John (1686) Harris Paintings & Artwork for Sale | John (1686) Harris Art Value Price Guide

Jan. 26, 2024
JOHN HARRIS* (Maine, 20th Century), “Pophani 2”, 1992., Oil on slate, 40” x 30”.
Est: $800 - $1,200
JOHN HARRIS* Maine, 20th Century "Pophani 2", 1992. Signed and dated lower right "John Harris 92" and titled lower left.
Eldred's
Jul. 07, 2022
John Senex (London 1690 - 1740) John Harris, 'A new mapp of Rome shewing its antient and present scituation', London first half of the 18th century
Est: -
Engraving on watermarked laid paper depicting Rome at the end of the 18th century, flaws present and unframed
Telearte
Dec. 22, 2021
A Town plan of Guildford, Circa 1739, surveyed by Matt Richardson and engraved by John Harris, faults, 20.5" x
Est: £200 - £300
A Town plan of Guildford, Circa 1739, surveyed by Matt Richardson and engraved by John Harris, faults, 20.5" x 29".
John Nicholson's Fine Art Auctioneers & Valuers
Feb. 08, 2020
John Harris (British, 1686-1740)
Est: $250 - $350
John Harris (British, 1686-1740) , "The Chapter House of the Cathedral Church of St Paul's London", 18th c., hand-colored engraving, sight 18 3/8 in. x 22 1/2 in., framed . Provenance: Estate of James H. Stone, New Orleans, LA
Neal Auction Company
Mar. 28, 2018
John Harris (c.1686-c.1740) British. "The Front of Blenheim House Towards the Gardens", Engraving, 18" x 26", and another by the same hand "The East Front of Blenheim House drawn Orthographically", two (2).
Est: £150 - £200
John Harris (c.1686-c.1740) British. "The Front of Blenheim House Towards the Gardens", Engraving, 18" x 26", and another by the same hand "The East Front of Blenheim House drawn Orthographically", two (2).
John Nicholson's Fine Art Auctioneers & Valuers
Sep. 20, 2016
JOHN HARRIS HAND COLORED ENGRAVING (United Kingdom
Est: $100 - $200
JOHN HARRIS HAND COLORED ENGRAVING (United Kingdom, 1811-1865) "Pulling Up To Un-Skid" after the painting by C.c. Henderson, from the Fores's Coaching Recollections Series. Image measures 17" x 26.75". In a wood frame, 31" x 39" overall.
O'Gallerie
Jan. 17, 2015
John Harris I, British act. 1686-1740- ''The Chapter House of the Cathedral Church of St Paul's Lond
Est: £120 - £180
John Harris I, British act. 1686-1740- ''The Chapter House of the Cathedral Church of St Paul's London''; hand-coloured engraving, 47.5x56cm: John Harris I, British act. 1686-1740- ''The South-West Prospect of his Grace ye Duke of Marlborough's House in St. James's Park'', after James Lightbody; hand-coloured engraving, 47.5x56cm, (2)
Roseberys
Oct. 04, 2014
John Harris I, British act. 1686-1740- "The
Est: £200 - £300
John Harris I, British act. 1686-1740- "The Chapter House of the Catherdrall Church of St Paul's London"; hand coloured engraving, 47.5x56cm: John Harris I, British act. 1686-1740- "The South-West Prospect of his Grace ye Duke of Marlborough's House in St. James's Park", after James Lightbody; hand coloured engraving, 47.5x56cm, (2)
Roseberys
Aug. 09, 2014
Mixed media by John Harris
Est: $50 - $100
John Harris (American, Contemporary), Untitled, watercolor and sand on paper, signed lower right, overall (with frame): 29.75''h x 23.5''w
Clars Auctions
Apr. 16, 2014
John Harris after Charles Cooper Henderson (19th
Est: £700 - £900
John Harris after Charles Cooper Henderson (19th Century) 'Changing Horses', inscribed, 'Fores's Coaching Recollections', from a picture in the possession of Lord Macdonald, published by Messrs Fores, 41, Piccadilly, London, January 1st 1842, also published by Gambart & Junin of Paris, Plate 1, coloured aquatinted engraving, together with six further companions, 'All Right', Plate 2, 'Pulling up to Un-Skid', 'Waking Up', 'The Olden Time', 'The Night Team', 'A Hunting Morning', Plate's 3,4,5,6, and 7, each 57.5 x 78cm, in shaped frames (7)
Halls Fine Art
Dec. 09, 2012
John Harris, after John Frederick Herring Sr. Two framed hand colored aquatints from the Fores's National Sports Series
Est: $400 - $600
John Harris, after John Frederick Herring Sr. Two framed hand colored aquatints from the Fores's National Sports Series 24 1/4 x 44 1/2 in.
Alex Cooper
Mar. 05, 2003
JOHN HARRIS (1686-1740), and JOHANNES KIP (1653-1722), after THOMAS BADESLADE (1718-1750)
Est: $3,000 - $4,000
Dr. Harris's History of Kent: Six Plates six engravings, circa 1720, with hand-coloring, on laid papers, published in London, all with margins, all with central vertical folds where previously bound, all with associated pale staining and minor creasing most apparent in the upper and lower margins to varying degrees, stray printing ink along the plate edges on several plates, otherwise all apparently in good condition, in mahogany stained frames with a fleur-de-lis design and French mats with wash lines, not examined out of the frames all P. approx. 133/4 x 171/4 in. (348 x 437 mm.) all overall 251/2 x 283/4 in. (647 x 730 mm.) (6).
Christie's
Jul. 18, 2002
PORTRAIT OF GEORGE WALLIS OF HULL (1731-1803)
Est: $471 - $785
A coloured mezzotint of George Wallis engraved by I.R. Smith in 1804 after the watercolour by John Harrison, framed and glazed Approx. 131/2in. (34.3cm.) x 91/4in. (23.5cm.) George Wallis, "Celebrated Antiquary & Gunsmith", established a museum at his Mytongate premises by 1794, displaying not only weapons but also 'medals, coins, ores, petrefactions etc.'. The Weapons included the Brunswick all-steel wheel-lock pistol shown in the portrait, and a sixteenth-century hunting sword which belonged to King Henry VIII. Wallis is also well-known for the work he carried out for William Constable of Burton Constable Hall LITERATURE For further information see W. Keith Neal and D.H.L. Back, Great British Gunmakers 1740-1790, pp. 89, 94, plates 261-279; A.G. Credland, 'Wallis of Hull', J.A.A.S., vol. IX, no.4 (December 1978), pp. 133-181.
Christie's
Jun. 15, 2001
George Lambert (1700-1765)
Est: $84,000 - $112,000
A view of Fonthill, Wiltshire, with haymakers in the foreground oil on canvas 313/4 x 43 in. (80.5 x 109 cm.) PROVENANCE Possibly one of the 'views of Fonthill Mansion before the Fire in 1755', recorded there by John Rutter in 1823. Possibly Phillips, 9 July 1825, lot 26, 'Lambert. View of Fonthill'. Mrs Charles B. Alexander (d. 1935), New York. EXHIBITION J. Rutter, Delineations of Fonthill Abbey, 1823, p. 16. J. Harris, 'Neglected Views of Britain', Country Life, 11 July 1991, pp. 81-2, fig. 2. E. Einberg, 'Catalogue Raisonn‚ of the works of George Lambert 1700-65', The Walpole Society, 2001. NOTES This picture was thought to be a view of Dulwich College when it was in the collection of Mrs Alexander. However, as Elizabeth Einberg ( op.cit. ) makes clear, it relates to Lambert's much larger signed and dated view of Fonthill of 1740 (E. Einberg, op.cit., p1740 A, fig. 52.). Elizabeth Einberg suggests that some of the foreground shrubbery and trees, the upper part of the sky, and the standing figure in the foreground may be by another hand and that the technique of these additions is very close to that of Lambert's pupil and assistant John Inigo Richards. She also comments that the main group of figures in the foreground are stylistically close to the work of William Hogarth. In her view it is possible that these additions were made either as a result of damage sustained in or after the fire of 1755, or that the two pictures were originally of the same size, displaying a similar ratio of building to landscape. Fonthill was owned by Alderman William Beckford (1709-70), twice Lord Major of London and father of William Thomas Beckford, the author of Vathek. The family had amassed great wealth in the sugar and slave trade in Jamaica in the previous century. William, a younger son, was sent to England in 1723 to be educated, where he settled. In 1736 he inherited the entire Beckford fortune and soon after bought the Elizabethan mansion of Fonthill from Francis Cottington. This picture presumably records what it looked like at the time. The buildings in this composition look the same as in an engraving after a 17th Century painting (for which see J. Harris, op.cit., 1966, p. 1370, fig. 3), save that an entire older range on the left hand side of the mansion appears to have been demolished and the central older range on the left side of the mansion here appears to have been demolished and the central block between the projecting wings, with their strangely asymmetrical doors, has been tidied up with a balustraded top. The small classical temple visible beyond the house on the right is perhaps a Beckford addition. Sir Richard Colt Hoare in his History of Modern Wiltshire (1824-44) named the three stages of the house 'Fonthill Antiquus ' (before Beckford's alterations), 'Fonthill Redivivus ' (with Beckford's Palladian addition, and 'Fonthill Splendens ' (after it was rebuilt after the fire of 1755). We are grateful to Elizabeth Einberg for her help in cataloguing this picture.
Christie's