James BasireFSA (1730–1802London), also known asJames Basire Sr., was a Britishengraver. He is the most significant of a family of engravers, and noted for his apprenticing of the youngWilliam Blake.
His father wasIsaac Basire (1704–1768), acartographer, his son (1769–1822) and grandson (1796–1869) were also named James; these four generations of Basires were all engravers. Their longevity produced overlapping careers, which has led to difficulties in attribution of some works.[1]
A member of theSociety of Antiquaries, James Basire specialized in prints depicting architecture.[2] His studio was onGreat Queen Street inLondon. His appointment as engraver to the society, as were all three generations, and much of his finest work is found inVetusta Monumenta. A major piece was his copperplate forField of the Cloth of Gold, an exquisitely detailed translation of a watercolour byEdward Edwards; this oversize historical print was issued on 'Antiquarian' paper. Excellent work also appeared inRichard Gough'sSepulchral Monuments.
Work by Basire is held in museums and galleries around the world, including theFine Arts Museums of San Francisco, theMuseum of Fine Arts, Boston,Christchurch Art Gallery, New Zealand, theNational Library of Australia in Canberra, and theNational Portrait Gallery, London.[3]
On 4 August 1772,William Blake was apprenticed to Basire for the term of seven years. There is no record of any serious disagreement or conflict between the two during the period of Blake's apprenticeship. However,Peter Ackroyd's biography notes that Blake was later to add Basire's name to a list of artistic adversaries – and then crossed it out.[4]
He assisted in the production of Stuart'sAthens and engraved several good portraits of eminent men. He died inLondon. Among his other works were:[5]
Amongst Basire's apprentices wereThomas Ryder (1746–1810),George Cooke (1781–1834), andJohn Roffe (1769–1850).
