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Preisdatenbank abonnierenA framed display of 65 various anodised aluminium military cap badges and insignia including Bermuda Artillery, 16th Queens Lancers, 5th Dragoon Guards, West Riding Regiment, Gloucester Regiment, 10th Gurkhas, Highland Light Infantry, Seaforth Highlanders, Royal Scots Parachute Regiment, Blues and Royals and others etc
* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), NIGHT TIME COAST WITH GULLS watercolour on paper, signedmounted, framed and under glassimage size 30cm x 42cm, overall size 54cm x 66cm Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.
* GRAEME SHARP, ASCENDING III oil on canvas, signed, titled and dated 2003 versoframedimage size 104cm x 104cm, overall size 114cm x 114cmNote: Described on STV as one of Scotland’s up and coming artists, Graeme Sharp has already achieved considerable success in the art world — his stunning portrait work is in high demand among many collectors. Graeme began his artistic career with a hugely successful degree show when he graduated from the Glasgow School of Art in 1995. Now, his work is held in numerous private collections around the world, including the collections of several Scottish celebrities. He is known throughout Scotland and is widely exhibited at private art galleries, Glasgow Art Fair and other events. Graeme works in dramatic, abstract forms and colours, using palette knives to create instantly expressive marks in vivid hues. His extreme colours and textures are kept in a careful balance, and result in a completely and uniquely arresting style of artwork. The resulting portraits are filled with light and passion, going beyond the surface of the subject to the energy within.
DOUGLAS LENNOX, PARKHOUSE FARM oil on board, signed and dated '24, titled versoframedimage size 57cm x 77cm, overall size 72cm x 92cm Note: Douglas Lennox was born in 1948 and was educated in Kilmarnock. He attended Glasgow School of Art 1966-70 and Jordanhill College of Education 1970-71. Early retirement from being Principal Teacher of Art and Design in Grange Academy in Kilmarnock means he can now concentrate full-time on painting. He now lives in Darvel in the Irvine Valley which has been the inspiration for much of his work. His work is predominantly made up of landscapes and seascapes in Ayrshire. The seascapes feature the marinas and harbours of the Scottish coast. The basis of his work is simply a continual fascination with what he sees. He works directly in front of the subject throughout the year as he feels that there is no substitute to being out there responding to changing light and seasons. His work is in a variety of media to suit conditions and subject - oil, watercolour, gouache and pastels. Duncan Shanks, who was one of his teachers at art school, was an early influence. The work of the Impressionists, The Glasgow Boys and the Scottish Colourists are all constant influences.
* PAM CARTER DA PAI (SCOTTISH 1952 - 2022), ST CYRUS oil on canvas, signed, titled versoframed and under glassimage size 89cm x 89cm, overall size 110cm x 110cmNote: Pam Carter was born in Tanganyika, East Africa to an Austrian mother and Scottish father. At the age of thirteen, she came to Scotland where she schooled at Bearsden Academy. She graduated from Glasgow School of Art in the seventies. "My main inspiration as an artist is in the Scottish landscape and seascape. I enjoy using colour to define contours, structure and changing light sequences. I search out specific viewpoints. I am equally inspired by the rugged isolation of the Western Isles and the dramatic viewpoints of the Eastern coastline. I work predominantly in oil". Pam Carter was unquestionably one of Scotland's most popular and successful contemporary artists. She won numerous awards and prizes, always received significant media attention, has been the subject of many magazine features and had several tv appearances. Her work is widely exhibited but rarely appears at auction. However, in The Scottish Contemporary Art Auction of 17th April 2022 lot 38 "Luskentyre Reflections" a 46 x 51cm oil by Pam Carter sold for £2000 (hammer) and in The Scottish Contemporary Art Auction of 10th July 2022 lot 230 "Gables Geary" sold for £2600 (hammer). Most recently, in The Scottish Contemporary Art Auction of 24th October 2024, lot 47 "West Coast Sunset" (61 x 61cm oil on canvas) by Pam Carter sold for £3600 (hammer).Comment: Pam was a special artist and one who enjoyed wide popularity and substantial commercial success. In all our dealings with Pam over the years, she was always generous with her time and quick to provide the background to paintings we had received from private consignors and filling in gaps about locations, dates etc. Pam's work is instantly recognisable and she had that rare gift, even among the best artists, of being able to use the minimum of brushwork to create the maximum visual effect. Her "lines" were those of the natural environment but she knew exactly how to "see" them and portray them on canvas. Despite her commercial success, or perhaps even because of it, Pam's work probably hasn't yet reached the full audience that it so richly deserves. She exhibited frequently at numerous galleries in Scotland and gallery owners were inevitably in a queue to secure her work. Typically, Pam showed loyalty to those who were the first to support her when she was a relative unknown. Talented artists always wish to be remembered by their work and Pam Carter can be certain of that, but she'll also be remembered with great affection by all those who had the good fortune to meet her or know her.
* REBECCA COLLINS MOUNTAIN LANDSCAPE oil on canvasframedimage size 70cm x 90cm, overall size 83cm x 103cm Note: Rebecca Collins is a contemporary Scottish Artist and lives and works on the north-west coast of Scotland. Her practice is and has been for many years, one of solitude. Even her 200 year-old small green studio – so crookedly positioned on its own, itself seems to be a lonely outpost on the edge of our island, an outpost surrounded completely and utterly by the majesty of Landscape in its purest form. As the Artist herself has said, ‘The absolute presence and intrigue of the landscape serve as continuous inspiration for my practice.’ Her deep familiarity with this part of Scotland serves her well, having been a hardy witness to the extremity of change, not just of the seasons but of the light, the atmospheric conditions and the colours, she understands and indeed uses the versatility this realm can afford a painter. Hers is not the classical style of Poussin and Claude where majesty is balanced harmoniously with conventions, nor the giddy expansive sublime of Casper David Friedrich, instead we get a distillation, a reduction – something removed, heightened and relocated in the picture plane of her canvas. Her formal concerns are key to how the artist wants us to view her images; the compositions are often sections of the landscape – a mountainside, a top, clouds, perhaps just a natural surface. Removed of their whole, these almost abstracted forms have a disjointed loneliness, perhaps echoing the artist’s equivalent for the distant memory of the experience. Rebecca has had one man shows and regularly exhibits in Edinburgh, including two solo shows in 2019 & 2023 at The Scottish Gallery (Edinburgh) and in London.
BRYAN EVANS, INTO THE LIGHT IN A RED CLOSE acrylic on board, signed, titled versoframed and under glassimage size 27cm x 18cm, overall size 42cm x 34cm Note: Bryan Evans is an artist who depicts in his paintings the rainy streets and tenement closes of Glasgow, Edinburgh and other Scottish towns and cities. Bryan was born in Pembrokeshire in West Wales in 1964. After one year at Dyfed College of Art in Carmarthen he studied a degree in Fine Art at Loughborough College of Art in Leicestershire, England. During this course he visited Glasgow School of Art on a three month exchange visit. Upon graduation he moved to Glasgow and has lived there ever since exhibiting his watercolours throughout Scotland. He works mainly in the medias of watercolour paintings, etchings and mezzotints. He has work in collections throughout Britain, Europe, and North America, and has gained considerable acclaim with his atmospheric interpretations of wet city streets and moody interiors.
* ANGUS GRANT, GREEN SALMON oil on canvas, signedframedimage size 47cm x 35cm, overall size 52cm x 41cm Note: Angus Grant is a painter and craftsman, based in the Cairngorms National Park. His work is inspired by this beautiful location and the changing light on the landscape. In particular, his paintings feature lochs, mountains and wildlife. His studio is at the Spey Bank Studio in Grantown-on-Spey. Angus’s love of fishing is also an important part of his recent collections. He loves to explore the lochs of the Cairngorms and beyond, often finding inspiration instead of fish. Angus says: “Time spent walking or fishing is never wasted and constantly throws up new ideas and imagery to use in my pictures.” Angus initially studied art at Central St Martins School of Art, before going on to study jewellery design at Middlesex University, where he specialised in Japanese-style carving and acrylic. He taught Western Jewellery Design at the National Institute of Jewellery Design in Gudgerat, where he also learned about traditional goldsmithing. After university, he worked for jewellery designer Kirt Holmes in London. He returned to the Highlands in the early 2000s to start his own jewellery business. Angus currently teaches art and design at Grantown Grammar School, tutors the Spey Art Group, and teaches various adult workshops on painting, printmaking, ceramics, jewellery-making and pottery. He is joint owner of the Spey Bank Studio with his partner, Jane Candlish. “The way the light changes here is of great interest to me. The Cairngorms never look the same from one day to the next. In my paintings, I try and capture something of that fleeting ethereal quality of light.”
DOUGLAS LENNOX, SALEM YACHT CLUB oil on board, signed and dated '14framedimage size 41cm x 51cm, overall size 57cm x 67cm Note: Douglas Lennox was born in 1948 and was educated in Kilmarnock. He attended Glasgow School of Art 1966-70 and Jordanhill College of Education 1970-71. Early retirement from being Principal Teacher of Art and Design in Grange Academy in Kilmarnock means he can now concentrate full-time on painting. He now lives in Darvel in the Irvine Valley which has been the inspiration for much of his work. His work is predominantly made up of landscapes and seascapes in Ayrshire. The seascapes feature the marinas and harbours of the Scottish coast. The basis of his work is simply a continual fascination with what he sees. He works directly in front of the subject throughout the year as he feels that there is no substitute to being out there responding to changing light and seasons. His work is in a variety of media to suit conditions and subject - oil, watercolour, gouache and pastels. Duncan Shanks, who was one of his teachers at art school, was an early influence. The work of the Impressionists, The Glasgow Boys and the Scottish Colourists are all constant influences.
* BRYAN EVANS, REFLECTED LIGHT IN A CLOSE watercolour on paper, signedmounted, framed and under glassimage size 24cm x 15cm, overall size 52cm x 40cm Note: Bryan Evans is an artist who depicts in his paintings the rainy streets and tenement closes of Glasgow, Edinburgh and other Scottish towns and cities. Bryan was born in Pembrokeshire in West Wales in 1964. After one year at Dyfed College of Art in Carmarthen he studied a degree in Fine Art at Loughborough College of Art in Leicestershire, England. During this course he visited Glasgow School of Art on a three month exchange visit. Upon graduation he moved to Glasgow and has lived there ever since exhibiting his watercolours throughout Scotland. He works mainly in the medias of watercolour paintings, etchings and mezzotints. He has work in collections throughout Britain, Europe, and North America, and has gained considerable acclaim with his atmospheric interpretations of wet city streets and moody interiors.
DOUGLAS LENNOX, ROAD TO BLOOMSHOLM oil on board, signed and dated '23, titled versoframedimage size 56cm x 66cm, overall size 72cm x 82cm Note: Douglas Lennox was born in 1948 and was educated in Kilmarnock. He attended Glasgow School of Art 1966-70 and Jordanhill College of Education 1970-71. Early retirement from being Principal Teacher of Art and Design in Grange Academy in Kilmarnock means he can now concentrate full-time on painting. He now lives in Darvel in the Irvine Valley which has been the inspiration for much of his work. His work is predominantly made up of landscapes and seascapes in Ayrshire. The seascapes feature the marinas and harbours of the Scottish coast. The basis of his work is simply a continual fascination with what he sees. He works directly in front of the subject throughout the year as he feels that there is no substitute to being out there responding to changing light and seasons. His work is in a variety of media to suit conditions and subject - oil, watercolour, gouache and pastels. Duncan Shanks, who was one of his teachers at art school, was an early influence. The work of the Impressionists, The Glasgow Boys and the Scottish Colourists are all constant influences.
* JOHN WATLING (BRITISH b. 1943) THE STORR FROM THE QUIRRAING, SKYE watercolour on paper, signed, titled versomounted, framed and under glass image size 31cm x 41cm, overall size 49cm x 58cm Label verso: Hanover Fine Arts, EdinburghNote: John Watling was born in Manchester, England in 1943. He is a graduate of Leeds College of Art. In 1965 John was founder member of Leeds 'Sweet Street Group' - bringing art into industry. He exhibited in the Leeds City Art Gallery (one man show) and The Austin Hayes Gallery in York in 1967 and 1968. After teaching art for two years he left Leeds and moved to Newcastle upon Tyne where he became a freelance illustrator for the Sunday Sun Newspaper. From 1971 he found himself involved with the Entertainment Industry on the management side. This carried him over to Australia where he also exhibited paintings in Sydney between 1972 and 1974. He returned to England and Newcastle upon Tyne where he worked in promoting and organising Arts Festivals and exhibiting locally. In 1984 he returned to teaching art. In 1989 he went on holiday to the West coast of Scotland and the Republic of Ireland. This began a love affair resulting with a period of painting which still continues to this day. He exhibits frequently in Edinburgh and since 2000 in London's West End. John Watling's paintings are landscapes of the West of Scotland and Ireland. The Scottish paintings are mainly of the island of Iona where he finds inspiration for the almost Celtic strata of the rocks against the white sands and the oddly shaped islands off the coast. The paintings have a surreal look about them, which he says reflects his feelings about the island. His paintings of the West Coast of Ireland are mostly of the Aran Islands off the coast of Galway which to him have a timeless feel about them. His main interest is in the dry stonewalls which cover the islands like an enormous maze. His paintings are in oil and watercolour. He paints mainly in his studio from sketches and photographs rather than in 'situ'. This is because of the frequent light changes which can alter by the minute in the areas where he draws inspiration from. He is a prolific painter and has a large number of admirers and investors throughout the British Isles. He has paintings which are in collections in Britain, Ireland, USA, Europe, Australia and Canada.
* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), PEACEFUL DAY ACROSS FROM JURA watercolour on paper, signed, titled versomounted, framed and under glassimage size 30cm x 43cm, overall size 55cm x 66cm Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.
* STEVEN HIGGINSON, ELAINE WITH BLACK BE'RET oil on canvas, titled label versounframed (as intended)overall size 31cm x 31cm Note: Scottish portrait painter Steven Higginson’s distinctive use of light and shadow and honest approach to realist art has won him international acclaim, an engaged global audience of over 50k social media followers, and hundreds of delighted clients. His paintings feature in private collections around the world, spanning America, Europe and beyond. Steven’s portraits were part of the BP Portrait Award in 2019 and 2020, during which his work was exhibited in the National Portrait Galleries in London and Edinburgh. Steven was also awarded The Aiden Threlfall Traveling Scholarship from the Goldsmith’s Company in London after graduating from Duncan of Jordanstone, Dundee, in 2004. He used the scholarship to travel Europe, studying the work of the Old Masters, which has remained a core influence in his work to this day.
* HAZEL NAGL RSW RGI PAI (SCOTTISH b. 1953), BOUQUET mixed media on board, signed, titled versomounted, framed and under glassimage size 29cm x 25cm, overall size 54cm x 50cm Note: Hazel Nagel is a graduate of Glasgow School of Art, where she studied Drawing and Painting. Following graduation, she lived and worked at the Art School’s workshop at Culzean Castle where she developed an interest in landscape painting in response to the varied and dramatic surroundings. She is widely known for her still life and landscape paintings, her preoccupations being imparting a sense of space and light and an expressive impulse. She handles watercolour superbly, layering veils of translucent colour through her work. In 1988 she was elected to the RSW and to the RGI in 2000. She has won a number of awards including the RGI - Sir Alexander Stone Prize, RGI - Mabel Mackinlay Award, RGI - Eastwood Publications Award, SAAC Prize, PAI Prize, 1st Prize Laing Competition. She exhibits widely and has work in a number of Public Collections including The Fleming Collection (London), The Royal Bank of Scotland, Glasgow University, Common Market Enterprises, Combined Capital and Scottish & Newcastle Breweries.
* KEN HOWARD OBE RA RBA NEAC (BRITISH 1932 - 2022) FROM POKHARA, NEPAL watercolour on paper, signed, titled and dated '79mounted, framed and under glassimage size 19cm x 28cm, overall size 38cm x 46cm Note: Ken Howard paintings are about three things. It is about revelation, communication and celebration. By revelation he means giving people a way of seeing, revealing the world around them in a way they have never seen before, opening their eyes. By communication he means revealing the world with a personal language, speaking directly in an instantly recognisable style. He wants it to celebrate life whether it be human dignity expressed by Velasquez or Cezanne, or the wonders of nature expressed by Corot or Monet. For Ken his main inspiration was light and it is through light that he wanted to celebrate his world.
* DAVID BOMBERG (BRITISH 1890 - 1957), PORTRAIT OF A GENTLEMAN oil on canvas, signed and dated '42framedimage size 60cm x 49cm, overall size 80cm x 69cm Provenance: Arthur A. Stambois, Private Collection Stanley Mann, Private Collection (purchased from the above in 1961) By descent to his wife, Eithne Maureen Mann (nee Milne), Private Scottish Collection.Note 1: One of the most important and influential British artists at work in the twentieth century, David Bomberg was born in Birmingham in 1890. Initially studying art in London at the City and Guilds, David Bomberg was to study under the highly respected Walter Sickert at the Westminster School of Art, subsequently gaining a place at the Slade School of Art. It was here that David studied under the famous Henry Tonks, alongside such soon-to-be-famous names as Stanley Spencer, Ben Nicholson and Paul Nash. The Slade was hugely important in the development of David’s work, but that didn’t prevent him from expulsion in the summer of 1913. Flirting, rather acrimoniously, with the Bloomsbury Group, David was to eventually form ties with the Camden Town Group, subsequently becoming a founding contributor to the London Group in 1914. After returning from active service in the First World War, David Bomberg took on a number of teaching positions, no less notable than his leading role in the Borough Group, where he was to teach and become a driving influence of a young Frank Auerbach. What followed was to become recognised as David’s “golden era” of work. Spells living abroad in Spain were to inspire some of his most well regarded works. David died in Spain in 1957, leaving a body of work and influence that is as relevant today as it was then. Following his death, David’s reputation continued to grow, with many retrospective exhibitions held, including at the Tate in 1988. David Bomberg is rightfully regarded as one of the leading lights of the twentieth century Modern British art world, and arguably one with the greatest influence on generations of artists to follow.Note 2: The face in the “Portrait of a Gentleman”, is unknown but shows a warmer in colour and sense of energy. The handkerchief thrusts out of his pocket with a sense of purpose or perhaps importance. The pale pigment applied so freely around his head adds to this feeling, and there may even be a hint of a smile in the curve of his lips. Perhaps he is sharing a joke with Bomberg, but the light heartedness ultimately seems fleeting. Bomberg was appointed Official war artist during the second world war and only completed one commission “”Underground Bomb Store 1942”, given that this portrait was completed in the same year there could be a connection to the artist in this role.
* JAMES WATT RGI (SCOTTISH 1931 - 2022), CRINAN LIGHT oil on canvas, signed, titled versoframedimage size 36cm x 52cm, overall size 48cm x 63cm Note: James Watt was born in Port Glasgow in 1931 to Alexander Watt and his wife Isabella (nee Hooper). His entire family, including his grandfather, and everybody he knew, were in shipbuilding. He was always passionate about boats. He believed he was very lucky. "I was in the right place at the right time. I caught the tail-end of the Clydeside shipbuilding boom in the 1950s. Shipyards had full order-books and the river teemed with craft of every sort. So I always had a subject”. His paintings are in a formidable array of collections – including those of HM The Queen and Prince Philip, The Princess Royal, The Arts Council, The Hunterian, Glasgow Museums, Paisley Museum & Art Gallery, IBM, Britoil, the Danish Embassy, Yarrow Shipbuilders, McKean Museum and Art Gallery, Clyde Shipping Co, the Royal Bank of Scotland and also the town council in the Faroes. Watt went to Glasgow School of Art for four years where he was taught by Ted Odling, Douglas Percy Bliss, and David Donaldson. In 1958 he was one of 13 founders of the Glasgow Group, an artists' co-operative which continues to this day. Irritated by the conformist, unadventurous policies of local exhibiting societies like the Royal Scottish Academy and the RGI, and at the dearth of commercial outlets in the city, they got together with other GSA students and graduates to exhibit at Glasgow’s then-beautiful McLellan Galleries. The Glasgow Group was the Transmission Gallery of its day. After two years National Service in the army, from 1955 to 1957 he became an art teacher, and a much-beloved one at that. He was noted for his kindness and good counsel, and one former student says of him: "I had pretty much zero talent but he sparked a lifelong love and interest in art." Another remembered “His was the fastest-moving Volvo down the school drive. He was some man." Later Watt became a member of the RGI and was elected a member of Society of Scottish Artists in 1965. In 1997 he received The Royal Bank of Scotland Award at the Glasgow Institute. He dedicated much of his life to recording the River Clyde and its industries, and his vast body of work forms a vital archive of the river. Greenock's McLean Museum and Art Gallery exhibition, The Lost Clyde: The Paintings of James Watt, was mounted to celebrate his 90th birthday. James was also the father of Alison Watt OBE FRSE RSA, one of Britain's best-known painters.
* PERPETUA POPE DA Edin (SCOTTISH 1916 - 2013), SUTHERLAND LOCHAN watercolour on paper, signed, titled label verso mounted, framed and under glass image size 36cm x 48cm, overall size 60cm x 70cm Exhibition label verso: Perpetua Pope, 90th Birthday Exhibition, The Scottish Gallery, Edinburgh, 9 September - 4 October 2006. Note: Perpetua (Pip) Pope (29 May 1916 – 31 May 2013) was a Scottish painter of landscapes, flower pieces and still-life compositions in both oil and watercolours, and was also an art teacher in Edinburgh. Born in Solihull, England, to Scottish parents, Pope's family moved to rural Aberdeenshire when she was still a young child. Her father was a businessman and keen art collector, from whom she inherited a number of significant works such as one of Samuel Peploe's Iona paintings. Pope attended Albyn School in Aberdeen, and then commenced study at Edinburgh College of Art in 1936. Her studies were interrupted by World War II, during which time she served with the Women's Auxiliary Air Force. In 1946 Pope resumed her studies at Edinburgh College of Art, then undertook teacher training at Moray House. Pope held several teaching posts in primary and private schools, including Lansdowne House in Edinburgh and the role of art mistress at Oxenfoord Castle School, Midlothian. Pope took up a post as art lecturer at Moray House in the mid-1960s, which she held until her early retirement in 1973. Upon retirement from teaching, Pope concentrated on painting at her home, Weaver's Cottage in Carlops. She is linked to The Edinburgh School of artists, having studied under Sir William Gillies at Edinburgh College of Art and formed friendships with fellow artists such as Joan Eardley. Like many artists of the Edinburgh School, Pope worked in both oil and watercolour. She primarily painted still life and landscapes. Her work was heavily inspired by the Aberdeenshire landscapes of her youth, but she also travelled frequently both within Scotland and Europe, notably Cyprus, Lebanon, the Peloponnese and Spain, looking for inspiration. Pope exhibited at the Royal Academy (London), with the Royal Scottish Academy frequently from 1942 when her address was Hay Lodge, East Trinity Road, Edinburgh and had a series of solo shows at The Scottish Gallery from 1956. Explaining her intentions in painting the Scottish landscape, Pope said in 2008: I have tried to paint the intense pleasure I get from being in the Highlands and Islands of Scotland. I don't want to paint views particularly, it's more the feeling of freedom - the changing light, the subtle colour of the countryside, the sand blown by the wind, the wild flowers, the machair and the sand dunes and always the feeling of space and air. — Perpetua Pope.The Scottish Gallery (Edinburgh) stated in their "Perpetua Pope: Painter & Collector" exhibition catalogue 4 - 30 April 2014: When someone attains a good age, and Perpetua Pope had just celebrated her 97th birthday when she died in May 2013, there are perhaps few to mourn; peers have passed away and the world has contracted. Not so for Perpetua; she was a conscientious friend with a warmth and openness that attracted all, regardless of age or profession. She was a painter and many artists are numbered among her friends. To these she was generous, even deferential, and she admired and collected many others’ paintings, as this exhibition amply illustrates. She worked in oil and watercolour, like many of the Edinburgh School, dividing her energies between the two media, never letting herself become stale or lapse into repetition. This memorial exhibition, featuring her work and her collection pays tribute to one of the most enduring and warmest personalities in the Scottish art world.
* ERIC CRUIKSHANK, NUMBER 2 oil on board, signed, titled label versoframedimage size 39cm x 28cm, overall size 41cm x 31cmComment: a rare early work by Eric Cruikshank.Note 2: EDUCATION 1993 - 1997 BA (Hons) Painting and Drawing, Edinburgh College of Art SELECTED SOLO AND JOINT EXHIBITIONS 2024 Anmutungen (with Stephan Ehrenhofer), Galerie Albrecht, Berlin 2023 Light from a Shared Place, &Gallery, Edinburgh 2022 Point of Departure, Schacky Art & Advisory, Dusseldorf Breathing Space, Victor Lope Arte Contemporáneo (with Michael Craik), Barcelona The Skies Window, Holly Johnson Gallery, Dallas. 2019 Reductive in Nature, Schacky Art & Advisory, Dusseldorf A Stillness that Contains Movement, The Briggait, Glasgow 2018 Paper Skies, Holly Johnson Gallery, Dallas 2017 Clear Light Day – Soft Dark Night, DAS ESSZIMMER, Bonn The Relative Medium (with Michael Craik), Galleri Konstepidemin, Gothenburg Trace, Press, Bleed, Blend (with Laura Campbell), Patriothall Gallery, Edinburgh 2016 Continuum (with Ian Kane), RAUMX, London Repetition Takes Form, AIS Gallery, Shibukawa 2015 Ways of Seeing (with Michael Craik), Howden Park Centre, Livingston Plus | Minus | Repeat, Sleeper Gallery, Edinburgh 2013 Malerei (with Michael Craik), Galerie Albrecht, Berlin Colour as Subject, Patriothall Gallery, Edinburgh 2012 The Solo Project – Basel with Galerie Albrecht 2010 When I Was Small I Didn’t Work Big, Galerie Albrecht, Berlin Dalcross Project Space (with Ian Kane), Dalcross, Inverness shire The Colour of Home, Gebert Contemporary, Santa Fe Moments of Absence, Limousine Bull, Aberdeen En Forme (with Cecilia Vissers), ParisCONCRET, Paris 2009 Colour | Light | Space, Highland Institute for Contemporary Art, Inverness-shire SELECTED GROUP EXHIBITIONS AND FAIRS 2024 London Art Fair, &Gallery, London 2023 All Over Again, Patrick Heide Contemporary Art, London Annual Winter Exhibition, &Gallery, Edinburgh Perpetual Arrival, Platform-A Gallery, Middlesbrough 2022 St Nicholas, Meakin + Parsons x Hannah Payne, Oxford Anonymous Drawings, Galerie im Kornerpark, Berlin Dallas Art Fair with Schacky Art & Advisory 2021 Art Miami with Schacky Art & Advisory A Generous Space, Hasting Contemporary, Hastings Art Cologne with Schacky Art & Advisory Reencuentros, LAB ART Studio, Barcelona In Sequence, Holly Johnson Gallery, Dallas Landschaft – Abstrakt - Figuarativ, Galerie Albrecht, Berlin 2020 A Selection for Art Cologne, Schacky Art & Advisory, Dusseldorf IDENTITIES, Victor Lope Arte Contemporáneo, Barcelona Drawer Project, PHOEBUS Galerie, Rotterdam Gebert Contemporary, Santa Fe No Borders – online exhibition – curated by Art Thou Paint vs Colour, Five Walls Gallery, Melbourne Art Palm Beach with Schacky Art & Advisory 2019 Beneath the Surface, City Art Centre, Edinburgh ,,Zwischen Ausgängen - Pending Issues’’, Galerie Weisser Elefant, Berlin 2019 Summertime Blues, Holly Johnson Gallery, Dallas Hybrid Madrid with WASPS Should I Stay or Should I Go?, Patrick Heide Contemporary Art, London Anonymous Drawing Archive, Kunsthaus Kannen, Munster 2018 TWO x TWO For Aids and Art, The Rachofsky House, Dallas Anonymous Drawings, Galerie im Kornerpark, Berlin Somewhere Over the Interconnected Rainbow, Drawing Rooms, New Jersey Artists at Work, Scottish National Gallery, Edinburgh 2017 Fault Lines, EIF exhibition curated by The Drawing Works, Patriothall Gallery, Edinburgh FAR OFF Cologne with DAS ESSZIMMER Extended Process, Saturation Point Projects, London 2016 DAS ESSZIMMER goes Weltraum, Weltraum, Basel 2015 Anonymous Drawings, Kunstverein Tiergarten|Galerie Nord, Berlin - (then travelling to Galerie ARTQ13, Rome; Galerie GEYSO20, Braunschweig & Kunstverein Russelsheim) Artbox Postcard Exhibition, Fold Gallery, London 2013 Kunst Zurich with Galerie Albrecht Poste Concret2, ParisCONCRET, Paris Anonymous Drawings, Kunstverein Tiergarten|Galerie Nord, Berlin - (then travelling to Galerie Delikatessenhaus, Leipzig & Temporary Art Centre, Eindhoven) 2012 Three Gallery Artists, Galerie Albrecht, Berlin &Gallery, 3 Dundas Street, Edinburgh EH3 6QG Anonymous Drawing Archive, Sihlquaiss Offspace, Zurich Poste Concret, ParisCONCRET, Paris Dallas Art Fair with Gebert Contemporary 2010 Anonymous Drawing Archive, Uferhallen, Berlin Art Chicago with Galerie Albrecht 2009 Anonymous Drawings, Kunstraum Kreuzberg/Bethanian, Berlin Kunst Zurich with Galerie Albrecht CGP Open, Cafe Gallery Projects, London AAS, Aberdeen Art Gallery, Aberdeen AWARDS & RESIDENCIES 2020 Creative Scotland Bridging Bursary Fund 2016 Oppenheim-John Downes Memorial Trust Award 2014 Edinburgh Council Visual Artist Award 2013 Hope Scott Trust (joint award with Michael Craik) 2012 Mustarinda Residency, Finland 2010 Santa Fe Art Institute Residency, USA 2009 Pollock-Krasner Award Hi-Arts Exhibition Grant 2008 Hope Scott Trust Edinburgh Visual Arts & Crafts Artists Award 1999 art.tm Young Artists Prize PUBLIC COLLECTIONS Art in Healthcare Scotland City of Edinburgh Art Collection Maggie’s Art Collection Santa Fe Art Institute U.T. Southwestern Medical Center Dallas (USA).
* PAM CARTER DA PAI (SCOTTISH 1952 - 2022), ROCKS oil on canvas, signed, titled label versoframed and under glassimage size 64cm x 64cm, overall size 83cm x 83cmNote: Pam Carter was born in Tanganyika, East Africa to an Austrian mother and Scottish father. At the age of thirteen, she came to Scotland where she schooled at Bearsden Academy. She graduated from Glasgow School of Art in the seventies. "My main inspiration as an artist is in the Scottish landscape and seascape. I enjoy using colour to define contours, structure and changing light sequences. I search out specific viewpoints. I am equally inspired by the rugged isolation of the Western Isles and the dramatic viewpoints of the Eastern coastline. I work predominantly in oil". Pam Carter was unquestionably one of Scotland's most popular and successful contemporary artists. She won numerous awards and prizes, always received significant media attention, has been the subject of many magazine features and had several tv appearances. Her work is widely exhibited but rarely appears at auction. However, in The Scottish Contemporary Art Auction of 17th April 2022 lot 38 "Luskentyre Reflections" a 46 x 51cm oil by Pam Carter sold for £2000 (hammer) and in The Scottish Contemporary Art Auction of 10th July 2022 lot 230 "Gables Geary" sold for £2600 (hammer). Most recently "West Coast Sunset" (lot 47, The Scottish Contemporary Art Auctio of 24th October 2024) a 61 x 61cm oil on canvas by Pam Carter sold for £3600 (hammer).Comment: Pam was a special artist and one who enjoyed wide popularity and substantial commercial success. In all our dealings with Pam over the years, she was always generous with her time and quick to provide the background to paintings we had received from private consignors and filling in gaps about locations, dates etc. Pam's work is instantly recognisable and she had that rare gift, even among the best artists, of being able to use the minimum of brushwork to create the maximum visual effect. Her "lines" were those of the natural environment but she knew exactly how to "see" them and portray them on canvas. Despite her commercial success, or perhaps even because of it, Pam's work probably hasn't yet reached the full audience that it so richly deserves. She exhibited frequently at numerous galleries in Scotland and gallery owners were inevitably in a queue to secure her work. Typically, Pam showed loyalty to those who were the first to support her when she was a relative unknown. Talented artists always wish to be remembered by their work and Pam Carter can be certain of that, but she'll also be remembered with great affection by all those who had the good fortune to meet her or know her.
Filtered light table lamp with a chromed metal base containing the light source, in which four yellow methacrylate plates are inserted. 1970 ca. Signs of wear and tear over time. Published in Paola Palma and Carlo Vannicola, Italian light 1960-1980. Cento lampade della collezione Cortopassi, Alinea Editrice 2004. 33x57x6.5 cm approx. Lampada da tavolo a luce filtrata costituita da una base in metallo cromato, contenente la fonte luminosa, in cui sono inserite quattro lastre in metacrilato giallo. 1970 ca. Segni di usura del tempo. Pubblicata in Paola Palma e Carlo Vannicola, Italian light 1960-1980. Cento lampade della collezione Cortopassi, Alinea Editrice 2004. 33x57x6,5 cm ca.
Pair of twelve-light chandeliers in gilded iron with geometric patterned glass beads. Late 19th century. Minor defects and missing parts. 100x90 cm approx. Coppia di lampadari dodici luci in ferro dorato con perline in vetro a motivi geometrici. Fine XIX secolo. Lievi difetti e mancanze. 100x90 cm ca.
Rebecca Lardner (b.1971), Tranquil Morning Blue (2001), signed 'Rebecca Lardner' and dated (lower right and verso), mixed media on board, 19 x 60 cm, framed and glazed 38 x 79 cmCrossing Gate Gallery, BordonOverall in fairly good condition. Some cracking to the paint in the upper left and upper right. Some spots of minor surface dirt. No evidence of restoration visible under UV light. Under glass and unexamined out of frame.
A mid 20th-century Jaeger Le Coultre manual wind, skeleton mantle clock, with brush gilt batons to a conforming rectangular case, raised on square feet, 19.5 cm high x 17 cm high.The movement runs, but has not been tested for accuracy over any length period of time. In good cosmetic condition, with some light surface scratches visible on close inpection.
An early George III "Plum Pudding" mahogany circular snap top tripod table, with boarded birdcage action over a heavy gun barrel column, and broad knee cabriole legs. 89 cm diameter x 72 cm overall heightStructurally sound, with no apparent damage. Some finger marks to the top, that would polish out. Some light surface scratches in places, commensurate with age and use.
A George III Chippendale Period brass-bound mahogany octagonal cellaret with moulded edge, the hinged top opening to reveal the original lead foiled lined and partitioned fittings, and a pair of folding bale handles to the opposing sides, supported by short square section fluted legs with brass off-set castors with compressed leather wheels. 47 cm wide x 73 cm overall height.Some splits to the wood in places, to both parts. No key present. Some splits to the brass, as shown. Structurally sound, with generla light wear throughout, commensurate with age and use.
Joan Gillchrest (British 1918-2008), On Holiday, monogrammed (lower right), oil on card, 17 x 12 cm, framed and glazed 44 x 37.5 cmProvenance With Wren Gallery, Burford, Oxon. Private collection, UK. In good condition and ready to hang. Some specks of light surface dirt. No evdience of restoration visible under UV light. Under glass and unexamined out of frame.
An Omega Constellation Chronometer, automatic, gentleman's wristwatch, 18ct gold case, circa 1964, having a gold tone dial, centre seconds, date aperture at 3, on a integral 18ct gold Omega milanese tapering bracelet with fold over ladder snap. Case diameter 34mm. Gross weight 100g. Cosmetically watch is in good order with minimal light surface scratches. Mechanically watch winds, runs and ticks down.
Stamps - Superb collection of British Africa housed in two stockbooks - all reigns present with some light duplication. Both mint and used generally very clean with the odd condition issue. George VI Malaya - BMA overprints - 1945 - part sheets of 28 or 29 stamps - values 1c - $5, missing the $5 green/red.
Revised Estimate. English School, Circa 1830, a pair of miniature portraits depicting James Whitwell Torre, as an officer of the 16th Lancers 9 x 7cm, and Jane Helena Beatson, 10.5 x 8.5cm, the couple married in 1830, both watercolour on ivory. The painting of the gentleman signed Stump S. J., for Samuel John Stump (1783-1863), Ivory Exemption certificates: NAZEBQTP and YALE3AMU.Condition Report: Lady Two slight vertical undulations in the ivory one the left and right hand side of the picture. The undulation on the left in some light looks more like a small crease, please see images. No apparent splits, very good condition otherwise.Gentleman Slight undulations to the ivory and perhaps some overpaint on the red area of the jacket, please see images. No apparent splits, very good overall.
A pre war .22" BSA "Standard" air rifle, number S5183 (1919/20), WO & fair condition (worn and moderately pitted overall); and a .177" BSA "Light" Model air rifle, number S70968. Poor Condition. (2) Purchasers please note: any air gun manufactured after 1939 must either be collected from our premises or posted to an RFD for face to face transaction £50-60
A 5 shot 54 bore Beaumont Adams double action percussion revolver, the barrel engraved "W & J Kavanagh, 12 Dame St, Dublin" and with London proofs and "L.A.C" mark, the frame engraved "B9733" and "Adams' Patent No 25,395R", the cylinder also engraved "25,395R". GWO & C, patches of light rust overall with traces of original blued finish. £550-600
A 19th century Eastern mameluke hilted shamshir, curved, watered steel blade 32", with long clipped back tip, stylised Eastern inscriptions at forte with faint traces of gilding, and engraved along the backstrap "This sword brought back from Egypt by Capt R Oliver 10th Lt Dragoons after the close of the campaign in 1801 (partly rust obscured) was presented by him to his friend Coll Braddyll Honori Et Amicitiae Sacratum", plain steel straight crosspiece, horn grips with 3 gilt rosettes, in its leather covered wooden scabbard with long copper locket and chape decorated with simple floral patterns. Good Condition (blade minor marking, scabbard leather some age congealing and slightly AF). Note: Robert Oliver, Lieutenant 10th Light Dragoons 1799, Captain 1803, not in 1810 Army List. James Braddyll (1776-1862) Lieutenant Coldstream Guards 1799, Lt Col 1808, not in 1812 list. £800-1200
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