Glyn Philpot, R.A.
The Mermaid
Estimate: 8.000 - 12.000 GBP
Price realised: 25.000 GBP
Price realised: 25.000 GBP
Description
Glyn Philpot, R.A.
1884-1937
THE MERMAID
‘Brilliant students do not always fulfill their early promise, but there was a certain quality in Glyn’s work and to himself which convinced me that here was an exceptional being who would make his mark in the world.’ (Reproduced in J.P. Delaney, Glyn Phlipot, His Life and Art, Ashgate Publishing, 1999, p11)
So wrote Philip Connard, Philpot’s tutor at Lambeth Art School, to the artist’s sister in 1945, recalling the early promise and natural talent that Philpot displayed as a young student. Philpot had enrolled at the School, which had a very good reputation under the guidance of the headmaster, John Sparkes in 1900 and his ability was formally recognized early on when, in the spring of 1901, he was the first out of 112 candidates to be awarded a
Philpot created The Mermaid aged just eighteen and it reveals both his natural ability as draughtsman as well as the early and varied influences that he was beginning to absorb whilst at the school. Charles Rickett and Charles Shannon, two older students who had studied at Lambeth in 1882 and who would go on to collaborate with one another on the magazine The Dial 1889–97, and the Vale Press 1896–1904, would prove to be two figures whose work
From Rickett’s also came Philpot’s preference for the figurative and often romantic or allegoric subjects which were considered old fashioned at that time, the avant-garde being dominated by the influence of the French Impressionists. Both Ricketts and Shannon believed in the superiority of ‘history painting’ and in his earlier career this was also a subject that interested Philpot. In early oil paintings such as Oedipus and the Sphinx, 1
The more specific theme of the feminine in relation to water was also explored by Ricketts in the frontispiece to ‘The Dial’, 1886 and by Shannon in several of his paintings including The Birth of Venus, 1898-1904, now in the Tate Gallery’s collection. By titling this work as such, Shannon transforms his sitter into the goddess, Venus and imbues his image with an allegorical history, in the same way, Philpot reimagines the young lady before
Miss Gabrielle Cross, the Artist's niece | The Fine Art Society, London, where acquired by Claire and Garrick Stephenson | Their sale, Christie's South Kensington, 9th December 2015, lot 57, where acquired by the present owner
1884-1937
THE MERMAID
‘Brilliant students do not always fulfill their early promise, but there was a certain quality in Glyn’s work and to himself which convinced me that here was an exceptional being who would make his mark in the world.’ (Reproduced in J.P. Delaney, Glyn Phlipot, His Life and Art, Ashgate Publishing, 1999, p11)
So wrote Philip Connard, Philpot’s tutor at Lambeth Art School, to the artist’s sister in 1945, recalling the early promise and natural talent that Philpot displayed as a young student. Philpot had enrolled at the School, which had a very good reputation under the guidance of the headmaster, John Sparkes in 1900 and his ability was formally recognized early on when, in the spring of 1901, he was the first out of 112 candidates to be awarded a
Philpot created The Mermaid aged just eighteen and it reveals both his natural ability as draughtsman as well as the early and varied influences that he was beginning to absorb whilst at the school. Charles Rickett and Charles Shannon, two older students who had studied at Lambeth in 1882 and who would go on to collaborate with one another on the magazine The Dial 1889–97, and the Vale Press 1896–1904, would prove to be two figures whose work
From Rickett’s also came Philpot’s preference for the figurative and often romantic or allegoric subjects which were considered old fashioned at that time, the avant-garde being dominated by the influence of the French Impressionists. Both Ricketts and Shannon believed in the superiority of ‘history painting’ and in his earlier career this was also a subject that interested Philpot. In early oil paintings such as Oedipus and the Sphinx, 1
The more specific theme of the feminine in relation to water was also explored by Ricketts in the frontispiece to ‘The Dial’, 1886 and by Shannon in several of his paintings including The Birth of Venus, 1898-1904, now in the Tate Gallery’s collection. By titling this work as such, Shannon transforms his sitter into the goddess, Venus and imbues his image with an allegorical history, in the same way, Philpot reimagines the young lady before
Miss Gabrielle Cross, the Artist's niece | The Fine Art Society, London, where acquired by Claire and Garrick Stephenson | Their sale, Christie's South Kensington, 9th December 2015, lot 57, where acquired by the present owner
Upper estimate price exceeded by more than 100%
This artwork by Glyn Warren Philpot achieved an unexpectedly high price at Sothebys in London in March 2019. In the Made in Britain auction, the work The Mermaid sold for GBP 25,000.00 (€ 29,016.74) - well above the upper estimate of GBP 12,000.00. Of course, this price has nothing to do with the top prices that other works by Glyn Warren Philpot achieve. The highest price we have observed so far was reached by the work Head of a Negro in March 2015 with an auction result of GBP 302,500.00 (€ 418,222.23).
Oberer Schätzpreis um mehr als 100% übertroffen
Dieses Kunstwerk von Glyn Warren Philpot erzielte im März 2019 bei Sothebys in London einen unerwartet hohen Preis. In der Auktion Made in Britain wurde die Arbeit The Mermaid für GBP 25.000,00 (€ 29.016,74) versteigert – und damit weit über dem oberen Schätzpreis von GBP 12.000,00. Dieser Preis hat freilich nichts mit den Spitzenpreisen zu tun, die andere Arbeiten von Glyn Warren Philpot erzielen. Den höchsten von uns bisher beobachteten Preis erreichte die Arbeit Head of a Negro im März 2015 mit einem Auktionsergebnis von GBP 302.500,00 (€ 418.222,23).
Glyn Warren Philpot - Auction history
Other artists in this auction
