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Marie Spartali Auction Price Results

Marie Spartali (1844-1927)  Please Register/Login to access your Invaluable Alerts

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Marie Spartali Stillman (1844-1927)

Lot 26: Marie Spartali Stillman (1844-1927)

Description: Marie Spartali Stillman (1844-1927) Portrait of a lady, possibly the artist's sister, Christina Spartali pencil and watercolour with gum arabic, heightened with white and gold and with scratching out, on paper 22½ x 18 in. (57.1 x 45.6 cm.)

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Marie Stillman, née Spartali (1844-1927)

Lot 26: Marie Stillman, née Spartali (1844-1927)

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Description: Marie Stillman, née Spartali (1844-1927) A lady in the garden at Kelmscott Manor, Gloucestershire with inscription 'A Study of/Kelmscott Manor/by Marie Stillman' (on the reverse)pencil and watercolour heightened with bodycolour, on Whatman watercolour board, unframed10 5/8 x 14½ in. (27 x 36.8 cm.)

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 Marie Stillman , 1844-1927 portrait of a lady with a fan watercolour with bodycolour

Lot 27: Marie Stillman , 1844-1927 portrait of a lady with a fan watercolour with bodycolour

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Description: bears a monogram and date of 1868 l.l. watercolour with bodycolour

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MARIE SPARTALI STILLMAN

Lot 28: MARIE SPARTALI STILLMAN

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Description: MARIE SPARTALI STILLMAN 1844-1927 THE CHILDHOOD OF ST. CECILY signed with monogram and dated 83 l.r. watercolour with bodycolour, pencil and gum arabic 101 by 74cm., 39 3/4 by 29 1/8 in.

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Marie Spartali Stillman (British, 1843-1927)

Lot 68: Marie Spartali Stillman (British, 1843-1927)

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Description: Autumnsigned with monogram l.r.watercolour and bodycolour38 x 28.5 cm. (15 x 11 1/4 in.)

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MARIE SPARTALI STILLMAN

Lot 75: MARIE SPARTALI STILLMAN

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Description: PROPERTY OF PRE-RAPHAELITE INC. 1844 - 1927 FIAMMETTA SINGING signed with monogram and dated 79 l.r. pencil, watercolour and bodycolour 75 by 100cm., 29½ by 39½in.

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Marie Spartali Stillman (British, 1844-1927)

Lot 93: Marie Spartali Stillman (British, 1844-1927)

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Description: View of Kelmscott Manor watercolour and bodycolour laid on panel 18.5 x 31cm (7 5/16 x 12 3/16in).

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MARIE SPARTALI STILLMAN

Lot 112: MARIE SPARTALI STILLMAN

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Description: PROPERTY OF A PRIVATE COLLECTORBRITISH, 1844-1927SELF PORTRAIT IN MEDIEVAL DRESSmeasurements25 by 20 in.alternate measurements63.5 by 50.8 cmsigned Marie Spartali Stillman/ de Ipsa fecit and dated London 1874 (upper right)gouache and pastel with gum arabic on paperPROVENANCEHirschl and Adler Galleries, New YorkLITERATUREDavid B. Elliott, A Pre-Raphaelite Marriage: The Lives and Works of Marie Spartali Stillman and William James Stillman, London, 2006, p. 232, illustrated as the frontispiece and on pg. 91NOTEMarie Spartali Stillman, daughter of Michael Spartali, a wealthy merchant and Greek Consul-General in London, was introduced to the Pre-Raphaelite circle through another prominent Greek family, the Ionides, known for their patronage of the arts. Immediately upon her debut at a garden party in the early 1860s, Stillman stunned the artists in attendance with her great beauty. The painter Thomas Armstrong recalled that "we were all à genoux before her", while Algernon Charles Swinburne noted she was "so beautiful that I want to sit down and cry" (as quoted in Stephen Wildman and John Christian, Edward Burne-Jones, Victorian Artist-Dreamer, New York, 1998, p. 268). In the months and years to follow, Marie posed for Edward Burne-Jones, James Abbott MacNeill Whistler, and was photographed repeatedly by Julia Margaret Cameron (Fig. 1). Yet as Dante Gabriel Rossetti explained, Marie's outstanding, unique beauty was not easy to capture, as he found her head "about the most difficult I ever drew. It depends so much on real form as on a subtle charm of life which one can recreate" (as quoted in Wildman and Christian, p. 269). With this contemporary remark on the confounding quality of her beauty, it is particularly interesting to turn to the present work of a serenely, seemingly self-possessed young woman, a self-portrait. More than a famous model, Stillman was a recognized artist who exhibited regularly at the Grosvenor Gallery and New Gallery from 1877. While at first Stillman, like many women of her background and era, studied drawing and painting to promote her social graces, she turned to serious work as a pupil of Ford Madox Brown and was deeply influenced by Rossetti's technique. She worked mostly in watercolor, a traditional choice for women artists, yet used the medium to create a density of rich color and complicated textures that replicated and rivaled the effects of oil paint. Stillman's work often depicts women at leisure in idyllic environments or illustrates themes from medieval literature and the Italian poetry of Dante and Boccaccio. These compositions and techniques are apparent in the present work. Through a close self-observation and accurate rendering of form, Stillman creates a singular vision of herself. She places a Renaissance-like costume of heavy, rosy-red folds against her creamy skin and compliments the intricate embroidered trim of her bodice with her flowing, smoldering auburn hair and decorative Japanese fan--emblematic elements of the Aesthetic portrait. Similarly, the timeless setting of what appears to be a balcony decorated with a hanging tapestry, richly woven carpet, and plant fronds reveals an attention to design and compositional arrangement that is one of the Pre-Raphaelites' hallmarks. Yet other elements of the portrait are unique to the artist and her own self-image; the cool, marine eyes, her pursed, coral lips, and crossed arms holding her body suggest a confident woman sure of her beauty and talent. Indeed, Stillman was deeply committed to her craft and often challenged by the competing responsibilities to her husband, the American journalist William James Stillman and her family. In the years following this self-portrait, the then pregnant Stillman would lament her lack of participation at the Grosvenor Gallery: "I shall have no pictures ...this year, it is very unfortunate for I have had so few opportunities of having a picture placed at any exhibition and worked so continuously" (as quoted in Susan P. Casteras, "Burne-Jones and the Pre-Raphaelite Circle at the Palace of the Aesthetes in The Grosvenor Gallery: A Palace of Art in Victorian England, New Haven, Yale University Press, p. 87).

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MARIA STILLMAN 1844-1927

Lot 122: MARIA STILLMAN 1844-1927

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Description: LADY IN AN ITALIAN LANDSCAPE47 by 42 cm.; 18 ½ by 16 ½ in.signed with monogram and dated 96 l.l.watercolour with bodycolour

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Maria Spartali Stillman (1844-1927)

Lot 129: Maria Spartali Stillman (1844-1927)

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Description: Still-life of peonies and irises in a Chinese vasesigned with initials, inscribed and dated 'MS to BM 1921' (lower right)pencil and watercolour with gum arabic heightened with bodycolour, unframed20 3/4 x 14 in. (52.5 x 35.5 cm.)

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 Marie Spartali Stillman , British 1844-1927 
 Dante's Vision of Leah and Rachel watercolour

Lot 149: Marie Spartali Stillman , British 1844-1927 Dante's Vision of Leah and Rachel watercolour

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Description: signed with monogram and dated l.l.: 1887 watercolour

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Lot 155: Marie Spartali-Stillman (British, b. 1844)

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Description: EPISODE FROM DANTE'S "VITA NUOVA" signed with monogram and dated 80 watercolor and gouache over traces of pencil on paper 30 3/4 by 23 3/4 in. 78.1 by 60.3 cm. The subject of this work is based on Dante's autobiographical Vita Nuova. Dante Gabriel Rossetti's translation of this, in his Early Italian Poets (1861) would certainly have been familar to Marie Spartali. Here, Beatrice is seen lamenting the death of her father: "And because it is the usage of that city that men meet with men in such a grief, and women with women, certain ladies of her companionship gathered themselves unto Beatrice, where she kept alone in her weeping: and as they passed in and out, I could hear them speak concerning her, how she wept. At length two of them went by me, who said: 'Certainly she grieveth in such sort that one might die for pity, beholding her'." Exhibited: London, Grosvenor Gallery, 1880, No. 267.

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f - MARIE STILLMAN 1844-1927

Lot 204: f - MARIE STILLMAN 1844-1927

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Description: watercolour with bodycolour

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f - MARIE STILLMAN 1844-1927

Lot 205: f - MARIE STILLMAN 1844-1927

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Description: signed on the reverse: Mrs Stillmanwatercolour with bodycolour

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Lot 247: Maria Spartali Stillman

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Description: 1844-1927 dante and beatrice signed with monogram and dated l.l.: MS 80 pastel on paper 85 by 64cm., 33I by 25.

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Lot 490: Maria Spartali Stillman

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Description: 1844-1927 dante and beatrice signed with monogram and dated l.l.: MS 80 pastel on paper 85 by 64 cm., 33 1/2 by 25 in.

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Lot 493: MARIE SPARTALI STILLMAN (attributed) (1844-1927)

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Description: MARIE SPARTALI STILLMAN (attributed) (1844-1927) canvas half length study of a lady, unframed and unsigned, 20" x 16",

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A bronze portrait medallion, of Marie Stillman,

Lot 1165: A bronze portrait medallion, of Marie Stillman,

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Description: A bronze portrait medallion, of Marie Stillman, three lillies cast verso, signed by Maria Zambaco, 13.5cm diameter Marie Stillman (1844-1927) was a British pre-Raphaelite painter of Greek descent. Maria Zambaco was an artist and model, and cousin of Stillman. Along with cousin Aglaia Coronio, they were know as 'The Three Graces'.

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