Walter greaves (11 Ergebnisse)

No Binding. Zustand: Very Good. ORIGINAL Articles, disbound from journal; no covers; in very good condition. Journal.

Loose Leaf. Zustand: New. Reproduction. Original title: Coal Barges Unloading (recto); Sketch of a Building (verso) German: Kohleschachtentladung (Rekto); Skizze eines Gebäudes (verso) French: Déchargement des barges de charbon (recto); croquis d'un bâtiment (verso) Spanish: Descarga de barcazas de carbón (recto); boceto de un edificio (verso) High-quality fine-art reproduction based on an original work from the Artic. Creation period: 19th century (1872 (recto); n.d. (verso)). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.…

Hardcover. Zustand: Very Good. In stock ready to dispatch from the UK.

Card covers, stapled spine. Zustand: Near fine in wraps. First Edition. 16 x 21cm near fine card-covered exhibition catalogue with stapled spine. Includes an essay by Michael Parkin together with black and white reproductions.

Paperback. Zustand: Very good in wraps. First Edition. 14 x 20cm 78pp very good paperback with brown paper covers, a little chipping at head of spine with a List of 15 Illustrations including Chelsea Regatta, Old Battersea Bridge, Hammersmith Bridge reproduced as single page black and white reproductions.…

Hardcover. Zustand: Brand New. 128 pages. 9.76x6.85x0.47 inches. In Stock.

Paperback. Zustand: Near fine in wraps. First Edition. 18 x 23cm near fine paperback exhibition catalogue with a text by Michael Parkin plus a listing of 52 exhibits some illustrated in black and white.

Card covers. Zustand: Good in wraps. First Edition. 16 x 25cm good card-covered exhibition catalogue, minor browning to covers containis a list of 68 works, some illustrated in black and white.

Card covers. Zustand: Good in wraps. First Edition. 20 x 25cm good, card-covered exhibition catalogue, front cover shows a section of the Ordnance Survey Map of 1862/5.Minor wear and discoloration to wrappers with the shadow of tape once used to support the spine. Minor detachment at top of front wrapper. Contents good featurig texts plus black and white reproductions. Also included are three separate private view cards for the Goupil Gallery,1984, Michael Parkin Gallery, 1989 and 1993.…

Hardcover. Zustand: Very Good. No Jacket. 1st Edition. A1 in size, cream cardboard cover with green cloth slip around the spine, black italics titles on front board. This trade published book is in really good condition, normal wear, marks and tear apply consistent with use and age. It was published in 1975 (First Edition) in celebration of Architectural Heritage Year Nineteen Hundred and Seventy Five, by W.H. Newson Holding Ltd (Timber Merchants & Joinery Manufacturers) 61, Pimlico Road, London S.W.1. in association with The Parkin Gallery (Michael Parkin Fine Art Ltd) 11, Motcomb Street, London, S.W.1. with an introduction and notes by Michael Parkin, celebrating One Hundred Year Ago. The cardboard back board is stamped with the number 193. All pages intact, good tight binding, all pages, text and gorgeous illustrations/plates are in fabulous clean, readable order. The plates are signed by H & W Greaves dated 1868. Postage may increase for overseas buyers, from listed price dependant on final destination. This wonderful book is rather special and is worth preserving for future generations that love Old Chelsea.…

Signed and dated bottom left, "W. Greaves 1875". Greaves first met Whistler in March 1863, when Whistler moved to 7 Lindsey Row, Chelsea, where the artist and his brother, Henry Greaves (1844-1904), were among his neighbours. A family of Thames watermen, Walter and Henry became Whistler's guides on the river, and his pupils and devoted assistants in the studio. The brothers themselves had been painting from their earliest years, probably starting by doing heraldic work on boats in their father's yard. They found their subjects in the Chelsea streets and at local regattas, and would often work in tandem, signing their joint productions "H. & W. Greaves". As river guides, it was Walter and Henry who first showed Whistler the Cremorne pleasure gardens by night, a sight that was to inspire his painting Nocturne in Black and Gold: the Falling Rocket (now in the Detroit Institute of Art), which, when exhibited at the Grosvenor Gallery in 1877, aroused the ire of Ruskin and precipitated the most famous lawsuit in the history of British art. In return for their services and as a mark of his friendship, Whistler taught the boys his own methods of painting. In homage to his hero, Walter Greaves produced more than a hundred portraits of Whistler, most of them from memory. Whistler is seen on the balcony at 7 Lindsey Row, sometime before February 1867, when he moved to a grander apartment in the same row, the Greaves brothers helping to transport his possessions and decorate the new apartments. The upper-floor balcony, known as a "widow's walk" because it served as a look-out for women watching anxiously for their returning seafaring men, resembles one that had featured in Whistler's own painting Variations in Flesh Colour and Green: the Balcony (Freer Gallery of Art, Washington), dating from 1864-5, which suggests that this image is painted from memory, perhaps even at the date indicated by the signature, although Walter was notoriously unreliable in dating his paintings. Walter Greaves's greatest early work, perhaps his masterpiece, is Hammersmith Bridge on Boat-Race Day (Tate Gallery), a naive painting of the highest order, championed by Sickert among others. Walter himself claimed that it was painted in 1862, when he was 16, but Tom Pocock, in his definitive account of the relationship between Whistler and Greaves (Chelsea Reach, 1970), argues that in fact it was executed nearly a decade later. This portrait was among those exhibited at the Greaves exhibition at the Goupil Gallery in 1911, where it was purchased by the art dealer Philip H. Rosenbach. In response to ludicrous claims made by others that Greaves had influenced Whistler, rather than the other way around, Whistler's friend and biographer Joseph Pennell attacked Greaves savagely, hugely damaging his contemporary reputation. The painting was not sold by Rosenbach but retained in the Rosenbach Museum and Library, Philadelphia, and subsequently de-accessioned in January 2011. Oil on board. Half-length, standing slightly to right, face to viewer, with monocle in right eye, paint brush in right hand, palette in left, wearing beret, yellow tie, black overcoat, against riverside background (Battersea Wharf). Sheet size: 106 x 88 cm. Framed.…