Michael Bryan.

Dictionary of painters and engravers, biographical and critical online

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in 1837.

STOLZEL, Christian Friedrich, engraver, born
at Dresden in 1751, studied under Schenau and
Canale. He engraved portraits, genre and his-
torical pictures, and landscapes, and became chief
engraver to and member of the Dresden Academy.
Among his best works we may name :

Portrait of Schenau ; after Vogel.
Christ on the Cross ; aftei- Schenau.
The Magdalene ; after Guido Rem.
The "Wise Man ; after Schenau.

March of a Regiment of Ural Cossacks ; after K. A.

He died in 1815.

STOM, or ST00M,MATTH2Ens, was born in 1643,
probably in Flanders, and practised principally in
Italy. He painted landscapes and battle-pieces,




and died at Verona in 1702. Five of his pictures
are in the Dresden Gallery. Another painter of
the same name painted an altar-piece now in the
church of St. Cecilia, at Messina.

STOMME, — -, a still-life painter, of whom
there is no account, who appears to have been an
imitator, if not a scholar, of Johan Davidsz De
Heem. A signed picture by him is in the Museum
at Brussels.

STONE, Frank, a.r.a., an English painter, was
born at Manchester, August 22, 1800. His father
was a cotton-spinner, and brought his son up to his
own business, but at the age of twenty-four the
young man obtained leave to study art as a pro-
fession. He worked diligently in his new calling,
and in 1831 came to London. His first works were
in water-colour ; distinguished chiefly by a pretty
sentimentality, they caught the popular taste, and
the artist rose quickly into public favour. In 1837
he was elected an Associate Exhibitor of the Water-
Col our Society, and in the same year began to con-
tribute to the exhibitions of the Royal Academy.
His first essays in oil had a rapid success. His
pictures were engraved, and became widely known.
In 1841 he was awarded a premium of fifty guineas
by the British Institution, and in 1843 he became
a member of the Water-Colour Society, a distinc-
tion which he resigned in 1847. In 1851 he was
chosen an associate of the Royal Academy, and
his works began gradually to assume a higher
character, his ' Gardener's Daughter ' being a dis-
tinct advance in achievement. Some French
subjects treated at this period showed similar im-
provement. His sudden death from heart disease
took place in London, November 18, 1859. He was
the father of Mr. Marcus Stone, R.A. The follow-
ing are among his most popular works : ' The
First Appeal,' ' The Last Appeal,' ' Checkmate,'
' Mated,' ' The Course of True Love never did run
smooth,' and 'The Gardener's Daughter.'

STONE, Henry, painter and sculptor, the son
of Nicholas Stone, master mason to James I.,
was usually called Old Stone, to distinguish him
from his younger brother, John. As a painter
he is principally known by his excellent copies
after Vandyck and some of the Italian masters.
By his epitaph, which is preserved by Walpole, it
appears that he passed several years in Holland,
France, and Italy, and died in London in 1653.
He was the last survivor of the family, and was
buried in one grave with his father and brothers :
the epitaph commencing, 'Four rare stones are
gone, the father and three sons,' &c. A copy by
him of Titian's ' Cornaro Family ' is at Hampton
Court. Many portraits ascribed to Vandyck are
really copies by ' Old Stone.'

STONE, John, was the brother of Henry Stone,
and followed his father's profession of stone-cutler.
He also copied the old masters. Thomas Cross is
said to have taught him engraving: one of the
plates for Dugdale's ' History of Warwickshire ' is
by him ; he also published anonymously ' Enchi-
ridion,' a book on fortification, with small plates
engraved by himself. He died soon after the

STONE, William Oliver, an American painter,
born at Derby, Connecticut, in 1830. He studied at
New Haven, and settling in New York about 1868,
became known as a successful painter of portraits,
especially of women and children. He was made
a member of the Academy of Design in 1859, and
was an annual exhibitor until his death in 1875.

STOOM. See Stom.

STOOP, CoRNELis, painter, born at Hamburg in
1606. Few details are known of him, but there
is in the Dresden Gallery a ' Rocky Cave, with
Figures,' ascribed to him.

STOOP, DiRCK, (Thierry, Roderigo,) a Dutch
painter and engraver-, was bom at Utrecht about
1610. He was the son of a glass-painter, Willem
Jansz van der Stoop, and painted cavalry engage-
ments, hunting scenes, seaports, still-life pictures,
and altar-pieces, which in his time were valued very
highly. He lived for a time at Lisbon, where he be-
came painter to the Court, and went with the Infanta
Catharine to London. He returned to Utrecht in
1678, and died there in 1686. Walpole, misled by
his use of the Portuguese equivalent, Roderigo, for
his Christian name, Dirck or Thierry, and by the
asserted existence of a brother, Pieter, makes three
men of him (vol. ii. p. 137). Works by him are to
be found in the Galleries of Dresden, Berlin, and
Copenhagen, in the Cathedral at Halberstadt, &c.
Of his etchings there are known, the plates for the
first part of Ogilvy's translation of ' .^Ssop's Fables ' ;
' Twelve breeds of Horses,' published in 1651 ; a
bird's-eye view of the Battle of Solebay, fought
between the English and Dutch fleets on the 3rd
and 4th of June, 1665, signed Ro. Stoop,/. London,
in the cabinet of prints at Copenhagen, and believed
to be unique. Another unique print in the same
collection represents a panorama of the theatre of
war, with a chart. Another rare print representing
Oliver Cromwell dancing on the tight-rope, is
ascribed to him. There is an impression in the
British Museum. We may also name :

The Rape of Helen. (^British Museum.)

A Skirmisli of Cavalry. {Ditto.)

Portrait of Charles II.

Portrait of Catharine of Braganza, wife of Charles II,,

inscribed Catharina D. G. Magnae Britannise, Fran-

cise et Hibernise Regina Filia Johannes IIII. Portug.

&c. — Consecrat T. Stoop. On the left, below the

inscription, lisbona 1662. J^. Munier f.
The Title. In a cartouche, is inscribed Al Illustssa.

Lr^. D. Cathanna Rajnha da gran Mretanha D. V.

C. E. Stoop 1660 Lix^. ; a general view of Lisbon, with

sea and numerous vessels in front.
Seven views of Lisbon and vicinity ; dedicated to Q.

Eight large plates of Q. Catharine's procession from

Portsmouth to Hampton Court on her arrival in


Impressions of five plates of Dutch battles, sup-
posed to be by Stoop, are in the British Museum.

STOOP, Jan Pibter, is said to have been born
in Holland in 1612, and to have painted landscapes
and battle-pieces. He is thought to have been the
brother of Dirck Stoop, and to have worked in

STOOPENDAAL, Bastiaan, engraver, was a.
native of Holland, and flourished about the year
1710. In his best plates he appears to have imitated
the style of Cornelius Visscher, though not always
with success. We have, among others, the follow-
ing prints by him :

Sixty Views in Holland, entitled Les Delices du Diemer

Meer ; engraved /row his men designs.
A set of twenty-four Views near the Hague.
Four plates representing the Departure of King 'William

from Holland for England, his Arrival, his Meeting

the Parliament, and his Coronation ; inscribed B.

Stoopendaal, fee.
The Robbers ; after Bamboccio ; B. Stoopendaal, sc.
Attack on a Military Convoy ; after the same. ■
A Lime-kiln ; after the same.





The last three are fine copies from Visscher.
Stoopendaal engraved the plates for Clarke's Csesar,
published in 1712.

STOOPENDAAL, Daniel, a contemporary of
Bastiaan Stoopendaal, etched several plates after
his own drawings.

STOOTER, Leonabd, painter, was horn at Ley-
den, and flourished in the second part of the 17th
century. He settled at Antwerp, where he was
received into the Guild of St. Luke. Teniers is
said to have added the figures to a picture by

STOPPELAE R, PIeebekt, painter, was a native
of Dublin, and came to London with Thomas Frye.
He tried various means of making a living, and
was by turns actor, painter, dramatic writer, and
singer. He exhibited portraits with the Society
of Arts in 1761-62, and designed some of the
humorous subjects published by Bowles. He
was associated with Charles Dibdin in the Pata-
gonian Theatre, a puppet-show held over Exeter
'Change, for which Dibdin wrote the pieces, while
Stoppelaer painted the scenery and worked the
puppets. For a time he was employed as an actor
by Rich, but finding that he could live by por-
trait painting, he seems to have abandoned his
many other pursuits. He died in 1772. His bro-
ther, Michael, also practised portrait painting. He
painted a portrait of Joe Miller, in 1738, which has
been engraved.

STORCK, Abraham, (Stoek,) painter, born at
Amsterdam about 1630. His master is unknown,
but his style is formed on that of Bakhuisen.
His pictures usually represent views of the Y, or
the Amstel, near Amsterdam, with a variety of
shipping and boats, and a number of small figures,
correctly drawn, and Handled with spirit. His ships
are well drawn, his colouring clear and transparent,
and his skies and water light and floating. One of
his best pictures represents the arrival of the Duke
of Marlborough at Amsterdam, with a public pro-
cession of ships, barges, and yachts, decorated with
flags and full of picturesque figures. Storck painted
figures in the landscapes of Hobhema and Mou-
cheron, and also etched a few plates. He died at
Amsterdam in 1710 (?). There are four good ex-
amples of his art in the Amsterdam Museum, besides
others at Rotterdam, Copenhagen, Dresden, and

STORER, Cheistoph Johann, (Stoeree,) was
born at Constance in 1611. He travelled in Italy,
and studied at Milan under Ercole Procaccini.
After beginning well, Storer became a mannerist,
and not unfrequently adopted gross ideas. He
was, however, a good colourist. He was employed
in decorating Milan for the solemn entry cf Philip
IV. and Maria of Austria. He etched several prints
of sacred and profane subjects ; these are some-
times signed Joan Christ. Storer, sometimes Giov.
Christ. Storer. It is said that he returned to his
own country, and died in his native city in 1671.
Several of his pictures have been engraved.

STORER, Henry Saegant, draughtsman and
engraver, was the son of James Storer, and worked
jointly with him on many of his later undertakings.
He lived for some years at Cambridge, but died
in London, January 8, 1837.

STORER, James, engraver, born at Cambridge
in 1781, worked at drawing and engraving old
English buildings and other antiquarian subjects.
In the early part of his career he lived at Cam-
bridge, but afterwards moved to London, where


he spent the rest of his life. A list of his publica-
tions is appended. In many of these he was
assisted by his son, Henry Sargant. He died in
London in 1853.

J. Storer and J. Greig. Cowper, illustrated by a series of
Views. 1803.
„ Views in North Britain, illustra-

" tive of Burns. 1805.

Antiquarian and Topographical
Cabinet. 1807-11.
„ „ Select Views of London and its

Environs. 1804-5.
The Antiquarian Itinerary. 1815
J. Storer. A description of FonthiU .Abbey.

„ Ancient Eeliques. 1812-13.

J. and H. S. Storer, Cathedrals of Great Britain.
The Portfolio. 1823-4.
„ CoUegiorum Portse apnd Cauta-

„ Delineations of Fountains Abbey.

STORK, Abeaham, or Jan, the younger, a marine
and landscape painter of the 18th century. It is
said that some pictures signed A. Stork are dated
1742. In the Rotterdam Gallery there is a picture
of the Old Harbour, Rotterdam, by him.

STOSS, Veit, the famous Nuremberg sculptor,
was also an engraver. He was bom in 1447. It
has been supposed that he was a native of Cracow,
but the greater probability seems to be that he was
born in Germany, but married a wife from Cracow.
Between 1472 and 1495 he was more or less at
work in Cracow, but in the latter year he seems to
have settled finally at Nuremberg. There he lived
a more or less disreputable life, and died, blind, in
the Sohwabach hospital in 1542, aged ninety-five.
The plates ascribed to him were formerly given to
a mythical Stolzen, or Stolzius, while some writers,
Christ among them, call him Franz Stoss. The
notion that he w-as the master of Martin Schon-
gauer is inconsistent with dates. Stoss variously
signed his baptismal name Vit, Wyt, Eit, Fit, and
Fyt, while to his plates, as well as to his works in
sculpture, he attached the annexed monogram:

J-^K , His twelve plates are very rare ; the best

of them are, perhaps, the following :

The Raising of Lazarus.

The Virgin kissing the body of Christ at the foot of the

Cross. (British Museum.)
The Madonna and Child, standing. {Do.)
The Madonna and Child, seated, in a room. {Do.)
The Martyrdom of St. Catherine of Alexandria. {Do.)
A Gothic Capital. (Do.)

STOTHARD, Chaeles Alfeed, antiquarian
draughtsman, painter, and illuminator, was the son
of Thomas Stothard, and born in London in 1786.
After receiving a liberal education, he became a
student in the Royal Academy, where he showed
great talent in drawing from the antique. His
father being engaged to paint the staircase at Bur-
leigh House, he accompanied him thither from
time to time, and made drawings of the antiquities
of that locality. This awakened in him a predi-
lection for a pursuit in which he became eminent,
but which eventually cost him his life. In 1811
he exhibited a ' Murder of Richard II. at Pontefract
Castle,' in which the portrait of the king was
painted from his effigy in Westminster Abbey.
His next undertaking was ' The Monumental Effi-
gies of Great Britain,' selected from the cathedrals
and churches, and etched throughout by himself
with remarkable delicacy and fidelity. In 1816




he was deputed by the Society of Antiquaries to
make drawings from the Bayeux Tapestries. While
engaged on this work he visited the Abbey of Fon-
tevraud, wliere he discovered the effigies of the
Plantagenets, the continued existence of which had
been doubted since tlie revolution. These were
added to his work. His last uudertaking was the
illustration of ' Devonshire,' in Lysons's ' Magna
Britannia.' For that purpose he began some trac-
ings of the stained glass window in the church at
Bere Ferrers, where, on May 27th, 1821, he slipped
from the ladder on which he stood, and was killed
on the spot. His wife, afterwards Mrs. Bray,
published an account of their tour through North-
ern France, which was illustrated with twenty-one
plates from designs by her husband.

STOTHARD, Thomas, painter, was born in
London (at the " Black Horse," in Long Acre) in
1755. His father, a publican, died when he was
only five years old, and he was left to the care of
some relations, who placed him in a school at
Sti'etton, near Tadcaster, his father's birthplace,
where he remained till he was of an age to be ap-
prenticed. Having shown an inclination for draw-
ing, by copying some of Houbraken's heads, his
friends placed him with a designer of patterns for
silks. The trade declining, and his master dying
before the expiration of his term, he was left
to his own resources. Having, however, minutely
studied nature in the drawing of flowers and
other ornaments, he at once struck out a profitable
profession for himself by making drawings for the
' Town and Country Magazine.' This made him
known, and he was soon employed on other pub-
lications, particularly Bell's edition of the British
Poets, and Hnrrison's ' Novelist's Magazine.' These
designs attracted the notice of Flaxman, and a
friendship . commenced between the two artists
which was of. advantage to both. " Stothard then
became a student of the Royal Academy, and in
1778 exhibited an 'Ajax defending the dead Body
of Patroclus.' He was made an associate of the
Royal Academy in 1786, an academician in 1794,
deputy librarian in 1810, and librarian in 1812. It
is said that Stothard made upwards of five thousand
designs for books, three thousand of which were
used. Among the more important series and single
designs may be enumerated those for Boydell's
' Shakespeare,' ' Rogers' Poems,' ' The Canterbury
Pilgrims,' the ' Ceremony of the Dunmow Flitch,'
and the ' Wellington Shield.' He painted the stair-
case at Burleigh House, and the ceiling of the
Advocates' Library at Edinburgh. It is said that
he gave the preference, before all his other works,
to fifteen small pictures from Bunyan's ' Pilgrim's
Progress.' He furnished countless designs for
goldsmiths, and the origin of many well-known
pieces of English sculpture may be traced to him.
About 1784 Stothard married, and in 1793 bought
the house in Newman Street (No. 28), in which he
spent the rest of his life. He died on the 27th of
April, 1834, and was buried in Bunbiil Fields.
There are portraits of him by Harlowe, Jackson,
and Wood, and a bust in marble by Baily. His
biography has been written by Mrs. Bray. Works:

liOndon. JVdtional Gall. The Greek Vintage.

„ „ Intemperance. (Sketch for the

^cture at Burleigh.)
„ „ FSte Champetre.

„ „ .. The Canterbury Pilgrims.

{And six others)
„ S. Ken. Museum. Characters from Shakespeare.
„ „ Twelfth Night.

London. S. Ken. Museum. Bninetta and Phillis.
„ „ Saacho and the Duchess.

(And six others.)

STOTTRUP, Andreas, portrait painter and en-
graver, born at Hamburg in 1754, studied from
1771-74 at the Academy at Copenhagen, and after-
wards settled at Hamburg. He died in 1812.
His son, Chbistian Geoeg, was also an engraver
at Altona.

STOVESANDT, Friedbich Adolph, landscape
painter, was born at Dantzio in 1808, and studied
first in his native city, then at Berlin under
Gropius, and afterwards at the Vienna Academy.
He died at Dantzic in 1838.

STOW, Jambs, line-engraver, and the son of a
labourer, was born near Maidstone about 1770.
In his boyhood he showed such an aptitude for art,
that some of the gentry in the neighbourhood
raised a subscription and apprenticed him to
WooUett. On the death of his master he was trans-
ferred to William Sharp, with whom he remained
as assistant after his term of apprenticeship had
expired. He was highly thought of in the early
part of his career, and employed on many import-
ant works, but he seems to have been wanting in
steadiness and application. He fell into dissipated
habits, and on his death left a family in poverty.
His most important works are :

Bight plates for Boydell's ' Shakespeare.' 1795—1801.
Twelve plates for Du Roveray's ' Homer.' 1806.
Gainsborough's ' Boy at the Stile.'
Plates for ' Londina Illustrata.' 1811-23.

STRAATEN, Jan Joseph Iqnatids van, a painter
of dead game and flowers, was born at Utrecht in
1766, and was a scholar of 0. van Geelen. His
pictures are in the style of J. Weenix, well com-
posed and highly finished. In his landscapes he
was assisted by his countryman, Swagers. He
died in 1808. One Bruno van Steaaten, born at
Utrecht in 1786, may have been of the same family.
There is a picture by him in the Rotterdam Gallery.

bert, sometimes called De la Rue, was born at
Haarlem in 1631. He was a painter of portraits
and historical subjects, and also kept a school. He
died in 1712. His son' Hendeik, born about 1665
at Haarlem, was a landscape painter, and became
a member of the Guild of St. Luke in his native
town in 1687. He came to England in 1690, and
there practised with some success, painting land-
scape somewhat in the style of Euysdael. (See
Walpole, vol. ii. p. 235.)

STRAGK, Anton Wilhelm, horn at Hayna, in
Hesse, in 1758, was the son of a baker, and grandson
of Joseph Heinrich Tischbein. He studied under
Johann Anton Tischbein, and became professor
and court painter in Biickeburg. He painted a
series of Westphalian landscapes, which wore after-
wards engraved.

STRACK, LuDWiG Philipp, painter, horn at
Hayna, in Hesse, in 1761, received his art education
at Cassel. In 1783 the Duke of Oldenburg took
him into his employment, but in 1786 he returned
to Cassel, where he painted portraits and landscapes,
becoming court painter to the Duke of Hesse. He
died at Oldenburg in 1836.

STRADA, Jacopo, a Milanese draughtsman, who
flourished about the middle of the 16th century,
was chiefly employed in making designs for new
coins and medals, and in drawing from old ones.
The Libraries of Vienna and Gotha have many
volumes of such drawings. He also drew a series





of portraits of- the emperors for a work published
by his son.

STRADA, Vespasiano, a native of Rome, but
of Spanish parentage, learned the rudiments of
the art from bis father, an obscure painter. He
worked chiefly in fresco in the churches and public
buildings of Rome. He died at Rome, still young,
in 1624. We have several etchings by Strada from
his own compositions, which prove him to have
been a man of considerable talent. He usually
marked his plates with the initials V. S. F., or
V. S. I. F., and sometimes VES. ST, I. FE. The
following prints may be mentioned :

Christ shown to the Jews (or little Ecce Homo).
Christ crowned with Thorns (or great Ecce Homo).
The Holy Family, with St. John.
The Virgin, supported hy two Angels.
The Marriage of St. Catherine.
The Virgin and Infant Christ.

STRADANOS, Johannes, or Giovanni della
Steada. See Van der Stbaet.

STRAELY, Eduard, was born at Diisseldorf in
1720. He came to London while still young, and
adopted the English manner of miniature painting,
and later visited Italy. At the time of the Em-
peror Paul's coronation he went to Moscow, and
remained for some years in Russia. On the acces-
sion of Alexander he left St. Petersburg, and re-
turned to London, settling finally in Vienna. His
later works were chiefly portraits, but in Russia
there are by him four scenes from the life of Peter
the Great, painted on copper, and a • Hebe feeding
the Eagle.'

STRAMOT, Nicholas, a Flemish painter, practis-
ing at Antwerp about 1693. In the church of St.
Gertrude, at Louvain, there is a large picture by
him containing numerous figures, probably por-
traits, and in the Antwerp Museum a portrait of
Prans van Steerbeeck.

STRANGE, Henry Le. See Le Strange, H.

STRANGE, Sir Robert, engraver, born in
Pomona, Orkney, in 1721, was descended from a
cadet of the Strange family of Balcasky, Fife,
who settled in Orkney at the time of the Reform-
ation. He was originally intended for the law, but
some of his drawings having been shown to one
Cowper, a drawing-master at Edinburgh, were so
highly approved by him, that the young man was
placed under his tuition. He had made consider-
able progress under Cowper's instruction, when
civil war broke out on the arrival of the young
Chevalier. He joined the Jacobites, and was named
engraver to the Prince, whose portrait, with those
of many of his officers, he drew in pencil and en-
graved. After Culloden , where he is said to ha ve
fought in the ranks, he escaped to Prance. As
soon as peace was restored, Strange came to London,
but soon afterwards revisited Paris. On his way
he made some stay at Rouen, where he frequented
the Academy, and obtained a, prize for design,
though his competitors were numerous. On his
arrival in Paris he became a pupil of Le Bas.
In 1751 he returned to London, at a period when
historical engraving had made little progress in
England, and became the father of that arduous
and difficult branch of the art in this country. In
1761 Strange went to Italy, where he made draw-
ing.^ from many then celebrated pictures, some of
wliich he engraved abroad, others after his return
to England. In the course of his tour he was
elected a member of the academies of Rome,
Florence, Bologna, Parma, and Paris. In 1787 he


received the honour of knighthood. He died in
London in 1792. Sir Robert Strange engraved
about eighty plates. His style shows a combina-
tion of purity, breadth, and vigour which has
scarcely been equalled. In colour, however, his
prints are somewhat deficient. The following are
among the best :

Chai-les I. ; after Vandyck. 1770.

Charles I. ; after the same. 1782.

Henrietta Maria, Queen of Charles I., with the Prince
of Wales and Duke of York ; after the same. 1784.

The Children of Charles 1. ; after the same. 1758.

A Bust of Raphael; after a picture by himself; in-

Online LibraryMichael BryanDictionary of painters and engravers, biographical and critical → online text (page 141 of 201)