John William Waterhouse

United Kingdom (18491917 ) - Artworks Wikipedia® - John William Waterhouse
WATERHOUSE John William An Eastern Interior With A Seated Girl

Christie's /Dec 12, 2013
84,205.46 - 120,293.51
Not Sold

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Artworks in Arcadja
97

Some works of John William Waterhouse

Extracted between 97 works in the catalog of Arcadja
John William Waterhouse - Study Of The Head Of A Young Man

John William Waterhouse - Study Of The Head Of A Young Man

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Lot number: 163
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Lot Description John William Waterhouse, R.A. (1849-1917) Study of the head of a young man, possibly for Narcissus oil on canvas 21 x 16 in. (53.4 x 40.7 cm.) Provenance Remaining Works of the late J.W. Waterhouse; Christie's, London, 23 July 1926. Anonymous sale; Sotheby's, London, 17 March 1999, lot 110. Literature P. Trippi, J.W. Waterhouse, London, 2002, pl.133, p.164. View Lot Notes >
John William Waterhouse - Day Dreams

John William Waterhouse - Day Dreams

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Lot number: 60
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Lot Description John William Waterhouse, R.A. (1849-1917) Day Dreams signed 'J. W. WATERHOUSE' (lower right) pencil and watercolour heightened with bodycolour on paper 17¾ x 10.3/8 in. (45.1 x 26.4 cm.) Literature Illustrated London News, 'The Dudley Gallery', 8 March 1879, p. 234. A. Hobson, The Art and Life of JW Waterhouse, RA, 1949-1917, London, 1980, p. 197, no. 325. Exhibited London, Dudley Gallery, 1879, no. 615 (£40). View Lot Notes >
John William Waterhouse - Fair Rosamund

John William Waterhouse - Fair Rosamund

Original 1916
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Lot number: 27
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We thank Peter Trippi for contributing to this catalogue entry. Provenance Probably, Burlington House, London, 1917 Collection of William Hasketh Lever, 1st Viscount Leverhulme Sale: Christie's, London, March 25, 1988, lot 124, illustrated Private Collection, United States (acquired at the above sale) Exhibited London, Royal Academy, 1917, no. 63 PROPERTY OF A NEW JERSEY PRIVATE COLLECTOR John William Waterhouse, R.A., R.I. BRITISH 1849-1917 FAIR ROSAMUND signed J.W. Waterhouse and dated 1916 (lower right); further signed and inscribed on a label on the reverse oil on canvas 38 by 28 1/2 in. 96.5 by 72.3 cm The following condition report was kindly provided by Simon Parkes Art Conservation, Inc.: This work is in beautiful condition. The paint layer is clean. The lining is carefully and appropriately applied. There is one thin crack beneath the chin of the figure which has a small restoration, but there are essentially no retouches to the painting. Waterhouse’s complex technique is beautifully preserved throughout the work, and the painting should be hung as is.
John William Waterhouse - An Eastern Interior With A Seated Girl

John William Waterhouse - An Eastern Interior With A Seated Girl

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Lot number: 63
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Sir John William Waterhouse, R.A. (1848-1917) An Eastern interior with a seated girl signed and dated 'JWWaterhouse/1886' (lower right) oil on board 10¼ x 7.1/8 in. (26 x 18 cm.) I confirm that I have read this Important Notice and agree to its terms. A gift from the artist to William Logsdail (1859-1944), and thence by descent. Anonymous sale; Bonhams, London, 22 April 2009, lot 140, where purchased by the present owner. Sydney, Art Gallery of New South Wales, Victorian Visions, 20 May-29 August 2010, no. 24. London, Leighton House, Victorian Visions, 26 April-23 September 2012, no. 10. Waterhouse did not often address Eastern subjects, but the few scenes he did depict are worth highlighting. In the early 1870s, he exhibited several pictures with titles such as The Slave, The Unwelcome Companion: A Street Scene in Cairo, and An Eastern Reminiscence. He became more closely associated with Greek and Roman antiquity, however, which is one reason why the 1884 unveiling of his sensational scene of ancient Hebrew superstition, Consulting the Oracle, drew so much attention and laid the groundwork for his election to the Royal Academy as an Associate member the following year. The present picture dates from 1886, a year after his election into British art's most exclusive club, and the same year as his The Magic Circle (which shows a black-haired, vaguely Eastern sorceress) was purchased for the nation through the prestigious Chantrey Bequest. That large painting demonstrated Waterhouse's openness to modern French methods, especially Jules Bastien-Lepage's broad brushwork and cool, silvery tones. Also depicting a dark-featured model, the present picture offers fascinating comparisons with an undated, unlocated oil of roughly the same size offered at Sotheby's, London on 26 November 1986 (lot 30). Eschewing narrative in favour of light, colour, and pattern, these scenes show the model smoking a cigarette in a green robe with pink-hued underclothes while sitting in a Moorish interior adorned with a mother-of-pearl inlaid table and exotic rug. The present picture is the more sultry of the two: hand planted impertinently on her hip, the model looks directly at us, charged with a restless energy that captivates us more than her dreamy cousin does. This moody aura of ambiguous possibilities led directly to Waterhouse's depiction of the similarly posed Cleopatra, which he developed as both a painting and Goupilgravure for The Graphic magazine's Gallery of Shakespeare's Heroines in 1887-88. The bravura brushwork here underscores the modern, continental aesthetic embraced in the 1880s by Waterhouse and the man to whom he gave this picture, his fellow English painter William Logsdail (1859-1944). In the 1880s, Waterhouse formed a close friendship with Logsdail, who had moved from his native Lincoln to Antwerp's famous academy (where Waterhouse's own father had once studied) to absorb the latest techniques. From 1878 to 1900, Waterhouse worked at north London's Primrose Hill Studios, where Logsdail also worked in 1882 and again in 1887-92. Logsdail posed Waterhouse and his wife, among other Primrose Hill friends, in several of his large, well-known scenes of London city life, and in his unpublished memoirs Logsdail remembered that the studios' denizens 'formed a happy family, in and out of each others [sic] studios during the day, and in the evening swapping stories over the cards and whisky or dining at 'The Bull and Bush' on Hampstead Heath.' The two men remained friends until at least 1913, when Waterhouse inscribed to Logsdail a volume of his brother-in-law's poetry. 1886 witnessed the establishment of the New English Art Club by younger British artists eager to exhibit paintings reflecting French themes and techniques. Although the Royal Academy is conventionally remembered as opposed to this trend, its president, Frederic Leighton, actually worked hard to enlist younger members who had adopted less extreme practices. Waterhouse was one of these, yet Logsdail-whom the critics praised just as frequently-was bypassed by the Academy for reasons that even he never fully understood. Logsdail and Waterhouse shared a passion for Venice, where the latter spent several summersin the 1880s, including that of 1886. Both men regularly depicted the characteristically striped dresses of Venetian women, the pink strokes of which peek out from under the green robe here. This feature may be one more reason Waterhouse offered the present picture to Logsdail as a gift. It certainly was not intended for exhibition, partly because of its truly bold technique, and partly because it must have been made quickly. In his infamously unorganized way, Waterhouse painted this scene on a board that was upside down; the label glued on its reverse (which shows it was purchased from one of his favourite art suppliers, Lechertier Barbe) is facing the wrong way. This picture, surely, was made 'on the fly' to test the artist's mettleand to please a friend who shared similar aesthetic impulses at an exciting moment in British art history. We are grateful to Peter Trippi for his help in preparing this catalogue entry.
John William Waterhouse - Vain Lamorna, A Study For Lamia

John William Waterhouse - Vain Lamorna, A Study For Lamia

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Lot number: 3
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Artist's sale, Christie's, 23 July 1926, lot 50 as Vain Lamorna to Mr Croal Thomson of Barbizon House, London; William Henry Henderson, 9 Princes Gardens, Westminster and West Woodhay House in Newbury, remaining with him until his death in 1931, when it probably passed to his grandson Johnny Henderson, by whom sold Christie's, 21 December 1950, lot 17 to 'Adam'; Christie's, 8 June 1951, lot 120 to 'M. Morris'; Private collection 3 John William Waterhouse, R.A., R.I. 1849-1917 VAIN LAMORNA, A STUDY FOR LAMIA inscribed on the stretcher: Vain Lamorina oil on canvas 55 by 74cm., 21¾ by 29in. Estimate 40,000 - 60,000 GBP Print STRUCTURE The canvas has been lined. There are some areas of craquelure, mainly to localised areas on her face and above her head and elsewhere. UNDER ULTRAVIOLET LIGHT Ultraviolet light reveals an opaque varnish. There appear to be two small spots of retouching, one in the figure's hair and the other in the figure's right eyebrow. There are also small areas of retouching to the lower edge probably to repair frame abrasions. FRAME Held in a gilt plaster frame.
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