| Method | Mezzotint |
| Artist | Richard Brookshaw after Sir Joshua Reynolds |
| Published | Printed for John Bowles No.13 in Cornhill. |
| Dimensions | Image 130 x 113 mm, Plate 150 x 114 mm, Sheet 170 x 133 mm |
| Notes |
Three quarter length mezzotint portrait of sisters Elizabeth and Emma Crewe after Reynolds, directed and facing left. Elizabeth is on the right holding a basket if flowers and Emma is on the left her left arm on Elizabeth's right shoulder and her right arm outstretched pointing with her forefinger, pearls in the hair, and trees in the background. Elizabeth Hinchcliffe (nee Crewe) (fl. 1750s-1790s) was the daughter of Elizabeth Shuttleworth and John Crewe, M.P. for Cheshire 1732-52, the sister of John Crewe first Baron Crewe (1742-1829), and wife of John Hinchliffe Bishop of Peterborough (1731-1794). She had five children and outlived her husband. Emma Crewe (1741- c. 1795) was a British artist known for the designs she produced for Joshia Wedgewood and her botanical art. Emma was the daughter of Elizabeth Shuttleworth and John Crewe, M.P. for Cheshire 1732-52, the sister of John Crewe first Baron Crewe (1742-1829) and the older sister of Elizabeth Crewe. The second of six children she was closest to her sister Elizabeth. Financially independent, Emma lived part of the time with her older brother John Crewe, 1st Baron Crewe and his wife notable social hostess Frances, Lady Crewe. Emma met Wedgewood through her sister-in-law Frances. In additions to designs for Wedgewood, Emma also produced designs for prints after her drawings and Erasmus Darwin's The Loves of Plants. Richard Brookshaw (1736 - c.1804) was a British mezzotinter and draughtsman. He was active in London, Paris (from 1773 - where he briefly associated with Haines), Brussels and Amsterdam (1779). Son of George Brookshaw snr, and elder brother of George Brookshaw jr. who was famous for the plate book Pomona Britannica. Sir Joshua Reynolds (1723-1792) was one of the most important figures of the eighteenth century art world. He was the first President of the Royal Academy and Britain's leading portrait painter. Through a series of lectures on the Discourses on Art at the Royal Academy he defined the style later known as the Grand Manner, an idealised Classical aesthetic. He had a profound impact on the theory and practice of art and helped to raise the status of portrait painting into the realm of fine art. A flamboyant socialite, Reynolds used his social contacts to promote himself and advance his career becoming one of the most prominent portrait painters of the period. Chaloner Smith undescribed, Hamilton undescribed, Lennox-Boyd i/i Condition: Laid to a sheet of paper, then tipped to an album paper, some surface dirt in the margins, repaired tear in the left margin up to edge of plate. |
| Framing | unmounted |
| Price | £150.00 |
| Stock ID | 52942 |