Alexander Hohenlohe Burr Sold at Auction Prices

ALEXANDER HOHENLOHE BURR (1837-1899) A Woman and Child Climbing a Fence in a Landscape Oil on canvas, 46 x 29cm Signed lower right 'A.H. Burr 71'

ALEXANDER HOHENLOHE BURR (1837-1899) A Woman and Child Climbing a Fence in a Landscape Oil on canvas, 46 x 29cm Signed lower right 'A.H. Burr 71'

Alexander Hohenlohe Burr (English, 1837-1899)

Interior Genre Scene with Children, Circa 1860 oil on canvas signed A. Burr (lower right) 13 3/8 x 17 3/8 inches.

ALEXANDER HOHENLOHE BURR (1837-1899) A Woman and Child Climbing a Fence in a Landscape Oil on canvas, 46 x 29cm Signed lower right 'A.H. Burr 71'

ALEXANDER HOHENLOHE BURR (1837-1899) A Woman and Child Climbing a Fence in a Landscape Oil on canvas, 46 x 29cm Signed lower right 'A.H. Burr 71'

Alexander Hohenlohe Burr (UK 1837 - 1899)

Alexander Hohenlohe Burr (1837 - 1899) Oil on canvas painting of two young children playing with a dog. Signed lower left. Sight Size: 17.5 x 13.5 in. Overall Size: 22.5 x 18.75 in.

Alexander Hohenlohe Burr (UK 1837 - 1899)

Alexander Hohenlohe Burr (1837 - 1899) Oil on canvas painting of two young children playing with a dog. Signed lower left. Sight Size: 17.5 x 13.5 in. Overall Size: 22.5 x 18.75 in.

Alexander Hohenlohe Burr (UK 1837 - 1899)

Alexander Hohenlohe Burr (1837 - 1899) Oil on canvas painting of two young children playing with a dog. Signed lower left. Sight Size: 17.5 x 13.5 in. Overall Size: 22.5 x 18.75 in.

Alexander Hohenlohe Burr (British, 1835-1899) The Disputed Lottery 27 x 42 cm. (10 5/8 x 16 9/16 in.)

Alexander Hohenlohe Burr (British, 1835-1899) The Disputed Lottery inscribed on label fragment (verso)oil on board laid on panel27 x 42 cm. (10 5/8 x 16 9/16 in.)

Alexander Hohenlohe Burr (UK 1837 - 1899)

Alexander Hohenlohe Burr (1837 - 1899) Oil on canvas painting of two young children playing with a dog. Signed lower left. Sight Size: 17.5 x 13.5 in. Overall Size: 22.5 x 18.75 in.

ALEXANDER HOHENLOHE BURR (British, 1837-1899) TWO CHILDREN WITH THEIR DOG

Oil on canvas. Housed in a good ornate gilt frame. Signed lower left "AH Burr" SIZE: 18" x 14". Overall 22-3/4" x 19" CONDITION: Very good 1042-2

Alexander Hohenlohe Burr (1837-1899) - Faith

Oil on canvas Painted circa 1874 36 x 25.5 cm. (14 x 10 in) Provenance: Sale. Christie's, London, 2nd March 1889, lot 133 Sale. Christie's, London, 12th March 1900, lot 59

Happy days with grandma; and Happy days with grandpa

Alexander Hohenlohe Burr (Edinburgh 1835-1899) Happy days with grandma; and Happy days with grandpa the first signed and dated 'A Burr. 58' (lower centre left); the second signed and dated 'A Burr. 58' (lower right) oil on board 8 x 11 in. (20.3 x 27.9 cm.); and similar (2)

ALEXANDER HOHENLOHE BURR (1836-1899) The young ac

ALEXANDER HOHENLOHE BURR (1836-1899) The young academic, signed, oils on panel, 14 x 18.5cm Exh. MacConnal-Mason & Son, St James's London

Alexander Hohenlohe Burr (1837-1899) - The Murmur of the Shell

Oil on canvas Signed lower right 76 x 61 cm (30 x 24 in) Provenance: Private collection, Redenham, Hampshire

Alexander Hohenlohe Burr (1837-1899) - Sir Joshua Reynolds teaching Oliver Goldsmith

Oil on canvas Signed and dated 81 lower left Inscribed on label attached to stretcher 57 x 48 cm (22 1/2 x 19 in)

Alexander Hohenlohe Burr (1837-1899) - Sir Joshua Reynolds teaching Oliver Goldsmith

Oil on canvas Signed and dated 81 lower left Inscribed on label attached to stretcher 57 x 48 cm (22 1/2 x 19 in)

Alexander Hohenlohe Burr (British, 1835-1899)

The butterfly signed 'AH Burr' (lower right), inscribed with artist's name and address (on artist's label verso) oil on canvas 77 x 53cm (30 5/16 x 20 7/8in).

Alexander Hohenlohe Burr (1835-1899)

Alexander Hohenlohe Burr (1835-1899) The family dog signed 'A.BURR' (lower left) oil on canvas 16 x 12 7/8 in. (40.6 x 32.47 cm.)

Alexander Hohenlohe Burr (British, 1835-1899)

Politicians signed and dated 'AH Burr/1856' (lower left), inscribed and signed 'Politicians/Alex H Burr/ 52 Pleasance Edinburgh' on artist's label (verso) oil on panel, lunette 63 x 76.5 cm. (24 13/16 x 30 1/8 in.)

Alexander Hohenlohe Burr

(1835 Manchester - 1899 Edinburgh) Der eingeschlafene Großvater In seinem Lehnstuhl sitzender Großvater, den seine Enkeltochter durch ein geöffnetes Fenster mit einem Halm im Gesicht neckt. Humorvolle Genreszene des bekannten englischen Künstlers, der ab 1860 oftmals in der Royal Academy ausstellte. Aquarell u. Gouache/Papier. R. u. sign. u. dat. (18)82. 39 cm x 30,5 cm.

Alexander Hohenlohe Burr (British, 1837-1899)

'The Little Message Girl' signed 'AHBurr' and dated 79 (lower left); bears label verso oil on canvas 44 x 29.5cm (17 5/16 x 11 5/8in).

ALEXANDER HOHENLOHE BURR (SCOTTISH 1836-1899) THE YOUNG ACADEMIC 46cm x 63cm (18in x 25in)

ALEXANDER HOHENLOHE BURR (SCOTTISH 1836-1899) THE YOUNG ACADEMIC Signed and dated '78, oil on canvas 46cm x 63cm (18in x 25in)

ALEXANDER HOHENLOHE BURR (SCOTTISH 1835-1899) JENKIN'S SCHOOL 38cm x 58cm (15in x 22.75in)

ALEXANDER HOHENLOHE BURR (SCOTTISH 1835-1899) JENKIN'S SCHOOL Oil on canvas 38cm x 58cm (15in x 22.75in)

Alexander Hohenlohe Burr (1835-1899) Grandfather and grand child, 8 x 6in.

Alexander Hohenlohe Burr (1835-1899) oil on canvas, Grandfather and grand child, signed, 8 x 6in.

Possibly Alexander Hohenlohe Burr (1837 - 1899) A

Possibly Alexander Hohenlohe Burr (1837 - 1899) A lady watering a plant on a pedastel oil on canvas, 63cm x 48cm

Alexander Hohenlohe Burr (1835-1899)

Alexander Hohenlohe Burr (1835-1899) Baking apples signed 'A BURR' (lower left) oil on canvas 16 x 12 in. (40.6 x 30.5 cm.)

Alexander Hohenlohe Burr (1835-1899)

Alexander Hohenlohe Burr (1835-1899) Baking apples signed 'A BURR' (lower left) oil on canvas 16 x 12 in. (40.6 x 30.5 cm.)

Grace before dinner

Alexander Hohenlohe Burr (1835-1899) Grace before dinner signed 'A BURR.' (lower right) oil on canvas 15 x 12 in. (38 x 30.5 cm.)

Baking apples

Alexander Hohenlohe Burr (1835-1899) Baking apples signed 'A BURR' (lower left) oil on canvas 16 x 12 in. (40.6 x 30.5 cm.)

ALEXANDER HOHENLOHE BURR (1835-1899) GRACE BEFORE MEAL 30cm x 24cm (12in x 9.5in)

ALEXANDER HOHENLOHE BURR (1835-1899) GRACE BEFORE MEAL Signed and dated ''71, oil on panel 30cm x 24cm (12in x 9.5in)

Alexander Hohenlohe Burr (1835-1899)

The escape of Queen Henrietta: 'She confided her plan to three trusty friends' signed and dated 'A.H.Burr/1867' (lower right) oil on canvas 33 3/4 x 55 in. (85.7 x 138 cm.)

ALEXANDER HOHENLOHE BURR (1835-1899) THE RECRUITING SARGANT (SIC) 32cm x 50cm (12.5in x 19.75in)

ALEXANDER HOHENLOHE BURR (1835-1899) THE RECRUITING SARGANT (SIC) Signed, signed, inscribed and dated 1866 verso, oil on canvas 32cm x 50cm (12.5in x 19.75in)

ALEXANDER HOHENLOHE BURR, 1837-1899

WOMAN PEELING POTATOES 51x41cm.; 20x16 1/4 in. oil on canvas

Alexander Hohenlohe Burr (1835-1899)

Bedlam signed and dated 'A. Burr/80' (lower left) oil on canvas 121/4 x 191/4 in. (31.1 x 48.9 cm.) PROVENANCE with Ian MacNicol, Glasgow.

Alexander Hohenlohe Burr (1835-1899)

Blind Man's Buff signed with monogram and dated 'Sept/20' (lower right) oil on canvas 9 3/8 x 133/4 in. (23.8 x 35 cm.) PROVENANCE with John McNicol and Sons, Kilmarnock. Miss C. MacFarlane. Anon. sale; Christie's South Kensington, 7 October 1983, lot 132, when acquired by the present owner. NOTES This study for Burr's 1888 Royal Academy exhibit (lot 337), is slightly different in composition (as opposed to the identical smaller version, lot 338). Here the blindfolded figure, presumably the grandfather of the children who surround him, is positioned more centrally and faces forwards, extending his arms towards the viewer. A degree more tension is present, as it is in even the most innocent games, because of the way both dog and girl are shadowed by their pursuer's advancing form. The dog watches the old man's face with almost human anticipation; his body poised to spring away. The little girl, in her white pinafore, is much younger than the child with long hair who comprises the foreground figure in the larger painting. Indeed, the only child who can certainly be identified in both pictures is the older boy, here seated to the left, supporting the clinging form of his baby sister. His long facial features reappear on the figure of the child who stands behind the grandfather's armchair in the larger version. The children are particularly charming here, particularly the little girl whose hands are placed on the table; her expression is intelligent and animate. Both her near companions have attractive features, the girl seated in the corner seems more placid, suggesting that she is older and wryly bemused by these antics. Of especial interest is the 'ghost' figure, or pentimenti, of another laughing child to the right of the bonnetted girl. His features are just readable in the surface of the wall. To witness the fluidity of the artist's ideas, in a picture where he was still experimenting, gives a canvas an elusive life force - since it is a stable testament to a time before things were complete, and such processes erased. The room itself is of a similar kind to its eventual metamorphosis, though different in detail. The diamond-paned window to the left provides an alternative light source to the open door in the Academy picture. Another intriguing difference is the orientation of the old man's blindfold. Slightly askew, it reveals to us one closed eye, and the artist leaves us to wonder whether this is an honest slip (of two kinds) or a good-natured eluding of the rules.

Alexander Hohenlohe Burr (1835-1899)

Blind Man's Buff signed 'A Burr.' (lower left) oil on canvas 18 1/8 x 24 3/8 in. (46.4 x 61.9 cm.) PROVENANCE The Right Hon. Lady Thompson, Glasgow. Anon. sale, Christie's, Edinburgh, 13 November 1991, lot 591, when acquired by the present owner. NOTES This is a smaller version of Burr's Royal Academy exhibit of 1888. It is almost identical; the larger picture being marginally sharper and the figures being slightly more developed. The blindfolded grandfather appears stockier here, and his mouth more expressive. Similarly, the little boy with the hula-hoop, advancing through the door, has a toothier expression. It is these tiny details of characterisation that Burr has modified in his final version of the subject. The hair of the boy who tugs at his elder's coat-tails is more clipped, for example. The interior is also plainer; the small alcove to the left of the larger picture and various tea things being absent. A wooden stool rather than a toppled basket of fruit anchors the lower right-hand corner of the picture. As a result, this smaller canvas has a more robust complexion than the exhibited painting. Burr has attended to aesthetic vagaries as he worked up his most ambitious version. However this conveys all the charm of its larger twin, and replicates the grace of its compositional structure.

Alexander Hohenlohe Burr (1835-1899)

Blind Man's Buff signed 'A-Burr.' (lower left) oil on canvas 301/2 x 44 7/8 in. (77.5 x 114 cm.) PROVENANCE The Right Hon. Lord Airedale. with Cooling Galleries, London. William Randolph Hearst. with the Hammer Galleries, New York. Florence C. Weiss; (+) Sotheby's Parke Bernet, 24 February 1983, lot 30, when acquired by the present owner. EXHIBITION London, Royal Academy, 1888, no. 754. Childhood in Victorian England, 1985, no. 15. Victorian Childhood, 1986, cat. pl. 11. Heatherley School of Fine Art: 150th Anniversary Exhibition, 1996, no. 42. The Defining Moment, 2000-1, no. 5. NOTES Blind Man's Buff was Burr's final entry at the Royal Academy, (he had exhibited almost yearly since 1860). This is fitting status for a picture which synthesises historical precedents and forms the crowning achievement of his artistic maturity. Building on the foundations provided by his tutor Robert Scott Lauder and the hugely influential David Wilkie (1785-1841), Burr presents a rustic vignette which yet demonstrates a studied compositional grace evoking the great Dutch masters. In this combination of accessibility - the virtue that Wilkie encouraged with his pictures of village life - and aesthetic strength Burr appealed to a wide audience, cultivating public enjoyment and critical acclaim. 'Blind Man's Buff', the childhood game which demands that the blindfolded party identify his divergent companions, has presented many artists with a potent visual metaphor. For artists of the French Rococo, such as Jean-Honor‚ Fragonard and Jean-Baptiste Pater, the subject provided a neat framework for lovers antics. Burr's precursor, however, was David Wilkie, whose depiction of the subject now hangs in the Royal Collection. Wilkie's Blind Man's Buff, 1812, is a large and ambitious panorama of figures that map out a pattern of movement around the blindfolded protagonist. This ingenious and almost Mannerist composition, wherein bodies tumble and squirm, marked a departure for Wilkie. For the first time he forwent models, working from his imagination (though his draughtsman's skill is still in evidence). The result is ambiguous and fascinating; critics were not quite sure how to place the picture, and compared it to Watteau. It is this mixture of construction and naturalism that Burr inherits, but his picture is on a much smaller scale than Wilkie's, and the presence of children negates the eroticism that shadows his predecessor's. Rather than a young man, Burr's blindfolded player is a grandfather, whose red cap, topped with the white cloth strip, perhaps purposely evokes Father Christmas. He appears to have risen from his armchair, which two children now grasp, delighted to be in possession of their grandfather's favoured seat. A young boy peers from behind the old man's coat-tails, and another enters the room from outside, rolling a hula-hoop. This sets up an interrelation of figures that communicate on different levels and cause our gaze to transfer from one to another - in much the same way as they do with the Wilkie. One of the most arresting figures, by virtue of her well-executed arms, is the girl who attempts to hide behind the vacated chair. There is something particularly graceful about her form, accentuated by the white dress and ribbon-tied shoes she wears. These introduce an element of femininity into a picture which could have seemed ribald, had not Burr devised these elegant rhythms of movement and gesture. For in the same way that our eye moves from person to person, we also note their expressions - the impish glee of the seated boy, the more tentative pleasure of the child who comes through the door. Like Wilkie, Burr's fracas takes place in a simple interior: the beamed front room of a cottage. Whilst Wilkie's party were completely shut off from the natural light, Burr's open door emphasises the benign character of his scene. It reveals a green and sunny garden, with a rustic fence. Objects scattered on the floor tell us that the 'buff' element of the game (the name derives from the victim's tendency to 'buffet' obstacles) has already taken effect. A chair has been tipped upside down, an apple rolled away from its source - a fruit basket - and an open book and random shoe lie untended. These minor incidences are vital within the edited composition, just as seemingly unrelated objects lend structure to Dutch still life. Burr achieved early success in both London and Edinburgh. His historical and domestic genre works were popular and he was employed to illustrate a volume of Robert Burns' poems, collaborating with recognised fellows of the Scottish Academy, at the age of twenty-two. (His acclaimed contribution, Logan Braes sold in Christie's Scottish sale, 31 October 2002). The Art Journal devoted a monograph to Burr in 1870, appraising him as an artist whose mastery of sentiment did justice to, and built upon, his country's artistic heritage.

Alexander Hohenlohe Burr (1837-1899)

Teaching an old dog new tricks signed and indistinctly dated 'A. Burr 1875(?)' (lower right) oil on canvas, unframed 16 x 231/4 in. (40.7 x 59 cm.) See back cover illustration.

Alexander Hohenlohe Burr (1835-1899).

Alexander Hohenlohe Burr British, 1837-1899 FEEDING TIME