Page:Dictionary of Artists of the English School (1878).djvu/63

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1781, ' A Mother and Child,, enamel; and the following year, 'Portrait of a Child going to Bed/ also in enamel; and con- tinued for several years to exhibit. He received the Society of Arts' medal in 1785 for excellence in his art and improvements in the processes. In 1794 he went to America, and settled in Philadelphia, where he died. He painted a miniature of Wash- ington, which has been engraved. He was also an excellent engraver, and a clever view from Mr. Cosway's room in Pall Mall is a good example of his ability in the use of the graver, 1789. He published, in 1791, * Devices de la Grande Br6tagne — landscapes after the principal English painters.

BIRCH, Henry, engraver. Practised latter part of 18th century. He engraved two plates after Stubbs — ' The Gamekeeper ' and ' The Labourer. ' His chief works were after contemporary artists.

BIRCH, John, portrait painter. Born April 18, 1807, at Norton, Derbyshire. For a time assisted his father, who was a file-cutter, and was then employed by a carver and gilder at Sheffield; but after seven years ne was tempted by a love of drawing to leave home to try nis fortune as a portrait painter, and coming to London, he placed himself under Mr. Bigg, R.A. He practised his art chiefly at Sheffield, where he found full employment; but a portrait by him of Ebenezer Elliott, the

Eoet of the corn-laws, does not give any igh opinion of his ability. He also painted some landscape scenery in Derby- shire. In the latter part of his fife he resided in the Metropolis. He died at South Hackney, May 29, 1857.

BIRD, Miss E., miniature painter. She was an occasional exhibitor at the Academy from 1793 to 1798.

BIRD, Edward, R.A., subject painter. Was born at Wolverhampton, April 12. 1772; the son of a carpenter. He received a fair education, began to draw as a lad, and was apprenticed to a tea-tray maker, whose productions he embellished with landscapes, fruit, and flowers. His work gave room for taste and skill, and he was soon distinguished above his fellow-work- men. After the end of his apprenticeship he refused advantageous offers to continue with his employers, and removed to Bristol, where he opened a drawing-school, and in the intervals of teaching worked hard to improve himself. Nothing came amiss to him; he painted miniatures and the scenery for a pantomime. He had filled a sketch- book with subjects which showed much originality, and was induced by his friends to send some finished works to the Bath Exhibition, where they foimd purchasers. His first successful work was ' Good News/ which he exhibited at the Academy in 42

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18^9. This was followed by 'Choristers Rehearsing > and ' The Will; ' and in 1812 he was elected an associate of the Academy. He exhibited the same year his ' Country Auction/ followed by six subjects repre- senting a Poacher's Career; and in 1814. ' Queen Philippa supplicating the Lives of the Six Burghers of Calais/ In 1815 he was elected a member of the Academy; and in 1816 he exhibited ' The Crucifixion; ' in 1817, ' Christ led to be Crucified;' and in 1818, ' The Death of Sapphire/ his last work. His ' Chevy Chase ' was esteemed his chef-d'oeuvre. It was purchased for 300 guineas by the Duke of Sutherland, and gained him the appointment of his- torical painter to the Princess Charlotte. This was followed by his ' Death of Eli/ for which the British Institution awarded him 300 guineas. His 'Choristers' was purchased ny the Prince Regent, who gave nim a commission for a companion picture, which he did not live to finish. During the last five or six years of his life he con- stantly struggled with disease, latterly producing hypochondriacal affection. The death of a son and a daughter added to his trials, and he died November 2, 1819, at Bristol, where he had chiefly resided, and was buried in the cloisters of the cathedral. He left a widow and three children without provision. His art was imitative, without the appearance of labour. His earlier domestic subjects are his best works. He showed great skill in the conception of his higher class pictures, but he had not the power suited to their com- pletion, and his colouring was crude and tasteless.

BIRD. Francis, sculptor. Was born in Piccadilly in 1667. Sent to Brussels at the age of 11. he afterwards studied his art there, ana then travelled to Rome, where he was instructed by Le Gros. In 1716 he returned to England, and was employed by Gibbons, and next by Cibber, whom he succeeded in his profession, set- ting up for himself after a second short visit to Italy. He gained the favour of Sir Christopher Wren, and was employed on the decorations of St. Paul's Cathedral. The great alto-rilievo, * The Conversion of St. Paul/ in the pediment, 64 ft. by 18 ft., contains eight equestrian figures, with many others. It is his chief work, and he was paid for it 1180J. His * Queen Anne.' with four figures round the pedestal, whicn stands before the portico, is a picturesque work, for which he received 1130J. His chief monumental works are — * Dr. Busby/ a fine characteristic work; ' Sir Cloudes- ley Shovell/ and * The Duke of Newcastle/ in Westminster Abbey; ' Lord Mordaunt/ in Fulham Church; and ' Henry VI.' in bronze, at Eton College. He died February 20, 1731, after having for many years