19TH CENTURY BRITISH CLASSICAL PAINTING Circle of John William Godward (English 1861-1922) Grief Oil on canvas Apparently unsigned 34.75 x 45 inches (88.2 x 114.4cm). Overall, including frame, 45 x 55 inches (114.4 x 139.6cm) Provenance: The lifetime estate collection of the late Dr. Boris Frid (1930-2017) and Dr. Germaine Frid (1932-2025) Palm Springs, California. See introduction to catalog.
John William Godward R.B.A. (British, 1861-1922) Portrait of Mary Perkinton Godward, the artist’s grandmother (d. 1866) watercolour/gouache on paper Unframed: 11 x 8.5 cm. (4 1/4 x 3 3/8 in.) Framed: 29.3 x 26 cm. (11 5/8 x 10 1/4 in.) Provenance: Sale; Christie’s, London, 18 November 2009, lot 90, where purchased by the present owner Private collection, London Literature: Vern G. Swanson, John William Godward : The Eclipse of Classicism, Woodbridge, Suffolk, 1997. p.22 Notes: John William Godward belonged to the second generation of Victorian Aestheticist painters who followed in the footsteps of Lord Frederic Leighton and Sir Lawrence Alma-Tadema. The present lot, a portrait of Godward's grandmother, is the earliest known work by the artist.
JOHN WILLIAM GODWARD R.B.A. (BRITISH 1861-1922) LEANING AGAINST A COLUMN Signed and dated 1901, oil on canvas 60cm x 72cm (23.5in x 28.5in) Sold by the artist to Thomas McLean, London, 26 September 1901; Private collection, Los Cabos, Mexico;Sotheby’s, London, 15 December 2016 John William Godward’s Leaning Against a Column belongs to the final flowering of Victorian classicism, a world poised delicately between devotion to beauty and the encroaching rise of modernity. Few painters embodied this late Neo-Classical vision more completely than Godward. As art historian Vern Swanson observed, he rivalled Alma-Tadema in his rendering of marble and flowers, while achieving a mastery of drapery comparable to Frederic Leighton. In this painting, those qualities converge to create an atmosphere of stillness, sensuality, and idealised escape.Set upon a marble terrace overlooking the sea, the composition presents a solitary young woman suspended in a moment of languid reverie. Reclining against a column atop a lion skin, she gazes outward with calm intimacy, as though acknowledging the unseen presence of the viewer. Behind her, oleander blossoms frame an expanse of azure water and distant sky. The scene feels untouched by time or hardship: a dream of eternal summer where beauty, warmth, and silence prevail.What distinguishes Godward’s work is not merely its technical precision, but the emotional world that he constructs. Marble surfaces gleam with cool perfection beside warm flesh tones and delicate fabrics; feathers, flowers, and stone are rendered with astonishing sensitivity to texture. Yet these details never overwhelm the composition. Instead, they work in harmony to sustain an atmosphere of luxurious tranquillity. Godward transforms material accuracy into sensory experience, inviting the viewer into a world governed entirely by aesthetic pleasure.Godward returned obsessively to the imagined world of ancient Greece and Rome throughout his career. His studios in London were filled with marble fragments, antique textiles, classical sculptures, and carefully collected objects that allowed him to recreate the illusion of antiquity with remarkable conviction. He selected models whose features he considered suitably “classical.” Around 1900, one particular model emerged repeatedly in his paintings, becoming something of a muse. Her striking dark hair and luminous complexion appear in works such as Midday, Idleness, and Dolce far Niente. In Leaning Against a Column, clothed in vivid crimson against pale marble, she embodies the ideal Godward pursued for decades: serene, sensual, and timeless.Yet beneath the calm perfection of these paintings lay a more troubled reality. Godward’s devotion to classical painting increasingly isolated him from the rapidly changing artistic world around him. As modernism gained prominence, the meticulous realism and idealised beauty he cherished came to be dismissed as outdated. His personal life was equally strained. His family reportedly disapproved of his artistic ambitions and later severed ties with him after he moved to Italy with one of his models. Following his death by suicide in 1922, much of his personal archive was destroyed, leaving only fragments of his life behind.There is a poignant irony in this contrast between artist and artwork. Godward’s paintings reveal little of the sadness or alienation that shadowed his later years. Instead, they remain steadfastly committed to harmony, refinement, and beauty. In an era increasingly fascinated by fragmentation and experimentation, he continued to paint worlds of calm sunlight, polished marble, and contemplative figures. His art became an act of resistance against modern disillusionment.Today, the appeal of Godward’s work has returned with renewed force. What once seemed old-fashioned now appears almost radical in its unapologetic pursuit of beauty. Leaning Against a Column endures not because it reflects reality, but because it offers an escape from it, a carefully composed vision of stillness and grace. Fashion may shift and artistic movements may rise and fall, but the quiet power of craftsmanship, balance, and atmosphere remains. In Godward’s world, beauty is not fleeting; it is eternal.
John William Godward English 1861 - 1922 Cleonice signed and dated upper right: J.W.GODWARD.1913; signed, inscribed, titled and dated on the reverse: CLEONICE/J.W. GODWARD/ROME/1913 oil on canvas canvas: 19 ⅝ by 15 ⅞ in.; 49.8 by 40.3 cm framed: 30 ½ by 25 ⅝ in.; 77.5 by 65.1 cm Executed in 1913.
Property from a California Private Collection John William Godward, RBA British 1861 - 1922 Study of a Classical Beauty signed upper right: W. GODWARD oil on canvas canvas: 19 ⅞ by 15 ¾ in.; 50.5 by 40 cm framed: 25 ⅞ by 21 ⅞ in.; 65.7 by 55.6 cm We are grateful to Dr. Vern Swanson for confirming the authenticity of this work.
Large Beautiful "Nerissa" Giclee, After John William Godward (British, 1861-1922). PLEASE NOTE, there is a chip in the frame, please see pics. Measures approx. 41 1/2" X 29", Sight measures approx. 35 1/2" X 23". FREE TRANSPORT AND 10% DISCOUNT ON SHIPPING: Please mention the code CAH09272025 for a 10% discount on shipping and free transportation from our shipping partner Premier Xpress Packing. You must mention the code CAH09272025 to receive the free transport and discounted packing and shipping.
JOHN WILLIAM GODWARD (1861-1922) 'Campaspe', lithographic print, published by Arthur Tooth, signed in pencil, 59.5 X 30cm and another similar of a female nude, 66 x 39cm
JOHN WILLIAM GODWARD IN THE MANNER OF OIL ON CANVAS "THE SPA"ize: 35" L x 23" Gold gallery framing size 43"w x 30"h Oil on canvas Artist or Maker John William Godward
231.75ct Yellow-Orange Sapphire and 0.51ctw Diamond Platinum Ring (GIA CERTIFIED) by Auction by Daum View catalog Estimate: $600 - $7,500 Passed March 15, 2024 7:30 PM EDT Hobe Sound, FL, US Request more information One platinum ring is available for purchase, which has been polished, stamped, and tested for quality assurance. The ring features one genuine sapphire center stone that is certified by GIA and weighs 1.75 carats. Additionally, 16 round diamonds weigh approximately 0.51 carats. The total weight of the ring is 3.3 grams, and it is in new condition with excellent workmanship. The GIA report number for the main gemstone is 5211249356. The main gemstone is a natural corundum sapphire variety, oval in shape, with a brilliant cut crown step-cut pavilion. The measurements of the sapphire are 8.38 x 6.11 x 4.07mm, and it has a yellow-orange color with transparent transparency. The refractive index of the sapphire is 1.762 - 1.770 DR Birefringence: 0.008 - 0.010, and it has a hardness of 9. The 16-round diamonds adjacent to the sapphire are natural and have a brilliant cut. The total weight of the diamonds is 0.51 carats, with a clarity grade of VS2 to SI1 and a color grade of F - G. The refractive index of the diamonds is 2.418, and they have a hardness of 10. The sapphire weighs 1.75 carats, the total diamond weight is 0.51 carats, and the weight of the entire item is 33 grams. The metal used in the ring is platinum.
"Nerissa" by John William Godward, Unsigned Offset Lithograph. Paper size is 37 x 20.25 inches, with an image size of 37 x 20.25 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated B: Very Good Condition, with signs of handling or age. Additional details: Printed by Eurographics
Property from the Estate of Martin R. Davies, Bristol John William Godward British 1861 - 1922 At the Thermae signed and dated J.W. Godward 1909 lower left oil on canvas Unframed: 77 by 38.5cm., 30¼ by 15¼in. Framed: 95 by 55cm., 37½ by 21¾in.
Property from the Estate of Martin R. Davies, Bristol John William Godward British 1861 - 1922 A Greek Beauty signed and dated J.W. Godward 1905 lower left oil on canvas Unframed: 76.2 by 38cm., 30 by 15in. Framed: 109.2 by 71.3cm., 43 by 28in.
John William Godward Wimbledon 1861–1922 Fulham Dolce far niente signed and dated lower left: J.W.GODWARD. 07 oil on canvas unframed: 51.4 x 76.2 cm.; 20¼ x 30 in.
JOHN WILLIAM GODWARD (BRITISH 1861-1922)A BIRTHDAY PRESENTOil on canvasSigned and dated 'J. W. Godward 97' (lower left)46 x 56cm (18 x 22 in.)Provenance: Messrs. Thomas McLean, London 21 September 1897Private Collection, UKLiterature:McLean letter to Godward (21 Sept 1897) Mio-Turner CollectionSwanson, Vern Grosvenor, The Eclipse of Classicism¸ 1997, p.195Swanson, Vern Grosvenor, The Eclipse of Classicism¸ 2018, p.275John William Godward (1861-1922) was one of the last of the classical painters of the Victorian age. Slightly younger than his better-known counter parts: Sir Frederic Leighton (1830-1896), Lawrence Alma-Tadema (1836-1912), and John Poynter (1836-1919) he was working in the dawn of a new, modernist era at the end of the 19th century, one which had little place for the Classical ideals of Antiquity which had dominated art for the last 500 years. His career has been described by Swanson as the 'Eclipse of Classicism'. The author goes on to expand that Godward's career 'offers the clearest example of the demise of classical Greco-Roman subject painting' (Swanson, p.8). As a reclusive genius, and someone who almost certainly had Asperger's Syndrome, little is known about Godward's private life. This is partly due to his strict family upbringing and somewhat overbearing mother, Sarah Eboral, who outlived her son by 13 years, dying at the age of 100 in 1932. When Godward moved to Italy with one of his models in 1912, his family broke contact with the artist, destroyed many papers, and removed his image from family pictures. Indeed, only one photo of the artist is thought to exist. Although little is known about the young artist's schooling, as the eldest of five children, by all accounts Godward came from a respectable bourgeois family and ideal Victorian home. It is therefore likely that his family would have been able to afford to send him a private school, as was common for middle class children at that time. What is certain, is that there was pressure for all the Godward children to follow their father's lead into the family profession of insurance, investing and banking. Although his siblings all seem to have succeeded in this expectation, John William did not. Between 1879 and 1881, it is believed Godward studied under the architect William Hoff Wontner (1814 - 1881). This apprenticeship seems the likely source for Godward's ability to render perspective and architectural elements, as well as being able to realistically depict marble and porphyry. It was around this time that Swanson believes Godward turned his aspirations to becoming a fine artist. Whether Godward received any formal art training is purely a matter of speculation as there are no records, but given his family's insistence that he follow in his father's footsteps into the work of business, it seems unlikely that he would have had access to any instructional study. We do know however that by 1881, Wontner had died, and his son William Clarke had taken over the family business. By 1885, Wontner and Godward had become best friends, and the former had taken a post at St. John's Wood Art School. It is perhaps not too much of a leap then, to assume that at least some instruction was taken from his friend. It is most likely that Goward's exposure to specifically Graeco-Roman subject painting came through seeing contemporary work at the Royal Academy or Royal Society of British Artists. In 1887, his own debut work, A Yellow Turban, (No. 721) was accepted into the Royal Academy Summer Exhibition. He continued to exhibit with the Royal Academy until 1905. It was also during 1887, that Godward exhibited for the first time at the RBA, with a painting called Poppaea (No. 401). Three years later, he was officially elected as a member of the organisation. In 1888, Godward exhibited his oil, Ianthe (No. 941), at the Royal Academy. Upon seeing the painting, he was approached by the infamous art dealer Arthur Tooth who asked whether he might include it in his own Winter Show of that year. In addition to Ianthe, Godward produced nine further paintings for Tooth's show. His relationship with Tooth ultimately failed to extend beyond the exhibition however, as he decided to proceed with another dealer and Tooth's next-door neighbour, Thomas Miller McLean (1832-1909). Throughout his career Messers. Thomas McLean would deal hundreds of oils for the artist with great success.The present lot is no exception, and together with another work from the previous year, Winding the Skein (Sawnson, p.69, illustrated), is one of only a handful of works from this period to include more than one figure. Here, in a marble walled garden, we see the skill in which the artist depicts the red and grey tones in the smooth creamy stone set against a planter of poppies and blooming oleanders. Classical motifs are arranged throughout the work, including a small bronze statue of Venus, a white marble carving of Pan pulling a thorn from a hoofed Satyr, a variation of the sculpture in the Pio-Clementine Museum, and to the right of the work, a bronze vase atop a round marble table with lion monopodia leg. Centre stage are two figures dressed in beautiful turquoise and purple tunics. One woman seated on a tiger skin, a common motif in Godward's work, is presented with a birthday gift by her attendant: a beautiful Portland cameo glass vase. The first decade of the new century was one of the best for Godward as an artist. Imperial interest grew as prosperity throughout the British Empire rose. However, by 1911, the art scene in Britain had changed significantly, and this would shortly be echoed throughout the whole of society with the start of the Great War. The founding of the Camden Town Group in 1911, followed by the death of Alma Tadema in 1912, and the emergence of the Vorticist movement just before the start of World War I in 1913-14, as well as the Great War itself, marked the beginning of the end of the Classicist painters. It was amongst this backdrop that Godward moved to Rome, perhaps believing that he could escape the new dawn on the horizon which was already a reality in London. In Italy he found a seductive blend of ancient, medieval, and classical cultures. Unsurprisingly, little is documented of Godward's time in Italy, however by 1916, the new way of painting which he had so hoped to escape in London had made its way to the Continent. Nonetheless, Godward stayed in Rome until 1921. He spent most of his time working out of a studio at the Villa Strohl-Fern despite the villa's one hundred or so studios being filled with younger, more modern looking artists. He returned to England briefly in 1919, to attend his nephew's funeral and again in 1920 to attend his brother's wedding. Returning to Rome, his mood was low. The following year his health deteriorated, affected by Spanish influenza and depression. As a result, he only produced five paintings. This reduced to two in 1921. London was much more hostile to his art than Rome had been, and his depression and ill health did not improve once home. He became a recluse, and failing to feed himself properly, soon became malnourished and fell ill to a peptic ulcer. Rather than continue in his misery, and see his art suffer further at his inability to paint, the artist committed suicide on 13 December 1922, aged 62.
"Nerissa" by John William Godward, Unsigned Offset Lithograph. Paper size is 37 x 20.25 inches, with an image size of 37 x 20.25 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated B: Very Good Condition, with signs of handling or age. Additional details: Printed by Eurographics
Property from a Private Collection John William Godward R.B.A. British 1861-1922 The Engagement Ring signed and dated J.W. GODWARD 1888 (lower right) oil on canvas canvas: 15 ½ by 17 ½ in.; 40.5 by 46 cm framed: 26 ¾ by 29 in.; 68 by 73.5 cm
KOPIE NACH „L‘ETOILE PERDUE“ Öl auf Leinwand. 120 x 52 cm. Eine schwebende Nymphe vor dunklem Firmament. Im Hintergrund eine von Sternen erleuchtete Gruppe der Plejaden. Nach den Plejaden (Okeaniden) der griechischen Mythologie. Anmerkung: Nach dem Gemälde von William Adolphe Bouguereau (1825-1905). (13506718) (17)
John William Godward, RBA (British, 1861-1922) Ionian Dancing Girl signed and dated 'J.W.GODWARD 1902' (lower right) oil on canvas 137.2 x 83.2cm (54 x 32 3/4in). presented in a tabernacle frame
Large Antique English Portrait Oil Painting studio / follower of British artist John William Godward (British, 1861-1922) | Oil on Relined Canvas | Working Title: GRECIAN LADY PICKING GRAPES | Unsigned and Unframed (Frame added to initial photo only to aid in evaluation of item) | Approx. Dimensions: Sight- 51" H x 31" W | Provenance: Private Long Island, NY Estate | Condition: age related craquelure and paint loss (see photographs), otherwise in good to very good condition.
Large Antique English Portrait Oil Painting attributed to British artist John William Godward (British, 1861-1922) | See Artist Attribution Notes | Oil on Relined Canvas | Working Title: GRECIAN LADY PICKING GRAPES | Unsigned and Unframed | Approx. Dimensions: Sight- 51" H x 31" W | Provenance: Private Long Island, NY Estate | Condition: age related craquelure and paint loss (see photographs), otherwise in good to very good condition.
John William Godward, British (1861-1922) Attribution Large Painting, Oil on Canvas. "Grecian Lady Picking Grapes". Probably Relined. Unsigned and Unframed. Condition: Generally Very Good Condition with Some Paint Loss to the Hands and Neck of the Lady. Dimension: Sight- 51" x 31". Provenance: From a Long Island, NY Estate. Please note the absence of a Condition Report does not imply that there are no condition issues with this lot. Please contact us for a detailed Condition Report. It is the Buyerâs responsibility to inspect each lot and deem their own opinions on Condition, Description, Provenance, and Validity before purchasing. Please make an appointment to preview or ask for Condition Reports. Condition Reports are rendered as an opinion by the staff of the Auction House and not as statements of fact. REMEMBER ALL SALES ARE FINAL AND ALL ITEMS ARE SOLD AS-IS, WHERE IS.
John William Godward, British (1861-1922) Attribution Large Painting, Oil on Canvas. "Grecian Lady Picking Grapes". Probably Relined. Unsigned and Unframed. Condition: Generally Very Good Condition with Some Paint Loss to the Hands and Neck of the Lady. Dimension: Sight- 51" x 31". Provenance: From a Long Island, NY Estate. Please note the absence of a condition report does not imply that there are no condition issues with this lot. Please contact us for a detailed condition report.
"Nerissa" by John William Godward, Unsigned Offset Lithograph. Paper size is 37 x 20.25 inches, with an image size of 37 x 20.25 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated B: Very Good Condition, with signs of handling or age. Additional details: Printed by Eurographics
John William Godward, British (1861-1922) Attribution Large Painting, Oil on Canvas. "Grecian Lady Picking Grapes". Probably Relined. Unsigned and Unframed. Condition: Generally Very Good Condition with Some Paint Loss to the Hands and Neck of the Lady. Dimension: Sight- 51" x 31". Provenance: From a Long Island, NY Estate. Please note the absence of a condition report does not imply that there are no condition issues with this lot. Please contact us for a detailed condition report.
John William Godward, R.B.A. (British, 1861-1922) At the Fountain signed and dated 'J. W. Godward 1893.' (lower left) oil on canvas 54 ¾ x 36 1/8 in. (139.1 x 91.8 cm.)
John William Godward, RBA (British, 1861-1922) Stesicrate signed and dated 'J.W.GODWARD./1914.' (upper right); signed, inscribed and dated ''STESICRATE'/J.W.GODWARD./ROME. 1914.' (on the reverse) oil on canvas 50 x 40.5cm (19 11/16 x 15 15/16in). For further information on this lot please visit the Bonhams website
◆ JOHN WILLIAM GODWARD (BRITISH 1861-1922) POPPIES Signed and dated '98, oil on canvas (76cm x 61cm (30in x 24in)) Footnote: Provenance: The Late Dr Helen E C Cargill Thompson Note: The model is Miss Ethel Warwick who was sixteen when she posed for this picture We are grateful to Dr Vern G Swanson for his assistance in cataloguing this entry. It is no.7 in his catalogue raisonne which he has updated. The details of Godward’s personal life are relatively vague. His choice to pursue a career as a painter went against his family wishes and this disapproval was compounded when he left England for Italy with one of his models. It is believed that at this point he became estranged from his relations to such an extent that they removed his likeness from family pictures. He remained in Italy for almost a decade, only returning home in 1921. In 1922 he died by suicide, with notes left by him indicating that he was struggling with his place in an artistic world that was now largely interested in the modern and contemporary. The circumstances of his death were considered a source of great shame to his family and so they destroyed much of his archive and papers; it is believed there remains only one photograph of the artist. There was drama and sadness in his personal life but this never spilled over into Godward’s painting. A loyal follower of Sir Lawrence Alma-Tadema and similarly inspired by classical civilization, particularly Ancient Rome, his works depict elegant women in classical dress, lounging against architectural features. His paintings are characterised by exquisite and meticulous detail. There had been a widespread taste for this style of painting and subject matter in-line with a wider cultural interest in classical study and so to be successful in this style of painting required a high level of accuracy and precision; Godward carefully researched architecture and dress to make sure every detail in his painting was right. He often exhibited at the Royal Academy and as the eminent scholar on Godward’s work, Dr Vern G. Swanson, indicates; he ‘quickly established a reputation for his paintings of young women in a classical setting and his ability to convey with sensitivity and technical mastery the feel of contrasting textures, flesh, marble, fur and fabrics.’ This is evident in the offered work, where Godward beautifully renders the cool, smooth marble framing the figure in marked contrast to the soft fabric folds of her gown while behind her a verdant expanse of overlapping lavender and red poppies unfold before further architectural columns and sculpture appear. The scene is a vision of sumptuousness and beauty, meticulous depicted by a talented hand. Godward’s approach has been referred to as that of a ‘High Victorian Dreamer.’ Technically, he can be considered a Victorian Neo-Classicist, though at times his strong colour and posed subject have seen him be grouped with the Pre-Raphaelites, despite a differing inspiration source. Within his lifetime, this approach fell out of fashion and though Godward remained committed to the art he loved, he did struggle to find his place as taste moved away from his work. Fortunately, his mastery of his craft and the enduring human interest in the beautiful and sumptuous means favour has returned to his work since his death. Fashions evolve but quality and harmony endure and this exquisite work is rich in both.
John William Godward, RBA (British, 1861-1922) After the serenade oil on panel 41 x 12.5cm (16 1/8 x 4 15/16in). For further information on this lot please visit the Bonhams website
John William Godward, RBA (British, 1861-1922) Study for Amaryllis signed with monogram and dated '1903' (lower left) oil on panel 17.5 x 23cm (6 7/8 x 9 1/16in). For further information on this lot please visit the Bonhams website
John William Godward, RBA (British, 1861-1922) Waiting for the Procession signed and dated 'JW Godward 90' (upper left) oil on canvas 107.3 x 71.1cm (42 1/4 x 28in). For further information on this lot please visit the Bonhams website
