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ex-libris THE WORLD OF EX-LIBRIS |
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A historical retrospective 2 EX-LIBRIS FROM THE ENLIGHTENMENT TO DECADENCE 1700 -1860 |
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2e THE 18TH CENTURY BALANCE BETWEEN HERALDIC AND PICTORIAL
During the eighteenth century, and in general until the latter
part of the nineteenth century, ex-libris were mainly heraldic. A
coat of arms is usually a sign of gentry or aristocracy, and when
heraldry, after the turmoils of the French Revolution, became
largely deregulated, many persons assumed arms to which they
had no formal right. Snob value maintained heraldic ex-libris
widespread. However, non-armigerous persons increasingly
chose to use a pictorial ex-libris, and this affected bookplate
fashion in that a range of gradations between heraldic and pictorial
ex-libris appeared, all over Europe. The purpose of this section
is to demonstrate the different ‘degrees’ of incorporation of
heraldry into pictorial ex-libris.
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2e/1. Marguerite Thèvenard (F, 1710-1770) +HUGUENIN
DUMITAND, C3, 83 x 65, c.1750. Weg 3702.
Viz. Grellet, ill.XXXI p. 115. The only bookplate of this artist, for a member of a Swiss family from Neuchatel. Note how the arms are presented frontally, even if they are not central to the design. |
2e/2. Locher (CH) +GOTTRAU, C3, 82 x 65, 1777. Weg 3041.
Viz. Vevey 69.
A slightly more lateral presentation, but the shield remains the central object of interest, accentuated by the rays of light and the eagle’s position. |
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2e/3. ?(CH)  HANS CONRAD ESCHER VON LUCHS, C3, 57 x 53,
c.1790. Weg 1946.
Viz. Zur Westen p. 24 (1925 ed.),
SBEL 1902 / 3 p .2.
A fine balance between tenant and shield. The ‘Freedom hat’ is typical of the late 18th century. |
2e/4. W. Henshaw (GB) RICHARD COMINGS, C3, 72 x 86,
c.1780. F. 6554.
Viz. BPJ, September 1993, p. 64.
The delicacy of the cutting of the cherubs and clouds contrasts with the strongly-engraved oval armorial, giving it focus. Copied from a ticket drawn by Georgiana Huntly and engraved by Thomas Williamson, it was adapted as a bookplate by the engraver William Henshaw, who died in 1775 aged only 22. |
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2e/5. Desmarets & I Audran (F) JOLY DE FLEURY, C2,
64 x 120, c.1750.
Similar in composition to the preceding plate, but with the arms being given less visual importance within the context of the image. |
2e/6. Francesco Bartolozzi (I/GB, 1727-1825) & Yates (GB)
THOMAS ANSON, C2, 98 x 94, c.1780. F 591.
Engraved by Yates after a design by Francesco Bartolozzi, this charming plate shows the supporters starting to disregard the shield, although the latter is still frontal and central to the composition. |
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2e/7. H. Becat (F) THOMAS GEULETTE, C3, 123 x 74, c.1750.
Viz. Hamilton p. 260 - 262, ill.
Hamilton rightly considers this allegorical plate for the novelist and dramatist Geulette (1683-1766) one of the finest and most charming of the mid-18th century. The supporters – simply grouped round the shield, rather than effectively supporting it – are characters from the author’s books. The Latin motto is epicurean: how delightful to play the fool when one is elsewhere... |
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2e/8. ?Thomas Holloway (GB, 1748-1827) CHARLES HOARE,
C2, 105 x 90, c.1780.
One of several plates for members of the Hoare family. The female figure seems to contemplate all three elements at once: the bust (Homer?), the motto and the shield. |
2e/9. Agnes Berry & Francis Legat (GB) ANNA DAMER, C3,
127 x 97, 1793.
This splendid ladies’ pictorial shows the figure drawing attention to the name and relief, rather than to the arms. |
2e10 to 2e18
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