Edwin Lord Weeks Auction Price Results

Lot 4: Edwin Lord Weeks (American, 1849-1903)

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Description: Open market, Rabat, Moroccosigned and dated 'E. L. Weeks 1880' (lower left)oil on canvas18 1/4 x 30 1/4 in. (46 x 76.5 cm.)Painted in 1880.

Lot 4: Sortie du marché, province du Louristan, montagnes du Zagros, Iran

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Description: EDWIN LORD WEEKS (BOSTON 1849- 1903 PARIS) Sortie du marché, province du Louristan, montagnes du Zagros, Iran signé 'E.L. Weeks' (en bas à gauche) Huile sur toile 52 x 78 cm. (20½ x 30¾ in.)

Lot 4: Edwin Lord WEEKS (1849-1903) - UN ATTELAGE INDIEN

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Description: Edwin Lord WEEKS (1849-1903) - UN ATTELAGE INDIEN

Lot 6: Edwin Lord Weeks (American, 1849-1903)

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Description: Interior of La Torre des Infantas, illustrating the legend of the three Moorish princesses, in Washington Irving's "The Alhambra"signed 'E. L. WEEKS' (lower right)oil on canvas laid down on board32 x 39 1/2 in. (81.3 x 100.3 cm.)Painted in 1881-82

Lot 10: Edwin Lord Weeks (American, 1849-1903)

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Description: Meeting at the Steps of a Temple Gateway, Muttrasigned 'E. L. Weeks' with the artist's Moghul device (lower left)oil on canvas28 x 22 1/2 in. (71.1 x 57.2 cm.)Painted circa 1885

Lot 10: EDWIN LORD WEEKS

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Description: EDWIN LORD WEEKS AMERICAN 1849 - 1903 LAKE AT OODEYPORE, INDIA signed E. L. Weeks (lower left) oil on canvas 35 1/2 by 61 1/2 in. 90 by 156.2 cm

Lot 10: EDWIN LORD WEEKS

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Description: EDWIN LORD WEEKS AMERICAN 1849 - 1903 THE DOCTOR'S VISIT – 1001 NIGHTS signed E L Weeks (lower left) oil on canvas 32 1/8 by 39 1/4 in. 81.5 by 99.6 cm

Lot 11: *EDWIN LORD WEEKS oil on board, "Oxcart in the Orient", signed. In

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Description: outstanding period 4" oriental frame. 16" x 18".

Lot 11: *EDWIN LORD WEEKS oil on board, "Oxcart in the Orient", signed. In

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Description: outstanding period 4" oriental frame. 16" x 18".

Lot 11: *EDWIN LORD WEEKS oil on board, "Oxcart in the Orient", signed. In

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Description: outstanding period 4" oriental frame. 16" x 18".

Lot 11: *EDWIN LORD WEEKS oil on board, "Oxcart in the Orient", signed. In

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Description: outstanding period 4" oriental frame. 16" x 18".

Lot 12: PROPERTY OF A LADY EDWIN LORD WEEKS AMERICAN, 1849-1903 ISPAHAN

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Description: signed E. Weeks (lower left); inscribed Ispahan and 2428 (on the reverse)oil on canvasPROVENANCEFrances Rollins Hale Weeks (wife of the artist; inherited in 1903 upon the artist's death)Sale, American Art Galleries, New York, March 17, 1905, lot 273, with extended descriptionR. A. Parker (possibily Robert Ashton Parker, d. 1918), New York (acquired at the above)David Gensburg, Beverly Hills, California, by 1965The Beverly Hills Public Library (acquired as a gift from the above)Stanley Roth, Los Angeles, CaliforniaSale, Sotheby's, New York, October 13, 1993, lot 46, illustratedEXHIBITEDParis, Salon, 1901, no. 2050, as IsaphanBudapest, Société Hongroise des Beaux-Arts, 1903, no. 330, as The Entrance to the Grand Bazaar at IspahanSt. Louis, Missouri, Universal Exposition, 1904, no. 829, as IspahanLITERATURE AND REFERENCESEdwin Lord Weeks, Harper's New Monthly Magazine, no. 88, New York, January 1894, pp. 231 - 253Anonymous, Société des Artists Français, Explication des Ouvrages de Peinture, Sculpture, Architecture, Gravure et Lithographie des Artists Vivants, Exposés au Grand Palais des Beaux-Arts, Paris, 1901, p. 208Hungarian National Society of Fine Arts, 1903 International Spring Exhibition, Budapest, 1903, p. 38Committee on Press and Publicity, Official Catalogue of Exhibitors, Universal Exposition, St. Louis, 1904, p. 38Anonymous, The New York Times, March 18, 1905, p. 9Florence N. Levy, ed., American Art Annual 1905-6, vol. 5, New York, n.d., pp. 103-105Rossiter Johnson, ed., The Biographical Dictionary of America, vol. X, Boston, 1906 (noting that Ispahan was solicited for purchase by the Musée du Luxembourg, Paris)Kathleen Duff Ganley, Leslie K. Paddock & Susan C. Faxon, The Art of Edwin Lord Weeks, Durham, 1976, p. 18CATALOGUE NOTEThis work will be sold in the artist's original orientalist frame with inscription translating as There is no God but Allah.We would like to thank Ellen K. Morris for providing additional catalogue information. This work will be included in her forthcoming catalogue raisonné.

Lot 12: The Camel Rider

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Description: Edwin Lord Weeks (American, 1849-1903) The Camel Rider signed and dated 'E L. Weeks. 1875' (lower left) oil on canvas 12 x 14 in. (30.5 x 35.6 cm.) Painted in 1875.

Lot 13: Edwin Lord Weeks - 'Along the Gháts, Mathura'

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Description: Edwin Lord Weeks Am. 1849-1903 Along the Gháts, Mathura Signed E. L. Weeks l.l. Also bears the artist's stamp (circle and star) l.l. beneath the artist's first two initials Oil on canvas 25 3/4 x 32 in. (65.4 x 81.3 cm) Property of the Portland Public Library Ulrich W. Helsinger in his catalogue for the exhibition at Vance Jordan Fine Art Inc, Edwin Lord Weeks, Visions of India, page 9, New York, October 31-December 12, 2002 (a loan to the exhibition arranged by Barridoff Galleries)

Condition Report: This report, dated Sept. 12, 2012, was prepared by Anthony Moore of Anthony Moore Conservation: The painting is in excellent condition. It has been pasted-lined onto linen canvas and is structurally sound. There are fine visible stress cracks above the buildings at center and along the right edge. The painting has been cleaned evenly. There is a 1/2 inch square hole in the sky at the upper right that has been inpainted as well as minor inpainted losses in the sky at the upper right edge. There is inpaint at the edges of the upper and lower left edges as well as at the center of the right edge. There is a synthetic varnish over the surface. Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

Lot 14: Temple Mount, Jerusalem

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Description: Edwin Lord Weeks (1849 - 1903) Temple Mount, Jerusalem signed 'E.L. Weeks' (lower left) oil on canvas laid down on board 20 x 30 in. (50.8 x 76.2 cm.) Painted in 1872

Lot 14: Edwin Lord Weeks , American 1849-1903 THE GRAND VIZIER oil on canvas

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Description: signed E.L. Weeks (lower left) oil on canvas

Lot 14: Edwin Lord Weeks - 'Florida Everglades with Great Blue Heron'

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Description: Edwin Lord Weeks Am. 1849-1903 Florida Everglades with Great Blue Heron Signed and dated E. L. Weeks 1871; l.l. Oil on canvas 24 x 34 in. (61.0 x 86.4 cm) Property of Bernard Broder, Gorham, Maine (Please see lots 14-50, which is the Broder collection) Kathleen Duff Ganley in the catalogue essay for the University exhibition, Edwin Lord Weeks-His Art: It is in this painting [Florida Everglades with Great Blue Heron] that Weeks begins to develop his feel for light and sensuous material elements that became eloquent in his later works";. Other images of the Everglades in the Broder collection are dated 1871 and at least one from that date is specifically inscribed "Miami" Scholarly studies as well as links online routinely refer to the current work as a view of the Florida Everglades. Weeks is known to have traveled to the Florida Keys early in his career; and he is known to have produced fully realized paintings like the current example developed from earlier studies and sketches, He is known to have returned to Boston in the same year after also traveling to South America and Europe where he had studied with Bonnat. He undoubedly met and was influenced by Gérôme as well, but probably was never his student, as sometimes believed. Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: This report, dated October 22, 2012, was prepared by Anthony Moore of Anthony Moore Conservation: The painting is in excellent condition. It has been wax lined onto aluminum and linen canvas . There appear to have been two small puncture holes , one ¾" in tree line at left side, and the other ½"at the base of the tree at left side. There were flaking paint chips in the foreground lower left and in the shadow of the tree which has been inpainted. There was an abrasion in the tree line at the right side. A synthetic ketone varnish has been applied to the surface. PLEASE NOTE: This is an updated condition report. The original report, prepared in-house, had also been that the painting is in excellent condition, but it is in better condition than previously reported, per the above report from Moore.

Lot 15: EDWIN LORD WEEKS (BOSTON 1849-1903 PARIS)

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Description: EDWIN LORD WEEKS (BOSTON 1849-1903 PARIS) Puits en Inde du Sud signé 'E L Weeks.' (en bas à gauche) huile sur toile 32,2 x 41 cm. (12 3/4 x 16 1/4 in.)

Lot 15: Edwin Lord Weeks - 'Florida Everglades'

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Description: Edwin Lord Weeks Am. 1849-1903 Florida Everglades, 1871 Dated "Dec. 26, 1871" l.l. Oil on canvas mounted on Masonite 12 x 8 in. (30.5 x 20.3 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, little to no restoration, appears to be mint or very nearly mint Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

Lot 16: Edwin Lord Weeks (American, 1849-1903)

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Description: Man in Armor (preparatory sketch for Entering the Mosque)oil on canvas18 1/4 x 12 1/2 in. (46.4 x 31.8 cm.)Executed circa 1885

Lot 16: EDWIN LORD WEEKS (AMERICAN 1849-1903) CAMEL TRAIN 15cm x 23.5cm (6in x 9.25in) and another by the same hand (2)

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Description: EDWIN LORD WEEKS (AMERICAN 1849-1903) CAMEL TRAIN Initialled, watercolour and bodycolour 15cm x 23.5cm (6in x 9.25in) and another by the same hand (2)

Condition Report: The works are initialled. They were purchaased by a private collector from a website which was selling off the contents of a book of sketches by Weeks. The condition is good, suggesting they have been kept out of the light, and they bear old (yellowed) tape marks on the back, presumably the medium that fixed them into the book. Condition Disclaimer Under the Conditions of Sale applicable to the sale of the lot, buyers must satisfy themselves as to each and every aspect of the quality of the lot, including (without limitation) its authorship, attribution, condition, provenance, authenticity, age, suitability and origin. Lots are sold on an 'as is' basis but the actual condition of the lot may not be as good as indicated by its outward appearance. In particular parts may have been replaced or renewed and lots may not be authentic or of satisfactory quality. Any statement in relation to the lot is merely an expression of opinion of the seller or Lyon & Turnbull and should not be relied upon as an inducement to bid on the lot. Lots are available for inspection prior to the sale and you are strongly advised to examine any lot in which you are interested prior to the sale. Our condition report has not been prepared by a professional conservator, restorer or engineer.

Lot 16: Edwin Lord Weeks - 'Flowering Agave, Florida'

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Description: Edwin Lord Weeks Am. 1849-1903 Flowering Agave, Florida Dated and inscribed "Jan. 20, '71, Miami" c.r. Oil on canvas mounted on Masonite 11 1/2 x 8 3/4 in. (29.2 x 22.2 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron; and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India; and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, little to no restoration, appears to be mint or very nearly mint Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

Lot 17: Edwin Lord Weeks (American, 1849-1903)

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Description: An Old Moorish Gateway - Cordova, Spainsigned and inscribed 'E. L. Weeks Cordoba' (lower left)oil on canvas15 3/4 x 12 1/4 in. (40 x 32.4 cm.)

Lot 17: Edwin Lord Weeks (American, 1849-1903)

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Description: Edwin Lord Weeks (American, 1849-1903) Desert prayer signed, inscribed and dated 'E.L. Weeks/mogador 1881' (lower right) oil on canvas 24 x 36 in. (61.1 x 91.5 cm.) Painted in 1881.

Lot 17: Edwin Lord Weeks - 'Outside the Walls'

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Description: Edwin Lord Weeks Am. 1849-1903 Outside the Walls OIl on panel 9 7/8 x 14 in. (25.1 x 35.6 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron; and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India; and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good appearance, good condition, little to no restoration, possibly in need of cleaning Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

Lot 17: Edwin Lord Weeks (American, 1849-1903)

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Description: Edwin Lord Weeks (American, 1849-1903) A Wedding Procession before a Palace in Rajasthan signed 'Weeks' and with the artist's stamp (lower left) oil on canvas 32 x 39½ in. (81.3 x 100.3 cm.)

Lot 17: Edwin Lord Weeks (American, 1849-1903)

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Description: Edwin Lord Weeks (American, 1849-1903) A Wedding Procession before a Palace in Rajasthan signed 'Weeks' and with the artist's stamp (lower left) oil on canvas 32 x 39½ in. (81.3 x 100.3 cm.)

Lot 18: Edwin Lord Weeks (American, 1849-1903)

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Description: Market Square in Front of the Sacristy and Doorway of the Cathedral, Granadasigned, inscribed and dated 'E. L.Weeks/Granada/1880' (lower right)oil on canvas laid down on board35 x 60 in. (88.9 x 152.4 cm.)Painted in 1880

Lot 18: Edwin Lord Weeks (American, 1849-1903)

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Description: Moor in white, squatting (Moor at prayer, mosque in Cordoba, Spain)oil on canvas16 1/2 x 11 3/4 in. (42 x 30 cm.)Painted in the late 1870s.

Lot 18: Edwin Lord Weeks - 'Courtyard, North Africa (Formerly NearEast Courtyard)'

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Description: Edwin Lord Weeks Am. 1849-1903 Courtyard, North Africa (Formerly Near East Courtyard) Watercolor 18 3/4 x 13 in. (47.6 x 33.0 cm) Property of Bernard Broder, Gorham, Maine Literature and Exhibition: The Art of Edwin Lord Weeks (1849-1903), University Art Galleries, University of New Hampshire, Durham, New Hampshire 1976, lent by Burton W. F. Trafton, Jr., #15 Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron; and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India; and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good appearance, good condition, laid down on thin cardboard almost certainly original and more recently the cardboard laid down on a museum quality mat inserted into appropriate plastic corners, good color/possibly some minor aging, tear from the edge of about 2" above the left arch, visible in the illustration, little to no paint loss at the tear, possibly some other minor abrasion not immediately apparent and of little or no consequence including an insignificant paper loss at the extreme lower left corner, might clean some but appears as a very strong image in person. But for some more recent matting and framing of this lot and lot 18 by the current owner, these watercolors have been untouched for a century, largely in storage trunks and backs of closets, still very much intact with some minor restoration due depending on the taste of the owner. Very strong appearance in person. Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

Lot 19: Edwin Lord Weeks , A View on the Nile Near Cairo

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Description: signed E.L. Weeks and dated 1874 (lower left) oil on canvas

Lot 19: Edwin Lord Weeks - 'Arab Market'

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Description: Edwin Lord Weeks Am. 1849-1903 Arab Market Watercolor 20 x 14 in. sight (50.8 x 35.6 cm) sight Property of Bernard Broder, Gorham, Maine Provenance: Literature and Exhibition: The Art of Edwin Lord Weeks (1849-1903), University Art Galleries, University of New Hampshire, Durham, New Hampshire 1976, lent by Burton W. F. Trafton, Jr., #17 Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known - finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, not laid down, two museum quality hinges on the back at the top, tear with little or no paint loss that can be seen in the image from the right edge just above the start of the arch on the right and going diagonally toward center for about two inches with little or no paint loss, also a slight surface scratch also with little or no paint loss of about 2" in from the edge a few inches further down on the same side, little to no paint loss, good color/some minor aging. Insignificant paper loss at far extreme lower left corner and scattered paint loss at the extreme edges normally hidden by the mat (the latter therefore not visible in the images) Anything of significance is visible as described above in the image. But for more recent matting and framing of this lot and lot 18 by the current owner, these watercolors have been untouched for a century, largely in storage trunks and backs of closets, still very much intact with some minor restoration due depending on the taste of the owner. Might clean some but appears as a very strong image in person Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

Lot 20: EDWIN LORD WEEKS (1849-1903)

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Description: ELEPHANT AND RIDER Signed E.L. Weeks and inscribed Bika__?(ll) Oil on canvas 20 1/4 x 13 1/4 inches PROVENANCE Edwin Lord Weeks Sale, March 15, 16, & 17, 1905 Not Illustrated C.

Lot 20: EDWIN LORD WEEKS (1849-1903)

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Description: ELEPHANT AND RIDER Signed E.L. Weeks and inscribed Bika__?(ll) Oil on canvas 20 1/4 x 13 1/4 inches PROVENANCE Edwin Lord Weeks Sale, March 15, 16, & 17, 1905 Not Illustrated C.

Lot 20: EDWIN LORD WEEKS (1849-1903)

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Description: ELEPHANT AND RIDER Signed E.L. Weeks and inscribed Bika__?(ll) Oil on canvas 20 1/4 x 13 1/4 inches PROVENANCE Edwin Lord Weeks Sale, March 15, 16, & 17, 1905 Not Illustrated C.

Lot 20: EDWIN LORD WEEKS (1849-1903)

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Description: ELEPHANT AND RIDER Signed E.L. Weeks and inscribed Bika__?(ll) Oil on canvas 20 1/4 x 13 1/4 inches PROVENANCE Edwin Lord Weeks Sale, March 15, 16, & 17, 1905 Not Illustrated C.

Lot 20: Edwin Lord Weeks - 'Study of an Arabian White Stallion (Formerly Study of a White Horse)'

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Description: Edwin Lord Weeks Am. 1849-1903 Study of an Arabian White Stallion (Formerly Study of a White Horse) Oil on canvas 15 x 19 in. (38.1 x 48.3 cm) Property of Bernard Broder, Gorham, Maine Provenance: Literature and Exhibition: The Art of Edwin Lord Weeks (1849-1903), University Art Galleries, University of New Hampshire, Durham, New Hampshire 1976, #1, lent by Burton W. F. Trafton, Jr., page 32, illustrated Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known - finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron; and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India; and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, lined, otherwise little to no restoration Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

Lot 21: EDWIN LORD WEEKS (AMERICAN, 1849-1903)

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Description: "THE RETURN FROM BOMBAY" Signed "E.L. Weeks" l.l., stamped "Edwin Lord Weeks Sale March 15, 16 & 17, 1905" on verso. Oil on canvas, 20 x 24 1/8 in., framed. Condition: Good, surface grime. PROVENANCE: Purchased from the artist's estate, through to the present owner. N.B.: By order of his widow, the contents of the artist's studio were sold in New York in 1905; " The Return From Bombay" was numbered 240.

Lot 21: EDWIN LORD WEEKS (AMERICAN, 1849-1903)

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Description: "THE RETURN FROM BOMBAY" Signed "E.L. Weeks" l.l., stamped "Edwin Lord Weeks Sale March 15, 16 & 17, 1905" on verso. Oil on canvas, 20 x 24 1/8 in., framed. Condition: Good, surface grime. PROVENANCE: Purchased from the artist's estate, through to the present owner. N.B.: By order of his widow, the contents of the artist's studio were sold in New York in 1905; " The Return From Bombay" was numbered 240.

Lot 21: EDWIN LORD WEEKS (AMERICAN, 1849-1903)

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Description: "THE RETURN FROM BOMBAY" Signed "E.L. Weeks" l.l., stamped "Edwin Lord Weeks Sale March 15, 16 & 17, 1905" on verso. Oil on canvas, 20 x 24 1/8 in., framed. Condition: Good, surface grime. PROVENANCE: Purchased from the artist's estate, through to the present owner. N.B.: By order of his widow, the contents of the artist's studio were sold in New York in 1905; " The Return From Bombay" was numbered 240.

Lot 21: EDWIN LORD WEEKS (AMERICAN, 1849-1903)

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Description: "THE RETURN FROM BOMBAY" Signed "E.L. Weeks" l.l., stamped "Edwin Lord Weeks Sale March 15, 16 & 17, 1905" on verso. Oil on canvas, 20 x 24 1/8 in., framed. Condition: Good, surface grime. PROVENANCE: Purchased from the artist's estate, through to the present owner. N.B.: By order of his widow, the contents of the artist's studio were sold in New York in 1905; " The Return From Bombay" was numbered 240.

Lot 21: Edwin Lord Weeks (American, 1849-1903)

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Description: THE ARRIVAL OF PRINCE HUMBERT, THE RAJAH, AT THE PALACE OF AMBER signed oil on canvas 39 by 52 in. 99.1 by 132.1 cm. This grand, scenographic painting was executed in 1888, at the height of Weeks' Indian oeuvre. The period between Weeks' second expedition to India (1887) and his third expedition (1892) was especially fertile from the standpoint of his output of major Indian paintings. The Arrival of Prince Humbert is, as George Sheldon put it at the time, "a characteristic study of east Indian architecture and the regal life of Asia"(Sheldon, p. 60). The theme of a royal figure dismounting from an elephant was one which Weeks explored on a number of occasions, perhaps most famously in A Rajah of Jodphore, completed a year after The Arrival of Prince Humbert, and purchased by Kaiser Wilhelm at its 1891 exhibition in Berlin. In the present work, the setting and the royal action make for a strong fit. The extravagance of the setting plays well against the elaborately costumed elephants and figures, endowing the whole with an opulence and exoticism typical of the artist's best Indian work. In this picture, Prince Humbert is seen descending a stair from the crouching elephant, an attendant shielding the royal figure from the sun with a parasol. Seated in the howdah of the standing elephant are three women, presumably the rajah's family. The rajah's various retainers flank the scene, positioned by the artist to frame the "event" of the rajah's arrival. The figures are in full court costume, one in dazzling blue silk dotted in pink, still others in embroidered garments which, like the elephants' raiments, are rendered in Weeks' characteristic painterly style. As is typical of Weeks, the entire scene is carefully constructed visually, using the ground plane and the walls to bind the disperate pictorial elements. Weeks'dynamic juxtaposition of the diagonal of the cornice on the left against the diagonal implied by the elephants'heads and howdah is set off by the flat, planar treatment of the palace entry in the background. This "architectonic" approach to composition endows Weeks'best paintings with a sense of scale and monumentality which transcends their physical size. Equally characteristic is Weeks' handling of light and shadow. The bright Indian sun is a palpable presence as it illuminates the central figures and reflects off both architecture and figures. Weeks' mastery of rendering shade and shadow is beautifully illustrated by the two foreground figures-one in black robes, and the other with ceremonial court armor-and the white marble pavilion which forms the left hand frame of the composition. Amber is an appropriate setting for this royal composition, having served as the capital of Rajahstan until 1728. Officially abandoned in favor of the more modern city of Jaipur, it was, as Weeks noted, "still occupied from time to time as a royal residence" (Weeks, p. 242). Weeks was clearly struck by the Palace of Amber, as he describes a scene similar to the present composition in his expedition narrative: "The great gateway of the palace, elaborately painted in conventional designs, relieved by white marble and plaques of alabaster inlaid with symbolic figures in enamel and gold, and lightened by panels and transparent screens of red stone...As we stand in front of it an open, many-pillared hall rises on our left, with heavy sculptured brackets adorning the capitals. This entire edifice is covered with white chunar...Amber, with its garden courts,...with panels of white marble on which are sculptured the rose and the lotus, the doors of sandal wood and ivory...seems a perfect parallel to the Alhambra, and completely embodies the Arabian idea of a kingly retreat." (Weeks, pp. 242-6) We are grateful to Dr. Ellen K. Morris for providing this catalogue note. This work will be included in Dr. Morris's forthcoming Weeks catalogue raisonne. Provenance: Durand Ruel, Paris M. Knoedler & Co., Inc., New York John J. Hill Mary Hill (sale, Parke-Bernet Galleries, Inc., New York, November 20, 1947, Lot 97 (as Arrival of the Great Mogul) M Boccolino (acquired at the above sale) Literature: George William Sheldon, Recent Ideals of American Art, New York and London, 1888-90, p. 60, illustrated p. 57 Edwin Lord Weeks, From the Black Sea Through Persia and India, New York, 1895, pp. 240-46 (for a related description and illustration).

Lot 21: Edwin Lord Weeks (American, 1849-1903)

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Description: THE ARRIVAL OF PRINCE HUMBERT, THE RAJAH, AT THE PALACE OF AMBER signed oil on canvas 39 by 52 in. 99.1 by 132.1 cm. This grand, scenographic painting was executed in 1888, at the height of Weeks' Indian oeuvre. The period between Weeks' second expedition to India (1887) and his third expedition (1892) was especially fertile from the standpoint of his output of major Indian paintings. The Arrival of Prince Humbert is, as George Sheldon put it at the time, "a characteristic study of east Indian architecture and the regal life of Asia"(Sheldon, p. 60). The theme of a royal figure dismounting from an elephant was one which Weeks explored on a number of occasions, perhaps most famously in A Rajah of Jodphore, completed a year after The Arrival of Prince Humbert, and purchased by Kaiser Wilhelm at its 1891 exhibition in Berlin. In the present work, the setting and the royal action make for a strong fit. The extravagance of the setting plays well against the elaborately costumed elephants and figures, endowing the whole with an opulence and exoticism typical of the artist's best Indian work. In this picture, Prince Humbert is seen descending a stair from the crouching elephant, an attendant shielding the royal figure from the sun with a parasol. Seated in the howdah of the standing elephant are three women, presumably the rajah's family. The rajah's various retainers flank the scene, positioned by the artist to frame the "event" of the rajah's arrival. The figures are in full court costume, one in dazzling blue silk dotted in pink, still others in embroidered garments which, like the elephants' raiments, are rendered in Weeks' characteristic painterly style. As is typical of Weeks, the entire scene is carefully constructed visually, using the ground plane and the walls to bind the disperate pictorial elements. Weeks'dynamic juxtaposition of the diagonal of the cornice on the left against the diagonal implied by the elephants'heads and howdah is set off by the flat, planar treatment of the palace entry in the background. This "architectonic" approach to composition endows Weeks'best paintings with a sense of scale and monumentality which transcends their physical size. Equally characteristic is Weeks' handling of light and shadow. The bright Indian sun is a palpable presence as it illuminates the central figures and reflects off both architecture and figures. Weeks' mastery of rendering shade and shadow is beautifully illustrated by the two foreground figures-one in black robes, and the other with ceremonial court armor-and the white marble pavilion which forms the left hand frame of the composition. Amber is an appropriate setting for this royal composition, having served as the capital of Rajahstan until 1728. Officially abandoned in favor of the more modern city of Jaipur, it was, as Weeks noted, "still occupied from time to time as a royal residence" (Weeks, p. 242). Weeks was clearly struck by the Palace of Amber, as he describes a scene similar to the present composition in his expedition narrative: "The great gateway of the palace, elaborately painted in conventional designs, relieved by white marble and plaques of alabaster inlaid with symbolic figures in enamel and gold, and lightened by panels and transparent screens of red stone...As we stand in front of it an open, many-pillared hall rises on our left, with heavy sculptured brackets adorning the capitals. This entire edifice is covered with white chunar...Amber, with its garden courts,...with panels of white marble on which are sculptured the rose and the lotus, the doors of sandal wood and ivory...seems a perfect parallel to the Alhambra, and completely embodies the Arabian idea of a kingly retreat." (Weeks, pp. 242-6) We are grateful to Dr. Ellen K. Morris for providing this catalogue note. This work will be included in Dr. Morris's forthcoming Weeks catalogue raisonne. Provenance: Durand Ruel, Paris M. Knoedler & Co., Inc., New York John J. Hill Mary Hill (sale, Parke-Bernet Galleries, Inc., New York, November 20, 1947, Lot 97 (as Arrival of the Great Mogul) M Boccolino (acquired at the above sale) Literature: George William Sheldon, Recent Ideals of American Art, New York and London, 1888-90, p. 60, illustrated p. 57 Edwin Lord Weeks, From the Black Sea Through Persia and India, New York, 1895, pp. 240-46 (for a related description and illustration).

Lot 21: Edwin Lord Weeks (American, 1849-1903)

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Description: THE ARRIVAL OF PRINCE HUMBERT, THE RAJAH, AT THE PALACE OF AMBER signed oil on canvas 39 by 52 in. 99.1 by 132.1 cm. This grand, scenographic painting was executed in 1888, at the height of Weeks' Indian oeuvre. The period between Weeks' second expedition to India (1887) and his third expedition (1892) was especially fertile from the standpoint of his output of major Indian paintings. The Arrival of Prince Humbert is, as George Sheldon put it at the time, "a characteristic study of east Indian architecture and the regal life of Asia"(Sheldon, p. 60). The theme of a royal figure dismounting from an elephant was one which Weeks explored on a number of occasions, perhaps most famously in A Rajah of Jodphore, completed a year after The Arrival of Prince Humbert, and purchased by Kaiser Wilhelm at its 1891 exhibition in Berlin. In the present work, the setting and the royal action make for a strong fit. The extravagance of the setting plays well against the elaborately costumed elephants and figures, endowing the whole with an opulence and exoticism typical of the artist's best Indian work. In this picture, Prince Humbert is seen descending a stair from the crouching elephant, an attendant shielding the royal figure from the sun with a parasol. Seated in the howdah of the standing elephant are three women, presumably the rajah's family. The rajah's various retainers flank the scene, positioned by the artist to frame the "event" of the rajah's arrival. The figures are in full court costume, one in dazzling blue silk dotted in pink, still others in embroidered garments which, like the elephants' raiments, are rendered in Weeks' characteristic painterly style. As is typical of Weeks, the entire scene is carefully constructed visually, using the ground plane and the walls to bind the disperate pictorial elements. Weeks'dynamic juxtaposition of the diagonal of the cornice on the left against the diagonal implied by the elephants'heads and howdah is set off by the flat, planar treatment of the palace entry in the background. This "architectonic" approach to composition endows Weeks'best paintings with a sense of scale and monumentality which transcends their physical size. Equally characteristic is Weeks' handling of light and shadow. The bright Indian sun is a palpable presence as it illuminates the central figures and reflects off both architecture and figures. Weeks' mastery of rendering shade and shadow is beautifully illustrated by the two foreground figures-one in black robes, and the other with ceremonial court armor-and the white marble pavilion which forms the left hand frame of the composition. Amber is an appropriate setting for this royal composition, having served as the capital of Rajahstan until 1728. Officially abandoned in favor of the more modern city of Jaipur, it was, as Weeks noted, "still occupied from time to time as a royal residence" (Weeks, p. 242). Weeks was clearly struck by the Palace of Amber, as he describes a scene similar to the present composition in his expedition narrative: "The great gateway of the palace, elaborately painted in conventional designs, relieved by white marble and plaques of alabaster inlaid with symbolic figures in enamel and gold, and lightened by panels and transparent screens of red stone...As we stand in front of it an open, many-pillared hall rises on our left, with heavy sculptured brackets adorning the capitals. This entire edifice is covered with white chunar...Amber, with its garden courts,...with panels of white marble on which are sculptured the rose and the lotus, the doors of sandal wood and ivory...seems a perfect parallel to the Alhambra, and completely embodies the Arabian idea of a kingly retreat." (Weeks, pp. 242-6) We are grateful to Dr. Ellen K. Morris for providing this catalogue note. This work will be included in Dr. Morris's forthcoming Weeks catalogue raisonne. Provenance: Durand Ruel, Paris M. Knoedler & Co., Inc., New York John J. Hill Mary Hill (sale, Parke-Bernet Galleries, Inc., New York, November 20, 1947, Lot 97 (as Arrival of the Great Mogul) M Boccolino (acquired at the above sale) Literature: George William Sheldon, Recent Ideals of American Art, New York and London, 1888-90, p. 60, illustrated p. 57 Edwin Lord Weeks, From the Black Sea Through Persia and India, New York, 1895, pp. 240-46 (for a related description and illustration).

Lot 21: Edwin Lord Weeks (American, 1849-1903)

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Description: THE ARRIVAL OF PRINCE HUMBERT, THE RAJAH, AT THE PALACE OF AMBER signed oil on canvas 39 by 52 in. 99.1 by 132.1 cm. This grand, scenographic painting was executed in 1888, at the height of Weeks' Indian oeuvre. The period between Weeks' second expedition to India (1887) and his third expedition (1892) was especially fertile from the standpoint of his output of major Indian paintings. The Arrival of Prince Humbert is, as George Sheldon put it at the time, "a characteristic study of east Indian architecture and the regal life of Asia"(Sheldon, p. 60). The theme of a royal figure dismounting from an elephant was one which Weeks explored on a number of occasions, perhaps most famously in A Rajah of Jodphore, completed a year after The Arrival of Prince Humbert, and purchased by Kaiser Wilhelm at its 1891 exhibition in Berlin. In the present work, the setting and the royal action make for a strong fit. The extravagance of the setting plays well against the elaborately costumed elephants and figures, endowing the whole with an opulence and exoticism typical of the artist's best Indian work. In this picture, Prince Humbert is seen descending a stair from the crouching elephant, an attendant shielding the royal figure from the sun with a parasol. Seated in the howdah of the standing elephant are three women, presumably the rajah's family. The rajah's various retainers flank the scene, positioned by the artist to frame the "event" of the rajah's arrival. The figures are in full court costume, one in dazzling blue silk dotted in pink, still others in embroidered garments which, like the elephants' raiments, are rendered in Weeks' characteristic painterly style. As is typical of Weeks, the entire scene is carefully constructed visually, using the ground plane and the walls to bind the disperate pictorial elements. Weeks'dynamic juxtaposition of the diagonal of the cornice on the left against the diagonal implied by the elephants'heads and howdah is set off by the flat, planar treatment of the palace entry in the background. This "architectonic" approach to composition endows Weeks'best paintings with a sense of scale and monumentality which transcends their physical size. Equally characteristic is Weeks' handling of light and shadow. The bright Indian sun is a palpable presence as it illuminates the central figures and reflects off both architecture and figures. Weeks' mastery of rendering shade and shadow is beautifully illustrated by the two foreground figures-one in black robes, and the other with ceremonial court armor-and the white marble pavilion which forms the left hand frame of the composition. Amber is an appropriate setting for this royal composition, having served as the capital of Rajahstan until 1728. Officially abandoned in favor of the more modern city of Jaipur, it was, as Weeks noted, "still occupied from time to time as a royal residence" (Weeks, p. 242). Weeks was clearly struck by the Palace of Amber, as he describes a scene similar to the present composition in his expedition narrative: "The great gateway of the palace, elaborately painted in conventional designs, relieved by white marble and plaques of alabaster inlaid with symbolic figures in enamel and gold, and lightened by panels and transparent screens of red stone...As we stand in front of it an open, many-pillared hall rises on our left, with heavy sculptured brackets adorning the capitals. This entire edifice is covered with white chunar...Amber, with its garden courts,...with panels of white marble on which are sculptured the rose and the lotus, the doors of sandal wood and ivory...seems a perfect parallel to the Alhambra, and completely embodies the Arabian idea of a kingly retreat." (Weeks, pp. 242-6) We are grateful to Dr. Ellen K. Morris for providing this catalogue note. This work will be included in Dr. Morris's forthcoming Weeks catalogue raisonne. Provenance: Durand Ruel, Paris M. Knoedler & Co., Inc., New York John J. Hill Mary Hill (sale, Parke-Bernet Galleries, Inc., New York, November 20, 1947, Lot 97 (as Arrival of the Great Mogul) M Boccolino (acquired at the above sale) Literature: George William Sheldon, Recent Ideals of American Art, New York and London, 1888-90, p. 60, illustrated p. 57 Edwin Lord Weeks, From the Black Sea Through Persia and India, New York, 1895, pp. 240-46 (for a related description and illustration).

Lot 21: Edwin Lord Weeks INDIAN STREET SCENE Signed On board 21 by 15cm

Description: Edwin Lord Weeks INDIAN STREET SCENE Signed On board 21 by 15cm

Lot 21: Edwin Lord Weeks (American, 1849-1903)

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Description: Edwin Lord Weeks (American, 1849-1903) The caravan signed and dated 'E.L.Weeks 77' (lower left) oil on canvas 30 7/8 x 53 in. (78.5 x 135.9 cm.) Painted in 1877.

Lot 21: Edwin Lord Weeks - 'Study of Seated Figure with Ox, North Africa'

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Description: Edwin Lord Weeks Am. 1849-1903 Study of Seated Figure with Ox, North Africa Oil on canvas mounted on Masonite 5 x 8 1/2 in. (12.7 x 21.6 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known - finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron; and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India; and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, little to no restoration, appears to be mint or very nearly mint Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

Lot 22: EDWIN LORD WEEKS (1849-1903)

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Description: MARKET PLACE, INDIA signed E. L. Weeks and bears artist's device, l.l. oil on canvas 18 1/4 by 13 1/4 in.46.4 by 33.7 cm. Painted circa 1885 in Ahmedabad, India. This painting will be included in Dr. Ellen K. Morris" catalogue raisonne of the artist's work. A letter from Dr. Morris discussing the painting will accompany the lot.

Lot 22: EDWIN LORD WEEKS (1849-1903)

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Description: MARKET PLACE, INDIA signed E. L. Weeks and bears artist's device, l.l. oil on canvas 18 1/4 by 13 1/4 in.46.4 by 33.7 cm. Painted circa 1885 in Ahmedabad, India. This painting will be included in Dr. Ellen K. Morris" catalogue raisonne of the artist's work. A letter from Dr. Morris discussing the painting will accompany the lot.

Lot 22: EDWIN LORD WEEKS (1849-1903)

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Description: MARKET PLACE, INDIA signed E. L. Weeks and bears artist's device, l.l. oil on canvas 18 1/4 by 13 1/4 in.46.4 by 33.7 cm. Painted circa 1885 in Ahmedabad, India. This painting will be included in Dr. Ellen K. Morris" catalogue raisonne of the artist's work. A letter from Dr. Morris discussing the painting will accompany the lot.

Lot 22: EDWIN LORD WEEKS (1849-1903)

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Description: MARKET PLACE, INDIA signed E. L. Weeks and bears artist's device, l.l. oil on canvas 18 1/4 by 13 1/4 in.46.4 by 33.7 cm. Painted circa 1885 in Ahmedabad, India. This painting will be included in Dr. Ellen K. Morris" catalogue raisonne of the artist's work. A letter from Dr. Morris discussing the painting will accompany the lot.

Lot 22: Edwin Lord Weeks American, 1849-1903 THE RIDER Oil on canvasboard 17 5/8 x 11 inches Provenance: The Edwin L...

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Lot 22: Edwin Lord Weeks American, 1849-1903 THE RIDER Oil on canvasboard 17 5/8 x 11 inches Provenance: The Edwin L...

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Lot 22: Edwin Lord Weeks American, 1849-1903 THE RIDER Oil on canvasboard 17 5/8 x 11 inches Provenance: The Edwin L...

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Lot 22: Edwin Lord Weeks American, 1849-1903 THE RIDER Oil on canvasboard 17 5/8 x 11 inches Provenance: The Edwin L...

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Lot 22: Edwin Lord Weeks - 'Dusk'

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Description: Edwin Lord Weeks Am. 1849-1903 Dusk Oil on canvas mounted on Masonite 5 x 8 3/8 in. (12.7 x 21.3 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known - finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, little to no restoration, appears to be mint or very nearly mint Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

Lot 23: Edwin Lord Weeks American, 1849-1903 VILLAGE IN ATLAS MOUNTAINS, MOROCCO

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Lot 23: Edwin Lord Weeks American, 1849-1903 VILLAGE IN ATLAS MOUNTAINS, MOROCCO

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Lot 23: Edwin Lord Weeks American, 1849-1903 VILLAGE IN ATLAS MOUNTAINS, MOROCCO

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Lot 23: Edwin Lord Weeks American, 1849-1903 VILLAGE IN ATLAS MOUNTAINS, MOROCCO

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Lot 23: Edwin-LordWEEKS 1849-1903 Odalisque au bord du

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Description: Edwin-LordWEEKS 1849-1903 Odalisque au bord du bassin Huile sur toile. Signée indistinctement en bas à gauche.Au dos cachet de la vente d'atelier. 92 x 154 cm Un avis d'inclusion au catalogue...

Lot 23: Edwin Lord Weeks - 'Seated Man in a Turban, North Africa'

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Description: Edwin Lord Weeks Am. 1849-1903 Seated Man in a Turban, North Africa Oil on canvas mounted on Masonite 17 x 14 1/2 in. (43.2 x 36.8 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good appearance, good condition, lined on board, minor small area of restoration on body, none on head or turban, scattered minor areas of restoration in background Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

Lot 24: Edwin Lord Weeks American, 1849-1903 COURTYARD IN MOROCCO

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Lot 24: Edwin Lord Weeks American, 1849-1903 COURTYARD IN MOROCCO

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