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Sir John Everett, Bt Millais Auction Price Results

Sir John Everett, Bt Millais (1829-1896)  Please Register/Login to access your Invaluable Alerts

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Sir John Everett Millais Watercolor Paintings on Paper

Lot 33: Sir John Everett Millais Watercolor Paintings on Paper

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Description: Two small scale watercolor paintings depicting ships in a harbor and a beach scene, each signed with initials and dated 1878, Sir John Everett Millais (1829-1896) a British artist known for figure and genre painting, images measure 2"H x 4"W sight, combined in a frame measuring 17.875"H x 21.875"W.<br><br>Private Collection Chicago, Illinois.

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After Sir John Everett Millais (1829-1896) A Pears

Lot 44: After Sir John Everett Millais (1829-1896) A Pears

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Description: After Sir John Everett Millais (1829-1896) A Pears Soap chromolithograph print ' Cherry Ripe ' framed. 35 ½" x 25 ½"

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After John Everett Millais (1829-1896): Little Miss Muffet

Lot 93: After John Everett Millais (1829-1896): Little Miss Muffet

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Description: After John Everett Millais (1829-1896): Little Miss Muffet Oil on canvas, unsigned. 24 x 20 in., 25 1/2 x 21 in. (frame).

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SIR JOHN EVERETT MILLAIS P.R.A. (BRITISH 1829-1896) BRUNSWICKER STUDY 8cm x 6cm (3in x 2.5in)

Lot 97: SIR JOHN EVERETT MILLAIS P.R.A. (BRITISH 1829-1896) BRUNSWICKER STUDY 8cm x 6cm (3in x 2.5in)

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Description: SIR JOHN EVERETT MILLAIS P.R.A. (BRITISH 1829-1896) BRUNSWICKER STUDY Pencil, arched top 8cm x 6cm (3in x 2.5in)

Condition Report: Largely good condition. After further inspection there is no evidence that this is a study for the black brunswicker. Condition Disclaimer Under the Conditions of Sale applicable to the sale of the lot, buyers must satisfy themselves as to each and every aspect of the quality of the lot, including (without limitation) its authorship, attribution, condition, provenance, authenticity, age, suitability and origin. Lots are sold on an 'as is' basis but the actual condition of the lot may not be as good as indicated by its outward appearance. In particular parts may have been replaced or renewed and lots may not be authentic or of satisfactory quality. Any statement in relation to the lot is merely an expression of opinion of the seller or Lyon & Turnbull and should not be relied upon as an inducement to bid on the lot. Lots are available for inspection prior to the sale and you are strongly advised to examine any lot in which you are interested prior to the sale. Our condition report has not been prepared by a professional conservator, restorer or engineer.

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SIR JOHN EVERETT MILLAIS P.R.A. (BRITISH 1829-1896) ESCAPE OF THE HERETIC 25.5cm x 19cm (10in x 7.5in)

Lot 101: SIR JOHN EVERETT MILLAIS P.R.A. (BRITISH 1829-1896) ESCAPE OF THE HERETIC 25.5cm x 19cm (10in x 7.5in)

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Description: SIR JOHN EVERETT MILLAIS P.R.A. (BRITISH 1829-1896) ESCAPE OF THE HERETIC Signed with monogram, oil on canvas 25.5cm x 19cm (10in x 7.5in)

Condition Report: Largely good condition, minor retouching to extreme right edge. Condition Disclaimer Under the Conditions of Sale applicable to the sale of the lot, buyers must satisfy themselves as to each and every aspect of the quality of the lot, including (without limitation) its authorship, attribution, condition, provenance, authenticity, age, suitability and origin. Lots are sold on an 'as is' basis but the actual condition of the lot may not be as good as indicated by its outward appearance. In particular parts may have been replaced or renewed and lots may not be authentic or of satisfactory quality. Any statement in relation to the lot is merely an expression of opinion of the seller or Lyon & Turnbull and should not be relied upon as an inducement to bid on the lot. Lots are available for inspection prior to the sale and you are strongly advised to examine any lot in which you are interested prior to the sale. Our condition report has not been prepared by a professional conservator, restorer or engineer.

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SIR JOHN EVERETT MILLAIS P.R.A. (BRITISH 1829-1896) FOR THE SQUIRE 85cm x 63cm (33.5in x 24.75in)

Lot 102: SIR JOHN EVERETT MILLAIS P.R.A. (BRITISH 1829-1896) FOR THE SQUIRE 85cm x 63cm (33.5in x 24.75in)

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Description: SIR JOHN EVERETT MILLAIS P.R.A. (BRITISH 1829-1896) FOR THE SQUIRE Signed with a monogram and dated 1882, oil on canvas 85cm x 63cm (33.5in x 24.75in)

Condition Report: The painting has not been re-lined. Inspection with the UV lamp reveals two L-shaped tears about 1.5inches in length to the right of the girl, approximately at elbow height. They have been very skillyfully restored. There is very minor retouching to the nose and forehead. Otherwise good condition. Condition Disclaimer Under the Conditions of Sale applicable to the sale of the lot, buyers must satisfy themselves as to each and every aspect of the quality of the lot, including (without limitation) its authorship, attribution, condition, provenance, authenticity, age, suitability and origin. Lots are sold on an 'as is' basis but the actual condition of the lot may not be as good as indicated by its outward appearance. In particular parts may have been replaced or renewed and lots may not be authentic or of satisfactory quality. Any statement in relation to the lot is merely an expression of opinion of the seller or Lyon & Turnbull and should not be relied upon as an inducement to bid on the lot. Lots are available for inspection prior to the sale and you are strongly advised to examine any lot in which you are interested prior to the sale. Our condition report has not been prepared by a professional conservator, restorer or engineer.

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Sir John Everett Millais British, 1829-1896 The End of a Long Run and A Break from the Hunt: Two

Lot 103: Sir John Everett Millais British, 1829-1896 The End of a Long Run and A Break from the Hunt: Two

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Description: Sir John Everett Millais British, 1829-1896 The End of a Long Run and A Break from the Hunt: Two Each signed with the artist's monogram and one dated 1869 (ll) Pen and brown ink with wash on paper 9 1/16 x 12 1/2 inches Provenance: Frederick Pickles, Esq., Torweston, Bristol Sotheby's, London, July 11, 1928, lot 60, illus. (bt. Henderson) J.B. Russell, Esq. Eugene Bernald, Ossining, New York

Condition Report: Taped with two 3 inch strips of tape to the mat from the top verso edge. Glue and paper residue along the edges on the verso. Scattered foxing. Discoloration along the edges. Lightly toned. One has a 2 1/2 inch indented line at lower right corner. Only one examined out of the frame. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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After John Everett Millais (1829-1896): Little Miss Muffet

Lot 144: After John Everett Millais (1829-1896): Little Miss Muffet

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Description: After John Everett Millais (1829-1896): Little Miss Muffet Oil on canvas, unsigned. 24 x 20 in., 25 1/2 x 21 in. (frame).

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Circle of Sir John Everett Millais (1829-1896) BUBBLE BOY oil on panel unsigned Label written back: Millais Bubble Boy...

Lot 161: Circle of Sir John Everett Millais (1829-1896) BUBBLE BOY oil on panel unsigned Label written back: Millais Bubble Boy...

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Description: Circle of Sir John Everett Millais (1829-1896) BUBBLE BOY oil on panel unsigned Label written back: Millais Bubble Boy awarded 1st prize Richmond Virginia 1893 small blue ribbon in corner under glass 8" x 6"

Condition Report: We strive to provide accurate, objective and fair information on all lots for sale, and we are happy to provide condition statements as a courtesy to our clients. Please keep in mind that any condition statement is merely an opinion, not a statement of fact, and all lots are sold "as is." Nadeau's shall have no responsibility for any error or omission and neither Nadeau's nor any consignor makes any warranties or representation of any kind or nature with respect to the property, and in no event shall they be responsible for the correctness, nor deemed to have made any representation or warranty, of description, genuineness, authorship, attribution, provenance, period, culture, source, origin, or condition of the property and no statement made at the sale, or in the bill of sale, or invoice or elsewhere shall be deemed such a warranty of representation or an assumption of liability. We advise that you or someone on your behalf inspect the lot personally before purchase.

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SIR JOHN EVERETT MILLAIS (English. 1829-1896)

Lot 257: SIR JOHN EVERETT MILLAIS (English. 1829-1896)

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Description: "Lady and Dog on a Balcony with Landscape". Monogrammed and dated 1872 l/r. Oil on Canvas. Measuring 17 1/4" by 13 1/4". Original gesso cast gilded presentation frame with painted name of artist on frame. (Cond: original canvas, scattered crazing, old varnish could use cleaning)

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Sir John Everett Millas (British,  1829-1896) - Stella; Vanessa, and Girl with a Muff (3)

Lot 348: Sir John Everett Millas (British, 1829-1896) - Stella; Vanessa, and Girl with a Muff (3)

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Description: Three mezzotints after Sir John Everett Millais. Stella; Vanessa; engraved by Atkinson, signed lower left by J.E.Millais, and with blindstamp, 58 x 44cm; with Samuel Cousins, after Millais, Girl with coat and muff, signed by artist and engraver, 62 x 48cm (3)

Condition Report: Condition is fine All a similar size

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after Sir John Everett Millais, PRA (British, 1829-1896)

Lot 370: after Sir John Everett Millais, PRA (British, 1829-1896) "The Lempriere Family" of Jersey, lithograph, 22¾ x 11in. (58 x 28cm.).

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Description: after Sir John Everett Millais, PRA (British, 1829-1896) "The Lempriere Family" of Jersey, lithograph, 22 3/4 x 11in. (58 x 28cm.).

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AFTER SIR JOHN EVERETT MILLAIS, (BRITISH 1829-1896),

Lot 405: AFTER SIR JOHN EVERETT MILLAIS, (BRITISH 1829-1896), "BUBBLES (A CHILD'S WORLD)"

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Description: AFTER SIR JOHN EVERETT MILLAIS (british 1829-1896) "BUBBLES (A CHILD'S WORLD)" Indistinctly signed, lower right, oil on canvas 32 1/2 x 22 in. (82.6 x 55.9cm) note: After the original in the Lady Lever Art Gallery, Port Sunlight, England.

Condition Report: In apparently good overall condition, apart from area of restoration behind child's head, with associated patch verso. There is some visible craquelure and stretcher bar marks. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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Sir John Everett Millais procession signed lower left

Lot 745: Sir John Everett Millais procession signed lower left "J E Millais"

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Description: Attributed to Sir John Everett Millais, PRA, HRA, HRCA (British, 1829-1896) Death of a Maiden signed lower left "J E Millais 1846" pen and ink heightened with white h:24 w:34 cm

Condition Report: Faded. Very sketchy in areas.

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EUROPEAN SCHOOL (19TH CENTURY) AFTER JOHN EVERETT MILLAIS (1829 - 1896)

Lot 767: EUROPEAN SCHOOL (19TH CENTURY) AFTER JOHN EVERETT MILLAIS (1829 - 1896) "VICTORY, O LORD" / BIBLICAL SCENE PAINTING

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Description: EUROPEAN SCHOOL (19TH CENTURY) AFTER JOHN EVERETT MILLAIS (1829 - 1896) "VICTORY, O LORD" / BIBLICAL SCENE PAINTING, oil on canvas, depicting Moses, Aaron, and Hur during the Battle of Rephidim against the Amalekites, signed and dated indistinctly lower left. In old frame.

Condition Report: Very good condition on original stretchers, canvas with small puncture repair upper left and small areas of retouch, some wear to frame.

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John Everett Millais (1829–1896)

Lot 1100: John Everett Millais (1829–1896) "Going to the Park", 7 x 4.5in.

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Description: John Everett Millais (1829–1896) etching, "Going to the Park", signed in the plate, 7 x 5in. and a Frederick Sandys woodcut of Dinae, 7 x 4.5in.

Condition Report: Please submit your absentee bids on www.gorringes.co.uk or e-mail clientservices@gorringes.co.uk FURTHER IMAGES ALREADY AVAILABLE AT WWW.GORRINGES.CO.UK Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Gorringes Conditions of Sale.

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Sir John Everett Millais (1829-1896) Dante Alighieri, 11.5 x 9in.

Lot 1323: Sir John Everett Millais (1829-1896) Dante Alighieri, 11.5 x 9in.

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Description: Sir John Everett Millais (1829-1896) watercolour on paper laid on board, Dante Alighieri, monogrammed, 11.5 x 9in.

Condition Report: Watercolour on paper which has been laid down onto a gold painted card backing, all with small dirt specks, minor paint marks and light scratching and scuffing though colours remain good. Small monogram at 4 o'clock. Under glass in a modern parcel gilt woof frame. Provenance: O'Neill Fine Art who gave their provenance as former private collection. Full attribution comes from vendor based on O'Neill provenance which was via an estate sale. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Gorringes Conditions of Sale.

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John Everett Millais, 1829-1896, England, Watching the Butterflies, a print/etching on paper, sight image 21

Lot 1464: John Everett Millais, 1829-1896, England, Watching the Butterflies, a print/etching on paper, sight image 21" high, 15" wide.

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Description: John Everett Millais 1829-1896, England Watching the Butterflies a print/etching on paper double matted and gilt framed under glass sight image 21" high, 15" wide.

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THREE UNFRAMED DRAWINGS AND AN ENGRAVING

Lot 1548: THREE UNFRAMED DRAWINGS AND AN ENGRAVING

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Description: 1) Attributed Sir John Everett Millais (British, 1829-1896), Pencil on paper, laid down on cardboard, Castle ruins Inscribed lower left, " Rheinfelden, 1873", Christie's label verso. 2) Claude Louis Desrais (French 1746-1816), Pen and ink with wash laid down on paper, Two narrative renderings with figures, Both signed lower left, dated 1774 and inscribed with titles. 3) Gustave DorÈ (French, 1832-1883) Pencil on paper, two sided, Battle study Stamped lower center "G. Dore". 4) 2 Engraved bookplates, Punch and Judy. SIZE: 1) 7" x 9 1/4" Overall: 13 1/2" x 16 1/4" 2) Each: 2 1/4" x 3 1/4" 3) 8 1/4" x 6 1/4" 4) 5" x 4" & 4 3/4" x 3 1/4" Mat: 10 1/4" x 13 3/4" CONDITION: 1) Good overall with some foxing. 2) One has toning to the top, good overall. 3) Good with slight toning to edge. 4) Good with toning. 7-70625, 7-70626, 7-70629, 7-70620

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Circle of Sir John Everett Millais (1829–1896) Portrait of a lady, 15 x 11in. unframed

Lot 1911: Circle of Sir John Everett Millais (1829–1896) Portrait of a lady, 15 x 11in. unframed

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Description: Circle of Sir John Everett Millais (1829–1896) watercolour, Portrait of a lady, signed and dated May 1843, 15 x 11in. unframed

Condition Report: Please submit your absentee bids on www.gorringes.co.uk or e-mail clientservices@gorringes.co.uk FURTHER IMAGES ALREADY AVAILABLE AT WWW.GORRINGES.CO.UK Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Gorringes Conditions of Sale.

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SIR JOHN EVERETT MILLAIS, P.R.A. 1829-1896

Lot 1: SIR JOHN EVERETT MILLAIS, P.R.A. 1829-1896

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Description: STUDY FOR 'A HUGUENOT'7 by 5 cm., 2 ¾ by 2 in.pencil, arched topPROVENANCEThe artist;By descent to Raoul Millais;By descent to the present ownerLITERATUREJohn Guille Millais, The Life and Letters of Sir John Everett Millais, 2 Vols., London, 1899, I, reproduced, p.137;Arts Council of Great Britain, The Drawings of John Everett Millais, exhibition catalogue by Malcolm Warner, 1979, p.29;Tate Gallery, London, The Pre-Raphaelites, exhibition catalogue, 1984 (under Malcolm Warner's catalogue entry for A Huguenot), p.99NOTEMillais worked on the composition of the painting which came to be called A Huguenot in the period 1851-2. The subject originated in his wish to illustrate Tennyson's poem 'Circumstance' -- which describes 'two lovers whispering by a garden wall'. Holman Hunt encouraged Millais to provide a specific historical setting for the composition. Thus, Millais decided to set the subject in sixteenth-century France, and to show a Huguenot refusing to wear a Roman Catholic badge which might have safeguarded him at a time of persecution of French Protestants. Meyerbeer's opera Les Huguenots, regularly performed at Covent Garden in the early 1850s -- and in which the heroine Valentine is seen attempting to bind a white scarf around her Protestant lover's arm -- seems to have been the immediate inspiration for the subject as treated by Millais. The finished painting, which was exhibited at the Royal Academy in 1852, is now in the Makins collection.The present drawing is one of a number of preparatory designs for A Huguenot. What seems to be the first in the sequence is in the collection of Liverpool City Libraries, and shows the two figures alone in a landscape, facing one another, and with her hands in his. Five further sketches, of which the present is the fourth, are reproduced in J.G. Millais' biography of his father. These show different possible treatments of the subject, including on one occasion an arrangement which involved three or four extra figures -- presumably intended as monks or priests -- and with the lovers centrally positioned and facing the spectator. However, in the present simpler and more immediately legible treatment only one subsidiary figure remains, the sinister onlooker in the right-hand background. Of the central couple, the Huguenot himself is placed on the left side -- as he had been in all the previous sketches, with his lover leaning her body against him and with her right arm around his neck. In the last sketch, as in the finished painting, the composition is turned around to show the male figure on the right side.CSN

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SIR JOHN EVERETT MILLAIS, P.R.A. 1829-1896 LEAR AND CORDELIA

Lot 2: SIR JOHN EVERETT MILLAIS, P.R.A. 1829-1896 LEAR AND CORDELIA

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Description: inscribed on a sheet of writing paper attached to the backing: 10 March 91 The little sketch of Lear is my work when I was a lad/... J E Millaisoil on panelPROVENANCESotheby's, 25 March 1964, lot 206 (bought by Ashford);Private collectionCATALOGUE NOTEThis early oil painting by Millais shows the moment in Shakespeare's play when King Lear - his madness abating - sees and recognises his daughter Cordelia. The rich old-masterly colouring and the emphatic characterisation of the figures suggest that Lear and Cordelia was painted in the late 1840s, during a period in which Millais was exploring different historical painting styles. Millias was strongly drawn to literary subjects in his early career. Drawings and paintings of Shakespearean themes occur from about 1848 onwards, the first being an oil sketch for The Death of Romeo and Juliet (Manchester City Art Gallery). A year later, after the formation of the Pre-Raphaelite Brotherhood, he painted Ferdinand and Ariel (Tate). Millais particular interest in subjects from King Lear was shared, and perhaps to some degree indebted to, his friend Ford Madox Brown, who had begun a painting in 1848, also inspired by act 4, scene 7 of the play (Tate).

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SIR JOHN EVERETT MILLAIS, P.R.A. 1829-1896 CYMON AND IPHIGENIA

Lot 3: SIR JOHN EVERETT MILLAIS, P.R.A. 1829-1896 CYMON AND IPHIGENIA

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Description: signed and dated l.r.: Millais 1847pen and inkCATALOGUE NOTEThis previously unrecorded and unpublished drawing is a compositional design for Millais's important early painting Cymon and Iphigenia (National Museums and Galleries on Merseyside; Lady Lever Art Gallery). The subject is that given by Boccaccio in the Decameron. The rustic shepherd Cymon had found Iphigenia as she lay sleeping, and was spellbound by her beauty. In the drawing, as in the finished painting, the two figures are seen at the commencement of their shy courtship.Millais was probably reliant on John Dryden's translation of Boccaccio's cycle of poems. The passage treated in the drawing is as follows: 'Then Cymon first his rustick Voice essay'd, / With proffer'd Service to the parting Maid / To see her safe; his Hand she long deny'd, / But took at length, asham'd of such a Guide; / So Cymon led her home...' Gradually the rustic shepherd is transformed into a noble and accomplished person, as a consequence of loving and being loved by a refined and beautiful woman. All ends happily in the eventual marriage of the lovers, who had in the first place seemed such unlikely suitors.The choice of the subject may have been inspired by William Etty, who had made a copy of Joshua Reynolds's Cymon and Iphigenia, which Millais may have seen (see Dennis Farr, William Etty, London, 1958, pp.181-2, cat. no.296). In addition, Millais may have known versions of the subject by Rubens and Lely.Millais's artistic training had commenced at the age of eight, when he was enrolled at Henry Sass's school, being put to copying engravings and drawing from casts of antique sculpture. In 1840 he became a probationer at the Royal Academy schools, and shortly afterwards was admitted as a full student after submitting a study from the antique and anatomical studies. The following three years were devoted to drawing from the antique. In 1846, aged sixteen, he graduated to the Life Academy, where he would have drawn from the male nude. On one occasion Millais competed for a prize for an outline drawing offered by the Art Union. Although unsuccessful, he would have attempted to fulfil the stated expectation of 'simplicity of composition and expression, severe beauty of form, and pure, correct drawing' - traits which characterise the present drawing of a year or so later.The artist's drawings of the period are consistently treated in outline, and with figures carefully placed across the width in a broadly symmetrical form and in a shallow depth of field, thus revealing his debt to Neo-classical principles. The present drawing shows the strong influence of the linear style of draughtsmanship of John Flaxman (1755-1826), a figure who was still revered at the Royal Academy, where he had served as Professor of Sculpture from 1810. At the end of 1847, the Cyclographic Club - a forerunner of the Pre-Raphaelite Brotherhood - was founded, and served to foster a new naturalism in drawing.The handling of this complex and multi-figured compositional design demonstrates the precocity of Millais's talent as a draughtsman, and both the conservative and progressive directions that his art was taking at this early stage in his professional career.CSN

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                                          Sir John Everett Millais, Bt., P.R.A. (1829-1896)

Lot 4: Sir John Everett Millais, Bt., P.R.A. (1829-1896)

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Description: Sir John Everett Millais, Bt., P.R.A. (1829-1896) Study of a male nude with added monogram and date and indistinctly inscribed '1847/Life Study RA ...' (lower right)pencil and stump, watermark 'J WHATMAN/TURKEY MILL/1850.', on paper, unframed30 x 20¾ in. (76.2 x 52.8 cm.)

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SIR JOHN EVERETT MILLAIS, P.R.A.

Lot 6: SIR JOHN EVERETT MILLAIS, P.R.A.

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Description: SIR JOHN EVERETT MILLAIS, P.R.A. 1829-1896 CECILIA HOLT, FROM TROLLOPE'S KEPT IN THE DARK (RECTO), STUDY FOR CINDERELLA signed with monogram and dated 1882 l.l. and inscribed l.c.: " When the letter was completed she found it was one/ she could not send" pen and ink, with bodycolour 26 by 15cm., 10.5 by 6in.

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After John Everett Millais (1829-1896) British. 'A

Lot 7: After John Everett Millais (1829-1896) British. 'A

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Description: After John Everett Millais (1829-1896) British. 'A Minuet', Hand Coloured Engraving, 32" x 25".

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After John E Millais

Lot 8: After John E Millais "Maccaroni Eater" Oil

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Description: After SIR JOHN EVERETT MILLAIS (English 1829-1896) "The Maccaroni Eater" Oil on canvas. 14.5 x 9.5 inches/ Signed lower right "J E Millais" Frame: 22.75 x 17.75 inches/ 57.7 x 45.1 centimeters. Frame made by "Thomas A Willomurt NY" PROVENANCE: Came with New York house when current owner's purchased in 1970.

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Sir John Everett Millais, P.R.A. (1829-1896)

Lot 9: Sir John Everett Millais, P.R.A. (1829-1896)

Description: Sir John Everett Millais, P.R.A. (1829-1896) Sisters signed with monogram and dated '1868' (lower left) oil on canvas 42½ x 42½ in. (108 x 108 cm.)

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SIR JOHN EVERETT MILLAIS, P.R.A.

Lot 10: SIR JOHN EVERETT MILLAIS, P.R.A.

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Description: SIR JOHN EVERETT MILLAIS, P.R.A. 1829-1896 CHRISTMAS EVE signed with monogram and dated 1887 l.l. oil on canvas 155 by 130cm.; 61 by 51½in.

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Sir John Everett Millais, P.R.A. (1829-1896)

Lot 10: Sir John Everett Millais, P.R.A. (1829-1896)

Description: Sir John Everett Millais, P.R.A. (1829-1896) Portrait of Lady Campbell, née Nina Lehmann signed with monogram and dated '1884' (centre right) oil on canvas 51 x 33 in. (129.5 x 86 cm.)

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Sir John Everett Millais, Bt., P.R.A. (1829-1896)

Lot 11: Sir John Everett Millais, Bt., P.R.A. (1829-1896)

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Description: Little Miss Muffetsigned with monogram and dated '1884' (lower right)oil on canvas49 x 35 1/8 in. (124.5 x 89.2 cm.)

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After John E Millais

Lot 11: After John E Millais "Maccaroni Eater" Oil

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Description: After SIR JOHN EVERETT MILLAIS (English 1829-1896) "The Maccaroni Eater" Oil on canvas. 14.5 x 9.5 inches/ Signed lower right "J E Millais" Frame: 22.75 x 17.75 inches/ 57.7 x 45.1 centimeters. Frame made by "Thomas A Willomurt NY" PROVENANCE: Came with New York house when current owners purchased in 1970.

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Sir John Everett Millais, Bt., P.R.A. (1829-1896)

Lot 12: Sir John Everett Millais, Bt., P.R.A. (1829-1896)

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Description: The Grey Ladysigned with monogram and dated '1883' (lower right)oil on canvas55 1/4 x 37 1/4 in. (140.4 x 94.6 cm.)

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 - Sir John Everett Millais, P.R.A. , 1829-1896 the romans leaving britain oil on canvas

Lot 16: - Sir John Everett Millais, P.R.A. , 1829-1896 the romans leaving britain oil on canvas

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Description: 'The Romans bade the Britaynes farewell, as not minding to returne thither agayne.' signed with monogram and dated 1865 l.r. oil on canvas

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Alice Gray

Lot 17: Alice Gray

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Description: Sir John Everett Millais, Bt., P.R.A. (1829-1896) Alice Gray oil on canvas 12 x 8 in. (30.5 x 20.3 cm.)

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No Image Available

Lot 18: MILLAIS, Sir John Everett (1829-1896, British)

Description: Tonbridge Wells, s.i.d.1842 W/C Works on paper (10x5in).

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PRINTS After John Everett Millais

Lot 20: PRINTS After John Everett Millais

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Description: Girl collecting eggs; girl wearing coat and muffmixed method engravings by Samuel Cousins, both signed by artist and engraver in pencil, I. 58.5 x 40cm (23 x 15 3/4 in).

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f - SIR JOHN EVERETT MILLAIS, BART., P.R.A., H.R.I., H.R.C.A. 1829-1896

Lot 21: f - SIR JOHN EVERETT MILLAIS, BART., P.R.A., H.R.I., H.R.C.A. 1829-1896

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Description: Signed with monogram and dated 1879 l.l.oil on canvasIn mezzotint by Samuel Cousins RA, published by T. McLean, 1881

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SIR JOHN EVERETT MILLAIS, P.R.A. 1829-1896

Lot 21: SIR JOHN EVERETT MILLAIS, P.R.A. 1829-1896

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Description: SWALLOW! SWALLOW!measurements note102 by 76 cm., 40 by 30 in.signed with monogram and dated 1864 l.r.; inscribed and signed on an old label attached to the reverse; Oh swallow flying from the golden woods/ Fly to her, and pipe and woo her and make her mine/ And tell her, tell her, that I follow thee. Tennyson/ John Everett Millaisoil on canvas, arched topPROVENANCEBought from the artist by Thos Agnew & Sons for £800, 21 June 1864; sold by Agnew to Samuel Mendel, 22 June 1864; Mendel sale, Christie's, 24 April 1875, lot 417 (bought Agnew, 1000 guineas); sold by Agnew to Sir John Kelk, 5 July 1876; Kelk sale, Christie's, 11 March 1899, lot 30 (bought Agnew, 720 guineas, on behalf of Mrs Alice Stibbard); by family descent to the present ownerEXHIBITEDLondon, Royal Academy of Arts, 1865, no 391 (without title in the catalogue, but with the quotation from Tennyson); London, Grosvenor Gallery, The Millais Exhibition, 1886, no 122; Royal Academy, Millais Memorial Exhibition, 1898, no 36. LITERATUREArt Journal, 1865, p. 167; Athenaeum, 1865, p. 592;M.H. Spielmann, Millais and His Works, London, 1898, pp. 90, 110, 170, 184; John Guille Millais, Life and Letters of Sir John Everett Millais, two volumes, London, 1899, II, p. 472;G.H. Fleming, That Ne'er Shall Meet Again -- Rossetti, Millais, Hunt, London, 1971, p. 226NOTEJohn Everett Millais's Swallow! Swallow! is a remarkable and beautiful painting, made during a fascinating transitional period in the artist's career when he found himself poised between the formative experience of Pre-Raphaelitism and the new artistic principles associated with Aestheticism. Millais had a particular feeling for literature, and the works of Shakespeare, Keats and Tennyson provided narratives for numerous paintings and drawings. In the mid-1850s he made a series of designs for the so-called Moxon Tennyson, an illustrated edition of Tennyson's poetry to which various members of the Pre-Raphaelite Brotherhood and their associates contributed. This was a vital formative experience and one that taught him how to look for ways of expressing human predicaments in terms of mood, and to choose telling motifs which would indicate the state of mind of his protagonists. One of Millais's greatest early paintings, and a work that represents the fulfilment of Pre-Raphaelitism in its primary phase, is Mariana (Makins collection, fig.1), of 1851. The subject, from Shakespeare's Measure for Measure, in its treatment of weary waiting on the part of one who is forced to be apart from her lover, anticipates the theme of Swallow! Swallow!. Swallow! Swallow! takes its subject from Tennyson's poem 'The Princess'. Published in 1847, and containing memorable passages of lyric poetry gathered together into a medley, the verse tells the story of the betrothal of Princess Ida. Tennyson's princess has modern ideas and sympathies, embracing causes such as the rights of women, universal education, and at the same time abjuring the institution of marriage. The opening of part IV of the poem describes a meeting between Ida and her suitor, along with his two companions. Set within the dialogue between them, which reveals the divergence of their views of how society should be ordered, are various poetic interpolations. One is the verse which opens with the line 'Tears, idle tears, I know not what they mean'. Then comes the inset poem that purports to be recalled from memory and is spoken in the first person by one of the male figures present, and which opening with the lines: O Swallow, Swallow, flying, flying South,Fly to her, and fall upon her gilded eaves,And tell her, tell her, what I tell to thee.The lovesick narrator wishes that he could fly to the object of his adoration -- 'if I could follow, and light / upon her lattice, I would pipe and trill, / and cheep and twitter twenty million loves.' The poem concludes with the verse quoted with the title of the painting:O swallow, flying from the golden woods,Fly to her, and pipe and woo her, and make her mine,And tell her, tell her, that I follow thee.The painting shows the woman who is the object of the narrator's love. Although she seems unaware of the bird as it rests momentarily outside the window of her room, it is clear that she reciprocates the loving message that it brings. She gazes despondently and distractedly into an unseen space; while in her trembling right hand she loosely holds a white rose -- which may be intended as a metaphor of her purity and innocence. The painting had a particular personal significance for Millais. Eleven years earlier, in the course of the visit to Scotland that he made in 1853 with John Ruskin (and which led to his portrait of Ruskin standing on the bank of the Glenfinlas river), Millais had fallen in love with Ruskin's wife Effie. In due course Effie left Ruskin to return to her parental home in Perthshire. Millais and Effie was forced to endure a period of agonising separation, lasting nearly two years, before she could be divorced from Ruskin. Finally, on 3 July 1855, she and Millais were married. That these events had left an indelible mark on Millais is demonstrated by the fact that even in the mid-1860s he continued to treat themes to do with the trauma of separation. For example, his historical subject, The Romans leaving Britain (Sotheby's, London, 14 June 2001, lot 38), exhibited with Swallow! Swallow! at the Royal Academy in 1865, shows the forced parting of a Roman legionnaire from his British wife. Likewise, Swallow! Swallow!, in which a girl incarcerated in her parental home, longs for news from the one who loves her and who she loves in return, clearly represents a memory of the distressing time when he and Effie could only communicate by subterfuge and never saw one another. Swallow! Swallow! reveals Millais longing to escape into a realm of imagination and other-worldliness, steeping himself in literary imaginings, but also tells much about an emotional travail which he had endured and which remained with him in his thoughts.The tender quality of the painting is in addition a reflection of the warm affection that Millais felt for his sister-in-law Alice Gray -- who served as the model for the figure. For a few years after their marriage in 1855 Millais and Effie lived principally in Perthshire, and it was during this period that Millais also formed a close bond with other members of Effie's family. Alice, who was Effie's younger sister, was born in 1845, and was therefore about nineteen when Swallow! Swallow! was painted. A beautiful girl, with large eyes of a dark blue, she had previously sat for a variety of Millais's most distinguished works, including Autumn Leaves (Manchester City Art Gallery, fig.2), as the girl on the left side of the composition who holds the basket into which leaves are being placed, Pot Pourri (Sotheby's, London, 5 November 1997, lot 193), as the girl who leans back in momentary interruption of her task of placing rose petals in a bowl, and Apple Blossoms (National Museums and Galleries on Merseyside; Lady Lever Art Gallery, Port Sunlight, fig.3), as the girl on the right side, who lies on her back and places a piece of grass between her lips. Alice was later to model for the figure of Celia in Rosalind in the Forest (National Museums and Galleries on Merseyside; Walker Art Gallery, Liverpool) in 1868. Among the portraits that Millais made of her are a drawing of 1853 (fig.4 and reproduced in Sir William James's The Order of Release, 1947, facing p.146), and a beautiful oil of 1857 (private collection). Millais painted a further oil portrait of her in 1878, after her marriage to George Stibbard (collection of a descendant of the sitter).As Millais had been one of the three principal members of the artistic movement known as Pre-Raphaelitism, in which -- along with William Holman Hunt and Dante Gabriel Rossetti -- he had attempted to lead the reform of English painting in favour of emotionally sincere and personal subjects, treated with intense colour and carefully observed natural detail, in the later 1850s and 1860s he remained a progressive and challenging artist. This was a period of extraordinary inventiveness and aesthetic sophistication, when painters and writers explored issues of how works of art might be understood -- whether in a literal and documentary way or, as the artists of the Aesthetic movement preferred, subliminally and by subtle inflection of mood. Thus Millais was one of the first of his generation to attempt to transcend pictorial narrative in favour of abstract and symbolical subjects. Works such as Autumn Leaves, in which the spectator is invited to meditate on the transience of human existence, are among his masterpieces. Swallow! Swallow!, notwithstanding its literary source, likewise explores a human drama in psychological terms. The sympathy that the painting expresses for the situation of one who is lovelorn, and who longs for contact with the person who adores her, is understood directly and through physiognomic expression and bodily gesture rather than as a dutiful retelling of a familiar legend, transposed to another medium.Qualities of vibrant colour and painterly richness were identified when Swallow! Swallow! was first seen at the Royal Academy in 1865. The Art Journal's verdict was that 'the results are got by mastery, not minuteness', dwelling also on the careful manipulation of tints: 'The effect chiefly depends on a concord of colour, wherein blue pays a principal part, and then purple and black come in to complete the harmony' (Art Journal, 1865, p.167). In 1886 Swallow! Swallow! appeared at the winter exhibition devoted to Millais's work at the Grosvenor Gallery -- an event that endorsed the painter's position as one of the most admired and professionally successful artists of his generation. Finally, it was shown at the 1898 memorial exhibition of Millais's paintings at the Royal Academy after his death in 1896. In 1899 the painting was bought by Mrs Stibbard, who as Alice Gray had been the model for the figure, and since then it has remained in the possession of her descendants.A small watercolour version of the subject was in the collection of Robert Cecil (fig.5). This is reproduced in John Guille Millais, Life and Letters of Sir John Everett Millais, two volumes, London, 1899, I, p.369.We are grateful to Dr Malcolm Warner for preparing this catalogue note.CSN

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                                        Sir John Everett Millais, Bt., P.R.A. (1829-1896)

Lot 21: Sir John Everett Millais, Bt., P.R.A. (1829-1896)

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Description: Sir John Everett Millais, Bt., P.R.A. (1829-1896) Mrs Sebastian Schlesinger signed with monogram and dated '18/76' (lower right) oil on canvas 45¾ x 29¾ in. (116.3 x 75.6 cm.)

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                                        Sir John Everett Millais, Bt., P.R.A. (1829-1896)

Lot 22: Sir John Everett Millais, Bt., P.R.A. (1829-1896)

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Description: Sir John Everett Millais, Bt., P.R.A. (1829-1896) Miss Gertrude Vanderbilt signed with monogram and dated '18/88' (lower left) oil on canvas 94½ x 62 in. (240 x 157.5 cm.)

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                                          Sir John Everett Millais, P.R.A (1829-1896)

Lot 23: Sir John Everett Millais, P.R.A (1829-1896)

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Description: Sir John Everett Millais, P.R.A (1829-1896) Christmas Eve signed with monogram and dated '1887' (lower left) oil on canvas 62 x 52¾ in. (157.5 x 134 cm.)

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f - SIR JOHN EVERETT MILLAIS, BART., P.R.A., H.R.I., H.R.C.A. 1829-1896

Lot 25: f - SIR JOHN EVERETT MILLAIS, BART., P.R.A., H.R.I., H.R.C.A. 1829-1896

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Description: SIGNED AND DATED (MAKER'S MARKS)signed with monogram l.l.

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                                        Sir John Everett Millais, Bt., P.R.A., R.W.S. (1829-1896)

Lot 25: Sir John Everett Millais, Bt., P.R.A., R.W.S. (1829-1896)

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Description: Sir John Everett Millais, Bt., P.R.A., R.W.S. (1829-1896) The End of the Chapter signed with monogram and dated '1869' (lower left) and inscribed 'The Last Chapter/J.E. Millais' (on a label attached to the backboard)pencil and watercolour heightened with touches of bodycolour and with gum arabic and with scratching out9 3/8 x 11½ in. (23.8 x 29.2 cm.)

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Lot 26: MILLAIS, Sir J E (1829-1896, British)

Description: Fishing party, i.verso Oil Painting (31x24in).

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Lot 26: MILLAIS, Sir John Everett (1829-1896, British)

Description: Collection of early drawings, pencil twelve Works on paper (12x10in).

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Sir John Everett Millais, Bt., P.R.A. (1829-1896)

Lot 26: Sir John Everett Millais, Bt., P.R.A. (1829-1896)

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Description: Sir John Everett Millais, Bt., P.R.A. (1829-1896) Portrait of Margaret Fuller Maitland signed with monogram (lower left), and inscribed 'Fuller Maitland Esq, Stansted, Essex' (on the reverse)oil on canvas, in a painted oval 18½ x 15 in. (47 x 38.1 cm.)

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Drawing of the artist and his wife, Effie, as Queen Victoria and Prince Albert

Lot 27: Drawing of the artist and his wife, Effie, as Queen Victoria and Prince Albert

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Description: Sir John Everett Millais, Bt., P.R.A., R.W.S. (1829-1896) Drawing of the artist and his wife, Effie, as Queen Victoria and Prince Albert inscribed 'EVER & EFFI REX' (lower edge) and extensively inscribed (on the reverse) pen and brown ink, irregular 4 x 4 in. (10.2 x 10.2 cm.); mounted with the Great Exhibition medal of 1851 of Queen Victoria and Prince Albert, designed by W. Wyon from which the image was taken

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Porait of the artist's brother, William Millais, with canvas, palette and fishing rod, Brig O'Turk, Scotland

Lot 27: Porait of the artist's brother, William Millais, with canvas, palette and fishing rod, Brig O'Turk, Scotland

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Description: Sir John Everett Millais, Bt., P.R.A., R.W.S. (1829-1896) Porait of the artist's brother, William Millais, with canvas, palette and fishing rod, Brig O'Turk, Scotlandsigned with monogram and dated '1853' (upper right), and with inscription 'Rainy days at Brig O'Turk No. 29 THE HIGHLAND SKETCHBOOK OF JOHN EVERETT MILLAIS 1853' (on the reverse)pen and brown ink, irregular 3½ x 9 1/8 in. (9 x 23.2 cm.)

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Lot 28: OIL ON CANVAS PAINTING AFTER SIR JOHN EVERETT MILL

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Description: OIL ON CANVAS PAINTING AFTER SIR JOHN EVERETT MILL a nicely executed copy of "Bubbles" by pre-Raphaelite artist Sir John Everett Millais (1829-1896), a well-known work depicting a boy with a bowl containing a bubble pipe with bubble overhead, exhibiting restoration, appears 19th century, unable to examine the reverse due to professionally mounted backing, 15x10in.

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