Ernest Crofts (Engels, 1847-1911) Soldaten en gevangene op een landweg gesigneerd en gedateerd 'E. Crofts 1909' (rechtsonder) olieverf op doek 25x37 cm (met lijst: 39x51 cm) Herkomst: -Veiling Sotheby's Amsterdam 3 november 1992 lot 504. Conditie: craquelé, verder goed
Crofts, Ernest (Leeds 1847 - 1911 London, Ausbildung in London und bei Emil Hünten in Düsseldorf, malte historische Kriegsszenen), "Burgwächter", Öl auf Leinwand, signiert und datiert unten rechts E. Croft 72, 36.5 x 29.5 cm (o.R.)
Ernest Crofts (English, 1847-1911), Soldiers transporting a prisoner , signed and dated 'E. Crofts 1909' (lower right), oil on canvas, 25x37 cm, Provenance: -Auction, Sotheby's, Amsterdam, 3 November 1992, lot 504. ,
ERNEST CROFTS (British 1847 - 1911) Franco-Prussian War Battle Scene Oil on canvas Signed lower left 24.5 inches x 43.5 inches (62.2 x 110.5cm), contained in press molded gilt frame overall measuring 30.25 inches x 49 inches (76.8 x 124.5cm) SHIPPING NOTICE: Jackson's is your sole and only source for one stop packing and shipping. With over 50 years of experience, our professional, affordable and efficient in-house shipping department will be happy to provide you a fair and reasonable shipping quote on this lot. Simply email us before the auction for a quick quote: shipping@jacksonsauction.com or call 1-800-665-6743. Jackson's can expertly pack and ship to meet any of your needs. To ensure quality control Jackson's DOES NOT release to third party shippers.
ERNEST CROFTS (British 1847 - 1911) At Waterloo Oil on canvas Signed lower right 13 inches x 18 inches (33 x 45.7cm), contained in a gilt frame overall measuring 19.5 inches x 24.25 inches (49.5 x 61.6cm) SHIPPING NOTICE: Jackson's is your sole and only source for one stop packing and shipping. With over 50 years of experience, our professional, affordable and efficient in-house shipping department will be happy to provide you a fair and reasonable shipping quote on this lot. Simply email us before the auction for a quick quote: shipping@jacksonsauction.com or call 1-800-665-6743. Jackson's can expertly pack and ship to meet any of your needs. To ensure quality control Jackson's DOES NOT release to third party shippers.
ERNEST CROFTS RA (1847-1911) SIR THOMAS GRESHAM with the artist's blind stamp lower left pencil on board image: 30 x 19.5cm (11 3/4 x 7 3/4in) mount: 51 x 37cm (20 x 14 1/2in) together with two studies of cavaliers by the same hand; two letters signed by Crofts, and two military lithographs by Harry Payne (1858-1927) (7) Qty: (7)
ERNEST CROFTS RA (1847-1911) CAVALIER WITH THREE HORSES AT THE GATE signed and dated E. Crofts 1904 lower right watercolour and pencil image: 18.5 x 13.5cm; 7 1/4 x 5 1/4in mount: 23 x 18cm; 9 x 7in together with: The storming of Basing House and Battle Scene by the same hand (3) Qty: (3)
ARTIST: ATTRIBUTED TO Ernest Crofts (British, 1847 - 1911) NAME: Portrait of Soldier MEDIUM: oil on canvas CONDITION: Some flaking. Some craquelure. Some scattered inpaintings. Wear to frame. SIGHT SIZE: 20 x 18 inches / 50 x 45 cm FRAME SIZE: 26 x 24 inches / 66 x 60 cm SIGNATURE: unsigned CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 118816 US Shipping $75 + insurance. BIOGRAPHY: Ernest Crofts was a British painter of historical and military scenes.Born in Leeds on 15 September 1847, Ernest was son of John Crofts, Esq. of Adal, near Leeds, a Justice of the Peace, and grandson of the Rev. W. Crofts, B.D., Vicar of North Grimston, near Malton, Yorkshire. One of his maternal uncles was the Rev. William Carr, B.D. of Bolton Abbey, Yorkshire. His mother was Ellen Wordsworth, the daughter of a Leeds industrialist. Ernest studied at Rugby School, for several years, and then headed to Berlin where he developed his interest in art and decided upon a career as a painter. His first acquaintance with war was made in 1864 when he accompanied a Prussian doctor in the Schleswig-Holstein War, and the operations around DГјppel. His sister Ellen Wordsworth Crofts married Sir Francis Darwin and was the mother of poet Frances Cornford.He returned to London and became a pupil under A. B. Clay, but was back in Germany a few years later, this time studying at the Dusseldorf school of painting in Europe, where he studied under the German military artist, Emil Hunten, himself an ex-pupil of Horace Vernet, and at the time military and historical painter to the Prussian emperor. Under Hunten, Crofts' talent as a military painter grew, and in 1874, he exhibited Retreat, representing an episode in the Franco-Prussian War during the Battle of Gravelotte, and in the same year, another scene from the same conflict, One touch of nature makes the whole world kin which won him the Crystal Palace prize medal. Both scenes were influenced by the artist's experience of witnessing some of the closing stages of the war, especially the battles of Weissenbourg, Worth, and the siege of Strasbourg. While contributing regularly to the annual Royal Academy exhibition, he continued to live in Dusseldorf where he met his future wife.In 1875, Crofts exhibited Ligny at the Royal Academy of Arts (RA) and at the International Exhibition in Philadelphia. The following year saw his picture representing The morning of the Battle of Waterloo which captured the dawn of the day with the tired and bespattered troops. One critic described it as follows: "Mr. Crofts' large canvas is admirable in the grouping of the soldiers on the morning of the battle; the day is breaking, on a weary, wounded and mud-stained company, some lying on the bare ground with knapsacks for pillows, some up and preparing for the march. The artillery are just on the move, and the note of preparation is sounding. The tone of the picture reminds us of the French school". The artist's first notable pictures of the English Civil War were exhibited in 1877, one of which depicted Oliver Cromwell at Marston Moor. In the same year, he refused the offer of an appointment of military painter to the Prince of Roumania to be attached to his staff during the Russo-Turkish War.Crofts was elected an Associate of the RA on 19 July 1878, the year that his picture, Wellington on his march from Quatre Bras to Waterloo was shown. In the same year, his painting entitled The Morning of the Battle of Waterloo was shown at the Paris International Exhibition; this depicted the French army retiring from the battlefield, with Napoleon leaving his carriage and preparing to mount his horse. The artist walked and sketched much of the area around the battlefield of Waterloo including La Haye Sainte, Hougoumont and La Belle Alliance. In 1896, he was elected a full academician of the Royal Academy, and his Diploma Work, a Civil War scene, was entitled To the Rescue. Two years later he succeeded Philip Calderon as keeper and trustee of the RA, which gave him accommodation at Burlington House. He was in effect chief director of the academy art schools as well as chief custodian of the Diploma Galley, which required "firmness, kindness and tact," according to one obituary, and Crofts was noted for his "pleasant manner, his good looks, and his amiability of character" which made him an ideal keeper.Besides historical scenes, Crofts did paint some contemporary military events. In 1901, for instance, the king commissioned him to paint a picture of the distribution of the war medals following the Boer War. Two years later, he painted a large scene of the funeral of Queen Victoria. One of his most ambitious works was the panel in the ambulatory of the Royal Exchange which portrayed Elizabeth I opening the first Royal Exchange in 1571. His trilogy of paintings chronicling the final moments, death and burial of Charles I were popular, but there was some disagreement over the representation of the block upon which the king knelt to be beheaded. Some argued about the accuracy, contending that the block of the period was a lower one, being just a few inches from the ground, and that to reach it, the king would have had to lie flat.Crofts lived at 'The Green' which he helped to re-design, next to Blythburgh church in Suffolk. He had married a German lady, Elizabeth Wusthofen of DГјsseldorf, and they had one daughter. The artist died of pneumonia at Burlington House on 19 March 1911. His funeral service was held at St. James's Church, Piccadilly, on Thursday 23 March, followed by his burial at Kensal Green Cemetery. A sale of his remaining works was held at Christie, Manson & Woods on Monday 18 December 1911.While Crofts's pictures were popular in the 1870s and 1880s, the public lost its appetite for war paintings in the early years of the 20th century following the setbacks in South Africa. His obituary noted that "his taste was a little theatrical, and his talent not good enough to redeem it is safe to say that he will be best remembered, not by them, but by his good work at the Academy Schools and by his administrative services to the body of which he was a useful member the exacting taste of the present day asks for something less conventional than his rather superficial battle scenes". While the artist's pictures continue to be used as illustration in history and military books, today he is rarely mentioned as a significant historical artist.
ERNEST CROFTS R.A. (BRITISH 1847-1911) DEPARTING THE INN Signed, oil on canvas (30.5cm x 23cm (12in x 9in)) Provenance: The Bellamy Collection, County Down, Northern Ireland
ARTIST: ATTRIBUTED TO Ernest Crofts (British, 1847 - 1911) NAME: Portrait of Soldier MEDIUM: oil on canvas CONDITION: Some flaking. Some craquelure. Some scattered inpaintings. Wear to frame. SIGHT SIZE: 20 x 18 inches / 50 x 45 cm FRAME SIZE: 26 x 24 inches / 66 x 60 cm SIGNATURE: unsigned CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 118816 US Shipping $75 + insurance. BIOGRAPHY: Ernest Crofts was a British painter of historical and military scenes.Born in Leeds on 15 September 1847, Ernest was son of John Crofts, Esq. of Adal, near Leeds, a Justice of the Peace, and grandson of the Rev. W. Crofts, B.D., Vicar of North Grimston, near Malton, Yorkshire. One of his maternal uncles was the Rev. William Carr, B.D. of Bolton Abbey, Yorkshire. His mother was Ellen Wordsworth, the daughter of a Leeds industrialist. Ernest studied at Rugby School, for several years, and then headed to Berlin where he developed his interest in art and decided upon a career as a painter. His first acquaintance with war was made in 1864 when he accompanied a Prussian doctor in the Schleswig-Holstein War, and the operations around DГјppel. His sister Ellen Wordsworth Crofts married Sir Francis Darwin and was the mother of poet Frances Cornford.He returned to London and became a pupil under A. B. Clay, but was back in Germany a few years later, this time studying at the Dusseldorf school of painting in Europe, where he studied under the German military artist, Emil Hunten, himself an ex-pupil of Horace Vernet, and at the time military and historical painter to the Prussian emperor. Under Hunten, Crofts' talent as a military painter grew, and in 1874, he exhibited Retreat, representing an episode in the Franco-Prussian War during the Battle of Gravelotte, and in the same year, another scene from the same conflict, One touch of nature makes the whole world kin which won him the Crystal Palace prize medal. Both scenes were influenced by the artist's experience of witnessing some of the closing stages of the war, especially the battles of Weissenbourg, Worth, and the siege of Strasbourg. While contributing regularly to the annual Royal Academy exhibition, he continued to live in Dusseldorf where he met his future wife.In 1875, Crofts exhibited Ligny at the Royal Academy of Arts (RA) and at the International Exhibition in Philadelphia. The following year saw his picture representing The morning of the Battle of Waterloo which captured the dawn of the day with the tired and bespattered troops. One critic described it as follows: "Mr. Crofts' large canvas is admirable in the grouping of the soldiers on the morning of the battle; the day is breaking, on a weary, wounded and mud-stained company, some lying on the bare ground with knapsacks for pillows, some up and preparing for the march. The artillery are just on the move, and the note of preparation is sounding. The tone of the picture reminds us of the French school". The artist's first notable pictures of the English Civil War were exhibited in 1877, one of which depicted Oliver Cromwell at Marston Moor. In the same year, he refused the offer of an appointment of military painter to the Prince of Roumania to be attached to his staff during the Russo-Turkish War.Crofts was elected an Associate of the RA on 19 July 1878, the year that his picture, Wellington on his march from Quatre Bras to Waterloo was shown. In the same year, his painting entitled The Morning of the Battle of Waterloo was shown at the Paris International Exhibition; this depicted the French army retiring from the battlefield, with Napoleon leaving his carriage and preparing to mount his horse. The artist walked and sketched much of the area around the battlefield of Waterloo including La Haye Sainte, Hougoumont and La Belle Alliance. In 1896, he was elected a full academician of the Royal Academy, and his Diploma Work, a Civil War scene, was entitled To the Rescue. Two years later he succeeded Philip Calderon as keeper and trustee of the RA, which gave him accommodation at Burlington House. He was in effect chief director of the academy art schools as well as chief custodian of the Diploma Galley, which required "firmness, kindness and tact," according to one obituary, and Crofts was noted for his "pleasant manner, his good looks, and his amiability of character" which made him an ideal keeper.Besides historical scenes, Crofts did paint some contemporary military events. In 1901, for instance, the king commissioned him to paint a picture of the distribution of the war medals following the Boer War. Two years later, he painted a large scene of the funeral of Queen Victoria. One of his most ambitious works was the panel in the ambulatory of the Royal Exchange which portrayed Elizabeth I opening the first Royal Exchange in 1571. His trilogy of paintings chronicling the final moments, death and burial of Charles I were popular, but there was some disagreement over the representation of the block upon which the king knelt to be beheaded. Some argued about the accuracy, contending that the block of the period was a lower one, being just a few inches from the ground, and that to reach it, the king would have had to lie flat.Crofts lived at 'The Green' which he helped to re-design, next to Blythburgh church in Suffolk. He had married a German lady, Elizabeth Wusthofen of DГјsseldorf, and they had one daughter. The artist died of pneumonia at Burlington House on 19 March 1911. His funeral service was held at St. James's Church, Piccadilly, on Thursday 23 March, followed by his burial at Kensal Green Cemetery. A sale of his remaining works was held at Christie, Manson & Woods on Monday 18 December 1911.While Crofts's pictures were popular in the 1870s and 1880s, the public lost its appetite for war paintings in the early years of the 20th century following the setbacks in South Africa. His obituary noted that "his taste was a little theatrical, and his talent not good enough to redeem it is safe to say that he will be best remembered, not by them, but by his good work at the Academy Schools and by his administrative services to the body of which he was a useful member the exacting taste of the present day asks for something less conventional than his rather superficial battle scenes". While the artist's pictures continue to be used as illustration in history and military books, today he is rarely mentioned as a significant historical artist.
ARTIST: ATTRIBUTED TO Ernest Crofts (British, 1847 - 1911) NAME: Portrait of Soldier MEDIUM: oil on canvas CONDITION: Some flaking. Some craquelure. Some scattered inpaintings. Wear to frame. SIGHT SIZE: 20 x 18 inches / 50 x 45 cm FRAME SIZE: 26 x 24 inches / 66 x 60 cm SIGNATURE: unsigned CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 118816 US Shipping $75 + insurance. BIOGRAPHY: Ernest Crofts was a British painter of historical and military scenes.Born in Leeds on 15 September 1847, Ernest was son of John Crofts, Esq. of Adal, near Leeds, a Justice of the Peace, and grandson of the Rev. W. Crofts, B.D., Vicar of North Grimston, near Malton, Yorkshire. One of his maternal uncles was the Rev. William Carr, B.D. of Bolton Abbey, Yorkshire. His mother was Ellen Wordsworth, the daughter of a Leeds industrialist. Ernest studied at Rugby School, for several years, and then headed to Berlin where he developed his interest in art and decided upon a career as a painter. His first acquaintance with war was made in 1864 when he accompanied a Prussian doctor in the Schleswig-Holstein War, and the operations around DГјppel. His sister Ellen Wordsworth Crofts married Sir Francis Darwin and was the mother of poet Frances Cornford.He returned to London and became a pupil under A. B. Clay, but was back in Germany a few years later, this time studying at the Dusseldorf school of painting in Europe, where he studied under the German military artist, Emil Hunten, himself an ex-pupil of Horace Vernet, and at the time military and historical painter to the Prussian emperor. Under Hunten, Crofts' talent as a military painter grew, and in 1874, he exhibited Retreat, representing an episode in the Franco-Prussian War during the Battle of Gravelotte, and in the same year, another scene from the same conflict, One touch of nature makes the whole world kin which won him the Crystal Palace prize medal. Both scenes were influenced by the artist's experience of witnessing some of the closing stages of the war, especially the battles of Weissenbourg, Worth, and the siege of Strasbourg. While contributing regularly to the annual Royal Academy exhibition, he continued to live in Dusseldorf where he met his future wife.In 1875, Crofts exhibited Ligny at the Royal Academy of Arts (RA) and at the International Exhibition in Philadelphia. The following year saw his picture representing The morning of the Battle of Waterloo which captured the dawn of the day with the tired and bespattered troops. One critic described it as follows: "Mr. Crofts' large canvas is admirable in the grouping of the soldiers on the morning of the battle; the day is breaking, on a weary, wounded and mud-stained company, some lying on the bare ground with knapsacks for pillows, some up and preparing for the march. The artillery are just on the move, and the note of preparation is sounding. The tone of the picture reminds us of the French school". The artist's first notable pictures of the English Civil War were exhibited in 1877, one of which depicted Oliver Cromwell at Marston Moor. In the same year, he refused the offer of an appointment of military painter to the Prince of Roumania to be attached to his staff during the Russo-Turkish War.Crofts was elected an Associate of the RA on 19 July 1878, the year that his picture, Wellington on his march from Quatre Bras to Waterloo was shown. In the same year, his painting entitled The Morning of the Battle of Waterloo was shown at the Paris International Exhibition; this depicted the French army retiring from the battlefield, with Napoleon leaving his carriage and preparing to mount his horse. The artist walked and sketched much of the area around the battlefield of Waterloo including La Haye Sainte, Hougoumont and La Belle Alliance. In 1896, he was elected a full academician of the Royal Academy, and his Diploma Work, a Civil War scene, was entitled To the Rescue. Two years later he succeeded Philip Calderon as keeper and trustee of the RA, which gave him accommodation at Burlington House. He was in effect chief director of the academy art schools as well as chief custodian of the Diploma Galley, which required "firmness, kindness and tact," according to one obituary, and Crofts was noted for his "pleasant manner, his good looks, and his amiability of character" which made him an ideal keeper.Besides historical scenes, Crofts did paint some contemporary military events. In 1901, for instance, the king commissioned him to paint a picture of the distribution of the war medals following the Boer War. Two years later, he painted a large scene of the funeral of Queen Victoria. One of his most ambitious works was the panel in the ambulatory of the Royal Exchange which portrayed Elizabeth I opening the first Royal Exchange in 1571. His trilogy of paintings chronicling the final moments, death and burial of Charles I were popular, but there was some disagreement over the representation of the block upon which the king knelt to be beheaded. Some argued about the accuracy, contending that the block of the period was a lower one, being just a few inches from the ground, and that to reach it, the king would have had to lie flat.Crofts lived at 'The Green' which he helped to re-design, next to Blythburgh church in Suffolk. He had married a German lady, Elizabeth Wusthofen of DГјsseldorf, and they had one daughter. The artist died of pneumonia at Burlington House on 19 March 1911. His funeral service was held at St. James's Church, Piccadilly, on Thursday 23 March, followed by his burial at Kensal Green Cemetery. A sale of his remaining works was held at Christie, Manson & Woods on Monday 18 December 1911.While Crofts's pictures were popular in the 1870s and 1880s, the public lost its appetite for war paintings in the early years of the 20th century following the setbacks in South Africa. His obituary noted that "his taste was a little theatrical, and his talent not good enough to redeem it is safe to say that he will be best remembered, not by them, but by his good work at the Academy Schools and by his administrative services to the body of which he was a useful member the exacting taste of the present day asks for something less conventional than his rather superficial battle scenes". While the artist's pictures continue to be used as illustration in history and military books, today he is rarely mentioned as a significant historical artist.
Ernest Crofts, RA, British 1847-1911- Study of a warrior; pencil heightened with white on paper, signed with the artist's monogram 'EC' (lower left), 29 x 22 cm. Provenance: Private Collection, UK.
Ernest Crofts, RA, British 1847-1911- Cavaliers riding on a woodland track; oil on canvas, signed and dated 'E. Crofts 1905.' (lower right), 129 x 100 cm. Provenance: With Rayner MacConnal, London.; Private Collection, UK. Note: The present work resonates with Crofts� oeuvre as one of the many historical and military scenes which he produced. The unbroken line of soldiers entering from afar creates a powerful sense of the imminent approach of the Cavalier forces, with this sense of dynamism reinforced by the white pigment suggesting the first horse�s condensed breath. Please refer to department for condition report
ARTIST: ATTRIBUTED TO Ernest Crofts (British, 1847 - 1911) NAME: Portrait of Soldier MEDIUM: oil on canvas CONDITION: Some flaking. Some craquelure. Some scattered inpaintings. Wear to frame. SIGHT SIZE: 20 x 18 inches / 50 x 45 cm FRAME SIZE: 26 x 24 inches / 66 x 60 cm SIGNATURE: unsigned CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 118816 US Shipping $75 + insurance. BIOGRAPHY: Ernest Crofts was a British painter of historical and military scenes.Born in Leeds on 15 September 1847, Ernest was son of John Crofts, Esq. of Adal, near Leeds, a Justice of the Peace, and grandson of the Rev. W. Crofts, B.D., Vicar of North Grimston, near Malton, Yorkshire. One of his maternal uncles was the Rev. William Carr, B.D. of Bolton Abbey, Yorkshire. His mother was Ellen Wordsworth, the daughter of a Leeds industrialist. Ernest studied at Rugby School, for several years, and then headed to Berlin where he developed his interest in art and decided upon a career as a painter. His first acquaintance with war was made in 1864 when he accompanied a Prussian doctor in the Schleswig-Holstein War, and the operations around DГјppel. His sister Ellen Wordsworth Crofts married Sir Francis Darwin and was the mother of poet Frances Cornford.He returned to London and became a pupil under A. B. Clay, but was back in Germany a few years later, this time studying at the Dusseldorf school of painting in Europe, where he studied under the German military artist, Emil Hunten, himself an ex-pupil of Horace Vernet, and at the time military and historical painter to the Prussian emperor. Under Hunten, Crofts' talent as a military painter grew, and in 1874, he exhibited Retreat, representing an episode in the Franco-Prussian War during the Battle of Gravelotte, and in the same year, another scene from the same conflict, One touch of nature makes the whole world kin which won him the Crystal Palace prize medal. Both scenes were influenced by the artist's experience of witnessing some of the closing stages of the war, especially the battles of Weissenbourg, Worth, and the siege of Strasbourg. While contributing regularly to the annual Royal Academy exhibition, he continued to live in Dusseldorf where he met his future wife.In 1875, Crofts exhibited Ligny at the Royal Academy of Arts (RA) and at the International Exhibition in Philadelphia. The following year saw his picture representing The morning of the Battle of Waterloo which captured the dawn of the day with the tired and bespattered troops. One critic described it as follows: "Mr. Crofts' large canvas is admirable in the grouping of the soldiers on the morning of the battle; the day is breaking, on a weary, wounded and mud-stained company, some lying on the bare ground with knapsacks for pillows, some up and preparing for the march. The artillery are just on the move, and the note of preparation is sounding. The tone of the picture reminds us of the French school". The artist's first notable pictures of the English Civil War were exhibited in 1877, one of which depicted Oliver Cromwell at Marston Moor. In the same year, he refused the offer of an appointment of military painter to the Prince of Roumania to be attached to his staff during the Russo-Turkish War.Crofts was elected an Associate of the RA on 19 July 1878, the year that his picture, Wellington on his march from Quatre Bras to Waterloo was shown. In the same year, his painting entitled The Morning of the Battle of Waterloo was shown at the Paris International Exhibition; this depicted the French army retiring from the battlefield, with Napoleon leaving his carriage and preparing to mount his horse. The artist walked and sketched much of the area around the battlefield of Waterloo including La Haye Sainte, Hougoumont and La Belle Alliance. In 1896, he was elected a full academician of the Royal Academy, and his Diploma Work, a Civil War scene, was entitled To the Rescue. Two years later he succeeded Philip Calderon as keeper and trustee of the RA, which gave him accommodation at Burlington House. He was in effect chief director of the academy art schools as well as chief custodian of the Diploma Galley, which required "firmness, kindness and tact," according to one obituary, and Crofts was noted for his "pleasant manner, his good looks, and his amiability of character" which made him an ideal keeper.Besides historical scenes, Crofts did paint some contemporary military events. In 1901, for instance, the king commissioned him to paint a picture of the distribution of the war medals following the Boer War. Two years later, he painted a large scene of the funeral of Queen Victoria. One of his most ambitious works was the panel in the ambulatory of the Royal Exchange which portrayed Elizabeth I opening the first Royal Exchange in 1571. His trilogy of paintings chronicling the final moments, death and burial of Charles I were popular, but there was some disagreement over the representation of the block upon which the king knelt to be beheaded. Some argued about the accuracy, contending that the block of the period was a lower one, being just a few inches from the ground, and that to reach it, the king would have had to lie flat.Crofts lived at 'The Green' which he helped to re-design, next to Blythburgh church in Suffolk. He had married a German lady, Elizabeth Wusthofen of DГјsseldorf, and they had one daughter. The artist died of pneumonia at Burlington House on 19 March 1911. His funeral service was held at St. James's Church, Piccadilly, on Thursday 23 March, followed by his burial at Kensal Green Cemetery. A sale of his remaining works was held at Christie, Manson & Woods on Monday 18 December 1911.While Crofts's pictures were popular in the 1870s and 1880s, the public lost its appetite for war paintings in the early years of the 20th century following the setbacks in South Africa. His obituary noted that "his taste was a little theatrical, and his talent not good enough to redeem it is safe to say that he will be best remembered, not by them, but by his good work at the Academy Schools and by his administrative services to the body of which he was a useful member the exacting taste of the present day asks for something less conventional than his rather superficial battle scenes". While the artist's pictures continue to be used as illustration in history and military books, today he is rarely mentioned as a significant historical artist.
Ernest Crofts, RA (British, 1847-1911) The eve of waterloo signed and dated 'E.Crofts 96' (lower right) oil on canvas 35.8 x 26cm (14 1/8 x 10 1/4in). For further information on this lot please visit the Bonhams website
Ernest Crofts, RA (British, 1847-1911) The retreat from Moscow signed and dated 'E.Crofts 1881' (lower right) oil on canvas 48.5 x 76.8cm (19 1/8 x 30 1/4in). For further information on this lot please visit the Bonhams website
Ernest Crofts, RA (British, 1847-1911) 'Funeral of Her late Majesty Queen Victoria' signed and dated 'E.Crofts 1901.' (lower left) oil on canvas 142.6 x 104.7cm (56 1/8 x 41 1/4in). For further information on this lot please visit the Bonhams website
The Reconnaissance; 1882; oil on canvas, relined; signed and dated lower right; Provenance: The Estate of Hollywood Actress Gloria Warren Gold, Beverly Hills, CA; 32 x 26 inches; 39 1/2 x 33 inches frame
ARTIST: ATTRIBUTED TO Ernest Crofts (British, 1847 - 1911) NAME: Portrait of Soldier MEDIUM: oil on canvas CONDITION: Some flaking. Some craquelure. Some scattered inpaintings. Wear to frame. SIGHT SIZE: 20 x 18 inches / 50 x 45 cm FRAME SIZE: 26 x 24 inches / 66 x 60 cm SIGNATURE: unsigned CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 118816 US Shipping $75 + insurance. BIOGRAPHY: Ernest Crofts was a British painter of historical and military scenes.Born in Leeds on 15 September 1847, Ernest was son of John Crofts, Esq. of Adal, near Leeds, a Justice of the Peace, and grandson of the Rev. W. Crofts, B.D., Vicar of North Grimston, near Malton, Yorkshire. One of his maternal uncles was the Rev. William Carr, B.D. of Bolton Abbey, Yorkshire. His mother was Ellen Wordsworth, the daughter of a Leeds industrialist. Ernest studied at Rugby School, for several years, and then headed to Berlin where he developed his interest in art and decided upon a career as a painter. His first acquaintance with war was made in 1864 when he accompanied a Prussian doctor in the Schleswig-Holstein War, and the operations around DГјppel. His sister Ellen Wordsworth Crofts married Sir Francis Darwin and was the mother of poet Frances Cornford.He returned to London and became a pupil under A. B. Clay, but was back in Germany a few years later, this time studying at the Dusseldorf school of painting in Europe, where he studied under the German military artist, Emil Hunten, himself an ex-pupil of Horace Vernet, and at the time military and historical painter to the Prussian emperor. Under Hunten, Crofts' talent as a military painter grew, and in 1874, he exhibited Retreat, representing an episode in the Franco-Prussian War during the Battle of Gravelotte, and in the same year, another scene from the same conflict, One touch of nature makes the whole world kin which won him the Crystal Palace prize medal. Both scenes were influenced by the artist's experience of witnessing some of the closing stages of the war, especially the battles of Weissenbourg, Worth, and the siege of Strasbourg. While contributing regularly to the annual Royal Academy exhibition, he continued to live in Dusseldorf where he met his future wife.In 1875, Crofts exhibited Ligny at the Royal Academy of Arts (RA) and at the International Exhibition in Philadelphia. The following year saw his picture representing The morning of the Battle of Waterloo which captured the dawn of the day with the tired and bespattered troops. One critic described it as follows: "Mr. Crofts' large canvas is admirable in the grouping of the soldiers on the morning of the battle; the day is breaking, on a weary, wounded and mud-stained company, some lying on the bare ground with knapsacks for pillows, some up and preparing for the march. The artillery are just on the move, and the note of preparation is sounding. The tone of the picture reminds us of the French school". The artist's first notable pictures of the English Civil War were exhibited in 1877, one of which depicted Oliver Cromwell at Marston Moor. In the same year, he refused the offer of an appointment of military painter to the Prince of Roumania to be attached to his staff during the Russo-Turkish War.Crofts was elected an Associate of the RA on 19 July 1878, the year that his picture, Wellington on his march from Quatre Bras to Waterloo was shown. In the same year, his painting entitled The Morning of the Battle of Waterloo was shown at the Paris International Exhibition; this depicted the French army retiring from the battlefield, with Napoleon leaving his carriage and preparing to mount his horse. The artist walked and sketched much of the area around the battlefield of Waterloo including La Haye Sainte, Hougoumont and La Belle Alliance. In 1896, he was elected a full academician of the Royal Academy, and his Diploma Work, a Civil War scene, was entitled To the Rescue. Two years later he succeeded Philip Calderon as keeper and trustee of the RA, which gave him accommodation at Burlington House. He was in effect chief director of the academy art schools as well as chief custodian of the Diploma Galley, which required "firmness, kindness and tact," according to one obituary, and Crofts was noted for his "pleasant manner, his good looks, and his amiability of character" which made him an ideal keeper.Besides historical scenes, Crofts did paint some contemporary military events. In 1901, for instance, the king commissioned him to paint a picture of the distribution of the war medals following the Boer War. Two years later, he painted a large scene of the funeral of Queen Victoria. One of his most ambitious works was the panel in the ambulatory of the Royal Exchange which portrayed Elizabeth I opening the first Royal Exchange in 1571. His trilogy of paintings chronicling the final moments, death and burial of Charles I were popular, but there was some disagreement over the representation of the block upon which the king knelt to be beheaded. Some argued about the accuracy, contending that the block of the period was a lower one, being just a few inches from the ground, and that to reach it, the king would have had to lie flat.Crofts lived at 'The Green' which he helped to re-design, next to Blythburgh church in Suffolk. He had married a German lady, Elizabeth Wusthofen of DГјsseldorf, and they had one daughter. The artist died of pneumonia at Burlington House on 19 March 1911. His funeral service was held at St. James's Church, Piccadilly, on Thursday 23 March, followed by his burial at Kensal Green Cemetery. A sale of his remaining works was held at Christie, Manson & Woods on Monday 18 December 1911.While Crofts's pictures were popular in the 1870s and 1880s, the public lost its appetite for war paintings in the early years of the 20th century following the setbacks in South Africa. His obituary noted that "his taste was a little theatrical, and his talent not good enough to redeem it is safe to say that he will be best remembered, not by them, but by his good work at the Academy Schools and by his administrative services to the body of which he was a useful member the exacting taste of the present day asks for something less conventional than his rather superficial battle scenes". While the artist's pictures continue to be used as illustration in history and military books, today he is rarely mentioned as a significant historical artist.
ARTIST: ATTRIBUTED TO Ernest Crofts (British, 1847 - 1911) NAME: Portrait of Soldier MEDIUM: oil on canvas CONDITION: Some flaking. Some craquelure. Some scattered inpaintings. Wear to frame. SIGHT SIZE: 20 x 18 inches / 50 x 45 cm FRAME SIZE: 26 x 24 inches / 66 x 60 cm SIGNATURE: unsigned CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 118816 US Shipping $75 + insurance. BIOGRAPHY: Ernest Crofts was a British painter of historical and military scenes.Born in Leeds on 15 September 1847, Ernest was son of John Crofts, Esq. of Adal, near Leeds, a Justice of the Peace, and grandson of the Rev. W. Crofts, B.D., Vicar of North Grimston, near Malton, Yorkshire. One of his maternal uncles was the Rev. William Carr, B.D. of Bolton Abbey, Yorkshire. His mother was Ellen Wordsworth, the daughter of a Leeds industrialist. Ernest studied at Rugby School, for several years, and then headed to Berlin where he developed his interest in art and decided upon a career as a painter. His first acquaintance with war was made in 1864 when he accompanied a Prussian doctor in the Schleswig-Holstein War, and the operations around DГјppel. His sister Ellen Wordsworth Crofts married Sir Francis Darwin and was the mother of poet Frances Cornford.He returned to London and became a pupil under A. B. Clay, but was back in Germany a few years later, this time studying at the Dusseldorf school of painting in Europe, where he studied under the German military artist, Emil Hunten, himself an ex-pupil of Horace Vernet, and at the time military and historical painter to the Prussian emperor. Under Hunten, Crofts' talent as a military painter grew, and in 1874, he exhibited Retreat, representing an episode in the Franco-Prussian War during the Battle of Gravelotte, and in the same year, another scene from the same conflict, One touch of nature makes the whole world kin which won him the Crystal Palace prize medal. Both scenes were influenced by the artist's experience of witnessing some of the closing stages of the war, especially the battles of Weissenbourg, Worth, and the siege of Strasbourg. While contributing regularly to the annual Royal Academy exhibition, he continued to live in Dusseldorf where he met his future wife.In 1875, Crofts exhibited Ligny at the Royal Academy of Arts (RA) and at the International Exhibition in Philadelphia. The following year saw his picture representing The morning of the Battle of Waterloo which captured the dawn of the day with the tired and bespattered troops. One critic described it as follows: "Mr. Crofts' large canvas is admirable in the grouping of the soldiers on the morning of the battle; the day is breaking, on a weary, wounded and mud-stained company, some lying on the bare ground with knapsacks for pillows, some up and preparing for the march. The artillery are just on the move, and the note of preparation is sounding. The tone of the picture reminds us of the French school". The artist's first notable pictures of the English Civil War were exhibited in 1877, one of which depicted Oliver Cromwell at Marston Moor. In the same year, he refused the offer of an appointment of military painter to the Prince of Roumania to be attached to his staff during the Russo-Turkish War.Crofts was elected an Associate of the RA on 19 July 1878, the year that his picture, Wellington on his march from Quatre Bras to Waterloo was shown. In the same year, his painting entitled The Morning of the Battle of Waterloo was shown at the Paris International Exhibition; this depicted the French army retiring from the battlefield, with Napoleon leaving his carriage and preparing to mount his horse. The artist walked and sketched much of the area around the battlefield of Waterloo including La Haye Sainte, Hougoumont and La Belle Alliance. In 1896, he was elected a full academician of the Royal Academy, and his Diploma Work, a Civil War scene, was entitled To the Rescue. Two years later he succeeded Philip Calderon as keeper and trustee of the RA, which gave him accommodation at Burlington House. He was in effect chief director of the academy art schools as well as chief custodian of the Diploma Galley, which required "firmness, kindness and tact," according to one obituary, and Crofts was noted for his "pleasant manner, his good looks, and his amiability of character" which made him an ideal keeper.Besides historical scenes, Crofts did paint some contemporary military events. In 1901, for instance, the king commissioned him to paint a picture of the distribution of the war medals following the Boer War. Two years later, he painted a large scene of the funeral of Queen Victoria. One of his most ambitious works was the panel in the ambulatory of the Royal Exchange which portrayed Elizabeth I opening the first Royal Exchange in 1571. His trilogy of paintings chronicling the final moments, death and burial of Charles I were popular, but there was some disagreement over the representation of the block upon which the king knelt to be beheaded. Some argued about the accuracy, contending that the block of the period was a lower one, being just a few inches from the ground, and that to reach it, the king would have had to lie flat.Crofts lived at 'The Green' which he helped to re-design, next to Blythburgh church in Suffolk. He had married a German lady, Elizabeth Wusthofen of DГјsseldorf, and they had one daughter. The artist died of pneumonia at Burlington House on 19 March 1911. His funeral service was held at St. James's Church, Piccadilly, on Thursday 23 March, followed by his burial at Kensal Green Cemetery. A sale of his remaining works was held at Christie, Manson & Woods on Monday 18 December 1911.While Crofts's pictures were popular in the 1870s and 1880s, the public lost its appetite for war paintings in the early years of the 20th century following the setbacks in South Africa. His obituary noted that "his taste was a little theatrical, and his talent not good enough to redeem it is safe to say that he will be best remembered, not by them, but by his good work at the Academy Schools and by his administrative services to the body of which he was a useful member the exacting taste of the present day asks for something less conventional than his rather superficial battle scenes". While the artist's pictures continue to be used as illustration in history and military books, today he is rarely mentioned as a significant historical artist.
Ernest Crofts (British, 1847-1911) "At Waterloo" oil on canvas signed lower left, verso affixed with artist's biography. Framed. 13" x 18", framed 19-1/2" x 24"
ARTIST: ATTRIBUTED TO Ernest Crofts (British, 1847 - 1911) NAME: Portrait of Soldier MEDIUM: oil on canvas CONDITION: Some flaking. Some craquelure. Some scattered inpaintings. Wear to frame. SIGHT SIZE: 20 x 18 inches / 50 x 45 cm FRAME SIZE: 26 x 24 inches / 66 x 60 cm SIGNATURE: unsigned CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 118816 US Shipping $75 + insurance. BIOGRAPHY: Ernest Crofts was a British painter of historical and military scenes.Born in Leeds on 15 September 1847, Ernest was son of John Crofts, Esq. of Adal, near Leeds, a Justice of the Peace, and grandson of the Rev. W. Crofts, B.D., Vicar of North Grimston, near Malton, Yorkshire. One of his maternal uncles was the Rev. William Carr, B.D. of Bolton Abbey, Yorkshire. His mother was Ellen Wordsworth, the daughter of a Leeds industrialist. Ernest studied at Rugby School, for several years, and then headed to Berlin where he developed his interest in art and decided upon a career as a painter. His first acquaintance with war was made in 1864 when he accompanied a Prussian doctor in the Schleswig-Holstein War, and the operations around DГјppel. His sister Ellen Wordsworth Crofts married Sir Francis Darwin and was the mother of poet Frances Cornford.He returned to London and became a pupil under A. B. Clay, but was back in Germany a few years later, this time studying at the Dusseldorf school of painting in Europe, where he studied under the German military artist, Emil Hunten, himself an ex-pupil of Horace Vernet, and at the time military and historical painter to the Prussian emperor. Under Hunten, Crofts' talent as a military painter grew, and in 1874, he exhibited Retreat, representing an episode in the Franco-Prussian War during the Battle of Gravelotte, and in the same year, another scene from the same conflict, One touch of nature makes the whole world kin which won him the Crystal Palace prize medal. Both scenes were influenced by the artist's experience of witnessing some of the closing stages of the war, especially the battles of Weissenbourg, Worth, and the siege of Strasbourg. While contributing regularly to the annual Royal Academy exhibition, he continued to live in Dusseldorf where he met his future wife.In 1875, Crofts exhibited Ligny at the Royal Academy of Arts (RA) and at the International Exhibition in Philadelphia. The following year saw his picture representing The morning of the Battle of Waterloo which captured the dawn of the day with the tired and bespattered troops. One critic described it as follows: "Mr. Crofts' large canvas is admirable in the grouping of the soldiers on the morning of the battle; the day is breaking, on a weary, wounded and mud-stained company, some lying on the bare ground with knapsacks for pillows, some up and preparing for the march. The artillery are just on the move, and the note of preparation is sounding. The tone of the picture reminds us of the French school". The artist's first notable pictures of the English Civil War were exhibited in 1877, one of which depicted Oliver Cromwell at Marston Moor. In the same year, he refused the offer of an appointment of military painter to the Prince of Roumania to be attached to his staff during the Russo-Turkish War.Crofts was elected an Associate of the RA on 19 July 1878, the year that his picture, Wellington on his march from Quatre Bras to Waterloo was shown. In the same year, his painting entitled The Morning of the Battle of Waterloo was shown at the Paris International Exhibition; this depicted the French army retiring from the battlefield, with Napoleon leaving his carriage and preparing to mount his horse. The artist walked and sketched much of the area around the battlefield of Waterloo including La Haye Sainte, Hougoumont and La Belle Alliance. In 1896, he was elected a full academician of the Royal Academy, and his Diploma Work, a Civil War scene, was entitled To the Rescue. Two years later he succeeded Philip Calderon as keeper and trustee of the RA, which gave him accommodation at Burlington House. He was in effect chief director of the academy art schools as well as chief custodian of the Diploma Galley, which required "firmness, kindness and tact," according to one obituary, and Crofts was noted for his "pleasant manner, his good looks, and his amiability of character" which made him an ideal keeper.Besides historical scenes, Crofts did paint some contemporary military events. In 1901, for instance, the king commissioned him to paint a picture of the distribution of the war medals following the Boer War. Two years later, he painted a large scene of the funeral of Queen Victoria. One of his most ambitious works was the panel in the ambulatory of the Royal Exchange which portrayed Elizabeth I opening the first Royal Exchange in 1571. His trilogy of paintings chronicling the final moments, death and burial of Charles I were popular, but there was some disagreement over the representation of the block upon which the king knelt to be beheaded. Some argued about the accuracy, contending that the block of the period was a lower one, being just a few inches from the ground, and that to reach it, the king would have had to lie flat.Crofts lived at 'The Green' which he helped to re-design, next to Blythburgh church in Suffolk. He had married a German lady, Elizabeth Wusthofen of DГјsseldorf, and they had one daughter. The artist died of pneumonia at Burlington House on 19 March 1911. His funeral service was held at St. James's Church, Piccadilly, on Thursday 23 March, followed by his burial at Kensal Green Cemetery. A sale of his remaining works was held at Christie, Manson & Woods on Monday 18 December 1911.While Crofts's pictures were popular in the 1870s and 1880s, the public lost its appetite for war paintings in the early years of the 20th century following the setbacks in South Africa. His obituary noted that "his taste was a little theatrical, and his talent not good enough to redeem it is safe to say that he will be best remembered, not by them, but by his good work at the Academy Schools and by his administrative services to the body of which he was a useful member the exacting taste of the present day asks for something less conventional than his rather superficial battle scenes". While the artist's pictures continue to be used as illustration in history and military books, today he is rarely mentioned as a significant historical artist.
Ernest Crofts (British, 1847-1911) "At Waterloo" oil on canvas signed lower left, verso affixed with artist's biography. Framed. 13" x 18", framed 19-1/2" x 24"
Ernest Crofts RA (British, 1847-1911). "Unexpected Visitors" - 1894, oil on canvas, signed to lower left "Ernest Crofts, 1894" and a Knoke Fine Arts Gallery Label to verso. A fine painting of men on horseback approaching a closed gate.Approx: 34" x 26" (canvas), 42.5" x 34" (frame). Provenance: Private Collection (Atlanta, GA); Private Collection of William Jackson (California), by descent from Franklin Garrett, Historian for the Coca-Cola Company for more than
Ernest Crofts, RA (British, 1847-1911) Royalists scouting signed and dated 'E.Crofts 79' (lower right) oil on canvas 35.6 x 61cm (14 x 24in). For further information on this lot please visit the Bonhams website
Ernest Crofts (1847 Leeds - 1911 London) /T/Szene aus dem Deutsch-Französischen Krieg Lebendig und dramatisch geschilderte Darstellung einer französischen Infanterie-Einheit unter Beschuss, im Hintergrund die feuernden deutschen Linien und ein brennendes Schloss. Wohl um 1874 entstandenes, realistisches Werk Crofts, der 1869 nach Deutschland ging und in Düsseldorf Schüler Emil Hüntens wurde. Crofts erwarb sich einen Ruf als bedeutender und gefragter Historien- und Schlachtenmaler, ab 1872 mit Motiven aus dem Deutsch-Französischen Krieg, den Napoleonischen Kriegen und dem Englischen Bürgerkrieg. 1874 wurde sein Gemälde "Rückzug der Franzosen bei Gravelotte" in der Ausstellung der Royal Academy 1874 in London prämiert, die ihn 1878 zum "Associate Member" (ARA), 1896 zum Vollmitglied (RA) und 1898 zum "Keeper" ernannte. Öl/Lwd., doubl.; L. u. sign.; 60,5 cm x 108 cm. Rahmen. /P/Provenienz: Auktion Sotheby"s, London, 13.12.1989, Lot 239; deutsche Privatsammlung. Oil on canvas, relined. Signed.
ERNEST CROFTS British (1847-1911) A Charge of Cuirassier on a Battery at Waterloo oil canvas, signed and dated lower right "E. Crofts 1893" Framed size - 17 x 22 x 1 3/4 inches 12 3/4 x 18 inches Provenance: A Connecticut estate. Other Notes: B.P. Co Limited registration label on the reverse with registration number 0/44094. Tags: Battlescene, War, French, Napoleon, 19th century, European
* ERNEST CROFTS, RA (BRITISH, 1847-1911) ‘The return from a raid’ signed and dated ‘E.Crofts 1886’ (lower right) oil on canvas 65 x 50cm (25 9/16 x 19 11/16in).
After Ernest Crofts (British, 1847-1911), "Napoleon and the Old Guard," lithograph after the 1895 painting by Crofts, signature and date in plate lower right, overall (with frame): 36"h x 44.5"w
ERNEST CROFTS, RA (BRITISH, 1847- 1911) ‘La Belle Alliance 1815’ signed ‘E.Crofts’ (lower right) oil on canvas 22.8 x 32cm (9 x 12 5/8in). To be sold with a smaller Napoleonic scene by the same hand. (2)
(French, 1826-1890) depicting battlefields, titled "Avant L`Attaque," and "Apres le Combat." The first shows a troop of French Voltiquers in preparation for a conflict and the second shows the same troops afterwards tending to their wounds and reorganizing. Depicting French Voltigeurs on the march during the campaign in Italy known as the Italian War of 1859 or the Franco-Austrian War. Celebrated in France for the defeat of the Austrians in the Battle of Magenta and the Battle of Solferino. The war resulted in an armistice signed by Austrian Emperor Franz Joseph and Napoleon III in July of 1859. Painted by who accompanied the French troops during this campaign, it appears to have been one of a series of paintings at least two of which depict the same troop of Voltigeurs and were reproduced in graveures widely sold in France during the period (see lot 142). Sight size: 18"h x 30"w
ERNEST CROFTS (BRITISH 1847-1911), OIL ON CANVAS, "A HUSSAR ON GUARD", SIGNED AND LABELED. 20 X 16 1/4"; FRAMED 32 X 27 1/2"; (OLD PATCH) PROVENANCE: ALEX FRASER GALLERY, VANCOUVER, BC LABEL VERSO; PETLEY JONES GALLERY, VANCOUVER, BC LABEL VERSO
Ernest Crofts (British, 1847-1911), Napoleonic scene, lithograph with painted highlights, signed "E. Crofts, 1895" lower right and marked "Colored by W. W. Hall"; 18 1/4" h x 29" w (view), 26 1/4" h x 36 3/4" w (frame). Provenance: From a Beverly, Massachusetts estate.
