From A Dictionary of Irish Artists 1913
James McArdell, who may be called the founder of the great school of mezzotint engravers of the eighteenth century in England, was born in Cow Lane (now Greek Street), in the parish of St. Michan, Dublin, at the latter end of the year 1728 or early in 1729. As a boy he became an apprentice or pupil of John Brooks (q.v.) who had commenced mezzotint engraving in Dublin in 1741. Brooks had with him for some time, as his assistant, Andrew Miller, who had previously been working as a mezzotinter in London; and it was probably from Miller rather than Brooks that McArdell learned his art. Many of the prints issued by Brooks from his establishment on Cork Hill, "The Sir Isaac Newton's Head," were the work wholly or in part of his pupils; and a portrait of "Archbishop Boulter," published by him in 1742, is recorded to have been entirely the work of McArdell. A portrait of "Dr. Birch" was also, as the inscription upon it tells us, engraved by him in Ireland, though not published there. This print, a copy in reverse of one by Faber, was, says Chaloner Smith, "probably copied for improvement." In 1746 Brooks migrated to London and was accompanied by McArdell. For a short time master and pupil remained together; but they soon parted company, McArdell settling down to pursue his profession with a steady industry and perseverance which soon placed him in the forefront of British mezzotinters.
Not long after his arrival in London he scraped a humorous print, "Teague's Ramble at Charing Cross," probably after a drawing by himself, which was published on 26th August, 1747, by Jeffreys and Herbert, the London publishers of Brooks' Dublin prints; and in the same year a portrait of "Archbishop Secker" by him was published by "M. Overton opposite Fetter Lane and Fleet Street & P. Brookes facing Southampton Street in ye Strand." In the following year, 1748, three prints are known to have been done by McArdell, viz., portraits of "Charles Bancks, the Swedish painter," "John Cartwright" and "Benjamin Hallet." None of them has the name of a publisher, nor have those done by him in 1749 and 1750. His work in 1749 included the portraits of "Captain Coram," after Hogarth, and "Lady Boyd" after Ramsay; and in 1750 "Lionel, Duke of Dorset, Lord Lieutenant of Ireland." McArdell had now, at the age of 21, secured recognition as an able exponent of his art, equal to the best of his contemporaries, and he established himself at the Golden Head in Covent Garden, where he began to publish and sell his own prints. In 1751 he visited his native city, and probably while there appointed Paul Smith and Thomas Silcock, the Dublin print-sellers, his agents for the sale of his prints, as in that year we find the following advertisement in "Faulkner's Journal" (Sept., 1751): "Just imported, and are only to be sold by Paul Smith in Crane Lane and Thomas Silcock, Nicholas Street, the original mezzotinto prints of the Prince of Wales, Duke of Dorset, Bishop of Ely, Erskine, Capt. Coram, Quin as Falstaff, all by Mr. McArdell." The artist's departure from Dublin is announced in "Faulkner's Journal," 7th-10th Sept., 1751: "Saturday last Mr. James McArdell, well known in London and this city for his many valuable performances in mezzotinto, embarked for Parkgate."
In 1752 McArdell's fine print of "The Duke of Buckingham and his brother," after Van Dyck, still further enhanced his reputation and brought him increased practice. The first three of his long series of prints after Sir Joshua Reynolds appeared in 1754. These were "Lady Charlotte Fitzwilliam," published by Reynolds himself, and the pair of portraits of "The Earl and Countess of Kildare," which McArdell did for Michael Ford of Dublin, by whom they were published. In all McArdell scraped thirty-eight plates after Sir Joshua's pictures, including such prints as "Lady Anne Dawson," "Mrs. Bonfoy," "Mrs. Chambers," "Lady E. Montagu," "Mrs. Horneck" and "The Countess Waldegrave"; a brilliant series in which the painter's work interpreted by McArdell with marvellous truth and grace drew from Sir Joshua the memorable words: "By this man I shall be immortalized. McArdell engraved twenty-one plates after Hudson, including that of "The Duchess of Ancaster" in 1757, and reproduced the works of many other contemporary painters—Gainsborough, Cotes, Hone and others. From Van Dyck he executed plates, containing some of his most brilliant work, such as "The Countess of Southampton" and "Lords John and Bernard Stewart." He also commenced to engrave the series of portraits by Lely known as the "Windsor Beauties," but completed only three, one of them the superb print of the "Comtesse de Grammont." He also scraped several plates after Rembrandt, in which his interpretation was as happy as in his two prints after Rubens. A few of his plates from his own designs include several of the Royal Family, "Teague's Ramble at Charing Cross," before mentioned, "C. Blakes," the actor, "Quin, as Falstaff," and "Garrick" as Puff in Foote's comedy of "Taste." He executed two etchings of the eccentric little Frenchman the Chevalier Descazeaux.
McArdell's talents were not obscured by those vicious and irregular habits which, unfortunately, interfered with the success of his fellow pupils, Spooner, Purcell and Houston. Unlike them he cultivated his great natural capacity by steady industry and application; and the thoroughness and high artistic qualities of his work gained for him the recognition and appreciation of the principal painters of his time. He had brought his art to a perfection never before attained, and was at the zenith of his fame when his life was suddenly cut short. He died in Henrietta Street, Covent Garden—or according to the "Freeman's Journal" (8th-11th June, 1765), at Hampstead—on 1st June, 1765, in his thirty-seventh year, and was buried on the 5th in Hampstead Churchyard. Over his grave was placed a flat stone with the inscription: "Here Lyeth the Body of Mr. James McArdell, Metzotinto Engraver of London, who departed this Life on the 1st of June, 1765, aged 37 years. A native of Ireland and the most eminent in his Art in his time." The stone, having sunk and become overlaid with earth and grass, was for long thought to have been removed, but was discovered in 1910, when it was raised upon a brick foundation and the lettering re-cut. The expense was defrayed by subscriptions, and the words, "Restored by subscription, 1910," added.
McArdell was never married. He died intestate, and his property was administered to by his brother Philip, a herald-painter, residing in Dorset Street, Dublin, who died on 30th September, 1777.
McArdell in his short, but brilliant, career as a mezzotinter raised the art in England from the low level to which it had sunk, and his work inaugurated the great period of English mezzotinting of the latter half of the eighteenth century. He was followed by a number of brilliant engravers—Thomas Watson, William Dickinson, John Jones, Valentine Green and J. R. Smith; Richard Earlom, his pupil, and his fellow-countrymen, John Dixon and James Watson, who probably learnt much of their art from him. After his death McArdell's plates, some half a dozen of which he left unfinished, came into the hands of Robert Sayer, the print-seller, who issued numerous impressions from them, re-touching and re-working them as they became worn, and even issuing false proofs.
McArdell's portrait, drawn by himself, was engraved in mezzotint by his pupil Richard Earlom; a fine print, in which the artist is represented holding his scraper, his plate of Van Dyck's "Time and Cupid" before him. "His face," says Chaloner Smith, "is expressive of genial kindness, of fine good sense, keen observation and bold intelligence; expressive of what he was, a great artist and a good man."
An exhibition of McArdell's works was held bv the Burlington Fine Arts Club in 1886, and a valuable descriptive catalogue was issued. Besides this catalogue his work is fully treated in the following: "British Mezzotinto Portraits," by John Chaloner Smith; an article by the same writer in the "Dublin University Review," Vol. II, 1886; "James McArdell" (British Mezzotinters series), by Gordon Goodwin, 1903, and "Annotations to Gordon Goodwin's Catalogue," by Dr. Hans Singer, in the "Burlington Magazine."
The following is a list of McArdell's works:
Thomas Birch; after J. Wills. Dr. Burch. Engraved in Ireland by James McArdell. This is a copy, in reverse, of an unfinished print by Faber. Chaloner Smith says that it is "one of the engraver's earliest prints, probably copied for improvement." In a late state the inscription was altered to Dean Swift. Engraved in Ireland by James McArdell.
Hugh Boulter, Archbp. of Armagh. After M. Dahl. This print, originally a portrait of Robert Howard, Bishop of Elphin, was published in Dublin by J. Brooks, and inscribed J. Brooks, Excudit; but according to a writer in the "Gentleman's Magazine" (Vol. LVI, p. 420) the plate was entirely the work of his pupil McArdell: "Many yet living saw him at the plate during the whole operation." The plate was afterwards altered by McArdell and issued by Brooks as a portrait of Boulter.
Mary, Duchess of Ancaster; after T. Hudson. Published in 1757.
George, 1st Lord Anson; after Sir T. Reynolds. Published in 1755.
John Armstrong, Surveyor-General of Ordnance, etc. Dated 1753.
Charles Ashton, D.D.; after R. Pyle.
Thomas Ashton, D.D.; after T. Gainsborough.
Thomas Ashton, D.D.; after Sir J. Reynolds.
Mrs. Astley; after Herself.
Augusta, Princess of Wales. J. McArdell Delin et Fecit.
Princess Augusta, daughter of Frederick Prince of Wales; after Sir J. Reynolds.
Charles Bancks, miniature painter; after Himself, 1748.
Sir John Barnard, M.P.; after A. Ramsay. Published in 1754. A copy of a print by Faber.
Mrs. Bastard; after Sir J. Reynolds.
William, Earl of Bath; after Sir J. Reynolds. Dated 1758.
John Beard; after T. Hudson.
William Benn, Lord Mayor; after T. Hudson.
Timothy Bennett; after G. Budd. Probably done in 1752.
George Benson, D.D. Frontispiece to his "Life of Christ," published in 1764.
Elizabeth, Countess of Berkeley; after Sir J. Reynolds. Published in 1757.
Rev. John Blachford. The original copper-plate belonged to Dr. Mosse, of the Rotunda Hospital, and was sold at his sale, 25th May, 1761.
Lt.-General William Blakeney; after George Chalmers. Published in 1756.
Charles Blakes, actor. The third state of the plate altered, and inscribed J. McArdell delin et fecit.
Mrs. Bonfoy; after Sir J. Reynolds. Published in 1755.
Hon. Edward Boscawen; after Sir J. Reynolds.
Jacob Bouverie; after Sir J. Reynolds. Exhibited at the Society of Artists in 1762 as "a young gentleman in a Vandyke dress."
Jacob Bouverie. Reverse of foregoing, with slight variations.
Archibald Bower; after G. Knapton.
Lady Boyd, as Diana; after A. Ramsay. Done in 1749.
Rev. Thomas Brett; after C. de Laffontaine.
Mrs. Dorothy Bridges; after E. Smith.
Edward Bright; after D. Ogborne. Published in 1751.
Charles, Prince of Brunswick; after J. G. Quiessenis. Published in 1755.
Frederick, Prince of Brunswick. See under Honywood.
Duchess of Buccleugh. See under Montagu.
Nathaniel Buck. This plate was left unfinished at McArdell's death, and was reworked and published in 1794 by Laurie and Whittle.
George, 2nd Duke of Buckingham and his brother Lord Francis Villiers; after Van Dyck. Done in 1752.
Sir Charles Burton; after Robert Hunter. This print of Burton, who was Lord Mayor of Dublin in 1752-3, was done by McArdell for Thomas Silcock, print-seller in Nicholas Street, Dublin, as appears from an advertisement in "Faulkner's Journal," 27th November, 1753. ". . . . Said Silcock is now doing, by subscription, a whole length metzotinto print of Sir Charles Burton, Knight, late Lord Mayor of the City of Dublin, and one of the Representatives in Parliament for said City, to be executed by Mr. McArdell." An impression of this print is in the National Gallery, Dublin.
Elizabeth Canning; after W. Smith.
Princess Caroline Elizabeth; after P. Mercier. An early work of the engraver; apparently a copy of a print by J. Simon.
John Cartwright, gardener and florist; after S. Elmer. Done in 1748.
Charles, Lord Cathcart; after Sir J. Reynolds. This print appears to have been left unfinished at McArdell's death, and to have been completed by R. Houston for Sayer, and published in 1770. The published plate is inscribed Sir Josa. Reynolds pinxt. Jas. McArdell delineavit. R. Houston perfecit.
Jane, Lady Cathcart; after Sir J. Reynolds. Also left unfinished and completed by Houston as above.
Mrs. Catherine Chambers; after Sir J. Reynolds. Published in 1756.
Queen Charlotte. Published by McArdell in 1761. Third state inscribed J. McArdell delt. & fect.
Robert, Lord Clive; after T. Gainsborough.
Mary, Viscountess Coke; after A. Ramsay.
Rev. Emanuel Collins; after N. Hone.
Captain Thomas Coram; after W. Hogarth. Done in 1749; a later state published by Laurie and Whittle in 1794.
John Coutts, Provost of Edinburgh. After A. Ramsay.
Maria, Countess of Coventry; after F. Cotes.
Maria, Countess of Coventry; after Gavin Hamilton, Published in 1754. The plate was afterwards cut and altered and published by Sayer.
William, Duke of Cumberland. J. McArdell Delin et Fecit. Cunne Shote, the Indian Chief; after F. Parsons.
James Dawkins; after J. Stuart.
Lady Anne Dawson as Diana; after Sir J. Reynolds. Done in 1754.
Anne Day, afterwards Lady Fenhoulet; after Sir J. Reynolds. Done in 1760.
Arthur Dobbs; after W. Hoare.
Lionel, 1st Duke of Dorset; after Sir G. Kneller. Done in 1750.
Francis Douce; half-length; after W. Keable. Done in 1752.
Francis Douce; whole length on horseback; after W. Keable.
Lucy Ebberton; after G. Knapton.
Prince Edward. The plate was afterwards entirely altered and McArdell's name erased.
John, 2nd Earl of Egmont; after T. Hudson. Published in 1764.
Catherine, Countess of Egmont; after T. Hudson. Published in 1765.
Charles Erskine. After T. Hudson.
Frances, Countess of Essex; after Sir J. Reynolds. Published in 1757.
Lady Fenhoulet. See Anne Day.
Prince Ferdinand of Brunswick. See Honywood.
Fiamingo (Francois du Quesnoy, sculptor).
Sir John Fielding; after N. Hone.
Hon. Susanna Fitzpatrick; after A. Soldi. A lady of the demi-monde who married the Hon. Richard Fitzpatrick. The Strawberry Hill impression, on which Walpole wrote a line detracting from her character, as noted by Chaloner Smith, is now in the National Gallery, Dublin.
Lady Charlotte Fitzwilliam; after Sir J. Reynolds. Published in 1754.
Martin Folkes; after T. Hudson.
Helena Forman, or Fourment, Rubens' second wife; after Van Dyck.
Anne, Lady Fortescue; after Sir J. Reynolds. Published in 1757.
Henry Fox; after J. S. Liotard.
Henry Fox; after A. Ramsay.
Benjamin Franklin; after B. Wilson. Published in 1761.
Frederick, King of Prussia; after G. Van der Mijn.
Frederick, Prince of Wales. J.McArdell Delin et fecit.
Frederick, Prince of Brunswick, see Honywood.
John Garnett, Bp. of Clogher; after T. Gainsborough.
David Garrick; after J. S. Liotard.
David Garrick; after A. Pond.
David Garrick as Hamlet; after B. Wilson. Published in 1754.
David Garrick as Lear; after B. Wilson. Exhibited at the Society of Artists and published in 1761.
David Garrick with Mrs. Gibber, in "Venice Preserved"; after J. Zoffany. Published in 1764.
David Garrick as the Auctioneer in Foote's comedy of "Taste." Jas. McArdell delint et fecit. Published in 1769, after McArdell's death.
Sir Crisp Gascoyne, Lord Mayor; after W. Keable.
Francesco Geminiani; after T. Jenkins. A late state, retouched, has V. Green's name as engraver.
George II; J. McArdell Delin et fecit.
George III; after J. Meyer. Published in 1761.
George III, when Prince of Wales; after D. Luders.
The Gerbier Family; after Rubens. Published in 1755.
James Gibbs, architect; after W. Hogarth.
James Gibbs, Architect; after J. Williams.
John Glas; after W. Millar.
Thomas Gooch, Bp. of Ely; after T. Hudson.
Elizabeth, Comtesse de Grammont; after Lely.
William Grant; after A. Ramsay.
Miss Greville and her brother; after Sir J. Reynolds. Exhibited at the Society of Artists in 1762 and published same year.
Rev. Stephen Hales; after T. Hudson.
Sir Peter Halkett; after A. Ramsay.
Benjamin Hallet, the child musician; after T. Jenkins, 1748.
Elizabeth, Duchess of Hamilton; after F. Cotes.
Zachary Hamlyn; after J. Highmore. Done in 1752. Chaloner Smith says that this print represents Samuel Richardson (whom McArdell also engraved), but a comparison of the prints does not bear out this. The original picture belonged to the family and was destroyed when Clovelly Court was burnt in 1789.
Esther Hammerton; after J. Butler.
Simon, Earl Harcourt; after B. Wilson.
Philip, Lord Hardwicke; after J. Wills.
Sir Charles Hardy.—See Tyrrell.
Aaron Hart, Chief Rabbi; after B. Dandridge. Published in 1751.
William Harvey; after Van Dyck. Plate left unfinished at McArdell's death. Published by Laurie and Whittle in 1794.
Sir Edward Hawke; after G. Knapton.
Robert, Lord Henley; after T. Hudson.
Thomas Herring, Archbp. of Canterbury; after S. Webster.
Sir Philip Honywood; after B. Dandridge. The plate, with considerable alterations, was republished and made to do duty as a portrait of Prince Ferdinand of Brunswick.
Mrs. Hannah Horneck; after Sir J. Reynolds.
Jane, Countess of Hyndford; after Sir J. Reynolds. Done in 1759.
Rev. John Jackson; after Van der Mijn.
Rev. David Jennings; after Jones.
John Keeling, brewer; after T. King. Done in 1756.
James, Earl of Kildare; after Sir J. Reynolds.
Emily, Countess of Kildare; after Sir J. Reynolds. Both these [this and the above] prints were engraved for, and published by, Michael Ford of Dublin. "Now in hands by Subscription 2 Metzo-tinto Prints, one of the Rt. Hon. the Earl of Kildare, the other of the Countess of Kildare, doing by Mr. McArdell in London from original paintings, and will be finished as soon as possible. Subscriptions are taken at Ford's Print Shop on Cork Hill opposite Lucas' Coffee-house at an English half Crown each print; one shilling and sixpence English to be paid at subscribing for each" ("Universal Advertiser," March, 1754).
William King, LL.D.; after T. Hudson.
John Frederick Lampe, musical composer; after S. Andrea.
Lady George Lennox; after A. Ramsay.
Charles Leviez; after J. S. Liotard.
Miss Lewis; after J. S. Liotard. Published in 1754.
Katherine, Countess of Lincoln; after W. Hoare.
Daniel Lock, architect; after W. Hogarth.
John Lockhart, R.N.; after Sir J. Reynolds.
Thomas Lowe and Mrs. Chambers as Capt. Macheath and Polly in "The Beggar's Opera," after R. Pine. Published in 1752.
Charles Lucas, M.D.; after Sir J. Reynolds.
Flora Macdonald; after A. Ramsay.
Lady Mackintosh; after A. Ramsay.
Caroline, Duchess of Marlborough.—See Lady Caroline Russell.
Edward Maurice, Bp. of Ossory; after T. Hudson.
Charlotte Mercier; after P. Mercier. Published in 1756.
Philip Mercier; after himself. Published in 1756.
Mrs. Jane Middleton; after Lely. Erroneously styled "Lady Middleton" on the print.
Hon. Robert Monckton; after T. Hudson.
Lady Elizabeth Montagu; after Sir J. Reynolds. Published in 1756.
John, 2nd Duke of Montagu; after T. Hudson.
Sir John Moore, Lord Mayor; after Lely.
Pieter Mortier; after J. H. Brandon.
Fanny Murray; after H. Morland.
David Netto; after D. Estevens.
Thomas, Duke of Newcastle; after W. Hoare.
Rev. Thomas Newman; after S. Webster.
Sir Isaac Newton; after E. Seeman. Done in 1760.
John Nicoll, D.D.; after R. Taylor.
Louis, Duc de Nivernois; after A. Ramsay.
Richard Osbaldeston, Bp. of Carlisle; after T. Hudson.
Rev. John Pelling, rector of St. Ann's, Westminster.
John Pine, engraver and print-seller; after W. Hogarth.
Villiers Clara Pitt; after Vectri.
Sir George Pocock; after T. Hudson.
Mrs. Hannah Pritchard; after F. Hayman. Published in 1762.
Jan Punt, engraver; after G. Van der Mijn.
James Quin, as Falstaff. The second state, only, bears J. McArdell delin et fecit.
Rev. John Reynolds; after Sir J. Reynolds.
Samuel Richardson; after Highmore.
Samuel Richardson; after Highmore. Published in 1752.
Charles, Duke of Richmond; after W. Smith.
Major-Gen. Andrew Robinson; after T. Hudson.
Henrietta, Countess of Rochester; after Lely. This print has no inscription, but is stated by Granger and by Bromley to be the work of McArdell.
John, 8th Earl of Rothes; after Sir J. Reynolds. Exhibited at the Society of Artists in 1763.
Robert, Duke of Roxburgh; after T. Hudson.
Rubens' wife and child; after Rubens. Exhibited at the Society of Artists in 1761.
Lady Caroline Russell; after Sir J. Reynolds. A late state has the inscription altered to "Caroline, Duchess of Marlborough."
Lord George Sackville; after Sir J. Reynolds. Done in 1759.
Mrs. Sandby (Elizabeth Venables, wife of Thomas Sandby); after F. Cotes. Published in 1756.
Admiral Charles Saunders; after Sir J. Reynolds.
Thomas Seeker, Archbp. of Canterbury; after T. Willes or, according to inscription on second state of the plate, T. Hudson. Done in 1747.
Thomas Sherlock, Bp. of London; after J. B. Vanloo. Done in 1757.
William Shirley; after T. Hudson.
Mary Smith, a Portsmouth innkeeper; after T. Worlidge.
Rachel, Countess of Southampton; after Van Dyck. Done in 1758.
Griselda, Countess Stanhope; after A. Ramsay.
John Stanley, organist; after (?) J. Williams.
William, 2nd Earl of Strafford; after Sir J. Reynolds.
Anne, Countess of Strafford; after Sir J. Reynolds.
William Stratford; after Crank.
Lords John and Bernard Stuart; after Van Dyck.
Jonathan Swift.—See Birch.
Thomas Sydenham; after (?) Mary Beale. Left unfinished at McArdell's death. Published in 1794 by Laurie and Whittle.
George, Viscount Townshend; after T. Hudson. There is another smaller print similar to this, probably engraved by McArdell.
Lt.-Col. Henry Townshend; after Sir J. Reynolds.
Sir Edward Turner, Bart.; after T. Gainsborough. Done in 1763.
Mrs. Turner; after Sir J. Reynolds.
Richard Tyrrell, R.N.; after T. Hudson. This plate was afterwards entirely reworked; the face, as well as details, altered, inscription erased, and lettered "Sir Charles Hardy," etc., and published by Sayer and Bennett in 1779.
Gerard Van Neck; after J. B. Vanloo. Edward Vernon; after T. Gainsborough. James, 2nd Earl Waldegrave; after Sir J. Reynolds.
Maria, Countess Waldegrave; after Sir J. Reynolds, 1762.
Horace Walpole; after Sir J. Reynolds. Done in 1757.
Andrew Wilkinson, R.N.; after G. Mathias. Published in 1755.
Margaret Woffington; after A. Pond.
Henry Woodward, in the character of the Fine Gentleman in "Lethe"; after F. Hayman.
"Health." Lady with a fan; after H. Gravelot.
Lady with a lamb; after Lely. Said by Granger and Bromley to be Nell Gwynn, whom however it does not resemble. More probably the Comtesse de Grammont.
Lady drawing on her glove. The only impression known has written inscription, "Miss Seabright" (See Goodwin's "James McArdell").
Lady taking Tea; after P. Mercier.
Lady with a Turban (said to be Marshal Keith's mistress); after A. Ramsay.
Lady with Embroidered Sleeve; after A. Ramsay.
Lady (said to be Miss Crowther); after G. Van der Mijn.
Girl with a Cat; after P. Mercier.
Girl Asleep; after P. Mercier.
Employment; after P. Longhi.
Madness; after R. Pine.
Pride; after C. Coypel.
A Happy Peasant Girl; after Jan Molenaer, 1758.
The Blacksmith's Forge; after A. Brouwer.
The Piping Boy; after F. Hals.
St. Jerome; after P. Berretini (da Cortona). Exhibited at the Society of Artists in 1761.
Precursor Domini; after Robert Browne.
Salvator Mundi; after Robert Browne.
Ghismonda weeping over the heart of Guiscardo; after F. Furini, (not Correggio as stated on the print). Exhibited at the Society of Artists in 1761.
Lisabetta with the Head of Lorenzo; after F. Furini. Exhibited at the Society of Artists in 1761.
St. Peter and the Fish; after Spagnoletto.
The Assumption of the Virgin; after Murillo. Exhibited at the Society of Artists in 1764.
St. Francis de Paula; after Murillo.
Rembrandt's Mother; after Rembrandt.
A Dutch Interior; after Rembrandt.
The Mathematician; after Rembrandt.
Tobias and the Angel; after Rembrandt. Exhibited at the Society of Artists in 1765.
The Tribute Money; after Rembrandt. 1759.
Interior of a Mill;after Rembrandt. Exhibited at the Society of Artists in 1761.
Cupid and Psyche; after G. Schalcken.
The Finding of Moses; after Van Dyck. Exhibited at the Society of Artists in 1760.
Time clipping the Wings of Love; after Sir A. Van Dyck. Exhibited at the Society of Artists in 1760.
St. Paul; after Sir A. Van Dyck.
Spring; after J. Williams.
Autumn; J. McArdell delin et fecit.
Romeo and Juliet; after Wilson. The plate was afterwards reworked by Houston, amongst whose works it is catalogued by Chaloner Smith, No. 153.
Teague's Ramble at Charing Cross. Published in 1747.
The Chevalier Michael du Halley Descazeaux. J. McArdell invt. et Sculpt.
The Chevalier Michael du Halley Descazeaux; another plate; J. McAxxx fecit et perfecit, from the famous painting in ye Fleet.
Views of Dublin. A set of six etched views after J. Tudor (q.v.), published in 1753. McArdell's name appears on some of them as publisher. According to Chaloner Smith ("Dublin University Review," II, p. 337) the set was originally published by him at the Golden Head, Covent Garden. They were afterwards republished by Sayer. Some of the prints bear no engraver's name, and it is possible that these were etched by McArdell himself.
From a sad, comfortless childhood Giles Truelove developed into a reclusive and uncommunicative man whose sole passion was books. For so long they were the only meaning to his existence. But when fate eventually intervened to have the outside world intrude upon his life, he began to discover emotions that he never knew he had.
This is a story for the genuine booklover, penned by an Irish bookseller under the pseudonym of Ralph St. John Featherstonehaugh.
Join our mailing list to receive updates on new content on Library, our latest ebooks, and more.
You won't be inundated with emails! — we'll just keep you posted periodically — about once a monthish — on what's happening with the library.