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Nachverkauf - AM - Timed Auction - (Lose 116 )
Nachverkauf - AM - Timed Auction - (Lose 116 )
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Los: 1
SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I., L.L.D. (SCOTTISH 1916-1992) LADIES IN WAITING Signed on the backboard and dated 1983 on the label, pastel 59cm x 78cm (23.25in x 30.75in)
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Los: 2
JAMES CAMPBELL NOBLE R.S.A. (SCOTTISH 1846-1913) BARGES ON A DUTCH CANAL Signed, oil on board 31cm x 41cm (12in x 16in)
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Los: 3
DUNCAN CAMERON (SCOTTISH 1837-1916) ON THE SEA-FRONT LARGS Signed, oil on canvas 51cm x 76cm (20in x 30in)
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Los: 4
ATTRIBUTED TO ALEXANDER NASMYTH PORTRAIT OF A YOUNG GIRL IN LANDSCAPE Inscribed on a label verso 'The artist's daughter Alexander Nasmyth', oil on panel 30.5cm x 25.5cm (12in x 10in)
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Los: 5
DAVID FARQUHARSON A.R.A., A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1840-1907) COTTAGE, GLENEAGLES Signed, inscribed and dated 1879 verso, oil on canvas 46cm x 36cm (18in x 14in)
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Los: 6
WILLIAM CLARK OF GREENOCK (SCOTTISH 1803-1883) SHIPPING OFF THE CLOCH LIGHTHOUSE Inscribed on a label verso, oil on panel 33cm x 49cm (13in x 19in)
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Los: 7
JOHN (JOCK) WILSON H.R.S.A. (SCOTTISH 1774-1855) FRENCH FISHING BOATS OFF GRIS-NEZ Signed with initials and dated 1852, inscribed on hand-written label verso, oil on canvas 67cm x 98cm (26.5in x 38.5in)
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Los: 8
EDMUND THORNTON CRAWFORD R.S.A. (SCOTTISH 1806-1885) DUTCH HAYBOATS OFF DORDRECHT Signed and dated 1867, inscribed on hand-written label verso, oil on panel 56cm x 95cm (22in x 37.5in) Exhibited:Royal Scottish Academy 1867, no. 679
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Los: 9
SIR WILLIAM FETTES DOUGLAS P.R.S.A. (SCOTTISH 1822-1891) THE KITCHEN MAID Signed with a monogram and dated '75, oil on panel 12.5cm x 18cm (5in x 7in)
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Los: 10
JAMES ECKFORD LAUDER R.S.A. (SCOTTISH 1811-1869) HARD AT IT Signed with a monogram, oil on canvas 68cm x 50cm (27.25in x 19.75in)
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Los: 11
ERSKINE NICOL R.S.A., A.R.A. (SCOTTISH 1825-1904) AN IRISH ANGLER Signed with a monogram, oil on panel 28cm x 20cm (11in x 8in)
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Los: 12
THOMAS FAED R.A., H.R.S.A. (SCOTTISH 1826-1900) LISTENERS NE'ER HEAR GUDE O' THEMSELVES Signed, oil on canvas 29cm x 38cm (11.5in x 15in) Note:This a finished version of the painting in Bury Art Gallery see Mary McKerrow, The Faeds 1982, p.103
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Los: 13
SIR GEORGE HARVEY P.R.S.A. (SCOTTISH 1806-1876) SHAKESPEARE BEFORE SIR THOMAS LUCY ON A CHARGE OF DEER STEALING Signed with a monogram and dated 1837, oil on panel 101cm x 165cm (40in x 65in) Exhibited:Royal Scottish Academy 1837, no.177
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Los: 14
WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) HARVEST-TIME Signed and dated 1893, oil on canvas 63cm x 73cm (24.75in x 28.75cm)
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Los: 15
ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928) LOCH AWE Signed, signed and inscribed verso, oil on canvas 20cm x 30.5cm (8in x 12in)
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Los: 16
ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928) HEAD OF LOCH LOMOND Signed, signed and inscribed verso, oil on canvas 51cm x 76cm (20in x 30in)
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Los: 17
JOHN ROBERTSON REID R.I., R.B.A., R.O.I. (SCOTTISH 1851-1926) HIS LATEST CATCH Signed and dated 1919, inscribed verso 'Polperro Cornwall', oil on canvas 112cm x 127.5cm (40in x 50in)
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Los: 18
JOSEPH FARQUHARSON R.A. (SCOTTISH 1846-1935) STARTLED Signed, oil on canvas 152.5cm x 101.5cm (60in x 40in) Exhibited:Walker Art Gallery, Liverpool 1909 Grafton Galleries, London, Art and Artists at the Grafton 1913
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Los: 19
JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) TOIL AND GRIME Signed and dated '97, signed and inscribed verso, oil on canvas 77cm x 127cm (30.25in x 50in) Exhibited:Société des Amis des Arts, Rouen 1903 where it was awarded a silver medal and diploma. A painting of this title was exhibited at the Royal Scottish Academy 1904, no.279 Note: Born on the isle of Arran in 1858, James Kay is known for his dynamic and energetic industrial seascapes. In his early years he worked in Glasgow where he shared a studio with David Gauld and Stuart Park. Although not considered a Glasgow Boy, he remained a close associate of those artists throughout his career. Similarly to his contemporaries, Kay worked and lived in Paris where he absorbed the mood and vitality of the French Impressionists. He was also greatly influenced by The Hague School, which manifests in his realist manner and the use of dark and grey tones. In 1894 Kay first exhibited in the Paris Salon and also achieved some popularity in Holland with his coastal paintings and townscapes. Kay was an enthusiastic traveller and drew inspiration from his extensive travels, however the sea remained his foremost fascination. Rather than romanticising the sea Kay depicts the honest atmosphere of the bustling industrial city. Kay's mastery lies in his ability to capture the energy and drama of the docks. Although he shared many of the same influences as his contemporaries Kay was successful in creating his own unique artistic vision and his work was highly regarded both in Scotland and abroad. He was elected to the Royal Scottish Academy and the Royal Scottish Society of Painters alongside winning gold medals of the Société des Artistes Français and at Rouen.
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Los: 20
JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) SHIPPING AND TUG-BOATS ON THE CLYDE Signed, oil on board 51cm x 61cm (20in x 24in) Note: Born on the isle of Arran in 1858, James Kay is known for his dynamic and energetic industrial seascapes. In his early years he worked in Glasgow where he shared a studio with David Gauld and Stuart Park. Although not considered a Glasgow Boy, he remained a close associate of those artists throughout his career. Similarly to his contemporaries, Kay worked and lived in Paris where he absorbed the mood and vitality of the French Impressionists. He was also greatly influenced by The Hague School, which manifests in his realist manner and the use of dark and grey tones. In 1894 Kay first exhibited in the Paris Salon and also achieved some popularity in Holland with his coastal paintings and townscapes. Kay was an enthusiastic traveller and drew inspiration from his extensive travels, however the sea remained his foremost fascination. Rather than romanticising the sea Kay depicts the honest atmosphere of the bustling industrial city. Kay's mastery lies in his ability to capture the energy and drama of the docks. Although he shared many of the same influences as his contemporaries Kay was successful in creating his own unique artistic vision and his work was highly regarded both in Scotland and abroad. He was elected to the Royal Scottish Academy and the Royal Scottish Society of Painters alongside winning gold medals of the Société des Artistes Français and at Rouen.
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Los: 21
JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) DAZZLE SHIPS ON THE CLYDE Signed, oil on board 24cm x 34cm (9.5in x 13.5in) Note: Born on the Isle of Arran in 1858, James Kay is known for his dynamic and energetic industrial seascapes. In his early years he worked in Glasgow where he shared a studio with David Gauld and Stuart Park. Although not considered a Glasgow Boy, he remained a close associate of those artists throughout his career. Similarly to his contemporaries, Kay worked and lived in Paris where he absorbed the mood and vitality of the French Impressionists. He was also greatly influenced by The Hague School, which manifests in his realist manner and the use of dark and grey tones. In 1894 Kay first exhibited in the Paris Salon and also achieved some popularity in Holland with his coastal paintings and townscapes. Kay was an enthusiastic traveller and drew inspiration from his extensive travels, however the sea remained his foremost fascination. Rather than romanticising the sea Kay depicts the honest atmosphere of the bustling industrial city. Kay's mastery lies in his ability to capture the energy and drama of the docks. Although he shared many of the same influences as his contemporaries Kay was successful in creating his own unique artistic vision and his work was highly regarded both in Scotland and abroad. He was elected to the Royal Scottish Academy and the Royal Scottish Society of Painters alongside winning gold medals of the Société des Artistes Français and at Rouen. Dazzle Ships on the Clyde is an example of one of Kay's exemplary industrial seascapes. The broad loose brushstrokes and bright tones reflect his Impressionist influence however the subject of the piece brings it back to Britain. Separating the vast sky and sea is a small fleet of dazzle ships. Dazzle camouflage was introduced in 1914 as a system of distorting the appearance of British ships in order to confuse the enemy submarines. The nature of the design, consisting of interlocking and contrasting colours, was heavily indebted to Cubism. The painting demonstrates Kay's energetic style and confidence in creating a sense of vitality and drama in his scenes.
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Los: 22
JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) A PARISIAN STREET SCENE Signed, oil on board 51cm x 61cm (20in x 24in)
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Los: 23
JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) CHILDREN AND ANIMALS IN WOODLAND Signed and dated '98. oil on canvas 46cm x 30.5cm (18in x 12in)
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Los: 24
JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) INTERIOR WITH STILL LIFE Signed, oil on board 51cm x 61cm (20in x 24in)
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Los: 25
EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) THE FAN Signed with initials and dated '94, oil on canvas laid down 35.5cm x 28cm (14in x 11in) Note: The influence of Japan on late 19th century European art is well known and in Scotland the effect was no less profound than anywhere else. In particular the two friends among the Glasgow Boys known as 'the inseperables', George Henry and E. A. Hornel, took inspiration from the art of Japan. In 1893 Hornel and Henry decided to visit the Far East. They travelled to London and set sail in February of that year, financed initially by Alexander Reid and William Burrell and spent most of their time in Tokyo, Nagasaki and Yokahama, attempting to integrate into Japanese society. Within a short time however, stylistically stifled, they had agreed to spend less time together and their work subsequently took on marked differences. Henry became more linear and Hornel more attuned to colour and the use of paint, in what London critics had termed disparagingly his 'Persian carpet' style. His subject matter during the trip consisted largely of local girls in poses which were clearly in conscious imitation of Japanese prints but which nevertheless exhibit an individual style which would have a bearing on his later work. A painting from the period entitled 'Dancing Geisha,' now in a private collection (illustrated in Billcliffe's 'Glasgow Boys' p259) bears a marked similarity to the current picture and it seems possible that the models were the same girl. It is known that during their stay in Japan, Hornel became closely attached to one particular young Japanese girl and perhaps the somewhat coquettish nature of the picture on offer here and the dancing Geisha may owe something to this. On his return from the East, Hornel was given a show by Reid in 1895, which was well received and financially successful. Clearly the effect of the Japanese period had a lasting impact on Hornel's art and while his best known work of later years generally tackled more sobre, domestic subjects, he was always drawn to Japanese themes.
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Los: 26
ROBERT GEMMELL HUTCHISON R.S.A., R.S.W., R.B.A., R.O.I. (SCOTTISH 1855-1936) THE GOLDFISH BOWL Signed, oil on canvas 76cm x 63.5cm (30in x 25in)
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Los: 27
STUART PARK (SCOTTISH 1862-1933) A STILL LIFE OF DAFFODILS Signed, oil on canvas, oval 50cm x 60cm (20in x 24in)
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Los: 28
STUART PARK (SCOTTISH 1862-1933) A STILL LIFE OF ROSES Signed, oval, oil on canvas 50cm x 60cm (20in x 24in) largely good original unlined condition, some minor work to leaf to right of top rose
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Los: 29
EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) THE DANDELION CLOCK Signed and dated 1900, oil on canvas 61cm x 61cm (24in x 24in)
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Los: 30
EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) THE LARK'S SONG Signed and dated '09, oil on canvas laid down on board 51cm x 41cm (20in x 16in)
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Los: 31
JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) THE DROVER'S RETURN Signed, pastel 48cm x 39cm (18.75in x 15.25in)
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Los: 32
JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) BY THE RIVER Oil on panel 30.5cm x 28cm (12in x 11in) Exhibited:English-Speaking Union, Edinburgh, 100 Years of Scottish Painting 1970, no.64
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Los: 33
JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) REST IN THE WOODS Signed, pastel 41cm x 49cm (16in x 19.25in)
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Los: 34
JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) THE YOUNG MUSICIAN Watercolour 24cm x 34cm (9.5in x 13.5in)
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Los: 35
JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) YARMOUTH Signed, inscribed and dated 1906, watercolour 45cm x 36cm (17.75in x 15in)
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Los: 36
SIR DAVID WILKIE R.A. (SCOTTISH 1785-1841) FIGURES AND HORSEMEN OUTSIDE AN INN pen and ink 15.5cm x 20cm (6in x 8in)
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Los: 37
JAMES PATERSON P.R.S.W., R.S.A., R.W.S. (SCOTTISH 1854-1932) EL BURGADO Signed, inscribed and dated 1914, watercolour 38cm x 53cm (15in x 21in)
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Los: 38
WILLIAM ALFRED GIBSON (SCOTTISH 1866-1931) A WOODED LANDSCAPE WITH FIGURES IN A PUNT Signed, oil on canvas 27cm x 37cm (10.5in x 14.5in)
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Los: 39
WILLIAM ALFRED GIBSON (SCOTTISH 1866-1931) SNOW COVERED DUTCH CANAL SCENE Signed, oil on board 41cm x 51cm (16in x 20in)
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Los: 40
JOSEPH FARQUHARSON R.A. (SCOTTISH 1846-1935) COMING DOWN FROM THE HILLS Signed, oil on canvas 102cm x 76cm (40in x 30in)
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Los: 41
JAMES MCBEY (SCOTTISH 1883-1959) PORTRAIT OF A GIRL IN A RED DRESS Signed and dated 23 May 1927, oil on canvas 101.5cm x 81cm (40in x 32in)
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Los: 42
JOHN MCGHIE (SCOTTISH 1867-1952) THE FISHERGIRL Signed, oil on canvas 46cm x 36cm (18in x 14in)
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Los: 43
HARRINGTON MANN R.P., R.E. (SCOTTISH 1864-1937) GIRL'S HEAD Signed, oil on panel 31cm x 24cm (12in x 9.5in) Exhibited:V11ième Exposition Internationale des Beaux Arts à Munich 1887
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Los: 44
JOHN CAMPBELL MITCHELL R.S.A. (SCOTTISH 1862-1922) LEADER HAUGHS NEAR LAUDER Signed and dated 1911, signed and inscribed verso, oil on canvas 31cm x 36cm (12in x 14in)
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Los: 45
JOHN CAMPBELL MITCHELL R.S.A. (SCOTTISH 1862-1922) SEASCAPE Signed and dated 1917, oil on canvas 31cm x 51cm (13in x 20in)
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Los: 46
GEORGE HOUSTON R.S.A., R.S.W., R.I. (1869-1947) WAVES BREAKING ON A ROCKY COASTLINE Signed, oil on canvas 71cm x 91cm (28in x 36in)
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Los: 47
STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) THE RACKWICK ROAD, HOY Signed and dated 1924, watercolour 24cm x 35cm (9.5in x 13.75in)
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Los: 48
STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) FARM COTTAGES Signed and dated 1921, indistinctly inscribed 'Rousay' on the backboard, watercolour 24cm x 35cm (9.5in x 13.75in)
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Los: 49
WILLIAM WATT MILNE (SCOTTISH FL.1888-1915) THE WOODCUTTERS CAMP Signed, oil on board 23cm x 30.5cm (9in x 12in) and a companion a pair (2)
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Los: 50
WALLLER HUGH PATON R.S.A., R.S.W. (SCOTTISH 1828-1895) OLD HOMES AND NEW TENANTS Signed and dated 1877, inscribed extensively on the backboard, watercolour, arched top 12cm x 19cm (4.75in x 7.5in) and two other watercolours by the same hand 'Decay of the forest' and 'At Tyndrum' (3)
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Los: 51
ARTHUR MELVILLE R.W.S., A.R.S.A. (SCOTTISH 1855-1904) THE WOUNDED COVENANTER Signed, inscribed and dated 'RBA, 1885,' watercolour 78cm x 55cm (30.75in x 21.75in) Provenance:The artist's Trustees Literature:Agnes Mackay, Arthur Melville 1951, p.147 Exhibited:R.B.A. 1885 Laing Art Gallery Newcastle, Memorial Exhibition 1906, no.4 Nottingham Art Gallery , Memorial Exhibition 1907, no.42 Dundee Art Galleries and Museum, Arthur Melville 1977/78, no.13
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Los: 52
JOHN BULLOCH SOUTER (SCOTTISH 1890-1972) ROSES IN A GLASS BOWL Signed, oil on board 41cm x 31cm (16in x 12in)
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Los: 53
JOHN BULLOCH SOUTER (SCOTTISH 1890-1972) YELLOW ROSES IN A JUG Signed, oil on board 46cm x 36cm (18in x 14in)
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Los: 54
KATHERINE CAMERON R.S.W., R.E. (SCOTTISH 1874-1965) ROSES IN TWILIGHT Signed, watercolour 56cm x 29cm (22in x 11.5in)
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Los: 55
ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) ON THE BEACH, MACHRIHANISH Signed, oil on canvas 63cm x 76cm (25in x 30in)
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Los: 56
GEORGE HENRY R.A., R.S.A., R.S.W. (SCOTTISH 1858-1943) GATHERING BERRIES Signed, watercolour 23.5cm x 30.5cm (9.25in x 12in)
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Los: 57
WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) MOUSEHOLE Signed and dated 1947, pen and ink and watercolour 36cm x 49cm (14in x 19.25in)
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Los: 58
GEORGE HOUSTON R.S.A., R.S.W., R.I. (SCOTTISH 1869-1947) HARVEST-TIME, AYRSHIRE Signed, oil on canvas 76cm x 135cm (30in x 53in)
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Los: 59
GEORGE HOUSTON R.S.A., R.S.W., R.I. (SCOTTISH 1869-1947) BLUE-BELLS, LOCH FYNE Signed, oil on canvas 71cm x 91cm (28in zx 36in)
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Los: 60
GEORGE HOUSTON R.S.A., R.S.W., R.I. (SCOTTISH 1869-1947) LOCHGOILHEAD Signed, oil on canvas 71cm x 91cm (28in x 36in)
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Los: 62
GEORGE HENRY R.A., R.S.A., R.S.W.,(SCOTTISH 1858-1943) SWAN LAKE Signed and dated 1919, watercolour 56cm x 23cm (22in x 9in) and a companion, a pair 'The bluebell wood' (2)
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Los: 63
SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., P.P.R.S.W., R.A. (SCOTTISH 1898-1973) LAIDE Signed, pencil and watercolour 56cm x 76cm (22in x 30in)
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Los: 64
JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1897-1998) LOCH CRERAN Signed, inscribed on the stretcher verso, oil on canvas 41cm x 51cm (16in x 20in)
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Los: 65
WILLIAM GRANT MURRAY A.R.C.A. (SCOTTISH 1877-1950) THE OLD PIER, ST. ANDREWS Signed with a monogram, oil on canvas 25.5cm x 33cm (10in x 13in)
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Los: 66
EDWARD ARTHUR WALTON R.S.A., P.R.S.W., H.R.W.S. (SCOTTISH 1860-1922) THE DUCK-POND Signed, oil on canvas 51cm x 61cm (20in x 24in)
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Los: 67
ROBERT GEMMELL HUTCHISON R.S.A., .R.S.W., R.B.A., R.O.I. (SCOTTISH 1860-1936) THREE GIRLS HARVESTING Signed, watercolour 51cm x 61cm (20in x 24in)
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Los: 68
JOHN MCGHIE (SCOTTISH 1867-1952) AT THE SEASIDE Signed, oil on canvas 51cm x 61cm (20in x 24in)
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Los: 69
GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) HARBOUR SCENE Signed and dated 1918, pen and ink and watercolour 24cm x 36cm (9.5in x 14in)
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Los: 70
JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) IRISES Signed, oil on canvas 61cm x 46cm (24in x 18in)
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Los: 71
ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998) VERA IN BED Signed, oil on board 31cm x 38cm (12in x 15in)
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Los: 72
JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) HARBOUR SCENE, SOUTH OF FRANCE Signed, watercolour on brown paper 26cm x 34cm (10.25in x 13.5in)
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Los: 73
SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.I. (SCOTTISH 1880-1969) ON THE BEACH DINARD Signed, watercolour 25.5cm x 33cm (10in x 13in) Note: One of the most celebrated British watercolourists of the 20th century, Sir William Russell Flint is known for his remarkable technical skill and precision. Born in Edinburgh in 1880, Flint was first introduced to painting by his father before developing his skills at Banks and Co. Printers where he enrolled in a six year apprenticeship as a lithographic draughtsman. Although he is known for his watercolours he also painted in oil and tempera, and produced etchings. Flint was a member of the Royal Academy, and served as president of the Royal Watercolour Society for twenty years from 1936. He was further recognised in 1947, with a knighthood for his services to art, and later a solo exhibition at the Royal Academy. Painting in several countries including France, Italy, Switzerland and Scotland, Flint was captivated by the distinctive and unique character of the distant lands. However, his foremost fascination was the female form. This manifested in a wide range of depictions; spanning from flamenco dancers to his picturesque gypsies and languorous nudes. Today his work is exhibited in numerous institutions around the world including the British Museum, the Victoria and Albert Museum and the Art Institute of Chicago. On the Beach Dinard depicts a sun drenched beach bustling with fashionable women immersed in various activities. The controlled broad washes perfectly capture the atmospheric effects of the idyllic scene. Flint produced a number of paintings depicting beaches from his visits to the coasts of England, Scotland, France and the Mediterranean Sea. The painting perfectly encapsulates the light-hearted spirit of age, whilst displaying his technical virtuosity.
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Los: 74
SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.I. (SCOTTISH 1880-1969) SEATED NUDE Signed, coloured chalk 17cm x 23cm (6.75in x 9in) Provenance:Frost & Reed, London 1946 Note: One of the most celebrated British watercolourists of the 20th century, Sir William Russell Flint is known for his remarkable technical skill and precision. Born in Edinburgh in 1880, Flint was first introduced to painting by his father before developing his skills at Banks and Co. Printers where he enrolled in a six year apprenticeship as a lithographic draughtsman. Although he is known for his watercolours he also painted in oil and tempera, and produced etchings. Flint was a member of the Royal Academy, and served as president of the Royal Watercolour Society for twenty years from 1936. He was further recognised in 1947, with a knighthood for his services to art, and later a solo exhibition at the Royal Academy. Painting in several countries including France, Italy, Switzerland and Scotland, Flint was captivated by the distinctive and unique character of the distant lands. However, his foremost fascination was the female form. This manifested in a wide range of depictions; spanning from flamenco dancers to his picturesque gypsies and languorous nudes. Today his work is exhibited in numerous institutions around the world including the British Museum, the Victoria and Albert Museum and the Art Institute of Chicago. Flint's interest in the representation of the female form intensified during a trip to Rome in 1912. His skilfully rendered paintings of the sensual nude were in great demand during his time. Seated Nude is a chalk drawing dating from 1908 in which Flint effortlessly captures the models striking beauty. This exquisite drawing perfectly encapsulates Flint's ongoing interest in feminine grace, imbuing the picture with a sense of sensuousness and mystery. The figure is simultaneously revealing and concealing herself, which is almost mirrored in his technique, with the soft shading of her body juxtaposed against the hard lines of the drapery tangled around her.
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Los: 75
SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.I. (SCOTTISH 1880-1969) SOLOMON BUILDING THE TEMPLE Signed and dated 1908, watercolour 22cm x 18cm (8.75in x 7in) Provenance:The Fine Art Society Ltd, London November 1967 Literature:Thomas a Kempis, The Imitation of Christ Note: One of the most celebrated British watercolourists of the 20th century, Sir William Russell Flint is known for his remarkable technical skill and precision. Born in Edinburgh in 1880, Flint was first introduced to painting by his father before developing his skills at Banks and Co. Printers where he enrolled in a six year apprenticeship as a lithographic draughtsman. Although he is known for his watercolours he also painted in oil and tempera, and produced etchings. Flint was a member of the Royal Academy, and served as president of the Royal Watercolour Society for twenty years from 1936. He was further recognised in 1947, with a knighthood for his services to art, and later a solo exhibition at the Royal Academy. Painting in several countries including France, Italy, Switzerland and Scotland, Flint was captivated by the distinctive and unique character of the distant lands. However, his foremost fascination was the female form. This manifested in a wide range of depictions; spanning from flamenco dancers to his picturesque gypsies and languorous nudes. Today his work is exhibited in numerous institutions around the world including the British Museum, the Victoria and Albert Museum and the Art Institute of Chicago. Flint's early ambitions were focused on book and story illustrations. His paintings appear in a number of books and his reputation as a successful illustrator quickly grew. Solomon Building the Temple is an example of Flint's work before the outbreak of the First World War. In the foreground Solomon is depicted seated in profile on a throne keeping a watchful eye on the workers.
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Los: 76
SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.I. (SCOTTISH 1880-1969) WHITE TOWER MONTREUIL Signed, watercolour 33cm x 53cm (13in x 31in) Note: One of the most celebrated British watercolourists of the 20th century, Sir William Russell Flint is known for his remarkable technical skill and precision. Born in Edinburgh in 1880, Flint was first introduced to painting by his father before developing his skills at Banks and Co. Printers where he enrolled in a six year apprenticeship as a lithographic draughtsman. Although he is known for his watercolours he also painted in oil and tempera, and produced etchings. Flint was a member of the Royal Academy, and served as president of the Royal Watercolour Society for twenty years from 1936. He was further recognised in 1947, with a knighthood for his services to art, and later a solo exhibition at the Royal Academy. Painting in several countries including France, Italy, Switzerland and Scotland, Flint was captivated by the distinctive and unique character of the distant lands. However, his foremost fascination was the female form. This manifested in a wide range of depictions; spanning from flamenco dancers to his picturesque gypsies and languorous nudes. Today his work is exhibited in numerous institutions around the world including the British Museum, the Victoria and Albert Museum and the Art Institute of Chicago.
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Los: 77
SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.I. (SCOTTISH 1880-1969) AUTUMN GLORY SOUTH DEVON Signed, signed and inscribed to labels verso, watercolour 23cm x 37cm (9in x 14.5in) Note:A label verso signed and dated July 1946 states 'This watercolour is for my old friend Augustus Walker with warm esteem and thanks for many pleasurable visits to his exhibitions' One of the most celebrated British watercolourists of the 20th century, Sir William Russell Flint is known for his remarkable technical skill and precision. Born in Edinburgh in 1880, Flint was first introduced to painting by his father before developing his skills at Banks and Co. Printers where he enrolled in a six year apprenticeship as a lithographic draughtsman. Although he is known for his watercolours he also painted in oil and tempera, and produced etchings. Flint was a member of the Royal Academy, and served as president of the Royal Watercolour Society for twenty years from 1936. He was further recognised in 1947, with a knighthood for his services to art, and later a solo exhibition at the Royal Academy. Painting in several countries including France, Italy, Switzerland and Scotland, Flint was captivated by the distinctive and unique character of the distant lands. However, his foremost fascination was the female form. This manifested in a wide range of depictions; spanning from flamenco dancers to his picturesque gypsies and languorous nudes. Today his work is exhibited in numerous institutions around the world including the British Museum, the Victoria and Albert Museum and the Art Institute of Chicago.
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Los: 78
SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.I. (SCOTTISH 1880-1969) WOODED SHORE, LOCH EARN Signed, watercolour 35.5cm x 53.5cm (14in x 21in) Exhibited:Royal Society of Painters in Watercolours Note: One of the most celebrated British watercolourists of the 20th century, Sir William Russell Flint is known for his remarkable technical skill and precision. Born in Edinburgh in 1880, Flint was first introduced to painting by his father before developing his skills at Banks and Co. Printers where he enrolled in a six year apprenticeship as a lithographic draughtsman. Although he is known for his watercolours he also painted in oil and tempera, and produced etchings. Flint was a member of the Royal Academy, and served as president of the Royal Watercolour Society for twenty years from 1936. He was further recognised in 1947, with a knighthood for his services to art, and later a solo exhibition at the Royal Academy. Painting in several countries including France, Italy, Switzerland and Scotland, Flint was captivated by the distinctive and unique character of the distant lands. However, his foremost fascination was the female form. This manifested in a wide range of depictions; spanning from flamenco dancers to his picturesque gypsies and languorous nudes. Today his work is exhibited in numerous institutions around the world including the British Museum, the Victoria and Albert Museum and the Art Institute of Chicago.
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Los: 79
SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.I. (SCOTTISH 1880-1969) BREEZY BIRCHES LOCH EARN Signed, watercolour 24cm x 37cm (9.5in x 14.5in) Note: One of the most celebrated British watercolourists of the 20th century, Sir William Russell Flint is known for his remarkable technical skill and precision. Born in Edinburgh in 1880, Flint was first introduced to painting by his father before developing his skills at Banks and Co. Printers where he enrolled in a six year apprenticeship as a lithographic draughtsman. Although he is known for his watercolours he also painted in oil and tempera, and produced etchings. Flint was a member of the Royal Academy, and served as president of the Royal Watercolour Society for twenty years from 1936. He was further recognised in 1947, with a knighthood for his services to art, and later a solo exhibition at the Royal Academy. Painting in several countries including France, Italy, Switzerland and Scotland, Flint was captivated by the distinctive and unique character of the distant lands. However, his foremost fascination was the female form. This manifested in a wide range of depictions; spanning from flamenco dancers to his picturesque gypsies and languorous nudes. Today his work is exhibited in numerous institutions around the world including the British Museum, the Victoria and Albert Museum and the Art Institute of Chicago.
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Los: 80
SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.I. (SCOTTISH 1880-1969) HILLSIDE BIRCHWOOD PERTHSHIRE Signed, watercolour 24cm x 37cm (9.5in x 14.5in) Note: One of the most celebrated British watercolourists of the 20th century, Sir William Russell Flint is known for his remarkable technical skill and precision. Born in Edinburgh in 1880, Flint was first introduced to painting by his father before developing his skills at Banks and Co. Printers where he enrolled in a six year apprenticeship as a lithographic draughtsman. Although he is known for his watercolours he also painted in oil and tempera, and produced etchings. Flint was a member of the Royal Academy, and served as president of the Royal Watercolour Society for twenty years from 1936. He was further recognised in 1947, with a knighthood for his services to art, and later a solo exhibition at the Royal Academy. Painting in several countries including France, Italy, Switzerland and Scotland, Flint was captivated by the distinctive and unique character of the distant lands. However, his foremost fascination was the female form. This manifested in a wide range of depictions; spanning from flamenco dancers to his picturesque gypsies and languorous nudes. Today his work is exhibited in numerous institutions around the world including the British Museum, the Victoria and Albert Museum and the Art Institute of Chicago.
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Los: 81
SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.I. (SCOTTISH 1880-1969) RAIN IN SNOWDON Signed and dated 15/9/60, signed, inscribed and dated on the backboard, unframed, watercolour 27cm x 38cm (10.5in x 15in) Exhibited: Royal Academy of Arts, Sir William Russell Flint, 1962, No. 173. Notes: Inscribed verso, 'For Arthur, From his devoted, respectful, and affectionate client and friend, Willie. February 1963.' One of the most celebrated British watercolourists of the 20th century, Sir William Russell Flint is known for his remarkable technical skill and precision. Born in Edinburgh in 1880, Flint was first introduced to painting by his father before developing his skills at Banks and Co. Printers where he enrolled in a six year apprenticeship as a lithographic draughtsman. Although he is known for his watercolours he also painted in oil and tempera, and produced etchings. Flint was a member of the Royal Academy, and served as president of the Royal Watercolour Society for twenty years from 1936. He was further recognised in 1947, with a knighthood for his services to art, and later a solo exhibition at the Royal Academy. Painting in several countries including France, Italy, Switzerland and Scotland, Flint was captivated by the distinctive and unique character of the distant lands. However, his foremost fascination was the female form. This manifested in a wide range of depictions; spanning from flamenco dancers to his picturesque gypsies and languorous nudes. Today his work is exhibited in numerous institutions around the world including the British Museum, the Victoria and Albert Museum and the Art Institute of Chicago.
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Los: 82
SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.I. (SCOTTISH 1880-1969) FISHING PARTY ON THE ARDÈCHE BELOW AIGUÈZE Signed, watercolour 28cm x 38cm (11in x 15in) Note:This watercolour is further signed and inscribed on the backboard 'Up river from Pont St.Esprit, Rhône - A very amusing group, hopeless amateurs' Provenance:Frost & Reed D13576 One of the most celebrated British watercolourists of the 20th century, Sir William Russell Flint is known for his remarkable technical skill and precision. Born in Edinburgh in 1880, Flint was first introduced to painting by his father before developing his skills at Banks and Co. Printers where he enrolled in a six year apprenticeship as a lithographic draughtsman. Although he is known for his watercolours he also painted in oil and tempera, and produced etchings. Flint was a member of the Royal Academy, and served as president of the Royal Watercolour Society for twenty years from 1936. He was further recognised in 1947, with a knighthood for his services to art, and later a solo exhibition at the Royal Academy. Painting in several countries including France, Italy, Switzerland and Scotland, Flint was captivated by the distinctive and unique character of the distant lands. However, his foremost fascination was the female form. This manifested in a wide range of depictions; spanning from flamenco dancers to his picturesque gypsies and languorous nudes. Today his work is exhibited in numerous institutions around the world including the British Museum, the Victoria and Albert Museum and the Art Institute of Chicago.
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Los: 83
SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.I. (SCOTTISH 1880-1969) CHATEAU GAILLARD Signed, signed, inscribed and dated 1966 on the backboard, watercolour 24cm x 33.5cm (9.5in x 13.25in) Note:The backboard is further inscribed 'Painted very happily on Whit Sunday' Provenance:Frost & Reed d.13577 One of the most celebrated British watercolourists of the 20th century, Sir William Russell Flint is known for his remarkable technical skill and precision. Born in Edinburgh in 1880, Flint was first introduced to painting by his father before developing his skills at Banks and Co. Printers where he enrolled in a six year apprenticeship as a lithographic draughtsman. Although he is known for his watercolours he also painted in oil and tempera, and produced etchings. Flint was a member of the Royal Academy, and served as president of the Royal Watercolour Society for twenty years from 1936. He was further recognised in 1947, with a knighthood for his services to art, and later a solo exhibition at the Royal Academy. Painting in several countries including France, Italy, Switzerland and Scotland, Flint was captivated by the distinctive and unique character of the distant lands. However, his foremost fascination was the female form. This manifested in a wide range of depictions; spanning from flamenco dancers to his picturesque gypsies and languorous nudes. Today his work is exhibited in numerous institutions around the world including the British Museum, the Victoria and Albert Museum and the Art Institute of Chicago.
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Los: 84
SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.I. (SCOTTISH 1880-1969) WOODLAND MORNING LANGUEDOC Signed, signed and inscribed on the backboard, watercolour 37.5cm x 56cm (14.75in x 22in) Note: One of the most celebrated British watercolourists of the 20th century, Sir William Russell Flint is known for his remarkable technical skill and precision. Born in Edinburgh in 1880, Flint was first introduced to painting by his father before developing his skills at Banks and Co. Printers where he enrolled in a six year apprenticeship as a lithographic draughtsman. Although he is known for his watercolours he also painted in oil and tempera, and produced etchings. Flint was a member of the Royal Academy, and served as president of the Royal Watercolour Society for twenty years from 1936. He was further recognised in 1947, with a knighthood for his services to art, and later a solo exhibition at the Royal Academy. Painting in several countries including France, Italy, Switzerland and Scotland, Flint was captivated by the distinctive and unique character of the distant lands. However, his foremost fascination was the female form. This manifested in a wide range of depictions; spanning from flamenco dancers to his picturesque gypsies and languorous nudes. Today his work is exhibited in numerous institutions around the world including the British Museum, the Victoria and Albert Museum and the Art Institute of Chicago.
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Los: 85
SIR WILLIAM MACTAGGART PRSA, HON RA (SCOTTISH, 1903-1981) PORTOBELLO Signed, oil on board 27cm x 56cm (10.5in x 22in) Provenance: Aitken Dott, Edinburgh
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Los: 86
SIR WILLIAM MACTAGGART P.P.R.S.A., R.A., F.R.S.E. (SCOTTISH 1903-1981) AFTER THE STORM Signed, oil on board 31cm x 51cm (12in x 20in)
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Los: 87
SIR WILLIAM GEORGE GILLIES C.B.E., R.A., R.S.A., R.S.W., P.P.R.S.W., L.L.D. (SCOTTISH 1898-1973) ANENOMES AND FRUIT Signed, oil on canvas 91cm x 76cm (36in x 30in) Exhibited:Society of Eight 1936, no.5
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Los: 88
ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1855-1936) SEWING BY THE WINDOW Signed, oil on canvas 61cm x 46cm (24in x 18in)
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Los: 89
ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) WAITING FOR FATHER Signed, oil on board 23cm x 31cm (9in x 12in)
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Los: 90
STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) THE RED DRESS Signed and dated 1920, oil on canvas 86cm x 101.5cm (34in x 40in) Note: Stanley Cursiter spent almost three decades at the head of the art-world in Scotland, acting as Keeper and then Director of the National Galleries of Scotland. The forward-looking measures he developed there, as well as at points in his own painting, have since tended to overshadow appreciation of the wider body of his work. In his own time, however, he was particularly known for his sumptuous portraits and conversation pieces. The Red Dress dates from 1920, when Scotland's cultural landscape was still reeling from the shock of the war. In response (after a brief but highly effective experiment with the avant garde tendencies of the Vorticist movement), Cursiter returned his focus to these portraits and eternally popular conversation pieces, indulging in elegance, youth and beauty as a restorative balm to the horrors of war. They often feature family members, and have an intimate, cosy feel, with subjects engaged in charming domestic tasks, such as sewing and playing musical instruments. In the 1920s these paintings evoked a sense of nostalgia for the luxuries and leisure of the pre-war period and a tightly-held hope that the future world would once again return to pleasant domesticity and parties. There is a masterful balance to the minimal composition of The Red Dress, with the elegant model and bright, shiny fruit set against a deep, sumptuous background. The sitter looks directly and straightforwardly at us, while her informal dress allows the artist to reveal his talent with paint, depicting the many gathers, folds, lights and shadows of the loose, cascading fabric. The success and ease of the composition does not reveal Cursiter's meticulous effort in preparing his paintings, painstakingly working through different arrangements and colour trials in his sketchbooks, before attempting to achieve the finished piece. In this painting, its process and subject, we can develop a sense of Cursiter's ideals; his joy in seeing and depicting beauty and elegance, and the celebration of a set of artistic skills well-utilised.
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Los: 91
WILLIAM CROSBIE R.S.A. (SCOTTISH 1915-1999) STILL LIFE OF MIXED FLOWERS Signed and dated '42, oil on board 51cm x 36cm (20in x 14in)
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Los: 92
JOHN CUNNINGHAM R.G.I. (SCOTTISH 1927-1998) ANENOMES AND FRUIT Signed, oil on canvas 61cm x 54cm (24in x 21.25in)
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Los: 93
ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998) FLOWERS IN A BLUE JUG Signed, oil on canvas 75cm x 66cm (29.5in x 26in)
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Los: 94
ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) LILIES Signed, watercolour 56cm x 62cm (22in x 24.5in) Exhibited:Royal West of England Academy 1964
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Los: 95
SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) LE PATRON Conté 12cm x 10cm (4.75in x 4in) Exhibited:The Scottish Gallery, Edinburgh, S,J.Peploe drawings 1994, no.22 Provenance:The artist's family
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Los: 96
JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1875-1961) ON THE BEACH, SOUTH OF FRANCE Watercolour 27cm x 19cm (10.5in x 7.5in) Provenance:Margaret Morris, the artist's wife
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Los: 97
FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) PORTRAIT STUDY OF NAN IVORY Signed, signed and inscribed on stretcher verso, oil on canvas 47.5cm x 39.5cm (18.75in x 15.5in) Note: This striking portrait of Nan Ivory features the soft, feathery brushstrokes of F.C.B. Cadell's pre-war technique, before he moved into a more design-focused, Deco-influenced approach. It has an Edwardian flair, with flashes of Whistler and Singer Sargent, and the close-crop perspective and soft technique add a personal, intimate feeling, compounding the fact that this is a portrait of a known sitter, rather than the use of a model for dramatic effect. Whereas after the war, Cadell began to focus on design in both his compositional decisions and painting, getting sparser in his brushstroke, and utilising women as glamorous props to offset the grandeur of the rooms he is depicting, rather than as engaging subjects in themselves. As a an earlier work, Portrait Study of Nan Ivory retains an intimacy and personality, yet the elegance we so strongly associate with Cadell is fully evident, in the sitter's distant gaze, sweeping hat, fashionable jewellery and the artist's confident handling of the paint. It was originally thought that Cadell painted this elegant portrait of Nan Ivory as a wedding gift for the sitter's new husband, the artist's close friend and long-standing patron, Ted Stewart. However, since the appearance of that suggestion in the most recent issue of our magazine International View, new information has come to light. It has been revealed that before she married Ted Stewart in February 1916, Nan had been briefly engaged to another close friend of Cadell's, James Hamilton-Henderson in 1914. The family of Ted and Nan were unaware of the portrait and feel it unlikely that such a striking portrait of their grandmother would have voluntarily have left the family. Knowing that she was engaged previously, and particularly to a friend of Cadell's, it seems now that the portrait may in fact have been a gift for her previous intended. It would also explain why it had left the original family; the moving on of a reminder of a union that was not to be.
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Los: 98
FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) THE BLUE MOUNTAIN Signed, oil on canvas 63.5cm x 76cm (25in x 30in) Provenance:Alex Reid & Lefevre Ltd, Glasgow T.R.Craig Esq C.B.E. and thence by descent Exhibited:The Scottish Arts Council, Three Scottish Colourists 1970 Note: The paintings produced by S.J. Peploe and F.C.B. Cadell over twenty years from 1912 to 1933 on the tiny Scottish island of Iona are among the finest of their oeuvres. Both artists were much taken by the unique character of the island, which had been attracting artists for many years, including John Duncan and James Paterson. With its often bright green water and pale white sands Iona offered the perfect landscape location, in the bright Hebridean summers, for these artists whose palettes naturally reflected the hues of warmer climes. The island offered a plentiful supply of subjects: from views across the sand and sea to Staffa and Mull, to island landmarks the nunnery and abbey, along with charming rural farms and crofts. While Cadell had visited the island to paint before the Great War it was only in 1920 that Peploe accompanied him for the first time. While Peploe painted almost exclusively in the north of the island, Cadell tended to experiment with location. Distant features of his paintings include the Dutchman's Cap, Lunga and Rhum in the north and in the south images of the shoreline including the Marble Quarry and views of and from the south of the island. From the extreme south he would have seen the tidal island of Erraid, famous from the works of R.L. Stevenson, situated just off the Ross of Mull. It seems possible that this view was painted either while on an excursion to Erraid, or from a vantage point on the south east coast of Iona itself, perhaps close to the Marble Quarry. The painting bears similarities, not least of composition and viewpoint, to one other known painting by Cadell of the Paps of Jura from this direction, Traigh Geal, Erraid, painted circa 1925 (private collection). The Blue Mountain is a distinctive depiction of Iona in Cadell's oeuvre. Working on a slightly larger scale, he is still focussed on capturing the topography of the landscape surrounding the western island, and the wonderful light that emerges in that part of the world, but it is evoked with a different approach. Here, his colours are cool and clear and his brushwork deliberate and sparse. Icy blues, lilacs and light greens pattern around the white foreground sand and burgundy brown rocks, while the paint is thinly applied, with directional brushwork creating texture and a graphic quality. The technique and colour may be a little experimental but the result is captivating, revealing another facet of this artist's talent and a different atmosphere of this dramatic locale.
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Los: 99
FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) IONA ABBEY Signed, oil on canvas 76cm x 63.5cm (30in x 25in) Provenance: G.W.Service and by descent through the family Literature: Tom Hewlett, Cadell - The life and works of a Scottish Colourist 1988, Ill.p.57 Philip Coupe, Paintings of Iona - Cadell and Peploe 2014, Ill PL.17 p.35 Note:This painting dates from 1922 Cadell's paintings of Iona are a wonderful homage to this fascinating place, capturing and celebrating its beauty and atmosphere. His paintings are often surprisingly true to life, and here Cadell brings his discerning eye to bear on Iona Abbey, a key landmark of the island, and a structure that signifies the important religious history of the place. The isle of Iona, and the abbey in particular, have been the centre of Christian worship since the arrival of St Columba and his companions in 563 AD. It was the starting point of the spread of the Christian faith throughout Scotland and ultimately became a focus of religious pilgrimage. The distinctive beauty of the island, its ever-changing weather patterns and very particular light, have repeatedly drawn artists to its shores. Cadell first visited in 1912 and captivated by its wonderful atmosphere, was to return nearly every summer for the rest of his life. An important, early patron of his work G.W. Service supported the artist by purchasing many of his Iona paintings, including this one in 1922. In this painting, Cadell has focussed his attention on evoking the inside of this significant structure. The viewer is immediately transported to the cool interior of Iona Abbey, and through Cadell's eyes and deft brushstroke, a whole world of colour and texture is revealed within these walls. A visual feast, Iona Abbey is a celebration of pilgrimage, in both a religious and artistic sense. We will be donating a percentage of our fees to the Iona Abbey Appeal following the sale of this painting. The Appeal is looking to raise several million pounds in order that work can be carried out, in partnership with Historic Environment Scotland, to ensure that the active use of this iconic building - a place that proved such an inspiration for many Scottish artists - is safeguarded for the future.
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Los: 100
JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) BREAKING WAVES Signed, inscribed and dated 'Royan 1910' on the reverse, oil on panel 26.5cm x 35cm (10.5in x 13.75cm) Note: John Duncan Fergusson was the most international and political of the four Scottish Colourists. Largely self-taught as an artist, Fergusson was originally based in Edinburgh, and developed his painterly and observation skills on the sights and population of the capital. At this time, he often worked on a small, portable scale, and on board for ease of transport. Fergusson's flâneur approach to life and painting translated perfectly to Paris, when he decided to move to this artistic centre in 1907. Fergusson was keen to explore other landscapes of France and in 1910 spent the summer at the coastal resort of Royan, accompanied by his friend and fellow painter, S. J. Peploe. The two artists encouraged and supported each other, and there are many wonderful records in paint of the sights of the summer. In Breaking Waves, Fergusson uses a variety of blue tones, alongside hints of green and fresh white with lashings of texture and dynamic brushwork to depict the turbulence and drama of the sea, the rocky coastline and strong, crashing waves of the Atlantic Ocean.
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Los: 101
SIR WILLIAM GEORGE GILLIES C.B.E., R.A., R.S.A., R.S.W.,L.L.D. (SCOTTISH 1898-1973) THE HARBOUR QUAY, ANSTRUTHER Signed, oil on canvas 46cm x 56cm (18in x 22in)
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Los: 102
FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) THE BURG FROM BELOW ARD ANNRAIDH, IONA Signed, oil on board 37.5cm x 46cm (15in x 18in) Literature:Philip Coupe, Paintings of Iona - Cadell and Peploe 2014, Ill..Pl.149 p. 68 'A short walk to the west....there is a grassy slope which leads down to the shore close to some standing rocks known as the Monks' Rocks, below a little cliff, all of which are in the foreground of this painting. Part of Eilean Annraidh appears in the midlle distance on the left and the Burg and Ben More in the distance.'
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Los: 103
DONALD BAIN (SCOTTISH 1904-1979) LE PORT Signed, signed, inscribed and dated 1950, oil on board 24cm x 29cm (9.5in x 11.5in)
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Los: 104
DAVID ABERCROMBIE DONALDSON R.S.A., R.P., L.L.D. (SCOTTISH 1916-1996) MARYSIA OBSERVED Oil on canvas 51cm x 51cm (20in x 20in) Exhibited:The Scottish Gallery, Edinburgh Festival Exhibition 1973, no.46
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Los: 105
SIR WILLIAM GEORGE GILLIES C.B.E., R.A., R.S.A., R.S.W.,L.L.D. (SCOTTISH 1898-1973) ANSTRUTHER Signed, oil on canvas 46cm x 56cm (18in x 22in)
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Los: 106
SIR WILLIAM GEORGE GILLIES C.B.E., R.A., R.S.A., R.S.W., L.L.D. (SCOTTISH 1898-1973) HARBOUR SCENE Oil on board, and painted verso with signed wooded landscape 51cm x 63.5cm (20in x 25in) Note:This painting probably depicts Pittenweem.
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Los: 107
JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) FARM BUILDINGS With the artist's estate no. ED 134, pen and ink and watercolour 26cm x 32cm (10.25in x 12.75in) Exhibited:The Scottish Gallery, Edinburgh, Joan Eardley Paintings and Drawings 1996, no.5
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Los: 108
DAME ELIZABETH VIOLET BLACKADDER C.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT. (SCOTTISH B.1931) STILL LIFE WITH BASKET Signed and dated 1967, oil on canvas 63.5cm x 76cm (25in x 30in)
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Los: 109
GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) A STILL LIFE OF FRUIT AND FLOWERS WITH PERSIAN CURTAIN Signed, oil on board 68.5cm x 56cm (27in x 22in) Note: Recent scholarship has affirmed the position of the four Scottish Colourists in the development of Modernism in the early 20th century. Works such as this from the high-point of Hunter's career in the mid-1920s represent the unequivocal evidence of their involvement. Academics now agree that the Colourists have been somewhat erroneously written out of the art history of the period, when in fact their presence during and immediately after the fermentation of Modernism, and their understanding of the artistic developments in Paris ongoing, was unrivalled by their English counterparts. Hunter was in Paris as early as 1907 where he became a fervent admirer of Cezanne and a devotee to the principles which underpinned the artist's practice, particularly as regards form and perspective. Further visits in the early 1920s and exposure to the increasing strides Matisse was making - pushing colour to the extreme as both a formal and decorative device - resulted in Hunter assimilating these qualities into his own work. By 1923-26 he had emphatically hit his stride as an artist, creating a style that was progressive and distinctly his own. Thanks to a series of critically and commercially well-received exhibitions in Glasgow, Edinburgh, London and Paris he was, by this time, a relatively well recognised and celebrated Modernist. Scratch the surface and the high regard in which his work from this period was held is not difficult to glean. There are telling exhibition reviews discussing his "recognised position among the younger generation of artists," and praising his "daring and harmonious" compositions. In a letter to a friend in 1924, Hunter references a particularly notable commendation from the prominent Parisian art dealer Etienne Bignou: "Bignou told McNeill (a collector) he thought Matisse the only man in Paris the equal of Peploe and myself." The recording of history can be both biased and fallible, but the primary evidence clearly indicates that Hunter's status was prominent in certain influential circles of the time. When considering a work like the example offered here for sale, such praise is easy to understand. One of a series of much-celebrated still lifes, it features some of his recurring components; a highly patterned and decorative Persian curtain, a gleaming mahogany table top, an arrangement of roses, and an elegant porcelain fruit dish. It's an ambitious composition, but each element is expertly balanced. Hunter had spent much time developing a sense of line to match his masterful use of colour, and this work demonstrates the summation of those efforts. He succeeds in drawing the viewer's eye across the varying passages of paint, from decorative, textured impasto to broader fields across which the eye smoothly travels. Given what we know about Hunter's struggles with ill physical and mental health, and the disheartening opposition all of the Colourists faced from the staid art institutions of Scotland, paintings like this sing with the confidence of hard-won and well-deserved recognition from the art world's progressive elites.
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Los: 110
JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) BOY WITH ELASTIC BAND Pastel on sandpaper 27.5cm x 22cm (10.75in x 8.75in) ExhibitedAitken Dott & Son, Christmas Exhibition 1962
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Los: 111
JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) BOY IN BROWN Signed with the Estate's stamp (under mount), pastel 17cm x 11cm (6.75in x 4.25in)
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Los: 112
WILLIAM JOHNSTONE O.B.E. (SCOTTISH 1897-1981) BORDERS LANDSCAPE Signed and indistinctly dated 1936 verso, oil on panel 41cm x 51cm (16in x 20in)
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Los: 113
SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I. (SCOTTISH 1916-1992) NAVE Signed, watercolour 137cm x 50cm (54in x 19.75in)
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Los: 114
JACK VETTRIANO (SCOTTISH B.1951) ONLY THE DEEPEST RED 1 Signed, oil on canvas 38cm x 30cm (15in x 12in) Exhibited:Portland Gallery, The International Art & Design Fair, New York, 2001
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Los: 115
JACK VETTRIANO (SCOTTISH B.1951) STUDY FOR BETWEEN DARKNESS AND DAWN Signed, oil on canvas 38cm x 32cm (15in x 12in) Note:This painting dates from 1998
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Los: 116
JOHN BELLANY O.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) DEW-GENEN-NY Signed and dated verso 1978, oil on canvas, unframed 167.5cm x 127cm (66in x 50in) Note:DEW-GENEN-NY was an Aberdeen built John Lewis and Sons pocket class trawler built for Robert Alexander George , Jacqueline Webster of Penzance in 1976 John Bellany is arguably one of the best loved artists in the UK. A proud Scot through and through, he was nevertheless one of the relatively few Scottish artists of the 20th century whose career truly transitioned across the border and into the London market. He was a fixture at the Royal Academy, and a feature in many prominent collections, including that of high profile art lovers like David Bowie and Sean Connery. Recognisable motifs abound in his work, from gulls to fishing boats, and from the Bass Rock to the rolling hills of Italy. His paintings are steeped in oblique symbolism. This was especially the case up until the late 1970s, the first half of his career, from which the works offered here date. Works of this period have a dream-like, or perhaps more accurately, nightmarish quality. At this stage Bellany was plumbing the darker recesses of the human psyche, and a purposeful sense of eeriness and the uncanny permeates his work. His symbolism was at its densest to fathom; gulls as large as humans and shrouded, faceless figures are set against an ocean of dead calm, as if players on a stage. The tone of his work mellowed and brightened in later years, but as a young man, existential issues were clearly at the forefront of his artistic exploration, as was the excavation of his family's fisher folk history. These elusive narratives provide the viewer with an endlessly fascinating tableau to pick over, but their meaning always slips, tantalising and dreamlike, from our comprehension. Just as the artist intended.
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Los: 117
JOHN BELLANY O.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) EYEMOUTH Signed, oil on canvas, unframed 152.5cm x 122cm (60in x 48in) Note: John Bellany is arguably one of the best loved artists in the UK. A proud Scot through and through, he was nevertheless one of the relatively few Scottish artists of the 20th century whose career truly transitioned across the border and into the London market. He was a fixture at the Royal Academy, and a feature in many prominent collections, including that of high profile art lovers like David Bowie and Sean Connery. Recognisable motifs abound in his work, from gulls to fishing boats, and from the Bass Rock to the rolling hills of Italy. His paintings are steeped in oblique symbolism. This was especially the case up until the late 1970s, the first half of his career, from which the works offered here date. Works of this period have a dream-like, or perhaps more accurately, nightmarish quality. At this stage Bellany was plumbing the darker recesses of the human psyche, and a purposeful sense of eeriness and the uncanny permeates his work. His symbolism was at its densest to fathom; gulls as large as humans and shrouded, faceless figures are set against an ocean of dead calm, as if players on a stage. The tone of his work mellowed and brightened in later years, but as a young man, existential issues were clearly at the forefront of his artistic exploration, as was the excavation of his family's fisher folk history. These elusive narratives provide the viewer with an endlessly fascinating tableau to pick over, but their meaning always slips, tantalising and dreamlike, from our comprehension. Just as the artist intended.
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