William Henry Margetson

United Kingdom (18611940 ) - Artworks
MARGETSON William Henry On The Sands

Sotheby's /May 17, 2011
90,176.42 - 135,264.64
Not Sold

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Artworks in Arcadja
50

Some works of William Henry Margetson

Extracted between 50 works in the catalog of Arcadja
William Henry Margetson - Oh Mistress Mine, Where Are You Roaming?

William Henry Margetson - Oh Mistress Mine, Where Are You Roaming?

Original
Estimate:

Price:

Net Price
Lot number: 263
Other WORKS AT AUCTION
Description:
William Henry Margetson (British, 1861-1940) 'Oh Mistress Mine, Where Are You Roaming?' signed 'W H Margetson' and inscribed (lower right) watercolour, unframed 27 x 17cm (10 5/8 x 6 11/16in). together with other 19th and 20th century watercolours etc by Mitritch, Linley Sambourne, Van Anrooy, P.H. Calderon, J. Brett, G.A. Storey, Rackham(?) etc, all unframed, (approx 17)
William Henry Margetson - The Angel Appearing To The Shepherds

William Henry Margetson - The Angel Appearing To The Shepherds

Original 1906
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Price:

Gross Price
Lot number: 98
Other WORKS AT AUCTION
Description:
Lot Description William Henry Margetson (1861-1940) The angel appearing to the shepherds signed and dated 'W.H. MARGETSON. 1906.' (lower left) oil on panel 19¾ x 11 in. (50.2 x 28 cm.) Literature H. Blackburn (ed.) Royal Academy Notes, London, 1906, p. 29. Exhibited London, Royal Academy, 1906, no. 676.
William Henry Margetson - Portrait Of Napoleon Bonaparte

William Henry Margetson - Portrait Of Napoleon Bonaparte

Original
Estimate:

Price: Not disclosed
Lot number: 69
Other WORKS AT AUCTION
Description:
Margetson, W. (European School, 20th Century) PORTRAIT OF NAPOLEON BONAPARTE signed lower left oil on porcelain 15" x 11" — 38.1 x 27.9 cm. A well executed portrait of Napoleon Bonaparte, perhaps in the style of the British painter, William Henry Margetson. Estimate $5,000/6,000
William Henry Margetson - On The Sands

William Henry Margetson - On The Sands

Original 1919
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Price:

Lot number: 63
Other WORKS AT AUCTION
Description:
LOT 63 PROPERTY OF A GENTLEMAN WILLIAM HENRY MARGETSON 1861-1940 ON THE SANDS signed and dated l.r.: W. H. MARGETSON 1900 oil on canvas, contained in a gilt exhibition frame 80,000—120,000 GBP measurements 86.5 by 112cm.; 34 by 44in. Description signed and dated l.r.: W. H. MARGETSON 1900 oil on canvas, contained in a gilt exhibition frame PROVENANCE Phillips, 14 November 1989, lot 12;Private collection CATALOGUE NOTE On a vast and deserted beach a beautiful young woman stands onthe shore and watches the rising sun over the sea. She is dressedin a gown typical of the Arts-and-Crafts movement fastenend at thefront with a large decorative brooch. This romantic image of quietreflection is a particularly elegant painting by Margetson, a largeand harmonius picture that captures the spirit of optimism at theturn of the twentieth century. Painted in 1900 it is an example ofthe subjects chosen that year by various artists that depict thesubject of rejuvenation as the nineteenth century passed intohistory and a new century dawned. Herbert Draper painted The Gatesof Dawn (Draper's Hall, London) for the Royal Academy exhibition of1900, depicting the goddess Eos heralding a new age at her shiningdoors, whilst Henry la Thangue painted a rustic field workerpicking mushrooms in a picture entitled Dawn (offered in theserooms, 10 March 2005, lot 257).Margetson was one of the late nineteenth century artists whoexperienced a traditional Victorian art training at the SouthKensington and Royal Academy schools and combined a sound knowledgeof anatomical drawing with a rich and poetic style of paintingbased upon continental art. Thus his paintings have a fresh andmodern colouring and subject-matter which is similar to French andBelgian artists and the contemporary painters of Scandinavia. Hispaintings epitomise the style of painting and design that TheStudio magazine particularly favoured at this time.In 1900 Margetson also painted Wild Flowers (sold in these rooms,12 March 1997, lot 193) which probably depicts the same model as Onthe Sands. Both pictures contrast the beauty of women with naturelike The Sea Hath its Pearls (Art Gallery of South Australia,Sydney) of 1897. Although Margetson lived inland at Wallingford inBerkshire, he painted several other pictures of women standingbeside the sea, such as The Sea Hath its Pearls, Wonders of theShore of 1899 and Who Strays into Love's Domain? of 1904 whichdepicts a group of women confronting a child-Cupid on theshore.
William Henry Margetson - A New Day

William Henry Margetson - A New Day

Original 1930
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Net Price
Lot number: 176
Other WORKS AT AUCTION
Description:
WILLIAM HENRY MARGETSON (1861-1940) - A NEW DAY -
Mis: 30 by 20 in. 76 by 51 cm
signed W - H - MARGETSON and dated 30 (lower left) and inscribed with the artist's address on the remnants of an old label attached to the stretcher oil on canvas

PROVENANCE
Sale: Sotheby's, London, March 10, 2005, lot 262, illustrated Acquired at the above sale by the present owner

CATALOGUE NOTE
A New Day is a particularly elegant painting by Margetson, who specialised in sophisticated images of beautiful young women dressed in fine fabrics and residing in sumptuous interiors. The title is suggestive of rebirth and of optimism and in many ways A New Day relates to the pictures that were painted in the years immediately preceding the turn of the century, when artists painted the hope of the future in allegorical terms. Often the subjects were taken from mythology, such as Eos the Dawn Goddess and her lover Tithonos. The theme that linked these varied images at the Royal Academy exhibitions of the 1890s and early 1900s, was the idea of sun worship suggesting a new and more hopeful age. Whether artists depicted the classical Persephone or a modern day woman gazing out of a window at a new dawn, the idea of rejuvenation and rebirth is paramount. Margetson's vision of the theme of 'rebirth' shown in A New Day, is that of the Post-War period, after World War I had ravaged the people of Europe, leaving deep emotional scars. The artists of the 1930s sought to depict a new and better epoch after the hardship of the war. Margetson, like many of his contemporaries, chose to work in an established style which had its roots in the Renaissance, to retrace a lost innocence and idealism. Far from old-fashioned, his colour schemes were always vibrant and his depictions of women were perceptive and glamorous.
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