Wilfred Jenkins

Wilfred Jenkins (1857-1936) The Thames in moonlight; Westminster in moonlight A pair, both signed, also signed and titled verso Both oil on board Each 16 x 34cm; 6¼ x 13¼in (2) 1. Slight damage to margins of the board upper centre and centre right, small holes on the margin centre left and lower right, othrwise good. 2. Board slightly bowed, slight losses along the top margin, otherwise good Print this lot detail Once you have saved a lot as a Favourite, it will show below.

Back to catalogue Place Bid or Track Lot Lot No: 299 Wilfred Bosworth Jenkins (British, 1857-1936) London by moonlight signed 'Wilfred Jenkins' (lower right), oil on board 13 x 31cm (5 1/8 x 12 3/16in). Estimate: £300 - 500, € 360 - 600 Contact the Specialist to discuss this lot or selling in a future sale Email: Veronique Scorer Tel: +44 207 393 3962 To subscribe to or order a Printed Catalogue quote ref: 19911 Tel: +44 (0) 1666 502 200

MOONSCAPE BY WILFRED JENKINS (ENGLAND, ACT.1875-1888). Oil on canvas, signed and dated 1888 lower right. Moonlit Londonstreet. Restoration. 20"h. 30"w., in a frame, 26"h. 36"w. Estimate $ 1,000-2,000 Rebacked on canvas with some inpainting Condition reports are available on all items. Please note: unless acondition report is requested, we do not post detailed conditioninformation about each item sold. If you choose to bid withoutrequesting a condition report, you are accepting the item "as-is"with no gaurantees.

Wilfred Jenkins (fl.1875-1888) The Thames Embankment, London; and The Houses of Parliament,London both signed Wilfred Jenkins (lower right), with the first inscribed'The Thames Embankment, London' (on the reverse) and the secondinscribed 'The Houses of Parliament' (on the reverse) oil on board 10¼ x 14¼ in. (26 x 36.2 cm.) a pair (2)

Wilfred Jenkins, 19th Century East Cliff, Whitby signed 'Wilfred Jenkins' (lower right) and further signed andinscribed 'East Cliff, Whitby/Wilfred Jenkins' (on thereverse) oil on board 11 x 15 in. (27.9 x 38.1 cm.) Wilfred Jenkins was a close follower of John Atkinson Grimshaw,and flourished in the second half of the 19th Century. Famed and collected for his nocturnal views, East Cliff, WhitbyHarbour is a highly atmospheric example of Victorian romanticpainting. The almost supernatural luminescent effect was capturedby the artist through applying thin translucent layers of oil paintupon a white ground (a technique adhered to by the Pre-RaphaeliteBrotherhood). BRAM STOKER - DRACULA East Cliff, Whitby has a notable connection with Victorian Gothicliterature - most notably Bram Stoker's Dracula (1897), in whichthe small fishing port played an integral role. It is here that thearrival of Dracula was set, in the form of a great black dogleaping from the doomed ship Demeter as it crashed upon the Whitbyshoreline. It was here too that the character Lucy was seduced bythe Count, and turned into a vampire. Jenkins would have painted the harbour at around the time thatStoker penned his famous novel, and it is possible that they wereboth in Whitby at the same time; indeed, one can almost sense theship's impending arrival in the painting. Stoker frequently holidayed in Whitby, both before, during andafter writing his famous work, and the macabre tales from localfishermen were a source of great influence and inspiration. Theship, Demeter, was based upon the Russian schooner Demetrius whichhad run aground on the coast only a few years before he beganvisiting. Carrying a cargo of coffins, bodies and their casketswere washed upon the shore for some time after. In the novel, theDemeter was carrying a cargo of coffins, in which Dracula washidden. A memorial has been erected at Whitby at the spot where it isbelieved that Stoker decided upon this part of the novel.