A Large 19th Century portrait of an Elderly Gentleman seated and reading in his Study, English School

DESCRIPTION

This artwork is a fantastic example of the evolution of one of art history’s most classic themes: the portrait of a gentleman. Aside from a couple of suggestive props indicative of the respective sitter’s nature and livelihood, these artworks were always quite formulaic in their making:

A well-dressed male sitter (usually aristocratic or belonging to the gentry + some display hinting at his social significance + a formal, yet intimate space used as a stage + a gaze that usually reaches out to meet the viewer.

The most basic function of these artworks was to speak about its sitter, the cues of which were presented (subtlety or not) to the viewer by the fashionable attire donned by the sitter along with other props/regalia/paraphernalia presented in the sitter’s environ (1).

Throughout the history of portraiture, legacy (physical or not) is everything and often the themes most favoured are the display of pomp, power and/or prowess. This portrait is quite ‘modern’ in its approach in that it moves away from the qualities stated above and aims to capture something more...

Based on the above and what the artwork tells us we can deduce the following about our currently unidentified sitter:

1)  He is affluent/financially accomplished (see. gold pocket watch - large and rich interior containing antique and contemporary objects that individuals with a well- informed taste would appreciate/own - the spectacular regency rosewood library chair with seat pads, bronze stringing/banding, gilt rosette - the exquisite gilt cartel clock – the large Chippendale-style bookcase.

2)  He’s interested in current affairs and educated (see. the 2 sets of gazettes about him, quills, the letters in the document box on his desk and the manuscripts in his large library)

3)  This man’s (facial) profile is enough to invoke the sitter’s unmistakable presence/essence; he must be fairly known and rather recognisable to ‘risk’ commissioning a portrait that could fail in delivering its most basic function. Whilst one does see an increase in portraits of this casual and indirect sitting nature in the ‘modern world’s’ art story, this construct tempts further speculation and invites one to consider whether the artwork could have been painted posthumously.

4)  The gentleman, despite being advanced in age, is still very well groomed which continues to add admiration to the already respectable aura he’s garnered for himself

5)  Despite everything about this gentleman seeming ‘prim and proper’ we can somehow feel at ease whilst ‘interrupting’ in his personal space; the casual and cluttered layout of the card table and the upturned gazette on the floor, to the side of his chair, secure a casual and relaxed ambiance making him seem approachable

6)  Given the gentleman’s aesthetics and overall facial features it might be safe to deduce that the Caucasian sitter is probably British

7)  The technical ability displayed by the commissioned artist reflects (and delivers) amply to this client’s high expectations. Notice the particular refinement shown by the artist’s handling of his/her brush, the artist’s understanding of shading/highlighting and accentuating features in the artwork whilst using the slightest amount of paint; the strategic position of the screen to amplify the gentleman’s profile along with the use of excellent quality pigments and colour combinations -all wondrous to behold

The questions raised by this artwork are even more intriguing, such as: Where does this Gentleman call home? What does he do for a living- is he a businessman, a doctor or a statesman? Who commissioned this artwork- himself, his family or a third-party? Could he have been a British national living in Malta during the British Rule? We might never know. A study into this artwork’s provenance is the surest way of identifying this gentleman and knowing his story.

More images available upon request.

ARTIST

Charles Allingham (1778-1850), attributed.