L a - b e a u t é - s a u v e r a - l e - m o n d e ~ D o s t o ï e v s k i

L a - b e a u t é - s a u v e r a - l e - m o n d e  ~  D o s t o ï e v s k i



Sunday, March 29, 2020

Clear sight - portraits of men by Hans Holbein the Younger


Hans of Antwerp, circa 1532.
Sir Charles Wingfield, circa 1532-40.
Hermann von Wedigh III, 1532.
Simon George of Cornwall, circa 1536-37.
Same as above.
 Portrait of a Young Merchant, probably Hans von Muffel of Nuremberg, 1534.
Portrait of an Unknown Man, possibly Thomas Seymour, circa 1535-40.
De Vos van Steenwijk, 1541.
Nicolas Bourbon, 1535.
Portrait of a Young Merchant, 1541.
Henry Howard, Earl of Surrey, circa 1532-3.
Same as above, circa 1541-43.
Sir Nicholas Poyntz, 1535.
Portrait of a Man in a Red Cap, circa 1532-35.
Portrait of an Unidentified Man, 1535.
Dirk Tybis, 1533.
William Parr, Marquess of Northampton, circa 1538-40.
Derick Berck of Cologne, 1536.
Sir Thomas Wyatt, circa 1535-37.
Sir Thomas Wyatt the Younger, circa 1540-42.
Portrait of an Unknown Gentleman, circa 1532-43.
Portrait of a Hanseatic Merchant, 1538.
Edward Stanley, Earl of Derby, circa 1532-43.
 Portrait of a Member of the von Wedigh Family, called "Hermann Hillebrandt von Wedigh", 1533.
Sir Philip Hoby, circa 1532-43.
Portrait of an Unknown Gentleman, circa 1540.
Sir Thomas Lestrange of Hunstanton, circa 1536.
 Portrait of a Merchant of the German Steelyard, called "Hans of Antwerp", after September 1532.
William Reskimer, circa 1532-34.
Same as above.
Edward Fiennes de Clinton, 9th Lord Clinton, 1st Earl of Lincoln, circa 1532-43.
Charles de Solier, Sieur de Morette, circa 1534-35.
George Brooke, 9th Baron Cobham, circa 1532-43.
Portrait of a Falconer, 1542.



Friday, March 27, 2020

Green, yellow, blue - three portraits by Mollie Tripe


Youth, circa 1920s.
The Blue Ribbon, circa 1927.
 Mrs. N.S. Falla, circa 1932.

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Self-portrait, circa 1934.

Mary Elizabeth Tripe, née Richardson, generally known as Mollie Tripe (14 September 1870, Christchurch – 21 September 1939, Wellington), New Zealand artist and art teacher. The daughter of a Member of Parliament for Kaiapoi and his second wife, she studied at the Canterbury School of Art and the new Wellington School of Design (WSD). She graduated from the WSD in 1890 - she had already begun teaching drawing there the year previous - and went on to get a master's certificate in 1894. She left the school following her marriage in 1900 to Joseph Albert Tripe, a solicitor - they had two sons together - but continued to give private lessons. She exhibited in New Zealand, in London, at the Paris Salon, and elsewhere. Starting out as an Impressionist, over time she moved towards a more realistic style, becoming known especially for her portraits of leading New Zealand citizens. In 1893, she became the first woman appointed to the council of the New Zealand Academy of Fine Arts, and she was influential in the founding of the National Art Gallery of New Zealand and its portrait collection. She was awarded the Coronation Medal in 1937, and died at home at the age of sixty-nine.




Sunday, March 22, 2020

La reine si petite - portrait miniatures of Marie Antoinette


François Dumont.

Putting together a collection of portraits of Marie Antoinette is always a tricky business. Besides the easy pitfall of known images copied by different hands at a later date, combined with the general lack of concern for getting an accurate likeness at the time, you also have to be able to sift through all the portraits that are labeled as Marie Antoinette that probably/certainly aren't; a painting of the martyred Queen is always going to have more allure, have a higher auction value, than one that is merely of some pretty inconnue.

Most of the portraits here are by the hand of the Queen's favorite miniature painter, François Dumont (7 January 1751, Lunéville – 27 August 1831, Paris). His work for her, starting in the 1770s and continuing until only a year before her execution, is usually easy enough to identify. In addition to his particular technique, the position of the head is almost always the same in portrait after portrait; it's therefore likely that the Queen didn't sit for every one, rather that he reused the preferred likeness, only changing the surrounding elements - hairstyle, clothing, background. I haven't always been able to identify which of his pieces here are autograph; I assume that some of these are contemporary copies. And I don't know the dates for most of these, though the decade in which they were produced is not too difficult to surmise given the hairstyles: up for the 1770s, across for the 1780s.

François Dumont.
Jean-Laurent Mosnier, 1775.
François Dumont.
Jean-Baptiste Isabey. Isabey was student of Dumont at the time, and his extreme youth would account for the crude technique and poor likeness.
François Dumont. Possibly a copy.
François Dumont.
Pierre-François Drais, Paris, 1777. I'm not entirely convinced that this is Marie Antoinette.
Pierre Adolphe-Hall.
Pierre Adolphe-Hall. Possibly a copy with variations.
Vincenza Benzi-Bastéris, 1784.
François Dumont.
Ignazio-Pio-Vittoriano (Ignace-Jean-Victor) Campana, circa 1783. Sent to the Queen's paramour, Count Axel Ferson.
Ignazio-Pio-Vittoriano (Ignace-Jean-Victor) Campana, circa 1783. Sent to the Queen's sister, Maria Carolina, Queen of Naples.
 Louis-Marie Sicard, called Sicardi, 1787.
Louis-Marie Sicard, called Sicardi.
Unknown, possibly Dumont.
François Dumont.
François Dumont.
François Dumont. Possibly a copy.
François Dumont. Probably a copy.
Marie Antoinette et ses enfants (Marie-Thérèse-Charlotte et le Dauphin Louis-Charles) au pied d'un arbre, by François Dumont, 1790.
Portrait of the King, Queen, and the duc de Normandie in the style of Louis-Bertin Parant, circa 1790.
François Dumont. Several of her portraits from this last period are "antique" in style.
François Dumont.
François Dumont.
Unknown. This appears to be a mourning ring so, possibly, it was made after the Queen's death.
François Dumont, 1792.
François Dumont, 1792.
The chevalier François de Ginestous, circa 1793, the year of her death.
François Dumont.

*

Sometimes the internet lets me down! I've seen this particularly lovely early portrait of the Queen by Dumont reproduced numerous times. And yet when I looked - and looked... and looked - to find an image of it to include here, I could not find one. Only this black and white image; a cropped version with the color gone awry; and some sort of copy of the original, perhaps a colored engraving. Very disappointing....


And while I was at it, another early Dumont portrait turned up - but this was all I could get of it. Argh.