Mahogany Portrait Paintings

Fine signed and dated 1909 oil on mahogany panel portrait of ''Captain Hayward'' by Belgian artist Georges Lemmers. Superb quality rendering of the dashing young officer smoking a pipe in full officer uniform. Inscribed, signed and dated lower left. Artist: Georges Lemmers (Belgian, 1871-1944) Title: Captain Hayward Medium: Oil on panel Size: 10.5 x 8.5 inches (27 x 21 cm) unframed Provence: Campo & Campo, 21/22 October 2003 Georges Lemmers was a pupil at the Academy of Fine Arts in Antwerp under the direction of Albrecht De Vriendt, and then studied at the Mechelen Academy with Jean Guillaume Rosier. During World War II, he moved to Portugal, where he settled. Lemmers belonged to a category of conservative-bourgeois painters from Brussels during the interwar period and the years shortly after the Second World War: Emile Bulcke, Herman Courtens, Gustave Flasschoen, Hubert Glansdorff, Jean Gouweloos, Paul Hagemans, Marcel Hess...

Mrs. Maria Teresa Caracciolo, art historian and specialist of the painter, confirmed after an inspection of the painting that she was in favour of its attribution to Wicar. From a stylistic point of view, we find in this painting the precise and meticulous style of the artist, although no preparatory drawing is known to date. 1. Jean-Baptiste Wicar, disciple and friend of David Son of a carpenter in Lille, Jean-Baptiste Wicar was first a pupil at the free drawing school of his native town. At the age of 18 he was sent to the workshop of the engraver Jacques-Philippe Le Bas (1707 - 1783), and then admitted in 1781 to the workshop of the painter Jacques-Louis David (1748 - 1825). He accompanied his master to Rome and Florence in 1784-1785 and then stayed on his own in Italy from 1787 to 1793. Back in Paris in 1793, he was appointed curator of the section of antiques at the Museum thanks to David. In 1795, Wicar left France for Italy. In 1797, during Bonaparte’s Italian Campaign, he was a member of the Commission in charge of seizing artworks to enrich the French national museums. A member of the Saint-Luke Academy in Rome (from 1805), he was appointed director of the Royal Academy of Naples from 1806 to 1809, before settling permanently in Rome. In Italy Wicar achieved a real success, as the official portraitist of the Bonaparte family and as a history painter. The Resurrection of the Son of the Widow of Naïm (now in the Lille Museum of Fine Arts) is a perfect example of his large, impeccably executed compositions. Finally, Wicar was a remarkable collector: his drawings of the masters of the Italian Renaissance are now in the Museum of Fine Arts in Lille, following the bequest he made to the Society of Sciences, Agriculture and Arts of Lille. 2. Description of the work According to Maria Teresa Caracciolo : "one of the successes of Wicar's painted and drawn work is his portraits [...]. The artist gave 'the best of himself' in these artworks [...]; they are artworks of remarkable aesthetic quality, in which he shows himself to be both an excellent pupil of David and an autonomous artist in his own right". A young man is represented here in three-quarter view on a brown background from which he stands out. He is dressed with great elegance in a plum-coloured jacket with wide lapels. A white waistcoat...

A fine intimist portait of Florent Antoine Guillain (1844-1915) - the French maritime engineer who designed a major upgrade to the port of Dunkirk, and rose to a senior level in the ...

A sensitive and charming portrait of a little girl by the highly reputed French portraitist Fernand Raoul Gaston Henryet de Launay (1855-1904). His portrait of the actress Amélie Villetard is in the Museum of Rouen, while that of inventor Gustave Trouvé was presented at the Salon des Beaux Arts in 1895. A further portrait is in the Museum of Gannat.De Launay also painted fin de siècle genre scenes similar to -and as sought after as - those of his contemporaries Victor Gilbert and Norbert Goeneutte...