William (1746) James Sold at Auction Prices

Landscape painter, Naval painter

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      • A George III silver bell shaped half pint mug, acanthus-capped double scroll handle, skirted base, 9cm high, William & James Priest, London 1771, 166g
        Jan. 24, 2024

        A George III silver bell shaped half pint mug, acanthus-capped double scroll handle, skirted base, 9cm high, William & James Priest, London 1771, 166g

        Est: £200 - £300

        A George III silver bell shaped half pint mug, acanthus-capped double scroll handle, skirted base, 9cm high, William & James Priest, London 1771, 166g

        Bamfords Auctioneers and Valuers Ltd
      • A George III silver two-handled porringer William & James Priest, London 1771
        Oct. 18, 2023

        A George III silver two-handled porringer William & James Priest, London 1771

        Est: £500 - £600

        A George III silver two-handled porringer William & James Priest, London 1771 Cylindrical form with flared rim, with leaf punched motifs above and below a ropetwist girdle, further leaf punch motifs above a part fluted lower body, foliate cartouche to the front, initialled, on a spreading circular foot, ribbed loop handles, height 11cm, weight 7.7oz.

        Bonhams
      • WILLIAM JAMES (London doc. 1746-1771), attributed. "The Grand Canal of Venice, with a procession entering Santa Maria della Salute", 18th century. Oil on canvas. Original frame.
        Jun. 22, 2023

        WILLIAM JAMES (London doc. 1746-1771), attributed. "The Grand Canal of Venice, with a procession entering Santa Maria della Salute", 18th century. Oil on canvas. Original frame.

        Est: €100,000 - €120,000

        Attributed to WILLIAM JAMES (doc. London 1746-1771). "The Grand Canal of Venice, with a procession entering Santa Maria della Salute", 18th century. Oil on canvas. Original frame. Measurements: 75 x 126 cm; 86 x 137 cm (frame). We are in front of a Venetian veduta endowed with unusual virtuosity, both at compositional, technical and formal level. A wide panoramic view opens onto the great canal, flanked by the campanile of St Mark's Square and the Doge's Palace on the left, and the imposing church of Santa Maria della Salute on the right. Gondolas and boats of all kinds ply the canal. Precise detailing and narrative zeal are combined in the individualised description of the gondolas that cross the canal (some are humble, others are covered in gold, etc.), as well as the variety of characters (villagers, nobles, ecclesiastics making their way in procession towards the church door, etc.). A limpid sky illuminates the immense scene, giving shape to every detail: the sculpted figures in the niches, the rhythmic vibration of the water, the liturgical costumes... The art of the miniaturist harmonises with that of the landscape painter, following in the footsteps of the great master and inventor of the Venetian vedutismo genre, Canaletto (1697-1768). Canaletto lived in London between 1746 and 1756, thanks to the English consul Smith, who was responsible for the dissemination of the Grand Tour among the British. William James (active in London between 1746 and 1771) was a pupil of Canaletto's during this period, learning his style at first hand and producing several veduti without having visited the city. The present canvas shows numerous similarities with paintings by Canaletto such as Il gran Canal verso il bacino di san Marco and The Grand Canal with Santa Maria della Salute in the English Royal Collection. Similarly, the canvas by William James in the Francesco Borgogna Museum (Vercelli) entitled "Canal Grande e la chiesa della Salute" bears a close compositional resemblance, both in the variety of details and in the way it captures the clear, Mediterranean atmosphere.Few details of William James's career have survived (from Edward Edwards's compendium "Anecdotes of painters" 1808). We do know, however, that he was a pupil of Canaletto in London and exhibited in the English capital between 1761 and 1771 and that in 1766 he was a member of the Society of Artists, and it has also been possible to link his name with a number of paintings (both Venetian and London-themed) held in private collections around the world and important institutions such as the Dixon Gallery and Gardens in Tennessee.

        Setdart Auction House
      • William James, tätig 1730 – 1780, zugeschrieben
        Dec. 08, 2022

        William James, tätig 1730 – 1780, zugeschrieben

        Est: €90,000 - €120,000

        DIE MOLE MIT DEM DOGENPALAST AM BECKEN VON SAN MARCO UND DEM BUCENTAUR Prunkschiff, UM 1760 Öl auf Leinwand. 56 x 91 cm. Gut ausgewogene Komposition mit niedrigem Horizont, sodass auch der hinter dem Dogenpalast aufstrebende Campanile noch genug Raum zum oberen Bildrand hat. Im Vordergrund mehrere Gondeln und das Staatsschiff des Dogen, der Bucentaur. William James war zwischen 1746 und 1771 als Vedutist tätig; die einzigen Informationen über seine künstlerische Persönlichkeit finden sich in Edward Edwards‘ Anecdotes of Painters von 1808, in dem James als „Schüler“ oder Mitarbeiter von Canaletto während dessen Aufenthalt in England zwischen 1746 und 1755 erwähnt wird. Sein künstlerischer Werdegang wurde teilweise durch eine Reihe von Londoner Ansichten rekonstruiert, die sich im Besitz des Ashmolean Museums in Oxford und der British Royal Collections befinden. Im Text des oben genannten Edwards findet sich jedoch die einzige Erwähnung seiner Malerei venezianischer Sujets, die der Biograf selbst als stark mit Canaletto verwandt ansieht. Die Zuschreibung einiger Ansichten, die auf den internationalen Markt gelangten, an William James und vor allem das Vorhandensein einiger Leinwände, auf denen sein Name vollständig auf einer an den Originalrahmen angebrachten Plakette steht, lassen auf eine reiche Produktion von Stadtpanoramen schließen, die im Allgemeinen dem malerischen Repertoire von Antonio Canal entnommen sind, Werke, die es dem englischen Maler ermöglichten, zu den "vedutisti di Venezia" (Vedutenmalern von Venedig) gezählt zu werden, obwohl seine biografische Abfolge keinen Hinweis auf einen möglichen Aufenthalt in der Lagunenstadt gibt. James war einer der bekanntesten Schüler Canalettos, der den Geschmack der venezianischen Stätten indirekt aufnahm, indem er die Werke betrachtete, die der Meister mit nach England gebracht hatte, und indem er an seiner Seite arbeitete, als er die große Nachfrage seiner Auftraggeber nach Ansichten der von ihnen so geliebten Lagunenstadt befriedigte. Werke seiner Hand kamen ins Victoria und Albert Museum, in den Kensington-Palast sowie ins Ashmolean Museum in Oxford. Biografische Angaben über den Künstler sind weitgehend unbekannt, er war jedoch zwischen etwa 1755 und 1775 in London tätig. Wie in Edward Edwards’ „Anedoctes of Painters“, das 1808 posthum veröffentlicht wurde, bestätigt wird, war William James ein Assistent oder Schüler von Giovanni Antonio Canal (1697-1768), genannt Canaletto, während des langen Aufenthalts des venezianischen Malers in London, der – abgesehen von einer kurzen Unterbrechung im Jahr 1751 – zehn Jahre lang von 1746 bis 1756 dauerte. William James war im London des 18. Jahrhunderts ein hochgeschätzter Künstler: Einige seiner Londoner Ansichten wurden zwischen 1767 und 1771 auf der jährlichen Ausstellung der Society of Artists ausgestellt: In der Ausstellung von 1767 wurden zwei Gemälde präsentiert, die das westliche Ende der Westminster Bridge darstellten. (†) Anmerkung: Überreste des letzten im Dienst befindlichen Burcentaur, der jedoch erst 1728 gebaut wurde, befinden sich im Arsenale in Venedig und maß einst – um eine Größenvorstellung zu geben – 43,8 × 7,3 × 8,4 m. (13414514) (13) William James, active 1730 – 1780, attributed PIER WITH DOGE'S PALACE AT THE SAN MARCO BASIN AND BUCENTAUR, the magnificent ship, CA. 1760 Oil on canvas. 56 x 91 cm. Well-balanced composition with a low horizon, so that the campanile rising behind the Doge’s Palace still has enough space to the upper edge of the painting. There are several gondolas and the doge’s ship of state, the Bucentaur in the foreground. William James was active as a veduta painter between 1746 and 1771; the only information about him as an artist is found in Edward Edwards’ Anecdotes of Painters of 1808, which mentions James as a “student” or collaborator with Canaletto during his stay in England between 1746 and 1755. His artistic career has been partially reconstructed through a series of London vedutas held by the Ashmolean Museum, Oxford, and the British Royal Collections. Edwards’ text, however, is the only one that mentions his painting of Venetian subjects, which the biographer himself regards as closely related to Canaletto. The attribution to William James of some vedutas that reached the international market and, above all, the presence of some canvases on which his name is written in full on a plaque affixed to the original frames, suggest an ample production of urban panoramas, generally taken from Antonio Canal’s image repertoire. His works enabled the English painter to be counted among the “vedutisti di Venezia” (Venetian veduta painters), although his biography gives no indication of a possible stay in the lagoon city. James was one of Canaletto’s most famous students, absorbing the ambience of the Venetian sites indirectly by studying the works the master had brought to England and by working alongside him when he met the great demand from his patrons for vedutas of the lagoon city they loved so much. (†) Notes: Remains of the last Bucentaur in service, which was not built until 1728, are held at the Arsenale in Venice and to give an idea of proportions it once measured 43.8 × 7.3 × 8.4 m.

        Hampel Fine Art Auctions
      • Attributed to WILLIAM JAMES (doc. London 1746-1771). "The Grand Canal of Venice, with a procession entering Santa Maria della Salute", 18th century. Oil on canvas.
        Sep. 29, 2021

        Attributed to WILLIAM JAMES (doc. London 1746-1771). "The Grand Canal of Venice, with a procession entering Santa Maria della Salute", 18th century. Oil on canvas.

        Est: €100,000 - €120,000

        Attributed to WILLIAM JAMES (doc. London 1746-1771). "The Grand Canal of Venice, with a procession entering Santa Maria della Salute", 18th century. Oil on canvas. Original frame. Measurements: 75 x 126 cm; 86 x 137 cm (frame). We are in front of a Venetian veduta endowed with unusual virtuosity, both at compositional, technical and formal level. A wide panoramic view opens onto the great canal, flanked by the campanile of St Mark's Square and the Doge's Palace on the left, and the imposing church of Santa Maria della Salute on the right. Gondolas and boats of all kinds ply the canal. Precise detailing and narrative zeal are combined in the individualised description of the gondolas that cross the canal (some are humble, others are covered in gold, etc.), as well as the variety of characters (villagers, nobles, ecclesiastics making their way in procession towards the church door, etc.). A limpid sky illuminates the immense scene, giving shape to every detail: the sculpted figures in the niches, the rhythmic vibration of the water, the liturgical costumes... The art of the miniaturist harmonises with that of the landscape painter, following in the footsteps of the great master and inventor of the Venetian vedutismo genre, Canaletto (1697-1768). Canaletto lived in London between 1746 and 1756, thanks to the English consul Smith, who was responsible for the dissemination of the Grand Tour among the British. William James (active in London between 1746 and 1771) was a pupil of Canaletto's during this period, learning his style at first hand and producing several veduti without having visited the city. The present canvas shows numerous similarities with paintings by Canaletto such as Il gran Canal verso il bacino di san Marco and The Grand Canal with Santa Maria della Salute in the English Royal Collection. Similarly, the canvas by William James in the Francesco Borgogna Museum (Vercelli) entitled "Canal Grande e la chiesa della Salute" bears a close compositional resemblance, both in the variety of details and in the way it captures the clear, Mediterranean atmosphere. We do know, however, that he was a pupil of Canaletto in London and exhibited in the English capital between 1761 and 1771 and that in 1766 he was a member of the Society of Artists, and it has also been possible to link his name with a series of paintings (both Venetian and London-themed) held in private collections around the world and important institutions such as the Dixon Gallery and Gardens in Tennessee.

        Setdart Auction House
      • William James (documentato a Londra dal 1746 al 1771), Veduta della Chiesa della Salute a Venezia
        Jun. 16, 2021

        William James (documentato a Londra dal 1746 al 1771), Veduta della Chiesa della Salute a Venezia

        Est: €30,000 - €40,000

        olio su tela, cm 92x92

        Cambi Casa d'Aste
      • WILLIAM JAMES (London doc. 1746-1771), attributed. "The Grand Canal of Venice, with a procession entering Santa Maria della Salute", 18th century. Oil on canvas. Original frame.
        May. 18, 2021

        WILLIAM JAMES (London doc. 1746-1771), attributed. "The Grand Canal of Venice, with a procession entering Santa Maria della Salute", 18th century. Oil on canvas. Original frame.

        Est: €120,000 - €130,000

        Attributed to WILLIAM JAMES (London doc. 1746-1771) "The Grand Canal of Venice, with a procession entering Santa Maria della Salute", 18th century. Oil on canvas. Original frame. Measurements: 75 x 126 cm .; 86 x 137 cm. (Frame). This is a Venetian veduta endowed with unusual virtuosity, both compositionally, technically and formally. A wide panoramic view opens onto the great canal, flanked by the campanile of St. Mark's Square and the Doge's Palace on the left, and the imposing church of Santa Maria della Salute on the right. Gondolas and boats of all kinds ply the canal. Precious detail and narrative zeal are combined in the individualized description of the gondolas that cross the canal (some are humble, others are covered with gold, etc.), as well as the variety of characters (villagers, nobles, ecclesiastics who walk in procession towards the church door...). A limpid sky illuminates the immense scene, giving shape to every detail: the figures sculpted in the niches, the rhythmic vibration of the water, the liturgical costumes... The art of the miniaturist harmonizes with that of the landscape painter, following in the footsteps of the great master and inventor of the Venetian vedutismo genre, Canaletto (1697-1768). Canaletto lived in London between 1746 and 1756, thanks to the English Consul Smith, who was responsible for the diffusion of the Grand Tour among the British. William James (active in London between 1746 and 1771) was Canaletto's pupil at this time, getting to know his style first hand and producing several veduti without having visited the city. The painting in question shows numerous correspondences with paintings by Canaletto such as "Il gran Canal verso il bacino di san Marco" and The Grand Canal with Santa Maria della Salute from the English Royal Collection. Likewise, the canvas by William James preserved in the Francesco Borgogna Museum (Vercelli) entitled "Canal grande e la chiesa della Salute" shows a great compositional resemblance, both in the variety of details and in the way of capturing the clear and Mediterranean atmosphere.Few data are preserved on the career of William James (extracted from the compendium of Edward Edwards "Anecdotes of painters" 1808). We know, however, that he was a pupil of Canaletto in London and that he exhibited in the English capital between 1761 and 1771 and that in 1766 he was a member of the Society of Artists, and it has also been possible to link his name with a series of paintings (both Venetian and London themed) held in private collections around the world and important institutions such as Dixon Gallery and Gardens in Tennessee.

        Setdart Auction House
      • WILLIAM JAMES
        Mar. 07, 2019

        WILLIAM JAMES

        Est: €8,000 - €12,000

        (documentato a Londra dal 1746 al 1771) Veduta del Canal Grande con la chiesa di Santa Maria della Carità Olio su tela, cm 62X76 Allievo del Canaletto durante il soggiorno di quest'ultimo in Inghilterra (1746-51), William James divenne celebre per le sue scene ambientate nella laguna veneziana. Le notizie riguardanti la sua biografia sono riportate negli 'Anecdotes of Painter' di Edward Edwards, pubblicato a Londra nel 1708. James ottenne notevole successo in patria, esponendo regolarmente le proprie opere alle mostre organizzate alla Royal Academy e alla Society of Artists, di cui è stato anche membro nel decennio tra il 1761 e il 1771, anno della sua morte. Il nucleo principale della sua produzione è costituito da vedute inglesi di chiaro stampo canalettiano, conservate in vari musei anglosassoni e nelle collezioni reali- gli vengono concordemente assegnate anche numerose vedute veneziane, per lo più derivate, per quel che riguarda i soggetti, dalla serie di stampe incise da Antonio Visentini dai dipinti realizzati dal Canaletto su commissione del console inglese a Venezia Joseph Smith, dal 1762 conservati a Windsor Castle. Bibliografia di riferimento: 'Uno sguardo su Venezia', catalogo della mostra, Milano 2008, pp. 17 - 24

        Wannenes Art Auctions
      • William James Ward 1779, Pencil, ' Xmas 79 ' , a Foxhound dog , gauntletts
        Feb. 02, 2018

        William James Ward 1779, Pencil, ' Xmas 79 ' , a Foxhound dog , gauntletts

        Est: £300 - £500

        William James Ward 1779, Pencil, ' Xmas 79 ' , a Foxhound dog , gauntletts and a walking stick/cane, Signed and dated lower. 11 1/2 x 15''

        Claydon Auctioneers
      • James, Grand Canal Venice, Oil on Canvas
        Feb. 19, 2017

        James, Grand Canal Venice, Oil on Canvas

        Est: $110,000 - $180,000

        William James (fl. 1761-1771), Grand Canal Venice with Saint Mark's Square, oil on canvas, signed, antique carved gilt wood, 30" h x 50" w (view), Rococo frame 47" h x 65 1/2" w (frame). Provenance: From Mrs. Nadine Ceruti Kurkou, thence from the Montelatici family of New York, Florence Italy and Miami Beach.

        Kaminski Auctions
      • William James (fl.1754-1771) - Oil on canvas - Westminster Bridge looking South, with the abbey to t
        Sep. 01, 2016

        William James (fl.1754-1771) - Oil on canvas - Westminster Bridge looking South, with the abbey to t

        Est: £8,000 - £12,000

        William James (fl.1754-1771) - Oil on canvas - Westminster Bridge looking South, with the abbey to the right and boats on the Thames, faint indistinct signature, 63cm x 101cm William James is a somewhat obscure figure of whom little is known other than the fact that he exhibited several times at the Spring Gardens between 1761 and 1768 and The Royal Academy between 1769 and 1771. There are some that say that he worked as a studio assistant to Canaletto on his visit to England in 1754 and although the Italian Masters influence is clear to see there has never been any evidence presented to back-up this claim

        Clevedon Salerooms Ltd.
      • Attributed to William James , active 1761-1771 The Entrance to the Grand Canal, Venice, with Punta della Dogana and Santa Maria della Salute oil on canvas
        Jan. 29, 2009

        Attributed to William James , active 1761-1771 The Entrance to the Grand Canal, Venice, with Punta della Dogana and Santa Maria della Salute oil on canvas

        Est: $150,000 - $200,000

        oil on canvas

        Sotheby's
      • William James , active 1730-1780 View of the Thames at Westminster oil on canvas, in a Carlo Maratta style gilded frame
        Dec. 04, 2008

        William James , active 1730-1780 View of the Thames at Westminster oil on canvas, in a Carlo Maratta style gilded frame

        Est: £25,000 - £35,000

        oil on canvas, in a Carlo Maratta style gilded frame

        Sotheby's
      • William James , Attivo nel 1730-1780 Venezia, il Palazzo Ducale e la Riva degli Schiavoni olio su tela
        May. 20, 2008

        William James , Attivo nel 1730-1780 Venezia, il Palazzo Ducale e la Riva degli Schiavoni olio su tela

        Est: €25,000 - €35,000

        olio su tela

        Sotheby's
      • William James , Attivo nel 1730-1780 Venezia, Santa Maria Formosa olio su tela
        May. 20, 2008

        William James , Attivo nel 1730-1780 Venezia, Santa Maria Formosa olio su tela

        Est: €12,000 - €18,000

        olio su tela

        Sotheby's
      • William James , active 1730-1780 The Molo, Venice: Looking West towards the Dogana and Santa Maria della Salute, the Biblioteca Marciana right oil on canvas
        Jan. 24, 2008

        William James , active 1730-1780 The Molo, Venice: Looking West towards the Dogana and Santa Maria della Salute, the Biblioteca Marciana right oil on canvas

        Est: $40,000 - $60,000

        oil on canvas

        Sotheby's
      • A George III two handled cup William and James Priest, 1771,
        Dec. 10, 2007

        A George III two handled cup William and James Priest, 1771,

        Est: £300 - £400

        William and James Priest, 1771, of plain bell shape with S scroll handles, on a short pedestal foot , height 13.3cm , weight 11.7oz .

        Bonhams
      • William James (British, (active 1754 - 1771)
        Sep. 26, 2007

        William James (British, (active 1754 - 1771)

        Est: £20,000 - £30,000

        The Bacino di San Marco oil on canvas 92 x 150cm (36 x 59ins)

        Bonhams
      • William James active 1730-1780 , View of the Grand Canal, Venice, with San Geremia and the Entrance to the Cannaregio
        Jun. 08, 2007

        William James active 1730-1780 , View of the Grand Canal, Venice, with San Geremia and the Entrance to the Cannaregio

        Est: $80,000 - $120,000

        oil on canvas

        Sotheby's
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