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Valentine Cameron Prinsep Auction Price Results

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                                          Valentine Cameron Prinsep, R.A. (1838-1904)

Lot 13: Valentine Cameron Prinsep, R.A. (1838-1904)

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Description: Valentine Cameron Prinsep, R.A. (1838-1904) À Bientôt signed and inscribed 'Val Prinsep/6 Holland Park Road/À Bientôt' (on an exhibition label attached to the stretcher)oil on canvas 43½ x 33 in. (110.5 x 83.8 cm.)

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Lot 13: Valentine Cameron Prinsep R.A. (1838-1904)

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Description: Valentine Cameron Prinsep R.A. (1838-1904) Toegeschreven aan Een klassiek vrouwfiguur met schenkkan bij tempel. Niet gesigneerd. Niet ingelijst. Verso notitie: 'Drawing by Prinsep, bought at his House Sale Regents Park'. Deze tekening is waarschijnlijk ontstaan in 1857, de periode dat Prinsep samenwerkte met Morris en Rossetti voor het maken van de muurschilderingen van de Oxford Union. Een vergelijkbare tekening met dezelfde notitie op de achterzijde bevindt zich in de collectie van het British Museum. Tekening 39,5x26,5 cm.

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VALENTINE CAMERON PRINSEP R.A.

Lot 15: VALENTINE CAMERON PRINSEP R.A.

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Description: A GIRL CARRYING GRAPES (FORMERLY KNOWN AS SALOME) signed with monogram and dated l.l.: 1862

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Valentine Cameron Prinsep (1838-1904)

Lot 19: Valentine Cameron Prinsep (1838-1904)

Description: Valentine Cameron Prinsep (1838-1904) The green dress signed 'Val Prinsep...' (on a fragmentary label) oil on canvas 36 x 28 in. (91.4 x 71.1 cm.)

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 Valentine Cameron Prinsep R.A. , 1838-1904 
 the mandolin player oil on canvas
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Valentine Cameron Prinsep, R.A. (1838-1904)

Lot 25: Valentine Cameron Prinsep, R.A. (1838-1904)

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Description: The Gossipssigned 'Val Prinsep' (lower right)oil on canvas38 x 30 1/4 in. (96.5 x 79.4 cm.)

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Attrib. Valentine Cameron Prinsep (1838-1904):

Lot 27: Attrib. Valentine Cameron Prinsep (1838-1904):

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Description: Attrib. Valentine Cameron Prinsep (1838-1904): 'The Flower Seller', oil on canvas unsigned, titled verso with artist's name 87cm x 61cm

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Valentine Cameron Prinsep (British, 1838-1904)

Lot 36: Valentine Cameron Prinsep (British, 1838-1904)

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Description: Valentine Cameron Prinsep (British, 1838-1904) The handmaidens of Sivawara preparing the sacred bull at Tanjore for a festival.oil on canvas 58 x 73¾ in. (147.3 x 111.5 cm.)

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Valentine Cameron Prinsep, R.A. (1838-1904)

Lot 37: Valentine Cameron Prinsep, R.A. (1838-1904)

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Description: A Venetian Gaming-House in the Sixteenth Centuryoil on canvas48 x 72 1/2 in. (122 x 184.2 cm.)

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Lot 39: PRINSEP, VALENTINE CAMERON (1836-1904)

Description: > Oil/canvas 24x36 inches (61x91.5 cm).

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Lot 53: PRINSEP, VALENTINE CAMERON (1836-1904)

Description: The lady of the Tootni-Nameh (the legend of the parrot), 1865c. Oil/canvas 36x46 inches (91.5x116.5 cm) Inscr. S Exhib.: RA, 1865, no.360.

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Lot 55: PRINSEP, VALENTINE CAMERON (1836-1904)

Description: Newmarket heath, the morning of the sale, 1874 Oil/canvas 42x72 inches (107x183 cm) signed & dated (Lower Right).

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Lot 63: Valentine Cameron Prinsep (1838-1904)

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Description: Portrait of a boy, quarter-length, in a brown waistcoat and white lace collar signed 'Val E Prinsep' (lower right) and signed 'Val E. Prinsep RA' (on the reverse) oil on canvas 18 x 14 in. (45.7 x 35.6 cm.).

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The flower seller

Lot 64: The flower seller

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Description: Circle of Valentine Cameron Prinsep R.A. (1838-1904) The flower seller with signature 'Val.C.Princep' (lower left) oil on canvas 35 x 24¾ in. (88.9 x 62.8 cm.)

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Lot 71: Valentine Cameron Prinsep, R.A.

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Description: 1838-1904 portrait of a boy signed and dated l.r.: Val C. Prinsep/1892; signed on reverse oil on canvas 46 by 36cm., 18D by 14Din.

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Valentine Cameron Prinsep, RA (British 1838-1904)

Lot 86: Valentine Cameron Prinsep, RA (British 1838-1904)

Description: Portrait of May Princep inscribed '1 sitting 1868/29 July' in pencil on the stretcheroil on canvas76 x 63 cm. (30 x 24 3/4 in.)

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                                          Valentine Cameron Prinsep, R.A. (1838-1904)

Lot 94: Valentine Cameron Prinsep, R.A. (1838-1904)

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Description: Valentine Cameron Prinsep, R.A. (1838-1904) The butter churn signed and dated 'Val Prinsep RACA' (lower left) oil on canvas 35¼ x 23¼ in. (89.5 x 59 cm.)

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Valentine Cameron Prinsep, R.A. (1838 - 1904)

Lot 106: Valentine Cameron Prinsep, R.A. (1838 - 1904)

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Description: St John the Evangelist teaching the New Commandment 'That ye love one another'oil on canvas35 1/2 x 53 1/2 in. (90.2 x 135.9 cm.)in the original frame

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Lot 108: PRINSEP, VALENTINE CAMERON (1836-1904)

Description: > Oil/canvas 37x29 inches (94x74 cm) Royal Academy, 1890, no. 96.

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Lot 112: PRINSEP, Valentine Cameron (1838-1904, British)

Description: Portrait of boy, s.d.1892 s.verso Oil Painting (14x18in).

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Lot 118: PRINSEP, Valentine Cameron (1836-1904)

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Description: Lady Tennison on Afton Downs, Freshwater Bay, Isle of Wight Oil/canvas 34,6 x 26,0 inches (88.0 x 66.0cm) Illustrated.

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Valentine Cameron Prinsep, R.A. (1838 - 1904)

Lot 119: Valentine Cameron Prinsep, R.A. (1838 - 1904)

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Description: Study of a girl readingsigned and inscribed 'Study of a girl reading Val Prinsep, Holland Park Road/London/Sold' (on a label on the reverse of the frame)oil on panel34 3/4 x 18 1/2 in. (88.3 x 46.9 cm.)

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VALENTINE CAMERON PRINSEP, R.A. (1838-1904) LADY TENNYSON ON AFTON DOWNS, FRESHWATER BAY, ISLE OF WIGHT

Lot 119: VALENTINE CAMERON PRINSEP, R.A. (1838-1904) LADY TENNYSON ON AFTON DOWNS, FRESHWATER BAY, ISLE OF WIGHT

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Description: oil on canvas 87.5 by 66 cm.; 34 1/2 by 26 in. Born Mary Emily Prinsep, Lady Tennyson was the daughter of Charles Robert Prinsep, Advocate-General of Calcutta and first cousin to the artist. Brought up in England under the influence of her aunt Mrs Thoby Prinsep she became familiar with the artistic circle surrounding her aunt at Little Holland House. A much admired beauty she sat on several occasions for Watts and was a frequently model for the photographic works of Julia Margaret Cameron. Her first husband. Andrew Hitchins, died in 1918 and she subsequently married Hallam, the second Lord Tennyson. She died in 1931 and is buried in the churchyard at Compton, Surrey, near the Watts Mausoleum. PROVENANCE By descent to Mrs Claudia Prinsep. EXHIBITED London Borough of Southwark, South London Art Gallery and Cuming Museum, Val Prinsep RA: A Jubilee Painter, 1977, no.32.

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Lot 139: PRINSEP, VALENTINE CAMERON (1836-1904)

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Description: Emily Mary Prinsep, Lady Tennyson, near Freshwater Bay, Lady Tennys Oil/canvas 34.5x26 in (87.6x66 cm) Exhib.: South London Art Gallery, no.32, London 1977.

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Lot 140: PRINSEP, VALENTINE CAMERON (1836-1904)

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Description: The Taj Mahal Oil/canvas 12x14.3 in (30.5x36.2 cm) Exhib.: South London Art Gallery, no.36, London 1977.

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Lot 141: PRINSEP, VALENTINE CAMERON (1836-1904)

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Description: Benares Oil/canvas 15x12.3 in (38.1x31.1 cm) Exhib.: South London Art Gallery, no.35, London 1977.

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Lot 142: PRINSEP, VALENTINE CAMERON (1836-1904)

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Description: Study of a girl reading Oil/panel 34.5x17.5 in (87.6x44.5 cm) Inscr. S/label verso.

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Valentine Cameron Prinsep, R.A. (1838-1904)

Lot 157: Valentine Cameron Prinsep, R.A. (1838-1904)

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Description: The First Awakening of Evesigned and inscribed 'Eve. by Val Prinsep. RA RA Exhibit - £CHH' (on an old label on the stretcher)oil on canvas44 7/8 x 53 1/4 in. (114.1 x 135.3 cm)

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                                          Valentine Cameron Prinsep, R.A. (1838-1904)

Lot 163: Valentine Cameron Prinsep, R.A. (1838-1904)

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Description: Valentine Cameron Prinsep, R.A. (1838-1904) À Bientôt inscribed 'Val Prinsep/6 Holland Park Road/À Bientôt' (on an exhibition label attached to the stretcher)oil on canvas 43½ x 33 in. (110.5 x 83.8 cm.)

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Valentine Cameron Prinsep (Calcutta 1836 - Londres 1904) FREDERICA CHARLOTTE, FILLE DU 1ER BARON FITZHARDING, DANS LES JARDINS DE BE...

Lot 174: Valentine Cameron Prinsep (Calcutta 1836 - Londres 1904) FREDERICA CHARLOTTE, FILLE DU 1ER BARON FITZHARDING, DANS LES JARDINS DE BE...

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Description: Valentine Cameron Prinsep (Calcutta 1836 - Londres 1904) FREDERICA CHARLOTTE, FILLE DU 1ER BARON FITZHARDING, DANS LES JARDINS DE BERKELEY CASTLE Toile 36, 5 X 29,5 CM

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VALENTINE PRINSEP (British, 1838-1904), little red

Lot 203: VALENTINE PRINSEP (British, 1838-1904), little red

Description: VALENTINE PRINSEP (British, 1838-1904), little red riding hood, oil on canvas, signed l/r, 13"h, 10-1/2"w; laid down, some craquelure and inpaint.

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Lot 231: In the Style of Valentine Cameron Prinsep oil

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Description: In the Style of Valentine Cameron Prinsep oil painting on canvas portrait of a lady playing cards. Signed lower left, Val. C. Prinsep. Site: 19.5H x 15.5W; Frame: 25H x 21W. Valentine Cameron Prinsep (British 1838-1904). Circa - Second half 19th C.

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Lot 240: Valentine Cameron Prinsep, R.A. (1838-1904)

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Description: Valentine Cameron Prinsep, R.A. (1838-1904) The butter churn signed and dated 'Val Prinsep RACA' (lower left) oil on canvas 35¼ x 23¼ in. (89.5 x 59 cm.)

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Valentine Cameron Prinsep, R.A. (1838-1904)

Lot 274: Valentine Cameron Prinsep, R.A. (1838-1904)

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Description: An Indian Water Carrier oil on canvas 313/4 x 53/4 in. (80.6 x 14.6 cm.) PROVENANCE Painted for Alma-Tadema's house, 17 Grove End Road, St John's Wood; sold Hampton & Sons, London, 11 June 1913, lot 613. C.P. Mason; Sotheby's Belgravia, 5 November 1974, lot 71. Anon. sale, Sotheby's Belgravia, 29 June 1976, lot 95, when acquired by the present owner. LITERATURE R. de Cordova, 'The Panels in Sir Lawrence Alma-Tadema's Hall', Strand Magazine, vol. XXIV, no. 144, December 1902, p. 617, illus., as An Indian Girl. NOTES Val Prinsep was born in India, the son of Henry Thoby Prinsep, a distinguished Indian civil servant, and his wife Sara, one of the famous Pattle sisters. In October 1876 he was asked by Lord Lytton, Viceroy of India and a family friend, to go to India and paint the great Assemblage or durbar held at Delhi to proclaim Queen Victoria Empress of India. The picture was to be presented to the Queen by her Indian subjects, and is still at St James's Palace. The enormous canvas, crowded with portraits of maharajahs and other dignitaries, was a formidable undertaking, and was not exhibited at the Royal Academy until 1880. Prinsep also painted other Indian themes, showing them at the R.A. up to 1888, and in 1879 he published Imperial India: An Artist's Journals, a colourful account of his fourteen-month stay in the sub-continent. A group of his Indian sketches is in the V&A, and two small canvases, The Taj Mahal and Benares, were sold in these Rooms on 15 June 1990, lots 140-1. Alma-Tadema's panel is yet another product of Prinsep's Indian experience, no doubt being based on a sketch made at the time. According to De Cordova, it shows 'an Indian girl going down the sacred steps to the Ganges to fill her pitchers with water.'.

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Valentine Cameron Prinsep, R.A. (1838-1904)

Lot 293: Valentine Cameron Prinsep, R.A. (1838-1904)

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Description: La Festa di Lido oil on canvas 591/4 x 731/2 in. (150.5 x 186.8 cm.) PROVENANCE Anon. sale, Christie's, London, 13 October 1978, lot 194. with The Fine Art Society, London, 1979. with Barry Friedman, New York, from whom acquired by the present owner in 1980. LITERATURE Athenaeum, no. 2012, 19 May 1860, p. 676. Times, 22 May 1866, p. 12. Victorian Figure Drawings, exh. Julian Hartnoll, London, 1980, cat. p. 6, under no. 43. The Ford Collection - II (Walpole Society, vol. 60), London, 1998, pp. 227-8, under RBF 321. EXHIBITION London, Royal Academy, 1866, no. 339. London, South London Art Gallery, Val Prinsep: A Jubilee Painter, 1977, no. 6. The Pre-Raphaelites and their Times, 1985, no. 39. The Heatherley School of Fine Art: 150th Anniversary Exhibition, 1996, no. 17. NOTES A genial, extrovert, giant of a man, popular in artistic and social circles, Val Prinsep belonged to a leading Anglo-Indian family that had already produced several talented amateur artists. He was born in Calcutta on St Valentine's Day 1838; his father, Thoby Prinsep, was a distinguished Indian civil servant, and his mother, the redoubtable Sara, was one of the celebrated Pattle sisters, who also included Julia Margaret Cameron, the photographer, and Virginia, Countess Somers, one of the great beauties of the day. The Prinseps returned to England in 1843, and in 1851 took a lease on Little Holland House in Kensington, where for nearly twenty-five years Sarah presided over a salon frequented by celebrities in the worlds of art, literature, politics and science. Val received his earliest art education from G.F. Watts, who lived in the house as its genius-in-residence. By 1857 he had fallen under the spell of Rossetti and Burne-Jones, two of his mother's 'lions', and was helping them to paint murals illustrating the Morte d'Arthur in the Oxford Union. He then went on to study under Charles Gleyre in Paris, where he encountered Whistler, Poynter, George Du Maurier and other members of the so-called 'Paris Gang'. He appears as Taffy in Trilby, Du Maurier's romanticised account of the vie de bohŠme, published in 1894. In the 1860s Prinsep came under the influence of Frederic Leighton, his neighbour in the colony of artists which was rapidly establishing itself to the south-west of Holland Park, and in 1879 he was elected an Associate of the Royal Academy, of which Leighton had become President the previous year. This was probably in recognition of his labours on an enormous canvas depicting the durbar held by Lord Lytton at Delhi in 1877 to proclaim Queen Victoria Empress of India. The picture was exhibited at the R.A. in 1880 and is now in St James's Palace. The present picture, which was exhibited at the Royal Academy in 1866, has almost certainly been cut down at either side, leaving some of the figures truncated. Lot 294 would appear to be the section cut from the left (or the main part of it; thin lateral strips still seem to be missing), while the piece cut from the right is either lost or destroyed. In its original state, the picture must have been considerably longer, explaining why both the reviews quoted below refer to it as 'large'. When the picture appeared at the RA, the catalogue explained that it showed 'a fˆte held in the public gardens of Venice during the month of October.' Prinsep had been in Venice in October 1859. He was travelling with Burne-Jones, and they were seeing the sights for the first time under the guidance of Ruskin. As Prinsep recalled many years later, 'Ruskin in hand, we sought out every cornice, design, or monument praised by him. We bowed before Tintoret and scoffed at Sansovino. A broken pediment was a thing of horror!' ( Magazine of Art, 1904, p. 417). It is possible that Prinsep saw the fˆte on the Lido at this time, and was drawing on memories of it seven years later, although he had almost certainly been back to Venice during the intervening period. His painting A Venetian Water-Carrier in the Walker Art Gallery, Liverpool, which is dated October 1863, may represent such a visit, while a lifetime's habit of returning to Venice is suggested by the two Venetian subjects which he showed at the RA as late as 1903-4. Whatever the case, the picture may be seen as a rather late expression of the Venetian idiom that was so dominant in Prinsep's circle in the late 1850s and early 1860s. The influences behind this phenomenon were complex, but almost no artist was unaffected; G.F. Watts, D.G. Rossetti, Burne-Jones, Leighton and many others reflected the prevailing ethos. Prinsep was already exploring the possibilities of Venetian modes in pictures like Il Barbagianni (private collection) and My Lady Betty (Christie's, London, 11 June 2002, lot 117), exhibited at the RA respectively in 1863 and 1864; but in these, as in contemporary works by the above-mentioned artists, not to mention photographs by his aunt, Mrs Cameron, his models were mainly the sumptuous female figures of Titian or Palma Vecchio. In the idealised picnic scene of La Festa di Lido, he seems to have been thinking more of Giorgione, making Burne-Jones's Green Summer of 1864 (private collection) a better comparison. The two pictures are not only Giorgionesque in composition but 'Venetian' in their strong sense of colour. In fact by the time Prinsep came to paint La Festa di Lido the Venetian style was giving way to a resurgent classicism. We can gauge how far this had come by noting that Leighton's well-known painting The Syracusan Bride (private collection; see L. and R. Ormond, Lord Leighton, 1975, pl. 121) was shown the RA the same year as Prinsep's picture. La Festa di Lido itself both reflects this development and bears comparison with the Leighton in its lack of spatial depth and frieze-like composition, a feature which would have been far more pronounced before the canvas was cut down. Unlike Leighton, however, Prinsep had not yet finished with the more overt forms of Venetian imagery. In Leonora di Mantua (Walker Art Gallery, Liverpool), shown at the RA in 1873, he painted a handsome female model in sixteenth-century costume. The result is an academic version of one of Rossetti's most 'Venetian' works, some Aesthetic arrangement of form and colour modelled by Fanny Cornforth or Alexa Wilding looking sultry and exotic. Prinsep's drawings betray the same tendencies. Two studies of young girls in Italian costume in the late Brinsley Ford's collection ( op. cit., RBI 321-2) seem to date from the mid-1860s and may well have been made in Venice. A study of the head of a young man that Julian Hartnoll had for sale in 1980 ( loc. cit., illus. in catalogue), though it does not correspond exactly with any head in our picture, looks as if it might have been drawn from one of the male models, especially the handsome youth holding a flask of wine on the right. The picture fascinated critics when it appeared at the RA. They commented on it at length, even if they found fault with certain aspects. F.G. Stephens, writing in the Athenaeum, thought that 'Mr V. Prinsep's large picture....would be highly interesting if only it had 'more vitality...The figures group themselves regularly and inartistically, rather in the manner of a stage composition.' There were, however, exceptions. Referring to figures that have since been cut away, but one of which almost certainly survives in lot 294, he continued: The tall girl with her hand on her hip on the right of the design, and that other who saunters towards us on the left show a good deal of Italian affectation and consciousness of grace...The colouring, which is generally harmonious and sober, and very original in its way, is marred, if not ruined, by being what artists call 'dirty' and muddled. We fail to see that it was worth while to paint the man in front who holds out his arm or the woman who faces us in the centre of the picture. Nothing but beautiful treatment can make commonplace, still less vulgar, elements worth looking at. It is always interesting to see what worried contemporary critics. So often they fretted about things that we take in our stride today. Tom Taylor, in a splendidly pompous and patronising piece in the Times, was as exercised as Stephens about the picture's 'vulgar elements' and a certain awkwardness in the composition, although he had none of Stephens's reservations about its sense of colour. 'Mr Prinsep's large picture...', he wrote, shows a delicate perception of beauty in the female heads, a fine and original sentiment of colour, a courage of hand, and a largeness of execution, all remarkable in the work of so young a man. [Prinsep was twenty-eight at the time.] But Mr Prinsep, as is to be expected in an immature painter, shows the defects complementary of (sic) his qualities in a very striking way. His strong sense of beauty in female faces renders him careless of beauty in all beside; his feeling for colour has made him indifferent about form; his scorn for conventional rules of picture-making seems to have left him without respect for due considerations of composition, and his power has been allowed to degenerate sometimes into slovenliness, sometimes into coarseness. In short, his work is full of imperfection, some of it apparently wilful, but it has merits which are not common in our school, and if the faults are not passed over too indulgently, the power should develop into something very far above the average. In this picture, which has a fine luminous quality in its colour as a whole, and a sober richness in the parts, which it would be difficult to surpass, Mr Prinsep seems to have committed the mistake of treating on a large scale a subject only fitted for cabinet size. There is certainly beauty in these women and girls, beauty of the peculiar blonde, soft, rounded, Venetian type, half sad, half voluptuous, but the men are mean in frame and poor in feature. The dresses, enjoyments, and expressions are commonplace, if not sordid and ignoble. These types of the Venetian 'masses' may be very innocently happy over their baked pumpkin and cheese, their red wine, and their reed pipes, but they do not deserve to have so much room made for them. It is only a boorish entertainment, after all, Venetian al fresco as it is - a Teniers feast transferred to the Lido; and the beauty of the women of itself does not remove the sense of squalor and low life. It has been suggested that the elderly bearded man on the left may be some patriarchal member of Venice's Jewish community, rather like the venerable Parsee who was introduced by Holman Hunt into his picture May Morning on Magdalen Tower (1888-90; Lady Lever Art Gallery, Port Sunlight). This is possible, although the figure does not look particularly Semitic and the Jewish quarter in Venice was historically situated in Cannareggio, not on the Lido.

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Valentine Cameron Prinsep, R.A. (1838-1904)

Lot 294: Valentine Cameron Prinsep, R.A. (1838-1904)

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Description: On the Lido, Venice signed with initials 'VCP.' (lower left) oil on canvas 591/2 x 22 in. (151.1 x 55.9 cm.) PROVENANCE The Mackelvie Trust, Auckland, New Zealand, 1982. with Whitford and Hughes, 1982. Bought by private treaty through Sotheby's, 1985. EXHIBITION London, Louise Whitford and David Hughes, Visions Rich and Strange 1880-1920, 1982, no. 5. The Heatherley School of Fine Art: 150th Anniversary Exhibition, 1996, no. 18. NOTES This picture is a strip cut from the left or right sides of lot 293. The height of the canvas is the same, the colouring and figure style are identical, and the horizon corresponds exactly. Both sides of lot 293 appear to have been trimmed, leaving figures awkwardly truncated, but the present fragment almost certainly comes from the left-hand edge. It is significant that the signature is in the lower left corner, which it would hardly have been if the fragment had had come from the right of the canvas (which, in its present form, has no signature at all). Furthermore, the principal figure is surely the 'tall girl...who saunters towards us on the left' mentioned in the Athenaeum review which is quoted in connection with lot 293. Even the fragment as we have it is probably not the whole piece that was cut away. A strip seems to be lost on the right since neither the figures nor the foliage join up with the main picture, while the two children on the left seem to be looking at some feature that is now missing.

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Valentine Cameron Prinsep (1838-1904)

Lot 328: Valentine Cameron Prinsep (1838-1904)

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Description: Sweet Reposeoil on canvas25 x 30 in. (63.5 x 76.2 cm.)

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Valentine Cameron Prinsep, ( 1838-1904)

Lot 438: Valentine Cameron Prinsep, ( 1838-1904)

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Description: Beautiful painting of a young girl with flowers. Signed lower left. It has been relined some time ago and has a small tear by the bottom right. Examine. Measures 29 x 23 ½

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Lot 462: Valentine Cameron Prinsep (1838-1904)

Description: Portrait studiessigned and dated 'Val: Prinsep del: 25.9.1886.' (lower left) and variously inscribed with names of sittersbrown ink9 x 7 in. (23 x 18 cm.)

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Lot 475: PRINSEP, VALENTINE CAMERON (1836-1904)

Description: Il barbagianni Oil/canvas 30.5x21.3 in (77.5x54 cm) signed Rossetti, p.790, 1863. Prov.: Royal Academy, no.391, 1863.

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Lot 475: VALENTINE CAMERON PRINSEP [British, 1836-1904]

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Description: Il Barbagianni signed-oil on canvas 30 1/2 x 21¬in. [77.5 x 54 cm.] PROVENANCE London, The Royal Academy, 1863, no. 391 LITERATURE The Athenaeum, May 16, 1863, p. 565 W.M. Rossetti, Fraser's Magazine, 1863, p. 790 The beautiful, red-haired sitter in Il Barbagianni is most likely Millie Jones. She also sat for Burne-Jones, and appeared as the figure seated on the floor in Whistler's Symphony in White, no. 3. We are grateful to Margie Christian for her assistance in cataloguing this painting.

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Lot 692: A quantity of unframed pencil and chalk drawings by V.C. Prinsep and other hands, the majority, figurative subjects and Pre-Raphaelite studies (one illustrated), some inscribed

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Description: Valentine Cameron Prinsep (1838-1904) A quantity of unframed pencil and chalk drawings by V.C. Prinsep and other hands, the majority, figurative subjects and Pre-Raphaelite studies (one illustrated), some inscribed

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Follower of Valentine Cameron Prinsep 1838-1904-

Lot 747: Follower of Valentine Cameron Prinsep 1838-1904-

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Description: Follower of Valentine Cameron Prinsep 1838-1904- Portrait of a young woman, seated, bust-length, with dark hair; oil on canvas, 62x51cm, (unframed)

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Valentine Cameron Prinsep (British, 1838-1904),

Lot 778: Valentine Cameron Prinsep (British, 1838-1904),

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Description: Valentine Cameron Prinsep (British, 1838-1904), "Portrait of a Blonde Boy", oil on canvas laid down on board, signed lower right, two "Brown Heath, Texas" framer's labels en verso of frame, 24 1/8 in. x 20 1/4 in., in a giltwood frame. Provenance: Descended in an Austin, Texas family. Note: Prinsep was born in Calcutta to a socially prominent literary and artistic family; his maternal aunt was the photographer Julia Margaret Cameron, and his first cousins once removed were Virginia Woolf and Vanessa Bell. He received his education in England where family friends included such luminaries as John Ruskin, William Gladstone, Charles Darwin, and Benjamin Disraeli. The artist George Frederick Watts lived with the Prinsep family for some time, and it is he who encouraged the young man to pursue a career in painting. Prinsep studied in Paris under Marc-Charles-Gabriel Gleyre (Swiss, 1806-1874); his fellow students included James Abbott McNeill Whistler and Edward Poynter. Upon his return to England, Prinsep befriended Dante Gabriel Rossetti and soon became associated with the then emerging Pre-Raphaelite Brotherhood. He assisted Rossetti and William Morris in the execution of the murals at the Oxford Union in 1857 and taught at the Working Men's College under the direction of John Ruskin. He later traveled to Rome with Edward Coley Burne-Jones. Prinsep eventually moved away from the stylistic credos espoused by the Brotherhood and, under the influence of his neighbor the Academic artist Frederic Leighton, adopted a more formal approach to painting. Known for his genre and history paintings, Prinsep also produced a small group of highly regarded portraits; his image of Ruskin is in the permanent collection of the Ashmoleon Museum. In those portraits, as in the example here, Prinsep strove to not only accurately recreate the features of the sitter, but also to create an atmosphere hinting at the feelings and emotions of the sitter. Prinsep exhibited regularly at the Royal Academy, where he was elected an Associate in 1878 and named a full Academician in 1894 Reference: Bénézit. Dictionnaire des Peintres, Librairie Grund, 1976, vol. VIII, p. 496 Obituary. Magazine of Art. Vol. VI, 1883 "Passing Notes". Art Journal. 1905 pp. 33, 34.

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Attributed to Valentine Cameron Prinsep R.A.

Lot 967: Attributed to Valentine Cameron Prinsep R.A.

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Description: Attributed to Valentine Cameron Prinsep R.A. (1838-1904) "The Flower Seller" Inscribed with the artist's name and the title verso, also inscribed with the artist's name "Late President Royal Academy", oil on canvas, 89cm by 62.3cm Born in Calcutta, the son of an Indian civil servant. In 1857 studied at the atelier of Gleyer. Elected A.R.A. in 1879 and R.A. in 1894. In 1877 painted a picture of the Delhi Durbar, which was exhibited in 1880, and later hung in Buckingham Palace. See illustration

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