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534297 Los(e)/Seite
Los 140
A collection of model cars comprising a Bedford Duple green Luxury Coach by Lesney Matchbox series No.21, a Dinky Toys baby blue London Transport Dublo Meccano Commer, a olive brown Ford Perfect by Lesney Matchbox series No.30, a white Jaguar XK140 by Lesney Matchbox series No.32, a maroon ERF Stake Truck by Lesney Matchbox series No.20, a Dinky Toys green and yellow Austin Taxi Meccano LTD, a Dinky Toys light brown Bedford Meccano LTD, a Pocketoy red Sunbeam Talbot, a Dinky Toys grey Laconda, a Dinky Toys Bedford Kodak Van, a green Pickford's Removal Van by Lesney Matchbox Series, a Yellow Cab model, a Dunlop Cord motorbike figure 350x19, a Sutcliffe white and red clockwork boat model VIKING to keel and a royal blue Ford Perfect by Lesney Matchbox series. (wear to paint work, a/f) (15)
Los 113
An Edwardian silver arched hip flask, by Goldsmiths & Silversmiths, London 1902, with pull off base and twist bayonet cap, 13 x 7 x 3cm, 197gm There are no dents, dings, splits, bruises, bad scratches (light surface only) the bayonet cap & hinge are in good working order and the lid closes tight & securely, possible repair? (solder) visible to the neck of the cap front (see picture) the cork is showing signs of deterioration, but does not leak when filled, condition of pull off cup internally & externally are good, no personalised engraving and the hallmarks are clear
Los 62
A collection of cameras and film cameras, with related accessories, to include a Canon MV800, with spare batteries, charger and case, a super Paxette 35mm camera, with light meter and flash gun, a projector screen, tri-pod, a Prinz slide projector and a Eumig sound projector with speakers (2)
Los 705
Boxing Roy Jones Jnr signed Lonsdale red boxing glove. Roy Levesta Jones Jr. (born January 16, 1969) is an American professional boxer who holds dual American and Russian citizenship.[2] He has held multiple world championships in four weight classes, including titles at middleweight, super middleweight, light heavyweight, and heavyweight, and is the only boxer in history to start his professional career at light middleweight and go on to win a heavyweight title. As an amateur boxer he represented the United States at the 1988 Summer Olympics, winning a light middleweight silver medal after one of the most controversial decisions in boxing history. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10
Los 71
Okra Glass, including vases and paperweights, also including Caithness paperweights and others (one tray)Tallest scent bottle with loss to the stopper.No other damage, some light wear and scratches.One paperweight signed R P Golding, another Richard P Golding, no other signatures but with pattern names and numbers.
Los 46
A Group of Metalwares, Wooden items and other Collectables, including a giode dish surmounted by a cold painted model of a dog, crocodile skin cigar pouch, horn beakers, parquetry puzzle box, Georgian brass snuff box formed as a coal skuttle, postal scales, corkscrew etc (one tray)Giode dish in good order, cold painted model with chipsCigar pouch with general wearHorn beakers with wear and general chipsPuzzle box with light scratches and wearBrass box wornScales with part set of mixed weights, working but tarnishedCorkscrew lacking brushSmall glass free from damageAgate bowl with minor flakes
Los 147
A Quantity of Glass Light Shades, including an Art Deco frosted plafonnier, four vaseline examples and a three tier chandelier etc, together with a box of agricultural books and another box of miscellaneous (one shelf and two boxes)Vaseline shades - darker pair one with a chip to the fitting rim. The other pair one quite badly chipped to the open rim.Deco plafonnier - rim abraded slightlyLarger plafonnier - good conditionOther items in the lot not reported
Los 183
AnglingGierach (John), Standing in a River Waving a Stick.The Lyons Press, no date, limited edition of 950, signed by the author and the publisher, original cloth, slipcase;idem, Fishing Bamboo.NY: Lyons and Burford, 1997, limited edition of 750, signed by the author and the illustrator Glenn Wolff, original cloth, glassine wrapper (rippled), slipcase;With ten others on fishing, eight published by the Fly Fisher's Classic Library. (12)Waving Stick - slight foxing to paper label on upper board, light damp marking to rear board, contents Fine.Bamboo - light foxing to top edge of text-block, a few spots to edge of paper label on upper board, contents Fine.
Los 121
A Samuel Alcock & Son Earthenware 'The Royal Patriot Jug', together with a Westerwald pewter mounted stein and a set of three graduated J Till & Son blue stoneware jugs printed with Grecian figures (one tray)Westerwald- handle broken and with later pewter strap repair, foot mount slightly loose, no further damage.Samuel Alcock- tightly crazed, very light staining and gilt wear, no damage or repair.Graduated set- largest with a spout chip and short associated crack, handle slightly abbraided. Smallest jug with two chips to side of handle. All three with minor staining.
Los 1089
A Kurdish Rug, the charcoal field of stlyliced boteh enclosed by triple narrow borders, 256cm by 105cm and An Afshar Baluch (3)Losses to other chequered guard stripes and some fraying. Salvages one side virtually complete with minor fraying to binding cords. The other side is original but missing sections of binding cords, pile evenly laid throughout with areas of light wear (small rug)
Los 1118
A Pair of Victorian Bow Front Five Height Chests of Drawers, with column supports, on octagonal feet and with Bramah type locks, 120cm by 59cm by 132cmChest One - Top with multiple cracks, water damage and some light scratches, both sides with noticable cracks, some veneer lacking to the frieze, areas of veneer loss and bubbling below and around the cock beading.Chest Two- Top with multiple cracks, water damage and some light scratches, both sides with noticable cracks, some veneer lacking to the frieze, areas of veneer loss and bubbling, below and around the cock beading, some damage to the left hand side.
Los 153
FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) AUCHABHAICH CROFT, IONA (NIGHTFALL IONA) Signed, oil on boardDimensions:38cm x 45cm (15in x 17.5in)Provenance:Provenance:T. & R. Annan & Sons Ltd, GlasgowPrivate Collection, GlasgowLiterature: Philip MacLeod Coupe, Paintings of Iona: Cadell and Peploe, privately published 2014, repr.col. p. 46, pl. 28Note: MacLeod Coupe also illustrates in his book a photo of the existing cottage in 2009 with a view of the Ross of Mull and the Paps of Jura in the distance.Note: Note:Whilst serving in World War One, Cadell wrote to his fellow Scottish Colourist S. J. Peploe:When the War is over I shall go to the Hebrides, recover some virtues I have lost. There is something marvellous about those western seas. Oh, Iona. We must all go together. (quoted in Alice Strang et al, S. J. Peploe, National Galleries of Scotland, Edinburgh, 2012, p.24)True to his word, Cadell introduced Peploe to the Hebridean island, off Scotland’s west coast, in 1920 and they returned there most summers for the rest of their lives. Cadell first visited Iona in 1912, possibly because it was owned by his friend Ivar Campbell’s uncle, the 9th Duke of Argyll. He may also have been encouraged to do so by the fact that his friend John Duncan began painting there in 1903, followed by James Paterson and William Caldwell Crawford.As Alice Strang has explained:Iona has many attractions for the artist…It is low-lying, so the light reflected from the surrounding sea intensifies the colours of the white sand beaches and the green of its pastures. The light shining through the shallow waters at the edge of the shore creates brilliant colours of emerald green, blue and violet. In addition, the light and weather change frequently, as the prevailing winds cause a quick succession of cloudy then clear intervals. Iona is known for its geological diversity and there is a wide variation of colours in its rock formations; the red granite of the Ross of Mull is easily visible across the Sound on the east coast, as is the mountain of Ben More. There are also numerous views beyond Iona, particularly from the north end towards Staffa and the Treshnish Islands. On the island itself the main architectural features are the Abbey, the Nunnery and related buildings, the village and scattered crofts. (Alice Strang, F. C. B. Cadell, National Galleries of Scotland, Edinburgh, 2011, p.77)In 1903 Duncan moved to Edinburgh from America, where he had been teaching art at the Chicago Institute. A visit to Iona helped him to plan for the future and ‘he started by making a vow to devote his time to the realisation of spiritual art and to gather the crops of his imagination rather than let them rot in untended fields.’ (John Kemplay, The Paintings of John Duncan A Scottish Symbolist, Rohnert Park, 1994, p.43). Duncan played a key role in the Celtic Revival which blossomed in the 1890s and Iona provided the setting for some of his most important Symbolist works, which celebrated Celtic mythology; it was also where he is reported to have encountered Gaelic fairy-folk for the first time. Such was the inspiration that the island afforded Duncan, that he was to work there, on and off for forty years, often at the same time as Cadell and Peploe.Duncan’s Cathedral Rock from the North End of Iona (Lot 156) shows a view made famous by the more well-known images of the scene by his Scottish Colourist friends. Cathedral Rock is part of the headland at the extreme north-east corner of the island and is the location of some of its most dramatic geology. The view shown is out to Eilean Annraidh, Staffa and Mull.Auchabhaich Croft first appears in Cadell’s Register of Pictures (Private Collection on long-loan to the National Galleries of Scotland) in 1914 (work no.30), presumably painted during his trip to the island the preceding year. It is one of the crofts situated north of the village and Cadell was to paint it on many occasions, not least as it was not far from Cnoc cùil Phàil, the croft on which he most frequently stayed after the War. The buildings depicted nestled within Auchabhaich Croft, Iona (Lot 153) still exist, albeit extended in various directions. A T. & R. Annan & Sons Ltd label on the painting’s reverse gives it the title ‘Nightfall Iona’ and the image appears to capture the gentle light of the gloaming, as evening falls over the peaceful scene, with its reach to the Paps of Jura in the distance.Mull from Iona (Lot 157) leads the eye from a patchwork quilt of fields across the Sound to the neighbouring island, with particular attention paid to the tumult of weather conditions played out across the sky. This painting formerly belonged to Cadell’s great patron, the shipowner George W. Service, who holidayed on Iona. He reportedly donned a tartan dress jacket for the night of his annual purchase of work by Cadell and appears regularly in the artist’s Register of Pictures from 1913 until 1927.Service would often make multiple acquisitions at a time, usually but not exclusively images of Iona, commissioned portraits of some of his children and supported the artist’s sales in exhibitions such as those mounted by the Society of Eight in Edinburgh. His support sometimes formed the backbone of Cadell’s income, for example when he purchased fourteen works in 1921 for a total of £725, which was 40% of Cadell’s recorded total sales of £1,786 for the year. Two years after Cadell’s death, Mull from Iona was one of three works lent by Service to the landmark Exhibition of Scottish Art mounted at the Royal Academy of Arts in London.Peploe was nearly fifty years old when he first painted on Iona. He was thus able to approach its visual possibilities with the experience of a mature artist and was particularly drawn to the natural beauty of the north end and the views from it. Treshnish Point from Cows Rock (Lot 154) was painted in this area; its dramatic composition sees the beach and protruding rocks occupy all but the upper fifth of the image. Peploe’s technique uses the materiality of oil paint to convey a sense of the texture of sand and weathered rocks, around which inviting paths meander. Between the alluring blue of the sea and the active sky can be glimpsed the west end of Eilean Annraidh in the middle distance and Treshnish Point on the horizon. A closely related painting by Peploe, Iona, Grey Day, is in the collection of Aberdeen Art Gallery and Museums.
Los 167
§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) THE BLUE PINAFORE Signed, pastelDimensions:14.5cm x 10cm (5.75in x 4in)Provenance:Provenance:Acquired in 1955 from The Scottish Gallery, Edinburgh and thence by descent to the Executors of the Late Mrs Anne WalkerNote: Note: The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)
Los 159
â—† FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) STILL LIFE (THE TULIP) Signed, signed and inscribed verso, oil on boardDimensions:36cm x 43cm (14in x 17in)Provenance:Provenance: Acquired by Mrs R A Workman from the 1923 Leicester Galleries exhibitionPortland Gallery, LondonPrivate Collection, U.K.Exhibited: The Leicester Galleries, London, Paintings by S. J. Peploe, F. C. B. Cadell and Leslie Hunter, January 1923, no.38 (as 'Tulips')Note: Note: F. C. B. Cadell, like his fellow Scottish Colourist and close friend S. J. Peploe, was a master of the still life genre. As seen in Still Life (The Tulip) and Still Life with Tulips, he created images of arresting beauty by way of carefully chosen, arranged and depicted props, including favoured and highly-coloured flowers, fruit and ceramics.These paintings illustrate the significant development in Cadell’s practice after demobilisation and moving to 6 Ainslie Place in Edinburgh’s Georgian New Town in 1920. Moreover, it was with works from this period that he established his reputation as one of Scotland’s most important artists of the twentieth century. Cadell decorated and furnished his magnificent quarters with aplomb and celebrated its interiors and objects d’art in images characterised by a new firmer technique, flatter rendering of form and use of saturated colour.As Alice Strang has explained:This marked change is thought to have been encouraged by Cadell’s new surroundings, by his close collaboration with Peploe immediately after the war, by his interest in the Art Deco movement, and possibly in response to the squalor of the trenches. (Alice Strang, F. C. B. Cadell, National Galleries of Scotland, Edinburgh, 2011, p.40)Cadell and Peploe had met in Edinburgh by 1909 and these two paintings pay testament to the closeness of their friendship, especially in the early 1920s; Peploe lived a short distance away from Ainslie Place, in India Street. At this time both were drawn to the visual possibilities of tulips, the only flower which continues to grow after being cut. This phenomenon gives rise to the graceful arabesques of their stems which Cadell depicted so deftly. The forms of the flower heads, the layering of their petals and the dense colouring of their leaves also provided an inspiring source of silhouette, colour and mark-making.Still Life (The Tulip) is an image of extraordinary modernity; its tight handling, brilliant palette and suppression of volume embody the Art Deco style before the exhibition from which that term was derived was mounted in Paris in 1925. It may be set before a wall on the ground floor of Ainslie Place, which Cadell is known to have painted dark blue, green and brown above a light grey floor. The internal framing device around the jug is believed to be an empty white frame, of the type which Cadell often used for the presentation of his work. The cropped, asymmetric composition sets up a striking relationship between tulip head and fruit, whose brilliant colour stands out against the dark background and tabletop.As Strang has continued:There are precedents in Art Deco painting and the lacquer work of Jean Dunand, but these still lifes are really Cadell’s own creation and count among the most remarkable paintings in British art of the period. (Strang, op.cit., p.41)A label on its reverse reveals that Still Life (The Tulip) was included in the key exhibition, Paintings by S. J. Peploe, F. C. B. Cadell and Leslie Hunter (working title Three Scottish Artists) held at the Leicester Galleries in London in 1923. It was organised by A. J. McNeill Reid, son of the Glasgow-based dealer Alexander Reid and did much to secure the artists’ standing in the English art world. Cadell showed thirty works, of which he recorded the sale of five, for a total of £180, all to Alexander Reid, in his Register of Pictures (1923 no.s 8-12, Private Collection on long-loan to the National Galleries of Scotland).
Los 157
FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) MULL FROM IONA Signed, inscribed verso 'G. W. Service', oil on boardDimensions:37cm x 44.5cm (14.75in x 17.5in)Provenance:Provenance:George W. Service, GlasgowLyon & Turnbull, Edinburgh, Fine Paintings, 3 December 2008, lot 128, where acquired by the present owner Note: Exhibited: Royal Academy of Arts, London, Exhibition of Scottish Art, 6 January-11 March 1939, no. 597 (lent by George Service, incorrectly catalogued as pastel)Note: This painting was one of eight works by Cadell shown in the landmark exhibition of Scottish art held at the Royal Academy of Arts in London in 1939; it was one of three lent by the shipowner George Service. Its entry in the catalogue read: 'A summer scene. Looking from fields in Iona across the Sound to Mull.' Whilst serving in World War One, Cadell wrote to his fellow Scottish Colourist S. J. Peploe:When the War is over I shall go to the Hebrides, recover some virtues I have lost. There is something marvellous about those western seas. Oh, Iona. We must all go together. (quoted in Alice Strang et al, S. J. Peploe, National Galleries of Scotland, Edinburgh, 2012, p.24)True to his word, Cadell introduced Peploe to the Hebridean island, off Scotland’s west coast, in 1920 and they returned there most summers for the rest of their lives. Cadell first visited Iona in 1912, possibly because it was owned by his friend Ivar Campbell’s uncle, the 9th Duke of Argyll. He may also have been encouraged to do so by the fact that his friend John Duncan began painting there in 1903, followed by James Paterson and William Caldwell Crawford.As Alice Strang has explained:Iona has many attractions for the artist…It is low-lying, so the light reflected from the surrounding sea intensifies the colours of the white sand beaches and the green of its pastures. The light shining through the shallow waters at the edge of the shore creates brilliant colours of emerald green, blue and violet. In addition, the light and weather change frequently, as the prevailing winds cause a quick succession of cloudy then clear intervals. Iona is known for its geological diversity and there is a wide variation of colours in its rock formations; the red granite of the Ross of Mull is easily visible across the Sound on the east coast, as is the mountain of Ben More. There are also numerous views beyond Iona, particularly from the north end towards Staffa and the Treshnish Islands. On the island itself the main architectural features are the Abbey, the Nunnery and related buildings, the village and scattered crofts. (Alice Strang, F. C. B. Cadell, National Galleries of Scotland, Edinburgh, 2011, p.77)In 1903 Duncan moved to Edinburgh from America, where he had been teaching art at the Chicago Institute. A visit to Iona helped him to plan for the future and ‘he started by making a vow to devote his time to the realisation of spiritual art and to gather the crops of his imagination rather than let them rot in untended fields.’ (John Kemplay, The Paintings of John Duncan A Scottish Symbolist, Rohnert Park, 1994, p.43). Duncan played a key role in the Celtic Revival which blossomed in the 1890s and Iona provided the setting for some of his most important Symbolist works, which celebrated Celtic mythology; it was also where he is reported to have encountered Gaelic fairy-folk for the first time. Such was the inspiration that the island afforded Duncan, that he was to work there, on and off for forty years, often at the same time as Cadell and Peploe.Duncan’s Cathedral Rock from the North End of Iona (Lot 156) shows a view made famous by the more well-known images of the scene by his Scottish Colourist friends. Cathedral Rock is part of the headland at the extreme north-east corner of the island and is the location of some of its most dramatic geology. The view shown is out to Eilean Annraidh, Staffa and Mull.Auchabhaich Croft first appears in Cadell’s Register of Pictures (Private Collection on long-loan to the National Galleries of Scotland) in 1914 (work no.30), presumably painted during his trip to the island the preceding year. It is one of the crofts situated north of the village and Cadell was to paint it on many occasions, not least as it was not far from Cnoc cùil Phàil, the croft on which he most frequently stayed after the War. The buildings depicted nestled within Auchabhaich Croft, Iona (Lot 153) still exist, albeit extended in various directions. A T. & R. Annan & Sons Ltd label on the painting’s reverse gives it the title ‘Nightfall Iona’ and the image appears to capture the gentle light of the gloaming, as evening falls over the peaceful scene, with its reach to the Paps of Jura in the distance.Mull from Iona (Lot 157) leads the eye from a patchwork quilt of fields across the Sound to the neighbouring island, with particular attention paid to the tumult of weather conditions played out across the sky. This painting formerly belonged to Cadell’s great patron, the shipowner George W. Service, who holidayed on Iona. He reportedly donned a tartan dress jacket for the night of his annual purchase of work by Cadell and appears regularly in the artist’s Register of Pictures from 1913 until 1927.Service would often make multiple acquisitions at a time, usually but not exclusively images of Iona, commissioned portraits of some of his children and supported the artist’s sales in exhibitions such as those mounted by the Society of Eight in Edinburgh. His support sometimes formed the backbone of Cadell’s income, for example when he purchased fourteen works in 1921 for a total of £725, which was 40% of Cadell’s recorded total sales of £1,786 for the year. Two years after Cadell’s death, Mull from Iona was one of three works lent by Service to the landmark Exhibition of Scottish Art mounted at the Royal Academy of Arts in London.Peploe was nearly fifty years old when he first painted on Iona. He was thus able to approach its visual possibilities with the experience of a mature artist and was particularly drawn to the natural beauty of the north end and the views from it. Treshnish Point from Cows Rock (Lot 154) was painted in this area; its dramatic composition sees the beach and protruding rocks occupy all but the upper fifth of the image. Peploe’s technique uses the materiality of oil paint to convey a sense of the texture of sand and weathered rocks, around which inviting paths meander. Between the alluring blue of the sea and the active sky can be glimpsed the west end of Eilean Annraidh in the middle distance and Treshnish Point on the horizon. A closely related painting by Peploe, Iona, Grey Day, is in the collection of Aberdeen Art Gallery and Museums.
Los 138
§ JAMES MCBEY (SCOTTISH 1883-1959) HALF-LENGTH PORTRAIT OF HORTENSE LOEB Signed and dated 6 July 1931, oil on canvasDimensions:71cm x 61cm (28in x 24in)Note: Note: In 1930 James McBey established a studio in Philadelphia, and a diary entry from the 3rd December of that year records that at a dinner he first met Marguerite Loeb, a Sorbonne-educated tobacco heiress with exceptional connections in the art world; she had studied book-binding in 1920s Paris, where she and artist Oskar Kokoschka had been lovers, and afterwards moved to New York where she established a photography studio on West 57th Street. Early in 1931, they travelled to Bermuda with Marguerite’s mother Hortense, and on the boat back to New York, James proposed to Marguerite. On Friday 13th March 1931, three months after the couple had first met, they were wed. This portrait of Hortense Loeb, Marguerite’s mother, was made shortly after the marriage. The McBeys sailed for England immediately after their wedding, and this portrait may therefore either have been based on studies McBey made while still within the States, or perhaps was made from life during a visit from Hortense. The portrait is rendered with affection, and the subject appears entirely at ease. The ‘July 1931’ accords with her summer-y attire, and she wears a fashionable halter top, which, owing to the 1930s trend for sun tans, were all the rage. McBey’s linear brushwork eloquently describes the interaction of light with his subject, recalling his technical experience as a printmaker: many of his etchings use striation lines to indicate light sources. The deft, pared-back handling of shadow to the background and across Hortense’s dress is also characteristic of an artist used to working with intaglio.
Los 113
JOSEPH HENDERSON R.S.W. (SCOTTISH 1832-1908) ON THE BEACH Signed, oil on canvasDimensions:46cm x 61cm (18in x 24in)Note: Note: While holidaying in Saltcoats around 1871, Joseph Henderson met William McTaggart, who heartily encouraged him to paint landscapes. Henderson had formerly painted figurative genre scenes, but was so inspired by the Saltcoats coast, and by McTaggart’s example, that he henceforth became a painter of seascapes. His work from this period is characterised by free brushwork and a clear, light palette. They incorporate figurative components (usually holiday-makers or fishermen), but these are treated pragmatically and integrated within the scenery so that the landscape remains of primary importance. It is perhaps for this reason that Henderson’s seascapes evade sentimentality. His ability to capture an airy coastal atmosphere, from the roiling dynamism of waves to a salty breeze, is particularly of note, as evidenced by these exceptionally fine examples.
Los 106
◆ ALEXANDER NASMYTH (SCOTTISH 1758-1840) DALHOUSIE CASTLE Oil on canvasDimensions:112cm x 167cm (44in x 66in)Provenance:Literature: J. C. B. Cooksey, Alexander Nasmyth HRSA, 1758-1840: A Man of the Scottish Renaissance, Haddington, 1991, p.100, ill.Q5 Note: Note: By the 1800s Alexander Nasmyth's skill as a landscape painter was such that he was confident working on an ambitious scale, yet due to the numerous demands on his time relatively few pictures survive from this period. Between 1790 and 1810 he was remarkably industrious: in addition to supporting his large young family, he was setting up an art school where he taught classes and was also working on an ever-expanding portfolio of theatrical, engineering and landscape design projects. Nasmyth came from a line of architect-builders, and as a youth had been trained to take over the family business by his father but opted to pursue painting instead. It was not until later in life that he began to take on architectural and landscape-design commissions, embodying the Italian ideal of the architetto-pittore.James Nasmyth wrote: ‘My father was much employed in assisting the noblemen and landed gentry in improving the landscape appearance of their estates, especially when seen from their mansion windows. His fine taste, and his love of natural scenery gave him great advantages in this respect… he designed alterations of the old buildings so as to preserve their romantic features, and at the same time to fit them for all the requirements of modern domestic life.’ (ed. S. Smiles James Nasmyth, Engineer: An Autobiography, London, 1883, pp.36-37)Nasmyth often presented his clients with artworks which illustrated his proposed improvements to their estates, and it is possible that it was in this architetto-pittore capacity that Nasmyth painted Dalhousie Castle in Cockpen, Midlothian. (J. C. Loudon, An Encyclopaedia of Gardening, London, 1822, p.1250, no.2218) The sweeping landscape incorporates views of the thirteenth-century redstone castle and its strategic vantage point over the River Esk, all set against rolling hills stretching into the distance. The pleasures of the grounds are demonstrated by several figural vignettes: hunters and their dogs rest in the foreground; a pair fish by the Esk; animals graze throughout. Particular attention is drawn to the dramatic views enjoyed on the approach to Dalhousie, with various figures accompanied by dogs walking up the gently curving path, and a waiting horse and carriage outside the Castle.Dalhousie Castle affords the viewer an interesting insight into Nasmyth’s practice during a period when he produced few paintings, and is of exceptionally fine quality. It possesses all the hallmarks of the artist’s hand, including the distinctive ‘Nasmyth-style’ craggy trees, meticulous detail, a soft, golden light, and the use of dark framing devices around the edges of the picture to enhance its sense of depth and theatricality. The result is a highly evocative bucolic vision realised on a monumental scale.
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JOSEPH HENDERSON R.S.W. (SCOTTISH 1832-1908) BATHING OFF THE AYRSHIRE COAST Signed, oil on canvasDimensions:46cm x 76cm (18in x 30in)Note: Note: While holidaying in Saltcoats around 1871, Joseph Henderson met William McTaggart, who heartily encouraged him to paint landscapes. Henderson had formerly painted figurative genre scenes, but was so inspired by the Saltcoats coast, and by McTaggart’s example, that he henceforth became a painter of seascapes. His work from this period is characterised by free brushwork and a clear, light palette. They incorporate figurative components (usually holiday-makers or fishermen), but these are treated pragmatically and integrated within the scenery so that the landscape remains of primary importance. It is perhaps for this reason that Henderson’s seascapes evade sentimentality. His ability to capture an airy coastal atmosphere, from the roiling dynamism of waves to a salty breeze, is particularly of note, as evidenced by these exceptionally fine examples.
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ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905) BRETON WOMEN SITTING ON A BEACH Oil on canvas laid down on boardDimensions:46cm x 61cm (18in x 24in)Provenance:Provenance: Bequeathed by the Artist to John Russell GreigHis Studio sale 1905 (no.76) as 'Brittany Peasants', where acquired by Dr. Norah Wattie, GlasgowExhibited:Aberdeen Art Gallery, Aberdeen, Robert Brough ARSA, 18 February-25 March 1995, no. 38, illustrated in colour on back coverIn the catalogue for the 1995 Aberdeen Art Gallery exhibition, Jennifer Melville stated: 'In Breton Women Sitting on a Beach Brough sets the silhouettes created by such local costumes against a glowing pink sand - coming as close to Gauguin's flat patterns as in any work.'Note: Note: In around 1900 a young Aberdonian artist named Robert Brough arrived in London. A rising star whose recent paintings had prompted a media frenzy, Brough felt compelled to relocate to the English capital to further develop his artistic career. Chelsea was the beating heart of London’s art world; accordingly, Brough took a lease at Rossetti Studios in Flood Street.Despite his youth, Brough already had the experience and credentials to mark him as an artist of consequence. He had trained in Paris at the Académie Julian, where in 1894 he shared lodgings with the Scottish Colourist S. J. Peploe (1871-1935), and following this spent a period working in Brittany, inspired by Paul Gauguin (1848-1903). He was charmed by the traditional way of life of the Breton people, and by the distinctive quality of light and vivid colouring of the landscape.Both Gauguin and Brough assimilated the tenets of the Synthesist movement, a painting style which prioritised the use of flat planes of harmonious colour and of rhythmic, pattern-inflected composition over more naturalistic representation. Brough’s Brittany work firmly acknowledges Syntheticism but is tempered by an observational grounding, owing to his fascination with the Breton peoples’ lives and customs. His paintings from this period constitute a sensitive record of a traditional people, rendered with an innovatively modern, almost post-Impressionist eye.Jennifer Melville observed that ‘In Breton Women Sitting on a Beach Brough sets the silhouettes created by [the] local costumes against a glowing pink sand - coming as close to Gauguin’s flat patterns as in any work’. (Jennifer Melville, Robert Brough, Aberdeen Art Gallery, 1995, p.21)Upon returning to Aberdeen in 1894, Brough began to earn a living as a portrait artist. He soon attracted commissions from notable families in the area, particularly those involved with the arts. His style retained the compositional brilliance of his earlier work, but his technique became increasingly dynamic and ‘sweeping’ owing to his confident application of licks of oil pigment. Sweet Violets dates to 1897, when Brough was establishing himself as an accomplished society portraitist, and is one of the artist’s masterpieces. His characteristically flamboyant brushwork delineates the elegant profile and fashionable attire of his subject, Barbara Staples, whom Brough had secured permission to paint after a meeting in Aberdeen. Affixed under Staples’ spectacular hat is a delicate patterned veil, through which her pink lips and cheeks are visible. She holds aloft a jar of violets, with their purple hues reflected at her throat and cuffs, inviting comparison between the beauty of the sitter and the flowers she holds. Sweet Violets and a companion painting titled Fantaisie en Folie (now in the Tate collection) implement a similar palette and portray their sitter in profile against a plain background, which Thomas Cooper suggests may have been informed by John Singer Sargent’s Madame Gautreau Drinking a Toast (1882-1883). (Thomas Cooper, ‘A Monstrous Imagining of Matter and Spirit: Robert Brough’s Fantaisie en Folie (1897)’, Immediations, Courtauld Institute of Art on-line journal, vol.4, no.3, 2018, accessed 10 May 2023) Brough’s companion portraits were exhibited widely to exceptional acclaim, rendering the young artist something of a critical phenomenon.Sweet Violets was acquired by Alexander Ogsten and hung in his home at Ardoe House, Aberdeen, for many years. So enamoured was Ogsten with the painting that he declined the many offers he received for it - including those made by Barbara Staples’ husband. Eventually the portrait was exhibited in a Munich gallery in 1960, where Staples’ family were able to purchase the picture and return it to the family. They, in turn, refused to accept any offer that was made for it, and for a long time it remained a family treasure. In the 1990s an article appeared in Country Life magazine searching for Brough’s lost masterpiece, and the Staples family responded explaining that the portrait was in their collection, and that the sitter was their grandmother. In 1995 Sweet Violets was included in Aberdeen Art Gallery’s Brough exhibition, after which it was loaned to, and ultimately purchased by, the present vendor.The success of Sweet Violets and Fantaisie en Folie encouraged Robert Brough to move to London. He promptly joined the Chelsea Arts Club, where he met Sargent, one of his artistic heroes. The pair became close friends, developing a mentor-protégé relationship and taking nearby Chelsea studios. Thanks in part to Sargent’s support, Brough’s painting career flourished year upon year.Young, ambitious, and precociously talented, Brough was on an impressive professional trajectory, yet was unable to reach the soaring heights for which he appeared to be destined on account of a tragic accident. On 20th January 1905 Brough was travelling by train from Perth to London when a major crash occurred. He suffered serious burns and died the following day, with his mother and Singer Sargent at his bedside. His life, and extraordinary potential, was thus curtailed.Throughout his life Brough was successful and well-known; his obituary recorded that he combined ‘the dash of Sargent and the beautiful refinement of Velazquez.’ (The artist W. G. Robb quoted in an obituary in a Scottish newspaper, 1905) Despite this, his early death appears initially to have prevented him from being fully admitted to the canon of great painters in the history of Scottish art. This is largely due to the brevity of his career: relatively few artworks survive and he had less time than most to crystallise his artistic legacy. Fortunately, recent reviews of Scottish painting have done much to reinstate Brough’s status as a painter of remarkable quality, who worked at the forefront of innovative artistic movements, both in Britain and in France.Robert Brough’s artworks appear on the market infrequently, and Lyon & Turnbull is therefore particularly delighted to be offering two tour-de-force oils, both of exceptional importance and each dating to key moments in his career.
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