Edwin Lord Weeks

United States (18491903 ) - Artworks Wikipedia® - Edwin Lord Weeks
WEEKS Edwin Lord Landscape With A Figure On A Mule

William Doyle /Jun 5, 2013
6,207.32 - 9,310.99
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Artworks in Arcadja
153

Some works of Edwin Lord Weeks

Extracted between 153 works in the catalog of Arcadja
Edwin Lord Weeks - Horses At The Ford - Persia

Edwin Lord Weeks - Horses At The Ford - Persia

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Lot number: 30
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Sale, American Art Association, “Very Important Finished Pictures, Studies, Sketches and Original Drawings by the Late Edwin Lord Weeks to be sold at unrestricted public sale by order of his widow,” New York, March 15-17, 1905, lot 265 Henry D. G. Rohlfs, Brooklyn (acquired from the above) Orr's Gallery, San Diego (as The Rug Sellers, according to a label on the reverse) Acquired from the above, 1972 Charlotte, Mint Museum, Spectacle of Realism, An Exhibition of 19th Century European and American Paintings, April 15 - May 17, 1970, no. 51, illustrated (as On the Way to Market) PROPERTY FROM THE COLLECTION OF MERYAM DEL BURGO-PICKARD, CALIFORNIA Edwin Lord Weeks AMERICAN 1849 - 1903 HORSES AT THE FORD - PERSIA signed E.L. Weeks (lower right) oil on canvas 35 3/8 by 61 7/8 in. 90 by 157 cm This painting has an old lining, and has not been recently cleaned or restored. The painting does not appear to be dirty and the colors are clean and bright. The surface shows finely patterned craquelure in isolated areas in the composition and vertical craquelure along the bottom, which may benefit from consolidation. Under UV, there is a brushed area of "touch-up" in the upper left area of sky, and minor brushed re-enforcements in the background and behind the figures. Old varnish fluoresces green unevenly throughout.
Edwin Lord Weeks - A View Of Jerusalem

Edwin Lord Weeks - A View Of Jerusalem

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Lot number: 66
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Edwin Lord Weeks (American, 1849-1903) A view of Jerusalem signed 'Edward L. Weeks' (lower left) oil on canvas 39 x 60in (99 x 152.4cm) Footnotes PROVENANCE: With Noyes & Blakeslee Gallery, Boston (label now lost) EXHIBITED: possibly Boston, Noyes & Blakeslee Gallery, Exhibition and Sale of Pictures by E.L. Weeks , 19-20 February 1878, but may have been exhibited earlier in the 1870s Considered one of the most important American orientalist painters, Edwin Lord Weeks traveled extensively throughout the Middle East, North Africa and as far as India. A native of Boston and son of wealthy spice and tea merchants, Weeks was able to indulge his interest in painting and travel early on. In 1871, together with the illustrator A.P. Close, he traveled to Egypt, the Holy Land and Syria, as documented by his sketch books. This trip seems to have been influential in the nascent career of the young orientalist painter, a direction that had been noted with interest by Boston newspapers upon his return home. A view of Jerusalem is a dramatic rendition of the setting of the Holy City and one of the most important paintings of Weeks's early career. In a typically panoramic fashion, Weeks shows us Jerusalem all at once, focusing the eye on the Temple Mount, with the lead-covered dome of the Dome of the Rock, surrounded by the intricately detailed city surmounting and crowning the rugged landscape at the crest of the plateau. The scene depicts local Arab men and women encamped under the giant cypress trees, clustered to the middle left of the rocky earthen forms and grassy outcroppings, the animals and desolate brown berms sculpted into irregular hillocks. It is an ambitious attempt by a young artist to portray the complex interlocked architecture accumulated over thousands of years. Despite the obvious talent at even this initial stage of his career, Weeks' draftsmanship and handling of perspective and detail are not yet at the level they would become by the end of the 1870s. The overarching sky is handled with great drama in the collection of giant cumulus clouds against an expansive cobalt atmosphere, characteristics which appear less frequently in his later work. The Arab figures with their colorful costumes and their animals are still a bit stiffly drawn, as might as well be expected of a young artist yet to embark on his formal artistic training in Paris. Indeed, it is this slightly unsophisticated formal expression that enables us to recognize this painting as executed in the early 1870s, rather than later. In sum, this early work by Weeks is an impressive achievement and a relatively polished work, given the nascent stage of the artist's early career in which it was executed. The present painting will be included in the Weeks catalogue raisonné under preparation by Dr. Ellen K. Morris. We are grateful to Dr. Morris for contributing to the catalogue entry. A letter of authentication by Dr. Morris accompanies the painting.
Edwin Lord Weeks - Outside The Indian Dye House

Edwin Lord Weeks - Outside The Indian Dye House

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Lot number: 86
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Edwin Lord Weeks (American, 1849-1903) Outside the Indian Dye House signed 'E. L. Weeks' (lower left) oil on canvas 21½ x 25½ in. (54.6 x 64.7 cm.) with The Jordan Volpe Gallery, New York. THE PROPERTY OF A LOS ANGELES COLLECTOR New York, Vance Jordan Fine Art Inc., Edwin Lord Weeks: Visions of India, 31 October - 12 December, 2002. Although considered one of the foremost American Orientalist painters of the 19th century, very little is known about Week's personal life. He himself wrote and published long accounts of his travels through the Magreb, Asia Minor and India, but there are few records of his childhood or his early artistic training. The artist was born in Boston, and his young adult life was spent in and around the Massachusetts capital, and in 1872, Weeks traveled to Morocco, Egypt, The Holy Land and into Syria as far as Damascus. In 1874, Weeks and his wife moved to Paris where he applied for admission to the studio of Jean Léon Gérôme. While waiting to hear from Gérôme, Weeks began working with Leon Bonnat and when permission finally came from Gérôme, he decided to remain in Bonnat's studio, where he spent a year and a half. Weeks traveled through the Magreb and remained for a time in Morocco, and did not visit India until 1882. 'All my days were occupied in painting and my evenings in developing photos', he wrote from Benares in 1883. He probably took photos in order to precisely record architecture and background for his compositions. However, 'anyone who knows his sketches from India will see at once that movements of the figures is beyond the power of photography; only Weeks' skill and trained eye could capture the varied gestures and convincing movement in the street scenes he often depicted' (G. M. Ackerman, American Orientalists, Paris, 1994, p. 238). Outside the Indian Dye House clearly demonstrates the artist's ability to capture the essence of daily life in northern India. The viewer first feels the searing heat of an afternoon on the subcontinent. The blazing sun heightens the white robe and turban on the standing figure and is reflected off the coat of the horse and even the earthenware pots. Even the figure half in shadow is partially caught in the heat of the day despite his need to find shelter. The brilliant light also emphasizes the sumptuous fabrics: the pale blues and yellows of the gentleman on horseback, clearly coming to check on his order, the orange and pinks of the fabrics hanging outside the dye house, and the bright yellow turban of the figure seated beneath the canopy. The artist's aforementioned use of photography to capture the nuances of the architecture of the area is put to use in the precision of the rendition of the stonework above the three archways. The interaction of the figures is accomplished with the same virtuosity. With the simple gesture of a hand flung back to rest on the horse's rump, Weeks has portrayed a superiority and relaxed gentility in the figure. In the same way, the placement of one hand on a hip by the apparent owner of the dye house establishes his position. The workers squat or are seated in the archway, set apart from the interaction of the proprietor and his wealthy customer. In this way, Weeks creates a dynamic composition, full of the richness and nuances of life in northern India. We are grateful to Ellen K. Morris for confirming the authenticity of this painting, which will be included in her forthcoming Edwin Lord Weeks catalogue raisonné.
Edwin Lord Weeks - Landscape With A Figure On A Mule

Edwin Lord Weeks - Landscape With A Figure On A Mule

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Lot number: 28
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Lot 28 Edwin Lord Weeks American, 1849-1903 Landscape with a Figure on a Mule Oil on canvas 23 1/2 x 36 inches Provenance: Estate of the artist Minnie Weeks Goodwin Family, Berwick, ME Burton W. F. Trafton, Jr. Merwyn E. Bronson, Berwick, ME C Property of a Greenwich Village Collector Estimate $8,000-12,000 Wax relined. Scattered craquelure throughout. Frame rubbing. There is a 23 vertical line of inpaint in the canvas at the center left, another 23 inch vertical line of inpaint in the center, there is a 5 inch vertical line of inpaint in the sky at the upper right corner and some scattered touches in the sky and the trees. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.
Edwin Lord Weeks - Marchand De Chameaux Sortant De Tanger

Edwin Lord Weeks - Marchand De Chameaux Sortant De Tanger

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Lot number: 309
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Edwin LORD WEEKS (1849-1903) ÉCOLE AMÉRICAINE MARCHAND DE CHAMEAUX SORTANT DE TANGER Huile sur toile, signée «E. L. Weeks Tanger (18)78» en bas à gauche 33 x 60 cm Bibliographie: F. D. Millet et T. E. Kirby «Catalog of very important Finished Pictures by the late Edwin Lord Weeks», American Art Galleries, New York, 15/03 au 17/03/1905 G. M. Ackerman, «Les Orientalistes de l'Ecole Américaine», acr, 1994, pp. 234 à 257 L. Thornton, «Les Orientalistes peintres voyageurs», acr 2001, p. 295
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