oil on canvas, signed, titled and dated 1980 verso framed image size 56cm x 92cm, overall size 68cm x 103cm Note: James Watt was born in Port Glasgow in 1931 to Alexander Watt and his wife Isabella (nee Hooper). His entire family, including his grandfather, and everybody he knew, were in shipbuilding. He was always passionate about boats. He believed he was very lucky. "I was in the right place at the right time. I caught the tail-end of the Clydeside shipbuilding boom in the 1950s. Shipyards had full order-books and the river teemed with craft of every sort. So I always had a subject”. His paintings are in a formidable array of collections – including those of HM The Queen and Prince Philip, The Princess Royal, The Arts Council, The Hunterian, Glasgow Museums, Paisley Museum & Art Gallery, IBM, Britoil, the Danish Embassy, Yarrow Shipbuilders, McKean Museum and Art Gallery, Clyde Shipping Co, the Royal Bank of Scotland and also the town council in the Faroes. Watt went to Glasgow School of Art for four years where he was taught by Ted Odling, Douglas Percy Bliss, and David Donaldson. In 1958 he was one of 13 founders of the Glasgow Group, an artists' co-operative which continues to this day. Irritated by the conformist, unadventurous policies of local exhibiting societies like the Royal Scottish Academy and the RGI, and at the dearth of commercial outlets in the city, they got together with other GSA students and graduates to exhibit at Glasgow’s then-beautiful McLellan Galleries. The Glasgow Group was the Transmission Gallery of its day. After two years National Service in the army, from 1955 to 1957 he became an art teacher, and a much-beloved one at that. He was noted for his kindness and good counsel, and one former student says of him: "I had pretty much zero talent but he sparked a lifelong love and interest in art." Another remembered “His was the fastest-moving Volvo down the school drive. He was some man." Later Watt became a member of the RGI and was elected a member of Society of Scottish Artists in 1965. In 1997 he received The Royal Bank of Scotland Award at the Glasgow Institute. He dedicated much of his life to recording the River Clyde and its industries, and his vast body of work forms a vital archive of the river. Greenock's McLean Museum and Art Gallery exhibition, The Lost Clyde: The Paintings of James Watt, was mounted to celebrate his 90th birthday. James was also the father of Alison Watt OBE FRSE RSA, one of Britain's best-known painters.
We found 4203 price guide item(s) matching your search
There are 4203 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
4203 item(s)/page
oil on canvas, signed, titled verso framed and under glass image size 46cm x 61cm, overall size 59cm x 74cm Note: James Watt was born in Port Glasgow in 1931 to Alexander Watt and his wife Isabella (nee Hooper). His entire family, including his grandfather, and everybody he knew, were in shipbuilding. He was always passionate about boats. He believed he was very lucky. "I was in the right place at the right time. I caught the tail-end of the Clydeside shipbuilding boom in the 1950s. Shipyards had full order-books and the river teemed with craft of every sort. So I always had a subject”. His paintings are in a formidable array of collections – including those of HM The Queen and Prince Philip, The Princess Royal, The Arts Council, The Hunterian, Glasgow Museums, Paisley Museum & Art Gallery, IBM, Britoil, the Danish Embassy, Yarrow Shipbuilders, McKean Museum and Art Gallery, Clyde Shipping Co, the Royal Bank of Scotland and also the town council in the Faroes. Watt went to Glasgow School of Art for four years where he was taught by Ted Odling, Douglas Percy Bliss, and David Donaldson. In 1958 he was one of 13 founders of the Glasgow Group, an artists' co-operative which continues to this day. Irritated by the conformist, unadventurous policies of local exhibiting societies like the Royal Scottish Academy and the RGI, and at the dearth of commercial outlets in the city, they got together with other GSA students and graduates to exhibit at Glasgow’s then-beautiful McLellan Galleries. The Glasgow Group was the Transmission Gallery of its day. After two years National Service in the army, from 1955 to 1957 he became an art teacher, and a much-beloved one at that. He was noted for his kindness and good counsel, and one former student says of him: "I had pretty much zero talent but he sparked a lifelong love and interest in art." Another remembered “His was the fastest-moving Volvo down the school drive. He was some man." Later Watt became a member of the RGI and was elected a member of Society of Scottish Artists in 1965. In 1997 he received The Royal Bank of Scotland Award at the Glasgow Institute. He dedicated much of his life to recording the River Clyde and its industries, and his vast body of work forms a vital archive of the river. Greenock's McLean Museum and Art Gallery exhibition, The Lost Clyde: The Paintings of James Watt, was mounted to celebrate his 90th birthday. James was also the father of Alison Watt OBE FRSE RSA, one of Britain's best-known painters.
A "French-style" officer's jacket of the Latvian Army from the interwar period. The jacket features one epaulette on the collar, with the other missing. The overall condition is good with signs of wear, as shown in the photos. There is a mark where a barrette was attached, and the shoulder boards are missing.
Bayonet with a single-edged blade, featuring a double-edged concave fuller. The bayonet's tang is single-sided. The handle has two contoured wooden scales, secured to the tang with two screws.The steel catch with a spiral spring is non-functional. The steel scabbard ends in a round pommel.Marking on the ricasso of the front blade: stamped manufacturer's name Fabryka. Zbr 4 - Zbrojownia 4 Kraków and the number 97727. On the rear flat, there is an eagle in a crown, the State emblem, and the letters (W.P.) representing Wojsko Polskie (Polish Army).The scabbard is fitted with a leather frog, dedicated to the Polish bayonet with a characteristic round knob at the end.Overall condition as shown in the pictures.
Bayonet with a single-edged blade, featuring a double-edged concave fuller. The bayonet's tang is single-sided. The handle has two contoured wooden scales, secured to the tang with two screws.The steel catch with a spiral spring is non-functional. The steel scabbard ends in a round pommel.Marking on the ricasso of the front blade: stamped manufacturer's name Fabryka. Zbr 4 - Zbrojownia 4 Kraków and the number 68462. On the rear flat, there is an eagle in a crown, the State emblem, and the letters (W.P.) representing Wojsko Polskie (Polish Army).The scabbard is from a German Mauser bayonet, marked.Overall condition as shown in the pictures.
The blade of the sabre is steel, with visible grooves and double fullers on both sides. The spine of the blade shows a deep temper line. The blade is double-edged. The grip is made of beech wood, with a brass crossguard and an oval hole for the sling. The quillons are trapezoidal in shape with visible joins. The guard is made at a right angle, connecting to the pommel. The pommel has a brass cap with a screw fastening the tang of the blade.On the spine of the blade, there are visible markings, most likely from the civilian expert Tadeusz Książnicki, stamped with "k/2" inside an oval, and the sabre's number A5201. On the outside of the blade, there is the model designation "S.wz.34." and on the opposite side, the manufacturer's mark "H. LUDWIKÓW/KIELCE". The sabre comes with its original scabbard, also numbered A5201.The wz.34 sabre is the most recognizable sabre of the Polish Army from the interwar period.The overall condition of the blade and grip is as shown in the pictures. The sabre was broken in the scabbard and has been repaired. The leather sling and frog are later additions.
Single-piece badge made of tombac, attached with a nut. The badge is shield-shaped, with the Warsaw mermaid at the top, symbolizing the 2nd Polish Corps (2KP), and at the bottom, the identification badge of the 8th Army, surrounded by the inscription "2 Korpus Polski" with laurel branches above the text.The reverse is smooth with the stamped number, and a repaired attachment post in the center. The nut is not signed.The badge has a low number, 1023, which is becoming increasingly rare on the collectors' market.Dimensions: 36.5 x 20 mm.Overall condition as shown in the pictures.
Bayonet with a single-edged blade, featuring a double-edged concave fuller. The bayonet's tang is single-sided. The handle has two contoured wooden scales, secured to the tang with two screws.The steel catch with a spiral spring is non-functional. The steel scabbard ends in a round pommel.Marking on the ricasso of the front blade: stamped manufacturer's name Fabryka. Zbr 4 - Zbrojownia 4 Kraków and the number 92935. On the rear flat, there is an eagle in a crown, the State emblem, and the letters (W.P.) representing Wojsko Polskie (Polish Army).The scabbard is dedicated to the Polish bayonet, with the characteristic round knob at its end.Overall condition as shown in the pictures.
Two propaganda brochures published for the Polish Army in the East by the Foreign Language Literature Publishing House, Moscow 1944, and the Propaganda Department of the Political-Educational Directorate of the Polish Army, 1945. Soft covers, 46 and 32 pages.The overall condition is visible in the photos.Dimensions: 16.2 cm x 11 cm, 14.7 cm x 10.7 cm
Bayonet with a single-edged blade, featuring a double-edged concave fuller. The bayonet's tang is single-sided. The handle has two contoured wooden scales, secured to the tang with two screws.Steel catch with a spiral spring. The steel scabbard ends in a round pommel. The scabbard's latch is soldered with an oval backing plate. The latch has a beveled top section to facilitate the removal of the frog.The scabbard throat consists of two flat springs, secured to the scabbard body with two rivets.Marking on the ricasso of the front blade: stamped manufacturer's name Perkun and an elliptical military acceptance mark (D2). On the crossguard, the serial number 42.P is visible. On the rear flat, there is an eagle in a crown, the State emblem, and the letters (W.P.), representing Wojsko Polskie (Polish Army).Overall condition as shown in the pictures.
Vinyl - 53 Rock & Pop LPs including recent / reissues to include Led Zeppelin (IV reissue), Black Sabbath, Soft Machine (textured cover), Stevie Wonder x 2 (including 180gm reissue), Tom Waits (2017 reissue), Peter Tosh, Tom Petty (Greatest Hits 1993 pressing), Japanx 2 (inc German pressing), Lou Reed x 2, David Bowie, Talking Heads, Patti Smith x 2 (inc 2019 pressing on We Are Vinyl), Gary Numan & Tubeway Army 2015 reissue), Jethro Tull, Roxy Music x 3, Rolling Stones x 3, Al Green, U2, The Who, Mica Paris, Santana, Paul Simon and more. Vg+ overall
EDWARD FRANK SOUTHGATE RBA (BRITISH 1872 - 1916), SNIPE watercolour on paper, signed mounted, framed and under glass image size 30cm x 20cm, overall size 51cm x 40cm Note: Edward Frank Southgate RBA (1 August 1872 – 23 February 1916) was a British painter. He spent most of his life in Norfolk and concentrated on painting birds, especially waterfowl, and hunting scenes. He was a student at Bideford Art School and Cambridge School of Art. He was a member of the Royal Society of British Artists. Southgate painted mainly birds and sporting scenes. His paintings of ducks and other birds in Patterson 1904 (for instance "The Stricken Mallard") were internationally renowned. Frank Southgate died in 1916, whilst serving in the Army during the First World War in France, aged 43 years.
* CHARLES MURRAY (SCOTTISH 1894 - 1954), RAIN, PORT BANNATYNE, BUTE drypoint etching on paper, signedmounted, framed and under glassimage size 17cm x 25cm, overall size 38cm x 45cm Provenance: The Scottish National Gallery of Modern Art hold a copy of "Rain, Port Bannatyne, Bute" (purchased in 1964). Their website suggests a date of 1930.Note: Charles Murray was born in Aberdeen and studied at the Glasgow School of Art for three years. He served with the ‘White Army’ in Russia from 1918-20, joining a diverse group of counter-revolutionary forces who fought against the Bolsheviks. On his return to Glasgow, Murray won the highly coveted "Prix de Rome" for etching and studied at the British School in Rome from 1922-25. He travelled extensively in Europe but came back to Scotland in 1926 to teach engraving at the Glasgow School of Art (where he taught and inspired Ian Fleming RSA RSW RGI), and later lived in Leeds and Middlesex. He produced paintings and etchings in a style influenced by Mannerism. Murray had his first major one-man show at The Leicester Galleries (London) in 1946 and another at Batley Art Gallery in 1950. There was a Memorial exhibition at Temple Newsam House (Leeds Museum & Art Galleries) in 1955 and an Edinburgh International Festival show at the Merchant Company Hall in 1977. Murray's paintings have always attracted academic acclaim and the Tate bought one of his paintings in 1940. His work is held in UK Public collections including at Glasgow Museums & Art Galleries, the Arts Council Collection (Southbank Centre), Bradford Museum & Galleries, the Ferens Art Gallery, The Hepworth, Leeds Art Gallery and Museums, Kirklees Museum & Galleries, Sheffield Museums, Aberdeen Art Gallery & Museums and Tate (London).
* IAN FLEMING RSA RSW RGI (SCOTTISH 1906 - 1994), UNTITLED etching on paper, studio stamp verso, no. 161mounted, framed and under glass image size 37cm x 50cm, overall size 52cm x 62cm Provenance: the artist's studio sale.Note: Ian Fleming was born in Glasgow and studied drawing, painting and printmaking at Glasgow School of Art. After graduating, he worked with etcher Charles Murray, and then travelled on an art school scholarship to London, Paris and Spain. In 1931 Fleming started teaching at Glasgow School of Art. During this time he met William Wilson, with whom he exchanged print-making ideas. He served in the police and army during the second world war and continued sketching and printmaking throughout. Notable are the prints he made of the Glasgow blitz. After the war Fleming taught again at Glasgow School of Art and at Hospitalfield, Arbroath. At this time he moved towards painting, rather than print-making, producing landscapes, harbours and portraits both in oil and watercolour. Fleming was principal of Gray's School of Art between 1954 and 1971. He continued in printmaking after his retirement. He died at Aberdeen.
* IAN FLEMING RSA RSW RGI (SCOTTISH 1906 - 1994), UNTITLED etching on paper, studio stamp verso, no. 171mounted, framed and under glass image size 37cm x 50cm, overall size 61cm x 77cm Provenance: the artist's studio sale.Note: Ian Fleming was born in Glasgow and studied drawing, painting and printmaking at Glasgow School of Art. After graduating, he worked with etcher Charles Murray, and then travelled on an art school scholarship to London, Paris and Spain. In 1931 Fleming started teaching at Glasgow School of Art. During this time he met William Wilson, with whom he exchanged print-making ideas. He served in the police and army during the second world war and continued sketching and printmaking throughout. Notable are the prints he made of the Glasgow blitz. After the war Fleming taught again at Glasgow School of Art and at Hospitalfield, Arbroath. At this time he moved towards painting, rather than print-making, producing landscapes, harbours and portraits both in oil and watercolour. Fleming was principal of Gray's School of Art between 1954 and 1971. He continued in printmaking after his retirement. He died at Aberdeen.
The mounted group of three miniature dress medals representative of those worn by Private J. Lamb, 13th Light Dragoons Crimea 1854-56, 4 clasps, Alma, Balaklava, Inkermann, Sebastopol; Army L.S. & G.C., V.R., 3rd issue, small letter reverse; Turkish Crimea 1855, Sardinian issue, all mounted from a triple top silver riband buckle; together with his original Soldier’s Account Book, the front page inscribed to No. 1406 James Lamb, Thirteenth Light Dragoons, with usual entries for monthly settlements and clothing allowances for the period January 1856 to December 1870, and additional details under ‘Soldier’s Name and Description’ and ‘Services Abroad’, the latter confirming that Lamb was ‘Present at Alma, Balaklava (wounded), Inkermann and Sebastopol’; also details of his marriage in April 1858 to Mary and a list of children’s birth dates, remnants of velvet tie, lacking back cover and pages torn in places or worn overall, written content generally good, the medals good very fine (3) £300-£400 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: Dix Noonan Webb, April 2003 (Account Book only). James Lamb was born near Falmouth, Cornwall and enlisted in the 13th Light Dragoons in Edinburgh in August 1850, aged 26 years. Present at the charge of the Light Brigade on 25 October 1854, when he was wounded and had his horse killed, Lamb distinguished himself by assisting in the rescue of Captain Webb of the 17th Lancers, in company with Corporal Malone of his own regiment and Sergeant Berryman of the 17th. Both of these N.C.Os were subsequently awarded the Victoria Cross, while Lamb’s bravery remained unrecognised - he afterwards stated that he drew lots for the decoration with Malone and lost. Present at the first Balaklava Banquet in October 1875 and a member of the Balaklava Commemoration Society from 1879, Lamb regularly attended subsequent annual dinners, in addition to signing the Loyal Address in 1887. And in October 1891 The Strand magazine published his account of the charge, together with a portrait. Lamb died from heart failure and senile decay in Wandsworth, London in June 1911, leaving his 88 year old widow Mary with ‘not a friend in the world and a total income of 8s. 6d. per week’. It was the Coroner’s hope that the ‘poor old lady would be taken care of in some institution’. Interestingly, Lummis and Wynn state that Mary had been with Lamb in the Crimea, prior to their marriage in April 1858, a fact supported by the birth of a daughter, Anne, at Newbridge back in November 1851 - the year 1856 has been crossed out in pencil in the list of children’s birth dates in Lamb’s Account Book. Sold with copied research including a photographic image of the recipient.
* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), NIGHT TIME COAST WITH GULLS watercolour on paper, signedmounted, framed and under glassimage size 30cm x 42cm, overall size 54cm x 66cm Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.
* DOUGLAS PHILLIPS (SCOTTISH 1926 - 2012), SAN MOISE CANAL - VENICE watercolour on paper, signed, titled label versomounted, framed and under glassimage size 18cm x 27cm, overall size 34cm x 44cm Note: Douglas Phillips was born and brought up in Dundee. He studied at the former Dundee Art College in Bell Street before being called up to the army towards the end of the Second World War for service in India and Ceylon. On returning to Dundee he began work in the art department of DC Thomson where he illustrated for The Rover and The Victor, amongst others. After leaving D C Thomson’s went on to illustrate over 100 books but also continued to maintain a connection with the company, featuring in more than one thousand issues of The People’s Friend as the pen and brush of J Campbell Kerr. He also documented old Dundee with his lively pen and ink drawings and book collaborations with the late journalist, broadcaster and Courier columnist Ron Thompson. Latterly he followed in the footsteps of two artists he greatly admired, Joan Eardley and his good friend Lil Neilson, producing vibrant, expressive paintings of Catterline and the East Coast of Scotland which he loved so much. His work is held in public and private collections worldwide.
* JAMES WATT RGI (SCOTTISH 1931 - 2022), AULD REEKIE, CRINAN oil on canvas, signed, titled and dated 1980 versoframedimage size 56cm x 92cm, overall size 68cm x 103cm Note: James Watt was born in Port Glasgow in 1931 to Alexander Watt and his wife Isabella (nee Hooper). His entire family, including his grandfather, and everybody he knew, were in shipbuilding. He was always passionate about boats. He believed he was very lucky. "I was in the right place at the right time. I caught the tail-end of the Clydeside shipbuilding boom in the 1950s. Shipyards had full order-books and the river teemed with craft of every sort. So I always had a subject”. His paintings are in a formidable array of collections – including those of HM The Queen and Prince Philip, The Princess Royal, The Arts Council, The Hunterian, Glasgow Museums, Paisley Museum & Art Gallery, IBM, Britoil, the Danish Embassy, Yarrow Shipbuilders, McKean Museum and Art Gallery, Clyde Shipping Co, the Royal Bank of Scotland and also the town council in the Faroes. Watt went to Glasgow School of Art for four years where he was taught by Ted Odling, Douglas Percy Bliss, and David Donaldson. In 1958 he was one of 13 founders of the Glasgow Group, an artists' co-operative which continues to this day. Irritated by the conformist, unadventurous policies of local exhibiting societies like the Royal Scottish Academy and the RGI, and at the dearth of commercial outlets in the city, they got together with other GSA students and graduates to exhibit at Glasgow’s then-beautiful McLellan Galleries. The Glasgow Group was the Transmission Gallery of its day. After two years National Service in the army, from 1955 to 1957 he became an art teacher, and a much-beloved one at that. He was noted for his kindness and good counsel, and one former student says of him: "I had pretty much zero talent but he sparked a lifelong love and interest in art." Another remembered “His was the fastest-moving Volvo down the school drive. He was some man." Later Watt became a member of the RGI and was elected a member of Society of Scottish Artists in 1965. In 1997 he received The Royal Bank of Scotland Award at the Glasgow Institute. He dedicated much of his life to recording the River Clyde and its industries, and his vast body of work forms a vital archive of the river. Greenock's McLean Museum and Art Gallery exhibition, The Lost Clyde: The Paintings of James Watt, was mounted to celebrate his 90th birthday. James was also the father of Alison Watt OBE FRSE RSA, one of Britain's best-known painters.
* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), PEACEFUL DAY ACROSS FROM JURA watercolour on paper, signed, titled versomounted, framed and under glassimage size 30cm x 43cm, overall size 55cm x 66cm Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.
* JAMES WATT RGI (SCOTTISH 1931 - 2022), BRISBANE GLEN, LARGS oil on canvas, signedframedimage size 60cm x 100cm, overall size 73cm x 113cm Note: James Watt was born in Port Glasgow in 1931 to Alexander Watt and his wife Isabella (nee Hooper). His entire family, including his grandfather, and everybody he knew, were in shipbuilding. He was always passionate about boats. He believed he was very lucky. "I was in the right place at the right time. I caught the tail-end of the Clydeside shipbuilding boom in the 1950s. Shipyards had full order-books and the river teemed with craft of every sort. So I always had a subject”. His paintings are in a formidable array of collections – including those of HM The Queen and Prince Philip, The Princess Royal, The Arts Council, The Hunterian, Glasgow Museums, Paisley Museum & Art Gallery, IBM, Britoil, the Danish Embassy, Yarrow Shipbuilders, McKean Museum and Art Gallery, Clyde Shipping Co, the Royal Bank of Scotland and also the town council in the Faroes. Watt went to Glasgow School of Art for four years where he was taught by Ted Odling, Douglas Percy Bliss, and David Donaldson. In 1958 he was one of 13 founders of the Glasgow Group, an artists' co-operative which continues to this day. Irritated by the conformist, unadventurous policies of local exhibiting societies like the Royal Scottish Academy and the RGI, and at the dearth of commercial outlets in the city, they got together with other GSA students and graduates to exhibit at Glasgow’s then-beautiful McLellan Galleries. The Glasgow Group was the Transmission Gallery of its day. After two years National Service in the army, from 1955 to 1957 he became an art teacher, and a much-beloved one at that. He was noted for his kindness and good counsel, and one former student says of him: "I had pretty much zero talent but he sparked a lifelong love and interest in art." Another remembered “His was the fastest-moving Volvo down the school drive. He was some man." Later Watt became a member of the RGI and was elected a member of Society of Scottish Artists in 1965. In 1997 he received The Royal Bank of Scotland Award at the Glasgow Institute. He dedicated much of his life to recording the River Clyde and its industries, and his vast body of work forms a vital archive of the river. Greenock's McLean Museum and Art Gallery exhibition, The Lost Clyde: The Paintings of James Watt, was mounted to celebrate his 90th birthday. James was also the father of Alison Watt OBE FRSE RSA, one of Britain's best-known painters.
* JAMES WATT RGI (SCOTTISH 1931 - 2022), CRINAN LIGHT oil on canvas, signed, titled versoframedimage size 36cm x 52cm, overall size 48cm x 63cm Note: James Watt was born in Port Glasgow in 1931 to Alexander Watt and his wife Isabella (nee Hooper). His entire family, including his grandfather, and everybody he knew, were in shipbuilding. He was always passionate about boats. He believed he was very lucky. "I was in the right place at the right time. I caught the tail-end of the Clydeside shipbuilding boom in the 1950s. Shipyards had full order-books and the river teemed with craft of every sort. So I always had a subject”. His paintings are in a formidable array of collections – including those of HM The Queen and Prince Philip, The Princess Royal, The Arts Council, The Hunterian, Glasgow Museums, Paisley Museum & Art Gallery, IBM, Britoil, the Danish Embassy, Yarrow Shipbuilders, McKean Museum and Art Gallery, Clyde Shipping Co, the Royal Bank of Scotland and also the town council in the Faroes. Watt went to Glasgow School of Art for four years where he was taught by Ted Odling, Douglas Percy Bliss, and David Donaldson. In 1958 he was one of 13 founders of the Glasgow Group, an artists' co-operative which continues to this day. Irritated by the conformist, unadventurous policies of local exhibiting societies like the Royal Scottish Academy and the RGI, and at the dearth of commercial outlets in the city, they got together with other GSA students and graduates to exhibit at Glasgow’s then-beautiful McLellan Galleries. The Glasgow Group was the Transmission Gallery of its day. After two years National Service in the army, from 1955 to 1957 he became an art teacher, and a much-beloved one at that. He was noted for his kindness and good counsel, and one former student says of him: "I had pretty much zero talent but he sparked a lifelong love and interest in art." Another remembered “His was the fastest-moving Volvo down the school drive. He was some man." Later Watt became a member of the RGI and was elected a member of Society of Scottish Artists in 1965. In 1997 he received The Royal Bank of Scotland Award at the Glasgow Institute. He dedicated much of his life to recording the River Clyde and its industries, and his vast body of work forms a vital archive of the river. Greenock's McLean Museum and Art Gallery exhibition, The Lost Clyde: The Paintings of James Watt, was mounted to celebrate his 90th birthday. James was also the father of Alison Watt OBE FRSE RSA, one of Britain's best-known painters.
* JAMES WATT RGI (SCOTTISH 1931 - 2022), EVENING SKY, CRINAN oil on canvas, signed, titled versoframed and under glassimage size 46cm x 61cm, overall size 59cm x 74cm Note: James Watt was born in Port Glasgow in 1931 to Alexander Watt and his wife Isabella (nee Hooper). His entire family, including his grandfather, and everybody he knew, were in shipbuilding. He was always passionate about boats. He believed he was very lucky. "I was in the right place at the right time. I caught the tail-end of the Clydeside shipbuilding boom in the 1950s. Shipyards had full order-books and the river teemed with craft of every sort. So I always had a subject”. His paintings are in a formidable array of collections – including those of HM The Queen and Prince Philip, The Princess Royal, The Arts Council, The Hunterian, Glasgow Museums, Paisley Museum & Art Gallery, IBM, Britoil, the Danish Embassy, Yarrow Shipbuilders, McKean Museum and Art Gallery, Clyde Shipping Co, the Royal Bank of Scotland and also the town council in the Faroes. Watt went to Glasgow School of Art for four years where he was taught by Ted Odling, Douglas Percy Bliss, and David Donaldson. In 1958 he was one of 13 founders of the Glasgow Group, an artists' co-operative which continues to this day. Irritated by the conformist, unadventurous policies of local exhibiting societies like the Royal Scottish Academy and the RGI, and at the dearth of commercial outlets in the city, they got together with other GSA students and graduates to exhibit at Glasgow’s then-beautiful McLellan Galleries. The Glasgow Group was the Transmission Gallery of its day. After two years National Service in the army, from 1955 to 1957 he became an art teacher, and a much-beloved one at that. He was noted for his kindness and good counsel, and one former student says of him: "I had pretty much zero talent but he sparked a lifelong love and interest in art." Another remembered “His was the fastest-moving Volvo down the school drive. He was some man." Later Watt became a member of the RGI and was elected a member of Society of Scottish Artists in 1965. In 1997 he received The Royal Bank of Scotland Award at the Glasgow Institute. He dedicated much of his life to recording the River Clyde and its industries, and his vast body of work forms a vital archive of the river. Greenock's McLean Museum and Art Gallery exhibition, The Lost Clyde: The Paintings of James Watt, was mounted to celebrate his 90th birthday. James was also the father of Alison Watt OBE FRSE RSA, one of Britain's best-known painters.
A FLINTLOCK BLUNDERBUSS BY SEARLES, LONDON, CIRCA 1790 with copper alloy barrel formed swelling towards the muzzle, octagonal breech section engraved en rocaille, inscribed London on the flat and struck with proof marks on the left, engraved iron tang, flat bevelled lock signed in an oval beneath a bouquet and engraved with border ornament, full stock (fore-end chipped), engraved copper alloy mounts comprising butt-plate engraved with foliage on the tang, trigger-guard decorated with a rococo flower on the bow and with pineapple finial (chipped), a single moulded ramrod-pipe, and brass-tipped wooden ramrod, perhaps the original, 65.2 cm overall Perhaps by James Sturman Searles gunmaker and springmaker recorded circa 1792-1824. His trade label of 1803 advertised a ‘Telegraph Game Gun, [that] gives the Earliest Intelligence at the Approach of Thieves and may at Will prove fatal….may be hung…outside camps in Foreign Countries, Wild beasts destroy themselves and make Food for the Army.’
1848 Special Constabulary Naval Themed Painted Truncheon. An unusual example of a Constables painted truncheon, the ground colour being dark blue decorated with a fouled anchor within a Garter Strap. With the text Special 1848. The grip of polished wood with ring turning. Length 18 inches. Overall GC with a few knocks to the wood. This may refer to a Special Constable of the Royal Dockyard in 1848. This year saw the Chartism riots this being one of the most active years of the Chartist movement who's aim was to influence political rights for the working class. The government enrolled special Constables and the army was put on the streets
British Army Boer War 1899 Pattern Cavalry Sword Issued 2 Dragoons, Rough Riders etc. An example of the regulation pattern, with slightly-curved fullered blade bearing large number of date and inspection stamps the first appears to be September 1900 . Plain sheet steel guard, the outside with pear-shaped reinforcement around the blade. Chequered leather grip with three rivets. Housed in steel scabbard of regulation pattern. Overall GC some pitting to the scabbard.This sword has had an interesting carear with issue stamps for 2 Dragoons, Dragoon Guards, Rough Riders, Royal Engineers and the Army Service Corps.
German Third Reich Army Officer's MINIATURE dagger by Alexander Coppel, Solingen. Good scarce example with amber ivorine twist grip and plated mounts. Oak leaf ornamented pommel, crossguard and langet bearing an eagle and swastika, the blade etched with maker's ALCOSO scales logo. Housed in its plated pebbled scabbard with both oakleaf bands retaining loose suspension rings. VGC Approx. 23.5 cm overall. Army (Heer) Officer’s dagger was designed by Paul Casburg in 1935.
Royal Army Medical Corps Full Dress Attributed Uniform. A scare example worn by Colonel Frederick William Caton-Jones CB MB. Officer's cocked hat tailored by Cater & Co. Complete with cockerel feather plume, the interior with leather sweatband and clean lining. Clean condition. Bullion fresh. ... Tunic of dark blue cloth with “Dull Cherry†collar and cuffs, both edged with 3/4 inch gold Staff pattern lace. The twisted gold shoulder-cords bearing post 1901 Colonel badges of rank. Tailors label of J B Johnson and ink name F W CANTON-JONES ... Overall Trousers of regimental pattern, with gold lace to the legs ... Pouch Belt and Pouch. Pouch belt is of black leather with three gold bullion lines, complete with silvered ornate buckle tip and slide. The pouch is of black patent leather, mounted with gilt VR crowned cypher. To the edge of the flap two lines of bullionWaist Belt. Black leather with two gold bullion lines. Complete with Victorian clasp and sword slings.Waist Belt. A similar post 1901 example, without sword slings complete with clasp.Overall GC. (6 items) Colonel Frederick William Caton-Jones CB MB was born in South Australia 1n 1860 and qualified at St Bartholomews Hospital in 1884. He joined the Medical Services at the rank of Surgeon, afterwards Surgeon Captain on 30th May 1885. He saw service in Burma and India. At the outbreak of the Great War he was appointed Assistant Director of Medical Services for the Third Division. He held various posts and was appointed a Campaign of the Bath in 1916.
Norwegian Army (WW2 German) Steel Helmet. A very good example of the WW2 German raw edge helmet taken into service by the Norwegian Army after the war. This example with green painted finish and retaining both Norwegian Army decals (99% present). The interior with leather lining and chinstrap. Overall clean condition.
WW1 British Made American Tunic, fine example of the wool combat tunic as issued to American troops, this example being a British made type with the white lined interior and inked WD issue stamp. Standard American eagle tunic buttons, bronzed collar discs for US National Army and Signallers to the other side. Rank and service chevrons to the sleeve. Attached to the breast is an US Allied Victory medal with France clasp. Accompanied by a pair of khaki breeches with lace ties to the bottom. Set remains in good overall condition.
A George IV silver wine cooler by William Brown, London 1828, with a pair of arched loop handles and removable mask and cage insert to the gently tapering body decorated with three raised reeded girdles, bearing an engraved Garter and crest with a ducal coronet, 64.7 ozt, 21.4 cm overall height x 19.5 cm wide, handle to handle. The Crest of The Rt Hon William Lowther KG, the 1st Earl of LonsdaleA dragon passant argentThe crest is environed with the Garter with its motto: ‘Honi soit qui mal y pense’ [Shame on him who thinks evil of it]. The whole is ensigned with an Earl’s coronet.Note:Sir William Lowther (born 29th December 1757 died 19th March 1844), the 1st Earl of Lonsdale and 2nd Baronet of Little Preston and Swillington in the County of Yorkshire, served as Member of Parliament for Appleby in 1780, for Carlisle from 1780 to 1784 and for Cumberland from 1784 to 1790. In 1796, he returned as Member of Parliament for Rutland, holding the seat until 1802 when he resigned his seat in the House of Commons on succeeding his cousin as Viscount Lowther as a peer in the House of Lords.William served as a Lieutenant Colonel in the army as well as being the Lord Lieutenant of Cumberland and Westmorland and Recorder of Carlisle. Having been appointed a Knight of the Garter and created Earl of Lowther in 1807, he set about an extensive redesign of the family estate, rebuilding Lowther Caste with the architect Robert Smirke between 1806 and 1814. An industrialist and coal magnate, Lowther was a man of vast means, allowing him to indulge his interests in the arts and he served as patron to many artists and writers, including William Wordsworth.Item from the original collection occasionally appear at auction, such as a set of four silver-gilt salts from the Lonsdale Service, by (not marked) Digby Scott and Benjamin Smith (II), 1803 and retailed by Rundell, Bridge and Rundell (Sotheby’s New York, 16th April, 2013, lot 407).A pair of coolers from this suite and by the same hand, but of slightly earlier date were sold at Lyon & Turnbull, Lot 64,07 December 2021It was not uncommon for the most prestigious silversmith to outsource work to other suitable makers while trying to fulfil vast commissions. Given its scale, it was also not unheard of for a large commission to be staggered over a few years.This could explain the disparity in dates between this lot and the pair mentioned above, as they are undoubtedly of the same suite. Good order some slight rubbing to the fire gilding. structurally good, no unsightly dents or deep scratches, the mask and bottle cage are marked with matching hallmarks
Six Great War period Indian Army cavalry lances, steel heads with hollow-triangular section points, sockets stamped 'No 1. I.P.' (India Pattern) and dated 1915, bamboo shafts and steel shoes, cord bound grip-sections and leather lanyards, each with a red and white pennon, overall length of each approximately 281.5cm (110.5 in.); together with another similar cavalry lance, unmarked, without grip binding or pennon. [7]The George Geear Collection
William IV 1822 pattern British Infantry army officer's sword. Yataghan shaped steel blade (57cm), with 3/4 fuller channel, indistinct stamp marks to ricasso and maker's signature to spine. Gilt metal hilt with scrolled quillon and two bars bearing oval cypher for William IV, and folding langet. The backstrap bearing a stylised flame surmounted by a stepped pommel and plain tang button. Knurled shagreen grip with gilt wiring. Overall length 71cm.
German Third Reich period Army Officer's sword, Havin 82.5cm fullered slightly curved blade marked 'Eickhorn' and having single bar hilt with Lion's head pomelle, wire bound grip and Eagle shield. Plain steel scabbard and with silvered tassel. (B.P. 21% + VAT) Blade is good, minor wear only. Scratches, chips and wear overall to scabbard. Hilt basically good.No postage
King & Country - 8th Army Range, comprising: EA011 Field Marshal Alexander [2 Figure Vignette], Set EA019 - The Imposter [3 Figure Vignette], Set EA020 - The Attackers [2 Figure Vignette] & Set EA022 - SAS Mortar Team [3 Piece Vignette]. Possible minor display wear otherwise generally Mint overall, contained in near Mint set boxes. [4]
Britains - History of the British Army - Redcoats, comprising: Model No' 44007 - Guardsman, Guards Camel Regt', 1884-1885, Model No' 44012 - Trooper 17th Lancers, Mounted, 1898, Set 44031 - Officer 17th Lancers, 1879, Set 44043 - Trooper 17th Lancers, 1879 & Limited Edition [537/600] Set 47022 - 45th Foot Grenadier Company, 1755-63. Mint overall, contained in near Mint Set boxes. [5]
Britains - From Set 1545 - Australian Infantry [1937 - 1941 Only], comprising: First Issue Officer with Drawn Sword at the Salute. Generally Excellent overall, contained in [slotted insert] a generally Very Good [minor storage wear] "Types of the Colonial Army" illustrated [Blue] lid label box
Team Miniatures [China], Peking,1900 [Boxer Rebellion] Series, comprising: 3 x British Infantry Types, 1 x U.S. Infantry Type All Depicted in Various Action Poses & Set SPA6026 - U.S. Army Gatling Gun & Crew [7 Piece Set]. Factory Painted to Collector Standards. Mint overall, contained in Mint T/M Illustrated model boxes as retailed. [5]
Britains - History of the British Army - Redcoats, comprising: 20 x Assorted Models Includes: Model No' 43001 - Private 1st Foot Guards, 1795, Model No' 43006 - Guardsman Grenadier Guards, 1898, Model No' 43008 - Private Btn. Company in Overcoat, 1812-1815, Etc. Mint overall, contained in near Mint Set boxes. [20]
King & Country - 8th Army Range, comprising: Set EA046 - General Charles De Gaulle, 3 x Set EA033 - Presenting Arms Scottish Soldier, Set EA035 - Standing at Attention Gurkha Soldier, 2 x Set EA039 - Guardsman Soldier Arms. Possible minor display wear otherwise generally Mint overall, contained in near Mint set boxes. [7]
Britains - Proof Figures For Set 2015 - Red Army Display Set - 1948 - comprising: Infantryman Marching at the Slope [based on the British Infantry Figure - Sample label to Base], Mounted Officer & Mounted Cavalryman with Lance. These Figures apart from the Mounted Officer were Never Put into Commercial Production. Near Mint overall, Possibly Unique. [3]
Britains - from Set 137 - Royal Army Medical Service [1905/1910 versions], now comprising: 4 x Marching Stretcher Bearers, 3 x Stretchers, 4 x Nurses with Full Length Skirts, 2 x Nurses with Short Skirts & 4 x Wounded Soldiers [Leg Wound], 3 x Wounded Soldiers [Arm Wound] & 3 x Wounded Soldiers [Head Wound]. Some paint chipping, otherwise generally Very Good to Excellent overall. [23 pieces]
Britains - Set 1537 - The Territorials [1938 version], comprising: Marching Empty Handed Officer & 7 x Territorials Marching at the Slope, Depicted in Review Order - Blue Uniforms with Peaked Caps & Tan Bases. Generally near Mint overall, contained [strung] in a generally Excellent [minor age wear] illustrated "Types of the Territorial Army" [Orange] label box.
Britains - History of the British Army - Redcoats, [2009], comprising: 9 x Assorted Models Includes: Model No' 44016 - Pvt. 16th Regt, 1868, Model No' 44001 - Pvt. 54th Regt, 1812-1815, Model No' 44015 - Highlander 92nd Regt. Gordons, 1815, Etc. Mint overall, contained in near Mint Set blister packs. [9]
King & Country - 8th Army Range, comprising: Set EA018 - The Watchers [2 x Figure Vignette], Afrika Korps Range Set AK033 - VF Arab Camel Corp Rider on Guard Mounted & Set AK051 - Guardbox with Sentry [Special]. Possible minor display wear otherwise generally Mint overall, contained in near Mint set boxes. [3]
Caberfeidh Miniatures of Scotland, The British Army in Mess Dress Series, comprising: Set - Regimental Dinner #1, Set - The Snooker Table, Set - The General Staff [Mess Dress] & Set Seaforth Highlanders - Sword Dance [5 figures]. Generally Mint overall, contained in near Mint set / plain boxes. [4]
Britains - History of the British/American Army - Redcoats / Bluecoats & Redcoats Collection - 2006-2008, comprising: 8 x Assorted Types, Includes: Model No' 47044 - French Compagnies Frances de la Marine, 1754 - 1760, Model No' 47040 - French Compagnies Frances de la Marine, Ensign - Colonels Colour, 1754 - 1760, Model No' 47043 - French Compagnies Frances de la Marine, Ensign - Company Colour, 1754 - 1760, Etc. Mint overall, contained in Mint Set boxes. [8]
Red Box - Sudan Series, comprising: Guards Camel Corps & General Gordon, Set 1 [8 piece set], Egyptian Camel Corps, Set 2 [8 piece set], British Field Engineers with Mules [7 Piece Set], Under Two Flags [retailer] Set Indian Army - Elephant MG Battery [8 Piece Set] & Steadfast Set 49 - Coldstream Guards, 1895 [8 figure set]. Mint overall, now contained in plain boxes. [5]
-
4203 item(s)/page