Henry Scott Bridgwater 1864 1950 Mezzotints Of George Romney British 1734 1802 Original Paintings
Henry Scott Bridgwater (1864–1950) stands among the late-19th- and early-20th‑century printmakers who revived the mezzotint as a luxurious medium for reproducing British portraiture. Many of his finest plates were engraved “after” original paintings by George Romney (1734–1802), one of the leading British portraitists of the Georgian era. For collectors, dealers, and appraisers, Bridgwater’s mezzotints occupy a sweet spot: aesthetically rich, historically resonant, and generally accessible compared to 18th‑century impressions. This guide explains how to identify, date, and evaluate Bridgwater mezzotints after Romney’s originals—and how to avoid the most common pitfalls.
The artists: Bridgwater the engraver, Romney the painter
George Romney (British, 1734–1802): A central figure of British portrait painting, Romney was a contemporary of Reynolds and Gainsborough. He worked extensively in London from the mid-1770s, producing society portraits, intimate studies, and celebrated images of Emma, Lady Hamilton. His compositions were widely reproduced in mezzotint in his own time and long afterward.
Henry Scott Bridgwater (British, 1864–1950): A reproductive printmaker and part of the mezzotint revival, Bridgwater specialized in translating canonical 18th‑century portraits into tonal prints. His work emphasizes the velvety darkness and subtle half-tones that suit Romney’s modeling and atmospheric portraiture. He engraved plates after a range of Georgian masters, but Romney remained a frequent source.
Key point for appraisal: A Bridgwater mezzotint “after George Romney” is a later, hand–engraved interpretation of an earlier painting—not an 18th‑century impression. Proper attribution should read something like: “H. Scott Bridgwater, mezzotint after a painting by George Romney.”
What is a mezzotint, and what does a Bridgwater plate look like?
Mezzotint is an intaglio process prized for continuous tone. The engraver “rocks” a copper plate to create a burr that prints deep black; highlights are scraped and burnished out of the grain. The medium excels at skin, silk, and atmospheric backgrounds—hence its popularity for portraiture.
Typical features of Bridgwater mezzotints after Romney:
Plate tone and depth: Expect rich blacks with velvet-like transitions rather than line-based hatching. When in good condition, the dark grounds in Romney’s portraits should feel deep, with soft edges around the sitter.
Lettering conventions:
- Lower left margin: “Painted by George Romney” (or “From the original by George Romney”).
- Lower right margin: “Mezzotint by H. Scott Bridgwater” or “Engraved by H. Scott Bridgwater.”
- Center: Sitter’s name and sometimes the title of the composition.
- Publication line: Often below the title, giving a publisher and date. Print-sellers in London and elsewhere commissioned and issued such plates during the late Victorian and Edwardian periods.
Paper and plate mark: Wove papers with a pronounced plate impression are typical. Quality sheets (often with watermarks) were used in the period. A crisp, even plate mark is a good sign that you have an intaglio impression rather than a photomechanical reproduction.
Ink color: Most impressions are printed in black; some appear in warm brown/sepia inks to evoke an 18th‑century tone.
Signatures: Many late-19th/early-20th‑century mezzotints were issued with pencil signatures by the engraver in the lower right margin. Not all examples are pencil-signed; lack of a pencil signature does not automatically mean a later strike, but it can affect market appeal.
Editions and states: Publishers frequently issued “prints lettered” (with full inscriptions) and sometimes proofs with fewer or no letters. Edition sizes vary; they were typically limited compared to mass photogravure series but not as scarce as 18th‑century proofs.
Identifying subjects and matching to Romney originals
Romney’s portrait practice was broad, but a handful of subjects recur in later reproductive mezzotints:
- Emma, Lady Hamilton (in various roles and attitudes)
- Society sitters (ladies and gentlemen of rank)
- Half-length portraits with simplified, moody backgrounds
- Children’s portraits and family groups
When attributing a Bridgwater mezzotint to a specific Romney painting:
- Read the printed inscriptions for sitter name and, if present, a collection or owner noted at publication time.
- Compare the composition to known Romney variants. The same sitter can exist in multiple Romney versions; the mezzotint typically adheres to a well-known prime version.
- Note any publisher’s imprint and date, which help narrow when Bridgwater executed or issued the plate.
Scholarly cross-referencing with Romney catalogues and exhibition histories can refine identification. For appraisal, the sitter’s recognition matters: iconic subjects (notably Emma, Lady Hamilton) trend higher than anonymous or lesser-known sitters.
Dating, authenticity, and how to avoid confusion
Distinguishing a true mezzotint from a photomechanical reproduction:
Under 10x magnification:
- Mezzotint: Velvety grain without a dot or rosette pattern. Tonality appears as innumerable tiny pits and burr rather than printed dots.
- Photogravure/collotype: Look for screen patterns, reticulation, or regular dot structures in mid-tones.
Plate mark: An intaglio mezzotint leaves a tactile plate impression; photomechanical prints on thin papers often lack this, or it appears simulated.
Surface sheen: Mezzotint inks can present a slightly different sheen in the richest blacks, and you may see plate tone intentionally left in the background.
Dating cues commonly encountered:
- Publisher’s imprint line with a year (e.g., early 1900s).
- Paper watermark with a date (e.g., “Whatman 1912”). Watermarks post‑date the earliest possible printing.
- Pencil signature conventions: Engraver-signed margins are more typical in the late 19th and early 20th centuries than earlier.
Authenticity checkpoints:
- Inscriptions should be consistent in spelling and typography with period practice. Crude facsimiles or modern fonts can signal a reproduction after a reproduction.
- Compare the quality of tonal transitions. Worn or posthumous pulls from a tired plate show shallow blacks and chalky mid-tones.
- Beware trimmed sheets: Cutting away the lower margin removes inscriptions and can complicate attribution and valuation.
Appraisal factors: what moves the needle on value
Subject desirability: High-profile sitters (such as Emma, Lady Hamilton) and compositions that are quintessentially Romney carry a premium.
Condition:
- Look for even, unabraded darks. Mezzotint’s burr can scuff; rubbed blacks appear gray or streaky.
- Common faults include foxing, mat burn, toning, light-stain, cockling, and edge tears; each lowers value.
- Check for abrading from cleaning, surface scratches, or over-pressing. Conservation history should be professional and documented.
Margins and inscriptions: Full, untrimmed margins with legible imprints are more desirable. Pencil signatures and any publisher’s blind stamp add confidence and appeal.
Paper quality and watermark: Fine, heavyweight wove papers with reputable watermarks support authenticity and quality.
Edition/state: Proofs before letters, or scarce states, can command higher prices. Document any edition notation if present.
Framing: Period frames can be attractive but are rarely determinative of value; modern conservation framing protects the object and can enhance salability.
Market comparables: For valuation, focus on recent auction results for the same plate, same state, and similar condition. Bridgwater mezzotints generally trade at accessible levels within the “antique reproductive print” category, with stronger results for prime subjects in superior condition.
Cautionary note on “originals”: A Bridgwater mezzotint after Romney is not an original 18th‑century print by engravers such as John Raphael Smith or Valentine Green. Early mezzotints contemporaneous with Romney’s lifetime are scarcer and typically more valuable. Proper cataloging should clearly distinguish the engraver and era.
Condition assessment in practice
When you examine a Bridgwater mezzotint:
- Remove from frame if possible (safely) to inspect sheet edges, watermark, and verso.
- Record sheet size, plate size, and margin widths. Uneven or unusually small margins may indicate trimming.
- Evaluate tone: Are the backgrounds rich, or have they chalked out? Does the sitter’s face retain smooth gradations?
- Note any discoloration: Tanning in a window-shaped rectangle indicates sun exposure under an old mat.
- Identify restoration: Infills, paper mounts, or bleaching should be disclosed in any appraisal.
Conservation priorities:
- Store and frame with acid-free materials and UV-filtering glazing.
- Avoid over-cleaning; the mezzotint surface is delicate.
- Maintain stable humidity and temperature to prevent cockling and mold.
A brief market overview
The mezzotint revival produced collectible, decorative prints of high craft. Bridgwater’s plates after Romney reflect the period’s taste for Georgian portraiture in domestic interiors. In today’s market:
- Demand is steady among collectors of British prints and those furnishing period interiors.
- Price sensitivity is high for condition; crisp, untrimmed impressions with strong blacks rise to the top.
- Subject can shift results dramatically: iconic Romney sitters and compositions outperform generic portraits.
For context in valuations, differentiate:
- Late-19th/early-20th‑century mezzotints (Bridgwater and peers): broader availability, moderate price levels, excellent entry point for collectors.
- 18th‑century mezzotints after Romney by renowned engravers: scarcer, often significantly higher prices, with specialized collector demand.
When issuing a formal appraisal, cite the engraver, subject/sitter, medium (mezzotint), plate and sheet dimensions, publisher, date (if present), watermark, state (if known), condition, and references to any standard catalogues of Romney’s paintings.
Practical checklist for collectors and appraisers
- Confirm medium under magnification: mezzotint grain vs photomechanical dots.
- Read and record inscriptions: painter (Romney), engraver (H. Scott Bridgwater), publisher, date.
- Measure plate and sheet; check for full margins and plate mark.
- Inspect condition: scuffing in darks, foxing, light-stain, mat burn, tears, over-cleaning.
- Look for pencil signature and any blind stamp.
- Note paper watermark and its date, if present.
- Identify the sitter and match to Romney’s known compositions.
- Compare to recent sales of the same plate/state in similar condition.
- Document any conservation treatments and current framing materials.
FAQ
Q: Are Henry Scott Bridgwater mezzotints “originals”? A: They are original prints by Bridgwater, executed by hand in mezzotint, but they are reproductive works “after” Romney’s paintings. They are not 18th‑century impressions, nor are they paintings.
Q: How can I tell a mezzotint from a photogravure? A: Use a loupe. Mezzotint shows a continuous grain without regular dots; photogravure reveals a screen or dot pattern in the mid-tones. An authentic mezzotint will also show a pronounced plate impression.
Q: Do trimmed margins matter? A: Yes. Trimming that removes inscriptions or narrows margins reduces value and can complicate attribution. Full margins are preferred.
Q: Were these prints issued in editions? A: Yes, they were typically published in limited runs for the fine print market, sometimes with proofs before letters and pencil-signed impressions. Exact edition sizes vary by plate and publisher.
Q: Can I clean a scuffed mezzotint? A: Surface abrasion in the darks cannot be reversed. Paper cleaning and deacidification should be entrusted to a professional conservator; DIY methods risk permanent damage.
By understanding the interplay between Romney’s celebrated portraiture and Bridgwater’s tonal craftsmanship, you can accurately identify, date, and value these evocative works on paper—and place them confidently within both British art history and today’s print market.
