534325 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnierenTwo Moorcroft pottery trinket dishes, one decorated in pansy design on blue ground, incised factory mark and label, 8cm diameter. The other in a freesia design, incised factory mark and label. 11cm diameter.CONDITION REPORT:Both are in very good condition with no chips, cracks or restorations noted. Some light crazing to glaze.
Macintyre Florianware bowl, circular with two looped handles, decorated with poppy design in blue and green on a white ground. Brown printed factory mark, RdNo.401753 and green signature W Moorcroft, 21cm diameter, 10cm high.CONDITION REPORT:Bowl is in very good condition with no chips, cracks or restoration noted. Some light crazing to glaze. Slight discolouration to bottom of the inside from use
A pair of Mettlach wall plaques by Heinrich Schlitt, early 20th century. Circular decorated with incised and coloured complimentary comic designs of elves perched in trees, one drinking from a large roemer, the other sitting in a birds nest holding two bottles of wine, surrounded by insects. Signed H Schlitt, impressed factory marks, 41cm diameter.CONDITION REPORT:Both plates are in very good condition with no noted chips, cracks or restorations. Light rub to gilding in places. Couple of small paint marks to the reverse of one. Paintwork is nice and bright.
Douglas N Anderson (Scottish born 1927) Scottish Regiments 1890, set of six watercolours 'The Highland Light Infantry 1890' 'The Cameronians (Scottish Rifles) 1890' 'The Royal Scots Fusiliers 1890' 'The Argyll and Sutherland Highlanders 1890' 'The Gordon Highlanders 1890' 'The Queens Own Cameron Highlanders 1890' 25cm x 16cm
Ernest Archibald Taylor (Scottish 1874-1951) Arts and Crafts upright Bechstein Piano and matching piano stool, designed by Ernest Archibald Taylor for Wylie and Lochhead, Glasgow, this piece was made for the 1901 Glasgow International Exhibition. Pearwood case with mahogany staining, decorated with mother of pearl stylised rosettes, ornate pierced silver plated hinge brackets and candle sconces. Extended front square tapered candle supports with slatted sides. Piano by Carl Bechstein, Berlin No. 54752, serial No. search, dated 1900. The piano stool is numbered 30699. Note: the mother of pearl inlaid stylised flower motif on the piano case and matching stool is typical of E A Taylors designs for Wylie and Lochhead and is identical to other pieces by Taylor for the 1901 Glasgow International Exhibition Lot 322 side chair circa 1901 by Ernest Archibald Taylor at Philips, New York (Design Matters, 15th December 2015). Provenance: Purchased from a Miss Templeton in the early 1960s by J Caldwell, the Eglington Arms Hotel in Irvine and then by descent to the current vendor.CONDITION REPORT: The Bechstein piano , all keys working, requires retuning seven octaves. Some keys light yellowing/discolouration.The case is in good solid condition, no splits, no signs of worm or structural damage. There are two small losses to the beading along key lid, both approx. one inch. There are some minor nibbles to corners of the front uprights. The overall finish to the piano has no real uniformity. There is bleaching, heavy ware, most visible on the dark stained panels. Some panels and areas of stained fruit wood have a greyness to them, the lacquer? has discoloured. All the electro plated silver sconces and brackets are all heavily tarnished.Piano stool is in good condition, unfortunately there is damage to three of the four feet. The square feet have lost around 50%, these pieces are missing. The stool seats hinge has come loose, requires new screws.
Shapland and Petter Arts and Crafts mahogany desk, circa 1900. Original brass handles and faceted spindle gallery with pierced hearts to the ends. Pull out slide to LHS. Lock plates stamped S+PB for Shapland and Petter of Barnstaple, 107cm long, 59cm wide,102cm highCONDITION REPORT: The mahogany desk is in fair condition, the main issue is the front LHS leg, a large piece and upper L shaped support is missing. The green velvet is heavily stained. Water mark to upper shelf surface. Damage (split) and repair to the gallery support. General wear and tear, scuffs, light abrasions etc
1960s Danish rosewood three piece wall unit, centre piece with open shelves over a fall front above five fitted drawers, flanked either side by units with open shelves, above a pair of cupboard doors, 348cm long, 43cm wide, 196cm high. CONDITION REPORTS: The rosewood units are in very good condition with a small indentation to top surface of the cupboards, and a few minor surface scuff marks to lower doors and one score to the fall front door. Indentation on surface of bottom tier. Door light scuff mark, scuff marks to door.
Roland KR117 digital intelligent grand piano, finished in black lacquer. The KR117 intelligent grand piano combines all the realism of a fine acoustic piano with functionality available only from the worlds best digital pianos. From its exquisite polished ebony cabinet to its expensive grand piano stand, powerful speaker system. This instrument combines a grand piano with modern features. Serial no ZV90119 N CONDITION REPORT: The digital piano is in very good condition. The high gloss lacquer has a small area of surface abrasions to the top RHS (vase has been sitting?) There is some small light surface abrasions round the case and some prominant abrasions to the LHS of the case.The piano is fully functional working manually and digitally, however, please note the piano is being sold as seen with no guarantees.The piano comes with instruction manual, cables etc.For a demo please forward your email address.
Nautilus porcelain bowl, in the shape of a barrel, 10cm high and a small Nautilus porcelain bowl, hand painted with wild flowers, 7.5cm high. CONDITION REPORT:Both bowls are in very good condition with no cracks ore restorations noted. One small chip to rim of the smaller bowl. Light rubbing to gilding in parts.
18th century Chamberlain Worcester teaware, two sucriers, four cups, six saucers and a bowl. Marked Chamberlain Worcester to covers, red initials of Hancock and anchor rebus of Richard Holdship.CONDITION REPORT: Pair of plates, one with an area to the rim with severe rubbing, the other very good. Six saucers, five saucers all good, however they all have rubbing to the gilt rims, one saucer has a chip to the rim. One large bowl, very good condition, minor rubbing to the gilt. Four cups all with rubbing to gilt rims. Two sucriers, very good, some light rubbing to gilt.
Collection of 44 FDC and Commemorative Covers 18 of which are Silk, with FDI Postmarks and Stamps, Including Gilbert and Sullivan 1992, Medical Discoveries 1994, Royal Mail 1985, Fire and Light 2000, Thomas Hardy 1990, Rights 1999, Springtime 1995, The Queen's Awards for Export and Technology 1990, Tennyson 1992, Union Postale Universelle 1974, J-M-W Turner 1975, Stone and Soil 2000, Mind and Matter 2000, People and Place 2000, Hopes for the Future 2001, Shakespeare's Globe 1995, Great Britain 1978, New Definitive Values 1977, Commonwealth Heads of Government Meeting 1977, The Silver Jubilee of the Queen's Accession 1977, 80th Birthday Her Majesty Queen Elizabeth the Queen Mother 1980, Christmas 1967,1990, 1992. Silk Covers Include, H M the Queen Mother's 80th Birthday 1980, Children at Christmas 1981, Christmas 1979, The Classics 1996 Limited Edition, RSC Desmond Barrit as Malvolio 1995 Limited Edition, RSC Desmond Barrit and the Company 1995 Limited Edition, RSC Zubin Varla and Lucy Whybrow 1995 Limited Edition, Scotland 1987, Northern Ireland 1987, 12p New Value BSR7c, BSR7b, BSR7a, 1986, Regional Definitives 1983, British Theatre 1982, 40th Anniversary of the Liberation of Europe1984, 40th Anniversary of the Coronation of Her Majesty Queen Elizabeth II ROY22, ROY23. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
(See English version below)Franz Wilhelm Seiwert (1894 – Köln – 1933). „Zwei Gruppen“. 1922Bleistift auf leichtem braunen Karton. 22 × 28 cm ( 8 ⅝ × 11 in.). Unten rechts monogrammiert (übereinandergestellt) und datiert: FWS 22.Bohnen 194. [3459] Provenienz: Hans Schmitt-Rost, Köln / Ehemals Galerie Stolz, KölnWir berechnen auf den Hammerpreis 30% Aufgeld.Franz Wilhelm Seiwert (1894 – Cologne – 1933). ”Zwei Gruppen”. 1922Pencil on light brown cardboard. 22 × 28 cm ( 8 ⅝ × 11 in.). Monogrammed (one placed above the other) and dated lower right: FWS 22.Bohnen 194. [3459] Provenance: Hans Schmitt-Rost, Cologne / formerly Galerie Stolz, CologneWe charge 30% premium on the hammerprice.
SIR HENRY RAEBURN R.A. (SCOTTISH 1756-1823) THREE-QUARTER LENGTH PORTRAIT OF LADY CARNEGIE Oil on canvas(127cm x 102cm (50in x 40in))Provenance: Sir Andrew Agnew , Bart Sir John Reid, Glasgow and thence by family descentFootnote: Exhibited: On loan to the National Gallery of Scotland, 1921-28 Stedelijk Museum, Amsterdam, British Art 1936, no.140 Royal Academy, London, Scottish Art, 1939 Aberdeen Art Gallery, Festival Exhibition, Paintings from North East Homes Literature: James L Caw, Catalogue of the Collection of Pictures belonging to John Reid, James Maclehose and Sons Ill p.6 Note: Lady Agnes Carnegie (1763-1860) was born in Edinburgh in 1763. Her father, Andrew Elliot, was the last Governor of New York under British rule, and when Agnes was twelve months old the Elliot family relocated to New York. When American independence was acknowledged in 1783 the Elliot family returned to Scotland, and later that same year Agnes married Sir David Carnegie, MP for Kincardineshire and deputy governor of the British Linen Company. The couple and their twelve children lived between Kinnaird Castle and their house in Gloucester Place, London. Agnes was herself a talented pastel artist. This enigmatic portrait of Lady Agnes Carnegie was made c.1810, when Raeburn was at the height of his powers. The subtle, muted palette is a signature of Raeburn’s, as is the soft, glowing illumination of the subject. Raeburn’s ability to evoke texture and light is as remarkable as his talent for capturing his sitter’s personality, evidencing his interest in Enlightenment principles of observation: he insisted that his sitter remained before him throughout the painting process. In this portrait Lady Carnegie looks towards the viewer with soft, smiling poise, and while her presence feels gentle her fine clothing and jewellery declare her status as a wealthy and influential individual. Raeburn’s mastery for descriptive brushwork is evident throughout this portrait, demonstrated by the delicate, ephemeral ruff at her throat, contrasted with the startling dimension and precision of her lace cuffs. Also of note is the light playing on the silken stripes of Lady Carnegie’s ivory headdress. Today Henry Raeburn (1756-1823) is celebrated as one of the greatest Scottish portrait painters. Son of an Edinburgh yarn-boiler, Raeburn was apprenticed in his teens to jeweller and goldsmith James Gilliland. Despite having received little training, his formidable talent as a portrait painter was soon recognised, and he quickly moved from painting miniatures to creating large oils on canvas. Under the sponsorship of Sir Joshua Reynolds, Raeburn relocated to Italy in 1785 to study the Old Masters and hone his craft. Two years later he returned to Edinburgh, taking a property on George Street. The work he produced forthwith cemented his legacy as Scotland’s finest portrait artist. This portrait comes from the collection of John Reid (1861-1933), a son of James Reid of Auchterarder, who founded the Hyde Park Locomotive Works in Glasgow. The Reid family were early collectors of Barbizon and Hague school paintings, and also owned several important Old Masters. French and Dutch paintings were well-represented in John Reid’s personal collection, and he also developed a fine selection of British paintings, including this remarkable Raeburn portrait.
§ CHARLES OPPENHEIMER R.S.A., R.S.W. (BRITISH 1876-1961) BRIDGE OF DEE, GALLOWAY Signed, oil on canvas(102cm x 152cm (40in x 60in))Footnote: Exhibited: Royal Academy 1940 Dicksee & Co, Glasgow, 1940 Note: It is said that when the weather was dull, Charles Oppenheimer would fish, while on sunnier days he would spend his time painting. This impressive river scene captures Oppenheimer’s familiarity with, and affection for, the rivers around his Kirkcudbright home. The composition was painted from the riverbank overlooking the Bridge of Dee, Galloway, a charming scene that remains virtually unchanged today. Oppenheimer preferred to work with a warm palette to evoke the characteristic pale golden light that so often illuminates his paintings, qualities that are exemplified here. This painting was amongst the sixty-one exhibited by Oppenheimer at the Royal Academy, and demonstrates his broad, expressive brushwork and sensitive approach to his subject-matter. Oppenheimer relocated to Kirkcudbright in the 1930s and quickly set about exploring and recording his surroundings. He soon became a key member of the Kirkcudbright School, which from 1850-1950 flourished as a significant Scottish artistic hub. Oppenheimer integrated himself within the local painting community, yet amongst the Kirkcudbright School his style remains distinctive. His work has been described as ‘direct, tranquil and contemplative’, a natural consequence of the fastidious discipline with which he approached his painting practice: Oppenheimer committed to long, intensive hours at the easel in order to realise his vision. By the outbreak of the Second World War, he had become an artist of international repute, and his work was exhibited throughout Europe, as well as in New Zealand and North and South America. To his friends, he advised that he would ‘always use the best paints, brushes and canvasses, because you never know when you will do your finest work.’
§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) PALMA, MAJORCA Signed, dated on a label verso 1933, oil on board(61cm x 51cm (24in x 20in))Footnote: Provenance: Sir William and Lady MacTaggart and thence by family descent Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.
§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) CASSIS Signed, oil on board(48cm x 38cm (18in x 15in))Provenance: Lady MacTaggart and thence through the familyFootnote: Exhibited: 1922 Group Edinburgh, 1924 Scottish National Gallery of Modern Art, Sir William MacTaggart Retrospective Exhibition 1968, no.4 Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.
§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) FLOWERS AT NIGHT Signed, oil on canvas(76cm x 61cm (30in x 24in))Footnote: Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.
§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) STILL LIFE Signed, oil on canvas(76cm x 56cm (30in x 22in))Footnote: Provenance: Collection of Dugald McTaggart Lindsay. Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.
§ JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) EFFULGENCE Bronze(21.5cm x 13.5cm (8.5in x 5.25in))Footnote: Exhibited: Scottish National Gallery of Modern Art, J.D.Fergusson 2013, Ill. cat. 98, p.94 Note: This sculpture dates from c.1920 (cast date unknown) Effulgence: “great brightness; radiance; brilliance” Thanks in large part to the major retrospective of Fergusson’s work at the Scottish National Gallery of Modern Art in 2013-14, in which the work offered here for sale was exhibited, we are now more aware of the significant role sculpture played in Fergusson’s art practice. It is thought he created his first sculptural work as early as 1908 in Paris, and it continued to be a facet of his oeuvre for the next fifty years. The reason his sculptural works are so limited in number is simply due to the costs involved, as casting was an expensive process. He often had to wait for a direct commission and his sculptures therefore generally went directly in private hands, and are now only in relatively recent times re-emerging back onto the market and providing us with a fuller picture of his sculptural practice. Effulgence is one of the most well-known of Fergusson’s works in bronze. Created c.1920, arguably the most successful decade of the artist’s career, this piece represents him at his height of his creativity. A quintessential product of its era, it encapsulates Fergusson’s immersion within the artistic movements of the Parisian avant-garde, and evidences the Modernist fascination with ‘primitivism’ and the exotic. Though no doubt perceived as provocative by a contemporary audience, it is above all representative of sensuality. Depicting a dancer, this work distils the elements of the human experience that Fergusson held close: vitality, physicality, sexuality and freedom from convention. He did not create his masterpiece Eastre: Hymn to the Sun until 1924, and Effulgence might therefore be considered an important work in the developmental journey. Cast in the yellow bronze frequently favoured by the artist, we come to understand through Effulgence and Eastre that this choice of medium was very conscious; designed to evoke the light and warmth of the sun, and reference ancient Celtic and bronze age deities which celebrate Nature and fecundity.
§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) JAR OF SUMMER FLOWERS, 1963 Inscribed with the inventory number EE89, oil on canvas(76cm x 56cm (30in x 22in))Provenance: Mrs Patricia BlackFootnote: Exhibited: Arts Council of Gt Britain, Edinburgh, Joan Eardley Memorial Exhibition 1964, no.111 Talbot Rice Gallery, Edinburgh, Joan Eardley Retrospective 1988, no.136 Arts Council/South Bank Centre, London, Joan Eardley Exhibition 1988/89, no.136 Note: In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter.
§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) CHILDREN PLAYING IN THE STREET Charcoal and watercolour(17.5cm x 22.5cm (7in x 9in))Exhibited: The Scottish Gallery, Joan Eardley - Paintings and Drawings, 2007 Provenance: The Artist's Studio ED1414Footnote: Note: In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter.
§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) GIRL WITH STRIPED JERSEY Pastel on glass paper(26.5cm x 23cm (10.5in x 9in))Footnote: Exhibited: The Scottish Gallery, Edinburgh, Festival Exhibition 1964, no.71 Note: In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter.
§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) SEA, CATTERLINE Oil on board(18cm x 18cm (7in x 7in))Footnote: Exhibited: The Scottish Gallery, Christmas Exhibition 1967, no.48 Note: This painting is recorded in the Joan Eardley archive EE165 In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter.
§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) HAYSTOOKS Pen and ink and watercolour(23cm x 57cm (9in x 22.25in))Provenance: Artist's studio ED1267Footnote: Exhibited: The Scottish Gallery, Joan Eardley 1981, no.6 Note: In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter.
§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) THE OIL LAMP Oil on board(38cm x 20cm (15in x 8in))Provenance: Browse & Derby Ltd, LondonFootnote: Note: In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter.
§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) THISTLEDOWN CATTERLINE Oil on board(93cm x 82.5cm (36.5in x 32.5in))Provenance: The artist's family Cyril Gerber Fine Art, GlasgowFootnote: Note: With the Studio inventory No: EE308 In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter.
SIR WILLIAM QUILLER ORCHARDSON R.A., H.R.S.A. (SCOTTISH 1832-1910) PRINCE CHARLES EDWARD AND THE Signed verso, oil on canvas(85.5cm x 126.5cm (33.75in x 49.75in))Footnote: Exhibited: Royal Scottish Academy 1852, no.291 Note: Orchardson is recognised as one of the finest Scottish artists of the Victorian period. A generation taught by Robert Scott Lauder; his peers, with whom he remained close for most of his life, included William McTaggart, Hugh Cameron, Robert Herdman, and John Pettie, the latter of whom moved to London with Orchardson in the 1860s where they went on to share a studio. Though Orchardson found success south of the Border, his career was borne into one of the most active and buoyant periods the Scottish art scene has ever experienced. Art and its practitioners were thriving, with over 1000 exhibits in the Royal Scottish Academy each year. Orchardson's new work, exceedingly popular at the time, was always keenly anticipated by the viewing public. Prince Charles Edward and the Catherans was one such painting, exhibited at the RSA in 1852. It was executed early on in his burgeoning career, prior to his move to London around a decade later. It represents a period of Orchardson's work before the influence of the Pre-Raphaelites and Millais had permeated his practice. Rather, it owes a much keener debt to Sir David Wilkie: the gloomy interior illuminated by the glow of candle light; the conspiratorial huddle of figures; a moment poised on the precipice of action. In this fascinating example of his work we can see why the artist would become so famed for his 'costume-interiors'. Art historian Duncan Macmillan, in his comprehensive and influential overview Scottish Art: 1460-1990, spends much time drawing a parallel between the two artists, and praises the narrative subtlety and psychological sensitivity of Orchardson's work at length: 'of all nineteenth-century painters after Wilkie he comes closest to the great novelists of his time. The reason is that like Wilkie he was a master in the observation of the minute nuances of behaviour which betray a person's feelings and state of mind.' The art of the 'High Victorian' period was indeed a time of nostalgia and Romanticism in art; steeped in historical and literary references. The Jacobite Rebellion was inevitably a fertile source of inspiration. Initially stimulated by the publication of Sir Walter Scott's 'Waverley' in 1814, the author went on to facilitate the visit of King George IV to Scotland several years later, birthing a new era of popularity for Scottish history and tradition and even the advent of new traditions, such as the creation of clan tartans. Prince Charles Edward and the Catherans depicts Charles Edward Stuart and a band of supporters, or 'caterans' (Highland soldiers) who look fresh from battle; likely their crushing defeat at Culloden. The scene is reminiscent of the famous episode from the Bonnie Prince Charlie legend in which he seeks shelter in 'Cluny's Cave' after the battle, hiding from the English forces sweeping the Highlands in search of his supporters. As the tale goes, Cluny MacPherson, Chief of Clan Chattan, was hiding inside. It is said that the Prince asked for Cluny's plaid because it was thicker than his own, however Cluny refused to give it up but offered to share and the pair slept under the same plaid.
§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) NORWEGIAN FJORD Signed and dated '54, oil on board(24cm x 36cm (9.5in x 14in))Footnote: Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.
§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) AT GOSFORD, EAST Signed, inscribed on a label verso, oil on canvas(76cm x 63.5cm (30in x 25in))Footnote: Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.
Flags - a collection of maritime flags, to include: house pennant a blue dolphin naiant on white target, background, light blue 48in by 46in (122 x 117cm) at hoist; Red ensign 44in (111.8cm) , 24in (61) at hoist; SS Washington, souvenir felt pennant white on black 28in (71cm) by 11in (28cm) at hoist; three courtesy flags, each 9in (23cm) and 12in (30cm) at hoist, national flags of France, Holland and post 1945 (West) Germany**SS Washington was a luxury liner of 24,189 tons laid down at Camden, New Jersey USA for Transatlantic Steamship Co., but commissioned into the ownership of United States Lines, May 1933. She served as a trooper 1941-1946 and was taken out of commercial service in 1953, being scrapped in 1965.
Friendly Society, Freemasonry - a collection of silver gilt and enamel Masonic medals and pin badges, 1907-1912, to include: Medal by Spencer & Co., London (Birmingham 1909) Royal Masonic Benevolent Institution (RMBI) Festival 1910 steward?s medal, maroon ribbon, bearing enamel shield of County of Essex, pin back, 8.3cm 12.7g in box of issue; Medal RMBI 1912 by George Kenning & Son (London 1911) arms of Guildford, plain suspense & pin back 8cm 18.3g in associated case; Medal RMBI by George Weeden & Co. London, (London 1906) arms of Rt. Hon. Sir Thomas Halsey, PC MP DL (1839-1927) impaling those of his wife Mary Julia Wells, red ribbon with central blue stripe, Steward Feby/1907 in enamel on suspense, pin back 410cm, 18.4g, *Sir Thomas was Conservative MP Herts 1874-1906 and was Deputy Grand Master of the Grand Lodge of England, Provincial GM for Herts and held numerous other freemasonic appointments; created baronet 1920, Medal RMBI 1907 by Henry Thomas Lamb & Co (HTL London 1907) coat of arms of Sir Augustus Webster of Copthall, Essex 7th Bt. pin back with maroon ribbon and gilt metal suspense 9cm 24.7g, *Sir Augustus Webster, 8th Bt (1864-1923) was seated at Battle Abbey and succeeded his father in 1886. His freemasonic connections are not known; Medal RMBI steward?s 1911 by George Weeden (London 1910) coat of arms of the David/Davie family, maroon ribbon suspense with enamel: Steward/Coronation/year, 9.3cm, 13.1g; Medal Royal Masonic Institution for Boys, by George Spencer & Co of London (Birmingham 1910) earl?s coronet over arms of the Earl of Radnor, ?steward? to ribbon suspense enamelled Coronation Year above the arms of Aske, pin back 9cm, 18.6g, * Jacob Pleydell-Bouverie, 6th Earl of Radnor CIE, CBE (1868-1939 was MP (Con) Wilton 1892-1900 when he succeeded to the earldom; served WW1 Col. (later Brigadier) 4th Bn. Wiltshire Regt. Chairman Royal Commission on the Care for the Feeble Minded, later Director of Agricultural Production 1918-1919, Lord Lieutenant of Wiltshire 1925-1930. His Freemasonic connections are unclear; Medal Royal Masonic Institute for Girls 1911 by George Weeden (London 1910) bearing the earls coronet and arms of Edmond, 7th Earl of Orkney, white ribbon with blue stripe, steward/Coronation/Year enamelled on suspense 9cm, 12.7gross, *Edmond FitzMaurice, 7th Earl of Orkney (of the 3rd [1696] creation) JP DL (1867-1951) succeeded in 1889 and was Col. 3rd Oxfordshire Light Infantry in WW1; he was famous for having married in 1892 Connie Gilchrist, ?The original Gaiety Girl?. His freemasonic connections are not known; Badge, pin backed, by Spencer & Co. (Birmingham 1909) bearing an earl?s coronet ensigning the arms of the Earl of Euston within a collar of acanthus, ?Mark Benev[o]l[ent] Fund 1910? 4.5cm dia.,12.9g, *Henry FitzRoy, Earl of Euston (1846-1912) JP DL was the eldest son and heir of 7th Duke of Grafton, who outlived him. He was Col. Cmdt. 1st Vol. Bn. Northamptonshire Regiment later Hon. Col. 5th Bn. His freemasonic connections are not known; Badge, pin backed, by Spencer & Co. (Birmingham 1908) consisting of a nailhead and rayonné 16 point gilt star bearing the arms of Curry, on the garter ?Mark Benevolent Fund 1909? 4.5cm dia., 18.4g; Badge, pin backed by Spencer (Birmingham 1910) 14 point star of acanthus and fleurs-de-lys, arms of Heneage, on garter ?Mark Benevolent Fund 1911?4cm dia, 19.8g; Badge, silver gilt and enamel ribbon 1911 on blue enamel Spencer London (Birmingham 1911) 4.5cm long, 2.7g; Also 27.5 x 33cm card seating plan and name index for the installation banquet, Eleanor Cross Lodge, Northampton held 14th October 1910, a Masonic apron in white chamois leather edged green watered silk, gilt tassellage, some of these medals/badges bear arms associated with Northamptonshire, eg Lord Orkney and the Heneages (collection)
Victoria Cross Winner, British Army/Militaria - William Mordaunt Marsh Edwards, VC, DL (1855-1912), his 19th century Plain Armorial bookplate, engraving on paper, 11.5cm x 7.5cm, 19th century maple frameAged 27 Edwards, while serving as lieutenant in the 2nd Battalion, The Highland Light Infantry, during the British occupation of Egypt, was awarded the Victoria Cross. On 13 September 1882 at Tel-el-Kebir, Egypt, Lieutenant Edwards led a party of the Highland Light Infantry to storm a redoubt. The lieutenant who was in advance of his party, rushed alone into the battery, killed the artillery officer in charge and was himself knocked down by a gunner with a rammer and was rescued only by the timely arrival of three men of his regiment. He was severely wounded.
Military History - Welsh (Colonel James, of the Madras Establishment), Military Reminiscences; Extracted from a Journal of Nearly Forty Years' Active Service in the East Indies, two-volume set, mixed edition: vol. I first, vol. II second, London: Smith, Elder, and Co., 1830, fold-out and full-page aquatints, maps and in-text illustrations, mixed bindings of contemporary cloth and morocco, 8vo, (2); Standing Orders of the Durham Light Infantry [...], Aldershot: Gale & Polden, Ltd., 1936, two-colour cloth gilt, 8vo, (1); Ohrwalder (Father Joseph) & Wingate (Colonel F.R., R.A., translator), Ten Years' Captivity in the Madhi's Camp 1882-1892, Popular Edition, London: Sampson Low [...], 1898, green cloth, 8vo, (1); Illustrated Author's Presentation Copy, Waters (Brig.-General W. H-H.), "Private and Personal": Further Experiences of a Military Attaché signed and dedicated copy from the author further illustrated with a Prussian officer in a caricatural pickelhaube, first edition, London: John Murray, 1928, red cloth, 8vo, (1); further military memoirs; Battles of the Nineteenth Century, two-volume set, Special Edition, London: Cassell, [n.d., 1901], colour plates, etc., contemporary pictorial cloth, 4to, (2); Kaye (John William), History of the War in Afghanistan, volume II only, London: 1851, contemporary half-calf (worn, loose cover), 8vo, (1); United Service Journal, two odd 19th century copies, 8vo, (2); How to Become a Naval Officer (Dartmouth), [London]: Gieves, Ltd., 1940, blue cloth, 8vo, (1); Liddell Hart; British India & the Raj; etc., [24]
Coins - Tristan da Cunha Elizabeth II gold Britannia Half Guinea, 2009, from an edition of 10000 issued by The London Mint Office, 4.2 grams approx, in presentation caseCondition report: Coin is in a plastic case and shows no signs of having been removed. Certificate and paper work is present. Light wear to case commensurate with age.Due to ongoing Covid restrictions, bidders are able to view lots in this online-only sale on the specified viewing days, by prior appointment only. There is no viewing on the day of sale. Please therefore read the following:As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey.Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Coins - St Helena Elizabeth II gold half Mohur Coin, 2014, no. 250 from a limited edition of 400 issued by The East India Company, 5.8 grams approx, in presentation caseCondition report: Coin is in sealed plastic cases and show no signs of being opened. Certificate is creased. Light wear to cases commensurate with age.Due to ongoing Covid restrictions, bidders are able to view lots in this online-only sale on the specified viewing days, by prior appointment only. There is no viewing on the day of sale. Please therefore read the following:As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey.Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Loading...
![Bredon Manor 1871 Port, [75cl], typically unlabelled, level at shoulder, black wax seal intact but with light seepage, [1]](https://cdn.globalauctionplatform.com/8f6ed392-12bf-406c-95f7-ad27009c49c3/c604bb01-4fe3-4ab3-8bea-ad2e00efd477/468x382.jpg)
