 |
|
|
|
|
WRIGHT, Joseph, of Derby (1734-1797) engraved by John Raphael SMITH (1752-1812)
The Widow of an Indian Chief, watching the Arms of her deceas'd Husband
London: John Raphael Smith, January 29th 1789. Mezzotint. A rich impression of State II of III. Printed on fine watermarked laid paper. In excellent condition. Occasional small expert repairs to outer blank margins. Image size: 17 x 21 1/2 inches. Sheet size: 19 1/2 x 23 inches.
A very fine impression of this evocative image: J.R. Smith's mezzotint after Joseph Wright of Derby's celebrated painting.
Joseph Wright of Derby was fascinated with the effects of light, and he made a name for himself by producing images that relied on the strong contrast of light and shadow for their power. The original oil painting on which this work is based was first exhibited by Wright at Robins's Rooms in 1785. The catalogue notes added the following explanation of the composition: "This picture is founded on a custom which prevails among the savage tribes of America, where the widow of an eminent warrior used to sit the whole day, during the first moon after his death, under a rude kind of trophy, formed by a tree lopped and painted; on which the weapons and martial habilments of the deceased are suspended. She remains in this situation without shelter, and preserves in her mournful duty at the hazard of her own life from the inclemencies of the weather." It seems possible that Wright was particularly pleased with this image, as it remained in his possession during his lifetime, and was only sold at Christie's posthumous sale of Wright's paintings held in 1801. It is interesting to note that the accuracy of the Indian artifacts in the image all suggest that Wright had access to an early collection, and that the items were, in effect, 'drawn from life.' John Raphael Smith, "the most distinguished mezzotinter of his generation" (Egerton), was the most prolific interpreter of Wright's work and also his friend. The reason why it took Smith over four years to publish this popular image is now obscure, but what is self-evident is that it is one of the most successful images that he ever produced.
During the eighteenth century, England became the heart of the mezzotint trade, producing some of the most celebrated engravers and the most beautiful prints that the medium has ever witnessed. Invented in Germany in 1642, mezzotint engraving quickly became popular throughout Europe as a method of reproducing oil paintings. It was eagerly adopted by English printmakers, who instituted so many technological improvements that the method became known as "the English manner." English mezzotints were eagerly collected; and continental engravers traveled to England to study the technique. Some of the most sought after mezzotints were the images after Joseph Wright of Derby's magnificent paintings.
Bemrose no.20; Egerton (Tate Gallery Catalogue)Wright of Derby no. 67 & 170, state ii/iii; Frankau no.375; Nagler, Wright no.8; Nicolson Joseph Wright of Derby no. 243; Smith no.212
|
#19570 $7,500.00 
|
© 2002-2005 Donald A. Heald
|
|
|
|
|
|
|
|
