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Click here to subscribeKeith HALL (1938) River View Pastel, signed and dated '14, 31.5cm x 48cm, 44cm x 60cm mounted; together with Joseph POWELL (1876-1981) watercolour of an English landscape, signed, 28cm x 39.5cm, 41cm x 53cm mounted, and a watercolour of Elvet Bridge, Durham, indistinctly signed, 34cm x 50cm (3)
Chris SMITH (1950) Gwithian Oil on ply, signed, titled verso to artist's label, 16cm x 36cm, 25.5cm x 46cm framed. Trained by the renowned Plymouth figurative painter, the late Robert O Lenkiewicz, Chris works from Studio 5, Trereife Business Park, Cornwall, working principally on figurative drawings and paintings but is currently expanding his repertoire to embrace the influences of the St Ives artists and stunning landscapes of the Penwith Peninsula. These influences are moving Chris's output into abstraction, landscape, and the inclusion of figurative within these genres.
Alfred James WANDS (1902/04-1998) Fall Day, Colorado Woodcut in colour, signed and titled, edition 31/150, 28cm x 33cm. Alfred Wands, born in Cleveland, Ohio, graduated with honours from the Cleveland School of Art and studied in Paris at the Academie Julian. He returned to Ohio in the late 1920s to teach painting before moving to Denver in 1930, where he directed the art program at Colorado Women’s College for 17 years. Wands frequently travelled to Taos, New Mexico, and became the Camp Artist at the YMCA of the Rockies by 1943. In 1947, he left teaching to focus on painting full-time and opened his studio in Estes Park, Colorado, by 1955. Known as the "Dean of Colorado Landscape Painters," Wands held leadership roles in the Denver Artists Guild and Denver Art Commission.
Chris SMITH (1950) Gwithian Dusk Oil on board, signed, titled to artist's label verso, 20cm x 28.5cm, 29cm x 37.5cm framed. Trained by the renowned Plymouth figurative painter, the late Robert O Lenkiewicz, Chris works from Studio 5, Trereife Business Park, Cornwall, working principally on figurative drawings and paintings but is currently expanding his repertoire to embrace the influences of the St Ives artists and stunning landscapes of the Penwith Peninsula. These influences are moving Chris's output into abstraction, landscape, and the inclusion of figurative within these genres.
Chris SMITH (1950) Hill Stack Oil on board, signed, titled to artist's label verso, 12.5cm x 37.5cm, 21cm x 46cm framed. rained by the renowned Plymouth figurative painter, the late Robert O Lenkiewicz, Chris works from Studio 5, Trereife Business Park, Cornwall, working principally on figurative drawings and paintings but is currently expanding his repertoire to embrace the influences of the St Ives artists and stunning landscapes of the Penwith Peninsula. These influences are moving Chris's output into abstraction, landscape, and the inclusion of figurative within these genres.
Elaine BLAMEY (Royal Society of Portrait Painters) A portfolio of works from the artist's studio Seventeen works on canvas and board comprising portraits, including a self portrait titled 'Me In the MIrror', and landscape views, mostly of Cornwall. Mostly signed to the verso, either Elaine Blamey or Elaine Lewis, her name before marriage. Largest 38cm x 30cm.
two oils on canvas, signed, titled verso framed together image size 35cm x 63cm, overall size 42cm x 70cm Note: Blair Thomson is a full-time artist inspired by Scotland and Japan. Exhibiting since age 18 and graduating from GSA in 2002, his practice has widened from landscape/figurative to abstraction, photography and installation encompassing a poetic approach and interests from Scotland beyond. Regular visits to Japan began in 2002, when he began studying Sho with calligrapher Shujo Wakabayashi, then in his eighties. Thomson exhibited with him and other Asian artists in 09 and the next year represented the UK at the ART/X/TOYAMA International Exhibition. He had been on the committee of the Royal Glasgow Institute arts organisation and is a meditator, trustee and sometimes Tenzo at Glasgow Zen Group. Thomson is a multiple award winner and his work has been widely exhibited in London, Japan and Scotland. He has consistently attracted critical praise resulting in extensive media coverage, especially in Scotland. His paintings are in prestigious collections in the UK, Japan, USA, France and Holland. Known corporate collectors include McKinsey & Co. and Scottish Widows.
watercolour on paper, signed, titled label verso mounted, framed and under glass image size 37cm x 54cm, overall size 48cm x 65cm Exhibition label verso: Earl Haig - New Paintings 10 July - 7 August 1993, The Scottish Gallery, Edinburgh Comment: a spectacular and large example with prestigious documented exhibition provenance. Note: Earl Haig (son of the Field Marshall) started painting as a prisoner of war. The paintings and drawings he made in Colditz Castle were exhibited at The Scottish Gallery in 1945 in an exhibition attended by HM The Queen. He went on to train under Victor Pasmore and Lawrence Gowing at Camberwell School of Art, London when fellow Scot William Johnstone was Principal. He had a distinguished exhibiting career primarily with The Scottish Gallery which spanned over six decades, concluding with his remarkable 90th birthday show in 2008. However, the same prestigious Edinburgh Gallery staged a Memorial show for Haig in 2011 and a major centenary show in 2018. In 2020 another solo show was staged (November - December 2020) by The Scottish Gallery focussing on examples from the Scottish Borders and Italy, where he spent an increasing amount of time from the mid-1970s. Earl Haig's work was shown widely elsewhere in Britain and on the continent, latterly including Clarges Gallery and Gallery 10, London. His work held in the collections of HM The Queen and other members of the Royal family, Scottish National Gallery of Modern Art and further public and notable corporate collections. Earl Haig was a member of the Scottish Arts Council and of the Royal Fine Art Commission for Scotland and a Trustee of the National Galleries of Scotland. As a landscape painter he was fond of simple, almost naïve images infused with a rich palette. Lived in Bemersyde, Melrose, Scotland.
watercolour on paper, signed, titled verso mounted, framed and under glass image size 34cm x 48cm, overall size 67cm x 80cm Handwritten artist's label verso Note: David M Graham lives and works in Scotland. He holds a Masters Degree from Edinburgh College of Art and a teaching qualification from Moray House School of Education. In addition to paintings he has lectured at Honours Degree level for most of his career but he has also enjoyed teaching short courses in visual communication and water colour painting. Working in a variety of mediums, at times, the imagery in David’s painting borders on abstraction while retaining intriguing yet recognisable elements that relate to the subject matter. The landscape provides the inspiration for much of his work, some of which is expressed in bold statements of colour and texture. David Graham is represented in a number of prominent art galleries in Scotland and England. His work is included in many private collections at home and abroad.
ink and watercolour on paper, signed mounted, framed and under glass image size 27cm x 37cm, overall size 41cm x 51cm Note: James Harrigan is a graduate of Glasgow School of Art where he studied Painting and Printmaking between 1956 and 1961. He was born in Ayr in 1937 and has continued to live in Ayrshire all his life. He taught Art for many years and was an inspiring teacher with many of his pupils going on themselves to develop successful careers as artists. In recent years James has spent time in the West Indies and in Brazil but he never tires of painting the landscape and coastline around his Ayrshire home and elsewhere in Scotland. He is known mainly as a landscape artist but his landscapes are almost invariably informed by a human presence and day to day activities, a sense of life being lived. This may be actual figures or it may be a suggestion of human life through buildings, gardens, boats.... He is an expressive painter working mainly in oils, using the rich, luscious quality of the paint to great effect. He exhibits widely and has work in many collections including those of the House of Lords, Glasgow University, P & O Cruises, Wigtownshire Education Trust and the Maclaurin Gallery. He is a past winner of the prestigious Laing Landscape Competition and the Scotsman Art Competition. In The Scottish Contemporary Art Auction of 10th November 2022, lot 52 "Girvan Harbour" a 48 x 58cm oil on board (dated 1998) by James Harrigan sold for £2200 (hammer). Since then "Sailing at Elie" a 50 x 75cm oil (by James Harrigan) sold in our auction of 13th December 2023 (lot 10) for £2400 (hammer) and in our 9th May 2024 auction lot 175 Summer Morning (View to Arran) a 51 x 77cm oil (by Harrigan) sold for £3000 (hammer).
mixed media on board, signed, titled and dated 1996 verso framed and under glass image size 134cm x 56cm, overall size 150cm x 73cm Note: Ally (Alasdair Neil Renwick) Thompson, was a Scottish painter of the New Glasgow Boys generation alongside Peter Howson, Ken Currie, Adrian Wisniewski and the late Steven Campbell. Born in Glasgow, he studied at Glasgow School of Art from 1975 to 1980, gaining a B.A. First Class Honours in Fine Art, and a diploma in postgraduate studies with high commendation and a travelling scholarship. In 1989, a solo exhibition of his work at the Barbizon Gallery (Glasgow) was visited by the international art promoter Norbert Binotti, who then brought Thompson to international prominence with a one-man show in New York and major exhibitions in Paris. Ally lived and worked periodically in Provence in the 1990s. He subsequently steadily consolidated his international reputation with exhibitions in Britain, Europe and North America, appearing in galleries such as Flowers East in London and Gallery Albert 1er in Paris. A close friend of Peter Howson, with whom he was a fellow student at the Glasgow School of Art, both men and their work were almost equally unknown when they shared one of their first exhibitions, a two-man show at the Art School itself in 1984. Ally Thompson was naturally shy in new company rather than a bold and forthright salesman of his own work. He painted in several distinctly different styles, from surrealist to abstract to expressionist landscape and much in between, making him hard to categorise and package for promoters and critics. Visiting his studio in the early 1980s Alec Mather, a successful Lanarkshire businessman, was one of the first of several almost surrogate father figures in Thompson's life. He offered to pay Ally twice what he was asking for one his paintings on condition that the young artist gave up his day job as a school teacher. Thompson never looked back creatively. Alec Mather remained a friend, patron and supporter for the rest of the artist's life. Outside of Scotland, through the friendship and support of Norbert Binotti and (after his untimely death) Norbert's brother Claude, Thompson found an invigorating new audience for his work in New York, Paris and the South of France. For all his non-materialist philosophy, Thompson was not above a bit of name-dropping on occasion, and like any Glaswegian boy Ally was suitably astonished to sometimes find himself in the company (and painting collections of) the likes of Bob Geldof, Petula Clark, Richard Jobson, Picasso's son Claude and even France's President Mitterand.
Tianqi period, Ming Dynasty, Ca. AD 1621-1627.A blue and white landscape dish. The scene comes from the Tang dynasty poem, Night Mooring by the Maple Bridge, with the poem written above the scene. Size: 150mm x 55mm; Weight: 275gProvenance: Swedish private collection, acquired from Stockholm Auctions.
Ca. 19th century AD. A group comprising a Qajar or Turkish glazed pottery kashkul of hemispherical form, decorated with pink roses in blue vases on either side, with two lozenge-shaped motifs on top, one open and the other adorned with floral patterns and two suspension loops in the shape of bird heads. Previously acquired by Ahuan U.K. Ltd from Dr. Ziya Sofu, London, 23 July 1975. included is a Qajar pearlescent seashell, likely a large oyster shell, engraved with a court scene showing a seated ruler among courtiers in a garden with flowering plants and birds, framed by scrolling arabesques, and inscribed "Amal Isfahan" (Made in Isfahan). Such shells, often containing loose pearls, were a speciality of Isfahan. Prior Reza Attigechi, Tehran, 1976. The group also contains a Qajar lacquer mirror case or shallow box, engraved on one side with eight seated figures in a landscape and six figures in a similar setting on the reverse. Completing the collection is a Qajar enamelled copper bowl with a wide rim, featuring eight waist-length portraits of youths, two wearing crowns, against a blue ground within oval lozenges, separated by vase-shaped panels with birds in flowering bushes. The outer bowl showcases two lozenges with portraits of blue-robed youths on a pink ground, over two panels with pairs of figures in a landscape. Purchased from Brimo de Laroussilihe, Paris. 8 December 1976. Size: 200mm-240mm, 120mm-200mm; Weight: 1.85kg Provenance: Previous property of an Islamic art professional. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Four Chinese Porcelain Late XVIII/Early XIX Century Plates, painted in blue with floral and landscape scenes, 23cm diameter. (A/f)One plate with many chips to edge, some leading to hairline cracks, another with many small chips to edge, plate with flower design has one chip to edge and hairlines, other plate with nibbles to edge. All feature pitting. See images
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