Who painted Bacon, Baxter, Blackstone, Beattie, Burns?

Bacon, Baxter, Blackstone, Beattie, Burns was painted by Unknown 19th Century in 1850.

Where can I see Bacon, Baxter, Blackstone, Beattie, Burns?

Bacon, Baxter, Blackstone, Beattie, Burns is held by National Gallery of Art.

What movement is Bacon, Baxter, Blackstone, Beattie, Burns?

Bacon, Baxter, Blackstone, Beattie, Burns is associated with Romanticism.

Artwork

Bacon, Baxter, Blackstone, Beattie, Burns

Unknown 19th Century , 1850

Bacon, Baxter, Blackstone, Beattie, Burns is an ink print by the Romanticist artist Unknown 19th Century. It dates from 1850 and is held in the collection of the National Gallery of Art. The work is an engraved print presenting five male portraits arranged side by side.

About this work

Overview

The work is an engraved print presenting five male portraits arranged side by side. Each figure is rendered in fine black lines against a light, slightly aged paper, giving the composition a uniform visual rhythm. The subjects are identified by hand‑written names beneath their heads, linking the images to specific individuals.

Subject & Meaning

The five sitters are identified as Bacon, Baxter, Blackstone, Beattie, and Burns. Their attire—ruffled collars, wigs, and elaborate coats—places them within an eighteenth‑century social milieu, suggesting a group of gentlemen whose status or profession warranted collective commemoration.

Technique & Style

Executed through traditional copper‑plate engraving, the image relies on incised lines that produce a dense, dark rendering of facial features while preserving a delicate tonal contrast with the paper. The tight, controlled line work emphasizes the contours of the faces and the texture of the period clothing.

History & Provenance

The print appears on yellowed, worn paper, indicating age and prior handling. No specific date or publisher is noted, but the fashion of wigs and ruffled collars points to a production period in the late 1700s to early 1800s, typical of portrait series circulated among acquaintances or professional circles.

Context

Portrait engravings of multiple sitters were common in the era as a means of documenting members of societies, guilds, or familial groups. This piece fits within that tradition, providing a visual record of five individuals whose shared identity is conveyed through uniform presentation.