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拍品专文
When this picture was exhibited at the Royal Academy in 1860, the critic for the Art Journal wrote:
There is much creditable quality here, but the eye is distracted by the endless multiplicity of objects. The musician is playing a clarionet [sic], while a happy father dances his child to the tune. The confusion of the composition is accounted for by the fact that the incidents occur in the shop of a village saddler.
The picture clearly shows a debt to Sir David Wilkie's The Blind Fiddler, of 1806, now in Tate Britain. Wilkie's picture was widely reproduced in engraving, and indeed a copy can be seen in the background of Charles Spencelayh's A Clever Fake, lot 27 in the present sale, and reproduced on the cover of this catalogue. It was no doubt the similarity in composition that led the painting to be entitled 'The Blind Musician' when sold at Christie's in 1884, even though Morgan had clearly given the title 'The Wandering Musician' on the reverse.
We are grateful to Terry Parker for his help in the preparation of this catalogue entry.
There is much creditable quality here, but the eye is distracted by the endless multiplicity of objects. The musician is playing a clarionet [sic], while a happy father dances his child to the tune. The confusion of the composition is accounted for by the fact that the incidents occur in the shop of a village saddler.
The picture clearly shows a debt to Sir David Wilkie's The Blind Fiddler, of 1806, now in Tate Britain. Wilkie's picture was widely reproduced in engraving, and indeed a copy can be seen in the background of Charles Spencelayh's A Clever Fake, lot 27 in the present sale, and reproduced on the cover of this catalogue. It was no doubt the similarity in composition that led the painting to be entitled 'The Blind Musician' when sold at Christie's in 1884, even though Morgan had clearly given the title 'The Wandering Musician' on the reverse.
We are grateful to Terry Parker for his help in the preparation of this catalogue entry.