|Artist||Robert Laurie after George Stubbs|
|Published||Painted by Geoe. Stubbs. Engraved by Robt. Laurie. Republished 12th Novr. 1800 by Robt. Laurie & Jas. Whittle, No. 53 Fleet Street London (Successors to the late Mr. Robert Sayer).|
|Dimensions||Image 463 x 582 mm, Plate 493 x 582 mm|
A superb dark and velvety impression of Laurie's celebrated mezzotint of Stubbs' reclining tigress in her bower, the original painting formerly in the collection at Blenheim. Laurie's plate was intended as a republication of the earlier mezzotint by Dixon, widely regarded at the time as the 'finest mezzotinto that was ever engraved.' Unfortunately, Dixon's earlier plate had been destroyed in a fire. Laurie's plate differs in its treatment of the background details of the Tigress' lair, as well as showing a lesser reliance on etching in the tiger's stripes than Dixon's original.
Inscribed below title: 'From a Capital Picture, by Geoe. Stubbs in the Possession of his Grace the Duke of Marlborough.'
Robert Laurie (c.1755-1836) was a British engraver, mezzotint artist, and publisher. In 1776, he was awarded a prize by the Society of Arts for the invention of a method of producing colour-printed mezzotints. Laurie succeeded the publisher Robert Sayer after the latter's death in 1794, and, in partnership with James Whittle, continued Sayer's prolific and well-established business on the Fleet Street, issuing prints, maps, illustrated books, charts, and nautical works. Following Laurie's retirement in 1812, Whittle continued in business with his former partner's son, Richard Holmes Laurie, who gained sole ownership of the business in 1818 with the death of Whittle.
George Stubbs (1724-1806) was a painter and anatomist. A superb animal painter and a penetrating portraitist, Stubbs is best known for his Anatomy of a Horse, 1766, a series of magnificent engravings based on the dissections he carried out in a remote village in Lincolnshire. A friend of Josiah Wedgwood, Stubbs experimented with painting on alternative surfaces, including copper, porcelain and a Wedgwood plaque.
Lennox-Boyd 139 iii/iii
Condition: Printers crease to top centre of plate. Minor cracking to plate mark, professionally strengthened on verso. Narrow margins, some creasing, folding, and repaired tears to edges of sheet, not affecting plate or image. Otherwise, an excellent clean dark impression.