John Joseph Hughes (BRITISH) 1827-1909 Antique Oil Painting of Conwy Castle 1854
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John Joseph Hughes (BRITISH) 1827-1909 Antique Oil Painting of Conwy Castle 1854:
$1975.00
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Size Of Canvas: 24\" x 36\"
Size With Frame: 32\" x 44\"
Beautiful and large genre scene and landscape of Conwy Castle in Wales, showing very detailed castle ruins by the well listed Victorian Era painter, John Joseph Hughes. Including a nicely done and detailed landscape in the distance showing a lake. A man with a horse cart is seen entering the castle. Figures also include a man on a horse and woman with a dog. Signed \"J. J. Hughes\" and \"1854\". Also signed and inscribed on the reverse of the canvas in the artists own hand \"The (?) Gate of Conway With The Castle and River Conway\" and \"J J Hughes 1854\". Interesting and old historical depiction of the castle showing what it looked like prior to later restorations to the crenellations at the top. Original unlined canvas with a very old and possibly original stretcher. We have placed this in a very substantial antique style frame (not old) which complements the painting well, and fitted new heavy duty hardware to ensure it stays safely on the wall and carries the weight of this large frame. The frame will travel very well in shipment without losses. The painting has a great old look to it with much character and is a decidedly very British subject. Substantial painting for the collector of Welsh scenes or castles.
Artist Bio:
John Joseph Hughes was a well known and documented Birmingham Victorian era landscape painter who painted extensively in Wales and the Lake District. He exhibited at the prestigious Royal Academy as well as The British Institute, The Royal Birmingham Society of Artists (360 works), The Royal Society of British Artists, and at various London galleries. His work can be found in the Birmingham Museum and Art Gallery, the Bury Art Gallery, Shrewsbury Museum, and Wolverhampton Art Gallery to name a few. He is listed in all the well know directories of British painters.
Condition Report:
Under UV light there is retouching mainly confined to the edges around the sky portion as well as to the right central portion of the sky. Two more recent touchups in the sky at the upper right corner. One small retouch in the lake. Some scattered bits of small paint loss approximately 1\" from the bottom edge lower right corner to the left of the signature (which is not affected) with associated small touchups, done well. Virtually the entire non sky area of the painting is free of touchups. All in all the total area of retouch less than 5% of the surface. Fine tight craquelure throughout with areas of varnish discoloration typical of a painting this old. Stretcher bar mark along the top edge but not distracting. Some old frame abrasion, mostly hidden under the frame and out of sight. A 2\" separation at the extreme edge of the canvas as it wraps around the stretcher and again well hidden under the frame, mentioned for accuracy. Upper right hand corner of canvas could benefit from a tightening (tap stretcher keys) which any restorer could do if desired. This painting could go directly on the wall as is, but it is also certainly a painting worthy of a light cleaning and revarnishing should you wish.
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Oftentimes our paintings will be housed in an antique plaster \"gesso\" frame that may be 100 or more years old. Due to the nature of old and dry gesso, some pieces may fall off during transport, no matter how careful the shipment is prepared. This type of damage can usually be touched up to an acceptable degree. Regrettably we cannot be held responsible for losses to these types of frames. Newer frames are generally made with harder resin composite ornamentation and ship well.
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At MG Fine Art we specialize in what we love, namely Victorian era to the early 20th Century antique oil paintings that represent a pinnacle in draftsmanship, composition, skill level, and realistic depictions of landscapes, nature, people, animals, and architecture. We are particularly interested in British, Scottish, and American art and maintain a vast library of reference and research materials which relate to what we typically sell. Additionally we maintain contacts both here and in the United Kingdom and Europe at galleries, sale houses, museums, art societies, academies, and associations. Many of our pictures have been previously vetted by specialists from some of the worlds foremost sale houses. We only sell paintings which we own and stand behind and do not sell paintings on consignment.
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A word about condition and its importance:
We have a collector\'s mentality because we ARE collectors too! And part of that means that knowing the condition of a painting means everything. We don\'t like surprises when we buy pictures and we don\'t want our clients to be surprised either. Therefore we thoroughly examine each piece and its surface condition, including UV light examination, and report our findings. Some restorations to an antique painting such as re-lining or minor touchups are common and generally acceptable, but still must be disclosed. Large areas of over painting, discolorations, over cleaned or abraded surfaces, repaired tears, wide surface cracking, sharp stretcher bar marks, etc, should always be reported candidly in any condition report. Generally we do not deal in paintings which have had major restorations or repairs. If the quality of a particular image is so striking that it still warrants the purchase of a flawed painting, rest assured that its shortcomings will be freely disclosed to you in our description. While we are not professional art restorers we will answer your questions to the best of our abilities and welcome the opportunity to do so.
It\'s a sad fact that most online sellers of art do not offer reliable condition reports, if at all. If you\'ve ever felt like getting a condition report was like pulling teeth, or have been told by the seller that they do not own a UV light, you might want to consider buying your art elsewhere. Over used catchphrase words to describe art like \"great condition, ready to hang\" without supporting details, are mostly useless. The truth is that most 100+ yr. old oil paintings have some condition issues or have undergone various degrees of touching up or restoration, and sometimes, repairs. This is to be expected, but not disclosing these details to a prospective purchaser, is not honest or forthright, and not the way we want to do business. While we realize this may cost us some sales with buyers who would prefer to believe that the paintings they are buying are all flawless, we hope that the more seasoned collectors will appreciate the extra information we provide, and therefore be able to make a more informed buying decision. Our goal long term is to gain your trust and become your go to source for antique oil paintings.
To do that, we need to raise the bar and exceed your expectations. Using a UV light to examine the surface condition of a painting is a useful but not totally foolproof method of seeing touchups or over painting, repairs, and filled areas of a canvas, to name a few. It is very effective in revealing newer touchups. Older touchups, or touchups under certain thick varnishes may not always fluoresce. An experienced art restorer can sometimes detect these repairs by subtle changes in surface texture or by seeing colors which do not match the original palette, even when they are not fluorescing. We have found that sometimes a varnish scuff will fluoresce even when it has not been touched up. When considering important and very valuable paintings it is always advisable to seek the assistance of an art restorer before buying. If you are going to collect art you should get to know a qualified restorer, which can be found via the AIC website (The American Institute for Conservation of Historic and Artistic Works). As this is not always practical or economically feasible before buying a painting online, the purchaser partly relies on the seller to provide good information in line with his or her abilities. We are not professional art restorers. We do endeavor to provide condition reports to the best of our abilities. Lastly, if we describe a situation in which we detect some touchups under UV light and say that they are not visible to the naked eye (under regular room light) we are not referring to say, a professional art restorer with 30 yrs. experience examining the painting closely or under magnification, but rather a collector or visitor to your home seeing the picture on the wall at viewing distance. Many touchups are done by professionals who are very good at their jobs and the restorations are not detectable without looking with a UV light. The fact is, many if not most; older paintings in museums have had some work done to them over the years. Most prior owners of art wouldn\'t have incurred expensive restoration costs on a painting of little value. While it is okay to buy an image you love that has some condition issues, we want you to know about any issues we see because, 1) you have a right to know, and 2) condition does impact value.
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John Joseph Hughes (BRITISH) 1827-1909 Antique Oil Painting of Conwy Castle 1854:
$1975.00