Oil painting entitled 'Melinda and Lucy Consult Kite' (from George Farquhar's, The Recruiting Officer, Act IV, Scene 2), painted by Robert Smirke. Great Britain, ca. late 18th century to early 19th century.

Given by John Sheepshanks, 1857

Given by John Sheepshanks, 1857.

Historical Significance: Robert Smirke was in born in Wigton, Cumberland. He was brought to London in 1766 to become an apprentice in a coach-painting workshop. In 1775 he became a member of the Incorporated Society of Artists. He exhibited in the Royal Academy from 1786 to 1813, as a full academician from 1793. Later in life he fell out of favour in the Academy because of his democratic political views. In 1804 Smirke was elected Keeper of the Royal Academy by fellow academicians, but King George III refused to endorse the appointment and it subsequently went to Henry Fuseli (1741-1825).

Smirke mainly produced works in oil or grisaille, later focusing on small formats appropriate for reproduction as engravings. He became one of the most prolific book illustrators of his time. His works, showing an assured draughtsmanship, are not without a sense of humour. Some of the examples of Smirke’s illustration projects include engravings for several editions of the Arabian Nights (1802. 1810, 1814, 1839), Don Quijote (1818) and works by Shakespeare.

A number of paintings from the Don Quijote series survive in the Tate. Examples of his illustrations can be found in the British Museum as well as the Victoria and Albert Museum.

This painting served as a source for an engraving illustrating the Recruiting Officer, a play written by George Farquhar in 1706. The plot focuses on the social and sexual exploits of two officers, the womanising Plume and the cowardly Brazen. FA 248 depicts the scene 2 of Act IV, where the two main female characters, Melinda and Lucy, visit a fortune teller who is actually Plume’s sargeant Kite. He tricks Melinda by showing her a sample of her handwriting, which he claims he receied from the devil, but in fact is a part of a letter written by her. Both women examine the piece of paper in amazement.

This work shows the quality of Smirke’s drawing. He managed to convey the action using concise strokes and limited means. The painting is not abundant in tonal variety and details of the background, which makes it suitable for engraving.

The V&A has 2 engravings by James Neagle (1765-1822) after this painting, catalogued under 28293.35 and E.828-1887. Both were prepared for an edition of the Recruiting Officer printed by C. Cooke in 1806. Neagle was a prolific book illustrator working after the designs of artists such as Henry Fuseli (1741-1825), Henry Singleton (1766-1839) and Smirke.

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