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The aquatint print Colonel Mordaunt’s Cock Match is a significant 18th-century artwork that captures an important moment in British-Indian history. It is based on an original painting by Johann Joseph Zoffany, a renowned German neoclassical painter known for his intricate depictions of British colonial life in India. The print was later engraved by Richard Earlom, a master of mezzotint and aquatint techniques, under the direction of... The aquatint print Colonel Mordaunt’s Cock Match is a significant 18th-century artwork that captures an important moment in British-Indian history. It is based on an original painting by Johann Joseph Zoffany, a renowned German neoclassical painter known for his intricate depictions of British colonial life in India. The print was later engraved by Richard Earlom, a master of mezzotint and aquatint techniques, under the direction of Robert Bowyer.

The painting and subsequent aquatint print depict a cockfighting event held in the court of Asaf-ud-Daula, the Nawab of Awadh (Oudh), in Lucknow around the late 18th century. During this time, British officers closely interacted with Indian royalty, engaging in cultural exchanges and extravagant pastimes. Cockfighting was a popular form of entertainment among both Indian aristocrats and British expatriates.

Colonel John Mordaunt, an officer of the East India Company and a close associate of the Nawab, is shown supervising the match. This event symbolized the fusion of British and Indian elite lifestyles while also reflecting the power dynamics between the two cultures.

The print is a detailed group portrait featuring both British and Indian participants. The Nawab is seated on a throne in the background, surrounded by courtiers and attendants. British officers, including Colonel Mordaunt, stand in the foreground, enthusiastically engaged in the contest. Zoffany himself is sitting with his arm over a chair in the right background, dressed in white evening wear like Mordaunt. Zoffany, known for his ability to capture individual expressions, portrays a lively scene where Indian and British figures interact closely. The detailing of their garments, postures, and gestures adds depth to the scene.

The print subtly represents British influence in India. Colonel Mordaunt’s central position and commanding presence emphasize the growing role of British officials in Indian affairs. At the same time, the Nawab’s opulent surroundings highlight the wealth and grandeur of Indian rulers.

Richard Earlom was a master engraver who specialized in mezzotint and aquatint techniques. His version of Colonel Mordaunt’s Cock Match translates Zoffany’s intricate painting into a finely detailed aquatint, preserving the depth, expressions, and grandeur of the original.

It seems that Zoffany painted two versions of this event: one for the Nawab (now lost) and one for Hastings (referred to as the "Daylesford version"). Earlom subsequently created his own copy.

The aquatint technique allowed for subtle tonal variations, mimicking the effect of watercolors. Earlom’s engraving captures the dramatic contrasts between light and shadow, bringing out the textures of clothing, architecture, and faces. The print was produced under the direction of Laurie and Whittle, a noted British publisher, and was part of a series of works illustrating British involvement in India.

This work will be shipped unframed

NON-EXPORTABLE

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