Robert (1730) Carver Paintings & Artwork for Sale | Robert (1730) Carver Art Value Price Guide

May. 18, 2024
Robert Carver (British, 1730-1791), "Classical Landscape"
Est: $5,000 - $8,000
† Robert Carver (British, 1730-1791) "Classical Landscape with Figures by a Stream, Ruins in the Background" oil on canvas signed lower right. Framed.
New Orleans Auction Galleries
May. 01, 2024
ROBERT CARVER (C. 1730-91) A Capriccio Landscape based on Dunmoe Castle, County Meath Oil on canvas, 62 x 102cm Dunmoe Castle, County Meath, started by Hugh de Lacy, captured by the Irish in 1641, attacked by Cromwell and restored under Ja
Est: €30,000 - €50,000
ROBERT CARVER (C. 1730-91) A Capriccio Landscape based on Dunmoe Castle, County Meath Oil on canvas, 62 x 102cm Dunmoe Castle, County Meath, started by Hugh de Lacy, captured by the Irish in 1641, attacked by Cromwell and restored under James II, was a site much visited by artists and antiquarians in the eighteenth century. Its proximity to Slane Castle, home of William Burton Conyngham (1733-1796), the collector and improver, no doubt encouraged its depiction and when a view of the castle by Thomas Roberts (1748-1777) was engraved for Francis Groses Antiquities it was described as taken from an original in the collection of the Right Hon. William Conyngham. As Peter Harbison has so ably demonstrated, Burton Conyngham was a collector and patron of rare judgment for eighteenth century Ireland who, almost single-handed, encouraged artists to consider the native ruins of Ireland as a subject for their landscapes which were compositionally often inspired by Claudean prototypes. His support of of young artists is most apparent in his collecting of drawings for various antiquarian enterprises. He provided financial and other support to a group of draughtsmen most notably Austin Cooper and Gabriel Beranger, as well as Angelo Maria Bigari and John James Barralet. In 1779, for example, Beranger and Bigari conducted a tour of Connacht at Burtons behest, which has been characterised as the most extensive archaeological survey undertaken in Ireland before the Ordnance Survey. Burtons patronage resulted in his ownership of what was described in 1787 as the finest collection [of antiquarian drawings] made by excellent artists anywhere to be found. Two views of Slane Abbey, copied by Beranger after originals by Jonathan Fisher (1735-1809) may have been a Conyngham commission, with Harbison suggesting that Fisher probably drew them while staying at Slane Castle. Roberts drawing of Dunmoe was engraved by Sparrow and also copied by Gabriel Bernager who inscribed his version with the proviso: Compared on the spot 1779 and I found it exact except the colour which is blueish and not brown. While Robert Carver was not one of Conynghams young artists, he was closely connected with several of The Dublin Group who were, notably Roberts they both seem to have taught James Coy (c.1750-80) and were both intimate associates of George Mullins (fl. c.1756-c.1786). Roberts later re-used his sketch of Dunmoe Castle in an imaginary landscape (private collection) in just the same way that Carver does here, illustrating how the antiquarianism of Burtons circle was creatively adapted by the artists he patronised and how the reuse of elements of Irelands antiquities givea distinctively Irish flavor to Roberts art. Exactly the same can be said in relation to Carvers capriccio landscape sold here, where Dunmoes setting above the River Boyne is augmented with a typically Irish tower house on one bank of the river and a substantial red-brick structure and small church, on either side of a bridge, on the other. Carver, like other artists, responded to the setting with the castle magnificently sited high above a bend in the Boyne (Casey and Rowan, The Buildings of Ireland, North Leinster, 225). Together with George Barret, Robert Carver was the leading landscape artist in Dublin in the 1750s and 60s. He followed Barret to London in 1769 where he found fame, for his much-admired designs for the theatre, and status, as the President of Society of Artists. Although of an older generation, he was also closely connected with the talented coterie of artists who came to prominence in the 1760s and 70s and who, with Carver, can be seen as a closely interlocked Dublin Group of landscape painters. No doubt his generous and companionable qualities made him a mentor to younger painters. Carvers easel paintings are rare and mostly date from his period in Ireland the present work seems to be unique in including Irish architectural, or antiquarian remains. However, as more of them are identified his ability becomes apparent and the reasons become obvious for the contemporary praise which was showered on his productions. Here, the red dress of the reclining woman in the foreground provides an effective chromatic highlight at the centre of the composition, while the busy few inches of the paint surface including the figures and animals contrasts with the unbroken sheen of the river with long reflections cast by the late afternoon sun adding a slightly elegiac touch to the romantic, umbrageous Boyne landscape. Picturesque travellers in the foreground add a bucolic touch. The picture is painted in Carvers early and tighter style, before his touch became free, and occasionally loose, from his experience of scene painting. An almost exact parallel can be found in the precise, almost schematic, rendering of light effects on the different facades on the brick building and on a mill in a River Landscape with Figures (Gorry Gallery, Exhibition, 19 May 2010). We are grateful to William Laffan for his assistance in cataloguing this lot.
Adam's
May. 20, 2023
Robert Carver (British, 1730-1791), "Classical Landscape with Figures by a Stream"
Est: $8,000 - $12,000
Robert Carver (British, 1730-1791) "Classical Landscape with Figures by a Stream, Ruins in the Background" oil on canvas signed lower right. Framed. 36" x 50", framed 43-1/4" x 57-1/2" Provenance: Private collection, Baton Rouge, Louisiana.
New Orleans Auction Galleries
Oct. 09, 2022
Robert Carver (British, 1730-1791), "Classical Landscape with Figures by a Stream"
Est: $15,000 - $25,000
Robert Carver (British, 1730-1791) "Classical Landscape with Figures by a Stream, Ruins in the Background" oil on canvas signed lower right. Framed. 36" x 50", framed 43-1/4" x 57-1/2" Provenance: Private collection, Baton Rouge, Louisiana.
New Orleans Auction Galleries
May. 12, 2021
Robert Litzenberg Elkton Decoy Carver Chippendale style mirror.
Est: -
Robert Litzenberg Elkton Decoy Carver Chippendale style mirror. Signed and dated 1985. There is a piece of the mirror unattached. Look at the photos for more information and description.
Jim Racine Auctions, LLC
Jul. 04, 2019
ROBERT CARVER | A wooded river landscape with classical ruins, a drover with cattle and figures playing music in the foreground
Est: £40,000 - £60,000
oil on canvas
Sotheby's
Apr. 17, 2019
ATTRIBUTED TO ROBERT CARVER (c.1730-1791)Elegant Fisherfolk on the Dargle below the DahoolOil on canvas, 100 x 126cmProvenance: Private Collection, Ireland This attribution given to Carver by the late Knight of Glin is on stylistic grounds foll
Est: €30,000 - €50,000
ATTRIBUTED TO ROBERT CARVER (c.1730-1791)Elegant Fisherfolk on the Dargle below the DahoolOil on canvas, 100 x 126cmProvenance: Private Collection, Ireland This attribution given to Carver by the late Knight of Glin is on stylistic grounds following an examination in 2002. The painting had been thought to have been by George Barret (c.1732 - 1784) who, along with numerous others had painted this same view. Barret, under the patronage of Viscount Powerscourt had painted repeatedly in the area, including a similarly positioned view, also with elegant figures, as did William Ashford with his A View of the Dargle Valley, County Wicklow, Showing the Moss House and Elegant Figures in the Foreground and James Coy, who exhibited views of the Dargle and the Powerscourt Waterfall at the Society of Artists in 1772. It was also the subject of an aquatint after Thomas Sautelle Roberts.Carver, the younger, studied under his father Richard (d. 1754), a landscape painter from Waterford and also under Robert West at the Dublin Society Schools. Strickland notes that he had a distinguished career as a scene painter in Dublin and subsequently in London. On the revival at Crow Street on 29th November, 1768 of the popular old pantomime, A Trip to the Dargle, a new scene of the waterfall painted by Mr. Carver was shown for the first time. This set painting was described as an Astonishing Effect of the Representation of the Waterfall at Powerscourt. Emily, Countess of Kildare wrote in 1762 that the stage set of the waterfall was the prettiest thing I ever saw, much beyond that at the opera and so like that at Powerscourt, that you actually fancy yourself in the very place.The present work, Elegant Fisherfolk on the Dargle Below the Dahool is one of a number of known works depicting views on the Dargle, near Powerscourt, Co. Wicklow. A large cliff to the left dominates the composition, its thrusting vertical formations of rock giving the sense of enormity required by notions of the sublime. A river flows rapidly through torrents formed by rocks fallen from the cliff above. The boulders dividing the torrents are deliberately and symmetrically laid out like stepping-stones. On the brow of the nearest hillock to the right a small gazebo-like structure suggests that the setting is part of a landscaped estate rather than a natural, untamed scene. In the foreground, well dressed figures amuse themselves - a gentleman and lady toward the centre of the composition fish from a boulder while to the right a group of three converse as they walk. One of these seems to point out the natural attractions of the scenery suggesting that they are early tourists, themselves devotees of the sublime. While the figures give scale to, and stress the immensity of, the landscape at the same time their peaceable enjoyment of it, strolling and fishing before, perhaps, taking tea in the gazebo or pavilion above, somehow tames and civilizes the scene.The painting is carefully and artfully composed. It is constructed from a series of diagonal and horizontal lines with a strong central focus created by the recession of the landscape through the gorge and the carefully positioned boulders at the very centre of the picture. These compositional devices, which could be seen as crudely schematic in the hands of a lesser artist, are here subtly reinforced by the fall of the sunlight along the diagonal from upper left to lower right and particularly by the glorious burst of sunlight which illuminates the vista glimpsed through the gap in the rocks. Paradoxically despite the fast flowing water the harmonious symmetry of the picture and its unified palette give a strangely still and peaceful feel to the picturesque view of the sublime.
Adam's
Jul. 26, 2012
CIRCLE OF ROBERT CARVER (1730-1791) BRITISH & IRISH - Allegorical Landscape
Est: £2,000 - £3,000
CIRCLE OF ROBERT CARVER (1730-1791) BRITISH & IRISH - Allegorical Landscape With Figures In Foreground, By A Well. Oil On Canvas. 28" x 36.5".
John Nicholson's Fine Art Auctioneers & Valuers
Apr. 04, 2012
ROBERT CARVER (c.1730-c.1791) Extensive Landscape
Est: €20,000 - €30,000
ROBERT CARVER (c.1730-c.1791) Extensive Landscape with figures angling on a lake under a castle ruin, oil on canvas, 29" (74cms) x 53" (135cms), with three mirror panels below, in a Georgian giltwood Trumeau mirror frame with egg and dart moulding and projecting corners each with a rosette, 56" (143cms) x 64" (163cms) overall. (1). Provenance: Originally in the collection at Westport House, Co. Mayo.
Mealy's
Oct. 05, 2010
Robert Carver (c.1730-1791) Swain with cattle in a
Est: €10,000 - €15,000
Robert Carver (c.1730-1791) Swain with cattle in a wooded valley landscape Oil on canvas, 51 x 67cm Signed, lower left, with conjoined initials
Adam's
Sep. 25, 2007
Robert Carver, 1730-1791 Irish School Arcadian
Est: €20,000 - €30,000
Robert Carver, 1730-1791 Irish School Arcadian scene Oil on canvas 50 x 67 cms. Signed and dated 1782
Sheppards
May. 10, 2007
A Classical Landscape with Ruins and Figures in the Foreground
Est: £150,000 - £250,000
Robert Carver (c.1730-1791) A Classical Landscape with Ruins and Figures in the Foreground signed inscribed and dated 'Robt. Carver Dublin 1766' (lower left) oil on canvas 48 x 78 in. (122 x198 cm.)
Christie's
May. 14, 2004
Robert Carver (c.1730-1791)
Est: £20,000 - £30,000
A wooded river landscape, with figures in the foreground and a hilltop castle beyond signed with initials 'RC.' (lower left) oil on canvas 16 1/4 x 25 in.(41.2 x 63.5 cm.)
Christie's
Jun. 28, 2001
Robert Carver (d.1791)
Est: $705 - $987
A wooded river landscape oil on panel 6 7/8 x 9 7/8 in. (17.5 x 25.2 cm.).
Christie's