Margaret Hamilton — a name whose connotations vary depending on context — has been associated with enchanting cinematic legacies, signature autographs, and evocative artworks. Yet among these varied forms of cultural output, one figure stands out when considering the highest transactional value in the market: the British artist Margaret Hamilton, born in 1867, whose still life painting shattered her own personal auction record.
This article examines her most valuable sale, as well as the broader context of her market performance, describing in detail the highest price achieved and considering what this signals for collectors and art historians alike.
Background: Understanding Margaret Hamilton (British Artist) and Her Market
Margaret Hamilton, a British artist born in 1867, is recognized for her floral still lifes and delicate portrayals of everyday objects. Throughout her career, many of her works have been auctioned, with realized sale prices varying depending on medium, size, condition, and provenance. Auction records indicate that her works have fetched prices ranging from modest sums to more substantial figures. Notably, the upper end of these records reached approximately one thousand US dollars.
More precisely, multiple realized prices spanned from around fifty US dollars to over one thousand US dollars. The record-holding transaction was for a work titled Still Life of Flowers on a Table, which sold for approximately one thousand fifty‑nine US dollars at an auction conducted by Dreweatts at Donnington Priory in 2009. This remains the highest documented sale for this particular artist.
The Record Transaction: Details and Significance
The sale of Still Life of Flowers on a Table, which achieved around one thousand fifty‑nine US dollars, took place in 2009 at a Dreweatts auction held at Donnington Priory.
This figure establishes a benchmark in the art market for Margaret Hamilton's work. Though modest by lofty standards of fine art transactions, it underscores notable interest in her compositions and the potential for future reassessment by collectors, historians, or exhibition curators.
Details of the painting’s composition, condition reports, provenance, and framing are limited in publicly accessible summaries, but the sale result itself speaks volumes. It confirms that original works by Margaret Hamilton do attract bidding attention and can surpass typical expectations for artists of her stylistic niche.
Collecting and Market Trends
Auction performance in the niche of late-Victorian and early‑20th‑century British still‑life painting tends to reflect several factors: thematic appeal, quality execution, rarity, provenance, and the reputation of the auction house. In Margaret Hamilton’s case, her floral still lifes resonate with a quiet intimacy and refined aesthetic appreciated by certain private and institutional collectors.
While many of her works sold for modest sums — some as low as fifty US dollars — reaching over one thousand dollars suggests a threshold where her work becomes more widely recognized. It also indicates that with controlled markets and rising interest in under‑appreciated artists, future pieces could potentially exceed this record, assuming they enter the marketplace under favorable conditions and scholarly attention.
Comparative Insight: Margaret Hamilton in Context
To appreciate the significance of a one‑thousand‑dollar‑plus sale, a brief comparison may help. Other contemporaneous or stylistically similar artists from late 19th to early 20th century Britain often trade at comparable or slightly higher levels, depending on reputation and rarity. For many such artists, a sale in the low‑four figures signals solid market validation. Margaret Hamilton’s achieved record thus places her within a credible stratum of collectible artists whose works can attract meaningful investment — particularly among those interested in refined domestic subjects or floral still life.
A Brief Note on Other “Margaret Hamiltons”
It is crucial to clarify that other individuals named Margaret Hamilton—such as the famed 'wicked witch' from The Wizard of Oz or even the pioneering computer scientist of the Apollo moon program era—are associated with entirely different collectibles, often involving autographs, memorabilia, or historical documents. These often yield very different kinds of transactions, ranging from auctioned autographs to themed memorabilia items.
For the actress Margaret Hamilton, such as autographed photographs, auction results exist but typically involve small-scale lots whose realized prices are often accessible only through bidding platforms or membership‑required records. Without public recorded sale prices available in free sources, a definitive maximum price is harder to confirm. Therefore the confirmed record that appears in public art‑market data remains for the British artist above.
Why This Sale Matters
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Documentation: It provides a concrete data point for market analysts, scholars, and collectors. Having a traceable sale result allows for valuation benchmarking and art historical reference.
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Recognition of Value: It signals that Margaret Hamilton’s artwork has monetary and aesthetic value, beyond simply decorative appeal. Collectors may be more inclined to seek her work in the future, especially if presented with authoritative curatorial or provenance backing.
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Potential Growth: Given that art markets evolve, a sale of this magnitude may tip the scales for future acquisitions. Should further works surface, especially from estates or significant private collections, subsequent prices might rise.
Outlook: Potential for Future Transactions
Looking ahead, several trajectories could influence whether Margaret Hamilton’s record improves:
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Exhibitions or scholarly attention: If museums include her works in exhibitions, or if art historians publish research highlighting her style, interest might increase.
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Discoveries of rare works: Unseen or featured works, especially those with documented provenance, could spark competitive bidding.
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Auction house strategies: Placement of her work within dedicated auctions—particularly those emphasizing female artists, floral still lifes, or Victorian‑era painters—may boost visibility.
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Market trends toward rediscovery: There is growing enthusiasm for overlooked or under‑represented artists. If this momentum applies to Margaret Hamilton, her artworks could see renewed demand.
Conclusion
Margaret Hamilton (British artist, born 1867) currently holds a documented auction record of approximately one thousand fifty‑nine US dollars for her painting Still Life of Flowers on a Table, sold in 2009 at Dreweatts in Donnington Priory. This establishes a meaningful benchmark in her art-market trajectory. As a tidy reflection of both aesthetic worth and marketplace validation, the sale invites greater consideration of her oeuvre. Whether future transactions will surpass this value remains to be seen — yet the potential is present, provided exposure, rarity, and recognition align in her favor.