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Eleanor Fortescue-Brickdale Auction Price Results

Eleanor Fortescue-Brickdale (1871-1945)  Please Register/Login to access your Invaluable Alerts

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Eleanor F. Brickdale, 1871 - 1945

Lot 183: Eleanor F. Brickdale, 1871 - 1945

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Description: Eleanor F. Brickdale, 1871 - 1945 Coastal scene ,Pen and ink

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Eleanor F. Brickdale, 1871 - 1945

Lot 184: Eleanor F. Brickdale, 1871 - 1945

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Description: Eleanor F. Brickdale, 1871 - 1945 Templenae, Co. Kerry , Pencil, dated 1913

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Eleanor Fortescue, Brickdale 1871-1945, Youth &

Lot 971: Eleanor Fortescue, Brickdale 1871-1945, Youth &

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Description: Eleanor Fortescue, Brickdale 1871-1945, Youth & The Lady, antique print in folder from The Studio Magazine, Representative Art Of Our Time, 1903 8x13''. Together with a collection of similar antique prints by Nico Jungmann, Mark Fisher, Albert Goodwin, Francis James, Sir George Reid, Bertram Priestman & P.Dupont. 8 in total.

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Lot 2: Eleanor Fortescue Brickdale, R.W.S. (1871-1945)

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Description: Madame Placid signed with initials 'EFB' within a cartouche (lower right) pencil and watercolour, heightened with white 14 x 10 in. (36.2 x 26 cm.) PROVENANCE The Late T. Johnston-Smith; Christie's London, 21 and 24 February 1936, lot 197 (3 13 shillings to Brot). with M. Newman. EXHIBITION London, The Leicester Galleries, An Exhibition of Water-colours illustrating Tennyson's "Idylls of the King" by Eleanor Fortescue-Brickdale, A.R.W.S., October 1911, no.27. NOTES We are grateful to Cathryn Spence for suggesting the date of 1915 for this watercolour.

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Lot 4: Eleanor Fortesque Brickdale, R.W.S.

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Description: 1871-1945 angels leading the poor signed l.r.: E.F. BRICKDALE watercolour and bodycolour over pencil 32 by 75cm.,12I by 29Iin.

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ELEANOR FORTESQUE BRICKDALE RWS (1871-1945,

Lot 15: ELEANOR FORTESQUE BRICKDALE RWS (1871-1945,

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Description: ELEANOR FORTESQUE BRICKDALE RWS (1871-1945, BRITHSH) Signed and Dated 1888 Watercolour Cupid with a Young Angel 10ins. x 14 ¾ins

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Lot 16: BRICKDALE, ELEANOR FORTESCUE (1871-1945)

Description: Peace Watercolour 18x9 cm (7x3.6 in) Initials (Lower Right).

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ELEANOR FORTESCUE-BRICKDALE, R.W.S.

Lot 18: ELEANOR FORTESCUE-BRICKDALE, R.W.S.

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Description: ELEANOR FORTESCUE-BRICKDALE, R.W.S. 1871-1945 THE GILDED APPLE signed with monogram and dated 1899 l.r. watercolour over pencil 45 by 26cm., 17½ by 10¼in.

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ELEANOR FORTESCUE-BRICKDALE, R.W.S. 1871-1945

Lot 20: ELEANOR FORTESCUE-BRICKDALE, R.W.S. 1871-1945

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Description: LANCELOT AND ELAINE - "BUT TO BE WITH YOU STILL AND SEE YOUR FACE, TO SERVE YOU AND TO FOLLOW YOU THR'O THE WORLD38.5 by 25.5 cm., 15 by 10 in.signed with initials l.r.: E. F. B.watercolour and bodycolour

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Eleanor Fortescue-Brickdale (British, 1872-1945)

Lot 21: Eleanor Fortescue-Brickdale (British, 1872-1945) "Prospero and Ariel,"

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Description: "Prospero and Ariel," from an early 20th century edition of Shakespeare's The Tempest. With label on verso.Signed lower right.Chalk on paper.81.9 x 50.8cm (32 1/4 x 20in).Framed.

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Eleanor Fortescue Brickdale, R.W.S. (1871-1945)

Lot 25: Eleanor Fortescue Brickdale, R.W.S. (1871-1945)

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Description: Eleanor Fortescue Brickdale, R.W.S. (1871-1945) 'In Springtime, the only pretty ring time when birds do sing' from 'As You Like It', Act V, scene 3signed with monogram and dated '1901' (lower right) pencil and watercolour heightened with white on paper 16 x 10¾ in. (40.6 x 27.3 cm.)

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Lot 25: ELEANOR FORTESQUE-BRICKDALE "Eleanor

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Description: ELEANOR FORTESQUE-BRICKDALE "Eleanor Fortesque-Brickdale's Golden Book of Famous Women", published by Hodder & Stoughton, London, New York & Toronto, illustrated by EFB, with tooled and gilded cloth boards and spine

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ELEANOR FORTESCUE-BRICKDALE, R.W.S.

Lot 26: ELEANOR FORTESCUE-BRICKDALE, R.W.S.

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Description: ELEANOR FORTESCUE-BRICKDALE, R.W.S. 1871-1945 THE GILDED APPLE signed with monogram and dated 1899 l.r. watercolour over pencil 45 by 26cm., 17½ by 10¼in.

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Lot 31: Eleanor Fortescue Brickdale, R.W.S.

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Description: 1871-1945 rosamond signed l.r.: ELEANOR F. BRICKDALE oil on canvas 122 by 73.5cm., 48 by 29in. This finely painted picture, full of sumptuous detail and rich colour, is an ambitious portrayal of a legendary subject. Based loosely on historical fact the iconography of the picture tells the tragic story of Rosamond, Henry IIs fateful lover. According to folk lore, the King and Rosamond were deeply in love, but she was forced to hide herself away in a mansion at Woodstock so that their affair would not become known. The Queen, however, soon discovered their secret and, consumed with rage, she sought Rosamond out from her hiding place and brutally murdered her. After the body of the young girl was discovered she was taken to a nunnery at Godstow where she was buried. In this picture, Rosamond is depicted in all her finery. As suggested by the Art Journal of 1903, the form of the young girl clearly reflects the influence of Dante Gabriel Rossetti (1828-1882). Her angelic face, long dark tresses and medieval robes are certainly inspired by him. However, her folorn expression, the single tear clinging to her lower eye lid and her pensive gaze are of Brickdales own invention and add distinct individuality to her otherwise Pre-Raphaelite inspired form. Rosamond is presented not only as a beautiful girl, but one who is sensitive to her situation and fate. Henry II is just leaving her chamber and his spurred heel can be seen in the bottom left hand corner of the composition. She is clearly upset by this event, and yet there is something more in her thoughtful gaze that might suggest that she is struck by a sense of her impending doom. It is not only the elegant form of Rosamond that suggests the influence of the Pre-Raphaelites, but also the symbolic detail within the picture. Brickdale cleverly uses the rose, from which the heroines name was derived, as one of the most heavily laden symbols in the picture. This flower, depicted in two of the arches beneath the main scene, not only suggests the fair beauty of Rosamond, but links her to Venus, the Goddess of love. In Antiquity the rose was considered sacred to Venus and its thorns were thought to represent the pain of love. This picture is based upon the pain of an illicit relationship and the impossibility of Rosamonds love for the King. If Rosamond is the rose then her love is the thorn which spills her blood and results in her death. The vermillion colour of the roses and the prolific use of this colour throughout the picture also symbolises and fortells her martyrdom. Further prophetic symbolism is contained in the piece of red thread attached to the spurred heel of the departing King. According to legend, after Henry had left Woodstock, the Queen followed this thread through the labyrinthe of rooms and into Rosamonds hidden chamber. The thread is therefore symbolic of Rosamonds discovery and her eventual death. The underlying moral theme of this picture is typical of Victorian taste. Throughout the nineteenth century people became increasingly concerned with the changes that were occuring in the church, the public questioning of the Christian faith and the issue of private morality. Literature and art came to be seen as a source of moral guidance and the requirements of heroines and heroes were strongly asserted. Brickdale had a great liking for allegorical or didactic compositions and Rosamond is a clear example of an ambitious composition with a serious message. The artist has not treated love as a sentimental matter, but rather as a matter of honour. Rosamond is essentially a fallen woman, one who has lost her maidenhood and committed adultery with a wedded man. Her fate is decided, she cannot live without honour and can only regain compassion by becoming the victim of a gruesome death. Despite the tragic nature of Rosamondes fate, however, Brickdale does provide the viewer with some comfort. She uses her art with the specific purpose of recording the youthful beauty of this heroine. The nature of her death is overlooked and only the small central vignette beneath the main scene reminds us of what is to come. She reminds us that Rosamonds beauty was never to fade or be subjected to the ravages of time. Instead, it was to remain everlasting, like that of the greatest heroines in art and literature. Provenance: Lady Horne Mrs St. John Hornby Exhibited: London, Royal Academy, 1903, no.538 Literature: Art Journal, 1903, p.177 The Magazine of Art, 1903, p.386 (illus. 377).

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Eleanor Fortescue Brickdale, R.W.S. (1871-1945)

Lot 32: Eleanor Fortescue Brickdale, R.W.S. (1871-1945)

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Description: Eleanor Fortescue Brickdale, R.W.S. (1871-1945) Scandal signed 'E. Fortescue-Brickdale' (lower right) and inscribed 'Scandal/Eleanor Fortescue Brickdale/Holland Park Rd.' (on a label attached to the backing)pencil and watercolour with scratching out 25¼ x 20¾ in. (64.2 x 52.7 cm.)

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Lot 35: BRICKDALE, Eleanor Fortesque (1871-1945, British)

Description: A hue and cry after Cupid, init. W/C Works on paper (12x16in).

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Lot 35: ELEANOR FORTESCUE-BRICKDALE, R.W.S. (1872-1945)

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Description: LOVE AND HIS COUNTERFEITS When a girl's soul awakens and she opens the door of her Heart's Castle to receive Love, at first she will not recognise him. First, she will see Fear and think him to be Love. Fear, in craven armour of black, with no coat of arms or badge to mark his family. But by Fear, Love may come. Then she will see Romance, being now in love with "being in love"- Romance, the Boy on a Bubble with a Castle of Dreams in his hand, and Birds and Roses about him. He leads Ambition, who shall stir the girl to think he is Love himself-Ambition, very hot and eager, riding upon Pegasus, the winged Horse. After them is Position, whom she may take for Love; but truly she is in love with Appearance, Prestige, Importance, Riches, Place, all his Train, and this is borne by a Cupid. Now she is stirred by Pity, thinking whom she pities she loves - Pity with the Cup of tears with three handles, that many may drink. Then she perceives Arts, a brave fellow who is but words and emptiness and a mask for love. Arts paints a wound upon him and sings that it is real. To Love he is not henchman, nor cousin, but enemy. Behind him goes Flattery with a mirror, so she is wooed by vain words. Then Gratitude comes with the smoke of memory, and she will think she is faithless if she does not love one who has been kind. Now, at last, after her emotion, her assault by gifts, mirrors, riches, tears, dreams, phrases, memories, comes True Love, empty-handed, to take and win her Heart's Castle. signed "E.F.BRICKDALE" (lower left) pencil and watercolour with scratching out on paper laid down on a fine linen canvas, in the original frame 26 x 52 3/8 in. (66 x 133 cm.) EXHIBITED London, Royal Academy, 1904, no. 994. London, Dowdeswell Galleries, "Such Stuff as Dreams are Made of!" (Second Series), June 1905, no. 6. The picture is an exceptionally ambitious example of the artist's work, with the added interest that it is still in its original Renaissance-style frame. Those artists who attempted, against all the forces to modernism, to maintain the Pre-Raphaelite tradition well into the twentieth century - sometimes known today, faute de mieux, as "Last Romantics" - fall into many categories. The Birmingham Group, for instance, saw Pre-Raphaelitism as a living tradition mediated through the Arts and Crafts movement, while Fortescue-Brickdale and Byam Shaw, her close friend and exact contemporary, regarded it as a phenomenon ripe for revival, going back to the early work of Rossetti and Millais and reinterpreting it in a more academic spirit. Of the various galleries which specialised in the work of these artists, none was more important than the Dowdeswell Galleries at 160 New Bond Street. Fortescue-Brickdale held three one-woman shows there in the 1890s, and Byam Shaw was another of their "regulars". Love and his Counterfeits was included in the artist's second show, in June 1905, and illustrates a text, probably written by the artist herself, of which a copy appears on the back. A young girl stands at the doorway of her "Hearts Castle", watching a procession of figures all of whom represent some bogus form of love. First come Fear, Romance (making her "in love with being in love") and Ambition; then Position, offering all the good things of life, and Pity, seeking to gain her heart by appealing to her sympathy. Next comes Arts, "a brave fellow who is but words and emptiness..., painting a wound upon him and singing that it is real", followed by Flattery, with a mirror, and Gratitude, whose aim is to make her feel guilty "if she does not love one who has been kind". Finally True Love appears, "emptyhanded, to take and win her Heart's Castle". The picture belongs to a well defined convention. Within the previous decade Byam Shaw had twice treated the theme of Love allegorically in terms of a processional composition. Love's Baubles (Walker Art Gallery, Liverpool) had been exhibited at the Royal Academy in 1897, followed by Love the Conqueror (private collection), probably the artist's masterpiece, in 1899. Fortescue-Brickdale's admiration for Love's Baubles is clear from a comment quoted by Rex Vicat Cole in The Art and Life of Byam Shaw (1932, p. 70). Miss Brickdale adds: "No one can describe how fresh and delightful it looked at the Academy. Most of the subject pictures at that time were a bit dreary, generally very "aesthetic" or "arty", and hardly any one of them seemed to be sincere. The picture is painted in an inexperienced manner, for he was still very young (twenty-five), but the drawing is fine and the colour full of joy and fearlessness'". Nor can she have failed to take note of Love the Conqueror, an enormous canvas which aroused fierce controversy when it was exhibited two years later, the critics outdoing one author in praise or scorn. Both Fortescue-Brickdale's and Byam Shaw's pictures owe a debt to processional works by older representatives of the Pre-Raphaelite and academic traditions. Burne-Jones's Masque of Cupid, a design inspired by Spenser's Faerie Queene which exists in varying forms, offers a fairly close parallel, while general comparisons can be made with the processional paintings that were such a notable feature of the work of Leighton and Walter Crane. Needless to say, all these in turn look back to such illustrious precedents as the Parthenon friezes and the triumphal processions of Mantegna. Yet when all is said on the subject of artistic context, it is hard to resist a suspicion that Fortescue-Brickdale's painting contains an element of autobiography. Beneath the romantic and literary trappings lies a shrewd awareness of human nature which may well reflect the artist's own experience. She was, after all, thirty-two when the picture was painted, old enough to have suffered many amorous disappointments and perhaps to wonder if she would ever meet "True Love". She certainly never married. We are grateful to Cathryn Spence for her help in preparing this entry.

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Lot 35: BRICKDALE, Eleanor Fortesque (1871-1945, British)

Description: Love and his Counterfeits, s. pencil W/C scratching out paper laid on canvas Works on paper (52x26in).

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Lot 36: Eleanor Fortescue Brickdale, R.W.S. (1871-1945)

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Description: ''but when the heart suffers a blow, will the pain cast so soon, do you know?'' - The Glove signed with initials E.F.B. l.r., watercolour heightened bodycolour 44 by 27 cm.; 17 1/4 by 10 1/2 in. Provenance: Dowdeswell & Dowdeswell's Sotheby's London, 27th October 1983, lot 243.

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 Eleanor Fortescue-Brickdale, R.W.S. , 1871-1945 the cunning skill to break a heart watercolour with bodycolour

Lot 38: Eleanor Fortescue-Brickdale, R.W.S. , 1871-1945 the cunning skill to break a heart watercolour with bodycolour

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Description: signed with monogram and dated 1900 l.r. watercolour with bodycolour

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 Eleanor Fortescue-Brickdale, R.W.S. , 1871-1945 lancelot and elaine - then to her tower she climbed and took the shield, thus kept it and so lived in fantasy. the idylls of the king, alfred tennyson watercolour with bodycolour
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ELEANOR FORTESCUE-BRICKDALE, R.W.S., 1871-1945

Lot 42: ELEANOR FORTESCUE-BRICKDALE, R.W.S., 1871-1945

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Description: LANCELOT AND ELAINE - "BUT TO BE WITH YOU STILL AND SEE YOUR FACE, TO SERVE YOU AND TO FOLLOW YOU THR'O THE WORLD"38.5x25.5cm., 15x10in.signed with initials; titled and inscribed on an old label attached to the reversewatercolour and bodycolourPROVENANCEThe Leicester Galleries, London

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Eleanor Fortescue-Brickdale, R.W.S. 1871-1945 , petrarch's laura at avignon watercolour with bodycolour in a frame designed by the artist

Lot 45: Eleanor Fortescue-Brickdale, R.W.S. 1871-1945 , petrarch's laura at avignon watercolour with bodycolour in a frame designed by the artist

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Description: signed within a cartouche l.r.: E F Brickdale watercolour with bodycolour in a frame designed by the artist

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Lot 46: BRICKDALE, Eleanor Fortesque (1871-1945, British)

Description: My Rose, I gather for the Breast of God, init. W/C Works on paper (8x20in).

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Lot 46: Eleanor Fortesque Brickdale, R.W.S.

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Description: 1871-1945 the deceitfulness of riches signed and dated l.r.: ELEANOR/F-BRICKDALE/1901; signed and inscribed with artist's address 38 Norland Square W on the reverse oil on canvas 85 by 110 cm., 33 1/2 by 43 1/4 in. The present richly coloured allegorical subject, The Deceitfulness of Riches, is one of the most ambitious of Eleanor Fortescue-Brickdale's early paintings. It was first exhibited in 1901 at the Royal Academy, and then subsequently included in the exhibition of her oils and watercolours held at Leighton House in February 1902. This exhibition was entitled ''Such Stuff as Dreams are made of!'' (a loose quotation from Shakespeare's The Tempest). The majority of Fortescue-Brickdale's paintings have literary themes and she was of course also well known as an illustrator of poems, legends and folktales. However, on the present occasion both the painted subject and the words of the title were of the artist's own devising. When first exhibited, there was much debate as to the purpose of the allegory, which, according to M.H. Dixon, was 'translated into a hundred meanings and tortured by the spring visitor to Burlington House into symbols little dreamed of by its originator.' In the same article in the 1902 Magazine of Art the following interpretation was offered: 'A mighty princess, clothed in orange garments, is pictured for us so closely guarded by jealous attendants as to be shut out altogether from the outside world. No harsh breath from the common air may touch the lady's cheek. The orphan and the widow are turned from her gates in order that she may not look upon the face of sorrow. Not willingly hard or callous is this prisoner of a luxurious place, only oblivious from force of circumstances.... ''The Deceitfulness of Riches'' is a lay sermon on the tyranny of soft environment and on the unwitting cruelty which lurks in ignorance.' The subject of a young woman leading a sequestered existence - being offered flowers and fruit by attentive servants and serenaded by a musician with a lute, is entirely in character with the other-worldly and historicist instincts of the artists who revived the principles of Pre-Raphaelitism at the turn of the century. The Deceitfulness of Riches represents the type of painting that led Eleanor Fortescue-Brickdale to become one of the admired and talked-about painters of the day. In 1901, on the occasion of an exhibition of her watercolours at Dowdeswells Gallery in New Bond Street, she was described by one critic as a 'Pre-Raphaelite revivalist', and by another as an exponent of 'Neo-Pre-Raphaelitism'. These terms indicate that the artist was recognised as one of the younger generation of artists who at the turn of the century were consciously reviving the meticulous techniques and luminous colour of Ford Madox Brown, Holman Hunt and Rossetti. In the same year Canon Scott Holland wrote ecstatically of Fortescue-Brickdale's appearance on the artistic scene: 'We are not all dead. There is a new force to be felt. There is a new lamp kindled. Some one can still see visions: and can embody what is seen in the glory of colour...' Commenting on the Dowdeswell exhibition, Holland was struck by the richness of the work, exclaiming: 'Colour? The room glows with it, as if it were flung out of live jewels. The flaming crimsons, the crisp greens, the sheen of rose, speak and sing out of their frames; and you find yourself laughing aloud unawares, for sheer delight, in response. The pictures recall the small gems that Rossetti painted... They are vivid and delicate like young Millais' ''Ferdinand''.' The rich colour, as well as the technical elaboration, of The Deceitfulness of Riches, was commented upon in the Spectator's review of the 1901 Royal Academy: 'Gorgeous and beautiful in colour, its execution seems to suggest that the artist, not having quite realised the conditions of oil paint, has been trying after the effects of enamel and coloured relief.' Provenance: Mr F.W. Wguik (by whom lent to the 1902 Leighton House exhibition); Mr Edwin Tate (referred to as the owner of the painting in the 1902 Magazine of Art article) Exhibited: London, Royal Academy, 1901, no.449; London, Leighton House, ''Such Stuff as Dreams are Made Of'' - Exhibition of Paintings and Drawings by Miss E F Brickdale, 1902, no.24 Literature: Spectator, 1901, p.696; Magazine of Art, 1901, p.443; Royal Academy Pictures, 1901, p.185; Marion Hepworth Dixon, 'Our Rising Artists: Eleanor Fortescue-Brickdale', Magazine of Art, 1902, pp.257-60.

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Lot 49: BRICKDALE, Eleanor Fortesque (1871-1945, British)

Description: Spring and Autumn, init. pencil W/C bodycol paper laid on canvas Works on paper (25in circular).

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Lot 49: BRICKDALE, Eleanor Fortescue (1871-1945)

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Description: Awake my Soul and with the Sun the Daily Stage of Duty Run Watercolour & pen, ink, lunette 37,4 x 8,7 inches (95.0 x 22.0cm) Monog. left.

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Lot 50: BRICKDALE, Eleanor Fortesque (1871-1945, British)

Description: The Cunning Skill to break a Heart, mono. pencil W/C Works on paper (11x15in).

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Lot 55: Eleanor Fortescue Brickdale, R.W.S. (1871-1945)

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Description: Spring signed Ô e.f. brickdale Õ (lower right) bodycolour 9 Ã x 20 ¼ in. (25.1 x 51.5 cm.) Exhibited: London, Royal Academy, 1898, no. 1198. Literature: The Builder, December, 1897. The Studio, February, 1898. Footnotes:It was with this design for Spring, that Eleanor Fortescue Brickdale won the competition to design a lunette for one of the refreshment rooms at the Royal Academy, Burlington House, in December 1897. She had only begun exhibiting at the Royal Academy in the previous year. Due to this success and her work as a black and white illustrator, Gleeson White wrote in The Studio, 1898, that she was Ôa young illustrator of conspicuous promiseÕ. The prize money of £40 enabled her to carry out her first major oil, The Pale Complexion of True Love, 1899, exhibited at the Royal Academy and at the Autumn Exhibition, Walker Art Gallery, Liverpool. We are grateful to Cathryn Spence, of the Victoria & Albert Museum, for her help in preparing this catalogue entry.

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Lot 55: Eleanor Fortescue Brickdale, R.W.S. (1871-1945)

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Description: Spring signed 'E.F. BRICKDALE' (lower right) bodycolour 9.7/8 x 20 in. (25.1 x 51.5 cm.) LITERATURE The Builder, December, 1897. The Studio, February, 1898. EXHIBITION London, Royal Academy, 1898, no. 1198. NOTES It was with this design for Spring, that Eleanor Fortescue Brickdale won the competition to design a lunette for one of the refreshment rooms at the Royal Academy, Burlington House, in December 1897. She had only begun exhibiting at the Royal Academy in the previous year. Due to this success and her work as a black and white illustrator, Gleeson White wrote in The Studio, 1898, that she was 'a young illustrator of conspicuous promise'. The prize money of 40 enabled her to carry out her first major oil, The Pale Complexion of True Love, 1899, exhibited at the Royal Academy and at the Autumn Exhibition, Walker Art Gallery, Liverpool. We are grateful to Cathryn Spence, of the Victoria & Albert Museum, for her help in preparing this catalogue entry.

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Lot 58: Eleanor Fortescue Brickdale, R.W.S

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Description: 1872-1945 ''the greatest of these is charity'' signed l.l.: E F BRICKDALE; signed and inscribed with title on a label on the backboard watercolour heightened with bodycolour 48 by 27 cm., 19 by 10 1/2 in. Provenance: Dowdeswell & Dowdeswells; Fine Art Society. Exhibited: Torquay, Bearne's, Other Worlds - An Exhibition of Illustrators; Works in the Realms of Fairies, Fantasy and the Future, 1989, no.38.

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Lot 59: Eleanor Fortescue Brickdale, R.W.S.

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Description: 1872-1945 a lady and pageboy signed with initials l.r.: EFB coloured chalk 42 by 37 cm., 16 1/2 by 14 1/2 in.

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ELEANOR FORTESCUE BRICKDALE (1871 - 1945) A ROSE AND HER THREE DAUGHTERS 36.5cm x 26cm (14.25in x 10.25in)

Lot 69: ELEANOR FORTESCUE BRICKDALE (1871 - 1945) A ROSE AND HER THREE DAUGHTERS 36.5cm x 26cm (14.25in x 10.25in)

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Description: ELEANOR FORTESCUE BRICKDALE (1871 - 1945) A ROSE AND HER THREE DAUGHTERS Signed with initials, watercolour 36.5cm x 26cm (14.25in x 10.25in)

Condition Report: Condition requests sent via email will be responded to at least one day prior to the auction start date. Please note that we may be unable to respond immediately to requests sent in advance.

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Lot 70: BRICKDALE, Eleanor Fortescue (1871-1945)

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Description: The Benefactress of Ewellen Watercolour 14,6 x 9,8 inches (37.0 x 25.0cm) Inscr. reverse Illustrated.

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Lot 74: BRICKDALE, ELEANOR FORTESCUE (1871-1945)

Description: Pixholme court, Dorking Pencil 36x53 cm (14x21 in) signed.

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Eleanor Fortescue-Brickdale (British, 1871-1945) Theatre audience

Lot 79: Eleanor Fortescue-Brickdale (British, 1871-1945) Theatre audience

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Description: Theatre audience signed with initials (lower right)pencil, watercolour and bodycolour35 x 23cm (13 3/4 x 9 1/16in).

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Lot 86: Eleanor Fortescue-Brickdale, R.W.S. (1872-1945)

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Description: Mary for all Generations signed ÔE.F.BRICKDALEÕ (lower right) and signed and inscribed ÔMiss E.F.Brickdale/55 Holland Park Road/KensingtonÕ (on an artistÕs label on the reverse) oil on canvas 30 x 76 in. (76 x 193 cm.) Footnotes:Little is known of the details of this commission. It is not thought that the oil was ever exhibited, and it was most likely installed as an altarpiece soon after it was completed. For many years it hung in St. GeorgeÕs Church, Campden Hill, Kensington. It follows the form of Venetian sacra conversazione, as exemplified by the work of Giovanni Bellini, in which the Virgin and Child are surrounded by donors. Brickdale has updated the idiom, and has shown the Holy Family flanked by succeeding generations of Londoners. Along with her friend and exact contemporary, Byam Shaw, Brickdale delighted in executing multi-figured processional pieces. Perhaps the most memorable example to have appeared at auction in recent years is the watercolour Love and his Counterfeits, sold in these rooms for £97750 on 8 November 1996. Other comparables include the watercolours The Challenge and The Wise and Foolish Virgins, sold at SothebyÕs London, 25 January 1989, lots 412 and 411. It has been suggested that the models for the present composition taught or studied at the Byam Shaw School of Art, which was founded in 1911, and where Brickdale herself taught for several years. The picture probably dates from between 1910 and 1920 as BrickdaleÕs studio address changed from 11 to 55 Holland Park Road around 1909. Although Brickdale mainly worked in watercolour, and oils by her are rare, she was nevertheless the first lady member of the Institute of Painters in Oils, being elected in 1902. We are grateful to Cathryn Spence for her help in the preparation of this catalogue entry.

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Lot 86: Eleanor Fortescue-Brickdale, R.W.S. (1872-1945)

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Description: Mary for all Generations signed 'E.F.BRICKDALE' (lower right) and signed and inscribed 'Miss E.F.Brickdale/55 Holland Park Road/Kensington' (on an artist's label on the reverse) oil on canvas 30 x 76 in. (76 x 193 cm.) NOTES Little is known of the details of this commission. It is not thought that the oil was ever exhibited, and it was most likely installed as an altarpiece soon after it was completed. For many years it hung in St. George's Church, Campden Hill, Kensington. It follows the form of Venetian sacra conversazione, as exemplified by the work of Giovanni Bellini, in which the Virgin and Child are surrounded by donors. Brickdale has updated the idiom, and has shown the Holy Family flanked by succeeding generations of Londoners. Along with her friend and exact contemporary, Byam Shaw, Brickdale delighted in executing multi-figured processional pieces. Perhaps the most memorable example to have appeared at auction in recent years is the watercolour Love and his Counterfeits, sold in these rooms for 97,750 on 8 November 1996. Other comparables include the watercolours The Challenge and The Wise and Foolish Virgins, sold at Sotheby's London, 25 January 1989, lots 412 and 411. It has been suggested that the models for the present composition taught or studied at the Byam Shaw School of Art, which was founded in 1911, and where Brickdale herself taught for several years. The picture probably dates from between 1910 and 1920 as Brickdale's studio address changed from 11 to 55 Holland Park Road around 1909. Although Brickdale mainly worked in watercolour, and oils by her are rare, she was nevertheless the first lady member of the Institute of Painters in Oils, being elected in 1902. We are grateful to Cathryn Spence for her help in the preparation of this catalogue entry.

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Lot 91: ELEANOR FORTESCUE BRICKDALE

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Description: "And matter enough to save one's ow.......": A Light Wom.. signed, inscribed as title on reverse, pencil and watercolour, unframed 15 3/4 x 10 3/4 in.

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Lot 91: BRICKDALE, ELEANOR FORTESCUE (1871-1945)

Description: Natural magic Pencil 21x14 inches (54x35.5 cm) Monog. (Lower Right) Title/label/verso.

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Eleanor Fortescue-Brickdale (British, 1871-1945)

Lot 94: Eleanor Fortescue-Brickdale (British, 1871-1945)

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Description: With goodly greenish locks, all loose 'untied' signed with initials 'EFB' (lower right) watercolour 33 x 24.5cm (13 x 9 5/8in).

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Eleanor Fortescue Brickdale, R.W.S. (1871-1945)

Lot 99: Eleanor Fortescue Brickdale, R.W.S. (1871-1945)

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Description: Eleanor Fortescue Brickdale, R.W.S. (1871-1945) The Looking Glass signed 'E.F. Brickdale' (lower right) pen and black ink heightened with touches of white 9 x 7 7/8 in. (22.8 x 20 cm.)

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ELEANOR FORTESQUE BRICKDALE, RWS, SIGNED AND DATED

Lot 100: ELEANOR FORTESQUE BRICKDALE, RWS, SIGNED AND DATED

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Description: ELEANOR FORTESQUE BRICKDALE, RWS, SIGNED AND DATED 1888, WATERCOLOUR, Cupid with a Young Angel, 10" x 14 ¾"

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Lot 103: BRICKDALE, Eleanor Fortesque (1871-1945, British)

Description: For, what are the voices of birds, Ay and of Beasts, init. W/C htd.bodycol Works on paper (9x13in).

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Eleanor Fortescue-Brickdale, R.W.S. (1871-1945)

Lot 103: Eleanor Fortescue-Brickdale, R.W.S. (1871-1945)

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Description: 'There's many a crown for who can reach' (The Last Ride Together)signed with initials 'EFB' (lower right on a cartouche) and inscribed and numbered '14B/There's many a crown for who can reach,/the Last Ride Together' (on the reverse)pencil and watercolour with scratching out14 7/8 x 10 3/8 in. (35.6 x 25.4 cm.); and two sketches of a knight and a king as the predella.in the original frame

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Lot 104: Eleanor Fortescue-Brickdale (1870-1945) Victorian

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Description: Eleanor Fortescue-Brickdale (1870-1945) Victorian Lady Standing before a large rhododendron Watercolour Signed with monogram lower right 19 3/4 x 10 1/4 in (50.5 x 26 cm) Provenance: with Sandorval & Co., New York

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Lot 107: BRICKDALE, ELEANOR FORTESCUE (1871-1945)

Description: St. Michael with a captive woman, 1904 Coloured chalks 33x18 inches (82.6x44.5 cm) signed & dated (Lower Right).

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Lot 109: BRICKDALE, Eleanor Fortesque (1871-1945, British)

Description: Whilst shepherds watched their flocks by night, init. W/C bodycol Works on paper (13x9in).

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Lot 110: BRICKDALE, Eleanor Fortesque (1871-1945, British)

Description: Lancelot and Elaine, init. s.i.verso W/C htd.bodycol scratching out Works on paper (11x17in).

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ELEANOR FORTESQUE BRICKDALE, RWS, SIGNED AND DATED

Lot 112: ELEANOR FORTESQUE BRICKDALE, RWS, SIGNED AND DATED

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Description: ELEANOR FORTESQUE BRICKDALE, RWS, SIGNED AND DATED 1888, WATERCOLOUR, Cupid with a Young Angel, 10" x 14 3/4"

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