He was the son of Edward Pouncy, born around 1750, and the family background was in Kent.[1] He was a pupil of William Woollett, stated to have been his brother-in-law by the Gentleman's Magazine. He obtained employment through Lambeth Palace, and from the 1770s assisted Andrew Ducarel in his researches with illustrations.[1][2]
A fellow of the Incorporated Society of Artists, Pouncy exhibited topographical views with them in 1772 and 1773; he also sent such works to the Royal Academy in 1782, 1788, and 1789. He died in Pratt Street, Lambeth, on 22 August 1799, and was buried in the graveyard of the parish church.[2]
Works
Pouncy executed facsimiles of the Domesday surveys for Surrey and Worcestershire. He engraved the plates for antiquarian and topographical works, including:[2]
Andrew Ducarel's History of St. Katherine's Hospital, 1782;
Thomas Astle's Origin and Progress of Writing, 1784;
Some Account of the Alien Priories, edited by John Nichols, 1779; and
John Ives, Remarks upon the Garianonum of the Romans, 1774.
In later life, Pouncy produced plates of landscape and marine subjects after popular artists, such as:[2]
Chinese military drawn out in compliment to the British Embassador (1796), scene of the Macartney Embassy, engraved by Benjamin Thomas Pouncy after William Alexander
Athens in its Flourishing State, after Richard Wilson, and Athens in its Present State of Ruin, after Solomon Delane (a pair);
Sortie made by the Garrison of Gibraltar on 27 Nov. 1781, after Antonio Poggi;
The building, chase, unlading, and dissolution of a cutter (a set of four), after John Kitchingman, 1783 and 1785;
The Morning of the Glorious First of June 1794, after Robert Cleveley, 1796;
The Windmill and The Watermill, from his own drawings, 1787; and
Four landscapes after J. Hearne.
Pouncy also executed many of the plates for Captain Cook's second and third Voyages, after William Hodges and John Webber, 1777 and 1784; George Staunton's Embassy of Lord Macartney to China, 1797; Farington's Views of the Lakes in Cumberland and Westmorland, 1789; Robert Bowyer's History of England, Thomas Macklin's Bible, and the Copperplate Magazine.[2]
Woollett engraved The Grotto at Amwell, from a drawing by Pouncy, as an illustration to John Scott of Amwell's Poems, 1782.[2]
William Woollett was an English engraver operating in the 18th century.
Joseph Collyer, also called Joseph Collyer the Younger, was a British engraver. He was an associate of the Royal Academy and portrait engraver to the British Queen Consort, Queen Charlotte.
James Heath was a British engraver. He enjoyed the patronage of George III and successive monarchs.
Thomas Medland was an English engraver and draughtsman. He was drawing-master at Haileybury College and exhibited at the Royal Academy. He illustrated numerous works during his lifetime and was landscape engraver to the Prince of Wales.
Thomas Holloway was an English portrait painter and engraver.
Andrew Coltée Ducarel, was an English antiquary, librarian, and archivist. He was also a lawyer practising civil law, and a member of the College of Civilians.
William Pars was an English watercolour portrait and landscape painter, draughtsman, and illustrator.
Vetusta Monumenta is the title of a published series of illustrated antiquarian papers on ancient buildings, sites, and artefacts, mostly those of Britain, published at irregular intervals between 1718 and 1906 by the Society of Antiquaries of London. The folio sized papers, usually written by members of the society, were first published individually, and then later in collected volumes.
James Stow, was an English engraver.
John Preston Neale (1780–1847) was an English architectural and landscape draughtsman. Much of his work was drawn, although he produced the occasional watercolour or oil painting. His drawings were used on a regular basis by engravers. A major work, the Views of the seats, Mansions, Castles, etc. of Noblemen and Gentlemen in England, Wales, Scotland and Ireland was published in 6 volumes between 1819-23.
John Emes (1762–1810) was a British engraver and water-colour painter. His wife Rebecca Emes ran a successful silver business after his death.
John Pye was a British landscape engraver.
Samuel Middiman (1750–1831) was an English engraver.
Sir Robert Strange was a Scottish engraver. A Jacobite, he spent periods out of Great Britain, but was eventually reconciled to the Hanoverian succession and was knighted by George III.
Robert Pollard (1755–1838) was an English engraver and painter.
James Neagle (1760?–1822) was a British engraver. Very largely a line engraver of book illustrations, he was prolific of designs by Thomas Stothard, Robert Smirke, Henry Fuseli, Gavin Hamilton, Henry Singleton, Richard Cook, and other popular artists.
Stebbing Shaw (1762–1802) was an English cleric, local historian and topographer.
George Samuel was an English landscape-painter, working in both in oils and watercolours. He was a noted topographical draughtsman of his day.
Thomas Major was an English engraver. His early career was in Paris. In England, he became engraver to Frederick, Prince of Wales; he was the first engraver recognized by the Royal Academy of Arts, and was chief seal engraver to the King.
Britannia Depicta was an illustrated road atlas for Britain. It was printed in numerous editions over many decades from 1720 into the 19th century and updated with engravings by many artisans who worked from drawings of other artists. It featured strip maps.
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
