拍品專文
'THE FINEST SLEDGING SCENE PRINTED IN CANADA.'
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The Quebec Driving Club meeting at the Place d’Armes, by J. Smillie Junr
細節
After William Wallace, Ensign, 71st Foot Infantry
The Quebec Driving Club meeting at the Place d’Armes, by J. Smillie Junr
etching and aquatint, second state, on laid paper watermark 'J WHATMAN / TURKEY MILL / 1824', published by D. Smillie & Sons, Quebec, 1826
P.12 ½ x 18 ¾in. (31.7 x 47.6cm.)
The Quebec Driving Club meeting at the Place d’Armes, by J. Smillie Junr
etching and aquatint, second state, on laid paper watermark 'J WHATMAN / TURKEY MILL / 1824', published by D. Smillie & Sons, Quebec, 1826
P.12 ½ x 18 ¾in. (31.7 x 47.6cm.)
出版
Spendlove, pp.87-8 (‘This picture was one of a series of Quebec views; … It is possible these pictures were all engraved on plates of two sizes, as they were used as illustrations for The Picture of Quebec published by D. & J. Smillie in 1829 [for which see lot 199]. At least one of the prints (Quebec Driving Club) exists in 8vo size in addition to the small book illustrations …’).
M. Allodi, Printmaking in Canada. The earliest Views and Portraits, Toronto, 1980, pp.50-51, no.24 (‘Undoubtedly the finest Canadian sledging scene printed in Canada. The Quebec Driving Club has been preserved in a number of collections and is found both watercoloured and plain. At least three impressions have been coloured with a pale yellow wash over the entire subject, but with no trace of wash outside the picture area. The most attractive treatment is probably contemporary with the print’s first appearance. The quality of colouring is in keeping with the delicately etched line and the textural effects created in the snow and the buildings by very light touches of aquatint. In some late watercoloured examples these finer details of the printmaker’s art are obscured.’)
M. Allodi, Printmaking in Canada. The earliest Views and Portraits, Toronto, 1980, pp.50-51, no.24 (‘Undoubtedly the finest Canadian sledging scene printed in Canada. The Quebec Driving Club has been preserved in a number of collections and is found both watercoloured and plain. At least three impressions have been coloured with a pale yellow wash over the entire subject, but with no trace of wash outside the picture area. The most attractive treatment is probably contemporary with the print’s first appearance. The quality of colouring is in keeping with the delicately etched line and the textural effects created in the snow and the buildings by very light touches of aquatint. In some late watercoloured examples these finer details of the printmaker’s art are obscured.’)