Augustus Jules Bouvier

AUGUSTUS JULES BOUVIER, 1827-1881 (1825-1881) - SUNDAY AFTERNOON -
Mis: 27.5x20.5cm.; 10¾x8in.
signed watercolour

PROVENANCE
Alex Fraser Galleries, Vancouver

Augustus Jules Bouvier (British, 1825-1881) A Lovely Lady watercolor signed "A.J. Bouvier" (lower right) 10 1/2 x 7 1/2 inches. Estimate $ 400-600 CONDITION REPORT Sale Number 17 Lot Number 1601 Sale Date December 12-14 Surface Condition: appears good, not examined out of the frame. Previous Restoration: not evident. Examination under ultra-violet light: no. Structural Integrity: basically sound. Signature: yes, lower right, please request additional photos via email.

Augustus Jules Bouvier (c.1827-1881) Anticipation signed and dated 'G.BOUVIER/1877' (upper left) and indistinctly inscribed and numbered '[NO]3/Ant[cipation]/By...Bouvier/1... .../... ..' (on an old label attached to the backboard) pencil and watercolour with scratching out 12 5/8 x 6 in. (32.1 x 15.3 cm.) Provenance with Ramiel M. Howitt, London, from whom acquired by the present owner in 1976. Exhibited London, Royal Academy, 1877, no. 911. Lot Notes Bouvier was born in London and studied at the Royal Academy. He became an associate member of the New Water-Colour Society in 1852 and a full member in 1856.

augustus jules bouvier c.1827-1881 lesbia signed l.l.: aug. bouvier watercolour over pencil heightened with bodycolour, arched top 53 by 47 cm., 21 by 18 1/2 in. the literary figure lesbia was the invention of the roman poet catullus (c.84-c.54 bc). the description of this fictional figure was derived from his love of clodia, the sister of cicero's enemy publius clodius, and the wife of metellus celer - who was a roman consul. 'his love for her, followed, as a result of her infidelity, by rifts and reconciliations, deepening reproaches, and finally fierce revolt and rupture' and inspired some of his most beautiful and of his most bitter poems'. catullus' poetry is described in the following terms: 'the best-known of them are the sequence relating to lesbia, beginning with the first intoxication of love and the tender playfullness of the lines on lesbia's sparrow, and ending with the poignant cries of suffering (such as the lines 'o di, si vestrumst misereri... in poem 76) and venemous insults flung at his unfaithful mistress.'