247
Mather Brown (American, active in England, 1761-1831), Portrait sketch of John Williams
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Description
Mather Brown (American, active in England, 1761-1831)
Head and shoulders portrait sketch of John Williams (otherwise known as Anthony Pasquin)
Oil on canvas, in a good carved and giltwood frame
John Williams (1761-1818), better know by the pseudonym Anthony Pasquin, was a writer, satirist and important historian of Irish Art. Born in London, he was educated at the Merchant Taylor's School, where he was much influenced by the headmaster, James Townley, friend of Garrick and associate of Hogarth. In 1786 Williams adopted the pen-name Anthony Pasquin and published his first extended satires on actors, 'The Children of Thespis', and on artists, in the never staged and un-actable 'The Royal Academicians, a Farce'. Though Williams's statement in 1797 that he had edited more periodicals than any man living is probably an exaggeration, there is no doubt that he was a busy journalist, both in short-lived periodicals launched by himself and in established newspapers. It is, however, his Authentic History (1796) of the artists of Ireland on which his modern reputation is founded, as it is the essential biographical source for its subjects, many of whose lives and works are otherwise unmemorialised. Strickland, whose Dictionary of Irish Artists (1913), which remains the Textus Receptus on the subject, relies throughout on information gleaned from the pages of Pasquin's Authentic History, His writings on politics and art alike appeared under the name of Anthony Pasquin. Several of his books were illustrated with frontispieces and vignettes drawn and/or engraved by him.
Provenance: The Reverend William Dacy, by whom given to the Reverend Thomas James Judkin, MA (1788-1871); John Lane, New York; [Possibly B.W.F. van Riemsdijk], Director of the Rijksmuseum, Amsterdam, from 1897 to 1920, as “attributed to Gilbert Stuart”]; Sale: Christie's, South Kensington, April 29, 1985, lot 59; With Thomas Agnews & Sons Ltd., London; Acquired from the above by a private collector, USA; His sale, Sotheby's New York, Old Master Paintings, 6th June 2008, lot 144, ($23,750)
Literature: Prof. Dorinda Evans, "Mather Brown", 1982, p. 221, catalogue raisonné no. 140 (as whereabouts unknown). The author dates the painting circa 1790 and notes the sitter's name John Williams as a pseudonym for Anthony Pasquin; Charles R. Hart “Thomas Dawson, Viscount Cremorne, painted by Mather Brown” (Art in America, no. 5 (October 1917) p.310), where stated to be in the collection of B. W. F. Riemsdijk' Augusto Calabi and Alexandre De Vesme, Francesco Bartolozzi. Catalogue des estampes et notice biographique d'après les manuscrits de A. De Vesme entièrement réformés et complétés d'une étude critique par A. Calabi, Milan, Guido Modiano, 1928 Freeman O'Donoghue & Henry M Hake, "Catalogue of Engraved British Portraits preserved in the Department of Prints and Drawings in the British Museum", In 2 (1908) of 6 vols, London, 1908-25; Engraved in stipple by E. Scott, published by Collings and Clearson (1790)
Dimensions: (Frame) 25.25 in. (H) x 21.5 in. (W) (Canvas) 17 in. (H) x 13.5 in. (W)
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Mather Brown (American, active in England, 1761-1831)
Head and shoulders portrait sketch of John Williams (otherwise known as Anthony Pasquin)
Oil on canvas, in a good carved and giltwood frame
John Williams (1761-1818), better know by the pseudonym Anthony Pasquin, was a writer, satirist and important historian of Irish Art. Born in London, he was educated at the Merchant Taylor's School, where he was much influenced by the headmaster, James Townley, friend of Garrick and associate of Hogarth. In 1786 Williams adopted the pen-name Anthony Pasquin and published his first extended satires on actors, 'The Children of Thespis', and on artists, in the never staged and un-actable 'The Royal Academicians, a Farce'. Though Williams's statement in 1797 that he had edited more periodicals than any man living is probably an exaggeration, there is no doubt that he was a busy journalist, both in short-lived periodicals launched by himself and in established newspapers. It is, however, his Authentic History (1796) of the artists of Ireland on which his modern reputation is founded, as it is the essential biographical source for its subjects, many of whose lives and works are otherwise unmemorialised. Strickland, whose Dictionary of Irish Artists (1913), which remains the Textus Receptus on the subject, relies throughout on information gleaned from the pages of Pasquin's Authentic History, His writings on politics and art alike appeared under the name of Anthony Pasquin. Several of his books were illustrated with frontispieces and vignettes drawn and/or engraved by him.
Provenance: The Reverend William Dacy, by whom given to the Reverend Thomas James Judkin, MA (1788-1871); John Lane, New York; [Possibly B.W.F. van Riemsdijk], Director of the Rijksmuseum, Amsterdam, from 1897 to 1920, as “attributed to Gilbert Stuart”]; Sale: Christie's, South Kensington, April 29, 1985, lot 59; With Thomas Agnews & Sons Ltd., London; Acquired from the above by a private collector, USA; His sale, Sotheby's New York, Old Master Paintings, 6th June 2008, lot 144, ($23,750)
Literature: Prof. Dorinda Evans, "Mather Brown", 1982, p. 221, catalogue raisonné no. 140 (as whereabouts unknown). The author dates the painting circa 1790 and notes the sitter's name John Williams as a pseudonym for Anthony Pasquin; Charles R. Hart “Thomas Dawson, Viscount Cremorne, painted by Mather Brown” (Art in America, no. 5 (October 1917) p.310), where stated to be in the collection of B. W. F. Riemsdijk' Augusto Calabi and Alexandre De Vesme, Francesco Bartolozzi. Catalogue des estampes et notice biographique d'après les manuscrits de A. De Vesme entièrement réformés et complétés d'une étude critique par A. Calabi, Milan, Guido Modiano, 1928 Freeman O'Donoghue & Henry M Hake, "Catalogue of Engraved British Portraits preserved in the Department of Prints and Drawings in the British Museum", In 2 (1908) of 6 vols, London, 1908-25; Engraved in stipple by E. Scott, published by Collings and Clearson (1790)
Dimensions: (Frame) 25.25 in. (H) x 21.5 in. (W) (Canvas) 17 in. (H) x 13.5 in. (W)
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