Sir John Everett, Bt Millais Auction Price Results

Lot 1: SIR JOHN EVERETT MILLAIS, P.R.A. 1829-1896

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Description: STUDY FOR 'A HUGUENOT'7 by 5 cm., 2 ¾ by 2 in.pencil, arched topPROVENANCEThe artist;By descent to Raoul Millais;By descent to the present ownerLITERATUREJohn Guille Millais, The Life and Letters of Sir John Everett Millais, 2 Vols., London, 1899, I, reproduced, p.137;Arts Council of Great Britain, The Drawings of John Everett Millais, exhibition catalogue by Malcolm Warner, 1979, p.29;Tate Gallery, London, The Pre-Raphaelites, exhibition catalogue, 1984 (under Malcolm Warner's catalogue entry for A Huguenot), p.99NOTEMillais worked on the composition of the painting which came to be called A Huguenot in the period 1851-2. The subject originated in his wish to illustrate Tennyson's poem 'Circumstance' -- which describes 'two lovers whispering by a garden wall'. Holman Hunt encouraged Millais to provide a specific historical setting for the composition. Thus, Millais decided to set the subject in sixteenth-century France, and to show a Huguenot refusing to wear a Roman Catholic badge which might have safeguarded him at a time of persecution of French Protestants. Meyerbeer's opera Les Huguenots, regularly performed at Covent Garden in the early 1850s -- and in which the heroine Valentine is seen attempting to bind a white scarf around her Protestant lover's arm -- seems to have been the immediate inspiration for the subject as treated by Millais. The finished painting, which was exhibited at the Royal Academy in 1852, is now in the Makins collection.The present drawing is one of a number of preparatory designs for A Huguenot. What seems to be the first in the sequence is in the collection of Liverpool City Libraries, and shows the two figures alone in a landscape, facing one another, and with her hands in his. Five further sketches, of which the present is the fourth, are reproduced in J.G. Millais' biography of his father. These show different possible treatments of the subject, including on one occasion an arrangement which involved three or four extra figures -- presumably intended as monks or priests -- and with the lovers centrally positioned and facing the spectator. However, in the present simpler and more immediately legible treatment only one subsidiary figure remains, the sinister onlooker in the right-hand background. Of the central couple, the Huguenot himself is placed on the left side -- as he had been in all the previous sketches, with his lover leaning her body against him and with her right arm around his neck. In the last sketch, as in the finished painting, the composition is turned around to show the male figure on the right side.CSN

Lot 2: SIR JOHN EVERETT MILLAIS, P.R.A. 1829-1896 LEAR AND CORDELIA

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Description: inscribed on a sheet of writing paper attached to the backing: 10 March 91 The little sketch of Lear is my work when I was a lad/... J E Millaisoil on panelPROVENANCESotheby's, 25 March 1964, lot 206 (bought by Ashford);Private collectionCATALOGUE NOTEThis early oil painting by Millais shows the moment in Shakespeare's play when King Lear - his madness abating - sees and recognises his daughter Cordelia. The rich old-masterly colouring and the emphatic characterisation of the figures suggest that Lear and Cordelia was painted in the late 1840s, during a period in which Millais was exploring different historical painting styles. Millias was strongly drawn to literary subjects in his early career. Drawings and paintings of Shakespearean themes occur from about 1848 onwards, the first being an oil sketch for The Death of Romeo and Juliet (Manchester City Art Gallery). A year later, after the formation of the Pre-Raphaelite Brotherhood, he painted Ferdinand and Ariel (Tate). Millais particular interest in subjects from King Lear was shared, and perhaps to some degree indebted to, his friend Ford Madox Brown, who had begun a painting in 1848, also inspired by act 4, scene 7 of the play (Tate).

Lot 3: SIR JOHN EVERETT MILLAIS, P.R.A. 1829-1896 CYMON AND IPHIGENIA

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Description: signed and dated l.r.: Millais 1847pen and inkCATALOGUE NOTEThis previously unrecorded and unpublished drawing is a compositional design for Millais's important early painting Cymon and Iphigenia (National Museums and Galleries on Merseyside; Lady Lever Art Gallery). The subject is that given by Boccaccio in the Decameron. The rustic shepherd Cymon had found Iphigenia as she lay sleeping, and was spellbound by her beauty. In the drawing, as in the finished painting, the two figures are seen at the commencement of their shy courtship.Millais was probably reliant on John Dryden's translation of Boccaccio's cycle of poems. The passage treated in the drawing is as follows: 'Then Cymon first his rustick Voice essay'd, / With proffer'd Service to the parting Maid / To see her safe; his Hand she long deny'd, / But took at length, asham'd of such a Guide; / So Cymon led her home...' Gradually the rustic shepherd is transformed into a noble and accomplished person, as a consequence of loving and being loved by a refined and beautiful woman. All ends happily in the eventual marriage of the lovers, who had in the first place seemed such unlikely suitors.The choice of the subject may have been inspired by William Etty, who had made a copy of Joshua Reynolds's Cymon and Iphigenia, which Millais may have seen (see Dennis Farr, William Etty, London, 1958, pp.181-2, cat. no.296). In addition, Millais may have known versions of the subject by Rubens and Lely.Millais's artistic training had commenced at the age of eight, when he was enrolled at Henry Sass's school, being put to copying engravings and drawing from casts of antique sculpture. In 1840 he became a probationer at the Royal Academy schools, and shortly afterwards was admitted as a full student after submitting a study from the antique and anatomical studies. The following three years were devoted to drawing from the antique. In 1846, aged sixteen, he graduated to the Life Academy, where he would have drawn from the male nude. On one occasion Millais competed for a prize for an outline drawing offered by the Art Union. Although unsuccessful, he would have attempted to fulfil the stated expectation of 'simplicity of composition and expression, severe beauty of form, and pure, correct drawing' - traits which characterise the present drawing of a year or so later.The artist's drawings of the period are consistently treated in outline, and with figures carefully placed across the width in a broadly symmetrical form and in a shallow depth of field, thus revealing his debt to Neo-classical principles. The present drawing shows the strong influence of the linear style of draughtsmanship of John Flaxman (1755-1826), a figure who was still revered at the Royal Academy, where he had served as Professor of Sculpture from 1810. At the end of 1847, the Cyclographic Club - a forerunner of the Pre-Raphaelite Brotherhood - was founded, and served to foster a new naturalism in drawing.The handling of this complex and multi-figured compositional design demonstrates the precocity of Millais's talent as a draughtsman, and both the conservative and progressive directions that his art was taking at this early stage in his professional career.CSN

Lot 4: Sir John Everett Millais, Bt., P.R.A. (1829-1896)

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Description: Sir John Everett Millais, Bt., P.R.A. (1829-1896) Study of a male nude with added monogram and date and indistinctly inscribed '1847/Life Study RA ...' (lower right)pencil and stump, watermark 'J WHATMAN/TURKEY MILL/1850.', on paper, unframed30 x 20¾ in. (76.2 x 52.8 cm.)

Lot 6: SIR JOHN EVERETT MILLAIS, P.R.A.

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Description: SIR JOHN EVERETT MILLAIS, P.R.A. 1829-1896 CECILIA HOLT, FROM TROLLOPE'S KEPT IN THE DARK (RECTO), STUDY FOR CINDERELLA signed with monogram and dated 1882 l.l. and inscribed l.c.: " When the letter was completed she found it was one/ she could not send" pen and ink, with bodycolour 26 by 15cm., 10.5 by 6in.

Lot 10: SIR JOHN EVERETT MILLAIS, P.R.A.

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Description: SIR JOHN EVERETT MILLAIS, P.R.A. 1829-1896 CHRISTMAS EVE signed with monogram and dated 1887 l.l. oil on canvas 155 by 130cm.; 61 by 51½in.

Lot 11: Sir John Everett Millais, Bt., P.R.A. (1829-1896)

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Description: Little Miss Muffetsigned with monogram and dated '1884' (lower right)oil on canvas49 x 35 1/8 in. (124.5 x 89.2 cm.)

Lot 12: Sir John Everett Millais, Bt., P.R.A. (1829-1896)

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Description: The Grey Ladysigned with monogram and dated '1883' (lower right)oil on canvas55 1/4 x 37 1/4 in. (140.4 x 94.6 cm.)

Lot 16: - Sir John Everett Millais, P.R.A. , 1829-1896 the romans leaving britain oil on canvas

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Description: 'The Romans bade the Britaynes farewell, as not minding to returne thither agayne.' signed with monogram and dated 1865 l.r. oil on canvas

Lot 17: Alice Gray

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Description: Sir John Everett Millais, Bt., P.R.A. (1829-1896) Alice Gray oil on canvas 12 x 8 in. (30.5 x 20.3 cm.)

Lot 18: MILLAIS, Sir John Everett (1829-1896, British)

Description: Tonbridge Wells, s.i.d.1842 W/C Works on paper (10x5in).

Lot 18: MILLAIS, Sir John Everett (1829-1896, British)

Description: Tonbridge Wells, s.i.d.1842 W/C Works on paper (10x5in).

Lot 18: MILLAIS, Sir John Everett (1829-1896, British)

Description: Tonbridge Wells, s.i.d.1842 W/C Works on paper (10x5in).

Lot 18: MILLAIS, Sir John Everett (1829-1896, British)

Description: Tonbridge Wells, s.i.d.1842 W/C Works on paper (10x5in).

Lot 20: PRINTS After John Everett Millais

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Description: Girl collecting eggs; girl wearing coat and muffmixed method engravings by Samuel Cousins, both signed by artist and engraver in pencil, I. 58.5 x 40cm (23 x 15 3/4 in).

Lot 21: f - SIR JOHN EVERETT MILLAIS, BART., P.R.A., H.R.I., H.R.C.A. 1829-1896

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Description: Signed with monogram and dated 1879 l.l.oil on canvasIn mezzotint by Samuel Cousins RA, published by T. McLean, 1881

Lot 21: SIR JOHN EVERETT MILLAIS, P.R.A. 1829-1896

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Description: SWALLOW! SWALLOW!measurements note102 by 76 cm., 40 by 30 in.signed with monogram and dated 1864 l.r.; inscribed and signed on an old label attached to the reverse; Oh swallow flying from the golden woods/ Fly to her, and pipe and woo her and make her mine/ And tell her, tell her, that I follow thee. Tennyson/ John Everett Millaisoil on canvas, arched topPROVENANCEBought from the artist by Thos Agnew & Sons for £800, 21 June 1864; sold by Agnew to Samuel Mendel, 22 June 1864; Mendel sale, Christie's, 24 April 1875, lot 417 (bought Agnew, 1000 guineas); sold by Agnew to Sir John Kelk, 5 July 1876; Kelk sale, Christie's, 11 March 1899, lot 30 (bought Agnew, 720 guineas, on behalf of Mrs Alice Stibbard); by family descent to the present ownerEXHIBITEDLondon, Royal Academy of Arts, 1865, no 391 (without title in the catalogue, but with the quotation from Tennyson); London, Grosvenor Gallery, The Millais Exhibition, 1886, no 122; Royal Academy, Millais Memorial Exhibition, 1898, no 36. LITERATUREArt Journal, 1865, p. 167; Athenaeum, 1865, p. 592;M.H. Spielmann, Millais and His Works, London, 1898, pp. 90, 110, 170, 184; John Guille Millais, Life and Letters of Sir John Everett Millais, two volumes, London, 1899, II, p. 472;G.H. Fleming, That Ne'er Shall Meet Again -- Rossetti, Millais, Hunt, London, 1971, p. 226NOTEJohn Everett Millais's Swallow! Swallow! is a remarkable and beautiful painting, made during a fascinating transitional period in the artist's career when he found himself poised between the formative experience of Pre-Raphaelitism and the new artistic principles associated with Aestheticism. Millais had a particular feeling for literature, and the works of Shakespeare, Keats and Tennyson provided narratives for numerous paintings and drawings. In the mid-1850s he made a series of designs for the so-called Moxon Tennyson, an illustrated edition of Tennyson's poetry to which various members of the Pre-Raphaelite Brotherhood and their associates contributed. This was a vital formative experience and one that taught him how to look for ways of expressing human predicaments in terms of mood, and to choose telling motifs which would indicate the state of mind of his protagonists. One of Millais's greatest early paintings, and a work that represents the fulfilment of Pre-Raphaelitism in its primary phase, is Mariana (Makins collection, fig.1), of 1851. The subject, from Shakespeare's Measure for Measure, in its treatment of weary waiting on the part of one who is forced to be apart from her lover, anticipates the theme of Swallow! Swallow!. Swallow! Swallow! takes its subject from Tennyson's poem 'The Princess'. Published in 1847, and containing memorable passages of lyric poetry gathered together into a medley, the verse tells the story of the betrothal of Princess Ida. Tennyson's princess has modern ideas and sympathies, embracing causes such as the rights of women, universal education, and at the same time abjuring the institution of marriage. The opening of part IV of the poem describes a meeting between Ida and her suitor, along with his two companions. Set within the dialogue between them, which reveals the divergence of their views of how society should be ordered, are various poetic interpolations. One is the verse which opens with the line 'Tears, idle tears, I know not what they mean'. Then comes the inset poem that purports to be recalled from memory and is spoken in the first person by one of the male figures present, and which opening with the lines: O Swallow, Swallow, flying, flying South,Fly to her, and fall upon her gilded eaves,And tell her, tell her, what I tell to thee.The lovesick narrator wishes that he could fly to the object of his adoration -- 'if I could follow, and light / upon her lattice, I would pipe and trill, / and cheep and twitter twenty million loves.' The poem concludes with the verse quoted with the title of the painting:O swallow, flying from the golden woods,Fly to her, and pipe and woo her, and make her mine,And tell her, tell her, that I follow thee.The painting shows the woman who is the object of the narrator's love. Although she seems unaware of the bird as it rests momentarily outside the window of her room, it is clear that she reciprocates the loving message that it brings. She gazes despondently and distractedly into an unseen space; while in her trembling right hand she loosely holds a white rose -- which may be intended as a metaphor of her purity and innocence. The painting had a particular personal significance for Millais. Eleven years earlier, in the course of the visit to Scotland that he made in 1853 with John Ruskin (and which led to his portrait of Ruskin standing on the bank of the Glenfinlas river), Millais had fallen in love with Ruskin's wife Effie. In due course Effie left Ruskin to return to her parental home in Perthshire. Millais and Effie was forced to endure a period of agonising separation, lasting nearly two years, before she could be divorced from Ruskin. Finally, on 3 July 1855, she and Millais were married. That these events had left an indelible mark on Millais is demonstrated by the fact that even in the mid-1860s he continued to treat themes to do with the trauma of separation. For example, his historical subject, The Romans leaving Britain (Sotheby's, London, 14 June 2001, lot 38), exhibited with Swallow! Swallow! at the Royal Academy in 1865, shows the forced parting of a Roman legionnaire from his British wife. Likewise, Swallow! Swallow!, in which a girl incarcerated in her parental home, longs for news from the one who loves her and who she loves in return, clearly represents a memory of the distressing time when he and Effie could only communicate by subterfuge and never saw one another. Swallow! Swallow! reveals Millais longing to escape into a realm of imagination and other-worldliness, steeping himself in literary imaginings, but also tells much about an emotional travail which he had endured and which remained with him in his thoughts.The tender quality of the painting is in addition a reflection of the warm affection that Millais felt for his sister-in-law Alice Gray -- who served as the model for the figure. For a few years after their marriage in 1855 Millais and Effie lived principally in Perthshire, and it was during this period that Millais also formed a close bond with other members of Effie's family. Alice, who was Effie's younger sister, was born in 1845, and was therefore about nineteen when Swallow! Swallow! was painted. A beautiful girl, with large eyes of a dark blue, she had previously sat for a variety of Millais's most distinguished works, including Autumn Leaves (Manchester City Art Gallery, fig.2), as the girl on the left side of the composition who holds the basket into which leaves are being placed, Pot Pourri (Sotheby's, London, 5 November 1997, lot 193), as the girl who leans back in momentary interruption of her task of placing rose petals in a bowl, and Apple Blossoms (National Museums and Galleries on Merseyside; Lady Lever Art Gallery, Port Sunlight, fig.3), as the girl on the right side, who lies on her back and places a piece of grass between her lips. Alice was later to model for the figure of Celia in Rosalind in the Forest (National Museums and Galleries on Merseyside; Walker Art Gallery, Liverpool) in 1868. Among the portraits that Millais made of her are a drawing of 1853 (fig.4 and reproduced in Sir William James's The Order of Release, 1947, facing p.146), and a beautiful oil of 1857 (private collection). Millais painted a further oil portrait of her in 1878, after her marriage to George Stibbard (collection of a descendant of the sitter).As Millais had been one of the three principal members of the artistic movement known as Pre-Raphaelitism, in which -- along with William Holman Hunt and Dante Gabriel Rossetti -- he had attempted to lead the reform of English painting in favour of emotionally sincere and personal subjects, treated with intense colour and carefully observed natural detail, in the later 1850s and 1860s he remained a progressive and challenging artist. This was a period of extraordinary inventiveness and aesthetic sophistication, when painters and writers explored issues of how works of art might be understood -- whether in a literal and documentary way or, as the artists of the Aesthetic movement preferred, subliminally and by subtle inflection of mood. Thus Millais was one of the first of his generation to attempt to transcend pictorial narrative in favour of abstract and symbolical subjects. Works such as Autumn Leaves, in which the spectator is invited to meditate on the transience of human existence, are among his masterpieces. Swallow! Swallow!, notwithstanding its literary source, likewise explores a human drama in psychological terms. The sympathy that the painting expresses for the situation of one who is lovelorn, and who longs for contact with the person who adores her, is understood directly and through physiognomic expression and bodily gesture rather than as a dutiful retelling of a familiar legend, transposed to another medium.Qualities of vibrant colour and painterly richness were identified when Swallow! Swallow! was first seen at the Royal Academy in 1865. The Art Journal's verdict was that 'the results are got by mastery, not minuteness', dwelling also on the careful manipulation of tints: 'The effect chiefly depends on a concord of colour, wherein blue pays a principal part, and then purple and black come in to complete the harmony' (Art Journal, 1865, p.167). In 1886 Swallow! Swallow! appeared at the winter exhibition devoted to Millais's work at the Grosvenor Gallery -- an event that endorsed the painter's position as one of the most admired and professionally successful artists of his generation. Finally, it was shown at the 1898 memorial exhibition of Millais's paintings at the Royal Academy after his death in 1896. In 1899 the painting was bought by Mrs Stibbard, who as Alice Gray had been the model for the figure, and since then it has remained in the possession of her descendants.A small watercolour version of the subject was in the collection of Robert Cecil (fig.5). This is reproduced in John Guille Millais, Life and Letters of Sir John Everett Millais, two volumes, London, 1899, I, p.369.We are grateful to Dr Malcolm Warner for preparing this catalogue note.CSN

Lot 21: Sir John Everett Millais, Bt., P.R.A. (1829-1896)

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Description: Sir John Everett Millais, Bt., P.R.A. (1829-1896) Mrs Sebastian Schlesinger signed with monogram and dated '18/76' (lower right) oil on canvas 45¾ x 29¾ in. (116.3 x 75.6 cm.)

Lot 22: Sir John Everett Millais, Bt., P.R.A. (1829-1896)

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Description: Sir John Everett Millais, Bt., P.R.A. (1829-1896) Miss Gertrude Vanderbilt signed with monogram and dated '18/88' (lower left) oil on canvas 94½ x 62 in. (240 x 157.5 cm.)

Lot 23: Sir John Everett Millais, P.R.A (1829-1896)

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Description: Sir John Everett Millais, P.R.A (1829-1896) Christmas Eve signed with monogram and dated '1887' (lower left) oil on canvas 62 x 52¾ in. (157.5 x 134 cm.)

Lot 25: f - SIR JOHN EVERETT MILLAIS, BART., P.R.A., H.R.I., H.R.C.A. 1829-1896

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Description: SIGNED AND DATED (MAKER'S MARKS)signed with monogram l.l.

Lot 25: Sir John Everett Millais, Bt., P.R.A., R.W.S. (1829-1896)

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Description: Sir John Everett Millais, Bt., P.R.A., R.W.S. (1829-1896) The End of the Chapter signed with monogram and dated '1869' (lower left) and inscribed 'The Last Chapter/J.E. Millais' (on a label attached to the backboard)pencil and watercolour heightened with touches of bodycolour and with gum arabic and with scratching out9 3/8 x 11½ in. (23.8 x 29.2 cm.)

Lot 26: MILLAIS, Sir J E (1829-1896, British)

Description: Fishing party, i.verso Oil Painting (31x24in).

Lot 26: MILLAIS, Sir J E (1829-1896, British)

Description: Fishing party, i.verso Oil Painting (31x24in).

Lot 26: MILLAIS, Sir J E (1829-1896, British)

Description: Fishing party, i.verso Oil Painting (31x24in).

Lot 26: MILLAIS, Sir J E (1829-1896, British)

Description: Fishing party, i.verso Oil Painting (31x24in).

Lot 26: MILLAIS, Sir John Everett (1829-1896, British)

Description: Collection of early drawings, pencil twelve Works on paper (12x10in).

Lot 26: MILLAIS, Sir John Everett (1829-1896, British)

Description: Collection of early drawings, pencil twelve Works on paper (12x10in).

Lot 26: MILLAIS, Sir John Everett (1829-1896, British)

Description: Collection of early drawings, pencil twelve Works on paper (12x10in).

Lot 26: MILLAIS, Sir John Everett (1829-1896, British)

Description: Collection of early drawings, pencil twelve Works on paper (12x10in).

Lot 26: Sir John Everett Millais, Bt., P.R.A. (1829-1896)

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Description: Sir John Everett Millais, Bt., P.R.A. (1829-1896) Portrait of Margaret Fuller Maitland signed with monogram (lower left), and inscribed 'Fuller Maitland Esq, Stansted, Essex' (on the reverse)oil on canvas, in a painted oval 18½ x 15 in. (47 x 38.1 cm.)

Lot 27: Drawing of the artist and his wife, Effie, as Queen Victoria and Prince Albert

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Description: Sir John Everett Millais, Bt., P.R.A., R.W.S. (1829-1896) Drawing of the artist and his wife, Effie, as Queen Victoria and Prince Albert inscribed 'EVER & EFFI REX' (lower edge) and extensively inscribed (on the reverse) pen and brown ink, irregular 4 x 4 in. (10.2 x 10.2 cm.); mounted with the Great Exhibition medal of 1851 of Queen Victoria and Prince Albert, designed by W. Wyon from which the image was taken

Lot 27: Porait of the artist's brother, William Millais, with canvas, palette and fishing rod, Brig O'Turk, Scotland

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Description: Sir John Everett Millais, Bt., P.R.A., R.W.S. (1829-1896) Porait of the artist's brother, William Millais, with canvas, palette and fishing rod, Brig O'Turk, Scotlandsigned with monogram and dated '1853' (upper right), and with inscription 'Rainy days at Brig O'Turk No. 29 THE HIGHLAND SKETCHBOOK OF JOHN EVERETT MILLAIS 1853' (on the reverse)pen and brown ink, irregular 3½ x 9 1/8 in. (9 x 23.2 cm.)

Lot 28: OIL ON CANVAS PAINTING AFTER SIR JOHN EVERETT MILL

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Description: OIL ON CANVAS PAINTING AFTER SIR JOHN EVERETT MILL a nicely executed copy of "Bubbles" by pre-Raphaelite artist Sir John Everett Millais (1829-1896), a well-known work depicting a boy with a bowl containing a bubble pipe with bubble overhead, exhibiting restoration, appears 19th century, unable to examine the reverse due to professionally mounted backing, 15x10in.

Lot 29: The Grey Lady

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Description: Sir John Everett Millais, Bt., P.R.A. (1829-1896) The Grey Lady signed with monogram and dated '1883' (lower right) oil on canvas 55¼ x 37¼ in. (140.4 x 94.6 cm.)

Lot 32: Sir John Everett Millais (British, 1829-1896)

Description: 'The Arrest',signed, titled, inscribed 'composition sketch' and dated 1841, pencil sketch, 26.5 x 37 cm (10 1/2 x 14 1/2 in.)

Lot 35: c - SIR JOHN EVERETT MILLAIS, BART., P.R.A., H.R.I., H.R.C.A. 1829-1896

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Description: signed with monogram and dated l.r.: 1896THE HONOURABLE JOHN NEVILE MANNERS

Lot 35: Sir John Everett Millais, Bt., P.R.A., R.W.S. (1829-1896)

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Description: Sir John Everett Millais, Bt., P.R.A., R.W.S. (1829-1896) Married for Rank signed with monogram and dated '1853' (lower right) and inscribed 'Married for [Mon]ey' (lower centre)pencil, pen and black and brown ink on paper 9¾ x 7 in. (24.7 x 17.8 cm.)

Lot 36: Sir John Everett Millais (British, 1829-1896) Defence

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Description: Defencesigned 'Millais' (lower left), pencil, ink and blue wash 19.1 x 8.9cm (7 1/2 x 3 1/2in).

Lot 38: MILLAIS, Sir John Everett (1829-1896, British)

Description: School yard, Eton, s.d.1846 W/C pencil htd white gum arabic Works on paper (12x9in).

Lot 38: MILLAIS, Sir John Everett (1829-1896, British)

Description: School yard, Eton, s.d.1846 W/C pencil htd white gum arabic Works on paper (12x9in).

Lot 38: MILLAIS, Sir John Everett (1829-1896, British)

Description: School yard, Eton, s.d.1846 W/C pencil htd white gum arabic Works on paper (12x9in).

Lot 38: MILLAIS, Sir John Everett (1829-1896, British)

Description: School yard, Eton, s.d.1846 W/C pencil htd white gum arabic Works on paper (12x9in).

Lot 38: MILLAIS, Sir John Everett (1829-1896, British)

Description: Portrait of John Wycliffe Taylor at the age of five, mono.i.d.1874verso Oil Painting (10x14in).

Lot 38: MILLAIS, Sir John Everett (1829-1896, British)

Description: Portrait of John Wycliffe Taylor at the age of five, mono.i.d.1874verso Oil Painting (10x14in).

Lot 38: MILLAIS, Sir John Everett (1829-1896, British)

Description: Portrait of John Wycliffe Taylor at the age of five, mono.i.d.1874verso Oil Painting (10x14in).

Lot 38: MILLAIS, Sir John Everett (1829-1896, British)

Description: Portrait of John Wycliffe Taylor at the age of five, mono.i.d.1874verso Oil Painting (10x14in).

Lot 38: Sir John Everett Millais (British, 1829-1896) An English beauty in the manner of John Leech

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Description: An English beauty in the manner of John Leech signed with monogram (lower right), pencil 21 x 12.7cm (8 1/4 x 5in).

Lot 40: ATTRIBUTED TO JOHN EVERETT MILLAIS, charcoal

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Description: ATTRIBUTED TO JOHN EVERETT MILLAIS, charcoal drawing, study of a kneeling nude man, signed with monogram, 16" x 14".

Lot 42: Sir John Everett Millais, P.R.A. (1829-1896)

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Description: Sir John Everett Millais, P.R.A. (1829-1896) The Head of Bran signed with monogram (lower left) pencil and watercolour 4½ x 5½ in. (11.4 x 14 cm.)

Lot 44: CIRCLE OF JOHN EVERETT MILLAIS (1829-1896) Oil on

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Description: CIRCLE OF JOHN EVERETT MILLAIS (1829-1896) Oil on board, Young woman playing a guitar, unsigned, 5.5" x 7", framed.

Lot 44: Sir John Everett Millais Bt., P.R.A. (1829-1896)

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Description: Sir John Everett Millais Bt., P.R.A. (1829-1896) Mrs Charles Freeman signed with monogram and dedicated 'To Charles Freeman' and dated '1862' (lower left)oil on panel 14 x 9 in. (35.5 x 22.5 cm.)

Lot 46: Sir John Everett Millais, Bt., P.R.A. (1829-1896)

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Description: Sir John Everett Millais, Bt., P.R.A. (1829-1896) Dropped from the Nest signed with monogram and dated '18/83' (lower left) oil on canvas 41 x 27½ in. (104.1 x 69.8 cm.)

Lot 46: Sir John Everett Millais, Bt., P.R.A. (British, 1829-1896)

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Description: Sir John Everett Millais, Bt., P.R.A. (British, 1829-1896) Charlie is my Darling signed with monogram (lower right) oil on panel 16¾ x 10¼ in. (42.5 x 26 cm.)

Lot 46: Sir John Everett Millais, Bt., P.R.A. (British, 1829-1896)

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Description: Sir John Everett Millais, Bt., P.R.A. (British, 1829-1896) Charlie is my Darling signed with monogram (lower right) oil on panel 16¾ x 10¼ in. (42.5 x 26 cm.)

Lot 47: f - SIR JOHN EVERETT MILLAIS, P.R.A. 1829-1896 MERRY

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Description: signed with the monogram and dated 1893 l.r.oil on canvasPROVENANCEBought from the artist by J. W. Cameron in 1895EXHIBITEDRoyal Academy, 1893, no. 217;Royal Scottish Academy, 1895, no. 287;Royal Academy, Works by British Artists Deceased Since 1850, Winter 1901, no. 58LITERATURE AND REFERENCESTimes, 29 April 1893, p. 13;Athenaeum, no. 3418, 29 April 1893, p. 543;Art Journal, 1893, p. 190;M. H. Spielman, Millais and his Works, with Special Reference to the Exhibition at the Royal Academy, 1898, p. 178, no. 327;J. G. Millais, The Life and Letters of Sir John Everett Millais, 1899, Vol. II, p. 485;A. L. Baldry, Sir John Everett Millais: His Life and Influence, 1899, pp. 60, 117CATALOGUE NOTEAlthough Millais's initial shift away from the rigours of Pre-Raphaelitism had occurred in the mid-1850s, this was only the beginning of a long evolution towards a style of art which had as its goal a particular poignancy of mood in figurative subjects and portraits. The present delightful painting of a young girl, holding a dish upon which rests a tame canary, done towards the end of his life, demonstrates that his search for a painterly means of evoking the innocent charm and sweetness of childhood remained constant.The sophistication of Millais's art in the later years of his career owed much to his study of European old masters and British historical schools. Works of his such as the portrait of Charles Liddell, known as The Brown Boy, had carried forward a portrait tradition established by Titian, while the diploma piece that Millais presented to the Royal Academy - Souvenir of Velasquez - celebrated the painterly skills and dependence on tonality rather than variety of colour that had been inherited from the Spanish school. Likewise, Millais's famous essay on the condition of childhood, Cherry Ripe, was dependent on the example of Joshua Reynolds, from whose portrait of Penelope Boothby the pose and format as well as the mood are adapted. Once a radical among painters, Millais had arrived at a stage in his career where he wanted to produce work that would complement and hang well with portraits and figure subjects from earlier centuries.Merry was shown at the Royal Academy in 1893, accompanied by a pendant entitled Pensive (private collection), which showed a dark haired girl holding flowers, but with a distracted or concerned expression. The deliberate counterpoint of mood between the two paintings falls in line of succession to earlier pairings of subjects by the artist, notably his Royal Academy exhibits Allegro and Penseroso of 1887.CSN

Lot 47: Wedding Cards

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Description: Sir John Everett Millais, Bt., P.R.A., R.W.S. (1829-1896) Wedding Cards signed with monogram (lower left) oil on panel 8¾ x 6 7/8 in. (22.7 x 17.4 cm.)

Lot 49: SIR JOHN EVERETT MILLAIS (ATTRIBUTED) (1829 -

Description: SIR JOHN EVERETT MILLAIS (ATTRIBUTED) (1829 - 1896) 'TRAVELLER/FISHERMAN' PEN

Lot 52: MILLAIS, Sir John Everett (after) (1829-1896, British)

Description: The order of release, bears sig.d.1853 arched mount Oil Painting (28x40in).

Lot 52: MILLAIS, Sir John Everett (after) (1829-1896, British)

Description: The order of release, bears sig.d.1853 arched mount Oil Painting (28x40in).

Lot 52: MILLAIS, Sir John Everett (after) (1829-1896, British)

Description: The order of release, bears sig.d.1853 arched mount Oil Painting (28x40in).

Lot 52: MILLAIS, Sir John Everett (after) (1829-1896, British)

Description: The order of release, bears sig.d.1853 arched mount Oil Painting (28x40in).