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European Art
|
- Sale 1297
Live
| Chicago
May 16 | 10:00 AM CDT
Live
| Chicago
Sale 1297
| Chicago
| Chicago
Estimate$5,000 – $7,000
Provenance:
Sold: Christie's, London, April 22, 1966, Lot 128 (titled The Tryst)
Lambton, acquired at the above sale
Literature:
Richard Ormond, Daniel Maclise, London, 1972, p. 102
Peter Murray (ed.), Daniel Maclise, Romancing the Past, Cork, 2008, p. 181
This fine painting is an example of Daniel Maclise's later style, from about the time that he embarked on his two great masterpieces, The Death of Nelson and The Meeting of Wellington and Blücher, in the House of Lords. It is one of a number of works representing pairs of lovers, which he painted in the 1850s and 1860s. Other examples include The Falconer, 1853 (Crawford Municipal Art Gallery); The Poet and His Lover, 1855 (Private Collection); Faust and Margaret (formerly called The Student), 1862 (Bury Art Gallery); and Othello and Desdemona, 1867 (Johannesburg Art Gallery). All are medieval or Renaissance in costume and setting, and they share certain motifs; for instance, the Romanesque arch framing the lovers recurs in the Bury Faust and Margaret, and the pose and type of the female figure in both pictures is similar, even though in Faust and Margaret the figures are half-lengths. As Richard Ormond has observed, this girl is "an idealised type often found in Maclise's work of this period," appearing again as Celia in the large Wrestling Scene in 'As You Like It' of 1855 (Forbes Magazine Collection).
Framed: 57 3/4 x 44 inches.
Moderate deposits of surface dirt and dust; canvas is lined and exhibits moderate distortion in the upper right corner; passages of the canvas have been pressed due to the lining process; network of craquelures throughout surface, which are mostly visible only under strong light; frame abrasions along the extreme right edge; two pinpoint paint losses in upper left corner; three pinpoint paint losses in lower right corner, with two located in the dog's face; areas of dust deposits along lower portion that are easily wiped from surface; an area of pinpoint white paint droplets in lower right corner; small areas of inpainting scattered throughout, but only noticeable upon close examination; under a highly reflective varnish. Under UV light: heavy varnish prohibits viewing of any older inpainting; a small area of more recent inpainting located in the upper right of the arch and within small areas of the sky below the arch; one spot of inpainting in the upper left corner; inpainting within the woman's neck and to its left, as well as under her chin; small areas of inpainting in the white and red of her sleeve; a line of inpainting extending along the center to lower right edge; two small areas of inpainting in the right edge of the man's cape. Additional images available upon request.
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Madalina Lazen
VP Head of Department, Old Masters & 19th Century European Art
