Volume 1

A biographical dictionary, containing an historical account of all the engravers, from the earliest period of the art of engraving to the present time, and a short list of their most esteemed works. With the cyphers, monograms, and particular marks, used by each master, accurately copied from the originals, and properly explained. To which is prefixed an essay on the rise and progress of the art of engraving, both on copper and on wood. With several curious specimens of the performances of the most ancient artists / By Joseph Strutt.

  • Joseph Strutt
Date:
1785-1786
Catalogue details

Licence: Public Domain Mark

Credit: A biographical dictionary, containing an historical account of all the engravers, from the earliest period of the art of engraving to the present time, and a short list of their most esteemed works. With the cyphers, monograms, and particular marks, used by each master, accurately copied from the originals, and properly explained. To which is prefixed an essay on the rise and progress of the art of engraving, both on copper and on wood. With several curious specimens of the performances of the most ancient artists / By Joseph Strutt. Source: Wellcome Collection.

    420/442 (page 358)
    t G U E [ 358 ] G U I FRANCESCO DE LA GUERRIERE. Flourifhed, 1650. . A French artifb, whom Le Comte diftinguifhed by the title of painter to the king.” According to this author, he drew and etched the grotefque friezes^ painted by Raphael Urbin in the Vatican, which he dedicated to Edward Jabach. Bafan writes this name Guertiere. GUIDO. See Reni. A S C A N. I U S DON GUIDO, Flourilhed, 1567. This name I found affixed to a print, engraved from the laft judgment of Michael Angelo, rather fmaller than that of Martin Rota^ which it 'nearly equals in merit. It is executed entirely with the graver, in a very fldlful manner. The date, 1567, proves it to have been done two years prior to Martin Rota's, whofe ftyle of engraving it much refembles. The name of 'the artift is written in this Afeanis, Don, Guido faciehat, * RAFFAELLO G U I D . Flouriffied, 159S. This artifl v/as a native of Tufeany ; and judging from the 'ftyle of his engraving, I ffiould fuppofe he had been educated in the fchool of Cornelius „Gort,.Qr Agoftino Carracci. .He worked entirely with the graver, which in- .ftrument he handled with much facility. He drew correctly, and with great tafte ; and the extremities of his figures are well expreffied. Though he cannot be faid to equal Carracci, yet his prints manifefi: the hand of the mailer, and prove him to have been a man of very fuperior talents. Tihall only notice the following by him: A repofoy where JoJeph is holding Joyne cherrieSy the child points to his tnouthy a fmall upright plate, from Francifeo Vanhi. The entombing of Chrifty a middling fized upright plate, arched on the top, from Frederico Barroccio, dated 1598. : The crucifixion of Chrifi.y a middling fized upright plate, from Chriilo- pher Swartz. Michael Angelo Guidi, fon to the above artiil, was alfo an engraver, and imitated the ilyle of his father 5 but his works are by no means worthy of a particular recital. V. G U I G .0 U. • ' Flouriffied, 1676. This engraver was a native of France; but of no great note. We have by him fome bird's-eye mews of palacesy and other edificesy in France, exe- cuted in a veiy flight, ftiff ilyle. He alfo engraved a variety of portraits for books ; wffiich though fufficiently neat, are totally devoid of taile and effeft. SIMON