Henri-Georges Bréard

Henri-Georges Bréard, Self-Portrait, Oil Painting

c. 1935

This early 19th-century central European oil painting depicts Christ The Saviour standing atop an orb and carrying a cross over his left shoulder. An unusual composition, Christ’s rather striking posture is perhaps more ‘Saturday Night Fever’ than it is sacramental. However, the iconography is archaic and derived ultimately from New Testament illustrations dating to the Middle Ages. Depictions of orbs are usually symbolic of the universe, while the cross alludes to redemption. Hence, it’s a visual representation of Christ as the Saviour of humanity. Francisco de Zurbarán...

This early 20th-century oil painting by Swedish artist David Tägtström (1894-1981) depicts a seated woman referred to as ‘Hegert’. Leaning forward as if listening intently to a fami...

This enchanting late 17th-century French oil painting depicts an elegant gentleman in a silk robe with his right index finger on an open book. Stylistically, it’s comparable to the oeuvre of Jacques d'Agar (1640-1715). Dressed in a rather ostentatious embroidered silk robe...

This early 19th-century half-length portrait attributed to British artist George Clint ARA (1770-1854) depicts a young lady wearing a beautiful brown dress, bonnet decorated with small flowers, gold earrings and coral necklace. Clint was a distinguished painter and mezzotint engraver predominantly known for portraiture and dramatic scenes. Set before an evocative classically-inspired backdrop, she looks out from across the centuries with a composed demeanour. Adorned in the latest fashions, oversized ‘gigot’ sleeves, a delicately-poised bonnet, and a coral necklace for good luck. It’s a charming portrayal by a masterful hand. Born at Drury Lane, in the heart of London’s West End, George Clint was destined to lead an exuberant life amid the spectacle of theatreland. His father, Michael Clint, was a hairdresser during a time of “hair pomatum, whalebone, wire, lace gauze, and feathers” - so young George would have encountered a variety of ‘characters’ during his childhood. But despite these elevated surroundings, he soon discovered the darker side of London when thrust into the world of employment. Apprenticed initially as a fishmonger, he trained under a ferocious master who was known to beat him. The hours were unsocial, the conditions rank, and the work was brutal. He soon quit but subsequently found himself toiling for a corrupt attorney who demanded he undertake unscrupulous acts on his behalf. Seeking a less volatile role, he turned next to house painting, at which he excelled. Commissioned, among other projects, to paint the stones of the arches in the nave of Westminster Abbey. Aside from an incident whereby he almost fell from the second story of a building, all was going well. Following his marriage in 1792 to Sarah Coxhead, a farmer’s daughter, he began work in earnest as a painter of miniatures, determined to forge a career. Robert William Buss’ memoir celebrates Clint’s success as a miniaturist, stating that “great manual excellence was united with that chaste, delicate feeling for female beauty which characterised all Mr. Clint's portraits of ladies.” Until this point, it appears he was predominantly self-taught, presumably constrained by a lack of finances. But from hereon in, his industrious nature coupled with several fortunate encounters, led to him developing an enviable talent for both painting and engraving. During the early 19th-century, the acquaintances one kept could make or break your fortunes and perhaps acutely aware of this, Clint’s ‘society’ was an ever-evolving circle of influential personalities. He was “initiated into the mysteries of engraving” by Edward Bell (act.1794-1819) and produced numerous works after the foremost artists, such as George Stubbs, John Hoppner, and Thomas Lawrence. Following a commission from Lawrence, he struck up a long-term friendship. Admired for his skill as a mezzotint engraver, he sought next to hone his technique in oils and, as with many aspiring portraitists, his first work in this respect was a depiction of his beloved wife. The pair were both delighted with it, yet over time Clint began to doubt himself and sought the validation of a superior hand - that of Sir William Beechey (1753-1839). However, paralysed with insecurity, he couldn’t face the potential criticism, so his wife took it instead - “with a child under one arm and the portrait in the other”. The result was immeasurably more positive than he’d envisaged and he became closely associated with Beechey until his death in 1839. Numerous commissions followed from the landed gentry including Lord Egremont, Lord Spencer, and Lord Essex. But also from the theatrical community who would fill his studio at 83 Gower Street, Bloomsbury. His connections within the world of acting led to notable works such as ‘Malvolio and Sir Toby’ (from William Shakespeare's 'Twelfth Night', Act II, Scene iii)’ and ‘Harriet Smithson as Miss Dorillon, in Wives as They Were, and Maids as They Are’. While his efforts in mezzotint included several contributions to JMW Turner’s Liber Studiorum. As a measure of his success, Clint was elected an Associate of the Royal Academy in 1821 - a position he later relinquished for personal reasons. Today, he’s represented in numerous public collections including at The British Museum, Harvard Art Museums, The Met, V&A, Yale Center for British Art, and the National Portrait Gallery. “The respect in which he was held, not only by his brother artists, but by an immense number of eminent men in various professions, and others of the highest rank, was the result of a rare combination of talent, candour, suavity of manner, and integrity of purpose”. [Obituary, 1854]. Housed in a period gilt frame, which is probably original. Learn more about George Clint ARA in our directory. Labels & Inscriptions: Supplier’s stencil from Rowney & Forster. The National Portrait Gallery holds a database of supplier’s stencils over the decades. The one here is also presented on two other works by George Clint. ‘Falstaff’s Assignation with Mrs Ford...

Signed, inscribed and dated, lower right: 'Geo Dawe RA St Petersburgh 1819', also signed with initials, lower centre: 'G D RA'; and signed and inscribed verso: 'Geo Dawe RA Pinxit 1819 St Petersburgh'; Also inscribed on the stretcher by Cornelius Varley with varnishing instructions. Collections: Private collection, UK, 2010 Literature: Galina Andreeva Geniuses of War, Weal and Beauty: George Dawe...

French School, late 18th century, circle of Jean-Baptiste Greuze (1725–1805) Young Girl with a Basket of Fruit Oil on canvas, preparatory work, Unsigned 39 x 31 cm Provenance: Pri...

This captivating oil painting by renowned French artist Paul Aïzpiri presents one of his beloved recurring themes — the clown — rendered with bold lines, rich textures, and a vivid t...

LLuis Ribas (1949) - Self-portrait - Oil canvas Oil measurements 55x46 cm. Frameless.