We found 22661 price guide item(s) matching your search
There are 22661 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
22661 item(s)/page
Lot 652
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.
Lot 76
A collection of 19th and 20th century Masons style stoneware and blue and white transfer ware - including a pair of Cauldon Ltd 'Blue Moore' vases, 14cm high; a pair of Wedgwood 'Ferrara' pattern plates, 25.5cm diameter; three Stanley Pottery Co. 'Touraine' flow blue plates, 19.5cm diameter; 10 x Copeland Spode's Italian pattern small plates and saucers etc.; together with a copper and brass hunting horn.
Lot 389
A group of Masons ironstone pottery, comprising a Brocade pattern pot pourri jar and cover, Ascot pattern jug, Belvedere pattern ginger jar and cover, further ginger jar and cover, Strathmore pattern plate and circular platter 38cm wide, a pair of floral tea plates, Formosa pattern vase, and a blue and white teapot. (10)
Lot 37
Four 19th Century Sunderland Style Masonic Mugs, comprising: - a tankard-shaped 'frog' mug with overpainted transfer decoration of Garibaldi to one side and coat of arms for the 'Free and Accepted Masons' to the other 4.75ins high, a two-handled mug with the 'Free and Accepted' coat of arms and a verse within a floral and leaf border 4ins high, a Pink Lustre mug with overpainted transfer of Masonic scene worded 'The Free Masons Arms' with angular handle 3.75ins high and a large Pink Lustre mug transfer and overpainted with verse and Masonic symbols 4.75ins high 1.Lustre mug very worn, 1.5ins crack to right of coat of arms, 2ins crack to left of Garibaldi, overall crazing to glaze2. heavily crazed and discoloured overall, 2ins and 1.5ins cracks from rim into body, footrim rough3. multiple small chips to rim, wear to gilding, all over crazing, historic chip 0.5ins to underside of footrim, discoloured crack from rim diagonally to base, 1.75ins crack from rim into body4. wear to lustre at rim, two star-shaped cracks to base, approximately 2ins x 3ins section to left of verse has been out and restored, the extent of which cannot be determined, firing crack to base above footrim <0.25ins, interior very discoloured
Lot 40
Five 18th/19th Century Masonic Mugs, comprising : - a creamware mug transfer printed with Masonic scene and enamelled in colours 3.75ins high, a Pink Lustre decorated mug with transfer printed coat of arms for 'Free and Accepted Masons' and a verse within floral and leaf border 4ins high, a blue transfer printed mug with Masonic scene and verse within border 3.75ins, a creamware mug transfer printed with Masonic imagery within oval cartouche surrounded by zodiac sign border 3.5ins high and a mug transfer printed with Masonic symbols enamelled in colours with gilt rim and decoration to handle, gilt initials GB with foliage and dated 1817 3ins high 1. Wear to enamels at rim, various firing marks inside and just below rim, 1.25ins crack from rim from rim into body, 2.5ins crack around base going through footrim, wear to glaze at handle and at footrim2.Lustre very worn/faded, firing crack around joint of handle/body, 0.75ins chip to base/footrim and various rough areas to glaze3. Crazing to glaze but otherwise appears to be in good condition with no obvious damage/loss/restoration4. Overall crazing to glaze, enamel at rim and on handle may have been retouched5. Fine overall crazing, firing crack 0.5 by top of handle joint inside, small chip to inside of gilt rim and associated area of discolouration approximately 1ins x 0.4ins this is possible restoration, the extent of which cannot be determined, wear to gilt at rim, 0.75ins chip to underside of footrim, 1ins firing crack to base and another to interior of base
Lot 364
John Bellany CBE RA, Scottish 1942-2013 - After the Tempest; oil on canvas, signed lower right 'Bellany', titled on the reverse 'After the Tempest', 121.5 x 91.3 cm (unframed) (ARR) Note: with thanks to the Artist’s Estate for confirming the authenticity of this work. One of the most celebrated Scottish artists of the 20th century, Bellany's deeply symbolic work contains an unrivalled intensity and power. Using a distinctly Scottish iconography, his works explore questions of the human condition, Celtic history and our relationship with the sea. Alongside Alexander Moffat and the poet Hugh MacDiarmid, Bellany sought to create a renaissance in Scottish culture from the 1960s. Inspired by the symbolism of Alan Davie, his work has also been highly influential on a generation of artists, including Damien Hirst who has been a major collector of his work. The artist's work is held in collections across the world, including the Tate, the Museum of Modern Art, New York and the National Galleries of Scotland. Recent exhibitions of his work have been held at Fortnum & Masons in 2017 and the National Gallery of Scotland in 2012-13.
Loading...-
22661 item(s)/page