Sculptura: or The History and Art of Chalcography and Engraving in Copper

Evelyn's Sculptura is possibly the earliest account of the history of printmaking published in England. Prince Rupert of the Rhine had just returned to London in 1660 as Evelyn was still working on his book, and demonstrated the new mezzotint technique to him and other enthusiasts. Antony Griffiths recounts the events that lead to this collaboration perfectly: 'Evelyn persuaded Rupert to contribute this print to include in his book, which is thereby the first mezzotint published in England. Evelyn's diary and papers reveal that Rupert demonstrated the process to him on 24 February 1661, and again on 13 March. A letter of 6 May from Sir Robert Moray makes arrangements for printing the plate in Evelyn's presence the following day; it would allow 100 impressions without retouching as long as it was printed by Rupert's own man (see: Print Quarterly, no. XII 1995, pp. 289-90). The head is a reduced version of the head in Rupert's masterpiece, the huge 'Great Executioner' of 1658, made after a painting then thought to be by Ribera. It was doubtless suggested as a suitable subject by Evelyn, but it was in fact too wide for the book, with the result that the plate had to be folded in. It is one of only two (out of a total of fifteen) mezzotints that Rupert made after his return to England.' (Quoted from: Griffiths, 1998)

The book comprises an frontispiece by an anonymous engraver with the initials A.H. after J. Evelyn, the title, dedication to Robert Boyle, an Account of Signor Giacomo Favi by Monsieur Sorbiere, list of contents, bibliography, the main text (partially indexed with artist's names in brown ink in the margins), an anonymous engraved plate on perspective, the mezzotint by Rupert of the Rhine, and an Advertisement for William Faithorne's The Art of Graveing and Etching, published in the same year (see following lot).