A fine basso relievo painting of shorebirds in their environment by Irish artist Samuel Dixon of Dublin. Circa 1755.

Gouache on raised, dimensional paper (basso relievo). Framed. Original 18th century glass, 19th century frame.

Unsigned (these paintings were not signed by Dixon, but originally had a makers label on the reverse, on this example, now lost). Various hand written notes regarding family provenance on the wood backing and the cardboard backing (see photos).

Painting: 12" x 16" (30.5 cm x 40.5 cm)

Frame: 18" x 22" (46 cm x 56 cm)

PROVENANCE: San Francisco estate.

CONDITION: Very good condition with the following noted: Several small surface scratches to the blue shorebird; several light spots in the background to the left of the blue shorebird; overall light soiling to the background. Frame is not original but is antique. The glass appears to be original with bubbles and a few light scratches.

NOTES / REFERENCES: A native of Dublin, Samuel Dixon specialized in bird and flower paintings issued between 1748-1755. He is associated with the technique of embossed paper pictures known as "basso relievo". Copper plates were used to press shaped images into paper which were then painted in gouache or watercolor. The advantage of painting in gouache can clearly be seen as the opaque colours, which were ground in water and thickened with gum and honey, fade very little. In consequence, the decoration is often surprisingly vibrant and fresh considering 300 years have passed since they left Ireland.

Dixon traded from Capel Street, Dublin and in the early 1750s employed three young boy painters to execute his work, James Riley, Gustavus Hamilton and Daniel O'Keefe who also later became miniature painters in their own right. Dixon's first set of twelve formal flower arrangements were advertised in the 26th April 1748 edition of Faulkners . The success of this set encouraged Dixon to produce a 'set of curious Foreign Bird Pieces', advertised the following year. The designs were taken directly from the first four volumes of George Edward's Natural History of Uncommon Birds, 1743-1751, as were the descriptive printed labels used on the reverse and still present on the pair offered here. Dixon’s pictures were a great success at the time and were often purchased by the ‘nobility and gentry’ and in addition they were popular with ladies who imitated them in needlework.

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