Beaumont (William Dyer, active 1833-1852). Four full-length silhouette portraits, 1852, together four full-length black painted silhouette portraits, with touches of colour, bodycolour, and gilt, comprising two gentlemen profile to right, and two ladies, one profile to right, the other profile to left, the younger lady holding a book, and with circular embossed stamp to upper left corner 'Turnbull Superfine London Board', some rubbing and consequent minor paint flaking (most noticeably to the hair of the older gentleman and the nose tip of the older lady), some light toning and marks, each signed and dated in pencil lower right, each 25 x 19 cm (9.75 x 7.5 ins), matching mounts and frames, glazed (Qty: 4) A distinctive and sought-after silhouette cutter and painter, William Dyer Beaumont is a somewhat obscure character. His only recorded trade label makes reference to him working in Bath and Brighton, although it is thought that he may have been based in Cheltenham. Strangely he is often referred to as W.H. Beaumont, and sometimes as W. Dyce Beaumont; the former appears to be a perpetuated error, the latter is clearly a misreading of 'Dyer'. Three of our silhouettes are signed 'W. Dyer Beaumont fecit 1852' and the other 'Dyer Beaumont fecit 1852'. Many of his works are not signed at all, but he makes use of various devices which make his work fairly easy to recognise: a propensity for full-length figures; a use of sepia or dark brown paper (though black is used too, as here); the addition of props such as books, furniture, items of needlework and ornaments, these often picked out in colours or gold; and the use of shadows. His later silhouettes of the 1840s and beyond have been called 'among the finest of the period.' (Sue McKechnie, British Silhouette Artists and their Work: 1760-1860, 1978, page 190). John Woodiwiss was of a similar opinion, saying, 'really outstanding profiles demand a high degree of artistic taste and technique and in this respect few painters of the mid-nineteenth century could compare with W. H. Beaumont', adding that the artist 'enjoyed using colour and always did so with the blending and discrimation of good taste'. Woodiwiss particularly admired Beaumont's female portraits as studies of 'unusual charm', their lace adornments painted 'with the delicate touch of a master.' (John Woodiwiss, British Silhouettes, 1965, page 68).
Beaumont (William Dyer, active 1833-1852). Four full-length silhouette portraits, 1852, together four full-length black painted silhouette portraits, with touches of colour, bodycolour, and gilt, comprising two gentlemen profile to right, and two ladies, one profile to right, the other profile to left, the younger lady holding a book, and with circular embossed stamp to upper left corner 'Turnbull Superfine London Board', some rubbing and consequent minor paint flaking (most noticeably to the hair of the older gentleman and the nose tip of the older lady), some light toning and marks, each signed and dated in pencil lower right, each 25 x 19 cm (9.75 x 7.5 ins), matching mounts and frames, glazed (Qty: 4) A distinctive and sought-after silhouette cutter and painter, William Dyer Beaumont is a somewhat obscure character. His only recorded trade label makes reference to him working in Bath and Brighton, although it is thought that he may have been based in Cheltenham. Strangely he is often referred to as W.H. Beaumont, and sometimes as W. Dyce Beaumont; the former appears to be a perpetuated error, the latter is clearly a misreading of 'Dyer'. Three of our silhouettes are signed 'W. Dyer Beaumont fecit 1852' and the other 'Dyer Beaumont fecit 1852'. Many of his works are not signed at all, but he makes use of various devices which make his work fairly easy to recognise: a propensity for full-length figures; a use of sepia or dark brown paper (though black is used too, as here); the addition of props such as books, furniture, items of needlework and ornaments, these often picked out in colours or gold; and the use of shadows. His later silhouettes of the 1840s and beyond have been called 'among the finest of the period.' (Sue McKechnie, British Silhouette Artists and their Work: 1760-1860, 1978, page 190). John Woodiwiss was of a similar opinion, saying, 'really outstanding profiles demand a high degree of artistic taste and technique and in this respect few painters of the mid-nineteenth century could compare with W. H. Beaumont', adding that the artist 'enjoyed using colour and always did so with the blending and discrimation of good taste'. Woodiwiss particularly admired Beaumont's female portraits as studies of 'unusual charm', their lace adornments painted 'with the delicate touch of a master.' (John Woodiwiss, British Silhouettes, 1965, page 68).
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