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Henry Maynell Rheam Auction Price Results

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Henry Meynell Rheam, RI (British, 1859-1920) -  Study of a Fisherman

Lot 618: Henry Meynell Rheam, RI (British, 1859-1920) - Study of a Fisherman

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Description: Henry Meynell Rheam, RI (British, 1859-1920) Study of a Fisherman, Lighting a Pipe signed lower right with monogram "HMR 1908" watercolour h:34 w:24 cm

Condition Report: Under glass, paper crease bottom right-hand corner, colours quite good.

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Henry Maynell Rheam (1859-1920) The Old Fisherman, 21 x 14.5in.

Lot 2118: Henry Maynell Rheam (1859-1920) The Old Fisherman, 21 x 14.5in.

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Description: Henry Maynell Rheam (1859-1920) watercolour, The Old Fisherman, signed and dated 1914, 21 x 14.5in.

Condition Report: Some slight fading but still retaining good strength of colour, a few small dirt specks but overall good with no foxing noted, two possibly worm holes in the top left corner, in original glazed moulded oak frame, Old Maidenhead framers label verso. 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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Henry Meynell Rheam RI (1859-1920). 'A Newlyn

Lot 6: Henry Meynell Rheam RI (1859-1920). 'A Newlyn

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Description: Henry Meynell Rheam RI (1859-1920). 'A Newlyn fisherman', being a half-length portrait. 1907 watercolour, signed monogram lower right, details on gallery label verso. 11.5"x8.

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Lot 9: Henry Meynell Rheam 1859-1920 The Challenge Signed and dated 1902, watercolour, 47cm x 100cm. Exhibited: Royal Institute of Painters in Watercolour, No. 1 See Illustration

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Description: Henry Meynell Rheam 1859-1920 The Challenge Signed and dated 1902, watercolour, 47cm x 100cm. Exhibited: Royal Institute of Painters in Watercolour, No. 1 See Illustration

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Lot 10: RHEAM, HENRY MEYNELL (1859-1920)

Description: Melody Watercolour 39x36 cm (15.4x14 in) signed.

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Lot 12: HENRY RHEAM (Newlyn School): Watercolour - Figures in sailing boats with cathedral in the distance, dated 1915

Description: HENRY RHEAM (Newlyn School): Watercolour - Figures in sailing boats with cathedral in the distance, dated 1915

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Lot 15: Henry Meynell Rheam (1859-1920) Interior scene with young lady sewing, signed and datd 1892, watercolour, 30.5 x 44cm (12 x 17.312in .

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Description: Henry Meynell Rheam (1859-1920) Interior scene with young lady sewing, signed and datd 1892, watercolour, 30.5 x 44cm (12 x 17.312in .

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Lot 18: RHEAM, Henry Meynell (1859-1920)

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Description: Beneath the net loft, 1911 Watercolour 4,7 x 5,5 inches (12.0 x 14.0in) Signed & Dated Illustrated.

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Henry Meynell Rheam (1859-1920) A Newlyn character

Lot 18: Henry Meynell Rheam (1859-1920) A Newlyn character

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Description: Henry Meynell Rheam (1859-1920) A Newlyn character Watercolour Signed and dated 1916 lower right 37.5cm x 27.5cm Provenance: with David Messum, Ref. T109 Under glass, discoloured and foxing, would benefit from a light clean

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HENRY MEYNELL RHEAM

Lot 19: HENRY MEYNELL RHEAM

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Description: HENRY MEYNELL RHEAM 1859-1920 ONCE UPON A TIME (SNOW WHITE) signed l.r.: HENRY M. RHEAM. watercolour with bodycolour 78 by 43cm.; 31 by 17in.

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Lot 20: Henry Meynell RHEAM (1859 - 1920) Watercolour

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Description: Henry Meynell RHEAM (1859 - 1920) Watercolour 'Polperro Harbour' - fishing boats at low tide On reverse a water colour sketch of Madonna Signed with monogram and dated 1906 10.5" x 10.25" (26cm x 26.7cm) & 10" x 9.5" (25.4cm x 24cm)

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Lot 22: Henry Meynell Rheam (1859-1920)

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Description: Violets signed and dated 'HENRY M RHEAM/1904' (lower left), signed again and inscribed '2/Violets/Henry M Rheam R.I./Newlyn/Penzance/10-10' (on a label attached to the backboard) and with inscription 'Duncan/Lancaster/Mar 1 04' (on the reverse) pencil and watercolour, heightened with touches of white and with scratching out 14 5/8 x 12 3/8 in. (37.2 x 31.5 cm.) In the original oak-leaf pattern frame PROVENANCE Duncan Lancaster, 1904. EXHIBITION London, Royal Institute of Painters in Water Colours, 90th Exhibition, 1904, no. 264, priced at 10 gns. NOTES Rheam was born into a Quaker family in Birkenhead, and studied art at Heatherley's, in Germany, and at Julian's in Paris. He was still apparently living at Birkenhead in 1889, but about 1890 he moved to Cornwall, settling first at Polperro and then at Newlyn. The move was probably encouraged by his cousin H.S. Tuke, who lived in Falmouth but was well known to the artistic community that had grown up at Newlyn in the 1880s. A year older than Rheam, Tuke too had studied both in London and abroad, although his spell in Paris in the studio of J.P. Laurens was probably a year or two earlier than Rheam's time at Julian's. The circumstances of Rheam's move to Newlyn were told by Stanhope Forbes, the community's acknowledged leader. 'The annual cricket match between the artists of St Ives and Newlyn was one of the chief sporting events of the year, and about the time I speak of, St Ives had acquired two notable batsmen and Newlyn seemed likely to endure defeat. But in a fortunate moment the situation was saved, for Harry Rheam, that notable cricketer, was imported at great expense from Polperro. He remained with us ever after and we had reason to remember gratefully the rivalry between the two colonies in the noble game' ( Artists of the Newlyn School 1880-1900, exh. Newlyn, Plymouth and Bristol, 1979, cat. p. 235). Rheam appears in one of Fred Hall's caricatures of the Newlyn artists, made in 1890, and indeed looks more like a cricketer than an artist. In 1900 he married Alice Elliott, and they lived at Boase Castle Lodge, Belle Vue. Later they moved to West Lodge in Penzance, remaining there until Rheam's death in 1920. To judge from Rheam's Witt library file, his output was fairly small. He exhibited only twenty pictures at the Royal Academy between 1887 and 1919, although he was a regular contributor to the Royal Institute of Painters in Water Colours, of which he was a member. He also exhibited once at Suffolk Street. Rheam was not typical of the Newlyn School either in his meticulous use of watercolour or his interest in literary subjects, which often suggest that he had looked hard at the Pre-Raphaelites. Most of his colleagues preferred a bold, 'square brush', oil technique, and realist themes based on local life. The community was not, however, without other exponents of fantasy and symbolism. T.C. Gotch, who settled in Newlyn in 1887, consistently explored these fields, and Stanhope Forbes's Canadian-born wife, Elizabeth, produced a series of Arthurian watercolours for her book King Arthur's Wood (1904). The present picture shows Rheam in his most Pre-Raphaelite mode, re-working a formula - a half-length female figure with floral attributes - that Rossetti had evolved in the 1860s. The picture was exhibited at the Royal Institute in 1904, the year it is dated. The number '2' on the backboard label no doubt refers to the fact that Rheam showed two works that year. The other was The Guitar Player, no. 436, priced at œ30.

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Lot 23: Henry Meynell Rheam. Seascape, signed and dated 1913, watercolour, 35 x 52cm.

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Description: Henry Meynell Rheam. Seascape, signed and dated 1913, watercolour, 35 x 52cm.

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HENRY MEYNELL RHEAM

Lot 25: HENRY MEYNELL RHEAM

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Description: HENRY MEYNELL RHEAM 1859-1920 ONCE UPON A TIME (SNOW WHITE) signed l.r.: HENRY M. RHEAM. 78 by 43cm.; 31 by 17in.

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Henry Meynell Rheam (1859-1920)

Lot 25: Henry Meynell Rheam (1859-1920)

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Description: Henry Meynell Rheam (1859-1920) Lighting the Pipe, watercolour, monogrammed and dated 1908 Size: 13" x 9"

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HENRY M RHEAM: Watercolour - View from the sea towards Dordrecht with sailing boats in the foreground, signed & dated 1915, 17 X 28in

Lot 26: HENRY M RHEAM: Watercolour - View from the sea towards Dordrecht with sailing boats in the foreground, signed & dated 1915, 17 X 28in

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Description: HENRY M RHEAM: Watercolour - View from the sea towards Dordrecht with sailing boats in the foreground, signed & dated 1915, 17 X 28in

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Lot 36: RHEAM, Henry Meynell (1859-1920, British)

Description: Sleeping beauty, s.d.1899 pencil W/C htd white prov.exhib. Works on paper (56x37in).

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Lot 36: Henry Meynell Rheam (1859-1920)

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Description: The Sleeping Beauty signed and dated 'HENRY M. RHEAM 1899' (lower right) pencil and watercolour heightened with white 371/4 x 551/2 in. (94.6 x 141 cm.) PROVENANCE With W.H. Embleton, London. EXHIBITION London, Royal Institute of Painters in Watercolours, 1899, no. 10 (250 gns.). NOTES Rheam was born into a Quaker family in Birkenhead, and studied art at Heatherley's, in Germany, and at Julians's in Paris. He was still apparently living at Birkenhead in 1889, but about 1890 he moved to Cornwall, settling first at Polperro and then at Newlyn. The move was probably encouraged by his cousin H.S. Tuke, who lived in Falmouth but often visited Newlyn and was well known to the artistic community that had grown up there in the 1880s. A year older than Rheam, Tuke too had studied both in London and abroad, although his spell in Paris in the studio of J.P. Laurens was probably a year or two earlier than Rheam's time at Julian's. The circumstances of Rheam's move to Newlyn were told by Stanhope Forbes, the community's acknowledged leader. 'The annual cricket match between the artists of St. Ives and Newlyn was one of the chief sporting events of the year, and about the time I speak of, St. Ives had acquired two notable batsmen and Newlyn seemed likely to endure defeat. But in a fortunate moment the situation was saved, for Harry Rheam, that notable cricketer, was imported at great expense from Polperro. He remained with us ever after and we had reason to remember gratefully the rivalry between the two colonies in the noble game' ( Artists of the Newlyn School 1880-1900, exh. Newlyn, Plymouth and Bristol, 1979, cat. p. 235). Rheam appears in one of Fred Hall's caricatures of the Newlyn artists, made in 1890, and indeed looks more like a cricketer than an artist. In 1900 he married Alice Elliott, and they lived at Boase Castle Lodge, Belle Vue. Later they moved to West Lodge in Penzance, remaining there until Rheam's death in 1920. To judge from Rheam's Witt Library file, his output was fairly small. He exhibited only twenty pictures at the Royal Academy between 1887 and 1919, although he was a regular contributor to the Royal Institute of Painters in Watercolours, of which he was a member. He also exhibited once at Suffolk Street. The present picture, exhibited at the Royal Institute in 1899, treats the well-known fairy story told in the seventeenth century by Charles Perrault and later re-cast by the brothers Grimm and by Tennyson in his poem 'The Day-Dream'. It was also the subject of Burne-Jones's famous set of pictures The Briar Rose, which were exhibited at Agnew's in 1890 and may well have been seen by Rheam. He painted a number of other romantic subjects, including an illustration to Keats's La Belle Dame sans Merci, 'Quia Multum Amavit', a theme again common to Burne-Jones, and The Fairy Woods (1903), which was sold in these rooms on 8 November 1996, lot 41 for œ61,000, a world record price for the artist. Rheam was not typical of the Newlyn School either in his meticulous use of watercolour or his interest in literary subjects. Most of his colleagues prefered a bold, 'square brush', oil technique and realist themes based on local life. The community was not, however, without other exponents of fantasy and symbolism. T.C. Gotch, who settled in Newlyn in 1887, consistently explored these fields, and Stanhope Forbes's Canadian-born wife, Elizabeth, produced a series of Arthurian watercolours for her book King Arthur's Wood (1904). SALESROOM NOTICE Please note that the correct size of this lot is 291/2 x 471/2 in. (75 x 120.5 cm.) and not as stated in the catalogue.

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Lot 38: HENRY MEYNELL RHEAM: Watercolour - Young lady reading a book, 6in X 10in, signed and dated

Description: HENRY MEYNELL RHEAM: Watercolour - Young lady reading a book, 6in X 10in, signed and dated

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Lot 41: HENRY MEYNELL RHEAM (1859-1920)

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Description: THE FAIRY WOODS signed and dated "HENRY M. RHEAM 1903" (lower right) and signed and inscribed "No.1 The Fairy Woods/Henry M. Rheam Esq/15 Charlesville/Claughton/Birkenhead" (on an old label on the reverse) pencil and watercolour heightened with bodycolour, in the artist's original frame 28 3/8 x 30 3/8 in. (72 x 77.2 cm.) PROVENANCE Roy Miles, London, 1984. Owen Edgar Gallery, London, 1984. EXHIBITED London, Royal Institute of Painters in Watercolours, 89th Exhibition, 1903, no. 552 (L80). Liverpool, Walker Art Gallery, 33rd Autumn Exhibition, 1903, no. 497. Exeter, 1905. London, Owen Edgar Gallery, Master Drawings from Four Centuries, 1984 (no number). Rheam was born into a Quaker family in Birkenhead, and studied art at Heatherley's, in Germany, and at Julians's in Paris. He was still apparently living at Birkenhead in 1889, but about 1890 he moved to Cornwall, settling first at Polperro and then at Newlyn. The move was probably encouraged by his cousin H.S.Tuke, who lived in Falmouth but often visited Newlyn and was well known to the artistic community that had grown up there in the 1880s. A year older than Rheam, Tuke too had studied both in London and abroad, although his spell in Paris in the studio of J.P.Laurens, was probably a year or two earlier than Rheam's time at Julian's. The circumstances of Rheam's move to Newlyn were told by Stanhope Forbes, the community's acknowledged leader. "The annual cricket match between the artists of St. Ives and Newlyn was one of the chief sporting events of the year, and about the time I speak of, St. Ives had acquired two notable batsmen and Newlyn seemed likely to endure defeat. But in a fortunate moment the situation was saved, for Harry Rheam, that notable cricketer, was imported at great expense from Polperro. He remained with us ever after and we had reason to remember gratefully the rivalry between the two colonies in the noble game" (Newlyn, Plymouth and Bristol, "Artists of the Newlyn School 1880-1900, 1979, p. 235 (eds. Caroline Fox and Francis Greenacre). Rheam appears in one of Fred Hall's caricatures of the Newlyn artists, made in 1890, and indeed looks more like a cricketer than an artist. In 1900 he married Alice Elliott and they lived at Boase Castle Lodge, Belle Vue. Later they moved to West Lodge in Penzance, remaining there until Rheam's death in 1920. It is curious that his early Birkenhead address should appear on the back of our picture of 1903. Presumbly this means that he kept some foothold in the north or was staying with his family whom he despatched the picture to London for exhibition. To judge from Rheam's Witt Library file, his output was fairly small. He exhibited only twenty pictures at the Royal Academy between 1887 and 1919, although he was a regular contributor to the Royal Institute of Painters in watercolours, of which he was a member, and he exhibited once at Suffolk Street. He died at the age of sixty-one, and it is possible that his health was poor. The present picture, a delightful example of "Last Romanticism", is undoubtedly one of Rheam's masterpieces, although the quality of his work was consistently high. He painted a number of such literary subjects; others included that hardy perennial of the Romantic tradition, Keats's La Belle Dame sans Merci, and "Quia Multum Amavit", a theme that had intrigued Burne-Jones. However, from the time he settled in Newlyn, he also painted numerous fishing and coastal scenes. Rheam was not typical of the Newlyn artists in preferring watercolour, meticulously handled, to the bold "square brush" oil technique that so many of his colleagues adopted, but his subject matter was characteristic. While this is obvious as regards his studies of local life, it is also true of his more imaginative work. For although the essential direction of Newlyn painting was determined by the influence of French naturalism, this by no means precluded fantasy and symbolism. The community's most consistent exponent of this field was T. C. Gotch, who had settled in Newlyn in 1887. He had been a close friend of Tuke since their student days at the Slade, and he would have known Rheam as well. The present picture seems to echo Gotch's work, both in terms of the emphasis placed on children (albeit here masquerading as elves) and the processional composition. Gotch's A Pageant of Childhood (Walker Art Gallery, Liverpool), exhibited at the Royal Academy in 1899, makes a particularly interesting comparison, being an outstanding example of his taste for processional designs and painted only four years earlier than The Fairy Wood. Another Newlyn artist who combined realism with fantasy was Elizabeth Stanhopes Forbes, Stanhope Forbes's Canadian born wife, and she too offers a parallel to our picture, even closer in date. This is the series of watercolours illustrating the story of Sir Gareth of Orkney which she published with her own text as a book entitled King Arthur's Wood in 1904. Though bolder in handling than Rheam's picture, these drawings are very similar in imagery and spirit, and the artists must have been in touch.

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Lot 41: RHEAM, Henry Meynell (1859-1920, British)

Description: The Fairy Woods, s.d.1903 pencil W/C htd.bodycol Works on paper (30x28in).

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HENRY MEYNELL RHEAM (1859-1920)  - A Fishergirl

Lot 45: HENRY MEYNELL RHEAM (1859-1920) - A Fishergirl

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Description: HENRY MEYNELL RHEAM (1859-1920) A Fishergirl signed H.M. Rheam (lower left) watercolour 10 x 8in (25.4 x 20.3cm)

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Henry Meynell RHEAM (1859 - 1920) Watercolour The

Lot 50: Henry Meynell RHEAM (1859 - 1920) Watercolour The

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Description: Henry Meynell RHEAM (1859 - 1920) Watercolour The welcoming party - fishermen's family on Newlyn quayside Signed with initials & dated 1902 19" x 13" (48.3cm x 33cm)

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Henry M Rheam (1859-1920) Newlyn Fisherman -

Lot 50: Henry M Rheam (1859-1920) Newlyn Fisherman -

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Description: Henry M Rheam (1859-1920) Newlyn Fisherman - watercolour - signed Size: 14"x10"

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Henry Meynell RHEAM (1859-1920) Watercolour 'Gathering firewood' Signed & dated 1913 21.5in. x 29.5in. ( 54.6cm x 75cm) Illustrated

Lot 50: Henry Meynell RHEAM (1859-1920) Watercolour 'Gathering firewood' Signed & dated 1913 21.5in. x 29.5in. ( 54.6cm x 75cm) Illustrated

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Description: Henry Meynell RHEAM (1859-1920) Watercolour 'Gathering firewood' Signed & dated 1913 21.5in. x 29.5in. ( 54.6cm x 75cm) Illustrated

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Henry Meynell RHEAM (1859 - 1920) Watercolour Nimble Fingers - a young woman crocheting Signed and dated 1892 12in x 17.25in (30.5cm x 44cm) Illustrated

Lot 50: Henry Meynell RHEAM (1859 - 1920) Watercolour Nimble Fingers - a young woman crocheting Signed and dated 1892 12in x 17.25in (30.5cm x 44cm) Illustrated

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Description: Henry Meynell RHEAM (1859 - 1920) Watercolour Nimble Fingers - a young woman crocheting Signed and dated 1892 12in x 17.25in (30.5cm x 44cm) Illustrated

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Lot 51: Henry Meynell Rheam, RI (1859-1920) "THE FAIRY

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Description: Henry Meynell Rheam, RI (1859-1920) "THE FAIRY QUEEN" signed; inscribed on a Royal Institute of Painters in Water Colours label verso watercolour 57.5 x 45cms; 22 1/2 x 17 3/4in. See illustration

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Lot 52: Henry Meynell Rheam (1859-1920) British Young woman playing a guitar Signed and dated `Henry M. Rheam 1904' Watercolour with scratching out heightened with a touch of white 52cm x 39.8cm E1000-1500 A painter of figure, genre and landscape subjects.

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Description: Henry Meynell Rheam (1859-1920) British Young woman playing a guitar Signed and dated `Henry M. Rheam 1904' Watercolour with scratching out heightened with a touch of white 52cm x 39.8cm E1000-1500 A painter of figure, genre and landscape subjects. After 1890 he lived at addresses in Newlyn and Penzance, which provided the source of material for his work. He exhibited at the Royal Academy and Royal Institute of Painters in Watercolours, as well as other public and commercial galleries. see illustration - inside front cover

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Lot 53: Henry Meynell Rheam (1859-1920)

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Description: Isolde signed ' henry m rheam ' (lower right), and inscribed 'Isolde/H.M. Rheam/St. Ives/Penzance/...' (on the artist's original label, on the reverse) pencil and watercolour, heightened with touches of white 44 x 24 in. (111.8 x 61 cm.) PROVENANCE: with Dicksee & Co., Liverpool, 1909. with James Lanhan, St. Ives. EXHIBITED: Rome, Royal Commission International Fine Arts Exhibition, British Section, 1911. Footnotes:The tale of Tristram and Isolde enjoyed an international vogue in the middle ages and is one of the oldest romances of the English vernacular, predating the parallel tale of Lancelot and Guinevere; it was only incorporated into the Arthurian cycle by Malory in his Morte d'Arthur (1485). It found new popularity at the end of the 19th century after Wagner made it the subject of an opera in 1865. The story, as told in the opera, relates how Isolde, an Irish princess, attended by her companion Brangane, travels from her home in Ireland to Cornwall, there to become the bride of King Mark. Mark has sent his nephew, Tristram, to accompany Isolde to his kingdom. Having been wounded in killing the knight to whom Isolde was formerly betrothed, and having been nursed by her, Tristram falls in love with Isolde, and she with him. They consider that poison is the only remedy for their thwarted passion, but instead, Brangane administers a love-philtre which only increases their longing. King Mark discovers their infatuation, and, in combat with the jealous courtier, Melot, Tristram is wounded. Tristram returns to his native Brittany, from whence his retainer Kurwenal summons Isolde, convinced that her magic powers can heal her lover; Tristram, delirious, tears away his bandages and dies in her arms. On learning the truth about the love-philtre King Mark resolves to forgive his nephew. Seeing him approach Tristram's castle, Kurwenal thinks they are under attack. A massacre ensues, and Isolde, distraught and heartbroken by the loss of those whom she loves, falls lifeless on the body of Tristram. Such a subject would have been doubly appealing for Rheam, who not only painted other literary themes in the Romantic tradition such as Keats's La Belle Dame sans Merci and 'Quia Multum Amavit', a subject that had also interested Burne-Jones, but who moved to Cornwall from his native Birkenhead in 1890, settling first at Polperro before joining the artistic community at Newlyn. With his romantic sensibility Rheam must have been aware of the many legends surrounding Cornwall's Celtic past, and Arthurian themes surface elsewhere in his work. In The Fairy Woods, for example, which sold in Christie's London from the collection of Isabel Goldsmith, 8 November 1996, lot 41, (£63250), a knight is glimpsed in the distance, while a princess, drawn from the same model as the figure in the present picture, is led through bluebells. A representation of a later literary theme, The Sleeping Beauty, was also sold at Christie's London on 7 November 1997, lot 36, for £109300, the world auction record for the artist.

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Lot 53: Henry Meynell Rheam (1859-1920)

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Description: Isolde signed 'HENRY M RHEAM' (lower right), and inscribed 'Isolde/H.M. Rheam/St. Ives/Penzance/...' (on the artist's original label, on the reverse) pencil and watercolour, heightened with touches of white 44 x 24 in. (111.8 x 61 cm.) PROVENANCE with Dicksee & Co., Liverpool, 1909. with James Lanhan, St. Ives. EXHIBITION Rome, Royal Commission International Fine Arts Exhibition, British Section, 1911. NOTES The tale of Tristram and Isolde enjoyed an international vogue in the middle ages and is one of the oldest romances of the English vernacular, predating the parallel tale of Lancelot and Guinevere; it was only incorporated into the Arthurian cycle by Malory in his Morte d'Arthur (1485). It found new popularity at the end of the 19th century after Wagner made it the subject of an opera in 1865. The story, as told in the opera, relates how Isolde, an Irish princess, attended by her companion Brangne, travels from her home in Ireland to Cornwall, there to become the bride of King Mark. Mark has sent his nephew, Tristram, to accompany Isolde to his kingdom. Having been wounded in killing the knight to whom Isolde was formerly betrothed, and having been nursed by her, Tristram falls in love with Isolde, and she with him. They consider that poison is the only remedy for their thwarted passion, but instead, Brangne administers a love-philtre which only increases their longing. King Mark discovers their infatuation, and, in combat with the jealous courtier, Melot, Tristram is wounded. Tristram returns to his native Brittany, from whence his retainer Kurwenal summons Isolde, convinced that her magic powers can heal her lover; Tristram, delirious, tears away his bandages and dies in her arms. On learning the truth about the love-philtre King Mark resolves to forgive his nephew. Seeing him approach Tristram's castle, Kurwenal thinks they are under attack. A massacre ensues, and Isolde, distraught and heartbroken by the loss of those whom she loves, falls lifeless on the body of Tristram. Such a subject would have been doubly appealing for Rheam, who not only painted other literary themes in the Romantic tradition such as Keats's La Belle Dame sans Merci and 'Quia Multum Amavit', a subject that had also interested Burne-Jones, but who moved to Cornwall from his native Birkenhead in 1890, settling first at Polperro before joining the artistic community at Newlyn. With his romantic sensibility Rheam must have been aware of the many legends surrounding Cornwall's Celtic past, and Arthurian themes surface elsewhere in his work. In The Fairy Woods, for example, which sold in Christie's London from the collection of Isabel Goldsmith, 8 November 1996, lot 41, (63,250), a knight is glimpsed in the distance, while a princess, drawn from the same model as the figure in the present picture, is led through bluebells. A representation of a later literary theme, The Sleeping Beauty, was also sold at Christie's London on 7 November 1997, lot 36, for 109,300, the world auction record for the artist.

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Henry Meynell Rheam (1859-1920)

Lot 56: Henry Meynell Rheam (1859-1920)

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Description: Fishing boats at St Ives signed and dated 'HENRY.M.RHEAM 1919' (lower left), inscribed and dated again 'ST.IVES/1919' (lower right) pencil and watercolour, heightened with bodycolour 91/2 x 22 3/8 in. (24.1 x 56.8 cm.).

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Lot 57: Henry Meynell Rheam 1859-1920 Just Awake signed and dated l.r.: Henry M Rheam 1909 watercolour with scratching out 75 by 35.5cm.,

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Description: Henry Meynell Rheam 1859-1920 Just Awake signed and dated l.r.: Henry M Rheam 1909 watercolour with scratching out 75 by 35.5cm.,

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Lot 60: HENRY RHEAM, Watercolour, Boats off Clovelly, signed & dated 1915

Description: HENRY RHEAM, Watercolour, Boats off Clovelly, signed & dated 1915

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Henry Meynell Rheam (1859-1920) Titania welcoming

Lot 60: Henry Meynell Rheam (1859-1920) Titania welcoming

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Description: Henry Meynell Rheam (1859-1920) Titania welcoming her fairy brethren Watercolour Signed 15 ½ "x 24"

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Henry Meynell Rheam (British, 1859-1920)

Lot 68: Henry Meynell Rheam (British, 1859-1920)

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Description: Harbour scene with fishermen to the foregroundsigned with initials and dated 1909 (lower right) watercolour 30 x 45cm (11 13/16 x 17 11/16in).and another watercolour landscaped by a different hand. (2)

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Henry Meynell Rheam (1859-1920) The Guitar Player

Lot 71: Henry Meynell Rheam (1859-1920) The Guitar Player

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Description: Henry Meynell Rheam (1859-1920) The Guitar Player Watercolour Signed & dated 1904 (lower right) 20.5 x 15.5 inches Rheam was born into a Quaker family in Birkenhead, and studied art at Heatherley¹s in London, in Germany, and at St Julian¹s in Paris. Around 1890 he moved to Cornwall, settling first at Polperro and then at Newlyn. The move was probably encouraged by his cousin Henry Scott Tuke. Rheam was not typical of the Newlyn School in his meticulous use of watercolour or his interest in literary subjects, which often suggest that he had looked hard at the Pre-Raphaelites. Most of his colleagues preferred a bold Osquare brush¹, oil technique, and realist themes based on local life. The present picture shows Rheam in his most Pre-Raphaelite mode. The Guitar Player, no.436, was exhibited at the Royal Institute in 1904 priced at £30. Rheam showed two works that year. The other was Violets also dated 1904. This work sold at auction for £200 in 2001

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Lot 72: Henry Meynell Rheam (1859-1920)

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Description: The Ivory Gate and Golden signed and dated 'HENRY M. RHEAM./1896' (lower right), and signed again and inscribed 'The Ivory Gate and Golden/Henry M. Rheam, R.I/...... Penzance/œ100' (on the artist's label attached to the reverse) pencil and watercolour, heightened with touches of bodycolour 41 x 281/2 in. (104.2 x 72.4 cm.) EXHIBITION London, Royal Institute of Painters in Water-Colours, 1896, no. 521. NOTES Rheam moved to Newlyn, Cornwall in in about 1890 and worked there for the rest of his life. He was not typical of the Newlyn school either in his meticulous use of watercolour or his interest in literary subjects. A large watercolour of Sleeping Beauty sold at Christie's London, 7 November 1997 (œ98,000). The young girl depicted here is also seen in a painting depicting Rumplestiltskin (see Witt Library).

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Henry Meynell Rheam (1859-1920)

Lot 76: Henry Meynell Rheam (1859-1920)

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Description: Henry Meynell Rheam (1859-1920) Poppies, watercolour, signed Size: 14" x 20"

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Lot 76: RHEAM, HENRY MEYNELL (1859-1920)

Description: Fishermen in a rowing boat in the Fal Estuary, 1919 Watercolour 21x41 cm (8.4x16 in) signed & dated.

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Henry Meynell Rheam (1859-1920) Girls of Newlyn

Lot 76: Henry Meynell Rheam (1859-1920) Girls of Newlyn

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Description: Henry Meynell Rheam (1859-1920) Girls of Newlyn Watercolour, signed (lower right) 12.5 x 19 inches

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Henry Meynell Rheam (British, 1859-1920)

Lot 78: Henry Meynell Rheam (British, 1859-1920)

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Description: La Belle Dame Sans Mercisigned and dated 'HMR. 1901' l.l.waercolour and bodycolour24 x 57 cm. (9 1/2 x 22 1/2 in.)

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Henry Meynell Rheam (1859-1920) Poppies

Lot 78: Henry Meynell Rheam (1859-1920) Poppies

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Description: Henry Meynell Rheam (1859-1920) Poppies Watercolour Signed (lower left), dated 1883 13.5 x 19.5 inches

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Lot 78: RHEAM, Henry Meynell (1859-1920, British)

Description: Fisherman's daughter, init. W/C Works on paper (8x11in).

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Lot 87: HENRY H. RHEAM, Watercolour, Sailing boats off Dordrecht, Holland, signed, 18in x 30in

Description: HENRY H. RHEAM, Watercolour, Sailing boats off Dordrecht, Holland, signed, 18in x 30in

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Lot 89: HENRY MEYNELL RHEAM

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Description: The Beekeeper signed, pencil and watercolour, unframed 20 x 24 in. EXHIBITED Liverpool Autumn Exhibition, 1894, No. 591.

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CIRCLE OF HENRY MEYNELL RHEAM, BRITISH 1859-1920

Lot 91: CIRCLE OF HENRY MEYNELL RHEAM, BRITISH 1859-1920

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Description: MATERIAL/MEDIUMwatercolour

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Lot 94: Henry Meynell RHEAM (1859-1920) Watercolour Fishing boats at anchor Inscribed 'St Ives 1919' Signed and dated 1919 9.5in. x 22in. (24cm x 56cm)

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Description: Henry Meynell RHEAM (1859-1920) Watercolour Fishing boats at anchor Inscribed 'St Ives 1919' Signed and dated 1919 9.5in. x 22in. (24cm x 56cm)

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Henry Meynall RHEAM (1859-1920) Watercolour 'Cribba Head

Lot 95: Henry Meynall RHEAM (1859-1920) Watercolour 'Cribba Head" westcountry cove Signed and dated 1900 7inx 10.5in (17.8cm x 26.7cm)

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Description: Henry Meynall RHEAM (1859-1920) Watercolour 'Cribba Head" westcountry cove Signed and dated 1900 7inx 10.5in (17.8cm x 26.7cm)

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Lot 96: Henry Meynell Rheam (1859-1920), British BY THE RIVER, HELSTON, Watercolour; signed lower right. Unframed. 20in x 23.5in - 50.8 x 59. 7 cm. See illustration

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Description: Henry Meynell Rheam (1859-1920), British BY THE RIVER, HELSTON, Watercolour; signed lower right. Unframed. 20in x 23.5in - 50.8 x 59. 7 cm. See illustration

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