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Auction Description for Waddington's: International Art Auction
Viewing Notes:
Saturday 15 June from 11am - 5pm Sunday 16 June from 11am - 5pm Monday 17 June from 10am - 12 Noon

International Art Auction

by Waddington's

Platinum House

218 lots with images

June 18, 2013

Live Auction

275 King Street E

2nd Floor

Toronto, ON, M5A 1K2 Canada

Phone: +1 416 504 9100

Fax: +1 416 504 0033

Email: info@waddingtons.ca

218 Lots
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Western American School (Circa 1939-1966), North American APACHE INDIANS AMBUSING COWBOYS IN A FORD CITY STAGECOACH; Oil on canvas; indistinctly signed

Lot 1: Western American School (Circa 1939-1966), North American APACHE INDIANS AMBUSING COWBOYS IN A FORD CITY STAGECOACH; Oil on canvas; indistinctly signed "Kirtz"? lower right35 3/4" x 69 3/4" - 90.8 x 177.1 cm.Provenance: De-accessioned from Deerhurst

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Description: Western American School (Circa 1939-1966), North American APACHE INDIANS AMBUSING COWBOYS IN A FORD CITY STAGECOACH; Oil on canvas; indistinctly signed "Kirtz"? lower right35 3/4" x 69 3/4" - 90.8 x 177.1 cm.Provenance: De-accessioned from Deerhurst Inn, Huntsville, OntarioNote: Possible illustration for the remake of John Ford's 1939 motion picture "Stagecoach", 1966 directed by Gordon Douglas. Norman Rockwell's painting was released by 20th Century Fox as the poster design for the film.

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William Lees Judson (1842-1928), American CASCO BAY, MAINE; Oil on canvas; signed lower right, titled to the label to the stretcher20

Lot 2: William Lees Judson (1842-1928), American CASCO BAY, MAINE; Oil on canvas; signed lower right, titled to the label to the stretcher20" x 30.5" - 50.8 x 77.5 cm.Provenance: O.B. Grave's Parlour Picture Store

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Description: William Lees Judson (1842-1928), American CASCO BAY, MAINE; Oil on canvas; signed lower right, titled to the label to the stretcher20" x 30.5" - 50.8 x 77.5 cm.Provenance: O.B. Grave's Parlour Picture Store

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William Trost Richards (1833-1905), American LANCASHIRE SANDS; FISHERFOLK ON THE BEACH; BEACHED BOAT;; Three oils on board; the first title on Reeves & Sons Manufacturers, London board; signed

Lot 3: William Trost Richards (1833-1905), American LANCASHIRE SANDS; FISHERFOLK ON THE BEACH; BEACHED BOAT;; Three oils on board; the first title on Reeves & Sons Manufacturers, London board; signed "W.T. Richards"; titled in pencil verso;the second on

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Description: William Trost Richards (1833-1905), American LANCASHIRE SANDS; FISHERFOLK ON THE BEACH; BEACHED BOAT;; Three oils on board; the first title on Reeves & Sons Manufacturers, London board; signed "W.T. Richards"; titled in pencil verso;the second on London stamped board; the second and third; signed with initials W.T.R. and inscribed: "To my Dear Dolly with sincere love" in pencil verso. Contained in matching Canadian frames.11" x 19.75" - 27.9 x 50.2 cm.; 9.5" x 12" - 24.1 x 30.5 cm.Provenance: Dedicated to "Dolly", her collection;With The Roberts Art Gallery, Toronto circa 1920-1940

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Emile Albert Gruppe (1896-1978), American BEECHNUT TREES LAMOILLE RIVER, VERMONT; Oil on canvas; signed lower right, titled to the stretcher20

Lot 4: Emile Albert Gruppe (1896-1978), American BEECHNUT TREES LAMOILLE RIVER, VERMONT; Oil on canvas; signed lower right, titled to the stretcher20" x 24" - 50.8 x 61 cm.

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Description: Emile Albert Gruppe (1896-1978), American BEECHNUT TREES LAMOILLE RIVER, VERMONT; Oil on canvas; signed lower right, titled to the stretcher20" x 24" - 50.8 x 61 cm.

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Robert Loftin Newman (1827-1912), American BROTHER AND SISTER; Oil on canvas; inscribed

Lot 5: Robert Loftin Newman (1827-1912), American BROTHER AND SISTER; Oil on canvas; inscribed "Newman" in pencil to the stretcher8" x 6" - 20.3 x 15.2 cm.Provenance: Cottier & Co., New York stamps to the stretcher;Recorded in the Van Horne family documents

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Description: Robert Loftin Newman (1827-1912), American BROTHER AND SISTER; Oil on canvas; inscribed "Newman" in pencil to the stretcher8" x 6" - 20.3 x 15.2 cm.Provenance: Cottier & Co., New York stamps to the stretcher;Recorded in the Van Horne family documents as with the Art Association of Montreal, 1944;Ex. Coll. of Sir William Cornelius Van Horne, Montreal, inventory number V.H. 283; By descent through the family to the present Private Collection, Toronto

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George W. Chambers (1857-1897), American MISTRESS CORNELIA (THE ARTIST'S FIRST WIFE); Oil on canvas; signed and dated 1885 at Kirkwood (Missouri) lower right, signed and titled to artist's label from

Lot 6: George W. Chambers (1857-1897), American MISTRESS CORNELIA (THE ARTIST'S FIRST WIFE); Oil on canvas; signed and dated 1885 at Kirkwood (Missouri) lower right, signed and titled to artist's label from "St. L. School of Fine Arts, St. Louis, Missouri"

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Description: George W. Chambers (1857-1897), American MISTRESS CORNELIA (THE ARTIST'S FIRST WIFE); Oil on canvas; signed and dated 1885 at Kirkwood (Missouri) lower right, signed and titled to artist's label from "St. L. School of Fine Arts, St. Louis, Missouri" accompanying this lot39.5" x 23.5" - 100.3 x 59.7 cm.Provenance: Collection of the artist and his wife, Cornelia, Malpeque, Prince Edward Island;Dr. James Keir, Malpeque, Prince Edward Island;By descent to their granddaughter, Mary Margaret Elizabeth Auld, Malpeque, PEI;By descent to the present owner's mother's brother, Malpeque, PEI;By descent to the present owner's parents who recovered the two paintings from the house of Dr. Keir where they had been held in the family residence in Malpeque, PEI since their execution;By descent to the present, Private Collection, OrilliaThis painting and the next lot (lot 7) were acquired by the parents of the present Private Collection when the Malpeque residence was soldLiterature: The Spectator, St. Louis, Vol. 6, Oct. 3, 1885, p.72, there is mention of a painting by Chambers with the title of "Mistress Cornelia";H. Barbara Weinberg, The American Pupils of Jean-Leon Gerome, p.104, Chambers listed;The following literature references to Chambers was provided by The Missouri History Museum, St. Louis, MO:"Missouri Historical Society Bulletin", Vol. XXIV and Vol. XXVII (by M. Patricia Holmes);"Gateway Heritage", Vol. 8, Number 1, Summer 1987, "Chambers Watercolour Presented to Art Collections"; "Pen and Sunlight Sketches of Saint Louis" Phoenix Publishing Company, Chicago, p.127;"St. Louis Up to Date", 1895, p.228;Walter B. Stevens Scrapbook 46, p. 65Note: The painter and teacher George W. Chambers was born in St. Louis, Missouri, in 1857. Little is known of his life until 1880 when he entered the Paris studio of Jean Léon Gerome, the French classicist. He remained in Paris until 1884, studying with Gerome and also with Julien Dupré, whose Barbizon style influenced his early work. At this time, he was made a professor in the St. Louis Art School and later organized the Art School in Nashville, Tenn., where he was appointed Director in the 1890's. He painted American subjects upon his return to the US, particularly landscapes "full of warm color, light and beauty"."Mistress Cornelia" was painted the year after Chambers returned to Missouri from Paris. She is believed to be Chambers' first wife and either a grandmother or great grandmother of the consignor's mother. Cornelia died prior to 1893 when he married Bilo Keir, the woman depicted in the following lot (lot 7).In the October 1885 issue of The Spectator, the writer describes the artist's studio in Kirkwood and the work Chambers executed during the summer of 1885: Mr. Geo W. Chambers has completed an admirable studio at Kirkwood... He has completed a most satisfactory picture, which will doubtless be exhibited at the Pettes galleries. It is called 'Mistress Cornelia' and illustrates the following lines from Chaucer: 'For in her living, maidens mighten rede, as in a book, Every goode word and dede which longeth to a maiden vertuous, She was so prudent and so bounteous'.The type is not of Chaucer's time or our own, but every age wherein dwells maiden sweetness and goodness and truth. The landscape is true and good, and thoroughly of our own country. The distance is most charming and clear, but not too distinct to interfere with the interest in 'Mistress Cornelia. It seems to me to be one of the best of Mr. Chamber's productions'. (W.R.H.) The present owner remembers his mother and her sister often talking about "Aunt Anne" and Bilo (the subject of the next lot by the artist, lot 7) in PEI. The two women remember how Aunt Anne and Bilo never got along and their was always tension between them.The Keir House is a large, two storey, Georgian house, established circa 1810 with neo-classical design elements situated on the edge of Malpeque Bay, Prince Edward Island. The house is valued for its age, its association with the Presbyterian minister, Rev. Dr. John Keir (1780-1858) and his family, and the prominent role that the family played in community education for Malpeque and surrounding areas. The house also has a connection to Lucy Maud Montgomery, who was a friend of John Keir's daughter Anne. For more about the Keir house see http://www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=18765

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George W. Chambers (1857-1897), American GIRL WITH FLOWER: BILO KEIR, THE ARTIST'S WIFE; Oil on canvas; signed lower right, dated indistinctly 1893 at Kirkwood, MI lower left44

Lot 7: George W. Chambers (1857-1897), American GIRL WITH FLOWER: BILO KEIR, THE ARTIST'S WIFE; Oil on canvas; signed lower right, dated indistinctly 1893 at Kirkwood, MI lower left44" x 28" - 111.8 x 71.1 cm.Provenance: Collection of the sitter, Bilo

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Description: George W. Chambers (1857-1897), American GIRL WITH FLOWER: BILO KEIR, THE ARTIST'S WIFE; Oil on canvas; signed lower right, dated indistinctly 1893 at Kirkwood, MI lower left44" x 28" - 111.8 x 71.1 cm.Provenance: Collection of the sitter, Bilo Keir;Dr. James Keir, Malpeque, Prince Edward Island, said to have been the husband of Bilo Keir, formerly married to the artist, George W. Chambers;By descent to their granddaughter, Mary Margaret Elizabeth Auld, Malpeque, PEI;By descent to the present owner's mother's brother, Malpeque, PEI;By descent to the present owner's parents who recovered the two paintings from the house where they had been held in Malpeque, PEI;By descent to the present, Private Collection, OrilliaNote: Bilo Keir, from Louisiana, was born in 1873. George Chambers married Bilo, his second wife, in 1893, the year this work was painted. Bilo was 20 years old at the time. Chambers died in 1895, two years later. Bilo later married Dr. James Keir, a medical doctor who practiced from the family home in Malpeque from 1904-1944. The doctor was the present owner's mother's grandfather. Bilo Keir was a maternal relative of the present owner, and it is believed she was a great aunt of their mother. In her elderly years, Bilo lived at the family's large country house established by Dr. John Keir, then Dr. James Keir, in Malpeque, Prince Edward Island where this portrait and Chambers portrait, "Mistress Cornelia" (the previous lot, lot 6), hung for many years. The present owner remembers his mother and her sister often talking about "Aunt Anne" and Bilo in PEI. The two women remember how Aunt Anne and Bilo never got along and their was always tension between them.For a discussion of the historic Keir House where this work and lot 6 hung since their execution see: http://www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=18765

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Robert Daughters (1929- ), American THE ALGARVE; Oil on canvas; signed upper left16

Lot 8: Robert Daughters (1929- ), American THE ALGARVE; Oil on canvas; signed upper left16" x 20" - 40.6 x 50.8 cm.

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Description: Robert Daughters (1929- ), American THE ALGARVE; Oil on canvas; signed upper left16" x 20" - 40.6 x 50.8 cm.

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Mykola Nedilko (1902-1979), Ukrainian/American BOAT IN HARBOUR; Oil on canvas; signed lower right21

Lot 9: Mykola Nedilko (1902-1979), Ukrainian/American BOAT IN HARBOUR; Oil on canvas; signed lower right21" x 29" - 53.3 x 73.7 cm.Note: In 1961 Nedilko moved to New York where solo exhibitions took place in New York (1962, 1965, 1966, 1980), Paris (1965),

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Description: Mykola Nedilko (1902-1979), Ukrainian/American BOAT IN HARBOUR; Oil on canvas; signed lower right21" x 29" - 53.3 x 73.7 cm.Note: In 1961 Nedilko moved to New York where solo exhibitions took place in New York (1962, 1965, 1966, 1980), Paris (1965), Philadelphia (1966), Edmonton and Toronto (1988).

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Paul Jenkins (1923-2012), American PHENOMENA JOYOUS BEGATS; Watercolour on paper; signed lower rightSheet 43.5

Lot 9A: Paul Jenkins (1923-2012), American PHENOMENA JOYOUS BEGATS; Watercolour on paper; signed lower rightSheet 43.5" x 31" - 110.5 x 78.7 cm.Provenance: Elaine Hortwich Gallery, Scottsdale Arizona, circa 1980 from whom purchased by the present Private

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Description: Paul Jenkins (1923-2012), American PHENOMENA JOYOUS BEGATS; Watercolour on paper; signed lower rightSheet 43.5" x 31" - 110.5 x 78.7 cm.Provenance: Elaine Hortwich Gallery, Scottsdale Arizona, circa 1980 from whom purchased by the present Private Collection, New Mexico

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Tom Wesslemann (1931-2004), American TINY SHOE AND TULIP; Liquitex on ragboard in plexiglass box; signed5.1

Lot 10: Tom Wesslemann (1931-2004), American TINY SHOE AND TULIP; Liquitex on ragboard in plexiglass box; signed5.1" x 6.5" x 3.4" - 13 x 16.5 x 8.6 cm.Provenance: Gallery Esperanza, Montreal

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Description: Tom Wesslemann (1931-2004), American TINY SHOE AND TULIP; Liquitex on ragboard in plexiglass box; signed5.1" x 6.5" x 3.4" - 13 x 16.5 x 8.6 cm.Provenance: Gallery Esperanza, Montreal

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Guy Martin Boyd (1923-1988), Australian DANCER WITH OUTSTRETCHED ARMS; Bronze with brown patina; signed in the cast, un-numbered and raised on a 1 1/2

Lot 11: Guy Martin Boyd (1923-1988), Australian DANCER WITH OUTSTRETCHED ARMS; Bronze with brown patina; signed in the cast, un-numbered and raised on a 1 1/2" marble baseheight 38.5" - 97.8 cm.

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Description: Guy Martin Boyd (1923-1988), Australian DANCER WITH OUTSTRETCHED ARMS; Bronze with brown patina; signed in the cast, un-numbered and raised on a 1 1/2" marble baseheight 38.5" - 97.8 cm.

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Guy Martin Boyd (1923-1988), Australian NU (DANCER WITH ARM RAISED); Bronze with brown patina; signed and numbered 7/12 in the cast to the top of the base and to the underside of the base.height 9.25

Lot 12: Guy Martin Boyd (1923-1988), Australian NU (DANCER WITH ARM RAISED); Bronze with brown patina; signed and numbered 7/12 in the cast to the top of the base and to the underside of the base.height 9.25" - 23.5 cm.

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Description: Guy Martin Boyd (1923-1988), Australian NU (DANCER WITH ARM RAISED); Bronze with brown patina; signed and numbered 7/12 in the cast to the top of the base and to the underside of the base.height 9.25" - 23.5 cm.

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Attributed to Ignaz Joseph Raab (1715-1787), Austrian THE HOLY FAMILY; Oil on canvas; inscribed

Lot 13: Attributed to Ignaz Joseph Raab (1715-1787), Austrian THE HOLY FAMILY; Oil on canvas; inscribed "J.Raab" with date 1787 on the relined canvas verso28.75" x 44" - 73 x 111.8 cm.Provenance: Hubertas Gallery, Montreal, from whom purchased by Josef

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Description: Attributed to Ignaz Joseph Raab (1715-1787), Austrian THE HOLY FAMILY; Oil on canvas; inscribed "J.Raab" with date 1787 on the relined canvas verso28.75" x 44" - 73 x 111.8 cm.Provenance: Hubertas Gallery, Montreal, from whom purchased by Josef Hlavka, Montreal in the 1950's;By descent to the present Private Collection, Toronto

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Vincenz Kreuzer (1809-1888), Austrian SCHLOSHOF VON HOHENFREIBERG IN BEIERN; Oil on canvas; signed lower left, titled verso30.5

Lot 14: Vincenz Kreuzer (1809-1888), Austrian SCHLOSHOF VON HOHENFREIBERG IN BEIERN; Oil on canvas; signed lower left, titled verso30.5" x 24" - 77.5 x 61 cm.

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Description: Vincenz Kreuzer (1809-1888), Austrian SCHLOSHOF VON HOHENFREIBERG IN BEIERN; Oil on canvas; signed lower left, titled verso30.5" x 24" - 77.5 x 61 cm.

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Franz Xavier Wolf (1896-1990), Austrian WOMAN READING A LETTER IN A VERMEER INSPIRED INTERIOR; Oil on hard board laid down on plywood panel; signed upper right14

Lot 15: Franz Xavier Wolf (1896-1990), Austrian WOMAN READING A LETTER IN A VERMEER INSPIRED INTERIOR; Oil on hard board laid down on plywood panel; signed upper right14" x 12.75" - 35.6 x 32.4 cm.

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Description: Franz Xavier Wolf (1896-1990), Austrian WOMAN READING A LETTER IN A VERMEER INSPIRED INTERIOR; Oil on hard board laid down on plywood panel; signed upper right14" x 12.75" - 35.6 x 32.4 cm.

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Josef Engelhart (1864-1941), Austrian DEF PULCHER; Oil sketch on board; signed and dated 1894 lower left. Unframed.12

Lot 16: Josef Engelhart (1864-1941), Austrian DEF PULCHER; Oil sketch on board; signed and dated 1894 lower left. Unframed.12" x 8" - 30.5 x 20.3 cm.Note: The artist was the son of the butcher Josef Anton Engelhart (1838-1900). In 1888 the artist had

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Description: Josef Engelhart (1864-1941), Austrian DEF PULCHER; Oil sketch on board; signed and dated 1894 lower left. Unframed.12" x 8" - 30.5 x 20.3 cm.Note: The artist was the son of the butcher Josef Anton Engelhart (1838-1900). In 1888 the artist had executed a larger 47 3/4" x 27 1/2" tempera on paper of this work

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Oswald Roux (1880-1960), Austrian TOWNSFOLK AT AN AGRICULTURAL FAIR; Oil on braced panel; signed lower left34.75

Lot 17: Oswald Roux (1880-1960), Austrian TOWNSFOLK AT AN AGRICULTURAL FAIR; Oil on braced panel; signed lower left34.75" x 59" - 88.3 x 149.9 cm.Provenance: The Gunther Wagner Pelikan Art Collection, Hannover, Germany and later partially located on the

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Description: Oswald Roux (1880-1960), Austrian TOWNSFOLK AT AN AGRICULTURAL FAIR; Oil on braced panel; signed lower left34.75" x 59" - 88.3 x 149.9 cm.Provenance: The Gunther Wagner Pelikan Art Collection, Hannover, Germany and later partially located on the family estate in Northern Germany (Gut Auermühle);By descent to the present Private Collection, Canada from the consignor's parents, Germany

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Alphons Leopold Mielich (1863-1929), Austrian FIELDWORKERS WASHING CROPS ON THE RIVER BANK; Pastel on paper mounted on canvas; signed lower rightSight 19.75

Lot 18: Alphons Leopold Mielich (1863-1929), Austrian FIELDWORKERS WASHING CROPS ON THE RIVER BANK; Pastel on paper mounted on canvas; signed lower rightSight 19.75" x 30" - 50.2 x 76.2 cm.

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Description: Alphons Leopold Mielich (1863-1929), Austrian FIELDWORKERS WASHING CROPS ON THE RIVER BANK; Pastel on paper mounted on canvas; signed lower rightSight 19.75" x 30" - 50.2 x 76.2 cm.

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Alois Arnegger (1879-1967), Austrian ALPINE WINTER WITH CABINS AGLOW; Oil on canvas; signed lower left24

Lot 19: Alois Arnegger (1879-1967), Austrian ALPINE WINTER WITH CABINS AGLOW; Oil on canvas; signed lower left24" x 36" - 61 x 91.4 cm.

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Description: Alois Arnegger (1879-1967), Austrian ALPINE WINTER WITH CABINS AGLOW; Oil on canvas; signed lower left24" x 36" - 61 x 91.4 cm.

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Alois Arnegger (1879-1967), Austrian ALPINE SUNSET; Oil on canvas; signed lower right24

Lot 20: Alois Arnegger (1879-1967), Austrian ALPINE SUNSET; Oil on canvas; signed lower right24" x 36" - 61 x 91.4 cm.

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Description: Alois Arnegger (1879-1967), Austrian ALPINE SUNSET; Oil on canvas; signed lower right24" x 36" - 61 x 91.4 cm.

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Alois Arnegger (1879-1967), Austrian SORENTO; Oil on canvas; signed lower right20

Lot 21: Alois Arnegger (1879-1967), Austrian SORENTO; Oil on canvas; signed lower right20" x 26.25" - 50.8 x 66.7 cm.

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Description: Alois Arnegger (1879-1967), Austrian SORENTO; Oil on canvas; signed lower right20" x 26.25" - 50.8 x 66.7 cm.

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Eugene Verboeckhoven (1799-1881), Belgian SHEEP, EWES AND LAMBS IN A PASTURE BY A SEA; Oil on panel; signed and dated 1867 lower center, certified and dated 1867 at

Lot 22: Eugene Verboeckhoven (1799-1881), Belgian SHEEP, EWES AND LAMBS IN A PASTURE BY A SEA; Oil on panel; signed and dated 1867 lower center, certified and dated 1867 at "Bruxcelles" to artist's label verso26.5" x 40" - 67.3 x 101.6 cm.Provenance: Estate

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Description: Eugene Verboeckhoven (1799-1881), Belgian SHEEP, EWES AND LAMBS IN A PASTURE BY A SEA; Oil on panel; signed and dated 1867 lower center, certified and dated 1867 at "Bruxcelles" to artist's label verso26.5" x 40" - 67.3 x 101.6 cm.Provenance: Estate of Edward Albert Manning (1903-1978), Ontario;Purchased from Frederick Thom Gallery, Toronto

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Hendrick Cassiers (1858-1944), Belgian ZIERIKZEE; Oil on paper laid on board; signed lower right, titled to gallery label verso16.75

Lot 23: Hendrick Cassiers (1858-1944), Belgian ZIERIKZEE; Oil on paper laid on board; signed lower right, titled to gallery label verso16.75" x 20" - 42.5 x 50.8 cm.Provenance: The Gunther Wagner Pelikan Art Collection, Hannover, Germany and later partially

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Description: Hendrick Cassiers (1858-1944), Belgian ZIERIKZEE; Oil on paper laid on board; signed lower right, titled to gallery label verso16.75" x 20" - 42.5 x 50.8 cm.Provenance: The Gunther Wagner Pelikan Art Collection, Hannover, Germany and later partially located on the family estate in Northern Germany (Gut Auermühle);Dietrich & Cie, Librairie d'Art, Bruxelles;By descent to the present Private Collection, Canada from the consignor's parents, Germany

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Diana Coomans (1861-1952), Belgian MY LITTLE HORSE (PORTRAIT OF THE ARTIST'S GRANDDAUGHTER; Oil on board; signed lower left9

Lot 24: Diana Coomans (1861-1952), Belgian MY LITTLE HORSE (PORTRAIT OF THE ARTIST'S GRANDDAUGHTER; Oil on board; signed lower left9" x 7" - 22.9 x 17.8 cm.

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Description: Diana Coomans (1861-1952), Belgian MY LITTLE HORSE (PORTRAIT OF THE ARTIST'S GRANDDAUGHTER; Oil on board; signed lower left9" x 7" - 22.9 x 17.8 cm.

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Frantz Charlet (1862-1928), Belgian LITTLE SALESMAN AT BISKRA, ALGERIA; Oil on panel; signed at Biskra lower left12.5

Lot 25: Frantz Charlet (1862-1928), Belgian LITTLE SALESMAN AT BISKRA, ALGERIA; Oil on panel; signed at Biskra lower left12.5" x 16" - 31.8 x 40.6 cm.

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Description: Frantz Charlet (1862-1928), Belgian LITTLE SALESMAN AT BISKRA, ALGERIA; Oil on panel; signed at Biskra lower left12.5" x 16" - 31.8 x 40.6 cm.

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Emmanuel Vierin (1869-1954), Belgian MOROCCO (GATHERING IN A COURTYARD); Oil on canvas; signed lower right12

Lot 26: Emmanuel Vierin (1869-1954), Belgian MOROCCO (GATHERING IN A COURTYARD); Oil on canvas; signed lower right12" x 15.75" - 30.5 x 40 cm.

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Description: Emmanuel Vierin (1869-1954), Belgian MOROCCO (GATHERING IN A COURTYARD); Oil on canvas; signed lower right12" x 15.75" - 30.5 x 40 cm.

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Fernand Verhaegen (1883-1975), Belgian CIRCUS PERFORMERS IN THE SNOW (AN OIL SKETCH OF A STILL LIFE OF SUNFLOWERS AND GOURDS VERSO); Oil on canvas; signed lower right29.75

Lot 27: Fernand Verhaegen (1883-1975), Belgian CIRCUS PERFORMERS IN THE SNOW (AN OIL SKETCH OF A STILL LIFE OF SUNFLOWERS AND GOURDS VERSO); Oil on canvas; signed lower right29.75" x 33" - 75.6 x 83.8 cm.

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Description: Fernand Verhaegen (1883-1975), Belgian CIRCUS PERFORMERS IN THE SNOW (AN OIL SKETCH OF A STILL LIFE OF SUNFLOWERS AND GOURDS VERSO); Oil on canvas; signed lower right29.75" x 33" - 75.6 x 83.8 cm.

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Attributed to Sir Thomas Lawrence (1769-1830), British PORTRAIT OF LADY GEORGINA NORTH, BARONESS DOVER; Oil on paper over pencil sketching lines laid on panel9

Lot 28: Attributed to Sir Thomas Lawrence (1769-1830), British PORTRAIT OF LADY GEORGINA NORTH, BARONESS DOVER; Oil on paper over pencil sketching lines laid on panel9" x 7.75" - 22.9 x 19.7 cm.Provenance: Ex. Coll. of Sir William Cornelius Van Horne,

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Description: Attributed to Sir Thomas Lawrence (1769-1830), British PORTRAIT OF LADY GEORGINA NORTH, BARONESS DOVER; Oil on paper over pencil sketching lines laid on panel9" x 7.75" - 22.9 x 19.7 cm.Provenance: Ex. Coll. of Sir William Cornelius Van Horne, Montreal, inventory number V.H. 31; By descent through the family to the present Private Collection, Toronto

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Attributed to Francis Wheatley (1747-1801), British THE MILKMAID; Oil on canvas; titled and inscribed to the stretcher23

Lot 29: Attributed to Francis Wheatley (1747-1801), British THE MILKMAID; Oil on canvas; titled and inscribed to the stretcher23" x 17" - 58.4 x 43.2 cm.Provenance: Mr. and Mrs. Jeremiah Gibbs, Toronto; Private Collection, Toronto

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Description: Attributed to Francis Wheatley (1747-1801), British THE MILKMAID; Oil on canvas; titled and inscribed to the stretcher23" x 17" - 58.4 x 43.2 cm.Provenance: Mr. and Mrs. Jeremiah Gibbs, Toronto; Private Collection, Toronto

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William Etty (1787-1849), British NUDE (BATHER); Oil on panel; partial title on an old typed label from an unknown auction to the frame8

Lot 30: William Etty (1787-1849), British NUDE (BATHER); Oil on panel; partial title on an old typed label from an unknown auction to the frame8" x 4" - 20.3 x 10.2 cm.Provenance: Unknown sale, From the B...? Collection partial typed label verso;Bennett's

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Description: William Etty (1787-1849), British NUDE (BATHER); Oil on panel; partial title on an old typed label from an unknown auction to the frame8" x 4" - 20.3 x 10.2 cm.Provenance: Unknown sale, From the B...? Collection partial typed label verso;Bennett's Art Store, Montreal;Nichols? Collection inscribed indistinctly to a label verso

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George Wallis (1811-1891), British IMPUDENCE - BLACK IT STOOD AS NIGHT (A SKETCH FOR A PICTURE); Oil on panel; titled to label verso, also signed twice with initials and dated 1890 on the artist's handwritten note accompanying the lot verso6

Lot 31: George Wallis (1811-1891), British IMPUDENCE - BLACK IT STOOD AS NIGHT (A SKETCH FOR A PICTURE); Oil on panel; titled to label verso, also signed twice with initials and dated 1890 on the artist's handwritten note accompanying the lot verso6" x 8" -

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Description: George Wallis (1811-1891), British IMPUDENCE - BLACK IT STOOD AS NIGHT (A SKETCH FOR A PICTURE); Oil on panel; titled to label verso, also signed twice with initials and dated 1890 on the artist's handwritten note accompanying the lot verso6" x 8" - 15.2 x 20.3 cm.Exhibited: Sketch for a picture, "Impudence" exhibited at the Society of Arts, Birmingham in 1839 or 1840Note: On the artist's note verso signed with initials and dated Sep. 4th 1890, Wallis writes: It was designed to meet the challenge of a friend to illustrate "The step from the sublime to the Ridiculous" and was described in the catalogue: "Impudence." with quotation."Black it stood as Night" Milton.Miss Twamley, a well know authoress, who, subsequently married a Mr. Meredith and went to Australia, and whose death has been recently (Septr. 1890) announced in the Birmingham newspapers, wrote and published some versified criticisms upon the pictures with the title "Shots in the Round Room". This is still the central room of the Society of Artists Exhibition Rooms Birmingham.On the picture above named she wrote:"Impudence indeed! to take a lineof grand Milton (ic) verse and makeA dirty pun upon it!To paint a sweepWho sitting on a stile doth grinning keep. To decked out damsels from their path and writeIn illustration "Black it stood as Night."'

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Joseph Severn (1793-1872), British THE VINTAGE (ALSO KNOWN AS THE VINTAGE AT GENSANO IN ITALY), 1824-1825; Oil on canvas; titled

Lot 32: Joseph Severn (1793-1872), British THE VINTAGE (ALSO KNOWN AS THE VINTAGE AT GENSANO IN ITALY), 1824-1825; Oil on canvas; titled "An Italian Vintage" with the Duke of Bedford inventory No. "424" to the nameplate49" x 40" - 124.5 x 101.6

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Description: Joseph Severn (1793-1872), British THE VINTAGE (ALSO KNOWN AS THE VINTAGE AT GENSANO IN ITALY), 1824-1825; Oil on canvas; titled "An Italian Vintage" with the Duke of Bedford inventory No. "424" to the nameplate49" x 40" - 124.5 x 101.6 cm.Provenance: The Duke of Bedford, Woburn Abbey, No. 424;Sold at Christie's, London on 19 January 1951, lot 203;Purchased by Vladimir and Johanna Vanjecek, Bosch en Duin, the Netherlands in an antique shop in London, England, circa 1974-75;By descent through the family to the present Private Collection, CanadaExhibited: The Royal Academy as "The Vintage at Gensano in Italy" in 1827, No. 273Literature: Edited by Grant F. Scott, "Joseph Severn: Letters and Memoirs", 2005, Cornwall, pages 18,19, 67, 68 and 273;"The Vintage" is recorded at Woburn Abbey by George Scharf in his "Catalogue of the Collection of Pictures at Woburn Abbey", 1877Note: In Scott's "Joseph Severn Letters and Memoirs", it is stated that Severn was commissioned by the Duke of Bedford to paint this work in 1825, however in 1824, Severn mentions sketches for "The Vintage", a painting that took a year to complete. The work was purchased in 1827 by Lord William Russell, the brother of the Duke of Bedford.Severn was intent on creating a work different from his classical studies: "I determined that I would paint a Vintage composition, an upright picture with vines growing up an Elm---the men in the tree filling up baskets and lowering them down to the women who catch any falling grapes in their aprons". During the production of this painting, Severn took a creative leap and decided against the use of models. He convinced peasant women from Ariccia and Gensano (towns outside of Rome) to pose for him, so he would be able to portray the "unaffected simplicity" he was yearning for. This simplicity was derived from his desire to "find that elevated and abstract beauty of the antique sculpture in the living people". The candor and purity of the women pictured is paired with a complex and detailed background and a multitude of figures, sixteen in total.After its completion "The Vintage" was sold for 150 GBP and brought to England where it was hung in exhibition at the Royal Academy, the mastery of "The Vintage" was recognized by fellow painters Sir Thomas Lawrence, George Hayter and Augustus Calcott. "The Vintage" greatly increased Severn's popularity, as a painter of Italian scenes and in general; so much so he was forced to turn down commissions. The success of "The Vintage" had led Severn to exhibit eleven more paintings at the Royal Academy between 1827 and 1834. After the exhibition, "The Vintage" was brought to Woburn Abbey where it was hung among other works by distinguished contemporaries in the Duke of Bedford's collection. After its sale at Christie's in 1951, it's whereabouts were unknown, until now.

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After John Constable (1776-1837), British HAMSTEAD HEATH, BRANCH HILL; Oil on canvas25

Lot 33: After John Constable (1776-1837), British HAMSTEAD HEATH, BRANCH HILL; Oil on canvas25" x 30" - 63.5 x 76.2 cm.Provenance: American Art Association, The Thomas E. Waggaman sale, June 27th, 1905, New York from who purchased by Sir William Cornelius

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Description: After John Constable (1776-1837), British HAMSTEAD HEATH, BRANCH HILL; Oil on canvas25" x 30" - 63.5 x 76.2 cm.Provenance: American Art Association, The Thomas E. Waggaman sale, June 27th, 1905, New York from who purchased by Sir William Cornelius Van Horne, Montreal, inventory No. V.H. 15;By descent through the family to the present Private Collection, TorontoLiterature: This work is cited and illustrated in Charles Wassermann's article, "Fourteen Famous Paintings from the Van Hone Collection" published in "Mayfair" magazine, October 1952 when the painting was formerly fully attributed to "John Constable". An excerpt from the text remarks: "In a Montreal home, Mrs. William Van Horne continues to maintain paintings, ceramics, armor and other treasures collected by empire-builder Sir William Van Horne, K.C.M.G. - from Rembrandt and El Greco to a cat from the tomb of a Pharaoh. For the first time in any magazine ... are selected reproductions from Canada's Finest Art Collection"

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George Adolphus Storey (1834-1919), British THE NEWLY BETROTHED; Oil on canvas; signed and dated 1882 lower right36

Lot 34: George Adolphus Storey (1834-1919), British THE NEWLY BETROTHED; Oil on canvas; signed and dated 1882 lower right36" x 28" - 91.4 x 71.1 cm.

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Description: George Adolphus Storey (1834-1919), British THE NEWLY BETROTHED; Oil on canvas; signed and dated 1882 lower right36" x 28" - 91.4 x 71.1 cm.

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Edwin Thomas Roberts (1840-1917), British BLOWING BUBBLES; Oil on canvas; signed lower right, signed and titled versoSight 14

Lot 35: Edwin Thomas Roberts (1840-1917), British BLOWING BUBBLES; Oil on canvas; signed lower right, signed and titled versoSight 14" x 12" - 35.6 x 30.5 cm.Provenance: The Fine Art Galleries, The T. Eaton Co. Limited, Canada

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Description: Edwin Thomas Roberts (1840-1917), British BLOWING BUBBLES; Oil on canvas; signed lower right, signed and titled versoSight 14" x 12" - 35.6 x 30.5 cm.Provenance: The Fine Art Galleries, The T. Eaton Co. Limited, Canada

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William A. Breakspeare (1855-1914), British AT THE SPINET; Oil on panel; signed lower right, titled to gallery label verso8

Lot 36: William A. Breakspeare (1855-1914), British AT THE SPINET; Oil on panel; signed lower right, titled to gallery label verso8" x 7" - 20.3 x 17.8 cm.Provenance: Dowdeswell & Dowdeswells Limited, London;Johnson Art Galleries, Montreal, Inventory No.

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Description: William A. Breakspeare (1855-1914), British AT THE SPINET; Oil on panel; signed lower right, titled to gallery label verso8" x 7" - 20.3 x 17.8 cm.Provenance: Dowdeswell & Dowdeswells Limited, London;Johnson Art Galleries, Montreal, Inventory No. 2855

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George Augustus Williams (1814-1901), British NEAR SONNING ON THE THAMES; Oil on canvas; signed with initials lower right, signed and titled to artist's label verso24

Lot 37: George Augustus Williams (1814-1901), British NEAR SONNING ON THE THAMES; Oil on canvas; signed with initials lower right, signed and titled to artist's label verso24" x 36.5" - 61 x 92.7 cm.

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Description: George Augustus Williams (1814-1901), British NEAR SONNING ON THE THAMES; Oil on canvas; signed with initials lower right, signed and titled to artist's label verso24" x 36.5" - 61 x 92.7 cm.

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Jose Weiss (1859-1919), British SUNLIT COUNTRY FIELDS AND RAIL FENCE; Oil on canvas; signed lower left24.5

Lot 38: Jose Weiss (1859-1919), British SUNLIT COUNTRY FIELDS AND RAIL FENCE; Oil on canvas; signed lower left24.5" x 36" - 62.2 x 91.4 cm.Provenance: Cooling Galleries Ltd., London and Toronto

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Description: Jose Weiss (1859-1919), British SUNLIT COUNTRY FIELDS AND RAIL FENCE; Oil on canvas; signed lower left24.5" x 36" - 62.2 x 91.4 cm.Provenance: Cooling Galleries Ltd., London and Toronto

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James Edwin Meadows (1828-1888), British GYPSY ENCAMPMENT; Oil on canvas; signed and dated 1874 lower left20

Lot 39: James Edwin Meadows (1828-1888), British GYPSY ENCAMPMENT; Oil on canvas; signed and dated 1874 lower left20" x 30" - 50.8 x 76.2 cm.

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Description: James Edwin Meadows (1828-1888), British GYPSY ENCAMPMENT; Oil on canvas; signed and dated 1874 lower left20" x 30" - 50.8 x 76.2 cm.

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William Shayer the Elder (1787-1879), British FISHERFOLK ON THE BEACH; Oil on canvas; signed and dated 1839 lower right, titled to gallery label verso30

Lot 40: William Shayer the Elder (1787-1879), British FISHERFOLK ON THE BEACH; Oil on canvas; signed and dated 1839 lower right, titled to gallery label verso30" x 40" - 76.2 x 101.6 cm.Provenance: W. Bakker & Co., Alexandra Gallery, Harrogate;John Britnell

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Description: William Shayer the Elder (1787-1879), British FISHERFOLK ON THE BEACH; Oil on canvas; signed and dated 1839 lower right, titled to gallery label verso30" x 40" - 76.2 x 101.6 cm.Provenance: W. Bakker & Co., Alexandra Gallery, Harrogate;John Britnell Art Galleries, Toronto;An unidentified gallery label from Toronto (Cooling Galleries?)

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William Shayer the Elder (1787-1879), British AT THE WATERING POOL WITH FARMER LEADING SHEEP; Oil on canvas; signed lower right20

Lot 41: William Shayer the Elder (1787-1879), British AT THE WATERING POOL WITH FARMER LEADING SHEEP; Oil on canvas; signed lower right20" x 24" - 50.8 x 61 cm.

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Description: William Shayer the Elder (1787-1879), British AT THE WATERING POOL WITH FARMER LEADING SHEEP; Oil on canvas; signed lower right20" x 24" - 50.8 x 61 cm.

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James Webb (1825-1895), British FISHING BOATS IN A CHANNEL PORT; Oil on canvas; signed and dated 1882 lower right30

Lot 42: James Webb (1825-1895), British FISHING BOATS IN A CHANNEL PORT; Oil on canvas; signed and dated 1882 lower right30" x 48" - 76.2 x 121.9 cm.Provenance: Dr. F.R. Bennetto, Hamilton, Ontario; Gifted to his son, Thomas Bennetto as a wedding present;By

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Description: James Webb (1825-1895), British FISHING BOATS IN A CHANNEL PORT; Oil on canvas; signed and dated 1882 lower right30" x 48" - 76.2 x 121.9 cm.Provenance: Dr. F.R. Bennetto, Hamilton, Ontario; Gifted to his son, Thomas Bennetto as a wedding present;By descent to his daughter, the present Private Collection, Guelph, Ontario

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Alfred Pollentine (1836-1890), British VENICE WITH THE DUCAL PALACE AND THE CAMPANILE TOWER; GRAND CANAL WITH CAMPANILLE TOWER AND SPECTATORS; Pair of oils on canvas; each signed lower left12

Lot 43: Alfred Pollentine (1836-1890), British VENICE WITH THE DUCAL PALACE AND THE CAMPANILE TOWER; GRAND CANAL WITH CAMPANILLE TOWER AND SPECTATORS; Pair of oils on canvas; each signed lower left12" x 19.5" - 30.5 x 49.5 cm.

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Description: Alfred Pollentine (1836-1890), British VENICE WITH THE DUCAL PALACE AND THE CAMPANILE TOWER; GRAND CANAL WITH CAMPANILLE TOWER AND SPECTATORS; Pair of oils on canvas; each signed lower left12" x 19.5" - 30.5 x 49.5 cm.

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Charles Hannaford (1863-1955), British SHIPPING ON THE THAMES WITH LONDON BRIDGE AND WESTMINSTER; Watercolour; signed lower leftSight 17.5

Lot 44: Charles Hannaford (1863-1955), British SHIPPING ON THE THAMES WITH LONDON BRIDGE AND WESTMINSTER; Watercolour; signed lower leftSight 17.5" x 27" - 44.5 x 68.6 cm.

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Description: Charles Hannaford (1863-1955), British SHIPPING ON THE THAMES WITH LONDON BRIDGE AND WESTMINSTER; Watercolour; signed lower leftSight 17.5" x 27" - 44.5 x 68.6 cm.

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Thomas Bush Hardy (1842-1897), British PORTSMOUTH HARBOUR; Watercolour; signed, titled and dated 1890 lower leftSight 16.75

Lot 45: Thomas Bush Hardy (1842-1897), British PORTSMOUTH HARBOUR; Watercolour; signed, titled and dated 1890 lower leftSight 16.75" x 27" - 42.5 x 68.6 cm.

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Description: Thomas Bush Hardy (1842-1897), British PORTSMOUTH HARBOUR; Watercolour; signed, titled and dated 1890 lower leftSight 16.75" x 27" - 42.5 x 68.6 cm.

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Thomas Bush Hardy (1842-1897), British LOADING FISH - ETAPLES; Watercolour; signed, titled at

Lot 46: Thomas Bush Hardy (1842-1897), British LOADING FISH - ETAPLES; Watercolour; signed, titled at "Etaples" and dated 1890 lower leftSight 17" x 27" - 43.2 x 68.6 cm.

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Description: Thomas Bush Hardy (1842-1897), British LOADING FISH - ETAPLES; Watercolour; signed, titled at "Etaples" and dated 1890 lower leftSight 17" x 27" - 43.2 x 68.6 cm.

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Charles Baxter (1809-1879), British A GIRL WITH A BASKET OF EGGS; Oil on canvas; signed and dated 1863 lower left, titled and dated 1863 to gallery label verso30

Lot 47: Charles Baxter (1809-1879), British A GIRL WITH A BASKET OF EGGS; Oil on canvas; signed and dated 1863 lower left, titled and dated 1863 to gallery label verso30" x 25" - 76.2 x 63.5 cm.Provenance: Frost & Reed, London, registration number 27530;The

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Description: Charles Baxter (1809-1879), British A GIRL WITH A BASKET OF EGGS; Oil on canvas; signed and dated 1863 lower left, titled and dated 1863 to gallery label verso30" x 25" - 76.2 x 63.5 cm.Provenance: Frost & Reed, London, registration number 27530;The Fine Art Galleries, The T. Eaton Company Ltd., Canada;By descent through the family, Toronto to the present Private Collection

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Robert Cleminson (Act. 1865-Circa 1903), British RESTING AFTER THE HUNT; Oil on canvas; signed and dated 1889 lower left36

Lot 48: Robert Cleminson (Act. 1865-Circa 1903), British RESTING AFTER THE HUNT; Oil on canvas; signed and dated 1889 lower left36" x 28" - 91.4 x 71.1 cm.

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Description: Robert Cleminson (Act. 1865-Circa 1903), British RESTING AFTER THE HUNT; Oil on canvas; signed and dated 1889 lower left36" x 28" - 91.4 x 71.1 cm.

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John James Wilson (1818-1875), British THE WATERING PLACE; Oil on canvas laid down on masonite; signed with initials lower right30.5

Lot 49: John James Wilson (1818-1875), British THE WATERING PLACE; Oil on canvas laid down on masonite; signed with initials lower right30.5" x 26" - 77.5 x 66 cm.Exhibited: Royal Academy of Arts, London, 1839, Cat. No. 561

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Description: John James Wilson (1818-1875), British THE WATERING PLACE; Oil on canvas laid down on masonite; signed with initials lower right30.5" x 26" - 77.5 x 66 cm.Exhibited: Royal Academy of Arts, London, 1839, Cat. No. 561

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