Begun by Isaac Beckett
(1653–1688); completed by John Smith
(1652–1743)
“Doctor Parvulorum” (as titled on the plate) (aka “Virgin and
Child”), c1681–1688, published by John Smith. This may be an impression from a
later edition (c1780) based on advice from the original dealer from whom I
acquired the print.
Mezzotint on laid paper with full margins (as published) lined on
a conservator’s support sheet.
Size: (sheet) 43 x 28.8 cm; (plate) 24.1 x 17.9 cm; (image
borderline) 22.8 x 17.8 cm
Lettered on the plate below the image borderline: (centre) “Doctor
Parvulorum”; (right) “J Smith exc:”
State iii (of iii) with the radiating lines of the haloes made the
same lengths.
Note: the British Museum offers a description of the different
states of this print with the curator’s comment; see BM no. 2010,7081.133
Wessely 1887 315 (Wessely, J E, John Smith: Verzeichniss seiner
schabkunstblätter, vol. III, Hamburg, Haendcke & Lehmkuhl, 1887); Russell
1926 undescribed (Russell, Charles E, English Mezzotint Portraits and their
states: Catalogue of Corrections of and Additions to Chaloner Smith's
"British Mezzotinto Portraits", 2 vols, London & New York, Halton
& Truscott Smith, Ltd.; Minton, Balch & Company, 1926); Chaloner Smith
1883 undescribed (Chaloner Smith, John, British Mezzotinto portraits from the
introduction of the art to the early part of the present century, 4 vols,
London, 1883)
The British Museum offers the following description of this print:
“Doctor Parvulorum; the Virgin sitting looking over her shoulder
to right with a smile, holding the infant Jesus on her knee, who looks towards
the viewer, pointing with His left hand against her chest; with a curtain
behind. Mezzotint”
See also the description of this print at the National Portrait
Gallery: https://www.npg.org.uk/collections/search/portrait/mw61167/Doctor-Parvulorum-Virgin-and-Child
Condition: richly inked impression in near pristine condition (i.e.
there are no tears, holes abrasions, significant stains or foxing) laid upon a
support sheet of washi paper.
I am selling this marvellously glowing mezzotint in superb
condition for the total cost of AU$146 (currently US$112.88/EUR95.02/GBP84.28 at
the time of this listing) including postage and handling to anywhere in the
world.
If you are interested in purchasing this beautiful example of the
very demanding art of mezzotint executed by two of the most famous
practitioners of the technique, please contact me
(oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make
the payment easy.
This velvety rich mezzotint was begun and largely completed by Isaac
Beckett—famous for being the first commercially successful publisher of
mezzotints in Britain. Beckett’s student, John Smith—arguably the foremost
mezzotinter of 17th century Britain—also worked on the printing plate
and added the glowing haloes to his master’s composition.
For those who may be unfamiliar with the very time-consuming art
of the mezzotint—also called “la manière noire” (the dark manner)—the soft
blending of tones seen in this print are achieved by the originally very pitted
printing plate—so “pitted” that if a print were to be taken at the early preparatory
stage the impression would be a flat black—having been scraped/burnished so
that the lighter tones are the result of intense scrapping/burnishing away of
the pitting. (See the Met for a detailed explanation of the process: https://www.metmuseum.org/toah/hd/mztn/hd_mztn.htm)
When this print is examined closely, the original lines of pitting can still be
seen. Sadly, the technique of mezzotint does not allow much scope for adding
line and if one looks through a loupe/magnifying glass at Christ’s mouth, there
is evidence that Smith has added drypoint lines to give more definition to the
mouth—a mission that he may have been rather unsuccessful in achieving.
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