Dennis ENDEAN IVALL (1921-2006) 'The Miner' and 'Old Quay & Cave, St Agnes Each watercolour and ink, signed, 25.5cm x 35.5cm; together with a 19th century miniature watercolour of a girl and a dog by a different hand, 10cm x 7cm. Dennis Endean Ivall was born in Essex in 1921, the youngest of four children. His father was then an accountant with ICI and his mother was a member of the Endean family of St. Agnes, so he visited Cornwall for holidays from an early age. He attended the Sir George Monoux Grammar School in Chingford, and then joined ICI. In the Second World War he enlisted in the Ordnance Corps, seeing active service in the retreat from Burma, and later in Ceylon and the Cocos Islands, where he reached the rank of Warrant Officer, First Class. After the war he trained as an artist and art teacher. Working at first as a freelance artist, he later became an art teacher in Barnstaple, North Devon – the nearest to Cornwall that he could get at the time. In 1973, Dennis took early retirement and moved to Cornwall, living at first at Ponsanooth and then for thirty years at Perranwell. He worked as a designer, a record agent and principally as a heraldic artist and designer, only retiring from this work when suffering from illness in the last three years of his life. Heraldic art was his great passion, and he carried out the design and painting of coats of arms for many clients across the world. He was the author of the book Cornish Heraldry and Symbolism and, among the work he carried out in Cornwall, was the painting of the organ panels at Cuby church, the repainting of the coat of arms at St.Dennis after the fire and the design and painting of a banner for St.Agnes and, of course, the banner of St. Piran in this church. Heraldry and his military service gave rise to an interest in army insignia and badges and, with Professor Charles Thomas, he was the author and illustrator of Military Insignia of Cornwall. He was a founder member of the Cornwall Militaria Group, and a long serving member of the Perranarworthal branch of the British Legion. His enthusiasm for heraldry led Dennis to join the Order of St.Lazarus, an international charitable order founded in the Holy Land. He was a member of the Commandery of Avalon in the West Country, and became Judge of Arms of the Commandery, of the Bailiwick of England and then of the whole order worldwide, attaining the rank of Knight Grand Cross. Although he was such a talented artist, with a worldwide clientele, he was always ready to lend his talents to local activities, whether painting scenery for Carnon Downs Drama Group, drawing posters for the Women’s Institute or touching up the lettering on the war memorial.
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oil on board, signed framed image size 64cm x 92cm, overall size 73cm x 101cm Note: Born in Kirkcaldy in 1930, she studied at Edinburgh College of Art and then took up a post as visiting teacher of art in the Western Isles in 1956. This experience reinforced her life long love of wild and desolate places and her desire to depict isolated panoramas and landscapes. Walker’s work describes a powerful connection with nature and the feeling of isolation of existing in remote landscapes. This longing for wild terrain led the artist to seek inspiration from her native Scotland – particularly the Western Isles – and from the Antarctic. The large-scale Antarctica paintings reveal still, glacial landscapes completely untouched by human beings and are perhaps Walker’s ultimate depiction of solitude. In 1958 Frances was appointed Lecturer in Drawing and Painting at Gray’s School of Art where she taught for many years before taking early retirement in 1985 to devote more time to her studio practice. She has travelled extensively, taking inspiration from the wildest, most remote terrains. In 2003 Frances was awarded an Honorary Degree of Doctor of Letters from Heriot Watt University, Edinburgh. Frances Walker is represented in many private and corporate collections including the Robert Fleming Collection, and the Royal Scottish Academy. Thirty-seven of her artworks are held in UK public collections.
Ca. Late 12th - early 13th century AD .A Mina'i ware pottery bowl of deep rounded form with slightly everted rim on a splayed foot, decorated with an overglaze painted in blue, green, and brown on an opaque white ground, overglaze detailing painted in black featuring a camel to the centre of the interior ridden by two archers, one drawing with a bow shooting a rabbit, with a hunting bird, possibly the sorry of Bhahram, the Sassanian King, and Gur and Azada.Size: 190mm in diameter; Weight: 530gProvenance: Previous property of an Islamic art professional. Previously Acquired by Ahuan Islamic Art from David Khalili. Tehran, 1976. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), THE GOALKEEPER, 1973 bronzed plasterExhibited:Edinburgh, Benno Schotz Retrospective, Touring Exhibition, 1971, no. 144. Edinburh, Royal Scottish Academy, Annual Exhibition, 1973, no. 61. A smaller bronze version of this sculpture was exhibited: Glasgow, Royal Glasgow Institute of Fine Arts, Annual Exhibition, 1968, no. 54. Glasgow, Royal Glasgow Institute of Fine Arts, Annual Exhibition, 1985, no. 20.Note:Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997. 59cm high including wooden plinth
* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), THE PRINCE OF GOALKEEPERS (JOHN THOMSON OF CELTIC F.C.),, CIRCA 1968 bronzed resinA bronze of this sculpture is in the collection of Celtic F.C.Note on both Schotz and Thomson:Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997.John Thomson, The Prince of Goalkeepers, is one of the most important figures in the history of Celtic Football Club.Having signed for the team in 1926 at the age of 17, his natural athleticism and brave spirit ensured he would become a mainstay between the sticks. He helped the team to two Scottish Cups and three Glasgow Cups. He would also represent the national side and national select XI four times apiece.Thomson's name will forever be associated with the tragedy that befell him during an Old Firm clash on the 5th September 1931. The match was played at Ibrox in front of 80,000 fans. Early in the 2nd half, Thomson collided with Rangers player Sam English, whilst both going for the ball. Most people assumed the goalkeeper badly injured as he was stretchered off, Chic Geatons taking his place in goal.Upon being transported to the Victoria Infirmary, Thomson would soon be pronounced dead. The death of a young goalkeeper in his prime shocked the footballing world. Beyond that, the tragic loss of a young man's life, only 22 years of age and recently engaged, still stands as amongst the most profound moments in sporting history.40,000 people attended the funeral in his home town of Cardenden, including thousands who travelled from Glasgow, many walking the 55 miles to the Fife village. 101cm wide
* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), THE PRINCE OF GOALKEEPERS (JOHN THOMSON OF CELTIC F.C.),, CIRCA 1968 bronzed plasterA bronze of this sculpture is in the collection of Celtic F.C.Note on both Schotz and Thomson:Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997.John Thomson, The Prince of Goalkeepers, is one of the most important figures in the history of Celtic Football Club.Having signed for the team in 1926 at the age of 17, his natural athleticism and brave spirit ensured he would become a mainstay between the sticks. He helped the team to two Scottish Cups and three Glasgow Cups. He would also represent the national side and national select XI four times apiece.Thomson's name will forever be associated with the tragedy that befell him during an Old Firm clash on the 5th September 1931. The match was played at Ibrox in front of 80,000 fans. Early in the 2nd half, Thomson collided with Rangers player Sam English, whilst both going for the ball. Most people assumed the goalkeeper badly injured as he was stretchered off, Chic Geatons taking his place in goal.Upon being transported to the Victoria Infirmary, Thomson would soon be pronounced dead. The death of a young goalkeeper in his prime shocked the footballing world. Beyond that, the tragic loss of a young man's life, only 22 years of age and recently engaged, still stands as amongst the most profound moments in sporting history.40,000 people attended the funeral in his home town of Cardenden, including thousands who travelled from Glasgow, many walking the 55 miles to the Fife village. 51cm wide
Pair of Victorian walnut lady's and gentleman's drawing room chairs, arched cresting rail carved with cartouche and extending foliage, upholstered in floral pattern fabric, on foliate carved cabriole feetCondition Report: The nursing chair has later rear castors.Nursing chair - W55cm, H97cmArmchair - W70cm, H104cm
MARK WILLIAM LANGLOIS (BRITISH 1848 - 1924), BEGGING FOR SCRAPS oil on canvas, signedframed and under glassimage size 54cm x 43cm, overall size 79cm x 68cm Note: As the son of a goldsmith and art dealer, Langlois developed his drawing skills early on and created mainly oil paintings and watercolours with motifs of rural life in genre scenes and landscapes, which he also exhibited at the Royal Academy in London between 1862 and 1873. Four of his paintings are held in UK public collections.
JOSEPH HENDERSON RSW (SCOTTISH 1832 - 1908) ROW BOAT COMING IN TO SHORE oil on board, signed and dated 1878framedimage size 50cm x 80cm, overall size 59cm x 88cmNote: Joseph Henderson was born on 10 June 1832 in Stanley, Perthshire, He was the third of four boys. When he was about six, the family moved to Edinburgh and took up residence in Broad Street. The two older boys joined their father, also Joseph, as stone masons. Joseph’s father died when Joseph was eleven leaving his mother, Marjory Slater, in straightened circumstances. As a result, Joseph and his twin brother, James, were sent to work at an early age and the thirteen-year-old Joseph was apprenticed to a draper/hosier. At the same time, he attended part-time classes at the Trustees’ Academy, Edinburgh. At the age of seventeen, on 2 February 1849, he enrolled as an art student in the Academy. From the census of 1851, Marjory, Joseph and James were living at 5 Roxburgh Place, Edinburgh. Marjory was now a ‘lodging housekeeper’ with two medical students as boarders. James was a ‘jeweller’ while Joseph was a ‘lithographic drawer’. In the same year Joseph won a prize for drawing at the Academy enabling him, along with fellow students, W. Q. Orchardson, W. Aikman and W. G. Herdman, to travel to study the works of art at the Great Exhibition in London, which he found to be a very formative experience. He left the Academy about 1852-3 and settled in Glasgow. He is first mentioned in the Glasgow Post Office Directory for 1857-8 where he is listed as an artist living at 6 Cathedral Street. Joseph Henderson’s first exhibited work was a self-portrait which was shown at the Royal Scottish Academy (RSA) in 1853. He painted several portraits of friends and local dignitaries including a half-length portrait of his friend John Mossman in 1861. His painting, The Ballad Singer established his reputation as one of Scotland`s foremost artists when exhibited at the RSA in 1866. Throughout his career he continued in portraiture. He executed portraits of James Paton (1897) a founder and superintendent of the Kelvingrove Art Gallery and Museum (this portrait was bequeathed to Kelvingrove in 1933) and Alexander Duncan of the Faculty of Physicians and Surgeons of Glasgow. He also painted Mr. Scott Dickson, Sir Charles Cameron, Bart., DL, LLD (1897) and Sir John Muir, Lord Provost of Glasgow (1893). His portrait of councillor Alexander Waddell (1893) was presented to Kelvingrove in 1896. However, it is probably as a painter of seascapes and marine subjects that he became best known. His picture Where Breakers Roar attracted much attention when exhibited at the Royal Glasgow Institute (RGI) in 1874, ‘as a rendering of angry water’. Henderson was in part responsible for raising the profile and status of artists in Glasgow and was a member of the Glasgow Art Club (he was President in 1887-8), the Royal Glasgow Institute of the Fine Arts (founded 1861) and the Royal Society of Painters in Watercolour. Between 1853 and 1892, he exhibited frequently at the RSA and at the RGI and between 1871 and 1886 he had twenty pictures accepted for the Royal Academy in London. In 1901 he was entertained at a dinner by the President and Council of the Glasgow Art Club to celebrate his jubilee as a painter. He was presented with a solid gold and silver palette. An inscription on the palette read: ‘Presented to Joseph Henderson, Esq., R.S.W. by fellow-members of the Art Club as a mark of esteem and a souvenir of his jubilee as a painter, 8th January 1901’ Joseph Henderson was married three times. On 8 January 1856 he married Helen Cosh (d. 1866) with whom he had four children including a daughter Marjory who became the second wife of the artist William McTaggart. On 30 September 1869 he married Helen Young (d. 1871) who bore him one daughter and in 1872 he married Eliza Thomson with whom he had two daughters and who survived him. Two of his sons, John (1860 – 1924) and Joseph Morris (1863 – 1936) became artists; John was Director of the Glasgow School of Art from 1918 to 1924. By 1871 he had moved with his family; wife Helen, daughter Marjory and sons James, John and Joseph and his mother Marjory from Cathedral Street to 183 Sauchiehall Street. He also employed a general servant. He is described in the census as a ‘portrait painter’. In 1881, Joseph was living at 5 La Belle Place, Glasgow with Eliza, two sons and four daughters. He later moved to 11 Blythswood Square, Glasgow. In the 1901 census he was still at this address with his wife Eliza, sons John and Joseph and daughter Mary and Bessie. His occupation is ‘portrait and marine painter’. Joseph Henderson painted many of his seascapes at Ballantrae in Ayrshire. At the beginning of July 1908, he again travelled to the Ayrshire coast. However, he succumbed to heart failure and died at Kintyre View, Ballantrae, on 17 July 1908 aged 76 and was buried in Sighthill cemetery in Glasgow. A commemorative exhibition of his works was held at the RGI in November of that year. A full obituary was published in the Glasgow Herald. As well as his devotion to art, Joseph Henderson was a keen angler and golfer. A contemporary account states that he was ‘frank and genial, with an inexhaustible fund of good spirits and a ready appreciation of humour, of which he himself possesses no small share’. Thirty-six of his paintings are held in UK public collections.
ATTRIBUTED TO GEORGE LESLIE HUNTER (SCOTTISH 1877 - 1931), LANDSCAPE pen and ink on paper, signed 'L Hunter' mounted, framed and under glassimage size 20cm x 28cm, overall size 50cm x 55cm Note: George Leslie Hunter (7 August 1877 – 7 December 1931), was christened simply George Hunter, but he adopted the name Leslie in San Francisco, and Leslie Hunter, became his professional name. Showing an aptitude for drawing at an early age, he was largely self-taught, receiving only elementary painting lessons from a family acquaintance. A Scottish painter, he also spent fifteen formative years from the age of fifteen in the USA, mainly in California. He was later regarded as one of the four artists of the Scottish Colourists group of painters. Following his youth in California, he returned to Scotland, painting and drawing there and in Paris. Subsequently, he travelled widely in Europe, especially in the South of France, but also in the Netherlands, the Pas de Calais and Italy. Hunter painted a variety of still-lifes, landscapes and portraits, and his paintings are critically acclaimed for their treatment of light and the effects of light. They became popular with more progressive critics and collectors during his lifetime and have grown to command high prices since his death, becoming among the most popular in Scotland. One hundred of his paintings are held in UK public collections.
* LAURENCE BRADSHAW (BRITISH 1899 - 1978) PINE TREE pastel on paper, signed 'L H B' and dated '77mounted, framed and under glassimage size 41cm x 29cm, overall size 63cm x 49cm Note: Sculptor, painter, engraver, stage designer, author. Born in Liscard (Wallasey), Cheshire. According to his family and confirmed by his baptismal record, Laurence's father was Peter Bradshaw, a commercial traveller. However, based on the Census Returns, probably by 1901 and certainly by 1911 Laurence and his mother, Annie Henderson (born c.1866 or c.1871 in Scotland) were described as son and wife of John Bradshaw (born in Liverpool or Warrington, Lancashire c.1869), antique dealer and bookseller. It is presumed that Peter Bradshaw changed his name to John c.1900. Laurence started his higher education at the University of Liverpool during the First World War and then (c.1916) began studying painting at Liverpool School of Art with William Penn. He was advised to study sculpture as well and, after attending some classes in Liverpool (presumably under Charles John Allen then teacher of modelling), he completed his studies in London and Paris. In London, Bradshaw studied at Leon Underwood's Brook Green School of Drawing (dates uncertain). During the mid-1920s Bradshaw worked first as a pupil and then as an assistant to Sir Frank Brangwyn. One of Bradshaw's earliest commissions for sculpture was a series of low reliefs c.1928 for the Brompton Oratory (London) depicting the life of Saint Philip Neri founder of the Oratorian Order. Other commissions followed including: Radcliff Maternity Home (1935); Watford Town Hall; Cambridge Guild Hall; the County Offices in Winchester; and Worthing Town Hall. Private commissions were also an important part of his practice, over a long career he made many portrait busts of writers, politicians, poets, journalists and actors. His most famous work, however, was the memorial to Karl Marx in Highgate Cemetery (1956). This reflected his political beliefs. Bradshaw was a committed communist and worked actively in politics throughout his career.
WILLIAM LINNELL (BRITISH 1826 - 1906), FLOCKS FROM THE MOUNTAIN oil on canvas, signed and dated 1871, titled label verso framedimage size 102cm x 158cm, overall size 122cm x 178cm Handwritten labels verso Provenance: Private Scottish collection.Note: William Linnell was a British painter and draftsman. London born, he was the son of the painter John Linnell (1792-1882). Linnell is particularly noted for his 1840 drawing of Smugglerius, which is an écorché sculpture of a man posed in imitation of the ancient Roman sculpture known as the Dying Gaul. His work is held in the permanent collection of the Fitzwilliam Museum at Cambridge University, the Tate Museum in London, and the National Gallery of Art in Washington, D.C..
* 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.
WILLIAM STEWART MACGEORGE RSA (SCOTTISH 1861 - 1934), THE SHORES OF THE DEE, NEAR SOLWAY oil on canvas, signed, titled label versoframedimage size 41cm x 51cm, overall size 58cm x 68cmLabel verso: Ian MacNicol, Glasgow.Note: William Stewart MacGeorge was born in King Street, Castle Douglas on 1 April 1861. Like his friend E A Hornel, he was the son of a shoe-maker. His father was David MacGeorge who, according to the 1861 census, was the employer of three men and a boy. He attended the Free Church School in Castle Douglas, where a fellow pupil was S R Crockett. Crockett included his childhood friends as characters in his 1894 novel The Raiders, and captures MacGeorge’s happy disposition in the character Jerry McWhirter, “a roguish fellow that came to me to help with my land surveying but was keener to draw with colours on paper, the hues of the landscape and the sea. But he was dearest to us because of his continual merry heart, which did us good like a medicine.” MacGeorge entered the Trustees Academy in Edinburgh in 1880 along with fellow Galloway boys E A Hornel and Thomas Bromley Blacklock. In 1881 MacGeorge and Crockett were lodging together at 50 St Leonard Street (Edinburgh). MacGeorge was a successful student being a prize-winner in his second and third years at art school, and had a work shown in the Royal Scottish Academy in 1881. In 1883 MacGeorge and Hornel enrolled in Antwerp’s Academie Royale des Beaux-Arts, where MacGeorge again excelled under the rigorous discipline of Charles Verlat. On his return to Scotland, he enrolled in the RSA Life Schools in Edinburgh, where he continued his studies and embarked on his professional career. Thereafter, MacGeorge divided his life largely between Edinburgh and Galloway. He lived at 11 Melville Place, Edinburgh during the winter and had a studio in Kirkcudbright in the summer. Works such as A Galloway Peat Moss, displayed in the National Gallery of Scotland, is a fine example of a plein air realist work showing the influence of Jules Bastien–Lepage on Scottish artists while his Halloween, shown at the RSA in 1893, and to which he returned in his diploma work of 1911, is an example of his interest in childhood rituals. The painting was well received when shown later that year at the Paris Salon. W S MacGeorge was the most naturalistic of the Galloway artists. Informal scenes of children at play are typical of his work. Another favourite subject was the salmon fishers and their nets on the Dee at Kirkcudbright. Commenting on the RSA exhibition of 1910 The Studio observed, “One of the outstanding landscapes is Mr W S MacGeorge’s view of salmon fishers at dusk drawing their nets in the estuary of the Kirkcudbright Dee”. Relatively late in his life, MacGeorge married Mabel Victoria Elliot, a watercolour painter and widow of the artist Hugh Munro and settled at Gifford near Haddington. Ninety-nine of William Stewart MacGeorge's paintings are held in UK Public Collections.
BERNARD DE HOOG (DUTCH 1867 - 1943), COTTAGE INTERIOR oil on canvas, signedframed and under glassimage size 49cm x 39cm, overall size 76cm x 66cmNote: Dutch artist, Bernard De Hoog, produced a rich oeuvre of gentle interior scenes, which celebrated the everyday moments within family - particularly between mothers and their children. Newborns are cradled within their mother's arms while siblings read in rustic kitchens. In many respects, De Hoog’s work is comparable to the great Dutch painter, Jozef Israëls (1924-1911) and ultimately rooted within the traditions of the Dutch masters. During his time studying under the eminent Jan van Essen, he produced numerous copies of old masters while honing histechnique. It’s said that his career began through chance when working in an office for a merchant. Rather than figures in a ledger, the merchant discovered various sketches and drawings and was so impressed that he asked the young De Hoog to paint his wife. This, in turn, led to the artist’s tutelage under a drawing master and later, an academy. When we look back across his body of work, the consistent thread is a celebration of simple family life and the instinctive love between a mother and child. Misty sentimentalism majestically described with an impressionistic touch. In 1939, De Hoog’s work was shown in an exhibition at the Rijksmuseum, Amsterdam.
* 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.
JAMES PATERSON PRSW RSA RWS (SCOTTISH 1854 - 1932), THE RIGHT HONOURABLE J PARKER SMITH PC, JP, DL, FRSE pastel, chalk and pencil on paper, signed and dated 1918, titled label versomounted, framed and under glass (original mount and frame)image size 46cm x 31cm, overall size 71cm x 53cm Handwritten artist's label verso.Note 1: After settling in Edinburgh, James Paterson drew several accomplished portrait sketches of high-profile contemporaries including a self-portrait drawing (1916) in pastel, chalk and pencil which is now in the collection of The National Galleries Of Scotland. The portrait offered here is an outstanding example of his characteristic style as a draughtsman. Paterson often used hatching in red and grey chalk to model the face and give it depth. James Paterson`s work was exhibited at The Kelvingrove Gallery as part of the major "Glasgow Boys" Exhibition (2010) and at The Hunterian Art Gallery (Glasgow) in "James Paterson : Works From The Artists Studio" (2010)-an exhibition dedicated entirely to his own work.The Sitter: James Parker Smith of Jordanhill, PC, JP, DL, FRSE (30 August 1854 – 30 April 1929) was a Scottish barrister and politician who served as Liberal Unionist MP for Partick. He was first elected at a by-election in 1890 but lost the seat in 1906. He was a Cambridge Apostle. He had previously contested Greenock and Paisley. He was born on 30 August 1854 the son of Archibald Smith of Jordanhill (son of James Smith of Jordanhill) and his wife, Susan Emma Parker. Although his father was Scottish he was born in London and spent much of his life in England. He was educated at Winchester College. He then studied law at Trinity College, Cambridge, graduating with a BA in Mathematics (as fourth Wrangler) in 1877 and an MA in 1880. He qualified as a barrister in 1888. From 1890 to 1906 his interests changed from law to politics. In January 1900, Smith was appointed assistant private secretary to Joseph Chamberlain, Secretary of State for the Colonies. He held this post until 1903. He was sworn of the Privy Council in 1904. In 1915 he returned to Winchester as a fellow and as warden of the college. He later became a director of the Union Bank of Scotland. In 1921 he was elected a fellow of the Royal Society of Edinburgh. His proposers were Frederick Orpen Bower, Ralph Allan Sampson, Sir Edmund Taylor Whittaker and Sir James A. Ewing. In 1882 he was married to Mary Louisa Hamilton. They were parents to Archibald Colin Hamilton Parker Smith, the 5th Laird of Jordanhill, and Wilmot Babington Parker Smith. His brothers included Arthur Hamilton Smith, Henry Babington Smith, Lt Commander Charles Stewart Smith and Rev Walter Edward Smith. He died at the Brooks's Club in London on 30 April 1929Note 2: In our auction of 11th August 2010, lot 13 "Portrait of a Lady" (dated 1916) a similar pastel, chalk and pencil portrait by James Paterson sold for £2600 (hammer).
T OSWALD; oil on board, lady and gentleman, signed and dated 82 lower right, 39 x 29.5cm, framed, a charcoal drawing by Stoltenberg, unsigned but inscribed with title 'Merchant King - London' lower left, 31x 44cm, framed and glazed, a further unattributed signed print, 18.5 x 14cm, framed and glazed, and a set of four prints of birds, all 32 x 23cm, framed and glazed (7).
UNATTRIBUTED; a charcoal drawing, 'Orchestra', indistinctly signed lower right, 21.5 x 16.5cm, framed and glazed, a further drawing, standing nude, 26 x 14.5cm, framed and glazed, and a further charcoal drawing, abstract female, signed 'Rice' lower right, 38.5 x 22.5cm, framed and glazed (3).
Susan Townsend (Contemporary) - Two works and a print: 'Venice, Late Evening, March, Returning from Murano', oil on board, signed lower right and inscribed verso, 25 x 30 cm; 'San Marco', pen study, signed and titled below; with one other reproduction print of a pen drawing of San Marco (3)
▲ Clifford Cyril Webb (1895-1972) 'Cheetah & Black Buck' 'Legend', woodcut, both signed in pencil and titled, 15 x 19cm and 20.5 x 24cm (2)Webb was drawing master at Birmingham School of Art. He also exhibited at the R.A., R.B.A., R.E. and R.O.I. 29cm x 30.5cm. Condition ReportFramed, mounted and glazed - images good. Frames dirty.
Keith HARING (1958-1990), Attribué à. Subway drawing, 1984. Dessin original à la craie réalisé sur une affiche de métro contrecollée sur papier. 98 x 66 cm environ. (Déchirures aux marges, dessin roulé, non encadrée) Provenance : Collection particulière, Paris White chalk on tinted paper-(34.64 x 27.55 in.)
Keith HARING (1958-1990), Attribué à. Subway drawing, 1983. Dessin original à la craie blanche et rouge réalisé sur une affiche de métro. 96 x 68 cm environ (Déchirures aux marges, dessin roulé, non encadrée) Provenance : Collection particulière, Paris White chalk on tinted paper-(34.64 x 27.55 in.)
antique Japanese drawing in ink on rice paper with two figures and a dog where the background mountains are filled in with a storyAntieke Japanse inkttekening op rijstpapier met de voorstelling van en hond en twee figuren met als achtergrond en verhaal in de vorm van de bergen die in de achtergrond liggen - 26 x 34
Richard Earlom after Claude Lorraine Plates 87 and 99 from Liber Veritatis etching with brown mezzotint 8¾ x 10¾in (22 x 27.5cm), frames 46 x 49.5cm 'From the Original Drawing in the Collection of the Duke of Devonshire - published May 1st 1775 by John Boydell engraver in Cheapside' (Plate 87 - A Shepherd and Shepherdess tending Cattle, and Horsemen galloping over a distant bridge.) (Plate 99 - Apollo and the Cumaean Sybil. The latter sits on a fragment of building in the foreground of a beautiful landscape in which is perceived a distant view of the Sea.)
Late 19th century drawing room walnut framed open armchair, arched back over fluted and turned arm terminals and deep sprung seat, upholstered in buttoned maroon patterned fabric with stud detail on turned and fluted supports with castorsDimensions: Height: 85cm Length/Width: 76cm Depth/Diameter: 80cmCondition Report:Seat height 35cm
![Charcoal drawing titled ''Odalisque In Light'', signed.[88x70cm]](https://cdn.globalauctionplatform.com/e072ad85-7667-46c4-b109-b23700aba1dd/073bb95d-b66b-4946-b6cb-b23a00a01498/468x382.jpg)
![Pastel drawing ''Terrier portrait'', unsigned.[57x47cm]](https://cdn.globalauctionplatform.com/e072ad85-7667-46c4-b109-b23700aba1dd/df920de3-a618-483c-bb92-b23a00b966c6/468x382.jpg)
![Charles James HarrisPencil and charcoal drawing titled ''Young Women Dressing', signed.[93x74cm]](https://cdn.globalauctionplatform.com/e072ad85-7667-46c4-b109-b23700aba1dd/dd9f16b0-7a20-4cd1-a7a7-b23a00a1599d/468x382.jpg)
Hale (Kathleen) A Collection of correspondence and original sketches, comprising 2 sketches titled 'Savage drawing' and 'Bella Plus', in pen and pencil, 1 autograph letter signed and 2 typed letters signed to Tom Maschler her publisher, 7pp., Oxford, 20 August 1970 - 29 June 1972, discussing potential works for publication and the presence of the sketches, folds, some loss to page margins (5 pieces) *** An interesting group - the "savage" sketches entitled 'The Gay Seventies Hostel' are figures of six elderly and infirm guests therein, with a list of the Matron's rules, beginning: "All Inmates to be in bed by 9:30pm. No " " [inmates] to steal the 2nd helpings at meal times from less alert inmates." Below the images Hale notes "A savage drawing - one aspect of me seldom seen. Destroy it." The other sketch appears to be a draft for the contents and title-pages for a book introducing a new, teddy-bear character called "Bella Plush".
* FRANCES WALKER CBE RSA RSW (SCOTTISH b. 1930) FARM STEADING oil on board, signedframedimage size 64cm x 92cm, overall size 73cm x 101cm Note: Born in Kirkcaldy in 1930, she studied at Edinburgh College of Art and then took up a post as visiting teacher of art in the Western Isles in 1956. This experience reinforced her life long love of wild and desolate places and her desire to depict isolated panoramas and landscapes. Walker’s work describes a powerful connection with nature and the feeling of isolation of existing in remote landscapes. This longing for wild terrain led the artist to seek inspiration from her native Scotland – particularly the Western Isles – and from the Antarctic. The large-scale Antarctica paintings reveal still, glacial landscapes completely untouched by human beings and are perhaps Walker’s ultimate depiction of solitude. In 1958 Frances was appointed Lecturer in Drawing and Painting at Gray’s School of Art where she taught for many years before taking early retirement in 1985 to devote more time to her studio practice. She has travelled extensively, taking inspiration from the wildest, most remote terrains. In 2003 Frances was awarded an Honorary Degree of Doctor of Letters from Heriot Watt University, Edinburgh. Frances Walker is represented in many private and corporate collections including the Robert Fleming Collection, and the Royal Scottish Academy. Thirty-seven of her artworks are held in UK public collections.
* RAMSAY GILLIES, THE FISHERMAN copper/sheet metal rotating sculpture of a fisherman/angler raised on a wooden base, initialled "RG" to base52cm high x 61cm longNote: Ramsay Gillies was born and raised in Edinburgh and attended Edinburgh College of Art, studying Graphic Design, life drawing and sculpture. He spent his working years as a graphic designer in Scotland, Bermuda, New York, Boston, London, coming home to Edinburgh in the mid seventies. He returned to sculpture around five years ago with a simple resolve to avoid repetition and keep it quirky. He is inspired by the folk art tradition and every piece is unique, fashioned mainly in metal and wood with interesting finishes.
* HANNAH FRANK (SCOTTISH 1908 - 2008), THE TALE WAS WILD AND DREAR pen and ink on paper, signed and dated 1927mounted, framed and under glassimage size 41cm x 31cm, overall size 68cm x 56cmComment: This is the original pen & ink artwork by Hannah Frank. Provenance: Private collection, Edinburgh.Note: Since McTear's first promoted Hannah Frank's spectacular work in 2011, the prices for her ever more rare signed prints have continued to rise with many current prices being more than five times higher than those achieved barely a decade ago. The latest UK auction record figure for a single signed lithograph was most recently achieved (twice) in our auction on 24th October 2021 and now stands at £820 (hammer). Note 2: Hannah Frank was the last living link to the Arts and Crafts and Art Nouveau period. She studied at the Glasgow School of Art and Glasgow University in the 1920`s and her haunting pen and ink drawings have been exhibited at the Royal Academy, Royal Scottish Academy and Royal Glasgow Institute. A series of lithographs of some of her 90 drawings were made in the 1960's and again in the 1980's to satisfy the demand for her work after exhibitions in Edinburgh and Glasgow. Only a relatively few of these prints were hand signed (in pencil) by Hannah and it's understood that only one print was ever editioned (numbered) in a conventional manner. A major exhibition at the Royal Glasgow Institute in 2006 brought her work to a new generation of admirers and received considerable press coverage. Her work toured for five years in the UK and the USA culminating in an exhibition at Glasgow University which opened on her 100th birthday 23rd August 2008. After her death, she was awarded a posthumous Honorary Doctorate at Glasgow University and Glasgow City Council`s Lord Provost`s Award For Art (2009).The most recent original pen and ink drawing we've sold was lot 153 9th May 2024 which sold for £2600 (hammer).
JOHN JOHNSTONE SSA (SCOTTISH b. 1941), ON THE SWING AT SUNSET mixed media on panel, signed, titled label versoframedimage size 90cm x 87cm, overall size 109cm x 106cmHandwritten artist's label versoNote 1: a copy of the 72 page hardback book "John Johnstone" published in 2005 with a foreword by Edward Lucie-Smith is included in this lotNote 2: John Johnstone is one of Scotland’s leading artists working in a figurative style. He was born in Forfar in 1941. He studied at Duncan of Jordanstone College of Art from 1959 to 1964 under David McClure and Alberto Morrocco. He later returned to teach life drawing classes to a new generation of artists who have gone on to forge their own successful careers. He is a regular exhibitor at the Royal Scottish Academy and the Scottish Society of Artists and is a professional member of the Scottish Society of Artists and Scottish Visual Arts. “My paintings seem to be expressing something, either serious or amusing about life. They depict people acting out minor dramas. Gesture, composition, characterisation and setting are important. There is an element of gravity in them, but the humorous side probably eclipses that aspect.” Art historian Edward Lucie-Smith wrote: “John Johnstone is a unique artist – in the special sense that he has no problem in being original. His only problem is keeping that originality within bounds.” John has works in public and private collections at home and aboard including HRH the Duke of Edinburgh, The Carnegie Trust Art Collection, Angus Council Collection, Dundee City Collection, The McManus Galleries Collection and Fife Council Museums West Collection. In The Scottish Contemporary Art Auction of 21st August 2022, lot 205, "Jiving at the Palais" by John Johnstone sold for £1200 (hammer).
* ED HUNTER, BEN LOMOND FROM CARTMORE oil on canvas, signed, titled verso framedimage size 36cm x 46cm, overall size 57cm x 67cm Note: Ed Hunter studied drawing and painting in evening classes at Glasgow School of Art tutored by Charlie Boyle. He turned professional in 1993 and has since exhibited at the Royal Scottish Academy, the Royal Glasgow Institute, Paisley Art Institute and galleries in UK, USA, Germany, France and Russia. Ed received The Calder Award from Paisley Art Institute 2016.
* 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.
* SYLVIA ALLEN (SCOTTISH b. 1951), SEATED NUDE oil on canvas, signed, titled versoframedimage size 86cm x 71cm, overall size 98cm x 83cmNote 1: Handwritten label verso and further study versoNote 2: Sylvia Allen graduated from Glasgow School of Art 1974. She exhibited regularly in group and solo shows whilst in various teaching and graphics employment. A Glasgow School of Art tutor in Life Drawing and Drawing and Painting in the years 1986-1994. Elected artist member of Glasgow Art Club in 1989. Has also exhibited in USA, France and Germany and as a result her work is in many collections at home and abroad including: Price Waterhouse Coopers, Arthur Andersen and Kempen Capital Management. Exhibited in RGI, RSA, SSWA and PAI. Scottish finalist in 1997 Laing exhibition, London. Painting selected for 1998 calendar. Now works solely for exhibitions. The work is characterised by strong involvement with colour and expressive movement. Themes include weather moods in landscape, atmospheric cityscapes and vibrant colours of flowers caught in sunshine. Solo Exhibitions/Group Exhibitions MacLaurin Gallery, Ayr; McLellan Galleries, Glasgow; Willamette Uni. Salem, Oregon; Main Fine Art, Glasgow; Harbour Arts Centre, Irvine; The Kunsthaus, Nurnberg; Scottish Amicable, Glasgow; The Metro Gallery, Glasgow; Zabo Gallery, Nurnberg; Turberville Smith Gallery, London; Galerie Reiter, Bad Tolz; Seen Gallery, London; Galerie in der Linden, Weidenberg; Cormund Gallery, Glasgow; Usiskin Gallery, London; Mall Galleries, London; Home Studio, Glasgow; Glasgow Art Gallery; Woodside Library, Glasgow; Green Gallery, Aberfoyle; Devonshire Hotel, Glasgow; Adam Gallery, Bath; Kelly Gallery, Glasgow; Hanover Fine Art, Edinburgh; Torrance Gallery, Edinburgh; Dept. Philosophy, Edinburgh Festival; Kingfisher Gallery, Edinburgh; Westgate Gallery, North Berwick; Ainscough Contemporary Art, London; MacMillan Fund, Strathclyde Arts Centre; Gatehouse Gallery, Glasgow; Kelly Gallery,Glasgow; Cornerstone Gallery, Stirling; Leith Gallery, Edinburgh; Chatton Gallery, Chatton; Riverside Gallery, Stonehaven; Thompson's Gallery, London; McEwan Gallery, Ballater and Roger Billcliffe Gallery, Glasgow.
* JOCK MACINNES RGI (SCOTTISH, b. 1943) WHERE ARE WE GOING? mixed media construction, initialled, titled versoframed and under glassimage size 23cm x 23cm, overall size 41cm x 41cm, 7cm deepNote: Jock MacInnes RGI (b.1943) is a Scottish artist producing paintings derived from a collection of objects, images and symbols associated with Celtic traditions and heritage of a narrative culture. Jock MacInnes was born in Glasgow and studied at Glasgow School of Art from 1962 to 1967. In the year after graduation he travelled to Europe with a scholarship and on his return took up a lecturing post at Glasgow School of Art where he remained until 1996. In 1988 he was elected member, and to the council, of the Scottish Society of Artists and member of the Royal Glasgow Institute of Fine Arts. In 1995 he was elected to the council of the Royal Glasgow Institute of Fine Arts. His many awards include the Colquhoun Memorial Painting Competition – 1st prize in 1978, the Scottish Drawing Competition at the Paisley Art Institute – 1st prize in 1988 and 1991, the Cargill Award also in 1991 and the Scottish Amicable Prize in 1999 both at the Royal Glasgow Institute of Fine Arts. Since 1980 he has had regular solo exhibitions in Glasgow, Edinburgh, Ayrshire, London, Truro and Collioure in France. MacInnes’ paintings refer to memories of an experience or a feeling and for him the drawing process relies heavily on this recollection. He is liberated from the constraints of strict observation, so that invention and discovery can be embraced in the process. His paintings are recognised by his own developed style of mark-making on prepared gesso boards and canvases. The combined subject matter of and technique are reminiscent of the works of his influencers; the early twentieth century European masters and St. Ives group artists George Braque and Ben Nicholson included. His work is held in private, corporate and public collections including the Dick Institute, Kilmarnock, the Paisley Art Institute, the Dunbartonshire Education Authorities, Scottish Amicable, Glasgow University and the Royal Bank of Scotland.
JOHN JOHNSTONE SSA (SCOTTISH b. 1941), AT THE BERRIES mixed media on board, signed, titled versoframed image size 123cm x 117cm, overall size 130cm x 124cm Handwritten artist's label versoNote 1: a copy of the 72 page hardback book "John Johnstone" published in 2005 with a foreword by Edward Lucie-Smith is included in this lotNote 2: John Johnstone is one of Scotland’s leading artists working in a figurative style. He was born in Forfar in 1941. He studied at Duncan of Jordanstone College of Art from 1959 to 1964 under David McClure and Alberto Morrocco. He later returned to teach life drawing classes to a new generation of artists who have gone on to forge their own successful careers. He is a regular exhibitor at the Royal Scottish Academy and the Scottish Society of Artists and is a professional member of the Scottish Society of Artists and Scottish Visual Arts. “My paintings seem to be expressing something, either serious or amusing about life. They depict people acting out minor dramas. Gesture, composition, characterisation and setting are important. There is an element of gravity in them, but the humorous side probably eclipses that aspect.” Art historian Edward Lucie-Smith wrote: “John Johnstone is a unique artist – in the special sense that he has no problem in being original. His only problem is keeping that originality within bounds.” John has works in public and private collections at home and aboard including HRH the Duke of Edinburgh, The Carnegie Trust Art Collection, Angus Council Collection, Dundee City Collection, The McManus Galleries Collection and Fife Council Museums West Collection. In The Scottish Contemporary Art Auction of 21st August 2022, lot 205, "Jiving at the Palais" by John Johnstone sold for £1200 (hammer).
* JAMES S DAVIS DA PAI RSW FRSA (SCOTTISH b. 1944), O'ER THE HILLS TO ARDENTINNY oil on board, signed, titled verso mounted, framed and under glassimage size 45.5cm x 51cm, overall size 74cm x 77cmNote: James Davis was born in Scotland in 1944. He studied contemporary painting at the Glasgow School of Art between 1963 and 1967. He specialised in drawing and painting under the tutorage of Scottish artists William Armour and David Donaldson. For more than 40 years James Davis paintings have been exhibited extensively with the Royal Glasgow Institute ( RGI), Royal Scottish Watercolour Society (RSW), Royal Scottish Academy RSA and the Paisley Art Institute ( PAI). James Davis was elected to the RSW in 2003. James Davis paintings are predominantly landscapes, figurative and portraits and he paints in both watercolours and oils. Davis has been the recipient of many art awards for his contemporary paintings including the David Cargill Award; RGI in 2003 and the Reid Kerr Painting Award in 2005. James has established a strong following with leading private and corporate art collectors of contemporary Scottish art. These include: HRH The Duke of Edinburgh; The Royal Collection; Holyrood Palace; King Hussein Family Private collection; Vatican Commission Scott's College Rome; Glasgow City Chambers; Merk Finance; Arisaig Holdings (Singapore) and Strathclyde Education Authorities. His paintings also feature in many private contemporary art collections in the UK, Canada, USA, Italy, Holland, France, Switzerland, Australia and Tasmania.
JOHN JOHNSTONE SSA (SCOTTISH b. 1941), BLIND GUIDES oil on board, signed, titled label versoframedimage size 107cm x 89cm, overall size 114cm x 94cm Handwritten artist's label versoNote 1: a copy of the 72 page hardback book "John Johnstone" published in 2005 with a foreword by Edward Lucie-Smith is included in this lotNote 2: John Johnstone is one of Scotland’s leading artists working in a figurative style. He was born in Forfar in 1941. He studied at Duncan of Jordanstone College of Art from 1959 to 1964 under David McClure and Alberto Morrocco. He later returned to teach life drawing classes to a new generation of artists who have gone on to forge their own successful careers. He is a regular exhibitor at the Royal Scottish Academy and the Scottish Society of Artists and is a professional member of the Scottish Society of Artists and Scottish Visual Arts. “My paintings seem to be expressing something, either serious or amusing about life. They depict people acting out minor dramas. Gesture, composition, characterisation and setting are important. There is an element of gravity in them, but the humorous side probably eclipses that aspect.” Art historian Edward Lucie-Smith wrote: “John Johnstone is a unique artist – in the special sense that he has no problem in being original. His only problem is keeping that originality within bounds.” John has works in public and private collections at home and aboard including HRH the Duke of Edinburgh, The Carnegie Trust Art Collection, Angus Council Collection, Dundee City Collection, The McManus Galleries Collection and Fife Council Museums West Collection. In The Scottish Contemporary Art Auction of 21st August 2022, lot 205, "Jiving at the Palais" by John Johnstone sold for £1200 (hammer).
* 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.
JOHN JOHNSTONE SSA (SCOTTISH b. 1941), CLEANING WINDOWS mixed media on board, signed, titled label versoframed image size 111cm x 102cm, overall size 118cm x 109cm Handwritten artist's label versoNote 1: a copy of the 72 page hardback book "John Johnstone" published in 2005 with a foreword by Edward Lucie-Smith is included in this lotNote 2: John Johnstone is one of Scotland’s leading artists working in a figurative style. He was born in Forfar in 1941. He studied at Duncan of Jordanstone College of Art from 1959 to 1964 under David McClure and Alberto Morrocco. He later returned to teach life drawing classes to a new generation of artists who have gone on to forge their own successful careers. He is a regular exhibitor at the Royal Scottish Academy and the Scottish Society of Artists and is a professional member of the Scottish Society of Artists and Scottish Visual Arts. “My paintings seem to be expressing something, either serious or amusing about life. They depict people acting out minor dramas. Gesture, composition, characterisation and setting are important. There is an element of gravity in them, but the humorous side probably eclipses that aspect.” Art historian Edward Lucie-Smith wrote: “John Johnstone is a unique artist – in the special sense that he has no problem in being original. His only problem is keeping that originality within bounds.” John has works in public and private collections at home and aboard including HRH the Duke of Edinburgh, The Carnegie Trust Art Collection, Angus Council Collection, Dundee City Collection, The McManus Galleries Collection and Fife Council Museums West Collection. In The Scottish Contemporary Art Auction of 21st August 2022, lot 205, "Jiving at the Palais" by John Johnstone sold for £1200 (hammer).
* JOCK MACINNES RGI (SCOTTISH, b. 1943) GOLDEN GLOW OVER ARRAN oil on board, initialledframedimage size 28cm x 23cm, overall size 44cm x 39cmNote: Jock MacInnes RGI (b.1943) is a Scottish artist producing paintings derived from a collection of objects, images and symbols associated with Celtic traditions and heritage of a narrative culture. Jock MacInnes was born in Glasgow and studied at Glasgow School of Art from 1962 to 1967. In the year after graduation he travelled to Europe with a scholarship and on his return took up a lecturing post at Glasgow School of Art where he remained until 1996. In 1988 he was elected member, and to the council, of the Scottish Society of Artists and member of the Royal Glasgow Institute of Fine Arts. In 1995 he was elected to the council of the Royal Glasgow Institute of Fine Arts. His many awards include the Colquhoun Memorial Painting Competition – 1st prize in 1978, the Scottish Drawing Competition at the Paisley Art Institute – 1st prize in 1988 and 1991, the Cargill Award also in 1991 and the Scottish Amicable Prize in 1999 both at the Royal Glasgow Institute of Fine Arts. Since 1980 he has had regular solo exhibitions in Glasgow, Edinburgh, Ayrshire, London, Truro and Collioure in France. MacInnes’ paintings refer to memories of an experience or a feeling and for him the drawing process relies heavily on this recollection. He is liberated from the constraints of strict observation, so that invention and discovery can be embraced in the process. His paintings are recognised by his own developed style of mark-making on prepared gesso boards and canvases. The combined subject matter of and technique are reminiscent of the works of his influencers; the early twentieth century European masters and St. Ives group artists George Braque and Ben Nicholson included. His work is held in private, corporate and public collections including the Dick Institute, Kilmarnock, the Paisley Art Institute, the Dunbartonshire Education Authorities, Scottish Amicable, Glasgow University and the Royal Bank of Scotland.
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