Louis Bosworth Hurt (1856–1929)

3,200.00

5” x 8 3/8” panel

Catalog Entry: Louis Bosworth Hurt (1856–1929)

“The Coast at Corrie, Arran”

Oil on Panel | 5” x 8 3/8” | 16” x 20” (Framed)

Signed L.B. Hurt (lower right); Inscribed by the artist verso: “The Coast at Corrie, Arran”

Provenance

Estate of Clifford “Young Cliff” Thompson (1950–2024), 209 Parkview Drive, Hamilton, ON.
By Descent: From his father, Ronald Thompson (1927–2010), Hamilton, Ontario, and his grandfather, Brigadier General Clifford Shaw Thompson, OBE, CD (1899–1983), 15th Surgeon General of Canada.
Archival History: This work has remained within the Thompson family for three generations. It was acquired directly from the walls of the Hamilton estate, representing its first appearance on the public market since its original acquisition.

The Work

A masterful, “jewel-like” example of Hurt’s en plein air coastal studies. While globally renowned for his expressive paintings of Highland cattle, Hurt’s topographic coastal views are highly prized by collectors for their atmospheric accuracy.

This specific work captures the village of Corrie on the Isle of Arran, precisely identified by the artist’s hand on the reverse. It depicts the rocky red sandstone shoreline and the village quay under a moody, “threatening” sky—a signature element of Hurt’s dramatic Victorian landscapes. The “1762” stock number on the reverse suggests it was part of a major gallery or exhibition inventory shortly after its creation.

The Artist

Louis Bosworth Hurt was a prolific English landscape artist and a student of George Turner. He exhibited thirteen times at the Royal Academy between 1881 and 1901. His work was famously admired by Queen Victoria, sparking a vogue for Scottish Highland and coastal scenes that continues today. Examples of his work are held in major public collections, including the Russell-Cotes Art Gallery and the Manchester Art Gallery.

Presentation

Housed in its original 19th-century British exhibition-style “swept” gesso-on-wood frame. The frame features ornate Rococo corners and a wide gilded liner, specifically designed to give a small, significant panel greater presence on a gallery wall. The frame remains in its original condition, bearing the “honest wear” and stable cracking consistent with its journey from the United Kingdom to Canada nearly a century ago.