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Ecce Homo.
Portrait.
Ecce Homo.

99



A BIOGRAPHICAL DICTIONARY OF



Florence. Convent of
Monte Ol'i-
veto (outside
Porta St.
Frediano). ,

Naples. Picture Gallery.

Rome. Villa Boryhese.

Palazzo Spada.

Palazzo Chigi.



Turin.



Asinalunga. Colleyiata,



Trequanda.
Montepulciano.



Fragment of Last Supper
(fresco).

The Resurrection.

Holy Family.

Pieta.

St. Christopher, (on the back)

St. Luke.
Rape of the Sabines (?).



Picture Gallery. Holy Family.

Madonna with Saints.

Lucretia stabbing herself.

Madonna enthroned with

Saints.

Ascension (fresco).
Holy Family .

Madonna and Child



Picture
Gallery.
Milan. Brera.

,, Castello (Museo \ . ,- , *

Civico). )
Collection ) Madonna and child.

Ginhoiuhiac. J
Collection,_ ) Magda l en .

Fnzzom. j
" Collection, j Ho] jr am ;]y

' itttiitini . \
Vaprio d'Adda VillaMehi. Madonna and Child (large

(near Milan). fresco).

Bergamo. Collection Mo-~\

relit (Pub. ) Madonna.
Gall.). )

,, Portrait of a man.

Vercelli. Coll. Aw. ) Madonna and Child and an

Borgogna. J angel.
Munich. Pinakothek. Holy Family.
Vienna. Imperial Gallery. Holy Family.
Frankfort. Stddel Gallery. Portrait of a lady.
Hanover. Kestner Museum. Lucretia.

Coll. Cumberland. Holy Family.
Berlin. Museum. Caritas.

Hamburg. Weber Coll. Lucretia.
London. Nat. Gallery. Madonna and Child with

Saints (small).

,, ,, Head of Christ.

Coll. Dr. L. Mond. St. Jerome.
Eece Homo.

,, Madonna and Child.

,, Mr. Walter
Sickert.



Dr. J. P.

Richter.



[ Holy Family.

- Madonna and Child.
Dead Christ.



Rich-

mond.



Dorchester ) Holy Family with Angels

House. ) (tondo).
Surrey House. Madonna and Child.
Sir F. Cook. 1 gt _ G and the D






^otr S? }EoceHomo.

Paris. Coll. Count Costa di | ^ bearfng His Cross

Brussels. ^if^"} Leda and the Swan.

Pieta.

R.H.H.C.

BEACH, THOMAS, was born at Milton Abbas, in
Dorsetshire, in 1738. He was a pupil of Reynolds,
and became distinguished as a portrait painter.
He lived for many years at Bath, and sent his
pictures to the exhibitions of the Incorporated
Society of Artists, and afterwards to the Royal
Acailemy. Three of his works were included in
the Exhibition of National Portraits, 1867. His
picture of 'John Kemble and Mrs. Siddons, in

100



" Macbeth," ' is his most celebrated production.
He died at Dorchester in 1806.

BEALE, MART, an eminent portrait painter, was
born in Suffolk in 1632. She was the daughter
of the Rev. J. Cradock of Walton-on-Thames, and
having shown a great inclination for art, she was
placed under Sir Peter Lely, and soon became
proficient. By copying several paintings by Van
Dyck, she acquired a purity and sweetness of
colouring for which her portraits are distin-
guished. Of an estimable character, and very
amiable manners, she was patronized and em-
ployed by many of the most distinguished persons
of her time. Her husband was also a painter, but
of no celebrity. Mrs. Beale died in London in
1697. In the National Portrait Gallery, London,
there are by her two portraits one of Charles II.,
and the other of Abraham Cowley. (See Walpole's
'Anecdotes.')

BEARD, THOMAS. This engraver was a native
of Ireland, and flourished about the year 1728. He
worked in mezzotint, and engraved principally
portraits ; among which are the following :

The Archbishop of Armagh ; after P. Ashton.

The Countess of Clarendon ; after Kneller.

John Sterne, Bishop of Clogher ; after Carlton.

BEARD, WILLIAM H., was an American, born
at Painsville, Ohio, in 1821, his grandfather having
been a Judge of the Supreme Court, but his father
a ship's captain. From his earliest youth he
delighted in drawing, especially of odd, grotesque
or dreadful figures, and it was this ability which
caused him in later years to become the clever
humourist of America. He began as a portrait
painter, but the comic element was too strong in
him for success in that branch of art, and he
speedily turned to works of imagination. His
delineations of animal life and his rebukes of the
frailties of human nature under the transparent
guise of animal scenes rendered him very popular
in his own country, where he rose to the highest
honours and became one of the earliest associates
of the National Academy of Design. His work is
but little known in England, but is full of subtle
analysis of character, profound satire and clever
colouring. Imagination, humour and satire are the
qualities by which his work is distinguished. His
drawing was too often weak and at times in-
accurate, but his works were always impressive
and often dramatic. He died in 1900.

BEARDSLEY, AUBREY, was one of the most
original draughtsmen who have ever lived. He
attained his utmost celebrity before he was twenty-
two years old, and he was but twenty-five when
he died. He was really never more than a wonder-
ful precocious boy all his life, with all the frank
merriment, enthusiasm and exuberance of a boy.
His earliest published work was a programme
and book of words for the annual entertainment
of the Brighton Grammar School in December 1888.
There were eleven drawings in the book, 'the work
of a boy at the school,' as the programme stated,
and they were all strikingly individual and instinct
with life and movement. His next published
work was in the 'Bee' magazine, Blackburn,
December 1891, and at that time he was a clerk
in the Guardian Fire Office. He was always in
the very worst of health, suffering from frequent
attacks of haemorrhage, but during his evenings
found time to prepare a large portfolio of draw-
ings. These attracted the attention of Mr. Aymer
Vallance, and later on of Mr. Fennel), and it was



PAINTERS AND ENGRAVEKS.



owing to the very urgent persuasions of these
two friends that he eventually relinquished his
occupation, entered at Mr. Fred Brown's Studio
at Westminster, and finally decided to give his
attention to illustration. At the age of nineteen
he accepted the tremendous task of illustrating
the 'Morte d'Arthur," and after considerable labour
carried it through. When still quite a lad he had
attracted the attention of Sir E. Burne-Jones and
also of Puvis de Chavannes, and it said much for
hie genius that it should have received encourage-
ment from two men so different in their aims and
practice as were these two. His special qualities
were thus described by Hamerton in his eulogy
of the artist : " Extreme economy of means, the
perfection of discipline, of self-control and of
thoughtful deliberation, at the very moment of
invention." In 1893 appeared the famous article
on Beardsley in the pages of the 'Studio,' and
from that moment the lad was famous. His success
was the most unfortunate thing which happened
to him, as he became involved with the " latest
charlatanisms of the hour," and was claimed by
the artists of the decadent movement as one of
themselves. His illustrations to the three vols. of
'Bons Mots,' and to 'Salome,' 'The Rape of the
Lock,' and ' The Savoy," are works of remarkable
genius, also many of his single illustrations in the
' Yellow Book," while others did not add to bis fame,
and in some cases were distinguished by a vicious
and ignoble quality, together with a peculiar
disposition to represent types without intellect and
without morals, which later on he regretted with
all liis heart. His latest works were the 'Book of
Fifty Drawings,' the illustrations to ' Mademoiselle
do Maupin,' and to ' Volpone,' all executed when
he was seriously ill with that illness from which
he never recovered. He was, however, neither
depraved nor immoral, but was unable to withstand
the desire to do clever, mischievous things, and
to shock persons of narrow opinions. His work
in the 'Savoy' and the 'Yellow Book' were mis-
understood, and were thought to be the work of
a man of evil disposition, but it was not so. He
would have been better had he restrained his
mischievous disposition, and had he lived he would
have restrained or left it behind him. but in any
case the existence of this curious quiility, much as
the artist afterwards regretted it, must not be put
down to actual vice. Beardsley was always a
man of religious temperament, of deep and serious
aims and of earnest feelings. In the last few
years of his life he became a Catholic, and in that
faith he died at Mentone in March, 1898. His
drawings were firll of imagination and of delicate
fancy. There were often the faults of eccentric
proportions and tricks and mannerisms of style,
but with all there was a marvellous knowledge
of the quality of line, an exquisite portrayal of
texture, a vigour, inventiveness and daintiness
which are almost unapproachable in the work of
any other man. His sense of beauty was a very
real and powerful one, and there is an earnestness
about his work and a desire not alone to be quaint
and fanciful, but also to realize the hidden depths
df beauty which deserves fuller recognition than
it has received. The horror and evil of many of
the faces, the cunning and malice depicted in
some of them, have been too much considered, to
the detriment of the greater qualities which
Beardsley undoubtedly possessed. His technique
was masterly; there was, as has been well said, "a



serene surety in his drawing and a superb sense
of style." No artist so rapidly reached so universal
or contested a fame, few have had so wide an
influence, few have been so much misunderstood,
and few have been so profoundly original. There
is an excellent sketch of his life, written by his
friend Arthur Symons, and articles on his work
by Aymer Vallance and Margaret Armour are to
be found in the 'Magazine of Art,' and by Pennell
and others in the 'Studio' and 'Artist.' From these
and from personal knowledge the above notice
has been written. 0, C.W.

BEATRICIUS. See above. MASTER OF THE DIE.

BEATRIZET, NICOLAS, (BEAUTRIZET, or BEA-
TIUCETTO,) a French engraver, was born at Lune-
ville in or before 1520. From his style it has been
conjectured that he was a scholar of Ghisi. and of
Agostino Veneziano de Musis. From 1540 to 1560
he engraved under the direction of Michelangelo.
He died at Rome after 1560. His works are more
indebted, for the estimation in which they are held,
to the subjects he has selected, than to the merit
of their execution. He usually marked his plates
with the letters A r . B. L. F. Their number is con-
siderable, but most of them are
comprised in the following list:

PORTRAITS.

Uust of Pius III.

I'ope Paul III., an oval.

Pope Paul IV. ; dated 1558.

Henry II., King of France ; If. B. F. Lot /. 1558.

Another Portrait of Henry II. ; dated 1556.

Hippolita Gonzaga.

Juan Valverdus, Spaniard.

Antoine Salamanca, engraver and dealer in prints.

Don Juan of Austria, an oval, on a monument ; inscribed
Generate delta Legha.

The Genealogy of the first twelve Emperors and Em-
presses, with their Portraits, from medals ; two sheets.

The Kings of Poland, in medallions ; inscribed Regei
Poumits.

SUBJECTS OF SACRED HISTORY.

Cain killing Abel ; inscribed Fratricida Abelit, A. 5-

ex. 1540.
Joseph explaining the Dream; after Raphael; marked

JV. B. F., and his name ; one of hi teit plates.
The Nativity of the Virgin ; after Baccio Bandinelli ;

inscribed Xicolaus Beatriciui rettituit et formit suit

exc.
The Annunciation ; with the names of Michelangelo and

Beatrin.

The Adoration of the Magi; after Pannigiao,N.B.L. F.
The Holy Family, with St. John ; Jerom. Mutia,pinx.,

Nicolaut Beatriciui Lotaringut, ineidit, fyc.
The Good Samaritan ; Michelangelo, inv.
Christ on the Mount of Olives ; after Titian ; marked

N. B. F.
The Crucifix ion, with the Virgin, Magdalene, and St.

John ; with the Sun and Moon on each side ; Muci-

anus Brixianits, inv., Jficolaut Bentriciun, 8$c. exc.
The Mater Dolorosa ; after Michelangelo; N. B. Roma.

1547.
The taking down from the Cross; after Circignani;

marked B. Romee.
Christ delivering the Souls from Purgatory ; with the

names of Raphael and Beatrin.

The Ascension ; after Raphael, with his cipher. 1541
The Conversion of St. Paul; Michelangelo, pinx., %c. ;

marked JV. B.
St. Michael overcoming the Evil Spirit ; after Raphael ;

marked N. B. L.
The Virgin seated on a Throne, distributing Rosaries ;

inscribed Nicolatis Beatriciut, l$c. exc., oval.
The Cross worshipped all over the world ; arched plate,

marked N. B. F., and inscribed Crux illustris, %c.

51DLVH.

The prophet Jeremiah ; after Michelangelo.

101



A BIOGRAPHICAL DICTIONARY OF



St. Jerome kneeling before a Crucifix; after Titian;
marked N. B. L. F.

St. Elizabeth, Queen of Hungary, relieving the dis-
tressed ; after Mutiano.

The Last Judgment; after Michelangelo. Dated 1562.
In nine sheets.

SUBJECTS OF PROFANE HISTORY.

The Sacrifice of Iphigenia; on the altar is inscribed

Iphigenia ; it is marked N. B. L. F,
Ganymede; after Michelangelo; inscribed Ganimedes

jiirenis, Sgc.
The Fall of Phaeton ; after Michelangelo ; retouched by

Beatrici,
Tityus devoured by a Vulture ; after the same ; A.nt.

Salamancha, ex.

Silenus carried by Children ; after the same ; N. Bea-
trice, fee.
The Dream of Human Life, emblematical subject ; after

the same.

Shooting at a Target ; after the same.
Vertumnus and Pomona ; after Pontormo.
Reason combating Love ; after B. Baxdinelli ; with his

cipher.
A Combat between five Men and five Wild Beasts ; after

Giulio Romano. 1532.
The Battle of the Amazons ; after a basso-rilievo ; in-

scribed Amazonum pugna, c. 1559.
The Battle of the Dacii ; after the basso-rilievo of the

Arch of Constantine ; marked JV^ J3. and inscribed

Tabula Marmora, $$c.
The Emperor Trajan triumphant ; after a liasso-riliero.

1560.

The Pantheon of M. Agrippa ; marked N. J). F.
The Temple of Fortune ; after a drawing bi/ Raphael;

marked If. B. F.
The great Circus; marked N, Beatrizct Lotaringia ;

two sheets.
The Front of the Faruese Palace ; after the design of

Michelangelo. 1548.
Statue of Moses ; after Michelangelo ; inscribed Moysis

ingens, $c.
Statue of Jesus Christ ; after Michelangelo ; with his

name.

Equestrian Statue of M. Aurelius. 1558.
Statue of a Philosopher reading ; inscribed Anaximenes,

$c. : the plate was afterwards retouched, and the

Philosopher changed into St. Paul.
The Castle of St. Angelo.
The Siege and Taking of LuneviUe ; Nic. Beatrizet Lo-

tariitgas, incidet. 1558.

BEAU, PIERRE ADRIEN LE. See LE BEAU.

BEAUBRUN, HENRI, a French portrait painter
to the king, and a member of the Royal Academy
of Painting in 1648, was born at Amboise about
1603 ; he died in 1677. CHARLES BEAUBRUN, bis
cousin and fellow-worker, also a portrait painter,
was born at Amboise in 1604, received into the
Academy in 1651, and died in Paris in 1692. Works
by them are in the Madrid Gallery. MATHIEU
BEAUBRUN, the father of Charles and brother of
Louis, was likewise a painter. He died in Paris in
1642. Louis BEAUBRUN, a portrait painter of the
16th century, an imitator of the Pourbus, was uncle
of Charles and Henri, and died in Paris in 1627.
In 1616, on the occasion of the entry of Louis
XIII. and Anne of Austria into Paris after their
marriage, Louis Beaubrun executed a large alle-
gorical painting for the decoration of the Porte St.
Jacques, which he himself engraved.

BEAUCLERK, Lady DIANA, a daughter of
Charles Spencer, second Duke of Marlborough,
was born in 1734, and became an amateur artist
of some celebrity. She married, in 1757, Frederick,
second Viscount Bolingbroke, from whom she was
divorced in 1768. Two days after she married the
celebrated wit, Topham Beauclerk, by whom she
was left a widow in 1780. Her illustrations of

102



Burger's 'Leonora' (1796), and Dryden's 'Fables'
(1797), are well known to book collectors. She
;tlso designed groups of young Bacchanals, and
other bas-reliefs for Wedgwood. She died in
1808.

BEAULIEU, ANATOLE HENRI DE, a French
painter of historical, genre, and military subjects,
was born in Paris in 1819, and was a pupil of Dela-
croix. He died in 1884.

BEAUME, JOSEPH, a French historical painter,
born at Marseilles in 1796, was a favourite pupil
of Gros, and a frequent contributor to the Salon
between 1819 and 1878. In the time of Louis
Philippe he was commissioned to paint several
large battle-pieces for Versailles. His ' Henri III.
on his Death-bed ' is in the Luxembourg. He died
in September, 1885.

BEAUMEZ, JEAN DE, is recorded to have been
"painter and valet" to Philip the Hardy, for whom
he painted numerous works, and decorated, among
other chapels, that of the Castle of Argilli,in Bur-
gundy. Jean de Beaumez was employed by his
patron from about 1375 to 1395.

BEAUMONT, Cavaliere CLADDIO, was born at
Turin in 1694. After studying some time in his
native cit}', he went to Rome, and applied himself
to copying the works of Raphael, the Carracci, and
Guido. He appears to have had little respect for the
Roman painters of his time, except Trevisani, whose
manner he imitated in the vigour of his tints. On
his return to Turin, he was employed in decorating
the royal palace, where he also painted in fresco, in
the library, various symbolical subjects, relative to
the Royal Family of Sardinia ; and in the other
apartments he represented the ' Rape of Helen,'
and the 'Judgment of Paris.' In the Chiesa della
Croce is a fine picture of the ' Descent from the
Cross.' The King of Sardinia conferred on him
the order of knighthood in 1766.

BEAUMONT, CHARLES EDOUARD DE, painter,
was a native of Lannion (Cotes de Nord), and a
pupil of Boisselier. He painted genre pictures,
generally of a humorous character, both in oils and
water-colour, and gained medals in 1870 and 1875.
He was president of the Socie'te' des Aquarellistes
Francais at the time of his death, which took place
in January, 1888.

BEAUMONT, Sir GEORGE HOWLAND, Baronet,
an amateur painter, was born at Dunmow, in Essex,
in 1753. He was a liberal patron of artists, and
very fond of their society. He was a great
admirer of Claude and of Wilson ; and painted
in a respectable manner scenes at Coleorton and
the groves at Charnwood. In 1826 he presented
sixteen pictures to the National Gallery, which
collection he greatly helped to establish. The
Gallery also possesses two landscapes by him,
presented after his death by his widow. He died
at Coleorton, Leicestershire, in 1827.

BEAUMONT, JEAN FRANCOIS ALBANIS DE.
See ALBANIS HE BEAUMONT.

BEAUMONT, JOHN THOMAS BARBER, who was
born in London in 1774, was in early life a
miniature painter; and from 1794 to 1806 exhi-
bited his works under his original name, Barber,
at the Royal Academy. He subsequently adopted
the name Beaumont in addition to Barber. He
is best known as the originator and manager of
the County Fire Office and of the Provident Life
Office. He died in London in 1841.

BEAUMONT, PIERRE FRANCOIS, a French en-
graver, was born in Paris about the year 1720. He



PAINTERS AND ENGRAVERS.



executed some plates, chiefly after Jan Brueghel
and Ph. Wouwerman.

Three Views in Flanders ; after Brueghel.
Four Hunting Pieces ; after N. If. Coypel.
The Angel appearing to the Shepherds ; after Wouwer-
man.

Ihe Thirsty Traveller ; after the same.
Running at the Ring ; after the same
The Swimmers ; after the same.
Cavalry defiling ; after the tame.
Halt of Cavalry ; after the same.
The Blacksmith ; after the tame.

BEAUNEVEU, ANDBE, a painter of miniatures,
was employed in the early part of the 15th cen-
tury in illustrating for the Duke Jean de Berry
a Psalter, now in the National Library at Paris ;
which for its beauty of conception and careful exe-
cution will bear favourable comparison with the
works of Meister VVilhelm. The miniatures in a
Prayer Book of this duke, now in the Royal Library
at Brussels, are also attributed to Beauneveu.

BEADTRIZET. See BEATRIZET.

BEAUVAIS, DAUPHIN DE. See DAUPHIN DE
BEADVAIS.

BEAUVARLET, JACQUES FIKMIN, a celebrated
engraver, was born at Abbeville in 1731. He went
to Paris when young, and was instructed in the art
by Charles Dupuis and Laurent Cars. His first
manner was bold and free, and his plates in that
style are preferred by some to the more finished
and highly-wrought prints that he afterwards pro-
duced, although it must be confessed that the
latter are executed with great neatness and delicacy.
Bcauvarlet married, in 1761, Catherine Jeanne
Franyoise Deschamps, a young lady who possessed
some skill in engraving, but who died in 1769 at
the age of thirty-one. He married again in 1770,
but became for a second time a widower in 1779.
Eight years later, in 1787, he married Marie
Catherine Riollet, who, like his first wife, was an
engraver. She was born in Paris in 1755, and is
said to have died in 1788. Beauvarlet himself
died in Paris in 1797. The following are his
principal works :

PORTRAITS.

Marie Adelaide, daughter of Louis XV. ; after Nattier.
Louis Joseph Xavier, Duke of Burgundy; after Fredou.
Mile. Clairon, actress ; after Van Lot ; by Laurent Cars

and Beauvarlet.

The Abbe Nollet ; after La Tour.
Edme Bouchardon, sculptor : after Drouaii. 1770.
Je:m Laptiste-Poquelin de Moliere ; after S. liourdon.
The Marquis de Bomballes ; after Soslin and Vernet.
Catharine, Princess Galiziu ; medalliou.
Ferdinand, Duke of Brunswick.
Madame du Barry ; after Drouais.

SUBJECTS AFTER VARIOUS MASTERS.
Lot and his Daughters ; after Luca Giordano.
Susannah and the Elders ; after the same.
Perseus, combating Phineus, shows the Head of Medusa;

after the same.

Acis and Galatea ; after the same.
The Judgment of Paris ; after the same.
The Eape of Europa ; after the tame.
The Rape of the Sabines ; after the same.
Susannah and the Elders ; after Guido Canlasst.
The Sewers ; after Guido Rent ; very highly finished
The Incredulity of Thomas ; after Calabrese.
Venus lamenting the Death of Adonis; after A

Turchi.

La Rusee ; after C. Vega.
The Double Surprise ; after Ger. Don
The Fisherman ; after M. Cane.
The Tric-trac Players ; after Tenters.
The Bagpiper ; after the same.



The Burgomaster ; after Ostade

Diana and Acteon ; after Sottenhammer.

The Bathers ; after Boucher.

The Trap ; after the same.

Cupid chained by the Graces ; after the same.

The Children of the Count de Bethuue ; after Drouais.

Le Colin Maillard ; after Fragonard.

The Chastity of Joseph ; after Nattier,

Susannah and the Elders ; after Vien.

The Offering to Venus ; after the same.

The Offering to Ceres ; after the same.

Oupid holding his Bow ; after C. van Loo.

La Confidence ; after the same.

The Sultana ; after the same.

Lecture Espagnole ; after the same.

Conversation Espagnole ; after the same,

Telemachus in the Island of Calypso ; after Raoux.

The Toilet, and the Return from the Ball ; two com-
panions ; after De Troy.

Seven prints of the History of Esther ; after J. F. de
Troy.

A Subject from an Antique Painting at Herculaneum.

A catalogue of his works was published at Abbe-
ville in 1860 by 1'Abbe Dairaine.

BKAVIS, RICHARD, was born at Exmouth in
1824, and spent his early life at Sklmouth. His
boyish leanings towards art were sternly repressed
by Ids father, and it was not until 1846 that, en-
couraged and assisted by some friends, he made
his way to London and became a student in the
Government School of Design, Somerset House.
In 1850 he became designer to a firm of decorators
in Parliament Street, and his earliest exhibited
works at the Royal Academy, in 1855, 1858 and
1860, were schemes of decoration executed for
them. He continued at the same time during his
leisure moments to practise both in oils and water-
colours, and after exhibiting several times at the
British Institution, obtained the admission to the
Royal Academy, in 1862, of two pictures, 'A
Mountain Rill ' and ' Fishermen picking up Wreck
at Sea.' The success, financial as well as artistic,
of these works was sufficient to justify him in
devoting himself thenceforward to purely artistic
production, and he became a regular contributor to
the exhibitions, residing or travelling abroad for
many years and choosing his subjects accordingly,
in France, Holland, and Egypt. He was elected
an associate of the Royal Society of Painters in
Water-Colours in 1882, a member in 1892, and
died on November 13, 1896.

BECCAFUMI, DOMENICO Dl PACE, was the son
of a certain Giacomo (Jacopo) di Pace, a labourer
on the property of the Sienese noble, Lorenzo
Beccafumi, at Cortine, near Montaperto, in the
Province of Siena, and was born there in 1486.
The boy early showed remarkable artistic promise,
and used to amuse himself modelling animals,



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