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John Roddam Spencer Stanhope Auction Price Results

John Roddam Spencer Stanhope (1829-1908)  Please Register/Login to access your Invaluable Alerts

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Attributed to John Roddam Spencer-Stanhope (1829-1908)  GERALD (b.1955)

Lot 228: Attributed to John Roddam Spencer-Stanhope (1829-1908) GERALD (b.1955)

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Description: Attributed to John Roddam Spencer-Stanhope (1829-1908) GERALD (b.1955) Medium: pencil Signature: bears typed exhibition label on reverse Dimensions: 17 by 11cm., 6.75 by 4.25in. Provenance Exhibited: Literature: Notes: Label verso reads, "33C Stanhope Boy thought to be Gerald b.1955"

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John Roddam Spencer Stanhope (1829-1908)

Lot 4: John Roddam Spencer Stanhope (1829-1908)

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Description: Knowledge strangling Ignorance signed and inscribed 'Knowledge Strangling/-Ignorance-by/R. Spencer Stanhope/-Florence-' (on the artist's label attached to the backboard) pencil, watercolour and bodycolour with gum arabic, heightened with gold 19 7/8 x 133/4 in. (50.5 x 35 cm.) PROVENANCE Probably Mrs Mure by 1909. Mrs A.M.W. Stirling. EXHIBITION London, Royal Academy, 1902, no. 919. Probably Birmingham, Royal Birmingham Society of Artists, Special Collection of Works by the late R. Spencer Stanhope, Autumn exhibition, 1909, no. 55, lent by Mrs Mure. NOTES Stanhope exhibited two pictures with this title, presumably versions of the same composition. One appeared at the New Gallery in 1890 (no. 81), the other at the Royal Academy in 1902, together with The Vision of Ezekiel (lot 9). Our picture, a watercolour, is almost certainly the 1902 version, while the one shown twelve years earlier at the New Gallery was probably a larger oil. The present picture is undated, and the New Gallery version seems to be missing; nor were the measurements for either version given in the respective catalogues. However, the 1902 picture must have been a watercolour since it was shown in the RA's Water Colour Room, while the 1890 version appeared in the New Gallery's West Gallery, a room which contained many paintings by other artists which were undoubtedly large oils. Our picture's style supports this conclusion. It has a number of features in common with The Vision of Ezekiel, its companion at the 1902 RA, notably the very linear and angular treatment of the drapery and the way in which blue wash is used to lend distance to the background. Yet despite the painter's age (seventy-three), there is no falling off in quality. The forms are realised with care and precision, and the two allegorical figures are well characterised. Nor is there any diminution of the sense of colour which had so impressed Stanhope's circle at the beginning of his career. The way the red of Knowledge's wings is picked up by the tattered banner and the roofs, and then offset against passages of blue and gold, is a fine chromatic invention. It is the sort of colour harmony that Gustave Moreau often created. We know of no formal link between the two artists, but Moreau was only three years Stanhope's senior, and working very much in the same Symbolist tradition. The moated and turreted castle is a motif that Stanhope had used many years before in Our Lady of the Water Gate, a masterpiece of the late 1860s or early 1870s that appeared in these Rooms in November 1992 (fig. 1). The white sky is also a familiar Stanhopian touch (see lot 3). As for the protagonists - a female figure with flying drapery leaning over a naked man, with unkempt hair, seated on the ground - there is perhaps the faintest echo here of the central group in Botticelli's Calumny of Apelles in the Uffizi (fig. 2). Stanhope would have known this picture well, but any relationship with his watercolour can hardly be more than a matter of unconscious reminiscence. It is argued below that The Vision of Ezekiel may make some reference to Victorian fears on the subject of immortality. If, as this suggests, Stanhope deliberately adopted a symbolist agenda in his old age, then it is tempting to look for some comparable meaning in his allegory of the conflict between ignorance and knowledge. Was he perhaps thinking of the civilising force of the British Empire, as Ignorance's broken fetters might indicate? Or were his thoughts nearer home as he made a mute protest at the crass stupidity of Florence's tourists? We know that he hated change and so-called progress. In 1889 he exhibeted at the New Gallery a picture entitled In Memorium. The Old City Walls by the Jews' Burial Ground, Florence, now in course of removal.

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John Roddam Spencer Stanhope (1829-1908)

Lot 8: John Roddam Spencer Stanhope (1829-1908)

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Description: The Women of Sorrento drawing in the Boats oil on panel 431/2 x 651/2 in. (110.5 x 166.4 cm.) NOTES A late work, to judge from its style, the picture was presumably based on a scene that Stanhope had witnessed during a visit to Sorrento, situated on the north side of the Sorrentine Peninsula in the Gulf of Naples. This was, of course, far from his home outside Florence, and he is most likely to have gone there either on holiday or in search of a warmer climate during the winter months. In fact, given his susceptibility to asthma, this may well have been a regular habit. Sorrento is situated in an area of great beauty, and is, as the guidebook says, 'an enchanting place at all seasons'. In the nineteenth century it was a favourite winter residence for foreigners. Ibsen finished Peer Gynt here in 1867, and here, some ten years later, Wagner and Nietzsche had their famous quarrel. For further discussion of Stanhope's genre scenes, see lot 5.

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John Roddam Spencer Stanhope (1829-1908)

Lot 10: John Roddam Spencer Stanhope (1829-1908)

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Description: The Escape pencil, watercolour and bodycolour 253/4 x 17 in. (65.6 x 43.2 cm.) NOTES The subject is obscure. The obvious identification when figures, like these, seem to be emerging from Hades, is Orpheus and Euridice, but the male figure here has no lyre, nor would he be carrying Euridice in his arms. Hercules and Alcestis have also been suggested; in Euripides' play, Hercules descends to the underworld to wrestle with Death for Alcestis's body, and then brings her back to her husband, Admetus, on earth. However, the youth in our picture is far from being a muscle-bound superman, and Admetus is conspicuous by his absence. On stylistic grounds the picture can probably be dated to about 1900.

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John Roddam Spencer Stanhope (1829-1908)

Lot 11: John Roddam Spencer Stanhope (1829-1908)

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Description: Charcoal Thieves signed and inscribed 'Charcoal Thieves-by/R. Spencer Stanhope/-Florence-' (on the artist's label attached to the backboard) pencil and bodycolour with gum arabic 34 x 24 in. (86.4 x 61 cm.) NOTES Like lots 5 and 8, the subject must have been suggested by some scene that Stanhope had witnessed in the Italian countryside. The landscape looks very Tuscan, perhaps being located between Florence and Siena, and it should not be impossible to identify the acquaduct on the left.

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f - JOHN RODDAM SPENCER STANHOPE 1829-1908

Lot 25: f - JOHN RODDAM SPENCER STANHOPE 1829-1908

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Description: PROPERTY OF PRE-RAPHAELITE INC.JULIET AND THE NURSEmeasurements note109 by 127 cm., 43 by 50 in.oil on canvasPROVENANCESotheby's Belgravia, London, 9 April 1974, lot 69a;Private collectionEXHIBITEDTokyo, Isetan Museum of Art; Ibaraki, Museum of Modern Art; Kintetsu Nara Hall; Takamatsu City Museum of Art, Shakespeare in Western Art, 1992-3, no. 71;Nottingham, Djanogly Art Gallery, University of Nottingham Arts Centre, Heaven on Earth -- The Religion of Beauty in late Victorian Art, 1994, no. 63;Florence, Galleria degli Uffizi, I Giardini delle Regine -- Il Mito di Firenze nell'Ambiente Preraffaellita a nella Cultura Americana fra Ottocento e Novecento, 2004, no. 40LITERATUREArt Journal, 1863, p. 109;The Times, 7 May 1863, p. 7;Athenaeum, 9 May 1863, p. 624NOTEJohn Roddam Spencer Stanhope's 1863 painting Juliet and the nurse takes its subject from Act III, Scene II of Shakespeare's Romeo and Juliet. The moment represented is that which follows the nurse's telling Juliet that Romeo, to whom Juliet has been secretly married, has killed Tybalt and is banished from Verona. Juliet gazes out over the city of Verona as she absorbs the news. Moments later, despairing of ever seeing her husband again, she tells the nurse to take away the ropes that had been prepared so that Romeo might climb to Juliet's room in her father Lord Capulet's palace. Take up these cords. Poor ropes, you are beguil'd,Both you and I; for Romeo is exil'd:He made you for a highway to my bed;But I, a maid, die maiden-widowed.Come, cords; come, nurse; I'll to my wedding-bed;And death, not Romeo, take my maidenhead!Hearing these words, the nurse tells Juliet that she knows where to find Romeo -- at the cell of Friar Lawrence -- and undertakes to go to him. Juliet exclaims: 'O, find him! give this ring to my true knight, and bid him come to take his last farewell'.In Stanhope's painting we see Juliet standing at the open casement, its glass decorated with shields showing cardinal's hats in sets of three, while lying on the carpeted floor at her feet are the coils of rope. Juliet's nurse is seated on the right, and watches her mistress with an expression of concern. In the chamber beyond is the bed where that night Romeo and Juliet will lie together. A triptych of the Mother and Child with Saints (loosely based on Duccio's altarpiece of c.1315 in the National Gallery), is displayed on the wall, as if to bless their union. The tragic sequence of events which will lead to the deaths of the 'star-cross'd lovers' are thus unfolding.Other interesting props shown in Stanhope's painting are the chair of ebony and inlaid ivory upon which the nurse is sitting, and which was loaned to Stanhope by Holman Hunt (and which Hunt himself had included in his own painting Il Dolce far Niente (ex Forbes Magazine Collection, New York)), and the arrangement of seven small mirrors set together into a circular wooden frame, of the type that Burne-Jones had used in paintings of the early 1860s showing medieval interiors, such as Rosamund and Queen Eleanor (private collection).From a young age Stanhope had read the plays of Shakespeare, as he had jokingly told his mother in a letter of about a decade earlier when he was a pupil of George Frederic Watts and was spending much of his time at the home of Mrs Thoby Prinsep, Little Holland House: 'I have seen nothing of the Prinseps lately. I have none the less got on very happily with the assistance of gentle Will Shakespeare, whom I read regularly at breakfast and dinner, when I find it acts as a first-rate digestive pill' (A.M.W. Stirling, A Painter of Dreams, London, 1916, pp.309-10). Subjects from Romeo and Juliet were popular with artists in Stanhope's circle of friends. John Everett Millais's early painting The Death of Romeo and Juliet (Manchester City Art Gallery), of c.1848, shows the tragic outcome of the liaison. Frederic Leighton's Reconciliation of the Montagues and Capulets (ex Agnes Scott College, Decatur, Georgia), of 1853-5, shows the moment when both families realise the tragic consequences of their long enmity, while in 1867 Ford Madox Brown painted a watercolour showing Romeo's departure from Juliet's chamber (Whitworth Art Gallery, University of Manchester). The popularity of such subjects is testified by William Powell Frith's having contributed a painting of the seated figure of Juliet and with the title 'O that I were a Glove upon that Hand' (Sotheby's, 7 June 2005, lot 28) to the 1863 Royal Academy, the same exhibition where Stanhope's Juliet and the nurse was first shown.As Gail-Nina Anderson and Joanne Wright observed in the catalogue of the 1994 exhibition, Heaven on Earth: The Religion of Beauty in late Victorian Art, both the composition and the psychological theme of Juliet and the nurse represent a reprise on Stanhope's part of his modern-life subject Thoughts of the Past (Tate, fig.1), of 1858-9. Common to both is the placing of the figure of a beautiful young woman before an open window, with a view out over an urban landscape on the one side, and on the other a glimpse of the room in which she lives. Thoughts of the Past may show a ramshackle and impoverished London lodging, while Juliet and the nurse displays the private quarters of an aristocratic Renaissance palazzo; nonetheless, it is not fanciful to suggest that this duality of the immediate and the distant -- represented by the conjunction of interior view and panorama -- is intended to indicate the protagonist's sense that the familiar pattern of her life is to be disrupted and that the future is uncertain. The care which the artist had taken to construct the composition owes much to Stanhope's knowlege of the works of Rossetti and Burne-Jones, as well as the formative training he had received from Watts. Furthermore, Stanhope was interested in the works of the old masters, visiting museums and collections in the course of his foreign travels and always looking for ways to include into his own art the lessons learnt from these examples. He had written on one occasion from Venice: 'I have been studying Tintoret a great deal lately. He is a most extraordinary genius and I think deserves the comparison that a Frenchman made to me the other day at the Table d'Hôte which was that he thought the genius of Tintoret very much resembled that of Shakespeare both in power and quality' (A.M.W. Stirling, A Painter of Dreams, London, 1916, p.322). More particularly, Juliet and the nurse shows the interior space of the room and its contents with a meticulousness that suggests the study of north European Renaissance art, familiar to British painters through the examples on display in the National Gallery and from visits to the Low Countries. In addition, the influence of contemporary Flemish art on Stanhope's art was suggested in a review of the 1863 Royal Academy exhibition. The critic of the Art Journal observed that the painting betrayed 'mediaeval influences, probably reflected from the work of [Hendrik] Leys', and suggested that Stanhope may have had the opportunity to study such works when they had appeared at the 1862 International exhibition. The painting has a wonderful depth and richness of colour, carefully modulated but also striking in contrasts. Stanhope's friend Edward Burne-Jones is reported to have said once when they were young men, perhaps at the time of their collaboration with Rossetti on the murals from Malory's Le Morte d'Arthur for the Debating Chamber of the Oxford University Union building, that '[Stanhope's] colour is beyond anything the finest in Europe'. Many years later, shortly before his death, Burne-Jones weighed up the particular attributes that made Stanhope's art so admirable: he reckoned him still 'the greatest colourist of the century', but thought that in his later career he had lost something of the close attention to detail of which he had once been capable: 'But accuracy of technique never goes together with great colourists and great draughtsmen' (both references, A.M.W. Stirling, A Painter of Dreams, London, 1916, p.334). Juliet and the nurse was perhaps the type of painting by Stanhope that Burne-Jones was remembering, done in the earlier years of the artist's career and at a time when his lyrical feeling for colour was still allied to the careful representation of surfaces and textures.Juliet and the nurse was presumably painted at Sandroyd House at Cobham in Surrey, built by Philip Webb for Stanhope in 1860. Burne-Jones may in fact have seen it in the studio there, because he is known to have visited Stanhope at about the time it was in hand. Apparently it was placed at the Royal Academy in 1863 where it was difficult to see. Nonetheless, the painting was applauded by the critic of the Athenaeum, who believed that, 'notwithstanding slight evidences of inexperience in painting, and something of the like in composition, this work tells its tale with great spirit and success'. The writer concurred with Burne-Jones that Stanhope's strength was as a colourist: 'Mr Stanhope has an excellent perception of colour and a love of rich tone'. The painting was one of a total of fourteen works that Stanhope exhibited at the Royal Academy, between 1859 and 1902. He later participated in the exhibitions at the Dudley, Grosvenor and New galleries, all venues more sympathetic to the progressive school than the Royal Academy. In 1880 Stanhope went to live in Italy, establishing himself at the Villa Nuti at Bellosguardo near Florence, where he was a central figure in the community of visiting and resident English artists. In the spring of 1909, the year after Stanhope's death, an exhibition of his works was held at the Carfax Gallery in London. We are grateful to Mr Peter Trippi for preparing this catalogue note.CSN

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John Roddam Spencer Stanhope (1829-1908)

Lot 25: John Roddam Spencer Stanhope (1829-1908)

Description: John Roddam Spencer Stanhope (1829-1908) A design for the reredos at Holy Trinity Church, Florence, including: The Crucifixion; The Annunciation; four Old Testament Prophets; and eight Angels inscribed 'Design for the Reredos/at Holy Trinity-Florence/by/R. Spencer Stanhope' (on a label attached to the backboard) and further inscribed 'angels....to be red one' (on the reverse of the backboard) pencil, pen and brown ink and watercolour heightened with touches of white and gold, on paper, fourteen watercolours in an elaborate gilt-mahogany Gothic Revival frame by Bertini of Florence 20½ x 10 in. (52 x 25.4 cm.); and smaller; the frame 54½ x 33 7/8 in. (138.5 x 85.9 cm.) overall 14 in one frame

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Lot 33: SPENCER-STANHOPE, JOHN RODDAM (1829-1908)

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Description: The white rabbit Watercolour, gouache/canvas 22.1x31.9 in (56x81 cm) With title/label verso.

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John Roddam Spencer Stanhope (1829-1908)

Lot 38: John Roddam Spencer Stanhope (1829-1908)

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Description: John Roddam Spencer Stanhope (1829-1908) A Design for the Reredos at Holy Trinity, Florence including: The Crucifixion; The Annunciation; four Old Testament Prophets; and eight Angelsinscribed 'Design for the Reredos/at Holy Trinity-Florence/by/R. Spencer Stanhope' (on a label attached to the backboard) and further inscribed 'angels..?..to be red one' (on the reverse of the backboard)pencil, pen and brown ink and watercolour heightened with touches of white and gold, on paper, fourteen watercolours in an elaborate gilt-mahogany Gothic Revival frame by Bertini of Florence20½ x 10 in. (52 x 25.4 cm.); and smaller; the frame 54½ x 33 7/8 in. (138.5 x 85.9 cm.) overall14 in one frame

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JOHN RODDAM SPENCER STANHOPE

Lot 39: JOHN RODDAM SPENCER STANHOPE

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Description: SIGNED AND DATED (MAKER'S MARKS)titled and inscribed twice with the artist's name and address at: 4 Harley Place, Harley Street on two labels on the frame and stretcher

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Lot 43: STANHOPE, John Roddam Spencer (1829-1908, British)

Description: Love and the maiden, init.i.d.1877 tempera gold paint gold leaf Oil Painting (80x54in).

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Knowledge strangling Ignorance

Lot 48: Knowledge strangling Ignorance

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Description: John Roddam Spencer Stanhope (1829-1908) Knowledge strangling Ignorance signed and inscribed 'Knowledge Strangling/-Ignorance-by/R. Spencer Stanhope/-Florence-' (on the artist's label attached to the backboard)pencil, watercolour and bodycolour with gum arabic, heightened with gold19 7/8 x 13¾ in. (50.5 x 35 cm.)

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John Roddam Spencer Stanhope (1829-1908)

Lot 62: John Roddam Spencer Stanhope (1829-1908)

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Description: John Roddam Spencer Stanhope (1829-1908) Flora pencil and watercolour with bodycolour, on paper 22½ x 9¾ in. (57 x 24.5 cm.)

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Lot 62: John Roddam Spencer Stanhope

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Description: 1829-1908 study for ''eve tempted by the serpent'' pencil 24.5 by 11.5 cm., 9 1/2 by 4 1/2 in. Spencer Stanhope worked on the subject of Eve Tempted by the Serpent in the 1870s. An oil version (untraced) was exhibited in the Grosvenor Gallery in 1877 and a watercolour version was sold in these rooms, 9 June 1994, lot 202.

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JOHN RODDAM SPENCER STANHOPE

Lot 68: JOHN RODDAM SPENCER STANHOPE

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Description: PROPERTY OF PRE-RAPHAELITE INC. 1829-1908 RISPAH, THE DAUGHTER OF AIAH oil on canvas 109 by 66cm., 43 by 26in.

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JOHN RODDAM SPENCER STANHOPE

Lot 69: JOHN RODDAM SPENCER STANHOPE

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Description: PROPERTY OF PRE-RAPHAELITE INC. 1829-1908 JULIET AND THE NURSE oil on canvas 109 by 127cm., 43 by 50in.

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[ Watercolour ]

Lot 125: [ Watercolour ]

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Description: JOHN RODDAM SPENCER-STANHOPE (1829-1908) - 'Patience - She Sat Like Patience on a Monument Smiling at Grief, Twelfth Night, Act Two, Scene Four', pencil drawing, inscribed 'By R. Spencer-Stanhope, Villa Nuti, Bellagarda, Florence', 7" x 7 1/2", unframed (see illustration).

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John Roddam Spencer Stanhope, R.I. (1829-1908)

Lot 128: John Roddam Spencer Stanhope, R.I. (1829-1908)

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Description: Study for 'Eve tempted by the Serpent'pencil10 x 4 1/2 in. (25.4 x 11.5 cm.)

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Lot 151: John Roddam Spencer Stanhope (1829-1908)

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Description: The Expulsion from the Garden of Eden pencil, watercolour and bodycolour, with gum arabic, and heightened with gold 12 x 15 in. (32.5 x 39.4 cm.) PROVENANCE The artist, and thence by descent. NOTES Stanhope was unique in the Pre-Raphaelite circle in coming from an aristocratic background. His mother, Lady Elizabeth Spencer Stanhope, was the youngest daughter of Thomas Coke, Earl of Leicester, one of the greatest agricultural reformers of the day. Educated at Rugby and Christ Church, Oxford, Stanhope was determined, despite parental opposition, to become an artist, and in 1850 he was introduced to G.F. Watts. The following year Watts assumed the role of 'genius-in- residence' at Little Holland House, the picturesque old dower house in Kensington where Mrs Thoby Prinsep, with the backing of a rich Anglo-Indian husband, was creating a salon frequented by celebrities in the worlds of art, literature, politics and science. Stanhope joined this self-consciously cultured circle, receiving informal instruction from Watts, helping him to paint murals on the walls of Little Holland House, and accompanying him on visits to Italy (1853) and Greece (1856-57). Watts, however, was not an inspiring teacher, and the young man soon fell victim to the emotive art of Rossetti and his follower Burne-Jones, both of whom were among Mrs Prinsep's 'lions'. In 1857 he joined them and others in painting the famous murals illustrating the Morte d'Arthur in the Oxford Union, and his picture Thoughts of the Past (Tate Gallery), exhibited at the Royal Academy in 1859, is very Rossettian in concept and style. Burne-Jones, too, had a profound influence on Stanhope's development, even though he was four years his junior. Having cemented a friendship in the Oxford Union (their murals were adjacent), they remained close for life. The relationship is particularly evident in the picture which is arguably Stanhope's masterpiece, Love and the Maiden, exhibited at the Grosvenor Gallery in 1877 and sold at Christie's London on 6 June 1997 for a record price of 727,500 ($1,185,825). But Stanhope was no mere interpreter of other men's ideas. He has a very recognisable style of his own, and his artistic qualities were highly regarded by his peers. Many years later Burne-Jones told his assistant T.M. Rooke that Stanhope's 'colour was beyond any the finest in Europe; an extraordinary turn for landscape he had too - quite individual. Rossetti was in a perfect state of enthusiasm about it'. Stanhope was a martyr to asthma, and his place of residence was determined by his health. On his marriage in 1860 he commissioned a house from the architect Philip Webb, one of the partners of the Morris firm, at Cobham in Surrey. He later moved to the vicinity of Cannon Hall, Barnsley in Yorkshire, which had been his childhood home, and in the early 1870s he settled at the Villa Nuti at Bellosguardo outside Florence, living there until the end of his life. The place became a centre for the English expatriate community and visitors from home. Morris and Burne-Jones visited him in 1873, and in later years his niece and her husband, Evelyn and William de Morgan, were annual migrants. The present picture, illustrating the Book of Genesis, Chapter 3, is related in theme to Stanhope's painting Eve Tempted (Manchester City Art Gallery), which was exhibited with Love and the Maiden at the Grosvenor Gallery in 1877. It is possibly a little later, and in any case must have been painted during his residence in Italy. Stanhope was much influenced at this time by the Old Master paintings that surrounded him in Florence, and no doubt he was aware of Masaccio's famous account of the Expulsion in the Brancacci Chapel in the Carmine. However, although the distraught figures of Adam and Eve may possibly echo those of Masaccio, there is little underlying relationship between the Renaissance master's heroic simplicity and Stanhope's late Pre-Raphaelite mannerism.

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Lot 172: SPENCER-STANHOPE, JOHN RODDAM (1829-1908)

Description: The Song of Solomon Gouache 42x102 inches (107.5x260 cm).

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Winnowing

Lot 180: Winnowing

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Description: John Roddam Spencer Stanhope (1829-1908) Winnowing signed with initials (lower right) and further signed and inscribed 'WINNOWING/by/R. Spencer Stanhope/Villa Nuti/Bellosguardo/Florence' (on the artist's label attached to backboard) pencil and watercolour with gum arabic, heightened with bodycolour, the sheet extended along the lower edge 16 x 20 in. (40.6 x 50.7 cm.)

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John Roddam Spencer Stanhope (British, 1829-1908) 'Patience'

Lot 181: John Roddam Spencer Stanhope (British, 1829-1908) 'Patience'

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Description: 'Patience'signed 'R. Spencer Stanhope'; extensively inscribed (to the right) and dated '1884' (lower right), pencil, unframed 17.9 x 18.8cm (7 1/16 x 7 3/8in).

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Lot 181: SPENCER-STANHOPE, JOHN RODDAM (1829-1908)

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Description: Study of the head of a girl, bust-length, bust-length Pencil, brown & red chalk 7x7 in (17.8x17.8 cm).

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Lot 184: JOHN RODDAM SPENCER STANHOPE (1829-1908)

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Description: THE WASHING PLACE watercolour and bodycolour 68 by 121 cm.; 26 3/4 by 47 1/2 in. Provenance: Miss Pamela Mure On loan to Old Battersea House Sotheby's Belgravia, 29 June 1976, lot 288 The Fine Art Society, London.

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Lot 202: JOHN RODDAM SPENCER STANHOPE (1829-1908)

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Description: EVE TEMPTED BY THE SERPENT signed and inscribed with title and Florence on a label on the backboard, watercolour and bodycolour heightened with gilding 150.5 by 74.5 cm.; 59 1/4 by 29 1/4 in. The present watercolour by Stanhope shows Eve at the moment of temptation, as described in Chapter III of the Book of Genesis. The serpent whispers in her ear, while her hand is raised to pick the fruit of the tree from which God had said neither she nor Adam were to eat. As such the painting is a rare excursion on the part of a Pre-Raphaelite artist into the subject matter of the Old Testament, treated in a way that demonstrates the artist's awareness of a north-European pictorial tradition originating in the work of Cranach. John Roddam Spencer Stanhope was born in Yorkshire and educated at Rugby and Christ Church, Oxford. In 1850 he was introduced to George Frederic Watts, from whom he received instruction in drawing and painting and for whom he worked as an assistant. Watts in turn launched Stanhope on the Little Holland House circle of politicians, painters and poets, of which Mrs Henry Thoby Prinsep was the leading figure. In 1853 Stanhope went to Italy with Watts, while in 1856-57 the two travelled together to Bodrum in western Turkey to join the party of Sir Charles Newton who was then excavating the Mausoleum of Halicarnassus (see Watts" painting The Island of Cos, lot 219 in the present sale, inspired by this journey). In 1857 Rossetti invited Stanhope to paint a section of the mural decorations of the Oxford Union. From this time forward Stanhope was a close friend of Edward Burne-Jones. In the late 1850s and 1860s Stanhope played a significant part in the second phase of Pre-Raphaelitism, in which painters in the circle of Rossetti and Burne-Jones adopted mythological and literary themes, often treated in a way that anticipates the late-century symbolist movement, and sought imaginary and dream-like qualities in their representation of the landscape. Stanhope's work was much admired within the Pre-Raphaelite group; Burne-Jones said of him: "His colour was beyond any the finest in Europe; an extraordinary turn for landscape he had too - quite individual. Rossetti was in a perfect state of excitement about it.' Stanhope worked on the present subject in the late 1870s. He sent an oil version (now untraced) to the opening exhibition of the Grosvenor Gallery in the spring of 1877, which was displayed in the prestigious West Gallery and received with great enthusiasm, notably by Oscar Wilde who gave a detailed account of it and described it as "one of the remarkable pictures of the Gallery" in his review of the Grosvenor exhibition in the Dublin University Magazine. A version in tempera of the present subject was exhibited at the Royal Manchester Institution in 1877 and was awarded a gold medal. This painting was acquired by John Slagg, MP, and subsequently given to Manchester City Art Gallery. There are many differences of detail between each of the two exhibited versions and the present watercolour (for the Grosvenor painting we depend on Oscar Wilde's description; while the Manchester version is illustrated in Pre-Raphaelite Paintings from the Manchester City Art Galleries, revised edition 1993, p.121). Perhaps the only evidence which might suggest that the present version of Eve Tempted is a later re-working of the theme is the use of Italian language newspaper to seal the back panels to which the paper sheets are fixed and what seem to be the remains of Italian customs seals on the stretcher. In 1880 Stanhope went to live at the Villa Nuti in Bellosguardo above Florence; it is therefore possible that the present work was painted there and subsequently sent to England. Clearly, each of the three known versions was regarded as an independent and complete work of art. The scale and meticulousness of craftsmanship of the present painting, as well as the splendid carved and gilded frame in which it is displayed, demonstrate that it was a work to which the artist attached great importance. According to the catalogue of the Christie's sale in which the present watercolour appeared in 1945, the work had previously belonged to the architect George Frederic Bodley (1827-1907). Stanhope and Bodley worked together on various building projects, for example the chapel at Marlborough College - the former providing painted decorations to the latter's architectural schemes. The two remained in contact following Stanhope's move to Italy (see A.M.W. Stirling's description of Bodley's visiting Stanhope at Bellosguardo in A Painter of Dreams, John Lane, London, 1916, pp.338-9), and it may therefore have been the case that the present watercolour was either requested by Bodley, or offered by Stanhope, as a memento of their longstanding friendship. Provenance: G.F. Bodley, R.A. Christie's, 15 June 1945, lot 97.

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JOHN RODDAM SPENCER STANHOPE 1829-1908

Lot 276: JOHN RODDAM SPENCER STANHOPE 1829-1908

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Description: watercolour and bodycolour

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JOHN RODDAM SPENCER STANHOPE 1829-1908

Lot 277: JOHN RODDAM SPENCER STANHOPE 1829-1908

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Description: watercolour and bodycolour

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Lot 319: EVELYN DE MORGAN (N‚E PICKERING) (BRITISH, 1855-1919)

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Description: JOHN RODDAM SPENCER STANHOPE OIL ON CANVAS 18.7/8 X 161/2 IN. (47.9 X 41.9 CM.) NOTES THIS PORTRAIT OF J. R. SPENCER STANHOPE (1829-1908), ONE OF THE LEADING EXPONENTS OF PRE-RAPHAELITISM IN ITS LATER 'SYMBOLIST' PHASE, IS A RARE AND INTERESTING DOCUMENT. THERE ARE SEVERAL PHOTOGRAPHS OF STANHOPE. ONE BY LEWIS CARROLL SHOWS HIM AS A YOUNG MAN, WHILE OTHERS IN FAMILY ALBUMS RECORD HIM IN OLD AGE. SO FAR AS WE KNOW, HOWEVER, THIS IS THE ONLY PAINTED LIKENESS. THE OTHER SOURCE OF INTEREST IS THAT THE ARTIST AND HER SUBJECT WERE RELATED, STANHOPE BEING EVELYN DE MORGAN'S UNCLE ON HER MOTHER'S SIDE. THEIR WORK ALSO HAS MUCH IN COMMON, EACH DEVELOPING A HIGHLY MANNERED STYLE INDEBTED TO WATTS, BURNE-JONES AND THE ITALIAN OLD MASTERS. IN 1887 EVELYN PICKERING, AS SHE HAD BEEN HITHERTO, MARRIED THE POTTER WILLIAM DE MORGAN, AND THEY WOULD OFTEN WINTER IN ITALY FOR THE SAKE OF WILLIAM'S HEALTH, STAYING WITH SPENCER STANHOPE AND HIS WIFE AT THE VILLA NUTI, BELLOSQUARDO, WHERE THE ARTIST HAD SETTLED IN THE EARLY 1870S. PERHAPS THE PORTRAIT WAS PAINTED THERE RATHER THAN ON ONE OF STANHOPE'S PERIODIC RETURNS TO ENGLAND. CERTAINLY HE LOOKS AT LEAST SIXTY, SUGGESTING A DATE NOT EARLIER THAN 1889. FOR FURTHER DETAILS OF THE CAREERS OF EVELYN DE MORGAN AND HER UNCLE, SEE RESPECTIVELY LOTS 309 AND 320.

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A photographic plate viewer, hinged and leather

Lot 479: A photographic plate viewer, hinged and leather

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Description: A photographic plate viewer, hinged and leather covered, containing a coloured glass plate depicting a reclining female nude in classical pose in the manner of John Roddam Spencer Stanhope (1829-1908), 24 x 19cm; together with two coloured and four black and white glass plates depicting Lord Byron after the painting by Richard Westall, R.A

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John Roddam Spencer Stanhope RI 1829-1908-

Lot 495: John Roddam Spencer Stanhope RI 1829-1908- "Castle

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Description: John Roddam Spencer Stanhope RI 1829-1908- "Castle and Watermill"; pencil heightened with white on buff paper, bears inscribed label verso, 23.5x35.5cm

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Lot 577: STANHOPE, John Roddam Spencer (1829-1908, British)

Description: Andromeda, paper laid down on panel Oil Painting (20x50in).

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Lot 578: STANHOPE, John Roddam Spencer (1829-1908, British)

Description: Robins of modern times, s.i.verso Oil Painting (34x19in).

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John Roddam Spencer Stanhope RI 1829-1908-

Lot 781: John Roddam Spencer Stanhope RI 1829-1908- "Castle

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Description: John Roddam Spencer Stanhope RI 1829-1908- "Castle and Watermill"; pencil heightened with white on buff paper, bears inscribed label verso, 23.5x35.5cm

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John Roddam Spencer Stanhope RI 1829-1908-

Lot 883: John Roddam Spencer Stanhope RI 1829-1908- "Castle

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Description: John Roddam Spencer Stanhope RI 1829-1908- "Castle and Watermill"; pencil heightened with white on buff paper, bears inscribed label verso, 23.5x35.5cm

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