965

William Henry Buck
(Norwegian/Louisiana, 1840-1888)

"Louisiana Bayou Settlement with Cattle, Probably Bayou Teche, Oaklawn Plantation, now Oaklawn Manor, Franklin, Louisiana", 1878

oil on canvas laid on board with stretcher supports
signed and dated lower right.
Framed.
18-1/4" x 30"

Provenance: Private collection, New Orleans, Louisiana.

Notes: On the Louisiana live oak…
"All alone stood it and the moss hung down from the branches,
Without any contemplation it grew there uttering joyous leaves of dark green"
--Walt Whitman

According to the "Art Notes" column of the Times-Picayune and the Daily Democrat reviews from 1877-1878, William Henry Buck was an upcoming landscape artist, regularly exhibiting landscapes of Bayou Teche and the Atchafalaya River at W. E. Seebold's gallery on Canal Street in New Orleans. Critics often compared his handling of the live oak to Walt Whitman's poetic metaphor of it for the sublime - for spiritual contemplation on the nature of isolation, and the art columnist aptly portended that through Buck's deft handling of majestic oaks "he is perfecting his manner of tropical scenes…that he will win a lasting reputation we have no doubt." Two of the reviews locate his paintings of these environs at Oak Lawn Plantation (now Oaklawn Manor, Franklin, Louisiana), while another two describe the plantation geography through the position of the Bayou and River in proximity to Grand Lake. According to a lengthy 1888 real estate advertisement, the plantation "is situated on both sides of Bayou Teche, an affluent [sic] of Atchafalaya river, and has a frontage of three miles on Grand Lake"; the property is on the Morgan's Louisiana/Texas Railway with a direct steamboat line from New Orleans (the Southern Pacific-Oak Lawn) "that lands at its very doors." The advertisement further states that Oak Lawn is "one of the most widely known and extensive plantations in Louisiana" with the "most superb private park in the United States…aided by art." As indicated by the plantation name, the live oaks are its arboreal marvel: "…The smaller growth, in its wealth of coloring contrasted with countless magnificent live oaks, many of the branches measuring 150 feet…, present a picture never to be forgotten, as nowhere else can it be seen."

As the art reviews suggest, the young Buck was clearly taken with the scenery and the ease with which the Plantation could be accessed by rail and boat, and by all accounts, he frequented the area between the fall of 1877 and the summer of 1878, painting the immense oaks along the banks of Bayou Teche several times. Another landscape of the Bayou exhibited at Seebold's in the summer of 1878, the same year this painting was executed, bears notable compositional similarity, as does another painting of the Bayou, sold in these rooms on January 20, 2001, as lot 1125. All three exude the finest of Buck's style - the majestic oaks (framed against hazy golden skies) are the centerpiece of the painting. Ethereally lit from behind, they dwarf terrains with cattle bisected by bayous in a harmony of tertiary blues and green.

References: "Art Notes". Times-Picayune. September 29, 1877. p. 4; Ibid. July 24, 1878. p. 2; Ibid. November 19, 1877. p. 2; "Beautiful Oak Lawn". Times-Picayune. February 4, 1888. p. 4; "W. E. Seebold." Daily Democrat. November 24, 1878. p. 7; Pennington, Estill Curtis. Downriver: Currents of Style in Louisiana Painting, 1800-1950. Gretna: Pelican Publishing, 1991. pp. 84-85.


  • Condition: **The painting exhibits multiple campaigns of restoration, including auxiliary supports and inpainting and over-varnishing. The absence of pigment texture and canvas weft suggests that the painting was hand-ironed when the auxiliary supports were added. The sky is inpainted, the edges are inpainted, and there are scattered areas of inpainting, most of which appear in the lower left quadrant. There is an ~2" x 2" area of heavy blocking varnish, which effaces (under UV light) most of the signature. Under white light there are some variations in the red pigment in the signature. There are two small losses (flaking) to the upper left and lower right corners, and some light abrading to edges. Craquelure is present throughout, and the painting exhibits light buckling along the edges of the millboard support - which are to be expected with age and medium.


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October 15, 2017 10:00 AM CDT
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