Dighton, Richard (McKechnie Section 2)

Three silhouettes bearing the signature of `Dighton' are recorded. One was sold by Sotheby and Company, London, on 18 December 1972; signed Richard Dighton, it was dated 1828. Woodiwiss (British Silhouettes) mentions a silhouette of Elizabeth Barrett Browning and quotes the following entry from a bookseller's catalogue in which it was listed: 'Fine full-length Silhouette Portrait, heightened with gold, of Elizabeth Barrett Browning, with faint landscape background in sepia wash. In oval gilt frame, enclosed in the original oblong glass-fronted box, the space between lined plush. The back bears the holograph inscription "Portrait of Elizabeth Barrett Browning, painted by Dighton". This example may well have been by Richard Dighton, as Woodiwiss presumed, although it may have been by another member of this large family of artists. The third example was recorded by Mr J. A. Pollak (Fresh Light on Silhouette, Connoisseur, March 1949) as by `Dighton, M.' of Cheltenham, and as being painted in full-length on card in c. 1838. Unless this was clearly legible only as an initial, it may have indicated referring to Richard Dighton.

Richard Dighton is said to have been the son of Robert Dighton (1752-1814), who exhibited portraits, painted in a variety of styles, at the Royal Academy and at the Free Society 1760-99. Robert is believed to have had at least four sons. Robert Dighton, the younger (1786-1865) was a caricature artist who published some of his own work as prints, including military subjects, 1802-1807. In 1809 he gave up his artistic career and joined the army. Denis Dighton (1792-1827) was best known as a painter of battle scenes, who was appointed military painter to the Prince Regent in 1815; he also worked as an engraver. The dates of Joshua Dighton are not known, but he is thought to have worked well into the 1880s. His style was much like that of his brother Richard (discussed below), and the work of the two brothers has been much confused. He may have been the J. Dighton recorded by Graves as exhibiting an architectural subject at the Royal Academy in 1832. Graves also records other members of the family: Mrs Denis Dighton, who exhibited as Mrs Macintyre, 1820-1835; George Dighton, who exhibited 1857-71; Thomas D. Dighton, who exhibited 1847-48; and William Edward Dighton, who exhibited 1843-53.

I have seen none of the three silhouettes in question, and therefore cannot say if they were by the same hand. Richard Dighton was primarily known for his full-length caricature drawings; the earliest of these appeared in 1815, and he continued to publish them under his own name until 1824, when he sold his plates to Thomas Maclean (of 26 Haymarket, London) who reissued them under his own name until 1827. Richard's early work was obviously influenced by that of his father, but later in life he gave up caricature work to concentrate on full-length drawings of figures, almost all in profile. He continued with this work well into the 1860s. These figures are usually represented standing, and it is unlikely, if he was indeed responsible for the few recorded silhouette portraits, that he ever executed any in bust-length.

It would therefore be difficult to identify any unsigned work as that of Richard Dighton. We know, however, that he was accustomed to sign his drawings of standing figures near the foot; any further silhouettes which come to light would probably, therefore, be signed in this way.