G. Romney Esq.
Artist
John Jackson
(English, born Yorkshire, England 1778-died London, England 1831)
Engraver
William Thomas Fry
(British, 1789-1843)
ArtistAfter
George Romney
(English, born Dalton-in-Furness, England 1734-died Kendel, England 1802)
Date1817
Mediumstipple engraving
Dimensions
frame: 26 1/2 × 20 1/2 in. (67.3 × 52.1 cm)
sight: 11 7/8 × 8 7/8 in. (30.2 × 22.5 cm)
ClassificationPrint
Credit LineGift of Dr. Earle W. Newton
Object number2001.1.1011
DescriptionPortrait of man wearing short gray curled wig, black coat, and white tie, facing camera with head slightly tilted downward
Below image: “G. Romney, Esq.,”
“From an original picture by himself fin the possession of his son, the Rev. John Romney.”
“Drawn by J. Jackson, Esq. R.A. Engraved by W.T. Fry”
“Published June 4, 1817 by T.Cadell & W. Davies, Strand, London”
George Romney was the third of elevn children of a cabinetmaker. He worked with his father from the age of 11 and then was apprenticed to a local painter. In 1762 he settled in London where he won recognition for his historical paintings from the Society of Arts in 1763 and 1765.
Like many artist of the period, he spent time in Italy (from 1773-1774) and often incorporated refernces to Old Masters or to classicism in his paintings. He became highly successful as a society portraitist but never exhibited at the Royal Academy due to a rivalry with Reynolds. His health had suffered from his heavy schedule, and in 1795, he retired from portrait painting.
Below image: “G. Romney, Esq.,”
“From an original picture by himself fin the possession of his son, the Rev. John Romney.”
“Drawn by J. Jackson, Esq. R.A. Engraved by W.T. Fry”
“Published June 4, 1817 by T.Cadell & W. Davies, Strand, London”
George Romney was the third of elevn children of a cabinetmaker. He worked with his father from the age of 11 and then was apprenticed to a local painter. In 1762 he settled in London where he won recognition for his historical paintings from the Society of Arts in 1763 and 1765.
Like many artist of the period, he spent time in Italy (from 1773-1774) and often incorporated refernces to Old Masters or to classicism in his paintings. He became highly successful as a society portraitist but never exhibited at the Royal Academy due to a rivalry with Reynolds. His health had suffered from his heavy schedule, and in 1795, he retired from portrait painting.
Not on view