English Traditional Scenic Equestrian Catchall Trinket Dishes - Set of 4

Description

A set of four ceramic collectible trinket dishes with painted scenes.

“The Cornfield”
By John Constabl
1776-1837

Like Fen Lane, … more A set of four ceramic collectible trinket dishes with painted scenes.

“The Cornfield”
By John Constabl
1776-1837

Like Fen Lane, which hangs to the right, this study is thought to be one of the works Constable began outdoors in Suffolk in 1817, but did not finish. It too shows Fen Lane, but from further down.

When Constable was looking for a subject to work up for the 1826 Royal Academy exhibition, he turned to this canvas and from it painted the picture now known as The Cornfield (now in the National Gallery). It was probably while preparing the finished picture that he lowered the trees at the right of this earlier sketch by overpainting them with sky. (History courtesy of the Tate Organization)

The original is hanging in the National Gallery London

——————-

“Valley Farm”
By
John Constabl
1776-1837

This work shows a view of Willy Lott's House at Flatford from the River Stour. The farmer lived continuously in the same house for over eighty years and for Constable it came to represent an important part of the Suffolk landscape, a nostalgic symbol of the 'natural' way of life. The building features prominently in earlier works by Constable, including The Mill Stream (circa 1810, Tate N01816) and The Hay Wain (1820-1, National Gallery, London).

The house is viewed through the cutting that led from the river Stour to the mill stream of Flatford mill. The composition is based on two earlier workings of the subject, The Ferry (1814, private collection) and, more particularly, Willy Lot's House from the Stour (1816-18, private collection). A number of features are based on this second and slightly smaller version, including the timberwork in the left foreground, the figures on the far bank and the boat just beside it, the man at the gate and the tiny bird skimming the surface of the water. The most obvious additions to The Valley Farm are the ferryman, boat and female passenger (based on a study in the Victoria and Albert Museum, London), and the three cows that precede them, the last one turning its head to look up. The house has been modified and made to look grander with the addition of half-timbering on one side and some extra windows. The trees on the right of the picture are also larger, more expressive and more contorted than in earlier versions and there is a development towards looser and more expressive handling of paint. The surface of the canvas is is heavily worked and Constable has applied flecks of white paint to bring the picture to life.

Constable devoted a large amount of time to reworking The Valley Farm, and there is, in this painting, a sense of the aging artist attempting to revive old images and past emotions. Constable himself was extremely enthusiastic about the results, but when the picture was exhibited at the Royal Academy in 1835 it was not well received and one critic wrote, 'He ought to be whipped for thus maiming a real genius for Landscape' (quoted in Parris and Fleming-Williams 1991, p.378). Nevertheless Constable sold the picture in the same year to the notable collector Robert Vernon (1774-1849) for his new house at 50 Pall Mall. Vernon paid him £300, the largest price Constable had ever received for a picture. It was later included in Vernon's gift to the National Gallery, London, in 1847. ( History Courtesy of the Tate organization)

Some rubbing to the painting at the bottom left.

THE ORIGINAL IS HANGING
IN THE
National Gallery
LONDON

—————
“Crossing the Brook”
By
J.M.W. Turner
1755-1851
The original is hanging in the National Gallery London

Turner developed this painting of the Tamar valley from sketches he made in Devon in 1811 and 1813. His watercolours and drawings of the area were fresh and informal. Here he creates a more self-consciously artful image. This was meant to evoke the 17th-century classical landscapes of French painter Claude Lorrain. The painting was exhibited in the year of the battle of Waterloo. Viewers at the time would have been alert to the patriotic subtext of such an imposing depiction of the British landscape. (History courtesy of the Tate Organization)

This dish does show some wear to the gold rim. Some rubbing away toward the top. But in otherwise fantastic condition.

———————-

“Winner of the Derby at Epsom Downs”
This English traditional style equestrian trinket dish is encircled in gold at it’s rim. The center depicts a rider in a red coat, white riding pants and green hat on horseback at the Epsom Downs. Under the horse it reads, “Gladiateur”.

Gladiateur (1862–1876) was a French Thoroughbred racehorse who won the English Triple Crown in 1865. Gladiateur is called a legend by France Galop and "One of the best horses ever to grace the turf in any century" by the National Sporting Library of Middleburg, Virginia. Gladiateur was not very successful as a sire but his performance on the track remains one of the most impressive in Thoroughbred horse racing history.
No signature.

Specifications for Each:
355 grams
4.75" Diameter
.5" Tall less