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Frederick Hollyer

(18371933 ) - Photographies
HOLLYER Frederick Fighting Cats Restrained By Two Naked Children In An Italianate Landscape

Dreweatts & Bloomsbury Auctions /Jul 24, 2014
251.07 - 376.60
Not Sold

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Along with Frederick Hollyer, our clients also searched for the following authors:
Walker Evans, Man Ray, Michael Cooper, Henry Herschel Hay Cameron, Edward Sherrif Curtis, Herbert Schürmann, Philippe Halsman
Artworks in Arcadja
24

Some works of Frederick Hollyer

Extracted between 24 works in the catalog of Arcadja
Frederick Hollyer - Portrait Of Keats

Frederick Hollyer - Portrait Of Keats

Original
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Lot number: 186
Other WORKS AT AUCTION
Description:
KEATS (JOHN) Portrait of Keats by Frederick Hollyer after Joseph Severn, hand-finished platinotype print, laid down and tipped-in on a window mount; sold with with the backing paper from the original frame, with printed label reading 'Colour Print by Fredk. Hollyer/ 9 Pembroke Square, Kensington, W.', and completed in ink "Keats/ Severn/ No. 12. Fred Hollyer" (inscription faded), also with label of Foster Brothers, 4 Park Sq., Boston and a facsimile of a manuscript label by Walter Severn, 226 x 173mm., [c.1906] Footnotes AN UNRECORDED HOLLYER PORTRAIT OF KEATS, FROM A LOST SEVERN OIL PAINTING. "A series of colored reproductions of the Old Masters by a photo-graphic process without screens on excellent paper. These prints surpass the Arundel Society chromo-lithographs in softness of color and accuracy of representation... The series may be seen at Foster Brothers, 4 Park Sq., Boston" (Etheldred Abbot, List of photograph dealers, with index by countries, and descriptive notes on collections of photographs in some Massachusetts libraries and museums , 1907). Hollyer's photographic print appears to be taken from the last and only full-size portrait of Keats painted by Severn, in 1877. That oil was sold by Vincent Eyre to John Field, an American friend of Severn. It was reproduced on the title-page of William Sharp's Life of Joseph Severn (1892), and illustrated in Donald Parsons's Portraits of Keats (1954), by which time its whereabouts was unknown. Hollyer's print differs from these in that the neckcloth has been coloured blue. Provenance: Foster Brothers, Boston, label; George C. Seybolt (1915-1993), President of the Boston Museum of Fine Arts and collector of portraits; his widow Hortense Kelley Seybolt; and then via an institution to the current owner.
Frederick Hollyer - Crudelitas And Saevitia Leading The Faire Dame

Frederick Hollyer - Crudelitas And Saevitia Leading The Faire Dame

Original
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Lot number: 399
Other WORKS AT AUCTION
Description:
Frederick Hollyer (1838-1933) Crudelitas and Saevitia leading the Faire Dame.Platinotype, or platinum print 17.5 x 34.5cm (1034 x 131/2in) After the pencil study of three female heads by Sir Edward Burne-Jones, for a painting on the theme of The Vision of Britomart in the Castle of Busirane, taken from Spenser's 'Faery Queen'.
Frederick Hollyer - The Garden Of Idleness

Frederick Hollyer - The Garden Of Idleness

Original
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Lot number: 377
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Description:
Frederick Hollyer (1838-1933) The Garden of Idleness, Courtesie and Fraunchise, Platinum print, After the drawing by Sir Edward Coley Burne-Jones Circa 1874 395 x 390mm. (15 1/2 x 15 3/8 in) Frederick Hollyer was from a family of engravers, but developed an interest in photography in the 1860s. His preferred process was the 'platinotype', or platinum print, for its rich tonal range. He collaborated closely with several artists in the Pre-Raphaelite Brotherhood, most notably Burne-Jones, Frederick Lord Leighton, and George Frederic Watts, and was considered to have been as important in promoting their work visually as Ruskin had been in writing, even prompting the artists themselves to re-evaluate their work, thereby recording early states that would otherwise be unknown to us.
Frederick Hollyer - Fighting Cats Restrained By Two Naked Children In An Italianate Landscape

Frederick Hollyer - Fighting Cats Restrained By Two Naked Children In An Italianate Landscape

Original 1889
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Lot number: 257
Other WORKS AT AUCTION
Description:
Lot 257: Frederick Hollyer (1838-1933) - Fighting cats restrained by two naked children in an Italianate landscape, Description: platinotype, or platinum print, after a charcoal drawing by Sir Edward Coley Burne-Jones, the original inscribed lower left EB-J: to Q: 1889: , on contemporary blue card support bearing Hollyer's copyright inkstamp verso, 245 x 330mm (9 5/8 x 13 in). Frederick Hollyer was from a family of engravers, but developed an interest in photography in the 1860s. His preferred process was the 'platinotype', or platinum print, for the rich tonal range it could convey. He collaborated closely with several artists associated with the Pre-Raphaelite Brotherhood, most notably Burne-Jones, Frederick Lord Leighton, and George Frederic Watts, and was considered to have been as important in promoting their work visually as Ruskin had been through his writing, even prompting the artists themselves to re-evaluate a work, and thereby recording early states that would otherwise be unknown to us.
Frederick Hollyer - Pre-raphaelite Prints

Frederick Hollyer - Pre-raphaelite Prints

Original
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Lot number: 179
Other WORKS AT AUCTION
Description:
179. Frederick Hollyer (1838-1933) A group of Pre-raphaelite prints after Burne-Jones's Perseus series, John Everett Millais's The Knight Errant, Harry Bates's Cupid and Psyche, and others, 8 platinotypes, 3 with studio stamps on verso, 2 with extensive early biblical verse inscriptions verso and at edges of recto, c.1880, v.s., 160 x 165mm. (6 1/4 x 6 1/2 in) to 280 x 200mm. (11 x 8 in), unframed (8) Frederick Hollyer was from a family of engravers, but developed an interest in photography in the 1860s. His preferred process was the 'platinotype', or platinum print, for the rich tonal range it could convey. He collaborated closely with several artists associated with the Pre-Raphaelite Brotherhood, most notably Frederick Lord Leighton, Edward Burne-Jones and George Frederic Watts, and was considered to have been as important in promoting their work visually as Ruskin had been through his writing, even prompting the artists themselves to re-evaluate a work, and thereby recording early states that would otherwise be unknown to us.
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