- 686
George Edward Robertson
Estimate
30,000 - 40,000 USD
Log in to view results
bidding is closed
Description
- George Edward Robertson
- The Lady of Shalott
- signed George E. Robertson and dated 1900 (lower right)
- oil on canvas
- 54 1/4 by 76 1/2 in.; 137.8 by 194.3 cm.
Provenance
Kurt E. Schon, Ltd., New Orleans
Acquired in June 1988 by the present owner
Acquired in June 1988 by the present owner
Exhibited
London, Royal Academy, The One Hundred Thirty-Second Summer Exhibition, 1900, no. 375
Condition
Oil on canvas, lined. Uneven varnish. Some minor areas of craquelure, mainly in the more thickly painted areas (such as Lancelot's overcoat and the oarsman's shirt). Under UV light, there is a thick green varnish with some retouching around Lancelot's head visible above the varnish, probably meant as strengthening as it does not seem to address any visible issues.
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 Sotheby's is merely a subjective qualified opinion.
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.
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 Sotheby's is merely a subjective qualified opinion.
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.
Catalogue Note
This impressive multi-figural work by George Edward Robertson brings to life the penultimate stanza of Lord Alfred Tennyson’s celebrated Victorian poem, The Lady of Shallot. A 1900 Royal Academy submission, Robertson’s interpretation of Tennyson’s epic continued an artistic revival of Arthurian legend that had been championed on canvas by founding members of the Pre-Raphaelite Brotherhood John Everett Millais PRA (1829 – 1896) and William Holman Hunt RA (1827 – 1910); and continued most famously by their contemporary John William Waterhouse (1849 – 1917). Referencing three of the most famous Pre-Raphaelite painters of the 19th century in his choice of theme, Robertson personalizes The Lady of Shalott by depicting the final moment in Tennyson’s poem when Sir Lancelot discovers her demise on the banks of the river in Camelot.
The central figure on the shore, Lancelot grasps the delicate wrist of a noblewoman who clutches his shoulder in shock as he beholds the final resting place of the red haired maiden. Her white gown spilling into the murky water below, the Lady of Shalott’s fair face rests in stark contrast to the distorted features of the claustrophobic crowd that leans in, curious and fearful as they await their Lancelot’s final judgment. The sun sets in the background, reflecting its orange hues in the river below and casting the characters in a gentle glow at the close of day. Drawing the viewer’s eye first from the river connected to the lady lying in the boat, along the lines of her barge through the brawny riverhands pulling her to shore, and onto the uncapped Lancelot and his frozen court, Robertson deftly shows his technical command of the large format style favored by the Royal Academy while emotively capturing an acute moment of literary magnitude.
The central figure on the shore, Lancelot grasps the delicate wrist of a noblewoman who clutches his shoulder in shock as he beholds the final resting place of the red haired maiden. Her white gown spilling into the murky water below, the Lady of Shalott’s fair face rests in stark contrast to the distorted features of the claustrophobic crowd that leans in, curious and fearful as they await their Lancelot’s final judgment. The sun sets in the background, reflecting its orange hues in the river below and casting the characters in a gentle glow at the close of day. Drawing the viewer’s eye first from the river connected to the lady lying in the boat, along the lines of her barge through the brawny riverhands pulling her to shore, and onto the uncapped Lancelot and his frozen court, Robertson deftly shows his technical command of the large format style favored by the Royal Academy while emotively capturing an acute moment of literary magnitude.