George Price Boyce

Sotheby's, London, 30 January 1991, lot 287;
Fine Art Society, London, February 1991

The sheet is slightly bowed. Faint frame abrasion along right vertical edge and some discolouration; otherwise appears in good overall condition. Contained in black painted wooden frame under glass; unexamined out of frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. 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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Boyce loved the Thames and shared his enthusiasm for the river with the painter and art critic Frederic George Stephens when he was staying at Wallingford in 1867: ‘Do you know this reach of the Thames? It is very beautiful and characteristic.’ (letter, Bodleian Library, Oxford). Streatley Hill was a favourite location for Boyce and in 1865 he painted the same view but closer to the river, Streatley Hill and the Thames, Sunset (private collection). He travelled up and down the river on his boat, looking for locations to paint and the changing times of the day and the seasons offered innumerable subjects for his brush. In this delightful study of November light, the artist has captured the misty chill in the air with a clever use of reds and purples in the copses to suggest the fallen leaves on the ground between the trees. The Thames is almost invisible, denoted by the line of willows and by two barge-men on the extreme left who can be seen hauling a boat along from the bank using a long line. The narrow format creates a sweeping vista and emphasises the length of the river.

This watercolour was made in the same year that Boyce painted one of his most accomplished and beautiful watercolours, Streatley Mill at Sunset (private collection). He also painted a number of watercolours of Tulls Farm and other agricultural buildings in Streatley in 1859 (Ashmolean Museum, British Museum and private collections).