Lot Essay
For a discussion of the work of Robertson for his patron William Beckford in Jamaica, see T. Barringer, G, Forrester and B. Martinez-Ruiz, Art and Emancipation in Jamaica, Isaac Mendez Belisario and His Worlds, New Haven and London, [nd], pp. 279-283: 'By the mid-eighteenth century the Jamaican planters had achieved a lifestyle of considerable refinement. Fine furnishings were imported from England, and Great Houses, which often overlooked the estate from a hillside, were designed for elegance as well as comfort. Visual representations of the sugar plantations tended to employ compositional tropes that had become conventional in depicting the English country estate, themselves influenced by the earlier work of Claude Lorrain. By the 1770s the English taste for the picturesque in landscape had spread to Jamaica. One of its most enthusiastic advocates was the Jamaican planter William Beckford (1744-1799). ... As a patron, Beckford was responsible for shaping the career of the painter George Robertson, who became a pioneering exponent of the Jamaican picturesque. ...The two took a Grand Tour of Europe, beginning in 1767 or 1768, and Robertson remained in Rome for three years to complete his artistic education. In 1771 he returned to London, where he was invited to travel with Beckford to Jamaica. There, about 1773, Robertson made a number of oil paintings, some of which he exhibited, and six of which ... were later engraved in London ad published in 1778 by John and Josiah Boydell with a dedication to Beckford. Slavery appears in the same positiive light int hese works as in Beckford's writings.' (op. cit., p.279)