Book Description

[Horses]. Stubbs, George (1724-1806 (after)), Sartorius, John Nost (1759-ca.1830 (after)). “Skyscraper by Highflyer, 1789 (…)”. / “Warter”. Pair of reverse glass mezzotint prints of racing horses. Ad I. George Stubbs (attrib.): Mezzotint etching, oil paint and glass, ca. 36,8 x 52 cm., Laurie & Whittle, London, 1795, framed. = Sparrow, British Sporting Artists, p.114-144 and passim. Some signs of wear characteristic for this technique and age. Not examined outside frame. “(…) he who knows what manner of beast was given Englishmen to admire before Stubbs’day, best recognises what we owe him. His obstinacy in rejecting the models of other men, saved him from falling into the exaggerations of any school. Because his horses and his [other] animals are correctly drawn, because they have that expression, and no other, belonging to their kind, the unthinking pass them with a glance, and call them commonplace…. They are always as Nature made, with their own shapes, gestures and expressions - often ugly, but always true.” (Sparrow). Ad II. John Nost Sartorius (attrib.): Mezzotint etching, oil paint and glass, ca. 36,8 x 52 cm., Laurie & Whittle, London, 1802, framed. = Sparrow, British Sporting Artists, p.85-88 and passim. Some signs of wear characteristic for this technique and age. Not examined outside frame
Dealer Notes
The technique of transferring a mezzotint to glass was invented in England in the 17th century, shortly after the development of the mezzotint. The reason was the addition of color to the mezzotint and the aim of getting as close as possible to the impression of a painting. To do this, the mezzotints are thoroughly moistened with water and then briefly dried between pieces of paper. In the meantime, the glass plate is coated with varnish or turpentine and the mezzotint is then pressed onto it. Carefully but thoroughly, the paper is pressed down with the fingers so that only the black ink and few traces of the paper remain on the varnish. This surface is varnished again and then the oil paint gives the work its color. To emphasize the painting-like character, the glass plates were then framed. This technique requires an experienced printer, but was so popular that even amateurs tried it. However, due to the fragility of the image support, examples are rarely found today. The printing process, which is largely unknown outside England, is sometimes confused with reverse glass painting.
Author Stubbs, George (1724-1806 (after)), Sartorius, John Nost (1759-ca.1830 (after))
Date 1795/ 1902
Publisher Laurie & Whittle
Illustrator George Stubbs (after)/ John N. Sartorius (after)
Condition Framed (not examined outside frame)

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