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Benjamin Duterrau

(1767 -  1851 )
DUTERRAU BENJAMIN Portrait Of The Walker Children

Mossgreen
Nov 11, 2012
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Along with Benjamin Duterrau, our clients also searched for the following authors:
John Skinner Prout, William Buelow Gould, John Glover, Knud Geelmuyden Bull
Artworks in Arcadja
11

Some works of Benjamin Duterrau

Extracted between 11 works in the catalog of Arcadja
Benjamin Duterrau - Portrait Of An Artist

Benjamin Duterrau - Portrait Of An Artist

Original 1819
Estimate:

Price:

Lot number: 7
Other WORKS AT AUCTION
Description:
Benjamin Duterrau (1767-1851) Portrait of an artist (self-portrait) signed with initials and indistinctly dated 'B.D. 181.' (lower right), with exhibition number pasted lower left, with painted and chalked inscriptions 'Royal Academy 1819' on the stretcher oil on canvas 30¼ x 25¼in. (76.7 x 64.2cm.)
By direct descent through six generations of the artist's family.
PROPERTY OF A DIRECT DESCENDANT OF THE ARTIST

BENJAMIN DUTERRAU, PORTRAIT ARTIST IN LONDON AND HOBART TOWN (Lots 7-10)

The son of a Huguenot watchmaker in London, Duterrau was trained as an engraver and exhibited portraits and genre paintings in London at the Royal Academy, British Institution and Society of British Artists between 1817 and 1823. Like Glover, he travelled to Van Diemen's Land late in his career, aged sixty-five when he and his daughter Jane Sarah (accompanied by his sister-in-law) disembarked in Hobart on 17 August 1832, to take up the offer of teaching positions at Ellinthorp Hall in the colony (only to find the positions already filled):

'... Duterrau opened a studio in Hobart Town. He advertised in the Hobart Town Courier that, 'having arranged the paintings which he recently brought with him from London, he will be happy to exhibit them to such ladies or gentleman as may wish to view or to purchase any of them, as well as to follow his profession of portrait painting. Campbell Street, opposite Mr Bisdee's, Nov. 7, 1832'. The advertisement belatedly appeared on 21 December 1832 by which time Lieutenant-Governor Arthur had visited Duterrau's studio (in October) and engaged Sarah as governess to his children. She married a merchant, John Bogle, in February 1838 and returned to Britain the following year. Moore [The Story of Australian Art, Sydney, 1934] states that after her father's death his best work was sent to her.

For more than ten years from about 1833 Duterrau's major concern was the depiction of Tasmanian Aborigines, in particular their 'conciliation' (transportation) by the Methodist 'protector' George Augustus Robinson.' (C. Dixon in J. Kerr, (ed.) The Dictionary of Australian Artists, Melbourne, 1992, p.231)

The present collection has descended from Duterrau's daughter Jane Sarah Bogle, to the present owner, the artist's great-great-great-grandson. (the line of descent from the artist to the present owner: Jane Sarah Bogle, John Duterrau Bogle, Benjamin William Bogle, Benjamin Arthur Hugh Bogle).

Three of these four pictures were exhibited in London, the fine self-portrait (RA, 1819), portrait of a gentleman (probably RA, 1817) and portrait of a lady (The Royal Society of British Artists, Suffolk Street, 1827) -- the latter thought to be the artist's parents. The fourth, of an infant, dates to his Van Diemen's Land years. The London pictures were presumably amongst those referred to above as 'brought from London' and shown in his Hobart studio, and all probably amongst the 'best work' returned to his daughter Jane Sarah in Scotland after his death (a studio sale in Hobart on 27 August 1851 dispersed of other works).
London, Royal Academy, 1819, no.254 ('Portrait of an artist').
Exhibited at the Royal Academy in 1819, this subsequently unpublished picture, which has remained in the family of the artist until now, is the earliest of Duterrau's three extant self-portraits, portraying the artist at 52.

The other two (the 1835 portrait sold Christie's Sydney, 1 October 1974, lot 10, and the variant finished in 1837, Tasmanian Museum and Art Gallery, Hobart, for which see E. Buscombe, Artists in early Australia and their Portraits, Sydney, 1978, p.321, nos 28/1 P. and 28/1a P.) were both painted in Van Diemen's Land and show the artist, then in his late sixties, holding a portfolio of engravings ('Raffaelle's Cartoon and School of Athens'). The portfolio refers to his mission, as broadcast in a series of lectures on the theme of the School of Athens, given at the Hobart Town Mechanics Institute through the 1830s and 1840s, to promote the arts and their civilising influence in the colony (for which see lot 10).
Benjamin Duterrau - Portrait Of The Walker Children

Benjamin Duterrau - Portrait Of The Walker Children

Original
Estimate:

Price:

Gross Price
Lot number: 6
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Description:
Lot number: 6
Benjamin Duterrau
Portrait of the Walker Children, oil on canvas
63.5 x 74.5 cm
$80,000-100,000

Provenance John Walker to his daughter Margaret Wolfhagen (nee Walker), thence by descent to his great grandson, John Waldemar Wolfhagen; sold to Foscan Fine Art April 1974; acquired by Dr and Mrs J.F. Clemente. The Walker children's father made his fortune as a miller, merchant, brewer and landowner. Arriving at Hobart Town from Scotland in 1822, John Walker married Janet Glass, his first wife and mother of the children in 1827, the same year he became Government miller. Business prospered, enabling him to buy Clarendon, the colony's grandest house and the centre of a large pastoral enterprise in 1842. Walker entered public life, becoming Chief Town Commissioner of Hobart in 1846. He was elected to the Legislative Council as a member for Brighton in 1851 and with the introduction of responsible government, he represented Hobart in the Upper House. Duterrau's portrait belongs to the decades of the 1830s and 1840s during which he painted a number of Tasmania's early settlers. He had been apprenticed to an engraver in London where he exhibited portraits and genre pieces at the Royal Academy and the British Institute. In 1832 at the relatively late age of 65, he arrived at Hobart accompanied by his only daughter. He showed works brought from London in his Campbell Street studio in the hope of attracting commissions and he contributed to the town's cultural life, lecturing at the Mechanics' Institute on the importance of the fine arts to the future development of the colony. One of the first artists to execute accurate portraits of Aboriginal subjects, his best known work is The Conciliation (Tasmanian Museum and Art Gallery), featuring the Aboriginal 'protector' George Augustus Robinson. The suggested date of c. 1839 for this portrait is supported by the appearance of the eldest Walker boy who could well have been about twelve years old at the time. Evidently, he predeceased his father since it was the second son, John Fletcher Walker, who stood in line to inherit Clarendon. John must therefore be the third and youngest child in the painting wearing a short dress, as was customary for young boys at the time until old enough to be 'breeched' or clothed in trousers. The little girl holding the rose is Walker's only daughter, Margaret. She later travelled to England with her widowed father where she met her future husband, Frederick Ferdinand Wolfhagen. The engagement of Duterrau�s daughter as governess to the Lieutenant-Governor�s children gave him immediate entr�e to Hobart�s government house circles. While he painted both Sir George and Lady Arthur and other members of local society, he was less popular than his rival Thomas Bock. However, Duterrau�s comparatively rare portraits show that he had a sharp eye for reality, bringing out an individual�s appearance without the veneer of flattery so often employed by professional portraitists. On the other hand, his love of vibrant colour contributes much to the aesthetic value of his paintings, nowhere more than in this sparkling portrait of the Walker children. Here the high-key colour perfectly matches the charming freshness of the young sitters and their decorative pets. The careful definition of each child�s features balanced by the artist�s tendency to simplify form has resulted in the most engaging example of Duterrau�s oeuvre. Caroline Clemente References Waldemar Walker, �John Walker (1799-1874)� in Australian Dictionary of Biography; Tasmanian Museum and Art Gallery correspondence; Christie�s Sale, lot no. 402 October 1974; Joan Kerr (ed.), The Dictionary of Australian Artists: Painters, Sketchers, Photogravers and Engravers to 1870, pp. 245-6 (the painting is wrongly listed as belonging to the Tasmanian Museum and Art Gallery).
Benjamin Duterrau - Little Red Riding Hood On The Way To Grandma's House

Benjamin Duterrau - Little Red Riding Hood On The Way To Grandma's House

Original
Estimate:

Price: Not disclosed
Lot number: 9
Other WORKS AT AUCTION
Description:
Lot number:

9

Little Red Riding Hood on the Way to Grandma's House

Oil on canvas ligned with beaver canvas

DUTERRAU, Benjamin
Signed with initials lower right
62 x 50 cm

PROVENANCE: By direct descent from the artist to Mr Brian Boon, Hobart. Private Collection, Hobart

$38,000-$45,000
Benjamin Duterrau - Children In A Wood

Benjamin Duterrau - Children In A Wood

Original 1834
Estimate:

Price:

Gross Price
Lot number: 35
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Description:
BENJAMIN DUTERRAU (1767-1851)
Children in a Wood
indistinctly signed (lower left)
oil on canvas
64.7 x 81.2 cm
Provenance
Mr J McGrath
Masterpiece Fine Art Gallery, Hobart
Acquired from the above by the present owners in 1994
Literature
J Kerr (ed.), The Dictionary of Australian Artists/Paintings, Sketches, Photographers and Engravers to 1870, Melbourne, 1992, p. 231
Exhibited
London, Suffolk Street Galleries, Society of British Artists, 1824
Hobart, Royal Society of Tasmania, Art Treasures Exhibition, 1862-1863, cat. no. 45
Lot Notes
Related Works: Portrait of Matilda Stanfield, circa 1834, oil on canvas, 68.5 x 56 cm, Private collection
Benjamin Duterrau was born the son of a watchmaker in London and was of Huguenot descent. Along with working in his family's watchmaking business in New Bond Street, he apprenticed as an engraver and found work in this field and as a painter in London in his early years. the records of the Royal Academy indicate that he exhibited six portraits between 1817 and 1823. This work is listed by the Society of British Artists as being exhibited at their Suffolk Street Galleries, London in 1824.
Duterrau married a Miss Perigal who was the daughter of his family's partner in the watch making business. From the Royal Academy and Society of British Artists records it can be ascertained that Duterrau was establishing himself as a portrait painter. This genre of painting had become increasingly poplular in the changing society of the early nineteenth century as the growth in the monied middle classess occurred. It was a time when more and more people were wanting representations of their family members, and were able to afford to pay for the privilege.
It is possible that Children in the Wood was painted more as an exercise in displaying the artis's wares than as a commissioned work. It shows a loving pair of siblings in a idyllic setting, a verdant wood, watched over by the hunter and the undisturbed red robin. The artist went to use the exact composition of the smaller child in his later Tasmania work Portrait of Matilda Stanfield, painted approximately ten years later. There is little doubt that he would have worked to a well-tried and successful formula.
In 1832 Duterrau migrated to Hobart with his daugther to take up a position of drawing master at Ellinthorp Hall in Van Dieman's Land. However someone else due to a probable late arrival filled the position. Upon losing his teaching job he opened a studio. @He advertised in the Hobart Town Courier, that having arranged the paintings which he recently brought with him from London, he will be happy to exhibit them to such ladies or gentleman as may which to view or purchase any of them, as well as follow his profession of portrait painting." (J Kerr, op.cit., p. 231)
Hobart was a hive of artistic activity in the early to mid ninteenth sentury. John Skinner Prout arrived in 1843 and the first picture gallery in Australia was built there mid decade. There also was an active artist's society that encouranged and developed a place where artists could lecture on art history and technique. Indeed Duterrau gave his first lecture on painting in Australia in 1833 at the Hobart Mechanic's Institute and actively participated in this field until the time of his death.
Duterrau is best known for his monumental work The Conciliation depicting the Methodist guardian George Augustus Robinson surrounded by a group of Tasmania aboriginies, in the collection of the Tasmanian Museum and Art Gallery. He was extremely interested in the plight of the aboriginies and recorded their likenesses in oils and in bas relief. At the same time it is apparent that he continued his early-learnt trade of painting portraits of the local European settlers and their children, some of which are today held in major national institutions.
Benjamin Duterrau - Little Red Riding Hood On The Way To Grandma's House

Benjamin Duterrau - Little Red Riding Hood On The Way To Grandma's House

Original
Estimate:

Price:

Lot number: 9
Other WORKS AT AUCTION
Description:
Lot number:

9

Little Red Riding Hood on the Way to Grandma's House

Oil on canvas ligned with beaver canvas

DUTERRAU, Benjamin
Signed with initials lower right
62 x 50 cm

PROVENANCE: By direct descent from the artist to Mr Brian Boon, Hobart. Private Collection, Hobart

$38,000-$45,000
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