Shakespeare Tregedy Play TROILUS & CRESSIDA ~ 1840 John OPIE Art Print Engraving

Description: TROILUS AND CRESSIDA Artist: John Opie, R.A _________________ Engraver: P. Lightfoot IMAGE IS MUCH SHARPER AND BRIGHTER THAN SCAN SHOWS !! A HIGH QUALITY STEEL ENGRAVING BOOKPLATE FROM THE 1830'S!! PERFECT FOR FRAMING AS AN ART PRINT FOR YOUR DEN !! VERY ANTIQUE & OLD WORLD LOOKING. ITEM(s) OVER 160 YEARS OLD!! We do not know the identity of this woman, but she is probably a celebrity or actress who contemporary viewers would have recognised. Opie was working at a time when fame was becoming an increasingly important part of artistic success. This painting appeared at the Royal Academy’s annual exhibition in 1800. Artists jostled to grab public attention, painting more flamboyant and dramatic pictures. Opie depicts his sitter as the heroine of Shakespeare’s tragedy Troilus and Cressida. The father and grandfather of John Opie were reputable master carpenters of St. Agnes, a parish about seven miles from Truro, in Cornwall. He was early remarkable for the strength of his understanding, and for the rapidity with which he acquired all the learning that a village school could impart. At ten years of age he had made some proficiency in geometry ; was familiar with Euclid, and was thought to be so capable of instructing the youth of Truro that, at the age of twelve, he set up an evening school in St. Agnes, where he taught arithmetic and writing, and reckoned among his pupils some who were really twice his own age. But he could not submit to be brought up to his father's business; and, during his boyhood, having observed one of his companions drawing, he looked eagerly and in silence at the performance, and on being asked what he was thinking of, he replied, that he "was thinking that if he was to try, he could draw a butterfly as well as Mark Oates." He accordingly made the experiment-triumphed-and from that slight occurrence the bent of his talent was determined. But who sees not that, in fact, here is the latent sentiment which prompted Coreggio to exclaim, " I also am a painter \" when first introduced to the great works in the Vatican ? It happened soon afterward that his father, being employed in repairing a gentleman's house at Truro, young Opie attended him. In the parlor hung a picture of a Farm Yard, probably the first picture he had seen, and of humble execution. He stole from his father's side to contemplate it; and his first care, after returning home, was to procure such colors and canvass as that part of Cornwall afforded; and by these means, assisted by another journey or two to Truro, he produced a very tolerable copy of the Farm Yard. His father checked, but his uncle promoted, his new studies; and Opie gradually, by copying the heads of his village acquaintance, attained a certain degree of skill in portrait painting, when he became accidentally known to Dr. Wolcot, then residing at Truro (and since celebrated under the sobriquet of Peter Pindar), who, having himself some skill in the art, a sound judgment, and a few tolerable pictures, gave useful instructions to the young Cornish student; and thus assisted and recommended, his fame found its way through the surrounding country, and he commenced itinerant portrait painter, visiting the neighboring towns, and being sometimes the bearer of letters of introduction to the resident families of consideration. Such were the professional beginnings of an artist and of a man of integrity, who gradually arrived at the honors of academicianship, and of being chosen Professor of Painting to the Royal Academy. Cut off in the prime of life, he was buried in St. Paul's Cathedral, on Monday, the 27th of April, 1807. Opie came to the metropolis under the auspices of Dr. Wolcot, where his reception was warm, his progress eminently successful, and he was generally spoken of as the Cornish wonder! He painted at first with smaller pencils than he adopted when he had attained a broader and more masterly execution, and his hand more power-at which period of his life he produced numerous capital portraits; and among other historical works, those popular subjects for the Poets and Shakespeare Galleries, and the History of England, which are well known. At this period, too, he produced the picture from which we now publish an engraving. It was a great favorite with the Professor Fuseli, and was painted for Mr. Silk, of Doctors' Commons, who bequeathed it to the National Gallery. It is taken from that scene in the garden, where Pandarus, introducing Cressida to her lover, says- " Come-draw this curtain, and let's see your picture;" and measures 7 feet 6 inches by 4 feet 10 inches. SIZE: Image size in inches is 4 3/4" x 7", overall page size is 7 " x 10". CONDITION: Good condition. Nothing on reverse. Printed on thick rag stock paper. Thick quality rag stock paper. SHIPPING: Buyers to pay shipping/handling, domestic orders receives priority mail, international orders receive regular mail. We pack properly to protect your item! An engraving is an intaglio process of printing, with the design to be produced is cut below the surface of the plate (made of copper, steel or wood), and the incised lines are filled with ink that is then transferred to paper. The portraits on our currency are good examples of engraved images. A Photogravure is an intaglio process in which the plate is produced photographically. Please note: the terms used in our auctions for engraving, heliogravure, lithograph, line drawing, photogravure etc. are ALL images on paper. THIS IS AN ACTUAL STEEL ENGRAVING FROM THE 1830's! NOT A REPRODUCTION!

Price: 7.99 USD

Location: New Providence, New Jersey

End Time: 2025-01-04T22:29:59.000Z

Shipping Cost: 7.95 USD