Thomas Worthington Whittredge American, 1820-1910 Thatched Cottage (Westphalian Cottage) Inscribed W. Whittredge/Signed by/O. Whittredge (lr); bears inscription on backing board Westphalian Cottage, c. 1850 Oil on paper laid to board 12 3/8 x 13 5/8 inches Sent to Europe by his patron, Nicholas Longworth, Worthington Whittredge enrolled at the Royal Academy in Dusseldorf in 1849. While a student at the Academy, he met Albert Bierstadt in whose company he made many sketching trips to Westphalia. Dating from the mid-1850s, the present work may indeed depict a cottage from that region, though it could also be Swiss. Whittredge began to employ the form of signature seen here after 1860. His daughter, Olive Whitttredge, handled his estate for several decades and added his signature, generally along with her own, as it appears, as a guarantee of authenticity. While the umbrous palette reveals the influence of the Dusseldorf school, the bright blue sky enlivens the composition. Faces of little gremlins, described with circular whorls of paint, hidden within the hut and nearby trees, are an idiosyncratic device of the artist - one that he employed in Cincinnati and continued sporadically for some decades. C
The inscription fluoresces under UV light. Frame rubbing. There is a 1 inch vertical line of inpaint in the lower edge at left. There is no further restoration under Uv light.
Thomas Worthington Whittredge American, 1820-1910 Thatched Cottage (Westphalian Cottage) Inscribed W. Whittredge/Signed by/O. Whittredge (lr); bears inscription on backing board Westphalian Cottage, c. 1850 Oil on paper laid to board 12 3/8 x 13 5/8 inches Sent to Europe by his patron, Nicholas Longworth, Worthington Whittredge enrolled at the Royal Academy in Dusseldorf in 1849. While a student at the Academy, he met Albert Bierstadt in whose company he made many sketching trips to Westphalia. Dating from the mid-1850s, the present work may indeed depict a cottage from that region, though it could also be Swiss. Whittredge began to employ the form of signature seen here after 1860. His daughter, Olive Whitttredge, handled his estate for several decades and added his signature, generally along with her own, as it appears, as a guarantee of authenticity. While the umbrous palette reveals the influence of the Dusseldorf school, the bright blue sky enlivens the composition. Faces of little gremlins, described with circular whorls of paint, hidden within the hut and nearby trees, are an idiosyncratic device of the artist - one that he employed in Cincinnati and continued sporadically for some decades. C
The inscription fluoresces under UV light. Frame rubbing. There is a 1 inch vertical line of inpaint in the lower edge at left. There is no further restoration under Uv light.
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.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
