The late eighteenth century in Europe witnessed
a revival of interest in the art, architecture and
literature of antiquity. It became customary for
the sons of wealthy families to embark upon a
‘Grand Tour’ as part of their education and Italy
was the principle destination. The ruins of Rome
and the rediscovery of sites such as Pompeii and
Herculaneum helped to stimulate the market for
antiquities. The purchase of souvenirs abroad,
whether genuine or of recent manufacture,
helped to spread this fashion for the antique.
James Tassie (1735-1799) was one of a number
of highly skilled artists who capitalised on this
demand. Born in Scotland he started his career
as a stonemason before returning to study
sculpture and modelling at the Glasgow
Academy. Having travelled to Dublin in Ireland to
seek commissions, he made the acquaintance of
an amateur gem engraver, Dr Quinn. Together
the two men developed a new type of white
enamel that was ideally suited to portrait
medallions. However it was after relocating to
London in 1766 that Tassie’s career as a gem
engraver really took off. He soon acquired an
international reputation, and received a
commission for 15,000 pieces from Catherine
the Great, Empress of Russia. Many prestigious
European collections were made accessible to
him for the purposes of study. His knowledge of
antique designs was highly esteemed and he was
commissioned to provide designs for Josiah
Wedgwood. In fact his gems and medallions
proved so popular that the business continued to
flourish in the early nineteenth century under the
direction of his nephew William Tassie.
Tassie was a master at depicting extraordinary
anatomical detail on a miniature scale; and this
lovely intaglio is a perfect example. The
beautifully engraved young woman displays
great expression, movement and character. Her
right leg is bent at the knee, her body twisted
slightly, her face looking upwards. She wears a
soft hat or scarf, her pretty profile very clearly
delineated. She stares intently at an object, or
collection of objects, appearing to arise from the
ground. It is perhaps a tree hung with various
items, including an amphora as a possible votive
offering. Some traditions describe Venus as the
goddess of gardens, her principle plants being
rose and myrtle. The graceful form and elegance
of this woman bears a strong resemblance to
ancient statues of the goddess of love. Tassie
has here created a scene of innocence and
sensuality, mystery and elegance which will
always be a source of delight.
