Prints catalogue Tompson

Catalogue of prints published by Richard Tompson

From the collection of the National Portrait Gallery unless otherwise stated. Impressions illustrated from other collections are distinguished by an asterisk*.

The following catalogues depart from the standard arrangement of mezzotint portraits as found in John Chaloner Smith's British Mezzotinto Portraits, London 1878-83. We have followed the National Portrait Gallery conventions of naming. In so doing we were obliged to depart from Chaloner Smith's alphabetical ordering. For example in Chaloner Smith the mezzotint published by Richard Tompson of William, Prince of Orange, is found under 'O', and is number 37. In the following catalogue he is called King William III, is found under 'W' and is number 56.

The research on early mezzotints is ongoing and the intention is to update the entries with missing information and corrections as these emerge. Equally, although the majority of the prints are illustrated, any missing images will be inserted as they become available.

We have attempted to trace the location of the paintings that the prints reproduce, concentrating on the prime versions. Occasionally the whereabouts of the painting remains unknown. We have also provided some references to secondary sources where relevant.

Page 1 2 3	ENGRAVINGS AND ETCHINGS Abraham Hondius (d. 1695)
	Set of etchings of animals (nos. 1-8) 1. A Sportsman seated with four dogs (frontispiece) By Abraham Hondius, published by Richard Tompson Etching 150 mm x 180 mm plate size 1672 I Lettered: Abraham Hondius inventor fecit / 1672 London (BM, Sheepshanks, vol. 33, no. 81). II With the address at lower left: R Tompson ex London* (BM, Sheepshanks, vol. 33, no. 82). III Address erased. At lower right address of Robert Pricke: RP excu London (BM, Sheepshanks, vol. 33, no. 83).
	2. Auroch grappled by a leopard 150 mm x 178 mm plate size London (BM, Sheepshanks, vol. 33, no. 84).
	3. Lion and snake 152 mm x 178 mm plate size I With some foul-biting and irregularities. London (BM, Sheepshanks, vol. 33, no. 85). II The foul biting burnished. London (BM, Sheepshanks, vol. 33).
	4. Stag and bitch 150 mm x 178 mm plate size London (BM, Sheepshanks, vol. 33, no. 86).
	5. Bear pursued by dogs 155 mm x 180 mm plate size London (BM, Sheepshanks, vol. 33, no. 87).
	6. Porcupine pursued by dogs 155 mm x 180 mm plate size London (BM, Sheepshanks, vol. 33, no. 88).
	7. A wild boar 145 mm x 180 mm plate size London (BM, Sheepshanks, vol. 33, no. 89).
	8. A wolf (with a dead sheep) pursued by two dogs 150 mm x 175 mm plate size London (BM, F.2-122 and Sheepshanks, vol. 33, no. 90). References: B. V, 371,1; H. IX, 1.
	9. Wild Boar attacked by Dogs By Abraham Hondius, published by Richard Tompson Etching 318 mm x 428 mm plate size I Below right in margin: Abraham Hondius Pinxit Sculpsit London (BM, Sheepshanks 6392). II Below left in the design: R Tompson ex Amsterdam, London* (BM, F.2-120, trimmed 318 x 430 mm and Sheepshanks 6391). References: B. 9; H. IX, 10. Location of original painting and related material: Unknown.
	Arnold de Jode
Sir Peter Lely by Arnold de Jode, published by Richard Tompson, after Sir Peter Lely circa 1666 NPG D5062	10. D5062 Sir Peter Lely By Arnold de Jode, published by Richard Tompson, after Sir Peter Lely Engraving 14 in. x 11 in. (357 mm x 280 mm) plate size Circa 1666 Lettered PETRVS LELY / Pictor CAROLI II Magnæ Brittanniæ Regis. Below left P. Lelij delin: Below right A: de Jode sculp: Lower right R: Tompson Excud: I Lettered. The name of the publisher spelt 'Thomson'. London (NPG, D13829), Windsor (RCIN 657918). II As described. Cambridge (Magdalene, Pepys Library, 2980/259b), London (NPG, D5062), New Haven (B1977.14.12453, cut removing the lettering). References: BM 4; H. IX, 11. Location of original painting and related material: Unknown.
	11. Education of Cupid (Venus with Mercury and Cupid) By Arnold de Jode, published by Richard Tompson, after Antonio Allegri da Correggio Engraving 450 mm x 280 mm plate size 1667 Lettered in four lines, with dedication by Richard Tompson to Samuel Cooper: Ornatissimo & Miniatura pingendi ... obsequi argumentum. Below right Antonio Corregio Pictor / Arnold de Jode Sculp. londini 1667. London* (BM, 1837-4-8-343). References: H. IX, 4. Location of original painting and related material: 'The School of Love' (NG10; National Gallery 2001, p.147) De Jode's engraving maybe after a copy of the painting.
	12. Christ on the Cross By Arnold de Jode, after Sir Anthony Van Dyck Engraving and mezzotint 412 mm x 268 mm plate size Circa 1666 I Before mezzotint background with Christ on the cross engraved. Lettered: SOLUS PRO OMNIBUS SUSTINUIT / QUOD OMNES SIMUL SUSTINERE NEQUEUNT Below left: Ant. van Dyck Pinxit. Below right: Judeus fecit. Londini. Amsterdam (RP-P-OB-7675), Antwerp, Brussels (S.I 14053, cut removing lettering, inscription in pen and ink in design), Dresden (vol. III A 33118), Leiden (131.339). II Finished, with mezzotint background. London* (BM, 1858-6-26-366). References: H. IX, 2; New H. 525. Location of original painting and related material: Unknown.
	13. The Infants Jesus and John the Baptist Embracing By Arnold de Jode, published by Richard Tompson, after Sir Anthony Van Dyck Engraving 454 mm x 334 mm plate size 1666 Lettered QVAM PVLCHRI SVPER MONTES PEDES ANNVNTIANTIS ET PREDICANTIS PACEM. Isaiae Cap: 52 V:7 With dedication by Richard Tompson to Sir Peter Lely in three lines Clarisimo ... humillime DDCQ / Richard THOMSONUS Below left Ant: Van Dyck Eques Pinx Below right Arnoldus De Iode sculp Londini / Tempore Incendi Maximi. 1666 Amsterdam (RP-P-OB-7674), Coburg, Dresden (vol. III A 33057), London* (R.2-5), Paris (Cc.46, fol. 88), Rotterdam (BdH 6607), Vienna (ALB H II 32 fol. 95 and HB 60, 1, fol. 45, no. 60). References: H. IX, 1; Griffiths 1998, 145; New H. 553. Location of original painting and related material: A version in the Royal Collection (Millar 1963, 163; Larsen 1036). See also the mezzotint copy published by Alexander Browne and the copies by Pieter Schenck (H. XXV, 227-8).
	Peter Vandrebanc (published with Edward Cooper) Set of three large-scale prints after Antonio Verrio (1639?-1707)
	14. The Restoration of the Monarchy By Peter Vandrebanc, published by Edward Cooper and Richard Tompson, after Antonio Verrio Etching 673 mm x 955 mm (two plates) I Lettered Lacunar Procaetonis Cubili Regis Lower left in the design A Verrio Pinx Lower right in the design P Vandrebanc sculpsit Lower right in margin Sold by R. Tompson at ye Sun in Bedford berry and E. Cooper at ye 3 Pidgeons in Bedford street London* (BM, 1874-8-8-1948). Reissued by Edward Cooper in 1711 and again after 1734 by John Bowles (Clayton, p. 67). References: Griffiths 1998, 169. Location of original painting and related material: From the decorations by Antonio Verrio commissioned by King Charles II for the north range of Windsor Castle and completed before 1677, mostly destroyed in 1824 (Croft-Murray, pp. 53-6).
	Peter Vandrebanc (published with Edward Cooper) Set of three large-scale prints after Antonio Verrio (1639?-1707)
	15. Mercury Showing a Portrait of Charles II to the Four Continents
	16. Jupiter and Leda (Leda and the Swan) By Peter Vandrebanc, published by Edward Cooper, after Antonio Verrio Etching 368 mm x 408 mm II Lettered top margin Jupiter and Leda Centre in framed design Conclaue Reginæ Left in framed design A Verrio pinxit Right in framed design P. Vandrebanc Sculpsit Lower left margin Painted on ye Ceiling of her Majesty's Closet in her Royall Pallace of Windsor Lower right margin Sold by E. Cooper at ye 3 Pidgeons in Bedford Street, 1711 London (BM). References: Clayton, p. 68, fig. 79.
	MEZZOTINTS
Queen Anne when Princess published by Richard Tompson, after Sir Peter Lely 1678-1679 (circa 1678) NPG D9231	1. D9231 Queen Anne when Princess Published by Richard Tompson, after Sir Peter Lely Mezzotint 13 in. x 9 3/4 in. (330 mm x 249 mm) plate size 1678-1679 (circa 1678) Lettered Her Highness the Lady Ann Below left P Lely pinxit Below centre R Tompson excudit I Before the lettering. Unfinished. Foliage, garland and scroll decoration lack definition. London (BM, 1857-2-28-215). II Lettered but background still lacks definition. London (BM, 1902-10-11-5231, margins) III As described. Finished. London (BM, 1902-10-11-5230, cut), London (NPG, D9231 and D7779), Oxford (Sutherland collection, vol. I, pt. XIII, p. 820, good impression), Windsor (RCIN 603325). References: CS 1; BM 4; Beckett 1951, 13A. Location of original painting and related material: Private collection (see Taylor 2003). See also the mezzotint by Abraham Blooteling dated 1678 (BM 2; H. II, 145) and another published by Blooteling (BM 3; H. II, 145a). Another mezzotint copy published in Amsterdam by Carel Allard (H. I, 7).
Susan (née Armine), Lady Belasyse published by Richard Tompson, after Sir Peter Lely 1678-1679 NPG D13159	2. D13159 Susan (née Armine), Lady Belasyse Published by Richard Tompson, after Sir Peter Lely Mezzotint 13 1/4 in. x 9 3/4 in. (336 mm x 248 mm) plate size 1678-1679 Lettered The Right honoble the Lady Bellasis Below left P Lilly Pinxit Below right R Tompson excudit I Before the lettering. Some rockerwork encroaches on lower margin. Oxford (Sutherland collection, Burnet vol. I, pt. VI, p. 352). II As described. London (BM, 1902-10-11-5237, margins), London (NPG, D13159 and D693), New Haven (B1974.12.391), Oxford (Sutherland collection, Burnet vol. I, pt. VI, p. 352). References: CS 4; BM 2; Beckett 1951, 40. Location of original painting and related material: Prime version unknown. Contemporary version, Suffolk Collection, Ranger's House, Blackheath, London; version by follower of Lely, dated 1684, formerly in the collection of Earl of Kimberley, sold Sotheby's 6/2/1963, lot 5. Compare with the mezzotint of the Countess of Northumberland published by Alexander Browne of (CS 25; BM 2).
Sir William Berkeley published by Richard Tompson, after Sir Peter Lely 1678-1679 NPG D13168	3. D13168 Sir William Berkeley Published by Richard Tompson, after Sir Peter Lely Mezzotint 13 1/4 in. x 9 5/8 in. (336 mm x 245 mm) plate size 1678-1679 Lettered S:r William Bartley. Admirall Below left P. Lelij pinxit Below right R. Tompson excudit. I Before the lettering. London (BM 1874-8-8-1292, in pen and brown ink: Sir Wm Bartley Admirall, touched on the sleeves and on tassle in white bodycolour). II As described. Cambridge (Magdalene, Pepys Library, 2979/239), London (BM, 1910-10-11-5238 and 1853-2-14-473, Portraits), London (NPG, D13168), Oxford (Sutherland collection, Clarendon vol. III, pt. V, p. 362), Windsor (RCIN 650891). References: CS 5; BM 1; Beckett 1951, 43. Location of original painting and related material: National Maritime Museum, Greenwich (BHC 2553; Beckett 1951, 43). Variations found on Tompson print compared to painting: see sleeves, no tassle at waist.
Gilbert Burnet by John Smith, published by Edward Cooper, published by Richard Tompson, after John Riley 1690 (circa 1689-1691) NPG D925	4. D925 Gilbert Burnet By John Smith, published by Edward Cooper, published by Richard Tompson; after John Riley Mezzotint 14 5/8 in. x 10 5/8 in. (370 mm x 270 mm) plate size 1690 (circa 1689-1690) Lettered The Right Reverend Father in God / Gilbert Lord Bishop of Sarum & Chancellor of ye most Noble Order of ye Garter. Below left Painted from ye life by M:r / Ino Riley Principall / Painter in Ordniary / to their Maj:tys Below left towards centre I. Smith fecit Below right towards centre Cum Privilegio Regis Below right Sold by R Tompson at ye / Sun in Bedford-berry & / E Cooper at ye 3 Pidgeons / in Bedford street I Lettered. At lower left in three lines: Painted from ye life by M:r / Ino Riley Principall / Painter to their Majtys London (BM, 1902-10-11-4440 and large Smith vol. I, p. 12, margins), New York (NYPL, vol. 1, fol. 78, dated 1690). II As described. Chatsworth (Smith vol. I, p. 117, fine impression, cut), London (BM, 1889-6-3-298 and 1902-10-11-4441), London (NPG, D11581, John Smith vol. I, fol. 122), London (Strang, G2022, margins), Windsor (RCIN 651681). III Reworked, right eye altered, leaving a portion of the ball visible between the iris and the under lid. Cambridge (Magdalene, Pepys Library, vol. III, fol. 103), Oxford (Christ Church, vol. I, fol. 55), Oxford (Sutherland collection, Burnet vol. I, pt. I, p. 1). IV Address erased and replaced: Sold by Tho:s Bowles in St Pauls Church Yard London Reworked, particularly the roping. Darker tonality overall. Motto on Garter faint. London (BM, 1902-10-11-4442), Oxford (Sutherland collection, Burnet vol. I, pt I, p. 2), Windsor (RCIN 651682-3). References: CS 29; BM 10; Ingamells 1981, p. 139, G. Location of original painting and related material: Prime version (three quarter length): Lord Haddington on loan to the Scottish National Portrait Gallery, Edinburgh (L252). Versions at Crathes Castle, Grampian, National Trust for Scotland, and Salisbury Cathedral School, Wiltshire. Copy after Riley (half length): National Portrait Gallery, London (NPG 159; Piper 1963, pp. 46-47, pl. 19f). Drawing in the British Museum, London (Sloane 5227-47) possibly preparatory for the mezzotint (Ingamells 1981, pp. 140, G. 10). Reduced mezzotint version published by Edward Cooper lettered Gilbert Lord Bp of Sarum (210 x 160 mm).
Catherine of Braganza as St Catherine published by Richard Tompson, after Jacob Huysmans 1678-1679 (circa 1664) NPG D13173	5. D13173 Catherine of Braganza as St Catherine Published by Richard Tompson, after Jacob Huysmans Mezzotint 18 1/2 in. x 11 3/8 in. (470 mm x 290 mm) plate size 1678-1679 (circa 1664) Lettered Katherine Queen of Great Brittain France & Ireland Below left Iacobus Haysmans pinxit. Below right R. Tompson excudit As described. Cambridge (Magdalene, Pepys Library, vol. I, fol. 106, 2978/106), London (BM, 1874-8-8-1302, counterproof and 1848-9-11-338, Portraits), London (NPG, D13173), Oxford (Sutherland collection, Clarendon vol. IV, pt. IV, p. 96, cut to design), Windsor (RCIN 602750). References: CS 7; BM 4. Location of original painting and related material: Private collection, Portugal. Version in Royal Collection (Millar 1963, 290; MacLeod and Marciari Alexander 12).
	6. King Charles II Published by Richard Tompson, after Sir Peter Lely Mezzotint 335 mm x 245 mm plate size 1678-1679 Lettered Charles the Second King of England Scotland / France and Ireland Defender of the Faith Below left P Lely pinxit Below right R Tompson excu London (BM, 1902-10-11-5243, margins), Windsor* (RCIN 602571). References: CS 8; BM 70; Beckett 1951, 81. Location of original painting and related material: The Duke of Grafton, Euston Hall, Norfolk (Beckett 1951, 81; Millar 1978, 52). Compare with the mezzotint published by Alexander Browne (CS 5; BM 69), and with mezzotint by John Faber with dedication to Martin Folkes (CS 77; BM 67). Contemporary mezzotint copies published by Carel Allard (H. I, 2), Herman Hendrik Quiter (H. German XXXIII, 21) and Pieter Schenck (H. XXV, 526).
Barbara Palmer (née Villiers), Duchess of Cleveland published by Richard Tompson, after Sir Peter Lely 1678-1679 NPG D1471	7. D1471 Barbara Palmer (née Villiers), Duchess of Cleveland Published by Richard Tompson, after Sir Peter Lely Mezzotint 13 in. x 9 7/8 in. (330 mm x 251 mm) plate size 1678-1679 Lettered The Dutchess of Cleaueland Below left P Lely pinxit Below right R Tompson excudit As described. London (BM, 1838-4-20-49, margins and 1902-10-11-5247, margins), London (NPG, D1471), Oxford (Sutherland collection, Clarendon vol. IV, pt. IV, p. 170), Windsor (RCIN 663143). References: CS 10; BM 14; Beckett 1951, 109. Location of original painting and related material: Unknown. Adapted from whole length portrait of Duchess of Cleveland with Diana fountain, in collection Goodwood House, Sussex, published in mezzotint by Alexander Browne (CS 9; BM 7).
Barbara Palmer (née Villiers), Duchess of Cleveland published by Richard Tompson, after Sir Peter Lely 1678-1679 NPG D20377	8. D20377 Barbara Palmer (née Villiers), Duchess of Cleveland Published by Richard Tompson, after Sir Peter Lely Mezzotint 13 5/8 in. x 10 in. (345 mm x 255 mm) plate size 1678-1679 Lettered The Dutchess of Cleaueland Below left P. Lely pinxit Below right R. Tompson excudit. I Before the lettering. London (BM, 1902-10-11-5244 and 5245, both trimmed). II As described. Cambridge (Magdalene, Pepys Library, 2979/184a), London (BM, 1902-10-11-5246, cut to platemark), London (NPG, D13843), Windsor (RCIN 663156, in pen and ink below centre: J Vander Vaert fec.). References: CS 9; BM 13; Beckett 1951, 109. Location of original painting and related material: Lord St Levan, St Michael's Mount, Cornwall [1905]. Reduced copy attributed to Mary Beale after Lely (Barber 1999, 42), with Historical Portraits, London 2001, 4. Copy published in Amsterdam by Carel Allard (Russell, vol. II, p. 325; H. I, 9).
Mary Davis published by Richard Tompson, after Sir Peter Lely 1678-1679 (circa 1674) NPG D1725	9. D1725 Mary Davis Published by Richard Tompson, after Sir Peter Lely Mezzotint 13 1/4 in. x 9 3/4 in. (338 mm x 247 mm) plate size 1678-1679 (circa 1674) Lettered Madame Dauis Below left P Lely pinxit Below right R Tompson excudit I Before the lettering. Unfinished, before strings and heart motif on guitar. Thin white gap between subject at lower right and border line. London (BM, 1902-10-11-5248, margins). II As described. London (BM, 1902-10-11-5249, trimmed and 1874-8-8-1296, Portraits, good), London (NPG, D1725 and Wheatley's London, vol. III, pt II, p. 331), New Haven (B1974.12.453, margins, good, ex-collection Sir Joshua Reynolds), Oxford (Sutherland collection, Burnet vol. I, pt. V, p. 263), Windsor (RCIN 653410). Copy published by Carel Allard. An impression in London (BM, 1879-6-14-783, portraits). References: CS 11; BM 2; Beckett 1951, 151. Location of original painting and related material: Collection of the Trustees of the Weston Park Foundation, Shropshire (Beckett 1951, 151, pl. 118; MacLeod and Marciari Alexander 56). Mezzotint copy published in Amsterdam by Carel Allard (H. I, 15).
	10. Mary Davis Published by Richard Tompson Mezzotint 170 mm x 125 mm (approximate) 1678-1679 Below right R Tompson ex Windsor* (RCIN 653414, cut below, grey impression). References: CS 12; not in BM. Location of original painting and related material: Possibly adapted from the mezzotint of Mary Davis published by Richard Tompson (CS 11; BM 2).
William George Richard Stanley, 9th Earl of Derby published by Richard Tompson, after Sir Peter Lely 1678-1679 NPG D1744	11. D1744 William Stanley, 9th Earl of Derby Published by Richard Tompson, after Sir Peter Lely Mezzotint 13 3/8 in. x 9 3/4 in. (340 mm x 247 mm) plate size 1678-1679 Lettered The Earle of Derby Below left P. Lelij pinxit. Below right R. Tompson excudit. I Before the lettering. A patch incompletely worked on right side. London (BM, 1874-8-8-1297, small margins, cut below), Oxford (Sutherland collection, Clarendon vol. III, pt. V, p. 321, margins, fine). II As described. London (BM, 1902-10-11-5250), London (NPG, D1744), Oxford (Sutherland collection, Clarendon vol. III, pt. V, p. 321), Windsor (RCIN 662197). III Wig narrowed and face reworked and altered. Sr added before Lely's name. London (BM 1902-10-11-5251), Oxford (Sutherland collection, Clarendon vol. III, pt. V, p. 321). References: CS 13; BM 1; Beckett 1951, 158. Location of original painting and related material: Viscount Daventry, Arbury Hall, Warwickshire (Beckett 1951, 158, pl. 126). Variations found on Tompson print compared to painting: see position of hands.

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