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拍品專文
Munnings did numerous paintings of trees, especially of knarled and twisted oaks. He often added trees to the backgrounds of commissioned portraits, the most illustrious being an oak for The Duke of Windsor on Forest Witch, 1921 (private collection). Two oaks also featured in the background of Betty Baron on Freckles (A.J. Munnings, The Finish, Bungay, 1957, illustrated opposite p. 56).
The depiction of an oak tree in British art became prominent during the 17th century and became a national emblem featuring in such prominent works as Van Dyck's portrait of Charles I. Throughout the 18th and 19th centuries it was associated with the strong, dominant and long-lived empire. It's craggy and textured surface was particularly popular amongst the picturesque movement in the 19th century.
Mr. J.J. Patrickson was a frame-maker and gilder in East Anglia.
This work will be included in Lorian Peralta-Ramos' forthcoming catalogue raisonée of the works of Sir Alfred Munnings.
The depiction of an oak tree in British art became prominent during the 17th century and became a national emblem featuring in such prominent works as Van Dyck's portrait of Charles I. Throughout the 18th and 19th centuries it was associated with the strong, dominant and long-lived empire. It's craggy and textured surface was particularly popular amongst the picturesque movement in the 19th century.
Mr. J.J. Patrickson was a frame-maker and gilder in East Anglia.
This work will be included in Lorian Peralta-Ramos' forthcoming catalogue raisonée of the works of Sir Alfred Munnings.