Presented here is a painting by the dutch painter Marie Henri MacKenzie
At first we thought it to have been made on a wooden panel. However
by removing the painting out of its frame it was no more than a "backing"
for a piece of cardboard on which this painting directly was made.
Pleasant surprise was the mentioning of a title "Wijk aan Zee" a move
MacKenzie made most of the time. As the back has been varnished over
time (probably as a protection against humidity) a possible signature
on the right seems to have vanished.
This painting of the same spot of has also been done on board.
It is quite common painters did different paintings of the same
spot. In the first one presented, the painter even used the color of
the old board in his painting. Later in his career this artist
experimented with fresher colors. At first he was heavily
influenced by his teacher George Breitner. Many MacKenzie
paintings have been provided with a "Breitner" signature and
have been sold as genuine Breitners!
And of course his signature that changed over time. However
some prefixes are very specific: The big prefix "K" at first
but also the the prefix "a" en the typical prefix "z".
Blacklight has proved it not to be a later addition on this
painting. This picture even makes clear the painter used an
old piece of board as he painted over the damaged corner!
Another typical move of this artist was the addition of a
title for each work. Here "Wijk aan Zee". The dimensions
of the board are even close to each other. This one has
the dimensions 40 / 60 cm but could have been shortened
on the left in order to fit a standard encadrement.
Jose Luis Sanz Magallon
We were really enthusiastic to be able to buy this painting
at an affordable price. It depicts the harbor of Saint Tropez
(France) though Magallon is known to be a Spanish painter.
Work on canvas. Dimensions: 40 / 70 cm.
A nice detail of this painting. Magallon worked in different ways but his
misty, a kind of mysterious approach, is the most known (and popular)
His signature can be found on the internet as well but anyway,
this is the one on our panting. On the back the title has been
written, probably by Magallon himself: Velero negro en Saint
Tropez what means : Black sailboats in Saint Tropez.
Maitree
This painting has been done on tobacco leaves which
is most of the time a touristic move. The results
however vary and sometimes they are not bad
at all. Just view this one and the one that is
presented next. Dimensions: 22 / 30 cm.
The signature of the artist "Maitree" who is recommended
by the former president of the USA Richard Nixon.
Frederick Marriott (1860 - 1941)
He was born at Stoke-on-Trent, brother of the artist Frank
Pickford Marriott. He received his early training in the school
of Art, Coalbrookdale, and at the age of 14 went to work as a
pottery painter in a factory. In 1879 he gained a National
Scholarship at the Royal College of Art, where he studied
for three years. He then worked as a designer and illustrator
becoming Chief Designer with Eyre and Spottiswood, for some
years. He practised repoussé work, wood carving, enamelling and
modeling. He was Design Master at Blackheath Art School,
Headmaster of the Onslow College Art School, Chelsea, and
Headmaster, Goldsmith's Institute, 1895-1925. A member of the
Arts and Crafts Society, also the Art Workers' Guild, he made
continental tours working on town scenes with the emphasis on
architecture, and also visited and painted in Australia about 1910.
He lived in London, exhibiting mainly there and in Paris.
This is an oil painting on canvas (maroufle) and
board. These pictures simply need great light and
that is where Marriott succeeded in this rather
small painting. That's why it was a bit of a buy in
the blind as the painting looked dull and without any
expression. However after cleaning the expected
"miracle" happened. Subtle light nuances also in
the bark of the trees. We believe it to be in the
neighborhood of Chelsea of which the text written
on the back attests. Dimensions: 25 / 35 cm.
By clicking on this picture you are able to read the text
written on the back: F. Marriott (with the typical prefix
"M") 6 A Netherton GNove Chelsea SW 10. But
why GNove as it should have said: Grove ???
Although the artist board on which this painting
was done was sticked to a wooden panel it is obvious
that this procedure has been done before Marriott
started to paint as his strikes also covers the edges
of the panel behind the artist board. Moreover some
investigations proved that Marriott more than often
signed his works on the back.
Edouard Masson
Dimensions: 47 / 56 cm
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