Frederick James Sold at Auction Prices

FREDERICK JAMES (1855-1932, BOSTON) OIL ON CANVAS

DESCRIPTION: Frederick Boston 1855 - 1932. An impressionist fieldwork scene, signed F. J. Boston. MEASUREMENTS: 11 1/2" X 15 1/2", 17" X 21" framed. CONDITION: Canvas shows patch repairs to the reverse and there may be frontal restoration work accordingly.

Frederick James Boston, American (1855-1932)

Frederick James Boston, American (1855-1932) Attribution. Painting, Oil on Canvas. Signed Lower Left. In Original Frame. Condition: Appears to be Generally Good, However there are Touch-Ups in the Front. Dimensions: Sight- 30" x 20", Frame- 38" x 28". Provenance: From a New Jersey Home. Please note the absence of a Condition Report does not imply that there are no condition issues with this lot. Please contact us for a detailed Condition Report. It is the Buyer's responsibility to inspect each lot and deem their own opinions on Condition, Description, Provenance, and Validity before purchasing. Please make an appointment to preview or ask for Condition Reports. Condition Reports are rendered as an opinion by the staff of the Auction House and not as statements of fact. REMEMBER ALL SALES ARE FINAL AND ALL ITEMS ARE SOLD AS-IS, WHERE IS.

James Frederick Hutchinson (American/Florida, b. 1932), "Patriarch"

James Frederick Hutchinson (American/Florida, b. 1932) "Patriarch" oil on canvas signed lower right, verso with hand-inscribed label, further inscribed with provenance. Framed. 18" x 14", framed 25" x 21" Provenance: By repute, Museum of Science Patrons Fair, February 26, 1969.

Frederick James Boston American, 1855-1932 Girl at a Window

Frederick James Boston American, 1855-1932 Girl at a Window Signed F.J. Boston (ll) Oil on canvas 18 x 12 inches C 

Frederick James Boston (American, 1855-1932)

Frederick James Boston (American, 1855-1932), "Girl Peeling Apples", oil on canvas, signed lower left, 18" x 14". Framed.

FREDERICK JAMES BOSTON AMERICAN 1855-1932

Autumn Landscape, oil on canvas, 16 x 20 in (40.6 x 50.8 cm), signed lower right

Frederick James McNamara Evans (1859-1930), PORTRAIT OF A OLD FISHERMAN WEARING A RED SCARF; A FISHERMAN IN A HAT, Sight 9.25" x 6.75" - 23.5 x 17.1 cm.; 7" x 5" - 17.8 x 12.7 cm.

FREDERICK JAMES MCNAMARA EVANS (1859-1930), BRITISHPORTRAIT OF A OLD FISHERMAN WEARING A RED SCARF; A FISHERMAN IN A HATTwo watercolours; each signed lower rightSight 9.25" x 6.75" - 23.5 x 17.1 cm.; 7" x 5" - 17.8 x 12.7 cm.Estimate: $300-400

Frederick James Boston (American, 1855-1932) Woods and Pond in Autumn Signed "F.J. Boston" l.r. Oil on canvas, 16 x 20 in. (40.5 x 5...

Frederick James Boston (American, 1855-1932) Woods and Pond in Autumn Signed "F.J. Boston" l.r. Oil on canvas, 16 x 20 in. (40.5 x 50.8 cm), framed. Condition: Mild surface grime.

Frederick James McNamara Evans (?-1930), British

Frederick James McNamara Evans (?-1930), British FISHERMAN WITH HIS NAVIGATION MAP; Watercolour; signed lower right 12" x 9.25" - 30.5 x 23.5 cm.

FREDERICK JAMES BOSTON (American, 1855-1932) THE WINDOW GREETING.

Oil on wood panel shows two young women leaning out a window flanked by greenish/blue shutters with pink rose branches. Signed lower left "FJ Boston". Housed in its original fancy gilt frame with gilt liner (as found). SIZE: 24" x 20". PROVENANCE: From a southern Maine collection. CONDITION: Very good with surface dirt. 9-96587

Archer (Frederick James, 1857-1886). An original

Archer (Frederick James, 1857-1886). An original good quality pencil and watercolour copy of the famous Spy caricature, n.d., initialled M.R. (?), in pencil lower right, approx. 24 x 19 cm, mounted Fred Archer (1857-1886), aka The Tin Man, was a legend in his lifetime and has remained one ever since. Considered by many to be the best all-round jockey that the Turf has ever seen, he was Champion Jockey 13 times when he tragically took his own life at the age of 29.

Frederick James Boston (American 1855-1932) Farm

Frederick James Boston (American 1855-1932) Farm Workers in a Field watercolour 24cm x 34cm Note: The first instructor of art at the Brooklyn Institute of Arts and Sciences. Frederick Boston settled in Brooklyn. He became founder and served as president of the Painters and Sculptors Club

Landscape by Frederick James Boston

(New York, 1855-1932), impressionist scene with open fields and stands of trees, signed lower right “F.J. Boston,” oil on canvas, grime, canvas slightly loose, crackle, cupping, 18 x 24", gold-painted frame

Frederick James Boston (American, New York, 1855-1932) "Wind Clouds", oil on canvas board,

8" x 10", artist address inscription and Salamagundi Club label verso, signed lower right: "F.J. Boston". Carved giltwood frame. Reference: Falk, Who Was Who in American Art.

FREDERICK JAMES BOSTO (American 1855-1932) 'AUTUMN signed and signed and inscribed verso, oil on canvas, laid dow 10 x 8 in. Exhibited Salmagundi Club, Thumb - box Exhibition

Frederick James Shields (1833-1911)

Mary Magdelene signed with monogram oil on canvas 411/2 x 19 in. (105.4 x 48.3 cm.) PROVENANCE with the Fine Art Society, London. Stuart Pivar, New York. EXHIBITION Wilmington, The Delaware Art Museum, The Pre-Raphaelite Era, 1848-1914, 1976, no. 4. NOTES Shields was a Manchester painter, watercolourist and decorator whose artistic career was determined when he saw the works of the Pre-Raphaelite Brotherhood at the Manchester Art Treasures Exhibition of 1857. He later became a close friend of both Rossetti and Ford Madox Brown, although his work, which is strongly realistic and religious in outlook, perhaps comes closer to Holman Hunt than any other Pre-Raphaelite artist. Although he often worked in watercolour and for many years exhibited at the Royal Watercolour Society, his two most substantial commissions were mural decorations for the Chapel of Eaton Hall, Cheshire, seat of the Dukes of Westminster, and the Chapel of the Ascension, Bayswater Road. This oil probably relates to the latter. The chapel was commissioned by Mrs. Russell Gurney, widow of the Recorder of London, in the hope that it would provide a sanctuary for meditation away from the hubub of nearby Marble Arch. The chapel was designed by Herbert Horne in 1887 and although construction beban in 1890, legal disputes ensured that it was not completed until 1910. Shields chose to decorate the interior with the principle scenes of Christ's Life and visited Italy in 1889 to gather material for the sequence. The chapel in consequence carried strong echoes of Giotto's fresco cycles in Assissi and Padua. It was destroyed by enemy action during the Second World War.