The Gardener's Daughter
Mixed-method stipple engraving, 1857, by James John Chant, on chine laid down on thick wove card. Image 30-5/8 x 23-5/8 in.; sheet 33-3/4 x 25-5/8 in. Engraved address of the publisher in lower center margin: "London, Published by Henry Graves & Compy, Decr.1st,1857; Printsellers to the Queen__6 Pall Mall." Blindstamp in lower left margin, D.R in an oval surrounded by another oval of beads (not in Lugt). Possibly an "India proof before letters" (other than the publisher's address) printed by Dixon & Ross as one of a few impressions additional to the Printsellers' Association limitation. A strong, bright and early impression, minor water stains and tears in margins, repaired, trace of old central horizontal fold, minor surface abrasion, the backing card and some border areas now strengthened with oriental tissue, in very good condition considering its size and age. In its possibly original and contemporary frame of molded and polished walnut with elaborate gilt paneling, retaining its old ripple glass.
This print is listed in An alphabetical list of engravings declared at the office of the Printsellers' Association, London… compiled by the secretary, G.W. Friend… (London, 1885) as a mezzotint, 24 x 30-3/4 in., by J.J. Chant after the painting by J. Phillip, R.A. and R. Ansdell, R.A., declared by H. Graves & Co. in December, 1857. (The compilation lists mixed method prints over mezzotint grounds as mezzotints.) With its indicated D.R (rather than PSA) blindstamp, it was almost certainly printed by Dixon & Ross, as printers to Henry Graves & Co., probably as a "printer's proof" reserved for the partners or senior staff. See Anthony Dyson, Pictures to Print: the nineteenth-century engraving trade, London: Farrand, 1984, cat. 13, p. 193, cf. list on p. 304 of Ledger (referring to Ansdell but not Phillip as the artist).
The engraving is illustrated full-page in Richard Muther (late Keeper of the Prints, Munich Pinakothek), The History of Modern Painting, v. 2, London: Henry & Co., 1896, p. 605 (by permission of Messrs. Henry Graves & Co., and with the same title). In comparison with the illustration, the present impression appears to preserve areas of significantly deeper tonality before the wearing of the plate, for example in the horse’s right hind, the clothing of the figure and the flowers of the basket and the climbing vine on the doorway.
The painting from which the engraving was made was included among a group
of Phillip’s works posthumously exhibited at the London International
Exhibition of 1873, item 1181 listed in the Official Catalogue
as “The Gardener’s Daughter” / Engraved / Lent by Mr.
J. Nield. The work was included in the separate catalogue prepared by Thomas
Oldham Barlow, Phillip’s executor and a close friend and collaborator
of Ansdell as well, A Catalogue of the works of John Phillip, R.A.,
exhibited at the London International Exhibition, 1873, London: Chiswick
Press, 1873, p. 37, no. LXXV (canvas, given the date 1856, 34-1/2 in. by
27 in., engraved by Mr. J.J. Chant), where Barlow states: “(The Girl
only by Phillip.) Rest of the picture by R. Ansdell, R.A.” The painting
was sold at Christie’s May 3, 1879 from the collection of Jonathan
Nield, Dunster House, Rochdale for 600 guineas (mentioned first in place
in the narrative of the sale, as “R. Ansdell, Gardener’s Daughter
(with J. Phillip)” and fetching among the higher prices realized):
see William Roberts, Memorials of Christie’s: a record
of art sales from 1766 to 1896, London: G. Bell and Sons, 1897, v.
1, p. 305. This (lot 73 on May 3, 1879, bought by Agnews) is the only recorded
sale of the painting through 1911. See Algernon Graves, Art
sales from early in the eighteenth century to early in the twentieth century:
(mostly old master and early English pictures), London, A. Graves,
v. 1 (1918), p. 10; v. 2 (1921), p. 324. Jonathan Nield jun., a managing
partner of Fenton’s Bank in Rochdale, built Dunster House in 1854
and may be surmised the first owner of the painting, through his sale in
1879.
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Price: $7,500
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