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David Jagger

(1891 -  1958 ) Wikipedia® : David Jagger
JAGGER David Portrait Of Robert Fowler

Bonhams /Jun 14, 2017
5,676.98 - 7,947.77
Not Sold

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Artworks in Arcadja
31

Some works of David Jagger

Extracted between 31 works in the catalog of Arcadja
David Jagger - Self Portrait

David Jagger - Self Portrait

Original
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Lot number: 25
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David Jagger R.O.I. (British, 1891-1958) Self Portrait signed 'Jagger' (lower right); further signed 'Jagger' (verso) and signed again and inscribed 'David Jagger/age 35/Self Portrait' (on a label attached to the frame) oil on board 40.6 x 30.5 cm. (16 x 12 in.) Painted in 1928 Provenance The Artist, 1940 With William Yeo, Hampshire, 21 March 1986, where acquired by the present owner Private Collection, U.K Exhibited London, The Wednesday & Thursday Gallery, Self Portraits, January 1934 London, J. Leger and Son, David Jagger, 31 October-15 November 1935, cat.no.23 Sheffield, Mappin Art Gallery, Society of Artists 56th Annual Exhibition, 1 October-1 November 1936, cat.no.66 Halifax, Bankfield Museum, The Art of the Jagger Family, 26 August-23 September 1939; this exhibition travelled to, Burton, 4 November- 2 December, Darlington, Museum and Art Gallery, 16 December-13 January 1940, Lincoln, Usher Art Gallery, 3-27 February, Rotherham, Museum and Art Gallery, 9 March-6 April and Sunderland, Art Gallery, 24 April-26 May Literature 'The Yorkshire Post', 5 January 1934 Please note that there is another completed work by the same hand verso, Study of a Head (1927), which was exhibited in London at New Burlington Galleries (Portrait Society, January-February 1928, cat.no.44). During the late 1920s David Jagger had established a system of artificial lighting in his Chelsea studio and had become fascinated with the chiaroscuro effects it produced. During this time he produced a small number of intimately observed portraits, of which this work is one. Described by the art critic, Bernard James Valentine Carr in an undated exhibition review, 'To even the most casual observer, the best of the oil paintings is Mr. Jagger's Self Portrait which is a remarkably fine example of the artists' technique allied to an unusual method of presentation. The picture is a head against a very dark background. The fact of the dark background and of cutting the portrait off at the chin is to make the shape of the head, the lineaments of the features, and the general characteristics of the subject stand out with unusual force'. We are grateful to Timothy Dickson for preparing this catalogue entry. This work will be included in a forthcoming catalogue raisonné of David Jagger currently being prepared by Timothy Dickson and due for publication in the autumn 2017. Request condition report
David Jagger - The Young Golfer

David Jagger - The Young Golfer

Original 1939
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Lot number: 80
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David Jagger R.O.I. (British, 1891-1958) The Young Golfer (Portrait of Ms. Joyce Rigby) signed 'Jagger' (lower left) and dated '1939' (lower right) oil on canvas 63.5 x 76.8 cm. (25 x 30 1/4 in.) Footnotes Provenance Commissioned by the sitter, thence by family descent to the present owner Private Collection, U.K. Exhibited Sheffield, Mappin Art Gallery, The Art of the Jagger Family, 8 June-6 July 1940, cat.no.37 Sunderland, Public Art Gallery, The Art of the Jagger Family, 24 April-26 May 1940, cat.no.22 Ms. Joyce Rigby (1913-1979), a keen golfer played to Dorset county standard with a handicap of 5. We are grateful to Dr. John Basford for his assistance in cataloguing the present work.
David Jagger - The Conscientious Objector

David Jagger - The Conscientious Objector

Original 1917
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Lot number: 46
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David Jagger R.O.I. (British, 1891-1958) The Conscientious Objector signed 'David Jagger' (on a label attached to the frame) oil on canvas laid on board 55.2 x 46 cm. (21 3/4 x 18 in.) Painted in 1917 Footnotes Provenance Acquired by the family of the present owner prior to 1972 Private Collection, U.K. Exhibited London, Royal Academy of Arts, 1917, cat.no.494 David Jagger was born in Kilnhurst, near Rotherham in 1891 and attended the Sheffield School of Art together with his sister Edith and brother Charles. The sibling trio were known to exhibit together as 'The Jagger Family' and Charles in particular went on to enjoy much success as a sculptor with esteemed works including the Royal Artillery Memorial at Hyde Park Corner and the Great Western Railway War Memorial in Paddington station. A true 'military man', brother Charles had given up a scholarship in Rome to join the army and initially served with the Artists' Rifles before moving to the Worcestershire Regiment in 1915 with whom he served in Gallipoli and at the Western Front. He saw much action and was awarded the Military Cross for gallantry after having held his position during the Battle of Neuve Eglise in April 1918 where he was stranded with only fifty men and very little ammunition, eventually being shot through the left lung in an exchange of machine gun fire. David Jagger did not serve, possibly on the grounds of ill health, which seems to have been a source of some tension between the brothers. In a letter to Violet Constance Smith dated 1 December 1915, Charles comments, 'what that great hulking lout in his mother's shop must feel like I don't know' (Charles Sargeant Jagger quoted in Ann Compton, The Sculpture of Charles Sargeant Jagger , The Henry Moore Foundation in association with Lund Humphries, Aldershot, 2004, p.21). The Military Service Act, which came into force on March 2nd, 1916, introduced conscription to the UK with those who appealed against active duty facing locally established tribunals whose job was to decide between 'conscience or cowardice'. During the first six months of the Act more than 750,000 cases were heard by tribunals with only a small number recognised as 'legitimate'. Indeed, the anonymous sitter in the present work would have been one of only 16,000 conscientious objectors registered from March of 1916 to the end of the war. These civilians were allocated alternative service of 'national importance' which was primarily unarmed duties in the Non-Combatant Corps, Royal Army Medical Corps or labour such as farm or factory work. Conscientious objectors were often shamed, perhaps best illustrated by the white feather that was issued to men not in uniform and organisations such as the No-Conscription Fellowship sought wider pacifism with prominent individuals such as Bertrand Russell and Ramsay MacDonald supporting it. The determination in the face of the sitter in the present work cannot be disputed as he stares intently at us the viewer, alone in the darkness, steadfast in his belief and committed to his cause (for whatever reason). Painted in 1917 and exhibited at the Royal Academy in that year (the artist's first appearance at the institution), one can imagine the interrogation he might have faced in front of a tribunal and the resolve with which he would have needed to maintain. Despite his situation, Jagger has created a stylish portrait with a striking use of light which appears both characterful and evocative. It is a searching picture which whilst serious is at the same time finished with a degree of flamboyance and theatre which Jagger often incorporated into his portraiture. Amongst David Jagger's most celebrated works are portraits of Lieutenant-General Robert Baden-Powell (1929, Baden-Powell House) and Sir Winston Churchill. A significant number of his portraits were of anonymous sitters such as Portrait of an Officer of the RAF during World War II (1941). The world auction record for the artist was set in these rooms with Olga selling for £40,000 on 28 March 2006.
David Jagger - Portrait Of Robert Fowler

David Jagger - Portrait Of Robert Fowler

Original 1920
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Lot number: 27
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David Jagger R.O.I. (British, 1891-1958) Portrait of Robert Fowler R.W.S., R.I., A.R.C.A signed 'Jagger' (lower right) oil on canvas 55.6 x 45.7 cm. (21 7/8 x 18 in.) Painted circa 1919 Provenance Private Collection, U.K. Exhibited London, Royal Society of Portrait Painters, 1920, cat.no.107 Robert Fowler (1853–1926) was a Scottish born, Liverpool trained painter who was famed for his mythological scenes. Much of his work was influenced by the Pre-Raphaelites, notably Frederic Leighton, George Frederic Watts and Albert Moore. This painting was one of a number portraits of industrialists, clinicians, artists and civic dignitaries produced post-Great War. David Jagger met the painter Robert Fowler through his elder brother, the sculptor, Charles Sargeant Jagger who had a studio in the same building as Fowler on Tite Street in Chelsea. David Jagger was impressed by Fowler's ability to act as a conduit to a wide variety of aspiring poets, prose-writers, musicians and painters. Both artists were members of the Chelsea Arts Club and remained friends until Fowler's death in 1926. We are grateful to Timothy Dickson for preparing this catalogue entry. This work will be included in a forthcoming catalogue raisonné of David Jagger currently being prepared by Timothy Dickson and due for publication in the autumn 2017. Request condition report
David Jagger - Pierrette

David Jagger - Pierrette

Original 1920
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Lot number: 26
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David Jagger R.O.I. (British, 1891-1958) Pierrette signed 'Jagger' (lower right) oil on canvas 59.7 x 42.5 cm. (23 1/2 x 16 3/4 in.) Painted in 1920 Provenance Mrs. M. W. Pett, West Sussex Charles Wilson Hales, thence by family descent Exhibited London, Royal Society of British Artists, Autumn Exhibition, 1921, cat.no.193 In the early spring of 1919, David Jagger met and fell in love with eighteen year old, Katherine Gardiner. She was an actress on the London stage, who went by the pseudonym of Joan Gordon. David Jagger became captivated with her and she immediately became his muse. From the outset of their relationship he called her 'Kitty' and after a brief courtship the couple married in 1921. This work, for which Kitty posed, reflects her theatrical background. A pierrot, and its female counterpart a pierrette were central characters within Edwardian theatre, ballet and cabaret. The painting was produced in David Jagger's Chelsea studio during 1920 and was one of four works he exhibited with the Royal Society of British Artists in their 1921 Autumn Exhibition. 'Kitty' Jagger appears in many of his most accomplished works of the period, usually under a pseudonym, key works include Eileen (1921), Kathleen (1922) and Eve (1925). Portraits of her were exhibited with many of the principal exhibiting societies in London, most notably the Royal Academy, where three large portraits of her were shown between 1923-29. We are grateful to Timothy Dickson for preparing this catalogue entry. This work will be included in a forthcoming catalogue raisonné of David Jagger currently being prepared by Timothy Dickson and due for publication in the autumn 2017.
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