Busts of Demosthenes and Cicero on Library Bookcases.
Engraving.
A Bust of Theophrastus.
Engraving.
Michael Burghers (1653 - 1727).
With a couple of further examples of Engravings by Burghers.
Another post of images from the occasional series of Sculptors and
Sculpture represented in two dimensions.
Michael Burghers Dutch engraver and draughtsman, He was baptised in the Lutheran Church in Amsterdam came to England in 1672,
and settled at Oxford where he worked as assistant to David Loggan and succeeded him on his death as Engraver to the University in 1792.
He engraved the print in the ‘University Almanac’ for
1676, and most of those which followed it up to 1720.
He made many small views
of buildings at Queen's College and Christ Church. He also engraved the
following portraits: William Sommer, the antiquary; Francis Junius, after A. van
Dyck; John Barefoot, letter-doctor to the university, 1681; head of James II in
an almanac, 1686; William Penderill of Boscobel in Salop; Robert Eglesfield,
founder of Queen's College; Sir W. Read, chemical physician; and the Visage of
Christ, engraved in the manner of Claude Mellan.
In Burghers
executed a mezzotint portrait of Anthony à Wood, the antiquary. On several of his plates
he added to his name ‘Academiæ Oxon. chalcographis,’ but sometimes marked them
with the initials M.B. only. He died, according to Hearne’s ‘Reliquiæ,’ on 10
Jan. 1726-7.
Interior of a Library (probably an Oxford College).
with Roger Ascham author and Tutor to Princess Elizabeth Elizabeth I.
Michael Burghers (1653 - 1727).
164 x 101 mms.
Lettered beneath the busts and portraits with the names of
the subjects: 'Demosthenes', 'M. T. Cicero', 'Eduardus Sext. Rex', 'Elizabetha
Regina', 'Ioannes Checus Eq.A.', 'Ioannes Sturmius', 'Guilielmus Cecilius
Baro.', 'D. Thomas Smith Eq.', 'Ioannes Sleidanus', 'Ioannes Elmarus Episc.',
'Iana Graya', and 'Maria Regina'.
Lettered with production details: 'M Burg. de. et f.'
Inscribed in pencil on verso: 'Roger Ascham & Princess
Elizabeth'
___________________________
Theophrastos.
Michael Burghers.
British Museum
________________________
Thomas Bodley.
inscribed by Michael Burghers.
70 x 170 mm.
This engraving shows portraits derived from the two busts of Thomas Bodley
The left hand portrait from the stone bust in the Bodleian Library Oxford and the right taken from the alabaster bust on the monument in Merton College Chapel, Oxford.
see my blog posts
National Portrait Gallery.
_________________________
Sir Thomas Bodley.
Michael Burghers.
Engraving.
315 x 196 mm.
1674.
National Portrait Gallery.
See my previous blog post -
________________________________
Michael Burghers.
From the Oxford Almanac.
Depicting the Clarendon Building with the statues on the roof.
1720.
360 x 450 mm.
29 May 1719, 'the Proof of a new Almanack for the year 1720
was delivered to the Univ. Engraver, Burghers, being done by Du Bois, who did
the Cuts in Baskett's Bible; so that Burghers is only to do the second Plate'
(Hearne, Collections, vii. 14). The engraver of some of Thornhill's designs in
the 'Vinegar' Bible, printed by John Baskett in 1717, was Claude Du Bosc,
1682-?1745, a french engraver who came to England c. 1712.
One plate was
engraved in London and one in Oxford (University Archives W.P. 21(6)).
There is
an unsigned proof without a calendar in the Ashmolean Museum. There is a
drawing in ink and grey and brown wash with white highlights, signed 'J.
Thornhill f.', for this almanack in Worcester College Library (Pl. I). A pen
line extends below the drawing defining the area of the calendar; an engraved
calendar has been stuck into this space . Below it, in George Clarke's hand, is
written, 'This is the originall drawing.' In a letter to the Vice-Chancellor
dated 1 June 1717 (Bodl. MS. Ballard xi, f. 122), Thornhill writes that he
hasn't forgotten his promise to design an almanack but that he wished to have a
better engraver than is usually employed, and to arrange the calendar
differently. He asks that the drawing he has just done shall be left till the
following year.
In March 1718 he still had not completed his design and
promises it for the following year; however, it was finished in May (Bodl. MS.
Ballard. xx, ff. 113v, 107). A signature, which appears to have corresponded
with that on the drawing, has been scraped out on the plate. The position of
the calendar is in fact unchanged, but the frame around the picture is an
innovation which was repeated in the next two almanacks.
Sir James Thornhill,
1675-1734, the most important English baroque painter, worked in Oxford for All
Souls College and the Queen's College, and painted the hall at Blenhiem Palace.
The Clarendon building, built as the University Printing House, was designed by
Hawksmoor and completed in 1713.
The lead figures of the Muses, which were designed by
Thornhill were placed on the roof in 1717.
Petter, Helen Mary. The Oxford Almanacks. Oxford. At the
Clarendon Press. 1974. p.52-3.
Image and text above Courtesy Sanders of Oxford.
No comments:
Post a Comment