The Great Age of English Mezzotints - Hood Museum of Art

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fig. 11. Richard Earlom after Jan van Huysum, A Flower Piece, 1778, mezzotint, etching, and stippleengraving. Purchased through the Florence and Lansing Porter Moore 1937 Fund; 2009.41.12
four people in front of the window of John Bowles’s (about 1717–1779) salesroom in London’shistoric center. A prostitute, her client, and two other male bystanders were shown observingand discussing the array of mezzotints of well-known reformed clergymen at the top and thesatires below—many of which have recently been identified. The spectacle revealed the allure ofprints for consumers of all classes, who were continuously attracted by novel subjects.The largest print shop in the city in the second half of the eighteenth century was owned byJohn Boydell, who began as an engraver and eventually rose to prominence as an entrepreneuremploying artists on a variety of large-scale publishing projects. While his business in the 1750sand 1760s was predominantly based on importing foreign prints, Boydell’s catalogue of 1769reflects a shift toward reproductive printmaking aimed at capitalizing on the growing Englishtrade. Over the course of the next three-and-a-half decades, he produced a number of large setsand individual prints that drew attention to prominent artists, works, and collections. One ofhis most ambitious endeavors was the translation of 162 paintings that had once belonged to SirRobert Walpole, later First Earl of Orford (1676–1745), at Houghton Hall, Norfolk, which werefig. 12. Richard Earlom after Claude Lorrain, Pastoral Landscapefrom the series Liber Veritatis,1774, mezzotint and etching. Gift of Mr. and Mrs. Adolph Weil Jr., Class of 1935; mis.989.26A [7].13
Page 1 and 2: “The Artful Disposition of Shades
Page 3 and 4: fig. 1. Jonathan Spilsbury after Ma
Page 5 and 6: Production, Distribution & Marketin
Page 7 and 8: fig. 5. John Smith after Sir Godfre
Page 9 and 10: fig. 8. Richard Earlom after Joseph
Page 11: fig. 10. John Raphael Smith, Miss M
Page 15 and 16: fig. 14. John Jones after Sir Joshu
Page 17 and 18: fig. 15. John Dixon after George St
Page 19 and 20: CHECKLISTDimensions for prints are
Page 21 and 22: Thomas Frye, Irish active in Englan
Page 23 and 24: John Smith (printmaker and publishe

The Great Age of English Mezzotints - Hood Museum of Art

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