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John William Waterhouse

United Kingdom (1849 -  1917 ) Wikipedia® : John William Waterhouse
WATERHOUSE John William Miss Betty Pollock

Christie's /Dec 16, 2015
137,741.05 - 206,611.58
151,727.55

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Artworks in Arcadja
117

Some works of John William Waterhouse

Extracted between 117 works in the catalog of Arcadja
John William Waterhouse - Study For Circe Invidiosa

John William Waterhouse - Study For Circe Invidiosa

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Lot number: 1
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John William Waterhouse, R.A., R.I. 1849-1917 STUDY FOR CIRCE INVIDIOSA charcoal and pencil 24 by 22cm., 9½ by 8½in. Read Condition Report Read Condition Report Register or Log-in to view condition report Or Saleroom Notice Provenance The artist's widow, Mrs Esther Waterhouse, by whom sold Christie's, 23 July 1926, 'The Remaining works of the Late J.W. Waterhouse, Esq., R.A.', part of lot 8 (with 20 other drawings), bought by Dr James Nicoll by whom gifted to the father of the present owner Catalogue Note This is a study for the head of the enchantress Circe in Waterhouse's painting of 1892 Circe Invidiosa (Art Gallery of South Australia, Adelaide), in which she is pouring a huge bowl of lurid green poison into the sea to transform her love-rival Scylla into a hideous monster.This drawing and the following two studies by Leighton and Waterhouse were in the collection of Dr James Nicoll, medical superintendent of the Fountain Hospital in Tooting. His obituary stated that ‘his principal interests were his collections of paintings and porcelain. He bought extensively and made a hobby of tracing the history of his best pieces, seeking documents authenticating each article.’’’’’’’’ (British Medical Journal, 7 February 1959) Fig. 1 John William Waterhouse, Circe Invidiosa See MoreSee Less Suggested Lots JUMP TO LOT Victorian, Pre-Raphaelite & British Impressionist Art Lot No. Invalid Now Victorian, Pre-Raphaelite & British Impressionist Art 14 July 2016 | 2:00 PM BSTLondon Buy Catalogue Contact Info Contact Info Simon Toll Director
John William Waterhouse - Study For The Figure Of Echo In Echo And Narcissus

John William Waterhouse - Study For The Figure Of Echo In Echo And Narcissus

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Lot number: 104
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John William Waterhouse, R.A. (1849-1917) Study for the figure of Echo in 'Echo and Narcissus' inscribed 'Echo & Narcissus' (lower left) black chalk on blue-grey paper 31 ¼ x 18 1/8 in. (79.4 x 46 cm.) PROPERTY OF A GENTLEMAN The present drawing is a study for the figure of Echo, at the same scale as she is in the oil painting (Walker Art Gallery, Liverpool, fig. 1). Waterhouse rarely made full-scale studies for his paintings in this way, more often using small sketchbooks to formulate ideas and poses, before working directly onto the canvas. As such the importance of the painting is evident in the production of the study. Using the same technique employed by Burne-Jones, he has drawn his model nude, in order to understand the movement and tensions of her body in the pose, before adding the drapery later. The hands and feet are left unrealised, waiting for their setting in order to take shape. The strong, sweeping lines have a sinuous fluidity which captures the elegance and poise of the heartbroken nymph. Whilst the myth of Narcissus is hugely well-known and has been frequently represented by artists throughout the ages, the related story of Echo is a more unusual subject. The myth of Narcissus has been told for at least two thousand years, whilst Echo first appears in Ovid’’’’’’’’s Metamorphoses, in which she is the catalyst for Narcissus’’’’’’’’s fate. Seeing him walking in the woods one day, she fell in love and tried to embrace him. Narcissus pushed her away, leaving her heartbroken, and she faded away until nothing but an echoing sound remained. Nemesis, the goddess of revenge, learnt of this and decided to punish Narcissus, luring him to a pool where he saw his own reflection and, not realising it was only an image, fell in love with it. Eventually realising the futility of this, he committed suicide. Waterhouse, although twenty years younger than the founding members of the Pre-Raphaelite Brotherhood, became increasingly influenced by their work throughout his career, both stylistically and in terms of subject matter, and made his first notable foray into Pre-Raphaelitism with his 1888 The Lady of Shalott (Tate Britain). It is this later style, rather than his early classicism, for which he is best remembered. The Times in his obituary (12 February 1917) described his work as ‘pre-Raphaelite pictures in a more modern manner’’’’’’’’, and he was seen to take up the mantle of Edward Burne-Jones in his retelling of ancient stories. Perhaps best-known for his Tennysonian scenes, episodes from the Metamorphoses in fact account for a greater number of his works. Echo and Narcissus was Waterhouse’’’’’’’’s major work in the 1903 Academy Exhibition, and was critically well-received: The Studio commented that ‘Mr Waterhouse, indeed, has not often before touched so high a level, admirable artist as he always is’’’’’’’’. Waterhouse brilliantly captures the intricacies of the story within a single moment – Echo and Narcissus separated by the pool, him reaching futilely towards his reflection which he cannot touch, whilst she gazes longingly across at him, unable to reach him.
John William Waterhouse - Miranda

John William Waterhouse - Miranda

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Lot number: 12
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John William Waterhouse, R.A., R.I. 1849-1917 MIRANDA signed l.r.: JW.WATERHOUSE oil on canvas 76 by 101.5cm., 30 by 40in. Provenance Private collection, Scotland; Bonham's, 4 November 2004, lot 199, where purchased by the present owner Exhibited Royal Academy, 1875, no.76; Groninger Museum, Royal Academy, London, Montreal Museum of Fine Arts, J.W. Waterhouse - The Modern Pre-Raphaelite, 2009-2010, no.3 Literature J.A. Blaikie, 'J.W. Waterhouse, A.R.A.', In Magazine of Art, 1886, p.3; Anthony Hobson, The Art and Life of J W Waterhouse RA, 1980, illustrated p.29, pl.18 (transposed), cat.no.16; Anthony Hobson, J.W.Waterhouse, 1989, p.20; Peter Trippi, J.W.Waterhouse, 2002, pp.32-33 Catalogue Note 'In a foreground of sea-shore Miranda, lightly draped, is seated on a rock, watching with clasped hands and partly averted face the brave ship tossing in the offing; the blue sea breaks unheeded on the sand, her eyes being wholly absorbed by the vessel, which is yet to suffer through the magic of Prospero...satisfying potency of colour and a finely graduated brilliance of illumination give admirable force and relief to the figure.' (J.A. Blaikie, 'J.W. Waterhouse, A.R.A.', In Magazine of Art, 1886, p.3 The plays of Shakespeare were among the greatest sources of inspiration for John William Waterhouse, whose depictions of Ophelia are world famous. The present picture was Waterhouse’’’’s first depiction of a heroine from Shakespeare and only his second exhibit at the Royal Academy. The painting was hailed as a major rediscovery in 2004 when it was found in a private collection in Scotland, having been lost for 131 years. It was a known painting and reproduced in Anthony Hobson’’’’s seminal book on the artist published in 1989 but the image was reversed and in black and white and conveyed little of the quiet beauty of the picture. Miranda depicts a scene of the artist's own invention which precedes the opening of Shakespeare's play. On a sandy beach, strewn with seashells and seaweed Miranda, the fifteen-year-old daughter of Prospero, sits alone and gazes out over the waves, her eyes fixed on the far horizon where the sails of a ship can be seen. Most artists painted Miranda witnessing the destruction of the ship carrying her eventual lover Ferdinand. Much later in his life this was the scene that Waterhouse himself painted on two occasions. However as a young man, he chose to depict a more unusual and more touching subject of the pensive Miranda awaiting the ship on the island to which she has been exiled for twelve years, as the ominous storm-clouds gather. It is curious that Miranda, a maiden from a play written in 1611, is depicted wearing a toga and bandeaux and perhaps the picture is closer to depictions of the classical heroine Ariadne, although she does not seem distraught that Theseus has callously abandoned her. Ariadne was certainly a subject that Waterhouse painted later in his career (in 1898, private collection) but he used it as an opportunity to depict a tantalisingly vulnerable woman sleeping on a terrace above the sea. The costume in Miranda can be explained by an examination of Waterhouse's early style, which in the 1870s was almost entirely Classical in spirit. Pictures like In the Peristyle (Touchstones Rochdale Art Gallery) which he had exhibited at the Dudley Gallery in 1874, reflect the influence of the pervading fashion for Neo-Classicism as a girl feeds doves in a setting or marble and flowers. Sleep and his Half-brother Death (private collection) had been Waterhouse’’’’s first exhibit at the Royal Academy in 1874 and depicted a Pompeian scene loosely depicting Thanatos and Hypnos. This was followed by a scene of Greco-Roman lovers entitled Whispered Words of 1875 (private collection) which was bought by the great engineer Sir John Aird who was famous for building the Aswan Dam and moving the Crystal Palace to Sydenham. Whispered Words accompanied Miranda at the Royal Academy exhibition and it was suggested by Anthony Hobson that they both depict the same model, thought to have been Waterhouse’’’’s sister Jessie, whose name appears in a poem that accompanied Whispered Words. The unifying thread between Sleep and his Half Brother Death, Whispered Words and Miranda is the highly personal interpretation of the subjects which suggested scenes that the artist interpreted in a poetic way rather than slavishly rendered. This was described well in 1886 by James A. Blaikie who interviewed Waterhouse and described Miranda as ‘... in no sense a dramatic illustration of Shakespeare, but ... rather, for all its pictorial effect, a purely academic study of the figure, set forth in a spacious aerial medium of broad, soft evening light suffusing sea and sky. In a foreground of sea-shore Miranda, lightly draped, is seated on a rock, watching with clasped hands and partly averted face the brave ship tossing in the offing; the blue sea breaks unheeded on the sand, her eyes being wholly absorbed by the vessel, which is yet to suffer through the magic of Prospero.’’’’ Hobson speculated that the original title of the painting was Waiting, 'a title suggested by the writing on the wooden support in Mrs Somerville’’’’s photograph of the painting'. However, the inscription does not appear to be in Waterhouse's handwriting and was probably written by someone who had not known the artist when this picture was painted. It is interesting that one of Waterhouse's last paintings depicted Miranda again and is typical of the artist who returned time and time again to favourite subjects to be re-interpreted. The picture entitled Miranda - The Tempest (private collection) which was exhibited at the Royal Academy in 1917, depicts the ship-wreck scene. It is a very different painting, full of anguish, tempestuous weather and high drama and in stark contrast to the calm restraint of the 1875 picture. The picture exhibited in 1917 and a further smaller version exhibited posthumously by Waterhouse's widow perhaps convey the turmoil of WWI, the heroine on the shore powerless to help those who are in peril perhaps has echoes of sentiments felt by the women of Britain at this time.
John William Waterhouse - Miss Betty Pollock

John William Waterhouse - Miss Betty Pollock

Original 1911
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Lot number: 144
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John William Waterhouse, R.A. (1849-1917) Miss Betty Pollock signed and dated 'J.W. Waterhouse 1911' (lower right) oil on canvas 36 x 28 ¼ in. (91.5 x 72 cm.) The sitter's father, Sir Adrian Pollock, and by descent. A. Hobson, The Art and Life of J.W. Waterhouse, London, 1980, p. 81, pl. 67 and p. 191, no. 181. A. Noakes, Waterhouse, Oxford, 2004, p. 176. London, Royal Academy, 1912, no. 185. Liverpool, Liverpool Academy, Autumn Exhibition, 1912, no. 956 (lent by Sir Adrian Pollock).
John William Waterhouse - Juliet

John William Waterhouse - Juliet

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Lot number: 15
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John William Waterhouse, R.A. (1849-1917) Juliet signed 'J.W. Waterhouse' (lower right) oil on canvas 28 3/8 x 19 in. (72 x 48 cm.). I confirm that I have read this Important Notice and agree to its terms. Sir Frederick Fry (†); Christie's, London, 18 June 1943, lot 14, as 'The Blue Necklace' (17 gns to Chubb). Mr J.F. Haworth, and by descent to his daughter, Mary, Lady Hayter. Anonymous sale [Lady Hayter]; Sotheby's, London, 21 October 1970, lot 58, as 'The Blue Necklace'. 'Art in 1898', The Studio, p. 123. R.E.D. Sketchley, 'The Art of J W Waterhouse, R.A.', Art Journal, December 1909, illustrated p. 25. A. Hobson, The Art and Life of John William Waterhouse RA 1849-1917, London, 1980, p. 104, pl. 99, no. 124. A. Hobson, J.W. Waterhouse, Oxford, 1989, pp. 64-5, no. 44. N. Minato, J.W. Waterhouse, Tokyo, 1994, illustrated in colour. London, New Gallery, Summer Exhibition, 1898. Winchester, 1903.
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