Jacob George Strutt, British 1784-1867- Three Italian landscapes: The bridge...
Jacob George Strutt,
British 1784-1867-
Three Italian landscapes: The bridge between Alatri and Frosinone, with countryfolk on a path below; View of the Ponte Nomentano, with a drover and oxen in the foreground; and an Italianate coastal landscape, with fishermen pulling in their nets;
each oil on panel, the first signed 'J. G. Strutt' and indistinctly dated (lower left), the second and third signed 'J. G. Strutt' (lower left and lower right), each 16 x 22 cm., a set of three (3).
Provenance:
Anon. sale, Christie's, London, 11 April 1997, lot 81 (£4,500 hammer).
Private Collection, UK.
Note:
Strutt left England in the early 1830s and spent two decades in Austria, Switzerland and Italy, before returning home in 1851. He is believed to have been a pupil of John Constable (1776-1837), with his work often compared to that of his elder contemporary. Here, his use of thick, white impasto powerfully evokes the glittering reflection of the Italian sunlight on the water.
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Jacob George Strutt,
British 1784-1867-
Three Italian landscapes: The bridge between Alatri and Frosinone, with countryfolk on a path below; View of the Ponte Nomentano, with a drover and oxen in the foreground; and an Italianate coastal landscape, with fishermen pulling in their nets;
each oil on panel, the first signed 'J. G. Strutt' and indistinctly dated (lower left), the second and third signed 'J. G. Strutt' (lower left and lower right), each 16 x 22 cm., a set of three (3).
Provenance:
Anon. sale, Christie's, London, 11 April 1997, lot 81 (£4,500 hammer).
Private Collection, UK.
Note:
Strutt left England in the early 1830s and spent two decades in Austria, Switzerland and Italy, before returning home in 1851. He is believed to have been a pupil of John Constable (1776-1837), with his work often compared to that of his elder contemporary. Here, his use of thick, white impasto powerfully evokes the glittering reflection of the Italian sunlight on the water.