Mezzotints after portraits by Reynolds vividly communicated the boldness and drama of his paint handling and light effects, while also providing free publicity for the artist and his sitters. Watson’s notably dense and rich treatment of black is displayed in this mezzotint after a 1764 portrait of the architect James Paine with his only son. Paine shows off his plans for a pavilion at Worksop Manor, while his nineteenyear-old son, also named James, looks on with admiration.
Alfreda J. Murck, "Acquisitions 1968", Record of the Art Museum, Princeton University 27, no. 2 (1968): p. 94-105.
Charles E. Russell, English mezzotint portraits and their states from the invention of mezzotinting until the early part of the 19th century (London: Halton & T. Smith, Ltd., 1926).
John Chaloner Smith, British mezzotinto portraits; being a descriptive catalogue of these engravings from the introduction of the art to the early part of the present century (London: H. Sotheran & Co., 1883).