Smith, Edward, Mrs (SCC Newsletter June 1995)

Mrs Edward Smith

SOME MORE ON HER WORK 1826-1837.

On the 'theme' of the Andrew's Collection at Stoner Park - there are two silhouettes in that Collection that can be attributed to Mrs. Smyth on stylistic grounds in my view. These are nos. 69 & 74 in the temporary catalogue. Both are finely embellished with gold - showing details of hair and clothing. Both have a distinctive bust-line termination that has been associated with Mrs. Smyth by Mrs. McKechnie - see her Book page 499 plates 407 & 409. Both these silhouettes are illustrated below:-

Within the last year Derek Lidstone - a member of the Club - acquired a silhouette by Mrs. Smyth. with a full trade label. This label is recorded in Mrs. McKechnie's Book - see page 437. The silhouette and it's label are photographed over the page. As you will see the silhouette has fine gold embellishment on the lady's bonnet in a trefoil pattern - but in my view the quality of work on her dress is not so fine. Her bust-line termination is not so curved as those in the Andrew's Collection - so clearly Mrs. Smyth, varied her terminations somewhat just to add to the attribution problems! The label is very simple and makes no extravagant claims like some other artists we know! The relevant part of the wording reads:-

Mrs. EDW. SMYTH.

Miniature Painter & Profilist.

40 Strand two doors from Buckingham St.

Mrs. Smyth did sometimes sign under the bust-line "Mrs. Smyth, 40, Strand, Feb 1836" for example - but I have not seen a silhouette signed in this way.

Mrs. E. SMYTH con’t

Not much seems to be known about Mrs. Smyth's life - except she was married and her husband was a flute maker. For a time she shared a Studio with Joshua Trewinnard at 40, Strand - this seems to have been between the years 1826-30. She seems to have worked on her own at the same address from 1830-37 possibly. She stated on her label that she was a miniaturist as well, but she does not appear to be listed in Daphne Foskett's Dictionary and Guide on Miniatures.

No definately authenticated example of a man by Mrs. Smyth is known. A man illustrated in Mrs. McKechnie page 499 plate 408 would appear to be in a somewhat different style - in that it has emphasising lines on the jacket (? use of gum arabic) and there is much less use of gold. Some artists did paint men in a different style so this is possible with Mrs. Smyth. It would be nice to find a man with a label intact. Mrs. Jackson mentions seeing a signed silhouette of a man painted in "shades of grey" but this was not seen by Mrs. McKechnie and no similar example seems to be available. (Do let me know if any of you have a man by Mrs. Smyth or any example of a different style from her work illustrated in this article.

Mr. Joshua's Trewinnard's work as known does not seem to have any similarities to Mrs. Smyth's work - so presumably they did not work closely together as he did with Mr. J. T. Mitchell.

Mrs. E. SMYTH con’t

An unattributed Mrs. Smyth turned-up at Bonham's Sale on the 22nd. February last. It had all the 'typical' gold detail and bust-line termination. Below is a photograph of it, which is taken from a black & white photograph but still shows the detail effectively I think. It is not housed in the usual papier mache frame but in an oval wooden one. It is difficult to say if Mrs. Smyth used a distinctive frame as I have found her silhouettes in a variety of frames.

I am enclosing for good measure a silhouette by Mrs. Smyth which was bought at the Sale of Mrs. McKechnie's Collection in 1978 and attributed to the artist. It has the 'typical' bust-line termination. It also shows her fine gold embellishment on hair and clothing - which is her main 'strength' and provides the main 'tool' in attributing works to her. I do not think she can be said to be amongst the major artists - but her work at it's best is very attractive and well suited to the period when ruffs were worn and women's hair was arranged in an apollo knot.