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Ford Madox Brown Auction Price Results

Ford Madox Brown (1821-1893)  Please Register/Login to access your Invaluable Alerts

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FORD MADOX BROWN (BRITISH 1821-1893) QUEEN ELEANOR, STUDY FOR STAINED GLASS, WILLIAM MORRIS & CO. 122cm x 41cm (48in x 16in)

Lot 45: FORD MADOX BROWN (BRITISH 1821-1893) QUEEN ELEANOR, STUDY FOR STAINED GLASS, WILLIAM MORRIS & CO. 122cm x 41cm (48in x 16in)

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Description: FORD MADOX BROWN (BRITISH 1821-1893) QUEEN ELEANOR, STUDY FOR STAINED GLASS, WILLIAM MORRIS & CO. Signed with monogram and dated '70, inscribed, ink and wash 122cm x 41cm (48in x 16in)

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FORD MADDOX BROWN (1821-1893) FOR MORRIS & COMPANY EBONISED 'SUSSEX' ARMCHAIR, CIRCA 1880

Lot 268: FORD MADDOX BROWN (1821-1893) FOR MORRIS & COMPANY EBONISED 'SUSSEX' ARMCHAIR, CIRCA 1880

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Description: FORD MADDOX BROWN (1821-1893) FOR MORRIS & COMPANY EBONISED 'SUSSEX' ARMCHAIR, CIRCA 1880 with cruciform spindle back and open arms raised above rush seat on turned legs linked by stretchers

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Lot 3: BROWN, FORD MADOX (1821-1893)

Description: Study of a man Charcoal 48x30 cm (19x12 in) Inscr. S.

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f - FORD MADOX BROWN 1821-1893 THE BROMLEY CHILDREN

Lot 5: f - FORD MADOX BROWN 1821-1893 THE BROMLEY CHILDREN

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Description: signed and indistinctly dated l.r.: F M Brown. 184*oil on canvasPROVENANCEProbably Helen Bromley, the sitters' mother;Probably given by Helen Bromley to the artist, and thence by descent via his daughter Lucy and her husband, William Michael RossettiEXHIBITEDLondon, Grafton Galleries, Exhibition of the Works of Ford Madox Brown, 1897, no. 87LITERATURE AND REFERENCESMS letter from the artist to his daughter Lucy Rossetti, after 1886 (Angeli papers, special collections, University of British Columbia, Vancouver);F. M. Hueffer, Ford Madox Brown: A Record of his Life and Work, 1896, pp. 433, 434;W. D. Paden, The Ancestry and Families of Ford Madox Brown, Bulletin of the John Rylands Library, vol. 50, no. 1, autumn 1967, pp. 130-131CATALOGUE NOTESeveral of Brown's earliest works are portraits of his relatives the Bromleys, who lived at Meopham in Kent. Ford Madox Hueffer, the artist's grandson described Brown's visit to the Bromley's in 1840 'Here he painted portraits of all his relations there resident. They are mostly quaint little medallions.' Among the portraits was one of Elizabeth, Brown's cousin with whom he fell madly in love and married later that same year (sadly she died only six years later).The present picture portrays the three eldest children of Brown's cousin and brother-in-law, Augustus Frederick Bromley (1815-1843) and his wife Helen (née Weir). Augustus and Helen had married in Paris in 1840 at a time when Brown was resident in the French capital, studying the Old Masters at the Louvre. Brown had painted both Helen and Augustus during the stay in Meopham in 1840 and other portraits of members of the Bromley family are known to have been painted in 1844, including the lavish portrait of the older generation of Bromleys now at Manchester City Art Gallery.The sitters in the present portrait are as follows; the little girl in the centre dressed in white is the oldest child Helen Bromley with her brother Augustus to her right holding a hoop and stick and her sister Louisa seated to her left. Lamentably, none of the children lived beyond their teenage years, the two younger children dying in 1845 and 1846 and Helen surviving only until 1855 when she died aged seventeen. There has been much confusion regarding when this portrait was painted and the only certainty is that it was in the early 1840s before Augustus junior's death in 1845. The painting is dated but the last digit has proved difficult to decipher. When it was exhibited in Brown's memorial exhibition in 1897 it was stated that it was painted in 1841 and Hueffer lists it as being painted in 1840, but mentions it again as being painted in 1845. Although 1844 is the most likely date for the painting, it is strange that Brown did not include a fourth child, Elizabeth Clara who was born in 1843.The portrait was presumably painted for Helen Bromley, the children's mother who ran a school in Greenwich where Brown's daughter Lucy was educated. At a later date the portrait returned to the artist's possession and was given to Lucy who after her death in 1894, a year after her father, bequeathed the picture to her husband William Michael Rossetti, the brother of the artist Dante Gabriel and of the poet Christina.

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Ford Madox Brown (1821-1893)

Lot 7: Ford Madox Brown (1821-1893)

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Description: The Last of Englandsigned and dated 'Brown 55' (lower right, on the edge of the boat)oil on panel, painted oval7 3/4 x 6 7/8 in. (19.7 x 17.5 cm.)

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Lot 7: BROWN, FORD MADOX (1821-1893)

Description: Female Saint Charcoal 46x34 cm (18x13.2 in).

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Lot 8: BROWN, FORD MADOX (1821-1893)

Description: The sacrifice of Zachariah, 1867 Pencil 46x40 cm (18x15.6 in) Monog. D -67.

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Lot 12: Ford Madox Brown (1821-1893)

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Description: The Bromley Children signed and dated 'F.M. Brown 1843(?)' (below the child's foot lower right) oil on canvas 50 x 40 in. (127 x 101 cm.) PROVENANCE Probably Helen Bromley, the sitter's mother. Probably given by her to the artist, and thence by descent via his daughter Lucy and her husband, William Michael Rossetti. LITERATURE Letter from the artist to his daughter Lucy Rossetti, post 1886 (Angeli Papers, Special Collections, University of British Columbia, Vancouver). F.M. Hueffer, Ford Madox Brown: A Record of his Life and Work, London, 1896, pp. 433, 434 (list). W.D. Paden, 'The Ancestry and Families of Ford Madox Brown', Bulletin of the John Rylands Library, vol. 50, no. 1, Autumn 1967, pp. 130-1. EXHIBITION London, Grafton Galleries, Exhibition of the Works of Ford Madox Brown, 1897, no. 80. Abingdon, 1961. NOTES This rare early work by one of the most important members of the Pre-Raphaelite circle shows the three eldest children of the artist's cousin and brother-in-law, Augustus Frederick Bromley, and his wife Helen. Brown's first wife was Augustus's sister Elizabeth. They married in 1840, the ceremony taking place in Paris where Brown was living at the time, studying the Old Masters in the Louvre. A child, Lucy, was born in 1843, and in the summer of 1844 the family returned to England. Mrs Brown's health, however, deteriorated, and in August 1845 they left for Rome. By May 1846 it was clear that she was dying, and they set out once again for England. She succumbed as they reached Paris on 5 July, dying in a carriage in the Boulevard des Italiens with her head on her husband's shoulder. During these early years Brown painted a number of portraits of his Bromley relations, who lived at Meopham in Kent. In his memorial account of his grandfather's career, Ford Madox Hueffer (later Ford Madox Ford) describes how the artist stayed with the Bromleys during a visit to England in March 1840. 'Here [i.e. at Meopham] he painted portraits of all his relations there resident. They are mostly quaint little medallions'. The sitters included his cousin Elizabeth, and it was the painting of this portrait, according to Heuffer, that 'caused an ensnaring of hearts' and the subsequent marriage of the artist and his subject, 'which took place the same year in Paris' (op. cit., p. 26). Other portraits are said to have been undertaken in 1844 when the Browns were staying with the Bromleys at Meopham, seeing if Elizabeth's health would stand the English climate. During the stay, Hueffer tells us, Brown painted Elizabeth's brother Augustus, his wife Helen, and their horse (op. cit., pp., 37, 434). According to W.D. Paden (loc. cit.), the three eldest children of Augustus and Helen, that is to say the sitters in our picture, were all born before 1841. Helen, who died in 1855 aged seventeen, is the little girl in the centre, dressed in white and presiding demurely over her siblings. Her younger brother Augustus, who died in 1845, is seen on the left, still dressed in skirts and holding a hoop and stick; while their infant sister Louisa, who died in 1846, is seated on the right, coyly displaying a naked foot. The picture dates from the early 1840s, but it is hard to be more precise as the records are very confused. The canvas bears a date, but the last figure is hard to read; it may or may not be a 3, and perhaps this is an unlikely date anyway as Brown seems to have been in Paris that year, only returning to England in 1844. When the picture was exhibited at Brown's memorial exhibition at the Grafton Galleries in 1897, it was dated 1841; and Hueffer complicates matters still further by listing it twice, under both 1840 and 1845. Was this an oversight, or was he referring to two pictures? (Both are said to have been painted at Meopham and to have belonged to William Michael Rossetti, so either could be the present work). It is also curious that Hueffer gives these dates when it is natural to assume that our picture was painted when the Browns were staying with the Bromleys in 1844. And if this was the case, then is it not odd that the picture does not include a fourth child, Elizabeth Clara, who was born to Augustus and Helen in 1843 (and died in 1875)? All we can say for certain is that the picture must have been painted before little Augustus Bromley's death in 1845. Stylistically, the work is comparable to The Bromley Family, Brown's group portrait of the older generation now in the Manchester City Art Gallery (Fig.1). This is perhaps a little more mannered (Germanic?), but the use of trees as a framing agent is similar in both paintings. The Bromley Family, though not listed by Hueffer, is dated 1844, and since it was presumably painted when Brown was staying with the family that year, it would seem to reinforce the conclusion that our picture was too. The Manchester picture itself, however, is not without its problems. According to Paden, Augustus Bromley, the children's father, was born in 1815 and died in 1843, a year before The Bromley Family, in which he is said to appear, was painted. Paden also implies that his wife Helen (n‚e Weir) was born in 1802. This would make her thirteen years older than her husband, which not only seems unlikely but does not obviously correspond with any of the women in the Manchester painting. Whatever the answers to these conundrums, our picture, with its sombre tonality, stagey lighting and romantic background, betrays Brown's early grounding in the European academic tradition. During the 1830s he received a thorough training in Belgium, first under two pupils of David, Albert Gregorius in Bruges and Pieter van Hansel in Ghent, and then under Gustave, Baron Wappers at the Antwerp Academy. The picture's lush style also reflects Brown's recent experiences in Paris, where he had studied Rembrandt and the Spanish masters in the Louvre, as well as modern works by Delacroix, Delaroche, and others. By 1845 his style was changing dramatically, partly as a result of designing cartoons for the Westminster Hall competitions, but more significantly under the influence of Holbein, whose work he saw at Basle on the way south to Rome, and the early Italian and Nazarene paintings which he encountered in Rome itself. A more realistic and naturally illuminated style was unveiled in his early masterpiece, Chaucer at the Court of Edward III (Art Gallery of New South Wales, Sydney), conceived in the summer of 1845 and designed in Rome later that year; and by the time this was exhibited at the Royal Academy in 1851, Brown had long since met D.G. Rossetti and begun his close association with the Pre-Raphaelites. The first owner of The Bromley Children was presumably Helen Bromley, the children's mother. She later ran a school at Greenwich at which Brown's daughter Lucy was educated, and she seems to have left her pictures to the artist, who in due course gave The Bromley Children to Lucy. When Lucy died in 1894, only a year after her father, the picture passed to her husband, William Michael Rossetti, and it has remained in their family ever since. Fig. 1. Ford Madox Brown The Bromley Family (Manchester City Art Gallery).

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Ford Madox Brown (1821-1893), after Rembrandt

Lot 23: Ford Madox Brown (1821-1893), after Rembrandt

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Description: Ford Madox Brown (1821-1893), after RembrandtThe Angel departing from the Family of Tobias indistinctly inscribed by 'By Madox Brown Copy of Rembrandt's Sacrifice of ... Done towards 1844' by William Michael Rossetti (on a label attached to the reverse)oil on canvas 24 x 21½ in. (61 x 54.6 cm.)

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Ford Madox Brown (1821-1893)

Lot 24: Ford Madox Brown (1821-1893)

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Description: Ford Madox Brown (1821-1893) Self Portrait, bust-length, in a brown coatinscribed by William Michael Rossetti 'By Ford Madox Brown/Himself/c.1845/Given by him to Lucy +/me c.1880' (on a label on the reverse)oil on board 8 x 6 in. (20.3 x 15.2 cm.)

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Lot 25: BROWN, FORD MADOX (1821-1893)

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Description: Jacopo Foscari in prison Black & white chalk/paper 17.3x10.4 in (44x26.5 cm) Cf. Hueffer, pp.245-255-6, 1896.

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Ford Madox Brown (1821-1893)

Lot 25: Ford Madox Brown (1821-1893)

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Description: Ford Madox Brown (1821-1893) Portrait of Elizabeth Clara Bromley oil on panel, in a painted oval 9 x 6¾ in. (22.8 x 17.1 cm.)

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Lot 48: John Atkinson Grimshaw (1836-1893)

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Description: The Little Botanist signed and dated 'J.A.Grimshaw./1862.' (lower right), and with inscription 'No. 3./'The Little Botanist'/seen in Wheetwood/by J.A. Grimshaw/Leeds/sold' (on an old label on the reverse) oil on board 10 x 14 in. (25.5 x 36 cm.) PROVENANCE P.J. Westwood Esq.; Christie's, London, 29 April 1955, lot 16 (22 gns. to C. Ratton). NOTES The present work dates from only a year after Grimshaw had given up his job on the railways and had his first exhibition in Leeds at the Philosophical Hall. The same skill at the observation of different textures of moss and lichen on stone and the various plant forms can also be seen in A Mossy Glen, (1864) (Halifax, Bankfield Museum) and Newlay Wood, (1861). At this time, Grimshaw had a direct link with those artists connected with the Pre-Raphaelite movement through Thomas Plint, a stockbroker living in Leeds in the 1850s, who had amassed a considerable collection of works by artists such as Ford Madox Brown and Arthur Hughes. His collection was frequently exhibited by local dealers in Leeds and he also lent works to the Leeds Philosophical and Literary Society's annual exhibitions. It has been suggested that the child in the present work may have been inspired by one of Grimshaw's own children. We are grateful to Alexander Robertson, Curator, Leeds City Art Gallery, for his help in the preparation of this catalogue entry.

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Lot 49: BROWN, FORD MADOX (1821-1893)

Description: The mocking servant Charcoal/paper 37x29 cm (14.4x11.4 in).

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Lot 54: BROWN, FORD MADOX (1821-1893)

Description: King Rene's honeymoon, 1864 Watercolour 11x7 inches (26.7x17.8 cm) Monog. D.

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Lot 86: Andrew McCallum (1821-1902)

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Description: Sunset over a Forest signed and dated 'A. McCallum. 1890' (lower right) oil on canvas 361/2 x 531/2 in. (93.5 x 139 cm.) NOTES MacCallum's reputation rests mainly upon his woodland subjects and he endeavoured to exemplify in his paintings the compatibility of breadth and detail as shown in the present work. He is particularly noted for his fidelity to nature in his representation of trees and his meticulous attention to intricate branching and foliage detail. His close observation of nature clearly shows the influence of the Pre-Raphaelites, notably the early landscape works of William Holman Hunt and Ford Madox Brown, and it was from the late 1850s that he began to devote himself seriously to landscape. MacCallum was born in Nottingham and many of his woodland subjects were taken from the local area where he grew up, for example, In Sherwood Forest - Winter Evening after Rain (1881; Victoria and Albert Museum, London).

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Lot 103: BROWN, FORD MADOX (1821-1893)

Description: Thomas Gray : cartoon for stained glass at Peterhouse, Cambridge Pencil 25x17 inches (62.3x41.9 cm) Inscr.

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FORD MADOX BROWN

Lot 109: FORD MADOX BROWN

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Description: SIGNED AND DATED (MAKER'S MARKS)signed with monogram, inscribed and dated 64 (lower left)

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Ford Madox Brown (1821-1893)

Lot 114: Ford Madox Brown (1821-1893)

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Description: Ford Madox Brown (1821-1893) Portrait of Miss Louisa Jones, bust-length, holding a posy of flowers signed with monogram and dated '1862' (lower left) coloured chalks and watercolour, watermark 'J WHATMAN', on paper 21½ x 17½ in. (54.7 x 44.5 cm.)

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Lot 115: BROWN, FORD MADOX (1821-1893)

Description: Italian fisherboy Oil/paper/panel 7x7 inches (18.5x16.5 cm) Title S Liverpooil Academy 1858, no. 666.

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BROWN (FORD MADOX)

Lot 118: BROWN (FORD MADOX)

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Description: Collection of six autograph letters and cards concerning the memorial fountain to Dante Gabriel Rossetti at Cheyne Walk, including one to "Dear John P." ("...Today I think I have done about as much as I can to the Rossetti Model, & on the whole am well satisfied with it. As soon as cast in plaster which will take a week or more to pack & send one cast of it to Paris & another I shall try to exhibit here for a few days & then send it on to you in London with the small model... I have given the wild-duck tap of the fountain out to a Manchester artist to model in large. He will not charge much I dare say & I really have not time to do that – As it is I am terribly behind with my Town Hall work. But I have given him a small one I modeled of it to go by..."); four to Buxton Forman, treasurer of the memorial committee, discussing subscriptions, as well as payments owing, or not owing, to their French agent and foundry ("...he was 100fs out of pocket for carriage of the Models & getting the three 'plaques' or mane [?sic for name] and dates modeled in Paris as I told him to do..."); and one to Mr Benson, sending him a circular ("...The Drinking-Fountain with my bronze Alto-relief are now complete & very shortly will be erected on the embankment in front of the Poet-Artist's house..."), 15 pages, light dust-staining, occasional traces of mounting, 8vo, 1885-7

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Andrew McCallum (1821-1902)

Lot 129: Andrew McCallum (1821-1902)

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Description: Sunset over a Forest signed and dated 'A. McCallum. 1890' (lower right) oil on canvas 361/2 x 531/2 in. (93.5 x 139 cm.) NOTES MacCallum's reputation rests mainly upon his woodland subjects, and he endeavoured to exemplify in his paintings the compatibility of breadth and detail, as shown in the present work. He is particularly noted for his fidelity to nature in his representation of trees and his meticulous attention to intricate branching and foliage detail. His close observation shows the influence of the Pre-Raphaelites, notably the early landscapes of William Holman Hunt and Ford Madox Brown, and it was from the late 1850s that he began to devote himself seriously to landscape. MacCallum was born in Nottingham and many of his woodland views were taken from the local area where he grew up, for example, In Sherwood Forest - Winter Evening after Rain (1881; Victoria and Albert Museum, London).

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Lot 161: Andrew McCallum (1821-1902)

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Description: Sunset over a Forest signed and dated 'A. McCallum. 1890' (lower right) oil on canvas 361/2 x 531/2 in. (93.5 x 139 cm.) NOTES MacCallum's reputation rests mainly upon his woodland subjects and he endeavoured to exemplify in his paintings the compatibility of breadth and detail as shown in the present work. He is particularly noted for his fidelity to nature in his representation of trees and his meticulous attention to intricate branching and foliage detail. His close observation of nature clearly shows the influence of the Pre-Raphaelites, notably the early landscape works of William Holman Hunt and Ford Madox Brown, and it was really from the late 1850s that he began to devote himself seriously to landscape. MacCallum was born in Nottingham and many of his woodland subjects were taken from the local area where he grew up, for example, In Sherwood Forest - Winter Evening after Rain (1881; Victoria and Albert Museum, London).

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Lot 161: Brown (Ford Madox, painter and designer, 1821-93)

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Description: Brown (Ford Madox, painter and designer, 1821-93) Autograph Letter signed "FMadoxB" to Charles Rowley, 4pp., 8vo, [London] 37 Fitzroy Square, 4th September 1877, current news relating to Rossetti, "My wife returns to day from Garleston where she has been these 4 weeks with Mrs. Rossetti - I was only one day with her being anxious to be here at work, but I had soon after getting back to my work to go off with [W.M.] Rossetti who was in great want of change & refused to go without some company that he liked", and concerning his painting of Cromwell in Conversation with Milton dicating a letter to Andrew Marvell protesting at the Piedmont Easter Massacre 1655, "The Milton-Cromwell picture is making progress... however, & as I usually do in such case I am elaborating certain points... my chief labour is with an old map of Savoy of the time - as made to look like such - which was a somewhat troublesome problem...", folds.

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Ford Madox Brown oil painting on canvas depicting

Lot 186: Ford Madox Brown oil painting on canvas depicting

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Description: Ford Madox Brown oil painting on canvas depicting a portrait of the Bromley children. Canvas: 50"H x 38"W; Frame: 58"H x 48"W. Signed and dated lower right, "F. M. Brown 1843 (?)". Ford Madox Brown (British, 1821-1893). This early work shows the three eldest children of the artist's cousin and brother-in-law, Augustus Frederick Bromley. Ford Madox Brown's first wife was Augustus Frederick Bromley's sister Elizabeth. Brown painted a number of portraits of his Bromley family. Provenance: Christie's London 6/14/00.

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Ford Madox Brown (1821-1893)

Lot 200: Ford Madox Brown (1821-1893)

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Description: Ford Madox Brown (1821-1893) Portrait of Miss Louisa Jones, bust-length, holding a posy of flowers signed with a monogram and dated '1862' (lower left) coloured chalks and watercolour 21½ x 17½ in. (54.7 x 44.5 cm.)

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Lot 201: BROWN, Ford Madox (1821-1893, British)

Description: Studies for the illustration 'down stream', init. one d.72 one i. pencil pair Works on paper (9x6in).

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Lot 207: BROWN, Ford Madox (1821-1893, British)

Description: Elizabeth at deathbed of Countess of Nottingham, s.i. chk executed c.1837 Works on paper (20x23in).

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Lot 209: BROWN, Ford Madox (1821-1893, British)

Description: The Last of England, panel oval painted 1852-55 Oil Painting (7x7in).

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Ford Madox Brown (1821-1893)

Lot 244: Ford Madox Brown (1821-1893)

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Description: Tell's Son signed with monogram and dated '-80' (upper right) oil on canvas 161/4 x 143/4 in. (41.2 x 37.5 cm.) PROVENANCE Bought from the artist by Henry Boddington, and still in his possession in 1911. with The Stone Gallery, Newcastle upon Tyne. with Peter Nahum, London, from whom acquired by the present owner. LITERATURE F.M. Hueffer, Ford Madox Brown: A Record of his Life and Work, London, 1896, pp. 384, 442 (incorrectly dated 1878 and 1879). K. Bendiner, The Art of Ford Madox Brown, Pennsylvania, 1998, pp. 98, 121 (the original version). EXHIBITION London, Whitechapel Art Gallery, Spring Exhibition, 1901, no. 344. Manchester, City Art Gallery, Autumn Exhibition, 1911. The Age of Innocence, 1989. Kindred Spirits, 1993, no. 8. All For Love, 1994, no. 38. La Era Victoriana, 1997, no. 65. NOTES William Tell was the legendary Swiss patriot who is said to have been compelled by the Austrian governor Gessler to shoot an arrow through an apple balanced on his son's head. The story was the subject of a play by Schiller (1802) and an opera by Rossini (1829). In Brown's painting, the boy proudly displays the apple, cut in half to reveal the mark left by the perfectly-aimed arrow, while the arrow itself can be seen embedded in the tree just above his head. Suspended on a ribbon around his neck is a small carving of a bear, the civic emblem of Berne. The painting is a replica, dating from 1880, of a picture that Brown had executed in January 1877 (Fitzwilliam Museum, Cambridge). The model was the artist's grandson, Ford Madox Hueffer, who wrote Brown's posthumous biography and later achieved fame as the novelist Ford Madox Ford. Brown's younger daughter, Catherine, had married the musicologist Franz Hueffer in 1872. Young Ford was born the following year, making him three when the picture was painted. The original version of Tell's Son belonged to Catherine when F.M. Hueffer published his monograph in 1896, and had probably been given to her by her father. The later version was one of the works acquired by Brown's patron Henry Boddington, who also owned lot 301. In composition and conception, Tell's Son echoes The English Boy (Manchester City Art Gallery), Brown's portrait of his five-year-old son Oliver painted in 1860. Both works show the sitter half-length and full-face, while the way the hands are treated, clasping toys in The English Boy, the apple-halves in Tell's Son, is very similar. Oliver had been a precocious boy of whom Brown was intensely proud, and his premature death in 1874 was a devastating blow to his father. The conscious reference to The English Boy in Tell's Son three years later is therefore all the more poignant. There is a thematic parallel, too, in that an element of patriotism and nationalism is common to both images. The English Boy is only one of several pictures in which Brown harps on the idea of Englishness; others are the better-known English Autumn Afternoon and Last of England (both 1852-5; Birmingham), not to mention the numerous works he based on that most English of plays, King Lear. Why he suddenly switched to a Swiss national legend is unclear. Perhaps he was vaguely harking back to his formative stay in Basel, studying Holbein, in 1845. There were also the theatrical precedents mentioned above; and in any case Brown was not the only Victorian painter to treat this subject. A version by William Shakespeare Burton belonged to the Pre-Raphaelites' patron William Graham (his sale, Christie's, 2 April 1886, lot 42). The English Boy was bought by the Leeds stockbroker T.E. Plint, and Brown painted him a companion-piece, The Irish Girl (private collection), again adopting the half-length format. Despite the glaring differences of subject and mood, there is a relationship between Brown's half-length studies of children and the half-length female figures, posed for by a series of glamorous models, that his friend D.G. Rossetti painted almost exclusively during his later career. It is probably no accident that the first of Rossetti's pictures in this style, Bocca Baciata (Museum of Fine Arts, Boston), was painted in 1859, while Brown's English Boy and Irish Girl followed a year later.

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Lot 267: BROWN, FORD MADOX (1821-1893, painter and designer)

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Description: AUTOGRAPH LETTER SIGNED ('FMadoxB'), to [Charles] Rowley, reporting his progress with his 'Milton-Cromwell picture' [Cromwell in conversation with Milton dictating a letter to Andrew Marvell protesting at the Piedmont Easter Massacre 1655] ('...as I usually do in such cases I am elaborating certain points which I never thought about at first - but which will make it very interesting to the ordinary viewer. My chief labour is with an old map of Savoy of the time - as made to look like such - which was a somewhat troublesome problem for I have to make the "Pais de Vaad" not only visible - which the perspective makes difficult but to make it close to Cromwells finger...This I believe I have now happily accomplished...it looks well & every one seems to like the picture...'), recounting, however, that he has been delayed for twelve days by collecting his wife from Mrs Rossetti and having to accompany Rossetti 'who was in great want of a change & refused to go without some company that he liked', 4 pages, octavo, 37 Fitzroy Square, 4 September 1877

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Ford Madox Brown (1821-1893)

Lot 301: Ford Madox Brown (1821-1893)

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Description: The Ascension oil on canvas 361/2 x 171/2 in. (92.8 x 44.5 cm.) PROVENANCE Bought from the artist by Henry Boddington, and still in his possession in 1911. LITERATURE F.M. Hueffer, Ford Madox Brown: A Record of his Life and Work, London, 1896, pp. 434 (as 'Sketch for Ascension competition'). Teresa Newman and Ray Watkinson, Ford Madox Brown and the Pre-Raphaelite Circle, London, 1991, pp. 19, 22-3, pl. 73. Kenneth Bendiner, The Art of Ford Madox Brown, Pennsylvania, 1998, pp. 11, 103, 109, 117, pl. 9. EXHIBITION Manchester, City Art Gallery, Autumn Exhibition, 1911. London, Maas Gallery, Pre-Raphaelitism, 1970, no. 5. Brighton, Brighton Art Gallery, Heaven, Death and the Victorians, 1970. Virtue Rewarded, 1988-90, no. 35. A Brush with the Millenium, 2000, no. 2. NOTES This highly-finished sketch dates from 1844, and was submitted by Brown to a competition for an altarpiece of this subject in St James's Church, Bermondsey. The contest was won by John Wood (1801-1870), an artist now largely forgotten but well-known in his day for his portraits and historical subjects. Wood's altarpiece remains in the church to this day. The sketch was painted in 1844 when Brown was living with his Bromley in-laws at Meopham in Kent. Following his marriage in 1841, he and his wife had settled in Paris, where his first major historical work, The Execution of Mary Queen of Scots, was exhibited at the Salon the following year; but he had recently returned to England to prepare submissions for the competitions which were being held to find artists capable of decorating the new Palace of Westminster. He was to contribute three cartoons in all, Adam and Eve, The Body of Harold brought before William the Conqueror, and The Spirit of Justice. Brown's works at this early period betray a number of influences, including Rembrandt, Hogarth, Fuseli and Delacroix. All tended to be interpreted in the light of his own strong predilection for quirkiness and eccentricity, values which distinguished his work till the end. In the Ascension he evolves a three-tier composition which evidently owes much to Baroque prototypes, but the wildly exaggerated poses of the angels to either side of Christ, and the figures of the Virgin and the disciples on the ground, are unmistakably Fuselian. Similarly wilful, some might say ludicrous exaggerations are found in Mary Queen of Scots, William the Conqueror, The Spirit of Justice, and other works of this period. It is perhaps not surprising that Brown did not win the Bermondsey competition, or that the Ascension was rejected when he submitted it to the British Institution in 1845. A group of eight studies for the Ascension is in the Birmingham Art Gallery. One is illustrated in Hueffer, op. cit., following p. 447, and this and another are reproduced in Newman and Watkinson, op. cit., pls. 22-3. The Ascension was one of a number of early works that were bought towards the end of Brown's life by his Manchester patron, Henry Boddington. Brown encountered Boddington when he was living in Manchester in the 1880s, painting murals in the Town Hall, and he executed a group portrait of the Boddington fmaily shortly before he returned to London in 1887.

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A Della Robbia framed plaque of Alfred the Great

Lot 379: A Della Robbia framed plaque of Alfred the Great

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Description: A Della Robbia framed plaque of Alfred the Great 1900 in two sections, modeled and decorated by Harold Steward Rathbone, after a design by Ford Madox Brown, titled ALFRED YE GREATE, signed on the front with the artist's monogram and date 1900, (minor surface restoration and re-touching), incised on the back 986C and dated 9/1900. height 27in. (68.6cm.) by width 16 1/2 in. (42cm.) This panel is one of a series of similar plaques made by Della Robbia which appeared in their 1900 catalogue. It exists in at least two versions, one of which is in the Williamson Art Gallery, Birkenhead, England and is illustrated in Della Robbia Pottery Birkenhead 1894-1906. An Interim Report, fig. 30. Exhibited: `The Birkenhead Della Robbia Pottery. 1893-1906', Jeremy Cooper Ltd., September 30-October 18, 1980, no. 72 Literature: Malcolm Haslam, English Art Pottery 1865-1915, Woodbridge, Antique Collector's Club, 1975, p. 143, fig. 75. Established in 1893 by Harold Rathbone in Birkenhead, Liverpool the Della Robbia pottery was one of the few "true" Arts and Crafts potteries, founded with the intention of using local clay and local labor to create functional and decorative wares. Conrad Dressler, Carlo Manzoni and later Cassandia Annie Walker were three of the key designers and decorators. Unfortunately it proved difficult to make the pottery a success and it closed in 1906.

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Lot 393: Autographs: ROSSETTI DANTE GABRIEL, (1828-1882)

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Description: Autographs: ROSSETTI DANTE GABRIEL, (1828-1882) English Painter and Poet. A.L.S., with initials D G R , one page, 8vo, n.p., n.d. ( 'Saturday' ) to Brown (Ford Madox Brown 1821-1893, English Painter). Rossetti writes, in full, 'I shall not come to you because I want you here. If you get this in time, will you bring a twig of the tree you spoke of as having leaves like honeysuckle.' Neat tear to horizontal central fold, professionally repaired and the complete letter encased in protective tissue. Together with William Rossetti (1829-1919, English Author, brother of Dante) A.L.S., Wm. Rossetti , two pages, 8vo, St. Edmund's Terrace, Regent's Park, 2 nd May 1899, to a gentleman. Rossetti states that he felt touched and gratified on reading his correspondent's letter and continues 'Certain it is to me that Gabriel was a great man & Christina a noble poetess; if I have done anything to make people see this better & understand what they were likeà.so much the more satisfaction for me.' He concludes by answering a question about one of his brother's paintings relating to which part of Finchley a calf was painted in - evidently referring to Rossetti's painting Found. With blank integral leaf. G to VG, 2

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Lot 399: Circle of Ford Madox Brown (1821-1893)

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Description: Circle of Ford Madox Brown (1821-1893) Off to war oil on canvas 30 x 22¼ in. (76.2 x 56.5 cm.)

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Lot 514: Attributed to Ford Madox Brown British (1821-1893)

Description: Attributed to Ford Madox Brown British (1821-1893) PORTRAIT OF A YOUNG GIRL Charcoal Signed with monogram Size: 12 1/4 x 9 1/4 in. 600-800

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Attributed Ford Madox Brown (1821-1893) 'St. John

Lot 570: Attributed Ford Madox Brown (1821-1893) 'St. John

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Description: Attributed Ford Madox Brown (1821-1893) 'St. John the Baptist' Pen and ink, heightened in body colour Titled upper centre, inscribed to detached backing board 'Original cartoon by Ford Madox Brown given to Rev. Ivor Daniel by John Robinson Esq. Conway, 1924'. 14.5 x 26.5cm Discovered by the vendor in the midst of a pile of Powell's glass catalogues

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Lot 575: [ AUTOGRAPHS ]

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Description: BROWN FORD MADOX, (1821-1893) English Painter. Interesting A.L.S., F Madox B, four pages, 8vo, Fitzroy Square, London, 4th September 1877, to Rowley. Brown informs his correspondent that he had been anxious to return to work but was obliged 'to go off with Rossetti who was in great want of a change & refused to go without some company that he liked - this way I lost 12 days as a fortnight in all, during which I meant to have worked.' The artist continues to refer to one of his paintings, 'The Milton-Cromwell picture is making progress...I am now thoroughly interested in it however, & as I usually do in such cases I am elaborating certain points which I never thought about at first - but which will make it very interesting to the ordinary viewer, I hope. My chief labour is with an old map of Savoy of the time - as made to look like such - which was a somewhat troublesome problem for I have to make the "Pais de Vand" not only visible - which the perspection makes difficult but to make it close to Cromwell's finger. This I believe I have now happily accomplished but it will have wasted 10 days before it is finished. However it looks well & everyone seems to like the picture.' Some light age wear, G Ford Madox Brown first met Dante Gabriel Rossetti in March 1848 and for a short time gave him academic painting lessons. This rather fell on deaf ears and Rossetti moved on, but in time they resumed their friendship. Cromwell, Protector of the Vaudois (1877) is a painting by Ford Madox Brown which depicts Oliver Cromwell in conversation with John Milton dictating a letter to Andrew Marvell protesting at the Piedmont Easter massacre (1655). It is currently owned by the Manchester City Art Gallery. As indicated by this letter, Brown's work bore the brunt of his two great weaknesses - finishing and retouching. Even more so than Rossetti, he was almost incapable of finishing his paintings, this meant that he was never able to leave a work alone, even when it was ostensibly finished, he would continually retouch it, even though sometimes the painting was already sold.

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Attributed Ford Madox Brown (1821-1893) 'St. John

Lot 590: Attributed Ford Madox Brown (1821-1893) 'St. John

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Description: Attributed Ford Madox Brown (1821-1893) 'St. John the Baptist' Pen and ink, heightened in body colour Titled upper centre, inscribed to detached backing board 'Original cartoon by Ford Madox Brown given to Rev. Ivor Daniel by John Robinson Esq. Conway, 1924'. 14.5 x 26.5cm Discovered by the vendor in the midst of a pile of Powell's glass catalogues

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Ford Madox Brown (1821-1893)

Lot 1610: Ford Madox Brown (1821-1893)

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Description: The expulsion from Edenwith inscription '.. for Glass.. Expulsion from Eden....Ford Madox Brown' (on the frame)pencil and grey wash, on buff paper, in orginal William Morris frame38 1/2 x 20 1/4 in. (97.8 x 51.4 cm.)

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