After George Robertson
PROPERTY FROM A PRIVATE COLLECTION, ENGLAND
After George Robertson

Six Views in the Island of Jamaica: Part of the River Cobre near Spanish Town; Roaring River Estate, belonging to William Beckford Esqr near Savannah la Marr; Fort William Estate with part of Roaring River belonging to William Beckford Esqr near Savannah la Marr; The Bridge crossing the Cabaritta River, on the Estate of William Beckford Esqr; The Spring-head of Roaring River on the Estate of William Beckford Esqr; and The Bridge crossing the River Cobre near Spanish Town

Details
After George Robertson
Six Views in the Island of Jamaica: Part of the River Cobre near Spanish Town; Roaring River Estate, belonging to William Beckford Esqr near Savannah la Marr; Fort William Estate with part of Roaring River belonging to William Beckford Esqr near Savannah la Marr; The Bridge crossing the Cabaritta River, on the Estate of William Beckford Esqr; The Spring-head of Roaring River on the Estate of William Beckford Esqr; and The Bridge crossing the River Cobre near Spanish Town
handcoloured engravings, published by John and Josiah Boydell, London, 1778
16 ¼ x 22in. (41 x 56cm.)
(6)
Provenance
M: J.H. (ownership inscription in pencil on each sheet).

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Helena Ingham
Helena Ingham

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)

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