Chapter VIII (1)

SILHOUETTE DECORATION ON PORCELAIN AND GLASS.

THE SILHOUETTE THEATRE.

As the oldest type of black profile representation is undoubtedly connected with the decoration of pottery, it is not to be wondered at that when silhouette-making by brush, pencil, or scissors was at the height of its popularity, a return should be made in style to the antique. The porcelain and glass makers ornamented their work _in silhouette_, sometimes in the modern form, when the head and neck would be shown, generally in black upon white china, but also in a few instances in black upon a reddish terra-cotta colour, when the full figure would be given in the Greek style, and designs more or less elaborate would be used as borders, notably, the key pattern, so usually associated with Greek art, though, as a matter of fact, such patterns appear in all Oriental decoration. A Vienna factory, and also some of the French factories of the end of the eighteenth and beginning of the nineteenth century, made objects with the reddish ground. Silhouette porcelain was not infrequently made for private individuals, such, for example, as the specimen owned by Dr. A. Figdor, of Vienna. A female head painted in black is surrounded by a wreath of forget-me-nots in colour, and on the back is the inscription, “In remembrance of your affectionate grandmother, M. J. C.” A fine cup and saucer is in the collection at Carnavalet, in Paris; amongst those pieces which are associated with the Revolution, within a frame of olive or laurel, is the silhouette of Mirabeau, with the name printed below. There is a beautiful tray belonging to Mr. FitzHenry, of French manufacture. This shows the silhouette portrait at its best, in gold, as centre ornament. Wreaths of ribbon garlands and pierced ornament make this fine piece specially attractive. Besides these individual pieces, specially ordered for special occasions, there are the pieces of silhouette china ornamented with portraits of the king or of the reigning family. In Mr. Wellesley’s collection there is a mug with a portrait of George IV. rather coarsely done, and we have examined some custard cups with lids, which were also English. At the Worcester and Bristol factories such painting was done, though usually less elaborately than at some of the German porcelain factories. There is an exception, however, in the very fine vase shown in our illustration. This is in the possession of Mr. Spink, and was made at Worcester. It stands thirteen-and-a-half inches high, and its elaborate decoration in gold and colour is extremely effective. The wide band above the portrait is of chocolate colour, with pencillings of gold in a Greek design; blue, green, and brown figure on other parts of the vase, and the lid has a gold knob. The black profile of the king has a band round it, on which are the words, “Health and prosperity attend His Majesty.”

At Knole there are several beautiful Worcester vases with silhouettes of George III. and a remarkable breakfast service of German workmanship. This is complete, and gives the different portraits of the reigning royal family. Even more elaborate are two vases also connected with royalty; they were evidently made for centre-pieces when a special dinner service was used. There are no silhouette portraits on the plates and dishes, but on the two splendidly ornamental vases, which match in decoration, there are profiles of the King and Queen of Sweden respectively. These fine examples are in Copenhagen porcelain; swags of flowers in high relief show up well on the white ground. Cupids ornament the lids and hold as a shield gold-framed medallions, where, on a rose-coloured ground, the silhouettes show with excellent effect. These vases stand sixteen inches in height.

Amongst the German examples there is a good specimen from Wallenstein with a silhouette portrait of Frederick the Great in a frame of laurel picked out in gold. In the Höhenzollern Museum at Monbijou Castle there is a large service entirely decorated in this way. Teapots and cream-jugs, basins, sugar and slop bowls, and coffee-cups, all are complete, and six female and three male heads appear, all being members of the Royal Family. Frederick the Great is on the coffee-pot.

Undoubtedly such ware was made for presentation. We can well imagine the special pleasure in a gift which has this very personal touch; the royal attribute of picture presentation must have been most acceptable when the useful service became the portrait background.

Not only did the silhouette cast its glamour over the porcelain makers, but glass manufacturers also utilized the fashion for the original decoration of their wares. Dr. Strauss, of Berlin, owns a remarkable glass with a well-cut shank, which shows the head and shoulders of a woman, with the inscription, “With best wishes for your welfare, your faithful wife presents you with this. L. W. V. R., August 6th, 1795.” The silhouette is in gold, and is done by means of a curious process practised by one Glomi, and called after him _Églomisé_, though the method was known and utilized long before his time; in fact, as early as the fourteenth and fifteenth centuries, this etching in gold between glass was done. Fine specimens, usually cups, goblets, and chalices, for the use of the Church, enrich our museums. The process is thus described by Larousse in the _Nouveau Dictionnaire_:—

“_Églomisé_,”
art. _Larousse, “Nouveau Dictionnaire,” Tom. 4_.

Églomisé, ée. (de Glomi, n. pr.) adj.

Se dit d’un objet en verre décoré au moyen d’une dorure
intérieure, suivant le procédé de l’encadreur Glomi, qui paraît
en avoir été l’inventeur au XVIIIe siècle.

Encycl. Les verres églomisés sont ces petits tableaux dont le
sujet est peint sur le verre même qui les recouvre. On fait un
fréquent usage de ses petits panneaux ou de ces lentilles pour
former des dessus de bonbonnières, etc. Ordinairement, le tracé
est fait à la pointe, sur une feuille d’or fixée au vernis
sur le verre. Le mot “églomisé” a été inventé, en 1825, par
l’archéologue Carrand et appliqué par lui aussi bien aux verres
modernes décorés suivant la méthode de Glomi qu’aux objets
beaucoup plus anciens, datant du plus haut moyen âge, où la
feuille d’or est soudée au feu entre deux pellicules de verre.

The work was done on one glass, and another was made to literally enclose the finely etched gold lines, so that no harm could come to the decoration. Delicate landscapes as well as figures and portrait busts are done, and the glass is found coloured as well as clear white. There is a fine example in the Imperial Austrian Museum at Vienna, in which the silhouette in gold of a man appears with the inscription, “P. Ferdinand Karl, Professi Hilariensis. Mildner fec. à Gullenbrunn, 1799.”

In the Glass Gallery at the Victoria and Albert Museum, and at the British Museum, there are very fine specimens. At the former there is a drinking glass specially worthy of note. It is of tumbler shape, 3½ inches by 2¾ inches, and is formed of two layers of glass, one of which is etched in gold leaf, with a group of St. George and the Dragon, foliated scrolls, festoons, and arabesques. The bottom is coloured red and etched in gold, with the sacred monogram I.H.S., and the legend, “Benedictine sit nomen Domini.” The outside is cut in facets. This example is German early eighteenth century.

Wonderfully vivid hunting scenes are shown in gold-silhouette on an example of sixteenth-century work owned by Mr. FitzHenry; while black silhouette work of Nuremberg manufacture is painted in black with flowers and sacred emblems. Besides the gold ornamented glass, there was also a good deal made in the same way but decorated in very dark brown or black. Hunting scenes, elaborately sketched with the minutest detail in tree, hound, and huntsman, often figure on such pieces.

A volume on the silhouette in all its aspects would be incomplete without some reference to the use which, from earliest times, has been made of shadowgraphy to represent isolated scenes, and also complete plays on the stage.

In Paris, in 1771, the celebrated Theatre Seraphin was founded by Seraphin Dominique François, who opened his little theatre for shadowgraphy alone, in the gardens at Versailles.

Slight and dainty were the plays, and we can imagine the silk-clad audience in powder and patches who would come with the children, or with no excuse at all, to amuse themselves at the antics performed in this shadowland. Little they cared for the real shadows of the terrible Revolution which were already gathering as they applauded the silhouettes of Seraphin.

“Venez garçons, venez fillettes,
Voir Momus à la silhouette.”

Twenty-six years later, after the stormy days of the Revolution, marionettes were added to the attraction of Chinese shadowgraphy, which still lingers in the magic-lantern shows of to-day.

For the palmy days of the silhouette theatre we must look a long way down the centuries, and the recent astounding find of a large collection of ancient figures used in the shadow plays of old Egypt enables us to actually see how the Egyptian figures looked and how they worked. The history of their discovery by Dr. Paul Kahle in one of the villages of the Delta is a fascinating one, too long for these pages, but the signs and proofs of antiquity are complete. The coats of arms of the Mamelukes used in the thirteenth century are used as ornaments, and the leather, of which the human figures, ships, and birds are made, is cleverly cut, so that a mosaic of richer colouring is visible.

In the twelfth and thirteenth centuries there are renowned actors in the shadow theatre, and even as early as the eleventh century performances are mentioned. The stage was formed by a thin sheet, behind which there was a strong light, and the figures were moved with two sticks fastened in the middle of the back.

In Java legendary history is taught by means of itinerant silhouette shows. These figures are also of leather, from eighteen inches to two feet in height. They are moved by means of horn sticks; they were in existence before Mahometanism came to the island. In China silhouette plays always represent a priest of Buddha as the central figure, and he is made to dance in imitation of the movements made in the performance of religious rites.

On the night of the festival of Diwali in India men exhibit a huge cylindrical paper lantern, over the sides of which shadow figures pass in succession, so that Gonard’s lamp in the Palais Royal, that was decorated with silhouettes to guide his clients to his salon, might have come straight from the East.

Special plays for performance on the stage of the shadow theatre were published as late as 1850, written some years before by Brentano for the amusement of his family, for shadowgraphy was often practised in the middle-class houses.

Pocci also wrote a play for the shadow theatre, and Henri Rivière produced the “Prodigal Child” and the “March to the Star,” both shadow tableaux rather than plays, arranged in seven elaborate scenes.

ALPHABETICAL LIST OF SILHOUETTISTS, MAKERS OF SILHOUETTE MOUNTS, AND OTHERS CONNECTED WITH THE CRAFT.

In attempting this the first list which has ever appeared of silhouette artists, apology must be made for inevitable omissions. Since commencing it six years ago, obscure examples have been found which give the names of unknown painters or cutters, possibly amateurs, who have left no other sign of their work except this ghost of the past. Sometimes a rare specimen has been the means of adding to the list of silhouettists a man or woman already well known in some other branch of artistic work, such as Dicky Doyle and the late Phil May, examples owned by Mr. Desmond Coke.

It is well known that while the fashion for shadow portraiture lasted, many artists used the method but did not sign their work, thinking perhaps that this passing mode was not one altogether worthy of their reputation in other branches. It is the exception rather than the rule for silhouettes to be signed, whatever the process chosen. Connoisseurs are enabled by careful study to recognise at a glance examples of well-known silhouettists, such as Miers, Rosenberg, Mrs. Beetham, or Edouart, by their treatment of hair or some slight characteristic touch; but as a rule the shadow pageant passes before us nameless, elusive. We hope to rescue from final obscurity some of the names of the lesser men, and perhaps the list, however incomplete, may help owners to identify the originals of these shadow sitters of the past. When possible, dates of birth and death are given; but often only a single date is available—that when the portrait was taken. In many cases the advertisement at the back of the frame gives us the desired information; but comparatively few examples are still in the original frames provided by the artist. Even if the frame has not been changed, the glass may have been broken, rendering the opening of the back necessary for renewal, with destruction to the trade label. Beneath a second covering, for dust-proof purposes, it is sometimes possible to find a name, but each year the chances of the preservation of such clues is lessening. The author will be glad to have information sent to her in order to add further information in view of a later edition of her work.

It has been thought advisable for purposes of reference to arrange the names in alphabetical rather than chronological order. As the methods of silhouetting in different countries do not vary to any large extent, and as most of the workers travelled widely, so that, for example, Hubard, though an Englishman, did much of his work in America, and August Edouart, a Frenchman, is best known in the British Isles and the United States, the artists have not been grouped according to their nationality, nor with regard to their mode of work. The alphabetical order seemed on the whole to be the most convenient.

ACKERMAN. Published a sheet of silhouettes of children playing in groups, about 1830.

ADAM, J., Vienna. Engraved mounts for silhouettes.

ADOLPHE. Signature on silhouette of George IV. in black ink, gold on hair and rings. XXIII. Advertisement on a signed portrait of Lady John Townshend, 1840, in the National Portrait Gallery. “The Origin of Profiles, sketched by Mons. Adolphe, Portrait, Animal, Miniature and Profile Painter, 113, St. James’s Street, Brighton.” Then follow verses commencing—

“’Twas love, ’twas all inspiring love ’tis said,
Directed first a female hand to trace.”

ALDOUS. On the silhouette portrait of his late Royal Highness Frederick Duke of York is written, “Drawn on stone by Mr. Aldous.”

ANTHING, F. (1783-1800). One of the finest painters of silhouettes. Volume of 100 silhouettes of his notable personages was published (see Bibliography). Three large silhouettes by this artist were exhibited at the Berlin Exhibition. Worked in St. Petersburg.

ASMUS, HILDEGARD. Cut genre subjects in black paper.

ATKINSON, G. (1815). Lived at Windsor. Was called Silhouettist to the Royal Family. A large group of George III. and his sons, cut in black paper and touched with gold, was exhibited at the Royal Amateur Art Society’s Exhibition in 1911. Owner: G. Sharland, Esq. XXXVII.

AYRER, GEORG FREDERICK. Late eighteenth century. Did much of his work at Lausanne. Of him was written by Madame Weston (_née_ Bry) in 1778: “Tous les talents meritent qu’on les prise. Le votre est amusant joli interessant. En le perfectionnant vous rendez inutile qu’au bas de vos portraits on ecréve son nom.”

BARBER (1821).

BAUSER, M. (1779). Head of a man published in Germany in a book of operettas (see Bibliography).

BEAUMONT. Signature on portrait of Ed. Copleston, D.D., taken 1845.

BECKMAN, JOHANNA. Fine foliage work, black paper. Modern.

BEETHAM, MRS. (1785), 27, Fleet Street. Painted on card, plaster, and convex glass, sometimes filled with wax. Jewel examples of her work are rare—one brooch in the Wellesley collection, one owned by Mrs. Head. Mrs. Beetham’s work is very fine; ribbon gauze and hair are done with great taste and dexterity. Her advertisement on an example in the possession of her descendant, Dr. Beetham, runs thus: “Profiles in miniature by Mrs. Beetham, No. 27, Fleet St., 1785.” X., XI., XLIX.

BETTS. Made a “newly-invented machine” for reducing the life-size shadow.

BLACKBURN, J. (1850), King Street, Manchester.

BLUM (1795). Cut silhouette portraits for the _Annalen der neueren theologischen Literatur in Kirchengeschichte_, 7th vol., 1795.

BLY. Cut silhouettes in black paper at the West Pier, Brighton. Present day.

BOCKTON. On portrait of Sir Wm. Wynne Knight, LL.D., Dean of the Arches and Judge of the Prerogative Court of Canterbury. “Mr. Bockton, his Proctor, took his resemblance as he sat giving judgment.”

BÖHLER, DR. OTTO, Vienna. Cut twenty-one silhouettes of musicians and others, which have been reproduced. He is considered by Herr Julius Leisching to be one of the best modern German silhouettists.

BONNES.

BOUVIER, J. Signature on the portrait of the Right Hon. Sir R. Peel, Bart., M.P., showing the New Exchange, Glasgow, in the background. Published by Wm. Spooner, 377, Strand. Lithograph in the National Portrait Gallery.

BRANDES, MINNA. Born 1765, in Berlin. A girl’s head thus named, probably herself, done by some silhouettist of the day, appears in the operettas published in Germany in 1799 (see Bibliography).

BRETTANER, BARBARA (1721). Parchment cutter.

BROWN, MISS. Said to have cut Gibbons’s profile without a sitting.

BROWN, WILLIAM HENRY. Born May 22nd, 1808, in Charlestown, South Carolina. Itinerated in the United States. He cut mostly full-length portraits, and called his studio the Brown Gallery in whatever town he worked. A book was published with twelve silhouettes by him, mostly full-lengths with elaborate backgrounds, also facsimile autograph letters of the people whose portraits are given (for full title of book, see Bibliography).

BRUCE, I., 85, Farringdon Street; and 3, Somerset Place, Brighton. Signature on a series of early nineteenth-century portraits in the National Portrait Gallery, which include Lord John Russell and William IV.

BURMESTER (1770). Court silhouettist in Berlin.

CAPUCHIN, F. AGATHAUGDUS BONNENSIS. Signature on fine cut paper; ornament with bishop’s arms.

CHARLES, 130, Strand. Worked with pen and Indian ink; sometimes he used colour on the dress. A signed specimen of Georgina, Duchess of Devonshire, and one of Fanny Burney, owned by Mr. Wellesley; others owned by Mr. Leslie and Mr. F. G. Rowson. In his advertisement, which bears an engraved head on the label, he describes himself as “the first profilist in England,” 138, Strand, XI., XV., XIX.

CLARKE, W. (1781), of Newcastle. Painted on plaster. Label on an example in the Wellesley collection.

COOPER. Signature on portrait of a man painted on card in red brown touched with gold. Date 1833. At Knole.

COOS (1782). Signature on woman’s profile portrait on gold glass background; in the collection at Knole. XXI.

CURTIS, ELEANOR PARK (1779-1852), step-daughter of Washington, first President U.S.A., whose silhouette she cut at Mount Vernon in 1798. This portrait is bust size, looking right.

DEINVEL, F. Silhouettes cut out of paper blackened with Indian ink, the hair, lace, and other ornaments being added with the pen on the mount; engraved mounts sometimes used.

DEMPSEY. “Profilist. Established No. 30, Manchester Street. Likenesses in shade, 3d.! Bronzed, 6d.!! Coloured, 2s. 6d. Observe it is Dempsey’s.” Advertisement label on two full-length men’s portraits with painted sepia background. Owner: Mr. Desmond Coke.

DENON, DOMINIQUE. Medallist, engraver, silhouettist. Born Châlon-sur-Saone, died in Paris. He accompanied Napoleon to Egypt. His silhouettes are mounted with elaborate borders.

DESFONEAUX, T. E.

DEWEY (1800). Name on silhouette of Ambrose Clarke, in the possession of Mrs. Wm. A. Fisher, U.S.A.

DEYVERDUNS. Eighteenth-century silhouettist.

DIEFENBACH. Cut genre pictures in black paper. Present day.

DIETERS, HANS. Silhouette cutter, nineteenth century. A fine portrait of Bismarck, with two of the great hounds named after him, is used as an illustration in “The Revival of the Silhouette.”

DÖHREN, JACOB VON, Hamburg. Reduplication of silhouettes; process mentioned in book on Bon Magic (see Bibliography).

DUMPLE. Advertisement label on an example in the Wellesley collection.

EBERLE, CONSTANCE, Brünn. Cut silhouettes.

ECKART. A labouring man of Berlin; his clever silhouette cutting was brought to the notice of the public by Werkmeister.

EDOUART, AUGUST. Born 1789, died 1861; a Frenchman. Served under Napoleon, and was decorated. He married Mademoiselle Vital, and during the political crisis came to England. Cut silhouettes in doubled black paper; itinerated in the large towns in England and on the Continent. He kept books of duplicates which contained upwards of 100,000 portraits; these included the French Royal Family taken at Holyrood, hundreds of the gentry and nobility of Great Britain, besides professional men, statesmen, politicians, and almost every man and woman of note of his time. He wrote a treatise on silhouettes (see Bibliography), a demy octavo volume with many illustrations, which is now very rare. When upwards of fifty years of age, Edouart went to America, and while there cut the portraits of presidents, soldiers, sailors, senators, and famous men and women in the States. In 1849 the ship “Oneida,” on which the artist returned, was wrecked, and many of his valuable volumes of duplicates were lost. Some 9,000 portraits, however, in fourteen volumes, were saved, and form a remarkable collection of the celebrities of his day (see chapter on “Edouart and his Book”). IV., V., VI., VII., XV., XXIV., XXV., XXVII., XXXVII., XXXVIII., XL., XLI., XLIII., XLIV., XLVIII., L., LVII., LX., LXIV.

EDWARDS, E. C. (1824). Name on silhouette of Thomas Coke, of Holkham, afterwards Earl of Leicester. From a drawing made at Holkham.

EDWIN, HENRY. Silhouettist of the second half of the nineteenth century. Cut the portraits of Lords Iddesleigh, Tennyson, and Salisbury, Mr. Gladstone, and many other famous men. A small paper book was published with a few of his fancy subjects.

ELIZABETH, PRINCESS, XIII., XXXIV., XXXV., XXXVI., LXII., LXIV.

FERPELL (1837). Signature on a sheet of five engraved silhouettes at Knole. The portraits are of the Duke and Duchess of Dorset, of the eighteenth century, and their three children.

FIELD, J. Born 1771, died 1841, at Molesey. Painted in black on glass, plaster, and card; nearly always pencilled with gold. He was for many years in partnership with Miers, when the names Miers & Field appear on the label. Afterwards, “J. Field, 11, Strand, late of the firm of Miers & Field,” is found on the backs of his fine portraits. Thus: “J. Field, Profilist to their Majesties, and H.R.H. the Princess Augusta, No. 2, Strand, London, two doors east from Northumberland House. Upwards of thirty years sole profile painter, and late of the firm of Miers & Field. Continues to execute his long approved likenesses, combining expression and character with accuracy of finish, so as to give the most pleasing resemblance, for frames, cases, frontispieces for library works, and even in minute size for bracelets, brooches, lockets. Time of sitting, three minutes. Mr. F. preserves all the original shades, by which he can at any time furnish copies, if required, without the necessity of a second sitting. Copies correctly taken from profile busts. Miniature frames and cases of every description manufactured by H. W. Field; also jewellery and seal engraving.” This label is on a portrait of himself by J. Field, in the possession of his great-grandson. VIII., IX., X., XXII.

FINKENTSCHER, OTTO. Cut silhouettes, chiefly animals.

FIRTH, FREDERICK. Cut silhouettes, which are generally pencilled with gold. Advertisement in the possession of Mrs. Wadmore: “The nobility, gentry, and inhabitants of Tunbridge Wells are respectfully informed that Master Firth will remain but one week longer in this town. Those ladies and gentlemen who have not yet completed their family sets are requested to make early application. That extraordinary talented youth, Master Firth, who has been the astonishment of all lovers of the fine arts, will exercise his ingenious and interesting profession for one week longer in this town, next door to the Ladies’ Bazaar, Parade, etc. His prices—A plain bust, 1s.; duplicate of ditto, 6d. A bust in gold bronze or shaded, with drapery, 2s. 6d. Whole-length figure in plain black, 2s. 6d.; ditto, duplicate of ditto, 1s. 6d.; ditto, very highly finished, 2s. 6d. The much-admired coloured profiles, 10s. 6d. Whole-length figure in bronze or shaded, with drapery, developing every characteristic peculiarity of hair, dress, etc., 5s. 6d.”

FLINT, ANDREAS.

FOLWELL, S. Signature on a portrait of George Washington, 1791. Painted on card.

FORBERGER, A. (1795), Paris. Painted on glass, gold lined. A memorial silhouette is in the Wellesley collection. (See Plates.)

FOSTER, EDWARD WARD. Born in Derby 1761, died 1864. Described on his trade label as from London. In 1811 he was at Mr. Abbott’s, Trimmer, Friar Gate. Most of Foster’s work is in sanguine reddish colour, painted on card. There is often a minute diaper pattern of stars on the dresses of women and children; occasionally greens and blue tints greatly enhance the beauty of his silhouettes. His signature is rare. Occasionally it is found written minutely, as on the portrait of the Countess of Blessington in the collection at Knole, Sevenoaks. His name is occasionally embossed in the brass ornamental ring of the papier-mâché frame.

FOWLER. On signed portrait of George III., with minute writing forming ornamental lines.

FRANÇOIS. French silhouette cutter of the present day. Worked at Earl’s Court Exhibition, 1911.

FRANKLIN. Worked in the Thames Tunnel. Early nineteenth century.

FRERE, J. Signature on painted silhouette portrait of a man, white collar and stock, in the possession of the author.

FRÖHLICH, KARL, of Berlin. Cut silhouettes after drawing.

GABILLON, Vienna. Illustrated “Puss in Boots” in silhouette, 1876-1877 (see Bibliography).

GAPP, J. (1829), Brighton. Worked on the Chain Pier. Label on full-length cut portrait of a boy, in the collection of the author. “Daily at the Third Tower on the Chain Pier. Full length, 2s. 6d.; bronze, 4s.; on horseback, 7s. 6d.; horses, 5s.; dogs, 1s. 6d.; small cuttings for scrap-books.” Sala in his “Brighton as I have known it” writes: “Old Chain Pier cabins, where they took portraits known as silhouettes, which were profiles, cut out apparently of black sticking plaster, stuck on pieces of card.” XLI.

GEIGNER, FRANZ. Born 1749, died 1841. Cut silhouettes with indented outline.

GIBBS, H. Painted on glass, plaster and card. “H. Gibbs, profilist,” on the back of a portrait of a woman in Empire dress, painted on glass with wax filling. Owner, the author. “H. Gibbs, profile painter, Queen Street, Ranelagh, Chelsea,” on silhouette painted on card, black profile, blue coat, yellow buttons. At Knole, Sevenoaks.

GIBBS, M. Painting on glass, white relief, card back. Early nineteenth century.

“M. G.” Signature on book of silhouettes of children mentioned in _Notes and Queries_.

GILLESPIE, J. H. (1793). “Likenesses drawn in one minute by J. H. Gillespie, profile painter,” on three painted silhouettes owned by Mrs. Whitmore, Bromley. Greyish black with dead black lines, white relief, LIV.

GNESIENAN, FRAU VON.

GODFREY, W. F. Label on the portrait of a woman painted on convex glass in possession of the author. The face is black, the dress white, gold earrings and a tortoiseshell comb in her hair. “W. F. Godfrey announces to the nobility and gentry of this town and its vicinity, that he executes likenesses in profile shadow in a style particularly striking and elegant, whereby the most forcible animation is reduced to the miniature size for setting in rings, lockets, bracelets, etc. W. F. G. having a successful practice for the last seven years, and the honour of taking the principal families in Somerset, Cornwall, and North Devon to their fullest and entire satisfaction; and one trial only is required to ensure confidence and recommendation. Likenesses, beautified and enamelled on flat and convex glass, in bronze on paper or glass. Likenesses taken in colour. Ladies and gentlemen waited on at their own houses in town or country.”

On Plaster]

GOËTHE (1749-1832). German poet. Cut the silhouette of Fritz von Stein and others, now in the Goëthe Museum at Weimar.

GONARD (1784), Paris. At the Palais Royale cut paper and painted; used elaborate printed mounts. His address in 1788 was Palais Royale, under arch No. 167, at the side of Rue des Bons Enfants. Here his studio was so frequented that a special lantern, decorated with silhouettes, was used at night, that carriages and chairs might draw up for the convenience of his aristocratic sitters. XXII.

GRAFF, A. Born 1736, died 1813. Portrait profilist, German.

GRAFF. Described as “Portraitist.”

GRAPE (1793), Göttingen. Signature on silhouette portraits in the fifth volume of _Annalen der theologischen Literatur in Kirchengeschichte_ (see Bibliography).

GRASSMEYER. Signature on cut silhouette in engraved mount.

HAINES, E. Worked on the Chain Pier, Brighton, 1850. Label on a man’s full-length portrait from the collection of Mr. Montague J. Guest, now belonging to the author: “Profilist and Scissorgraphist, patronised by the Royal Family, most respectfully informs the nobility and gentry, and visitors of Brighton, that he continues to execute the peculiar art of cutting profile likenesses in one minute with the aid of scissors only, so as to equal any yet produced by the most accurate machine. Terms: Full-length portrait, 2s. 6d.; ditto bronzed, or two of one person, 4s.; bust, 1s., or two of one person, 1s. 6d. Portraits of many interesting living characters may be seen at the first left-hand tower on the Chain Pier. Families attended at their own residences without additional charge. Proprietor of original weighing machine.” Bishop, writing of the Brighton Chain Pier in 1897, writes of the old tower keeper, Mr. Haynes, a skilful silhouette cutter, “was very deaf, and his invariable reply to any question was ‘1s. 6d. head and shoulders; 2s. 6d. full length.’” XXXI.

HAMLET (1779-1808). Label on a portrait painted on glass of His Serene Highness Count Beaujolais, brother to Louis Philippe of Orleans, afterwards King of France, “done for the Parry family, Bath, April, 1807.” His addresses are 12, Union Street, on a portrait of Princess Sophia in the Wellesley collection, and 17, Union Passage.

HANKS, MASTER. Silhouettist mentioned in the Catalogue of the Exhibition of the Maryland Society of Colonial Dames of America, held January, 1911. The name occurs on a silhouette of Miss Henrietta Moffet, belonging to Mr. and Mrs. Whitbridge.

HARDING, Henry Street, London (Foster & Harding, London). Cut in paper by Mr. Harding “on the silhouette of Mr. Lawless, Irish Agitator,” in the National Portrait Gallery.

HAYD, H. Painted silhouettes.

HEINEMANS. Cut silhouette of Goëthe, about 1763.

HEINRICH, ERNST (1792-1862). Cut the portrait of Countess Salm Proshan; also painted silhouettes.

HENNING, C. D. Born 1734. Engraver, painter, and silhouettist.

HENSEL, F. and C. Cut twelve silhouettes to illustrate “Grimm’s Fairy Tales,” published in a book entitled “Lus Märchenland.”

HENVE, HENRY, 12, Cheapside. Label on silhouette owned by Mr. Wellesley.

HERBERT, M., of Geneva. In 1761 Horace Walpole writes to Sir Horace Mann and asks him to thank the Duchess of Grafton on his behalf for the découpure of herself, “her figure cut out in card by M. Herbert, of Geneva.”

HERVÉ. “Artist, 172, Oxford Street,” on cut paper silhouette of a lady in early Victorian dress. It is painted in gold. Owner: E. Jackson.

HESSELL, L. H. (1757), St. Petersburg. Painter of silhouettes and copper engraver. Invented a machine to take silhouettes by daylight.

HOERING. German.

HOWIE. Painted the silhouette of Gilbert Burns, brother of Robert Burns, now in the Scottish National Portrait Gallery, Edinburgh.

HUBARD, MASTER (1833). Began to cut silhouettes at the age of twelve. Label on portrait of Princess Victoria when a little girl. He also painted in Indian ink touched with gold. The Hubard Gallery was at 109, Strand. When seventeen years of age he landed in New York, and itinerated in the United States for many years, charging fifty cents for his silhouettes. A full-length portrait of a man, in the possession of the author, has “Hubard Gallery” embossed in the corner of the cardboard mount. Cut with scissors without drawing or machine at the Gallery of Cutting and Philharmonic Concert Room. This is the silhouette of John Grey Park, of Groton, Mass.: “cut in 1824” is on one of his figures. Hubard also visited Boston, and worked at the Exchange Coffee House. XLV.

HUBERT. Cutter of two silhouette portraits of Voltaire _en deshabille_, published in _Illustrated London News_, June 9th, 1860.

HÜBNER (1797). On a fine painted silhouette of a child with long hair, belonging to Madame Nossof, Moscow. LIX.

HULM. Eighteenth century. Signature on silhouette scarf-pin, metal.

HUNT, MRS. LEIGH. Cut Byron’s silhouette. LI.

HONIGSMANN, R. Painted silhouettes in Indian ink.

ICHIYEISAI YOSHIIKU (1824-1895). Japanese artist, who worked in silhouette. Two examples of his shadow prints show a cray-fish and red shell-fish, gold-fish and carp, in silhouette. A portrait of the actor Onoye Takanojo in colour and with silhouette is one of a series entitled “Mako no tsuki Hana no Sugata-ye” (“A flower form picture (before) a real moon”).

JEFFRESON. Name on label, gold bronze silhouette. Early nineteenth century.

JONES. Advertisement in the _Northampton Mercury_, December 30th, 1752:—“Shading Likenesses in Miniature Profile, on an entirely new plan and with great improvements. Taken in one minute by Mr. Jones, Artist and Drawing Master, from the Royal Academy, London. That no person may be deprived of their own friend’s likeness, they will be done at so small a sum as 2s. 6d. Nothing required unless the most striking likeness is obtained. Specimens may be seen each day from 12 till 7, at Mr. Balaam’s, Saddler, Northampton.”

JORDEN, RICHARD (1780). Painted on glass. No relief.

JORDEN, W. (1783). Painting on flat glass, six portraits of the Deverell family, formerly in the collection of Mr. Montague J. Guest, now owned by the author.

JOUBERT. Name on silhouette at Knole of boy cut, in ornamental engraved mount. Printed beneath the portrait is, “Fait par Joubert, peintre en miniature.” XLVII.

KAFFKA, J. C. Head of a young man in the operettas. Probably himself (see Bibliography).

KAY, G. (_alias_ WIRER). “Scissor-worker, photographist, miniature painter of the city of Oxford.” In 1877 was in Scarborough.

KELFE, M. LANE. Fecit April 16th, 1781, Bath. On man’s portrait, black profile, uniform in grey relief. E. A. Girling. Owner: Mr. Desmond Coke.

KEMPTON, W. Name on profile shade of “Francis, late Duke of Bedford,” taken at Ampthill Park.

KINDERMANN, JOHANN (1809). Gold-backed silhouette with pencil drawing. Sacred picture, with colours in landscape.

KING, WILLIAM, “Taker of profile likenesses, respectfully informs the ladies and gentlemen of Portsmouth that he will take a room at Col. Woodward’s on Wednesday next, and will stay ten days only to take profile likenesses. His price for two profiles of one person is twenty-five cents, and frames them in a handsome manner with black glass in elegant oval, round, or square frames, gilt or black. Price from fifty cents to two dollars each, etc.”—Advertisement in the _New Hampshire Gazette_, U.S.A., Tuesday, October 22nd, 1805.

KNIGER, HEINRICH. Silhouettes with touches of colour, black faces, bodies in water-colour. Signature on town criers’ and bell-ringers’ silhouettes.

KOCH, F. R. (1779). Name on a girl’s head in the operettas (see Bibliography).

KÖMPF. Designed silhouettes for book “Martin Spitzbauch,” 1806.

KONEWKA, PAUL. Born 1840, died 1871. One of the best known silhouettists of the nineteenth century. Illustrated several books with silhouettes, cut portraits for plays and children’s books, designed, but did not himself cut, some of his early work. Much of it is signed “K.” XIV.

KORINTHEA. Daughter of the potter Dibutades. First traced shadow of her lover when he was leaving her (600 B.C.) in Corinth; related by Pliny.

KUNST, FRIEDRICH, Möllen. Made scissor-cut silhouettes.

KUNST, THEODOR. Began to cut silhouettes when twelve years of age.

LANGERVELS, H. (1820).

LASSE. Signature on portrait of the Emperor Paul of Russia as a child. In the possession of Madame Nossof, Moscow.

LAVATER, J. G. The famous Swiss divine and author, whose learned work on physiognomy is largely illustrated by the silhouette portraits of the famous men of his day, cut or drawn by himself or his assistants. Many profile portraits by artists such as Michael Angelo, Vandyck, and others, are used in his book for purposes of examination.

LEA, of Portsmouth. Signature on portrait painted on glass of Admiral Sir J. Lawford.

LEU, Portsmouth. Painted on convex glass, end of eighteenth century. Much the same method as Mrs. Beetham, but not so fine.

LEWIS. Profilist. Signature on portrait of Mr. J. Cunliffe, of York (1808). In the possession of Mrs. Fleming. XXVI.

LIGHTFOOT, MRS. About 1785. Advertisement on two silhouettes, painted, in the possession of Miss Cumings, North Wales:—“Perfect likenesses in miniature profile, taken by Mrs. Lightfoot, Liverpool, and reduced on a plan entirely new, which preserves the most exact symmetry and animated expression of the features. Much superior to any other method. Time of sitting one minute. N.B.—She keeps the original shades, and can supply those she has once taken with any number of duplicates. Those who have shades by them may have them reduced and dressed in perfect taste. All orders addressed to Mrs. Lightfoot, Liverpool, will be punctually despatched.”

LINCOLN, P. S. Signature on several portraits in the collection of Mr. Montague J. Guest, sold at Christie’s, April 11th, 1910.

LLOYD, A. E., Chain Pier, Brighton. Second half of nineteenth century. Cut paper pencilled with gold.

LOCKE, M. (_fecit_ 1843). Signed on full-length of lady holding book, 9 inches by 6½ inches. Owned by Mr. J. R. Hall.

LOEKSI. A Polish silhouette cutter who itinerated in Ireland, holding exhibitions in each city. Advertisement on an example in the Wellesley collection.

LONGINATE, 81, Margaret Street. On printed silhouette of Granville Sharp, Esq., born 1734, died 1813. Published by L. Nichols & Co., December, 1818. In the N. P. G.

LÖSCHENKOHL (1780), Vienna. Painted originals of engraved silhouettes. Published in an almanack for 1786.

MACKENZIE. Signed “F.M., after Atkinson,” on silhouette portrait, full length, of Prince of Wales (late King Edward VII.) in his perambulator (1847) with the Princess Royal. At Knole.

MACKINTOSH. 19th century. Address: St. Andrew Street, Edinburgh.

MACLISE (1806-1870). Born at Cork. Historical painter. Amongst his drawings bequeathed to the Victoria and Albert Museum by Mr. Foster, there are two heads in black silhouette and two cut silhouettes measuring 1¼ inches.

MANDERER, E. Illustrated a children’s book with silhouettes.

MANNERS, W. H. Cut the silhouette of Sir Thomas Swinnerton Dyer, R.N., eighth baronet. Born 1770, died 1854.

MAPLETOFT. A fellow of Pembroke College. Cut a black shade of Thomas Gray, “taken after he was 40.” In the Strawberry Hill collection a profile of the poet was described as “Mr. Thomas Gray, etched from his shade by W. Mason.” Mr. George Sharf, in the _Athenæum_, February 24th, 1894, considers it a happy instinct to make use of the silhouette for producing a more complete portrait. The black shade of the poet preserved at Pembroke College directly inspired the best known portrait of Gray by Basire.

MARIA THERESA. Two white paper cuttings appeared in the Brünn Exhibition attributed to the scissors of the Empress.

MARTINI, VIGER. On painted silhouette of Blondin, dancer at the Théatre Italien, Comedié Français, and others. In the National Portrait Gallery. These portraits are usually about 5 inches by 2½ inches. Sometimes modelling in the face is suggested by brushwork.

MASON, W. Profile painter and printseller, Cambridge. Label on portrait of Ed. Daniel Clarke, LL.D., Professor of Mineralogy, Cambridge, who died March 9th, 1822, aged 53 years.

MAY, PHIL. Died 1910. This brilliant black and white artist occasionally worked in silhouette, giving to each portrait his inimitable touch of good-natured caricature. Signature on several silhouettes owned by Mr. Desmond Coke. XV., XLIX.

MAYER, JOSEF. Signature on silhouette of a young lady on a gold ground.

MAYER, STEPHANUS (1813). Signature on a portrait finely etched on glass with gold ground.

MELFOR, S. Name on cut silhouette of early Victorian lady in lace collar, gold lines on black dress.

MERINSKY, F. D. Cut silhouettes, the paper afterwards stamped in slight relief.

MERRYWEATHER. Profilist. Label on the back of cut silhouette of a girl, in black paper bronzed with gold.

MEWES, Magdeburgh.

MIERS, JOHN. Silhouette painter; generally painted in unrelieved black on plaster. His earliest label is very rare. “Perfect likenesses in miniature profile taken by J. Miers, Leeds,” on a portrait of a man in the possession of the author. Other labels give “John Miers, 111, Strand, opposite Exeter ’Change, Profilist and Jeweller, late of Leeds.” His name is first mentioned in the _London Directory_ of 1792. Another address is, “J. Miers, late of Leeds, 162, Strand, opposite New Church.” Also, “Miers & Field,” when he commenced a partnership with John Field, which lasted many years. “Miers & Field, 111, Strand,” appears in Kent’s _London Directory_ of 1827. Considerable trouble clouded the latter years of the artist’s life. IX., X., XI., XIX., XXIII.

MILDNER (1799). Gold silhouette on glass goblet enclosed in second glass (_églomisé_).

MILNER, JAMES, 78, Grange Hill Road, Eltham. Pen-and-ink silhouette portraits. Present day.

MÖGLICH (1742), Augsburg. Drew silhouettes or etched on glass on a gold ground.

MORSE, LEONARD BECHER (1783), St. John’s College, Cambridge.

MOSER, KOLOMAN, Vienna. Illustrated a book of caricatures in silhouette cut out of coloured papers (see Bibliography).

MULACZ, OLGA, Vienna. Cut silhouette pictures to illustrate Goëthe’s “Faust,” etc.

MÜLLER, H. Silhouette in Indian ink.

MÜLLER, WILHELMINA. Cut very minute landscapes in black paper. A man of humble origin, who possessed the gift, but made little use of it.

MURATORI, SIGNOR. Extract from _Art Journal_, 1853:—“Papyrography is the title given to the art of cutting pictures in black paper. Some specimens that have recently been shown by Signor Muratori are certainly the most ingenious works we have ever seen; they are executed with scissors only.”

MUYBRIDGE. Mentioned as English silhouettist by Gardner Teall.

NEÄTHER (1809). Cut silhouettes.

NEVILLE, J., Pool Lane.

NILSON (1721-1788). Member of the Vienna and Augsburg Academy. Cut a silhouette of Josef II.

NILSON, ANDREAS, father of above. Silhouette and miniature painter.

NOETHER, J. (1776). German.

NOWAK, ANTON. Cut portraits and genre pictures.

OCCOLOVITZ, L. Died 1799. Fine gold-back glass painted silhouettes, also jewel gold-back silhouettes with fine black drawing.

OLDHAM, JOHN (1807). Miniature painter, engraver, and mechanic, of Dublin. “Invented the Ediograph for taking profile miniatures, price 11s. 4½d.” He also invented a machine for engraving bank-notes, which was adopted by the Bank of Ireland.

OPIE, AMELIA (_née_ ALDERSON), wife of the artist. Cut the portrait of Mrs. Edward Beetham, silhouettist, of Fleet Street. This portrait is now in the possession of Dr. Beetham, of Bradford. It is cut hollow in white paper, which, when laid on black, gives the effect of a black shadow portrait. XXII.

OPITZ, JOHANN ADOLF (1763-1825), Dresden. Portraits in silhouette.

OSTERMEYER. Glass painted silhouettes with gold ground.

OUVRIER (1725-1754). Engraved Schenan’s painting, “L’origine de la peinture à la mode,” and those of Eisen, Falconet, Boucher, etc.

PACKENY, P. (1846-1905), Vienna. Cut silhouettes cleverly in variously coloured papers.

PAHLY. Signature on two fine silhouettes of officers in uniform of the early nineteenth century. In the possession of Madame Nossof, Moscow. LIX.

PAREY, AUGUSTE (1855).

PASKIN, Colchester. Painted silhouettes on glass, wax filling. “Miniature and Profile Painter; profiles painted in a new and elegant style producing the effect of aquatinta engraving, with the beauty and softness of enamel, in imitation of marble, conveying the most perfect likeness. In rings, brooches, lockets. Time of sitting, one minute. Ladies and gentlemen attended at their own houses, if required, by leaving their address at Mr. Good’s, hairdresser, 14, Head Street, Colchester.”

PAVEY, AUGUSTE (1855).

PAVEY, C. H.

PEALE, C. W. Began business in the United States; cut Washington and other famous men.

PEARSE, JAMES. Portsmouth. Cut Nelson just before sailing for Trafalgar, and the Duchess of Kent in unrelieved black; in the National Portrait Gallery.

PEARSE, B., father of above. Cut the portrait of the Duke of Wellington from life. In the National Portrait Gallery.

PELHEN, J. Painted on glass, eighteenth century.

PFEILHAUER (1796). Silhouette pictures painted on glass, with several portraits of court musicians.

PICK, G. Cut the portrait of King Edward VII. at Marienbad, Carlyle, and others. In the Knole collection.

POCCI, F. G., Münich. Silhouette play, and silhouette illustration in books.

POKORNY. Gold glass silhouette with some blue ground.

PRIXNER (1784). Silhouettes cut in paper, on elaborate engraved mounts.

PULHEN, E. B. (1819). Cut silhouettes.

PYBURG, ELIZABETH. Cut profile of William and Mary, 1699. See _Harper’s Magazine_, June, 1882.

QUIETENSKY, E. M. Cut silhouettes of theatrical characters.

RAYNER (_fecit_ 1808). On the painted silhouette of a boy, the property of Madame Nossof, Moscow. LVIII.

READHEAD. Eighteenth century. On glass, painted to resemble a stipple engraving, card back.

REHSEINER, MARIE. German modern silhouettist.

REINHOLD. Cut silhouettes in black paper.

RICHTER (about 1780). Painted on glass, gold leaf or silk background.

RIDER, T. (1789). Temple Bar Advertisement. “Any lady or gentleman in the country, by taking their own shade, can have reduced for 3s. 6d. rings in the new method, which has the effect of topases, gilt border, plaster filling. Profile painting on convex glass; inventor of gold borders on convex glass, which gives a painting, print, or drawing the effect of fine enamel.”

RITZSCH (1788). Cut battle-scene in white paper.

RIVIÈRE. Cut silhouettes in coloured papers, which have been published as book illustration in “L’enfant Prodigue Scènes Bibliques en 7 Tableaux” and “La Marche à l’Etoile” (see Bibliography).

ROBERTS, H. P. On glass, white relief, sometimes silk back.

RODE, B. (1770), Berlin. Court silhouettist.

ROSENBERG, T. E. Painted on plain or convex glass with backings of wax or plaster. Worked sometimes in colour. Address: 14, The Grove, Bath. Painted lockets, trinkets, and snuff-boxes. Prices from 7s. 6d. to £1 1s. Also Rosenberg, of Bath, at Mrs. Barclay’s, ye Temple. XLV.

ROUGHT, W., Corn Market, Oxford. Painted on glass. “One-minute sittings from 5s. to 10s. 6d.,” on female figure. Owner: Mr. A. B. Connor.

ROWE, G.

ROZEN (1766). Russian silhouettist. Signature on two fine portraits in the possession of Madame Nossof, Moscow. LVIII.

RUNGE, PHILIP OTTO (1777-1810). Painter and silhouettist. Cut out in white paper, flowers, animals, human figures. His works have been collected and published in Germany.

SANDHEGAN, M. Painted on card and glass. Marlborough Street, Dublin.

SCHÄDER, K. (1799). Silhouette painted on glass.

SCHARF. Black cut silhouette on blue ground. Eighteenth century.

SCHELYMAC, I. W. (1779).

SCHENAN, J. C. (1768). Painted picture, “L’Origine de la peinture ou les portraits à la mode.”

SCHINDLER, ALBERT (1805-1861), Silesia. Coloured silhouette portraits.

SCHMALCALDER, C. Invented profile machine, patented 1806. Address: Little Newport Street, Soho. Mathematical and philosophical instrument maker.

SCHMED (1795-1801), Vienna. Many examples of his work were at the Exhibition at Brünn, 1906. He painted on glass, using Indian ink decorations; sometimes coloured foils as background.

SCHREINER, CHRISTOPHER. Eighteenth century. Inventor of an instrument of the pantograph type for the reduction of silhouettes.

SCHROTT, G. Silhouette landscapes and portraits with gold backgrounds.

SCHUBRING, G. Illustrated, in cut silhouettes, songs and stories. (See Bibliography.)

SCHÜLER (1791). Engraved silhouette portrait in _Annalen der neueren theologischen Literatur in Kirchengeschichte_.

SCHÜTZ, FRANZ. Born 1751, in Frankfort-on-Maine. Landscape painter and silhouettist.

SCHWAIGER, HANS (1906), Prague. Cut and painted silhouettes.

SCOTT, M. (1911). Draws silhouette portraits in Indian ink. 11, South Molton Street, W.

SCROOPE, G. (1824).

SEIDL, C. Gold background, black silhouette, locket size.

SEIGNEUR. Cut silhouette of Gibbon. Lent by Miss Adam to Royal Amateur Art Society’s Loan Collection, March, 1902; also Monsieur and Madame de Sévery by same artist.

SEVILLE, W. (1821), Lancaster. Advertisement: “At a large room adjoining the Merchant’s Coffee Room, Market Street. Striking likenesses cut with scissors in a few seconds, 1/-.” LVI.

SHERWELL, MRS. (_née_ LIND). “Cut with scissors, without any other instrument,” a series of silhouette portraits presented to the library of the Society of Antiquarians of Scotland by her son, Lieut.-Col. W. Stanhope Sherwell, in 1877. Amongst them is a bust portrait of George III., Queen Charlotte, Princess Amelia, Mr. and Mrs. Delaney, and many other persons of distinction, including the only known full-length portrait of Thomas Gray. This is 4¼ inches in height, and turned right; it represents the poet in his later years.

SHIELD. Signature on cut black paper silhouette of Washington, in Library of Congress, Washington, U.S.A.

SILHOUETTE, ETIENNE DE. The silhouette took its name, but no more, from Louis XV.’s miserly finance minister, Etienne de Silhouette (1709-1767). Born at Limoges on July 8th, he received as good an education as could then be obtained in a provincial town, studying such books on finance and administration as he could obtain. After travelling in Europe, he settled in London for a year to examine our practice of public economy (the Progressive of our present County Council had not yet been born); he then determined that one day France should have the same sound financial system. On returning to Paris, he translated some English works, which made his name known, and, becoming attached to the household of Marshal Nivelles, was appointed Secretary to the Duc d’Orleans, the son of the Regent, who in a short time made him his Chancellor. At this time costly wars were depleting the treasury of France, and ministers were rapidly succeeding each other as head of the finance department of the State. Silhouette had always preached economy, a most uncommon plank in the political platform of those days of huge personal and State expenditure. Disgusted at the extremes of the Grand Monarque and the Regency, a section of thinking men gathered round Silhouette, seeing in him the controller who would straighten out the finances of the State. A party headed by the Prince de Conde opposed him, on the ground that he had committed a crime by translating English books into French. Silhouette, however, possessed the powerful influence of Madame de Pompadour, and was, through her, elected Contrôleur-General in March, 1757. It is said that he saved the treasury seventy-two millions of francs before he had been in office twenty-four hours. “This is the more remarkable,” naïvely comments the old biographer Michaud, “because many of his relations were amongst those whose salaries he cut down.” Economies next came in the household expenditure of Louis XV., and it is owing to Silhouette’s policy that so many of the splendid masterpieces of the goldsmith’s and silversmith’s art of that epoch found their way into the melting-pot. Silhouette next proposed a novel system of banking. This led to the unpopularity which eventually brought about his downfall. He was forced to resign after a term of office lasting eight months, and on retiring he spent his time in regulating his estate on economical lines, and in silhouette cutting at Brie sur Marne.

SINTZENICH (1779). Silhouette engraver.

SKOYMSHER. Eighteenth century. Cut paper. Address: 280, Holborn.

SMITH, J., Edinburgh. Painted on plaster. Eighteenth century.

SOLLBRIG, JOHANN GOTTLIEB (1765-1815). Miniature painter and silhouettist.

SPECKBERGER. Silhouette portraits with gold backgrounds.

SPORNBERG, W. Painted in black on convex glass, ground in black, profile, and pattern in orange red, elaborate borders. Portrait, one of eight, signed and dated, in the possession of Lady Sackville. “W. Spornberg, inventor, No. 5, Lower Church Street, Bath, 1793.” Portraits of the Ansley family.

STANZELL. Silhouette portrait with gold ground.

STARCH (1806). Silhouette of Wieland, in the Goëthe Museum at Weimar; also group of a family at the tomb of a child, at the same Museum.

STEELL. Advertisement from the _Northampton Mercury_, October 8th, 1781:—“Mr. Steell most respectfully solicits those inclined to honour him by sitting to be immediate, as his stay will be so short.” “Likenesses in Profile. Dec. 22, 1781. Mr. S., having been sent for back to Northampton to wait on some families in the neighbourhood, and being informed that several ladies and gentlemen have applied during his absence, takes this opportunity of acquainting the public that he purposes stopping for about a week at Mr. Mawby’s, in Mercer’s Row, where he hopes those who are inclined to honour him will apply.”

STRÖHL, KARL FRÖHLICH. Modern German silhouettist.

TAPP, F. Frontispiece for a cookery book. Silhouettes cut out of black paper, red background.

TERSTAN, A. T. XVIII.

THOMAS, 83, Long Acre. “Undertakes to supply silhouette portraits at 1s. each. Mr. T. is able to make this liberal offer in consequence of an order he has received from a gentleman of eminence to procure 50,000 different profiles of the human countenance for a treatise on physiology.” On Indian ink portrait of an officer, engraved mount.

Painted silhouette, with gold pencilling and blue stock tie, at Knole.

Painted silhouette, with gold pencilling, at Knole.

Silhouette, painted on card. In the possession of the Author.

The COUNTESS OF BLESSINGTON, 1829. By Foster, at Knole.]

THOMASON, I. (1793), Dublin. Itinerated in Cheshire, Lancashire, and Staffordshire. Painted on glass and plaster, black faces, white relief. His advertisement says:—“Silhouettes in miniature profile taken by Thomason on a peculiar plan and reduced to any size. Silhouettes set in rings, lockets, and pins, and he keeps original shades; can supply those he has once taken with any number of copies, reduces old ones, and dresses them in present taste. Address: 25, Great George Street, Dublin.” Also advertisement in _Dublin Chronicle_, May, 1792. Address: No. 30, Capel Street, Dublin.

THONARD. Cut silhouette groups and family pieces between 1790 and 1820. Sometimes worked in dark olive green with touches of gold.

TOWNSHEND, BARBARA ANNE. Cut groups of figures in black paper. A collection of these was published in paper covers by Ed. Orms, Bond Street, London, in 1808. Price, 5s. the book, or 1s. each print.

TURNER. Published a silhouette of “Queen Charlotte of Great Britain,” 1782, opposite the Church, Snow Hill. In the National Portrait Gallery.

TUSSAUD, J. P. (1823), son of the great Madame Tussaud. “Respectfuly informs the nobility, gentry, and the public in general that he has a machine by which he takes profile likenesses. Price 2s. to 7s., according to style. Biographical and descriptive sketches of the whole-length composition figures and other works of art forming the unrivalled collection of Madame Tussaud, etc.”