Eyre Crowe Sold at Auction Prices

Eyre Crowe (1824-1910) Drawing On Paper

Frame is in good condition. Frame measures approximately 16.5in x 13.5in. Image measures approximately 7.75in x 5.5in. KT20048 SA

EYRE CROWE (BRITISH 1824-1910)

EYRE CROWE (BRITISH 1824-1910) EYRE CROWE (BRITISH 1824-1910) The meeting of Dante and Beatrice (La Vita Nuova) oil on canvas 143 x 197 cm The present work depicting a scene from the works of Dante Alighieri, The meeting of Dante and Beatrice, who wrote many times about Beatrice Portinari. Dante had fallen in love with her early in his childhood, and her death in 1290 had a major effect on his life. Beatrice appears as a guide in Dante's Divine Comedy. At the beginning of “Paradiso,” Dante notes: The eyes of Beatrice were all intent on the eternal circles; from the sun, I turned aside; I set my eyes on her.

EYRE CROWE (BRITISH 1824-1910)

EYRE CROWE (BRITISH 1824-1910) EYRE CROWE (BRITISH 1824-1910) The meeting of Dante and Beatrice (La Vita Nuova) oil on canvas 143 x 197 cm The present work depicting a scene from the works of Dante Alighieri, The meeting of Dante and Beatrice, who wrote many times about Beatrice Portinari. Dante had fallen in love with her early in his childhood, and her death in 1290 had a major effect on his life. Beatrice appears as a guide in Dante's Divine Comedy. At the beginning of “Paradiso,” Dante notes: The eyes of Beatrice were all intent on the eternal circles; from the sun, I turned aside; I set my eyes on her.

EYRE CROWE AR (1824-1910) STUDY FOR THE FIGURE OF JAMES II IN PICTURE OF THE BATTLE OF LA HOQUE

EYRE CROWE AR (1824-1910) STUDY FOR THE FIGURE OF JAMES II IN PICTURE OF THE BATTLE OF LA HOQUE Pencil, inscribed lower right (35.5cm x 23.5cm)

Eyre Crowe (1824-1910) British. "Drawing Lots for The Guelph Succession at Celle AD 1592", Oil on Canvas, Signed, Inscribed on a Plaque, 31.75" x 45". Exhibited: Royal Academy 1896.

Eyre Crowe (1824-1910) British. "Drawing Lots for The Guelph Succession at Celle AD 1592", Oil on Canvas, Signed, Inscribed on a Plaque, 31.75" x 45". Exhibited: Royal Academy 1896.

Eyre Crowe (British, 1824-1910) Forfeits oil on canvas 29 x 44 ¼ in. (73.7 x 112.4 cm.)

Eyre Crowe (British, 1824-1910) Forfeits signed and dated 'E. Crowe/1880.' (lower left); signed and dated 'E. Crowe./1880' (on the reverse) oil on canvas 29 x 44 ¼ in. (73.7 x 112.4 cm.)

Eyre Crowe (1824-1910) British. "Drawing Lots for The Guelph Succession at Celle AD 1592", Oil on Canvas, Signed, Inscribed on a Plaque, 31.75" x 45". Exhibited: Royal Academy 1896.

Eyre Crowe (1824-1910) British. "Drawing Lots for The Guelph Succession at Celle AD 1592", Oil on Canvas, Signed, Inscribed on a Plaque, 31.75" x 45". Exhibited: Royal Academy 1896.

Eyre Crowe (1824-1910) British. "Drawing Lots for The Guelph Succession at Celle AD 1592", Oil on Canvas, Signed, Inscribed on a Plaque, 31.75" x 45". Exhibited: Royal Academy 1896.

Eyre Crowe (1824-1910) British. "Drawing Lots for The Guelph Succession at Celle AD 1592", Oil on Canvas, Signed, Inscribed on a Plaque, 31.75" x 45". Exhibited: Royal Academy 1896.

EYRE CROWE ARA (BRITISH 1824-1910)

EYRE CROWE ARA (BRITISH 1824-1910) Study of a young maid in 18th century dress Charcoal heightened with white chalk on two joined sheets of buff paper Dated Aprl 19 51.5 x 23 cm (20.25 x 9 in) together with two further similar figure studies, one signed and dated Aprl 19 1901/ Ey. Crowe All unframed  (3)

3 ANTIQUE WATERCOLORS EYRE CROWE +

3 Small Continental Antique Watercolors. 1- Women in the vegetable market 1923 4.25"x5.25". 2- Country landscape 1895 with Home and Cow by Eyre Crowe (1824-1910) 6"x6". 3- Grand Finale from an unpunlished opera. "Tragic End of the Tenor". Wear to edges 7"x5.". Weight 1 oz. PROVENANCE: The Estate of a Charleston SC Art Dealer / Gallery Owner.

Eyre Crowe, ARA, British (1824 - 1910), Reynolds' First Sketch, oil on panel, 24 x 36 3/4 in. (61 x 93.3 cm)

artist's hand written exhibition label on the reverse

Attributed to Eyre Crowe ARA, British 1824-1910- Lady reading; pencil, dated March 14 99, 32.5x18.5c

Attributed to Eyre Crowe ARA, British 1824-1910- Lady reading; pencil, dated March 14 99, 32.5x18.5cm Provenance: with Covent Garden Gallery Ltd., London, according to label attached to the reverse of the frame: British School, early 20th century- Study of a lady sleeping; pencil, black and white chalk on buff paper, 23x36cm., (2) (part unframed)

Attributed to Eyre Crowe ARA, British 1824-1910-

Attributed to Eyre Crowe ARA, British 1824-1910- "A Lady reading, seen from the rear"; pencil, dated March 14 99, 32.5x18.5cm Provenance: with Covent Garden Gallery Ltd., London, according to label attached to the reverse of the frame: British School, early 20th century- Study of a lady sleeping; pencil, black and white chalk on buff paper, 23x36cm., (2)

Eyre Crowe, A.R.A., 1824 - 1910 Reynolds' First

Eyre Crowe, A.R.A., 1824 - 1910 Reynolds' First Sketch, Oil on panel, Artist's hand-written exhibition label on the reverse, "Eyre Crowe, 33 Langham Street, Gt. Portland St. W, Reynolds making his first sketch of his father's grammar school at Plymouth", Exhibited at the Royal Academy in 1866, No. 394, Provenance: The Wurlitzer Collection. Provenance: Paramount Studios. The original caption read, "When but eight years old, he had made himself sufficiently master of perspective, from the Jesuit treatise, to draw the school house according to rule, no easy matter, as the upper part is half supported by a range of pillars", A review from the Athenaeum, dated 19th May 1866: "The architectural part of this picture has evidently been painted "on the spot" and is thus made doubly interesting. Though rather hard it is bright and clear, the figures tell the story with completeness and are artistically treated." A review from the Art Journal, 1866, pg.166: "Reynolds' first sketch (394) is better than "Competitive Examination" the arched and columned corridor is well painted" Eyre Crowe was a Victorian painter of genre and historical subjects. He was a pupil of the French historical painter, Paul Delaroche in Paris. He travelled to America in 1852, as a companion and secretary to the novelist, William Thackeray. In 1876 he was elected as an Associate of the Royal Academy. He exhibited 84 works at The Royal Academy. Examples of his work can be seen at The Fitzwilliam Museum, Cambridge, Manchester City Art Gallery, Liverpool Art Gallery, and The Victoria & Albert Museum. 24 x 26 inches 61 x 91 cm.

EYRE CROWE (BRITISH, 1824-1910) Thomas Carlyle Looking at the Duke of Buccleuch's Miniatures of Cromwell, his Wife and Daughter 1895..

EYRE CROWE (BRITISH, 1824-1910) Thomas Carlyle Looking at the Duke of Buccleuch's Miniatures of Cromwell, his Wife and Daughter 1895 oil on panel signed 'E. Crowe' lower right signed and titled verso 24 x 19cm PROVENANCE: Purchased by Mr Frederick Midgley, Manchester 7 January 1896 Private collection, U.K. Thence by descent EXHIBITIONS: Royal Academy, London 1895; Manchester, 1895

Eyre Crowe (British, 1824-1910)

Life drawing of a standing female nude signed 'Eyre Crowe/1846' (lower left) pencil and charcoal 47 x 21cm (18 1/2 x 8 1/4in). and others including a menu design by E. A. Abbey and Alfred Parsons and two in the style of Bonnington, (9)

Eyre Crowe (1824-1910), Shelley at Marlow writing

Eyre Crowe (1824-1910), Shelley at Marlow writing the dedication of 'The Revolt of Islam', oil on canvas, signed, 100cm x 151cm.; together with the Royal Academy catalogue of 1904, in which this lot is illustrated. (1 + book. Exhibited: The Royal Academy, 1904, no.566. Illustrated.

Eyre Crowe, A.R.A. (1824-1910)

Eyre Crowe, A.R.A. (1824-1910) Shelley at Marlow writing the dedication of The revolt of Islam to his wife on its completion in 1817. "So now my summer task is ended, etc." signed 'E. Crowe' (lower left) oil on canvas 40 x 60 in. (101.6 x 152.4 cm.) to be sold together with the Royal Academy catalogue of 1904.

Eyre Crowe, A.R.A. (1824-1910)

Eyre Crowe, A.R.A. (1824-1910) Shelley at Marlow writing the dedication of The revolt of Islam to his wife on its completion in 1817. "So now my summer task is ended, etc." signed 'E. Crowe' (lower left) oil on canvas 40 x 60 in. (101.6 x 152.4 cm.) to be sold together with the Royal Academy catalogue of 1904.

Eyre Crowe (British, 1824-1910) 'How Happy Could I Be with Either'

'How Happy Could I Be with Either' signed and dated '1882/E. Crowe' (lower right), oil on panel 40.5 x 70cm (15 15/16 x 27 9/16in).

Eyre Crowe (British, 1824-1910) Dean Swift at St. James's Coffee House

Dean Swift at St. James's Coffee House signed and dated 'E. CROWE 1860' (lower left) and bears label inscribed with title (verso), oil on board 76.5 x 63cm (30 1/8 x 24 13/16in).

Eyre Crowe (1824-1910), Back View of the Sculpture

Eyre Crowe (1824-1910), Back View of the Sculpture Gallery doorway, Louvre, pencil, 14cm x 22cm.

Eyre Crowe (British, 1824-1910) 'How Happy Could I Be with Either'

'How Happy Could I Be with Either' signed and dated '1882/E. Crowe' (lower right), oil on panel 40.5 x 70cm (15 15/16 x 27 9/16in).

Eyre Crowe (British, 1824-1910) 'How Happy Could I Be with Either'

'How Happy Could I Be with Either' signed and dated '1882/E. Crowe' (lower right), oil on panel 40.5 x 70cm (15 15/16 x 27 9/16in).

Eyre Crowe (1824-1910) 'Hougemont, June 1815, The Day After The Battle', 51 x 80in.

Eyre Crowe (1824-1910) oil on canvas, 'Hougemont, June 1815, The Day After The Battle', Exhibited: Royal Academy, 1886; St Jude's, Whitechapel, 1887, signed and dated 1886, 51 x 80in.

Eyre Crowe (British, 1824-1910) Study of a cavalier

Study of a cavalier signed, watercolour 21.5 x 14cm (8 7/16 x 5 1/2in). and acollection of assorted unframed prints, sketches by Phil May etc. (parcel)

Eyre Crowe (British, 1824-1910) Goldsmith's mourners

Goldsmith's mourners signed and dated 'E CROWE/1862' (lower left); signed and inscribed 'Eyre CROWE' 33/Langham Street/"Goldsmith's Mourners"/Brick Court April 4th 1774' on a label attached to the reverse oil on panel 70.2 x 91.5cm (27 5/8 x 36in).

w - Eyre Crowe , 1824-1910 soldiers meeting oil on canvas

signed and dated l.r.: E. Crowe 1870 oil on canvas

Eyre Crowe (British, 1824-1910)

"A Good Whiff" signed; signed and inscribed verso, oil on panel, 32 x 24cm (12 5/8 x 9 7/16in).

Eyre Crowe, A.R.A. (1824-1920)

Dean Swift at St. James's Coffee House, 1710, 'A note to Stella' signed and dated 'E Crowe 1860' (lower left), inscribed 'Eyre Crowe/'a note to Stella from M.D./God bless her head & eyes'/St. James' coffee house. 1710/Exhibited at the/Royal Academy 1860/No.175' (on a label, attached to the reverse) oil on panel 30 x 24 1/2 in. (76.3 x 62.3 cm.)

Eyre Crowe (1824-1910)

Feeding the chickens signed 'E. Crowe' (lower left) and inscribed 'E. CROWE' (on the reverse) oil on canvas, unframed 40 x 60 in. (101.5 x 152.3 cm.)

Eyre Crowe, A.R.A. (1824-1910)

The Foundry signed and dated 'E. Crowe/1869.' (lower left) oil on canvas 593/4 x 933/4 in. (151.8 x 238.4 cm.) PROVENANCE Anon. sale, Sotheby's Belgravia, 24 March 1981, lot 185, as Shinglers, when acquired by the present owner. LITERATURE A. Langley, Victorian Factories, Oxford, 1996, p. 16, illus.. EXHIBITION London, Royal Academy, 1869, no. 61. NOTES Crowe is an intriguing figure. The son of a journalist, his brother J.A. Crowe was a diplomat and an art historian whose History of Painting in Italy (1903), written with the Italian G.B. Cavalcaselle, was the basis for modern study of Renaissance art. A pupil of Paul Delaroche, with whom he went to Rome in 1843, and a life-long friend of G‚r“me, Crowe became secretary to Thackeray, who was his cousin and went with him on a lecture tour to America in 1852. The influence of his master Delaroche is evident in the majority of his paintings which are inspired by historical events, but occasionally he depicted scenes such as the present work which invoke contemporary social comment. Julian Treuherz described this painting as 'a remarkable scene of workers in an iron foundry, with an eerie lighting effect derived from Joseph Wright of Derby' ( Hard Times, 1987, p. 106). He is probably referring to Wright's two versions of A Blacksmith's Shop (1771; Yale & Derby) which are subtly-lit pictures showing three men working at the anvil, the only source of light being from the bar of iron and An Iron Forge (1772; Lord Romsey, Broadlands Collection) which also uses one central source of light. Like Crowe's work they are all imbued with a sense of drama and luminosity. The classical antecedent for this subject is Vulcan, who in Greek and Roman mythology is the god of fire and the blacksmith who forged the weapons of many gods and heroes. The son of Jupiter and Juno, he was the educator of primitive man and taught him the proper use of fire. He is usually depicted in his forge standing at the anvil, hammer in hand. He was worshipped with Athene (Minerva) at Athens as the protector of craftsmen and in allegories of the four elements, Vulcan personifies Fire. Crowe's contemporary William Bell Scott (1811-1890) also treated the subject of the foundry in his series of murals commissioned by Sir Walter and Lady Pauline Trevelyan to decorate their home, Wallington House, Northumberland. The series was intended to depict the history of Northumberland and included The Romans Cause a Wall to be Built, A Descent of the Danes, The Death of the Venerable Bede, AD 735 and Grace Darling and her Father Saving the Shipwrecked Crew, 7 September, 1838. But by far the most famous painting in the series was Iron and Coal: The Industry of the Tyne, subtitled In the Nineteenth Century the Northumbrians Show the World What Can be Done with Iron and Coal, 1861 (fig. 1). The scene is set in the factory shed of the railway works of Robert Stephenson and Co., Engineers in which three men or 'strikers' hammer out molten iron. The subject of hard manual labour was popular amongst Victorian artists. It was famously treated by the Pre-Raphaelite Ford Madox Brown (1821-1893) in his epic painting of 1852 entitled Work (Manchester). This allegory of mental and manual labour depicts a crowded street in which two labourers are repairing the road in the midst of passers by from every social strata. In the present picture, Crowe does not labour the point of social problems in Victorian industrial England but rather celebrates the working man. He also conveyed this in The Dinner Hour, Wigan (1874; Manchester) where he depicts a group of women, mainly weavers, wearing colourful red, blue and yellow dresses under white overalls, relaxing during their lunch hour. In this he 'created that rarity, a Victorian painting of the working class which is not laboriously making the point about oppression.' (L. Lambourne, Victorian Painting, 1999, p. 384). Treuherz concurs 'in all his social pictures Crowe accepts his subjects as facts rather than as vehicles for pathos or moralising; he was criticised for 'prosaic literalness...He has not attempted to appeal to the imagination or the slightest reference to sentiment'. From a twentieth century standpoint, that is why his work is so intriguing.' ( op. cit, p. 106).

Eyre Crowe (British, 1824-1910)

School at Aitre Saint-Maclou, Rouen signed and dated 'E.Crowe-1883.' (lower left) oil on canvas 60 x 108.5 cm. PROVENANCE The artist's estate; Sale, Christie's, 18 March 1911, lot 152. EXHIBITION Londen, Royal Academy of Arts, Summer 1884. NOTES The present lot depicts a school in Aitre Saint-Maclou, Rouen, France. The fa‡ade in the background still exists as depicted.

Eyre Crowe (British, 1824-1910)

School at Aitre Saint-Maclou, Rouen signed and dated 'E.Crowe-1883.' (lower left) oil on canvas 60 x 108.5 cm. PROVENANCE The artist's estate; Sale, Christie's, 18 March 1911, lot 152. EXHIBITION Londen, Royal Academy of Arts, Summer 1884. NOTES The present lot depicts a school in Aitre Saint-Maclou, Rouen, France. The fa‡ade in the background still exists as depicted.

Eyre Crowe (British, 1824-1910) The Veteran's Pipe, oil on canvas, signed, 64 x 41cm.

Eyre Crowe (British, 1824-1910) 64 x 41cm.

Eyre Crowe (British, 1824-1910) 64 x 41cm.