John Charles Robinson Paintings & Artwork for Sale | John Charles Robinson Art Value Price Guide

Nov. 15, 2023
Italian School (circa 1600)
Est: €1,000 - €1,500
A design for a decorative vase with mermen and an acanthus leaf, with annotation 'Giulio Romano' (on the passe-partout), brown ink on paper, mounted on thick paper, unframed, 28x17 cm, Provenance:-Collection Jonathan Richardson Sr (1665-1745), London, L. 2183. -Collection John Charles Robinson (1824-1913), London, L. 1433.-In the collection of the family of the present owner since at least the 1950s. ,
Venduehuis der Notarissen
Nov. 15, 2023
Italian School (17th Century)
Est: €800 - €1,200
A design for a decorative vase, brown ink and wash on paper, mounted on thick paper, unframed, 29,5x17 cm, Provenance:-Collection Sir Joshua Reynolds (1723-1792), London, L. 2364.-Collection John Charles Robinson (1824-1913), London, L. 1433.-In the collection of the family of the present owner since at least the 1950s. ,
Venduehuis der Notarissen
Sep. 20, 2023
John Charles Robinson (1824-1913) British, 'Corfe Castle, Effect of Sunshine After Rain, etching, plate size 6
Est: £50 - £80
John Charles Robinson (1824-1913) British, 'Corfe Castle, Effect of Sunshine After Rain, etching, plate size 6.25" x 11" (16 x 28cm), (unframed).
John Nicholson's Fine Art Auctioneers & Valuers
Nov. 24, 2021
John Charles Robinson (1824-1913) British, 'Corfe Castle, Effect of Sunshine after Rain', etching, 6.5" x 11".
Est: £40 - £60
John Charles Robinson (1824-1913) British, 'Corfe Castle, Effect of Sunshine after Rain', etching, 6.5" x 11".
John Nicholson's Fine Art Auctioneers & Valuers
Apr. 29, 2021
JOHN CHARLES ROBINSON THE STORM OVER THE LANDSCAPE
Est: -
The Storm over the Landscape is an original artwork realized by John Charles Robinson in 1872. Original etching on paper. Artist's proof. Signed on plate on the lower right corner. Dated on the lower left corner. Excellent conditions. Passepartout included. The artwork represents a beautiful natural landscape with dark clouds and a storm in the foreground. The artwork is interesting for the contrast between light and dark shades. The artwork was realized by Sir John Charles Robinson (1824-1913), an English artist, museum curator, art collector and connoisseur. He worked as a painter in Paris. In 1847, he returned to England and taught at the School of Design in Hanley, Staffordshire. In 1852, he was appointed Curator of the Museum of Ornamental Art. In 1856, he organized a collectors' club that held receptions and art exhibitions. 31 x 45 (foglio), 11.5 x 26 (image), 45 x 60 (passepartout)
Bertolami Fine Art s.r.l.
Oct. 01, 2020
THE STORM OVER THE LANDSCAPE, 1872
Est: €100 - €200
The Storm over the Landscape is an original artwork realized by John Charles Robinson in 1872. Artist's proof. Signed on plate on the lower right corner. Dated on the lower left corner. The artwork represents a beautiful natural landscape with dark clouds and a storm in the foreground. The artwork is interesting for the contrast between light and dark shades. The artwork was realized by Sir John Charles Robinson (1824-1913), an English artist, museum curator, art collector and connoisseur. He worked as a painter in Paris. In 1847, he returned to England and taught at the School of Design in Hanley, Staffordshire. In 1852, he was appointed Curator of the Museum of Ornamental Art. In 1856, he organized a collectors' club that held receptions and art exhibitions.
Bertolami Fine Art s.r.l.
May. 12, 2012
Sir John Charles Robinson, British 1824-1913- Loch
Est: £180 - £220
Sir John Charles Robinson, British 1824-1913- Loch Portree, Isle of Sky; watercolour, bears label to the reverse, 47.5x92cm. Note: The artist Sir John Charles Robinson studied in the studio of Michel-Martin Drolling in Paris. Appointed curator of the Museum of Ornamental Art at Marlborough House. In 1857 this collection was moved to the newly establish South Kensington Museum where he worked until 1867. He was appointed Surveyor of the Queen's Pictures i 1882 and acted in this capacity until 1901.
Roseberys
Apr. 14, 2012
Sir John Charles Robinson, British 1824-1913- Loch
Est: £300 - £400
Sir John Charles Robinson, British 1824-1913- Loch Portree, Isle of Sky; watercolour, bears label to the reverse, 47.5x92cm. Note: The artist Sir John Charles Robinson studied in the studio of Michel-Martin Drolling in Paris. Appointed curator of the Museum of Ornamental Art at Marlborough House. In 1857 this collection was moved to the newly establish South Kensington Museum where he worked until 1867. He was appointed Surveyor of the Queen's Pictures i 1882 and acted in this capacity until 1901.
Roseberys
Feb. 04, 2012
Sir John Charles Robinson, British 1824-1913- Loch
Est: £500 - £700
Sir John Charles Robinson, British 1824-1913- Loch Portree, Isle of Sky; watercolour, bears label to the reverse, 47.5x92cm. Note: The artist Sir John Charles Robinson studied in the studio of Michel-Martin Drolling in Paris. Appointed curator of the Museum of Ornamental Art at Marlborough House. In 1857 this collection was moved to the newly establish South Kensington Museum where he worked until 1867. He was appointed Surveyor of the Queen's Pictures i 1882 and acted in this capacity until 1901.
Roseberys
Dec. 13, 2011
Sir John Charles Robinson, British 1824-1913- Loch
Est: £700 - £900
Sir John Charles Robinson, British 1824-1913- Loch Portree, Isle of Sky; watercolour, bears label to the reverse, 47.5x92cm. Note: The artist Sir John Charles Robinson studied in the studio of Michel-Martin Drolling in Paris. Appointed curator of the Museum of Ornamental Art at Marlborough House. In 1857 this collection was moved to the newly establish South Kensington Museum where he worked until 1867. He was appointed Surveyor of the Queen's Pictures i 1882 and acted in this capacity until 1901.
Roseberys
Nov. 01, 2011
JOHN CHARLES ROBINSON (BRITISH 1824-1913) & EDWIN PEARCE (19TH CENTURY BRITISH) DESIGN FOR MATTHEW NOBLE'S MONUMENT TO QUEEN VICTORI..
Est: £2,000 - £3,000
JOHN CHARLES ROBINSON (BRITISH 1824-1913) & EDWIN PEARCE (19TH CENTURY BRITISH) DESIGN FOR MATTHEW NOBLE'S MONUMENT TO QUEEN VICTORIA, BOMBAY Signed and dated 1869, sepia 126cm x 70cm (49.5in x 27.5in)
Lyon & Turnbull
Dec. 03, 2008
Robinson (John Charles, 1824-1913). Rainswept
Est: £70 - £100
Robinson (John Charles, 1824-1913). Rainswept landscape, etching, signed and inscribed to J. P. Heseltine in pencil to lower margin, and dated December 31, 1904, with stamped initials of J. P. Heseltine to extreme lower margin and verso, plate size 20.2 x 25 cm (8 x 9.75 ins), with margins (1)
Dominic Winter Auctions
Nov. 24, 2005
SIR CHARLES ROBINSON, CB, FSA, RPE 1824-1912
Est: £1,000 - £2,000
VIEW OF LOCH PORTREE, ISLE OF SKYE measurements note 47.5 by 91.5 cm., 18 3/4 by 36 in. inscribed on part of old mount attached to the backboard: Loch Portree/Isle of Skye/J.C.Robinson watercolour over pencil heightened with stopping out NOTE Sir John Charles Robinson studied art in Paris and exhibited at the Royal Academy, including another rare view of the Isle of Skye. He became Head of Hanley Art School, Superintendent of South Kensington and Surveyor of the Queen's Pictures, holding the post for 20 years.
Sotheby's
Jun. 30, 2005
JOHN CHARLES ROBINSON 1824-1912 VIEW OF LOCH PORTREE, ISLE OF SKYE
Est: £2,000 - £3,000
inscribed on part of old mount attached to the backboard: Loch Portree/Isle of Skye/J.C.Robinson watercolour over pencil heightened with stopping out
Sotheby's
Dec. 13, 2000
Willem van de Velde II (Leiden 1633-1707 London)
Est: $435,000 - $725,000
A wijdschip close-hauled in a fresh breeze, with other shipping signed with initials 'W.V.V' (lower left, on a piece of driftwood) oil on canvas 21 x 265/8 in. (53.3 x 67.7 cm.) PROVENANCE (Probably) Edward Knight (d. 1812), Wolverley House, nr. Kidderminster, by whom bequeathed to his nephew John Knight, Portland Place, London; sale, Phillips, London, 23-4 March 1819, lot 39 (510 gns. to Woodburn). with Samuel Woodburn, London. Jeremiah Harman (c. 1764-1844), 18 Finsbury Square, London. Michael Zachary (d. 1837), The Adelphi Terrace, London, from whom acquired between 1824 and 1837 by Frederick Perkins, and by descent to George Perkins; Christie's, London, 14 June 1890, lot 28 (945 gns. to Jeffery). Anon. Sale, Paris, 3 June 1893, lot 16, illustrated. with Steinmeyer, Cologne, circa 1895, from whom acquired by the great-grandfather of the present owners. ENGRAVED C. Courtry, for the 1893 sale catalogue. LITERATURE J. Smith, A Catalogue Raisonn‚, etc., VI, London, 1835, pp. 347-8, no. 104, '...The shadows from the rolling clouds, and the alternate bursts of light, are admirably depicted on the surface of the restless ocean, and these, aided by the most perfect gradation of colour, lead the eye over an immense expanse of sea. This is an example of the rarest excellence, both as regards the general effect, as well as the detail; the latter of which, for delicacy of penciling, has in no instance been exceeded.' C. Hofstede de Groot, A Catalogue Raisonn‚, etc., VII, London, 1923, pp. 120-121, no. 479. M.S. Robinson, The Paintings of the Willem van de Veldes, London, 1990, II, pp. 892-3, no. 725. EXHIBITION London, British Institution, 1836, no. 45, lent by Frederick Perkins. London, British Institution, 1863, no. 15. NOTES Regarded by John Smith as 'an example of the rarest excellence' ( loc. cit. ), this picture, which has not been on the market for over a century, belongs to a group of stormy seascapes from the earlier years of the artist's activity. It is described by Robinson, loc. cit., as having been painted 'probably substantially by the Younger (=Willem van de Velde) for the Van de Velde studio', and dated by him to circa 1660. Robinson was judging from a (probably an old) photograph, and may well have been over cautious in his judgement as the quality of execution seems to be of a very high order. Indeed Robinson notes that 'it seems certain that this is the same picture John Smith saw about 1835...so his opinion of the picture is evidence that this early picture could not have been worked on by anyone else in the studio'. In this group of seascapes are prominent the banking cumulus clouds and dramatic lighting with the fore- and middle-grounds in shadow. Thus the w‹jdschip and adjacent kaag, which is going about, are caught in bright light. The details of the shipping and waves are rendered with that sharpness brought about by bright sunlight as rain approaches, an effect accentuated by Van de Velde's mastrful restraint of palette. The contrast between the pale, billowing cumulus clouds high in the upper centre and the dark clouds down on the right, lowering over a lighter central horizon help to create a feeling of distance - Smith's 'immense expanse of sea' ( ibid. ) - as the ocean recedes from the viewer. This impression is further heightened by the diagonal recession of ships away from the warship in the middle distance towards a central vanishing point. As observed by Keyes, 'this evocation of the sea as a vast stage parallels van de Velde's achievement in the calms, but interpreted with greater, albeit restrained dramatic force'.
Christie's