Early 18th Century Portrait of a Boy In Classical Dress - Attributed to Charles D’agar.

18th century

Sold by Period Portraits

Description

Fine and highly decorative portrait of a handsome young aristocratic gentleman painted in the oval seating to c1710 and attributed to Charles D’agar (1669-1723)

The young fresh faced young sitter wears a theatrical version of antique Roman military dress made of shimmering silk. This useful costume convention helped to create an air of timelessness during an age where fashions rapidly changed which often left portraits and the sitters within, looking decidedly outmoded.

His vividly coloured red and blue robes shimmer and their splendid gold ‘mask’ detail echoes the three-dimensional decoration (often ferocious animals or mythological figures) on the original metal Roman lorica.

This fine portrait is in an excellent state of conservation and is ready to hang and enjoy in its original carved and gilded 'Lely style' frame.

Charles D’Agar (1669-1723) D’agar was born in Paris, the son of painter Jacques (Jacob) D'Agar and his wife Marie Picard, the protestant family immigrated to London between 1678 and 1681 by which time Jacques was officially expelled from the French Academy on religious grounds.

His artistic style is often compared to that of Michael Dahl, and Sir Godrey Kneller, and the former specifically for his choice of colour for the sitters clothing.

Both father and son both worked in London painting well-known individuals such as Charles II’s French mistress, Louise de Keroualle, Duchess of Portsmouth. Charles was apprenticed to the painter Robert Robinson and shortly after travelled to Copenhagen with his father where he stayed for six years. His father stayed on as the Danish Court painter but Charles returned to London in 1691 where he established a successful portrait practice working for a wide but especially aristocratic patronage. He left a widow Susannah and a son who was also a painter, possibly named David. In 1707 he charged £7 f.

Higher resolution images on request.

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Canvas: 29" x 25" / 74cm x 64cm.

Frame: 37" x 32" / 95cm x 74cm

Price: £8200

Physical Dimensions

Height

95cm (37.40")

Width

74cm (29.13")

Depth

6cm (2.36")

Declaration

Period Portraits has dated this piece to the 18th Century.

Reference Numbers

Sellingantiques Reference

SA1074046

Description

Fine and highly decorative portrait of a handsome young aristocratic gentleman painted in the oval seating to c1710 and attributed to Charles D’agar (1669-1723)

“

The young fresh faced young sitter wears a theatrical version of antique Roman military dress made of shimmering silk.

Period Portraits

This useful costume convention helped to create an air of timelessness during an age where fashions rapidly changed which often left portraits and the sitters within, looking decidedly outmoded.

fig 1. EARLY 18TH CENTURY PORTRAIT OF A BOY IN CLASSICAL DRESS - ATTRIBUTED TO CHARLES D’AGAR. — fig 1. Early 18th Century Portrait of a Boy In Classical Dress - Attributed to Charles D’agar.

His vividly coloured red and blue robes shimmer and their splendid gold ‘mask’ detail echoes the three-dimensional decoration (often ferocious animals or mythological figures) on the original metal Roman lorica.

fig 2. EARLY 18TH CENTURY PORTRAIT OF A BOY IN CLASSICAL DRESS - ATTRIBUTED TO CHARLES D’AGAR. — fig 2. Early 18th Century Portrait of a Boy In Classical Dress - Attributed to Charles D’agar.

This fine portrait is in an excellent state of conservation and is ready to hang and enjoy in its original carved and gilded 'Lely style' frame.

Charles D’Agar (1669-1723) D’agar was born in Paris, the son of painter Jacques (Jacob) D'Agar and his wife Marie Picard, the protestant family immigrated to London between 1678 and 1681 by which time Jacques was officially expelled from the French Academy on religious grounds.

fig 3. EARLY 18TH CENTURY PORTRAIT OF A BOY IN CLASSICAL DRESS - ATTRIBUTED TO CHARLES D’AGAR. — fig 3. Early 18th Century Portrait of a Boy In Classical Dress - Attributed to Charles D’agar.

His artistic style is often compared to that of Michael Dahl, and Sir Godrey Kneller, and the former specifically for his choice of colour for the sitters clothing.

Both father and son both worked in London painting well-known individuals such as Charles II’s French mistress, Louise de Keroualle, Duchess of Portsmouth. Charles was apprenticed to the painter Robert Robinson and shortly after travelled to Copenhagen with his father where he stayed for six years. His father stayed on as the Danish Court painter but Charles returned to London in 1691 where he established a successful portrait practice working for a wide but especially aristocratic patronage. He left a widow Susannah and a son who was also a painter, possibly named David. In 1707 he charged £7 f.