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Aquatints.  .

Aquatints Varley, Barker etc



From 1790 - 1830 the principle process in book illustration was aquatint engraving. An aquatint is prepared by applying resin or a similar ground to a metal plate, which is then heated, thus adhering the ground to the metal. This gives a roughness or grain to the plate which adds texture to the image. The plate is then immersed in an acid bath, which bites or etches the plate and creates areas which will hold the ink. The design is created with graduations of tone achieved through repeated acid baths combined with varnish used to stop out areas of lighter tone. Aquatint is an intaglio process, so prints made in this manner will have a platemark. Aquatinting, with its areas of tone, was often used to duplicate the feel of a watercolour. Some etching was frequently used in an aquatint print to create linear elements in the image. Aquatints were invented by Jean Baptiste Le Prince around 1768, but became especially popular among British printmakers in the first part of the nineteenth century Once the drawing and the engraving had been made, the colour process began. The engravings might be printed in two colours, perhaps brown for the foreground and blue for the sky and distance, the remaining colour would be applied by hand. Bundles of sheets to be coloured would be distributed to workers who would do the work in their own homes. Often the work was done by children, but sometimes whole families would work together at home by candlelight.Handcolouring can save money when printing large plates although people like Ackermann stressed the high cost of hand finishing. He used poorly paid French refugees and later hand coloured plate producers used children and stencils.


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John Varley (1787-1842) probably from TREATISE ON THE PRINCIPLES OF LANDSCAPE DESIGN. published . London: J. Varley,(1815-1817). Oblong folio. (10 1/2 x 15 inches). which included 14 aquatint plates, as these are labelled plate 1 etc so definitely not sold as units .framed glazed and the size, description etc fits. Good colour s John Varley (1787-1842) probably from TREATISE ON THE PRINCIPLES OF LANDSCAPE DESIGN. published . London: J. Varley,(1815-1817). Oblong folio. (10 1/2 x 15 inches). which included 14 aquatint plates, as these are labelled plate 1 etc so definitely not sold as units .framed glazed and the size, description etc fits. Good colour some soft creasing to this one  Picture slightly bleached in Photoshop to show detail . . colour actually nice and bright taken through glass £86, framed glazed soft crease in paper . . would flatten easily

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Rainbow effect on the Thames by David COX,
Artist David COX , Re-published 1840, ie second edition by S. & J. Fuller, 34 Rathbone Place. / [left] D. Cox del. [right] R. Reeve sc.On whatman paper some age discolouration framed and glazed in nice wash line mounts 37 cm x 27 cm plate/image £110 posted cheaper collected :-Info Born: 29th April 1783 - Died: Friday 7th June 1859 David Cox, the son of a whitesmith, was born in a small rural cottage near the parish church of St. Martin, Birmingham. His Mother, being an amiable woman, who believed her son to be too fragile to continue the work of his father, apprenticed David to a brooch and locket painter. He adorned these small items of jewellery with miniature designs. But he didn't continue for long in this field. He later gained employment as a colour grinder for scene painters of the Birmingham Theatre which was under the management of Macready the elder. He moved to London in 1803, where he was first employed as a scene painter at the Astley's Theatre. This was merely a temporary post that he held until he moved into private life. He made a slender income by teaching drawing, mainly at schools. He also made sketches which he sold through Mr. Palser of Westminster road (later at the Strand). He received only a few shillings for these sketches (which in 1859 were worth at least an equal amount in pounds), and although they were inexpensive, they still sold slowly.His first visit to Wales was in 1805 and he continued to visit this, his favoured sketching ground, almost every year until 1856, (3 years before he died). Some of the illustrations produced on these excursions were included in Roscoe's "North Wales" - c.1834. Cox moved to Hereford in 1815 (Probably because of the surrounding scenery), and returned to London in 1827. He retired to Harbourne Heath (near Birmingham), in 1844 where he remained until he died. David Cox was a distinguished landscapist, and the final survivor of the worthy fraternity of landscapists (including Girton, Prout, Turner, and others). He was the originator of a school of landscape painting which was purely English but fresh to England itself when he founded it. In the fifty years of Cox's life that he produced such work, his sketches were valued at approx. £100,000 in 1859, however, he received only a small percentage of that figure (approx. £15,000 to £20,000) Engraver Richard REEVE (b 1780; d c. 1835). English aquatint-engraver. He was apprenticed to the line engraver John Paas ( fl c. 1770-after 1805) on 15 March 1795 and enrolled in the Royal Academy Schools on 3 February 1801. He was soon established as one of the leading aquatint-engravers, at first publishing most of his prints himself. His main early work was ten sets, each of four prints, of sporting subjects after Dean Wolstenholme (1757-1837) which he published between 1806 and 1814. After about 1815 he worked for other publishers, both on singly issued sporting prints and on illustrated books, notably for David Cox's Treatise of Landscape Painting (London, 1813-14) and William Henry Pyne's The History of the Royal Residences (London, 1816-19). He appears to have stopped engraving about 1820. His son Richard Gilson Reeve (1803-89) began to sign plates from about 1826, at first as ëReeve Junr' but thereafter as ëR. G. Reeve', and most authorities have failed to distinguish between their work. The younger man worked on illustrated books such as William Westall's and S. Owen's (?1769-1857) A Picturesque Tour of the River Thames (London, 1828). Richard Gilson Reeve's brother, Augustus William Reeve (1807-c. 1880), also worked in aquatint .



A Heath Wind Effect Artist David COX ,
 Re-published 1840, ie second edition by S. & J. Fuller, 34 Rathbone Place. / [left] D. Cox del. [right] R. Reeve sc.On whatman paper some age discolouration framed and glazed in nice wash line mounts 37 cm x 27 cm plate/image £110 posted cheaper collected
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Moonlight, View on the Thames near Chertsey Artist David COX
, Re-published 1840, ie second edition by S. & J. Fuller, 34 Rathbone Place. / [left] D. Cox del. [right] R. Reeve sc.On whatman paper some age discolouration framed and glazed in nice wash line mounts 37 cm x 27 cm plate/image £110 posted cheaper collected


BARKER, BENJAMIN, b. 1776, d. 1838. Exh. R.A. 1800, BARKER, BENJAMIN, II (1776-1838), 'of Bath ,' landscape painter; son of Benjamin Barker of Pontypool (v.s.) and brother of Thomas Barker, of Bath; b. at Pontypool, 1776.He was largely self-taught, learning by copying the pictures of other artists, including those of his more famous brother. Once established, he made sketching tours to the more picturesque parts of England and Wales, occasionally accompanied by his brothers Thomas and Joseph. He exhibited in Bath, sometimes jointly with Thomas, and also sent works to the British Institution and the Royal Academy, where he exhibited from 1806-38. However, his reputation remained largely local. His daughter Marianne Barker (later Marianne Wallace) was also a painter, and exhibited at the RA. Among his works are 'Brecon town and bridge' and 'Road leading to Pont Aberglaslyn.' Forty-eight of his pictures were engraved by Thales Fielding in aquatint. He exhibited at the Royal Academy, the British Institution, and elsewhere. He died 2nd March 1838 at Totnes. Landscape painter was born at Pontypool, in Monmouthshire, in 1776, but went at a very early age to Bath, where he afterwards chiefly resided, and was held in high estimation as a teacher of painting. In 1801 he married a sister of Mr. James Hewlett, the flower painter. In 1807 he exhibited at the British Institution, and continued an exhibitor for many years. These are from Forty-eight aquatint colored engravings, by Theodore Fielding, from a work containing forty-eight subjects of landscape scenery, principally views in and near Bath. Bath: printed by Clark, 1824 In 1843/8 this was reprinted as English Landscape Scenery published by W. Everitt in 1843 by Theodore Fielding.After the first book Barker imprudently expended several thousand pounds, the accumulations of years of labour, upon the building and embellishment of a villa on Bath wick Hill, from which he removed to Exeter and Dawlish, and finally settled at Totnes, in Devonshire, where he died in 1838.


 

Cottage near Bradford, Wilts / labelled to one Cottages near Chippenham
Benjamin Barker, of Bath (1776 to 1838 )Forty-eight of his pictures were engraved by T. Fielding in aquatint published by W. Everitt, Bath, 1843. Theodore Henry Adolphus Fielding (1781-1851), aquatint after a painting by Benjamin Barker. . Plate mark: 11" x 9". Now the Kennet & Avon Canal at Bath. Un mounted good borders etc £35 x 2



Cottage near Bradford, Wilts 3
Benjamin Barker, of Bath (1776 to 1838 )Forty-eight of his pictures were engraved by T. Fielding in aquatint published by W. Everitt, Bath, 1843. Theodore Henry Adolphus Fielding (1781-1851), aquatint after a painting by Benjamin Barker. . Plate mark: 11" x 9". Now the Kennet & Avon Canal at Bath. Un mounted etc Cropped to image £25



Scene on the Bath Canal. No 5
1824 Aquatint by Benjamin Barker, of Bath (1776 to 1838 )Forty-eight of his pictures were engraved by T. Fielding in aquatint published by W. Everitt, Bath, 1843. Theodore Henry Adolphus Fielding (1781-1851), aquatint after a painting by Benjamin Barker. . Plate mark: 11" x 9". Now the Kennet & Avon Canal at Bath. mounted etc £65 large paper copy on soft rag paper so mounted to preserve some have soiling behind the mount, x 3



Scene on Bath Canal 5/
tinted Benjamin Barker, of Bath (1776 to 1838 )Forty-eight of his pictures were engraved by T. Fielding in aquatint published by W. Everitt, Bath, 1843. Theodore Henry Adolphus Fielding (1781-1851), aquatint after a painting by Benjamin Barker. . Plate mark: 11" x 9". Now the Kennet & Avon Canal at Bath. Un mounted good borders etc £35



A Scene at Hampton, near Bath.
 Bathampton. No 11 Aquatint by Benjamin Barker, of Bath (1776 to 1838 )Forty-eight of his pictures were engraved by T. Fielding in aquatint published by W. Everitt, Bath, 1843. Theodore Henry Adolphus Fielding (1781-1851), aquatint after a painting by Benjamin Barker. . Plate mark: 11" x 9". Now the Kennet & Avon Canal at Bath. mounted etc mounted etc Cropped to image £35 large paper copy on soft rag paper so mounted to preserve this is close cut and laid to paper behind the mount



Hampton Cliffs, near Bath
. No 12 Aquatint by Benjamin Barker, of Bath (1776 to 1838 )Forty-eight of his pictures were engraved by T. Fielding in aquatint published by W. Everitt, Bath, 1843. Theodore Henry Adolphus Fielding (1781-1851), aquatint after a painting by Benjamin Barker. . Plate mark: 11" x 9". Now the Kennet & Avon Canal at Bath. mounted etc Cropped to mage £65 large paper copy on soft rag paper so mounted to preserve x 2

image £35 large paper copy on soft rag paper so mounted to preserve this is close cut and laid to paper behind the mount



Oldlands, near Bath. No 15
Benjamin Barker, of Bath (1776 to 1838 )Forty-eight of his pictures were engraved by T. Fielding in aquatint published by W. Everitt, Bath, 1843. Theodore Henry Adolphus Fielding (1781-1851), aquatint after a painting by Benjamin Barker. . Plate mark: 11" x 9". Now the Kennet & Avon Canal at Bath. Un mounted good borders etc £35



Hampton Cliffs, near Bath. No 12
Picture slightly bleached in Photoshop to show detail . . colour actually nice and bright taken through glass from His volume of 48 aquatint engravings, English Landscape Scenery (1824), it is one of his finest works. £86, framed and glazed hence higher cost cheaper collected



Wick, Below the Rocks. No 18
/ Also labelled on one MIll Below the Rocks Aquatint by Benjamin Barker, of Bath (1776 to 1838 )Forty-eight of his pictures were engraved by T. Fielding in aquatint published by W. Everitt, Bath, 1843. Theodore Henry Adolphus Fielding (1781-1851), aquatint after a painting by Benjamin Barker. . Plate mark: 11" x 9". Now the Kennet & Avon Canal at Bath. mounted etc £65 large paper copy on soft rag paper so mounted to preserve some have soiling behind the mount, x 2

mounted etc Cropped to image £35 large paper copy on soft rag paper so mounted to preserve this is close cut and laid to paper behind the mount



View on the Canal, Near Bath. No 20
 1824 Aquatint by Benjamin Barker, of Bath (1776 to 1838 )Forty-eight of his pictures were engraved by T. Fielding in aquatint published by W. Everitt, Bath, 1843. Theodore Henry Adolphus Fielding (1781-1851), aquatint after a painting by Benjamin Barker. . Plate mark: 11" x 9". Now the Kennet & Avon Canal at Bath. mounted etc £65 large paper copy on soft rag paper so mounted to preserve some have soiling behind the mount, x 3

unmounted



Castle Combe, near Bath. No 23
 1824 Benjamin Barker, of Bath (1776 to 1838 )Forty-eight of his pictures were engraved by T. Fielding in aquatint published by W. Everitt, Bath, 1843. Theodore Henry Adolphus Fielding (1781-1851), aquatint after a painting by Benjamin Barker. . Plate mark: 11" x 9". Now the Kennet & Avon Canal at Bath. Un mounted good borders etc £45



Hampton Cliffs. No 24
1824 Aquatint by Benjamin Barker, of Bath (1776 to 1838 )Forty-eight of his pictures were engraved by T. Fielding in aquatint published by W. Everitt, Bath, 1843. Theodore Henry Adolphus Fielding (1781-1851), aquatint after a painting by Benjamin Barker. . Plate mark: 11" x 9". Now the Kennet & Avon Canal at Bath. mounted etc £65 large paper copy on soft rag paper so mounted to preserve some have soiling behind the mount, x 2



Cottage near Chippenham. No 27
 1824 Aquatint by Benjamin Barker, of Bath (1776 to 1838 )Forty-eight of his pictures were engraved by T. Fielding in aquatint published by W. Everitt, Bath, 1843. Theodore Henry Adolphus Fielding (1781-1851), aquatint after a painting by Benjamin Barker. . Plate mark: 11" x 9". Now the Kennet & Avon Canal at Bath. mounted etc £65 large paper copy on soft rag paper so mounted to preserve some have soiling behind the mount, Annotation in pencil under picture looks contemporary x 2

mounted etc Cropped to image £35 large paper copy on soft rag paper so mounted to preserve this is close cut and laid to paper behind the mount



Cottages near Chippenham. No 28
1824 Aquatint by Benjamin Barker, of Bath (1776 to 1838 )Forty-eight of his pictures were engraved by T. Fielding in aquatint published by W. Everitt, Bath, 1843. Theodore Henry Adolphus Fielding (1781-1851), aquatint after a painting by Benjamin Barker. . Plate mark: 11" x 9". Now the Kennet & Avon Canal at Bath. mounted etc £65 large paper copy on soft rag paper so mounted to preserve some have soiling behind the mount. Annotation in pencil under picture looks contemporary x 2



Cottages at Chippenham. No 30
1824 Aquatint by Benjamin Barker, of Bath (1776 to 1838 )Forty-eight of his pictures were engraved by T. Fielding in aquatint published by W. Everitt, Bath, 1843. Theodore Henry Adolphus Fielding (1781-1851), aquatint after a painting by Benjamin Barker. . Plate mark: 11" x 9". Now the Kennet & Avon Canal at Bath. mounted etc £65 large paper copy on soft rag paper so mounted to preserve some have soiling behind the mount. Annotation in pencil under picture looks contemporary x 3



Scene near Chepstow. No 31
 Aquatint by Benjamin Barker, of Bath (1776 to 1838 )Forty-eight of his pictures were engraved by T. Fielding in aquatint published by W. Everitt, Bath, 1843. Theodore Henry Adolphus Fielding (1781-1851), aquatint after a painting by Benjamin Barker. . Plate mark: 11" x 9". Now the Kennet & Avon Canal at Bath. mounted etc £65 large paper copy on soft rag paper so mounted to preserve some have soiling behind the mount. x 2



Wick, near Bath. No 32
1824 Aquatint by Benjamin Barker, of Bath (1776 to 1838 )Forty-eight of his pictures were engraved by T. Fielding in aquatint published by W. Everitt, Bath, 1843. Theodore Henry Adolphus Fielding (1781-1851), aquatint after a painting by Benjamin Barker. . Plate mark: 11" x 9". Now the Kennet & Avon Canal at Bath. mounted etc £65 large paper copy on soft rag paper so mounted to preserve some have soiling behind the mount.



Cottage Near Chippenham
Aquatint by Benjamin Barker, of Bath (1776 to 1838 )Forty-eight of his pictures were engraved by T. Fielding in aquatint published by W. Everitt, Bath, 1843. Theodore Henry Adolphus Fielding (1781-1851), aquatint after a painting by Benjamin Barker. . Plate mark: 11" x 9". Now the Kennet & Avon Canal at Bath. mounted etc £65 large paper copy on soft rag paper so mounted to preserve some have soiling behind the mount,



Scene near Bathford ( Bathhapmton)
Aquatint by Benjamin Barker, of Bath (1776 to 1838 )Forty-eight of his pictures were engraved by T. Fielding in aquatint published by W. Everitt, Bath, 1843. Theodore Henry Adolphus Fielding (1781-1851), aquatint after a painting by Benjamin Barker. . Plate mark: 11" x 9". Now the Kennet & Avon Canal at Bath. mounted etc £65 large paper copy on soft rag paper so mounted to preserve some have soiling behind the mount,



Scene near Bathford
Picture slightly bleached in Photoshop to show detail . . colour actually nice and bright taken through glass from His volume of 48 aquatint engravings, English Landscape Scenery (1824), it is one of his finest works. £65, mounted good borders etc



Cottage in Chippenham
Aquatint by Benjamin Barker, of Bath (1776 to 1838 )Forty-eight of his pictures were engraved by T. Fielding in aquatint published by W. Everitt, Bath, 1843. Theodore Henry Adolphus Fielding (1781-1851), aquatint after a painting by Benjamin Barker. . Plate mark: 11" x 9". Now the Kennet & Avon Canal at Bath. mounted etc £65 large paper copy on soft rag paper so mounted to preserve some have soiling behind the mount,



Scene from Leighwood Near Bristol
Aquatint by Benjamin Barker, of Bath (1776 to 1838 )Forty-eight of his pictures were engraved by T. Fielding in aquatint published by W. Everitt, Bath, 1843. Theodore Henry Adolphus Fielding (1781-1851), aquatint after a painting by Benjamin Barker. . Plate mark: 11" x 9". Now the Kennet & Avon Canal at Bath. mounted etc £65 large paper copy on soft rag paper so mounted to preserve some have soiling behind the mount,



Claverton Near Bath
Aquatint by Benjamin Barker, of Bath (1776 to 1838 )Forty-eight of his pictures were engraved by T. Fielding in aquatint published by W. Everitt, Bath, 1843. Theodore Henry Adolphus Fielding (1781-1851), aquatint after a painting by Benjamin Barker. . Plate mark: 11" x 9". Now the Kennet & Avon Canal at Bath. mounted etc £65 large paper copy on soft rag paper so mounted to preserve some have soiling behind the mount, annotated title



Scene at Castle Combe Near Bath x 2
Aquatint by Benjamin Barker, of Bath (1776 to 1838 )Forty-eight of his pictures were engraved by T. Fielding in aquatint published by W. Everitt, Bath, 1843. Theodore Henry Adolphus Fielding (1781-1851), aquatint after a painting by Benjamin Barker. . Plate mark: 11" x 9". Now the Kennet & Avon Canal at Bath. mounted etc £65 large paper copy on soft rag paper so mounted to preserve some have soiling behind the mount,



Scene Near Bath x 2
Aquatint by Benjamin Barker, of Bath (1776 to 1838 )Forty-eight of his pictures were engraved by T. Fielding in aquatint published by W. Everitt, Bath, 1843. Theodore Henry Adolphus Fielding (1781-1851), aquatint after a painting by Benjamin Barker. . Plate mark: 11" x 9". Now the Kennet & Avon Canal at Bath. mounted etc £65 large paper copy on soft rag paper so mounted to preserve some have soiling behind the mount,x 2

unmounted to preserve close cut behind mount £35

Scene Nr Bath/Bristol Aquatint by Benjamin Barker, of Bath (1776 to 1838 )Forty-eight of his pictures were engraved by T. Fielding in aquatint published by W. Everitt, Bath, 1843. Theodore Henry Adolphus Fielding (1781-1851), aquatint after a painting by Benjamin Barker. . Plate mark: 11" x 9". Now the Kennet & Avon Canal at Bath. mounted etc £65 large paper copy on soft rag paper so mounted to preserve some have soiling behind the mount, x 2

This will eventually be a list of all produced. The early set often appears as proof to India paper laid onto rag paper of dubious quality (it crumbles so always sold mounted to protect hence higher cost ) many appear with pencilled or inked in titles as a work in progress probably sold cheaply loose in Bath. The coloured tend to be later on better quality paper but the printer seems to have been very parismonious wasting nothing so many variations as to size etc . Weston, near Bath. No 25 / 1824 Scene above Wick Rocks. /No 26 1824 Midford, near Bath./ No 3 1824 Cottage near Chippenham. / No 27 1824 Cottages near Chippenham. / No 28 1824 Scene on the Bath Canal./ No 5 1824 Scene from Claverton Down, near Bath./ No 29 1824 Cottages at Chippenham./ No 30 1824 Vallis-Vale, near Frome. / No 7 1824 Scene near Chepstow. / No 31 Wick, near Bath. / No 32 1824 Stoke, near Bath. Limpley Stoke. No 10 No 38./ Scene near the Old Bridge, Bath 1824 / A Scene at Hampton, near Bath./ Bathampton. / No 11 Hampton Cliffs, near Bath. / No 12 Un-numbered/number unknown A Scene near Hampton Cliffs. / No 13. Bathampton Cottage, near Bradford, Wilts./ Bradford on Avon 1824 / Wick Rocks, near Bath./ No 14 Warleigh House (Warleigh Manor) / Oldlands, near Bath/ . No 15/or/ Scene at Midford, near Bath. / No 15 Scene below Wick Rocks 1824 Wick, near Bath 1824 Hampton Cliffs, near Bath. / No 17 Wick Rocks near Bath Wick, Below the Rocks. / No 18 Scene at Midford near bath. Hampton Cliffs, near Bath. / No 19 Scene near Bathford View on the Canal, Near Bath./ No 20 1824 Cottages at Castle Combe. / Cottages at Castle Combe./ No 21 Scene at Castle Combe / Freshford, near Bath. / No 22 1824 Castle Combe, near Bath 1824/ Castle Combe, near Bath. /No 23 1824 Scene from Claverton Down, near Bath /Hampton Cliffs./ No 24 1824 Cottages near Chippenham. x 4 dif/



Page 1 Aquatints
| see Also William Daniell, | Rudolph Ackermann

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