MASTER JOHN PRIDEAUX BASSET (1740-1756) BY JOHN FABER, AFTER ALLAN RAMSEY.
Fine and rare 18th century mezzotint portrait of John Prideaux Basset (1740-1756) The boy sitter is pictured full length, inclined slightly to the right, with tumbling curling hair. He wears ‘Vandyke’ dress, comprised of a short jacket and shoes with large rosettes, a plumed hat in his right hand, his left extended. A greyhound runs at his side, with an extensive landscape background. This charming mezzotint can be found in many major collections, including The Royal Academy and The Royal Collection as well as The National Gallery. It presents very well in its fine period frame, and is ready to hang and enjoy.
John Faber (1695 – 1756) Engraver and portrait and miniature painter. John Faber Jr., was the son of John Faber, also an engraver, was born in Amsterdam. His family settled in England and he learned drawing and mezzotint engraving from his father before enrolling at the academy in St Martin's Lane founded by Louis Cheron and John Vanderbank. A prolific portraitist, Faber became a well-respected engraver of portraits. Sir Godfrey Kneller and Peter Lely had him make prints after their works. He is best remembered for his forty-seven plates of members of the Kit-Cat Club after Kneller and a series of twelve portraits entitled Beauties of Hampton Court.
Allan Ramsay (1713 - 1784)
Allan Ramsay was born in Edinburgh, Scotland, the eldest son of Allan Ramsay, poet and author of The Gentle Shepherd. From the age of twenty he studied in London under the Swedish painter Hans Hysing, and at the St. Martin's Lane Academy; leaving in 1736 for Rome and Naples, where he worked for three years under Francesco Solimena and Imperiali (Francesco Fernandi).
Ramsay completed his training in Rome and Naples. On his return to London in 1738 his only serious competitor was Thomas Hudson, with whom he shared a drapery painter, Joseph van Aken. In 1761 it was Ramsay, not Reynolds, who was appointed Painter to the King. His later portraits are characterised by their soft colours and French elegance. He gave up painting in about 1770 to follow literary pursuits.
Mezzotint. Framed: 40cm x 30m / 16in. x 12in. Sheet: 35cm x 25cm/ 14in. x 10in. Executed: circa 1745
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