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Arthur Hughes Auction Price Results

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Arthur Hughes (1832-1915) Rapunzel, 16in.

Lot 1379: Arthur Hughes (1832-1915) Rapunzel, 16in.

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Description: Arthur Hughes (1832-1915) watercolour, gouache and gold on paper, Rapunzel, signed, 16in.

Condition Report: Overall in good fresh condition with no faults noted, signed at 5 o'clock, in a modern stepped card mount and circular gilt scroll frame which has suffered some cracking but otherwise looks good. Label verso for O'Neill Fine Art Ltd listing provenance at Private Collection UK. Full attribution comes from vendor based on O'Neill provenance which was via an estate sale. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Gorringes Conditions of Sale.

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Attributed to Arthur Hughes (1832-1915) Figure beside a rocky outcrop, 12 x 10.5in.

Lot 1506: Attributed to Arthur Hughes (1832-1915) Figure beside a rocky outcrop, 12 x 10.5in.

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Description: Attributed to Arthur Hughes (1832-1915) oil on card, Figure beside a rocky outcrop, monogrammed, 12 x 10.5in.

Condition Report: Please submit your absentee bids on www.gorringes.co.uk or e-mail clientservices@gorringes.co.uk FURTHER IMAGES ALREADY AVAILABLE AT WWW.GORRINGES.CO.UK Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Gorringes Conditions of Sale.

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Lot 1: Arthur Hughes (1832-1915)

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Description: The Enchantress signed 'ARTHUR HUGHES' (lower left) oil on canvas, laid down on board 153/4 x 9 7/8 in. (40 x 25.1 cm.) PROVENANCE The artist's studio sale; Christie's, London, 21 November 1921, lot 51 (21/2 gns to L. Missell, Jr.). Lockett Thomson; Christie's, London, 29 November 1937, lot 311 (3 gns to Robert Abbott). H.W. Auerbach; Christie's, London, 5 June 1942, lot 130 (3 gns to Willis). Anon. sale; Sotheby's, Belgravia, 6 December 1977, lot 49 (œ200). LITERATURE L. Roberts, Arthur Hughes; his life and works, 1997, no. 118 (illustrated p.180). NOTES Datable to the early 1870s, this picture is probably a sketch for a larger picture that was then never begun. A work by Hughes of the mid-1860's entitled Mariana at the Window includes the same sort of diaphanous material worn by the model in our picture. When sold in 1937 and 1942 the sitter was thought to be Ellen Terry, although recent scholarship has cast doubt on this suggestion. We are grateful to Leonard Roberts and Margaret Weare for their help in the preparation of this catalogue entry.

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ARTHUR  HUGHES

Lot 9: ARTHUR HUGHES

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Description: 1832  -  1915 POLL  THE  MILKMAID  signed  l.r.:  ARTHUR  HUGHES;  inscribed  with  a  poem  and  the  artist's  name  and  address  on  an  old  label  attached  to  the  reverse oil  on  canvas 47  by  86cm.,  18  by  34in.

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Arthur Hughes (1832-1915)

Lot 11: Arthur Hughes (1832-1915)

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Description: A Birthday Picnic - Portraits of the children of William and Anne Pattinson of Felling, near Gateshead signed 'ARTHUR HUGHES' (lower left) oil on canvas, painted arch 401/4 x 501/4 in. (102.2 x 127.6 cm.) PROVENANCE Commissioned circa 1866 by William Watson Pattinson, J.P.; thence by descent. Anon. sale, Sotheby's Belgravia, 24 October 1978, lot 10, œ22,000 to Fischer Fine Art. Bought from them by The Fine Art Society, London, from whom purchased by the present owner. LITERATURE Athenaeum, 9 March, 1867, p. 327. Times, 9 May, 1867, p. 7. Athenaeum, 11 May 1867, p. 629. Art Journal, 1867, p. 143. Athenaeum, 1875, p. 516. R.L. Green, The Diaries of Lewis Carroll, 1953, p. 253. S. Moore, 'The Awakening Consciousness, The Forbes Collection of Victorian Painting', Country Life, 5 June 1986, p. 1574, pl. 1. L. Roberts and S. Wildman, Arthur Hughes...A Catalogue Raisonn‚, Woodbridge, 1997, pp. 169-70, no. 85, illus. pl. 58. EXHIBITION London, Royal Academy, 1867, no. 418. 32 Victorian Paintings from the Forbes Magazine Collection, 1981. The Pre-Raphaelites and their Times, 1985, no. 13. Japan, Raphael-zenpa to Sono Jidai, 1985, no. 13. Childhood in Victorian England, 1985, no. 14. Victorian Childhood, 1986-7, cat. pl. 6. Childhood, 1988, no. 209. The Age of Innocence, 1989. Newcastle, Laing Art Gallery, Pre-Raphaelites: Painters and Patrons in the North East, 1989-90. La Era Victoriana, 1997, no. 35. NOTES This charming picture shows the children of William and Anne Pattinson of New House, Felling, near Gateshead. It was painted to mark the fifth birthday of Norman Percy Pattinson, the little boy seated second from the left wearing a garland of bluebells. The other children, from left to right, are Hugh, Ethel, Victoria, Margaret, Edith Anne and Walter. The picture was commissioned in 1866 and exhibited at the Royal Academy the following year (the same year as Holman Hunt's Il Dolce Far Niente, lot 26). F.G. Stephens, writing in the Athenaeum, thought it showed 'how tenderly' Hughes could 'read the faces of fair children, (and) how beautifully he can paint them', but the Times was more critical. 'We cannot congratulate Mr Hughes', Tom Taylor observed rather tartly, 'on having triumphed over the proverbial difficulties of family picture-making in his "Birthday Picnic".' William Watson Pattinson (1814-1895) was the nephew of Hugh Lee Pattinson (1796-1858), a Tyneside chemical manufacturer who in 1833 patented a process for the desilvering of lead. With the profits resulting from this invention, he established a chemical works at Felling, Gateshead, in which his son and nephew were partners. W.W. Pattinson resided nearby, produced a typically large Victorian family, and built up a library and a collection of pictures. They included works by Turner, Varley, Bell Scott, Birket Foster, Albert Goodwin, Simeon Solomon, and Charles Napier Hemy, but he seems to have had a special feeling for Hughes. He owned two of the artist's subject pictures, Elaine and The Singer (Roberts, nos. 92 and 84), as well as commissioning the present group-portrait of his children. He also seems to have considered ordering another group, perhaps showing himself and his wife, although this failed to materialise. In its heyday Pattinson's extensive chemical works on the south side of the Tyne employed 10,000 workers in the production of sulphuric acid, soda and chlorine. Many of them were Irish immigrants, and the company was well aware of its obligations, erecting houses, public baths and a school for its employees. However, many of the chemical processes were highly toxic, and the firm was constantly in trouble with the authorities for releasing poisonous gases and polluting the countryside. As Jane Vickers observes in the catalogue of the exhibtion Painters and Patrons in the North-East (from which many of these details are taken), this environment was in marked contrast to the idyllic picture painted by Hughes of children enjoying a picnic in Felling Woods. Pattinson belonged to a circle of industrialists who patronised the Pre-Raphaelites. The Newcastle lead manufacturer James Leathart (1820-1895), who built up one of the most interesting Pre-Raphaelite collections ever formed, rich in the work of Madox Brown, Rossetti, Burne-Jones and others, was a neighbour in Gateshead. In fact it was almost certainly Hughes's portrait of Mrs Leathart and her three Children (Roberts, no. 61), exhibited at the R.A. in 1865, that inspired Pattinson to commission the present picture. Or perhaps one should say the portrait and Home from Work, lot 13 in this catalogue, which Leathart also owned, and which gave such striking evidence of Hughes's ability to capture the innocence of childhood. Even better known to Pattinson, however, was Sir Isaac Lowthian Bell (1816-1904). A metallurgical chemist and ironmaster, Bell had extensive industrial interests in the area. Like so many Victorians of his type, he was also intensely public spirited, serving as mayor of Newcastle, Deputy Lieutenant and High Sheriff of County Durham, and an M.P.. He was created a baronet in 1885, and his daughter Mary married Lyulph Stanley, the brother of Rosalind, Countess of Carlisle. Sir Lowthian Bell's wife, Margaret, was Pattinson's cousin, and the two men did business together and shared both a concern for social issues and a love of the arts. Bell was as well known as a patron as Leathart. Rounton Grange, his house at Northallerton in Yorkshire, was built for him by Phillip Webb and decorated by the Morris firm in the 1870s. Margaret Bell and her daughter Florence themselves executed a needlework frieze for the dining-room, designed by Morris and Burne-Jones and illustrating Chaucer's Romance of the Rose (now in the William Morris Gallery, Walthamstow). Bell also had a collection of pictures, including examples of Cox, Millais, Boyce, Prinsep, Calderon and Albert Goodwin. He owned only one Arthur Hughes, Beauty and the Beast (Roberts, no. 63), but Florence Bell copied a painting by Hughes that was owned by the Pattinsons, Elaine. The copy was sold in these Rooms on 26 November 2002, lot 110. Jane Vickers suggests, very plausibly, that A Birthday Picnic owes something to Millais' painting Spring (or Apple Blossoms ) (fig. 1). Interestingly enough, this belonged to yet another Tyneside collector, Jacob Burnett, between 1861 and 1876, although Hughes is more likely to have seen it when it was exhibited at the Royal Academy in 1859. It is also tempting to compare Holman Hunt's painting The Children's Holiday (Portrait of Mrs Thomas Fairbairn and her Children) (fig. 2), which had been shown at the New Gallery, 16 Hanover Street, London, as recently as 1865. All such picnic subjects no doubt have a generic resemblance, but there do seem to be certain similarities here, for example the way each artist allows a more or less adult female figure to dominate his composition and shows some of the children seated on the ground while others wander in the distance. The woodland settings, too, are comparable. In any case, we sense that both artists are struggling with what Tom Taylor called 'the proverbial difficulties of family picture-making', Hughes perhaps with more success than Hunt.

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ARTHUR  HUGHES

Lot 17: ARTHUR  HUGHES

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Description: 1832-1915 A  BIRTHDAY  PICNIC  -  PORTRAITS  OF  THE  CHILDREN  OF  WILLIAM  AND  ANNE  PATTINSON  ESQ.  OF  FELLING,  NEAR  GATESHEAD signed  l.l.:  ARTHUR  HUGHES oil  on  canvas 102  by  127cm.,  40  by  50in.

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ARTHUR HUGHES

Lot 22: ARTHUR HUGHES

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Description: ARTHUR HUGHES 1832 - 1915 THE LAMB WHO MADE THEE signed l.r.: ARTHUR HUGHES 25.5 by 17.5cm., 10 by 6¾in.

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ARTHUR HUGHES 1832-1915

Lot 24: ARTHUR HUGHES 1832-1915

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Description: MISS ANGEL AND FULHAM LAWN; THE STORY OF ELIZABETH; BARBARA PETLAMB; THE PEDDLAR'S DIAMOND; LITTLE KEEPER; HANDSOME IS AS HANDSOME DOES; KNIGHTLINESS; TRADE; YOUNG LAZYBONES; KING ARTHUR'S BOAR HUNTthe largest 24.5 by 18 cm., 9 ½ by 7 in.; the smallest 14.5 by 20.5 cm., 5 ¾ by 8 in.variously signed, inscribed and datedpen and inkQuantity: 10EXHIBITEDCardiff, National Museum of Wales, Arthur Hughes: Pre-Raphaelite Painter, October, 1971, nos. 54, 55, 56, and on tour to Leighton House, December 1971 (all 10 drawings exhibited)LITERATURELeonard Roberts, Arthur Hughes, His Life and Works, Antique Collectors' Club Ltd., Woodbridge, 1997, pp. 262, 263, 264, 269 & 272NOTEMiss Angel and Fulham Lawn and The Story of Elizabeth were used as titlepage illustrations for The Works of Miss Thackeray c.1873-5. Barbara Petlamb, The Peddlar's Diamond, Little Keeper, Handsome Is As Handsome Does and Knightliness were used as illustrations for Lilliput Revels (Matthew Browne, in Good Words for the Young 1869-1871). Trade was used as an illustration for Lilliput Lectures (Matthew Browne, in Good Words for the Young 1870-1871). Young Lazybones was used as an illustration for Innocents' Island (Matthew Browne, in Good Words for the Young 1871-1872). King Arthur's Boar Hunt was used as an illustration for King Arthur's Great Boar Hunt (anonymous, in Good Words for the Young 1871)

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Lot 26: HUGHES, ARTHUR (1832-1915)

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Description: Good night Oil/canvas 39x25.5 in (99x64.8 cm) signed (Lower Right) Exhib.: Royal Academy, no.359, London 1866.

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ARTHUR HUGHES

Lot 26: ARTHUR HUGHES

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Description: ARTHUR HUGHES 1832 - 1915 POLL THE MILKMAID signed l.r.: ARTHUR HUGHES ; inscribed with a poem and the artist's name and address on an old label attached to the reverse oil on canvas 47 by 86cm., 18½ by 34in.

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Lot 27: Hughes, Arthur. Fine and affectionate series of over ninety autograph letters signed

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Description: to Miss Susan Lushington, written in an easy and sometimes humorous style in the last six years of his life, giving extensive details of his activities, impressions of nature, poetry (Coleridge, Alfred Noyes, etc.) and much other news of mutual interest, with many references to his paintings and to friends and other artists (Blake, Holman Hunt, Millais, etc.), several hundred pages, 8vo, chiefly with envelopes, Kew, 1910-1915, occasional minor staining or creasing, stamps excised from some envelopes...Do you remember at Kitty's we talked of Mrs Wm Morris? That led Kitty to post me a card that she came across that she had from her...beautiful in a self revelation of herself I thought...[he] said I ought to do that design you saw of Angels above and woman among thorns below, on a canvas 7 feet high, he discovered my garden was lovely and its wild roses just like those in Millais' Ophelia...Mrs [Holman] Hunt looks a bit older, but was very bright as usual...I have just glimpsed at the Burlington Club Italians & also The Arctic expedition of Capt Scott at a Philharmonic Hall in Portland St......My picture has been going on in the way that pictures often do - but more so, one day hope - the next despair, Then more hope only to lead to more despair - very very difficult problems to solve...so I hope that you pity me severely - I do!... The artist Arthur Hughes (1832-1915) was a follower of the Pre-Raphaelite School, best remembered for such paintings as St Agnes Eve (1856), The Knight of the Sun (1859) and Home from Sea (1863), as well as his many book illustrations (for Tennyson, Christina Rossetti, etc.). The present lengthy and revealing series of letters throws much new light on his later years.

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ARTHUR HUGHES

Lot 27: ARTHUR HUGHES

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Description: ARTHUR HUGHES 1832 - 1915 THE FONT - THEN BY A SUNBEAM I WILL CLIMB TO THEE signed and dated twice l.l.: ARTHUR HUGHES/ 1863 / ARTHUR HUGHES - 1863 oil on canvas, arched top 107 by 92cm., 42 by 36¼in.

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ARTHUR HUGHES

Lot 27: ARTHUR HUGHES

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Description: ARTHUR HUGHES 1832-1915 A VISIT TO GRANDMOTHER signed l.r.: ARTHUR HUGHES ; inscribed with the title on an old label attached to the reverse oil on panel 31 by 35cm.; 12¼ by 14in.

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ARTHUR HUGHES

Lot 30: ARTHUR HUGHES

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Description: ARTHUR HUGHES 1832 - 1915 PORTRAIT OF A GIRL IN BLUE; A SEATED GIRL Quantity: 2 one oil on panel; the other oil on canvas with charcoal laid on panel one 23 by 18cm., 9 by 7in.; the other 38 by 25.5cm.,15 by 10in.

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                                          Arthur Hughes (1830-1915)

Lot 31: Arthur Hughes (1830-1915)

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Description: Arthur Hughes (1830-1915) On the road to Cwm Bychan indistinctly signed 'ARTHUR HUGHES' (lower right) and inscribed 'On the road to Cumbuchan [sic]/N Wales/by Arthur Hughes/Eastside House/Kew Green' (on an old label attached to the reverse)oil on canvas board, unframed 8¾ x 14 5/8 in. (22.3 x 37 cm.)

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Lot 32: HUGHES, ARTHUR (1832-1915)

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Description: Fishing fleet off Porthleven, South Cornwall Oil/board 11.8x18.1 in (30x46 cm) signed Title.

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Lot 34: Arthur Hughes (1832-1915)

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Description: Villagers fleeing from a Dragon signed 'ARTHUR HUGHES' (lower left) pencil and coloured chalks 14.1/8 x 14.1/8 in. (35.9 x 35.9 cm.) EXHIBITION New York, Shepherd Gallery, English Romantic Art, 1840-1920, 1994, no. 64. NOTES We are grateful to Leonard Roberts for his help in preparing this entry.

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Lot 34: HUGHES, Arthur (1832-1915, British)

Description: Villagers fleeing from a dragon, s. pencil col chk exhib. Works on paper (14x14in).

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A Visit to Grandmother

Lot 39: A Visit to Grandmother

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Description: Arthur Hughes (1832-1915) A Visit to Grandmother signed 'ARTHUR HUGHES' (lower right) and inscribed 'A visit to Grandmother' (on an old label on the reverse)oil on panel 12¼ x 13¾ in. (31.1 x 34.9 cm.)

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Lot 43: Arthur Hughes (1832-1915)

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Description: Motherhood signed with monogram 'AH' (lower right) coloured chalks, on grey paper 103/4 x 6 in. (27.4 x 15.3 cm) PROVENANCE Anon. sale, Sotheby's, London, 19 December 1945, lot 30 (œ3 to Lessore). Anon. sale, Sotheby's, London, 26 April 1990, lot 240. with Beaux Arts Gallery, 1947, where purchased by Raymond Needham. R. Russell-Adams. with Kaye Michie, Surrey. LITERATURE L. Roberts, Arthur Hughes: His Life and Works, Woodbridge, 1997, p. 226, no. 329.4, illustrated, as 'unlocated'. NOTES Leonard Roberts suggests that the present work was executed in the mid-1890s and is possibly one of the drawings in the 'Life of the Blessed Virgin' series. This series was commissioned by Julian Moore of 54 Shepherd's Bush Road. However, the commission was not straight forward, and Hughes wrote to F.G. Stephens on 23 July 1899: 'Do you happen to know a Mr Julian Moore, late of 54 Shepherd's Bush Rd.? He turned up some time ago and gave me a commission for a set of drawings (of a religious character)... And my letter to him was returned 'gone away' by the Post Office... I have been very slow with my work and possibly he may despair of me-but [he] always was most amiable when calling on me and I should like to carry out his scheme to the end.' We are grateful to Leonard Roberts for his help in preparing this catalogue entry.

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Lot 44: HUGHES, Arthur (1832-1915, British)

Description: Choirboys in cloisters, s.d.1910 i.verso panel Oil Painting (16x10in).

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Arthur Hughes (1830-1915)

Lot 45: Arthur Hughes (1830-1915)

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Description: Arthur Hughes (1830-1915) A Passing Cloud 'O how this spring of love resemblethThe uncertain glory of an April dayWhich now shows all the beauty of the sunAnd by and by a cloud takes all away'Shakespeare, The Two Gentlemen of Veronasigned 'Arthur Hughes' (lower right) and inscribed as title (on the reverse) and further signed 'Arthur Hughes, Eastside House, Kew Green'oil on canvas 38 1/2 x 24 1/2 in. (98 x 62 cm.)

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Arthur Hughes (British 1832-1915)

Lot 47: Arthur Hughes (British 1832-1915)

Description: signed and inscribed on old label on reverse, oil on panel

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Arthur Hughes (1830-1915)

Lot 47: Arthur Hughes (1830-1915)

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Description: Arthur Hughes (1830-1915) The Home Quartette: Mrs Vernon Lushington and Children signed and dated 'ARTHUR HUGHES 1883' (lower left) and with inscription '4/The home quartet/Mrs Vernon Lushington and/Children/Arthur Hughes/Wandle Bank/Wallington/Surrey' (on a label attached to the reverse). Further inscribed 'Arthur Hughes/43 Bedford Square' (on a label attached to the reverse)oil on canvas 39 x 51 in. (99.1 x 129.5 cm.)

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Lot 49: HUGHES, Arthur (1832-1915, British)

Description: Sussex cliff, s. canvasboard Oil Painting (15x9in).

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Lot 50: HUGHES, ARTHUR (1832-1915)

Description: Silver and gold Oil/canvas 39x27 inches (99x67.3 cm) signed (Lower Right) Exhib.: R.A. 1864.

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f - ARTHUR HUGHES, BRITISH 1832-1915

Lot 57: f - ARTHUR HUGHES, BRITISH 1832-1915

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Description: signed with monogrampastel and watercolour

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Lot 61: HUGHES, ARTHUR (1832-1915)

Description: The rescue Oil/canvas 43x21 inches (109.3x53.4 cm) signed.

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Lot 62: HUGHES, ARTHUR (1832-1915)

Description: Hilly landscape, 1907 Oil/panel 9x15 inches (22x37 cm) signed & dated (Lower Right).

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Lot 62: HUGHES, ARTHUR (1832-1915)

Description: Audrey's canvast, 1897 Oil/canvas 30x43 inches (76.2x108 cm) signed Inscr./verso.

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Arthur Hughes (British 1832-1915)

Lot 64: Arthur Hughes (British 1832-1915)

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Description: The pet of the farmsigned 'ARTHUR HUGHES' (lower right)oil on panel61.5 x 42 cm. (24 1/4 x 16 1/2 in.)

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ARTHUR HUGHES, 1832-1915

Lot 75: ARTHUR HUGHES, 1832-1915

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Description: AN AYRSHIRE GLEN30.5x44.5cm.; 12x17½in.signedoil on boardPROVENANCEArtist's studio sale, part of lot 50 (bought by Williams);Private collection;London, Fine Art Society, bought 1978;Malcolm T. Franklin, bought 1981;Private collection LITERATUREWilliam E Frederman, A Pre-Raphaelite Gazette: The Penkill Letters of Arthur Hughes to William Bell Scott and Alice Boyd, 1886-97, 1967, pp. 15, 34, 57;Leonard Roberts, Arthur Hughes - His Life & Works, 1997, cat. no. 302, p. 222, repr. colour pl. 101, p. 115NOTEIn 1894 Hughes spent two weeks with his friends Alice Boyd and William Bell Scott at their home Penkill Castle in Northumberland. It was during this trip that he painted An Ayrshire Glen in the grounds at Penkill 'where it was very mild in her pretty deep wooded glen with its falling streams' (letter to Frederick Shields, 1 December 1894). The stream and the stone steps leading to it are still extant at Penkill. Hughes clearly did not finish the picture until 1895 as he wrote to his daughter Agnes on the 11th of January that year stating that he was still working on the picture.

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 - Arthur Hughes , 1832-1915 at the church gate oil on canvas
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Lot 83: HUGHES, ARTHUR (1832-1915)

Description: An illustration of Jack and Jill Ink 8x6 inches (21x14 cm) Monog.

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Lot 89: *ARTHUR HUGHES (BRITISH, 1832-1915)

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Description: GOOD NIGHT "Day's turn is over, Now arrives the Night's" (Robert Browning) signed watercolor and gouache on paper laid down on panel unframed: 17 by 11 1/2 in. 43.2 by 29.2 cm. This is a smaller version of the work painted for John Hamilton Trist, a Brighton wine merchant, friend and patron of Hughes during the 1860s, '70s and '80s. It was exhibited at the Royal Academy in 1866 as Number 359 and sold at Sotheby's London, June 19, 1990. The model is the artist's daughter, Amy. Provenance: Dr. Moncure D. Conway, New York.

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Lot 90: ARTHUR HUGHES (BRITISH, 1832-1915)

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Description: "ENDYMION" "Brain-sick shepherd prince, etc." (Keats) oil on canvas 30 by 42 in. 76.2 by 106.7 cm. In a letter of 1899 to Frederic George Stephens, one of the original Pre-Raphaelite Brothers, Hughes writes of this subject, "It is from Keats. It does not illustrate any actual scene but grew out of it somehow." His specific inspiration is Keats" extended allegory, Endymion (1817), centered on the shepherd hero of Greek mythology. We are grateful to Dr. Leslie Cowan for his assistance in the cataloguing of this work. Provenance: William Graham John Bibby Thomas McLean, London Exhibited: London, Royal Academy, 1870, No. 388 Literature: The Art Journal, June 1870, "... But Endymion will be accounted worthy of Keats. The nymph lying along the foreground is lovely, at once both poem and picture; and the painter, as usual, manages to get into his composition a delicious play of colour, especially about the blue diaphonous drapery. A faun licks the lady's hand and a rabbit plays at her feet, so tender and loving are these creatures of the woods when under her poetic spell.".

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Arthur Hughes (British 1832-1915)

Lot 91: Arthur Hughes (British 1832-1915)

Description: Forget me not signed 'Arthur Hughes' (lower right), inscribed on a label on the reverseoil on canvas108 x 64 cm. (42 1/2 x 25 1/4 in.)

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Lot 96: HUGHES, ARTHUR (1832-1915)

Description: > Pencil 5x6 inches (11.5x14.2 cm) Monog. (Lower Right).

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Lot 98: Arthur Hughes

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Description: 1832-1915 summer pasture signed l.r. oil on canvas laid down 25 by 20cm., 10 by 7Nin.

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Lot 98: HUGHES, Arthur (1832-1915)

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Description: Ophelia Oil/panel 20,1 x 36,2 inches (51.0 x 92.0cm) Signed upper right Illustrated.

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Lot 106: HUGHES, ARTHUR (1832-1915)

Description: Forget me not Oil/canvas 42x25 inches (106x63 cm) signed (Lower Right) Inscr./label/verso.

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Lot 108: Edward Robert Hughes (British, 1851-1914)

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Description: THE SHREW KATHERINA signed and dated 1896 pastel and gouache on paper 27 7/8 by 19 7/8 in. 70.8 by 50.5 cm. Edward Robert Hughes was one of the leading watercolorists of the Victorian era and was highly respected by his peers. He trained under the tuteluge of the leading Pre-Raphaelite painter William Holman Hunt, one of the founders of the Pre-Raphaelite brotherhood. Hughes was also schooled in the Pre-Raphaelite aesthetic by his uncle Arthur Hughes (1832-1915), who was a noted follower of Dante Gabriel Rossetti (1828-82), Edward Burne-Jones (1775-1862), and other Pre-Raphaelites. Hughes' elegant and delicate watercolor techniques earned him critical and financial success in London and abroad. He was best known for his illustrations of literary subjects, including the works of Boccaccio and Shakespeare. Hughes' portrait of Katherina, the fiesty protagonist of The Taming of the Shrew, was executed in 1896, shortly after he was elected to full membership in the prestigious Royal Society of Painters in Watercolour. Hughes has virtually eliminated narrative content from this work, and instead he portrays Katherina as a beautiful, elegantly dressed and pensive young woman absorbed in her own thought rather than in the world around her. Hughes' capacity for rendering delicate and translucent effects is clearly evident in the handling of her sumptuous apricot brocade costume and the ornate furniture, features that were typical of the style pioneered by the Pre-Raphaelite painters.

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Lot 115: Arthur Hughes (1832-1915)

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Description: A Study for 'The Convent Boat' signed 'ARTHUR HUGHES' (lower right) oil on canvas 141/4 x 231/4 in. (36.2 x 59.1 cm.) NOTES This work appears to be a preparatory study for The Convent Boat, Hughes's masterpiece of the 1870s, which was offered at Christie's, London, in 1992. The final version depicts an affluent family mourning on a bank as their beloved daughter and sister, dressed in novitiate white, is rowed across a moat to enter the convent from which she will never emerge. A sense of loss and melancholy pervades the picture, reinforced by the fading light and autumnal landscape. The effect of the whole found parallels in French Symbolism and the painting was twice discussed by the French critic Ernest Chesneau ( La Peinture Anglaise, 1882, p. 201, and 'Peintures Anglais Contemporains', L'Art, II, 1894, p. 399.) The canvas, which measures 37 x 61 in., was originally exhibited at the Royal Academy of 1874, no. 584. A smaller version, measuring 171/2 x 281/2 in., was included in the exhibition The Aesthetic Movement and the Cult of Japan mounted at the Fine Art Society in 1972, no. 24, and again in the exhibition Pr„raffaeliten at the Staatliche Kunsthalle, Baden-Baden, 1973-4, no. 84.

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Arthur Hughes (1832-1915)

Lot 118: Arthur Hughes (1832-1915)

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Description: Madeleinesigned 'ARTHUR HUGHES' (lower right)oil on canvas, laid down on panel15 1/8 x 12 in. (38.5 x 30.5 cm.)

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Lot 119: HUGHES, Arthur (1832-1915, British)

Description: Orlando, mono. oil over pencil board shaped top Oil Painting (4x8in).

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Lot 119: Arthur Hughes (1832-1915)

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Description: orlando signed with monogram AHughes u.r. beneath the mount, oil over pencil on board, shaped top 20 by 9 cm.; 8 by 3 1/2 in. This oil sketch by Arthur Hughes shows Orlando carving the name of his beloved Rosalind on the trunk of a tree, as described in Act 3, Scene 2 of Shakespeare's comedy As You Like It. The painting is unrecorded in the modern literature, but may be identical with the work sold at Christie's in 1937 (see provenance below). It is to appear as no. 15.2 in Leonard Roberts's forthcoming catalogue raisonne of Arthur Hughes's paintings. Hughes's interest in the Shakespearian theme dates back at least as far as the spring of 1854, for on 13 March of that year George Price Boyce described the artist working on a subject from As You Like It in the studio of D.G. Rossetti: 'A young man of the name of Hughes was painting a picture of Orlando inscribing his mistress' name on a tree. Parts nicely painted.' (The Diaries of George Price Boyce, edited by Virginia Surtees, 1980, p. 12) In 1911 Hughes himself recalled how at this time he had 'painted with much care a background for an ''Orlando and Rosalind,'' but wiped out the figures before they were completed and substituted modern lovers, and called the picture ''The Long Engagement''. (Letters to William Allingham, edited by H. Allingham and E. Baumer Williams, 1911, p. 299) The Long Engagement is now in Birmingham City Museum and Art Gallery. The question remains which painting by Hughes of this subject Boyce actually saw in 1854. Boyce seems to describe a single-figure composition, while Hughes indicates that the subject he worked up as The Long Engagement always showed two figures. In his catalogue entry for this last painting in the Tate Gallery Pre-Raphaelite exhibition of 1984, Leslie Parris speculated about the possibility of 'Hughes having painted two ''Orlando'' pictures' (The Pre-Raphaelites, exhibition catalogue, 1984, p. 171), and if this was the case the present sketch must be related to the alternative, single-figure, composition. A painting in oil on panel, entitled Amy and showing a single figure of a young woman looking at her name carved on a tree, also now in Birmingham City Museum and Art Gallery, may derive from Hughes's experiments with the single-figure treatment. Provenance: Sidney Morse (?); Christie, London, 19 March 1937 (part of lot 110, identified as 'Orlando by Hughes) (?); Private collection. We are grateful to Leonard Roberts for his kind assistance in the preparation of this catalogue entry.

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Arthur Hughes (1832-1915)

Lot 119: Arthur Hughes (1832-1915)

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Description: 'Sigh no more, ladies'signed with monogram (lower right)oil on board8 x 9 1/4 in. (20.3 x 23.5 cm.)

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ARTHUR HUGHES 1832-1915

Lot 125: ARTHUR HUGHES 1832-1915

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Description: AN AYRSHIRE GLENmeasurements note30.5 by 44.5 cm., 12 by 17 1/2 in.signed l.l.: ARTHUR HUGHESoil on boardPROVENANCEArtist's studio sale, part of lot 50 (bought by Williams);Private collection;London, Fine Art Society, bought 1978;Malcolm T. Franklin, bought 1981;Private collection LITERATUREWilliam E Frederman, A Pre-Raphaelite Gazette: The Penkill Letters of Arthur Hughes to William Bell Scott and Alice Boyd, 1886-97, 1967, pp. 15, 34, 57;Leonard Roberts, Arthur Hughes - His Life & Works, 1997, cat. no. 302, p. 222, repr. colour pl. 101, p. 115NOTEIn 1894 Hughes spent two weeks with his friends Alice Boyd and William Bell Scott at their home Penkill Castle in Northumberland. It was during this trip that he painted An Ayrshire Glen in the grounds at Penkill 'where it was very mild in her pretty deep wooded glen with its falling streams' (letter to Frederick Shields, 1 December 1894). The stream and the stone steps leading to it are still extant at Penkill. Hughes clearly did not finish the picture until 1895 as he wrote to his daughter Agnes on the 11th of January that year stating that he was still working on the picture.

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