Robert Dighton Collection

Two Bust-length Caricatures, n.d. Creator: Robert Dighton
Two Bust-length Caricatures, n.d. Attributed to Robert Dighton

Miss Ann Brown and Mr George Mattocks in the characters of Miranda and Ferdinand in an operatic version of William
6337690 Miss Ann Brown and Mr George Mattocks in the characters of Miranda and Ferdinand in an operatic version of William Shakespeares The Tempest, Covent Garden Theatre, 1776 by Grignion

Life and death contrasted - or An essay on woman (engraving)
602562 Life and death contrasted - or An essay on woman (engraving) by Dighton, Robert (1752-1814); Private Collection; (add.info)

Death and life contrasted, or, An Essay on Man (coloured engraving)
602572 Death and life contrasted, or, An Essay on Man (coloured engraving) by Dighton, Robert (1752-1814); Private Collection; (add.info.: Death and life contrasted, or)

Costume design, 18th-19th century. Creator: Robert Dighton
Costume design, 18th-19th century

The Pit Door / La Porte du Parterre, November 9, 1784. Creator
The Pit Door/ La Porte du Parterre, November 9, 1784

A Yachtsman, 1806-65. Creator: Robert Dighton the Younger
A Yachtsman, 1806-65

The State Watchman. Creator: Robert Dighton (British, 1752-1814)
The State Watchman

A View taken from Christ Church Meadows, Oxford, 1807. Artist: Robert Dighton
A View taken from Christ Church Meadows, Oxford, 1807. Two Oxford dons in traditional black robes: James Webber (c1771-1847), Dean of Ripon, and Dr Cyril Jackson (1746-1819), Dean of Christ Church

Sir Brook Watson, Bart. Chairman of Lloyds 1796-1806, c1803, (1928)
Sir Brook Watson, Bart. Chairman of Lloyds 1796-1806, 1928. From A History of Lloyd s, by Charles Wright and C. Ernest Fayle. [Macmillan and Company Limited, London, 1928]

Court of Equity, Belle Sauvage Inn, Ludgate Hill, City of London, 1778

Summer amusement, possibly at White Conduit House, Islington, London, c1784. View of a tea garden showing people playing bat, trap and ball

The Lady of the Lake... 1810. A rough, muscular woman, with a clay pipe and bottle in her pocket, stands in a dinghy, holding an oar on the boom of which is inscribed Moll Muggins, Billingsgate

Stock-Jobbers Extraordinary, Stock Exchange, London, c1795. Artist: Robert Dighton
Stock-Jobbers Extraordinary, c1795. Interior of the Stock Exchange, Bartholomew Lane, showing some members seated a around a table studying the Gazette Extraordinary while others appear to be taking

Stockjobbers at the Stock Exchange, Bartholomew Lane, London, c1795
Interior of the Stock Exchange in Bartholomew Lane, London, c1795, showing men studying the Gazette Extraordinary while others appear to be taking notes from a blackboard

The Lottery Contrast, 1760. The entrance to Touchpenny, Fortune and Winalls State Lottery Office; clerks are at a table within; oyster woman exulting over winnings

George Augustus Quentin ( An officer of the 10th, or Prince of Waless Hussars, taken from life ), c1805 (1909). From British Military Prints, by Ralph Nevill. [The Connoisseur, London, 1909]

A General View of Old England (The Welsh 41st Regiment), 1770-1810, (1909). Artist: Robert Dighton
A General View of Old England (The Welsh 41st Regiment), 1770-1810, (1909). From British Military Prints, by Ralph Nevill. [The Connoisseur, London, 1909]

Colonel Boyle, Grenadier Guards, c19th century, (1909)
Colonel Boyle, Grenadier Guards, c18th century, (1909). After Robert Dighton (1751-1814). From British Military Prints, by Ralph Nevill. [The Connoisseur, London, 1909]

The Macaroni Painter, or Billy Dimple sitting for his picture, 1770. Artist: Robert Dighton
The Macaroni Painter, or Billy Dimple sitting for his picture, 1770. The painter Richard Cosway paints a macaroni or dandy in this satire on exaggerated fashions of the day

Holdl! - Pizarro - Hear me! If not always justly, at least act always greatly, 1799. Artist: Robert Dighton
Holdl! - Pizarro - Hear me! If not always justly, at least act always greatly, 1799. Contemplations upon a coronet, 1797. Illustration from Social Caricature in the Eighteenth Century

Philae, Egypt, 19th century. Artist: Robert Dighton
Philae, Egypt, 19th century. Found in the collection of the Victoria and Albert Museum, London

State Watchman Robert Dighton British 1752-1814
The State Watchman. Robert Dighton (British, 1752-1814). Etching with watercolor added by hand

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Robert Dighton was a versatile artist known for his various works, ranging from costume design to engravings and portraits. In 1776, he captured the essence of Miss Ann Brown and Mr George Mattocks as they portrayed Miranda and Ferdinand in an operatic rendition of William Shakespeare's The Tempest at Covent Garden Theatre. This depiction showcased Dighton's ability to bring characters to life on stage. Diving deeper into his artistic repertoire, we find contrasting themes explored by Dighton. In "Life and death contrasted - or An essay on woman, " an engraving that captivates viewers with its thought-provoking imagery, he delves into the profound dichotomy between life and death. Similarly, in "Death and life contrasted, or An Essay on Man, " another colored engraving by Dighton, he continues this exploration of contrasting elements. Not limited to theatrical productions or engravings alone, it also excelled in costume design during the late 18th-19th century. His creations transported audiences back in time through intricate details that captured the essence of historical fashion trends. Moving away from theater-related subjects, one can appreciate Dighton's versatility through pieces like "The Pit Door / La Porte du Parterre" created on November 9th, 1784. This artwork offers a glimpse into everyday life outside the theater walls. Another notable work is "A Yachtsman, " which showcases Robert Dighton's talent as an artist beyond traditional mediums such as painting or engraving. This piece demonstrates his ability to capture character through portraiture. "The State Watchman" is yet another example of how diverse Dighton's skills were; this portrayal captures a figure responsible for maintaining order within society during turbulent times. Shifting focus towards landscapes rather than people or performances reveals another facet of Robert Dighton's artistry.