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James Wilson Carmichael

United Kingdom (1800 -  1868 )
CARMICHAEL James Wilson Four Indiamen Preparing To Leave The Lower Thames With Passengers Embarking In The Foreground

Dreweatts & Bloomsbury Auctions
May 1, 2019
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Variants on Artist's name :

Carmichael James W.

Carmichael James-Wilson

Carmichael John Wilson

 

Along with James Wilson Carmichael, our clients also searched for the following authors:
James Iii Clark, Braaq, Edward Thompson Davis, John Atkinson, Frederick William Booty, William Russell Flint, Arthur A. Friedenson
Artworks in Arcadja
550

Some works of James Wilson Carmichael

Extracted between 550 works in the catalog of Arcadja
James Wilson Carmichael -  Vessels Along The Coast

James Wilson Carmichael - Vessels Along The Coast

Original
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Net Price
Lot number: 239
Other WORKS AT AUCTION
Description:
Description: John Wilson Carmichael (British, 1800-1868) Vessels Along the Coast Signed "JW Carmichael" l.l. Oil on canvas, 14 1/2 x 20 1/2 in. (36.5 x 52.0 cm), framed. Condition: Lined, retouch, craquelure, varnish discoloration, surface grime. EstimateItems may have wear and tear, imperfections, or the effects of aging. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner shall have no responsibility for any error or omission.
James Wilson Carmichael - Four Indiamen Preparing To Leave The Lower Thames With Passengers Embarking In The Foreground

James Wilson Carmichael - Four Indiamen Preparing To Leave The Lower Thames With Passengers Embarking In The Foreground

Original
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Net Price
Lot number: 74
Other WORKS AT AUCTION
Description:
John Wilson Carmichael (British 1800-1868) Four Indiamen preparing to leave the lower Thames with passengers embarking in the foreground Oil on canvas 78.5 x 108cm (30¾ x 42½ in.) Provenance: N.R. Omell, London, purchased 13 October 1983 Sale, Christie's, London, British Pictures, 16 June 2005, Lot 292 Acquired from the above by The Lord Wraxall Literature: Diana Villar, John Wilson Carmichael 1799-1868, Portsmouth, 1995, p. 56 Born in Newcastle-upon-Tyne, Carmichael was the son of a ship's carpenter and, as a young boy, spent a number of years at sea. Upon his return, he was apprenticed to a local firm of shipwrights and joiners, although he devoted his spare time to painting and upon completing his training, he eventually gave up the carpentry business and became a drawing master and miniaturist. Carmichael shared a workshop with landscape painter Thomas Richardson Senior and in 1825 he exhibited his first painting at the Northumberland Institution.Carmichael remained in Newcastle until about 1845 when he moved for a time to London. Thanks to regular exhibitions, he was already well-known as an accomplished marine painter by this point. During his time in London, Carmichael frequently painted views of shipping on the Thames, such as the present work.Amongst others, Carmichael's work can be found at the National Maritime Museum, Greenwich and the Newcastle, Gateshead and Sunderland Art Galleries.
James Wilson Carmichael - Men-of-war Portsmouth Harbour

James Wilson Carmichael - Men-of-war Portsmouth Harbour

Original
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Lot number: 67
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Description:
J W Carmichael (British 1799-1868): 'Men-of-War Portsmouth Harbour', oil on canvas unsigned 44cm x 59cm Notes: a larger and more detailed painting of this title by Carmichael hangs in the Laing Gallery Newcastle Condition Report Click here for further images, condition, auction times & delivery costs
James Wilson Carmichael - A Flemish Mill

James Wilson Carmichael - A Flemish Mill

Original 1834
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Gross Price
Lot number: 54
Other WORKS AT AUCTION
Description:
John H. 'Jock' Wilson - 'A Flemish Mill', oil on canvas, signed, titled and dated 1834 verso, 31.5cm x 45cm, within a gilt composition frame. Note: this work was exhibited as number 74 at the Royal Academy in 1834 and attracted a passing mention of appreciation in the review of the exhibition published in The Athenaeum, December, 1834.
James Wilson Carmichael - Early Evening

James Wilson Carmichael - Early Evening

Original 20th century
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Lot number: 53
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Description:
JAMES WILSON MORRICE, R.C.A. EARLY EVENING oil on canvas with the estate stamp on the reverse 9 ins x 13 ins; 22.9 cms x 33 cms Provenance: Collection of the artist\’s brother (Robert Morrice) Gift to Florence Pitfield, Montreal By descent in the family, Ontario Sotheby\’s (Canada), May 2005, Lot 189 Private Collection, Toronto A full moon shines brightly over a velvety green landscape, its light reflected by the body of water in the middle distance. The sea in turn is animated by a cluster of bobbing boats. Of these vessels Morrice expert, Lucie Dorais, observes: \“Their sails are still set. The fleet has just returned.\” While close to us, on a path leading to the water\’s edge, a woman waits. Madame Dorais notes that sentimental themes such as this were quite popular at the turn of the 20th century, although somewhat more rare for Morrice. Nonetheless, by leaving the figure of the woman de-emphasized, Morrice draws our attention to his real interest: the sailboats. Madame Dorais writes: \“Sailboats had fascinated Morrice since his childhood, and we find them, in a variety of sizes and shapes, in about 10% of his landscapes, from his earliest Maine watercolours to his last Sicilian sketch.\” Around 1903-1904,Morrice did a series of the famous Regatta of Saint-Malo which is how this work had been interpreted by Madame Dorais when she first saw it in 2005. At that time she had dated it circa 1898-99. Madame Dorais notes: \“Not long after, I found a drawing for that landscape in one of the artist's sketchbooks; no girl and no moon, so the "story" was built later in the studio. That sketchbook was mostly used in Paris and Dieppe, but a few pages are clearly from Cancale, a small town in Brittany not far from Saint-Malo. Morrice did spend part of the 1896 summer there, but this sketchbook dates from 1892-93 (Sketchbook #4, Montreal Museum of Fine Arts, Dr.1973.27) and does not contain any views of Saint-Malo. It seems, then, that Morrice went only to Cancale.\” Madame Dorais further explains: \“The drawing related to this painting is found on page 78 of the sketchbook. Morrice\’s vantage point here in Cancale is from the "Sentier des Douaniers", clearly visible on the right. He has left the busy town, passed the main jetty and its lighthouse, and gone around the "Pointe du Hock", to look down at the beach of the same name. The tide is high, the boats are idle; very few sails are up, and no specific activity is hinted at. In the painting, the numerous sails revealed by the moonlight hint at some activity. Cancale's fishing boats, the "bisquines", were so famous that regattas were organized every summer for the tourists, but in Saint-Malo, not locally. Therefore, this cannot be a regatta as previously thought because the location is not Saint-Malo. The boats shown here were used to harvest the town's treasure, the flat oysters naturally growing off the coast.To make the harvesting sustainable, it was reduced to a short period of just two weeks, around Easter. Every morning, 200 boats departed with the outgoing tide to drag the natural beds, and returned at night to dump their catch onto the man-made "oyster beds" near the quay. Women and children would sort them at low tide, removing the empty shells. Madame Dorais concludes: \“This is more likely what is happening here: the fishing fleet, with the woman\’s lover on board, is returning to Cancale under the full moon.The style of the painting, with its small dose of Victorian sentimentality, recalls the English paintings that Morrice had seen in Montreal and in England, where he spent a few months (perhaps to study) in 1891, not long before his visit to Cancale. To find such an accomplished painting so early in Morrice's career is remarkable.\“
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