Carole MCDOWALL (1944) Anima Mundi Oil on canvas, signed and titled verso, 107cm x 112cm. Carole McDowall studied printmaking and sculpture at Putney Art School from 1973-1978, during which time she had work chosen to exhibit at the Royal Academy summer exhibition, 1975, and later she gained a Fine Art Degree in Painting from the Sir John Cass School of Art in the mid-1980's. She was a part of a group of artist based in and around Porthleven in the late 1980's. At this time, Porthleven had become quite a centre for artists. The Acme studios provided 6 large studios some of which were subdivided and shared, with Jeremy Annear amongst the painters to take a studio there, with Bryan Ingham also moving to a studio at this time. The OYOYOY dinner party almost became an institution amongst Porthleven artists in the late eighties. It usually took place with about eight or ten artists in a first floor flat in Penair House overlooking the mouth of the harbour (which incidentally was rented to the artists by Daphne McClure) or at John and Carole McDowall’s home. The evenings consisted of a really good meal, lots of Bulgarian red wine and intense art discussion usually winding up just before dawn! These discussions were passionate, heated and noisy and on these occasions one of the artists was appointed to chair. There were many creative spin-offs from these evenings. One of the consequences of these evenings was the formation of the Cobalt Group, which formed around 1989 to challenge and question the given work processes of its members in daylong workshops at the Acme Studios in Porthleven. The members of the group were Carole McDowall, Ralph Freeman, Roy Walker, Russ Hedges, and Jeremy Annear. Carole and her associates have been referred to as third-generation Cornish Modernists, began by Ben Nicholson and Barbara Hepworth and following on from the likes of Peter Lanyon and Terry Frost. Other artists referred to in this third generation include Anthony Frost, Micheal Finn, Tony O’Malley, Jeremy LeGrice, Daphne McClure, Jeremy Annear, Russ Hedges, Ralph Freeman Steve Dove, Roy Ray, John Clark, Clive Blackmore, Simon Averill, Roy Walker, Bob Devereux, John Emmanuel, Bob Crossley and Andrew Lanyon.
We found 72689 price guide item(s) matching your search
There are 72689 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
72689 item(s)/page
Carole MCDOWALL (1944) Carver's Path Oil on canvas, signed and titled verso, 153cm x 160cm. Carole McDowall studied printmaking and sculpture at Putney Art School from 1973-1978, during which time she had work chosen to exhibit at the Royal Academy summer exhibition, 1975, and later she gained a Fine Art Degree in Painting from the Sir John Cass School of Art in the mid-1980's. She was a part of a group of artist based in and around Porthleven in the late 1980's. At this time, Porthleven had become quite a centre for artists. The Acme studios provided 6 large studios some of which were subdivided and shared, with Jeremy Annear amongst the painters to take a studio there, with Bryan Ingham also moving to a studio at this time. The OYOYOY dinner party almost became an institution amongst Porthleven artists in the late eighties. It usually took place with about eight or ten artists in a first floor flat in Penair House overlooking the mouth of the harbour (which incidentally was rented to the artists by Daphne McClure) or at John and Carole McDowall’s home. The evenings consisted of a really good meal, lots of Bulgarian red wine and intense art discussion usually winding up just before dawn! These discussions were passionate, heated and noisy and on these occasions one of the artists was appointed to chair. There were many creative spin-offs from these evenings. One of the consequences of these evenings was the formation of the Cobalt Group, which formed around 1989 to challenge and question the given work processes of its members in daylong workshops at the Acme Studios in Porthleven. The members of the group were Carole McDowall, Ralph Freeman, Roy Walker, Russ Hedges, and Jeremy Annear. Carole and her associates have been referred to as third-generation Cornish Modernists, began by Ben Nicholson and Barbara Hepworth and following on from the likes of Peter Lanyon and Terry Frost. Other artists referred to in this third generation include Anthony Frost, Micheal Finn, Tony O’Malley, Jeremy LeGrice, Daphne McClure, Jeremy Annear, Russ Hedges, Ralph Freeman Steve Dove, Roy Ray, John Clark, Clive Blackmore, Simon Averill, Roy Walker, Bob Devereux, John Emmanuel, Bob Crossley and Andrew Lanyon.
Carole MCDOWALL (1944) Susurris Oil and mixed media on canvas, signed and titled verso, dated '98/99, 148cm x 153cm. Carole McDowall studied printmaking and sculpture at Putney Art School from 1973-1978, during which time she had work chosen to exhibit at the Royal Academy summer exhibition, 1975, and later she gained a Fine Art Degree in Painting from the Sir John Cass School of Art in the mid-1980's. She was a part of a group of artist based in and around Porthleven in the late 1980's. At this time, Porthleven had become quite a centre for artists. The Acme studios provided 6 large studios some of which were subdivided and shared, with Jeremy Annear amongst the painters to take a studio there, with Bryan Ingham also moving to a studio at this time. The OYOYOY dinner party almost became an institution amongst Porthleven artists in the late eighties. It usually took place with about eight or ten artists in a first floor flat in Penair House overlooking the mouth of the harbour (which incidentally was rented to the artists by Daphne McClure) or at John and Carole McDowall’s home. The evenings consisted of a really good meal, lots of Bulgarian red wine and intense art discussion usually winding up just before dawn! These discussions were passionate, heated and noisy and on these occasions one of the artists was appointed to chair. There were many creative spin-offs from these evenings. One of the consequences of these evenings was the formation of the Cobalt Group, which formed around 1989 to challenge and question the given work processes of its members in daylong workshops at the Acme Studios in Porthleven. The members of the group were Carole McDowall, Ralph Freeman, Roy Walker, Russ Hedges, and Jeremy Annear. Carole and her associates have been referred to as third-generation Cornish Modernists, began by Ben Nicholson and Barbara Hepworth and following on from the likes of Peter Lanyon and Terry Frost. Other artists referred to in this third generation include Anthony Frost, Micheal Finn, Tony O’Malley, Jeremy LeGrice, Daphne McClure, Jeremy Annear, Russ Hedges, Ralph Freeman Steve Dove, Roy Ray, John Clark, Clive Blackmore, Simon Averill, Roy Walker, Bob Devereux, John Emmanuel, Bob Crossley and Andrew Lanyon.The frame shows previous signs of worm and would benefit from being treated. The canvas is fragile in areas affected by this.
Carole MCDOWALL (1944) Sancreed No.3 Oil on canvas, signed, titled and dated '92 verso, 138cm x 147cm. Carole McDowall studied printmaking and sculpture at Putney Art School from 1973-1978, during which time she had work chosen to exhibit at the Royal Academy summer exhibition, 1975, and later she gained a Fine Art Degree in Painting from the Sir John Cass School of Art in the mid-1980's. She was a part of a group of artist based in and around Porthleven in the late 1980's. At this time, Porthleven had become quite a centre for artists. The Acme studios provided 6 large studios some of which were subdivided and shared, with Jeremy Annear amongst the painters to take a studio there, with Bryan Ingham also moving to a studio at this time. The OYOYOY dinner party almost became an institution amongst Porthleven artists in the late eighties. It usually took place with about eight or ten artists in a first floor flat in Penair House overlooking the mouth of the harbour (which incidentally was rented to the artists by Daphne McClure) or at John and Carole McDowall’s home. The evenings consisted of a really good meal, lots of Bulgarian red wine and intense art discussion usually winding up just before dawn! These discussions were passionate, heated and noisy and on these occasions one of the artists was appointed to chair. There were many creative spin-offs from these evenings. One of the consequences of these evenings was the formation of the Cobalt Group, which formed around 1989 to challenge and question the given work processes of its members in daylong workshops at the Acme Studios in Porthleven. The members of the group were Carole McDowall, Ralph Freeman, Roy Walker, Russ Hedges, and Jeremy Annear. Carole and her associates have been referred to as third-generation Cornish Modernists, began by Ben Nicholson and Barbara Hepworth and following on from the likes of Peter Lanyon and Terry Frost. Other artists referred to in this third generation include Anthony Frost, Micheal Finn, Tony O’Malley, Jeremy LeGrice, Daphne McClure, Jeremy Annear, Russ Hedges, Ralph Freeman Steve Dove, Roy Ray, John Clark, Clive Blackmore, Simon Averill, Roy Walker, Bob Devereux, John Emmanuel, Bob Crossley and Andrew Lanyon.
Carole MCDOWALL (1944) Unnamed Collage Mixed media and oil on canvas, signed and titled, Royal West of England Academy label verso, 153cm x 160cm. Carole McDowall studied printmaking and sculpture at Putney Art School from 1973-1978, during which time she had work chosen to exhibit at the Royal Academy summer exhibition, 1975, and later she gained a Fine Art Degree in Painting from the Sir John Cass School of Art in the mid-1980's. She was a part of a group of artist based in and around Porthleven in the late 1980's. At this time, Porthleven had become quite a centre for artists. The Acme studios provided 6 large studios some of which were subdivided and shared, with Jeremy Annear amongst the painters to take a studio there, with Bryan Ingham also moving to a studio at this time. The OYOYOY dinner party almost became an institution amongst Porthleven artists in the late eighties. It usually took place with about eight or ten artists in a first floor flat in Penair House overlooking the mouth of the harbour (which incidentally was rented to the artists by Daphne McClure) or at John and Carole McDowall’s home. The evenings consisted of a really good meal, lots of Bulgarian red wine and intense art discussion usually winding up just before dawn! These discussions were passionate, heated and noisy and on these occasions one of the artists was appointed to chair. There were many creative spin-offs from these evenings. One of the consequences of these evenings was the formation of the Cobalt Group, which formed around 1989 to challenge and question the given work processes of its members in daylong workshops at the Acme Studios in Porthleven. The members of the group were Carole McDowall, Ralph Freeman, Roy Walker, Russ Hedges, and Jeremy Annear. Carole and her associates have been referred to as third-generation Cornish Modernists, began by Ben Nicholson and Barbara Hepworth and following on from the likes of Peter Lanyon and Terry Frost. Other artists referred to in this third generation include Anthony Frost, Micheal Finn, Tony O’Malley, Jeremy LeGrice, Daphne McClure, Jeremy Annear, Russ Hedges, Ralph Freeman Steve Dove, Roy Ray, John Clark, Clive Blackmore, Simon Averill, Roy Walker, Bob Devereux, John Emmanuel, Bob Crossley and Andrew Lanyon.
Carole MCDOWALL (1944) Sancreed No 1 (Blue) Oil on canvas, signed, titled and dated '92 verso, 139.5cm x 169cm. Carole McDowall studied printmaking and sculpture at Putney Art School from 1973-1978, during which time she had work chosen to exhibit at the Royal Academy summer exhibition, 1975, and later she gained a Fine Art Degree in Painting from the Sir John Cass School of Art in the mid-1980's. She was a part of a group of artist based in and around Porthleven in the late 1980's. At this time, Porthleven had become quite a centre for artists. The Acme studios provided 6 large studios some of which were subdivided and shared, with Jeremy Annear amongst the painters to take a studio there, with Bryan Ingham also moving to a studio at this time. The OYOYOY dinner party almost became an institution amongst Porthleven artists in the late eighties. It usually took place with about eight or ten artists in a first floor flat in Penair House overlooking the mouth of the harbour (which incidentally was rented to the artists by Daphne McClure) or at John and Carole McDowall’s home. The evenings consisted of a really good meal, lots of Bulgarian red wine and intense art discussion usually winding up just before dawn! These discussions were passionate, heated and noisy and on these occasions one of the artists was appointed to chair. There were many creative spin-offs from these evenings. One of the consequences of these evenings was the formation of the Cobalt Group, which formed around 1989 to challenge and question the given work processes of its members in daylong workshops at the Acme Studios in Porthleven. The members of the group were Carole McDowall, Ralph Freeman, Roy Walker, Russ Hedges, and Jeremy Annear. Carole and her associates have been referred to as third-generation Cornish Modernists, began by Ben Nicholson and Barbara Hepworth and following on from the likes of Peter Lanyon and Terry Frost. Other artists referred to in this third generation include Anthony Frost, Micheal Finn, Tony O’Malley, Jeremy LeGrice, Daphne McClure, Jeremy Annear, Russ Hedges, Ralph Freeman Steve Dove, Roy Ray, John Clark, Clive Blackmore, Simon Averill, Roy Walker, Bob Devereux, John Emmanuel, Bob Crossley and Andrew Lanyon.
Carole MCDOWALL (1944) Madron Oil on canvas, signed and titled verso, 166cm x 140cm. Carole McDowall studied printmaking and sculpture at Putney Art School from 1973-1978, during which time she had work chosen to exhibit at the Royal Academy summer exhibition, 1975, and later she gained a Fine Art Degree in Painting from the Sir John Cass School of Art in the mid-1980's. She was a part of a group of artist based in and around Porthleven in the late 1980's. At this time, Porthleven had become quite a centre for artists. The Acme studios provided 6 large studios some of which were subdivided and shared, with Jeremy Annear amongst the painters to take a studio there, with Bryan Ingham also moving to a studio at this time. The OYOYOY dinner party almost became an institution amongst Porthleven artists in the late eighties. It usually took place with about eight or ten artists in a first floor flat in Penair House overlooking the mouth of the harbour (which incidentally was rented to the artists by Daphne McClure) or at John and Carole McDowall’s home. The evenings consisted of a really good meal, lots of Bulgarian red wine and intense art discussion usually winding up just before dawn! These discussions were passionate, heated and noisy and on these occasions one of the artists was appointed to chair. There were many creative spin-offs from these evenings. One of the consequences of these evenings was the formation of the Cobalt Group, which formed around 1989 to challenge and question the given work processes of its members in daylong workshops at the Acme Studios in Porthleven. The members of the group were Carole McDowall, Ralph Freeman, Roy Walker, Russ Hedges, and Jeremy Annear. Carole and her associates have been referred to as third-generation Cornish Modernists, began by Ben Nicholson and Barbara Hepworth and following on from the likes of Peter Lanyon and Terry Frost. Other artists referred to in this third generation include Anthony Frost, Micheal Finn, Tony O’Malley, Jeremy LeGrice, Daphne McClure, Jeremy Annear, Russ Hedges, Ralph Freeman Steve Dove, Roy Ray, John Clark, Clive Blackmore, Simon Averill, Roy Walker, Bob Devereux, John Emmanuel, Bob Crossley and Andrew Lanyon.
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.
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).
oil on canvas, signed framed image size 60cm x 100cm, overall size 77cm x 117cm Note: Donald Shearer specialised in the landscapes and seascapes of the North of Scotland. Being a keen golfer and a leading Scottish painter, it is natural that one of his favourite subjects was golf courses of which there are many in his part of the world. But it is for his highly detailed and striking landscapes that he is best known, his original work and limited edition prints being collected by enthusiasts all over the world. Born in the Kyle of Lochalsh, on Scotland’s West Coast, Donald Shearer studied painting in Aberdeen at Grays School of Art where he achieved the RSA Award. He exhibited widely including at the RGI and at The Royal Scottish Academy. RSA records show his first painting was shown in 1959 when his address was 7 Simpson Place, Dingwall and from 1979 onwards he was living at "Rossal", Seabank Road, Invergordon. After more than thirty years, his final painting at the RSA was exhibited in 1990.
Ca. Late 18th - 19th century AD.An oil on canvas painting depicting a lady dancing in front of an open arched window, elegantly dressed, wearing a full skirt adorned with a gem set diadem and necklace, in an interior, her right hand raised above her head, her left arm extended in an open position adorned with a pearl bracelet, her hair long and flowing down beside her skirt. For similar see: The Victoria and Albert Museum, Museum number P.22-1933.Size: 1100mm x 800mm; Weight: 4.96kgProvenance: Previous property of a UK Islamic art professional. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
DAVID FULTON RSW (SCOTTISH 1848 - 1930), AT THE CLOSE OF THE DAY oil on canvas, signed, further signed and titled label verso framed (frame loose)image size 76cm x 63cm, overall size 107cm x 94cmHandwritten artist's label verso.Note: David Fulton is best known for his charming figurative paintings and landscapes, executed in a loose and broad manner with a mesmerizing colour palette. Fulton established an international reputation as a skilled painter of children and pastoral scenes. His subjects were depicted in rural settings, often woodland or pastures abundant with flora and fauna. Fulton was born in Parkhead in the East End of Glasgow, and showed great artistic ability from a young age. He studied painting at the Annfield Academy and later became a student at the prestigious Glasgow School of Art, where he won numerous awards for his paintings. Fulton exhibited at many principal galleries in Scotland and London from 1884 onwards. Fulton was one of the earliest members of the Glasgow Art Club. He was elected to the Royal Society of Watercolour Artists in 1891 and also exhibited frequently at the Royal Academy in London.
SAMUEL FULTON (SCOTTISH 1855 - 1941), CAIRN TERRIER oil on canvas, signedframedimage size 36cm x 46cm, overall size 40cm x 50cm Note: Samuel Fulton was born in Glasgow on 26 April 1855, the son of Samuel Fulton, a baker and Jane Strang. He lived at Surrey Street and attended the Free Church Normal School before entering High School. Initially he worked as an apprentice baker in his father's business before starting to paint for a living at around the age of 24. He lived in Airdrie in 1881 and also worked from Torrance, Stirlingshire and Campsie Glen & Kilmacolm, Renfrewshire. During the late 19th century he returned to the family business but continued painting. He exhibited in Glasgow and Edinburgh. Fulton specialised in painting portraits of dogs and was adept at capturing the character and mood of the animal in his work. It is highly likely he kept dogs himself possibly Terriers as he painted the breed repeatedly throughout his life. Examples of his paintings can be found at the Royal Scottish Academy, Glasgow Art Gallery & Museum and the Paisley Museum.
FRANK CRAWFORD PENFOLD (AMERICAN 1849 - 1921), SKETCH - WOMAN READING A FRENCH BOOK oil on panel, signedframedimage size 20cm x 16cm, overall size 28cm x 23cm Note: artist, teacher, lecturer, known for marine/seascape, genre, landscape, and portrait paintings, especially of the Brittany region of France. Penfold came from a family of artists, the son of the portrait painter, William Penfold (English born-American, 1827-1875), who was active in Lockport and Buffalo, New York and his mother, Maria Chubbuck (née Chapman) Penfold (1828-1919) married September 19, 1847, was also an accomplished artist. He had six younger siblings to include, brothers, John Penfold (1850- ), William Chapman Penfold (1853-1928) who became a fresco artist in Erie, PA, Charles Chubbuck Penfold (1854-1911) who designed engraved and manufactured fine jewelry in Buffalo, NY, beginning in 1872, and sisters Ida Parmelia Penfold-Thayer (1854-1934), Lillian "Lillie" Penfold-Baker (1857-1915) and Marie Dollie Penfold (1867-1927). Frank’s father originally wanted him to become an engraver, but one day at school Frank drew a sketch of the old schoolhouse in Lockport, NY in the back of an atlas. The principal at the time, Mr. Porter was charmed with the sketch and asked Frank to paint it on canvas. Frank and his younger brother used to clean up their father’s studio every evening, washing brushes and palettes, and unknown to his father, saved enough paint from his father’s palette to finish the piece. Mr. Porter was pleased with the painting and had it framed and exhibited. From that time forward Frank trained with his father in portraiture and other painting styles. One of his earliest known portraits was of "Addison Roberts" of Hornell, NY, husband of Marie (née Helmer) Roberts, painted in 1873. It was was also noted on the back of the painting that Penfold was listed as an artist in Buffalo and Paris. Frank had moderate success while living in Buffalo but decided to further his studies abroad. Around 1877, he travelled to France and later settled in Pont Aven, Brittany where he also taught in the artists’ colony. He studied in Finistère, Brittany, France and also trained at the Académie Julian in Paris in 1884. He occasionally returned to Buffalo, NY and in 1891, taught a class at the Buffalo Fine Arts Academy, Albright Art Gallery. On November 22, 1897, Frank married Jeannie "Jennie" Gerard (née Green-Wells [Wells adopted last name]) Redfern-Corbett-Penfold (1849-1921) at her home in Johnson Park, Buffalo, NY with whom he had an adopted daughter (from Jeannie's brother, Charles Edward Green, whom she and Frank later legally adopted on June 3, 1912), named Jane "Jennie" May Green Penfold-Harkness-Pinnington (1892-1970). Frank Penfold remained an influential figure in the Buffalo art scene and also helped organize the Municipal Art League in Chicago, IL in 1901. He was a member of the Buffalo Society of Artists and served as President in 1896, Buffalo, NY. He alternated between two homes, one in Pont Aven, France where he maintained a studio in Concarneau, Finistère, Bretagne, France and another at 32 Johnson Park, Buffalo, NY.
GEORGE HOUSTON RSA RSW (SCOTTISH 1869 - 1947), GLEN ORCHY oil on canvas, signed framed image size 70cm x 90cm, overall size 86cm x 106cm Note: George Houston was born in Dalry, Ayrshire. He was a prolific artist in both oils and watercolours. He specialized in the landscapes of Ayrshire and Argyll and his exceptional talent lay in creating the atmosphere, climatic conditions and season of each scene. He sometimes worked on a large scale but unlike many artists, the quality of his work remained constant. His style was not influenced by modernist trends and is best described as "late Impressionism". Houston achieved substantial commercial success, which funded a comfortable lifestyle for his ever growing family. He received widespread critical acclaim and was admired by his contemporaries for the apparent ease with which he painted. He only started painting professionally in his late thirties but "quality" came naturally to him as it usually does for truly "gifted" painters. Houston loved fishing and he loved country life. This love of the natural environment has always been (and remains) clear and obvious to the many who appreciate his paintings.
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.
* RALSTON GUDGEON RSW (SCOTTISH 1910 - 1984), MOORHENS oil on canvas, signedframed and under glassimage size 49cm x 60cm, overall size 66cm x 76cm Note: Ralston Gudgeon was a Scottish artist, best known for painting birds and animals mostly in gouache watercolour. He studied at the Glasgow School of Art in 1933 and won the Torrance Memorial Award of the Glasgow Institute. When Ralston Gudgeon was elected to the RSW in 1937, he became the youngest man ever to achieve that honour. In 2018, "The Scottish Wild Cat" by Gudgeon sold in our auction for £900 (hammer) which "signposted" a resurgence of collector interest in his work. This resurgence of buyer interest has continued unabated.
GEORGE HOUSTON RSA RSW (SCOTTISH 1869 - 1947), UNTITLED oil on board, signedframed and under glassimage size 24cm x 32cm, overall size 28cm x 36cmNote: George Houston was born in Dalry, Ayrshire. He was a prolific artist in both oils and watercolours. He specialized in the landscapes of Ayrshire and Argyll and his exceptional talent lay in creating the atmosphere, climatic conditions and season of each scene. He sometimes worked on a large scale but unlike many artists, the quality of his work remained constant. His style was not influenced by modernist trends and is best described as "late Impressionism". Houston achieved substantial commercial success, which funded a comfortable lifestyle for his ever growing family. He received widespread critical acclaim and was admired by his contemporaries for the apparent ease with which he painted. He only started painting professionally in his late thirties but "quality" came naturally to him as it usually does for truly "gifted" painters. Houston loved fishing and he loved country life. This love of the natural environment has always been (and remains) clear and obvious to the many who appreciate his paintings.
* HERBERT DAVIS RICHTER (BRITISH 1874 - 1955), STILL LIFE, FLOWERS IN A SILVER BOWL oil on canvas, signedframedimage size 39cm x 49cm, overall size 49cm x 57cmNote: Painter, mainly in oil, especially of elegant interiors and of flowers. Born in Brighton, Sussex, he initially studied furniture design at Bath School of Art, and he continued to practise as a designer and architect there for about 10 years from the mid-1890s. Then in London studied painting with J M Swan and Frank Brangwyn. Exhibited prolifically, including RA, RBA, ROI, RSW, Goupil Gallery and Leicester Galleries. At the Paris Salon won a silver medal, having won both gold and silver medals for furniture design at the Paris International Exhibition, 1900. Was for a time president of the PS, as well as the Bath Society of Artists. Represented in Victoria & Albert Museum and in many British provincial and overseas galleries. His work is well shown in Paintings and Poems, which he published, with poems by Lady Margaret Sackville, in 1944. Thirty-three of his paintings are held in UK public collections.
SIR GEORGE REID PRSA HRSW (SCOTTISH 1841 - 1913), A SCULPTOR'S STUDIO IN THE MIDDLE AGES oil on canvas, signed and titled label versoframed image size 31cm x 25cm, overall size 47cm x 40cm Handwritten artist's label verso.Note: Reid was born in Aberdeen and worked first as a lithographer before moving to Edinburgh in 1862 to study at the Trustees' Academy. In 1866, supported by the Aberdeen collector, John Forbes White, he went to Holland to study under the landscape and genre painter, Gerrit Mollinger. He became a close friend of Jozef Israels. He returned to Scotland in 1869, producing landscapes and portraits influenced by both Dutch and French contemporary painting. He was elected President of the Royal Scottish Academy in 1891 and knighted in 1902. Two hundred and sixty-two of his paintings are held in UK public collections.
ALEXANDER BROWNLIE DOCHARTY (SCOTTISH 1862 - 1940), FIELD AND FARM oil on canvas, signed, titled indistinctly versoframed and under glassimage size 41cm x 62cm, overall size 53cm x 73cm Note: Alexander Brownlie Docharty (1862–1940) was a Scottish painter, mainly in oils. He was the second son of Joseph Docharty and Elizabeth Brownlie. Joseph Docharty was a designer of calico prints; Alexander left school at the age of thirteen to join his father. He studied part-time at the Glasgow School of Art, attending Robert Greenlees' evening classes. In 1878 Docharty's watercolour On The Cart- Pollockshaws was exhibited at the Royal Glasgow Institute of the Fine Arts. The Royal Academy accepted his painting Arran Cottages for exhibition in 1882. In the early 1880s Docharty was a designer for Inglis and Wakefield, a printing firm based at Busby. He left that firm some time before 1885, when he was based at James Docharty's studio in Bath Street, Glasgow. James was Alexander's uncle. Docharty moved to Paris in 1894 to study at the Academie Julien under Benjamin Constant and Jean-Paul Laurens. He subsequently lived at Kilkerran, Ayrshire. His Glen Falloch was exhibited in 1906 at the Glasgow Fine Arts Institute. Twenty-two of his paintings are held in UK public collections.
HENRY MOORE RA RBA RWS (BRITISH 1831 - 1895), UNLOADING THE CATCH oil on canvas, signed and dated 1872framedimage size 34cm x 59cm, overall size 44cm x 70cmNote: A member of a distinguished family of Yorkshire artists, Henry Moore rose to become one of the best marine painters of his day. Working in both oil and watercolour, he treated the sea ‘as a subject sufficient in itself, rather than simply the background of a battle, shipwreck, or even landscape’. Henry Moore was born at 14 Castlegate, York, on 7 March 1831, the tenth of fourteen children of the portrait painter, William Moore, and the second son by his second wife, Sarah Collingham. Four of his brothers were artists: Edwin Moore, William Moore Jr, John Collingham Moore and, most notably, the youngest, Albert Moore, a leading painter of the Aesthetic Movement. Henry Moore studied under his father before attending York School of Design, from 1851. Two years later, in 1853, he moved to London, where he joined his brother, John, in lodgings near Oxford Street, and began to exhibit at the Royal Academy, even before he entered the Royal Academy Schools at the end of the year. Indeed, while he remained at the RA Schools for only a few months, he continued to exhibit at the RA almost annually. In 1855, he also began to exhibit at the Society of British Artists, the British Institution and the Portland Gallery. He spent the summers of 1855 and 1856 painting the mountains of Servoz, near Chamonix, and first became known for producing Alpine as well as British landscapes in the Pre-Raphaelite manner. In 1857, a series of visits to Clovelly on the north Devon coast inspired Moore to turn to marine subjects, and especially panoramic vistas of the open sea, which he believed had not been fully achieved in painting before. In the decade or so following his marriage to Mary Bollans, of York, on 19 July 1860, he divided his time between landscapes and seascapes, and developed a reputation for his precise observation of the atmosphere and form of the sea. However, he gradually modified his style, employing broader handling and bolder colour. The evolution and increased mastery of his work were based on extended experience and careful study, made on board ship as well as from land. He was known to cross England in order to observe a bad storm. Though elected a member of the Society of British Artists in 1867, Moore resigned eight years later, at the time that he began to devote himself completely to seascapes. He exhibited these at a wider range of metropolitan venues, including the Dudley Gallery, the Grosvenor Gallery (founded in 1877) and the New Gallery (founded in 1888), and in the provinces. Elected to the membership of the Royal Society of Painters in Water-Colours (ARWS 1876, RWS 1880) and the Royal Academy (ARA 1885, RA 1893), he was also awarded the grand prix at the Exposition Universelle, Paris (1889) and, as a result, the Légion d’honneur. In 1887, the Fine Art Society mounted a large solo show of his work, while he was represented alongside his father and brothers in an exhibition devoted to the Moore family of painters in York in 1895. For much of his career, Moore had lived in Sheffield Terrace, Kensington, and it was there that he and his wife brought up their two daughters, Agnes and Florence, the first of whom became a painter of flowers. However, late in the 1880s, they moved to 39 Maresfield Gardens, Hampstead. Henry Moore died at the High Cliff Hotel, Margate, on 22 June 1895. His work is represented in numerous public collections, including the British Museum, Tate and the V&A; and Birmingham Museums and Art Gallery, Leamington Spa Art Gallery & Museum, Manchester Art Gallery and York Art Gallery.
SAMUEL FULTON (SCOTTISH 1855 - 1941), NORWICH TERRIER oil on canvas, signedframedimage size 46cm x 36cm, overall size 50cm x 40cmNote: Samuel Fulton was born in Glasgow on 26 April 1855, the son of Samuel Fulton, a baker and Jane Strang. He lived at Surrey Street and attended the Free Church Normal School before entering High School. Initially he worked as an apprentice baker in his father's business before starting to paint for a living at around the age of 24. He lived in Airdrie in 1881 and also worked from Torrance, Stirlingshire and Campsie Glen & Kilmacolm, Renfrewshire. During the late 19th century he returned to the family business but continued painting. He exhibited in Glasgow and Edinburgh. Fulton specialised in painting portraits of dogs and was adept at capturing the character and mood of the animal in his work. It is highly likely he kept dogs himself possibly Terriers as he painted the breed repeatedly throughout his life. Examples of his paintings can be found at the Royal Scottish Academy, Glasgow Art Gallery & Museum and the Paisley Museum.
* WILLIAM MILLER FRAZER RSA (SCOTTISH 1864 - 1961), WINDY LANDSCAPE oil on canvas, signedframed and under glassimage size 29cm x 50cm, overall size 54cm x 74cmNote: Frazer was a landscape painter, born at Scone, Perthshire, who attended Perth Academy, then studied at Royal Scottish Academy Schools, winning the Keith Prize, then in Paris. Elected RSA in 1924. Exhibited there and prolifically at Royal Glasgow Institute of the Fine Arts, and at RA, RBA, RHA and ROI. Closely involved with Scottish Arts Club, of which he was for a time President. The Royal Scottish Academy exhibiting records show that he exhibited his first painting there in 1884 (aged twenty) and more than 270 further examples between 1884 and 1962 (the last three being loaned by a Mrs Lindsay Neilson). His first recorded address was Rock House, Bridgend, Perth and later addresses included 9 York Place (Edinburgh), Bridge of Earn (Perthshire), 72 Northumberland Street and 9 Abercromby Place (both Edinburgh) and from 1955 onwards, 5 Lady Road, Edinburgh.
ALEXANDER FRASER JNR RSA RSW (SCOTTISH 1828 - 1899), FEEDING THE CHICKENS oil on canvas, signed handwritten label verso framedimage size 33cm x 51cm, overall size 43cm x 60cmLabel verso: Alistair Anderson Gallery, Glasgow.Note: Alexander Fraser Jnr was a Scottish landscape painter who is also known as Alexander Fraser the Younger as his father, Alexander George Fraser (1786–1865), was also a Scottish painter. Fraser was the biographer of the Scottish artist, Horatio McCulloch. Fraser’s childhood interest in painting was nurtured by his father Alexander an able amateur artist, who gave him elementary tuition. He enrolled at the Trustees’ Academy in Edinburgh, supplementing his studies by attendance at the life school of the Royal Scottish Academy (RSA). By the early 1850s he had abandoned Scottish genre and devoted himself exclusively to landscape. Fraser was among the first Scottish painters to work en plein air direct from nature. He was a good friend of Samuel Bough and Horatio McCulloch. After a time spent working in England, he returned to Edinburgh where he enjoyed most recognition as annual exhibitor at the RSA from 1847, and was a frequent exhibitor at the Royal Glasgow Institute of the Fine Arts from 1861 until his death in 1899. Sixty-five of Fraser's paintings are held in UK public collections including: Glasgow Museums, The National Galleries of Scotland, The Hunterian, Dundee Museums, Paisley Art Institute, Sheffield Museums, Kirkcaldy Museums, The RSA, Hospitalfield, Rozelle House, Perth & Kinross and The City Art Centre (Edinburgh).
* ROBERT SAWYERS ARCA (BRITISH 1923 - 2002), OLD CHURCH, REYNIHLID, ICELAND oil on canvas, signed and titled versoframedimage size 56cm x 41cm, overall size 66cm x 51cm Note: Robert Sawyers was a British artist best known for witty and creative compositions. He had the ability to transform memories into experiences on canvas and captured the beauty of everyday objects. Sawyers was said to be selective in what he chose to paint, focusing on personal enjoyment rather than societal expectations and commercial success. Born in Peckham, South London, he attended Beckenham School of Art before enrolling in the Royal College of Art in 1942. Following his education, Sawyers was awarded the Herbert Baker Travel Scholarship, which allowed him to travel to Florence, Italy. This was simply the beginning of a long career of travelling and painting; he travelled widely, often teaching and exhibiting in the exotic locations. He began formally teaching in 1947 at Leeds College of Art and later taught at Middlesbrough College of Art. Aside from international exhibitions across Europe and Central America, Sawyers also exhibited closer to home, showing at the Royal Academy of Arts, London, including the RA Summer Shows, the New English Art Club, the Blue Rider Gallery in Mere and at The Rendezvous Gallery in Aberdeen. Robert Sawyers pictures appear at auction infrequently and prices can be erratic but a notable sale was "The Tram Ride" which was sold by Christie's (SK) 15th July 2010, lot 82 for £12,500.
JAMES STUART PARK (SCOTTISH 1862 - 1933) ORCHID LILIES oil on canvas, signedframedimage size 60cm x 50cm, overall size 78cm x 68cm Note: Painter, born in Kidderminster, Worcestershire of Scottish parents, brought up in Ayrshire. He attended Glasgow School of Art, his parents having returned to Scotland soon after his birth. Park furthered his studies in Paris with Lefebvre, Cormon and Boulanger. He was a colleague of the Glasgow Boys, sharing a studio with David Gauld and James Kay. He exhibited at the RSA and GI, RSW, Connell & Sons and in England at the RA, Walker Art Gallery, Liverpool, MAFA and Baillie Gallery. Park specialised in painting arrangements of flowers, usually against a dark background. He was largely noted for his flower studies, in particular roses. He also painted a limited series of head and shoulder studies of young girls, surrounded by flowers. Examples of his work are to be found in the collection of the Dick Institute and Lillie Art Gallery, Milngavie and Dundee City Art Galleries and Museums.
SIR GEORGE REID PRSA HRSW (SCOTTISH 1841 - 1913), MONK CARRYING A BIBLE oil on canvasframedimage size 29cm x 19cm, overall size 47cm x 37cm Note: Reid was born in Aberdeen and worked first as a lithographer before moving to Edinburgh in 1862 to study at the Trustees' Academy. In 1866, supported by the Aberdeen collector, John Forbes White, he went to Holland to study under the landscape and genre painter, Gerrit Mollinger. He became a close friend of Jozef Israels. He returned to Scotland in 1869, producing landscapes and portraits influenced by both Dutch and French contemporary painting. He was elected President of the Royal Scottish Academy in 1891 and knighted in 1902. Two hundred and sixty-two of his paintings are held in UK public collections.
GEORGE SMITH RSA (SCOTTISH 1870 - 1934), HORSE AND CART AT BARN oil on boardframedimage size 29cm x 39cm, overall size 36cm x 45cmLabel verso: Painted by George Smith RSA, Certified by Jessie Smith, his Sister, 1935.Note: George Smith was born on 2nd February 1870 in Mid Calder, a village formerly in the county of Midlothian. He attended George Watson's Boys College in Edinburgh from October 1882 and his formal training as an artist commenced at The Trustees Academy (Edinburgh) in 1885. At the age of nineteen Smith travelled to Antwerp to train under Verlat at Academie Royale des Beaux-Arts d'Anvers. After returning to Edinburgh he enrolled at the Royal Scottish Academy Life School where his fellow students included Samuel J Peploe and Robert Brough. Smith won the Keith Prize (1894) for the best painting by a student of the Life School at the RSA Annual Exhibition. George Smith had his first painting accepted for the RSA Annual Exhibition in 1888 when he was only eighteen years of age and probably uniquely had at least one painting accepted every year for the rest of his life. A total of 122 entries were accepted at the Royal Scottish Academy (RSA) until his death on 26th November 1934 and in 1935 a further five were exhibited. He also exhibited 87 paintings at the Royal Glasgow Institute (RGI) between 1892 and 1935. His work was also exhibited at Royal Academy (London), in Liverpool at The Walker Art Gallery, at Manchester and at the Royal Hibernian Academy in Dublin. He also exhibited abroad including at Rome (1911) and at The Munich International Exhibition in 1912. In an issue of "The Studio" in 1908 it stated "in every important art centre from St Petersburg to Paris his work is favourably known". George Smith's considerable commercial success was probably why his style and subject matter of horses or cattle in association with man in a rural environment changed little during his career.
* 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 BRADLEY LAMOND RBA (SCOTTISH 1857 - 1924), MAKING BANNOCKS oil on canvas, signed, titled label verso framed image size 36cm x 46cm, overall size 47cm x 55cm Label verso: Forrest McKay, Edinburgh Provenance: Bonhams, Edinburgh, 9th June 2011 lot 167. Note: William Bradley Lamond was born at Newtyle, Angus. He had no formal art training and worked for the Caledonian Railway company for many years. He initially specialised in portraits and later worked on landscapes which have been described as "vigorous impressionistic scenes in oil – with a strong use of colour". He was elected a member of the Royal Society of British Artists in 1906, and exhibited at the Royal Academy (London), Royal Scottish Academy and Glasgow Institute of the Fine Arts. William Bradley Lamond first publicly exhibited his work at Dunfermline's Fine Art Exhibition in 1883, followed by the Dundee Fine Art Exhibition in 1884. Five years later he showed at the Royal Scottish Academy for the first time with the painting "A Mile Abune Dundee". In 1890 he became one of the founding members of the Dundee Graphic Arts Association and had work shown at Robert Scott's gallery in the city. His first notable commission came the following year – a presentation portrait of Sgt Major Kilgour of the Dundee Highlanders. Around 1894, he hit on one of his most profitable subjects – shore scenes featuring seaweed gatherers at work with horse and cart. He showed one such scene at Scott's which the Evening Telegraph hailed alliteratively as "a brilliant bit of brightsome work". It was soon bought by a local collector and Lamond painted many more variations on the same theme, including "A Breezy Day" (1896). In 1895 he had his most successful year yet, showing at the Glasgow Institute and the RSA and ending with an exhibition of paintings and sketches in his studio at 61 Reform Street. Although Lamond eschewed modern art, his compositions were often regarded as distinctive due to his preference for capturing particular effects rather than selecting subject matter because of its social or symbolic meaning, in contrast to other Dundee painters such as John Duncan or Stewart Carmichael. In 1898, 60 of his paintings were auctioned by William Fyfe at the City Assembly Rooms, fetching prices of up to 19 guineas. In 1900 he showed at the Royal Academy (London) for the first time and soon began to cultivate a London audience. In 1902 he opened his first one-man show in London, at Clifford's Gallery in Haymarket. Although many Dundee illustrators and cartoonists had enjoyed success in London (such as Martin Alexander and Max Cowper), the city's painters had rarely made such an impact in the capital. Lamond returned to London in 1903 to undertake a number of commissions and later that year was elected a member of the Royal Society of British Artists, recognised as "a painter of strength, with a true eye for colour harmonies and a special aptitude for interpreting the beauties of northern landscape and coast scenery". He continued to show work at the exhibitions of the RBA, RSA, Glasgow Institute and GAA but A, but in 1906 his health broke down. By summer 1908 Lamond was back in Dundee, where he held an exhibition of his latest work in his new studio at 3 Constitution Road; the following year he moved to 27 Bank Street where he would remain for the rest of his life. In 1915 he gained a celebrity patron in the person of music hall legend Harry Lauder, who commissioned two paintings from him and visited him periodically in both Dundee and Auchmithie. During the Great War, Lamond continued to paint as much as ever, spending his summers in Auchmithie then showing the results in exhibitions in his studio each autumn. Lamond died of pneumonia in 1924 at his home in William Street. Thirty-two of William Bradley Lamond's paintings are held in Scottish public collections.
WILLIAM OLIPHANT HUTCHISON PRSA RP (SCOTTISH 1889 - 1970), YORKSHIRE LANDSCAPE oil on canvas boardframed image size 23cm x 30cm, overall size 38cm x 45cm Handwritten label versoProvenance: the family of the artist.Note: Hutchison attended The Edinburgh College of Art between 1909 and 1912. On leaving he started The Edinburgh Group, holding exhibitions for three consecutive years, with Eric Robertson, Alick Riddell Sturrock, John Guthrie Spence Smith, Dorothy Johnstone, Mary Newbery, and David Macbeth Sutherland who later became Principal at Gray's School of Art in Aberdeen. Hutchison also worked and studied in Paris for a while, mainly painting portraits though also producing landscape and figure paintings. In 1918 he married Marjery, youngest daughter of Edward Arthur Walton. Hutchison was Director of the Glasgow School of Art from 1933 to 1943, from all accounts being an excellent director. Though a great traditionalist he encouraged those who tended to the avant-garde. On leaving the Glasgow School of Art, Hutchison carried on with portraiture both in Edinburgh and London. A large exhibition of his work was held in London in 1964. Public collections include: The Hunterian, The National Portrait Gallery, Glasgow Museums, The National Galleries Of Scotland, UK Parliamentary Art Collection, The Fleming Collection, The BBC, National Trust Scotland, Glasgow School of Art, and the museums of Aberdeen, Edinburgh, Dundee, Kirkcaldy, Paisley & Fife.
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.
* VIDA GABOR (HUNGARIAN 1937 - 2007), IN THE WORKSHOP oil on board, monogrammed framedimage size 39cm x 29cm, overall size 62cm x 51cm Note: Vida Gabor was born to a simple Hungarian family in 1937. Largely self-taught as a painter, his work uses many unique techniques, including designing his own brushes and tools. he technique that Gabor uses in his painting is referred to as "scumbling", which involves the application of a thin layer of colour placed over a darker under paint, with numerous translucent layers applied on top. His work focuses on European life, with scenes full of character and humour, the majority of which depict scenes at night, using soft candlelight and street lamps to create a warm and intimate ambient. Similar scenes have previously been attributed to the French artist Victor Goulard. There has been some discussion as to whether Vida Gabor may have signed earlier works "Goulard", possibly in order to appeal to the French market.
GEORGE HOUSTON RSA RSW (SCOTTISH 1869 - 1947), HIGHLAND LANDSCAPE WITH SNOW IN THE DISTANCE oil on canvas, signedframed and under glassimage size 39cm x 49cm, overall size 53cm x 63cm Note: George Houston was born in Dalry, Ayrshire. He was a prolific artist in both oils and watercolours. He specialized in the landscapes of Ayrshire and Argyll and his exceptional talent lay in creating the atmosphere, climatic conditions and season of each scene. He sometimes worked on a large scale but unlike many artists, the quality of his work remained constant. His style was not influenced by modernist trends and is best described as "late Impressionism". Houston achieved substantial commercial success, which funded a comfortable lifestyle for his ever growing family. He received widespread critical acclaim and was admired by his contemporaries for the apparent ease with which he painted. He only started painting professionally in his late thirties but "quality" came naturally to him as it usually does for truly "gifted" painters. Houston loved fishing and he loved country life. This love of the natural environment has always been (and remains) clear and obvious to the many who appreciate his paintings.
* 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.
* HERBERT DAVIS RICHTER (BRITISH 1874 - 1955), STILL LIFE WITH SILVER VASE oil on canvas, signed framed image size 62cm x 75cm, overall size 91cm x 104cm Note: Painter, mainly in oil, especially of elegant interiors and of flowers. Born in Brighton, Sussex, he initially studied furniture design at Bath School of Art, and he continued to practise as a designer and architect there for about 10 years from the mid-1890s. Then in London studied painting with J M Swan and Frank Brangwyn. Exhibited prolifically, including RA, RBA, ROI, RSW, Goupil Gallery and Leicester Galleries. At the Paris Salon won a silver medal, having won both gold and silver medals for furniture design at the Paris International Exhibition, 1900. Was for a time president of the PS, as well as the Bath Society of Artists. Represented in Victoria & Albert Museum and in many British provincial and overseas galleries. His work is well shown in Paintings and Poems, which he published, with poems by Lady Margaret Sackville, in 1944. Thirty-three of his paintings are held in UK public collections.
WILLIAM JAMES MÜLLER (BRITISH 1812 - 1845), THE BIRDCATCHERS oil on canvas, signed and dated 1843framedimage size 46cm x 60cm, overall size 57cm x 72cmNote: William James Müller, also spelt Muller, was a British landscape and figure painter, the best-known artist of the Bristol School. Müller was born at Bristol, the son of J. S. Müller, a Prussian from Danzig, curator of a museum in Bristol. He first studied painting under James Baker Pyne. His early pictures were mostly of the scenery of Gloucestershire and Wales, and he learned much from his study of Claude, Ruysdael, and earlier landscape-painters. He witnessed the 1831 Bristol riots and recorded some of the scenes in a series of "raw and brilliant oil and watercolour sketches". In 1833 he exhibited at the Royal Academy for the first time, showing Destruction of Old London Bridge-Morning. The next year he made a tour through France, Switzerland and Italy. He visited the Middle East twice. The first visit was in 1838-39 when he visited Athens, and travelled onwards to Alexandria and Cairo, where he spent two weeks before continuing up the Nile to Luxor, where he made drawings of the ruins and landscapes before returning to Cairo in mid-January. Shortly after his return he left Bristol and settled in London, where he exhibited regularly. His scenes of Egyptian streets and market proved especially popular. His second visit was to Lycia in south west Turkey in 1843-44 when Charles Fellows was removing the Xanthus Marbles for the British Museum. His journey was at the request of the archaeologist Charles Fellows – but at his own expense – Müller and his pupil Harry Johnson accompanied the government expedition to Lycia. He spent three months sketching the landscape and local people around Xanthus, Pinara and Tlos. He spent most of the rest of his life, after his return to England, working on watercolours, and a few oils, of Lycian subjects. The work he carried out at Lycia is considered to be among his finest. In 1840 he again visited France, where he executed a series of sketches of Renaissance architecture, twenty-five of which were lithographed and published in 1841, in a folio entitled The Age of Francis I. of France. He died at Bristol on 8 September 1845.
ALEXANDER BROWNLIE DOCHARTY (SCOTTISH 1862 - 1940), WINTER - THE GLEN oil on canvas, signed, titled versoframedimage size 70cm x 90cm, overall size 109cm x 126cmHandwritten artist's label verso.Note: Alexander Brownlie Docharty (1862–1940) was a Scottish painter, mainly in oils. He was the second son of Joseph Docharty and Elizabeth Brownlie. Joseph Docharty was a designer of calico prints; Alexander left school at the age of thirteen to join his father. He studied part-time at the Glasgow School of Art, attending Robert Greenlees' evening classes. In 1878 Docharty's watercolour On The Cart- Pollockshaws was exhibited at the Royal Glasgow Institute of the Fine Arts. The Royal Academy accepted his painting Arran Cottages for exhibition in 1882. In the early 1880s Docharty was a designer for Inglis and Wakefield, a printing firm based at Busby. He left that firm some time before 1885, when he was based at James Docharty's studio in Bath Street, Glasgow. James was Alexander's uncle. Docharty moved to Paris in 1894 to study at the Academie Julien under Benjamin Constant and Jean-Paul Laurens. He subsequently lived at Kilkerran, Ayrshire. His Glen Falloch was exhibited in 1906 at the Glasgow Fine Arts Institute. Twenty-two of his paintings are held in UK public collections.
A gilt framed impressionist style oil on canvas of haystacks bearing the signature C. Pissarro. '85. Frame size 77cm x 68cm. Prov. Gifted by a prominent London family in 1984 to two sisters who had served them for decades, on their retirement. The painting is now coming to sale following the death of the second sister.
† ALAN DAVIE CBE RA HRSA (Scottish, 1920-2014); an abstract oil on board, 'Bird Catchers', signed verso and inscribed with title, 64 x 53cm, framed and glazed. Condition Report: All the works by Alan Davie in this sale have been consgined from one single owner sourse, All works where purchased from Morgan & Brooks gallery between 2020 and 2022.Unfortunatly, we cannot date this particular image as it it not dated for us to see, however two of the other images from this collection where painted in the late 1990s so i would think this one may be from a similar period.There are no signs of obvious damages to the image, no breaks, bends or losses to the board or image, there is some slight cracking to the paint in areas but nothing major.No signs of over painting nor damages with a UV light.
A large collection of watercolours, an oil painting and prints, to include: watercolour and acrylic paintings by: Parker Hagarty, Jane A. Cooper, Sheppard, Barabara Ashton and Ruth Fisher; an oil painting signed M. Sheppard; A c.19th century engraving of The Hamilton vase and one other unsigned etching; together with a print after Salvador Dali (22)
Hendrick Jacobsz. Dubbels (Dutch, 1621-1707) A coastal scene with fisherfolk and boats under stormy skiesoil on canvas27 x 32cm, unframedCondition ReportCraquelure. The painting has been relined. Examined under UV light some spots of overpainting are visible to darker areas of the sky and shore. In some areas the weave of the canvas is fluorescing and it is difficult to determine if there is further overpaint due to previous applications of varnish and cleaning. The painting presently has a varnish layer which is clear and glossy. The back of the work is boxed and is not visible.
English School, early 19th century A view of a Flemish village, with soldiers in Scottish military uniformoil on panel42 x 52.5cmProvenance: Purchased in 1917 from the sale of the contents of Myshall Lodge in County Carlow, Ireland, owned by the Weld family; thence by descent.Condition ReportOverall: 54.5 x 65.5cmThe is a 6cm split to the panel in the centre of the left edge. The panel has a small loss to the upper right corner and is slightly bowed in the centre. Surface dirt and discolouration. There are two brighter areas where the painting has been selectively cleaned in the upper left corner and to the left edge, lower centre. There is a patch of overpaint to the centre of the right edge. Under UV light much of the surface is obscured by a thick layer of varnish, however some areas of overpainting are visible to the background and sky. The paint has been faced and consolidated in the lower centre.
Circle of Charles d'Agar (French-British, 1669-1723) Portrait of a boy holding a bow and quiver of arrows with a hound in a wooded landscapeoil on canvas146 x 106cmCondition ReportFramed: 169.5 x 129.5cmThe painting is executed in oil on a canvas support which has been lined. The tension is adequate and the picture is in plane. A few tears and old damages have been secured through lining. In some areas the paint has a slightly wrinkled texture caused through lining. The paint layers are stable and secure. Overpaint is present covering old damages and is finely applied in the boy’s face, covering age cracks. The varnish is clear and matte with a thick layer of dust and surface dirt present.
Sidney Edward Paget (British 1860-1908): Figures in a Gothic Landscape with Ancient Castle Ruins, oil on canvas signed 101cm x 130cm, in Victorian ornate giltwood and gesso moulded swept frame, overall 155cm x 186cmNotes: Paget is best known for his iconic illustrations of Arthur Conan Doyle's Sherlock Holmes stories, his illustrations for The Hound of the Baskervilles, in particular, feature similarly dramatic, moody scenes set in the wild and misty landscapes of the English countryside, aligning closely with the Gothic atmosphere captured in this painting.
John Calcott Horsley RA (British 1817-1903): 'The Intruder', oil on canvas signed and indistinctly dated 92cm x 74cm in fine swept gilt frame 118cm x 102cm overallNotes: Horsley captures a light-hearted yet evocative domestic scene, showcasing his keen eye for detail and narrative. The painting depicts two young women in a state of startled dismay as they react to the presence of an unexpected 'intruder' — a cockroach on the dressing table. The exaggerated expressions of alarm, juxtaposed with the inconspicuousness of the insect, humorously amplify the sense of dread; demonstrating Horsley’s skill in blending genre painting with social commentary. The work’s charm lies in its gentle satire of the Victorian's heightened sensitivities to cleanliness, propriety, and the domestic sphere.
After Irene Cafieri; Two forests views with rivers, in ornate wooden frames, oil on canvas, 68cm x 48, together with three prints, one depicting the 1809 painting of Lady Georgiana Fane, by Thomas Lawrence, 55 x 42, another depicting Jean-Francois Millet's Going to Work, 53 x 35 and a print of two children, in the style of John Hoppner, 54 x 63, alongside William Bain; painting of a horse, oil on board, 38 x 47. (6)
Y JAMES EARL OF MASSACHUSETTS (AMERICAN 1761 - 1796) PORTRAIT OF MR JANNER Oil on canvas Signed, inscribed and dated 'Mr Janner Aged 41 by J. Earl 1793 No 5A Newham Street Oxford Street ' (verso) 35 x 30.5cm (13.75 x 12 in.) Another oil portrait by James Earl is in the Royal Ontario Museum, Canada, of William Jarvis with his son Samuel Peter Jarvis (Inv. no. 981.79.1) James Earl was an American portrait painter to the American royalists who spent the greater part of his career working in England as many of his sitters were former American colonists who had fled to London during and immediately following the end of the American Revolution. His ancestors were Quakers who emigrated from Exeter to Rhode Island in about 1634. At the beginning of the 18th century his grandfather settled in Worcester Country Massachusetts and James Earl was born in a village called Paxton in 1761. Ralph Earl (1726 - 1808), the father of James and his elder brother Ralph, was a farmer who joined the local militia during the Revolution in which he achieved the rank of Captain. However his son Ralph (1751 - 1801) became a loyalist and because of his activities in this cause left America and established himself as a painter in England from 1778 to 1785. It is thought that he taught his younger brother James and as he was also a loyalist, encouraged him to go to London. In April 1787 James exhibited two portraits at the Royal Academy and was resident at 6 Sweetings Alley, Royal Exchange. In 1789 he married Georgiana Caroline Pilkington (1759 - 1838) the widow of Joseph Brewer Palmer Smyth, an American loyalist from New Jersey. Both James Earl and the Smyths lived at 42 Great Peter Street, Westminster. In 1787 Smyth returned to North America to substantiate claims for his lost property. In a letter he wrote in August 1788 from Niagara to his wife he said 'I hope Mr Earl is well in health and Desire my Best Respects to Him'. Smyth died shortly before returning to England and Caroline was left with two children, Elizabeth Ann and William Henry. Earl enrolled in the Academy schools March 24th 1789 and is thought to have been a pupil of Benjamin West. He was an accomplished and popular painter and thirty four of his portraits painted during his seven years in England have been recorded so far. Many of his pictures have been misattributed to better known artists such as Sir William Beechey, George Romney, Mather Brown, Joshua Reynolds or to his brother Ralph Earl. Indeed four of his portraits of the Beauclerk family were attributed to Beechey, and those of Lord Aubrey and his wife to George Romney when they were sold by Sotheby's in 1949. Another portrait of Lady Massereene in the collections of the Virginia Museum of Fine Arts in Richmond USA was until recently attributed to Sir Joshua Reynolds. His portraits are not as stylised as those by his brother, and his subjects are portrayed with an almost photographic individuality. His portraits of men are direct and without flattery, and he had a particular interest in portraying the eyes of his subjects with an almost jewel-like quality. In 1794 he travelled to Charleston Carolina an expanding, affluent town, leaving his family in London. His obituary states that he had 'resided for nearly two years in this city'. He died of yellow fever and had made a will two days before his death. James Earl had a remarkable ability to capture a likeness, and his pictures are important additions to the body of 18th century American portrait painting. He was also the father of Augustus Earle (1793 - 1838) who lived a life of exploration as a draughtsman on board ship, and who famously was the artist on board the Beagle with Charles Darwin when he sailed to the Galapagos. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning.Set in a 19th century rosewood frame with gilt slip measuring 45 by 40cm, canvas size 36 by 30.5cm The picture has had light sensitive professional clean within the last 5 years. Former old tear to right of his head has been sensitively repaired, under UV scattered small areas of retouching notably to margins and corners of the images, background, small spots to forehead, right cheek and running under his chin and down into cravat. Craquelure throughout and surface dust and fibres Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Υ CITES REGULATIONS Please note that lots marked with the symbol (Υ) in the printed catalogue and the online catalogue may be subject to CITES Regulations when exported. Relevant CITES Regulations information may be found here. The refusal of any CITES licence or permit and any delay in obtaining such licences or permits shall not give rise to the rescission or cancellation of any sale, nor allow any delay in making full payment for the Lot. Condition Report Disclaimer
Loading...-
72689 item(s)/page