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James Collinson Auction Price Results

James Collinson (1825-1881)  Please Register/Login to access your Invaluable Alerts

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Lot 23: ColLINSON, JAMES (1825-1881)

Description: Study of an old lady Black & white chalks 12x11 inches (31x27 cm) signed.

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Lot 29: James Collinson (British 1825-1881) ODD OR EVEN Signed James

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Description: Collinson and dated 1860 (lr) Oil on canvas 15 x 18 inches 38.1 x 45.7 cm. Exhibited London, Royal Society of British Artists, 1861, No. 7 C.

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JAMES COLLINSON (1825-1881)

Lot 30: JAMES COLLINSON (1825-1881)

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Description: Before the Start: A Bay Racehorse held by his groom signed 'J. Collinson' (lower right) oil on board 20 x 27 in. (50.8 x 68.6 cm.).

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JAMES COLLINSON

Lot 35: JAMES COLLINSON

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Description: SHORT CHANGE signed and dated l.l.: J. Collinson/ 1858

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Lot 48: COLLINSON, James (1825-1881, British)

Description: Motherhood Oil Painting (8x10in).

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James Collinson (British, 1825-1881) 'Private and Confidential' 44 x 35.5cm. (in an oval mount)

Lot 59: James Collinson (British, 1825-1881) 'Private and Confidential' 44 x 35.5cm. (in an oval mount)

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Description: 'Private and Confidential' Titled on mountOil on canvas44 x 35.5cm. (in an oval mount)

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[ Oil Painting ]

Lot 61: [ Oil Painting ]

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Description: James Collinson (1825-1881) - "Comfort for the Angler" - Interior scene with a maid carrying a blanket and bowl of soup to her master's room, canvas 24ins x 20ins, signed, in modern gilt moulded frame with oval slip

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James Collinson (1825-1881)

Lot 66: James Collinson (1825-1881)

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Description: The Charity Boy's Debut signed and dated 'J. Collinson 1847' (lower left) oil on panel 22 3/4 x 29 3/4 in. (57.8 x 75.5 cm.) PROVENANCE David Solomon. with Richard Green, London. LITERATURE Athenaeum, 9 April 1881, p. 499. P.H. Bate, The English Pre-Raphaelite Painters, 1899, p. 53. H.C. M‚rillier, Dante Gabriel Rossetti, 1899, p. 19. W. Holman Hunt, Pre-Raphaelitism and the Pre-Raphaelite Brotherhood, 1905, p. 164. L. Cust, Dictionary of National Biography, 1908, vol. IV, p. 383. T. Bodkin, 'James Collinson', Apollo, May 1940, p. 128. C. Wood, Dictionary of British Art. Volume IV. Victorian Painters, vol. 1, London, 1978. p. 99. Valerie Cox, 'The Works of James Collinson: 1825-1881', The Review, vol. IV, no. 3, Autumn 1996, pp. 1, 8, & 13. EXHIBITION London, Royal Academy, 1847, no. 187. NOTES This picture is of considerable interest as it so impressed Rossetti that he invited Collinson to join the Pre-Raphaelite Brotherhood in 1848. In his reminiscences, Holman Hunt recalled the surprise of all, when Collinson, who as a student at the Royal Academy Schools had been overlooked by his peers, exhibited the picture at the Royal Academy exhibition of 1847. 'To represent the bashfulness of a poor boy appearing in the uniform of his parish was an honest idea, and although the invention did not go far beyond the initial conception, the pencilling was phenomenally painstaking throughout. It transpired that he had roused himself of late and entered the Roman Church, and had summoned effort to paint this picture. All the students blamed themselves for having ignored Collinson, but Rossetti went further, and declared that "Collinson was a born stunner", and at once struck up an intimate friendship with him. It will be seen that Rossetti had only wanted our enthusiasm to make him a great force in the battle. Accordingly we gave him permission to put the secret initials on his works, to attend our monthly meetings and to receive us in his turn.' (W. Holman Hunt, Pre-Raphaelitism and the Pre-Raphaelite Brotherhood, op. cit. ) Collinson hence became one of the founder members of the Pre-Raphaelite Brotherhood. Between 1849-1850 he was briefly engaged to Christina Rossetti, but in 1851 he resigned from the Brotherhood and retired to a monastery. Although he returned to painting in 1854, he principally painted small subjects of a domestic and humorous character, leaving this picture to be considered one of his finest works.

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JAMES COLLINSON

Lot 75: JAMES COLLINSON

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Description: SIGNED AND DATED (MAKER'S MARKS)signed J. Collinson and dated 1855 (on trunk, lower left); also inscribed on a label attached to the reverse: No. 2/ Bleeding a Freshman/ Price 88gs./ 11 Queen's Road West/ Chelsea

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 James Collinson , 1825-1881 the writing lesson oil on panel

Lot 88: James Collinson , 1825-1881 the writing lesson oil on panel

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Description: signed and dated l.l.: J Collinson/1855 oil on panel

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James Collinson (British, 1825-1881) Mother and child

Lot 89: James Collinson (British, 1825-1881) Mother and child

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Description: Mother and child signed 'J Collinson' (lower right)oil on canvas25.5 x 20.5cm (10 1/16 x 8 1/16in).

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James Collinson (1825-1881)

Lot 97: James Collinson (1825-1881)

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Description: To Let oil on canvas, painted oval 241/4 x 181/2 in. (51.5 x 47 cm.) PROVENANCE Professor Thomas Bodkin; Sotheby's, London, 11 November 1959, lot 98. with The Fine Art Society, London, from whom acquired by the present owner in 1971. LITERATURE Art Journal, 1857, p. 167. T. Bodkin, 'James Collinson', Apollo, May 1940, pp. 130, 132-133, illus. p. 130, pl. III. W. E. Fredeman, Pre-Raphaelitism: A Biblio-critical Study, Cambridge, Massachusetts, 1965, p. 132. M. A. Findlay, 'Forbes Saves the Queen', Arts Magazine, February 1973, illus. p. 29. P. Byrde, Nineteenth Century Fashion, London, 1992, p. 55, pl. 36. EXHIBITION London, Royal Academy, 1857, no. 102. Birmingham, City Museum and Art Gallery, 1919. Dublin, Municipal Gallery of Modern Art, 1920. Birmingham, City Museum of Art Gallery, Victorian Exhibition, 1937, no. 98. London, Leicester Galleries, Exhibition of Victorian Life, 1937, no. 98. Birmingham, City Museum and Art Gallery, The Pre-Raphaelite Brotherhood, 1947, no. 17. Port Sunlight, Lady Lever Art Gallery, Pre-Raphaelite Exhibition, 1948, no. 99. Bournemouth, Russell-Cotes Art Gallery, Exhibition of Paintings and Drawings by the Pre-Raphaelites and their Followers, June-August 1951, no. 24. Arts Council, Wales, Some Pre-Raphaelite Paintings and Drawings, 1955, no. 21. Nottingham, University Art Gallery, Victorian Painting, 1959, no. 12. Sheffield, Mappin Art Gallery, Victorian Paintings, 1968, no. 35. London, Charles Keyser Gallery, Victorian Paintings, 1971. Victorian Art, 1972, no. 66. New York, The Metropolitan Museum of Art, 1974-5, no. L. 1974.62. The Royal Academy (1837-1901) Revisited, 1975-6, no. 6. The Pre-Raphaelite Era, 1976, no. 2-2. 32 Victorian Paintings from the Forbes Magazine Collection, 1981. The Pre-Raphaelites and their Times, 1985, no. 11. The Art of Seeing: John Ruskin and the Victorian Eye, 1993, cat. pl. 41. The Defining Moment, 2000-1, no. 8. NOTES Collinson was one of the seven founder members of the Pre-Raphaelite Brotherhood, and this is perhaps his best known picture. Though dextrous and with a brilliant finish it shows little intellectual Pre-Raphaelite purpose however, and presents instead as an exemplary, if ambiguous, piece of Victorian domestic genre, much in the manner of William Powell Frith. A married lady draws a Venetian blind to reveal a sign in the window offering furnished appartments 'To Let'. However, the relationship of the title to the contents of the painting is not immediately obvious, and as the Art Journal commented, 'the point of the title is not very clear'. The picture has always been open to diverse interpretation. When lent to an exhibition at the Leicester Galleries eighty years after it was painted, along with its pendant For Sale, a smaller version of which is offered as the following lot in this sale, the critic of the Times observed: 'There are hints... in the pair of pictures For Sale and To Let by James Collinson... that some Victorian artists had pretty shrewd notions about comparative iniquity'. Would a Victorian audience, alert to the 'language of flowers' and the pots containing a lily and a 'Bleeding Heart', have interpreted the subject as a variation of Mr Pickwick's amorous landlady, Mrs Bardell, as popularized by Dickens? The extent to which Collinson was attempting a double-entendre, or any moral purpose, is unclear. Born in Mansfield, the son of a bookseller, Collinson entered the Royal Academy Schools and exhibited there for the first time in 1847. The attention to detail in The Charity Boy's Debut, so impressed Rossetti that he pronounced Collinson 'a born stunner' and invited him to join the Brotherhood. Collinson later became engaged to Rossetti's poet sister Christina, but she broke it off prior to his return to the Catholic faith, and his entry to Stoneyhurst in 1850. Having been nicknamed 'the doormouse' by fellow members of the P.R.B., and teased by Hunt for needing 'to be waked up at the conclusion of the noisy evenings to receive our salutations', Collinson resigned his membership on the grounds that he could not 'as a Catholic, assist in spreading the artistic opinions of those who were not'. Collinson failed to complete his novitiate, and left the monastery and resumed painting in 1854. He later married the sister-in-law of another Catholic convert, John Rogers Herbert (see lot 133). Between 1847 and 1870 he exhibited seventeen paintings at the Royal Academy and also contributed to the Society of British Artists where he was secretary from 1861 to 1870, and the British Institution. Though principally resident in London, he made frequent visits to Brittany where his son Robert was a seminarian, and it was there that he executed a painting of The Holy Family (see lot 296 in the present sale). Well known through engravings, a smaller version of this picture exists in the Graves Art Gallery, Sheffield. A smaller version of its pendant, For Sale is offered as the following lot.

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James Collinson (1825-1881)

Lot 98: James Collinson (1825-1881)

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Description: Study for 'For Sale' signed 'James Collinson' (lower right) oil on canvas 11 7/8 x 10 in. (30.2 x 25.4 cm.) PROVENANCE Anon. sale, Christie's, London, 13 October 1978, lot 88, as 'The Empty Purse'. Anon. sale, Sotheby's, London, 18 June 1985, lot 19, as 'For Sale'. Anon. sale, Sotheby's, London, 11 November 1998, lot 171, when acquired by the present owner. EXHIBITION The Defining Moment, 2000-1, no. 9. NOTES Another version of this composition can be seen at Tate Britain, entitled The Empty Purse, while the version shown at the Royal Academy of 1857 and which was included in Great Victorian Pictures (Arts Council, 1978, no. 5) is now in the Castle Museum, Nottingham. A further version, entitled At the Bazaar is in the Graves Art Gallery, Sheffield. The picture was among Collinson's most popular compositions, and was widely reproduced in his lifetime through engraving. As with To Let, the previous lot, the oval compostion depicts a lady, three quarter length, whose gaze directly confronts the viewer. To contemporary eyes however, the messages contained within the picture appear ambiguous. The bill to the woman's right advertises a church bazaar whose patroness is the Right Honourable Lady Dorcas. In the New Testament, Dorcas, a Christian exemplar, provided charity and clothing for the poor. Charity bazaars were a much enjoyed pastime amongst the Victorian middle class, whose female members were otherwise barred from commercial activity. The plethora of goods on offer, gaudy and inessential, also attest to an envigorated appetite for shopping. But what are we to make of the pictures various titles - For Sale and The Empty Purse ? Does the empty purse signify, as feminist art-historians would have it, the sitter's lack of financial independence, and are we to regard the sitter herself as an item for sale, in a society where marriage was often regarded as a contractual arrangement, undertaken for reasons of finance rather than for love? The keen eyed viewer might have spotted a religious print of Christ bearing the cross inscribed 'follow me', perhaps an injunction to the viewer to leave worldly considerations behind, and follow a virtuous path. Collinson does not appear to have recorded his reminiscences in which to explain the picture.

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 James Collinson , British 1825-1881 A Breton Girl with Rabbits oil on canvas
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Lot 113: ColLINSON, JAMES (1825-1881)

Description: Le juif usurier, 1852 oil/canvas 20x16 inches (51x41 cm) signed & dated (Lower Right).

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James Collinson (1825-1881)   The young mother

Lot 129: James Collinson (1825-1881) The young mother

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Description: James Collinson (1825-1881) The young mother signed 'J. Colllinson' (lower right) oil on canvas 10 x 8 in. (25.4 x 20.3 cm.)

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Lot 132: ColLINSON, JAMES (1825-1881)

Description: Temptation, 1855, 1855 Oil/panel 21x16.8 in (53.3x42.6 cm) signed & dated Royal Academy, 1855, no. 217.

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Lot 140: James Collinson (1825 - 1881), watercolour study -

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Description: James Collinson (1825 - 1881), watercolour study - interior scene with cavaliers and monks - The Tipplers, signed, in glazed gilt frame, 38cm x 58cm

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Lot 166: British School James Collinson (1825 - 1881.) In

Description: British School James Collinson (1825 - 1881.) In Port Oil on board Signed J Collinson lower left. 19 x 15 cm.

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Lot 171: James Collinson

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Description:

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Lot 174: COLLINSON, James (1825-1881, British)

Description: Tipplers, s. W/C Works on paper (23x15in).

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James Collinson (British, 1825-1881) Mother and child

Lot 197: James Collinson (British, 1825-1881) Mother and child

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Description: Mother and child signed 'J Collinson' (lower right),oil on canvas25.5 x 20.5cm (10 1/16 x 8 1/16in).

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James Collinson (British, 1825-1881) Mother and child

Lot 201: James Collinson (British, 1825-1881) Mother and child

Description: Mother and child signed 'J Collinson' (lower right),oil on canvas25.5 x 20.5cm (10 1/16 x 8 1/16in).

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Lot 235: *JAMES COLLINSON, R.A. (BRITISH, 1825-81)

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Description: A GAME OF MARBLES signed and dated 1860 oil on canvas 15 by 18 in. 38.1 by 45.7 cm. Collinson was one of the original members of the Pre-Raphaelite Brotherhood.

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James Collinson (1825-1881)

Lot 296: James Collinson (1825-1881)

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Description: The Holy Family with inscription 'This is to certify that this picture of the/Holy Family was painted by my father/the late James Collinson, one of the/original PreRaphaelite brothers and/later a member of the society of British/Artists who had a gallery in Suffolk Street./Robert V. Collinson.' (on an old label on the reverse) oil on canvas, painted arch 431/2 x 331/2 in. (110.5 x 85.1 cm.) PROVENANCE By descent to the artist's son Robert V. Collinson. Anon. sale, Sotheby's, London, 15 June 2000, lot 420, when acquired by the present owner. LITERATURE Valerie A. Cox, 'The Works of James Collinson: 1825-1881', The Review of the Pre-Raphaelite Society, vol. IV, no. 3, 1996, p. 12. NOTES James Collinson was one of the founder members of the Pre-Raphaelite Brotherhood, and was briefly engaged to Rossetti's sister, Christina, in 1849-50. He was also intensely religious, and abandoned painting for the Catholic seminary at Stoneyhurst in 1851. He left his novitiate in 1854 and resumed painting but never lost his religious fervour. The subject is conceived as the Return from the Flight into Egypt, a theme often treated by the Old Masters. Christ is no longer an infant and the Holy Family are being visited by the Holy Spirit in the form of a dove. An Egyptian temple can be glimpsed in the background, on the far bank of the Nile. The foreground however is scattered with plants more often found in an English country garden: hollyhocks, foxgloves and dandelions can be be seen on a lawn strewn with daisies while a sycamore, and a cedar of Lebanon are included, as well as a beehive to the left. These are painted with extraordinary care, and though the painting is executed in 1878, surely betrays Collinson's sympathy with the Pre-Raphaelite movement started thirty years previously. The painting hung for many years, along with others by Collinson, in the convent of the Sisters of Charity in Manchester Square, Marylebone.

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Erskine Nicol, R.S.A., A.R.A. (1825-1904)

Lot 341: Erskine Nicol, R.S.A., A.R.A. (1825-1904)

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Description: The Valentine signed and dated 'ENicol/1874' (lower right) oil on canvas 30 x 21 in. (76.2 x 53.3 cm.) PROVENANCE Anon. sale, Sotheby's at Slane Castle, Ireland, 12 May 1980, lot 426, when acquired by the present owner. EXHIBITION 32 Victorian Paintings from the Forbes Magazine Collection, 1981. Childhood in Victorian England, 1985, no. 26. Victorian Childhood, 1986, cat. pl. 21. NOTES Several of Nicol's paintings revolve around the arrival or reading of a letter or newspaper. Typically the cottager shown is grimacing or smiling as he or she struggles to read, sign a document or compose a letter. Other artists used the device of a letter to tell a story, Charles W. Cope's Palpitation of 1844 alludes to romance and the transmission of news abroad is the subject of James Collinson's Answering the Emigrant's Letter . This preoccupation with sending or receiving missives can partly be explained by the reform of the postal system in 1840, when the penny post was established and made delivery both reliable and cheap. One result was that the valentine-making industry flourished in the 1840s and 1850s, as embossed, hand-punched, lace, folding, and other kinds of sentimental as well as comic valentines became immensely popular. In 1863, Nicol had painted a work of the same title, in which a pretty peasant woman in a humble interior leisurely reads a message from an assumed admirer. However, in the present work the young man appears to have received a letter and not a commercial card. It was generally more usual for men to send valentines than to receive them, and the young boy in ragged clothes and over-sized shoes is clearly overwhelmed by the contents of the letter and astonished at the sight of an image of a mule on the treasured 'valentine'. Outside a real mule or donkey stands in the doorway. In the tradition of seventeenth-century Dutch genre, there are various emblematic elements to the still life depicted on the table: the eggs allude to fertility and aphrodisiacs, the spilled milk and open jugs and jars imply that a deed has already been committed and meanwhile the dog causes disruption and disorder as he steals food from the table.

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Henry Charles Bryant (fl. 1860-1880), after James Collinson (1825-1881)

Lot 347: Henry Charles Bryant (fl. 1860-1880), after James Collinson (1825-1881)

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Description: Leaving Home signed 'H.C. BRYANT' (lower left) oil on canvas 12 x 14 in. (30.5 x 35.6 cm.) PROVENANCE Anon. sale, Christie's South Kensington, 22 April 1999, when acquired by the present owner. NOTES Though we have no reason to doubt the signature of Henry Charles Bryant, this picture would appear to be a direct copy after a work by James Collinson, possibly that exhibited at the British Institution of 1858, no. 566, under the title 'Leaving Home'. Collinson's picture, currently in a distinguished private collection, was included in the The Pre-Raphaelites, Tate Gallery, 1984, no. 93. It is one of a number of Victorian depictions on the subject of farewell. In this instance a country girl is leaving for town, probably impelled by economic duress. Although best known for his skillful depictions of market scenes which now appear frequently at auction, Bryant was also an accomplished painter of genre who exhibited frequently at the Royal Society of British Artists, and also, occasionally at the the Royal Academy and the British Institution. Collinson was a founder member of the Pre-Raphaelite brotherhood, and was briefly engaged to Christina Rossetti. A full account of his life can be found in the entry for lots 97 and 296..

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Carleton Grant RBA c.1860-1930 exh 1885-1899- Girl

Lot 406: Carleton Grant RBA c.1860-1930 exh 1885-1899- Girl

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Description: Carleton Grant RBA c.1860-1930 exh 1885-1899- Girl with a beached vessel on a canal side; watercolour, signed and dated 1894, 29x58.5cm: After James Collinson 1825-1881- "The Renunciation of St Elizabeth of Hungary"; watercolour, arched, 26.8x40.8cm, (unframed) (2)

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Lot 411: James Collinson

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Description: 1835-1881 portrait of james collinson; portrait of eliza collinson two, oil on canvas (2) one 52 by 43 cm., 20 1/2 by 17 in.; the other 51 by 53.5 cm., 20 by 14 in.

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Lot 420: James Collinson

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Description:

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After James Collinson 1825-1881-

Lot 457: After James Collinson 1825-1881- "The Renunciation

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Description: After James Collinson 1825-1881- "The Renunciation of St Elizabeth of Hungary"; watercolour, arched, 26.8x40.8cm., (unframed)

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Carleton Grant RBA c.1860-1930 exh 1885-1899- Girl

Lot 505: Carleton Grant RBA c.1860-1930 exh 1885-1899- Girl

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Description: Carleton Grant RBA c.1860-1930 exh 1885-1899- Girl with a beached vessel on a canal side; watercolour, signed and dated 1894, 29x58.5cm: After James Collinson 1825-1881- "The Renunciation of St Elizabeth of Hungary"; watercolour, arched, 26.8x40.8cm: George Richmond RA 1809-1896- Portrait of young lady, head and shoulders turned to the left; black and coloured chalk heightened with white chalk on buff brown paper, signed with initials and dated 1851, 60x47.5cm., (unframed) (3)

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Carleton Grant RBA c.1860-1930 exh 1885-1899- Girl

Lot 562: Carleton Grant RBA c.1860-1930 exh 1885-1899- Girl

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Description: Carleton Grant RBA c.1860-1930 exh 1885-1899- Girl with a beached vessel on a canal side; watercolour, signed and dated 1894, 29x58.5cm: After James Collinson 1825-1881- "The Renunciation of St Elizabeth of Hungary"; watercolour, arched, 26.8x40.8cm, (unframed) (2)

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Carleton Grant RBA c.1860-1930 exh 1885-1899- Girl

Lot 681: Carleton Grant RBA c.1860-1930 exh 1885-1899- Girl

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Description: Carleton Grant RBA c.1860-1930 exh 1885-1899- Girl with a beached vessel on a canal side; watercolour, signed and dated 1894, 29x58.5cm: After James Collinson 1825-1881- "The Renunciation of St Elizabeth of Hungary"; watercolour, arched, 26.8x40.8cm: George Richmond RA 1809-1896- Portrait of young lady, head and shoulders turned to the left; black and coloured chalk heightened with white chalk on buff brown paper, signed with initials and dated 1851, 60x47.5cm., (unframed) (3)

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James Collinson RBA 1825-1881-

Lot 696: James Collinson RBA 1825-1881- "A Breton Girl with

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Description: James Collinson RBA 1825-1881- "A Breton Girl with Rabbits"; oil on canvas, bears inscribed labels attached to the reverse, 51x35.8cm. Provenance: Exhibited Belfast Art and Industry Exhibition, according to label attached to the reverse

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James B. Collinson (British, 1825-1881), group of

Lot 732: James B. Collinson (British, 1825-1881), group of

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Description: James B. Collinson (British, 1825-1881), group of six pencil drawings on paper: "Acapulco", "Californians - Vertical", "Californians - Horizontal", "Steamboat", "Eclipse", and "Turtles", ca. 1850, all examples are titled in pencil and retain gallery label en verso "Hirschl & Adler Galleries, Inc., New York", sheet sizes are 9-1/2" x 6". Matted and unframed.

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After JAMES COLLINSON (1825-1881) British Monks

Lot 746: After JAMES COLLINSON (1825-1881) British Monks

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Description: After JAMES COLLINSON (1825-1881) British Monks and Cavaliers Making Merry in a Tavern Watercolour Bears signature 58 x 38 cms, framed and glazed Generally in good condition, expected wear, labels to verso with biographical details of the artist and titled "The TIpplers".

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James Collinson (1825 - 1881) watercolour study -

Lot 964: James Collinson (1825 - 1881) watercolour study -

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Description: James Collinson (1825 - 1881) watercolour study - interior scene with cavaliers and monks - 'The Tipplers', signed, in glazed gilt frame, 38cm x 58cm

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James Collinson

Lot 1010: James Collinson "The Image Maker" Oil

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Description: JAMES COLLINSON (United Kingdom, 1825 - 1881) The Image Maker Oil on paper mounted to canvas Oval: 12 x 10 inches Verso: Labels with title and brief biography, remains of Christie's auction sticker. In good condition: Paper stabilized by mounting to canvas, patch of in-painting in his hat, filled crack across center. Framed, matted, and glazed

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James Collinson (1825 - 1881), watercolour study -

Lot 1075: James Collinson (1825 - 1881), watercolour study -

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Description: James Collinson (1825 - 1881), watercolour study - interior scene with cavaliers and monks - The Tipplers, signed, in glazed gilt frame, 38cm x 58cm

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James Collinson (1825 - 1881) watercolour study -

Lot 1118: James Collinson (1825 - 1881) watercolour study -

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Description: James Collinson (1825 - 1881) watercolour study - interior scene with cavaliers and monks - 'The Tipplers', signed, in glazed gilt frame, 38cm x 58cm

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FOLLOWER OF JAMES COLLINSON (1825-1881) A TEARFUL

Lot 1128: FOLLOWER OF JAMES COLLINSON (1825-1881) A TEARFUL

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Description: FOLLOWER OF JAMES COLLINSON (1825-1881) A TEARFUL CHILD Bears another monogram (JPL?) and date 1861, watercolour 38 x 52.5cm. Slightly faded; needs a light clean

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JAMES COLLINSON, OIL ON CANVAS, 24

Lot 2018: JAMES COLLINSON, OIL ON CANVAS, 24" X 20, "THE

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Description: JAMES COLLINSON, OIL ON CANVAS, 24" X 20, "THE SISTERS": BRITISH 1825-1881: Victorian painter; signed lower left; gilt frame.

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JAMES COLLINSON, England 1825 -1881

Lot 2168: JAMES COLLINSON, England 1825 -1881

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Description: JAMES COLLINSON, England 1825 -1881

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