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Matthew Boulton, patron of the artsEric Robinson M.A.Published online: 02 Jun 2006.

To cite this article: Eric Robinson M.A. (1953) Matthew Boulton, patron of the arts, Annals of Science,9:4, 368-376, DOI: 10.1080/00033795300200283

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368 Erie Robinson o n

MATTHEW BOULTON, PATRON OF THE AI~TS.

By ERIC ROBINSOI% M.A.

[PLATES X and XI.]

MATTHEW BOULTON, the great industrialist, is also remembered as an inventor and a 'philosopher '. At Soho House, the H6tel de l'amitid, as" he liked to call it, he was the centre of an active and inquiring social circle famous for its chemical and mechanical inventiveness, Boulton's partnership with Wat t will never be forgotten; his association with Priestley, Erasmus Darwin, Keir, Small and many other scientists is sufficiently known not to be overlooked; but there is still place for a reminder of his Maecenas-like patronage of painters, engravers and sculptors, a patronage which was closely connected with his business life. I t is fair to say of him that he was primarily interested in the arts because he saw that elegance was good business, and that his trade in plate, or buckles~ or buttons, could be considerably extended if his products were better designed. His first move in developing his trade was to improve design and to remove from the Birmingham ' toy ' trade the stigma associated with t he name ' Brummagem '. The taste of the age was f o r pseudo-classical ornament and both Boulton's msthetic standards and his business instincts caused him to adopt that taste. His opinions are described in a letter to the famous blue-stocking, the Hen. Mrs Montague: " . . . Ye present age distinguishes itself by adopting the most Elegant ornaments of the most refined grecian artists, I am satisfyd in conforming thereto, and humbly copying their style, and making new combinations of old ornaments without presuming to invent new ones." 1 Boulton's interest in the arts paid dividends by gaining for him customers among all the notables of Europe, but, to be fair to him, it must be recognized that he was attracted by the arts even when the profits were not good. He took risks in the artistic side of his business which were not altogether justified by hopes of great financial reward.

A large number of unpublished letters in the Assay Office, Birmingham 2, are concerned with Boulton's ventures into the print-making business

1 Letter dated 16 January 1772. Assay Office Library, Birmingham. Catalogued under Montague, Mrs E.

2 Unless otherwise indicated all the letters referred to in this article are unpublished letters from the Tew MSS. preserved in the Assay Office Library, Birmingham. I must here thank the Assay Master for permission to print these letters and for his advice and assistance while I was working in the AsSay Office Library. The majori ty of the letters in

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Matthew Boulton, Patron of the Arts 369

and into the production of mechanical paintings, enterprises in which he lost considerable sums of money at a time when the development of the steam-engine was proving very expensive. Throughout his life Matthew Boulton was in the habit of purchasing prints to furnish him with designs for his manufactory. His agents Wendler, R. Chippendale and W. Matthews, are continually making such purchases for him. Wendler buys for him " the Prints of all the Curiositys and antiquities of Florence ", Sir William Hamilton promises him his work on Etruscan Vases, and Elmsley, Boulton's Bookseller, is given orders for three volumes of the Museum Florentinum. One of many such orders to William Matthews reads: " Please to go to Boydell and buy 2 or 3 prints of running Horses with Jockies on their backs the best that yon can get, we want 'em to model from therefore you need not buy prints of favourite Horses but favourite Prints " (Boulton Letter-Book 1771-72, 10 May 1771). This is the famous Alderman John Boydell of the Shakespeare Gallery a. Boulton had been buying engravings from Boydell at least since 1760 and he kept in touch with him until the latter's death in 1804. I t may be that Boulton saw Boydell prospering from his engraving business and decided to emulate him. At all events Boulton seems to have entered into two partnerships ; one with Francis Eginton to produce mechanical paintings, the other with J o h n Eginton, the brother of Francis, and Edward Jee to publish engravings. Of the terms of the agreement between Francis Eginton and Boulton we k~ow almost nothing, but we do know that Boulton advanced £1,000 as the share of Fothergfll and himself in Jee, Eginton and Co., and that through Mrs William Matthews he made further advances to that firm in 1794 and 1796 4.

Francis Eginton had been employed by Boulton for some time in making japanned ware, and Wedgwood envied him the services of this skilful workman. There is an inventory drawn up by Eginton quaintly entitled " Japan Inventory (l~oom over the S tove)" 5 which besides enumerating quantities of japan-ware gives a good idea of the sort of pictures in which Boulton and he were dealing. The inventory is dated

this collection have been indexed under the name of the writer, bu t there are several Letter- Books belonging to the firm of" Boul ton and Fothergill which have no t been indexed. These Letter-Books contain unsigned letters by various hands. Boul ton ' s biographer, H. W. Dickinson, was main ly interested in Boul ton as an engineer and his account of Boul ton 's artistic interests is incomplete.

3 See ' Alderman Boydell, Printseller ' by Tlmmas Balston, in History Today, August 1952.

4 Mrs Matthews to Mat thew Boul toa, 10 October 1794, and Mat thew Boul ton to Mrs Matthews, 7 )/[arch 1796 (A.O.L.B.).

5 This is to be found wi th the Francis Egin ton letter's in the Assay Office Library.

Ann . of Sc i . - -Vol . 9, No. 4. 2 D

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370 Eric Robinson on

1780 and there is a fragment of an earlier inventory dated 1779. Some of the items are Nymphs of Pan awaking Cupid, Venus and Cupid, Cupids struggling, Telemaehus, Ranaldo [sic] and Armedia, Virgin and child, Game Piece, View of Otahaite, together with small landscapes and pictures of various houses. A list of the pictures completed b y April 1791 is fairly catholic ; there are reproductions of pictures by Sir Joshua Reynolds, Bartalozzi, Murillo, Vandyke, Wright of Derby, Benjamin West, Angelico, Rubens and Angelica Kauffman. From a letter by Amos Green, the flower-painter to Boulton, dated 20 March 1774 we know that Green and Eginton were unsuccessful in obtaining a drawing from Thomas Gainsborough. In the same letter we read : " I should be glad to know if he ( i .e .F. Eginton) has received a set of Prints after Claude Loraine's original wash'd drawings." The interesting thing about the list of painters reproduced is the resemblance of their names to those in Boydell 's catalogue of engravings. Boydell reproduced pictures by every single artist named above and like Boulton he was also particularly fond of the work of Angelica Kauffman. I~eynotds, West, Bartalozzi, Joseph Wright and Kauffman also contributed pictures to Boydell's Shakespeare Gallery, while in Eginton's inventory we find a reference to a picture of King Lear, and elsewhere to one of Richard II. In 1776 John Boydell had made a considerable profit from engraving Benjamin West 's Death of General Wolfe. Five years later Joseph Barney, a Wolverhampton painter, wrote John Hodges of Boulton and Fothergill this let ter : " I have sent the Print of Stratonice supposing it will be wanted to prepare the impressions from, likewise Cupid and the Graces, and the Graces dancing, all of which you- will please to return to me when you send the impressions. General Wolfe and Daniel interpreting the writing on the Wall, belong to Mr. Boulton, whatever damage General Wolfe has received was done before it came to m e . . . " (12 June 1781). The " Print of Stratonice " is Benjamin West 's Antinous and Stratonice, and a week: or two later Barney took the print up to London to correct it from West 's original picture. General Wolfe is presumably West 's famous picture which had been so profitable to Boydell. Was Boulton trying to est, ablish a rival company to Boydell 's and actually printing the same pictures ? Or is the picture of General Wolfe just a replica made for Boulton's private use ? Whichever of these explanations is the correct one, we cannot help but recognize a curious similarity between Boulton's venture and Boydell 's enterprise.

There was a heated controversy in the mid-nineteenth century about the methods employed by Francis Eginton in his mechanical paintings. We can gather only hints from his letters. In a letter to John Hodges dated 29 January 1782 he writes : " I f it is convenient to Soho Madoks will be hear this afternoon to take off a i~w impressions for me as I wish

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Matthew Boulton, Patron of the Arts 371

to go to London as early in the spring as possible with some of the best pictures I can get should be glad if I could have the plates of Stratonice and gynaldo thear are two plates of the former and three of the Latter one of the three is a small one. ''6 Joseph Barney, who was employed in painting the finishing touches to the pictures, complains about the state of the prints. Presumably some process in which copper plates were required was used. On 3 May 1776 William Matthews is asked to procure copper plates for engraving (Boulton Letter-Book 1774-77). But there is no doubt tha t the pictures were painted on canvas, since two pictures by De Loutherbourg reproduced by Eginton and still existing in the National Portrait Gallery testify to this fact ~. H . W . Dickinson sums up the available information by saying : " The suggestion is that the impressions were made with a copper plate printing press and tha t there were two or more plates applying different colours. ''s Whatever the method, the pictures did not make Boulton's fortune, and, when Francis Eginton and he quarrelled in 1780, Francis Eginton was discharged. He continued to make pictures, liowever, to the order of Boulton and Fothergill until 1791 at least.

The other business with Edward Jee and John Eginton proved equally unsuccessful. There is a memorandum, dated 30 August 1776 9, on the setting up of the partnership in which Jee writes : " With respect to the Firm of the House I hppe I may expect the preference of my name standing first as the Trade is properly my own." In February 1780 FothergiU was complaining about the loss of £500 on the painting business and finally in December of tha t year Boulton replied : " I think we should avail ourselves of the notice you gave Jee and Eginton l a s t year, so far as to dissolve the partnership this Xmass but we cannot think of taking out our money, which would be their ruin, but we may have it in upon Bond at 5 P. cent till they have got another partner or can pay it without breaking them." The partnership was to have been formed for fourteen years from 28 November 1778 1% In 1794 Boulton was still not clear of the business. Mrs Matthews writes: s ' I shall be very happy in accommodating Mr. Eginton to the amount you mention . . . . I heartily wish you safe and well thro' all your unprofitable Occupations--When will they end ? " (10 October 1794). In March 1796, he is guaranteeing

6 H. W . Dickinson, Matthew Boulton, Cambr idge , 1936, p. 105, m a k e s th i s single le t te r appear to be two a n d quo tes inaccura te ly .

See The Sphere, 10 March 1934 : ' A De L o u t h e r b o u r g P ic tu re in t h e N a t i o n a l Po r t r a i t Gal lery '.

s Op. cir., p. 105. 9 A.O.L.B. u n d e r Jee, E d w a r d . 10 See no te s in B o u l t o n ' s h a n d w r i t i n g on t he reverse of a letter, d a t e d 17 Apri l 1780,

f rom Gee to Boul ton . The spel l ings Gee a n d Jee are used ind i sc r imina te ly in the Assay Office correspondence,

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372 Eric Robinson o n

Jee and Eginton for £600, and it is not until 16 November 1796 that Mrs Matthews can write : " I rejoice that you have at last got the bond from Jee and Co." The affairs of the company were not settled until 1797, a year after John Eginton's death. Just as Francis Eginton's mechanical pictures sought to exploit the popular interest in a recent event like Cook's voyage of discovery by reproducing the V i e w o f O t a h e i t e ,

so Edward Jee and John Eginton tried to make money out of the interest in the French Revolution. They published a print entitled " Final Separation of Louis XVI from his Family in the Temple of Paris, January 20, 1793, engraved by P. W. Tomkins, Historical Engraver to her Majesty, and J. Eginton". This was followed by a companion picture, under the patronage of the Emperor Francis If , of " the late Queen of France, representing the moment of her being conducted by Henriot, Commander of the Revolutionary Army, from the Prison to the Place de la Revolution, October 16, 1793". At the same time Boulton was preparing to exploit the sensational subject, as he tells 1%. Chippendale in a letter of 12 March 1793 : " I am now preparing a Medal with a fine head of both ye King and Queen of France on one side with a view of the Execution of the King on ye other accompanyd by the Guards and an immense Crowd of Spectators in the act of Savagely rejoicing (wt. h proper Mottos) . . . . . " This practice of engraving topical subjects was also followed by the successful Boydell, but neither Jee nor Eginton were good business men, and Boulton was more interested at this time in the steam-engine business in Cornwall. Erasmus Darwin was almost driven desperate by Boulton's delay in providing him with some ' Koffman ' prints which he had ordered 11

Boulton's partnerships, however, were one facet of the " School of Industrial Design " which he was developing at Soho. Boulton trained a number of young apprentices at Soho and those who showed any inclination for designing were taught to draw. John Eginton, in sending him a print, acknowledges the debt that he for one owed Boulton in this way: " should your good nature discover anything in Vhe execution worthy your approbation I am conscious I owe the merit of it to the liberal encouragement I received under you as a workman which I shall always be proud to acknolidge . . . . " Edward Piercy, a print-seller, wrote to Boulton (21 May 1787) about another : " The inclosed Prints being the Production of an Artist, whose Genius first began to dawn at Soho, under your liberal Patronage, and whose Works are rising rapidly in Public Esteem, I have taken the liberty of inclosing them for your Inspection." He believes that they will not reflect any dishonour " on the Genius and Taste of Artists who may have received their Education,

11 Erasmus Darwin to Boulton, 4 February 1778, and 21 April 1778 (A.O,L,B.).

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Matthew Boulton, Patron of the Arts 373

and cultivated their Talents at the Soho Manufactory ". Boulton encouraged anyone with artistic ability, were they japanners like Francis Eginton, medallionists like Droz and Kiichler, flower-painters like Amos Green, or engravers like John Eginton, Phillp, and Pidgeon, or sculptors like John Bacon, Nollekens, and Flaxman. Indeed the manufactories of the Midlands were generally a great source of patronage to the less well-known artists of the time. Flaxman and William Blake worked for Wedgwood, though Flaxman worked for Boulton long before Wedgwood recognized his talent. No evidence has been discovered that Blake worked for Boulton, or for Matthew Robinson Boulton, but with Angelica Kauffman living in the same square as Blake, i.e. Golden Square, with Flaxman working for Boulton and Blake engraving for Darwin's Botanic Garden, it is not beyond the bounds of possibility that Blake also earned a shilling or two through the Soho manufactory. Blake earned his bread and butter for several years by engraving Wedgwood's pot tery in the catalogues which Wedgwood distributed to prospective buyers, and the idea of such catalogues first came to Wedgwood from Boulton : " When I had the pleasure of seeing you last you mention'd a scheme of [dispersing] abroad the patterns of our Manufacture, in a way which struck me then, and has since engaged a good deal of my attention ; which was by means of engraved prints of all the Articles we make accompanying one piece of the manufacture " (9 August 1767). The first mention we have of John Flaxman Senior in the Boulton correspon- dence is a bill dated 12 December 1770. Boulton has bought various figures from him, rams' heads, deers' heads, a sleeping Bacchus, etc. John Flaxman Junior was sent to deliver the bill at Soho 12. From then onwards he retained a connexion with Soho, selling classical figures in large numbers to Boulton. One bill, dated 17 November 1801, is for over £47. By this time Flaxman was becoming a person of consequence and had moved from Covent Garden to the Strand. When Boulton died, Flaxman was engaged by Matthew Robinson Boulton to execute the bust of his olc[ employer which now stands in Handsworth Parish Church, Birmingham. Flaxman tells M. R. Boulton (12 August 1812) that he is to have one hundred and twenty guineas from the University of Edinburgh for Dr Monro's bust. The connexion with the University of Edinburgh might very well have been made through one of the Lunar Society; Darwin, Watt , Keir, or one of their many fellow-graduates of that university. Flaxman also designed medals for Boulton, on one occasion assisting the drawing-master G. F. Pidgeon who took over from Kfichler.

Through his ormolu and silverware trade and through the picture business, Boulton became well acquainted with painters, architects,

12 Wi l l i am F l a x m a n to J o h n F l a x m a n , 20 December 1770 (A.O,L.B.) .

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374 Erie Robinson on

engravers, and sculptors throughout England. But Boulton's artistic instincts found their widest outlets in his schemes for improving the coinage and in his medallions, t~aspe, author of The Travels of Baron Munchausen, searched Europe to find the best engravers for Boulton and to obtain plaster casts of the best medals 18 The French engraver Droz, though a constant source of anxiety to Boulton, taught him many things about coining, and Droz was a means of closer acquaintance with Benjamin West, P.R.A. Presumably Boulton knew West before Droz began work on a medal to commemorate the King's recovery from a second attack of insanity. Boulton wanted a perfect likeness of the King. Richard Chippendale supplied him with a wax model and also purchased prints from Boydell, but the best opportunity came when West tdok an interest in the proposed medal. West is going to lend his picture of the King done about ten years earlier and a recent sketch, and, even more, is prepared to supervise Mr Droz's work. Chippendale writes, a little acidly: " In all probability he will herein enforce an Opinion he entertains of the extreme impropriety of our present taste in the dress of Coins Medals ere--an Opinion which I dare say has more or less struck the Majority of the King's Subjects . . . " (24 November 1788). Sure enough on the very same day West favoured Boulton with a long account of his views upon portraiture and medMs: " When I began Historical painting no Subjects were thought worthy of being recorded by the Pencil but Greek or Roman, and so infatuated were painters as well as imployers, to conceive that no other subjects would make pictures but those [sic]. The experiment I have tryed, and the pictures of Wolfe, Penn, La Hogue, Boyne, and other subjects of British History, which now adorne the Castle of Windsor, are sufficient proofs that Englishmen have passions and figures that will bear to be Exhibited on Canvass." The co-operation between West and Droz under the catalysis of Boulton is the first of a series of such reactions ; the portrait painter guides the metal engraver in ensuring a good likeness, so that Boulton gains the advantage of two experts working together to produce the ideal medal.

Boulton quarrelled with Droz, and on 2 April 1791, R.aspe writes: " For engravers I have wrote to Vienna, I-Ianau, and Sweden--as also to Berlin--without compromising you--simply requesting to let you know--whether and how they can and will engage with you." Raspe and his friend Afzelius, the Swedish botanist, did their best to obtain the services of Grandel, the Swedish engraver, for Boulton, but were unsuccessful. On 12 February 1793, Richard Chippendale introduces the German engraver, Kfichler, to Boulton and a new medallionist is discovered. The portrait painter in this next partnership, C. F. von

la,l~, E. Raspo ~o Boulton, 2 April 1791 t 2 May 1791~ 4 December 1791 (A.O.L.B.).

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Matthew Boulton, Patron of the Arts 375

Breda, was introduced to Boulton by the ubiquitous Raspe, in a letter dated 10 Ju ly 1792, as a person " eminently quMified to do justice to your and Mr. Wart 's Portraits ", and in an even earlier letter from Sir William Chambers (13 August 1791) : " I take the liberty of recom- mending him to you, Sir as the Mecenas of Birmingham . . . . " Raspe always referred to Breda as " the Swedish Apelles ". I t was Boulton who made yon Breda's fortune in England; the portraits of Boulton and Watt were exhibited at the Academy, then published as engravings by S. W. Reynolds with Boulton's permission, and the artist was introduced to a number of Boulton's friends who also commissioned pictures. Rennie ordered a duplicate of the Boulton picture, Mrs Galton asked for a portrait of Mrs Priestley, Dr Withering commissioned a portrait now in the National Museum, Stockholm, and Anne Boulton had a miniature of her father's portrait made by Samuel Gillberg. Von Breda knew his market and relied on the Boulton and Wat t portraits as advertisements : " Besides who knows but they may at your House in some measure second your friendly and obliging exertions for securing me another visit to Birm m, where I have before mentioned the modest number of half a dozen Portraits previously agreed upon would induce me to return and thus afford me another opportunity of paying my respects to you . . . " (? November 1794). Von Breda and Kfichler collaborated on a medal of Gustavus I I I of Sweden.

Boulton quarrelled with Kfichler because Ktichler was asked to correct the work of John Philpp, a protdgg of Boulton's, but the storm blew over and Kfichler finished a medal commemorating Boydell's Shakespeare Gallery. I f Boulton had borrowed from Boydell, he at least made an effort to repay some of his debt by making no profit at all from this medal. So the wheel comes full circle.

Boulton's circle was composed of men who were keenly sympathetic to the arts in general and particularly to painting. Erasmus Darwin patronized Joseph Wright of Derby and employed artists like Fuseli and Blake to illustrate his Botanic Garden. Wedgwood commissioned pictures by Wright and corresponded with Suzannah Wedgwood about their progress, as well of course as employing Flaxman, Blake and Stubbs, to work for him. Boulton patronized many lesser well-known artists ; Amos Green, who painted in the landscape in some of Stubb's pictures, Valentine Green, who painted for Boydell, and Joseph Barney. He had his portrait painted by C. yon Breda, R.A., Sir William Beechey, R.A., and by Lemuel Abbot, and was only prevented by pressure of business from sitting to Sir Thomas Lawrence, R.A. Beechey was also pressed into service with the modeller Peter Rouw to produce a notable medal of Boulton, and to form a third association of a portrait painter with an engraver.

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376 Matthew Boulton, Patron of the Arts

Lewis Mumford's The Cu~eure of Cities (1936) 14 points to Birmingham as one of the horrors of the Industrial Revolution, and to James Wart's steam-engine as one of the main agents of that horror. The point is commonplace enough and none the less true for being a commonplace. But it is interesting to remember that the greatest Birmingham manu- facturer and the promoter of Watts 's engine was a man of considerable taste and discrimination, and a pioneer of industrial design at the very height of that revolution in industrywhich is said to have destroyed British standards and taste. He realized the advantages of mass production and was one of the first to develop factory methods, but he did not neglect quality and design in doing so. His factory at Soho was an elegant building; his avorkers were well treated and had special insurance schemes devised for them ; and the craftsman was valued and encouraged. Not all Boulton's products are equally acceptable to a modern eye, but he did make a serious at tempt to bring craftsman and artist into close alliance, as in the instances of Benjamin West and Droz, Carl yon Breda and Kfichler, Sir William Beechey and Peter l~ouw. Much of Boulton's silverware is elegantly simple, his medals are often better than the portraits on which they are based ; and his coins are the foundation of respectable design in that field. Even in the period when his main interest was directed to the steam engine, Boulton preserved an interest in the arts. The Jee and Eginton affair is important proof of this. Boulton had a mission, a mission of showing the world the superiority of British craftsmanship, and he remembered that mission whether he was making steam-engines or shoe- buckles. In following his mission Matthew Boulton became an important patron of painters, sculptors and engravers. A remark made by him to J. Christie of the famous sale-room might be taken to describe his outlook in everything; " Nor would any thing induce me to make a shabby appearance " (Boulton Letter-Book, 1771-72, p. 58).

14 See chap te r I I I , pp. 143-221, " The Insensa te I n d u s t r i a l Town ".

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Annals of Science. PbA~E X.

Plaster cast of a bronze figure of Matthew t~oulton by William Bloye, F.R.B.S. This statue lays emphasis upon the artistic side of Boulton's personality. I t is one of three figures--Boulton, Watt , mid Murdoch--whieh will be erected in Birmingham.

[By ~ermission of William Btoye, F.R.~.S.]

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Annals of Science PLAT]~ X~.

Boulton's Shakespeare medal for Alderman Boydell.

Reverse of the Shakespeare medal. [By ~aermission of the Assay Master, Birmingham.]

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