Stefford’s Collection of Pictures Vols. 1-2,3-4

Title

Stefford’s Collection of Pictures Vols. 1-2,3-4

Description

Volumes 1–2 and 3–4 contain 13 engraved plans and 291 steel engravings on 125 sheets. Engravings of the most noble The Marquis of Stafford's Collection of Pictures, in London, arranged according to schools, and in Chronological oder, with remarks on each picture. By William Young Ottley (1771-1836), Esq., F.S.A. The executive part under the management of Peltro William Tomkins (1759-1840), Esq., Historical engraver to her Majesty. Publisher Bensley & Son for Longman, Hurst, Rees, Orme & Brown, Cadell & Davies and P.W. Tomkins, London.

c. 1818

Artist

Tomkins (1759-1840)

Peltro William Tomkins (1759–1840) was an English engraver, draughtsman, and publisher, known for his finely executed stipple engravings and mezzotints in the late 18th and early 19th centuries. He was among the leading exponents of decorative printmaking during the Regency period and worked closely with artists such as Angelica Kauffman, William Hamilton, and Francesco Bartolozzi. Tomkins was admitted to the Royal Academy Schools in 1775, where he developed his mastery of the stipple technique under the influence of the Italian master Francesco Bartolozzi. His works are distinguished by subtle tonal gradations and delicate colouring. In his early career, he produced engravings after designs by Angelica Kauffman and other leading artists of his time.

Historical Description

A multi-volume, lavishly produced collection of engravings documenting an important painting collection, of considerable value both in terms of art history and bibliophily. This sumptuous work features engraved reproductions of famous paintings from the collection of the Marquis of Stafford (later the Duke of Sutherland). The works are systematically arranged according to artistic schools and periods (Italian, Dutch, German, Spanish, French, and English). In total, the series contains around 291 engraved plates, accompanied by descriptive texts for each image. The aim was to make significant works of art accessible to a broader audience, as the originals were available only to a limited few. The publication is regarded as an important record of one of the great private art collections in early 19th-century England. Artistically, it was considered a great success; economically, however, less so, as the production was extremely costly. The four volumes each cover different “schools”: Vols. 1–2: primarily Italian schools Vols. 3–4: Northern European, Spanish, French, and English painting.