The Young Mother
oil on canvas, signed lower left "W.P. Frith"

Provenance:
Johnson Art Galleries, Montreal #2746
Uno Langmann Limited, Vancovuer #13352
Private Collection, West Vancouver

One of the most popular artists of the Victorian era, William Frith specialized in precise historical and genre scenes depicting contemporary Victorian life. He was educated in London at Sass’s Academy in preparation for the Royal Academy where he was elected Associate at the age of twenty-five and full member in 1853. He would continue to exhibit at the Royal Academy until 1902. Frith’s large compositions depicting everyday English life gained him wide popularity, and Queen Victoria became an enthusiastic supporter. His work was regularly reproduced in print which added to his success.

Frith was regarded as one of the finest traditionalist artists of his time. Beyond his popular panorama scenes, his realistic paintings include portraits, literary scenes, anecdotal works and genre scenes. He used ordinary people in contemporary settings as models, including his own family, working ‘en plein air’ not from memory like other artists of the day. He excelled at creating highly finished works capturing in fine detail not only his subjects but also the delicate patterns and textures of their clothing and décor.

This delightful work is a superb example of Frith’s precise style and perfectly epitomizes the artist’s talent and skill in depicting highly finished figures and settings. The painting is centered around the mother and infant baby and the intimacy of their playful interaction. The scene is frozen in time and the charming and intimate interior elegantly curated; the room is beautifully composed, enhanced by the intricacy of the furnishings. The painting gives us a realistic glimpse into Victorian life and an upper-class parlour of the era.
Size: 12 h x 9 w (with frame 15.75 h x 21 w in)
J21849

Still Life of Flowers
monotype on paper, signed and dated lower right "David Blackwood 1989",

David Blackwood’s monotypes began as an experimental practice when he did not have access to his print press while in the midst of building a new studio. With these monoprints the media is applied to the printing plate and transferred to paper, creating a unique printed image without the need for a press. The action of applying directly to the printing plate bridged the gap between his painting and print making practices.
Size: 24.5 h x 21 w (with frame 33 h x 29.5 w)
J21831

Julius Von Blaas (Italian 1845-1923)

Three Horses with Rider
oil on board, signed and dated lower left "J.V. Blaas 1896"
Provenance: Estate of Thea F.B. Bentley
Size: 10 h x 12 w (with frame 17.25 x 21.5 in)
J21798

Born in Italy, Julius von Blaas studied under his father Karl von Blaas in his Venice studio and was also influenced by his celebrated older brother Eugen von Blaas. Julius studied in Florence and Rome before attending the Academy of Fine Arts in Vienna where he later became a professor. He painted historical works, portraits and battle scenes, but devoted himself to equestrian subjects which were greatly admired. Employed by the Austrian court as a portrait painter he completed almost 50 portrait commissions, including equestrian portraits of the Emperor and his wife Empress Elisabeth. He was a member of the prestigious Vienna Künstlerhaus artists association, and received the Archduke Carl-Ludwig Medal.

Rudolf Von Alt (Austrian 1812-1905)

Chapel Interior
watercolour on paper, signed and dated lower right "R. Alt 1853" Provenance: Estate of Thea F.B. Bentley

A member of Austrian nobility, Rudolf von Alt was educated at the Academy of Fine arts in Vienna, founding member of the Vienna Künstlerhaus and honourary President of the Vienna Secession. He is considered one of Austria’s greatest watercolour artists and a master in depicting space and light, able to capture the topographical landscapes and architecture of Austria in a detailed, realistic manner.

Inspired by a trip to Italy in 1833, von Alt painted architectural subjects including everyday objects and interior views which became one of his strong points. While painting on hiking trips through the Austrian Alps and Northern Italy he developed a detailed, realistic style which became very popular. He received many commissions for glamorous interiors documented the splendour of the aristocratic palaces of early 19th century Viennese society and was chosen by the Austrian government to document their most impressive buildings. During his eight-decade career, not only did he depict both exterior and interior views of popular castles and noble palaces, but also veduta, buildings and public spaces including the rapid changes in the Viennese cityscape.
Size:10.75 h x 15.5 w (with frame 22 x 26.5)
J21800

Josef Feid (Austrian 1806-1870)

Wooded Landscape
oil on board, with label on verso from C J Wawra
Provenance: Estate of Thea F.B. Bentley
Size: 14 h x 20 w in (with frame 21 x 26 in)
J21799

Josef Feid first studied architecture at the Fine Art Academy in Vienna before turning to painting. His favourite subject matter was forest landscapes and he was very talented at depicting foliage and forest life. He painted in the large Prater Park and surrounding area in Vienna, as well as the Austrian Alps in the Salzkammergut region near Salzburg. The art critic Ludwig Hevesi nicknamed Feid the “forest man from the Vienna Woods” in 1903.

Maximilian Pfeiler (German 1656-1746)

Still Life of Fruit, Mushrooms and Chicken
oil on board, signed lower right "M. Pfeiler"
Provenance: Estate of Thea F.B. Bentley

Born in Germany in 1656, Maximilian Pfeiler became a member of the Prague Lesser Town Painting Guild in 1683. He lived in Rome from between 1694 and 1721 where he was influenced by the works of his teacher Christian Berentz, as well as Franz Werner. Pfeiler is also known to have collaborated with Francesco Trevisani and Michele Rocca.

Influenced by Northern European art and working in the fashion of the late Baroque, Pfeiler specialized in naturalistic still life paintings incorporating fruit and metal plates in elegant and balanced compositions. He rose to be one of the best-known still life painters of the first half of the 18th century.

Size: 36 h x 52 w in (with frame 40 3/4 x 56 1/4 in)
J21797

Peder M. Monsted (Danish 1859-1941)

Idyll Amongst The Blooming Anemones
oil on cardboard, signed and dated lower left "P Monsted 1891"
Size: 12.5 h x 16.5 w in (with frame 24 3/4 x 28 1/2 in)
J21825

SOLD

This item is no longer available. Please contact us to inquire about similar pieces.

uno@langmann.com
604 736 8825 or 1 800 730 8825

Clarence A. Gagnon (Canadian 1881-1942)

Figure Studies
pencil on paper, signed lower right with stamp, with label on back Walter Klinkhoff Gallery

Provenance: Estate of Niels Knudsen, Victoria
Size: 7.25 h x 4.5 w in (with frame 10 1/2 x 8 1/2 in)
J21717

Friedrich Friedlander (Austrian 1825-1901)

Four Figures with Dog in Landscape
oil on canvas, signed lower right "F. Friedlander"

Provenance: Estate of Niels Knudsen, Victoria
Size: 12.25 h x 15.5 w in (with frame 21 x 24.25 in)
J21729

Erik Ludwig Henningsen (Danish 1855-1930)

Quitting Time
oil on panel, inscribed on reverse "M-15818 Fyraften" and estate stamp No. 224

The title of this work, "Fyraften" is a term used for ending the work day, knocking off, quitting work. However in this case it is used as a play on words for the end of the evening, time to go home. The scene depicts figures outside the local tavern at the end of the evening.

Erik Ludvig Henningsen was a Danish painter and illustrator known for his genre and social realist works depicting children and the working class. He was born in Copenhagen in 1885 and was the younger brother of Frants Henningsen, also an accomplished painter. In his adolescence Erik displayed great artistic talent and was accepted into the Royal Danish Academy in 1873 at the age of 18, graduating in 1877. He traveled widely throughout Europe and won numerous awards, exhibiting in Copenhagen, Vienna and Paris. Henningsen became focused on city life in Copenhagen, and during the first two decades of the 20th century his work concentrated on genre scenes and historical work. He was also an illustrator for books and magazines, perhaps his most iconic work being is his poster “The Thirsty Man” (1900) for Tuborg Brewery. He is represented in institutions including the Hirschsprung Collection, Copenhagen Museum and Stockholm Museum.
Size: 6 h x 6.5 w (with frame 10.25 h x 11.5 w in)
J21785

The Madonna of the Basket
Italian School, 17th century, oil on panel, with wax seal on reverse "DIEU ET MON PAYS/IM" ("God and My Country"), copy of Correggio's "The Madonna of the Basket" in the National Gallery London
Size: 4 3/4 h x 6 1/4 w in (with frame 8 1/2 x 9 3/4 in)
J16744

Frederick Edward Joseph Goff (British 1866-1933)

Below the Tower Bridge
watercolour, signed and inscribed lower right "Below the Tower Bridge, Fred. E.J. Goff.", with label on reverse for Samuel Coombes Dealer in Works of Art London, 175 East of Strand, London
Size: 4 3/4 h x 6 1/4 w in (with frame 8 1/2 x 9 3/4 in)
J21806