NON-SENSE AND SENSIBILITY
(British Drawings and Prints of Two Centuries – Plus a Few Precursors)
(British Drawings and Prints of Two Centuries – Plus a Few Precursors)
- Laroon, The Quarrel
- Hollar, Glastoniensis
- Hollar, Landscape with Herdsmen
- Smith, Mr. Will: Richards
- Hogarth, Southwark Fair
- Smith, The Virgin Mary
- Hogarth, Midnight Modern
- Robinson, Banquet Piece
- att. to Vanderbank, Senesino
- Beauclerk, Street Musicians
- Haward, Mrs. Siddons
- Gillray, Comfort to the Corns
- Cheesman, The Seamstress
- Anonymous, Diamond
- Rowlandson, Gaffers
- Bartolozzi, Miss Farren
- Anonymous, Beatrice Fishing
- Say, Miss Mellon
- Rowlandson, The Poacher
- Smith, Narcissa
- Cruikshank, The Cholic
- Vendramini, Strawberrys, Scarlet
- Cruikshank, A Catalanian PicNic
- Morland, Peasants Resting
- Cruikshank, Sales by Auction!
- Daniell, Joseph Haydn
- Williams, Leap Year
- Finch, In the Park
- Cruikshank, A Consultation
- Anonymous, Duck Shooting
- Heath, A Pleasant Draught
- O’Neill, The Mill
- Cruikshank, Hint to the Blind
- Craig, Trees
- Heath, Blessing of Cheap Cider
- Calvert, The Brook
- Calvert, Cottage and Trees
- Lisle, I’d be a butterfly
- Palmer, Early Plowman
- Leitch, Shepherd
- Whistler, La Vieille aux Loques
- Haden, A Water Meadow
- Whistler, The Brothers
- Cameron, The Palace
- Strang, The Cause of the Poor
- Detmold, Long-Eared Bat
- Detmold, Phoenix
 |
4. John Smith (1652-1743) after Sir Godfrey Kneller Mr. Will: Richards |
 |
(click on image to print)
Mr. Will: Richards
Mezzotint, 1688, Chaloner Smith 211 ii/iii, Wessely 213, 235 x 190 mm. Fine, rich impression on laid paper trimmed on the platemark but complete. Mezzotint, which was to become the great British print-making technique of the eighteenth century, was invented in 1642, and not in Britain. It took some time and some training of individuals to become established there, and one of its earliest British masters was John Smith (not to be confused with the later John Raphael Smith). This is, quite simply, an extraordinarily fine early mezzotint, with all the richness and subtlety the technique can provide. Its subject, William Richards (1643-1705) was a clergyman of the Church of England and an author, and among his works is, unexpectedly, a satiric piece, published anonymously, called “Wallography, or the Britton Described,” which was, for a time, thought to be by no less than Jonathan Swift. But even if Mr. Richards himself does not interest you, his features in mezzotint very likely may.
