Robert Walter Weir (American, 1803-1889) - Net Mending on Nantucket Signed with Artist's initials and dated ‘R.W.W. 1870’ bottom right, oil on canvas 10 ½ x 21 1/8 in. (26.7 x 53.7cm) Provenance Deaccessioned from a private (now closed) museum in Pennsylvania (accession number 972.459, painted in red verso). Private Collection, Santa Fe, New Mexico.
ROBERT WALTER WEIR New York, 1803-1889 Genre scene with a mother and children around a blackbird pie. Signed and dated lower right "Robt. W. Weir 1855".
WEIR, Robert, (American, 1803 - 1889): Religious Genre Painting After Rembrandt, Oil/Wood Panel, 7.5'' x 6'', monogrammed lower right, inscribed study after Rembrandt, deep dish cove frame, 18'' x 16.25''.
Robert W. Weir American, 1803-1889 (i) Amerigo Vespucci, 1848 Signed R. W. Weir and dated 1848 (lr) Oil on canvas 20 x 16 inches Provenance: Joseph Tuckerman, Esq., New York [Sale] Doyle, New York, may, 5, 1999, lot 107 Private collection, MD Exhibited: Washington D.C., Italian Embassy, A Journey to Discovery, 2014 (ii) Study for Amerigo Vespucci Watercolor on paper 19 3/4 x 16 inches Robert Weir was Professor of Drawing for a generation after 1834 at West Point; his students included Generals Grant, Sherman, J. A. M. Whistler, and his sons John Ferguson and Julian Alden Weir. His Embarkation of the Pilgrims was commissioned by Congress for the US Capitol Rotunda; completed in 1840. Amerigo Vespucci's biography includes his role as a secret agent of Florence's Medici family, a navigator and outfitter for the Kings of Castile for Columbus, and Portugal for Brazil, and his lending of his name to our country and continent. In the present work, he is immersed in his role as master cartographer. His works are included in the collections of the Metropolitan Museum of Art, The Smithsonian American Art Museum in Washington DC, and well as many other important institutions. C Property of a Distinguished Maryland collector
Robert Walter Weir American, 1803-1889 The Fountain of Cicero, 1829 Signed Robt W. Weir and dated 1829. (lr) Oil on canvas 14 1/8 x 22 inches Provenance: Gouverneur Kemble, Cold Spring, New York Mark Lurie, Indianapolis, IN, until 1972 Berry-Hill Galleries, New York Campbell Weir, great-grandson of the artist Berry-Hill Gallery, New York Exhibited: Philadelphia, PA, Pennsylvania Academy of Fine Arts, Nineteenth Annual Exhibition, 1830, no. 105 Lawrence, KS, University of Kansas Museum of Art, The Arcadian Landscape: Nineteenth Century American Painters in Italy, Nov. 4 - Dec. 3, 1972, no. 43 West Point, NY, Cadet Fine Arts Forum of the U. S. Corps of Cadets, Robert Weir: Artist and Teacher of West Point, 1976, no. 83 Literature: The Arcadian Landscape: Nineteenth Century American Painters in Italy, Lawrence, KS, University of Kansas, 1972, n.p. illus. n.p Robert Weir: Artist and Teacher of West Point, West Point, NY, Cadet Fine Arts Forum of the U. S. Corps of Cadets, 1976 pp. 42, 81 illus. Brigitte Bailey, "Cole and the Italian Landscape", essay in American Iconology, New Haven, Yale University Press, 1933, pp. 103-104 illus. Betsy Fahlman, John Ferguson Weir: The Labor of Art, Newark, DE, The University of Delaware Press, 1997, pp. 22-23 illus.
Robert Walter Weir (American, 1803-1889) The Two Marys at the Sepulcher, 1865, oil painting on canvas. Relined. Reference: I. Weir, Robert W. Weir, Artist, New York, 1947, p. 115. Size: 36" x 48", 91 x 122 cm (stretcher); 43" x 56", 109 x 142 cm (frame). Provenance: Estate of Alexander R. Raydon, Raydon Gallery, New York, NY.
Robert Walter Weir (American, 1803-1889) Last of the Mohicans Oil on canvas 49-1/2 x 40 inches (125.7 x 101.6 cm) Signed and titled on the stretcher: Last of the Mohicans / by Robt. W. Weir PROVENANCE: Heritage Auctions, December 6, 2007, lot 23344; Private collection, acquired from the above; Acquired by the present owner from the above. HID04901242017
Art,Painting,Oil on Canvas,RW Weir Portrait Mrs Rawlins Lowndes Charleston SC,A fine early 19th C portrait of a Charleston, SC woman by famous American artist RW Weir. The painting is a full standing portrait in an interior looking out an open doorway to a landscape. Bears original inscription "Mrs Rawlins Lowndes" on reverse of canvas. Lowndes were an important Southern family. The orig Rawlins Lowndes was the first governor of SC. This painting was exhibited at the National Academy in 1829. Please see pic of that record in the NAD Exhibition Record book. ,,24 1/8H_17W
Art,Painting,Oil on Panel,RW Weir 19th C Genre Columbus @ Salamanca,Fine historical genre painting by important American 19th century painter Robert W Weir. The painting shows Christopher Columbus at the court of Salamanca. An extremely well detailed rendering with Columbus, protractor in hand detailing his proposed journey to the New World. Lot includes period, probably original, ornate gold frame.,8 7/8 h-12W,17 7/8 H_20 7/8W
Oil on canvas depicting a couple in 17th century dress with the woman reaching toward a far away ship. Housed in a carved gilt wood frame and signed Robert W. Weir. 29 inches height, 43 inches width, 2 inches depth. Visual image measures 24 inches height and 37 inches width. 24"H x 37"W
Robert Walter Weir (American, 1803-1889) The Two Marys at the Sepulcher, 1865, oil painting on canvas. Relined. Reference: I. Weir, Robert W. Weir, Artist, New York, 1947, p. 115. Size: 36" x 48", 91 x 122 cm (stretcher); 43" x 56", 109 x 142 cm (frame).
Portrait of a unidentified gentlemen, 1874 Oil on canvas,signed upper left in red Robt W. Weir, 1874 Dimension: frame: H 41.5" x W 48" (sight): 30" X 36" Condition: good , surface dirt. Note: Robert W. Weir is the father of John Ferguson Weir and his half brother Julian Alden Weir. Members of the distinguish artistic Weir Family and The Weir Farm National Historic Site, is located in Ridgefield and Wilton, Connecticut. Provenance: From the Estate of Rosemary Clooney
ROBERT WALTER WEIR (American 1803-1889) A PAINTING, "Washington's Headquarters at Newburgh," oil on canvas. 22" x 27" Framed.Includes the following volumes:Max G. Johl, The United States Commemorative Stamps of the Twentieth Centry, Volumes I and II, New York: H.L. Lindnquist, 1947. 356 pp (vol I) and 382 pp (vol II). Cloth boards with dust jacket on both. Engraving made from painting illustrated and painting cited on page 243, with stamps shown on pages 242 and 244. Robert Weir: Artist and Teacher of West Point, New York: Cadet Fine Arts Forum of the United States Corps of Cadets, 1976. 95 pp. Paperback. Painting illustrated on page 75, plate 70.
Robert Walter Weir (1803-1889) American Hudson River School Watercolour ' Anchor Sheet ' ( Nautical : A source of aid in time of emergency or danger) a sail ship going to the aid of another before an oncoming storm. Signed ' Robt W. Weir ' lower right 3 3/4 x 6 1/4" Born in 1803 in New Rochelle New York he became Professor of Drawing at West point where he instructed many future commanders of the American Civil War and most notably the artists James Abbott McNeil Whistler and Seth Eastman. The Metropolitan Museum, New York holds some of his paintings.
ROBERT WALTER WEIR (NEW ROCHELLE 1803-1889) The Two Marys at the Sepulchre, signed and dated "Robb'W.Weir./1865" (lower left). Oil on canvas, 81.5 by 122 cm. Literature: I. Weir, Robert W. Weir, Artist , New York 1947, p. 115. Robert Walter Weir became an outstanding figure in the social and intellectual life of New York City after his return from Italy where he studied the work of famous Old Masters between 1824 and 1828. He was a prominent member of the Hudson River School and famous for his romantic landscapes. His most celebrated work is Embarkation of the Pilgrims , which was installed in the Rotunda of the U.S. Capitol Building in 1843. Two Marys at the Sepulchre combines Weir's devotion to his faith and his excellent draughtsmanship. The composition is filled with the deep emotion of death and the tragedy of sorrow, the same feelings shared by the artist after his first wife died in childbirth along with their unborn child in 1845. After this tragic event, Weir favoured religious and dramatic subjects such as Christ in the Garden , the Evening of the Crucifixion as well as Two Marys at the Sepulchre . Weir was one of the leading practitioners of religious paintings in America during the 19th century. This painting is full of pathos and shows Weir's knowledge and understanding of the technique employed by Old Masters. The composition is carefully constructed; the two Marys in mourning are sitting opposite the sepulchre at the centre, in the foreground, but the eye of the spectator is led through the entire composition thanks to a play of horizontal and diagonal lines. The mystical atmosphere which characterizes Weir's works, is created here by the dramatic contrasts of light and shadow. The eye of the spectator is led from the dark clouds in the background to the top of the hill of Calvary, where the three crosses are emphatically shown.
Robert Walter Weir ( 1803 -1889) American , Hudson River School Watercolour Sail boats on windy water Signed ' Robt W. Weir ' lower right 3 3/4 x 6 1/4" Robert Walter Weir was an American artist, best known as an educator, and as an historical painter. He was considered an artist of the Hudson River School and was elected to the National Academy of Design in 1829. Also in 1829 he became an instructor at the United States Military Academy.
Robert Walter Weir (New York, 1803-1889), Mrs. Francis Rider, circa 1840, signed verso on stretcher "Rbt. Weir...West Pt.[?]", oil on canvas, 34-1/4 x 27 in.; 19th century gilt wood and composition French style frame. Original stretcher and tacking edge, bloom at bottom, two periods of restoration, scattered retouch with small points in face, proper left side of face in background, bottom middle, points in background left and right, crackle, cupping, minor flaking, abrasions, craquelure; frame resurfaced, loss to composition. Mrs. Oscar Baron; Alicat Gallery, Yonkers, New York (label verso)
ROBERT WALTER WEIR (1803-1889) American artist who became pre-eminent as part of the Hudson River School, instructed James Abbott McNeill Whistler, Seth East, as well as many of the future commanders of the Civil War. A.L.S. 2pp. 8vo., Greens Farms, Ct., Jun 12, 1884, to a Mr. Campbell, in part: "...We are getting along quite well, enjoying the pure cool air from the Sound...The lady of whom you make enquiry I met at Plymouth. She was the admiration and pride of the town...She told me that when she was a child Elder Faunce had frequently taken her on his knee and amused her with the recollections of early days, for he knew Peregrine White, who was the first child born in the Colony...I was much pleased with her and as she was such a favorite with all, I painted a portrait of her under some difficulty, as I had no colors with me, but found some at a ship-chandlers shop, and then took a leaf from the dining-table for a panel...". The subject of Weir's painting, Hannah White, was a descendant of Peregrine [meaning "Pilgrim"] White (1620-1704), the first English child born to the Pilgrims in the New World. "Elder Faunce" was the revered Mayflower pilgrim who, according to legend, verbally passed on to future generations the identity and provenance of the granite rock upon which the sea-wearied Pilgrims from the Mayflower first impressed their footsteps.
Important oil on canvas unsigned scene shows the house used by Washington during the final years of the Revolution which was built in 1749 and is situated on the west bank of the Hudson River. In 1770 the house was enlarged to its present seven room state and appears much the same today as Weir depicted it in his painting datable to about 1834. This painting was used by James Smillie (1807-1885) in his engraving for the New York Mirror in 1835 shortly after it had been exhibited in the National Academy. On April 19, 1933, the United States Post Office issued a commemorative stamp based on this painting in celebration of the countries Sesquicentennial. The oil on canvas scene shows a house with three chimneys having a man and horse outside of porch area. Cows sit and graze along with other animals on a sloping lawn with rock and flower edges. Storm King Mountain is shown with the Hudson River with several different boats. All under a colorful light blue, pink and cloud sky. Housed in a lemon gold antique frame. REFERENCE: Exhibited Robert Weir: Artist and Teacher of West Point Cadet Fine Arts Forum of the United States Corp of Cadets, West Point 1976 Illustrated No. 70 in the catalog which has an introduction written by William H. Gerdts. A copy of this catalog accompanies the work. Also the two volume book "The United States Commemorative Stamps of the 20th Century" which illustrates the stamp and has a picture of the engraving by Smillie on page 242-245. SIZE: 22" x 27". PROVENANCE: Collection of Elwyn Dearborn, Medford, NJ and Portland, ME. Purchased from The Old Print Shop in February in 1964 and illustrated in their portfolio pamphlet on page 143. CONDITION: Relined, minor inpainting, craquelure. Otherwise very good. 9-95952
ROBERT WALTER WEIR (American 1803-1889) Last of the Mohicans Oil on canvas 49-1/2 x 40 inches (125.7 x 101.6 cm) Born in New York City, Robert Weir studied under John Wesley Jarvis and Robert Cooke. Weir was a leading painter of religious subjects in America during the years 1830 to 1880, and renowned for his history paintings, portraits and images with literary themes from the novels of James Fennimore Cooper and Washington Irving. Weir taught painting at the U.S. Military Academy at West Point. In addition to his own sons, John Ferguson and Julian Alden Weir, his students included Ulysses S. Grant, Robert E Lee, and James Whistler. Last of the Mohicans refers to the subject of James Fennimore Cooper's novel of the same title. In this attractive work, Weir conveys the romantic narrative of the story by portraying a lone Mohican against a background of open sea in the distance. The composition points to the cause of the Mohican tribe's demise-the arrival of the American colonists from a land beyond the sea.
ROBERT W. WEIR AND JAMES SMILLIE SCULPSIT (AMERICAN, 1803-1889) NORTH BATTERY PORT OF HUBERT NEW YORK Engraving on paper: 8 x 10 in. (sight) Framed Provenance: From the collection of LeBoeuf, Lamb, Greene & MacRae.
ROBERT W. WEIR AND JAMES SMILLIE SCULPSIT AMERICAN, 1803-1889 NORTH BATTERY PORT OF HUBERT NEW YORK Engraving on paper: 8 x 10 in. (sight) Framed Provenance: From the collection of LeBoeuf, Lamb, Greene & MacRae.
FLOWER GIRLS FLOWER GIRLS measurements 26 by 18 in. alternate measurements 66 by 45.7 cm. signed with the artist's monogram WRW, and dated 69, (lower left) oil on canvas Condition Note: Generally good condition, canvas unlined, craquelure throughout, varnish dirty, some scattered frame abrasion, slight pigment lifting to bridge of nose of standing figure, under UV light inpainting to upper left edge, possible inpainting above little girl's foot We are pleased to provide you with a general report of the condition of the property described in our catalogue. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSION CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE CATALOGUE.
PROPERTY FROM THE COLLECTION OF DR. AND MRS. EDGAR P. RICHARDSON, PHILADELPHIA, PENNSYLVANIA KAATERSKILL FALLS, NEW YORK measurements 24 1/2 by 18 1/2 in. alternate measurements 62.2 by 47 cm. signed oil on canvas Condition Note: Lined/ Surface is taut and has been compressed/flattened from relining--although retention of colors and details is generally good; fine craquelure throughout Under Ultra Violet: hard to see through dark pigments; there are scattered spots of inpainting, perhaps for craquelure fill-in We are pleased to provide you with a general report of the condition of the property described in our catalogue. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSION CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE CATALOGUE. PROVENANCE Kennedy Galleries, New York Acquired by the present owner from the above, 1996
ROBERT WALTER WEIR 1803-1889 POSEYS FOR SALE 26 by 18 in. alternate 66 by 45.7 cm. signed with the artist's monogram WRW, and dated 69, l.l. oil on canvas Condition Note: Generally good condition, canvas unlined, craquelure throughout, varnish dirty, some scattered frame abrasion, slight pigment lifting to bridge of nose of standing figure under UV light inpainting to upper left edge, possible inpainting above little girl's foot We are pleased to provide you with a general report of the condition of the property described in our catalogue. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSION CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE CATALOGUE.
oil on canvas Condition Note: Canvas is lined. SURFACE: in good condition, generally UNDER ULTRA VIOLET: inpainting along the edges; sky is generally clear, except for a thin horizontal line, about 7 in. long at center (on either side of largest mast); craquelure throughout the darker areas in lower part of picture We are pleased to provide you with a general report of the condition of the property described in our catalogue. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSION CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE CATALOGUE. PROVENANCE William Postar, Boston Acquired by the present owner from the above
Robert Walter Weir (American, 1803-1889), a group of four studies: "George Washington", ink and pencil, signed lower left, 8 1/2 in. x 6 1/8 in.; "Roman Punch", ink, signed lower left, with embossed stamp, pencil-titled upper middle, 9 3/8 in. x 7 3/8 in.; "Young Boy", ink, initialed lower right, embossed stamp lower left, 8 in. x 4 7/8 in.; "Classical Figures", pencil, estate stamp en verso, 7 7/8 in. x 10 in., all unframed.
1803 - 1889 ROBED MAN IN AN ARCHWAY Signed and dated l/l: "Robt. W. Weir 1840" Sepia wash and chinese white on paper Sight: 8 1/2 x 5 inches 21.6 x 12.7 cm.
1803-1839 SAINT NICOLAS Oil on panel 30 X 24 INCHES 76.2 X 61 CM Provenance: This is one of six paintings, in two versions, or the same subject by Weir. A label from the Brooklyn Museum of Art, Brooklyn, New York appears on the reverse.
SAINT NICHOLAS signed with initials " W.W., c.l. - - oil on panel " 29 3/4 x 24 3/8 in. (75 x 62 cm.) PROVENANCE Governeur Kemble III, Cold Spring, New York By descent through the family John Gordon Campbell, Madison, New Jersey James Ricau EXHIBITED Newark, Newark Museum, " Christmas - - 50 Years Ago, " 1959 Brooklyn, Brooklyn Museum, long-term loan, 1969-1984 LITERATURE R. W. G. Vail, "Santa Claus Visits the Hudson," " The New-York Historical Society Bulletin, " 1951, vol. 35, p. 343 R. W. G. Vail, "An Encore for Santa Claus, " " The New-York Historical Society Bulletin, " 1953, vol. 37, p. 329 L. Dimmick, "Robert Weir's " Saint Nicholas: " A Knickerbocker lcon," " The Art Bulletin, " Sept. 1984, vol. 66, pp. 465-483, no. 5, fig. 6 Robert Weir described the first of his series of six works of St. Nicholas, most likely painted between 1837 and 1847, as "one of the best things I have done" in a letter to his friend and fellow Knickerbocker, the distinguished author and congressman, Gulian Verplanck. When the first work was exhibited in 1837, it received almost universal praise and was hailed as one of the best paintings in the exhibition. This version of the painting is the only one remaining in private hands. Weir has attended to the compositional problems that plagued the initial work, and also extended and deepened his iconography. The most significant change was the replacement of the original horizontal format with the more appropriate vertical format. The other versions in this series are in the collections of The Butler Institute of American Art, The New-York Historical Society, the National Museum of American Art (Smithsonian Institution), The Brooklyn Museum, and the Sheldon Swope Art Gallery in Terra Haute, Indiana. The details vary on each, but all describe an impish St. Nicholas standing before a tiled fireplace, surrounded by an array of accoutrements. The rich iconographic content of this work draws on a number of religious, national, and local traditions. As the alternative title Santa Claus indicates, this was one of the first representations to combine the Catholic St. Nicholas with the English Father Christmas in a uniquely American Santa. The Catholic association is emphasized in the repetition of three (the balls above the seal, the stocking and the switches), the rosary and the ermine-lined " mozzetta. " The rosary and " mozzetta " allude to Nicholas's role as a bishop in the Catholic Church, while the number three and the balls are traditional Christian symbols of this saint. The greatest part of Weir's iconography in this picture pays tribute to St. Nicholas as the patron saint of the Knickerbockers and of New York. Both The New-York Historical Society and the Knickerbockers were regularly celebrating St. Nicholas Day (December 6) at this time. In 1809, Washington Irving published a comic history of the Dutch in New York, describing the influence of St. Nicholas. Nicholas miraculously guided Oloffe Van Kortlandt's expedition to Manhattan, and there he revealed a vision of the future New Amsterdam: the smoke from his pipe ascended into the air and spread like a cloud over head. And Van Kortlandt.... saw that the smoke spread over a great extent of the country and as he considered it more attentively, he fancied that the great volume of smoke assumed a variety of marvellous forms, where in dim obscurity he saw shadowed out palaces and domes and lofty spires, all of which lasted but a moment, and then faded away... And when St. Nicholas had smoked his pipe, he twisted it in his hatband and laying a finger beside his nose gave the astonished Van Kortlandt a very significant look... Thus, Nicholas inspired the founding of New Amsterdam and was established as its patron saint, and when the city became New York, Nicholas continued as its saint. Weir emphasizes the continuity of Nicholas connection with the city by including the coat of arms above the fireplace. This insignia is the seal of New York City, and it is crowned by the three balls that symbolize Nicholas" tutelage. Weir also includes the pipe tucked in the hatband, the gesture of complicity, and the smoke in the fireplace from the story. In other areas of the painting, Weir continues to draw on Dutch tradition in his iconography. The broken delft pipe on the floor, for instance, alludes to the Knickerbocker initiation rite of smoking such a pipe. The chair is in the style of William and Mary, and a toy Dutch windmill pokes out from the pack on Nicholas's back. A number of elements, such as the coat of arms, combinU allusiOns to vArious @traditiOns. The@orange "efers aGain to William and the House of Orange, but it can also be seen as a Christian delicacy. The delft tiles surrounding the fireplace are, of course, of Dutch origin,`but thei also contain scriptura| illust"ations,`including some j quite appropriate images of the Natividy. Even the stile of the painting contributes to the simbolisml as Weib infusec his )ndividuql Amerisan stylu with that of 17th century Dutch genre Painting~ The wa"m ear$hen colors, the`disposition of |ight and shadowl the exceptiona| use of panel (Weir usually worked on canvas and the meticulous use of detail all contribute to the 17th century Dutch ambience. This painting represents a particelar mom5nt in wHich num%rous histories and traditions briefly converge in the figure of St. N&cholas.fThroughaits speiificity@of symbl and 0its croSs-cultual appeAl, WeirWs " San$a ClausP" becomUs unive"sal andPeternalN. ROBERT SPEAR DUNNING (1829-1905) ROSES, PEACHES A-D CHERR-ES sigEed R.S.N" Dunning " and dated 1891 on the reverse - - oil on canvas 13 x 8 5/8 in. (33 x 22 cm.) PROVENANCE JWatson Vamily ECtate, FQll River, Massachusetts.
NIAGARA FALLS signed " R W Weir " and dated 5*, l.r. - - oil on canvas 50 1/2 x 38 in. (128.3 x 96.5 cm.) EXHIBITED Buffalo, Albright Knox Gallery, " Three Centuries of Niagara Falls, " May-Sept. 1964, p. 35, no. 56 Yonkers, Hudson River Museum, " 19th Century American Paintings from Private Collections, " Sept.-Nov. 1974, no. 37 West Point, Cadet Fine Arts Forum, " Robert Walter Weir, " 1976. p. 74, no. 67, illus. Since its discovery in 1678 by Robert La Salle, Niagara has remained a source of immense popular appeal and individual artistic inspiration. To the nineteenth century artist, it represented the ultimate romantic symbol of the "New World" and provided an ideal arena in which to describe the glory of the American landscape. Between 1830 and 1860, a number of important paintings of Niagara Falls were executed, suggesting the title "The Golden Age of Niagara" for this period. Robert Weir's interpretation of the site dates to the same period as Frederick Church's masterwork, now in the Collection of the National Museum of American Art. Like Church, Weir has employed certain traditional motifs, such as the rainbow which came to symbolize hope. Weir also presents a thoughtful interpretation of this subject which sets the work apart from the hundreds of other nineteenth century views of the Falls. Weir sought to present his subject in a manner which excites and provokes the viewer. By almost eliminating the conventional use of foreground, the viewer is literally suspended as he confronts the force of the Falls. The psychological impact of this compositional twist was not lost on Weir, who was cleverly suggesting that the power of nature is stronger than the power of mortals.
