Matthew Pilkington, A Dictionary of Painters from the Revival of the Art to the Present Period: A New Edition, with Considerable Additions, and Appendix, and an Index, by Henry Fuseli, R. A. (Pilkington, 1810, p.214)
B.1775, D 1802.
This scholar of Edward Dayes drew landscape in a loose free manner, with greater effect than truth. He exhibited a Panorama of London, painted by himself, but not much noticed by the public. There is a very good set of prints, the outlines of which were etched by himself, and afterwards finished in aqua tinta by other artists, from drawings which he made, of views of Paris, taken upon the spot after the conclusion of the peace of Amiens. The prints appeared immediately after his death: there are twenty in number, dedicated to Lord Essex, who purchased the original drawings.—Edwards.
This peevish account of a young artist, of genial conception and great taste, who died prematurely, Edwards closes with the still more peevish remark, that ‘intemperance and irregularity have no claim to longevity;’ a remark which can only be forgiven to his own rigid morals, and long habits of self-denial. F