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Byam Shaw Auction Price Results

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John Byam Shaw British oil painting

Lot 70: John Byam Shaw British oil painting

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Description: Artist: John Byam Shaw Title: "Anouncing the Conqueror" Size: 11 1/2" x 9 1/2" Material: Oil on panel Date: 1900 circa Artist Highlights: - British 1872-1919 - Influenced by the Pre-Raphaelites - Many painting subjects based on poems of Rossetti p

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John Byam Shaw British oil painting

Lot 70: John Byam Shaw British oil painting

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Description: Artist: John Byam Shaw Title: "Anouncing the Conqueror" Size: 11 1/2" x 9 1/2" Material: Oil on panel Date: 1900 circa Artist Highlights: - British 1872-1919 - Influenced by the Pre-Raphaelites - Many painting subjects based on poems of Rossetti p

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BYAM SHAW, (English, 1872-1919), LADY TURNED SERVING MAN, watercolor and gouache;

Lot 85: BYAM SHAW, (English, 1872-1919), LADY TURNED SERVING MAN, watercolor and gouache;

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Description: BYAM SHAW (English, 1872-1919) LADY TURNED SERVING MAN watercolor and gouache; signed Byam Shaw, l.r.; sight: 13 1/2 x 9 3/4 inches; framed: 21 x 17 inches Other Notes: The inspiration for this work comes from Francis James Child's Ballad #106 - The Famous Flower of Serving-Men (The Lady Turned Serving Man). Label on verso quotes "And meeting with a ladyes vest, Within the same myself I drest; With silken robes and jewels rare, I deckt me, as a ladye faire."

Condition Report: Overall very good condition; bright colors, no tears of foxing. Not examined out of frame.

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JOHN BYAM SHAW (1872-1919, British) Homage to the Red Cross: Inter Arma Caritas

Lot 132: JOHN BYAM SHAW (1872-1919, British) Homage to the Red Cross: Inter Arma Caritas

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Description: JOHN BYAM SHAW (1872-1919, British) Homage to the Red Cross: Inter Arma Caritas Medium: gouache on paper Inscriptions: signed lower left: BYAM SHAW Size: 51.5 x 73.5 cm Provenance: Lady Limerick, United Kingdom|The Red Cross Society, United Kingdom|Private collection, Brisbane |Private collection, Sydney, 1981| Exhibition: Notes:

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BYAM SHAW (1872-1919): ANNOUNCING THE CONQUEROR

Lot 229: BYAM SHAW (1872-1919): ANNOUNCING THE CONQUEROR

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Description: BYAM SHAW (1872-1919): ANNOUNCING THE CONQUEROR Oil on panel, monogrammed lower left. 11 1/2 x 9 1/2 in. (sight), 20 3/4 x 18 3/4 in. (frame).

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BYAM SHAW (1872-1919): ROMANCE BY CASCADING FALLS

Lot 278: BYAM SHAW (1872-1919): ROMANCE BY CASCADING FALLS

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Description: BYAM SHAW (1872-1919): ROMANCE BY CASCADING FALLS Oil on paper laid down on panel, signed lower right. 14 x 9 3/4 in. (sight), 16 1/8 x 12 1/4 in. (frame).

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JOHN BYAM LISTON SHAW A.R.W.S. (BRITISH 1872-1919) SURROUNDED BY MY TOYS 52cm x 64cm (20.5in x 25.25in)

Lot 289: JOHN BYAM LISTON SHAW A.R.W.S. (BRITISH 1872-1919) SURROUNDED BY MY TOYS 52cm x 64cm (20.5in x 25.25in)

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Description: JOHN BYAM LISTON SHAW A.R.W.S. (BRITISH 1872-1919) SURROUNDED BY MY TOYS Signed and dated 1917, pencil and watercolour 52cm x 64cm (20.5in x 25.25in)

Condition Report: Largely good condition. 7/10 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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JOHN BYAM SHAW (1872-1919) Two colored prints. (1) At the Tower Gates. The Entry of Queen Mary I with Princess Elizabeth into London. (1) The Age of Discovery. Henry VII Granting the Charter to John Cabot. Gallery label: Purnell Art Company,

Lot 515: JOHN BYAM SHAW (1872-1919) Two colored prints. (1) At the Tower Gates. The Entry of Queen Mary I with Princess Elizabeth into London. (1) The Age of Discovery. Henry VII Granting the Charter to John Cabot. Gallery label: Purnell Art Company,

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Description: JOHN BYAM SHAW (1872-1919) Two colored prints. (1) At the Tower Gates. The Entry of Queen Mary I with Princess Elizabeth into London. (1) The Age of Discovery. Henry VII Granting the Charter to John Cabot. Gallery label: Purnell Art Company, Baltimore. Contained in gilt frames under glass. Condition: no visible defects. Dimensions: 23'' X 23 1/4''.

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                                          John Byam Liston Shaw (1872-1919)

Lot 12: John Byam Liston Shaw (1872-1919)

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Description: John Byam Liston Shaw (1872-1919) The Arrested Spear signed 'BYAM SHAW' (lower right, in a cartouche) and further numbered, signed and inscribed 'No 1/Byam Shaw/62 Addison Road Kensington W/The Arrested Spear' (on the artist's label, attached to the reverse)oil on canvas 60 x 72 in. (152.5 x 183 cm.)

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Lot 17: John Byam Liston Shaw, A.R.W.S. 1872-1919

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Description: cartoon for marys entry into london as queen charcoal on paper laid down on canvas, lightly squared for transfer, unframed 193 by 198cm., 76 by 78in. The panel, for which this cartoon was made, was commissioned in 1908 by Lord Airedale for the East corridor of the New Palace of Westminster. It was one of six panels commissioned by various peers of the realm and depiciting scenes from Tudor history. Here, we are shown Mary Tudors first entry into London. She stands in the centre forgiving the prisoners of state, Bishop Gardiner, the Duke of Norfolk, Courtenay and the Duchess of Somerset. Behind her is Elizabeth, the future Queen of England.

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Lot 19: John Byam Shaw (British, 1872-1919) Charles II and his Merry Court

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Description: Charles II and his Merry Courtmixed media 49.5 x 48.3cm (19 1/2 x 19in).

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Lot 30: John Byam Liston Shaw A.R.W.S (1873-1919)

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Description: Mary's entry into London as Queen, A.D. 1553 charcoal, lightly squared for transfer 76 x 78in. (193 x 198cm.) see illustration NOTES In 1908 Byam Shaw was commissioned by Lord Airedale to paint one of the large panels of the New Palace of Westminster (one of the six Tudor decorations for the Houses of Parliament). The panel represents Mary Tudor's first entry into London. Queen Mary stands in the centre, in the act of raising the Duke of Norfolk; next to him in the front kneels Bishop Gardiner, and behind him Courtenay and the Duchess of Somerset. Behind Queen Mary stands Princess Elizabeth. A page in the Tudor livery leads away the Queen's horse, the harness of which is covered with her badges of a Tudor rose and a pomegranate. A crowd watches the proceedings, guarded by Yeomen of the Guard, and in the background is seen the wall outside the moat surrounding the Lion's Tower. The following lot is a full scale cartoon for the panel.

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John Byam Shaw (British, 1872-1919) The ballad of Luther, the Pope, the Cardinal and a Husbandsman unframed

Lot 31: John Byam Shaw (British, 1872-1919) The ballad of Luther, the Pope, the Cardinal and a Husbandsman unframed

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Description: The ballad of Luther, the Pope, the Cardinal and a Husbandsman signed 'BYAM SHAW' (lower left)watercolour heightened with bodycolour35 x 25cm (13 3/4 x 9 13/16in).unframed

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John Byam Shaw (British, 1872-1919) King of Scots and Andrea Browne unframed

Lot 32: John Byam Shaw (British, 1872-1919) King of Scots and Andrea Browne unframed

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Description: King of Scots and Andrea Browne signed 'Byam Shaw' (lower right)watercolour heightened with bodycolour and gum arabic35 x 25cm (13 3/4 x 9 13/16in).unframed

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John Byam Shaw (British, 1872-1919) The baffled Knight or Lady's policy unframed

Lot 33: John Byam Shaw (British, 1872-1919) The baffled Knight or Lady's policy unframed

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Description: The baffled Knight or Lady's policy signed 'BYAM SHAW' (lower left)watercolour heightened with bodycolour35 x 26cm (13 3/4 x 10 1/4in).unframed

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John Byam Shaw (British, 1872-1919) Torello being conveyed to Paris by magic art unframed

Lot 34: John Byam Shaw (British, 1872-1919) Torello being conveyed to Paris by magic art unframed

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Description: Torello being conveyed to Paris by magic art and bears indistinct inscription 'torello being conveyed to Paris by magic art. Saladin Torello from *** *** Bocacci' (verso.signed 'BYAM SHAW' (lower right)pen and black ink33.5 x 24.5cm (13 3/16 x 9 5/8in).unframed

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Lot 35: BEERBOHM, Sir Max (1872-1956, British)

Description: The Babes in the Wood, G.B. Shaw, s.i.d.1922 pencil W/C Works on paper (8x12in).

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John Byam Liston Shaw (British, 1872-1919) The bloodthirsty tribesman unframed

Lot 35: John Byam Liston Shaw (British, 1872-1919) The bloodthirsty tribesman unframed

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Description: The bloodthirsty tribesman signed 'BYAM SHAW' (lower left)pen and black ink with watercolour and bodycolour38.5 x 30cm (15 3/16 x 11 13/16in).unframed

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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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John Byam Liston Shaw (British, 1872-1919) Ophelia unframed

Lot 36: John Byam Liston Shaw (British, 1872-1919) Ophelia unframed

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Description: Ophelia signed 'BYAM SHAW' (lower left)watercolour heightened with bodycolour30 x 25cm (11 13/16 x 9 13/16in).unframed

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Lot 41: John Byam Lyston Shaw (1872-1919)

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Description: '1916' signed 'BYAM SHAW' (lower right) bodycolour on board 29 x 153/4 in. (73.7 x 40 cm.) PROVENANCE Mrs Dion Clayton Calthrop, 1932. LITERATURE Rex Vicat Cole, The Art and Life of Byam Shaw, London, 1932, pp. 191-3, illustrated, 212. NOTES The drawing is a comment on the Great War, a subject that dominated Byam Shaw's imagination and inspired many of his later works. 'His watercolour entitled "1916"', wrote his friend Rex Vicat Cole, 'vividly recalls to us who knew the War, that ray of light beginning to make itself felt. The picture needs no explanation, though this note may be necessary for a new generation to whom 1916 will mean but little'. When Cole's book was published in 1932, the picture belonged to the wife of the artist and author Dion Clayton Calthrop (1878-1937), who was another close friend of Byam Shaw. They had probably met as students at the St John's Wood Art School in the late 1880s. Their work has much in common and they shared a passionate interest in the stage.

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John Byam Liston Shaw RI ARWS (1872-1919) The

Lot 64: John Byam Liston Shaw RI ARWS (1872-1919) The

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Description: John Byam Liston Shaw RI ARWS (1872-1919) The caged bird Oil on canvas Signed and dated 1907 lower left 90cm x 70cm Provenance: Glen Byam Shaw, the artist's son; Mrs R. O. Warren 1932 Christie's London, 23rd March 1984, lot 67 Exhibited: The New Gallery, London, 1907; Ashmolean Museum, Oxford, Byam Shaw, 1986 No. 27; Peter Nahum at The Leicester Galleries, The Brotherhood of Ruralists and the Pre-Raphaelites, June-July 2005 Literature:Pall Mall Gazette Extra, May 1907, Page 118; Rex Vicat Cole, The Art & Life of Byam Shaw, Seeley Service & Co, London & J. B. Lippincott company, Philadelphia, 1932 Pages 142, 147-9, illustrated page 148; Peyton Skipworth, Connoisseur, March 1976, page 196; Gerald Taylor, Byam Shaw 1872-1919, The Ashmolean Museum Oxford, 1986. No. 27 (illustrated) Byam Shaw carried the torch of Pre-Raphaelitism across the turn of the century, a period when books and exhibitions had renewed interest in the Brotherhood's work. In his paintings he revived the Brotherhood's use of bright, pure glazes and restated their belief of the importance of truth and sincerity in art. Moreover, he turned to literature and history for inspiration. In The Caged Bird, Shaw uses allegory to the same purpose as William Hunt's 'The Awakening Conscience'. The caged bird is literally released, whilst the girl herself will never be free to follow her heart. As the youngest daughter, her duties lie with her ageing parents. The startling clarity and gaiety of the colours set in the old garden at Condover Hall in Shropshire are in sharp contrast to the sobering reality of her situation. The model for the painting was Maud Tindal Atkinson, an artist pupil who exhibited at the Royal Academy in 1907, from whom he painted a life-size watercolour which hung at the Royal Academy in 1906. The symbolism of the release of a caged bird in 17th century Dutch painting signified the loss of virginity of the owner. As Maud was his favourite pupil, it would seem apparent the this hidden meaning was not lost on the artist.

Condition Report: Relined, very slight shrinkage to areas of background, no obvious retouching under UV light

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Circle of JOHN BYAM SHAW (1872-1919) Portrait of a

Lot 65: Circle of JOHN BYAM SHAW (1872-1919) Portrait of a

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Description: Circle of JOHN BYAM SHAW (1872-1919) Portrait of a Girl, seated half-length, bears monogram and date 1900 red crayon 14 x 12in (35.6 x 30.5cm)

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Lot 66: John Liston Byam Shaw, A.R.W.S., R.I. (British, 1872-1919)

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Description: "LOVE THE CONQUEROR" signed and dated 1899 oil on canvas 74 by 126in. 188 by 320cm. Rex Vicat Cole, Byam Shaw's biographer, quotes from a letter received from the artist in July 1898, in which Shaw announced his intention to work on the present painting: "I have got a 10-footer starting for next year (about two hundred figures)". Later correspondence between the two charts the progress to take photographs of it in its incomplete state (reproduced, along with preparatory drawings in The Art & Life of Byam Shaw, pp. 93-6.) Cole described the allegorical subject in the following terms:"The World, represented by a walled city, has capitulated to Love the Conqueror astride his horse. His soldiers-Youth and Beauty-who won his battles; those who had been wounded, those who had been captured, and those who had died in the fight with him. Little Cupid more powerful than the great ones in history. Rich and poor, the learned and the ignorant, the successful and the unfortunate, all coming under his sway." Cole, who had access to Shaw's sketchbooks and who had presumably discussed the treatment of the subject with the painter, described some of the alternative arrangements of the figures that Shaw had previously contemplated, before he arrived at the composition as seen in the finished painting, with the mounted figure of Cupid raised up on a mound on the left side, overlooking the procession of figures. Cole transcribed from one of the sketchbooks a list of historical, literary and mythical figures who the artist had wanted to represent. These are as follows: "Venus, Cleopatra, Faust, Michael Angelo, Fra Lippo, Andrea del Sarto, Flora Macdonald, Touchstone, Henry I, Richard II, Arthur, Launcelot, Guinevere, Elaine, Paris, Helen, Beatrice, Benedict, Shakespeare, Chaucer, Tannhauser, Rosalind, Hamlet, Isabella, Goethe, Titania, Bottom, Paolo, Francesca, Romeo, Juliet, Dante, Fair Rosamond, Claudio, Isabella, Leander, Ophelia, Lorenzo, Messalina, Marguerite, Don Carlos, Rizzio, Pizarro, Lohengrin." The procession of figures is led by the draped figure of Venus. Among the supporters of Cupid are warriors which are identified by arm-bands as personifications of "Youth" and "Jealousy", and trumpeters with banners lettered with the words "Lust" and "Purity". Throughout his career, Byam Shaw regarded painting as a means of poetic story-telling and allegory, and it was for this quality that his works (and his book illustrations) were on the one hand admired and on the other provoked controversy. He had been powerfully influenced by Pre-Raphaelite poetry and painting; one of his first exhibited paintings was inspired by lines of poetry by Dante Gabriel Rossetti. As Percy Bate wrote in his pioneering study of Pre-Raphaelitism as a broad movement, The English Pre-Raphaelite Painters, issued in the same year that Byam Shaw painted Love the Conqueror: "The artistic career of [Byam Shaw], although as yet brief, is very interesting from the fact that his love of Rossetti's achievements, both poetic and artistic, seems to have carried him up the stream of that painter's style to the earliest Pre-Raphaelite days....The artist shows an intense desire to express his theme clearly, with a distinct preference for subjects of high poetic order; and he displays a technical accomplishment and a daring in the use of pure colour... that are remarkable in the work of so young a painter." Byam Shaw exhibited widely, but became particularly associated with the firm of dealers- Dowdeswell & Dowdeswell, owners of the present subject who also staged a series of exhibitions of his works on specific themes, such as The Bible Book of Ecclesiastes (1902) and Percy's Reliques (1908). Love the Conqueror, which was issued as a photogravure by Dowdeswell & Dowdeswell, and was clearly regarded as one of his most important and ambitious paintings, elicited critical responses which ranged from the laudatory (such as that given by the Morning Post: "The originality of the design and the Holbein-like force with which the conception is carried out, alike claim admiration... a brilliant achievement") to the confused and contradictory. Although Byam Shaw exhibited widely in the last decade of the nineteenth century and through to the time of his death at the age of forty-six in 1919, he was given little encouragement by the contemporary art associations, particularly the Royal Academy, to which he was disappointed never to be elected. We are grateful to Christopher Newall for providing this catalogue note. Provenance: Dowdeswell & Dowdeswell, London (acquired directly from the artist) Sale, Christie's, circa 1914 Boswell (acquired at the above sale) Sale, Phillips, London, June 20, 1977, Lot 142 John Tham, Bath Fine Art Society, London Acquired by the present owner in 1986 Exhibited: Oxford, Ashmolean Museum, Byam Shaw-A Selection of paintings and book illustrations, 1986, No. 12 Literature: Studio, XVI, p. 264 Rex Vicat Cole, The Art & Life of Byam Shaw, London, 1932, pp. 91-104.

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JOHN LISTON BYAM SHAW A.R.W.S., R.I.

Lot 70: JOHN LISTON BYAM SHAW A.R.W.S., R.I.

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Description: JOHN LISTON BYAM SHAW A.R.W.S., R.I. 1872-1919 THE AMBUSH signed l.l.: BYAM SHAW watercolour with bodycolour 26 by 19.5cm., 10¼ by 7¾in.

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John Byam Liston Shaw, A.R.W.S. (1872-1919)

Lot 71: John Byam Liston Shaw, A.R.W.S. (1872-1919)

Description: John Byam Liston Shaw, A.R.W.S. (1872-1919) 'While roses are so red...' signed 'BYAM.SHAW' (lower right), dated '1896' (lower left) and inscribed 'While roses are/so red,/while lilies are so/white/Shall a woman ex/-alt her face/Because it gives/delight?/C.G.ROSSETTI' (upper left) pastel and watercolour 16¾ x 11½ in. (42.6 x 29.2 cm.)

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Lot 74: John Byam Shaw, A.R.W.S., R.I. (1872-1919)

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Description: The Caged Bird signed and dated 'BYAM SHAW 1907' (lower left) oil on canvas 37 x 28 in. (94 x 71 cm.) PROVENANCE The artist's son, Glen Byam Shaw. Anon. sale, Christie's London, 23 March 1984, lot 67. LITERATURE The Pictures of 1907, Pall Mall Magazine Extra, May 1907, illustrated p. 118. P. Skipworth, 'Byam Shaw: a Pictorial Story Teller', Connoisseur, CXCI, March 1976, illustrated. EXHIBITION London, New Gallery, 1907. NOTES Writing in The Connoisseur, Peyton Skipwith asserts 'Shaw's greatest gift was that of a story-teller. In his paintings he often relied on simple and well tried allegory, as in The Caged Bird, in which the young governess, tied to her wealthy employers, who are visible beyond the topiary garden, holds an empty cage from which she has just released a captive song bird; the bird has flown and she looks sadly in the direction in which it has gone, dreaming longingly of her own freedom.' SALESROOM NOTICE We are grateful to William Mostyn-Owen for suggesting that the painting depicts the grounds of Condover Hall, Shropshire, an Elizabethan house built for Thomas Owen at the end of the 16th Century. Laterly the seat of the Cholmondeley family the house now belongs to the Royal National Institute for the Blind.

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Lot 74: John Byam Shaw, A.R.W.S., R.I. (1872-1919)

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Description: The Caged Bird signed and dated Ô byam shaw 1907 Õ (lower left) oil on canvas 37 x 28 in. (94 x 71 cm.) Provenance: The artistÕs son, Glen Byam Shaw. Anon. sale, ChristieÕs London, 23 March 1984, lot 67. Exhibited: London, New Gallery, 1907. Literature: The Pictures of 1907, Pall Mall Magazine Extra, May 1907, illustrated p. 118. P. Skipworth, ÔByam Shaw: a Pictorial Story TellerÕ, Connoisseur, CXCI, March 1976, illustrated. Footnotes:Writing in The Connoisseur, Peyton Skipwith asserts ÔShawÕs greatest gift was that of a story-teller. In his paintings he often relied on simple and well tried allegory, as in The Caged Bird, in which the young governess, tied to her wealthy employers, who are visible beyond the topiary garden, holds an empty cage from which she has just released a captive song bird; the bird has flown and she looks sadly in the direction in which it has gone, dreaming longingly of her own freedom.Õ.

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Lot 75: BYAM JOHN SHAW (ENGLISH, 1872-1919)

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Description: "JOHN BULL WISHES YOUNG 1904 COULD FIND SOME MORE DESIRABLE COMPANIONS" signed Byam Shaw and inscribed with title, l.r. - - pen and black ink on paperboard 12 x 15 1/4 in. (30.5 x 38.7 cm.) PROVENANCE Davis and Schorr Art Books, Los Angeles.

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John Byam Shaw (British, 1872-1919) Portrait of John Ernest Paul M.D (1867-1914)

Lot 75: John Byam Shaw (British, 1872-1919) Portrait of John Ernest Paul M.D (1867-1914)

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Description: Portrait of John Ernest Paul M.D (1867-1914)signed and dated 'BYAM SHAW 1909' (lower left), pastel 29.4 x 24.6cm (11 9/16 x 9 11/16in).

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Lot 75: SHAW, BYAM (1872-1919)

Description: John Bull wishes young 1904 could find some more desirable companions Ink/paper 12x15 inches (30.5x38.7 cm) Title S (Lower Right).

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Lot 76: John Byam Liston Shaw (1872-1919)

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Description: Christ on Horseback signed 'BYAM SHAW' (lower right) oil on canvas 14 x 10 in. (35.6 x 25.4 cm.) PROVENANCE Roderick Mackenzie, 1899. LITERATURE Rex Vicat Cole, The Art and Life of Byam Shaw, 1932, pp. 107, 209. EXHIBITION London, Dowdeswell Galleries, Thoughts suggested by Some Passages from British Poets: Cabinet Pictures by Byam Shaw, May 1899, no. 15. NOTES The quotation is 'the final retort from the eager, impetuous Philip' towards the end of Arthur Hugh Clough's most famous poem, 'The Bothie of Tober-na-Vuolich', and the picture comes from an exhibition of works 'suggested by some passages from British poets,' the first of a series of shows which Byam Shaw (like his friend Eleanor Fortescue-Brickdale) held at the Dowdeswell Galleries, 160 New Bond Street, before the First World War. Clough was the source of six paintings in the exhibition, and must have been one of the artist's favourite poets. Others represented included Shakespeare, Suckling, Scott, Hood, the Brownings, D.G. and Christina Rossetti, Tennyson and Kipling. The picture is sold with the original invoice from the Dowdeswell Galleries.

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John Byam Shaw, RI (British 1872-1919)

Lot 80: John Byam Shaw, RI (British 1872-1919)

Description: Behind the scenes signed and dated 'Byam.Shaw .91' (lower left)oil on canvas102 x 76 cm. (40 x 30 in.)

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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 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 87: John Byam Liston Shaw (1872-1919)

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Description: While Roses are so Red, While Lilies are so White, Shall a Woman exalt her Face because it brings Delight? signed and dated 'BYAM SHAW/98' (lower left) oil on panel, in original frame 16 x 11.1/8 in. (40.5 x 28.5 cm.) PROVENANCE R. Hall McCormick, 145 La Salle St., Chicago. LITERATURE Rex Vicat Cole, The Art and Life of Byam Shaw, 1932, p. 213. EXHIBITION London, Dowdeswell Galleries, Thoughts suggested by Some Passages from British Poets: Cabinet Pictures by Byam Shaw, May 1899, no. 30. NOTES The text comes from a poem by Christina Rossetti.

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Lot 88: John Byam Liston Shaw (1872-1919)

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Description: When Musing on Companions gone We doubly feel Ourselves alone signed and dated 'BYAM SHAW/99' (upper left) oil on panel, in original frame 161/2 x 10 in. (42 x 25.5 cm.) PROVENANCE R. Hall McCormick, 145 La Salle St., Chicago LITERATURE Rex Vicat Cole, The Art and Life of Byam Shaw, 1932, p. 213. EXHIBITION London, Dowdeswell Galleries, Thoughts suggested by Some Passages from British Poets: Cabinet Picture by Byam Shaw, May 1899, no. 6. NOTES The text comes from a poem by Sir Walter Scott.

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John Byam Liston Shaw (1872-1919)

Lot 88: John Byam Liston Shaw (1872-1919)

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Description: The Prince's Progress signed with monogram (lower right) and with painted inscription 'We think her white brows often ached Beneath her crown CHRISTINA ROSSETTI' (on the frame) pencil, watercolour and bodycolour, with gum arabic, on artist's board 14 x 14 7/8 in. (35.5 x 37.8 cm.) LITERATURE Rex Vicat Cole, The Art and Life of Byam Shaw, London, 1932, p. 213. EXHIBITION London, Dowdeswell Galleries, Thoughts suggested by some Passages from British Poets, 1899, no. 2. NOTES Still in its original frame, which was probably designed by the artist and decorated either by him or under his supervision, the watercolour is an attractive example of Byam Shaw's neo-Rossettian style. Appropriately enough, it illustrates a poem by Dante Gabriel's sister, Christina, which had been illustrated by Rossetti himself when it was first published in 1866. 'The Prince's Progress' describes how a prince tarries so long on the journey to meet his bride that he arrives to find her dead. The lines inscribed on the frame come from the passage near the end of the poem where the bride's attendants describe her waiting in vain: We never saw her with a smile Or with a frown; Her bed seemed never soft to her, Though tossed of down; She little heeded what she wore, Kirtle, or wreath, or gown; We think her white brows often ached Beneath her crown, Till ivory hairs showed in her locks That used to be so brown. The watercolour is one of thirty-nine cabinet-sized pictures 'suggested by passages from British poets' that Byam-Shaw exhibited at the Dowdeswell Galleries, New Bond Street in 1899. Christina Rossetti was one of his favourite poets, and no fewer than eleven pictures in the show were inspired by her work, by far the largest group by a single author. The exhibition was the first of four that Byam Shaw held at Dowdeswell's between 1899 and 1908.

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Lot 89: John Byam Liston Shaw (1872-1919)

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Description: Come in God's Name, come down! do Anything, but be Something signed and dated 'BYAM SHAW/1899' (upper right) oil on panel, in original frame 10 x 8 in. (25.5 x 20 cm.) PROVENANCE R. Hall McCormick, 145 La Salle Street, Chicago. LITERATURE Rex Vicat Cole, The Art and Life of Byam Shaw, 1932, p. 213. EXHIBITION London, Dowdeswell Galleries, Thoughts suggested by Some Passages from British Poets: Cabinet Pictures by Byam Shaw, May 1899, no. 27. NOTES The text comes from a poem by Arthur Hugh Clough.

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Lot 90: John Byam Liston Shaw (1872-1919)

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Description: Maud Clare signed with initial 'B' (lower left) oil on panel, in original frame 10 x 8 in. (25.5 x 20 cm.) PROVENANCE R. Hall McCormick, 145 La Salle Street, Chicago. LITERATURE Rex Vicat Cole, The Art and Life of Byam Shaw, 1932, p. 213. EXHIBITION London, Dowdeswell Galleries, Thoughts suggested by Some Passages from British Poets: Cabinet Pictures by Byam Shaw, May 1899, no. 12. NOTES The title comes from lines by Christina Rossetti.

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Lot 91: John Liston Byam Shaw, A.R.W.S., R.I. (British, 1872-1919)

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Description: THE WOMAN, THE MAN, AND THE SERPENT signed oil on canvas 71 3/4 by 47 3/4 in. 182.3 by 121.3 cm. This rich and ornate painting shows the monumental figure of a female nude, with a male companion behind, standing in the midst of a mass of foliage and flowers in which are perched many brilliantly colored birds, and through which wind the coils of an immense snake. The woman raises her right arm to touch the brow of the man in a gesture which seems both sensual and despairing, while the expression of her face again indicates a combination of excitement and distress. He seems unaware of her overture, but stares ahead of himself with his right hand clenched in nervous fear. Although as it was first exhibited at the Royal Academy no reference was given in the title to it as representing a text from chapter three of the Book of Genesis, this is of course an image that recalls the Temptation in the Garden of Eden. Verse 7 describes the moment: "And the eyes of them both were opened, and they knew that they were naked". Byam Shaw refers in iconographic terms to the shame that Adam and Eve felt by including a stem of fig leaves, for the verse concludes: "and they sewed fig leaves together, and made themseles aprons." A moment later the voice of the Lord was heard in the Garden of Eden, and Adam and Eve hid themselves, as we see them here, among the trees. The two figures await God's verdict of expulsion from the Garden for disobeying his order that they should not eat from the Tree of Life, while the serpent abases itself in anticipation of the Lord's words: "Because thou hast done this, thou art cursed above all cattle, and above every beast of the field: upon thy belly shalt thou go, and dust shalt thou eat all the days of thy life." However, the painting should perhaps be seen as something more than simply a representation of the Old Testament text. In his analysis of the subject, Gerald Taylor found in the luxuriant peacock in the background (which nestles alarmingly in the coils of the snake), a reference to Juno, the Roman goddess of womanhood and feminine virtues. In this sense the painting is an abstract allegory of trust and dependence between the sexes. Byam Shaw regarded painting as a means of narrative story telling, which operated on different levels of appreciation - from the literal, to the poetic, to the grandly allegorical - and it was for this quality that his works (and incidentally his book illustrations) were particularly admired. Perhaps the overwhelming impression given by the painting The Woman, the Man, and the Serpent is to do with the richness of coloring and attention to the detail of the types and character of the vegetation and the birds. The ground upon which the figures stand is a mass of red and purple anemones, interspersed with yellow tulips. Beside the couple is a sumptuous rhododendron with carmine pink flowers. The plumage of the birds, from a golden yellow parrot perched in the branches of the fig tree, to a group of multi-colored macaws at the top right, is astonishing for its brilliance. Byam Shaw had been powerfully influenced by Pre-Raphaelite painting from the start of his career; one of his first exhibited paintings was inspired by lines of poetry by Dante Gabriel Rossetti and among the works that he showed in the series of exhibitions held at the Dowdeswell & Dowdeswell gallery, such as the Bible Book of Ecclesiastes (1902) and Percy's Reliques of Ancient English Poetry (1908) were many which in their intense color and densely composed figurative compositions with dramatic effects of light, may be regarded as revivals of Pre-Raphaelite technique and subject matter. Byam Shaw exhibited widely in the last decade of the nineteenth century and through to the time of his death at the age of forty six im 1919. He was given little encouragement by the contemporary art associations, particularly the Royal Academy, to which he was disappointed never to be elected, presumably because his art was seen as an anachronism. He was, nonetheless, one of the most prominent and prolific artists of the day, and the present splendid painting by him - previously untraced since it was first exhibited - is an exciting and important rediscovery. Exhibited: London, Royal Academy, 1911, no. 759 Literature: Art Journal, 1911, p. 172; Rex Vicat Cole, The Art & Life of Byam Shaw, p. 175, repr Byam Shaw, exhibition catalogue, Ashmolean Museum, Oxford 1986, n.p.

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JOHN BYAM LISTON SHAW Br. 1872-1919

Lot 95: JOHN BYAM LISTON SHAW Br. 1872-1919

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Description: JOHN BYAM LISTON SHAW Br. 1872-1919 And All Winds Go Sighing...Signed and dated "Byam Shaw 99" on a banner l.r. Original frame Oil on board 16 × 11 3/4 in. (40.6 × 29.8 cm)

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John Byam Liston Shaw (1872-1919)

Lot 99: John Byam Liston Shaw (1872-1919)

Description: John Byam Liston Shaw (1872-1919) The victory of Christ signed 'BYAM.SHAW' (lower right) oil on panel 14 x 10 in. (35.6 x 25.4 cm.)

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John Byam Shaw (British, 1872-1919) A portrait of George Ruthven Thornton

Lot 101: John Byam Shaw (British, 1872-1919) A portrait of George Ruthven Thornton

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Description: A portrait of George Ruthven Thorntonsigned and dated '1906/Byam Shaw' (lower right), oil on board 54.5 x 26cm (21 7/16 x 10 1/4in).

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Arts & Crafts design copper framed wall mirror

Lot 105: Arts & Crafts design copper framed wall mirror

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Description: Arts & Crafts design copper framed wall mirror embossed "Truth, Byam Shaw", [John Liston Byam Shaw 1872-1919], 46x41cm

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Lot 106: Elgar, Sir Edward. Collection of thirty autograph letters and letters signed ("Edward Elgar"), to

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Description: Ernest Newman, about the third symphony, together with letters by Carice Elgar describing Elgar's decline and death; in his letters Elgar, discusses the illness and death of his wife Alice, describes his projected Third Symphony, his orchestration of JS Bach's Organ Fugue in C minor, tells Newman that he is the closest friend he has in the world of music, asks him to temper his critical review of Beatrice Harrison, arranges for Newman to visit him in Worcester and discusses their disappointments at horse-racing. Ernest Newman, about the third symphony, together with letters by Carice Elgar describing Elgar's decline and death; in his letters Elgar, discusses the illness and death of his wife Alice, describes his projected Third Symphony, his orchestration of JS Bach's Organ Fugue in C minor, tells Newman that he is the closest friend he has in the world of music, asks him to temper his critical review of Beatrice Harrison, arranges for Newman to visit him in Worcester and discusses their disappointments at horse-racing...I have seen no one & been nowhere except on legal matters. I tried to break the awfulness of the change by allowing the Quartet to rehearse here but- without the hostess, My God...I have been a long time in realising that my dear wife & companion has really left me-up to about two months ago I could not feel that she was not coming back as of old-now I know and submit... over 50 items in all including 9 letters by Newman to Elgar, and 10 letters by Carice Elgar to Newman, 4to and 8vo, St James's Place, London, Worcester and elsewhere, 2 October 1919-30 July 1934 In his last, dictated letter, Elgar sends Newman sketches for his unfinished Third Symphony ("...With this I send the opening four bars (introductory) of the slow movement. I am fond enough to believe that the first two bars (with the F# in the bass) open some vast bronze doors into something strangely unfamiliar...I think and hope you may like the unresolved estinto of the viola solo..."). In her poignant letters, Carice reports the recording of the Piano Quintet ("...he is glad to think that he dedicated the best thing he ever did to you. Strictly private I do not feel so hopeful with good reason as he does but of course that is a thing he must never know..."), and after the composer's death, refers to the unfinished work on the Third Symphony ("...It is a matter of thanksgiving that that awful suffering is over. The tragedy is that the illness should have come when it did- he seemed so full of inspiration for the first time after my Mother's death..."). This is an important collection of letters especially for the information provided on the Third Symphony, the sketches of which have recently been elaborated and 'completed' by Anthony Payne. The last period of creativity for Elgar, brought about was G.B. Shaw's help in arranging for the BBC to commission the symphony from his friend, was sadly terminated by his death in 1934.

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John Byam Liston Shaw (British, 1872-1919)

Lot 107: John Byam Liston Shaw (British, 1872-1919)

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Description: Cleopatra signed 'Byam Shaw' (lower right) oil on panel 12 x 9 7/8 in. (30.5 x 25.1 cm.) PROVENANCE The artist's mother and by descent to James Byam Shaw Charles and Lavinia Handley-Read London, The Fine Arts Society, 1975, no. 71 LITERATURE V. Cole, pp. 57, 164, 211 EXHIBITION The Royal Academy, London, 1910, no. 589.

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John Byam Liston Shaw (1872-1919) 'Also take no

Lot 117: John Byam Liston Shaw (1872-1919) 'Also take no

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Description: John Byam Liston Shaw (1872-1919) 'Also take no heed unto all words that are spoken, less thou hear thy servant curse thee' (Ecclesiastes VII, 21) oil on panel, signed 'Byam Shaw' and dated 1901 lower right, inscribed verso on old label 36 x 25 cm (14 x 10 in), unframed Provenance: Fine Art Society, April 1969

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Lot 122: Hope (Laurence, editor) The Garden of Kama and other love lyrics from India arranged in verse by Laurence Hope, 24 coloured plates by

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Description: Byam Shaw, half morocco by Bayntun Riviere, 4to, London, 1919-Kuhnel (Ernst) Indische Miniaturen, 19 coloured mounted plates, loose as issued in original half cloth portfolio, slightly discoloured, 4to, Berlin, 1946-Phillimore (Col. R.H.) Historical Records of the Survey of India, 4 vol., presentation copy with a few association items loosely inserted, maps and plates, original cloth, slightly rubbed, 4to, Dehra Dun, 1945-1958-Archer (Mildred) British Drawings in the India Office Library, 2 vol., plates, original cloth, dust-jackets, small 4to, London, 1969; and 19 others, 4to and 8vo (27).

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John Byam Liston Shaw, A.R.W.S. (1872-1919)

Lot 126: John Byam Liston Shaw, A.R.W.S. (1872-1919)

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Description: Autumn timesigned with monogram (lower left)bodycolour6 3/4 x 4 1/2 in. (17.1 x 11.4 cm.)

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