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James Edward Buttersworth Auction Price Results

James Edward Buttersworth (1817-1894)  Please Register/Login to access your Invaluable Alerts

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JAMES BUTTERSWORTH, American (1817-1894),

Lot 16: JAMES BUTTERSWORTH, American (1817-1894), "Yacht Race", c. 1860, oil on canvas, signed lower right., 14 x 22

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Description: JAMES BUTTERSWORTH American (1817-1894) "Yacht Race", c. 1860 oil on canvas, signed lower right. 14 x 22 Provenance: Private collection, New England since 1992.

Condition Report: Canvas: Lined Condition: Good Restoration: Considerable Frame: Quality Reproduction Comments: Conservation mostly contained to sky. Please contact gallery for further information. This report is based on Shannon's knowledge and opinion of the work described. It is provided as a service, not as a guarantee or warranty. All lots should be viewed personally by prospective buyers to evaluate condition. Frames on all paintings are sold "As Is". Frames may need some conservation.

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JAMES EDWARD BUTTERSWORTH, (AMERICAN/BRITISH 1817-1894),

Lot 29: JAMES EDWARD BUTTERSWORTH, (AMERICAN/BRITISH 1817-1894), "CUTTERS LEADING THE FLEET THROUGH THE SOUND, NY"

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Description: JAMES EDWARD BUTTERSWORTH (american/british 1817-1894)/span "CUTTERS LEADING THE FLEET THROUGH THE SOUND, NY" Signed 'J.E. Buttersworth' bottom right, oil on canvasboard 8 x 12 in. (20.3 x 30.5cm) provenance: /spanPrivate Collection, New Jersey.

Condition Report: Much of the painting is restored. The ocean has only very slight, precise retouch; apart from restoration at lower left corner, the scattered retouch in the ocean is pinhead size and smaller - i.e. specks of fill. The sky is heavily restored, including along top edge, extending into parts of sky. The restoration at top edge is most extensive at left and center left, the largest area of restoration extending approx. 1 1/2 inches into the sky. There is a smaller area of restoration in the sky at top center, and there is scattered fill in the sky. The sails of the ships appear most likely to be restored, as they appear dark under u.v. light - particularly the front two sails of the largest ship (at left). Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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Circle of James Edward Buttersworth (1817-1894), A

Lot 34: Circle of James Edward Buttersworth (1817-1894), A

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Description: Circle of James Edward Buttersworth (1817-1894), A naval engagement, Oil on canvas, 50 x 70cm (19 3/4 x 27 1/2in)

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JAMES EDWARD BUTTERSWORTH, American (1817-1894), Off Sandy Hook, oil on panel, signed lower right., 7 7/8 x 11 1/8

Lot 49: JAMES EDWARD BUTTERSWORTH, American (1817-1894), Off Sandy Hook, oil on panel, signed lower right., 7 7/8 x 11 1/8

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Description: JAMES EDWARD BUTTERSWORTH American (1817-1894) Off Sandy Hook oil on panel, signed lower right. 7 7/8 x 11 1/8 Provenance: Frank W. Cole, Monmouth County, New Jersey; descended in the family to the present owner, Massachusetts. Other Notes: Known for marine paintings from subjects he observed in the waters off New York, James Buttersworth lived long enough to depict the early steamship era. His career spanning sixty years was dedicated to portraits of all types of ships at sea such as racing clipper ships, steamers, and yachts. Nearly 600 of his paintings have been found, and his contribution in preserving this colorful chapter in American history is profound. His special skill was portraying the majesty, grace, and movement of sailing vessels, and viewers have a strong sense of being pulled along because of the curves and flow he conveyed in his wind-filled sails.

Condition Report: Canvas: Not Applicable Condition: Very Good Restoration: Very Minor Frame: Unframed In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Shannon's is merely a subjective qualified opinion. Frames on all paintings are sold "As Is". Frames may need some conservation.NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE

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Circle of James Edward Buttersworth (1817-1894) A

Lot 73: Circle of James Edward Buttersworth (1817-1894) A

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Description: Circle of James Edward Buttersworth (1817-1894) A naval engagement Oil on canvas 50 x 70cm (19 3/4 x 27 1/2in)

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James Edward Buttersworth (English, 1817-1894)

Lot 96: James Edward Buttersworth (English, 1817-1894)

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Description: Medium: Oil on board Untitled Measures: 25.5 x 15.5 inches framed, sight: 23.5 x 13.5 inches Artwork is signed J.E. Buttersworth lower left Provenance: From a Private Collection

Condition Report: good condition, some minor paint losses consistant with age

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James Edward Buttersworth (American, 1817-1894), oil on mahogany panel, signed lower right

Lot 144: James Edward Buttersworth (American, 1817-1894), oil on mahogany panel, signed lower right "J.E. Buttersworth," scene depicting a ya...

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Description: James Edward Buttersworth (American, 1817-1894), oil on mahogany panel, signed lower right "J.E. Buttersworth," scene depicting a yacht race with steamship in left background, cleaned and minor in-painting restoration completed in 1995 by Stephen Kornhauser and P. Garland, ss: 7 1/2" h. x 15 3/4" w. [Provenance: In family for three generations, most recently on long term loan to the New Britain Museum of American Art, 1979 to present].

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James Edward Buttersworth American, 1817-1894 Yachts in New York Harbor

Lot 150: James Edward Buttersworth American, 1817-1894 Yachts in New York Harbor

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Description: James Edward Buttersworth American, 1817-1894 Yachts in New York Harbor Signed J. E. Buttersworth (lr) Oil on panel 4 7/8 x 10 inches Unframed

Condition Report: Small losses along edges -most notable along the bottom edge. Horizontal split in paint film 1 1/2" from upper edge, extending 7 1/2" across composition; does not appear to be a scratch. Surface grime. Would benefit from a cleaning. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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James Buttersworth (American, 1817-1894), Pair of paintings,

Lot 158: James Buttersworth (American, 1817-1894), Pair of paintings, "The Active off Castle Garden" and "The Active Off Sandy Hook"

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Description: James Buttersworth (American, 1817-1894) a pair of paintings: THE ACTIVE OFF CASTLE GARDEN signed lower right "Buttersworth" partially under the rabbet of the frame Oil on panel THE ACTIVE OFF SANDY HOOK Unsigned Oil on panel Each in its original frame and original paper backing intact. 8 x 12 in each Literature: William P. Stephens, Traditions and Memories of American Yachting (1981), pp. 85, 290, 291, 324, 348; John Parkinson, Jr., The History of the New York Yacht Club (1975), vol. I, pp. 93, 95, 98; Other Notes: Reference: Granby, Alan and Hyland, Janice, Flying the Colors: the Unseen Treasures of Nineteenth- Century Marine Art, Mystic (2009), p.p 173-174, p. 204, illus. plate III.27, p. 205, plate III.28 (for a similar pair intended to be hung as a sequential pairing). Yachtsmen of the "Gilded Age" were an unusual lot. Many were characters that were larger than life. The amount of ink spilled on the pages of the popular press at the time is akin to our contemporary cult of celebrity. A number of them were Brobdingnagian figures. Many were, as representatives of their generation, were fierce competitors, unrepentant, and not without a sense of humor. A member of this legion was Frank W. J. Hurst Hurst was elected treasurer of The New York Yacht club in 1886, a post he held until his death 1902. W. P Stephens bequeathed us a portrait of Hurst, and his yacht Active in the pages of Traditions and Memories of American Yachting. "At a gathering of yachtsmen, I think on one the cruises, Admiral Harmony U. S. N. was telling the story of a chase of a blockade runner during the Rebellion, and he ended: 'And sir, the damned rascal got away.' A voice in the background piped up 'Admiral, I was that damned rascal.' This came from Frank W. J. Hurst, a young Englishman who in his early twenties was purser aboard an English blockade runner; after the war ended he came to New York, married the daughter of a New York merchant, and became a thorough American in his yachting. Joining the New York Yacht Club in 1874, he had built by Billy Force of Keyport, N. .J., a centerboard sloop of 50 feet l.w.l. Though distinctly of the home type, Active was sometimes called a cutter. I think that she had a plumb stem, unusual at the time, and she did have the broad counter of a cutter. In nearly 30 years' membership he served the club well as Treasurer and on committees: but his sympathies were on the side of the defender in all matches for the cup." In 1875 Hurst commissioned W. L. Force of Keyport, N. J., to build Active. She was a centerboard sloop with inside ballast, 55' 6'' over all, 50,' waterline 16' 6," breadth 5' 6," depth 4' 6," draft, and drew 11' 6'' with board down. Active was listed with The New York Yacht Club as a cutter. The pages of Traditions and Memories of American Yachting contain an interesting anecdote concerning her construction. "In describing Active The Aquatic Monthly stated that 'the stern will have an English over hang.' with 'an American rig' It adds: 'Mr. Smith made drawings from a model furnished by Mr. Force," including calculations and sail plan; 'the object of this is to have the spars, rigging, sails, and everything ready to put on the boat when it is launched.' The Mr. Smith mentioned above is none other than Archibald Cary Smith, designer of 1881 America's Cup defender Magic, measurer of the N.Y.Y.C., and a marine artist whose talents were, in many ways, commensurate to those of James Buttersworth. Judging from the paucity of information in The History of the New York Yacht Club by John Parkinson. Jr. regarding Active one may conclude that she was used more for cruising than racing. However, she did win her class in the June 14, 1877 Annual Regatta. This race was marked by the famous squall out of the northwest towards the finish in which Wanderer lost her foretopmast, and Rambler her flying jib boom. Fred Cozzens, another popular contemporary of Buttersworth, painted a dramatic watercolor of this exciting episode that was later published as a chromolithograph titled In the Narrows, A Black Squall. All fine artists have one thing in common: they posses a style and technique which becomes exclusive property and something unique unto them which distinguishes and separates them from all others. J. E. Buttersworth achieved such distinction. Buttersworth was a painter of skies for drama and mood. The glow and flow of his skies is truly stirring, and the major factor in almost all of his paintings. More importantly, the artist's skies served as a magnificent theatrical backdrop for his subjects. Such is the case with Active where the Buttersworth employs cloud formations to convey the sense of weather conditions and time of day, and as the motive factor behind the planes of light and dark water, and glistening wave crests - effects that marry to produce both a sense of depth and movement in the painting. And, finally as a back drop to the rest of the action as a whole, and as well as the glue that binds the picture plane together. James Buttersworth painted with meticulous detail which was always in key, and which never detracted from the overall effect and harmony of the painting as a whole. He was both a draughtsman and painter. The former is aptly demonstrated by the fine line and detail in the delineation of his vessels. Buttersworth painted thinly as this impeccable detail required a thin and flowing medium to achieve. His paintings are characterized by fluid brush strokes and tight brushwork. The artist's architectural details of rigging, hull, and sails in is yachting pictures are peerless. A Buttersworth painting tells a story. They are narrative. Most frequently a relationship or tension is established with other vessels, or an interesting shore scene. Many depict a struggle with the elements, or portray a contest between vessels as evidenced in his yacht racing subject matter. There is always movement or conflict - a storyline - in all of his paintings. Many of his paintings are documentary in nature and depict actual events, beautifully narrated in their execution. Active off Castle Garden and Active off Sandy Hook manifest all of the best of Buttersworth catalogued in the foregoing paragraphs. They were conceived and executed as a pair (it was common practice to sign only one of a pair at the time), and were probably painted in 1875, the year Active was built. The narrative is a simple one-a perfect day on the water, going and coming. Active off Castle Garden and Active off Sandy Hook function as bookends for the chronicle. Active off Castle Garden depicts the sloop on starboard tack close hauled with main and jib set. The sun is in the east, the wind is fresh, the sky is fair, and all signs point to a brisk sail to Sandy Hook and beyond. Active off Sandy Hook depicts her on port tack with topsail, and topmast staysail set (indicating a gentle breeze). The sun is setting behind Navesink Highlands. If the wind holds, and if the tide is fair she will make anchor inside the hook before nightfall. James Buttersworth captured Active off Castle Garden, and Active off Sandy Hook well enough to satisfy the most demanding diarist. However this pair of paintings is more than a document or commemorative piece. Active off Castle Garden and Active off Sandy Hook truly evoke the spirit of the era - "The Golden Age of Yachting."

Condition Report: The Active Rounding Castle Garden with the Battery in the Distance: surface grime; one tiny scratch, right center, tiny chip upper left corner; frame abrasion at the lower edge; a hairline crack in the lower right The Active Rounding Sandy Hook surface grime; a tiny scratch at lower right Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Keno Auctions shall have no responsibility for any error or omission regarding an item's condition.

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James Edward Buttersworth (1817-1894),

Lot 173: James Edward Buttersworth (1817-1894), "Arrival of George IV at Leith, August 14, 1822" circa 1842

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Description: James Edward Buttersworth (1817-1894) ARRIVAL OF GEORGE IV AT LEITH, AUGUST 14, 1822, circa 1842 Unsigned Oil on canvas 16 x 22 in. Provenance: Frost and Reed Gallery London, UK Cigna Corporation Museum and Art Collection, Philadelphia, Pennsylvania Literature: Schaefer, Rudolph J., J.E. Buttersworth 19th century Marine Painter (1975), pp. 39-70 (for a discussion of Buttersworth's English Period and illustrations of similar examples) Other Notes: The 1822 visit of King George IV to Scotland was the first visit of a reigning monarch to Scotland since 1650. Government ministers had pressed the King to bring forward a proposed visit to Scotland, to divert him from diplomatic intrigue at the Congress of Verona. When his advice on the matter was sought by the King, Sir Walter Scott, author of the novel Waverley which popularized a romantic image of the Scottish Highlands, seized the opportunity to invent a splendid pageant wherein ancient Scotland would be reborn, and the King parodied in cartoons as a fat debaucher would be seen as "a portly handsome man looking and moving every inch a King". George would be presented as a new Jacobite King, with the logic that he was by bloodline as much a Stuart as Bonnie Prince Charlie had been, and would win the affections of the Scots away from radical reform. The visit increased his popularity in Scotland, turning his subjects away from the rebellious radicalism of the time. However, it was Sir Walter Scott's organization of the visit with the inclusion of plaided pageantry that was to have a lasting influence by elevating what had been thought of as the primitive dress of mountain thieves, the tartan kilt, to become part of Scotland's national identity. Buttersworth habitually painted timely and newsworthy subject matter. If Buttersworth did not witness an event personally, he would have drawn his inspiration from sources such as the The Illustrated London News. The Royal Visit to Scotland by Queen Victoria and Prince Albert (their first visit) in 1842, nearly twenty years to the day after the visit of George IV, was a near reprise of the earlier visit. In the early 1840's, Buttersworth, according to parish records, lived at 6 Hague Street, Bethnal Green an East London Borough bordering the Thames side boroughs of Wapping and Rotherhithe - a short distance from Woolwich. The Royal Couple embarked from Woolwich on the same Royal George that carried George IV to Leith two decades previously. Buttersworth would have been acutely aware of the importance of the event. In fact, the papers of the day carried little else for duration of the trip and for weeks afterward. The Illustrated London News # 17, p. 256 described the importance of The Royal Progress in florid Victorian prose. "…the event itself is one of importance, in account of its certainty of doing good. Royal movements, when made upon a grand scale of pageantry and magnificence, and directed as it were down the mid-stream of popular affection…give new wings to trade; they stimulate all sorts of employment…and produce expectations which are in themselves joyous and exhilarating, and do the people good. They lend a helping hand to labor through a thousand ramifications of trade; they unlock the pocket-interest, force an expenditure of individual wealth for public benefit, and scatter refreshing showers from the coffers of the rich upon the brightening pathways of the poor." Realizing the commercial implications, Buttersworth was quick to capitalize on the National Obsession. In fact, one might suppose that a sort of cottage industry in George IV Leith pictures thrived for as long as public interest in Scotland supported demand. The number of paintings extant by Buttersworth father and / or son depicting variations on the theme of George IV's visit to Leith in 1822 suggests that both artists used as a template a basic sketch or painting executed years before. One such picture by his father, Thomas, hangs in the City of Edinburgh Art Collection, and is a model for the current example. A study of the two paintings demonstrates that while James was still influenced by his father, his skill as a draughtsman, and individuality as a painter was already well developed. In fact, the son was well on his way to becoming his "own man" artistically at twenty-five. Buttersworth painted Arrival of George IV at Leith, August 14, 1822 with meticulous detail which is in key, and which never detracts from the overall effect and harmony of the painting as a whole. Buttersworth was both a draughtsman and painter. The former is aptly demonstrated by the fine line and detail in the delineation of his vessels. Buttersworth painted thinly as this impeccable detail required a thin and flowing medium to achieve. His paintings are characterized by fluid brush strokes and tight brushwork. The artist's architectural details of rigging, hull, and sails in Arrival of George IV at Leith, August 14, 1822 is peerless. Furthermore, the artist combined a sophisticated palette, complicated composition, and treatment of atmosphere and light with the use of cloud formations to create a sense of drama and mood. The turbulence and glow of his sky is truly stirring. This coupled with the use of alternating planes of dark and light in the water, in harmony with the broken sky, creates an atmospheric perspective enhancing the feeling of depth which highlights and focuses attention on the major subjects in the composition, giving Arrival of George IV at Leith, August 14, 1822 a depth and sophistication lacking in his father's paintings.

Condition Report: lined, clean with a small amount of inpainting to address stretcher bar left scattered inpaint at the edges, a 3 inch area of inpaint at the far left does not inpaint the image at all Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Keno Auctions shall have no responsibility for any error or omission regarding an item's condition.

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JAMES BUTTERSWORTH (1871-1894): NEW YORK YACHT CLUB RACE OFF SANDY HOOK

Lot 240: JAMES BUTTERSWORTH (1871-1894): NEW YORK YACHT CLUB RACE OFF SANDY HOOK

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Description: JAMES BUTTERSWORTH (1871-1894): NEW YORK YACHT CLUB RACE OFF SANDY HOOK Oil on canvas, signed 'J.E. Buttersworth' lower right, lined. 12 1/4 x 18 1/4 in., 16 3/4 x 22 3/4 in. (frame). Provenance: Rabin-Krueger Gallery, Newark, NJ.

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JAMES E. BUTTERSWORTH, (American, 1817-1894), YACHT AMBASSADRESS, oil on canvas;, 11 1/2 x 18 1/2 inches

Lot 240: JAMES E. BUTTERSWORTH, (American, 1817-1894), YACHT AMBASSADRESS, oil on canvas;, 11 1/2 x 18 1/2 inches

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Description: JAMES E. BUTTERSWORTH (American, 1817-1894) YACHT AMBASSADRESS oil on canvas; signed J.E. Buttersworth, l.r.; 11 1/2 x 18 1/2 inches Other Notes: The Yacht Ambassadress was designed and built in 1877 by David Carll for William Astor. One of the most luxurious yachts of it's time, Ambassadress was also the largest centerboard schooner built, measuring 146 feet 2 inches. The yacht, meant for pleasure cruising and not for racing, was described as sumptuous, having finishings of exotic woods, carpeting and panelled mirrors and was nicknamed 'the Astor House'.

Condition Report: Overall good restored condition; cleaned and lined; U.V. shows evidence of restoration along the edges, most significantly u.r. and l.r. (signature is untouched, though faint); there does not appear to be any in-painting within the center of the canvas or the boats and sails; the paint surface somewhat flat from lining and is thin in places (from cleaning).

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JAMES E. BUTTERSWORTH, (American, 1817-1894), SHIP/SLOOP PEACOCK, oil on board;, 7 x 9 inches

Lot 280: JAMES E. BUTTERSWORTH, (American, 1817-1894), SHIP/SLOOP PEACOCK, oil on board;, 7 x 9 inches

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Description: JAMES E. BUTTERSWORTH (American, 1817-1894) SHIP/SLOOP PEACOCK oil on board; signed J.E. Buttersworth, l.r.; 7 x 9 inches Provenance: Private Collection, Prominent New England Family

Condition Report: yellowed varnish on the surface. Raking light shows signs of cracking under the surface, minor when looking directly at the painting; U.V. shows no sign of restoration;

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James Edward Buttersworth (English, 1817-1894)

Lot 293: James Edward Buttersworth (English, 1817-1894)

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Description: Medium: Oil on board Untitled Measures: 25.5 x 15.5 inches framed, sight: 23.5 x 13.5 inches Artwork is signed J.E. Buttersworth lower left Provenance: From a Private Collection

Condition Report: good condition, some minor paint losses consistant with age

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James Edward Buttersworth, oil on canvas

Lot 324: James Edward Buttersworth, oil on canvas

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Description: Buttersworth, James Edward (1817-1894). Circa 1880. Oil on canvas laid down on board. Portrait of three-masted schooner in harbor, with sailboat and fishing dinghies off stern. In the near distance, a fortification flies an unidentified

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James Edward Buttersworth

Lot 375: James Edward Buttersworth

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Description: (New Jersey, 1817-1894)A Frigate Leaving Spithead, signed lower right "J. E. Buttersworth", oil on canvas, 9-3/8 x 13-5/8 in.; gilt wood and composition frame, lined and restretched on newer stretcher, crackle, retouch upper left in sky, scattered and in some areas of crackle; frame in good condition. Provenance: The Parker Gallery, London; Tampa, Florida, Private Collection

Condition Report: lined and restretched on newer stretcher, crackle, retouch upper left in sky, scattered and in some areas of crackle; frame in good condition

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James Edward Buttersworth

Lot 567: James Edward Buttersworth

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Description: (American/British,1817-1894)A British Frigate in the Tagus Off Belem Castle, signed lower right "J.E. Buttersworth", oil on canvas, 18 x 24 in.; modern frame, lined and restretched on old stretcher, crackle, retouch primarily in sky and scattered lightly in sails with total of 25% of surface affected. Provenance: The Parker Gallery, London; Tampa, Florida Private Collection

Condition Report: lined and restretched on old stretcher, crackle, retouch primarily in sky and scattered lightly in sails with total of 25% of surface affected

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JAMES E. BUTTERSWORTH (AMERICAN 1817-1894). THE SCHOONER YACHT

Lot 577: JAMES E. BUTTERSWORTH (AMERICAN 1817-1894). THE SCHOONER YACHT "COLUMBIA" IN A RACE OFF THE BRITISH COAST.

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Description: The "Columbia" was designed and built in 1871 by Joseph B. Van Duesen in Chester, Pennsylvania for Franklin Osgood of the New York Yacht Club. That year she sucessfully defended the America's Cup against the British challenger "Livonia."Oil on millboard, 10 1/2 x 14 inches. Signed "J.E. Buttersworth" l.r. The reverse affixed with label for the supplier Windsor & Newton.Literature: Listed in the revised edition of Rudolph J. Schaefer, "J.E. Buttersworth, 19th Century Marine Painter," Checklist of Known Works, p. 235.

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JAMES E. BUTTERSWORTH (AMERICAN 1817-1894).

Lot 578: JAMES E. BUTTERSWORTH (AMERICAN 1817-1894). "PURITAN" IN THE NARROWS, NEW YORK BAY.

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Description: Puritan, the first large yacht designed by Edward Burgess, was the victorious defender of the fifth America's Cup in 1885. A new design with elements of the traditional sloop and the cutter, it was built at South Boston by George Langley & Son and owned by J. Malcolm Forbes.Oil on panel, 9 1/2 x 11 3/4 inches. Signed "J.E. Buttersworth" l.r.Provenance: The Old Print Shop, New York.

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JAMES E. BUTTERSWORTH (AMERICAN 1817-1894). H.M.S.

Lot 579: JAMES E. BUTTERSWORTH (AMERICAN 1817-1894). H.M.S. "SEAHORSE" CAPTURING THE TURKISH FRIGATE "BADERE ZAFFER" IN THE MEDITERRANEAN, JULY 5, 1808.

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Description: The "Alis Fezan" depicted in flames in the foreground. Oil on panel, 9 x 12 inches. Signed "J.E. Buttersworth" l.l. The reverse affixed with the Lowe gallery label. Provenance: Samuel L. Lowe, Jr. Antiques, Boston.Literature: Listed as "A British Turkish Naval Battle" in Rudolph J. Schaefer, "J.E. Buttersworth, 19th Century Marine Painter," p. 255, no. 450 and in the revised edition's Checklist of Known Works, p. 246.

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JAMES EDWARD BUTTERSWORTH, American, 1817-1894, Two American full-rigged ships offshore alongside, Oil on canvas, 13¼

Lot 623: JAMES EDWARD BUTTERSWORTH, American, 1817-1894, Two American full-rigged ships offshore alongside, Oil on canvas, 13¼" x 18". Framed...

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Description: JAMES EDWARD BUTTERSWORTH American, 1817-1894 Two American full-rigged ships offshore alongside a side-wheel steamship and two dories with crewmen. The shore appears on each side of the scene, possibly the lower portion of Long Island Sound. The calm water and the work's great depth reflect Buttersworth's realistic style. Signed lower right "J.E. Buttersworth". Oil on canvas, 13 1/4" x 18". Framed.

Condition Report: Restored tear in central sky inbetween the two ships. Small dime-sized amount of inpaint to upper left corner. Tight crazing throughout. Relined. The absence of a condition report does NOT imply that an an object is free of defects or restoration. Please contact Eldred's before bidding with any questions as to condition. Condition reports are provided as a complimentary service and only reflect the opinion of Eldred's and should not be taken as a statement of fact. Condition reports only detail flaws or restorations and do not take into account wear, fading, or other issues consistent with an object's age.

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THE ARRIVAL OF KING GEORGE IV AT LEITH, AUGUST 14, 1822. ATTRIBUTED TO JAMES E. BUTTERSWORTH (AMERICAN 1817-1894).

Lot 669: THE ARRIVAL OF KING GEORGE IV AT LEITH, AUGUST 14, 1822. ATTRIBUTED TO JAMES E. BUTTERSWORTH (AMERICAN 1817-1894).

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Description: Oil on canvas, 16 x 22 inches. Provenance: Frost & Reed, London; Cigna Corp. Museum and Art Collection, Philadelphia.

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JAMES E. BUTTERSWORTH (AMERICAN 1817-1894). THE STEAM-SAILER "SAN SALVADOR."

Lot 800: JAMES E. BUTTERSWORTH (AMERICAN 1817-1894). THE STEAM-SAILER "SAN SALVADOR."

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Description: Launched in 1859, the "San Salvador" was an iron-hulled ship built by Harlan & Hollingsworth at Wilmington, Delaware. At the outbreak of the Civil War, she was chartered and then purchased by the War Dept. to provide government transport service. Oil on canvas, 18 ¾ x 24 ½ inches. Signed "J.E. Buttersworth" l.r. Literature: An almost identical, though somewhat smaller rendering of the "San Salvador" by Buttersworth in the collection of the Mariner's Museum, Newport News, Virginia, is illustrated in Rudolph J. Schaefer, "J.E. Buttersworth: 19th Century Marine Painter," 2009 edition, p. 96.

Condition Report: Please Note: Description does not include condition. Contact us if you have condition questions.

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JAMES E. BUTTERSWORTH (AMERICAN 1817-1894). TWO BRITISH FRIGATES AND AN AMERICAN SHIP GIVING CHASE.

Lot 895: JAMES E. BUTTERSWORTH (AMERICAN 1817-1894). TWO BRITISH FRIGATES AND AN AMERICAN SHIP GIVING CHASE.

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Description: Oil on canvas, 18 ½ x 24 ¼ inches.

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JAMES EDWARD BUTTERSWORTH, American, 1817-1894, Yacht racing scene., Oil on canvas, 12

Lot 1008: JAMES EDWARD BUTTERSWORTH, American, 1817-1894, Yacht racing scene., Oil on canvas, 12" x 16". Framed.

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Description: JAMES EDWARD BUTTERSWORTH American, 1817-1894 Yacht racing scene. Signed lower right "J.E. Buttersworth". Provenance: Ex Collection: Robert C. Eldred, Sr. Private Collection, Germany. Oil on canvas, 12" x 16". Framed.

Condition Report: Wax reline. Two very small spots of scattered inpaint in the sky to the left of the sails, and two more small spots in center sail. One about nickel-sized to the right sky above that sail that appears to be a repaired tear. The absence of a condition report does NOT imply that an an object is free of defects or restoration. Please contact Eldred's before bidding with any questions as to condition. Condition reports are provided as a complimentary service and only reflect the opinion of Eldred's and should not be taken as a statement of fact. Condition reports only detail flaws or restorations and do not take into account wear, fading, or other issues consistent with an object's age.

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JAMES EDWARD BUTTERSWORTH (American/British 1817-1894)

Lot 2041: JAMES EDWARD BUTTERSWORTH (American/British 1817-1894) "AMERICA'S CUP RACE VIGILANT AND VALKYRE, 3RD RACE, OCTOBER 9, 1892"

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Description: Oil on canvas Housed in a fine carved and gilt reproduction frame with title and artist's plaque Appears to have parts of a signature lower right, with no letters intact. Note: There is listed on p. 238 (#65) of "Schaefer's Book on Buttersworth" by Mystic Seaport a 20" x 30" oil on canvas which is signed lower right and showing the Valkyrie II and Vigilant. SIZE: 20" x 30". Overall: 28-1/4" x 38-1/4". CONDITION: Lined, restored with inpainting, very good. 9-29672

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JAMES EDWARD BUTTERSWORTH (American, 1817-1894) YACHT RACING IN NEW YORK HARBOR.

Lot 2142: JAMES EDWARD BUTTERSWORTH (American, 1817-1894) YACHT RACING IN NEW YORK HARBOR.

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Description: Oil on board yacht racing scene shows two side by side black-hulled single-mast yachts sailing left to right in the Upper Bay of New York with Castle Garden on the tip of Manhattan on the left and Castle William on Governors Island on the right. Several other ships can be seen and each boat has a full complement of crew. On each boat, the top sail is either being raised or lowered. The sky shades from a dark gray to a light pink/yellow. Signed lower right "J E Buttersworth". Housed in an antique gilt frame with burl liner. An old note in fountain pen attached to reverse. An outstanding example of Buttersworth yacht racing scenes. SIZE: 8" x 12". CONDITION: Very good in need of a light cleaning, possibly untouched condition. 9-24787

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Lot 1: James Edward Buttersworth* (1817-1894)

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Description: Schooner Race in New York Harbor signed 'J E Buttersworth' lower right oil on canvas 8 x 14in. (20.3 x 35.6cm.) PROVENANCE Kennedy Galleries, Inc., New York Sale: New York, Sotheby's, January 26, 1974, lot 656 Dr. John J. McDonough, Youngstown, Ohio Sale: New York, Sotheby's, March 22, 1978, lot 3 Berry-Hill Galleries, Inc., New York Acquired by the present owner from the above EXHIBITION New Orleans, Louisiana, New Orleans Museum of Art, A Panorama of American Painting--The John J. McDonough Collection, no. 6, illus. (This exhibition also traveled to San Diego, California, Fine Arts Gallery of San Diego, June-August 1975; San Antonio, Texas, McNay Art Institute, September-October 1975; Little Rock, Arkansas, Arkansas Art Center, November-December 1975; Greensburg, Pennsylvania, Westmoreland County Museum of Art, January-March 1976; Raleigh, North Carolina, North Carolina Museum of Art, April-June 1976; Oklahoma City, Oklahoma, Oklahoma Art Center, July-August 1976; Youngstown, Ohio, Butler Institute of American Art, October 1976) SALESROOM NOTICE Lots 1-83 Persons associated with the Estate may be bidding on certain lots in the sale.

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Lot 1: *JAMES E. BUTTERSWORTH (1817-1894)

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Description: YACHT UNDER FULL SAIL signed J. E. Buttersworth, l.r. oil on canvas 12 1/4 by 16 in.31.1 by 40.6 cm. Provenance: Acquired by the present owner's family circa 1920.

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Lot 2: *JAMES E. BUTTERSWORTH (1817-1894)

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Description: RIVAL OFF BAY RIDGE signed J. E. Buttersworth, l.r.; also inscribed Rival / 21 Footer / Off Bay Ridge on the reverse oil on board 9 1/4 by 12 1/4 in.23.5 by 31.1 cm. Provenance: Acquired by the present owner's family circa 1920.

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Lot 3: James Edward Buttersworth

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Description: 1817-1894 a frigate and other shipping off cadiz oil on canvas, unlined 59.5 by 72.5cm., 23I by 31Din.

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Lot 4: BUTTERSWORTH, JAMES E. (ATTRIB.) (1817-1894)

Description: A racing sloop and other shipping off the south coast Oil/canvas 18x21 inches (44.5x54 cm).

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JAMES E. BUTTERSWORTH (1817-1894) Picking Up the Pilot-

Lot 4: JAMES E. BUTTERSWORTH (1817-1894) Picking Up the Pilot-

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Description: -Isle of Shoals, New Hampshire signed "J E Buttersworth," l.r.- -oil on canvas 17 x 27 in. (43.2 x 68.5 cm.) PROVENANCE S. V. R. Crosby, Boston By descent through the family to the present owner "Shipping off the Isles of Shoals" is one of Buttersworth's most complex and successful action paintings. This ambitious canvas depicts a barque bearing an American flag being approached by a gaff-rigged sloop with dory in tow off the Isles of Shoals, a popular resort area for artists and writers in the nineteenth century. The barque is preparing to pick up the Portsmouth N.H. harbor pilot for guidance up the Piscataqua river to port. At the left of the painting is the lighthouse on the tip of White Island, erected in 1820 and identifiable by the unusual covered walkway leading out to it from the keeper's home; a scene which has not changed since the last century. The sun glints on the wind-tossed waves as schooners and sloops from the harbor area sail briskly in the distance. Both barque and sloop are captured in three-quarter profile, rather than in Buttersworth's more typical portrait format, adding to the drama of the scene as the great ship comes perilously close to the inside of the market. A wealth of details, from the sailors dragging a dory up the landing of the lighthouse to the men on the sloop maneuvering their approach to the barque, combine with a feeling of salt air and gusty winds to create a vivid and dramatic image of a busy 19th century waterway.

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Lot 5: *James E. Buttersworth (1817-1894) RACING SCENE OFF BAY RIDGE

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Description: signed J. E. Buttersworth, l.r.; also inscribed Racing Scene off Bay Ridge on the reverse oil on board 91/4 by 121/4 in. 23.5 by 31.1 cm. Provenance: Acquired by the present owner's wife, circa 1950s.

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Lot 5: BUTTERSWORTH, James Edward (1817-1894)

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Description: Racing scene off Bay Ridge Oil/board 9,4 x 12,2 inches (24.0 x 31.0cm) Signed lower right Illustrated.

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Lot 5: *JAMES E. BUTTERSWORTH (1817-1894)

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Description: CLIPPER SHIP IN HEAVY SEAS signed J.E. Buttersworth, l.r. oil on canvas 20 by 30 in. 50.8 by 76.2 cm.

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Lot 6: JAMES E. BUTTERSWORTH (1817-1894) VIGILANTE

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Description: signed JE Buttersworth, lower right -- inscribed with title on the reverse -- oil on panel 9 1/4 x 12 1/4in. (23.5 x 31cm.) LITERATURE R.J. Schaefer, J.E. Buttersworth: 19th-Century Marine Painter, Mystic, Connecticut, 1975, p. 269, no. 653 This painting is one of a number of small oils that Buttersworth executed in 1893 depicting the America's Cup series between the Vigilant and the Valkyrie II. In one of the most exciting America's Cup races ever, the Vigilant defeated the Valkyrie II by only 40 seconds in the final race to take the Cup. In 1894, Buttersworth executed a chromolithograph of the same subject which was published by the Forest and Steam Publishing Company of New York. It was the ninth and final America's Cup that Buttersworth depicted.

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JAMES EDWARD BUTTERSWORTH 1817-1894

Lot 6: JAMES EDWARD BUTTERSWORTH 1817-1894

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Description: PROPERTY FROM THE ESTATE OF DOROTHY DILLON EWESON, FAR HILLS, NEW JERSEY A THREE-MASTED SHIP OFF DOVER A THREE-MASTED SHIP OFF DOVERmeasurements18 by 24 in.alternate measurements(45.7 by 60.9 cm)signed J.E. Buttersworth, l.r.oil on canvasPROVENANCEEstate of Clarence DillonAcquired by the present owner (his daughter) from the above

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Lot 6: James Edward Buttersworth (1817-1894)

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Description: American Brig off New York signed 'J.E. Buttersworth' lower right oil on canvas 19 x 26in. (49.5 x 66cm.) PROVENANCE Charles H. Taylor, Boston, Massachusetts Berry-Hill Galleries, Inc., New York Acquired by the present owner from the above.

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Lot 8: BUTTERSWORTH, JAMES EDWARD (1817-1894)

Description: Yacht race Oil/board 9x11 inches (24x29 cm) signed (Lower Right).

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Lot 8: BUTTERSWORTH, James Edward (1817-1894)

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Description: Two American naval vessels entering harbor Oil/panel 8,3 x 12,2 inches (21.0 x 31.0cm) Signed Illustrated.

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Lot 8: *JAMES E. BUTTERSWORTH (1817-1894)

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Description: PILOT BOATS signed J.E. Buttersworth, l.r. oil on canvas 20 by 30 in. 50.8 by 76.2 cm. Provenance: Acquired by the present owner's family in the 1920's or 1930's.

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Attributed to James Edward Buttersworth (American, 1817-1894)

Lot 9: Attributed to James Edward Buttersworth (American, 1817-1894)

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Description: Attributed to James Edward Buttersworth (American, 1817-1894) An English Merchantman and Paddle Steamer caught in a channel gale oil on canvas 25 x 30 in. (63.5 x 76.2 cm.)

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Lot 9: BUTTERSWORTH, James Edward (1817-1894)

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Description: In full sail, New York Harbor Oil/board 7,9 x 12,2 inches (20.0 x 31.0cm) Signed lower right Illustrated.

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Lot 10: BUTTERSWORTH, JAMES E. (1817-1894)

Description: Arriving in port Oil/canvas 14x22 in (35.5x55.8 cm) signed (Lower Right).

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Lot 10: A private collector JAMES E. BUTTERSWORTH (1817-1894) N.Y.Y.C. Schooner Yacht 'Estelle' Running

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Description: Home signed "J.E. Buttersworth" (lower right) oil on academy board 8 x 12 in. (20.3 x 30.5 cm) painted circa 1880 Provenance Collection of Rudolph J. Schaefer During the 1870s the number of sloops enrolled in the New York Yacht Club exceeded in number the great keel and centerboard schooners that established the club as America's premier yachting organization and New York Harbor as the world's yachting locus. After the club organized its fleet into three sloop and three schooner classes based on tonnage, the club sponsored Annual Regattas that were usually held in the first week of June. Buttersworth has portrayed one such race in an unidentified Annual Regatta. The yachts have already rounded the stake-boat and are running downwind to finish at the Southwest Spit buoy, buoy # 5 off Sandy Hook or perhaps at a mark further up New York Bay as they race over the old Club course. The lead yacht is "Estelle" owned by J.D. Smith and active in the New York Yacht Club from 1876 to 1884. The unidentified schooner following appears to be a large First Class schooner. Loitering in the right middle distance are two naval vessels. The rest of the trailing fleet of schooners and sloops is strung out to the horizon to suggest a great sense of depth and space - hallmarks of Buttersworth's technical and lyrical skills.

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Lot 10: JAMES E. BUTTERSWORTH~~ [1817-1894]

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Description: Yacht Race in New Harbor signed J.E. Buttersworth, l.r.-oil on canvas 24 x 30 in. [61 x 76.2 cm.] LITERATURE R. J. Schaefer, J.E. Buttersworth, 19th Century Marine Painter, Mystic 1975, p. 206, no. 183, illus. Yacht Race in New York Harbor, painted circa 1855, is characteristic of Buttersworth's finest work in the artist's mastery of subject and technique. An exciting use of chiaroscuro and thrusting diagonals help to animate the drama on the high seas. In addition, the artist achieves the transitory effects of atmospheric light and an impending gale using creamy yellows, whitish and gray pigments. His strong draftsmanship and nautical accuracy are equally emphasized. This work is of particular poignancy as it is one of the few compositions in which Buttersworth depicted both sailing and steam-powered vessels. Here, the majestic wind-powered craft is master of these open waters. Yet, the two steamers as they traverse both sailboats" course, signal the ultimate passing of a wind-powered commercial and military fleet and the heyday of the industrial child-the steam-powered engine. Buttersworth, perhaps, is this country's preeminent marine artist and certainly one of the finest American painters of the sailing vessel. Born in the Isle of Wight and commonly thought to be the son of the noted British marine painter, Thomas Buttersworth, he immigrated to the States sometime in the mid-1840s. His work was soon recognized by the prestigious lithographers, Currier and Ives, and some of this works inspired prints to wide acclaim. Sometime during the 1850s. Buttersworth move to Hoboken, New Jersey with its view of New York Harbor. Throughout his life, ships and the temperal conditions in which these crafts moved were a constant muse.

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Lot 10: BUTTERSWORTH, JAMES E. (1817-1894)

Description: Yacht race in New York Harbour, c.1855, 1855c. Oil/canvas 24x30 in (61x76.2 cm) signed (Lower Right).

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Lot 11: BUTTERSWORTH, JAMES EDWARD (1817-1894)

Description: Ships approaching port Oil/board 9x12 inches (23.7x30.5 cm) signed (Lower Left).

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