Alexander, Lord Loughborough

Executed in stipple, the engraving relies on a dense array of fine dots to model light and shadow, a method Bartolozzi refined after introducing the crayon‑like approach to printmaking. The technique allows subtle transitions in the fabric’s texture and the sitter’s facial features, achieving a softness that mimics pastel drawing while retaining the precision of engraving.

Created during Bartolozzi’s most prolific period in London, the print was likely issued for a contemporary audience familiar with Wedderburn’s political role. Over time it entered collections of British portrait prints, and today it is held by institutions that document the visual culture of early‑19th‑century British governance.