Prosopographus the Automaton Artist

Introduction:

In July 1820, after debuting the mechanical profile taking abilities of PROSOPOGRAPHUS the AUTOMATON ARTIST, its 'proprietor and inventor', portrait miniaturist and profilist Charles Hervé (1785-1866), showcased its novelty with extensive well-patronised tours of towns and cities in England and Scotland until June 1835.

Described in newsprint as 'considerably smaller than life', THE INVERNESS COURIER, 15th March 1826, relates clients would have seen "The Automaton splendidly attired as a Spanish Grandee, seated on a richly ornamented Throne". A woodcut in the LEAMINGTON SPA COURIER, 17th May 1834, and several handbills, one of which is illustrated in McKechnie, confirm this.

ARIS' BIRMINGHAM GAZETTE, 20th August 1830, describes the "Mechanical Phenomenon...[drawing]...perfectly correct outlines of any face...without touching or having the slightest communication with his sitter". The LONDON MORNING POST, 4th June 1821, records sitters were then "..presented with an outline of their  Faces in Profile, executed by this curious Figure...[after which]...an Artist is employed to fill up and finish the Outlines at various prices".

Current research indicates Charles Hervé's 'collective' of Prosopographus artists were family members. In THE SCOTSMAN, 27th August 1824, Hervé's brother, portrait miniaturist and profilist Henry Hervé (1783-1853), related he had "...since his return to Edinburgh, been engaged in painting for...the Automaton Artist". In addition, Charles Hervé's eldest son, Charles Stanley Hervé (1809-1897), stated in THE PRACTICAL PHOTOGRAPHER of January 1893, how he was "...initiated into the art...[of profile taking]...at the age of sixteen...[due to his father's]...partial blindness". It's probable Charles Stanley Hervé's brothers Alfred (1812-1879) and Edwin (1816-1882) also honed their profile-taking skills working for the 'Automaton' enterprise.

As 1841-1861 Census enumerators make no mention of sight loss, how the impairment impacted Charles Hervé's working life is unknown. What is known from newspaper commentaries is that from Exeter to Aberdeen the singularity of having a likeness produced by an automaton drew large crowds to embrace the experience.

In 1830 the Duchess of Kent (1786-1861), mother of the future Queen Victoria, was sufficiently impressed to bestow her patronage on the enterprise when it visited Malvern. Unsurprisingly, Hervé lost no time in recording the endorsement and, as evidenced by the WORCESTER HERALD 16th October 1830, incorporating the Royal Coat of Arms in subsequent advertising.

Given its popularity over one and a half decades, surprisingly few profiles are recorded. Though a pair of large (18" x 12") coloured, presumably full-length sitters framed in rosewood are recorded by McKechnie, virtually all others are plain black or bronze-highlighted bust-sized cut-work. Highlighted profiles can also evidence gum arabic and Chinese white detailing. While sepia base colours are recorded, the majority are dark grey, a colour favoured by Alfred and Charles Stanley Hervé during their later independent careers.

Briefly worded, 6 printed trade labels are known, 4 of which record addresses in London's Strand, Halifax, Leamington and Cheltenham. The most detailed illustration of the Automaton and a broad range of options and prices appears in the LEAMINGTON SPA COURIER 17th of May 1834. Plain black profiles, framed and glazed, were offered for 1 shilling. Unframed works in 'shaded black', were 2 shillings 6 pence, bronzed from 3 to 5 shillings, coloured works from 10 shillings to 20 guineas. Frames 'of every description' and Drawing and Pianoforte lessons were offered on 'reasonable terms'. Keyboard tuition was likely given by known musician Charles Stanley Hervé.

In a ca.1827 handbill Charles Hervé remarked "...not one individual has...[discovered]...the exact secret of the Invention", and to date exactly how the Automton was operated remains unknown.

That a camera lucida, a lightweight optical device requiring no special lighting conditions was employed, is almost certain. Permitting an artist to simultaneously observe both subject and drawing surface, it allowed the user to duplicate the salient features of what was viewed - in this case the outline of a human profile - onto the drawing surface. Doubtless it was used in combination with a pantograph fixed within the Automaton's arm, to instantly duplicate the artist's outline in a reduced scale as a profile 'produced' by Prosopographus. However, given that engravings of the figure are at best impressionistic and lack a sense of scale, where the operator was concealed is conjectural.

In the BIRMINGHAM CHRONICLE 5th of September1822, Hervé related "...nearly 10 years were spent constructing the figure". Four years on in the MORNING POST 14th August 1826, he was "...willing to construct a similar AUTOMATON for £500 or one in a...superior style for £800, which could ensure a fortune for two or three Artists...[of]...spirit and ability". However, considerable spirit and ability would have been required to recoup a respective outlay of £41,000 and £65,000 in 2024 terms.

As far as known, the last Prosopographus advert in Britain appears n the CHELTENHAM CHRONICLE 18th of June 1835 where "The Automaton Artist...continues to make faces at 126 High Street. The Exhibition is the Property and under the Supervision of Mr.Hervé of 12 Cheapside, 161 Strand and 138 Regent Street, London".

GIven that the Hervés were of French descent, with 2 of Henry Hervé's daughters living in Paris, it's perhaps unsurprising that Prosopographus appeared in the French capital, as evidenced by mention in the German press in 1843 and for a final time, in the 1847 "Guide-Conducteur de l'étranger dans Paris..." where "PROSOPOGRAPHUS the famous drawing automaton from LONDON...under the skillful brushstrokes of M. HERVÉ de la MONNIÈRE..."  offered Portraits for 1 Franc, Full-Length Portraits 6 Francs, Portraits in Colour 15-30 Francs and Portrait Miniatures in Colour at 50 Francs, from 9 Boulevard Montmartre.

Two bust-sized Parisian works are recorded: politician Alexandre Ledru-Rollin (1807-1874) and Louis-Napoleon Bonaparte (1808-1873). As Bonaparte only returned to Paris from exile in February 1848 and became president of the 2nd Republic in December that year, it's likely the Prosopographus enterprise was in Paris until at least that time. Both profiles are neatly painted with gum arabic and Chinese white highlighting, which can be stylistically attributed to Charles Stanley Hervé, who was almost certainly the M. Hervé de la Monnière mentioned in the guide book.

The Hervés were of French Huguenot (Protestant) ancestry. The title 'Count de la Monnière' was bestowed prior to the expulsion of all Huguenots from the country in 1685. As far as known, the title was not adopted by any of Charles Hervé's generation, but intermittently resurrected by his sons Alfred and Charles Stanley Hervé to 'enhance' their varying circumstances.

Revised 12 October 2024 (Brian Wellings)