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Mid-19th-Century German School, Portrait Of A Woman

c. 1840

$959.29
£700
€816.66
CA$1,313.99
A$1,461.45
CHF 763.12
MX$17,784.26
NOK 9,746.24
SEK 9,140.25
DKK 6,095.07
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About the Item

This fine mid-19th-century German miniature depicts a woman wearing a black dress and a beautiful white and lilac day cap. Produced around 1840, this exquisite piece on porcelain is a masterful demonstration of delicate brushwork. On close inspection, the details are extraordinary and it’s evidently the work of an experienced and much sought-after hand. Both her demure expression and understated outfit convey the spirit of the late Romantic era, which championed modesty, humility and reticence. Women were portrayed as passive damsels with ornamental bell-shaped silhouettes and exceedingly polite opinions. Here, the young lady wears a day cap, which sits back on the head. These were commonly worn indoors, while full bonnets were adopted when venturing outside. On the reverse, two dates appear to refer to the sitter’s date of birth and death but, alas, no trace could be found in the ancestry records. Held in a beautiful swept period frame decorated with foliate, which is probably original. Medium: Polychrome on porcelain Labels & Inscriptions: Dates inscribed on the reverse.
  • Creation Year:
    c. 1840
  • Dimensions:
    Height: 12 in (30.48 cm)Width: 8.5 in (21.59 cm)
  • Medium:
  • Movement & Style:
    Victorian
  • Period:
  • Condition:
    Cleaned. Frame with various marks and showing its age.
  • Gallery Location:
    Cheltenham, GB
  • Reference Number:
    1stDibs: LU2328215504802

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George Clint ARA (Attributed), Portrait Of A Lady In A Brown Dress
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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. 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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. 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