Marie Lautenschlager 1859 - 1941 Germany.
To the reverse another painting. Shame i'm not able to split the canvas and have a 'bog off'.
Signature.
Completed.
Lautenschlager
Marie Lautenschlager 1859 - 1941 Germany.
To the reverse another painting. Shame i'm not able to split the canvas and have a 'bog off'.
Signature.
Completed.
18th century naive portrait.
Small 18th century naive portrait. The original frame had lost all its moulding, but the unpainted area on the corners looked to me like oak leaves, so a walk to local oak tree and voila ... Back of canvas with board removed showing date marks - revealed now painting is on stretchers.
It's a painting of a composer holding a quill pen and lost in thought as he sits at his piano.
Stamp marks :
Canvas was taxed in the 18th century. As a consequence of legislation in 1784, a 'frame mark', associated with the duty payable on linen, was applied by the Excise to the back of canvases. It can provide useful information both as to the width and the length of the roll from which the canvas was cut. The mark took the form of a frame containing numbers and letters in compartments. Hence on Lemuel Abbott’s portrait of Viscount Bridport, 1785, the canvas width is given as 75 hundredths of a yard, i.e. 27 ins, the canvas length as 17 yards and the year indistinct, while on George Morland’s Inside of a Stable, exhibited in 1791 (Tate), the canvas width is given as 165 hundredths of a yard, i.e. 59.4 ins, the canvas length as 265 (apparently 26 ½ yards) and the year as 1790.
Detail from reverse of Lemuel Abbott’s Viscount Bridport, 1785 (National Portrait Gallery). 75, in the compartment at right, give the canvas roll width in hundredths of a yard, thus 27 ins (68.6 cm). To the left, 17 is the roll length in yards, thus 17 yards (15.55 metres). Further left, 2224 is a progressive control number. The illegible small numerals, turned sideways at extreme right, give the year duty was levied. At left, the mark is partly covered by the wooden stretcher. Above, the other way up, is the stamp of the canvas supplier, James Poole.
It's a painting of a composer holding a quill pen and lost in thought as he sits at his piano.
Stamp marks :
Canvas was taxed in the 18th century. As a consequence of legislation in 1784, a 'frame mark', associated with the duty payable on linen, was applied by the Excise to the back of canvases. It can provide useful information both as to the width and the length of the roll from which the canvas was cut. The mark took the form of a frame containing numbers and letters in compartments. Hence on Lemuel Abbott’s portrait of Viscount Bridport, 1785, the canvas width is given as 75 hundredths of a yard, i.e. 27 ins, the canvas length as 17 yards and the year indistinct, while on George Morland’s Inside of a Stable, exhibited in 1791 (Tate), the canvas width is given as 165 hundredths of a yard, i.e. 59.4 ins, the canvas length as 265 (apparently 26 ½ yards) and the year as 1790.
Detail from reverse of Lemuel Abbott’s Viscount Bridport, 1785 (National Portrait Gallery). 75, in the compartment at right, give the canvas roll width in hundredths of a yard, thus 27 ins (68.6 cm). To the left, 17 is the roll length in yards, thus 17 yards (15.55 metres). Further left, 2224 is a progressive control number. The illegible small numerals, turned sideways at extreme right, give the year duty was levied. At left, the mark is partly covered by the wooden stretcher. Above, the other way up, is the stamp of the canvas supplier, James Poole.
Charles Compton
Charles Compton 1828 - 1884. Horrible repair. Stuffed with black acrylic paint over a thick, rigid, canvas and without a frame.
I found the self-portrait as sold in 2011, which will make it easier to restore!
Work in progress ...
Charles Compton, self-portrait and finished.
I found the self-portrait as sold in 2011, which will make it easier to restore!
Work in progress ...Charles Compton, self-portrait and finished.
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| Charles Compton self-portrait. |
David Wilkie?
Sir David Wilkie RA (18 November 1785 – 1 June 1841) was a Scottish painter, especially known for his genre scenes.
David Wilkie
Oil sketch on millboard.
Just needed a clean and the frame restored. In this case I replaced the frame with one I already owned.
Millboard is a generic term covering a wide range of hard, pressed, flexible paste boards. Millboards were first introduced in the late 18th century by English colourmen.
Just needed a clean and the frame restored. In this case I replaced the frame with one I already owned.
Millboard is a generic term covering a wide range of hard, pressed, flexible paste boards. Millboards were first introduced in the late 18th century by English colourmen.
Frank Ernest Beresford
Well, I've had, Halliday and 1922, now I have a Frank Ernest Beresford. Messages from the other side!
Anyway, a tatty,
dirty landscape with a 5 cm rent and damaged gilding, purchased for pennies and restored to rude health within 24 hours.
Bertha Müller
Oil on Canvas. A Portrait of a Girl in a Bonnet. Unsigned - auction description - and that was it. Anyway. I liked it, and the one other bidder dropped out after one low bid.The painting was coated in a thick gloop of glossy varnish. The frame was modern and the back covered in new, brown, paper - it didn't auger well.
Paper removed revealed a 19th century canvas and stretcher bars. There is a signature. Faint, bottom left. Definitely looking up.Bertha Müller. The first name is relatively legible, Bertha. The second name fades as it nears the the end - of paint on a brush. I thought this was Swedish folk dress, but it's probably Austrian...
The signature enhanced and compared to authenticated signature.
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| Bertha Müller reframed and finished. |
Sabbath Eve and Family Devotions.
I bought this painting from Ebay, entitled 'Sabeth Eve'.Reverse is written:
(Sabeth Eve)
by John H Thompson of Bd
1873
It has a magnificent, but damaged, frame. The painting has tar deposits and several tears.
A little search engine input - using the accepted spelling of sabbath - revealed Alexander Johnston (1815–1891) as the 'original' artist. The painting, at the Glasgow Museums, is called Family devotions.
Alexander Johnston's painting proved so popular, another version hangs in Leeds Museum and art gallery.
This one is entitled Sabbath Eve. Spot the difference.
The hungry public bought engravings of the image(by P. Lightfoot) and exhibited at the Royal Academy 1851.
So we have a popular image and a good quality frame. My guess is a middle-class family wanted the painting and commissioned J H Thompson.
And what of J H Thompson? He was a contemporary of Alexander Johnston and genre painter. John H Thompson 1808 - 1890.
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| Untitled, 1874. |
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| The proposition. |
N.B. Genre paintings are unfashionable - don't know why. The social history details they reveal are extraordinary. Completed painting.
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George Henry Harlow. Girl with rabbit.
George Henry Harlow.
Bought this little canvas on Ebay. Filthy and the canvas frail. Circa: 1800.
I found similar images to this unsigned painting, which are the work of George Henry Harlow, 10 June 1787 – 4 February 1819.
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| George Henry Harlow |
George Henry Harlow
Finished canvas cleaned and polished. |
| After? George Henry Harlow or John Russell |
But then I found these prints, date ranges from regency, to mid and late Victorian, to Edwardian. A popular image! John Russell RA (29 March 1745 – 20 April 1806). 'My favourite rabbit.'
