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As an example of the work of one of the younger painters of the English school, a contemporary of George H. Boughton, the late Frederick Walker, and other artists of the class, Mr. Filde’s ‘Simpletons’ is very pleasing. The two lovers in the boat have found a cozy nook by the river’s side, and are drifting into the current among the rushes and water-lilies. The scene sparkles with sunlight, and from the action of the young couple it is evident that they do not shun the light, but rather the intrusion of curious eyes as they float upon the tide. The maiden turns her head away as the tender words fall from her lover’s lips; the book rests in her lap unread; and her left hand is extended over the water, half unconsciously, as if to stir the mirror-like surface, which reflects the emotions of her fair face. The subject is an old one, but credit is due to the artist for having infused so large a measure of romance and quiet grace into his lovers. The drawing is done with great precision, and the engraver in producing the subject has very happily caught the inspiration of the painter. The picture was exhibited in the Exhibition of the British Royal Academy in 1873.
Mr. Fildes does not confine his attention entirely to these love-scenes. His great work entitled 'Applicants for Admission to a Casual Ward' - "dumb, wet, silent horrors! Sphinxes set up against the dead wall, and none likely to be at pains of solving them until the general overthrow," which was in the English department of the Centennial Exhibition at Philadelphia, represents another and more powerful motive and a bolder aim in Art. An English critic in a notice of this marvelous picture of beggars and tramps who stand shivering in the driving snow-storm at the door of the work-house as they await their turn for admission, said in substance that it is the most notable piece of realism that had been exhibited in a long time, and that the lines quoted from Dickens fairly described the mode in which the painter had approached his subject. He said further, that the artist had shirked nothing; he had set down the facts as he found them, and had, as a result, produced the startling impression of all wayward and unlovely reality. These deformed and wretched creatures, who wait for admission to a miserable resting-place, are only admissible into Art that is indifferent to beauty. In this painting, unlike his 'Simpletons,' he has made no attempt to make his picture pretty, but has left it weird and repelling; and yet for this very reason it fascinates the spectator in spite of the misery which is revealed in its story. Art of this kind does not interpret the highest degree of pictorial beauty, but it teaches a lesson and always commands respect.
More lovable, and yet full of sad thoughts, was Mr. Fildes's 'Widower’ in the last Exhibition, representing the interior of a homely cottage. The mother is dead, and the father, who has just returned from his daily labor, clay-stained and weary, is seated and holds in his arms a sick child; three younger children are playing on the floor, the baby scrambling after an apple, while an elder sister stands near the open door through which the bright sunshine finds its way. The subject is simple in its character, and touches the hearts as a story drawn from real life by its pathos and sentiment.
In studying these several pictures by Fildes, one is struck with the remarkable versatility of his style: In one we have a tender touch of Nature, a gleam of sunshine, as it were, in which two young hearts are reveling, without a shadow in their pathway. Again he gives us the dark side of Nature in a picture which teaches a painfully moral lesson; and as a writer has very justly said, the state of things he represents in it ought rather to be removed than perpetuated, and its introduction into Art, which should be permanent, is rather a matter of regret. Finally, his striking picture of the 'Widower,' a story which is told with extraordinary power, and one which from its simplicity and thoroughness, as well as the pathos of its motive, will awaken lasting interest in the human mind.
This item is a steel engraving from the original painting by S.L. Fildes called “SIMPLETONS”. It was engraved by C. Cousen and published in 1877. This engraving is in very good condition. The engraving measures 6 1/8” x 10”, and is matted to 11” x 14” for easy framing.
IMPORTANT TO NOTE
Antique prints, etchings, engravings, and lithographs are printing processes, which use steel, copper, stone or wood blocks or plates to produce a picture on paper.
Most antique prints and engravings, which are seen on the internet today, are bookplates. Because they are pages from a book, there are multiple copies in existence. This does not, however, mean that they are "reproductions" that have been printed recently. Because they were, at some point, part of books, some have been preserved in excellent condition, while others show signs of age, as yellow spots or darkness on the edge of the page from being handled.
Engravings, and lithographs are high quality pieces of art, as it took a highly trained artist many hours of work to produce one. Although there may be multiple copies still in existence, the date of the item should be stated, thus giving the buyer an idea of its age.
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