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283287 Los(e)/Seite
Los 102
Robert Peel signed 1828 Free Front with career details and colour copy of portrait painting. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Los 163
Apollo 13 James Lovell NASA astronaut Signature mounted below NASA portrait. Professionally mounted to 16"x12".. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Los 210
Dr Who William Hartnell signed 6 x 4 inch portrait photo signed in blue ink to lower slightly darker part of image. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Los 620
Amanda Redman. 8x10 portrait photo signed by New Tricks actress Amanda Redman. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Los 116
Churchill (John, first Duke of Marlborough, army officer and politician, 1650-1722) Commission appointing John Chamfleury to be Lieutenant in the Regiment of Foot in Colonel de Lalo's Regiment, D.s. "Marlborough" and "G Marshall", manuscript on vellum, paper seal, several small holes, folds, creased and browned, framed and glazed, document 253 x 325mm., 1st August 1705; and an engraved portrait of Marlborough, [c. 1705], v.s. (2).
Los 12
Africa.- Memoirs.- Bowen (John) Memorials of ... Late Bishop of Sierra Leone, first edition, engraved portrait frontispiece, occasional faint spotting, library ink-stamp to frontispiece verso, original cloth, rubbed, bumping to corners and extremities, 1862 § [Watt (Captain Isaac) & Ralph Wardlaw], Memoir of Captain Isaac Watt; with Letters on his Early Death, first edition, lithographed frontispiece, short marginal tear (pp.viii), lightly browned throughout, upper hinge strengthened, original cloth, browned spine, small loss to spine covering, slight chipping to corners and extremities, Glasgow, 1852 § [Johnson (Rev. W. A. B.) A Memoir of the Rev. ... Missionary of the Church Missionary Society in Regent's Town, Sierra Leone, folding map, occasional spotting, publisher's advertisements at end, original cloth, rubbed and worn, bumping to corners and extremities, 1852 § Mann (J. J.) Round the World in a Motor Car, first edition, frontispiece, plates, original cloth, slight bumping to corners and extremities, 1914; and 6 others, similar, 8vo (12)
Los 13
Africa.- Patterson (Lt.-Col. J.H.) In the Grip of the Nyika, first edition, illustrations, maps, publisher's advertisements at end, presentation label to front pastedown, lightly browned free endpapers, original cloth, small split to spine foot, slight bumping to corners and extremities, [Hosken p.155], 1909 § McDermott (P. L.) British East Africa or Ibea, first edition, portrait frontispiece, plate, unopened, original cloth, slight bumping to corners and spine extremities, 1893 § Drummond (Henry) Tropical Africa, first edition, folding map frontispiece and 4 folding maps, publisher's advertisements at end, original cloth, browned spine, small loss to spine head, slight bumping to corners and extremities, [Hosken p.63], 1888; and 5 others, similar, 8vo (8)
Los 138
York.- The York Eclectic Club... Record of Meetings, manuscript, watercolour wash portrait title and 33pp. excluding blanks, slightly browned, 5 pieces of associated humorous ephemera with pencil and pen and ink drawings loosely inserted, original morocco, gilt, rubbed, chipped at head of spine, lacks tail of spine, sm. 4to, 1878-82.⁂ Subjects include: Socialism, The House of Lords, British Rule in India etc.
Los 14
Africa.- Speke (John Hanning) Journal of the Discovery of the Source of the Nile, first edition, 2 engraved portrait plates, 2 maps (1 folding), 24 plates (1 with tear neatly repaired), illustrations, modern half-calf, [Hosken p.188], 1863 § Alexander (Boyd) From the Niger to the Nile, first edition, portrait frontispieces, plates and illustrations, 3 folding maps (1 with tear, repaired), occasional faint spotting, advertisements at end vol. 2, bookplates, previous owner's ink-stamps, contemporary cloth, a little rubbed, slight bumping to corners and extremities, 1907; and a Roxburghe Club edition of 'The Search for the Source of the Nile: correspondence between Captain Richard Burton, Captain John Speke and others', 8vo (4)
Los 15
Africa.- Stanley (Henry Morton) Through the Dark Continent: or The Sources of the Nile, 2 vol., first edition, portrait frontispieces, plates and illustrations, 10 maps of which 2 in pockets at end, 1 with tears to foldline (tape repairs), occasional faint spotting, bookplate, publisher's advertisements at end vol. 2, original decorative cloth, slight bumping to corners and extremities, [Hosken p. 189], 1878; My Dark Companions and Their Strange Stories, first edition, frontispiece, illustrations, many full-page, later half-calf, [Hosken p.189], 1893; How I Found Livingstone. Travels, Adventures and Discoveries in Central Africa, photographic frontispiece, half-title (small loss, repaired), plates and illustrations, 6 maps (4 folding, 1 with short tear), occasional very faint spotting, original cloth bound at end, modern half-calf, second edition, 1872; and 2 others on Stanley and Livingston, 8vo (6)
Los 154
Du Bartas (Guillaume de Salluste) Du Bartas his deuine weekes and workes translated, translated by by Josuah Sylvester, fourth edition, engraved pictorial title, woodcut portrait, illustrations, head- and tail-pieces, borders, decorative frames and initials, short closed tear to title, P8 small section of blank fore-margin torn away, 3A1-3 stained at head, occasional staining, elsewhere, including water-staining to lower corners at beginning and end, occasional spotting, closely trimmed at head, modern red crushed morocco, gilt spine in compartments, t.e.g., [STC 21652], small 4to, By Humfrey Lownes, 1613.⁂ A handsomely printed edition of the works of this French poet.
![Africa.- [Portrait of Henry Morton Stanley], carved in oak, frame with leaves to the corners, c.315 x 290 mm, n.d.](https://cdn.globalauctionplatform.com/c5dc9df4-f92c-4b3b-a914-ac1c00afaa50/53147239-ba71-40be-9d10-ac1c015ecee3/468x382.jpg)
Los 172
Language & Songs.- Collins (John) Scripscrapologia; or, Collins's doggerel Dish of All Sorts. Consisting of songs adapted to familiar tunes, and which may be sung without the chaunterpipe of an Italian warbler, or the ravishing accompaniments of Tweedle-Dum or Tweedle-Dee, first edition, half-title, engraved portrait frontispiece, this offsetting on to title, some foxing, mostly light, contemporary red morocco-backed boards, spine gilt, boards soiled, corners worn, rubbed, large 12mo, Birmingham, Publish'd by the author himself, and printed by M. Swinney, 1804.⁂ Rare. 'John Collins (1742-1808)...actor and poet, laid claim to theatrical fame mainly in his development of a kind of cabaret performance that combined his own light verse with songs, imitations of popular actors, and dialect performances. These evening performances generally went under the title of The Brush or The Evening Brush, because, according to an advertisement of 1793, it was intended "for rubbing off the rust of care". Collins thus became popularly known as "Brush Collins''.' (ODNB).
Los 19
Africa.- Voyages.- M'Leod (John) A Voyage to Africa with some Account of the Manners and Customs of the Dahomian People, first edition, 4 engraved plates, occasional faint spotting, modern cloth-backed boards, 1820 § Dumont (Pierre-Joseph) & J. S. Quesné, Histoire de L'Esclavage en Afrique (pendant trente-quatre ans), signed by Quesné, 2 portrait frontispieces, 1 facsimile, occasional spotting, later half-morocco, slight bumping to corners and extremities, Paris, 1820; and another, voyages, 8vo (3)
Los 21
America.- Portlock (Capt. Nathaniel) A Voyage Round the World; but more particularly to the North-West Coast of America..., first edition, engraved portrait, 6 folding maps and 13 plates, lacking pp.ix-xii of preliminaries (Contents), with a duplicate of map of Coal Harbour (trimmed to border and double-page), offsetting to title from portrait, some other occasional foxing or offsetting, large folding map with tear to fold (repaired), tear to outer margin of Oo2, engraved bookplate of John Bell of Thirsk, contemporary tree calf with Greek key border in gilt, rubbed, rebacked preserving old gilt spine (new label and gilt panel to one compartment), [Hill 1376; Sabin 64389], 4to, John Stockdale...and George Goulding, 1789.
Los 43
South Seas.- Shillibeer (Lt. John) A Narrative of the Briton's Voyage, to Pitcairn's Island; including an Interesting Sketch of the Present State of the Brazils and of Spanish South America, second edition, 12 etched portraits and plates, 2 folding, one printed in sanguine, heavily foxed, one folding plate stained, a few other stains, correction in pencil and ink to p.71, a few leaves becoming loose, contemporary half calf, spine gilt with red roan label, rubbed, 1817 § Brodie (William) Pitcairn's Island and the Islanders in 1850, ?first edition, 2 lithographed portraits and one plate, payment slip tipped in at front, list of subscribers, very light spotting to title and final leaf, original cloth, slightly rubbed, spine faded, paper label chipped, 1851, [Ferguson 697 & 7444; Hill 1563 & 186; Sabin 80484 & 8181], 8vo (2)⁂ Two works on the Pitcairn Islands and their famous inhabitants. The Briton set sail from England on New Year's Eve 1813, visiting Rio de Janeiro, St. Helena and the Cape of Good Hope before arriving at Pitcairn in September 1814. "A very interesting narrative including some curious details regarding the mutiny of the Bounty, and the meeting with the last survivor, John Adams..." (Hill). There is also a portrait of "Friday Fletcher October Christian", the son of Fletcher Christian and the first child born on the island to the mutineers, and views of Rio, Pitcairn and the island of Juan Fernandez. This second edition was issued the same year as the first which was published in Taunton.
![Africa.- Doulton Lambeth.- ['General Gordon' Commemorative Stonware Jug], ovoid form jug, slip decorated with central oval p](https://cdn.globalauctionplatform.com/c5dc9df4-f92c-4b3b-a914-ac1c00afaa50/54765aeb-3abe-4ed8-82a9-ac1c015ebb55/468x382.jpg)
Los 57
NO RESERVE Bees.- America.- Root (L.C.) Quinby's New Bee-Keeping, wood-engraved portrait frontispiece, numerous wood-engraved illustrations, 6pp. advertisements at end, original pictorial cloth, gilt, spine faded, rubbed, New York, Orange Judd Company, 1882; and another, American Bees, 8vo & small 4to (2)
Los 63
Bees.- Warder (Joseph) The true amazons: or, the monarchy of bees: being a new discovery and improvement of those wonderful creatures. ... Also how to make the English wine or mead, eighth edition, engraved portrait frontispiece, 4pp. advertisements at end, some spotting and light browning, contemporary calf, gilt, spine in compartments and with red morocco label, spine ends little chipped, corners worn, rubbed, [British Bee Books 74], printed for T. Longman, and T. Astley; and sold by R. Baldwin, jun., 1749; and a sixth edition in modern morocco, 12mo & 8vo (2)
Los 84
A Biffco Enterprises cocktail napkin from Robert Zemeckis' sci-fi adventure sequel Back to the Future Part II. Marty McFly (Michael J. Fox) woke up in an altered reality to his mother, Lorraine (Lea Thompson), wiping his brow with a napkin embossed with her husband, Biff's (Thomas F. Wilson), face. This white napkin features the Biffco graphic with Biff's portrait printed on one side. It is in excellent overall condition with some slight discoloration on the reverse.Dimensions: 8 1/2" x 8 1/2" (21.75 cm x 21.75 cm)Estimate: $200 - 300
Los 110
PATRICK NASMYTH (SCOTTISH 1787 - 1831), FIGURES WITH DOGS ON A COUNTRY ROAD oil on panel, signed and dated 1821 40cm x 56cm Framed. Label verso: The McEwan Gallery, Glengarden, Ballater. Provenance: Property of Lady Goodwin. Note: Patrick Nasmyth lived from 7 January 1787 to 17 August 1831. He was born in Edinburgh the son and one of the eleven children of the landscape and portrait painter Alexander Nasmyth. He grew up in a talented family. His four sisters, Anne, Barbara, Charlotte, and Jane, all also became painters, while his younger brother James Nasmyth became famous as the engineer and inventor responsible for the successful development of the steam hammer before, in retirement, also turning to art. Patrick suffered an accident as a teenager that resulted in the loss of the use of his right hand, so he had to learn to paint left-handed. He also suffered from an illness that left him very hard of hearing. Patrick became a highly acclaimed landscape painter. His subjects were often inspired by the Scottish countryside, and this remained the case after he moved to London in 1810: though he also painted many English views. Stylistically, Patrick (like his father before him) was strongly influenced by the Dutch masters of the 1600s, and he spent considerable amounts of time studying the works of painters like Meindert Hobbema and Jacob van Ruysdael in the London art galleries after he moved south. His work is noted for its gentle use of tone and colour, and the considerable detail employed. He was also especially noted for his skies. Nasmyth would often paint landscapes from life and in 1831 he developed a cold following an "on location" painting session near London. This developed into pneumonia, and he died shortly afterwards. Over one hundred (118) of his paintings are held in UK public collections including at The V&A, Glasgow Museums and The Hunterian.
Los 159
ROBERT BROUGH RSA (SCOTTISH 1872 - 1905), SUCH BURIAL, THEN THE ILLUSTRIOUS HECTOR FOUND oil on canvas 68cm x 185cm Framed. Label verso: Aberdeen Art Gallery and Museums. Note: Brough was born on 20 March 1872. at Garty Cottage, Kilmuir Easter, near Invergordon. His mother was Helen Brough, formerly lady's maid to the Duchess of Hamilton; his father John Cameron, coachman to the Hamiltons. Brough was raised by maternal relatives on a farm on the outskirts of Aberdeen. He was a pupil at Ruthrieston School in Aberdeen until 1884, leaving to become an apprentice engraver with Andrew Gibb & Co., Aberdeen until 1890/1891. Despite working long hours, Brough attended evening classes at Gray's School of Art, Aberdeen, from 1885. He then entered the Royal Scottish Academy and in the first year took the Stuart Prize for figure painting, the Chalmers Painting Bursary, and the Maclame-Walters Medal for composition. After two years in Paris under JP Laurens and Benjamin-Constant at Julian's Atelier he settled in Aberdeen in 1894 as a portrait painter and political cartoonist. During this time he contributed the illustration Roses to The Evergreen: A Northern Seasonal: The Book of Summer published by Patrick Geddes and Colleagues in Edinburgh (1896). The portrait of Mr. W.D. Ross first drew attention to his talent in 1896, and in the following year he scored a marked success at the Royal Academy with his Fantaisie en Folie , which he bequeathed to the National Gallery of British Art (now The Tate). Two of his paintings, Twixt Sun and Moon and Childhood of St. Anne of Brittany , were at the Venice municipal gallery. Brough's art was influenced by Henry Raeburn and by modern French training, but it strikes a very personal note. Brough established a studio in the early years of the 20th century in Tite Street, Chelsea near to that of his friend and mentor John Singer Sargent. On 19 January 1905 Brough was travelling back to London following a session painting in Peebleshire. He caught the overnight express from from St Enoch Station Glasgow. Tragically the train was involved in a three vehicle collision at Cudworth Station, Yorkshire. The train on which he was travelling caught fire. Seven people were killed and twenty injured, some critically including Brough who was badly burned. Singer Sargent heard of the accident and headed north to Sheffield to be at Brough's bedside shortly before he died on 21 January 1905. Brough was returned to Scotland and buried in the churchyard of St Machar's Cathedral. The grave is in the narrow section on the north side of the church.
Los 3
* MAURICE CANNING WILKS (IRISH 1910 - 1984), IRISH LANDSCAPE oil on board, signed 46cm x 59cm Framed. Note: Maurice Canning Wilks was a landscape and portrait painter born in Belfast. He was educated at Malone Public School and then at Belfast College of Art. When Wilks was only nineteen, he exhibited for the first time at the Royal Hibernian Academy, Dublin, and then went on to exhibit his work in London, Montreal, Boston and Toronto, many of which were solo exhibitions. He was elected an associate member of the RHA and a full member of the Royal Ulster Academy. Wilks was much inspired by the work of James Humbert Craig and his own portrait of Craig is in Bangor Town Hall. Maurice’s subject matter is from all over Ireland but he was particularly keen on Donegal and the West of Ireland. However, he was also a very successful portrait painter who flourished in commissioned portraits. Towards the later years of his life, Wilks had a studio in Dublin, which inspired him to paint many everyday scenes of Dublin. His belief was, ‘ hard work and regular hours’.
Los 36
WILLIAM MCTAGGART RSA RSW (SCOTTISH 1835 - 1910), CHILDREN SHRIMPING oil on canvas, signed and dated 1893 35cm x 50cm Framed Label verso: Frost & Reed. Provenance: Christie's, London, 22 September, 1978, lot 119; Christie's, South Kensington, 25 February, 2009, lot 943. Note: (b Aros croft, Laggan of Kintyre, Argyllshire, 25 Oct. 1835; d Broomieknowe, nr. Edinburgh, 2 Apr. 1910). The leading Scottish landscape painter of his period. His brushwork was free and fervent and he often depicted rough seas and scudding clouds. He was an influential figure, his followers including his grandson, the artist Sir William MacTaggart (1903–81). He moved to Edinburgh at the age of 16 to study at the Trustees Academy under Robert Scott Lauder. He won several prizes as a student and exhibited his work in the Royal Scottish Academy, becoming a full member of the Academy in 1870. His early works were mainly figure paintings, often of children, but he later turned to land and marine art specifically seascape painting, inspired by his childhood love of the sea and the rugged Mull of Kintyre coast of his birth. McTaggart was fascinated with nature and man’s relationship with it, and he strove to capture aspects such as the transient effects of light on water. He adopted the Impressionist practice of painting outdoors, and his use of colour and bold brushwork resemble qualities found in paintings by Constable and Turner, both artists whom he admired. He is regarded as one of the great interpreters of the Scottish landscape and is often labelled "the Scottish Impressionist". He married Marjory Henderson (1856-1936), the daughter of another painter, Joseph Henderson RSW (1832 - 1908). Joseph's sons John Henderson (1860 - 1924) and Joseph Morris Henderson (1863 - 1936) also being painters. McTaggart painted a striking portrait of his father-in-law, Joseph Henderson, which hangs in the Glasgow Museum. One of his pupils was the Scottish marine painter James Campbell Noble. Robert Gemmell Hutchison was also inspired by McTaggart, and was instructed by him at the Trustees' Academy in 1877 alongside notable contemporaries including Arthur Melville and Patrick William Adam. McTaggart's daughter Annie Mary (1864 - 1949) married the Scottish art historian Sir James Caw. However, McTaggart suffered the loss of his first wife Mary Holmes (d 1884, aged 47 years) and three of his daughters died in infancy. The subject matter of much of McTaggart's work is likely to have been influenced by these life experiences. William McTaggart's significant place in the history of Scottish painting is reflected by the 156 works in UK public collections including at The Tate, Kelvingrove, Glasgow Museums, The Hunterian and The National Galleries of Scotland.
Los 37
GEORGE HENRY RA RSA RSW RP NEAC (SCOTTISH 1858 - 1943), A LADY OF MEANS oil on canvas, signed (top left) 92cm x 71cm Framed and under glass. Provenance: Deceased estate. From a substantial private Scottish collection of 20th century British art. Note: A leading member of the Glasgow School, the most progressive artists in Britain during the latter part of the 19th c., George Henry moved to 26 Glebe Place, Chelsea (London) in 1905 to establish what would become a hugely successful society portrait practice. He showed annually at the Royal Academy from 1904. Aside from formal figure work, he produced a number of elegant exhibition pieces around this time which were, in part, influenced by his lengthy visit to Japan with E.A Hornel 1893-94. Almost one hundred (96) examples of George Henry's paintings are held in UK public collections including at Glasgow Museums, Kelvingrove, The Hunterian, The Laing, The Guildhall Art Gallery (London), Kirkcaldy Galleries, Manchester Art Gallery, The National Galleries of Scotland and The City Art Centre (Edinburgh).
Los 41
* COWAN DOBSON (SCOTTISH 1894 - 1980), PORTRAIT OF A BOY oil on canvas board, signed and indistinctly dated (19)23 or possibly 73 50cm x 40cm Framed and under glass. Note: David Cowan Dobson was born in Bradford, Yorkshire, the second son of the Scottish portrait painter Henry John Dobson (1858–1928). The family returned to Edinburgh and he was educated at George Watson's College and later studied art in Edinburgh, London and Paris. Dobson first exhibited at Royal Academy (London) when aged only nineteen and began showing at the Royal Scottish Academy four years later. Dobson's works were also exhibited at the Royal Society of Arts, Royal Scottish Society of Painters in Watercolour, Royal Society of Portrait Painters, Royal Society of British Artists, Royal Cambrian Academy, The Fine Art Society and at the Walker Art Gallery in Liverpool. Around 1920 he moved to London and from then on he worked and resided mainly in London but occasionally, he would work in and around Glasgow. As his reputation grew, he dropped the name "David" and was, for the majority of his life, known as "Cowan Dobson". He enjoyed a reputation as one of his generation's finest portrait painters and sitters included Clement Attlee, Harold Wilson and numerous significant public and society figures. Dobson enjoyed significant commercial success and thirty-six of his paintings, almost all portraits, are held in UK public collections including Glasgow Museums, The National Galleries of Scotland, Imperial War Museum, Paisley Art Institute and the universities of Edinburgh, Oxford, Cambridge and Newcastle.
Los 43
SIR JOHN LAVERY RA RSA RHA (IRISH/BRITISH 1856 - 1941), SKETCH, THE HOSPITABLE GATE oil on panel, signed, titled and dated '86 26.5cm x 40.5cm Framed. Provenance: Sotheby's, London, 22 July 1987. lot 150. Sotheby's, London, 6 May 2010, lot 4. Note: John Lavery was welcomed as a celebrity by collectors in Paisley after his return from France at the end of 1884. They were impressed by avant-garde ambitions expressed in large canvases such as On the Loing, An Afternoon Chat, (Ulster Museum, Belfast), shown at the Glasgow Institute of Fine Arts in February 1885. Although he established a studio in Glasgow, these wealthy middle-class local worthies were keen to retain his services. The wool and cotton manufacturer, James Fulton, for instance, offered Lavery a cottage/studio, close to his baronial mansion on his estate at The Glen, Paisley, while the artist produced portraits of members of his family. William MacKean, a soap manufacturer and the town’s Provost also provided portrait commissions and some of these are likely to have been shown at the artist’s first solo exhibition at the George A. Clark Town Hall at the end of November 1886. This grand edifice was funded four years earlier by the Clark family, owners of Anchor Mills, one of Paisley’s principal employers, who were also Lavery patrons. No catalogue for Lavery’s first show is known to be in existence, but he advertised it as ‘Portraits, Pictures & Sketches painted in the Neighbourhood’. We may however assume that in addition to views of The Glen, and smaller pictures painted in the garden of the MacBrides’ house at nearby Cathcart, where Lavery had worked on his most famous canvas, The Tennis Party, (Aberdeen Art Gallery), the exhibition also contained sketches like that of the ‘Hospitable Gate’. An earlier street scene, Lady on a Safety Tricycle 1885, (Government Art Collection), is however thought to be an entrance to Cartbank. This tentative watercolour lacks the bold handling, vivid realization and atmospheric qualities of Sketch of The Hospitable Gate . The swift notation and autumnal palette of this suburban street scene indicates that it was painted shortly before Lavery’s exhibition opened. Although there is little detail of the house, it is possible that it represents Chapel House in Ardgowan Street, Paisley - then on the fringe of the Blackhall Estate and the river White Cart Water. In the 1880s this four-square Georgian house on a leafy lane, was owned by James Clark, one of the brothers who inherited Anchor Mills. The building’s square façade, its placing in relation to the street, and the shallow pitch to its roof, suggests that the ‘hospitable gate’ could lead to just such a house.
Los 50
JAMES PATERSON PRSW RSA RWS (SCOTTISH 1854 - 1932), SEASCALE BEACH AND CLUBHOUSE, LAKE DISTRICT, CUMBRIA watercolour on paper, signed, titled and dated 1889 33cm x 51cm Mounted, framed and under glass. Note: James Paterson PRSW RSA RWS (21 August 1854 - 25 January 1932) was a Scottish landscape and portrait painter associated with The Glasgow Boys. Paterson studied at the Glasgow School of Art under Robert Greenlees and subsequently in Paris. This painting was executed during his Moniaive period (1885 to 1905) when he often made trips to paint and play golf in the Lake district. The current picture shows the mobile beach huts which were used for changing into swimming costumes during the Victorian period. The clubhouse of Seascale Golf Club in the background. A rare example of Paterson's work with golfing interest
Los 9
WILLIAM MCTAGGART RSA RSW (SCOTTISH 1835 - 1910), THE PORTRAIT OF JAMES TEMPLETON, FOUNDER OF TEMPLETON CARPETS, GLASGOW oil on canvas, signed and dated 1877 75cm x 62cm Framed. Label verso: Frost & Reed, 41 New Bond Street, London. Inscribed with Stock No. R12845 and dated 4-10-60 Note: William McTaggart was born in the Campbeltown area (Mull of Kintyre), as was James Templeton who was a farmer's son born in 1802. In his youth Templeton came to Glasgow to work in a draper's shop and by 1823 he had moved to Liverpool, and soon after obtained a lucrative post in Mexico where he made enough money to return to Scotland and start his own business. Initially he opened a shawl factory in Paisley, in 1829. In 1837, through contact with another shawl manufacturer, William Quigley, a new process was invented for processing chenille, a standard fabric for shawls, into compact C-shaped tufts which were both very soft and preserved their shape very well, enabling complex patterns to be created. Templeton immediately saw this as ideal for carpet manufacture. The ensuing carpet firm of "James Templeton & Son" was established in Bridgeton in 1839. The original factory was on King Street (now Redan Street) but burned down in 1856. In 1857 a new factory was built on William Street (later renamed Templeton Street). The factory specialised in "picture carpets", such as the Twelve Apostles Carpet which they exhibited at the Paris Exhibition of 1867. James Templeton died in 1885 and is buried in the upper part of Glasgow Necropolis.
Los 92
ROBERT GEMMELL HUTCHISON RSA RBA ROI RSW (SCOTTISH 1855-1936), THE MORNING MEAL oil on panel, signed; titled on the gilt slip 17cm x 15cm Framed and under glass. Label verso: The McEwan Gallery, Glengarden, Ballater (Royal Deeside). Provenance: Property of Lady Goodwin. Note: The child depicted is Jean, the daughter of Bertie (Roberta), the artist's eldest daughter, and his only grand-daughter. Jean was deaf and dumb and as a child featured in many of her grandfather's paintings. Gemmell Hutchison was devoted to his grand-daughter and they spent much time together, especially on painting trips to nearby St Abbs. The location is the interior of Bertie's home in the beautiful coastal village of Coldingham (Berwickshire, Scottish Borders) where Gemmell Hutchison visited frequently. He eventually died there on 23rd August 1936. He was buried at the Dean Cemetery (Edinburgh) on one of the long curving paths to the south-west. His portrait is sculpted on the memorial by John Stevenson Rhind. Robert Gemmell Hutchison achieved wide acclaim and commercial success throughout his life and the collector enthusiasm for his paintings has never dimmed. In recent years, the finest examples of his work have sold at auction for figures exceeding £100,000.
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283287 Los(e)/Seite