Derby Porcelain & John Boydell
May 20, 2011 1 Comment
A Derby porcelain lozenge shaped dessert dish, c.1790
This dish has a white ground with a cobalt blue border and is gilded with eight small reserves containing a rose. The oval central reserve is bordered by a fine blue overgilded line and contains a landscape showing a river scene with a bridge, windmill, castle, house and three figures.
The roses on the border were probably painted by Derby porcelain artist William Billingsley (1758–1828) and the central reserve painted by Zachariah Boreman (1736 – 1810). The dish dates from the Duesbury period, circa 1790. It is marked with the numeral 1 for the gilder Thomas Soar.
A Derby porcelain oval shaped dessert dish, c.1820
This dish has a cobalt blue ground, a gilded arrowhead border and a gadrooned rim. The large central reserve contains a townscape of Derby viewed from the weir on the River Derwent. It depicts St. Marys Church and the Shot Tower and was possibly painted by Daniel Lucas.
It dates from the Bloor period, circa 1820 and is marked ‘Bloor Derby’ enclosing crown in red printed circular mark.
John Boydell was one of the richest and most powerful print publishers of the late 18th century. He started his career as an engraver and eventually saved enough money to establish his own print publishing business. He acquired the license to reproduce paintings by Thomas Smith of Derby. His print shop in Londonwas well patronised by travellers and people wanting to look fashionable and knowledgeable.
Valentine Green is considered to be one of the greatest mezzotint engravers of the 18th century. Green produced affordable mezzotints after the paintings of the most leading and contemporary artists of his day, including Joseph Wright.
What is mezzotint?
The mezzotint is a form of engraving, or intaglio printmaking. Unlike linear engraving methods, in which the desired image is incised and ‘scooped’ out of a metal plate creating a sharply defined line, mezzotint involves the roughening of a metal surface (the resulting texture is called the ‘burr’), which enables the achievement of smooth gradations of tone. The result is an impression that appears velvety and painterly. Due to the finely worked surface of mezzotint plates, the lines of the engraving were easily worn away by the production of repeat impressions, so the first and darkest impressions were considered the most valuable and of the highest quality.