Walter Greaves (19 results)

No Binding. Condition: Very Good. ORIGINAL Articles, disbound from journal; no covers; in very good condition. Journal.

Loose Leaf. Condition: New. Reproduction. Original title: Coal Barges Unloading (recto); Sketch of a Building (verso) German: Kohleschachtentladung (Rekto); Skizze eines Gebäudes (verso) French: Déchargement des barges de charbon (recto); croquis d'un bâtiment (verso) Spanish: Descarga de barcazas de carbón (recto); boceto de un edificio (verso) High-quality fine-art reproduction based on an original work from the Artic. Creation period: 19th century (1872 (recto); n.d. (verso)). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.…

Hardcover. Condition: Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Standard-sized.

Soft cover. Condition: Very Good. 1st Edition. 12mo. Three panel folding card. Essay by Ronald Anderson, 3 colour plates.

Hardcover. Condition: Good. 1st Edition. Hard back. 56 pages plus 24 pages, list of birds and The Physiography of Todmorden and its Neighbourhood. Ex. public library in library binding, minimal stamping. V.G.

Staplebound. Condition: VG. Octavo. Staplebound exhibition catalogue. Plain paper wraps with black titles. 24 unnumbered pages : illustrations, portraits ; 21 cm. Exhibition, 7 May - 6 June, 1980.

Trade Paperback. Condition: Mint. First Edition. This copy is in mint, unmarked condition, bright, white, tight and square, quarter bound in green cloth in cream printed card covers as issued. International postal rates are calculated on a book weighing 1 Kilo, in cases where the book weighs less then postage will be reduced accordingly. Where the book weighs more than 1 Kilo increased charges will be quoted. This portfolio of eight street scenes from old Chelsea measuring 30cms tall x 45cms wide was published to celebrate Architectural Heritage Year by W. H. Newson Timber Merchants & Joinery Manufacturers in association with the Parkin Gallery. Walter Greaves (4 July 1846 - 28 November 1930) was a British painter, etcher and topographical draftsman. The son of Charles William Greaves, a Chelsea boat builder and waterman, and his wife, Elizabeth Greenway, Greaves was born in 1846 at 31 Cheyne Walk, Chelsea, London.His father had been J. M. W. Turner's boatman. Greaves and one of his brothers, Henry Greaves (1844 - 1904), met James McNeill Whistler in 1863, introducing him to the sights of the River Thames, and becoming his studio assistants, pupils and close friends for over 20 years. The American painter later used these Thames expeditions for inspiration when painting his 'nocturne' views of the river at night. "He taught us to paint", Walter Greaves said, "and we taught him the waterman's jerk". Walter Greaves had initially trained as a shipwright and boatman. This very rare portfolio complete with an introduction and notes by Michael Parkin is often broken by framers and sold individually. Ref JJ1. Henry & Walter Greaves (illustrator).…

Hardcover. Condition: Very Good. In stock ready to dispatch from the UK.

Hardcover. Condition: New. In stock ready to dispatch from the UK.

Card covers, stapled spine. Condition: Near fine in wraps. First Edition. 16 x 21cm near fine card-covered exhibition catalogue with stapled spine. Includes an essay by Michael Parkin together with black and white reproductions.

Paperback. Condition: Very good in wraps. First Edition. 14 x 20cm 78pp very good paperback with brown paper covers, a little chipping at head of spine with a List of 15 Illustrations including Chelsea Regatta, Old Battersea Bridge, Hammersmith Bridge reproduced as single page black and white reproductions.…

Hardcover. Condition: Brand New. 128 pages. 9.76x6.85x0.47 inches. In Stock.

Paperback. Condition: Near fine in wraps. First Edition. 18 x 23cm near fine paperback exhibition catalogue with a text by Michael Parkin plus a listing of 52 exhibits some illustrated in black and white.

Card covers. Condition: Good in wraps. First Edition. 16 x 25cm good card-covered exhibition catalogue, minor browning to covers containis a list of 68 works, some illustrated in black and white.

Card covers. Condition: Good in wraps. First Edition. 20 x 25cm good, card-covered exhibition catalogue, front cover shows a section of the Ordnance Survey Map of 1862/5.Minor wear and discoloration to wrappers with the shadow of tape once used to support the spine. Minor detachment at top of front wrapper. Contents good featurig texts plus black and white reproductions. Also included are three separate private view cards for the Goupil Gallery,1984, Michael Parkin Gallery, 1989 and 1993.…

Hardcover. Condition: Very Good. No Jacket. 1st Edition. A1 in size, cream cardboard cover with green cloth slip around the spine, black italics titles on front board. This trade published book is in really good condition, normal wear, marks and tear apply consistent with use and age. It was published in 1975 (First Edition) in celebration of Architectural Heritage Year Nineteen Hundred and Seventy Five, by W.H. Newson Holding Ltd (Timber Merchants & Joinery Manufacturers) 61, Pimlico Road, London S.W.1. in association with The Parkin Gallery (Michael Parkin Fine Art Ltd) 11, Motcomb Street, London, S.W.1. with an introduction and notes by Michael Parkin, celebrating One Hundred Year Ago. The cardboard back board is stamped with the number 193. All pages intact, good tight binding, all pages, text and gorgeous illustrations/plates are in fabulous clean, readable order. The plates are signed by H & W Greaves dated 1868. Postage may increase for overseas buyers, from listed price dependant on final destination. This wonderful book is rather special and is worth preserving for future generations that love Old Chelsea.…

Print From original Oil on Canvas, 91.4 x 139.7 cm. Art; Prints; Lithograph; Walter Greaves, the son of a Chelsea boat-builder, was a painter of armorial devices on boats and of watercolour views of the Thames at Chelsea. In the early 1 860s he met the artist Whistler and became his pupil, painting in a version of Whistler's style. "Hammersmith Bridge on Boat-Race Day' was about 1862 before Greaves was affected by Whistler and is a splendid example of his early, rather naive or 'primi- style in which the life of the river is vividly evoked in strongly designed, clearly coloured compositions. 8 X 10 inches, Matted, Fine. -.…

Signed and dated bottom left, "W. Greaves 1875". Greaves first met Whistler in March 1863, when Whistler moved to 7 Lindsey Row, Chelsea, where the artist and his brother, Henry Greaves (1844-1904), were among his neighbours. A family of Thames watermen, Walter and Henry became Whistler's guides on the river, and his pupils and devoted assistants in the studio. The brothers themselves had been painting from their earliest years, probably starting by doing heraldic work on boats in their father's yard. They found their subjects in the Chelsea streets and at local regattas, and would often work in tandem, signing their joint productions "H. & W. Greaves". As river guides, it was Walter and Henry who first showed Whistler the Cremorne pleasure gardens by night, a sight that was to inspire his painting Nocturne in Black and Gold: the Falling Rocket (now in the Detroit Institute of Art), which, when exhibited at the Grosvenor Gallery in 1877, aroused the ire of Ruskin and precipitated the most famous lawsuit in the history of British art. In return for their services and as a mark of his friendship, Whistler taught the boys his own methods of painting. In homage to his hero, Walter Greaves produced more than a hundred portraits of Whistler, most of them from memory. Whistler is seen on the balcony at 7 Lindsey Row, sometime before February 1867, when he moved to a grander apartment in the same row, the Greaves brothers helping to transport his possessions and decorate the new apartments. The upper-floor balcony, known as a "widow's walk" because it served as a look-out for women watching anxiously for their returning seafaring men, resembles one that had featured in Whistler's own painting Variations in Flesh Colour and Green: the Balcony (Freer Gallery of Art, Washington), dating from 1864-5, which suggests that this image is painted from memory, perhaps even at the date indicated by the signature, although Walter was notoriously unreliable in dating his paintings. Walter Greaves's greatest early work, perhaps his masterpiece, is Hammersmith Bridge on Boat-Race Day (Tate Gallery), a naive painting of the highest order, championed by Sickert among others. Walter himself claimed that it was painted in 1862, when he was 16, but Tom Pocock, in his definitive account of the relationship between Whistler and Greaves (Chelsea Reach, 1970), argues that in fact it was executed nearly a decade later. This portrait was among those exhibited at the Greaves exhibition at the Goupil Gallery in 1911, where it was purchased by the art dealer Philip H. Rosenbach. In response to ludicrous claims made by others that Greaves had influenced Whistler, rather than the other way around, Whistler's friend and biographer Joseph Pennell attacked Greaves savagely, hugely damaging his contemporary reputation. The painting was not sold by Rosenbach but retained in the Rosenbach Museum and Library, Philadelphia, and subsequently de-accessioned in January 2011. Oil on board. Half-length, standing slightly to right, face to viewer, with monocle in right eye, paint brush in right hand, palette in left, wearing beret, yellow tie, black overcoat, against riverside background (Battersea Wharf). Sheet size: 106 x 88 cm. Framed.…

Oil on board. Signed and dated 'W. Greaves 1875' (lower left). Framed. Provenance: The Rosenbach Museum & Library (ex-Christie's, June 22, 2011, Lot 162) Christie's notes re. 26 January 2011, lot 233 (a full-length portrait). 'Walter Greaves was the son of a Chelsea boat builder and, along with his brother Henry, devotees of James McNeill Whistler (1834-1903). They first met Whistler when he moved to Cheyne Walk in 1863 and the three became inseparable friends for the next twenty years. While the brothers taught Whistler to row, he encouraged them to draw and paint, insisting that they describe themselves as the 'Pupils of Whistler'. The relationship was an extraordinary clash of cultures. Whistler was the sophisticated cosmopolitan, widely traveled and an exponent of the latest artistic fashions. The lives of the Greaves brothers, on the other hand, were entirely bounded by Chelsea, and their paintings were as primitive as Whistler's were à la mode. But the friendship worked. He liked the Greaveses and described them as 'a sort of Peggotty family', patronizingly but not unkindly, and certainly accurately. The present picture is dated [.1875], but this should be treated with caution. Tom Pocock writes, in his definitive account of the relationship between Whistler and Greaves, Chelsea Reach, of Walter's 'extraordinary vagueness about dates', and warns that the dates on his pictures and drawings 'were sometimes added years later, and could be wrong by five or ten years'. Even if . [1875] is correct, we still cannot be quite sure where the scene is set, since Walter often worked from memory long after the event. Whistler is seen either on the balcony at 7 Lindsey Row or that of the grander 2 Lindsey Row. . The upper-floor balcony, of a type sometimes known as a 'widow's walk' because it served as a look-out for women watching anxiously for their seafaring menfolk, resembles one that had featured in Whistler's own painting Variations in Flesh Colour and Green: The Balcony (Washington, Freer Gallery of Art), and since this dates from 1864-5, well before Whistler transferred from 7 to 2 Lindsey Row, it may be a reason for arguing that Greaves's picture too is a reminiscence of the earlier abode. The relationship did not last. As Whistler himself said, 'it is a dangerous thing to be a pupil of Whistler', because the master could not abide competition, and when a pupil transgressed by drawing too much attention to himself or failing to show due deference, he would be cut out of Whistler's life forever. In 1911 William Marchant, the proprietor of the Goupil Gallery in Regent Street, where Whistler himself had exhibited in the past, acquired a large collection of Walter Greaves's paintings and etchings through another dealer. They included the artist's early masterpiece, Hammersmith Bridge on Boat-Race Day (Tate Gallery). Marchant decided to mount an exhibition, promoting Greaves as a forgotten follower of Whistler, and this he did with entrepreneurial flair. Walter seemed to be on the brink of securing recognition and critics vied with one another in their praises, and leading artists - William Nicholson, Augustus John and Walter Sickert among them - lent their support to the idea that Marchant had discovered an 'unknown master' of enormous talent. It was even claimed by some that Walter was a greater artist than Whistler, and may have influenced him. The fact that Walter had inadvertently dated a painting of Old Battersea Bridge 1862, long before Whistler had painted his famous version of the subject, seemed to confirm these arguments. The exhibition itself was crowded, and most of the work sold. Marchant made Walter a generous allowance and set him up in a studio almost next door to the Goupil Gallery. This recognition did not last and Joseph and Elizabeth Pennell, Whistler's biographers and the self-appointed guardians of the master's reputation, proved conclusively that the painting of Old Battersea Bridge was much later than 1862.…