| Method | Mezzotint |
| Artist | Charles Turner after John Hoppner |
| Published | Published by Colnaghi & Co. Thursday 9 January 1806 |
| Dimensions | Image 591 x 395 mm, Sheet 628 x 418 mm |
| Notes |
Published the day of Nelson's funeral at St Paul's Cathedral. Admiral Horatio Nelson's (1758-1805) victories during the wars with France gripped the popular imagination, making him the most enduring of British heroes. In 1793, following the outbreak of war with France, he lost an eye in a successful attack on Corsica. Yet aside from this early misfortune, Nelson's strategic brilliance was confirmed at the Battle of Cape St Vincent (1797) and the Battle of the Nile (1798). This was followed by the great controversy of Nelson's career when, because of his passion for Emma Hamilton, he refused to leave Naples to defend Minorca. Charles Turner (1774-1857) was was an English mezzotint engraver and draughtsman. Hailing from Woodstock, Oxfordshire, Turner moved to London at the age of fifteen. He enrolled in The Royal Academy and, like many other engravers of the time, initially relied upon the benefaction of wealthy and influential people. Turner had the considerable backing of the Marlborough family, for his grandmother had been a close companion of the Duchess. This relation led to important commissions. Turner would, for instance, engrave the Marlborough family portrait after the painting by Sir Joshua Reynolds. He was subsequently employed by the influential publisher John Boydell. Diversely gifted, Turner was as adept in the medium of mezzotint as he was in stipple and aquatint. This leant great scope to the subjects he could depict. Whether it was the engraving of Van Dyck or Rembrandt, or the topography of his namesake, Turner excelled. John Hoppner (1758-1810) was a portrait painter to th Price of Wales. His early success made him appear the natural successor to Sir Joshua Reynolds until the arrival in London in 1787 of Thomas Lawrence. While Hoppner was made portrait painter to the Prince of Wales in 1789, ensuring him extensive patronage in Whig political circles, it was Lawrence who became painter to the King. Lennox-Boyd vi/vi Condition: Trimmed to plate to the lower margin and the sides, trimmed to just outside plate to the upper margin. Some overall time toning and very light red tint to the image in areas. |
| Framing | mounted |
| Price | £575.00 |
| Stock ID | 28474 |