William Henry Mote
Encyclopedia
William Henry Mote was primarily an English stipple and line engraver on steel and he was primarily known for his portraits. He also did other etchings for reference books, and some original etchings. Today we could just take a picture, however in the mid 1800's engravings illustrated the books as black and white pictures, or sometimes these were colorized with watercolors. "WH Mote" is how he branded his engravings, although, some were also mistakenly labeled "WT Mote". Mote was first mentioned in publications at the approximate age of 16–17 years old, as working under the supervision of Charles Heath
. He became a member of the Royal Academy
at the approximate age of 28 years old. He also was one of many engravers to sign a petition addressed to the King in 1837, and the Royal Academy to protest the limitation of engravers to "associates". His son's are listed as engravers, as mentioned in the census records of the day, and the London Directories. It is unknown exactly how much WH Mote's son's worked under their fathers name.
He was commissioned by King George IV to produce an engraving for the Greenwich Hospital, which was presented a year after King George's death. WH Mote often did portraits of royalty.
Wm. Mote worked with women artists, and a high percentage of his etchings found their way into female produced publications.
The National Portrait Gallery (London) contains 65 portrait engravings from WH Mote. The portrait of Sir Rowland Hill, in the National Portrait Gallery, was published in 1820, when WH would have been 17 years old. There are 15 engravings in the Farnsworth Shakespeare Collection (Rhode Island College). There are 21 etchings in the National Maritime Museum.
He also maintained a working relationship with the Heaths (engravers, publishers), throughout his career, and his engravings are often in their publications.
New book technology in 1820 allowed more books to be produced. The Annual publication
's of beautiful women etchings was a fad that lasted from 1823 to 1857, and WH Mote was a prolific engraver of this content. In the 1830s the etchings became popular as watercolor projects, and with a slight talent people turned the etchings into wall hangable art.
The etchings were published in Lodge's Illustrious Portraits. There was an advertisement in
Bent's Literary Advertiser advertising these plates for sale by auction, and they were purchased for £4,200 by W. Smith at the November 22 auction. (Adjusted for inflation: £370,000 in 2010, however, on ebay, 12 etchings failed to sell for $20 in 2009.).
Bent's Literary Advertiser, Sept and Dec. 1836
These "mistakes", might be a typesetting error under the plate. The book itself had a consistency in borders, so, perhaps the etching of the border was done by someone other than WH Mote. It might also be a clue that etching itself was often a team effort. There is no proof that there is another "Mote" etcher, and there was only one "Mote" mentioned for the auction sale of the original plates. "WT" were the initials of another engraver working on the same project, William Thomas Fry. The engraving for John Stuart, 3rd Earl of Bute
has the same engraving appearing in two books. He appears in Lodges Illustrious portraits with the brand WT Mote, but had appeared a year earlier with the WH Mote brand, as noted in the Bullitin of the NY Public Library, Volume II, 1898.
One of "his" final engravings is branded "WH Mote co.", where "co." is assumed to be company, and that would have included his sons.
William Henry Mote was baptized at St. John Horsley Down, Southwark, England.
William Henry Mote married Mary Ann Bather (born 1799) and their marriage was announced in St George Hanover Square Parish Records.
William Henry Mote died 1871, in St. Johns Middlesex England.
He was buried July 19, 1871 in the prestigious Highgate Cemetery
of Saint James, Swains Lane, Saint Pancras, England. After his death, then his son Edward Mote marketed himself as a portrait engraver working out of his house, as listed in the London Directories in 1884 and 1895.
Although mostly a portrait engraver, WH Mote also did religious etchings and art etchings. There are at least 101 portrait etchings done by William Mote in various museums.
The "Heyday" of steel engraved book illustration was between 1825–1845, although, it rapidly took off in London England about 1820. Which coincided with WH Mote's first known etching. He was by concidence at the right place (London, England), at the right time (1820), and working for the right man (Charles Heath), with a talent for etching, to be an innovator with steel plate engravings. The replacement fears of the etchers by photo methods was mentioned in the 1865 minutes of the Royal Academy. WH Mote died in 1871. By 1880, steel engravings were in serious decline and steel etching was being replaced with newer technology. Although, steel etchings were used as late as 1920's for some mass produced books. (Hunnisett, Basil. Stell-Engraving Book Illustration in England. Boston: David R. Godline, 1980.). Steel Etching is currently used for currency.
Son: William Henry Mote, Jr: Born 30 Aug 1832. Listed as engraver on census records, and lived for years in his fathers house.
Son: Edward Mote Born 19 June 1834 at St. Pancras, London, Middlesex, England.
Baptized on 9 July 1834.
Edward was listed as engraver on census records, and lived for years in his fathers house. He marketed himself as a portrait engraver for 25 years after his fathers death, but engravings from him are currently unknown.
One of the reasons why William Mote engraved many historical figures was because this was a project started by the royal family to share the art with the public in various publications. Royal woman (Lady Blessington) often got involved in these projects. The "beauty franchice books", that had created a perpetual glorification of beauty had become a bore, and by 1848, when Charles Heath died, Charles Heath died in debt to Lady Blessington for £700.
One official etching was presented to Greenwich Hospital by His Majesty King George IV.
William Mote marketed himself as an etcher in the London Business directories and upon his death, his son Edward marketed himself as a portrait engraver for another 25 years (in a vanishing market for engravers).
Forgotten WH Mote etchings are found every year.
Charles Heath
Charles Theodosius Heath was an English engraver, currency and stamp printer, book publisher and illustrator.-Life and work:...
. He became a member of the Royal Academy
Royal Academy
The Royal Academy of Arts is an art institution based in Burlington House on Piccadilly, London. The Royal Academy of Arts has a unique position in being an independent, privately funded institution led by eminent artists and architects whose purpose is to promote the creation, enjoyment and...
at the approximate age of 28 years old. He also was one of many engravers to sign a petition addressed to the King in 1837, and the Royal Academy to protest the limitation of engravers to "associates". His son's are listed as engravers, as mentioned in the census records of the day, and the London Directories. It is unknown exactly how much WH Mote's son's worked under their fathers name.
He was commissioned by King George IV to produce an engraving for the Greenwich Hospital, which was presented a year after King George's death. WH Mote often did portraits of royalty.
Wm. Mote worked with women artists, and a high percentage of his etchings found their way into female produced publications.
The National Portrait Gallery (London) contains 65 portrait engravings from WH Mote. The portrait of Sir Rowland Hill, in the National Portrait Gallery, was published in 1820, when WH would have been 17 years old. There are 15 engravings in the Farnsworth Shakespeare Collection (Rhode Island College). There are 21 etchings in the National Maritime Museum.
He also maintained a working relationship with the Heaths (engravers, publishers), throughout his career, and his engravings are often in their publications.
New book technology in 1820 allowed more books to be produced. The Annual publication
Annual publication
An annual publication, more often called simply an annual, is a book or a magazine, comic book or comic strip published yearly. For example, a weekly or monthly publication may produce an Annual featuring similar materials to the regular publication....
's of beautiful women etchings was a fad that lasted from 1823 to 1857, and WH Mote was a prolific engraver of this content. In the 1830s the etchings became popular as watercolor projects, and with a slight talent people turned the etchings into wall hangable art.
WT Mote is likely WH Mote
Some etchings are labeled WT Mote. This is likely a mistake, and these are WH Mote's.The etchings were published in Lodge's Illustrious Portraits. There was an advertisement in
Bent's Literary Advertiser advertising these plates for sale by auction, and they were purchased for £4,200 by W. Smith at the November 22 auction. (Adjusted for inflation: £370,000 in 2010, however, on ebay, 12 etchings failed to sell for $20 in 2009.).
Bent's Literary Advertiser, Sept and Dec. 1836
These "mistakes", might be a typesetting error under the plate. The book itself had a consistency in borders, so, perhaps the etching of the border was done by someone other than WH Mote. It might also be a clue that etching itself was often a team effort. There is no proof that there is another "Mote" etcher, and there was only one "Mote" mentioned for the auction sale of the original plates. "WT" were the initials of another engraver working on the same project, William Thomas Fry. The engraving for John Stuart, 3rd Earl of Bute
John Stuart, 3rd Earl of Bute
John Stuart, 3rd Earl of Bute KG, PC , styled Lord Mount Stuart before 1723, was a Scottish nobleman who served as Prime Minister of Great Britain under George III, and was arguably the last important favourite in British politics...
has the same engraving appearing in two books. He appears in Lodges Illustrious portraits with the brand WT Mote, but had appeared a year earlier with the WH Mote brand, as noted in the Bullitin of the NY Public Library, Volume II, 1898.
One of "his" final engravings is branded "WH Mote co.", where "co." is assumed to be company, and that would have included his sons.
Family
Christopher and Hannah Mote had a son around 1803 and named their son William Henry Mote (As did most of Christopher's brothers, and uncles, they named the first child William Henry, and the second child Edward).William Henry Mote was baptized at St. John Horsley Down, Southwark, England.
William Henry Mote married Mary Ann Bather (born 1799) and their marriage was announced in St George Hanover Square Parish Records.
William Henry Mote died 1871, in St. Johns Middlesex England.
He was buried July 19, 1871 in the prestigious Highgate Cemetery
Highgate Cemetery
Highgate Cemetery is a cemetery located in north London, England. It is designated Grade I on the English Heritage Register of Parks and Gardens of Special Historic Interest in England. It is divided into two parts, named the East and West cemetery....
of Saint James, Swains Lane, Saint Pancras, England. After his death, then his son Edward Mote marketed himself as a portrait engraver working out of his house, as listed in the London Directories in 1884 and 1895.
Although mostly a portrait engraver, WH Mote also did religious etchings and art etchings. There are at least 101 portrait etchings done by William Mote in various museums.
The "Heyday" of steel engraved book illustration was between 1825–1845, although, it rapidly took off in London England about 1820. Which coincided with WH Mote's first known etching. He was by concidence at the right place (London, England), at the right time (1820), and working for the right man (Charles Heath), with a talent for etching, to be an innovator with steel plate engravings. The replacement fears of the etchers by photo methods was mentioned in the 1865 minutes of the Royal Academy. WH Mote died in 1871. By 1880, steel engravings were in serious decline and steel etching was being replaced with newer technology. Although, steel etchings were used as late as 1920's for some mass produced books. (Hunnisett, Basil. Stell-Engraving Book Illustration in England. Boston: David R. Godline, 1980.). Steel Etching is currently used for currency.
Children
Daughter: Mary Ann Mote: born 22 November 1830. (Baptism, marriage to Reynolds, death after 1911 in a house her owned by her brother Edward, passed down from their father. ).Son: William Henry Mote, Jr: Born 30 Aug 1832. Listed as engraver on census records, and lived for years in his fathers house.
Son: Edward Mote Born 19 June 1834 at St. Pancras, London, Middlesex, England.
Baptized on 9 July 1834.
Edward was listed as engraver on census records, and lived for years in his fathers house. He marketed himself as a portrait engraver for 25 years after his fathers death, but engravings from him are currently unknown.
Did WH Mote's sons engrave under their father's name?
WH Mote produced volumes of etchings before his sons were old enough to help, and he was recognized by King George IV the year of his sons birth. Census records and London business directories indicate that the sons listed steel etching as their profession, and they never appear to have left the family home. After WH's death Edward listed his home address as the business address in the 1884 and 1895 London Directories as a portrait engraver. The sheer volume of etchings make it difficult to believe that W. H. Mote worked alone on the etchings. There is one etching branded "WH Mote co." and the "company" included his sons. William Mote had the following shop locations: 1841: 23 Judd Place West. 1852: 41 Tonbridge Street. (London Business Directories, 1841, 1852). The lack of known etchings after their father's death is more likely due to the crashing of the expensive etching business due to new cheaper illustration technology.King George III and King George IV
King George III and King George IV were huge patrons of the arts. It was debated as to if this was good or bad, during the day. King George IV made a comment, that art needs to be signed so that the people can tell good art from bad. It is unknown if this was tongue in cheek, or if King George was sincere in this comment, but the result was that engravings were then marked by the engraver. Especially those from artists wanting to be inducted into the Royal Academy, or those already a member. W.H. Mote became a member of the Royal Academy in 1831, shortly after King George IV's death. (It was also the year he completed the etching of John Benbow commissioned from King George IV, for the Greenwich Hospital.) You can find the W.H. Mote brand usually at the bottom right corner. If there is an original artist, then William Mote often put the original artists name on the left bottom side of the etching.One of the reasons why William Mote engraved many historical figures was because this was a project started by the royal family to share the art with the public in various publications. Royal woman (Lady Blessington) often got involved in these projects. The "beauty franchice books", that had created a perpetual glorification of beauty had become a bore, and by 1848, when Charles Heath died, Charles Heath died in debt to Lady Blessington for £700.
King George IV commissioned steel etchings
John Benbow Esqre., "Admiral of the Blue" from a painting by Sir G. Kneller]One official etching was presented to Greenwich Hospital by His Majesty King George IV.
Charles Heath
The Heath family was an publishing-engraving dynasty, started by Charles father. It was with the Heath family, that we first see mention of WH Mote as an engraver. Charles Heath did suffer some financial setbacks in the business started by his father, but Heath produced books are still being sold new today (150 years later, his books are still being sold). Charles Heath took a former employer to court about his engravings. It was his belief that it was common for the engraver to keep between 6 and 12 impressions for himself. The English court agreed, and decided that the engravers were entitled to retain 8 impressions of their work. However, “the engraver” cannot sell the engravings. (They can be sold after his death, since they are part of his estate). (The Gentleman's Magazine, volume 97).The Heaths and the Motes
The Heaths hired WH Mote and appear to be the ones that launched WH's career. This relationship existed for years, and the WH Mote engravings often appear in the Heaths publications (The Heaths Book of Beauty for example, and the strange WH Mote etching dominated counterpart The American Book of Beauty). The American Book of Beauty is strangely known for mixing up the etchings from one book to the other, and Mrs Spalding for example, often has the etching of another woman from the same book and the same book was published by multiple publishers. Later editions remove the descriptions under the etchings, and include two more women etched by WH Mote. One of the etchings is known to be of a different woman then the story. Some editions have appeared to "white" out the WH Mote brand on the right corner, and the original artist's name, and subtitles to the etchings. Some believe this is a cleaning issue of the plates, but it conveniently did not call attention the scrambled order of the book plates.William Mote marketed himself as an etcher in the London Business directories and upon his death, his son Edward marketed himself as a portrait engraver for another 25 years (in a vanishing market for engravers).
Forgotten WH Mote etchings are found every year.