Page:Bryan's dictionary of painters and engravers, volume 1.djvu/336

 BURGESS, TuoMAS, a landscape painter, exhib- ited at the Royal Academy from 1802 till 1806. He died, in the following year, in London, at the early age of twenty-three.

BURGESS, William, a son of Thomas Burgess (of the Maiden Lane Academy), and also a teacher of art, exhibited portraits and conversation pieces at the Free Society of Artists and the Royal Acad- emy from 1769 till 1799. He died in London in 1812, aged 63. His son, H. W. BoRQESS, was landscape painter to William IV.

BURGESS, William, an engraver, practised his art about the end of the eighteenth century. He executed a set of plates of Lincolnshire churches, and of the cathedrals of Lincoln and Ely. He died in 1813, aged 58, at Fleet, Lincolnshire.

BURGESS, William Oakley, an engraver, became early in life a pupil of Lupton, the well- known mezzotint engraver, under whose instruc- tion he remained until twenty years of age. Some of hia best productions are plates after the works of Sir Thomas Lawrence, published in the 'Lawrence Gallery.' He also engraved a large plate after Lawrence's portrait of the Duke of Wellington, remarkable for its admirably graduated tones, and the last works on which he was employed were three other portraits after Lawrence — Sir John Moore, the Duchess of Northumberland, and the Archbishop of Canterbury. The extraordinary delicacy which characterizes the work of this artist must have acquired for him the highest reputation in his art, had his life been spared. His death, which took place in 1844, whilst in the prime of life, was occasioned by an abscess in the head, sup- posed to have arisen from a blow of a skittle-ball some years before.

BURGH, H., was an English engraver, who lived in London about the year 1750. He worked prin- cipally for the booksellers, and was chiefly em- ployed in engraving portraits, among which is that of ' Thomas Bradbury, Minister of the Gospel,' from his own design : it is inscribed H. Burg, del. et sciitjj.

BURGHERS, Michael, was a Dutch engraver, who settled in England on the taking of Utrecht by Louis XIV. He resided chiefly at Oxford ; and on several of his plates he added to his name AcademioB Oxon. calcographus. From the great number of his prints, it is probable he was em- ployed by the booksellers, as well as for the University. He worked almost wholly with the graver, in a stiff, tasteless style. He has the merit, however, of having preserved to us many remains of antiquity which would otherwise have been lost. He engraved the plates for the Almanacks of the University, the first of which, by him, was in the year 1676. His most esteemed prints are his antiquities, ruins of abbeys, and other curiosities. He engraved also several portraits and plates 'f^T^ for the classics. He sometimes marked his J^Jj prints with the annexed monogram. The following are the principal :

Illustrations to Dr. Plot's ' Hist, of Staffordshire.' 16S6 Illustrations to Dr. White Kennef s ' History of Ambroseden.' William Somner, the antiquary ; after Van Dyck Franciscus Junius ; after the same. .Tohn Barefoot, letter doctor to the University. 1681. Head of James II. ; for an Almanack, 1686. Anthony a Wood ; in a niche ; his only mezzotint. Kin^ Alfred ; from a MS. in the Bodleian Library. Sir Thomas Bodley ; in the Corners of the plate are the Heads of the other Benefactors of tlie Library : William, Earl of Pembroke, Archbishop Laud, Sir Kenelm Digby, and John Selden. Timothy Hatton, provost of Queen's College. Dr. Wallis. 1699. Sir Thomas "Wyat. John Baliol. Devorguilla, his spouse. Dr. Eatcliff. The Visage of Christ ; engraved in the manner of Mel- Ian, with one stroke.

BURGKMAIR, Hans, a German painter and en- graver, was born at Augsburg in 1473. He was the son of Thomas Burgkmair, a painter, to whom he owed his education as an artist, and was followed in the same profession by his son Hans. Hans the elder was, however, the great artist ol the family, the friend and fellow-labourer of Albrecht Diirer in the service of the Emperor Maximilian I. In his native city are preserved several of his pictures, which possess considerable merit. His prints are principally, if not entirely, on wood, and are de- signed with extraordinary spirit and tire. Indeed the endless imagination, and richness of sugges- tion, as well as truth to the life of his time, and dramatic value to be found in many works, place him in the highest rank of the illustrative artists of the world. His cut in chiaroscuro of the Emperor Maximilian I. on horseback is dated in 1518 ; and it has been very probably supposed by Professor Christ that the fine wood-cuts marked /. B., dated 1510, in the old edition of the works of Geyler de Keyserberg, are designed by this artist. His prints are very numerous. He sometimes marked them with the initials U. £., in capitals ; sometimes thus :

The following is a general list of his prints : The Emperor Maximilian on Horseback ; with his name. The same print in chiaroscuro ; dated 1518 ; scarce. Hans Baumgartner, Counsellor of tlie Emperor. A chiaroscuro of rare excellence. St. George on Horseback ; in chiaroscuro, with the name of Negkir,

His greatest work is ' The Triumph of Kaiser Max,' in 135 successive prints, showing all the various countries and princes subject to the emperor, with their heraldry ; all the different corps of cavalry and foot in his service, the guilds with their office-bearers, &c., &c., a most interesting series of historical designs. His work next in importance to the 'Triumph' is 'Der Weiss Kunig. Ein Erzahling von den Thaten Kaiser Max des ersten.' This consists of 237 pieces, nearly all of them admirably invented and dravn. Third, 'The Genealogy of the Emperor,' a set of separate figures of the ancestral princes and others. The saints, male and female, related to the imperial family may be considered fourth in importance, in number 119 prints. Besides these, he did 68 of the illustrations (71 in number) to the 'Chronicle of the Family of the Counts Truchsess de Waldburg;' 33 of those for the 'Schimpff und Ernst,' a book containing 40 engravings; 104 admirable designs for a German translation of the 'Offices' of Cicero published in Augsburg by Heinrich Stayner, 1531; six for the 'Lives of SS. Ulrich, S^'inprecht, and Afra,' Augsburg, Silvanus Ottmar, 1516. Above all these in varied interest are his designs, 260 in number, for the German translation of Petrarch's prose treatise on Fortune, 'Glucksbuch, beydes dess Giiten und Bozen,' published first ir Augsburg and a few years later in Frankfort. His single prints are