James Smetham – Squarings
1 in stock
Studies from an album of scraps from sketch books by Jas. Smetham. All three miniatures are housed in an 18th century carved and gilded frame (1).
1. A Young Woman Holding a Finger to Her Lips (with script): Black and brown ink with watercolour and white highlights on thin paper: 2.7 x 2.8 cm.
2. An Egyptian Goddess: Watercolour with white highlights on off white paper: 4.4 x 2.3 cm.
3. Maria Paulina Kaspa Apr 6 61: Black ink and watercolour with white highlights: 2.5 x 1.8 cm.
Frame: Outside measurements: 12.5 x 16 cm. Sight: 8.3 x 11.6 cm.
Provenance: A transcript of a letter written by the artist’s daughter will be included in the sale.
A short extract taken from the book ‘James Smetham’ by Susan Casteras, chapter 2 ‘Something rescued from the form of Oblivion’: Smetham’s Squaring, Monumentalism and Ventilation.
Squaring was a deliberate and engaging act of selection, thought and artistic labour, by which the artist produced small drawings, usually in the margins of books, and then enclosed them in small rectilinear ‘squares’. The majority of squarings was quite tiny in scale, typically the size of a small stamp, and usually rendered in ink. Some were quite finished in detail, while others were sketchy and almost telegraphic. The chief books which Smetham chose to square were the Bible, the Wesleyan Hymn book, some exhibition catalogues, tomes by Shakespeare, Gilchrist’s Life of Blake and Tennyson.
THE ALBUM (NOW DISMANTLED)
Bound in black with gold letters
229 drawings and watercolours previously pasted to 45 pages, includes one print and one photograph
Compiled by the artist’s daughter, Edie and her siblings in 1878
Inscribed on the frontispiece; Scraps from Sketch Books – Jas. Smetham; variously inscribed throughout the book.
Overall size of album 8 ½ x 4 ½ in. (22 x 14 cm.)
Throughout his life Smetham had suffered from bouts of mental illness but it was in the fall of 1877 that he succumbed to a debilitating attack after which he withdrew from the world, he became delusional and virtually ceased talking. Almost a year had passed since his attack when he received the album. After a decade of emotional and psychological anguish, he died on February 5, 1889.
Three letters written by his daughter Edie accompanied the album, two of the letters are addressed to Sarah her mother and the other is written and addressed to her grandmother in 1878 (during fathers ill-ness). Smetham was being looked after by Sarah at an address in Malvern, Worcestershire. On Oct-78 from the family home in Stoke Newington, and before sending the book Edie wrote a letter to her moth-er describing how Ted her brother, had mistakenly ordered the album to be bound in black instead of the dark green her mother wanted.
Along with the letters came three typed pages of an exhibition of Smetham’s works. The document starts with a short biography which follows with a comprehensive list of items including letters, books, journals, oil paintings, prints, drawings, watercolours and photographs. Unfortunately, there is no information to say when or where the exhibition was held.
A total of 229 works were removed from the album – some pencil, others pen and ink, chalk, watercolour and bodycolor of various sizes. There are studies of animals and botany, portraits and figure sketches and compositions for pictures, including scenes from the tempest and other romantic and fanciful subjects. His love of nature and literature along with his spiritual and scientific interests are evident in these works, but they also give us some insight into the close connection he had with his family and friends. One of Smetham’s prints are included and a photo of a painted portrait given to the artist is inscribed – to J Smetham from his friend F.J.S. – (Frederick James Shields, 1833-1911).
All works by Smetham have been removed from the album and conserved onto sheets of blue laid paper ready to be framed, except for three miniatures (squaring’s) which have been mounted and put into one frame.
Altogether there are 115 sheets. Some will be sold individually while others are to be sold in groups of up to 6 sheets per sale. There can be as many as 15 scraps on a single sheet. Notes have been added to the back of a sheet where information on a particular subject has been found. A transcript of the letter written by the artist’s daughter mentioning the album will be included in the sale. A photographic record has been kept of images and inscriptions found on the backs of pictures and where necessary more accomplished works have been exposed on both sides of a sheet.