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PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION, NEW YORK

James Edward Buttersworth
1817 - 1894
VIEW OF RYDE AND PIER, ISLE OF WIGHT OPPOSITE PORTSMOUTH AND A THREE DECKER OFF DOVER CASTLE WITH SHAKESPEARE CLIFF IN THE DISTANCE
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1

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION, NEW YORK

James Edward Buttersworth
1817 - 1894
VIEW OF RYDE AND PIER, ISLE OF WIGHT OPPOSITE PORTSMOUTH AND A THREE DECKER OFF DOVER CASTLE WITH SHAKESPEARE CLIFF IN THE DISTANCE
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拍品詳情

美國藝術

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James Edward Buttersworth
1817 - 1894
VIEW OF RYDE AND PIER, ISLE OF WIGHT OPPOSITE PORTSMOUTH AND A THREE DECKER OFF DOVER CASTLE WITH SHAKESPEARE CLIFF IN THE DISTANCE
the first: signed JE Buttersworth (lower right); also titled View of Ryde and Pier Isle of Wight Opposite Portsmouth on the reverse
the second: signed JE Buttersworth (lower right); also titled A Three Decker off Dover Castle with Shakespeare Cliff in the Distance on the reverse
each: oil on panel
each: 7 by 18 inches
(17.8 by 45.7 cm)
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來源

Mr. and Mrs. Thomas J. Watson Jr.
By descent to the present owner

出版

Rudolph J. Schaefer, J.E. Buttersworth, 19th-Century Marine Painter, Mystic, Connecticut, 1975, no. 487 (the pair), p. 257

相關資料

View of Ryde and Pier, Isle of Wight Opposite Portsmouth and A Three Decker off Dover Castle with Shakespeare Cliff in the Distance were likely painted between 1870 and 1885 while the artist was living in America. Rudolph Schaefer writes, “There are several settings which JEB used over and over for many of his paintings, and he consistently used them in almost identical fashion. For example, all paintings with Dover as the background show the Castle and the Cliffs from almost the identical angle, and the same segment of the shore front” (J.E. Buttersworth, 19th-Century Marine Painter, Mystic, Connecticut, 1975, p. 19). While Buttersworth’s favorite views, which included the aforementioned Dover, as well as Portsmouth, feature prominently in his oeuvre, Schaefer goes on to write, “Since all of them were dramatic and interesting, I guess he saw no need to go in search of others. This in no way detracts from his work because there is always enough variation in the primary subject matter together with the sky and water to keep his work fresh and interesting… It’s quite amazing to think of the span of time and the span of events that JEB covered. From the great square-rigged naval vessels and paddle steamers of the 1830s and 1840s to the spoon-bowed racing monsters and transatlantic screw steamers of the 1890s. Just think of it – a span of sixty years of the greatest maritime development in history. He was with it all the way and depicted the entire spectrum of this interesting panorama, and he did it accurately, artistically and dramatically. The miniature quality of his work was certainly executed with precision, and it was usually clothed in brilliance. His expert and detailed recording of those events was by all odds his single greatest contribution” (Ibid, pp. 19, 24).

美國藝術

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