which is attached a string forming a pulley1 serving to prevent the point from acting upon the paper when not wanted40 ,through the sides of the frame are holes at certain distances corresponding with marks on the rod1 and 8in copying any original1 supposing to the size of 1 1 1 1 c410 the swing-board and clamp-screw 8must be transplanted to the different holes and divisions corresponding40 ,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 board1 and is kept in position by a spring4 8,the machine is fixed either to a partition in any room or to any piece of wood portable1 and so constructed as to be easily fixed upright with a screw-clamp upon a table or any other stand40 ,in turning the rod round in the sockets 8the tracer and point in the two ends of the rod must remain in the centre1 to obtain which sometimes an adjustment with four screws0 is required4 ,directions are given for using the apparatus in taking profiles1 in copying and tracing pictures1 landscapes1 c41 and in copying from nature 8landscapes or whatever object exposes itself to view40 ,printed1 #f;d4 ,drawing4 ,see 8,repertory of ,arts10 vol4 #aj 7second series71 p4 #bda2 8,rolls ,chapel ,reports10 #gth ,report1 p4 #aie4 ,still lower was the shadow portrait to fall1 when another contrivance was invented to trick the public into the belief that magic played a part in producing the likeness4 ,an automatic figure was taken round the country which it was claimed could draw silhouettes4 ,somewhere about #ahbf the automaton was brought to ,newcastle1 and is described as a figure seated in flowing robes with a style in the right hand1 which by machinery scratched an outline of a profile on card1 which the exhibitor professed to fill up in black4 ,the person whose likeness was to be taken sat at one side of the figure1 near a wall4 8,one of our party10 says an eye-witness1 8detected an opening in the wall1 through which a man's eye was visible4 ,this man1 no doubt1 drew the profile1 and not the automaton4 ,ladies' heads were relieved by pencillings of gold40 ,the son of the great1 little ,madame ,tussaud1 who began her wax modelling in the ,palais ,royal in the days of the ,french ,revolution1 taking death-masks of many of the guillotine victims1 thus advertises in #ahbc3--8;,j4 ,p4 ,tussaud 7son of ,madame ,t47 respectfully informs the nobility1 gentry1 and the public in general1 that he has a machine by which he takes profile likenesses4 ,price1 #bs4 to #gs41 according to style40 ,this machine was probably of the kind described by ,blenkinsopp in ,notes and ,queries3--8,a long rod worked in a movable fulcrum1 with a pencil at one end and a small iron rod at the other1 was the apparatus4 ,he passed the rod over the face and head1 and the pencil at the other end reproduced the outline on a card1 afterwards filled in with lamp-black40 ,it is probable that ,edward ,ward ,foster1 who described himself as 8,profilist from ,london10 used such a machine1 which he thus describes3--8,the construction and simplicity of this machine render it one of the most ingenious inventions of the present day1 as it is impossible in its delineation to differ from the outlines of the original1 even the breadth of a hair4 8,mr4 ,f4 wishes the public to understand that1 besides sketching profiles1 this machine will make a complete etching on copper-plate1 by which means any person can take any number he thinks proper1 at any time1 from the etched plate2 and for the further satisfaction of the public1 he will most respectfully return the money paid if the likeness is not good4 ,profiles in black at #es4 and upwards1 etc4 ,derby1 ,january #a1 #ahaa40 ,mr4 ,west1 miniature and profile painter1 from ,london1 worked with the same machine4 ,his prices were3--profiles on card1 in black1 #es42 in colours1 #ajs4 #f;d42 on ivory1 in colours1 one guinea and upwards4 ,we have succeeded in tracing the recorded description of one of the sitters who actually had a portrait taken by such an instrument1 and also one who saw such an instrument as late as #ahgi4 ,the account is by ,mr4 ,h4 ,hems1 ,fair ,park1 ,exeter1 and brings our tale of mechanical contrivances in connection with silhouette portraiture to a fitting close3-- 8,happening to be at ,dundee at the time of the ,tay ,bridge disaster 7it occurred upon the last ,sunday evening in #ahgi1 when #fg people were drowned71 ,i recollect a ,mr4 ,saunders1 a saddler at ,broughty ,ferry1 in the immediate neighbourhood1 possessed and showed me as a curio one of these identical portrait-taking machines40 ,,chapter ,v4 ,,processes4 7#c7 ,freehand ,scissor-work4 ,in the foregoing accounts of black profile painting1 the cutting out of a sketched outline obtained by shadowgraphy or any other means1 little mention has been made of the freehand scissor artist1 who1 without pencil or pen sketch1 cut a small likeness after studying the sitter for a few seconds4 ,though there were many other processes which gave charming and artistic results1 there is no doubt that from the dated convent work of #agjh and the first known record in ,england of ,mrs4 ,pyburg1 who cut the portraits of ,william and ,mary1 up to the few remaining cutters of the present day1 this type of freehand scissor-work has persisted in ,england1 and also in ,germany4 ,some of the early cut-work examples were made with the assistance of fine small-bladed knives4 ,specimens of cut vellum exist1 which it would have been impossible to cut with scissors alone4 ,a notably fine example is in the ,francisco-,carolinum ,museum at ,linz2 it is an ,ex ,voto offering1 and represents the ,flight of the ,holy ,family into ,egypt4 ,the parchment mount has the most elaborate tendrils cut out1 while typically ,german flourishes and mantling support birds and beasts4 ,a stag-hunt is seen in one part1 while the imperial eagle is not wanting in this skilful production4 ,the picture is dated #agjh4 ,in the same museum is a magnificent ,dedication to the ,state ,deputation of the ,province of ,nymwegen4 ,justice is surrounded by angels and trophies1 painted and gilded1 and the arms of the province are cut with much delicacy1 and with richly foliated ornament4 ,the whole is mounted on red1 and dated #agaj1 but the artist wielder of the penknife unfortunately does not sign his work4 ,it is possible that these examples were convent-made4 ,the cutting out of religious subjects and the extreme elaboration of their ornamental borders flourished1 to a small extent1 for some years after the printing press had destroyed the occupation of the monks in copying and illuminating manuscripts4 ,a reproduction of one of these is now before us4 ,it represents ,st4 ,benedict seated in the habit of a monk2 a cross1 skull1 and other symbols are on the rocks at his side2 the saint has a halo4 ,a large tree is in the background1 and birds and a squirrel are amongst the branches2 two steps lead down to a sylvan scene1 where the saint is seen walking away in the distance4 ,conventionalised roses1 cornucopia1 and floriated forms compose the wide border2 this is all cut on the same piece of vellum1 but there is no colour used4 ,another convent-made cut picture1 which was exhibited at the ,brnn ,exhibition1 shows a picture of the ,baptism of ,christ in the ,jordan2 it is signed 8,f4 ,agathaugdus1 ,bonnensis ,capuchin40 ,in this picture1 which is of paper1 not vellum1 the arms of a bishop appear1 together with the inscription1 8,johanni ,ernesto1 ,s4,r4,i41 ,principi ,metropolitan ,eccl41 ,salisbury40 ,an achievement of arms seems to have been a favourite subject for such pieces4 ,a remarkable specimen in cut paper1 mounted on looking-glass1 is in the collection of ,lady ,dorothy ,nevill4 ,it displays the arms1 supporters1 and motto of ,robert ,walpole1 ,earl of ,orford1 the ancestor of ,lady ,dorothy4 ,these examples are very difficult to find2 it is probable that many have been destroyed4 ,illustration3 ,,silhouette ,,portraits ,,of ,,members ,,of ,,the ,,ansley ,,family ,painted in black and orange-red on convex glass4 ,dated #agic4 ,signed by ,w4 ,spornberg ,in the possession of ,lady ,sackville1 ,knole ,another example1 in the possession of the author1 shows a heraldic escutcheon1 with wolf and hound supporter1 etc4 ,this lies between two sheets of glass4 ,the minuteness of the cutting of this fine paper is extraordinary4 ,a very fine specimen has a miniature of ,charles ,i4 ,in the centre an elaborate mount is cut out of thin paper2 the whole is in a fine tortoiseshell frame of the period4 ,this type of work is rare4 ,little mention is made of freehand paper or vellum cutting in the early written treatises1 probably because1 needing only talent for catching a likeness and skill in wielding the scissors1 there was little to be said about it2 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 processes4 ,of all those who cut the likeness direct after glancing at the sitter1 the ,frenchman1 ,august ,edouart1 was undoubtedly the most skilful and prolific4 ,he styles himself 8,silhouettist to the ,french ,royal ,family4 ,patronised by ,his ,royal ,highness the late ,duke of ,gloucester and the principal nobility of ,england1 ,scotland1 and ,ireland40 ,when he first came to ,england as a refugee1 he seems to have supported himself by a strange industry1 invented by himself1 which he calls mosaic hair-work4 ,in the descriptive catalogue which is before us1 of an exhibition of this work held about #ahbf1 such items appear as a wolf's head2 a squirrel1 made with real hair1 climbing a tree2 a marine view with a man-of-war4 8,this performance in human hair imitates the finest true engraving2 the curious may perceive1 with the help of a magnifying glass1 the cordage and men on board4 ,this work has taken at least twelve months in its execution40 ,when he made hair portraits of men1 women1 or animals1 he used their own natural hair1 8raising them from the ivory and making bas-reliefs40 8,these works10 writes ,edouart1 8being of my own invention and execution1 ,i have desisted from making for the last twelve years1 since the death of my royal and distinguished patrons1 ,queen ,charlotte1 the ,prince of ,saxe-,coburg1 and others40 ,it is strange that ,edouart never combined hair-work with shadow portraiture1 as did some of the ,german exponents4 ,being so expert a hair artist1 it would have been natural to expect some examples of this rare combination2 none1 however1 have as yet come before the author1 though1 knowing ,edouart was an expert in both crafts1 such examples have been sought4 ,edouart wrote a treatise on 8,silhouette ,likenesses10 a book which is now very rare4 ,it was published by ,longman ,co41 ,paternoster ,row1 in #ahce1 and is illustrated with eighteen full-page plates1 and it is characteristic of the man that the first is a portrait of himself2 others are of celebrated personages of the day1 and there are also several genre pictures executed with considerable skill4 ,it is in portraiture1 however1 that his unrivalled skill has placed him high above all other workers in black paper cutting4 ,he describes his discovery of his talent for likeness cutting at some length4 ,at the end of #ahbe he was shown black shades which had been taken with a patent machine1 and condemned them as unlike the originals4 ,he was challenged to do them as well4 8,i replied that my finding a fault was not a reason that ,i could do better1 and that ,i had never even dreamed of taking likenesses 4444 ,i then took a pair of scissors1 ,i tore the cover off a letter that lay on the table2 ,i took the old father by the arm and led him to a chair1 that ,i placed in a proper manner1 so as to see his profile1 then in an instant ,i produced the likeness4 ,the paper being white1 ,i took the black snuffers and rubbed it on with my fingers2 this likeness and preparation1 made so quickly1 as if by inspiration1 was at once approved of1 and found so like that the ladies changed their teasing and ironical tone to praises1 and begged me to take their mothers' likeness1 which ,i did with the same facility and exactness40 ,there is much long-winded explanation in this egotistical and somewhat priggish style1 but delightful sidelights are thrown on the adventures of a silhouettist in the performance of his craft1 of the status of the artist1 his contempt of all methods except his own1 and the nave devices used for gaining advertisement4 ,as these have no place in the present chapter1 they will be found elsewhere under 8,august ,edouart and his ,book40 ,edouart nearly always cut the full-length figure4 ,amongst some thousands of his portraits which have been examined1 only about fifty of bust size have been discovered4 8,the figure adds materially to the effect that produces a likeness1 and combines with the outline of the face to render1 as it were1 a double likeness in the same subject4 ,from this combination of face and figure arises the pleasing and not less surprising result of a striking resemblance4 ,the many thousands ,i have taken of the full-length enable me confidently to make this assertion40 ,he argues that1 in catching a likeness1 attitude and demeanour are as important as the features of the face and contours of the head4 ,the silhouette is the representation of a shade1 he says1 and if it be not critically exact1 the principal part of its merit is lost4 ,he considers that the grouping of several figures makes the emphasising of a likeness in any one of the figures more noticeable1 the difference existing between individuals1 whether in height1 gesture1 or attitude1 being a great advantage to the artist in giving point to the likeness4 ,he also lays great stress on the proportions in the figure of the sitter1 which can be shown only in the full-length4 ,some have a long body and small legs1 others long legs and a short body2 in fact1 everything in nature varies1 and all these variations help to make the portrait of the individual1 and not the features alone4 ,beauty1 he continues1 has respect to form4 ,now1 one part of a figure may exhibit a beautiful form1 and yet that figure may not be well proportioned throughout4 ,for instance1 a man may have a handsome leg1 or arm1 considered in itself1 but the other parts of his figure may not equal this part in beauty1 or this part may not be accurately proportioned to the rest of the figure2 and so on through many pages1 in which ,edouart proves to his own satisfaction that1 in order to give a correct shade likeness of a person1 it is necessary to portray the whole and not one part only of that person4 ,he goes further1 and maintains that1 as the manner of dress is often as characteristic as the gait1 what is most usual for the sitter to wear should be depicted4 ,edouart's portraits are to be found in many parts of the ,british ,isles and the ,united ,states of ,america1 for his custom was to take up his abode in a town1 to advertise in the papers1 and to stay there while he took the silhouette portraits of the surrounding gentry and noblemen4 ,quite early in his career1 his albums of duplicates contained #ej1jjj 7the late ,mr4 ,andrew ,tuer computes them at #ajj1jjj7 portraits1 so that his whole output must have been enormous4 ,he seems to have worked with great method1 keeping a note of 8the names of the persons ,i take1 and the dates4 ,these are written five times over--first1 on the duplicate of the likeness2 secondly1 in my day book2 thirdly1 in the book in which ,i preserve them2 fourthly1 in the index of that book2 and fifthly1 in the general index4 ,without this arrangement1 how could ,i at a minute's notice tell whether ,i had taken the likeness of any person enquired for1 and could it be otherwise possible to produce the silhouette1 or to know from about #ej books1 folio size1 and above #ej1jjj likenesses1 if ,i had taken the one required80 ,the value of such method and classification1 when some of these long-lost volumes came to the writer for identification1 can be imagined4 ,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 work4 ,it will appear in its place elsewhere1 together with a notice of some of the extraordinarily interesting groups of famous people1 especially those of the ,united ,states1 where presidents and senators1 public officials1 professional men1 famous characters1 their wives and children1 appear in startling sequence1 crowded with order and method on to the pages of the numerous large volumes4 ,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 time4 ,the ship 8,oneida10 on which he travelled1 was wrecked off the coast of ,guernsey1 and a large portion of ,edouart's collection was lost1 together with much personal luggage1 and a good deal of the cargo of cotton from ,maryland4 ,he died near ,calais in #ahfa4 ,the very clever freehand scissor pictures of ,paul ,konewka are justly famous4 ,like ,edouart1 he was of the nineteenth century4 ,born in #ahdj1 he was the son of a university official in ,greifswald4 ,after a public school education1 he studied under ,menzel1 for whose influence he was ever grateful4 ,he dedicated his ,falstaff and his ,companions to him while his master lay dying4 ,during his travels through ,germany1 ,konewka cut a very large number of portraits which are now treasured in the possession of private owners4 ,the actress1 ,anna ,klenk1 served as a model for many of his very beautiful figures4 ,while in ,tbingen1 at the ,clinical ,institute1 he used quietly to cut the portraits of many of the listeners1 and the professor who was lecturing as well4 ,such was his skill that he did his work by touch alone under the table4 ,he was introduced to a general in ,berlin1 who flattered him1 but called his gift dangerous4 ,konewka immediately handed him his own likeness1 cut out of the lining of his dress-coat at the back while the general addressed him4 ,surely the same might be said of ,konewka as was said of ,runge1 8the scissors have become nothing less than a lengthening of my fingers40 ,it is as a book illustrator that ,konewka is best known to the world4 ,besides the ,falstaff and his ,companions dedicated to ,paul ,heyse1 illustrations for ,midsummer ,night's ,dream and twelve sheets for ,gothe's ,faust1 children's picture books1 loose sheets1 and many other illustrations1 were cut by him4 ,konewka died in ,berlin in #ahga1 his last silhouette being that of a dying trooper to illustrate the ,german song1 8,o ,strasburg du wunderschn ,stadt40 ,no less gifted in the art of scissor-cutting was ,karl ,frhlich1 once a compositor4 ,his skill was chiefly directed towards little genre pictures of children plucking flowers1 winged cupids1 old men and women drinking coffee1 and much fine landscape work4 ,unlike ,konewka1 he never cut wood blocks1 so that his work has not been accessible for publication4 ,p4 ,packeny was an enthusiastic amateur1 who worked in ,vienna from #ahdf4 ,he cut landscapes and genre pictures1 but unfortunately did not confine himself to black and white effects1 so that much of his work is spoilt by the use of brightly coloured papers4 ,runge1 the ,german artist1 it is said1 learnt silhouette cutting by watching his sister at her embroidery4 ,in #ahjf he sent some marvellously cut-out flowers to ,gothe4 ,the poet was so charmed with them that he declared he would decorate a whole room with ,runge's work2 this was never done4 ,the artist wrote early in his career3 8,if chance had put a pencil instead of scissors into my hand1 ,i would draw you all1 so plainly do ,i see you40 ,herr ,julius ,leisching agrees with ,lichtwark that the cutting out of silhouettes had great influence on ,runge's pictures4 ,runge's studies of plants with scissors and paper have been privately published4 ,he cut out while out walking2 saw and cut nature down to the roots4 ,one of the most remarkable of the paper cutters of the early nineteenth century was ,hubard1 who seems to have been the inevitable infant prodigy of the craft4 ,he began his freehand scissor-work in portraiture and landscape at the early age of thirteen4 ,the handbill which lies before us advertises his art as 8,papyrolomia0--a terrible word1 which doubtless had its uses in whetting the appetite of the public by mystifying them and suggesting terrifying adventures4 ,this leaflet is illustrated with a grotesque figure1 which has obviously been some of the printer's stock-in-trade1 for it is hardly germane to the subject of silhouette cutting1 nor could it be the portrait of a scissor-worker of such tender years as ,master ,hubard1 though this artist is only a secondary attraction in the show4 ,the handbill runs thus3-- ,facing the ,george ,hotel1 ,galway4 ,entrance1 #cgf1 ,high ,street4 ,the ,papyrolomia of the celebrated ,master ,hubard4 ,little ,john1 the ,muffin ,man4 ,then follows the rough wood block representing a grotesque figure4 ,collection of accurate ,delineations of ,flowers1 ,trees1 ,perspective ,views1 ,architectural1 ,military1 ,sporting ,pieces1 ,family ,groups1 ,portraits of ,distinguished ,individuals1 etc41 ,elegantly ,mounted ,pictures and ,backgrounds1 by ,w4 ,g4 ,wall1 ,esqre41 ,dublin1 together with #g grand ,oriental ,paintings of the most celebrated views of ,north ,america1 taken on the spot by eminent ,british artists4 ,admission #a_/-4 ,for which money each visitor is to receive a correct ,likeness in ,bust1 cut in #bj seconds1 without drawing or machine1 by sight alone1 and simply with a pair of scissors1 by a boy of #ad4 ,those who are averse to sitting for the ,likeness are presented with some small specimen of the youthful artist's talents4 ,likenesses both in ink and in colours4 ,style from #gs4 #f;d4 up1 by artists4 ,frames in ,gilt4 ,visitors are enabled to return to the ,gallery by introducing a ,stranger4 ,open from #aj till ,dusk4 ,this device with regard to a return visit to the gallery was probably highly successful1 and adopted by ,master ,hubard on his visit to the ,united ,states about #ahcc4 ,he was seventeen years of age when he went to ,america and established a ,hubard ,gallery in ,new ,york1 where for fifty cents he cut the portraits of many well-known people4 ,his gallery was thronged4 ,his pictures are usually full-length portraits1 and are pasted on card1 having 8,hubard ,gallery0 embossed in the left-hand corner4 ,the example before us shows a handsome man with frock-coat and high stock collar4 ,though most of his work was done with scissors1 ,hubard also worked in ,indian ink1 and sometimes used gold pencilling to heighten the effect4 ,an interesting example of his work is the portrait of little ,princess ,victoria1 when about ten years of age4 ,this was doubtless cut at ,kensington ,palace2 possibly the little maid would be allowed to visit the gallery1 or ,hubard may have been summoned to the palace1 as ,edouart was to ,holyrood4 ,j4 ,gapp was another early ,victorian profile cutter1 whose skill with the scissors is markedly in advance of his artistic sense4 ,in his advertisement of about the year #ahbi1 at the back of a boy's full-length in ,eton suit and aggressively large white collar1 he describes himself as 8,the original ,profilist for cutting accurate ,likenesses attends daily at the ,third ,tower in the centre of the ,chain ,pier 7,brighton71 and begs to observe that he has no connection with any other person1 and that he continues to produce the most wonderful ,likenesses1 in which the expression and peculiarity of character are brought into action in a very superior style on the following terms3--,full-length likenesses at #bs4 #f;d4 each1 two of the same #ds41 or in bronze #ds42 profile to the bust #as41 two of the same #as4 #f;d41 or in bronze #bs4 ,ladies and gentlemen on horseback #gs4 #f;d42 single horses #es42 dogs #as4 #f;d4 ,n4,b4--,a variety of interesting small cuttings for ,ladies' ,scrap-books40 ,here we have a clue to the great scrap-book mania of the day4 ,everyone1 from royalty downwards1 collected treasures to paste in scrap-books1 and ,gapp1 of the ,chain ,pier1 like ,hubard1 was clever enough to offer to supply the want of interesting items4 ,e4 ,haines1 patronised by the ,royal ,family1 also worked on the ,chain ,pier at ,brighton1 at 8the first left-hand tower40 ,he describes himself as a 8,profilist and ,scissorgraphist40 ,his trade label is on the back of a fine full-length portrait of a man1 once in the collection of ,mr4 ,montague ,j4 ,guest4 ,there is great vigour and character in ,haines' work2 the specimen before us is untouched with gold4 ,g4 ,atkinson 7#ahae7 also describes himself as 8,silhouettist to the ,royal ,family40 ,he lived at ,windsor1 and there are some fine portraits of ,george ,,iii4 and his sons1 which1 though stilted and without imagination1 show considerable skill in the cutting4 ,a group cut out in black and touched with gold was exhibited by ,g4 ,sharland1 ,esq41 at the ,royal ,amateur ,art ,society's ,exhibition in #aiaa4 ,though there are many other scissor-workers who might be mentioned1 and examples described of graceful women in hooped skirts and fascinating side ringlets1 maidens in cottage bonnets1 and dainty children whose ringing voices one can almost hear as the shadow pageant passes1 yet sufficient examples have been mentioned to show how popular was the craze for black portrait cutting1 and how large a branch it was of the black profile processes4 ,that silhouettes are kept in the reference library of our ,national ,portrait ,gallery1 because1 on account of their life-like resemblance1 they are of great value to the authorities in the identification of unknown portraits1 is a fact which speaks for the great historic value of these pictorial records4 ,in the cuttings of ,edouart there is the ego of the man or woman as well as the bodily form4 ,a gesture1 the poise of the body1 the arrested movement of the limbs1 are shown with more than photographic correctness--when photography was as yet unborn4 ,in the picture of a blind man we see by the tilt of the chin1 the angle of the head1 that1 like all so afflicted1 the man is exercising senses which are dormant in those who have sight4 ,the simple black outline of the ,american deaf and dumb poet ,nack1 by this master-cutter1 is instinct with the patient silence of the dumb1 the aloofness of the deaf4 ,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 mind4 ,the shadow portrait is nature herself1 and its very simplicity of line imposes a keener effect on the mind of the student1 because there are no contours to confuse the outline4 ,,chapter ,,vi4 ,,august ,,edouart ,,and ,,his ,,book4 ,the introduction of the name ,silhouette into ,england seems to have been due to ,august ,edouart1 a ,frenchman1 who1 though only commencing the black portrait cutting after leaving his own country1 used the ,french word for his craft instead of the black shade1 which had hitherto been the name in ,england for such profile portraits4 8,how many times10 writes ,edouart1 in the chapter in his treatise which he navely calls 8,the ,grievances and ,miseries of ,artists10 8have ,i had people who1 immediately after entering my room1 departed1 exclaiming1 #8,oh6 they are all black shades1' and would not stop to inspect them40 8,the name silhouette1 which appeared in the newspaper advertisements1 seems to have given them to understand that it was a new kind of likeness done in colours1 each of which 7full-length figure7 they expected to get for five shillings40 ,again1 on another page1 he exclaims1 8,why does such prejudice exist against black shades1 which ,i call silhouette likenesses80 ,certainly none of the early shadow portrait painters on paper1 glass1 or plaster ever used this name1 taken from the ,french ,finance ,minister4 ,it was not used in ,england until after the commencement of ,edouart's work and the publication of his book4 ,by this time1 it must be remembered1 black profile portraiture had deteriorated in beauty1 and the artists who frequented fairs and places of amusement were less skilled1 indeed1 than the ,miers1 ,fields1 ,beethams1 and ,rosenbergs of the eighteenth century4 8,obliged to quit my country in consequence of a change in its ,government10 ,edouart1 the most prolific and important of all the scissor-men1 describes himself as 8thrown upon foreign ground1 without friends and without knowledge of the language4 ,i had then very little money left1 for ,i had lost all ,i possessed in the evacuation of ,holland in #ahac4 ,a few months after my arrival in ,england1 ,i found myself1 after payment of all my travelling expenses1 in possession of no more than a five-pound note1 which ,i immediately expended in advertising myself as a ,french teacher40 ,succeeding in this at first1 the arrival of so many other ,frenchmen after a time reduced his work1 and ,edouart sought other means of livelihood4 ,he began to make devices1 landscapes1 etc41 with human hair1 though what led him to this quaint handicraft1 or what previous training he had in it1 we have not been able to discover4 ,after receiving the patronage of ,her ,royal ,highness the late ,duchess of ,york1 and making the portraits of some of her dogs with the animals' own hair1 he worked for the ,queen and ,princess ,charlotte4 ,edouart1 whose industry seems always to have been remarkable1 executed over fifty of these strange hair portraits1 and held an exhibition1 the catalogue of which lies before us4 ,in #ahbe1 ,madame ,edouart died1 and ,august was persuaded to try his hand at likeness cutting in order to better the performance of some machine artist1 whose work he had condemned4 ,finding1 much to his surprise1 that he was able to produce likenesses with extraordinary facility and exactness1 he was persuaded by his friends to employ his time in this way1 8so as to divert the gloom from my sinking mind1 and alleviate my sorrows40 ,it seems probable also that his new talent was useful in filling his much depleted purse4 ,after many expressions of reluctance that he1 ,august ,edouart1 should be cut by society and become a black profile taker1 he decided to make an art of what had been so long considered a mere mechanical process1 for ,edouart never seems to have heard of black painted profiles and the exquisite work of the early profile painters1 but only the machine-made pictures by the itinerant workers4 ,the first full-length that ,edouart took was of the ,bishop of ,bangor1 ,dr4 ,magendie4 8,i succeeded so well10 he says in his introduction1 8that ,i took all his lordship's family2 and so pleased were they that ,i made forty duplicates4 ,this dbut1 being so far above my expectation1 encouraged me to continue1 and from that time1 being much engaged by the first visitors of ,cheltenham1 ,i took a resolution to keep a copy of every one to form a collection40 8,this talent10 he continues1 8showed itself so strongly1 and ,i was so anxious1 that ,i worked from morning till night1 and even in my dreams my brain was so much overheated by that anxiety1 that in those dreams ,i was cutting likenesses of great personages1 kings1 queens1 etc40 ,his method of holding the scissors was unusual4 ,the reason for this peculiarity is thus described3 8,one day1 when crossing a stile1 a lady tore her dress by a nail which was put on the step mischievously4 ,to prevent the recurrence1 ,i took a stone to take the nail away3 in the act of doing so my index finger was lacerated in such a manner that ,i could not use my scissors4 ,i suffered a great deal for several days1 and my mind being so much excited about it1 ,i dreamt that ,i cut likenesses without using the index finger4 ,i was so much struck by this that1 as soon as ,i awoke1 ,i took my scissors and have ever since used them in that manner40 ,in an old daguerrotype he is seen cutting a portrait in this manner4 ,in his treatise ,edouart gives no detailed account of his journeys1 though he notes that he has always kept a diary4 ,from newspaper advertisements we learn that he was in ,cheltenham in ,june1 #ahbi1 where he is described in the ,cheltenham ,journal as assisting in ,lavater's system with regard to ,physiognomy4 ,at this stage the old idea that silhouette portraits must have a scientific use still clung to the craft4 ,in #ahcj ,edouart is in ,edinburgh4 ,in the ,scotsman of ,february #acth the collection of ingenious works executed by ,monsieur ,edouart is mentioned4 8,this may be seen gratuitously at #gb1 ,princes ,street4 ,mr4 ,edouart makes silhouette likenesses1 not only of the profile1 but also of the whole person1 by cutting them by the hand1 out of black paper40 ,the account ends thus3 8,in his rooms the curious will find amusement and the philosophic employment40 ,the cannie ,scotsman would attract the 8unco' guid0 with learning and occupation as well as the frivolous with amusement4 ,on ,may #hth of the same year the ,edinburgh ,evening ,courant takes notice of ,edouart's success in his likenesses of ,sir ,walter ,scott 7this portrait of ,scott was recently purchased by the ,director of the ,national ,portrait ,gallery1 on account of its fine technique and the human and life-like attitude of the great novelist71 the ,dean of ,faculty1 and other distinguished characters of the city1 and slyly regrets that ,edouart departs so soon4 ,the clever hint at departure evidently had the desired effect1 for in the following ,february1 #ahca1 ,edouart is still at ,edinburgh1 8his rooms thronged with visitors since his threatened departure4 ,six hundred likenesses in a fortnight1 and declining to take new ones till the orders given by the first families are executed40 ,five thousand duplicates are now on view1 and his books are exhibited at ,holyrood ,palace1 where they are much approved of by the ,royal ,family4 ,it was at the end of #ahcj that ,charles ,x41 ex-king of ,france1 and suite1 arrived at ,holyrood1 and though ,edouart acknowledges 8a feeling of ill-will towards the ,bourbon family is still lingering in my bosom1 remembering--as ,i did--the losses ,i suffered in consequence of their restoration to the throne of ,france10 he attended1 when requested in person by the ,duchesse de ,berri4 ,he found 8,his ,majesty pacing up and down1 and the ,duchesse presented me1 reminding the ,king that ,i was a ,frenchman4 ,he seemed pleased and affable40 ,the whole ,royal ,family1 attended by the suite1 nearly forty in number1 formed a circle1 in the centre of which ,edouart cut his first paper portrait of ,charles ,x4 8,by mistake10 he says1 8,i took paper of four folds1 in place of one of two1 and1 as ,i had begun1 so ,i cut out the likeness4 ,as soon as ,i had finished it the little ,prince 7the ,duke of ,bordeaux7 took one1 ,mademoiselle1 his sister1 took another1 the ,duchesse de ,berri another40 ,edouart cut the likenesses that evening of the ,duke d',angoulme1 the ,duchesse d',angoulme1 the ,duchesse de ,berri1 ,mademoiselle ,louise ,marie1 the ,duke de ,bordeaux1 the ,cardinal de ,latil1 and many of the suite4 ,after this ,edouart declares that he 8was a daily visitor at ,holyrood1 and my exhibition was often honoured by ,royalty40 ,the ,duke de ,bordeaux declared that if ,edouart would become one of his suite1 he should be called the ,black ,knight4 ,two of the ,holyrood portraits by ,edouart were exhibited at the ,amateur ,art ,society's ,exhibition in #aijb1 by ,miss ,head4 ,they were thus described in the ,catalogue3-- 8#aai4 ,duchesse de ,berri and her children 7,henry ,v4 and the ,duchesse de ,parma7 at ,holyrood1 by ,edouart40 8#abj4 ,henry ,v4 and the ,duchesse de ,parma as children at ,holyrood40 ,in the recently discovered folios which belonged to ,edouart himself1 and which serve as an invaluable record of the entourage of ,charles ,x4 at ,holyrood1 very many of these likenesses appear2 most of them have the original autograph of the sitter4 ,from the wonderfully interesting groups of shadows we see the vie intime of the exiled king4 ,he is surrounded by his children1 his chamberlains and equerries1 intimate friends1 physicians 7for body and soul74 ,even ,l',abb ,focart1 ,confesseur du ,roi1 figures amongst them2 and visitors to ,holyrood1 such as the ,baron de ,size and the ,baron de ,sepmanville1 are included2 besides the dogs and horses1 the ponies of the children1 and the toys and playthings with which they amused themselves in those days of exile4 ,even when such success rewarded the efforts of ,edouart1 he is still in apologetic mood with regard to his art1 and declares that if his work had not been good the ,french ,royal ,family would not have encouraged it4 8,they had seen a great quantity of those common 7machine-made7 black shades in ,paris1 and had also a great dislike to them1 which was soon removed when they saw the nature of mine40 ,he is never able to refrain from a sneer at the other silhouettists4 ,in ,december1 #ahca1 the ,glasgow ,free ,press declares that 8,monsieur ,e4's rooms need only to be known to become a fashionable resort for lovers of the fine arts40 ,the hair models seem to have formed part of the exhibition4 ,in ,october1 #ahcb1 ,edouart is still in ,glasgow1 and his likenesses now number #de1jjj1 including the ,orphan ,asylum and all its managers1 the directors of the ,commercial ,bank1 and several others4 ,in ,london he took #hjj members of the ,stock ,exchange1 of which he sold several books4 ,illustration3 ,,portrait ,,of ,,lord ,,mansfield ,painted on glass by ,a4 ,forberger1 ,paris ,edouart seems to have moved on to ,dublin in #ahcc1 but we doubt if he was pleased when the ,dublin ,evening ,mail of ,july #bdth describes him as 8the most comical and at the same time the cleverest artist from ,paris4 ,his art gives the scissors all the expressive powers of the pencil1 and extracts from a single tint of black the miraculous effects of a whole rainbow of colours40 ,edouart is by now cutting out genre pictures1 and subjects from 8sop's ,fables0 are mentioned1 while the portraits increase rapidly in number1 #f1jjj being taken in ,dublin alone4 ,the ,archbishop of ,dublin and a great number of clergy and the officers of the garrison head the list4 ,in his exhibition he shows1 amongst thousands of others1 ,his ,royal ,highness the late ,duke of ,york1 the ,duke of ,gloucester1 and the ,duke of ,wellington2 the ,bishops of ,norwich1 ,bangor1 ,st4 ,davids1 and ,bristol2 ,doctors ,chalmers and ,gordon2 ,edward ,irving1 ,charles ,simeon1 ,rowland ,hill1 ,joseph ,wolfe1 ,jabez ,bunting1 ,sir ,walter ,scott1 ,mrs4 ,hannah ,more1 ,mrs4 ,opie 7herself a silhouettist71 ,kean1 ,liston1 ,power1 ,sir ,astley ,cooper1 ,baron ,rothschild1 etc4 ,in ,august1 #ahcd1 ,edouart went to ,cork4 ,later he visited ,kinsale1 ,fermoy1 ,mallow1 ,limerick1 and many other places4 ,paganini's portrait was taken at ,edinburgh in ,october1 #ahcb1 where ,edouart went1 travelling from ,glasgow on purpose to obtain it4 ,signor ,paganini declared it was the first likeness of himself which was not caricatured4 ,this full-length portrait shows the maestro standing1 violin in hand1 just ready to begin4 ,in the background are lithograph portraits of the members of an orchestra3 they are seated in a domed music-room4 ,it was in #ahce that ,edouart's book was published4 ,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 exhibition4 ,it is a thin demy octavo volume of #abb pages1 now extremely rare4 ,the copy in the possession of the author was presented to ,miss ,c4 ,j4 ,hutchings by ,edouart at ,cheltenham1 ,august #beth1 #ahcf4 ,there are eighteen full-page plates1 showing black portraits or fancy figures mounted on lithograph backgrounds1 by ,unkles ,klasen1 #bf1 ,south ,mall1 ,cork4 ,in the original volumes of duplicates kept by ,edouart many of these mounts were found1 as the silhouettist doubtless kept a number by him ready for mounting his portraits4 ,in a chapter headed 8,the ,vexations and ,slights my ,profession has brought upon me10 ,edouart deplores 8the vulgarity into which silhouettes have fallen1 so that ,i could not walk in public with a lady on my arm without hearing such remarks as this1 #8,who can she be--that lady with the black shade man8' ,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 life4 ,it went so far that1 being in the habit of walking at the ,wells of ,cheltenham1 and accustomed to go to the balls at the ,rotunda1 ,i was forced to deprive myself of the pleasure of being with my friends in these places4 ,on different occasions several persons of high rank in society accused me of being somewhat proud10 and so on through many pages4 ,on one occasion his greeting was of the most cordial description1 owing to an amusing mistake4 8,a friend having given a recommendatory letter to a particular friend in town1 ,i was received in a better manner than ever ,i was received since ,i began taking black shades4 ,as my friend would not recommend me to a suitable lodging1 we went to the editor of a newspaper1 to whom he spoke1 and then presented me to him4 ,upon this we all went to the governor of the castle1 who had a house to let in the town4 ,the governor willingly consented to let me have the house1 though he feared the boards might not be strong enough for the exercise of my profession1 and the quantity of people it would be likely to attract2 indeed1 it would be advisable to practise on the ground floor1 that the noise and bustle would not be so great1 and the like4444 8,the governor1 who had been a military man1 asked me very good-humouredly if it were not trespassing on my goodness to allow him to take a round with me1 saying that he had taken lessons1 and took off his coat4 ,i declared that ,i had not brought my tools with me40 ,the scene is described in several pages1 and shows how the governor offers eventually to lend gloves1 when it dawns upon the profilist that the letter has been misread1 and the sports around him imagine he is a pugilist4 ,edouart seems to have suffered much at the hands of his sitters4 8,but1 ,monsieur ,edouart10 says one of these1 8you have taken ,john1 who is a head taller than his brother ,william1 a great deal smaller4 ,how can that be8 ,it is a mistake of yours2 you must correct that40 8,you must know1 madam10 replies the silhouettist1 8that it is according to the rule of perspective4 ,do you not see that ,john is at least six yards farther in the background than his brother80 8,yes6 but his is cut smaller10 persists the aggrieved parent4 ,gentlemen demanding ladies' profiles were refused by this veritable ,mrs4 ,grundy of silhouettists4 ,his refusal is given in language worthy of the ,fairchild family4 8,ladies are never exhibited1 nor duplicates of their likenesses either sold or delivered to anyone but themselves or by their special order4 ,this resolution ,i have taken1 and ,i follow it very strictly1 being fully aware of the consequence that would result if this measure was not adopted4 ,gentlemen presume that they are entitled to possess the likenesses of any ladies they like4 ,but no--no--they cannot deceive me by false pretences4 ,i am too much upon my guard to be surprised4 ,the books in which ,i keep duplicates are all defended with a patent lock40 ,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 sent4 ,the artist says1 8,i do not require to know your direction1 gentlemen4 ,i know that of the lady1 to whom ,i shall send it1 and she herself will deliver it to you40 ,we should imagine that1 under those conditions1 orders were usually cancelled4 8,some make themselves pass for relations10 adds ,edouart1 who is not without a sense of humour1 though he does take himself so seriously1 8as a brother1 cousin1 uncle1 etc41 but all this is in vain40 ,edouart seems to have used special means of his own to extract payment of debts1 and his illustration 8,the ,screw0 shows in what manner his clients were brought to book4 ,the episode is described at great length in his book1 but unfortunately the name of the sitter for 8,the ,screw0 is withheld4 ,briefly1 a young man had his portrait cut1 approved of the likeness1 but regretted1 after seeing a picture of a friend in a dress-coat1 that he had not also worn that kind4 ,in a very rude manner he said he would not pay for the completed likeness until another was done in a dress-coat4 ,edouart said he must be paid for both4 ,this the man refused1 so the artist refused to cut the second picture and was left with the portrait on his hands4 ,to cut the screw and add the ring and hook was the work of a few moments1 and the picture was then exhibited in a conspicuous position in the window1 where everyone recognised it4 8,since that time1 ,i have not had occasion to make a screw10 adds ,edouart1 navely4 ,the subject of caricature in silhouette is a very interesting one1 but cannot be fully treated here4 ,there are few examples1 and it is strange that so virile and graphic an art as that of the silhouette should show so few specimens of caricature work4 ,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 caricaturist1 but ,edouart never allows his scissors to swerve from faithful and exact portrayal2 no note of exaggeration is seen even when executing the fine studies1 such as his beggar and itinerant groups in the streets of ,bath or ,cheltenham4 ,in the figure of ,george ,cary1 porter at ,price's auction rooms1 ,bath1 taken ,april #dth1 #ahbg1 there is no exaggeration4 ,the man appears balancing two fine candlesticks on a small tray2 the unerring likeness is self-evident4 ,it is the same with the blind gingerbread-seller of ,gay ,street2 the bill-sticker who is about to paste up one of ,edouart's own labels2 ,john ,hulbert1 the old scavenger2 and with several of the no less clever street characters of ,bath4 ,in these we see consummate skill in depicting the man or woman in life as they were1 but with no sense of bias towards caricature4 ,amongst the old letters recently discovered with the precious folios of ,edouart's duplicates is one from 8,s4 ,h410 dated ,birmingham1 ,june #ast1 #ahch3-- 8,,my ,,dear ,,friend1--,on seeing your ,exhibition1 ,i was astonished at the application you must have bestowed on an art ,i had till then considered as useless4 ,i found likenesses of unrivalled talent1 not only accurate outlines1 but giving the character of those whom they represented4 ,write to me from ,america4 ,the ,americans are known to encourage talent of every description1 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 quitting40 ,for how long ,edouart had been contemplating his ,american tour we are not aware4 ,in the year #ahci he was in ,liverpool1 working at his profession4 ,in the same year he sailed for the ,united ,states1 taking with him his volumes of ,english1 ,scotch1 and ,irish portraits for exhibition purposes4 ,he seems to have met with immediate success1 and the volumes which contain his ,american portraits give so complete a pictorial record of the social and political history of the time 7#ahci-ahdi7 as probably no other nation possesses4 ,during his first year three hundred and eighty-one portraits were taken in ,new ,york1 ,saratoga1 ,boston1 and ,philadelphia1 amongst them being ,mr4 ,belmont1 who is entered as 8,august ,belmont1 ,agent of the ,house of ,rothschild1 ,new ,york40 ,there are two portraits1 #h inches in height1 of this man1 who was an important social and financial figure of the day1 and founder of the ,jockey ,club of ,new ,york2 congress-men1 editors1 journalists1 and officers of the ,army and ,navy in uniform4 ,the wives and children of these interesting men are also included in the collection1 and later1 when he visited ,new ,orleans and other ,states where slavery was permitted1 we find occasionally a slave's picture 8belonging0 to the family4 ,as in his ,english collections1 the names of his sitters1 the date1 and name of place where taken1 and sometimes curious details such as height and weight1 are all entered1 not only beneath each portrait in the folio1 but also at the back of the portrait itself2 and also in his list-books newspaper cuttings are sometimes added4 ,in #ahdj five hundred and thirty-one portraits were taken in the same places1 in ,washington and ,saratoga ,springs4 ,major-,general ,winfield ,scott 7,commander-in-,chief7 is amongst them4 ,the year #ahda was the time of the great ,log ,cabin election1 and ,harrison1 the hero1 is shown with two autographs in ,edouart's books1 besides his whole ,cabinet and the orators1 demagogues1 place-hunters1 and abolitionists1 who all seem to have visited the studio of the artist1 whatever their political opinions4 ,seven hundred and sixty-five portraits were taken in this year at ,washington and elsewhere4 ,after the tragic death of ,harrison1 ,john ,tyler1 the only man who was ,president without election1 was taken by ,edouart1 and it gave the author great pleasure to present to the ,american nation his autographed silhouette4 ,it was taken at the ,white ,house in #ahda1 and was returned there through ,mr4 ,taft in ,june1 #aiaa1 after seventy years' wandering4 ,when arranging the presentation1 ,his ,excellency1 ,james ,bryce1 our ,ambassador in ,washington1 was much interested1 because ,edouart had visited his old home in the north of ,ireland and cut the portraits of his father and grandfather1 which are still preserved there1 and are fine likenesses4 ,in #ahdb ,edouart travelled further afield1 and made six hundred and forty-one pictures in ,new ,orleans and other ,states he had not yet visited2 in ,cambridge he cut ,longfellow1 the ,appleton family1 the ,president of ,harvard1 and dozens of professors and students of the ,college4 ,in #ahdc four hundred and sixty of the citizens of ,philadelphia1 ,new ,york1 ,saratoga ,springs1 ,norwich 7,conn471 ,charlestown1 and other towns too numerous to mention1 were taken1 named1 dated1 and placed in his folios4 ,there are an interesting crowd of congress-men1 senators1 financial celebrities1 actors1 musicians1 editors1 men of science1 and the members of the ,army and ,navy1 mostly in uniform1 including ,macomb1 then ,commander-in-,chief of the ,u4,s4 ,army4 ,in #ahdd five hundred and eighty-nine portraits are extant from a dozen different cities1 and then we come down to eight pictures taken in #ahde1 four only in #ahdf1 and four only in the next three years4 ,the reason for this falling off in numbers is so extraordinary that we give it in continuing ,edouart's life-story4 ,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 four1 but his work is destroyed4 ,in ,december1 #ahdi1 he packed all his folios in great cases1 and set out for home1 sailing in the ship 8,oneida10 laden with bales of ,maryland cotton4 ,when off the coast of ,guernsey she was caught in a great gale1 and was wrecked in ,vazon ,bay on ,december #bast4 ,the crew and passengers were saved and some of the baggage2 a case1 containing fourteen of the precious folios1 some old letters and list-books1 was saved2 all the rest was lost1 with much of the cargo1 when the ship broke up two days after she had gone on the rocks4 ,edouart suffered much from exposure1 for he was then an old man1 and the loss of the greater part of his life's work so preyed upon his mind that he never again practised his profession4 ,the ,lukis family1 resident at ,guernsey1 hospitably entertained the old artist1 and he gave his remaining volumes1 fourteen in number1 containing his ,european collection and his ,american portraits1 to ,frederica ,lukis before he left for ,guines1 near ,calais1 where he died in #ahfa1 in his seventy-third year4 ,the writer was fortunately enabled to secure these volumes through the medium of ,the ,connoisseur ,magazine1 and has included illustrations from them in the present work4 ,,chapter ,,vii4 ,,scrap-,,books4 ,a ,royal ,cutter and her ,work4 ,in the ,georgian days the cutting of animals1 landscapes1 groups1 and single profiles was the fashionable pastime of a large number of amateurs4 ,girl-friends cut for each other mementos in black paper or in white2 these were then gummed on to a black or coloured ground4 ,they vied with each other in cutting some clever little piece of scissor-work1 which1 for safe storage1 would be placed in an album or scrap-book4 ,sometimes the little cutting is found gummed in amongst tiny steel engravings1 some ,bartolozzi tickets1 a treasured sheet of music1 or wreaths and scraps of faded flowers4 ,the fragrance of such a collection does not lie only in the shrivelled rose or violet leaves2 there is an aroma of sentiment1 a reminder of those past days when everyone had leisure and the polite elegances of the little arts had full sway4 ,the cuttings usually show groups of children1 reminding us of ,buck's work of contemporary date2 or of animals1 sometimes alone1 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 paper1 which is often the size of the complete silhouette picture4 ,it would be unusual to find so much and such accurate detail in a pen-and-ink drawing2 the fact that the picture is cut out with a pair of scissors or a penknife makes it the more extraordinary4 ,many professional portrait cutters also cut landscapes1 animals1 groups of flowers1 and other trifles1 notably ,patience ,wright1 who accomplished much fine work of this kind1 as well as her lovely portraits4 ,j4 ,gapp1 who worked on the ,chain ,pier at ,brighton1 advertised pieces suitable for ladies' scrap-books4 ,at the end of his trade label are the following words3--8,n4,b4--,a variety of interesting small cuttings for ladies' scrap-books40 ,the label from which we take the words is on a full-length profile portrait of a boy in the old ,eton ,school dress4 ,much black shade cutting was done at the ,court of ,george ,,iii41 both in profile portraiture and also in fancy groups and landscapes4 ,queen ,charlotte was an ardent collector1 and delighted to have her own portrait taken in shadow1 if we can judge by the very large number of pictures of this type which have come down to us4 ,king ,george ,,iii4 was no less enthusiastic1 and must have sat to every profilist of the day1 both professional and amateur4 ,in most of these silhouette portraits the vitality is clearly seen in this 8,german ,princelet of his day10 as ,lord ,rosebery's inimitable description has it4 ,the character of the ,princelet is as plain to see as if the veritable embodiment of ,his ,majesty were before us1 and not alone his shadow picture4 ,we can imagine that the whole of the ,court entourage would feel or assume an interest in the pastime beloved of the royal mistress1 the king1 and their artistic daughters1 whose story one thinks of with mingled feelings of sympathy and interest4 ,their fair faces on the canvases of ,gainsborough1 ,hoppner1 and ,beechey haunt us as they gaze from the walls of the royal residences4 ,how each of the six girls must have thought of the suitors which were so long in coming6 ,their graceful and gracious young days sped away1 only half filled by the mild excitements of ,court life1 with their embroidery1 their pencil1 brush1 and scissor work1 cutting the portrait of ,fanny ,burney1 or admiring the family group of the ,burney family1 and imitating with their amateur scissor-work the elegant curtains and tassels of the professional cutter's background4 ,perhaps they showed their efforts to ,mrs4 ,delany1 who was living so near to them at ,windsor1 and had herself been cut by a professional profilist with so great success--the dainty goffered cap with its becoming chin-strap1 and a love-knot and wreath are beneath the picture4 ,did their parents dread the unstable glories of ,continental courts for their girls in those revolutionary days8 ,the prudent ,queen ,charlotte would shudder to think of a repetition of the disastrous ,danish marriage of her husband's young sister1 and ,king ,george would try to shield his golden-haired girls from such a loveless match as that of his eldest sister1 ,augusta1 to the ,duke of ,brunswick4 ,it was ,princess ,elizabeth1 born ,may #bbnd1 #aggj1 whose artistic talents were most marked2 she studied with her pencil and brush under various masters until she attained great proficiency4 ,there is a charming portrait of her painted by ,edridge1 engraved in mezzotint by ,s4 ,w4 ,reynolds1 ,engraver to the ,king4 ,she is shown pencil in hand1 her sketch-book on her knee2 her turban1 which would be of correct fashion for the present day1 only half hides her fair curled hair4 ,her diaphanous gown is not specially becoming to her ample shape1 already showing signs of the enormous proportions she afterwards attained4 ,fine octagon-shaped brooches adorn her sleeves and breast1 a thin scarf is laid over her chair1 and on the writing bureau is a work basket1 flower vase1 and inkstand4 ,the dedication of the picture runs thus3 8,her ,royal ,highness the ,landgravine of ,hesse ,homburg1 dedicated by ,permission to ,his ,most ,gracious ,majesty1 ,william ,,iv41 by ,his ,majesty's devoted ,subject and ,servant1 ,edward ,harding1 ,librarian to ,her ,late ,gracious ,majesty ,queen ,charlotte1 ,may #bast1 #ahcj40 ,published by ,e4 ,hardy1 #ac1 ,rochester ,terrace1 ,pimlico4 ,it was long after irreverent courtiers had ceased to think of the princess as anything but a confirmed spinster that the ,prince of ,hesse ,homburg1 of whose person and manners the caustic ,creevy paints a very unattractive picture1 appeared on the scene1 and considerable mirth greeted the news of her engagement at the mature age of #dg4 ,the fact that the princess was severely criticised by a censorious world for quitting her aged and dying mother1 and that as ,landgravine of ,hesse ,homburg her good qualities were displayed to great advantage1 do not concern us here1 where we are chiefly concerned in her industry and artistic talents4 ,these were evidently more marked in her than in any other member of her family1 and we have read that many of her silhouettes were engraved and published1 but we have not been able to trace any of these reproductions4 ,that the small and very charming single figures or groups were frequently given as souvenirs is certain1 for on a specimen we have examined there is an inscription1 8,h4,r4,h4 ,princess ,elizabeth was pleased to give me 7,lady ,bankes7 at ,windsor1 ,august #bgth1 #ahaa1 where ,i had the honour of seeing her by chance40 ,lady ,dorothy ,nevill is the owner of a most interesting relic of this favourite pastime of a royal princess4 ,it is the original scrap-book given by ,princess ,elizabeth to her friend1 and is filled with every variety of cutting executed by the princess herself4 ,the book is of dark blue morocco leather1 #i inches by #f inches in size4 ,on its silver lock and clasp is the initial of the royal donor1 and between the pages are the little gem cuttings1 a selection of which we are able to reproduce here4 ,many varieties of silhouette cutting are shown2 none of the specimens are gummed into the book1 or1 if they have been1 the mucilage has perished4 ,faint pencil notes head the pages1 and the cuttings are placed separately between the leaves4 ,some of the groups are cut out in black paper2 some1 notably the shadow perforation type1 are in white paper2 and some are painted in ,indian ink and then cut out4 ,the groups of children playing are most animated2 there is real movement in the baby toddling downstairs held by ribbon strings by its nurse4 ,the portraits of ,queen ,charlotte and ,king ,george ,,iii41 the parents of the artist1 are naturally of great interest4 ,these have a note on the page in which they lie that they were taken in the year #agib4 ,they are drawn in ,indian ink1 and not cut1 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 likeness4 ,there are two other bust portraits of ,george ,,iii4 in this interesting scrap-book1 and a full-length picture in black profile1 in which the stiff coat-tails and dangling court sword or rapier are admirably portrayed4 ,the cutting of the shadow perforation pictures seem to have been an agreeable variety in scissor-work4 ,these strange silhouettes were so cut that1 on holding a light at a particular angle behind the picture1 a shadow was cast by it which resembled some special character or object group4 ,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 board2 the child on the rocking-horse is arranged for the same effect1 which thus reverses the shadow portraiture of long ago4 ,in the ,victoria and ,albert ,museum there is a large portfolio with examples of scissor-work and black portraiture4 ,amongst the specimens are many of the perforated shadow-throwing type1 some well-known pictures being thus reproduced4 ,they were bequeathed by the ,rev4 ,chauncey ,hare ,townshend1 and consist of shadow and silhouette pictures and portraits 8done by ,c4 ,h4 ,townshend and his family40 ,this donor also bequeathed many paintings to the ,museum4 ,little groups1 such as 8,a ,child and a ,goat10 8,children ,playing10 8,a ,lady holding up a ,child10 give glimpses into the domestic scenes it was considered pleasing to portray in silhouette4 ,some of these are done by ,charlotte ,townshend2 some by other members of the family4 ,there is no very great interest attaching to these amiable records of a bygone day4 8,copied by ,mrs4 ,wigston from ,lady ,templetown's designs0 gives us an insight into the part played by those not sufficiently skilful to originate but who1 by copying1 could take their share in the fashionable pastime4 ,the late ,andrew ,w4 ,tuer1 who was keenly interested in the subject of silhouettes1 wrote thus in ,notes and ,queries concerning silhouettes of children3--8,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 life1 mainly groups4 ,they are loosely placed in a book of blank leaves bound in contemporary citron morocco1 lettered on the front #8,m4 ,g4' ,to some the artist has written a verse1 and to others a date--the earliest #agif1 the latest #ahjf4 ,inferentially1 the work is that of gentlefolk4 ,between two of the leaves is a piece of black paper1 on the reverse or white side being written #8,j4 ,poulett1 ,twickenham1 ,middlesex1' and on another piece of paper the name #8,lucy' is cut out in silhouette40 ,later ,mr4 ,tuer wrote3--8,from the ,earl ,poulett ,i gather that these interesting and clever silhouettes were probably the handiwork of the first wife1 whose initials were ,a4 ,l41 of the fourth ,earl ,poulett1 of ,poulett ,lodge1 ,twickenham4 ,what the initials ,m4 ,g4 stand for his lordship does not know4 8,,andrew ,w4 ,,tuer4 8,the ,leadenhall ,press1 ,e4,c40 ,though more a note-book than a scrap-book1 an interesting relic of the laborious methods of ,lavater must be mentioned here4 ,this volume1 which is one of the chief treasures of the ,wellesley collection1 is a small leather-bound book1 in which the philosopher pasted the silhouette portraits of those persons whose heads he wished to measure1 study1 and compare with others in his collection1 and then to pronounce judgment upon as to their mental and moral qualities4 ,the fact that ,gothe was for a time enthusiastic with regard to ,lavater's work casts a glamour over the little book1 with its many pictures and vast store of minutely written notes4 ,another album1 which is also in ,mr4 ,wellesley's collection1 is most elaborate4 ,each page has a finely wrought border1 in the centre of which is pasted the silhouette portrait of a friend2 the male sex is largely in the majority1 but a few women's profiles are included4 ,we cannot imagine a more charming souvenir of an interesting circle of friends than such a shadow pageant4 ,old comrades would be brought to remembrance through the extraordinarily vivid personal touch that the silhouette picture retains2 friends almost forgotten seem to rise up in the memory as we handle their black profile portrait1 for there is a direct appeal in outline1 which is more profound than when contour blurs the recollection4 ,in examining such a collection1 one cannot help being interested in the very great variety of wigs--no two are alike2 long and short queues1 large and small ribbons1 coquettish curls1 majestic rolls1 are shown amongst the men's profiles1 till we are bewildered with the variety1 and cease to wonder that all kinds of fanciful names were given by the beaux of the day to the special hair-dressing they affected4 ,no less remarkable is the head-dressing of the ladies1 and the elaboration of the curls and coifs is only eclipsed by the intricacy of the flowers1 feathers1 bows of ribbon gauze and taffeta with which the great erections are garnished4 ,even when there is no gilt pencilling to throw up the detail1 the effect is marvellously interesting2 and1 for this reason alone1 the old black shadow collections make a very absorbing study4 ,an extraordinarily interesting collection of upwards of one hundred and fifty is in a narrow folio volume in paper cover1 dated #ahjd4 ,religious processions and ceremonies1 rural and domestic scenes and children's games1 are cut with the utmost delicacy and mounted on white paper4 ,here are a few of the subjects3--,carrying the ,host to a sick person at ,nice2 ,cleaning ,shoes in ,paris2 ,drinking the ,waters at ,wiesbaden2 ,gathering ,apples near ,paris2 ,sprinkling ,clothes at ,bergen2 ,procession on ,palm ,sunday2 ,procession of the ,virgin ,mary2 ,jewish ,wedding2 ,the ,pope carried round ,st4 ,peter's2 ,a ,fish-market2 ,wine-making2 and a dozen other complicated scenes4 ,all are depicted with wonderful accuracy4 ,this important collection has now unfortunately left ,england4 ,another interesting little scrap-book of yellow paper1 bound in calf1 contains the portraits of--the ,king 7,george ,,iii472 ,edw4 ,king1 ,esq42 ,mrs4 ,king2 ,mrs4 ,carter1 the translator of ,epictetus2 ,tiberius ,cavallo1 ,esq42 ,mrs4 ,fiere1 mother of the ,rt4 ,hon4 ,s4 ,h4 ,fiere2 ,baron ,rechausen1 ,swedish ,minister2 ,madame ,rechausen2 two favourites2 ,miss ,h4 ,randall2 ,warren ,hastings1 ,esq41 ,governor-,general of ,india2 ,general ,paoli4 ,some of these are in ,indian ink1 some in cut paper4 ,illustration3 ,,silhouette ,,portrait ,,of ,a ,,man ,by ,a4 ,forberger1 ,paris4 ,signed and dated #agia ,,chapter ,,viii4 ,,silhouette ,,decoration ,,on ,,porcelain ,,and ,,glass4 ,,the ,,silhouette ,,theatre4 ,as the oldest type of black profile representation is undoubtedly connected with the decoration of pottery1 it is not to be wondered at that when silhouette-making by brush1 pencil1 or scissors was at the height of its popularity1 a return should be made in style to the antique4 ,the porcelain and glass makers ornamented their work in silhouette1 sometimes in the modern form1 when the head and neck would be shown1 generally in black upon white china1 but also in a few instances in black upon a reddish terra-cotta colour1 when the full figure would be given in the ,greek style1 and designs more or less elaborate would be used as borders1 notably1 the key pattern1 so usually associated with ,greek art1 though1 as a matter of fact1 such patterns appear in all ,oriental decoration4 ,a ,vienna factory1 and also some of the ,french factories of the end of the eighteenth and beginning of the nineteenth century1 made objects with the reddish ground4 ,silhouette porcelain was not infrequently made for private individuals1 such1 for example1 as the specimen owned by ,dr4 ,a4 ,figdor1 of ,vienna4 ,a female head painted in black is surrounded by a wreath of forget-me-nots in colour1 and on the back is the inscription1 8,in remembrance of your affectionate grandmother1 ,m4 ,j4 ,c40 ,a fine cup and saucer is in the collection at ,carnavalet1 in ,paris2 amongst those pieces which are associated with the ,revolution1 within a frame of olive or laurel1 is the silhouette of ,mirabeau1 with the name printed below4 ,there is a beautiful tray belonging to ,mr4 ,fitz,henry1 of ,french manufacture4 ,this shows the silhouette portrait at its best1 in gold1 as centre ornament4 ,wreaths of ribbon garlands and pierced ornament make this fine piece specially attractive4 ,besides these individual pieces1 specially ordered for special occasions1 there are the pieces of silhouette china ornamented with portraits of the king or of the reigning family4 ,in ,mr4 ,wellesley's collection there is a mug with a portrait of ,george ,,iv4 rather coarsely done1 and we have examined some custard cups with lids1 which were also ,english4 ,at the ,worcester and ,bristol factories such painting was done1 though usually less elaborately than at some of the ,german porcelain factories4 ,there is an exception1 however1 in the very fine vase shown in our illustration4 ,this is in the possession of ,mr4 ,spink1 and was made at ,worcester4 ,it stands thirteen-and-a-half inches high1 and its elaborate decoration in gold and colour is extremely effective4 ,the wide band above the portrait is of chocolate colour1 with pencillings of gold in a ,greek design2 blue1 green1 and brown figure on other parts of the vase1 and the lid has a gold knob4 ,the black profile of the king has a band round it1 on which are the words1 8,health and prosperity attend ,his ,majesty40 ,at ,knole there are several beautiful ,worcester vases with silhouettes of ,george ,,iii4 and a remarkable breakfast service of ,german workmanship4 ,this is complete1 and gives the different portraits of the reigning royal family4 ,even more elaborate are two vases also connected with royalty2 they were evidently made for centre-pieces when a special dinner service was used4 ,there are no silhouette portraits on the plates and dishes1 but on the two splendidly ornamental vases1 which match in decoration1 there are profiles of the ,king and ,queen of ,sweden respectively4 ,these fine examples are in ,copenhagen porcelain2 swags of flowers in high relief show up well on the white ground4 ,cupids ornament the lids and hold as a shield gold-framed medallions1 where1 on a rose-coloured ground1 the silhouettes show with excellent effect4 ,these vases stand sixteen inches in height4 ,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 gold4 ,in the ,hhenzollern ,museum at ,monbijou ,castle there is a large service entirely decorated in this way4 ,teapots and cream-jugs1 basins1 sugar and slop bowls1 and coffee-cups1 all are complete1 and six female and three male heads appear1 all being members of the ,royal ,family4 ,frederick the ,great is on the coffee-pot4 ,undoubtedly such ware was made for presentation4 ,we can well imagine the special pleasure in a gift which has this very personal touch2 the royal attribute of picture presentation must have been most acceptable when the useful service became the portrait background4 ,not only did the silhouette cast its glamour over the porcelain makers1 but glass manufacturers also utilized the fashion for the original decoration of their wares4 ,dr4 ,strauss1 of ,berlin1 owns a remarkable glass with a well-cut shank1 which shows the head and shoulders of a woman1 with the inscription1 8,with best wishes for your welfare1 your faithful wife presents you with this4 ,l4 ,w4 ,v4 ,r41 ,august #fth1 #agie40 ,the silhouette is in gold1 and is done by means of a curious process practised by one ,glomi1 and called after him glomis1 though the method was known and utilized long before his time2 in fact1 as early as the fourteenth and fifteenth centuries1 this etching in gold between glass was done4 ,fine specimens1 usually cups1 goblets1 and chalices1 for the use of the ,church1 enrich our museums4 ,the process is thus described by ,larousse in the ,nouveau ,dictionnaire3-- 8glomis10 art4 ,larousse1 8,nouveau ,dictionnaire10 ,tom4 #d4 glomis1 e4 7de ,glomi1 n4 pr47 adj4 ,se dit d'un objet en verre dcor au moyen d'une dorure intrieure1 suivant le procd de l'encadreur ,glomi1 qui parat en avoir t l'inventeur au ,x,v,i,i,ie sicle4 ,encycl4 ,les verres glomiss sont ces petits tableaux dont le sujet est peint sur le verre mme qui les recouvre4 ,on fait un frquent usage de ses petits panneaux ou de ces lentilles pour former des dessus de bonbonnires1 etc4 ,ordinairement1 le trac est fait la pointe1 sur une feuille d'or fixe au vernis sur le verre4 ,le mot 8glomis0 a t invent1 en #ahbe1 par l'archologue ,carrand et appliqu par lui aussi bien aux verres modernes dcors suivant la mthode de ,glomi qu'aux objets beaucoup plus anciens1 datant du plus haut moyen ge1 o la feuille d'or est soude au feu entre deux pellicules de verre4 ,the work was done on one glass1 and another was made to literally enclose the finely etched gold lines1 so that no harm could come to the decoration4 ,delicate landscapes as well as figures and portrait busts are done1 and the glass is found coloured as well as clear white4 ,there is a fine example in the ,imperial ,austrian ,museum at ,vienna1 in which the silhouette in gold of a man appears with the inscription1 8,p4 ,ferdinand ,karl1 ,professi ,hilariensis4 ,mildner fec4 ,gullenbrunn1 #agii40 ,in the ,glass ,gallery at the ,victoria and ,albert ,museum1 and at the ,british ,museum1 there are very fine specimens4 ,at the former there is a drinking glass specially worthy of note4 ,it is of tumbler shape1 #c inches by #b inches1 and is formed of two layers of glass1 one of which is etched in gold leaf1 with a group of ,st4 ,george and the ,dragon1 foliated scrolls1 festoons1 and arabesques4 ,the bottom is coloured red and etched in gold1 with the sacred monogram ,i4,h4,s41 and the legend1 8,benedictine sit nomen ,domini40 ,the outside is cut in facets4 ,this example is ,german early eighteenth century4 ,wonderfully vivid hunting scenes are shown in gold-silhouette on an example of sixteenth-century work owned by ,mr4 ,fitz,henry2 while black silhouette work of ,nuremberg manufacture is painted in black with flowers and sacred emblems4 ,besides the gold ornamented glass1 there was also a good deal made in the same way but decorated in very dark brown or black4 ,hunting scenes1 elaborately sketched with the minutest detail in tree1 hound1 and huntsman1 often figure on such pieces4 ,a volume on the silhouette in all its aspects would be incomplete without some reference to the use which1 from earliest times1 has been made of shadowgraphy to represent isolated scenes1 and also complete plays on the stage4 ,in ,paris1 in #agga1 the celebrated ,theatre ,seraphin was founded by ,seraphin ,dominique ,franois1 who opened his little theatre for shadowgraphy alone1 in the gardens at ,versailles4 ,slight and dainty were the plays1 and we can imagine the silk-clad audience in powder and patches who would come with the children1 or with no excuse at all1 to amuse themselves at the antics performed in this shadowland4 ,little they cared for the real shadows of the terrible ,revolution which were already gathering as they applauded the silhouettes of ,seraphin4 8,venez garons1 venez fillettes1 ,voir ,momus la silhouette40 ,twenty-six years later1 after the stormy days of the ,revolution1 marionettes were added to the attraction of ,chinese shadowgraphy1 which still lingers in the magic-lantern shows of to-day4 ,for the palmy days of the silhouette theatre we must look a long way down the centuries1 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 worked4 ,the history of their discovery by ,dr4 ,paul ,kahle in one of the villages of the ,delta is a fascinating one1 too long for these pages1 but the signs and proofs of antiquity are complete4 ,the coats of arms of the ,mamelukes used in the thirteenth century are used as ornaments1 and the leather1 of which the human figures1 ships1 and birds are made1 is cleverly cut1 so that a mosaic of richer colouring is visible4 ,in the twelfth and thirteenth centuries there are renowned actors in the shadow theatre1 and even as early as the eleventh century performances are mentioned4 ,the stage was formed by a thin sheet1 behind which there was a strong light1 and the figures were moved with two sticks fastened in the middle of the back4 ,in ,java legendary history is taught by means of itinerant silhouette shows4 ,these figures are also of leather1 from eighteen inches to two feet in height4 ,they are moved by means of horn sticks2 they were in existence before ,mahometanism came to the island4 ,in ,china silhouette plays always represent a priest of ,buddha as the central figure1 and he is made to dance in imitation of the movements made in the performance of religious rites4 ,on the night of the festival of ,diwali in ,india men exhibit a huge cylindrical paper lantern1 over the sides of which shadow figures pass in succession1 so that ,gonard's lamp in the ,palais ,royal1 that was decorated with silhouettes to guide his clients to his salon1 might have come straight from the ,east4 ,special plays for performance on the stage of the shadow theatre were published as late as #ahej1 written some years before by ,brentano for the amusement of his family1 for shadowgraphy was often practised in the middle-class houses4 ,pocci also wrote a play for the shadow theatre1 and ,henri ,rivire produced the 8,prodigal ,child0 and the 8,march to the ,star10 both shadow tableaux rather than plays1 arranged in seven elaborate scenes4 ,,alphabetical ,,list ,,of ,,silhouettists1 ,,makers ,,of ,,silhouette ,,mounts1 ,,and ,,others ,,connected ,,with ,,the ,,craft4 ,in attempting this the first list which has ever appeared of silhouette artists1 apology must be made for inevitable omissions4 ,since commencing it six years ago1 obscure examples have been found which give the names of unknown painters or cutters1 possibly amateurs1 who have left no other sign of their work except this ghost of the past4 ,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 work1 such as ,dicky ,doyle and the late ,phil ,may1 examples owned by ,mr4 ,desmond ,coke4 ,it is well known that while the fashion for shadow portraiture lasted1 many artists used the method but did not sign their work1 thinking perhaps that this passing mode was not one altogether worthy of their reputation in other branches4 ,it is the exception rather than the rule for silhouettes to be signed1 whatever the process chosen4 ,connoisseurs are enabled by careful study to recognise at a glance examples of well-known silhouettists1 such as ,miers1 ,rosenberg1 ,mrs4 ,beetham1 or ,edouart1 by their treatment of hair or some slight characteristic touch2 but as a rule the shadow pageant passes before us nameless1 elusive4 ,we hope to rescue from final obscurity some of the names of the lesser men1 and perhaps the list1 however incomplete1 may help owners to identify the originals of these shadow sitters of the past4 ,when possible1 dates of birth and death are given2 but often only a single date is available--that when the portrait was taken4 ,in many cases the advertisement at the back of the frame gives us the desired information2 but comparatively few examples are still in the original frames provided by the artist4 ,even if the frame has not been changed1 the glass may have been broken1 rendering the opening of the back necessary for renewal1 with destruction to the trade label4 ,beneath a second covering1 for dust-proof purposes1 it is sometimes possible to find a name1 but each year the chances of the preservation of such clues is lessening4 ,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 work4 ,it has been thought advisable for purposes of reference to arrange the names in alphabetical rather than chronological order4 ,as the methods of silhouetting in different countries do not vary to any large extent1 and as most of the workers travelled widely1 so that1 for example1 ,hubard1 though an ,englishman1 did much of his work in ,america1 and ,august ,edouart1 a ,frenchman1 is best known in the ,british ,isles and the ,united ,states1 the artists have not been grouped according to their nationality1 nor with regard to their mode of work4 ,the alphabetical order seemed on the whole to be the most convenient4 ,,ackerman4 ,published a sheet of silhouettes of children playing in groups1 about #ahcj4 ,,adam1 ,j41 ,vienna4 ,engraved mounts for silhouettes4 ,,adolphe4 ,signature on silhouette of ,george ,,iv4 in black ink1 gold on hair and rings4 ,,xxiii4 ,advertisement on a signed portrait of ,lady ,john ,townshend1 #ahdj1 in the ,national ,portrait ,gallery4 8,the ,origin of ,profiles1 sketched by ,mons4 ,adolphe1 ,portrait1 ,animal1 ,miniature and ,profile ,painter1 #aac1 ,st4 ,james's ,street1 ,brighton40 ,then follow verses commencing-- 8',twas love1 'twas all inspiring love 'tis said1 ,directed first a female hand to trace40 ,,aldous4 ,on the silhouette portrait of his late ,royal ,highness ,frederick ,duke of ,york is written1 8,drawn on stone by ,mr4 ,aldous40 ,,anthing1 ,f4 7#aghc-ahjj74 ,one of the finest painters of silhouettes4 ,volume of #ajj silhouettes of his notable personages was published 7see ,bibliography74 ,three large silhouettes by this artist were exhibited at the ,berlin ,exhibition4 ,worked in ,st4 ,petersburg4 ,,asmus1 ,,hildegard4 ,cut genre subjects in black paper4 ,,atkinson1 ,g4 7#ahae74 ,lived at ,windsor4 ,was called ,silhouettist to the ,royal ,family4 ,a large group of ,george ,,iii4 and his sons1 cut in black paper and touched with gold1 was exhibited at the ,royal ,amateur ,art ,society's ,exhibition in #aiaa4 ,owner3 ,g4 ,sharland1 ,esq4 ,,xxxvii4 ,,ayrer1 ,,georg ,,frederick4 ,late eighteenth century4 ,did much of his work at ,lausanne4 ,of him was written by ,madame ,weston 7ne ,bry7 in #aggh3 8,tous les talents meritent qu'on les prise4 ,le votre est amusant joli interessant4 ,en le perfectionnant vous rendez inutile qu'au bas de vos portraits on ecrve son nom40 ,,barber 7#ahba74 ,,bauser1 ,m4 7#aggi74 ,head of a man published in ,germany in a book of operettas 7see ,bibliography74 ,,beaumont4 ,signature on portrait of ,ed4 ,copleston1 ,d4,d41 taken #ahde4 ,,beckman1 ,,johanna4 ,fine foliage work1 black paper4 ,modern4 ,,beetham1 ,,mrs4 7#aghe71 #bg1 ,fleet ,street4 ,painted on card1 plaster1 and convex glass1 sometimes filled with wax4 ,jewel examples of her work are rare--one brooch in the ,wellesley collection1 one owned by ,mrs4 ,head4 ,mrs4 ,beetham's work is very fine2 ribbon gauze and hair are done with great taste and dexterity4 ,her advertisement on an example in the possession of her descendant1 ,dr4 ,beetham1 runs thus3 8,profiles in miniature by ,mrs4 ,beetham1 ,no4 #bg1 ,fleet ,st41 #aghe40 ,x41 ,,xi41 ,,xlix4 ,,betts4 ,made a 8newly-invented machine0 for reducing the life-size shadow4 ,,blackburn1 ,j4 7#ahej71 ,king ,street1 ,manchester4 ,,blum 7#agie74 ,cut silhouette portraits for the ,annalen der neueren theologischen ,literatur in ,kirchengeschichte1 #gth vol41 #agie4 ,,bly4 ,cut silhouettes in black paper at the ,west ,pier1 ,brighton4 ,present day4 ,,bockton4 ,on portrait of ,sir ,wm4 ,wynne ,knight1 ,,ll4,d41 ,dean of the ,arches and ,judge of the ,prerogative ,court of ,canterbury4 8,mr4 ,bockton1 his ,proctor1 took his resemblance as he sat giving judgment40 ,b,,hler1 ,,dr4 ,,otto1 ,vienna4 ,cut twenty-one silhouettes of musicians and others1 which have been reproduced4 ,he is considered by ,herr ,julius ,leisching to be one of the best modern ,german silhouettists4 ,,bonnes4 ,,bouvier1 ,j4 ,signature on the portrait of the ,right ,hon4 ,sir ,r4 ,peel1 ,bart41 ,m4,p41 showing the ,new ,exchange1 ,glasgow1 in the background4 ,published by ,wm4 ,spooner1 #cgg1 ,strand4 ,lithograph in the ,national ,portrait ,gallery4 ,,brandes1 ,,minna4 ,born #agfe1 in ,berlin4 ,a girl's head thus named1 probably herself1 done by some silhouettist of the day1 appears in the operettas published in ,germany in #agii 7see ,bibliography74 ,,brettaner1 ,,barbara 7#agba74 ,parchment cutter4 ,,brown1 ,,miss4 ,said to have cut ,gibbons's profile without a sitting4 ,,brown1 ,,william ,,henry4 ,born ,may #bbnd1 #ahjh1 in ,charlestown1 ,south ,carolina4 ,itinerated in the ,united ,states4 ,he cut mostly full-length portraits1 and called his studio the ,brown ,gallery in whatever town he worked4 ,a book was published with twelve silhouettes by him1 mostly full-lengths with elaborate backgrounds1 also facsimile autograph letters of the people whose portraits are given 7for full title of book1 see ,bibliography74 ,,bruce1 ,i41 #he1 ,farringdon ,street2 and #c1 ,somerset ,place1 ,brighton4 ,signature on a series of early nineteenth-century portraits in the ,national ,portrait ,gallery1 which include ,lord ,john ,russell and ,william ,,iv4 ,,burmester 7#aggj74 ,court silhouettist in ,berlin4 ,,capuchin1 ,f4 ,,agathaugdus ,,bonnensis4 ,signature on fine cut paper2 ornament with bishop's arms4 ,,charles1 #acj1 ,strand4 ,worked with pen and ,indian ink2 sometimes he used colour on the dress4 ,a signed specimen of ,georgina1 ,duchess of ,devonshire1 and one of ,fanny ,burney1 owned by ,mr4 ,wellesley2 others owned by ,mr4 ,leslie and ,mr4 ,f4 ,g4 ,rowson4 ,in his advertisement1 which bears an engraved head on the label1 he describes himself as 8the first profilist in ,england10 #ach1 ,strand1 ,,xi41 ,,xv41 ,,xix4 ,,clarke1 ,w4 7#agha71 of ,newcastle4 ,painted on plaster4 ,label on an example in the ,wellesley collection4 ,,cooper4 ,signature on portrait of a man painted on card in red brown touched with gold4 ,date #ahcc4 ,at ,knole4 ,,coos 7#aghb74 ,signature on woman's profile portrait on gold glass background2 in the collection at ,knole4 ,,xxi4 ,,curtis1 ,,eleanor ,,park 7#aggi-aheb71 step-daughter of ,washington1 first ,president ,u4,s4,a41 whose silhouette she cut at ,mount ,vernon in #agih4 ,this portrait is bust size1 looking right4 ,,deinvel1 ,f4 ,silhouettes cut out of paper blackened with ,indian ink1 the hair1 lace1 and other ornaments being added with the pen on the mount2 engraved mounts sometimes used4 ,,dempsey4 8,profilist4 ,established ,no4 #cj1 ,manchester ,street4 ,likenesses in shade1 #c;d46 ,bronzed1 #f;d466 ,coloured1 #bs4 #f;d4 ,observe it is ,dempsey's40 ,advertisement label on two full-length men's portraits with painted sepia background4 ,owner3 ,mr4 ,desmond ,coke4 ,,denon1 ,,dominique4 ,medallist1 engraver1 silhouettist4 ,born ,chlon-sur-,saone1 died in ,paris4 ,he accompanied ,napoleon to ,egypt4 ,his silhouettes are mounted with elaborate borders4 ,,desfoneaux1 ,t4 ,e4 ,,dewey 7#ahjj74 ,name on silhouette of ,ambrose ,clarke1 in the possession of ,mrs4 ,wm4 ,a4 ,fisher1 ,u4,s4,a4 ,,deyverduns4 ,eighteenth-century silhouettist4 ,,diefenbach4 ,cut genre pictures in black paper4 ,present day4 ,,dieters1 ,,hans4 ,silhouette cutter1 nineteenth century4 ,a fine portrait of ,bismarck1 with two of the great hounds named after him1 is used as an illustration in 8,the ,revival of the ,silhouette40 ,d,,hren1 ,,jacob ,,von1 ,hamburg4 ,reduplication of silhouettes2 process mentioned in book on ,bon ,magic 7see ,bibliography74 ,,dumple4 ,advertisement label on an example in the ,wellesley collection4 ,,eberle1 ,,constance1 ,brnn4 ,cut silhouettes4 ,,eckart4 ,a labouring man of ,berlin2 his clever silhouette cutting was brought to the notice of the public by ,werkmeister4 ,,edouart1 ,,august4 ,born #aghi1 died #ahfa2 a ,frenchman4 ,served under ,napoleon1 and was decorated4 ,he married ,mademoiselle ,vital1 and during the political crisis came to ,england4 ,cut silhouettes in doubled black paper2 itinerated in the large towns in ,england and on the ,continent4 ,he kept books of duplicates which contained upwards of #ajj1jjj portraits2 these included the ,french ,royal ,family taken at ,holyrood1 hundreds of the gentry and nobility of ,great ,britain1 besides professional men1 statesmen1 politicians1 and almost every man and woman of note of his time4 ,he wrote a treatise on silhouettes 7see ,bibliography71 a demy octavo volume with many illustrations1 which is now very rare4 ,when upwards of fifty years of age1 ,edouart went to ,america1 and while there cut the portraits of presidents1 soldiers1 sailors1 senators1 and famous men and women in the ,states4 ,in #ahdi the ship 8,oneida10 on which the artist returned1 was wrecked1 and many of his valuable volumes of duplicates were lost4 ,some #i1jjj portraits1 however1 in fourteen volumes1 were saved1 and form a remarkable collection of the celebrities of his day 7see chapter on 8,edouart and his ,book074 ,,iv41 ,v41 ,,vi41 ,,vii41 ,,xv41 ,,xxiv41 ,,xxv41 ,,xxvii41 ,,xxxvii41 ,,xxxviii41 ,,xl41 ,,xli41 ,,xliii41 ,,xliv41 ,,xlviii41 ,l41 ,,lvii41 ,,lx41 ,,lxiv4 ,,edwards1 ,e4 ,c4 7#ahbd74 ,name on silhouette of ,thomas ,coke1 of ,holkham1 afterwards ,earl of ,leicester4 ,from a drawing made at ,holkham4 ,,edwin1 ,,henry4 ,silhouettist of the second half of the nineteenth century4 ,cut the portraits of ,lords ,iddesleigh1 ,tennyson1 and ,salisbury1 ,mr4 ,gladstone1 and many other famous men4 ,a small paper book was published with a few of his fancy subjects4 ,,elizabeth1 ,,princess1 ,,xiii41 ,,xxxiv41 ,,xxxv41 ,,xxxvi41 ,,lxii41 ,,lxiv4 ,,ferpell 7#ahcg74 ,signature on a sheet of five engraved silhouettes at ,knole4 ,the portraits are of the ,duke and ,duchess of ,dorset1 of the eighteenth century1 and their three children4 ,,field1 ,j4 ,born #agga1 died #ahda1 at ,molesey4 ,painted in black on glass1 plaster1 and card2 nearly always pencilled with gold4 ,he was for many years in partnership with ,miers1 when the names ,miers ,field appear on the label4 ,afterwards1 8,j4 ,field1 #aa1 ,strand1 late of the firm of ,miers ,field10 is found on the backs of his fine portraits4 ,thus3 8,j4 ,field1 ,profilist to their ,majesties1 and ,h4,r4,h4 the ,princess ,augusta1 ,no4 #b1 ,strand1 ,london1 two doors east from ,northumberland ,house4 ,upwards of thirty years sole profile painter1 and late of the firm of ,miers ,field4 ,continues to execute his long approved likenesses1 combining expression and character with accuracy of finish1 so as to give the most pleasing resemblance1 for frames1 cases1 frontispieces for library works1 and even in minute size for bracelets1 brooches1 lockets4 ,time of sitting1 three minutes4 ,mr4 ,f4 preserves all the original shades1 by which he can at any time furnish copies1 if required1 without the necessity of a second sitting4 ,copies correctly taken from profile busts4 ,miniature frames and cases of every description manufactured by ,h4 ,w4 ,field2 also jewellery and seal engraving40 ,this label is on a portrait of himself by ,j4 ,field1 in the possession of his great-grandson4 ,,viii41 ,,ix41 ,x41 ,,xxii4 ,,finkentscher1 ,,otto4 ,cut silhouettes1 chiefly animals4 ,,firth1 ,,frederick4 ,cut silhouettes1 which are generally pencilled with gold4 ,advertisement in the possession of ,mrs4 ,wadmore3 8,the nobility1 gentry1 and inhabitants of ,tunbridge ,wells are respectfully informed that ,master ,firth will remain but one week longer in this town4 ,those ladies and gentlemen who have not yet completed their family sets are requested to make early application4 ,that extraordinary talented youth1 ,master ,firth1 who has been the astonishment of all lovers of the fine arts1 will exercise his ingenious and interesting profession for one week longer in this town1 next door to the ,ladies' ,bazaar1 ,parade1 etc4 ,his prices--,a plain bust1 #as42 duplicate of ditto1 #f;d4 ,a bust in gold bronze or shaded1 with drapery1 #bs4 #f;d4 ,whole-length figure in plain black1 #bs4 #f;d42 ditto1 duplicate of ditto1 #as4 #f;d42 ditto1 very highly finished1 #bs4 #f;d4 ,the much-admired coloured profiles1 #ajs4 #f;d4 ,whole-length figure in bronze or shaded1 with drapery1 developing every characteristic peculiarity of hair1 dress1 etc41 #es4 #f;d40 ,,flint1 ,,andreas4 ,,folwell1 ,s4 ,signature on a portrait of ,george ,washington1 #agia4 ,painted on card4 ,,forberger1 ,a4 7#agie71 ,paris4 ,painted on glass1 gold lined4 ,a memorial silhouette is in the ,wellesley collection4 7,see ,plates47 ,,foster1 ,,edward ,,ward4 ,born in ,derby #agfa1 died #ahfd4 ,described on his trade label as from ,london4 ,in #ahaa he was at ,mr4 ,abbott's1 ,trimmer1 ,friar ,gate4 ,most of ,foster's work is in sanguine reddish colour1 painted on card4 ,there is often a minute diaper pattern of stars on the dresses of women and children2 occasionally greens and blue tints greatly enhance the beauty of his silhouettes4 ,his signature is rare4 ,occasionally it is found written minutely1 as on the portrait of the ,countess of ,blessington in the collection at ,knole1 ,sevenoaks4 ,his name is occasionally embossed in the brass ornamental ring of the papier-mch frame4 ,,fowler4 ,on signed portrait of ,george ,,iii41 with minute writing forming ornamental lines4 ,,fran,,ois4 ,french silhouette cutter of the present day4 ,worked at ,earl's ,court ,exhibition1 #aiaa4 ,,franklin4 ,worked in the ,thames ,tunnel4 ,early nineteenth century4 ,,frere1 ,j4 ,signature on painted silhouette portrait of a man1 white collar and stock1 in the possession of the author4 ,,fr,,hlich1 ,,karl1 of ,berlin4 ,cut silhouettes after drawing4 ,,gabillon1 ,vienna4 ,illustrated 8,puss in ,boots0 in silhouette1 #ahgf-ahgg 7see ,bibliography74 ,,gapp1 ,j4 7#ahbi71 ,brighton4 ,worked on the ,chain ,pier4 ,label on full-length cut portrait of a boy1 in the collection of the author4 8,daily at the ,third ,tower on the ,chain ,pier4 ,full length1 #bs4 #f;d42 bronze1 #ds42 on horseback1 #gs4 #f;d42 horses1 #es42 dogs1 #as4 #f;d42 small cuttings for scrap-books40 ,sala in his 8,brighton as ,i have known it0 writes3 8,old ,chain ,pier cabins1 where they took portraits known as silhouettes1 which were profiles1 cut out apparently of black sticking plaster1 stuck on pieces of card40 ,,xli4 ,,geigner1 ,,franz4 ,born #agdi1 died #ahda4 ,cut silhouettes with indented outline4 ,,gibbs1 ,h4 ,painted on glass1 plaster and card4 8,h4 ,gibbs1 profilist10 on the back of a portrait of a woman in ,empire dress1 painted on glass with wax filling4 ,owner1 the author4 8,h4 ,gibbs1 profile painter1 ,queen ,street1 ,ranelagh1 ,chelsea10 on silhouette painted on card1 black profile1 blue coat1 yellow buttons4 ,at ,knole1 ,sevenoaks4 ,,gibbs1 ,m4 ,painting on glass1 white relief1 card back4 ,early nineteenth century4 8,m4 ,g40 ,signature on book of silhouettes of children mentioned in ,notes and ,queries4 ,,gillespie1 ,j4 ,h4 7#agic74 8,likenesses drawn in one minute by ,j4 ,h4 ,gillespie1 profile painter10 on three painted silhouettes owned by ,mrs4 ,whitmore1 ,bromley4 ,greyish black with dead black lines1 white relief1 ,,liv4 ,,gnesienan1 ,,frau ,,von4 ,,godfrey1 ,w4 ,f4 ,label on the portrait of a woman painted on convex glass in possession of the author4 ,the face is black1 the dress white1 gold earrings and a tortoiseshell comb in her hair4 8,w4 ,f4 ,godfrey announces to the nobility and gentry of this town and its vicinity1 that he executes likenesses in profile shadow in a style particularly striking and elegant1 whereby the most forcible animation is reduced to the miniature size for setting in rings1 lockets1 bracelets1 etc4 ,w4 ,f4 ,g4 having a successful practice for the last seven years1 and the honour of taking the principal families in ,somerset1 ,cornwall1 and ,north ,devon to their fullest and entire satisfaction2 and one trial only is required to ensure confidence and recommendation4 ,likenesses1 beautified and enamelled on flat and convex glass1 in bronze on paper or glass4 ,likenesses taken in colour4 ,ladies and gentlemen waited on at their own houses in town or country40 ,illustration3 ,,silhouette ,,portrait ,,of ,a ,,lady ,on ,plaster ,,go,,the 7#agdi-ahcb74 ,german poet4 ,cut the silhouette of ,fritz von ,stein and others1 now in the ,gothe ,museum at ,weimar4 ,,gonard 7#aghd71 ,paris4 ,at the ,palais ,royale cut paper and painted2 used elaborate printed mounts4 ,his address in #aghh was ,palais ,royale1 under arch ,no4 #afg1 at the side of ,rue des ,bons ,enfants4 ,here his studio was so frequented that a special lantern1 decorated with silhouettes1 was used at night1 that carriages and chairs might draw up for the convenience of his aristocratic sitters4 ,,xxii4 ,,graff1 ,a4 ,born #agcf1 died #ahac4 ,portrait profilist1 ,german4 ,,graff4 ,described as 8,portraitist40 ,,grape 7#agic71 ,gttingen4 ,signature on silhouette portraits in the fifth volume of ,annalen der theologischen ,literatur in ,kirchengeschichte 7see ,bibliography74 ,,grassmeyer4 ,signature on cut silhouette in engraved mount4 ,,haines1 ,e4 ,worked on the ,chain ,pier1 ,brighton1 #ahej4 ,label on a man's full-length portrait from the collection of ,mr4 ,montague ,j4 ,guest1 now belonging to the author3 8,profilist and ,scissorgraphist1 patronised by the ,royal ,family1 most respectfully informs the nobility and gentry1 and visitors of ,brighton1 that he continues to execute the peculiar art of cutting profile likenesses in one minute with the aid of scissors only1 so as to equal any yet produced by the most accurate machine4 ,terms3 ,full-length portrait1 #bs4 #f;d42 ditto bronzed1 or two of one person1 #ds42 bust1 #as41 or two of one person1 #as4 #f;d4 ,portraits of many interesting living characters may be seen at the first left-hand tower on the ,chain ,pier4 ,families attended at their own residences without additional charge4 ,proprietor of original weighing machine40 ,bishop1 writing of the ,brighton ,chain ,pier in #ahig1 writes of the old tower keeper1 ,mr4 ,haynes1 a skilful silhouette cutter1 8was very deaf1 and his invariable reply to any question was #8#as4 #f;d4 head and shoulders2 #bs4 #f;d4 full length4'0 ,,xxxi4 ,,hamlet 7#aggi-ahjh74 ,label on a portrait painted on glass of ,his ,serene ,highness ,count ,beaujolais1 brother to ,louis ,philippe of ,orleans1 afterwards ,king of ,france1 8done for the ,parry family1 ,bath1 ,april1 #ahjg40 ,his addresses are #ab1 ,union ,street1 on a portrait of ,princess ,sophia in the ,wellesley collection1 and #ag1 ,union ,passage4 ,,hanks1 ,,master4 ,silhouettist mentioned in the ,catalogue of the ,exhibition of the ,maryland ,society of ,colonial ,dames of ,america1 held ,january1 #aiaa4 ,the name occurs on a silhouette of ,miss ,henrietta ,moffet1 belonging to ,mr4 and ,mrs4 ,whitbridge4 ,,harding1 ,henry ,street1 ,london 7,foster ,harding1 ,london74 ,cut in paper by ,mr4 ,harding 8on the silhouette of ,mr4 ,lawless1 ,irish ,agitator10 in the ,national ,portrait ,gallery4 ,,hayd1 ,h4 ,painted silhouettes4 ,,heinemans4 ,cut silhouette of ,gothe1 about #agfc4 ,,heinrich1 ,,ernst 7#agib-ahfb74 ,cut the portrait of ,countess ,salm ,proshan2 also painted silhouettes4 ,,henning1 ,c4 ,d4 ,born #agcd4 ,engraver1 painter1 and silhouettist4 ,,hensel1 ,f4 and ,c4 ,cut twelve silhouettes to illustrate 8,grimm's ,fairy ,tales10 published in a book entitled 8,lus ,mrchenland40 ,,henve1 ,,henry1 #ab1 ,cheapside4 ,label on silhouette owned by ,mr4 ,wellesley4 ,,herbert1 ,m41 of ,geneva4 ,in #agfa ,horace ,walpole writes to ,sir ,horace ,mann and asks him to thank the ,duchess of ,grafton on his behalf for the dcoupure of herself1 8her figure cut out in card by ,m4 ,herbert1 of ,geneva40 ,,herv4 8,artist1 #agb1 ,oxford ,street10 on cut paper silhouette of a lady in early ,victorian dress4 ,it is painted in gold4 ,owner3 ,e4 ,jackson4 ,,hessell1 ,l4 ,h4 7#ageg71 ,st4 ,petersburg4 ,painter of silhouettes and copper engraver4 ,invented a machine to take silhouettes by daylight4 ,,hoering4 ,german4 ,,howie4 ,painted the silhouette of ,gilbert ,burns1 brother of ,robert ,burns1 now in the ,scottish ,national ,portrait ,gallery1 ,edinburgh4 ,,hubard1 ,,master 7#ahcc74 ,began to cut silhouettes at the age of twelve4 ,label on portrait of ,princess ,victoria when a little girl4 ,he also painted in ,indian ink touched with gold4 ,the ,hubard ,gallery was at #aji1 ,strand4 ,when seventeen years of age he landed in ,new ,york1 and itinerated in the ,united ,states for many years1 charging fifty cents for his silhouettes4 ,a full-length portrait of a man1 in the possession of the author1 has 8,hubard ,gallery0 embossed in the corner of the cardboard mount4 ,cut with scissors without drawing or machine at the ,gallery of ,cutting and ,philharmonic ,concert ,room4 ,this is the silhouette of ,john ,grey ,park1 of ,groton1 ,mass43 8cut in #ahbd0 is on one of his figures4 ,hubard also visited ,boston1 and worked at the ,exchange ,coffee ,house4 ,,xlv4 ,,hubert4 ,cutter of two silhouette portraits of ,voltaire en deshabille1 published in ,illustrated ,london ,news1 ,june #ith1 #ahfj4 ,h,,bner 7#agig74 ,on a fine painted silhouette of a child with long hair1 belonging to ,madame ,nossof1 ,moscow4 ,,lix4 ,,hulm4 ,eighteenth century4 ,signature on silhouette scarf-pin1 metal4 ,,hunt1 ,,mrs4 ,,leigh4 ,cut ,byron's silhouette4 ,,li4 ,,honigsmann1 ,r4 ,painted silhouettes in ,indian ink4 ,,ichiyeisai ,,yoshiiku 7#ahbd-ahie74 ,japanese artist1 who worked in silhouette4 ,two examples of his shadow prints show a cray-fish and red shell-fish1 gold-fish and carp1 in silhouette4 ,a portrait of the actor ,onoye ,takanojo in colour and with silhouette is one of a series entitled 8,mako no tsuki ,hana no ,sugata-ye0 78,a flower form picture 7before7 a real moon074 ,,jeffreson4 ,name on label1 gold bronze silhouette4 ,early nineteenth century4 ,,jones4 ,advertisement in the ,northampton ,mercury1 ,december #cjth1 #ageb3--8,shading ,likenesses in ,miniature ,profile1 on an entirely new plan and with great improvements4 ,taken in one minute by ,mr4 ,jones1 ,artist and ,drawing ,master1 from the ,royal ,academy1 ,london4 ,that no person may be deprived of their own friend's likeness1 they will be done at so small a sum as #bs4 #f;d4 ,nothing required unless the most striking likeness is obtained4 ,specimens may be seen each day from #ab till #g1 at ,mr4 ,balaam's1 ,saddler1 ,northampton40 ,,jorden1 ,,richard 7#aghj74 ,painted on glass4 ,no relief4 ,,jorden1 ,w4 7#aghc74 ,painting on flat glass1 six portraits of the ,deverell family1 formerly in the collection of ,mr4 ,montague ,j4 ,guest1 now owned by the author4 ,,joubert4 ,name on silhouette at ,knole of boy cut1 in ornamental engraved mount4 ,printed beneath the portrait is1 8,fait par ,joubert1 peintre en miniature40 ,,xlvii4 ,,kaffka1 ,j4 ,c4 ,head of a young man in the operettas4 ,probably himself 7see ,bibliography74 ,,kay1 ,g4 7alias ,,wirer74 8,scissor-worker1 photographist1 miniature painter of the city of ,oxford40 ,in #ahgg was in ,scarborough4 ,,kelfe1 ,m4 ,,lane4 ,fecit ,april #afth1 #agha1 ,bath4 ,on man's portrait1 black profile1 uniform in grey relief4 ,e4 ,a4 ,girling4 ,owner3 ,mr4 ,desmond ,coke4 ,,kempton1 ,w4 ,name on profile shade of 8,francis1 late ,duke of ,bedford10 taken at ,ampthill ,park4 ,,kindermann1 ,,johann 7#ahji74 ,gold-backed silhouette with pencil drawing4 ,sacred picture1 with colours in landscape4 ,,king1 ,,william1 8,taker of profile likenesses1 respectfully informs the ladies and gentlemen of ,portsmouth that he will take a room at ,col4 ,woodward's on ,wednesday next1 and will stay ten days only to take profile likenesses4 ,his price for two profiles of one person is twenty-five cents1 and frames them in a handsome manner with black glass in elegant oval1 round1 or square frames1 gilt or black4 ,price from fifty cents to two dollars each1 etc40--,advertisement in the ,new ,hampshire ,gazette1 ,u4,s4,a41 ,tuesday1 ,october #bbnd1 #ahje4 ,,kniger1 ,,heinrich4 ,silhouettes with touches of colour1 black faces1 bodies in water-colour4 ,signature on town criers' and bell-ringers' silhouettes4 ,,koch1 ,f4 ,r4 7#aggi74 ,name on a girl's head in the operettas 7see ,bibliography74 ,k,,mpf4 ,designed silhouettes for book 8,martin ,spitzbauch10 #ahjf4 ,,konewka1 ,,paul4 ,born #ahdj1 died #ahga4 ,one of the best known silhouettists of the nineteenth century4 ,illustrated several books with silhouettes1 cut portraits for plays and children's books1 designed1 but did not himself cut1 some of his early work4 ,much of it is signed 8,k40 ,,xiv4 ,,korinthea4 ,daughter of the potter ,dibutades4 ,first traced shadow of her lover when he was leaving her 7#fjj ,b4,c47 in ,corinth2 related by ,pliny4 ,,kunst1 ,,friedrich1 ,mllen4 ,made scissor-cut silhouettes4 ,,kunst1 ,,theodor4 ,began to cut silhouettes when twelve years of age4 ,,langervels1 ,h4 7#ahbj74 ,,lasse4 ,signature on portrait of the ,emperor ,paul of ,russia as a child4 ,in the possession of ,madame ,nossof1 ,moscow4 ,,lavater1 ,j4 ,g4 ,the famous ,swiss divine and author1 whose learned work on physiognomy is largely illustrated by the silhouette portraits of the famous men of his day1 cut or drawn by himself or his assistants4 ,many profile portraits by artists such as ,michael ,angelo1 ,vandyck1 and others1 are used in his book for purposes of examination4 ,,lea1 of ,portsmouth4 ,signature on portrait painted on glass of ,admiral ,sir ,j4 ,lawford4 ,,leu1 ,portsmouth4 ,painted on convex glass1 end of eighteenth century4 ,much the same method as ,mrs4 ,beetham1 but not so fine4 ,,lewis4 ,profilist4 ,signature on portrait of ,mr4 ,j4 ,cunliffe1 of ,york 7#ahjh74 ,in the possession of ,mrs4 ,fleming4 ,,xxvi4 ,,lightfoot1 ,,mrs4 ,about #aghe4 ,advertisement on two silhouettes1 painted1 in the possession of ,miss ,cumings1 ,north ,wales3--8,perfect likenesses in miniature profile1 taken by ,mrs4 ,lightfoot1 ,liverpool1 and reduced on a plan entirely new1 which preserves the most exact symmetry and animated expression of the features4 ,much superior to any other method4 ,time of sitting one minute4 ,n4,b4--,she keeps the original shades1 and can supply those she has once taken with any number of duplicates4 ,those who have shades by them may have them reduced and dressed in perfect taste4 ,all orders addressed to ,mrs4 ,lightfoot1 ,liverpool1 will be punctually despatched40 ,,lincoln1 ,p4 ,s4 ,signature on several portraits in the collection of ,mr4 ,montague ,j4 ,guest1 sold at ,christie's1 ,april #aath1 #aiaj4 ,,lloyd1 ,a4 ,e41 ,chain ,pier1 ,brighton4 ,second half of nineteenth century4 ,cut paper pencilled with gold4 ,,locke1 ,m4 7fecit #ahdc74 ,signed on full-length of lady holding book1 #i inches by #f inches4 ,owned by ,mr4 ,j4 ,r4 ,hall4 ,,loeksi4 ,a ,polish silhouette cutter who itinerated in ,ireland1 holding exhibitions in each city4 ,advertisement on an example in the ,wellesley collection4 ,,longinate1 #ha1 ,margaret ,street4 ,on printed silhouette of ,granville ,sharp1 ,esq41 born #agcd1 died #ahac4 ,published by ,l4 ,nichols ,co41 ,december1 #ahah4 ,in the ,n4 ,p4 ,g4 ,l,,schenkohl 7#aghj71 ,vienna4 ,painted originals of engraved silhouettes4 ,published in an almanack for #aghf4 ,,mackenzie4 ,signed 8,f4,m41 after ,atkinson10 on silhouette portrait1 full length1 of ,prince of ,wales 7late ,king ,edward ,,vii47 in his perambulator 7#ahdg7 with the ,princess ,royal4 ,at ,knole4 ,,mackintosh4 #aith century4 ,address3 ,st4 ,andrew ,street1 ,edinburgh4 ,,maclise 7#ahjf-ahgj74 ,born at ,cork4 ,historical painter4 ,amongst his drawings bequeathed to the ,victoria and ,albert ,museum by ,mr4 ,foster1 there are two heads in black silhouette and two cut silhouettes measuring #a inches4 ,,manderer1 ,e4 ,illustrated a children's book with silhouettes4 ,,manners1 ,w4 ,h4 ,cut the silhouette of ,sir ,thomas ,swinnerton ,dyer1 ,r4,n41 eighth baronet4 ,born #aggj1 died #ahed4 ,,mapletoft4 ,a fellow of ,pembroke ,college4 ,cut a black shade of ,thomas ,gray1 8taken after he was #dj40 ,in the ,strawberry ,hill collection a profile of the poet was described as 8,mr4 ,thomas ,gray1 etched from his shade by ,w4 ,mason40 ,mr4 ,george ,sharf1 in the ,athenum1 ,february #bdth1 #ahid1 considers it a happy instinct to make use of the silhouette for producing a more complete portrait4 ,the black shade of the poet preserved at ,pembroke ,college directly inspired the best known portrait of ,gray by ,basire4 ,,maria ,,theresa4 ,two white paper cuttings appeared in the ,brnn ,exhibition attributed to the scissors of the ,empress4 ,,martini1 ,,viger4 ,on painted silhouette of ,blondin1 dancer at the ,thatre ,italien1 ,comedi ,franais1 and others4 ,in the ,national ,portrait ,gallery4 ,these portraits are usually about #e inches by #b inches4 ,sometimes modelling in the face is suggested by brushwork4 ,,mason1 ,w4 ,profile painter and printseller1 ,cambridge4 ,label on portrait of ,ed4 ,daniel ,clarke1 ,,ll4,d41 ,professor of ,mineralogy1 ,cambridge1 who died ,march #ith1 #ahbb1 aged #ec years4 ,,may1 ,,phil4 ,died #aiaj4 ,this brilliant black and white artist occasionally worked in silhouette1 giving to each portrait his inimitable touch of good-natured caricature4 ,signature on several silhouettes owned by ,mr4 ,desmond ,coke4 ,,xv41 ,,xlix4 ,,mayer1 ,,josef4 ,signature on silhouette of a young lady on a gold ground4 ,,mayer1 ,,stephanus 7#ahac74 ,signature on a portrait finely etched on glass with gold ground4 ,,melfor1 ,s4 ,name on cut silhouette of early ,victorian lady in lace collar1 gold lines on black dress4 ,,merinsky1 ,f4 ,d4 ,cut silhouettes1 the paper afterwards stamped in slight relief4 ,,merryweather4 ,profilist4 ,label on the back of cut silhouette of a girl1 in black paper bronzed with gold4 ,,mewes1 ,magdeburgh4 ,,miers1 ,,john4 ,silhouette painter2 generally painted in unrelieved black on plaster4 ,his earliest label is very rare4 8,perfect likenesses in miniature profile taken by ,j4 ,miers1 ,leeds10 on a portrait of a man in the possession of the author4 ,other labels give 8,john ,miers1 #aaa1 ,strand1 opposite ,exeter ',change1 ,profilist and ,jeweller1 late of ,leeds40 ,his name is first mentioned in the ,london ,directory of #agib4 ,another address is1 8,j4 ,miers1 late of ,leeds1 #afb1 ,strand1 opposite ,new ,church40 ,also1 8,miers ,field10 when he commenced a partnership with ,john ,field1 which lasted many years4 8,miers ,field1 #aaa1 ,strand10 appears in ,kent's ,london ,directory of #ahbg4 ,considerable trouble clouded the latter years of the artist's life4 ,,ix41 ,x41 ,,xi41 ,,xix41 ,,xxiii4 ,,mildner 7#agii74 ,gold silhouette on glass goblet enclosed in second glass 7glomis74 ,,milner1 ,,james1 #gh1 ,grange ,hill ,road1 ,eltham4 ,pen-and-ink silhouette portraits4 ,present day4 ,m,,glich 7#agdb71 ,augsburg4 ,drew silhouettes or etched on glass on a gold ground4 ,,morse1 ,,leonard ,,becher 7#aghc71 ,st4 ,john's ,college1 ,cambridge4 ,,moser1 ,,koloman1 ,vienna4 ,illustrated a book of caricatures in silhouette cut out of coloured papers 7see ,bibliography74 ,,mulacz1 ,,olga1 ,vienna4 ,cut silhouette pictures to illustrate ,gothe's 8,faust10 etc4 ,m,,ller1 ,h4 ,silhouette in ,indian ink4 ,m,,ller1 ,,wilhelmina4 ,cut very minute landscapes in black paper4 ,a man of humble origin1 who possessed the gift1 but made little use of it4 ,,muratori1 ,,signor4 ,extract from ,art ,journal1 #ahec3--8,papyrography is the title given to the art of cutting pictures in black paper4 ,some specimens that have recently been shown by ,signor ,muratori are certainly the most ingenious works we have ever seen2 they are executed with scissors only40 ,,muybridge4 ,mentioned as ,english silhouettist by ,gardner ,teall4 ,,ne,,ther 7#ahji74 ,cut silhouettes4 ,,neville1 ,j41 ,pool ,lane4 ,,nilson 7#agba-aghh74 ,member of the ,vienna and ,augsburg ,academy4 ,cut a silhouette of ,josef ,,ii4 ,,nilson1 ,,andreas1 father of above4 ,silhouette and miniature painter4 ,,noether1 ,j4 7#aggf74 ,german4 ,,nowak1 ,,anton4 ,cut portraits and genre pictures4 ,,occolovitz1 ,l4 ,died #agii4 ,fine gold-back glass painted silhouettes1 also jewel gold-back silhouettes with fine black drawing4 ,,oldham1 ,,john 7#ahjg74 ,miniature painter1 engraver1 and mechanic1 of ,dublin4 8,invented the ,ediograph for taking profile miniatures1 price #aas4 #d;d40 ,he also invented a machine for engraving bank-notes1 which was adopted by the ,bank of ,ireland4 ,,opie1 ,,amelia 7ne ,,alderson71 wife of the artist4 ,cut the portrait of ,mrs4 ,edward ,beetham1 silhouettist1 of ,fleet ,street4 ,this portrait is now in the possession of ,dr4 ,beetham1 of ,bradford4 ,it is cut hollow in white paper1 which1 when laid on black1 gives the effect of a black shadow portrait4 ,,xxii4 ,,opitz1 ,,johann ,,adolf 7#agfc-ahbe71 ,dresden4 ,portraits in silhouette4 ,,ostermeyer4 ,glass painted silhouettes with gold ground4 ,,ouvrier 7#agbe-aged74 ,engraved ,schenan's painting1 8,l'origine de la peinture la mode10 and those of ,eisen1 ,falconet1 ,boucher1 etc4 ,,packeny1 ,p4 7#ahdf-aije71 ,vienna4 ,cut silhouettes cleverly in variously coloured papers4 ,,pahly4 ,signature on two fine silhouettes of officers in uniform of the early nineteenth century4 ,in the possession of ,madame ,nossof1 ,moscow4 ,,lix4 ,,parey1 ,,auguste 7#ahee74 ,,paskin1 ,colchester4 ,painted silhouettes on glass1 wax filling4 8,miniature and ,profile ,painter2 profiles painted in a new and elegant style producing the effect of aquatinta engraving1 with the beauty and softness of enamel1 in imitation of marble1 conveying the most perfect likeness4 ,in rings1 brooches1 lockets4 ,time of sitting1 one minute4 ,ladies and gentlemen attended at their own houses1 if required1 by leaving their address at ,mr4 ,good's1 hairdresser1 #ad1 ,head ,street1 ,colchester40 ,,pavey1 ,,auguste 7#ahee74 ,,pavey1 ,c4 ,h4 ,,peale1 ,c4 ,w4 ,began business in the ,united ,states2 cut ,washington and other famous men4 ,,pearse1 ,,james4 ,portsmouth4 ,cut ,nelson just before sailing for ,trafalgar1 and the ,duchess of ,kent in unrelieved black2 in the ,national ,portrait ,gallery4 ,,pearse1 ,b41 father of above4 ,cut the portrait of the ,duke of ,wellington from life4 ,in the ,national ,portrait ,gallery4 ,,pelhen1 ,j4 ,painted on glass1 eighteenth century4 ,,pfeilhauer 7#agif74 ,silhouette pictures painted on glass1 with several portraits of court musicians4 ,,pick1 ,g4 ,cut the portrait of ,king ,edward ,,vii4 at ,marienbad1 ,carlyle1 and others4 ,in the ,knole collection4 ,,pocci1 ,f4 ,g41 ,mnich4 ,silhouette play1 and silhouette illustration in books4 ,,pokorny4 ,gold glass silhouette with some blue ground4 ,,prixner 7#aghd74 ,silhouettes cut in paper1 on elaborate engraved mounts4 ,,pulhen1 ,e4 ,b4 7#ahai74 ,cut silhouettes4 ,,pyburg1 ,,elizabeth4 ,cut profile of ,william and ,mary1 #afii4 ,see ,harper's ,magazine1 ,june1 #ahhb4 ,,quietensky1 ,e4 ,m4 ,cut silhouettes of theatrical characters4 ,,rayner 7fecit #ahjh74 ,on the painted silhouette of a boy1 the property of ,madame ,nossof1 ,moscow4 ,,lviii4 ,,readhead4 ,eighteenth century4 ,on glass1 painted to resemble a stipple engraving1 card back4 ,,rehseiner1 ,,marie4 ,german modern silhouettist4 ,,reinhold4 ,cut silhouettes in black paper4 ,,richter 7about #aghj74 ,painted on glass1 gold leaf or silk background4 ,,rider1 ,t4 7#aghi74 ,temple ,bar ,advertisement4 8,any lady or gentleman in the country1 by taking their own shade1 can have reduced for #cs4 #f;d4 rings in the new method1 which has the effect of topases1 gilt border1 plaster filling4 ,profile painting on convex glass2 inventor of gold borders on convex glass1 which gives a painting1 print1 or drawing the effect of fine enamel40 ,,ritzsch 7#aghh74 ,cut battle-scene in white paper4 ,,rivi,,re4 ,cut silhouettes in coloured papers1 which have been published as book illustration in 8,l'enfant ,prodigue ,scnes ,bibliques en #g ,tableaux0 and 8,la ,marche l',etoile0 7see ,bibliography74 ,,roberts1 ,h4 ,p4 ,on glass1 white relief1 sometimes silk back4 ,,rode1 ,b4 7#aggj71 ,berlin4 ,court silhouettist4 ,,rosenberg1 ,t4 ,e4 ,painted on plain or convex glass with backings of wax or plaster4 ,worked sometimes in colour4 ,address3 #ad1 ,the ,grove1 ,bath4 ,painted lockets1 trinkets1 and snuff-boxes4 ,prices from #gs4 #f;d4 to #a #as4 ,also ,rosenberg1 of ,bath1 at ,mrs4 ,barclay's1 ye ,temple4 ,,xlv4 ,,rought1 ,w41 ,corn ,market1 ,oxford4 ,painted on glass4 8,one-minute sittings from #es4 to #ajs4 #f;d410 on female figure4 ,owner3 ,mr4 ,a4 ,b4 ,connor4 ,,rowe1 ,g4 ,,rozen 7#agff74 ,russian silhouettist4 ,signature on two fine portraits in the possession of ,madame ,nossof1 ,moscow4 ,,lviii4 ,,runge1 ,,philip ,,otto 7#aggg-ahaj74 ,painter and silhouettist4 ,cut out in white paper1 flowers1 animals1 human figures4 ,his works have been collected and published in ,germany4 ,,sandhegan1 ,m4 ,painted on card and glass4 ,marlborough ,street1 ,dublin4 ,,sch,,der1 ,k4 7#agii74 ,silhouette painted on glass4 ,,scharf4 ,black cut silhouette on blue ground4 ,eighteenth century4 ,,schelymac1 ,i4 ,w4 7#aggi74 ,,schenan1 ,j4 ,c4 7#agfh74 ,painted picture1 8,l',origine de la peinture ou les portraits la mode40 ,,schindler1 ,,albert 7#ahje-ahfa71 ,silesia4 ,coloured silhouette portraits4 ,,schmalcalder1 ,c4 ,invented profile machine1 patented #ahjf4 ,address3 ,little ,newport ,street1 ,soho4 ,mathematical and philosophical instrument maker4 ,,schmed 7#agie-ahja71 ,vienna4 ,many examples of his work were at the ,exhibition at ,brnn1 #aijf4 ,he painted on glass1 using ,indian ink decorations2 sometimes coloured foils as background4 ,,schreiner1 ,,christopher4 ,eighteenth century4 ,inventor of an instrument of the pantograph type for the reduction of silhouettes4 ,,schrott1 ,g4 ,silhouette landscapes and portraits with gold backgrounds4 ,,schubring1 ,g4 ,illustrated1 in cut silhouettes1 songs and stories4 7,see ,bibliography47 ,,sch,,ler 7#agia74 ,engraved silhouette portrait in ,annalen der neueren theologischen ,literatur in ,kirchengeschichte4 ,,sch,,tz1 ,,franz4 ,born #agea1 in ,frankfort-on-,maine4 ,landscape painter and silhouettist4 ,,schwaiger1 ,,hans 7#aijf71 ,prague4 ,cut and painted silhouettes4 ,,scott1 ,m4 7#aiaa74 ,draws silhouette portraits in ,indian ink4 #aa1 ,south ,molton ,street1 ,w4 ,,scroope1 ,g4 7#ahbd74 ,,seidl1 ,c4 ,gold background1 black silhouette1 locket size4 ,,seigneur4 ,cut silhouette of ,gibbon4 ,lent by ,miss ,adam to ,royal ,amateur ,art ,society's ,loan ,collection1 ,march1 #aijb2 also ,monsieur and ,madame de ,svery by same artist4 ,,seville1 ,w4 7#ahba71 ,lancaster4 ,advertisement3 8,at a large room adjoining the ,merchant's ,coffee ,room1 ,market ,street4 ,striking likenesses cut with scissors in a few seconds1 #a_/-40 ,,lvi4 ,,sherwell1 ,,mrs4 7ne ,,lind74 8,cut with scissors1 without any other instrument10 a series of silhouette portraits presented to the library of the ,society of ,antiquarians of ,scotland by her son1 ,lieut4-,col4 ,w4 ,stanhope ,sherwell1 in #ahgg4 ,amongst them is a bust portrait of ,george ,,iii41 ,queen ,charlotte1 ,princess ,amelia1 ,mr4 and ,mrs4 ,delaney1 and many other persons of distinction1 including the only known full-length portrait of ,thomas ,gray4 ,this is #d inches in height1 and turned right2 it represents the poet in his later years4 ,,shield4 ,signature on cut black paper silhouette of ,washington1 in ,library of ,congress1 ,washington1 ,u4,s4,a4 ,,silhouette1 ,,etienne ,,de4 ,the silhouette took its name1 but no more1 from ,louis ,,xv4's miserly finance minister1 ,etienne de ,silhouette 7#agji-agfg74 ,born at ,limoges on ,july #hth1 he received as good an education as could then be obtained in a provincial town1 studying such books on finance and administration as he could obtain4 ,after travelling in ,europe1 he settled in ,london for a year to examine our practice of public economy 7the ,progressive of our present ,county ,council had not yet been born72 he then determined that one day ,france should have the same sound financial system4 ,on returning to ,paris1 he translated some ,english works1 which made his name known1 and1 becoming attached to the household of ,marshal ,nivelles1 was appointed ,secretary to the ,duc d',orleans1 the son of the ,regent1 who in a short time made him his ,chancellor4 ,at this time costly wars were depleting the treasury of ,france1 and ministers were rapidly succeeding each other as head of the finance department of the ,state4 ,silhouette had always preached economy1 a most uncommon plank in the political platform of those days of huge personal and ,state expenditure4 ,disgusted at the extremes of the ,grand ,monarque and the ,regency1 a section of thinking men gathered round ,silhouette1 seeing in him the controller who would straighten out the finances of the ,state4 ,a party headed by the ,prince de ,conde opposed him1 on the ground that he had committed a crime by translating ,english books into ,french4 ,silhouette1 however1 possessed the powerful influence of ,madame de ,pompadour1 and was1 through her1 elected ,contrleur-,general in ,march1 #ageg4 ,it is said that he saved the treasury seventy-two millions of francs before he had been in office twenty-four hours4 8,this is the more remarkable10 navely comments the old biographer ,michaud1 8because many of his relations were amongst those whose salaries he cut down40 ,economies next came in the household expenditure of ,louis ,,xv41 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-pot4 ,silhouette next proposed a novel system of banking4 ,this led to the unpopularity which eventually brought about his downfall4 ,he was forced to resign after a term of office lasting eight months1 and on retiring he spent his time in regulating his estate on economical lines1 and in silhouette cutting at ,brie sur ,marne4 ,,sintzenich 7#aggi74 ,silhouette engraver4 ,,skoymsher4 ,eighteenth century4 ,cut paper4 ,address3 #bhj1 ,holborn4 ,,smith1 ,j41 ,edinburgh4 ,painted on plaster4 ,eighteenth century4 ,,sollbrig1 ,,johann ,,gottlieb 7#agfe-ahae74 ,miniature painter and silhouettist4 ,,speckberger4 ,silhouette portraits with gold backgrounds4 ,,spornberg1 ,w4 ,painted in black on convex glass1 ground in black1 profile1 and pattern in orange red1 elaborate borders4 ,portrait1 one of eight1 signed and dated1 in the possession of ,lady ,sackville4 8,w4 ,spornberg1 inventor1 ,no4 #e1 ,lower ,church ,street1 ,bath1 #agic40 ,portraits of the ,ansley family4 ,,stanzell4 ,silhouette portrait with gold ground4 ,,starch 7#ahjf74 ,silhouette of ,wieland1 in the ,gothe ,museum at ,weimar2 also group of a family at the tomb of a child1 at the same ,museum4 ,,steell4 ,advertisement from the ,northampton ,mercury1 ,october #hth1 #agha3--8,mr4 ,steell most respectfully solicits those inclined to honour him by sitting to be immediate1 as his stay will be so short40 8,likenesses in ,profile4 ,dec4 #bb1 #agha4 ,mr4 ,s41 having been sent for back to ,northampton to wait on some families in the neighbourhood1 and being informed that several ladies and gentlemen have applied during his absence1 takes this opportunity of acquainting the public that he purposes stopping for about a week at ,mr4 ,mawby's1 in ,mercer's ,row1 where he hopes those who are inclined to honour him will apply40 ,,str,,hl1 ,,karl ,,fr,,hlich4 ,modern ,german silhouettist4 ,,tapp1 ,f4 ,frontispiece for a cookery book4 ,silhouettes cut out of black paper1 red background4 ,,terstan1 ,a4 ,t4 ,,xviii4 ,,thomas1 #hc1 ,long ,acre4 8,undertakes to supply silhouette portraits at #as4 each4 ,mr4 ,t4 is able to make this liberal offer in consequence of an order he has received from a gentleman of eminence to procure #ej1jjj different profiles of the human countenance for a treatise on physiology40 ,on ,indian ink portrait of an officer1 engraved mount4 ,illustration3 ,painted silhouette1 with gold pencilling4 ,in the possession of ,lady ,sackville1 at ,knole4 ,painted silhouette1 with gold pencilling and blue stock tie1 at ,knole4 ,painted silhouette1 with gold pencilling1 at ,knole4 ,silhouette1 painted on card4 ,in the possession of the ,author4 ,the ,,countess ,,of ,,blessington1 #ahbi4 ,by ,foster1 at ,knole4 ,,thomason1 ,i4 7#agic71 ,dublin4 ,itinerated in ,cheshire1 ,lancashire1 and ,staffordshire4 ,painted on glass and plaster1 black faces1 white relief4 ,his advertisement says3--8,silhouettes in miniature profile taken by ,thomason on a peculiar plan and reduced to any size4 ,silhouettes set in rings1 lockets1 and pins1 and he keeps original shades2 can supply those he has once taken with any number of copies1 reduces old ones1 and dresses them in present taste4 ,address3 #be1 ,great ,george ,street1 ,dublin40 ,also advertisement in ,dublin ,chronicle1 ,may1 #agib4 ,address3 ,no4 #cj1 ,capel ,street1 ,dublin4 ,,thonard4 ,cut silhouette groups and family pieces between #agij and #ahbj4 ,sometimes worked in dark olive green with touches of gold4 ,,townshend1 ,,barbara ,,anne4 ,cut groups of figures in black paper4 ,a collection of these was published in paper covers by ,ed4 ,orms1 ,bond ,street1 ,london1 in #ahjh4 ,price1 #es4 the book1 or #as4 each print4 ,,turner4 ,published a silhouette of 8,queen ,charlotte of ,great ,britain10 #aghb1 opposite the ,church1 ,snow ,hill4 ,in the ,national ,portrait ,gallery4 ,,tussaud1 ,j4 ,p4 7#ahbc71 son of the great ,madame ,tussaud4 8,respectfuly informs the nobility1 gentry1 and the public in general that he has a machine by which he takes profile likenesses4 ,price #bs4 to #gs41 according to style4 ,biographical and descriptive sketches of the whole-length composition figures and other works of art forming the unrivalled collection of ,madame ,tussaud1 etc40 ,,unger1 ,berlin4 ,reduplicated silhouettes by means of printing press1 mentioned in 8,bon ,magic10 one of the early books of instruction in silhouette-making4 7,see ,bibliography47 ,,urich1 ,r4 ,signature on engraved mount4 ,,valentini 7#agei-ahbj74 ,silhouettist and painter4 ,worked at ,turin1 ,milan1 ,florence1 and ,berlin4 ,originally a bookseller in ,frankfort4 ,practised drawing and silhouetting in his leisure hours4 ,one of his portraits gained sufficient notoriety for him to throw up his book-selling and go to ,italy to study4 ,,valloton4 ,obtained silhouette effects by woodcuts and lithographs in two shades4 ,,videki1 ,,ludwig1 ,salzburg4 ,v41 ,l4 ,signature on white heads on dark blue ground4 ,hair1 eyes1 and shadows indicated by light grey shading in imitation of cameos4 ,,wagner1 ,,gebhardt4 ,silhouette post-card caricatures4 ,,walch1 ,,jean ,,baptist ,,nicolas 7#aggc74 ,silhouette of ,mozart and his sister at the piano1 as children4 ,cut out of small pieces of silk of various colours gummed on card4 ,,walker1 ,j41 ,trowbridge4 ,eighteenth century4 ,painted on card1 white relief4 ,,waller1 ,h4 ,j4 ,,wallson4 ,signature on silhouettes owned by ,mrs4 ,young4 ,,wass1 ,,john1 ,cornhill1 ,london1 ,feb41 #ahbc4 ,on portrait of a lady wearing a frilled lace collar and high comb1 in the possession of ,mr4 ,alfred ,doxey4 ,,watkins4 ,cut paper1 signature on portrait of ,nelson's mother2 also on portrait of ,nicholas ,brooking family1 taken in ,devon4 ,painted card1 white relief4 ,,liv4 ,,wellington1 ,w4 ,painted on card in reddish brown4 ,also cut black and white paper with brushwork details4 ,formerly of ,trafalgar ,house4 ,,west 7#ahaa74 ,advertisement3 8,miniature and profile painter from ,london1 respectfully informs the ladies and gentlemen of ,derby and its environs that he has taken apartments at ,mr4 ,price's1 in the ,market ,place1 where he intends for a short time practising the above art1 and where specimens may be seen4 ,mr4 ,w4 requires only two short sittings1 and will reduce the likeness with the greatest exactness to within the compass of rings1 brooches1 etc4 ,miniatures from two to six guineas4 ,profiles taken correctly in one minute by means of his improved portable machine4 ,the construction and simplicity of this instrument render it one of the most ingenious inventions of the present day1 as it is impossible in its delineation to differ from the outline of the original1 even in the breadth of a hair4 ,profiles on card1 in black1 #es42 in colours1 #ajs4 #f;d42 on wood1 in colours1 #a guinea and upwards4 ,attendance from ten in the morning till five in the evening4 8 ,mr4 ,w4 never permits a painting to quit his hands but what it's a likeness40 ,,weston1 #adi1 ,bowery1 ,new ,york4 ,,wheeler 7#agii71 ,windsor4 ,,whieler1 ,j4 7#agic74 ,on portrait of coachman in elaborate livery1 probably an amateur's study4 ,in the possession of ,mr4 ,desmond ,coke4 ,,whittle1 ,e4 7#ahcj74 8,cut with scissors4 ,mr4 ,e4 ,whittle1 artist40 ,on portrait of a lady in black paper1 book in hand1 gold touches4 ,in the possession of the author4 ,,will1 ,j4 ,m4 ,german4 ,,willson1 ,,miss4 ,painting on convex glass4 ,signature at the back of portrait of ,elizabeth ,mitchell4 ,black head1 cap1 fichu1 and lace in relief4 ,owner1 the author4 ,,willton 7#ahji71 ,queen ,street1 ,portsea4 ,advertisement on an example in the ,wellesley collection4 ,,winkler1 ,,rolf1 ,mnich4 ,cut silhouettes without previous drawing4 ,,wirer4 ,see ,,kay4 ,,wish1 ,r4 ,signature on portrait of a man with ribbon1 decorated engraved mount4 ,at ,knole4 ,,wrag1 ,,mrs4 ,on silhouette of ,daniel ,wrag1 ,esq4 ,profile taken by ,mrs4 ,wrag4 ,published by ,j4 ,nichols ,co41 ,april1 #ahaf4 ,in the ,national ,portrait ,gallery4 ,,wright1 ,,patience4 ,came to ,london from ,america4 ,cut silhouettes and modelled wax figures4 ,also cut flowers and animals4 ,,young1 ,g4 ,m4 7#ahcf74 ,on a full-length portrait in dark olive green1 white relief1 cap1 etc4 ,owner3 ,mrs4 ,nickson4 ,,zimmerhakel 7#ahaj74 ,painted on glass4 7,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 included47 ,,bibliography4 ,in compiling a list of books and essays in which the art of taking black shades is described1 or in which silhouettes are used as illustrations1 it is impossible to enumerate all the fragmentary notes which have appeared from time to time in modern magazines and newspapers4 ,amongst such1 we have mentioned those which will best repay the attention of the student4 8,heft mit heiteren ,schnitten weiss auf ,schwarz40 #afec4 ,swift's 8,miscellanies40 ,edition #agde4 ,vol4 ,x4 8,physiognomische ,fragmente zur ,befrderung der ,menschenkenntnis und der ,menschenliebe40 ,lavater4 #agge4 8,anweisung zum ,silhouettenzeichnen und zur ,kunst1 sie zu ,verjngen1 nebst einer ,einleitung von ihrem physiognomischen ,nutzen40 #aggi4 ,anonym4 ,rmhild und ,leipzig4 8,operetten10 von ,c4 ,f4 ,bretzner4 #aggg4 ,c4 ,f4 ,schneider1 ,leipzig4 8,schattenrisse von hohen ,herrschaften40 #aggi4 8,ausfhrliche ,abhandlung ber die ,silhouetten und deren ,zeichnung1 ,verjngung und ,vervielfltigung40 ,von dem ungenannt bleibenden ,verfasser des 8physiognomischen ,kabinets40 ,philip ,heinrich ,perrenon4 #aghj4 ,frankfurt und ,leipzig4 8,beschreibung der ,boumagie oder der ,kunst1 ,schattenrisse auf eine leichte und sichere ,art zu vervielfltigen40 ,anonym4 #aghj4 ,perrenon1 ,mnster und ,hamm4 8,kalender fr das ,jahr #aghf40 ,mit #ec ,schattenbildern4 ,herausgegeben von ,heronim1 ,lschenkohl4 8,collection de ,cent ,silhouettes de ,personnes illustres et clbres ,dessines d'aprs les originaux par ,anthing40 ,a4 ,gotha4 #agia4 8,annalen der neueren theologischen ,literatur und ,kirchengeschichte40 ,silhouette ,bildnisse #agic1 #agie1 #agif4 ,rinteln1 ,leipzig1 ,frankfurt4 8,die neuen theologischen ,annalen40 ,marburg1 #agii4 ,mit gestochenen ,schattenrissen nach hervorragenden ,geistlichen4 8,essays on ,physiognomy calculated to extend the ,knowledge and ,love of ,mankind10 written by the ,rev4 ,john ,caspar ,lavater1 ,citizen of ,zrich4 ,translated from the last ,paris edition by the ,rev4 ,c4 ,moore1 ,,ll4,d41 ,f4,r4,s4 ,illustrated by several hundred engravings1 accurately copied from the originals4 ,london1 #agic4 8,hints designed to promote ,beneficence10 by ,john ,coakley ,lettsom1 ,m4,a41 ,,ll4,d41 etc4 ,published by ,j4 ,mawman1 ,london1 #ahja4 8,erster ,teil ,meusel's ,lexicon40 #aghi4 ,zweite ,auflage desselben #ahjh-i4 8,portrait ,gallery of ,distinguished ,american ,citizens1 with ,biographical ,sketches10 by ,william ,h4 ,brown1 and facsimiles of original letters4 ,hartford4 ,published by ,e4 ,b4 and ,e4 ,c4 ,kellogg4 #ahde4 8,sermons par ,m4 ,j4 ,g4 ,ch4 de la ,saussaige la ,haige et ,amsterdam chez les frres vaullerf ,imprimeurs ,libraires40 #ahag4 8,treatise on ,silhouettes10 by ,monsieur ,edouart1 ,silhouettist to the ,royal ,family1 and patronised by ,his ,royal ,highness the late ,duke of ,gloucester4 ,published by ,longmans ,co41 ,paternoster ,row2 ,j4 ,bolster1 ,patrick ,street1 ,cork2 and ,fraser1 ,edinburgh4 #ahce4 8,memoir of the late ,hannah ,kilham10 chiefly compiled from her journal1 and edited by her daughter-in-law1 ,sarah ,beller1 of ,st4 ,petersburg4 ,published by ,darton ,harvey1 ,london4 #ahcg4 8,profiles of ,warrington ,worthies10 collected and arranged by ,james ,kendrick1 ,m4,d41 ,warrington4 ,longman1 ,brown1 ,green1 and ,longman1 ,london2 ,haddock ,son1 ,warrington4 #ahed4 8,der ,gestiefelte ,kater40 #ahgf-gg4 ,bilder von ,hermine ,gabillon4 8,till ,eulenspiegel40 ,moser1 ,bilderbuch4 ,wien4 8,l'enfant ,prodigue1 ,scnes ,bibliques en #g ,tableaux40 ,von ,henri ,rivire4 ,paris3 ,enoch ,co41 #ahie4 8,la ,marche l'toile40 ,von ,henri ,rivire4 8,kochbuch40 #ahdj4 8,liederbcher mit ,silhouetten40 ,von ,gertrud ,schubring4 8,frauenzimmer-,almanache und ,damen-,konversationslexicon10 #ahaf1 #ahag1 #ahai1 #ahbj1 #ahca1 #ahdf4 8,beschreibung eines sehr einfachen zur ,verjngung der ,schattenrisse dienenden ,storchschnabels1 den sich jeder ,liebhaber selbst verfertigen kann40 ,anonym4 ,von dem ,verfasser der 8,boumagie40 8,ins ,mrchenland40 #ab geschnittene ,silhouetten zu ,grimm's 8,mrchen40 ,von ,fanny and ,cecilie ,henzel4 ,berlin3 ,b4 ,behr 7,e4 ,bock74 8,der ,schwarze ,peter40 ,von ,p4 ,konewka4 ,stuttgart3 ,j4 ,hoffmann4 8,osterspaziergang40 ,von ,p4 ,konewka4 ,mnchen4 ,g4 ,d4 ,w4 ,callwey4 8,falstaff und seine ,gesellen40 ,von ,p4 ,konewka4 ,text von ,hermann ,kurz4 ,strassburg3 ,moritz ,schauenburg4 8,ein ,sommernachtstraum von ,w4 ,shakespeare40 ,mit #bd ,schattenrissen4 ,heidelberg3 ,fr4 ,bassermann1 #ahfh4 ,von ,p4 ,konewka1 in ,holz geschnitten von ,a4 ,vogel4 8,schwarze ,kunst40 #ab ,silhouetten von ,p4 ,konewka4 ,mit einem ,titelblatt von ,h4 ,braun4 ,holzschnitte aus der xylographischen ,anstalt von ,w4 ,hecht in ,mnchen und ,phototypien von ,angerer and ,gschl in ,wien4 ,verlag ,l4 ,unflad4 #ahhj4 8,lose ,bltter40 ,fnf ,silhouetten1 erfunden von ,paul ,konewka4 ,berlin3 ,paul ,bette4 8,allerlei ,tiergeschichten40 ,von4 ,p4 ,konewka4 ,text von ,j4 ,trojan4 ,strassburg3 ,m4 ,schauenburg4 8,zerstreute ,bltter40 ,von ,p4 ,konewka4 ,gesammelt und unter ,mitwirkung von ,f4 ,freiligrath1 ,h4 ,kurz1 ,h4 ,leuthold1 ,h4 ,lingg1 ,h4 ,noe4 ,herausgegeben von ,fritz ,keppler4 ,mnchen3 ,g4 ,beck4 8,schattenbilder40 7,zweiter ,teil des ,schwarzen ,peters47 ,p4 ,konewka4 ,mit ,reimen von ,f4 ,trojan4 ,stuttgart3 ,j4 ,hoffmann4 8,komm' ,mit60 ,ein schwarz frhliches ,bilderbuch von ,frida ,schanz4 ,bilder von ,e4 ,mauderer4 ,stuttgart3 ,levy ,mller4 ,hofbuchhandling1 ,gerold ,ko41 ,wien4 8,schattenspiel40 ,von ,franz ,pocci4 ,mnchen4 8,zweites ,schattenspiel40 ,franz ,pocci4 8,kinderspiele1 ,puppenspiele1 ,volksschauspiele40 ,franz ,pocci4 8,geschichten und ,lieder40 ,mit ,bildern1 als ,fortsetzung des ,fest ,kalenders4 ,von ,franz ,pocci und ,anderen4 ,zweiter ,band4 #ahdc4 8,sammelband von ,runge's ,werken40 ,philip ,otto ,runge4 ,pflanzenstudien mit ,schere und ,papier4 ,herausgegeben von ,alfred ,lichtwark4 ,hamburg1 #ahge4 ,gesellschaft ,hamburgischer ,kunst freunde4 ,jahrbuch1 #aijd4 ,a4 ,lichtwark4 ,neue ,silhouetten von ,p4 ,o4 ,runge4 ,theaterstck3 ,die ,jger1 in #e ,aufzgen4 8,das verunglckte ,stndchen40 ,chimt a ,vogerl gefloge1 ,zerstreute ,bltter und ,biographische ,skizze von ,keppler4 ,die ,bilder von ,paul ,konewka4 ,obernetter1 ,mnchen4 8,martin ,spitzbauch40 ,ein satyrischcomischer ,roman in ,versen1 im ,geschmacke der ,jobsiade1 herausgegeben von ,g ,l ,mit dem ,portrt des ,verfassers1 dem satyrischen ,portrt des ,martin ,spitzbauch und einigen ,kupfern zur ,versinnlichung versehen4 ,wrzburg1 #ahif4 ,auf ,kosten des ,verfassers4 8,saute-au-,ciel40 ,der unglckliche ,franzose oder der deutschen ,freiheit ,himmelfahrt4 ,ein ,schattenspiel mit ,bildern4 ,manuscript #ahaf4 ,herausgegeben von ,chr4 ,brentano4 ,aschaffenburg1 #ahej4 ,mit #h ,schattenrissen4 8,l',auge ,conducteur dans les prires et exercises de piet40 ,franzsisches ,gebetbuch1 ,wien4 ,mit ,bildnissen #ahcb1 #ahcd1 and #ahcg4 8,es regnet1 es regnet60 ,kinderbilder und ,kinderreime von ,nelly ,bodenheim4 ,steglitz1 ,berlin4 ,bei ,enno1 ,quehl4 8,silhouette ,sketches and ,portraits10 by ,harry ,edwin4 #ahhg4 8,the ,revival of the ,silhouette40 ,article in 8,the ,bookman10 published by ,dodd1 ,mead ,co41 ,new ,york1 #aiaj4 ,written by ,gardner ,teall4 8,die ,silhouette40 ,maehrisches ,gewerbe ,museum ,mitteilungen4 ,director1 ,julius ,leisching4 8,the ,art of cutting out ,designs in ,black ,paper40 ,barbara and ,ann ,townshend4 #ahae4 8,histoire des ,marionnettes40 ,charles ,maguire4 8,the ,history of ,java40 ,thomas ,stamford ,raffles4 8,a ,newly-discovered ,portrait of ,thomas ,gray1 the ,poet40 8,the ,athenum10 ,february #bdth1 #ahid4 8,an ,undescribed ,silhouette ,portrait of ,thomas ,gray10 by ,j4 ,m4 ,gray1 ,f4,s4,a41 ,scot4 8,the ,athenum10 ,april #adth1 #ahid4 8,geschichte des ,schattentheaters40 #aijg4 ,by ,georg ,jacob of ,erlangen4 8,islamische ,schattenspiel-,figuren aus ,egypten40 ,by ,dr4 ,paul ,kahle4 ,qu ,die ,islam4 ,vol4 ,i4 in #aiaj4 ,illustration3 ,i4 ,advertisement of ,silhouettist1 early nineteenth century4 ,in the possession of ,lady ,sackville1 ,knole4 ,illustration3 ,,ii4 ,the ,origin of a ,painter1 from a sketch by ,wm4 ,mulready1 ,r4,a41 in the possession of ,w4 ,mulready1 ,esq4 ,from a lithograph published #ahbh4 ,illustration3 ,,iii4 ,greek ,wine jugs1 ornamented with black profile pictures1 in the ,british ,museum4 #a4--,quadriga1 #h inches4 #b4--,the ,forge of ,hephoisso1 ,canino ,collection1 #aj inches4 #c4--,ship on the wave from ,vulci1 #i inches4 ,illustration3 ,,iv4 #a4--,,marie ,,ther,,se ,,charlotte of ,france1 ,duchesse d',angoulme1 the ,dauphine4 #b4--;,,charles ,x41 crowned ,king of ,france1 #ahbe4 #c4--,,louis ,,antoine1 ,duc d',angoulme1 the ,dauphin4 ,these portraits1 together with those of all the court entourage1 were cut by ,edouart during the exile of the ,king at ,holyrood ,palace1 ,edinburgh1 in #ahca4 ,in the possession of the ,author4 #a4--;,,edmund ,,law ,,rogers4 #b4--,,lloyd ,n4 ,,rogers4 #c4--;,,eleanor ,a4 ,,rogers4 7,great-grandchildren of ,martha ,washington1 wife of first ,president of ,u4,s4,a4 ,taken at ,saratoga ,springs1 by ,edouart1 in #ahdj47 #d4--;,a4 ,,boisaubin4 ,taken at ,morristown1 ,new ,jersey4 #e4--,,sir ,,walter ,,scott4 ,taken in #ahca1 at ,edinburgh4 ,recently purchased by the ,national ,portrait ,gallery4 ,illustration3 ,v4 #a4--,,thomas ,,kemphall4 #b4--;,,christopher ,,morgan4 #c4--;,h4 ,,van ,,rensellaer4 #d4 ,,millard ,,fillmore1 ,president4 #e4--;,d4 ,d4 ,,barnard4 #f4--;,,daniel ,,webster4 #g4--;,,henry ,,clay4 #h4--;,,franklin ,,pierce1 one of the seven ,presidents of the ,u4,s4,a4 in ,edouart's ,american ,folios4 #i4--;,,henry ,,hubbard4 ,these portraits were all cut1 named1 and dated by ,august ,edouart during his tour in the ,united ,states1 #ahci-ahdi4 ,they form part of the most remarkable social-pictorial record of any nation4 ,illustration3 ,,vi4 ,,the ,,bishop ,,of ,,bangor4 ,the first full-length portrait taken by ,edouart1 about #ahbc4 ,portrait of ,,august ,,edouart1 by himself4 ,he is seated in his library1 where some of the folio volumes are displayed which are now in the possession of the ,author4 ,illustration3 ,,vii4 ,silhouette cut in white paper4 ,portrait in ,indian ink1 probably ,german1 in the possession of the ,author4 ,formerly in the ,montague ,guest ,collection4 ,the famous tragedienne1 ,,mrs4 ,,siddons4 ,,tyrone ,,power in the character of ,d4 ,o',toole1 and in ordinary dress4 ,by ,august ,edouart4 ,illustration3 ,,viii4 ,portrait of ,,john ,,field1 by himself4 ,painted on plaster1 pencilled with gold1 and signed4 ,,mrs4 ,,john ,,field1 wife of the silhouettist4 ,painted on plaster1 pencilled with gold1 and signed4 ,cut portrait of ,,mary1 ,,countess ,,of ,,orford1 grandmother of ,lady ,dorothy ,nevill1 in whose possession the silhouette now is4 ,portrait of ,,miss ,,field4 ,painted on plaster1 pencilled with gold1 by ,john ,field4 ,portrait of ,,miss ,,field4 ,painted on plaster1 pencilled with gold1 by ,john ,field4 ,the portraits of the ,field family are in the possession of ,mr4 ,j4 ,a4 ,field1 great-grandson of the silhouettist4 ,illustration3 ,,ix4 ,portrait painted on plaster4 ,signed1 ,miers and ,field4 ,frill brooch1 mounted in gold1 painted on ivory4 ,signed portrait by ,miers1 painted on plaster4 ,portrait on plaster1 elaborately pencilled with gold4 ,unsigned4 ,probably by ,field4 ,portrait on plaster4 ,in the possession of ,mr4 ,j4 ,a4 ,field4 ,signed portrait by ,miers1 in brown and gold1 on plaster1 mounted in a turned wooden box4 ,portrait on plaster4 ,in the possession of ,mr4 ,j4 ,a4 ,field4 ,the portraits on this page are in the possession of the ,author1 with the exceptions stated4 ,illustration3 ,x4 ,coloured silhouette portrait of a lady in a gown of apple green2 cap and kerchief buff colour2 about #aghj4 ,signed portrait by ,miers1 mounted in gold4 ,signed portrait by ,miers1 mounted in gold4 ,portrait of a man painted on plaster1 probably by ,miers2 at the back is the trade label of ,miers ,field4 ,in the possession of ,mrs4 ,head1 together with the three above4 ,painted on card by ,mrs4 ,edward ,beetham2 on the back is the trade label and date1 #aghe4 ,in the possession of ,dr4 ,beetham4 ,illustration3 ,,xi4 ,signed portrait by ,miers1 in gold-mounted pendant4 ,boy with bow1 painted on glass1 dated #agih4 ,frenchman1 in gold touched uniform1 mounted with pearls as a pendant4 ,painted on convex glass4 ,portrait of a man painted on card1 signed ,charles4 ,owner3 ,mr4 ,j4 ,a4 ,field4 ,painted on card by ,mrs4 ,beetham4 ,all on this page in the possession of ,mrs4 ,head1 with the exception stated4 ,illustration3 ,,xii4 ,silhouette portraits in caricature1 probably ,german1 first half of the nineteenth century4 ,in the possession of ,mrs4 ,f4 ,n4 ,jackson4 ,illustration3 ,,xiii4 ,,elisabeth ,,von ,,waldon4 ,,george ,,iii4 ,portrait of ,,george ,,iii41 painted in ,indian ink1 by his daughter1 ,princess ,elizabeth4 ,in the possession of ,lady ,dorothy ,nevill4 ,,mary ,,lady ,,clerk ,,of ,,penicuik4 ,in the possession of ,lord ,montagu of ,beaulieu4 ,portrait of ,,queen ,,charlotte1 painted by ,princess ,elizabeth4 ,in the possession of ,lady ,dorothy ,nevill4 ,illustration3 ,,xiv4 ,,duke ,,of ,,wellington1 life size4 ,in the possession of the ,author4 ,,shelley4 ,in the possession of ,mr4 ,desmond ,coke4 ,a ,painful ,subject1 by ,konewka1 the ,german silhouettist4 ,illustration3 ,,xv4 ,portrait1 by ,charles1 painted on card4 ,portrait1 by ,charles1 painted on card4 ,portrait of a ,,cambridge ,,don1 cut by ,august ,edouart4 ,portrait of ,,mickiewicz1 sketched by ,phil ,may in #ahhh4 ,all these portraits are in the possession of ,mr4 ,desmond ,coke4 ,illustration3 ,,xvi4 ,,lieut4 ,,blaythwaite1 #ebnd ,regiment4 ,,unknown4 ,,lord ,,corry4 ,,unknown4 ,,unknown4 ,the portraits are in the possession of ,francis ,wellesley1 ,esq4 ,illustration3 ,,xvii4 ,rare dressed picture in silhouette4 ,one of four owned by ,dr4 ,beetham1 probably ,german4 ,dated #agde4 ,silhouette drawn in ,indian ink1 late eighteenth century4 ,in the possession of ,mr4 ,desmond ,coke4 ,black cutting1 from a single sheet of paper4 ,in the possession of ,mr4 ,desmond ,coke4 ,china plate with black profile picture1 red border1 with ,greek pattern in black4 ,one of a pair in the possession of ,mr4 ,desmond ,coke4 ,illustration3 ,,xviii4 ,portraits in black and colour4 ,signed ,a4 ,t4 ,terstan fecit1 #aghg1 at ,knole4 ,illustration3 ,,xix4 ,portrait of unknown man by ,charles1 painted on card4 ,in the possession of ,e4 ,jackson4 ,,mrs4 ,,pringle1 of ,forwoodlea1 ne ,tod1 of ,dryburgh ,abbey4 ,by ,j4 ,miers1 on plaster4 ,at the back is his early ,leeds label4 ,in the possession of ,captain ,pringle4 ,silhouette in printed mount1 painted pink ribbon4 ,in the possession of ,lady ,sackville1 ,knole4 ,printed silhouette portrait of ,,captain ,,paul ,,cuffee4 ,published by ,darton1 ,henry ,barton4 ,nov4 #ast1 #ahah4 ,illustration3 ,,xx4 ,,maria ,,marchioness ,,of ,,ailesbury4 8,,perdita0 ,,robinson4 ,,mr4 ,,hope4 ,the portraits on this page are in the possession of ,francis ,wellesley1 ,esq4 ,illustration3 ,,xxi4 ,coffee cup in ,svres china in white and gold4 ,silhouette portrait of ,mirabeau4 ,in the ,muse ,carnavalet1 ,paris4 ,portrait painted on glass with gold ground4 ,signed ,coos1 #aghi4 ,in the possession of ,lady ,sackville1 ,knole4 ,black portrait on gold ground1 silver shield and vase4 ,on the vase is written1 8,pensez moi40 ,date #ahab4 ,in the possession of ,lady ,sackville1 ,knole4 ,illustration3 ,,xxii4 ,,william ,,alexander ,,willis1 born #agii4 ,taken prisoner by ,napoleon in #ahab4 ,portrait in the possession of ,capt4 ,richard ffolliott ,willis1 his grandson4 ,portrait painted on convex glass filled with wax4 ,in the possession of ,lady ,dorothy ,nevill4 ,portrait painted on plaster1 pencilled with gold4 ,signed1 ,j4 ,field4 ,in the possession of ,a4 ,c4 ,field1 ,esq4 ,early ,french portrait1 about #aggj4 ,cut in shiny black paper1 probably by ,gonard4 ,in the possession of the ,author4 ,portrait of ,,mrs4 ,,beetham1 cut hollow in white paper1 by ,mrs4 ,opie4 ,in the possession of ,dr4 ,beetham1 descendant of the silhouettist4 ,,mr4 ,,ramsay4 ,portrait painted on glass4 ,in the possession of ,miss ,gatliff4 ,picture in white paper4 ,a scrap-book piece in the possession of ,miss de la ,chaumette4 ,illustration3 ,,xxiii4 ,painted silhouette of ,,marie ,,antoinette1 at ,knole4 ,signed portrait of ,,george ,,iv41 by ,adolph1 hair and jewels pencilled in gold4 ,in the possession of ,mrs4 ,f4 ,n4 ,jackson4 ,portrait of a man painted on plaster by ,miers1 rare early ,leeds label on back4 ,in the possession of ,mrs4 ,f4 ,n4 ,jackson4 ,painted silhouette at ,knole4 ,illustration3 ,,xxiv4 ,two of the sons and one married daughter of ,joseph and ,sarah ,lea1 with their children4 ,the room and all the furniture then in use is faithfully represented in the picture1 which was drawn by ,edouart in #ahdc4 ,joseph ,lea and his wife ,sarah1 with one son and eight unmarried daughters4 ,taken by ,august ,edouart in #ahdc1 at ,philadelphia4 ,both these portrait groups are in the possession of ,mrs4 ,hampton ,lea ,carson1 ,philadelphia1 ,pa41 ,u4,s4,a4 ,illustration3 ,,xxv4 ,the ,,cary ,,family1 of ,boston1 taken ,february #aeth1 #ahdb1 by ,august ,edouart while on a tour in the ,united ,states1 when he made many thousands of silhouette portraits4 ,height of adult figures about #h inches1 each figure being named and dated4 #a4--,,samuel ,,foote4 ,taken at ,new ,york1 ,october #cast1 #ahci4 #b4--;,,john ,,foote1 by ,edouart1 whose children's portraits are particularly happy4 #c4--;,,euphemia ,,foote4 #d4--;,j4 ,,nims1 portrait painter4 ,taken at ,new ,york1 ,may #afth1 #ahdj4 ,from the ,american collection by ,august ,edouart4 ,in the possession of the ,author4 ,illustration3 ,,xxvi4 ,portrait cut in shiny black paper1 folds of dress and trimmings are indicated by indented lines1 the chain and brooch are painted in gold4 ,in the possession of ,lady ,sackville1 ,knole4 ,,mr4 ,,john ,,cunliffe1 of ,york1 #ahjh4 ,signed1 ,lewis1 ,profilist4 #aa #i ins4 ,in the possession of ,mrs4 ,fleming4 ,the ,anglers' ,repast1 by ,william ,ward1 after ,morland1 cut out in black paper in facsimile size1 mounted on card4 ,in the possession of ,mr4 ,desmond ,coke4 ,illustration3 ,,xxvii4 ,cut silhouette1 probably by ,edouart1 of verger1 with stave of office4 ,in the possession of ,mrs4 ,head4 ,painted silhouette1 black face1 buff coat1 blue tie4 ,in the possession of ,mrs4 ,head4 ,memorial card cut out of black and coloured papers1 some gilt1 green1 blue1 and red4 ,peacocks1 grapes1 pickaxe1 shovel are shown1 besides the weeping willow and other symbols of grief4 ,the mourning widower is also depicted1 and a verse beginning 8,farewell1 dear wife1 thy loss to us is great40 ,in the possession of ,mr4 ,desmond ,coke4 ,illustration3 ,,xxviii4 ,painted silhouette figures of comic character1 probably by the same artist who decorated the screens on opposite page4 ,in the possession of ,lady ,sackville1 ,knole4 ,illustration3 ,,xxix4 ,hand-screen1 with dancing figures in silhouette1 painted on orange-yellow card4 ,in the possession of ,mr4 ,desmond ,coke4 ,hand-screen showing scene at a musical party1 painted on orange-yellow card4 ,in the possession of ,mr4 ,desmond ,coke4 ,a similar screen1 probably by the same artist1 is in the possession of ,dr4 ,beetham1 descendant of ,mrs4 ,beetham1 ,silhouettist1 of ,fleet ,street4 ,illustration3 ,,xxx4 ,,dick ,,antony4 ,,lord ,,yarborough4 ,taken at ,cowes4 ,,whiteman1 of ,southampton4 ,,lord ,,henry ,,russell4 ,,sir ,,thos4 ,,mcmahon1 ,lieut4-,governor of ,portsmouth4 ,,mr4 ,j4 ,p4 ,,dixon4 ,these brushwork portraits are in the collection of ,francis ,wellesley1 ,esq4 ,illustration3 ,,xxxi4 ,portrait by ,e4 ,haines4 ,formerly in the ,montague ,guest ,collection4 8,cut by ,e4 ,haines1 ,profilist and ,scissorgraphist40 ,,mrs4 ,,kenning4 ,painted1 with gold pencilling4 ,,mr4 ,,kenning4 ,the portraits on this page are in the possession of the ,author4 ,illustration3 ,,xxxii4 ,worcester ,vase1 #ac inches high1 with silhouette of ,george ,,iii4 and motto commemorating his ,jubilee4 ,in the possession of ,mr4 ,c4 ,f4 ,spink4 ,illustration3 ,,xxxiii4 ,worcester ,vase1 #ac inches high1 with silhouette of ,george ,,iii41 from ,knole1 ,sevenoaks4 ,illustration3 ,,xxxiv4 ,,george ,,iii4 ,cut by his daughter1 ,princess ,elizabeth4 ,now in the possession of ,lady ,dorothy ,nevill4 ,,mrs4 ,,jordan1 the ,actress4 ,in the collection of ,lady ,dorothy ,nevill4 ,illustration3 ,,xxxv4 ,indian ,ink drawing in silhouette4 ,on it is written3 8,h4,r4,h4 ,princess ,elizabeth was pleased to give me 7,lady ,bankes7 at ,windsor1 ,august #bgth1 #ahaa1 where ,i had the honour of seeing her by chance40 ,from ,,ms4 book belonging to ,lady ,dorothy ,nevill4 ,silhouettes of the ,exley family4 ,cut in black paper1 about #ahdj4 ,illustration3 ,,xxxvi4 ,,george ,,brown1 ,esq41 of ,everton1 ,liverpool4 ,painted in dark olive green touched with white4 ,unsigned4 ,a ,member of the ,withers ,family1 ,everton1 ,liverpool4 ,figures cut out in white paper by ,princess ,elizabeth4 ,the centre figure is cut so that it throws a shadow when held between a light and screen4 ,in the possession of ,lady ,dorothy ,nevill4 ,illustration3 ,,xxxvii4 ,,queen ,,victoria ,,and ,,lord ,,melbourne4 ,probably cut by ,atkinson1 of ,windsor1 pencilled with gold4 ,in the possession of ,francis ,wellesley1 ,esq4 ,,daniel ,o',,connell4 ,from ,edouart's ,treatise on ,silhouettes1 published in #ahce4 ,illustration3 ,,xxxviii4 ,painted family group1 relieved with colour4 ,in the possession of ,a4 ,w4 ,searley4 ,,mr4 and ,,mrs4 ,,fisk1 of ,oxford1 with their sons1 ,marshall and ,fred1 and daughter1 ,elizabeth ,prudence1 who married ,thomas ,jackson4 ,signed1 8,aug3 ,edouart1 fecit #ahbh40 ,in the possession of ,miss ,emily ,e4 ,jackson4 ,illustration3 ,,xxxix4 ,,the ,,burney ,,family4 ,,miss ,,harriet ,,connell ,,and ,,miss ,,fanny ,,barton4 ,the portraits on this page are in the possession of ,francis ,wellesley1 ,esq4 ,illustration3 ,,xl4 ,full-length portrait of ,,frau ,,von ,,stein4 ,from ,lavater's ,essays on ,physiognomy1 published in #agic4 ,,napoleon4 ,cut by ,edouart1 with lithograph background4 ,from the ,treatise on ,silhouettes1 published in #ahce4 ,illustration3 ,,xli4 ,portrait of a ,boy1 early nineteenth century4 ,,napoleon4 ,shade on skeleton leaf4 ,from ,the ,collector4 ,portrait by ,j4 ,gapp1 of the ,chain ,pier1 ,brighton4 ,in the possession of ,mr4 ,c4 ,l4 ,exby4 ,,napoleon4 ,cut from a single piece of black paper by unknown artist4 ,in the possession of ,mr4 ,desmond ,coke4 ,portrait of ,,napoleon on lithographed background4 ,reproduced from ,edouart's ,treatise on ,silhouettes1 published in #ahce4 ,illustration3 ,,xlii4 ,,the ,,girl ,,with ,,the ,,bonnet4 ,cut portrait with elaborate gold pencilling4 ,in the possession of ,mr4 ,desmond ,coke4 ,,portraits ,,la ,,mode4 ,french print1 showing the life-size shades in process of making4 ,illustration3 ,,xliii4 ,the late ,,lord ,,fauconburg4 ,size #ae #bj ins4 ,painted silhouette picture at ,knole4 ,coloured silhouette portrait1 early nineteenth century4 ,grey dress1 blue cap ribbons4 ,in the possession of ,mrs4 ,e4 ,n4 ,jackson4 ,,sir ,,henry ,,johnson1 ,g4,c4,b41 and ,,sir ,,john ,,johnson1 ,welsh ,baronet1 taken at ,bath in #ahbg4 ,from ,bath ,characters1 by ,august ,edouart4 ,in the possession of the ,author4 ,illustration3 ,,xliv4 ,,isabella ,,lucas1 aged #cf years1 hawker of tinware4 ,from ,edouart's ,folio of ,bath ,characters4 ,portrait of a slave1 ,g4 ,,wright1 born in ,virginia1 belonging to ,ch4 ,oxley4 ,taken by ,edouart at ,new ,orleans1 ,march #ast1 #ahdd4 ,this portrait is reproduced to show the artist's method of naming and dating all the portraits in his folios1 also his method of adding white for collar1 which is seen as a thin line when the black paper side of the portrait is shown4 ,,john ,,howard ,,payne1 author of 8,home1 ,sweet ,home10 etc4 ,washington1 ,april #bbnd1 #ahda4 ,,mr4 ,,david ,,hoffman4 ,taken at ,baltimore1 ,dec4 #ith1 #ahdj4 ,all the portraits on this page are in the possession of the ,author4 ,illustration3 ,,xlv4 ,,unknown4 ,in the possession of ,francis ,wellesley1 ,esq4 ,supposititious silhouette of ,,william ,,makepeace ,,thackeray reading4 ,,the ,,parson',s ,,lady4 ,by ,master ,hubard4 ,,mrs4 ,,delaney4 ,in the possession of ,francis ,wellesley1 ,esq4 ,portrait painted on glass1 by ,rosenberg1 of ,bath4 ,original frame4 ,in the possession of ,mr4 ,desmond ,coke4 ,illustration3 ,,xlvi4 ,,bray1 ,historian of ,surrey4 ,in the possession of ,francis ,wellesley1 ,esq4 ,,wellington4 ,cut paper portrait1 touched with gold4 ,in the possession of ,francis ,wellesley1 ,esq4 ,silhouette in black and colour4 ,in the possession of ,mrs4 ,leggett4 ,in the possession of ,francis ,wellesley1 ,esq4 ,illustration3 ,,xlvii4 ,painted silhouette4 ,in the possession of ,lady ,sackville1 ,knole4 ,fait par ,,joubert1 ,peintre en miniature4 ,at ,knole4 ,quaint portrait of a child4 ,in the possession of ,mrs4 ,head4 ,portrait of ,george ,,iii41 surrounded by minute lines of writing1 actual size4 ,in the possession of the ,author4 ,illustration3 ,,xlviii4 ,silhouette portrait group4 ,in the possession of ,mr4 ,maberly ,phillips1 ,f4,s4,a4 ,,checkmate4 ,from the ,treatise on ,silhouettes1 published in #ahce4 ,silhouettes from ,lavater's ,lecture ,,xvii41 published in #agid4 ,illustration3 ,,xlix4 ,portrait of himself1 sketched by ,phil ,may1 #ahid4 ,kennedy1 of the ,aquarium1 sketched by ,phil ,may1 #ahij4 ,glass painting by ,mrs4 ,beetham1 showing the real shadow portrait behind4 ,,george ,,iii41 his wife and family1 with footman4 ,a large1 authentic group painted on glass4 ,all these portraits are in the possession of ,mr4 ,desmond ,coke4 ,illustration3 ,l4 8,,old0 ,,crome4 ,silhouette1 by ,august ,edouart4 ,,paganini1 by ,edouart1 considered by the musician to be the only likeness ever taken which was not a caricature4 ,from the ,treatise on ,silhouettes1 published in #ahce4 ,family group in the all-in-a-row method of the ,georgian period4 ,illustration3 ,,li4 ,painted portrait with elaborate gold pencilling4 ,this remains in its original maple-wood frame4 ,in the possession of ,mrs4 ,fleming4 ,portrait of ,,lord ,,byron1 as he appeared after his daily ride at ,pisa and ,genoa4 ,cut by ,mrs4 ,leigh ,hunt1 between ,january and ,july1 #ahbb4 ,illustration3 ,,lii4 ,family portraits cut out in black paper1 mounted on white satin4 ,a wreath of forget-me-nots1 roses1 ivy1 jessamine1 and fern is embroidered1 and at intervals lovers' knots of plaited hair are tied4 ,the nine plaits of white1 grey1 brown1 auburn1 and golden hair are probably souvenirs of the portrait subjects4 ,this interesting specimen is in the possession of ,mrs4 ,wadmore4 ,illustration3 ,,liii4 ,miniature of ,,charles ,i4 cut out of thin paper4 ,in tortoiseshell frame4 ,illustration3 ,,liv4 ,,rebecca ,,town1 born #agii4 ,,capt4 ,j4 ,,smith1 of ,dartmouth4 ,,francis ,,town1 born #agif4 ,painted on card4 ,,mrs4 ,,town4 ,painted on card by ,j4 ,h4 ,gillespie4 ,in the possession of ,mrs4 ,whitmore4 ,,nicolas ,,brooking1 born #agee1 died #ahcj4 ,in the possession of ,mrs4 ,whitmore4 ,,mrs4 ,,nicolas ,,brooking1 died #ahdj4 ,painted on card by ,watkins4 ,,elizabeth ,,holdsworth ,,brooking1 died #ahbb4 ,by ,watkins4 ,,sally ,,cornish 7ne ,,brooking71 of ,scobell1 ,devon4 ,all the portraits on this page are in the possession of ,mrs4 ,young1 with the exceptions stated4 ,illustration3 ,,lv4 ,,sophia ,,magdalene ,,holworthy1 youngest daughter of ,rev4 ,s4 ,holworthy4 ,portrait cut in card4 ,f4 ,c4 ,,jones1 wife of ,bishop of ,st4 ,davids1 eldest daughter of ,s4 ,holworthy4 ,,samuel ,,holworthy1 ,,esq41 born #ageh4 ,,nicholas ,,haddock ,,holworthy1 ,r4,n41 born #agfa4 ,in the possession of ,mrs4 ,loggin1 of ,brighton4 ,,emily ,,thurston4 ,in the possession of ,mrs4 ,nicholls4 ,,rev4 ,j4 ,,dixie ,,churchill1 ,rector of ,blickley1 ,norfolk4 ,cut hollow in white paper over black4 ,in the possession of ,f4 ,m4 ,holworthy1 ,esq4 ,,edward ,,john ,,holworthy1 ,,esq41 #crd son of ,rev4 ,s4 ,holworthy1 of ,croxall1 ,derbyshire1 ,major #adth foot4 ,died #ahfd4 ,,rev4 ,w4 ,h4 ,,holworthy1 #dth son of ,captain ,matthew ,holworthy1 born #agib4 ,cut hollow in white paper4 ,illustration3 ,,lvi4 ,,handbill ,,advertisement ,,of ,,mr4 ,,seville4 ,,the ,,metternich ,,family4 ,illustration3 ,,lvii4 ,,queen ,,victoria4 ,cut paper pencilled with gold4 ,in the possession of ,francis ,wellesley1 ,esq4 ,,sports4 ,from ,edouart's ,treatise1 published in #ahce4 ,illustration3 ,,lviii4 ,jewelled silhouette clasp on a bracelet of garnets4 ,portrait by the ,russian silhouettist1 ,a4 ,rozen4 ,signed and dated #agif4 ,signed portrait by ,rayner1 #ahjh4 ,silhouette mounted as a ring4 ,it is shown twice the natural size4 ,these portraits are in the possession of ,madame ,nossof1 ,moscow4 ,illustration3 ,,lix4 ,signed portrait on glass1 by ,hbner1 dated #agig4 ,signed portrait of an ,officer1 by ,pahly4 ,in the possession of ,madame ,nossof1 ,moscow4 ,machine for drawing silhouettes life size4 ,portrait of ,,george ,,iii4 ,in the possession of ,lady ,sackville1 ,knole4 ,illustration3 ,,lx4 ,,robert ,,burns4 ,given by the poet to his friend1 ,j4 ,cotterall4 ,,washington4 ,two silhouettes by ,august ,edouart4 ,the portraits on this page are in the possession of ,francis ,wellesley1 ,esq4 ,illustration3 ,,lxi4 ,,marie ,,antoinette4 ,,duchess ,,of ,,devonshire4 ,,mrs4 ,,hope4 ,,mrs4 ,,gray4 ,the portraits on this page are in the possession of ,francis ,wellesley1 ,esq4 ,illustration3 ,,lxii4 ,silhouette drawings in ,indian ink1 by ,princess ,elizabeth1 daughter of ,george ,,iii4 ,they were given by the ,princess to ,lady ,bankes1 at ,windsor1 ,august #bgth1 #ahaa1 and are now in the possession of ,lady ,dorothy ,nevill4 ,illustration3 ,,lxiii4 ,,kingsley ,,family4 ,in the possession of ,francis ,wellesley1 ,esq4 ,silhouette of the eighteenth century1 painted on card4 ,in the possession of ,mr4 ,desmond ,coke4 ,,kingsley ,,family4 ,in the possession of ,francis ,wellesley1 ,esq4 ,,cupid4 ,cut silhouette4 ,in the possession of ,mr4 ,desmond ,coke4 ,illustration3 ,,lxiv4 ,blue ,morocco bound volume with silver clasp1 in which is preserved the silhouette work of ,princess ,elizabeth4 ,now owned by ,lady ,dorothy ,nevill4 ,group of volumes1 containing #e1egi ,english portraits taken from #ahbe to #ahci1 and #c1fbe ,american portraits taken from #ahci to #ahde1 by ,august ,edouart1 who used them for exhibition purposes1 and also as records1 as a photographer keeps his negatives4 ,illustration3 ,,lxv4 ,ann ,thos ,deverell ,caroline ,susan ,elizabeth ,hester ,,william ,,jorden #aghc ,portraits of the ,deverell family1 painted by ,jorden on glass4 ,formerly in the ,montague ,guest collection1 now in the possession of the ,author4 ,illustration3 ,,lxvi4 ,portrait painted on convex glass1 so that the shadow picture is seen on the flat card behind4 ,shadow portrait of a lady delicately painted on glass4 ,the tortoiseshell comb and gold ear-ring are in colour4 ,shadow picture painted on convex glass4 ,all the portraits on this page are in the possession of the ,author4 ,illustration3 ,,lxvii4 ,saucer with blue fish-mark1 with x in gold4 ,portrait of ,dant4 ,basin and cover in white china with gold ornaments and black silhouette portraits4 ,tea-cup of ,frstenberg china1 in white and gold1 with black silhouette portrait1 #c inches high4 ,in the possession of the ,author4 ,tea-cup with gold floral ornament and black silhouette4 ,coffee-cup with gold and coloured garlands1 black silhouette4 ,this porcelain1 with the exception stated1 is at ,knole4 ,illustration3 ,,lxviii4 ,,members ,,of ,,the ,,binns ,,family4 ,,family ,,group4 ,illustration3 ,,lxix4 ,signed portrait of ,,james ,,sword1 ,,esq41 of ,armfield1 ,may #beth1 #ahcb1 in original bird's-eye maple frame provided by the artist4 ,this portrait was identified through the discovery of its duplicate1 cut at the same time1 named1 dated1 and pasted in ,edouart's reference folios4 ,illustration3 ,,lxx4 ,portrait of the actor ,onoye ,takanojo with one of his poems1 also a silhouette portrait of the same actor4 ,one of a series1 8,mako no tsuki ,hana no ,sugata-ye40 78,a flower form picture 7before7 a real moon407 ,signed1 ,ichiyeisai ,yoshiiku1 ,shasei4 ,ichiyeisai ,yoshiiku1 facsimile4 ,dated1 ,ausei ,hare #d #dth month1 #ahee4 ,illustration3 ,,lxxi4 ,painting on ivory1 unrelieved black4 ,gold mounted brooch1 signed ,miers4 ,the portrait is pencilled in gold4 ,painting on ivory4 ,drapery border on glass4 ,patch-box of ivory mounted in gold4 ,portrait signed ,miers4 ,blue enamelled lid4 ,portrait1 cut hollow in white paper laid over black satin1 brushwork added4 ,portrait painted on blue tinted ivory mounted in gold4 ,painted on glass with composition backing4 ,the other side of the pendant has a brown silhouette on card1 by ,foster4 ,all the objects on this page are in the possession of the ,author4 ,illustration3 ,,lxxii4 ,a4 ,,rozen1 dated #agif4 ,portrait of the ,,emperor ,,paul ,,of ,,russia as a child4 ,signed ,losse4 ,signed picture by ,anthing1 the finest silhouettist of ,gothe's time4 ,the central figure is that of ,gustav ,adolph4 ,all the silhouettes on this page are in the possession of ,madame ,nossof1 ,moscow4 ,,index 8sop's ,fables01 #fe ,agathaugdus1 ,f41 #dh ,amateur ,art ,exhibition1 #fc ,america1 #fi ,angoulme1 ,duc d'1 #fc -- ,duchesse d'1 #fc ,ansley ,family1 #cb ,appleton1 #ga ,atkinson1 #eg ,bangor1 ,bishop of1 #fa1 #fe ,bankes1 ,lady1 #gf ,baptism of ,christ1 #dh ,bath1 #fi ,beck1 #cd ,beechey1 #gd ,beetham1 ,dr41 #cd1 #ci -- ,mrs41 #ad1 #ae1 #bb1 #bc1 #bg1 #cd1 #ci1 #ei ,belcredi ,family1 #cc ,berlin ,museum1 #cb ,berri1 ,duchesse de1 #fc ,blenkinsopp1 #de ,bordeaux1 ,duke de1 #fc ,boston1 #gj ,brighton1 #eg ,bristol1 #hb -- ,bishop of1 #fe ,brnn ,exhibition1 #cc1 #dh ,brunyn1 le1 #ag ,bryce1 #ga ,buck1 #gc ,bunting1 ,j41 #fe ,burney1 ,fanny1 #g1 #gd ,burns1 #ab ,byron1 #af ,cambridge 7,u4,s4,a471 #ga ,carnavalet ,museum1 #ha ,caroline1 ,queen1 #be ,carter1 ,mrs41 #hj ,cary1 ,g41 #fi ,cavallo1 ,t41 #hj ,chalmers1 ,dr41 #fe ,charles1 ,a41 #g1 #ad1 #ae1 #bd ,charles ,i41 #di ,charles ,x4 of ,france1 #fb-fd ,charlestown1 #ga ,charlotte1 ,queen1 #e1 #be1 #fj1 #gd1 #ge ,chauveau1 #ag ,cheltenham1 #fa1 #fb1 #ff1 #fi ,chotek1 ,countess1 #cc ,cleanthes of ,corinth1 #c ,cooper1 ,sir ,a41 #fe ,copenhagen ,porcelain1 #hb ,cork1 #fe ,cosway1 #ba ,crates of ,sicyon1 #c ,creevy1 #gf ,daguerre1 #ad 8,dedication to the ,state ,deputation of ,province of ,nymwegen01 #dg ,delany1 ,mrs41 #ge 8,description of ,bon ,magic01 #db 8,detailed ,treatise on ,silhouettes1 ,a01 #ci ,deverells1 ,the1 #bd ,dibutades1 #d 8,directions for ,silhouette drawing01 #ag ,diwali1 ,festival of1 #hf ,d',israeli1 #i ,dublin1 #fd -- ,archbishop of1 #fe ,edinburgh1 #fb1 #fe ,edouart1 #ae1 #ah-bj1 #cj1 #ca1 #cd1 #di-ec1 #ef1 #ei-gb ,edridge1 #ge ,egyptian shadow plays1 #he ,elizabeth1 ,princess1 #e1 #g1 #ge-gg ,eton ,school1 #gd ,etruscan potters1 #c 8,falstaff and ,his ,companions01 #ed ,faust1 #ed ,fermoy1 #fe ,field1 ,e4 ,j41 #bb -- ,j41 #ad1 #ah1 #ba1 #bb1 #bg1 #ei -- ,sophie1 #bb ,fiere1 ,mrs41 #hj ,figdor1 ,dr41 #ca1 #ha ,fitz,henry1 #ha1 #hd ,flaxman1 #ac ,focart1 l',abb1 #fd ,forberger1 #be ,foster1 ,e4 ,w41 #df ,frederick the ,great1 #hc ,friedrich1 ,wilhelm ,,ii41 #ah ,frhlich1 ,k41 #ed ,frstenberg1 ,landgravine1 #cd ,gainsborough1 #gd ,gapp1 ,j41 #ef1 #eg1 #gd ,george ,,iii41 #i1 #be1 #eg1 #gd1 #gg1 #hj1 #hb ,george ,,iv41 #be1 #hb ,gibb1 #ae -- and ,charles1 #ai ,glasgow ,commercial ,bank1 #fd -- ,orphan ,asylum1 #fd ,glomi1 #hc1 #hd ,gloucester1 ,duke of1 #fe ,gchhausen1 von1 #aj1 #aa ,gothe1 #f1 #i1 #aj1 #ch1 #ee1 #gi ,gonard1 #f1 #ad1 #bh1 #bi1 #hf ,gordon1 ,dr41 #fe ,grafton1 ,duchess of1 #g ,graz ,museum1 #be 8,grievances and ,miseries of ,artists01 #ei ,guest1 ,montague1 #f1 #bd1 #bf1 #eg ,guines1 #gb ,haines1 #ae1 #ei ,harding1 ,e41 #ge ,hardy1 ,e41 #ge ,harrington1 ,sarah1 #dc ,harrison1 #gj1 #ga ,harvard1 #ga ,hastings1 ,warren1 #hj ,head1 ,miss1 #fc ,heinemann1 ,dr4 ,karl1 #aj ,hems1 ,h41 #df ,henry ,v41 #fc ,herbert of ,geneva1 #g ,herger1 ,e41 #cc ,hesse ,homburg1 #ge1 #gf ,heyse1 ,p41 #ed ,hill1 ,rowland1 #fe ,hhenzollern ,museum1 #hc ,holyrood1 #ef1 #fb-fd ,hoppner1 #gd ,howie1 #ab ,hubard1 #ae1 #ee-eg -- ,gallery1 ,new ,york1 #ef ,hulbert1 ,j41 #fi ,hunt1 ,mrs4 ,leigh1 #af ,hutchings1 ,miss ,c4 ,j41 #fe ,irving1 ,edward1 #fe ,jorden1 #bd ,joubert1 #bh ,kahle1 ,dr41 #he ,kndler1 #ai ,kean1 #fe ,kendrick1 #ah ,kilham1 #ah ,king1 ,e41 #hj -- ,mrs41 #hj ,kinsale1 #fe ,klenk1 ,anna1 #ed ,knole1 #be1 #hb ,khl1 ,l41 #ah ,konewka1 ,p41 #ec1 #ed ,latil1 ,cardinal de1 #fc ,lavater1 #f1 #aj1 #ae1 #ch1 #ci1 #dj1 #fb1 #gi ,le ,brunyn1 #d ,leisching1 ,j41 #da1 #ee ,lettsom1 #ah ,lichtwark1 #ee ,limerick1 #fe ,linz1 ,francesco ,carolinum ,museum1 #cb1 #dg ,liston1 #fe ,longfellow1 #ga ,louise ,marie1 ,mdlle41 #fc ,lukis1 ,f41 #gb ,lytton1 ,bulwer1 #g ,macomb1 #ga ,maehren ,exhibition1 #bf ,magendie1 ,dr41 #fa ,mallow1 #fe ,mamelukes1 #hf ,mann1 ,sir ,horace1 #g 8,march to the ,star01 #hf ,marie ,theresa1 ,empress1 #ah ,menzel1 #ec 8,midsummer ,night's ,dream01 #ed ,miers1 ,j41 #ab1 #ad1 #ah1 #ba1 #bb1 #bf1 #bg1 #ei ,miers and ,field1 #ah1 #ai1 #ba ,mildner1 #hd ,mirabeau1 #ha ,monbijou ,castle1 #hc ,more1 ,hannah1 #fe ,mulready1 #d ,napoleon1 #f ,naumann1 ,prof41 #ca ,nevill1 ,lady ,dorothy1 #dh1 #gf ,new ,orleans1 #ga ,new ,york1 #gj1 #ga ,norwich 7,u4,s4,a471 #ga -- ,bishop of1 #fe ,nuremberg work1 #hd 8,oneida01 #gb ,opie1 ,mrs41 #fe ,packeny1 ,p41 #ed ,pstum1 #ac ,paganini1 #fe ,paoli1 ,general1 #hj 8,papyrolomia01 #ee 8,papyro-,plastics01 #db 8,parallelogrammum ,delineatorium01 #dc ,parma1 ,duchesse de1 #fc ,parris1 ,e4 ,j41 #bb ,perrenon1 #ag1 #bh1 #db ,philadelphia1 #gj1 #ga ,philocles of ,egypt1 #c ,pitt1 #i ,pocci1 #hf ,pompeii1 #ac ,poulett1 #gh ,power1 #fe 8,prodigal ,child01 #hf ,pyburg1 ,mrs41 #f1 #i1 #dg ,randall1 ,h41 #hj ,raphael1 #ch ,rath1 #aj ,reynolds1 ,s4 ,w41 #ge ,rivire1 ,h41 #hf ,rmhild1 #ag1 #db ,rosebery1 ,lord1 #gd ,rosenberg of ,bath1 #bc1 #ei ,rothschild1 ,baron1 #fe ,runge1 #ed1 #ee ,ruskin1 #ad ,sackville1 ,lady1 #cb ,saratoga1 #gj1 #ga ,saunders1 #df ,scheiner1 ,christopher1 #dc ,schenan1 #d1 #af ,schmalcalder1 #dd ,schmid 7,vienna71 #cd ,schmoll1 #ch ,scott1 ,sir ,walter1 #fb1 #fe ,sepmanville1 ,baron de1 #fd ,seraphin1 #ab1 #he ,sharland1 ,g41 #eg ,silhouette1 ,etienne de1 #e1 #g1 #i1 #ce1 #cf 8,silhouette ,likenesses01 #ej ,simeon1 ,c41 #fe ,singe ,pantograph1 #ce ,size1 ,baron de1 #fd ,slettner1 ,dr41 #da ,spink1 #hb ,spornberg1 #cb ,st4 ,benedict1 #dh ,st4 ,davids1 ,bishop of1 #fe ,stock ,exchange1 #fd 8,stork's ,beak or ,monkey01 #dj ,strauss1 ,dr41 #hc ,sweden1 ,king and ,queen of1 #hb ,swift1 #h ,taft1 ,president1 #ga ,templetown1 ,lady1 #gh ,townshend1 ,c4 ,h41 #gh -- ,rev4 ,c4 ,h41 #gg ,tuer1 ,a41 #ea1 #gh ,tussaud1 #de1 #dh ,twickenham1 #gh ,tyler1 ,j41 #ga ,unkles and ,klasen1 #ff ,vandyke1 #ch ,vazon ,bay1 #gb ,versailles1 #he ,victoria and ,albert ,museum1 #gg1 #hd ,victoria1 ,princess1 #ef ,vienna1 #ha -- ,museum1 #hd ,wall1 ,w4 ,g41 #ee -- ,dr41 #ai ,wallenstein1 #hc ,walpole1 ,horace1 #g1 #ae -- ,robert1 #dh 8,warrington ,worthies01 #ah ,washington1 #gj1 #ga ,wedgwood1 #ac ,wellesley ,collection1 #be1 #bf1 #bh1 #ci1 #gi1 #hb ,wellington1 ,duke of1 #fe ,west1 ,benjamin1 #d -- ,mr41 #df ,wigston1 ,mrs41 #gh ,william ,,iv41 #ge ,william and ,mary1 #f1 #i1 #ad1 #dg ,winfield ,scott1 #gj ,wolfe1 ,j41 #fe ,worcester1 #hb ,wright1 ,p41 #gc ,york1 ,duke of1 #fe -- ,duchess of1 #fj ,zeisig1 #af ,,connoisseur ,,publications ,all ,profusely ,illustrated4 ,,history ,,of ,,silhouettes ,by ,,mrs4 ,,nevill ,,jackson #aj_/f net4 ,,history ,,of ,,the ,,spur ,by ,c4 ,,de ,,lacy ,,lacy 0 ,,lady ,,hamilton ,by ,j4 ,t4 ,,herbert ,,baily 0 ,,napoleon 0 0 0 0 ,cloth4 ,paper4 ,,sir ,,henry ,,raeburn1 ,r4,a4 ,by ,,james ,,greig #g_/f #e_/- net4 ,,george ,,morland ,by ,j4 ,t4 ,,herbert ,,baily 0 0 ,,francesco ,,bartolozzi 0 0 0 0 ,paper4 7,out of print7 ,,fran,,ois ,,boucher ,by ,,haldane ,,macfall 0 #e_/- net4 ,,francis ,,wheatley1 ,r4,a4 7,containing #aa of 8,the ,cries of ,london0 in colour7 ,by ,,william ,,roberts 0 ,paper4 7,out of print7 ,,james ,,ward1 ,r4,a4 ,by ,c4 ,,regld4 ,,grundy 0 #e_/- net4 ,,john ,,downman1 ,a4,r4,a4 ,by ,g4 ,c4 ,,williamson1 ,cloth4 0 ,,litt4,d4 7,out of print7 ,,velasquez ,,portfolio ,by ,p4 ,g4 ,,konody #b_/f net4 ,paper only4 ,the following have been sold out1 and are out of print3-- ,cloth4 ,paper4 ,,old ,,sporting ,,prints ,by ,,ralph ,,nevill #g_/f #e_/- ,,british ,,military ,,prints 0 0 0 0 ,,fair ,,women ,,portfolio of the ,eighteenth ,century #b_/f ,paper only4 ,,published ,,by ,,the ,,connoisseur ,,magazine 7published monthly7 ,,at ,,hanover ,,buildings1 #ce1 #cg1 and #ci1 ,,maddox ,,street1 ,,london1 ,w4 ,,printed ,,by ,,bemrose ,,sons ,,limited ,,london ,,and ,,derby