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Home > Auction >  欧洲14至19世纪油画及雕塑 >  Lot.1604 Rev. Matthew William Peters, Portrait of a boy in a "Va...

LOT 1604 Rev. Matthew William Peters, Portrait of a boy in a "Va...

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Kunsthaus Lempertz KG

欧洲14至19世纪油画及雕塑

Kunsthaus Lempertz KG

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Rev. Matthew William Peters, Portrait of a boy in a "Van Dyckian dress" Oil on canvas (relined). 126 x 102 cm. Provenance Cooper Penrose Collection (1736-1815), Woodville House, Cork, Ireland. - By succession to his grandson Rev. John Dennis Penrose (1804-1894), Cork, Ireland. - From there by descent. - Woolley & Wallis, 12/09/2017, lot 397. -Acquired there by the present owner. Acquired there by the present owner. Exhibitions Dublin Exhibition of Arts, Industries and Manufactures, Dublin 1872, S. 85, Nr. 61. Literature J. Falconer (Ed.): Official catalogue 1872: Dublin exhibition of arts, industries and manufactures and loan museum of works of art, exhibition catalogue, Dublin 1872, p. 85, no. 61 (as Unknown) At the time of its first known public exhibition in Dublin 1872, the identity of both the artist and the sitter of this painting had been lost. The boy was catalogued as ‘A Spanish Youth’ for the Dublin Exhibition, perhaps due to the sitter’s costume. It is precisely this interesting costume which provides us some notion as to the origin and context of the painting. The young man is dressed in a midnight blue doublet with a lace collar, complemented by cream satin knee breeches with bows and a blue sash laid behind him: accoutrements typical of the 17th century, the type most commonly associated with portraits by Van Dyck. A century later, although the garment was no longer contemporary, an effusion of these portraits began to appear once more in Britain, following the fashion created by Thomas Gainsborough’s 1770 painting Blue Boy. Nearly all the great 18th century portraitists, from Pompeo Batoni and Allan Ramsay to Thomas Gainsborough and Joshua Reynolds, copied Van Dyck`s costumes, poses and compositions. The 17th century costume had now been associated with this style and was irrevocably referred to as ‘Van Dyckian dress’. It would seem therefore that the present painting, typical of the late 18th century may have been a direct commission by the quaker merchant and prolific collector Cooper Penrose during his lifetime. Interestingly, the work has been recently attributed to Rev. Matthew William Peters, an English portrait and genre painter who later became an Anglican clergyman. We are grateful to Dr Martin Postle for supporting the attribution on the basis of a photograph. Rev. Matthew William Peters, Porträt eines Jungen in "Van Dyckscher Kleidung" Öl auf Leinwand (doubliert). 126 x 102 cm. Provenienz Sammlung Cooper Penrose (1736-1815), Woodville House, Cork, Irland. - Durch Erbfolge auf seinen Enkel Rev. John Dennis Penrose (1804-1894), Cork, Irland. - Von dort aus durch Abstammung. - Woolley & Wallis, 12.09.2017, Lot 397. - Dort vom heutigen Besitzer erworben. Ausstellungen Dublin Exhibition of Arts, Industries and Manufactures, Dublin 1872, S. 85, Nr. 61. Literatur J. Falconer (Hg.): Official catalogue 1872: Dublin exhibition of arts, industries and manufactures and loan museum of works of art, exhibition catalogue, Dublin 1872, p. 85, no. 61 (as Unknown). Zum Zeitpunkt der ersten bekannten öffentlichen Ausstellung in Dublin 1872 war die Identität sowohl des Künstlers als auch des Dargestellten dieses Gemäldes verloren gegangen. Der Junge wurde für die Dubliner Ausstellung als "Spanischer Jüngling" katalogisiert, was vielleicht auf die Tracht des Dargestellten zurückzuführen ist. Es ist genau diese interessante Kleidung, die uns einen Hinweis auf den Ursprung und den Kontext des Gemäldes gibt. Der junge Mann trägt ein mitternachtsblaues Wams mit Spitzenkragen, dazu cremefarbene Kniebundhosen aus Satin mit Schleifen und eine blaue Schärpe, die hinter ihm liegt: eine typische Ausstattung des 17. Jahrhunderts. Ein Jahrhundert später, obwohl das Kleidungsstück nicht mehr zeitgemäß war, tauchten diese Porträts in Großbritannien wieder in Hülle und Fülle auf und folgten der Mode, die durch Thomas Gainsboroughs Gemälde "Blue Boy" von 1770 ausgelöst wurde. Fast alle großen Porträtisten des 18. Jahrhunderts, von Pompeo Batoni und Allan Ramsay bis Thomas Gainsborough und Joshua Reynolds, kopierten die Kostüme, Posen und Kompositionen Van Dycks. Das Kostüm aus dem 17. Jahrhundert wurde nun mit diesem Stil in Verbindung gebracht und unwiderruflich als "Van Dycksche Kleidung" bezeichnet. Es scheint daher, dass das vorliegende Gemälde, das typisch für das späte 18. Jahrhundert ist, ein direkter Auftrag des quäkerischen Kaufmanns und produktiven Sammlers Cooper Penrose zu seinen Lebzeiten gewesen sein könnte. Interessanterweise wurde das Werk kürzlich Rev. Matthew William Peters zugeschrieben, einem englischen Porträt- und Genremaler, der später ein anglikanischer Geistlicher wurde. Wir sind Dr. Martin Postle dankbar, dass er diese Zuschreibung anhand eines Fotos bestätigt hat.

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Kunsthaus Lempertz KG,Neumarkt 3 50667 Cologne, Germany

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