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Proof Before Letters.

This exquisite, lifelike mezzotint, created in 1772 by the talented engraver Richard Houston, faithfully reproduces Johann Zoffany’s original 1770 oil portrait of James Sayer. Commissioned by the renowned print publisher Robert Sayer, the image captures his only surviving child, James, at the tender age of thirteen. The composition is a testament to Zoffany’s unparalleled capacity for capturing personality and likeness, a skill that made him the foremost society painter of his age, rivalled only by Gainsborough.

In the mezzotint, young James is portrayed as an angler standing on a rock next to a small waterfall. His gold-braided tricorne hat lay on his wicker creel nearby, James is engrossed in the act of unhooking a fish, a roach, from his line. This scene not only reflects a popular pastime of the era but also serves as a symbolic representation of boyhood and innocence.

The mezzotint almost certainly held deep personal significance for Robert Sayer, who was among London's most successful print publishers by the early 1770s. Born in Sunderland, Sayer had established his business in London by the late 1740s, trading in maps and prints from his premises at the sign of the Golden Buck in Fleet Street. By 1754, he had married Dorothy Careless (or Carlos), with whom he had seven children, though James was the only one to survive infancy. As Sayer’s sole heir, James was undoubtedly the focus of much affection and hope.

Robert Sayer was not only a devoted father but also an astute businessman. He recognized the market value of this mezzotint beyond its personal appeal. The portrait of his son was crafted to resonate with a broader audience as an appealing and relatable image of youthful vigor and charm. This strategic vision was indicative of Sayer’s prowess in the print industry, where he expanded his offerings to include portraits and humorous ‘drolls’. His collaboration with Zoffany, a master of theatrical and royal portraits, was both a professional and personal alliance, evidenced by their shared projects and the prints published from Zoffany’s works.

The enduring appeal of this mezzotint lies in its ability to convey the universal themes of childhood and familial pride through the lens of a historical pastime. The setting, attire, and activity all contribute to a rich tableau that invites the viewer into the world of 18th-century leisure and familial bonds.

The painting on which the mezzotint is based was sold by Robert Sayer's granddaughter at Sotheby's in 1954 and is now in The Woolavington Collection of sporting pictures.