534297 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
534297 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
534297 Los(e)/Seite
Los 377
Relux Milano - a vintage 1980s Italian designer uplighter / floor standing lamp light. The lamp having a having a cup shade supported by a adjustable arm upon a further stem with all raised on a circular base. All finished in cream with brass mounts. Sold as untested. Measures approx. 140cm tall.
Los 85
Luci Cinisello, Milano - a vintage mid 20th century 1970s Space Age style orange desk lamp. The lamp with magnetic globe shade holding the eyeball reflector bulb, this detachable for readjustment from the thick chrome arm over circular base. The whole thing painted red / orange, some light chipping commensurate with age to the paintwork. Possibly designed by Goffredo Reggiani. Marked to underside. Sold as untested.Measures approx. 36cm tall.
Los 2124
DURHAM LIGHT INFANTRY INTEREST: Two Soldiers Pay Books for 326325 Lance Sergeant Frederick George Richardson [born 9-3-1894 in Lambeth]; together with his original Army Form W.5112 for MID; a group of four miniature medals; a Defence Medal; a ribbon bar; two Salonika reunion association badges; a Durham cloth shoulder title; a star cloth badge; a Kings Badge in its box; and 14 pages of photocopied service papers [1914-18 service] [lot]
Los 2444
A George II walnut and feather banded bureau, the interior fitted, above four long graduated drawers, on bracket feet, H 100cm, W 91cm, D 52cmCondition Report: In good tidy houseworn condition and overall a pleasing light colour. The feet are later. There is pine carcase wood shrinkage but the veneers are good and flush and have not bubbled or lifted. The drawers have pine fronts so have bowed but the veneers are good. The handles are later but have some age. The drawers have been restored and the runners have been done so the drawers run well. The facings to the pulls are later. The 4th flame veneered panel from the left has some minor splits, see image. The mirror veneered sides have filled old wormholes, see image. Leather inset later.
Los 2267
A late 18th century, Worcester porcelain tankard, decorated with two oval vignettes of exotic birds within a foliate landscape, within gilt framed acanthus leaf borders, on dark blue ground, crescent mark to base, restoration, 14.4cm highCondition Report: The interior of this mug is sprayed and over painted. Under UV light restoration is noted. Restoration is high quality.
Los 2064
Will's Cigarettes, a set of 25 cards, British Castles, Player's Cigarettes, a set of 25 cards, Architectural Beauties, Will's Cigarettes, a set of 25 cards, Old London, Player's Cigarettes, a set of 25 cards, Picturesque Cottages, Player's Cigarettes, a set of 25, Picturesque London, and a Will's Cigarettes set of 40 cards entitled Old Inns. (6 groups of cards), together with Player's Cigarettes, a set of 25 cards, Championship Golf Courses, together with Player's Cigarettes, a set of 20 cards, Clocks Old & New, (2 sets), Player's Cigarettes, a set of 25 cards, Dogs, together with Player's Cigarettes, a set of 20 cards, Dogs, Player's Cigarettes, a set of 20, Dogs, Will's Cigarettes, a set of 20, Dogs, Gallagher's de lux Cigarettes, a set of 24, another set of 24, (6 sets) Will's Cigarettes, a set of 40 card, Famous British Authors, Will's Cigarettes, a set of 25 cards, English Period Costumes, together with a Will's Cigarettes, a set of 30, Famous British Liners, Will's Cigarettes, a set of 40, Garden Flowers New Varieties, a Player's Cigarettes set of 25 cards, British Butterflies, Will's Cigarettes, a set of 40, Garden Flowers New Varieties, (6 sets), Two London Cigarette card albums, Players Cigarettes, Cricketers, set of 50, English Kings, set of 50, British fish, set of 50, English Crickets, set of 50, RAF Squadron's, set of 50, Stars of Screen, set of 50, with Wills , Royal occasions, Light aircraft, Light aircraft and pilots, Locomotives, Speedway stars, Gardening tips, Sea shells and creatures, Wartime tips, Wartime aircraft, Mixed boats cars, trains and bikes, Boxeers, Garden plants, Battleships, Sporting personalities, Railway and Mail coaches, bicycles, Scenes of Naval life, British reptiles and animals, Soldiers, mostly in sets of 25/50
Los 2042
A pair of 18th century style, Dutch, six branch brass chandeliers. 38cm high. and one larger, similar brass chandelier. (3) Condition Report: The chandeliers are solid brass, but moulded with hollow stems and branches. Very light weight metal. Modern.One smaller chandelier has bent arm, this could be carefully re-bent.Various paint splashes.Wiring not tested. Would need work from a professional electrician.
Los 2136
1914 CAVALRY OFFICER CASUALTY INTEREST. A quantity of correspondence relating to Lieutenant Humfrey Richard Talbot of the 3rd Prince of Waless Dragoon Guards, killed in action by shell fire near Ypres on 13th November, 1914 [See the Roll of Honour by Ruvigny/page 345]. The letters are sent to Lieutenant Talbots family, offering words of condolence, and they are accompanied by a small note stating: Letters about Humfrey when he was killed in the War.1914.There are 17 letters in all, written during November 1914; some of the writers had presumably read about Lieutenant Talbots loss in The Times. Together in the lot is an original photograph of Talbot in jacket and tie. According to David Ascoli in 'The Mons Star', the 3rd Dragoon Guards formed part of the 3rd Cavalry Division that landed at Zeebrugge on 7-10-1914. Ascoli illustrates The Royal Dragoons, entering Ypres on 13-10-1914 so presumably Lieutenant Talbot's regiment arrived there at a similar time, since The Royals also formed part of Byng's 3rd Cavalry Division. The salient at Ypres was targeted by the German offensive of November 11th when notably the Prussian Guard were repulsed by 2/Ox. and Bucks Light Infantry at Nonne Bosschen. However, although Ypres was not taken, intermittent action subsequently continued across the salient, and presumably it was at such a moment that Lieutenant Talbot lost his life. He is buried in the Ypres Town Cemetery, West Vlaanderen.
Los 2238
A Chelsea-Derby part coffee tea service, circa. 1769-1784, decorated with green floral sprays, gold Chelsea Derby marks, to comprise a coffee pot and cover, 27cm high, a jug, an octagonal spoon tray, a sugar bowl and cover, a basin and two tea bowls with saucers.Condition Report: There is overall surface dirt to the bowl, and various other items in set. General wear typical of age and use.Minor scratching and light wear to sugar bowlCoffee pot has scratches and wear typical with ageHairline crack to lip of jug and lip chips.Damages to lip of spoon tray, chipsCups and saucers have slight wear.
Los 339
A Chinese black and gold papier mache box, decorated with central fo dog surrounded by banded border and foliage detail, approx. 20.3cm wide; a pair of 20th century wooden daggers / knives with ring turned handles and light wooden blades, each approx. 30cm long; a 20th century reproduction curved shaped jambiya with plastic amber effect handle and white metal scabbard, with inset red cabochons and decorative detail; a novelty matchbox holder and ash tray, engraved Shanghai Tang to both sides; a modern brass Eastern dis with elephant detail; a small curved Eastern paper knife; two small porcupine quills and ten white metal novelty sticks with elephant terminals, each approx. 22.8cm long. (Q)
Los 172
A Russian silver gilt and enamel mounted walking stick, having ebonised wooden cane and nephrite handle, vibrant blue guilloche enamelled collar mounted by two ribbed 88 standard silver gilt collars and same silver gilt foliate design mounted to enamel, marked possibly WV, 88, approx. 92cm long. Further details: slight area of damage to blue enamel; some smaller areas to enamel with light cracking and wear; some slight loss to gilding and general wear; minor nicks and nibbles to nephrite, and some loss to ebonised wooden cane in places.
Los 37
A George V silver entrée dish and cover, with gadrooned rims, hallmarked by Thomas Bradbury & Sons, London, 1911, with Harrods retailer mark to base, with non-matching silver plated removable handle to top, approx. 28.3cm wide x 13cm high (including handle). Weighable silver: approx. 1464.9 grams (47ozt) Further details: tarnishing and surface scratching; light scuffing and general wear.
Los 14
A George I Britannia standard silver tankard, with plain tapering sides and skirted foot, hinged cover with scrolled thumbpiece and S scrolled handle, side of body with later engraved rampant lion in foliage, hallmarked London, 1717, makers mark rubbed, handle and cover with late 19th century hallmark, approx. 14.8cm high. Weight: approx. 468.7 grams (15ozt) Further details: pin missing to hinge so cover detaches from body; base rim slightly misshapen; handle with few dents; body scratched, light surface dents to body and general wear.
Los 6
An Edwardian silver model of a nef ship, detailed with captain on deck with crew members in battle positions, cannons near bow and two large masts with sails attached; the two masts with crows nests half, ball finial tops and two large wavy flags, silver chains act as rope holding masts together to rest of ship, with pierced cabin windows and intricate embossed or cast decoration to sides and to hull of ship, with anchor to front; on stylised supports with mythological fish design and four circular 'tentacle' like designed wheels; the bow of the shape with lady figurehead and with mythological fish rudder, having German hallmarks by Berthold Muller to wheel supports and English import marks (also for Berthold Muller), Chester, 1909, approx. 40.5cm high x 29cm long. Total weight: approx. 1314.6 grams (42.2ozt) Further details: couple of wheels not straight / have misshapen areas; back wheel support has been repaired in the past, seen where connected to hull of ship; Captain of ship is meant to have hold of rope but rope has detached from it in the past; some areas to sails / masts and body of light dents and some surface wear / scratching; general wear and some nicks / minor misshapen areas commensurate with age / usage.
Los 54
An early 20th Century German 800 standard silver, diamond and sapphire cigarette case, cushion shaped picked wave like pattern to front and reverse, overlaid with geometric gold wire work with central old cut diamond and a double cabochon sapphire terminals, gilt interior, blue glass set push clasp, measuring approx 80 x 90mm, hallmarked by Louis Kuppenheim of Pforzheim, circa 1900, total gross weight approx 3.36 ozt (104.2 grams) Further details: slight scratch to lower sapphire; light tarnishing and wear; minor loss to gilding and general wear. Provenance: Paul Georg Glass and thence by descent Note: Paul Georg Glass was born in Vienna in 1891, he studied Law finishing his degree just before World War I broke out. He enlisted in the Austrian Army and from 1914-1918 fought at the Russian Front with the mounted artillery; he was decorated for his army service, including the Iron Cross. Paul lived and worked in Vienna in the 1920s & 30s. The Nazis revoked Paul's position as a lawyer because he was Jewish and fled to Britain and lived in Hampstead. Paul lived in London until he was arrested as an "enemy alien" on 2 July 1940 and was deported to Australia on the HMT Dunera. During his internment Paul produced art mainly portraits of his fellow inmates, many of whom were Austrian. Paul returned to Britain on 15 October 1941 and married Ena Glanville on 6th September 1943. They later moved to Austria in 1946 where Paul was reinstated as an advocate.
Los 275
A group of WWI and WWII medals awarded to 7179 CSM, SC Wall, 2nd Somerset Light Infantry to include George V India medal with Afghanistan NWE 1919 bar, 1914-1918 medal, the 1939-1945 star with oak leaf, the 1939-1945 war medal and a George V long service and good conduct medal along with two WWI medals awarded to is brother 10069 SJT TA Wall Somerset Light Infantry
Los 450
dating: 1825 provenance: Kingdom of the Two Sicilies, Made of silver. On the obverse a depiction of the two busts (right), on the border the inscription 'FRANCISCVS I ET ELISABETH PP. FF. AA. VTR. SICIL ET HIER. RR.' and in small letters 'R.M.P.'; opus 'F. REGA DIR. / F. D'ANDREA F.'. On the reverse a crown on a Bourbon lily, above a dove with outstretched wings hovers between rays of light, all within two olive branches joined by a bow; with the inscription 'DIVINIS / AVSPICIS' on the border and in smaller letters 'F. REGA DIR. / MDCCCXXV / A. ARNAUD F. Very rare. 133 g. diameter 6 cm.
Los 436
dating: 1825 provenance: Kingdom of the Two Sicilies, On the obverse, representation of the two busts (right), on the border inscription 'FRANCISCVS I ET ELISABETH PP. FF. AA. VTR. SICIL ET HIER. RR.' and in small letters “R.M.P.”; opus 'F. REGA DIR. / F. D'ANDREA F.'. On the reverse, crown on a Bourbon lily, above a dove with open wings flying between rays of light, the entire decoration within two olive branches joined by a bow; on the border inscription 'DIVINIS / AVSPICIS' and in smaller letters 'F. REGA DIR. / MDCCCXXV / A. ARNAUD F.' diameter 6 cm.
Los 20
EDWARD ARTHUR WALTON R.S.A., P.R.S.W., H.R.W.S. (SCOTTISH 1860-1922) CHANCE ENCOUNTER Signed, oil on canvas 76cm x 73.5cm (30in x 29in) Presented by Mrs Fergus Morton and Mrs J. W. H. Gow, 1937. Titled ‘Landscape’, in Illustrated Catalogue of Paintings, Drawings, Sculpture in the Collections of Paisley Corporation and Paisley Art Institute, 1948. Exhibited: Hankyu Department Store, Umeda Main Store, Osaka, Japan, The Beautiful Landscape of Scotland, 11-16 November 1983; touring to Tenmaya Department Store, Okayama Main Store, Okayama, Japan, 18-23 November 1983. Edward Arthur Walton is well-known as one of the significant figures within the loose network of artists now commonly referred to as the ‘Glasgow Boys.’ It can therefore be difficult to separate his life and work from this movement, but it does a disservice to Walton not to pay attention to the wider picture of his long and illustrious career. He made his way as an artist from his late teens all the way until the day of his death, and during this over-forty-year period he was elected to, and participated in, various institutions and artistic bodies across the U.K., exhibited and won prizes internationally, and was widely praised by critics and fellow artists alike. ‘Walton was a painter so distinguished that he held a special place in the regard…of all who followed with any intelligence or interest the development of art in the country during the last three or four decades’ – Daily Record and Mail, 12 January 1924 (quoted in Fiona MacSporran, Edward Arthur Walton, Foulis Archive Press, Glasgow, 1987, p.9)Throughout his career, Walton’s output was varied, working consistently in both oil and watercolour and developing a successful portraiture practice. He worked largely to commission, while he continued to excel in his favoured landscape subjects, which are suffused with atmosphere, light, and a sensitivity and freedom that remains utterly compelling. Working in both mediums, we can feel his joy and pleasure in the world around him. He converts atmosphere to paint, so we can feel the warming sun and gentle breeze, smell the air and feel that particular freshness that lifts the spirit when we are surrounded by nature. Yet, this feeling of spontaneity and freedom is underpinned by an artistic rigour so that every dappled brushstroke and area of exposed ground or canvas is considered and intentional. Walton pays particular attention to light and shade, picking out shadows in rich tones of cooler shades, the gentle contrast serving the overall harmony and charm of the finished painting. As Helen Weller observes:‘They are not, in spite of their beauty and charm, simply an emotional response to nature; they are carefully conceived, to the extent of using unusual surfaces and a barium ground to enrich the colour. Nothing is irrelevant or inconsidered. The smallest stroke of warm colour on the sleeve of a tiny figure set in cool shadow is wholly necessary.’- Helen Weller, E.A. Walton, Bourne Fine Art exhibition catalogue, Edinburgh, 1981.Sketching in the countryside surrounding Glasgow from an early age, Walton seems to have had family support for his early artistic enthusiasm and talent, as training was arranged for him at the Kunstacademie, Dusseldorf in 1876-77, while he was still in his teens. On his return, he commenced his career as an artist in Glasgow, and in 1878 exhibited at the Glasgow Institute and was elected to the Glasgow Art Club, while attending Glasgow School of Art, and winning local and national competitions. Artistic networks, friendships and connections were important for the development of the Glasgow Boys, and for Walton, in particular. He initially met James Guthrie, who would become a life-long friend, while Joseph Crawhall became connected to his family through marriage, commencing another important friendship. Further relationships developed with a wide range of artists through painting and travel, including George Henry, Arthur Melville, James Whitelaw Hamilton, Thomas Corsan Morton, Alexander Kellock Brown, J.D. Taylor and William York Macgregor. Walton’s great enthusiasm for landscape meant he was keen to capture different viewpoints and evoke varied atmospheres and so pursued painting with his friends and colleagues in locations as varied as Rosneath, Brig O’ Turk, Helensburgh, Cockburnspath, Somerset and Cambuskenneth. All this exploration and artistic mingling proved potent, and by 1889 Walton could comfortably be called a successful, professional artist. That year he had received a full-page illustration in the April edition of the Scottish Art Review, was commissioned to paint the official portrait of Lord Provost King of Glasgow and was elected an Associate of the Royal Scottish Academy. In the same year, he also managed to visit Paris with Guthrie and to propose marriage to Helen Law at the Glasgow Art Club’s Grand Fancy Dress Ball, where he was dressed as Hokusai and his bride-to-be as ‘The Golden Butterfly,’ in homage to Whistler. Such was the Glasgow art scene at the time that John Lavery captured a quick sketch of the happy couple posing in their costumes.1890 was an important moment for the so-called ‘Glasgow School’ or ‘Glasgow Boys,’ as they received so much attention for their London exhibition at the Grosvenor Gallery, as well as their success in Munich. However, by 1893, Walton appears to have felt a little jaded with the Scottish scene and decided to move his family to London. There he remained well-connected to the wider artistic network, with Whistler his new neighbour, an artist whom he had admired for many years, even having petitioned Glasgow Museums to purchase one of his works. He worked to establish himself as a portrait painter over the ten-year period but following Whistler’s death, Guthrie persuaded Walton to return home. By 1904, Walton was settled in Edinburgh and would live the rest of his days as an established Scottish artist, confirmed by his promotion to full Academician of the R.S.A. in 1905. His wider artistic network remained strong, with even family holidays to Wenhaston bringing them into close contact with other artists, and Fra Newbery and his family becoming their temporary summertime neighbours. Walton continued to dedicate himself to painting. He participated in the mechanisations of various artworld establishments and received subsequent praise and continued high regard. He exhibited internationally, sending paintings to Munich, Paris, Berlin, St Louis and the Carnegie Institute internationals, and achieved many prizes and honours, including a Gold medal at the IX International in Munich. Following his sudden and early death, his work remained in very high esteem with the Guthrie-arranged Memorial Exhibition of 150 of Walton’s works declared by a leading critic as ‘one of the most interesting one-man shows ever assembled.’ (MacSporran, p.93). [Quote in title: Helen Weller, E.A. Walton, Bourne Fine Art Exhibition catalogue, Edinburgh, 1981]
Los 63
SIR JOSEPH NOEL PATON R.S.A. (SCOTTISH 1821-1901) MICHELANGELO SCULPTING THE STATUE OF 'NIGHT' Oil on canvas, arched top 61cm x 76cm (24in x 36in) Presented by A. M. McDougall, Esq., 1932. How is a masterpiece conceived? Sir Joseph Noël Paton invites us to ponder the very alchemy of genius by welcoming us into Michelangelo Buonarotti’s studio as he finishes carving ‘Night’. In a shadowy loggia the Renaissance artist crouches in front of his monumental marble, pausing after a campaign of chiselling to appraise his work. A spent hourglass sits on a nearby table, and a toolbox and sketchbook lie at the artist’s feet, while the view through the arch suggests that Michelangelo has taken the silhouette of Florence as his muse. The city glows blue under the light of the moon, which crests around the arch, illuminating the artist upon the completion of his masterwork.Paton’s use of breaking light to represent ‘divine inspiration’ can be connected to the Pre-Raphaelite artist William Holman Hunt’s seminal 1853 painting ‘The Awakening Conscience’ (Tate Britain). Paton had declined an invitation to join the Pre-Raphaelite Brotherhood, electing instead to return to Scotland, but he continued to paint in a Pre-Raphaelite style and remained familiar with the Brotherhood and their output. So moved was Paton by ‘The Awakening Conscience’ that he was impelled to produce several of his own works exploring the enigma of creation and enlightenment. These include an 1861 painting of Luther who, after a sleepless night induced by a crisis of faith, is suddenly granted spiritual clarity as a ray of dawn sun touches his brow (National Galleries of Scotland), as well as a painting of Dante meditating on the nature of sin beneath an apparition of two adulterous lovers from his Divine Comedy (Bury Art Museum). In the 1860s Paton produced a further painting of Michelangelo in contemplation, which was gifted to the William Morris Gallery in 1935 from the collection of Sir Frank Brangwyn. It might be conjectured that Paton’s interest in the nature of creative conception has something to do with the fact that he received little formal artistic training. At the age of seventeen he took his first job as Head Designer at a muslin manufacturer in Paisley, and after working in this capacity for three years, he briefly studied at the Royal Academy Schools in London, where he formed a lifelong friendship with John Everett Millais. (Rodger, Robin. “The Patons of Dunfermline: Bi-Centenary of Sir Joseph Noël Paton RSA (1821-1901).” Royal Scottish Academy, December 10 2021. [accessed 24th July 2024]). By all accounts, Paton was an expert on folklore and fairytale, themes which inspired many of his paintings and brought him considerable success and renown. In 1861 Paton travelled to Italy, where he likely beheld Michelangelo’s ‘Night’ in the Medici Chapel in San Lorenzo, Florence. Upon his return, Paton published a book of poetry which included ‘A Confession’, a tongue-in-cheek reflection on Michelangelo’s art, so majestic as to drive the viewer to distraction:No, Buonarotti, thou shalt not subdueMy mind with thy Thor-hammer! All that playOf ponderous science with Titanic thewAnd spastic tendon - marvellous, ‘tis true! -Says nothing to my soul. Thy “terrible way”Has led enow of worshippers astray;I will not walk therein!(Sir Joseph Noël Paton, Poems by a Painter, William Blackwood, Edinburgh, 1861, p.156)
Los 22
EDWARD ARTHUR WALTON R.S.A., P.R.S.W., H.R.W.S. (SCOTTISH 1860-1922) THE LONE TREE Signed, watercolour 48cm x 67cm (19in x 26.5in) Fulton Bequest, 1933. Titled ‘Landscape’, in Illustrated Catalogue of Paintings, Drawings, Sculpture in the Collections of Paisley Corporation and Paisley Art Institute, 1948. Exhibited: Palace of the Arts, Empire Exhibition, Scotland, Bellahouston Park, 1938, no.226 repr. b/w p.34. Edward Arthur Walton is well-known as one of the significant figures within the loose network of artists now commonly referred to as the ‘Glasgow Boys.’ It can therefore be difficult to separate his life and work from this movement, but it does a disservice to Walton not to pay attention to the wider picture of his long and illustrious career. He made his way as an artist from his late teens all the way until the day of his death, and during this over-forty-year period he was elected to, and participated in, various institutions and artistic bodies across the U.K., exhibited and won prizes internationally, and was widely praised by critics and fellow artists alike. ‘Walton was a painter so distinguished that he held a special place in the regard…of all who followed with any intelligence or interest the development of art in the country during the last three or four decades’ – Daily Record and Mail, 12 January 1924 (quoted in Fiona MacSporran, Edward Arthur Walton, Foulis Archive Press, Glasgow, 1987, p.9)Throughout his career, Walton’s output was varied, working consistently in both oil and watercolour and developing a successful portraiture practice. He worked largely to commission, while he continued to excel in his favoured landscape subjects, which are suffused with atmosphere, light, and a sensitivity and freedom that remains utterly compelling. Working in both mediums, we can feel his joy and pleasure in the world around him. He converts atmosphere to paint, so we can feel the warming sun and gentle breeze, smell the air and feel that particular freshness that lifts the spirit when we are surrounded by nature. Yet, this feeling of spontaneity and freedom is underpinned by an artistic rigour so that every dappled brushstroke and area of exposed ground or canvas is considered and intentional. Walton pays particular attention to light and shade, picking out shadows in rich tones of cooler shades, the gentle contrast serving the overall harmony and charm of the finished painting. As Helen Weller observes:‘They are not, in spite of their beauty and charm, simply an emotional response to nature; they are carefully conceived, to the extent of using unusual surfaces and a barium ground to enrich the colour. Nothing is irrelevant or inconsidered. The smallest stroke of warm colour on the sleeve of a tiny figure set in cool shadow is wholly necessary.’- Helen Weller, E.A. Walton, Bourne Fine Art exhibition catalogue, Edinburgh, 1981.Sketching in the countryside surrounding Glasgow from an early age, Walton seems to have had family support for his early artistic enthusiasm and talent, as training was arranged for him at the Kunstacademie, Dusseldorf in 1876-77, while he was still in his teens. On his return, he commenced his career as an artist in Glasgow, and in 1878 exhibited at the Glasgow Institute and was elected to the Glasgow Art Club, while attending Glasgow School of Art, and winning local and national competitions. Artistic networks, friendships and connections were important for the development of the Glasgow Boys, and for Walton, in particular. He initially met James Guthrie, who would become a life-long friend, while Joseph Crawhall became connected to his family through marriage, commencing another important friendship. Further relationships developed with a wide range of artists through painting and travel, including George Henry, Arthur Melville, James Whitelaw Hamilton, Thomas Corsan Morton, Alexander Kellock Brown, J.D. Taylor and William York Macgregor. Walton’s great enthusiasm for landscape meant he was keen to capture different viewpoints and evoke varied atmospheres and so pursued painting with his friends and colleagues in locations as varied as Rosneath, Brig O’ Turk, Helensburgh, Cockburnspath, Somerset and Cambuskenneth. All this exploration and artistic mingling proved potent, and by 1889 Walton could comfortably be called a successful, professional artist. That year he had received a full-page illustration in the April edition of the Scottish Art Review, was commissioned to paint the official portrait of Lord Provost King of Glasgow and was elected an Associate of the Royal Scottish Academy. In the same year, he also managed to visit Paris with Guthrie and to propose marriage to Helen Law at the Glasgow Art Club’s Grand Fancy Dress Ball, where he was dressed as Hokusai and his bride-to-be as ‘The Golden Butterfly,’ in homage to Whistler. Such was the Glasgow art scene at the time that John Lavery captured a quick sketch of the happy couple posing in their costumes.1890 was an important moment for the so-called ‘Glasgow School’ or ‘Glasgow Boys,’ as they received so much attention for their London exhibition at the Grosvenor Gallery, as well as their success in Munich. However, by 1893, Walton appears to have felt a little jaded with the Scottish scene and decided to move his family to London. There he remained well-connected to the wider artistic network, with Whistler his new neighbour, an artist whom he had admired for many years, even having petitioned Glasgow Museums to purchase one of his works. He worked to establish himself as a portrait painter over the ten-year period but following Whistler’s death, Guthrie persuaded Walton to return home. By 1904, Walton was settled in Edinburgh and would live the rest of his days as an established Scottish artist, confirmed by his promotion to full Academician of the R.S.A. in 1905. His wider artistic network remained strong, with even family holidays to Wenhaston bringing them into close contact with other artists, and Fra Newbery and his family becoming their temporary summertime neighbours. Walton continued to dedicate himself to painting. He participated in the mechanisations of various artworld establishments and received subsequent praise and continued high regard. He exhibited internationally, sending paintings to Munich, Paris, Berlin, St Louis and the Carnegie Institute internationals, and achieved many prizes and honours, including a Gold medal at the IX International in Munich. Following his sudden and early death, his work remained in very high esteem with the Guthrie-arranged Memorial Exhibition of 150 of Walton’s works declared by a leading critic as ‘one of the most interesting one-man shows ever assembled.’ (MacSporran, p.93). [Quote in title: Helen Weller, E.A. Walton, Bourne Fine Art Exhibition catalogue, Edinburgh, 1981]
Los 21
EDWARD ARTHUR WALTON R.S.A., P.R.S.W., H.R.W.S (SCOTTISH 1860-1922) THE OAK AND THE ASH Signed, oil on canvas 98cm x 85cm (38.5in x 33.5in) Presented by J. Greenlees, Esq., 1923. Edward Arthur Walton is well-known as one of the significant figures within the loose network of artists now commonly referred to as the ‘Glasgow Boys.’ It can therefore be difficult to separate his life and work from this movement, but it does a disservice to Walton not to pay attention to the wider picture of his long and illustrious career. He made his way as an artist from his late teens all the way until the day of his death, and during this over-forty-year period he was elected to, and participated in, various institutions and artistic bodies across the U.K., exhibited and won prizes internationally, and was widely praised by critics and fellow artists alike. ‘Walton was a painter so distinguished that he held a special place in the regard…of all who followed with any intelligence or interest the development of art in the country during the last three or four decades’ – Daily Record and Mail, 12 January 1924 (quoted in Fiona MacSporran, Edward Arthur Walton, Foulis Archive Press, Glasgow, 1987, p.9)Throughout his career, Walton’s output was varied, working consistently in both oil and watercolour and developing a successful portraiture practice. He worked largely to commission, while he continued to excel in his favoured landscape subjects, which are suffused with atmosphere, light, and a sensitivity and freedom that remains utterly compelling. Working in both mediums, we can feel his joy and pleasure in the world around him. He converts atmosphere to paint, so we can feel the warming sun and gentle breeze, smell the air and feel that particular freshness that lifts the spirit when we are surrounded by nature. Yet, this feeling of spontaneity and freedom is underpinned by an artistic rigour so that every dappled brushstroke and area of exposed ground or canvas is considered and intentional. Walton pays particular attention to light and shade, picking out shadows in rich tones of cooler shades, the gentle contrast serving the overall harmony and charm of the finished painting. As Helen Weller observes:‘They are not, in spite of their beauty and charm, simply an emotional response to nature; they are carefully conceived, to the extent of using unusual surfaces and a barium ground to enrich the colour. Nothing is irrelevant or inconsidered. The smallest stroke of warm colour on the sleeve of a tiny figure set in cool shadow is wholly necessary.’- Helen Weller, E.A. Walton, Bourne Fine Art exhibition catalogue, Edinburgh, 1981.Sketching in the countryside surrounding Glasgow from an early age, Walton seems to have had family support for his early artistic enthusiasm and talent, as training was arranged for him at the Kunstacademie, Dusseldorf in 1876-77, while he was still in his teens. On his return, he commenced his career as an artist in Glasgow, and in 1878 exhibited at the Glasgow Institute and was elected to the Glasgow Art Club, while attending Glasgow School of Art, and winning local and national competitions. Artistic networks, friendships and connections were important for the development of the Glasgow Boys, and for Walton, in particular. He initially met James Guthrie, who would become a life-long friend, while Joseph Crawhall became connected to his family through marriage, commencing another important friendship. Further relationships developed with a wide range of artists through painting and travel, including George Henry, Arthur Melville, James Whitelaw Hamilton, Thomas Corsan Morton, Alexander Kellock Brown, J.D. Taylor and William York Macgregor. Walton’s great enthusiasm for landscape meant he was keen to capture different viewpoints and evoke varied atmospheres and so pursued painting with his friends and colleagues in locations as varied as Rosneath, Brig O’ Turk, Helensburgh, Cockburnspath, Somerset and Cambuskenneth. All this exploration and artistic mingling proved potent, and by 1889 Walton could comfortably be called a successful, professional artist. That year he had received a full-page illustration in the April edition of the Scottish Art Review, was commissioned to paint the official portrait of Lord Provost King of Glasgow and was elected an Associate of the Royal Scottish Academy. In the same year, he also managed to visit Paris with Guthrie and to propose marriage to Helen Law at the Glasgow Art Club’s Grand Fancy Dress Ball, where he was dressed as Hokusai and his bride-to-be as ‘The Golden Butterfly,’ in homage to Whistler. Such was the Glasgow art scene at the time that John Lavery captured a quick sketch of the happy couple posing in their costumes.1890 was an important moment for the so-called ‘Glasgow School’ or ‘Glasgow Boys,’ as they received so much attention for their London exhibition at the Grosvenor Gallery, as well as their success in Munich. However, by 1893, Walton appears to have felt a little jaded with the Scottish scene and decided to move his family to London. There he remained well-connected to the wider artistic network, with Whistler his new neighbour, an artist whom he had admired for many years, even having petitioned Glasgow Museums to purchase one of his works. He worked to establish himself as a portrait painter over the ten-year period but following Whistler’s death, Guthrie persuaded Walton to return home. By 1904, Walton was settled in Edinburgh and would live the rest of his days as an established Scottish artist, confirmed by his promotion to full Academician of the R.S.A. in 1905. His wider artistic network remained strong, with even family holidays to Wenhaston bringing them into close contact with other artists, and Fra Newbery and his family becoming their temporary summertime neighbours. Walton continued to dedicate himself to painting. He participated in the mechanisations of various artworld establishments and received subsequent praise and continued high regard. He exhibited internationally, sending paintings to Munich, Paris, Berlin, St Louis and the Carnegie Institute internationals, and achieved many prizes and honours, including a Gold medal at the IX International in Munich. Following his sudden and early death, his work remained in very high esteem with the Guthrie-arranged Memorial Exhibition of 150 of Walton’s works declared by a leading critic as ‘one of the most interesting one-man shows ever assembled.’ (MacSporran, p.93). [Quote in title: Helen Weller, E.A. Walton, Bourne Fine Art Exhibition catalogue, Edinburgh, 1981]
Los 5
WILLIAM YORK MACGREGOR R.S.A., R.S.W. (SCOTTISH 1855-1923) NETHY BRIDGE Signed verso, with the Artist's Trustee's stamp, oil on canvas 79cm x 89cm (31in x 39in) Presented by J. A. D. McKean, Esq., 1924. Exhibited: Glasgow Art Club, Exhibition of Works by Deceased Members, Glasgow, 6th April-11th May 1935, cat.no.5;Hankyu Department Store, Umeda Main Store, Osaka, Japan, The Beautiful Landscape of Scotland, 11-16 November 1983; touring to Tenmaya Department Store, Okayama Main Store, Okayama, Japan, 18-23 November 1983. William York Macgregor is remembered as one of the leading figures of the Glasgow Boys. This meeting of minds was catalysed when Macgregor and his former school friend, the artist James Paterson, co-founded “The Glasgow School” in 1878 out of Macgregor’s studio at 134 Bath Street. Regarded as a member of “The First Wave” of Glasgow Boys, Macgregor’s work typifies the movement. With strong ties to Glasgow (he was born there to a wealthy merchant family), he began his art education in the city, followed by a time in the Slade Schools under the tutelage of Alphonse Legros. It is this French connection that famously became so pivotal to the aesthetic of the movement. Macgregor and his peers absorbed the artistic developments of the Impressionist and Realist schools, adapting these exciting new visual languages into something uniquely theirs - with the work of ‘The Boys’ being committed to a naturalism of subject and a progressiveness of painterly technique. Extensive travels in Europe exposed Macgregor and the group’s palettes to light and colour unlike anything seen before in the characteristically dreich canon of earlier Scottish art, with its moody mountainscapes and dim interiors. As here in the work offered for sale, Scotland was interpreted as never before. A fresh and vivid perspective, informed by the latest developments in the art world’s Parisian epicentre, was transplanted back home into a new Scottish Art which is still admired and celebrated by collectors to this day.
Los 150
Balenciaga. Set of six women’s silk scarves, trimmed with a small fringe. They have quite a few stains.In the following colours and measurements:White with a purple border. 85 x 82 cm.White printed with squares and rectangles in fuchsia, sky blue, lime green, light green, grass green, pale violet, and pale ochre. 87 x 84 cm.Black printed with squares and rectangles in fuchsia, sky blue, lime green, light green, grass green, pale violet, and pale ochre. 80 x 85 cm.Bubblegum pink. 87 x 84 cm.Sky blue with a border in white and Capri blue. 84 x 81 cm.Beige. 86 x 84 cm.Vintage.
Los 898
18th century Italian School, view of a facade of St Peter's Rome, pen ink and colour wash, label verso states By or from the workshop of Antonio Visentini, unsigned, 65cm x 44cm, framedSome light surface dirt, a fine tear in top left-hand corner and 1 on left-hand edge halfway down, good visual condition
Los 416
ROBIN DAY, a mid-century Hille Delphi leather and chrome armchair or desk chair on T shaped legs, with maker’s labels. This model was part of Hille’s luxury office furniture range, 1968. Ref: Robin and Lucienne Day, Pioneers of Contemporary Design, Leslie Jackson, page 115, height 83cm , (option to buy next lot)Some light wear commensurate with age and use
Loading...-
534297 Los(e)/Seite