Sir Edward Coley Burne-Jones, Bt., ARA, RWS (British, 1833-1898)The Forbidding Angel study/cartoon for the subject in Sir Gawaine and Sir Uwaine (Sir Gawain and Sir Ewain) at the Chapel of the Sangreal, Stanmore Hall tapestry seriescoloured chalks50.2 x 25cm (19 3/4 x 9 13/16in).Painted circa 1894Footnotes:ProvenanceWith The Fine Art Society, 1896.William Hesketh Lever, 1st Viscount Leverhulme, 1922.Lady Lever Art Gallery, National Museums and Galleries on Merseyside, Liverpool1922-1958, numbered 1783.Sale, Christie's, London, 'Modern pictures and Drawings mainly of the British School of the Nineteenth Century, the Property of the Trustees of the Lady Lever Art Gallery, Port Sunlight, coming from the collection of the 1st Lord Leverhulme', 6th June 1958, part of lot 27 (sold with another pastel The Failure of Gawaine and Sir Ewain.Private collection, UK.Because of the simplicity of the draperies and drawing of the Angel's wing, it is suggested that this pastel (possibly cut down from a larger cartoon) was made in the early stages of the evolution of the tapestry. Variations occur in the position of the hands and in the structure of the door from the final design. This pastel was sold in 1958 by Leverhulme with another entitled The Failure of Sir Gawaine and Sir Ywain. It is not beyond credence that this was the other half of the composition and it had been therefore previously cut down: the measurements of this piece imply that if it was part of a cut down design it was larger than the cartoon that followed (now in a private collection) and was the same scale as the pastel of The Attainment (Birmingham City Art Gallery, acc no. 1949P6). It is interesting to note that in the preparation of a tapestry, Burne-Jones was very concerned with colour and background, unlike the simpler processes involved in the making of a stained glass window that he had developed with Morris & Co., where he left the introduction of colour entirely to Morris.We are grateful to William Waters for compiling this catalogue entry. The work is listed in the Burne-Jones catalogue raisonne, https://www.eb-j.org.For further information on this lot please visit Bonhams.com
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Edward Seago, RWS, RBA (British, 1910-1974)Old houses, Venice signed 'Edward Seago' (lower left)oil on board50.8 x 76.2cm (20 x 30in).Footnotes:ProvenanceWith Marlborough Fine Art, London. Private collection, UK (acquired from the above in 1968).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Frederick Stead (British, 1863-1940)Flower picking signed 'FRED STEAD' (lower left)oil on canvas63.5 x 76.2cm (25 x 30in).Footnotes:ProvenancePrivate collection, UK.ExhibitedBradford, Cartwright Memorial Hall, Corporation Art Gallery, Fred Stead Memorial Show (according to remnants of labels attached to the reverse).For further information on this lot please visit Bonhams.com
Maurycy Gottlieb (Polish, 1856-1879)Slave market in Cairo indistinctly signed and dated 'M.GOTTLIEB/1877' (lower left)oil on board27 x 20cm (10 5/8 x 7 7/8in).Footnotes:ProvenanceEmil Beres, Cracow.Dr Rudolf Beres, Cracow. Josef Stieglitz, Tel Aviv. I. Kiwkowitz-Haramati, Petah-Tikva. Private collection, UK. ExhibitedCracow, National Museum, Memorial Exhibition, 1932, no. 54.Jerusalem, The Bezalel National Museum, Maurycy Gottlieb 1856-1879 Commemorative Exhibition on the Occasion of the Centennial of his Birth, February - March 1956, no. 8.Tel Aviv, Tel-Aviv Museum of Art, In the Flower of Youth, Maurycy Gottlieb 1856-1879, 16 May - 20 July 1991, and Warsaw, National Musuem of Warsaw, 19 August - 20 October, 1991, no. 33.Tel Aviv, Tel Aviv Museum of Art, Fragmented Mirror, Exhibition of Jewish Artists, Berlin, 1907, 16 June - 10 October 2009.LiteratureExh. cat. Maurycy Gottlieb 1856-1879 Commemorative Exhibition on the Occasion of the Centennial of his Birth, Jerusalem, 1956, no. 8, illustrated.Nehama Guralnik, Eugen Kolb, Jerzy Malinowski, In the Flower of Youth, Maurycy Gottlieb 1856-1879, exh. cat., Tel Aviv, 1991, p. 61, illustrated.For further information on this lot please visit Bonhams.com
Maurycy Gottlieb (Polish, 1856-1879)Recha welcomes her father signed and dated 'M.GOTTLIEB 1877'(lower left)oil on canvas33.6 x 27cm (13 1/4 x 10 5/8in).Footnotes:ProvenanceDr. Rudolf Beres, Cracow.Joseph Stieglitz, Tel Aviv. Asher Frenkel, Tel Aviv.Mr Schneibalk, Jerusalem. David Dunitz, Tel Aviv. Anon. sale, Sotheby's, New York, 27 June 1984, lot 161. Private collection, New York. Private collection, UK. ExhibitedCracow, National Museum, Memorial Exhibition, 1932, no. 55.Jerusalem, The Bezalel National Museum, Maurycy Gottlieb 1856-1879 Commemorative Exhibition on the Occasion of the Centennial of his Birth, February - March 1956, no. 9.Tel Aviv, Tel-Aviv Museum of Art, In the Flower of Youth, Maurycy Gottlieb 1856-1879, 16 May - 20 July 1991, and Warsaw, National Musuem of Warsaw, 19 August - 20 October, 1991, no. 24.LiteratureWaldman, 1932, p. 35, illustrated. Exh. cat. Maurycy Gottlieb 1856-1879 Commemorative Exhibition on the Occasion of the Centennial of his Birth, Jerusalem, 1956, no. 9, illustrated.Soltysowa, 1877, p. 178.Nehama Guralnik, Eugen Kolb, Jerzy Malinowski, In the Flower of Youth, Maurycy Gottlieb 1856-1879, exh. cat., Tel Aviv, 1991, p. 139, illustrated.The present lot depicts a scene from Nathan the Wise. The play, which advocates religious tolerance, offered a rich source of subjects for Gottlieb, when he was living in Vienna, and working under the tutelage of Heinrich von Angeli. Gottlieb produced a number of versions of the present composition.For further information on this lot please visit Bonhams.com
Edward Seago, RWS, RBA (British, 1910-1974)Le Maire Channel, Graham Land, Antarctic signed 'Edward Seago' (lower left); bears title 'THE LE MAIRE CHANNEL - GRAHAM LAND' (on the reverse)oil on board45.7 x 61cm (18 x 24in).Footnotes:I hoped that Ted would find something to challenge his remarkable talent for landscape painting. Neither of us was disappointed. We could hardly tear him away from his easel to come to meals. He was fascinated by the icebergs, the colour of the sea between drifting pack-ice and the background of glaciers and snow-covered hills.His Royal Highness Prince Philip, The Duke of Edinburgh in the foreword to J. W. Reid, Edward Seago, The Landscape Art, London, 1991. In late 1956 and early 1957 Edward Seago accompanied His Royal Highness Prince Philip, The Duke of Edinburgh aboard The Royal Yacht Britannia on his voyage back to the United Kingdom after opening the Olympic Games in Melbourne. The Duke and Seago had become well acquainted during time spent in Norfolk making the artist the perfect travel companion for the long expedition. The journey allowed time for scientific research around the Antarctic Peninsula which gave Seago ample time to record the landscape. The oils painted on the journey were given by Seago to the Duke of Edinburgh as a mark of his appreciation for the opportunity, however he continued to paint similar versions of the same subjects.11J. W. Reid, Edward Seago, The Landscape Art, London, 1991, p. 226.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Maurycy Gottlieb (Polish, 1856-1879)Portrait of Laura, the artist's fiancée, 1877 bears indistinct signature and date (on the reverse)oil on canvas58 x 46.3cm (22 13/16 x 18 1/4in).Footnotes:ProvenanceEmil Beres, Cracow.Dr. Rudolf Beres, Cracow.Emil Beres, Cracow.J. Beres, Montreal, Canada. Private collection, New York. Private collection, UK.ExhibitedTel Aviv, Tel-Aviv Museum of Art, In the Flower of Youth, Maurycy Gottlieb 1856-1879, 16 May - 20 July 1991, and Warsaw, National Musuem of Warsaw, 19 August - 20 October, 1991, no. 17.LiteratureKolb, 1958, p. 9, illustrated. Soltysowa, 1977, pp. 161, 164, 178, pl. 22, illustrated. Nehama Guralnik, Eugen Kolb, Jerzy Malinowski, In the Flower of Youth, Maurycy Gottlieb 1856-1879, exh. cat., Tel Aviv, 1991, p. 131, illustrated, p. 76, illustrated (detail).Born in 1856, Moritz Gottlieb showed an early talent for paintng, and enrolled at the Academy of Fine Arts in Vienna aged just fifteen. Working between Vienna, Munich, Rome and Norway, Gottlieb produced an extraordinary body of work, much of which narrates the history of the Jewish people in Poland. His iconic work Jews praying in the Synagogue on Yom Kippur hangs in the Tel Aviv Museum of Art, and he was awarded a gold medal at the Munich exhibition of 1876 for Shylock and Jessica.The present work depicts Laura Rosenfeld, whose likeness appears in a number of Gottlieb's paintings. The two most likely met in Vienna in the mid-1870s. Tragically, following Rosenfeld calling off the engagement and marrying a wealthy banker, Gottlieb intentionally exposed himself to the elements, contracting a cold, which led to his untimely death at just 23.For further information on this lot please visit Bonhams.com
ROBERT HERDMAN-SMITH (BRITISH 1879 - 1945), TWO COLOURED ETCHINGS BAKEHOUSE CLOSE, EDINBURGH and ADVOCATES CLOSE, EDINBURGHcoloured etchings on paper, both signed and titledboth mounted, framed and under glassimage size 25cm x 18cm each, overall size 48cm x 39cm Note: Born at Liverpool, the artist studied at Leeds, London, Paris, Antwerp and Munich. He travelled widely, and painted not only on the European Continent, but in Egypt and Australasia, South America and Japan. He became the Director of the School of Art at Canterbury College, New Zealand before returning to the UK, where he exhibited between 1920 and 1932 from addresses in Newlyn (1920) and Wareham in Dorset (1932).
HENRY MOORE RA RBA RWS (BRITISH 1831 - 1895), UNLOADING THE CATCH oil on canvas, signed and dated 1872 framed image size 34cm x 59cm, overall size 44cm x 70cm Note: A member of a distinguished family of Yorkshire artists, Henry Moore rose to become one of the best marine painters of his day. Working in both oil and watercolour, he treated the sea ‘as a subject sufficient in itself, rather than simply the background of a battle, shipwreck, or even landscape’. Henry Moore was born at 14 Castlegate, York, on 7 March 1831, the tenth of fourteen children of the portrait painter, William Moore, and the second son by his second wife, Sarah Collingham. Four of his brothers were artists: Edwin Moore, William Moore Jr, John Collingham Moore and, most notably, the youngest, Albert Moore, a leading painter of the Aesthetic Movement. Henry Moore studied under his father before attending York School of Design, from 1851. Two years later, in 1853, he moved to London, where he joined his brother, John, in lodgings near Oxford Street, and began to exhibit at the Royal Academy, even before he entered the Royal Academy Schools at the end of the year. Indeed, while he remained at the RA Schools for only a few months, he continued to exhibit at the RA almost annually. In 1855, he also began to exhibit at the Society of British Artists, the British Institution and the Portland Gallery. He spent the summers of 1855 and 1856 painting the mountains of Servoz, near Chamonix, and first became known for producing Alpine as well as British landscapes in the Pre-Raphaelite manner. In 1857, a series of visits to Clovelly on the north Devon coast inspired Moore to turn to marine subjects, and especially panoramic vistas of the open sea, which he believed had not been fully achieved in painting before. In the decade or so following his marriage to Mary Bollans, of York, on 19 July 1860, he divided his time between landscapes and seascapes, and developed a reputation for his precise observation of the atmosphere and form of the sea. However, he gradually modified his style, employing broader handling and bolder colour. The evolution and increased mastery of his work were based on extended experience and careful study, made on board ship as well as from land. He was known to cross England in order to observe a bad storm. Though elected a member of the Society of British Artists in 1867, Moore resigned eight years later, at the time that he began to devote himself completely to seascapes. He exhibited these at a wider range of metropolitan venues, including the Dudley Gallery, the Grosvenor Gallery (founded in 1877) and the New Gallery (founded in 1888), and in the provinces. Elected to the membership of the Royal Society of Painters in Water-Colours (ARWS 1876, RWS 1880) and the Royal Academy (ARA 1885, RA 1893), he was also awarded the grand prix at the Exposition Universelle, Paris (1889) and, as a result, the Légion d’honneur. In 1887, the Fine Art Society mounted a large solo show of his work, while he was represented alongside his father and brothers in an exhibition devoted to the Moore family of painters in York in 1895. For much of his career, Moore had lived in Sheffield Terrace, Kensington, and it was there that he and his wife brought up their two daughters, Agnes and Florence, the first of whom became a painter of flowers. However, late in the 1880s, they moved to 39 Maresfield Gardens, Hampstead. Henry Moore died at the High Cliff Hotel, Margate, on 22 June 1895. His work is represented in numerous public collections, including the British Museum, Tate and the V&A; and Birmingham Museums and Art Gallery, Leamington Spa Art Gallery & Museum, Manchester Art Gallery and York Art Gallery.
* SIR WILLIAM GEORGE GILLIES CBE RA RSA PRSW (1898 - 1973), LOTHIAN LANDSCAPE watercolour on paper, initialled and dated 1930mounted, framed and under glassimage size 11cm x 17cm, overall size 26cm x 34cm Note: Born in Haddington, East Lothian in 1898, William Gillies studied at Edinburgh College of Art (ECA), where his teachers included D M Sutherland, David Alison, Adam Bruce Thomson and Donald Moodie. In 1922 Gillies graduated and became a founder member of the 1922 Group with Sir William MacTaggart, Robert Crozier, Geissler and others. In 1923 he received a Travelling Scholarship and visited Paris with Geissler, studying with Andre Lhote, before travelling on to Florence. In 1929, after a year teaching at Inverness Academy, Gillies joined ECA's staff, which now included MacTaggart with John Maxwell. During the late 1920s and 1930s Gillies developed a loose, almost Expressionist style, painting the Scottish landscape on the spot, often spending painting holidays with John Maxwell and others in Dumfries & Galloway. In 1939 he moved to the Midlothian village of Temple where the surrounding landscape provided the subject for many of his later works. He visited the villages of East Linton, Haddington, Howgate and Gifford on his motorcycle, painting in oil and watercolour. In the post war period his landscapes became more complex, using intricate patterns of roofs, winding roads, fences, trees and hedges as constructive elements. Pencil and ink outlines became important in his watercolours. He also enjoyed the east coast fishing villages whose nets and boats provided similar fascination. In 1946 he was appointed Head of Painting at ECA, becoming Principal 1960-6. Despite his full-time teaching job his art never suffered and he continued to paint landscapes, interiors and still-life right up to his death.
JOHN CAMPBELL MITCHELL RSA (SCOTTISH 1862 – 1922), SUMMER SUNSET, MACHRIHANISH oil on canvas, signed, titled versounframedoverall size 46cm x 77cm Note: Born Campbeltown, Argyll; died Edinburgh 15 February 1922. Painter in oil and occasionally watercolour; landscapes and marine scenes. Started life in a lawyer’s office but at age of twenty-two abandoned his legal career and entered Edinburgh College of Art where he worked in the RSA Life class and later in Paris under Benjamin Constant. On his return to Scotland 1890 he settled in Edinburgh where he remained for the rest of his life. First exhibited at the RSA 1886 and in 1901 spent some time in Galloway developing a great attraction for and technique in portraying changeable skies. Painted large expanses of moorland and rolling countryside as well as wide expanses of beach and ocean. Had a strong feeling for sunlight and fluctuating shadow. Elected ARSA 1904, RSA 1918. Exhibited RA (8), RSA (99), RSW (2), GI (67), AAS & L (3). Represented in Aberdeen Art Gallery, Glasgow AG, City of Edinburgh Collection, Walker AG (Liverpool) and Manchester AG.
* ROBERT EADIE RSW (SCOTTISH 1877 - 1954), THE FISH DOCK watercolour on paper, signed, titled label versomounted, framed and under glassimage size 32cm x 45cm, overall size 68cm x 79cm Note: Painter, printmaker and poster designer who was educated in Glasgow, studied at School of Art there and in Munich and Paris. In World War I served in the Royal Engineers. He was a member of Glasgow Art Club, living in Cambuslang, and the city’s Art Gallery holds his watercolour Stirling Bridge. Other main examples of Eadie’s work include St Monans; Snow on the Roofs; Old Bridge, Stratheven; and Dinan Market. He was elected RSW in 1916, also showing at RSA, Royal Glasgow Institute of the Fine Arts, RA and Walker Art Gallery in Liverpool.
* ANDREW P NEILSON (SCOTTISH 1920 - 2004), CITY SQUARE, DUNDEE watercolour on paper, signed and titledmounted, framed and under glassimage size 25cm x 36cm, overall size 46cm x 58cm Note: Andrew Neilson, who studied at the Dundee College of Art, was principally known for his atmospheric and detailed watercolour and gouache portrayals of the streets and buildings of his home town. He exhibited at the Royal Scottish Academy and at the Municipal Art Gallery in Dundee.
MAURICE GREIFFENHAGEN (BRITISH 1862 - 1931), BOY IN DUNGAREES watercolour, signedin card mountimage size 39cm x 32cm, overall size 60cm x 49.5cm Note: Maurice Grieffenhagen (15 Dec 1862-26 Dec 1931) was a painter of portraits and idyllic subjects, and a poster designer, decorator and illustrator, born in London, of Baltic German descent. he entered the R.A. Schools 1878; and won the Armitage Medal and other awards. From 1887 he was much engaged in book illustration, particularly for Rider Haggard's novels and for periodicals. He was influenced by Rossetti and the Venetians. He exhibited at the R.A., chiefly portraits, from 1884; A.R.A. 1916, R.A. 1922, and also exhibited at Munich, Dresden, Ghent and elsewhere. He taught at Glasgow School of Art 1906-1929. He decorated the British Pavilions for the Paris Exhibition 1925 and Antwerp 1930, but died in London the following year.Greiffenhagen was appointed as Professor of the Life Classes (with responsibility for Drawing and Painting, Composition and so on) in 1906 and retired from the School in 1929. Greiffenhagen worked at the School for six months of every year. He kept a house in London and visited GSA when necessary to set work and check the progress of his students, leaving much of the actual teaching in the hands of his assistant professors, David Forrester Wilson and others. Greiffenhagen had to be present for examinations, the end of the year diploma show and at other formal occasions but for the most part he was allowed plenty of time to himself to ensure that his own career as an artist did not suffer. He was elected to the Royal Academy in 1922 at the same time as another GSA staff member Robert Anning Bell, and a luncheon was held for School staff to celebrate the occasion. Sixty of his paintings are held in prominent UK public collections.
* RALSTON GUDGEON RSW (SCOTTISH 1910 - 1984), TWO MAGPIES watercolour on paper, signedframed and under glassimage size 51cm x 60cm, overall size 56cm x 65cm Note: Ralston Gudgeon was a Scottish artist, best known for painting birds and animals mostly in gouache watercolour. He studied at the Glasgow School of Art in 1933 and won the Torrance Memorial Award of the Glasgow Institute. When Ralston Gudgeon was elected to the RSW in 1937, he became the youngest man ever to achieve that honour. In 2018, "The Scottish Wild Cat" by Gudgeon sold in our auction for £900 (hammer) which "signposted" a resurgence of collector interest in his work. This resurgence of buyer interest has continued unabated.
KATE WYLIE (SCOTTISH 1877 - 1941), STILL LIFE oil on board, signedframedimage size 15cm x 20cm, overall size 19cm x 23cm Note: Kate Wylie was a flower painter and her work is in the Glasgow Museums. Born in Skelmorlie, Ayrshire, she painted in oil and watercolor. She is now best known for her flowers paintings. Kate ie trained at Glasgow School of Art and oWylften painted on the Isle of Arran where she had a cottage at Blackwater Foot. In 1942 a memorial exhibition of her work, and that of Janet Aitken and Elma Story, was held at Glasgow Society of Lady Artists.
JOHN CAMPBELL MITCHELL ARSA (SCOTTISH 1862 – 1922), COASTAL STUDY oil on canvasframedimage size 30cm x 50cm, overall size 38cm x 58cm Note: Born Campbeltown, Argyll; died Edinburgh 15 February 1922. Painter in oil and occasionally watercolour; landscapes and marine scenes. Started life in a lawyer’s office but at age of twenty-two abandoned his legal career and entered Edinburgh College of Art where he worked in the RSA Life class and later in Paris under Benjamin Constant. On his return to Scotland 1890 he settled in Edinburgh where he remained for the rest of his life. First exhibited at the RSA 1886 and in 1901 spent some time in Galloway developing a great attraction for and technique in portraying changeable skies. Painted large expanses of moorland and rolling countryside as well as wide expanses of beach and ocean. Had a strong feeling for sunlight and fluctuating shadow. Elected ARSA 1904, RSA 1918. Exhibited RA (8), RSA (99), RSW (2), GI (67), AAS & L (3). Represented in Aberdeen Art Gallery, Glasgow AG, City of Edinburgh Collection, Walker AG (Liverpool) and Manchester AG.
* FRANCIS WILSON (SCOTTISH 1876 - 1957), LEAFY JUNE oil on canvas, signed, titled label versoframedimage size 41cm x 51cm, overall size 45cm x 55cm Label verso: Paisley Art Institute ExhibitionNote: Painter in oil of landscapes and portraits. Born in Glasgow, he studied at the School of Art there before a travelling scholarship enabled him to study widely in France and Italy. Exhibited RSA, RSW, Royal Glasgow Institute of the Fine Arts and in Canada. Glasgow Museum and Art Galleries hold his work. Lived in Glasgow, where he was a member of the Art Club.
HERBERT THOMAS DICKSEE RE (BRITISH 1862 - 1942), A WEST HIGHLANDER limited edition etching on paper, signed and numbered 73/150mounted, framed and under glassimage size 23cm x 30cm, overall size 45cm x 54cmNote: Herbert Thomas Dicksee (1862-1942) was an English painter and illustrator, best known for his animal and landscape paintings. He was born in London, England, into a family of artists, and was the younger brother of Sir Frank Dicksee, who was also a famous painter. Herbert Dicksee began his artistic training at the South Kensington School of Art, later studying at the Royal Academy Schools. He exhibited his work at the Royal Academy from 1881 to 1918 and at other major galleries in London and elsewhere in Britain. His paintings often featured animals, particularly dogs, and he was highly regarded for his ability to capture their movement and personality. In addition to his painting career, Dicksee was also a successful illustrator, contributing to books and magazines. He was a member of several prestigious artistic societies, including the Royal Society of British Artists and the Royal Society of Painters in Watercolours. Herbert Thomas Dicksee died in 1942 at the age of 79.
ROBERT HERDMAN-SMITH (BRITISH 1879 - 1945), A MOSQUE IN TUNIS watercolour on paper, signed, titled versomounted, framed and under glassimage size 26cm x 18cm, overall size 42cm x 34cm Note: Born at Liverpool, the artist studied at Leeds, London, Paris, Antwerp and Munich. He travelled widely, and painted not only on the European Continent, but in Egypt and Australasia, South America and Japan. He became the Director of the School of Art at Canterbury College, New Zealand before returning to the UK, where he exhibited between 1920 and 1932 from addresses in Newlyn (1920) and Wareham in Dorset (1932).
ROBERT RUSSELL MACNEE (SCOTTISH 1880 - 1952), COTTAGE WITH CHICKEN watercolour on paper, initialledmounted, framed and under glassimage size 15cm x 22cm, overall size 24cm x 31cm Note: Born in Milngavie, Scotland. MacNee studied at The Glasgow School of Art and exhibited at the Royal Academy; Royal Scottish Academy; Paris Salon; Glasgow Institute of the Fine Arts; Walker Art Gallery, Liverpool; Manchester City Art Gallery; Royal Hibernian Academy; and Royal Society of Painters in Water Colours. He enjoyed considerable commercial success in his lifetime and thirteen of his paintings are held in public collections in the UK including Glasgow Museums & Galleries.
JOSEPH HENDERSON RSW (SCOTTISH 1832 - 1908) ROW BOAT COMING IN TO SHORE oil on board, signed and dated 1878framedimage size 50cm x 80cm, overall size 59cm x 88cm Note: Joseph Henderson was born on 10 June 1832 in Stanley, Perthshire, He was the third of four boys. When he was about six, the family moved to Edinburgh and took up residence in Broad Street. The two older boys joined their father, also Joseph, as stone masons. Joseph’s father died when Joseph was eleven leaving his mother, Marjory Slater, in straightened circumstances. As a result, Joseph and his twin brother, James, were sent to work at an early age and the thirteen-year-old Joseph was apprenticed to a draper/hosier. At the same time, he attended part-time classes at the Trustees’ Academy, Edinburgh. At the age of seventeen, on 2 February 1849, he enrolled as an art student in the Academy. From the census of 1851, Marjory, Joseph and James were living at 5 Roxburgh Place, Edinburgh. Marjory was now a ‘lodging housekeeper’ with two medical students as boarders. James was a ‘jeweller’ while Joseph was a ‘lithographic drawer’. In the same year Joseph won a prize for drawing at the Academy enabling him, along with fellow students, W. Q. Orchardson, W. Aikman and W. G. Herdman, to travel to study the works of art at the Great Exhibition in London, which he found to be a very formative experience. He left the Academy about 1852-3 and settled in Glasgow. He is first mentioned in the Glasgow Post Office Directory for 1857-8 where he is listed as an artist living at 6 Cathedral Street. Joseph Henderson’s first exhibited work was a self-portrait which was shown at the Royal Scottish Academy (RSA) in 1853. He painted several portraits of friends and local dignitaries including a half-length portrait of his friend John Mossman in 1861. His painting, The Ballad Singer established his reputation as one of Scotland`s foremost artists when exhibited at the RSA in 1866. Throughout his career he continued in portraiture. He executed portraits of James Paton (1897) a founder and superintendent of the Kelvingrove Art Gallery and Museum (this portrait was bequeathed to Kelvingrove in 1933) and Alexander Duncan of the Faculty of Physicians and Surgeons of Glasgow. He also painted Mr. Scott Dickson, Sir Charles Cameron, Bart., DL, LLD (1897) and Sir John Muir, Lord Provost of Glasgow (1893). His portrait of councillor Alexander Waddell (1893) was presented to Kelvingrove in 1896. However, it is probably as a painter of seascapes and marine subjects that he became best known. His picture Where Breakers Roar attracted much attention when exhibited at the Royal Glasgow Institute (RGI) in 1874, ‘as a rendering of angry water’. Henderson was in part responsible for raising the profile and status of artists in Glasgow and was a member of the Glasgow Art Club (he was President in 1887-8), the Royal Glasgow Institute of the Fine Arts (founded 1861) and the Royal Society of Painters in Watercolour. Between 1853 and 1892, he exhibited frequently at the RSA and at the RGI and between 1871 and 1886 he had twenty pictures accepted for the Royal Academy in London. In 1901 he was entertained at a dinner by the President and Council of the Glasgow Art Club to celebrate his jubilee as a painter. He was presented with a solid gold and silver palette. An inscription on the palette read: ‘Presented to Joseph Henderson, Esq., R.S.W. by fellow-members of the Art Club as a mark of esteem and a souvenir of his jubilee as a painter, 8th January 1901’ Joseph Henderson was married three times. On 8 January 1856 he married Helen Cosh (d. 1866) with whom he had four children including a daughter Marjory who became the second wife of the artist William McTaggart. On 30 September 1869 he married Helen Young (d. 1871) who bore him one daughter and in 1872 he married Eliza Thomson with whom he had two daughters and who survived him. Two of his sons, John (1860 – 1924) and Joseph Morris (1863 – 1936) became artists; John was Director of the Glasgow School of Art from 1918 to 1924. By 1871 he had moved with his family; wife Helen, daughter Marjory and sons James, John and Joseph and his mother Marjory from Cathedral Street to 183 Sauchiehall Street. He also employed a general servant. He is described in the census as a ‘portrait painter’. In 1881, Joseph was living at 5 La Belle Place, Glasgow with Eliza, two sons and four daughters. He later moved to 11 Blythswood Square, Glasgow. In the 1901 census he was still at this address with his wife Eliza, sons John and Joseph and daughter Mary and Bessie. His occupation is ‘portrait and marine painter’. Joseph Henderson painted many of his seascapes at Ballantrae in Ayrshire. At the beginning of July 1908, he again travelled to the Ayrshire coast. However, he succumbed to heart failure and died at Kintyre View, Ballantrae, on 17 July 1908 aged 76 and was buried in Sighthill cemetery in Glasgow. A commemorative exhibition of his works was held at the RGI in November of that year. A full obituary was published in the Glasgow Herald. As well as his devotion to art, Joseph Henderson was a keen angler and golfer. A contemporary account states that he was ‘frank and genial, with an inexhaustible fund of good spirits and a ready appreciation of humour, of which he himself possesses no small share’. Thirty-six of his paintings are held in UK public collections.
* CHARLES OPPENHEIMER RSA RSW (BRITISH 1875 - 1961), SKETCH OF GARDEN AND HOUSE charcoal on papermounted, framed and under glass image size 16cm x 24cm, overall size 33cm x 40cm Provenance: the artist's studio sale, Thomson Roddick.Note: Charles Oppenheimer was born in Manchester in 1875. His mother was Scottish and the family owned a mosaic manufacturing business. He studied under Walter Crane at Manchester School of Art and in Italy. Although not a native Scot, (he didn't settle in Scotland until he was in his mid-thirties) he was passionate about his adopted home town of Kirkcudbright and found an endless source of subject matter in the 53 years he lived in the town. Kirkcudbright drew some of Scotland's greatest artists, such as Cadell and Fergusson, and many painters gathered here following the lead of E.A. Hornel. They were primarily attracted to the effect of the light on the hilly ground which produced soft colours and a spectrum of grey. Oppenheimer was a keen fisherman and many of his paintings dealt with the effect of light on water. His views of The Solway Coast and Whitby were used by British Rail for their advertising campaign 'See Britain By Rail'. He retained a love of Italy and produced some excellent canvasses of Venice and Florence. He exhibited regularly at the Royal Scottish Academy in Edinburgh, where he became a full member in 1934.
WILLIAM OLIPHANT HUTCHISON PRSA RP (SCOTTISH 1889 - 1970), YORKSHIRE LANDSCAPE oil on canvas boardframed image size 23cm x 30cm, overall size 38cm x 45cm Handwritten label versoProvenance: the family of the artist.Note: Hutchison attended The Edinburgh College of Art between 1909 and 1912. On leaving he started The Edinburgh Group, holding exhibitions for three consecutive years, with Eric Robertson, Alick Riddell Sturrock, John Guthrie Spence Smith, Dorothy Johnstone, Mary Newbery, and David Macbeth Sutherland who later became Principal at Gray's School of Art in Aberdeen. Hutchison also worked and studied in Paris for a while, mainly painting portraits though also producing landscape and figure paintings. In 1918 he married Marjery, youngest daughter of Edward Arthur Walton. Hutchison was Director of the Glasgow School of Art from 1933 to 1943, from all accounts being an excellent director. Though a great traditionalist he encouraged those who tended to the avant-garde. On leaving the Glasgow School of Art, Hutchison carried on with portraiture both in Edinburgh and London. A large exhibition of his work was held in London in 1964. Public collections include: The Hunterian, The National Portrait Gallery, Glasgow Museums, The National Galleries Of Scotland, UK Parliamentary Art Collection, The Fleming Collection, The BBC, National Trust Scotland, Glasgow School of Art, and the museums of Aberdeen, Edinburgh, Dundee, Kirkcaldy, Paisley & Fife.
DAVID FULTON RSW (SCOTTISH 1848 - 1930), THE WOODGATHERERS oil on canvas, signedframedimage size 46cm x 41cm, overall size 66cm x 60cmNote: David Fulton is best known for his charming figurative paintings and landscapes, executed in a loose and broad manner with a mesmerizing colour palette. Fulton established an international reputation as a skilled painter of children and pastoral scenes. His subjects were depicted in rural settings, often woodland or pastures abundant with flora and fauna. Fulton was born in Parkhead in the East End of Glasgow, and showed great artistic ability from a young age. He studied painting at the Annfield Academy and later became a student at the prestigious Glasgow School of Art, where he won numerous awards for his paintings. Fulton exhibited at many principal galleries in Scotland and London from 1884 onwards. Fulton was one of the earliest members of the Glasgow Art Club. He was elected to the Royal Society of Watercolour Artists in 1891 and also exhibited frequently at the Royal Academy in London.
KATE WYLIE (SCOTTISH 1877 - 1941), STILL LIFE oil on canvas, signedframedimage size 62cm x 46cm, overall size 80cm x 66cmNote: Kate Wylie was a flower painter and her work is in the Glasgow Museums. Born in Skelmorlie, Ayrshire, she painted in oil and watercolor. She is now best known for her flowers paintings. Kate Wylie trained at Glasgow School of Art and often painted on the Isle of Arran where she had a cottage at Blackwater Foot. In 1942 a memorial exhibition of her work, and that of Janet Aitken and Elma Story, was held at Glasgow Society of Lady Artists.
* PHILIP CONNARD CVO RA RWS (BRITISH 1875 - 1958), THE PORTRAIT OF MRS WILSON OF CASTLEHILL AND HER SON oil on canvas, signedframedimage size 90cm x 70cm, overall size 106cm x 85cmNote: Mrs Wilson is pictured seated with her son, Leslie Cowans Wilson (1920 – 1954), who died in the 1954 Prestwick Air Disaster.Note 2: Philip Connard, painter and teacher, born in Southport, Lancashire. At first he worked as a house painter and studied art part-time until he won a scholarship to the Royal College of Art and in 1898 a British Institution Prize which took him to Paris. Returning to London he illustrated and taught at Lambeth School of Art. Showed widely, including RA, Leicester Galleries, RWS and NEAC as a member of both, Fine Art Society and elsewhere. Also showed solo at Leicester Galleries, and at Barbizon House. In World War I was an Official War Artist; painted murals for Queen Mary’s Dolls’ House, Windsor; also did decorations for the liner Queen Mary. Was elected RA in 1925 and Keeper, 1945–9. Connard was a painter of many facets, as his holding in the Tate Gallery shows. Died at Twickenham, Middlesex. One hundred and sixteen of his paintings are held in UK public collections.
DAVID GAULD RSA (SCOTTISH 1865 - 1936), TWO CALVES oil on canvas, signedframed and under glassimage size 39cm x 60cm, overall size 48cm x 68cm Note: David Gauld (7 November 1865 - 18 June 1936) was an important Scottish artist who worked in both oils and stained glass and was regarded as being one of the innovators within the Glasgow Boys group. Some of his works, such as St Agnes and Music are seen as precursors of the Art Nouveau movement. His works were seen as having both a Japanese and Pre-Raphaelite influence. Gauld was born in Glasgow and served an apprenticeship as a lithographer and then attended Glasgow School of Art from 1882 to 1885. He came to public notice in the 1880s when he supplied a series of Japanese-influenced pen and ink drawings for the Glasgow Weekly Citizen. Gauld shared the Castlemains Studio in Kirkcudbright with William Stewart MacGeorge and then in later life shared a studio with Harrington Mann at 31 St Vincent Street in Glasgow from 1891 to 1894. During this time he designed stained glass windows for Guthrie and Wells. Gauld then took new premises at 138 West George Street in Glasgow. He also lived at various locations in Kirkcudbright, Glasgow and North Berwick. In 1889 he returned to the Glasgow School of Art and also studied in Paris for a period that year. Like other artists from Glasgow, Gauld spent time at the artist's colony at Grez-sur-Loing in France. Forty-three examples of David Gauld's work are held in the collections of various UK public galleries including Glasgow Museums, The Hunterian, The Scottish National Gallery, Kelvingrove, Gracefield, Paisley, Kirkcaldy and The Fleming Collection (London).
ROBERT RUSSELL MACNEE (SCOTTISH 1880 - 1952), FIGURES ON THE COAST watercolour on paper, signedmounted, framed and under glassimage size 17cm x 25cm, overall size 37cm x 47cm Note: Born in Milngavie, Scotland. MacNee studied at The Glasgow School of Art and exhibited at the Royal Academy; Royal Scottish Academy; Paris Salon; Glasgow Institute of the Fine Arts; Walker Art Gallery, Liverpool; Manchester City Art Gallery; Royal Hibernian Academy; and Royal Society of Painters in Water Colours. He enjoyed considerable commercial success in his lifetime and thirteen of his paintings are held in public collections in the UK including Glasgow Museums & Galleries.
KATE WYLIE (SCOTTISH 1877 - 1941), FLOWERS IN A CHINESE VASE watercolour on paper, signedmounted, framed and under glass image size 25cm x 31cm, overall size 48cm x 52cm Note: Kate Wylie was a flower painter and her work is in the Glasgow Museums. Born in Skelmorlie, Ayrshire, she painted in oil and watercolor. She is now best known for her flowers paintings. Kate Wylie trained at Glasgow School of Art and often painted on the Isle of Arran where she had a cottage at Blackwater Foot. In 1942 a memorial exhibition of her work, and that of Janet Aitken and Elma Story, was held at Glasgow Society of Lady Artists.
ERNEST ARCHIBALD TAYLOR (SCOTTISH 1874 - 1951), MOUNTAIN LANDSCAPE, ARRAN watercolour on papermounted, framed and under glassimage size 27cm x 20cm, overall size 48cm x 39cmNote: Painter, printmaker, stained glass and furniture designer, born in Greenock, Renfrewshire. In the early 1900s he worked for the Glasgow cabinet makers Wylie and Lochhead, in 1908 married the artist Jessie M King and moved to Manchester where he managed and designed for George Wragge Ltd, notably stained glass, then for about three years prior to World War I the Taylors lived in Paris. They set up a school there, Atelier Shealing, then when they had settled in Kirkcudbright ran a summer school on the Isle of Arran. Modern French art, the Scottish Colourists and the Ballets Russes all affected Taylor’s art. He showed extensively at RSA, also at RSW and Royal Glasgow Institute of the Fine Arts as well as abroad.
* DAVID MACBETH SUTHERLAND RSA (SCOTTISH 1883 - 1973), UNTITLED oil on board, signedframed image size 34cm x 24cm, overall size 38cm x 28cm Provenance: by descent through the artists familyNote: David Sutherland was born in Wick. He studied at the Royal Scottish Academy under Charles Mackie and at Edinburgh College of Art (ECA). Awarded the Carnegie Travelling Scholarship, Sutherland used it to travel to Spain, France and the Low Countries. After the war he taught at Edinburgh college of Art and, with Mary Newbery and Dorothy Johnstone, he helped revive the Edinburgh Group. In 1924 Sutherland and Dorothy Johnstone were married. Towards the end of the decade Sutherland often painted in the north-east with colleagues William Gillies and John Maxwell. Upon his appointment as principal of Gray's School of Art in 1933 he and Dorothy moved to Aberdeen. Sutherland continued to paint on both the west and east coasts. The Sutherlands retired to east Aberdeenshire in 1948. David Sutherland is mainly known for his Scottish and Breton landscapes. He also painted portraits.
* SIR WILLIAM MACTAGGART PRSA RA FRSE RSW (SCOTTISH 1903 - 1981), FIELD AND VILLAGE felt pen and charcoal on papermounted, framed and under glass image size 23cm x 27cm, overall size 45cm x 47cm Label verso: Louise Kosman Modern British Art, EdinburghNote: Born at Loanhead in 1903, Sir William MacTaggart is one of the best-loved and yet least well-understood of Scottish artists. MacTaggart, grandson of the great landscape painter, took his Diploma at the same time as William Gillies and Geissler and followed the same route to Paris. Back in Edinburgh he was a founder member of the 1922 Group (of younger painters), in 1927 he joined the Society of Eight whose members included Colourists Cadell and Peploe and began a consistently successful exhibition career starting at The Scottish Gallery in 1929. A sumptuous painter in oils, he was a prolific draughtsman and preferred pastel to watercolour; instinctively an expressionist and romantic painter his outlook shifted dramatically after the Munch exhibition at the SSA in 1931 (eventually marrying the Norwegian curator Fanny Aavatsmark) and again after studying Roualt in Paris in the early sixties. MacTaggart taught at the Edinburgh College of Art, 1933–58, and was president of the Royal Scottish Academy, 1959–64. He was knighted in 1962 and made a Chevalier of the Legion of Honour in 1968. UK Public collections hold seventy-three of his paintings.
* ADRIAN HILL RBA RI (BRITISH 1895 - 1977), FLOWER PIECE oil on board, signed, titled and dated 1964 versoframedimage size 61cm x 51cm, overall size 77cm x 67cm Handwritten label verso.Noote: Painter, mainly of landscapes in watercolour, and illustrator. Born at Charlton, Kent, studied at St John’s Wood School of Art, 1912–14, then at the Royal College of Art, 1919–20. During World War I Hill was an Official War Artist, producing outstanding pictures from the front line, now in the Imperial War Museum. Exhibited at the RA, RBA, NEAC, RHA, ROI, in the provinces and overseas, including Paris Salon. His work is in many public collections, including the Victoria & Albert Museum. Hill was an exemplary, enthusiastic teacher. For a time he taught at Hornsey School of Art and on screen in the early days of television after World War II. He wrote many books on painting techniques, such as On Drawing and Painting Trees, 1936, and The Pleasures of Painting, 1952. Lived at Midhurst, Sussex.
* ROBERT HARDIE CONDIE RSW (SCOTTISH 1898 - 1981) STILL LIFE watercolour on paper, signedmounted, framed and under glassimage size 38cm x 48cm, overall size 54cm x 64cm Note: Robert Hardie Condie RSW 1898 – 1981 Scottish landscape painter in oils and watercolours. Condie was born in Kirkcaldy and studied art at Edinburgh College of Art. He was the Art Master at Brechin High School from 1928 until his retirement in 1963. He was elected a member of The Royal Scottish Society of Painters in Watercolours in 1959.
* ROBERT HARDIE CONDIE RSW (SCOTTISH 1898 - 1981) WINTER IN THE DEN watercolour on paper, signed, titled label verso mounted, framed and under glass image size 59cm x 73cm, overall size 83cm x 96cm Label verso: Royal Scottish Society of Painters in Water-colours. Note: Robert Hardie Condie RSW 1898 – 1981 Scottish landscape painter in oils and watercolours. Condie was born in Kirkcaldy and studied art at Edinburgh College of Art. He was the Art Master at Brechin High School from 1928 until his retirement in 1963. He was elected a member of The Royal Scottish Society of Painters in Watercolours in 1959.
* ROBERT COLQUHOUN (SCOTTISH 1914 - 1962), MIMOSA STUDY watercolour on paper, signed and dated 1934mounted, framed and under glassimage size 26cm x 19cm, overall size 45cm x 36cm Note: Born Kilmarnock, 20 Dec. 1914; died London, 20 Sept. 1962). British painter, graphic artist, and designer. In 1933–8 he studied at Glasgow School of Art, where he became the inseparable companion of his fellow student Robert MacBryde (b Maybole, Ayrshire, 5 Dec. 1913; d Dublin, 6 May 1966). They settled in London in 1941. During the war Colquhoun was an ambulance driver in the Civil Defence Corps by day and painted by night (MacBryde was exempt from military service because of tuberculosis). Within a few years the studio of the Roberts (as they were generally known) at 77 Bedford Gardens, Campden Hill, had become a centre for a group of young artists and writers, among them Keith Vaughan. Following a successful one-man show in 1943 Colquhoun developed a reputation as one of the outstanding British painters of his generation; his characteristic angular figure compositions owed something to Cubism, but had an expressive life of their own.
* ROBERT SAWYERS ARCA (BRITISH 1923 - 2002), MACHU PICCHU watercolour on papermounted, framed and under glassimage size 29cm x 44cm, overall size 49cm x 64cm Provenance: The Rendezvous Gallery, Aberdeen.Note: Robert Sawyers was a British artist best known for witty and creative compositions. He had the ability to transform memories into experiences on canvas and captured the beauty of everyday objects. Sawyers was said to be selective in what he chose to paint, focusing on personal enjoyment rather than societal expectations and commercial success. Born in Peckham, South London, he attended Beckenham School of Art before enrolling in the Royal College of Art in 1942. Following his education, Sawyers was awarded the Herbert Baker Travel Scholarship, which allowed him to travel to Florence, Italy. This was simply the beginning of a long career of travelling and painting; he travelled widely, often teaching and exhibiting in the exotic locations. He began formally teaching in 1947 at Leeds College of Art and later taught at Middlesbrough College of Art. Aside from international exhibitions across Europe and Central America, Sawyers also exhibited closer to home, showing at the Royal Academy of Arts, London, including the RA Summer Shows, the New English Art Club, the Blue Rider Gallery in Mere and at The Rendezvous Gallery in Aberdeen. Robert Sawyers pictures appear at auction infrequently and prices can be erratic but a notable sale was "The Tram Ride" which was sold by Christie's (SK) 15th July 2010, lot 82 for £12,500.
SIR DAVID YOUNG CAMERON ARSA RSW RA RSA (SCOTTISH 1865 - 1945), SEIL, FIRTH OF LORNE watercolour on paper, signed, titled label verso mounted, framed and under glass image size 28cm x 48cm, overall size 51cm x 74cm Handwritten label verso. Note: David Young Cameron was one of Scotland’s most prolific and influential artists. He was born in Glasgow, the son of a minister, and in the early 1880s he went to study at Glasgow School of Art. By 1885 he had gained a place at Edinburgh School of Art, where he was encouraged to take up etching because of the strength of his pen drawings. Although he also made many paintings, drawings and watercolors, it was as a printmaker that he initially received the most recognition. Cameron had a rare ability to capturehis subjects with remarkably few lines. During his career he produced over five hundred etching plates, with subjects ranging from atmospheric interiors to dramatic landscapes, as well as detailed studies of buildings and figures.
MANNER OF ROBERT MACBRYDE (SCOTTISH 1913 - 1966), NUDE STUDY pencil on paper, signedmounted, framed and under glassimage size 53cm x 27cm, overall size 79cm x 53cmNote: Robert MacBryde was a Scottish still-life and figure painter and a theatre set designer. MacBryde was born in Maybole, Ayrshire, to John MacBryde, a cement labourer, and Agnes Kennedy MacBryde. He worked in a factory for five years after leaving school before studying art at Glasgow School of Art from 1932 to 1937. There, he met Robert Colquhoun, with whom he established a lifelong romantic relationship and professional collaboration, the pair becoming known as "the two Roberts". MacBryde studied and travelled in France and Italy, assisted by scholarships, returning to London in 1939. He shared studio space with Colquhoun, and the pair shared a house with John Minton and, from 1943, Jankel Adler. MacBryde held his first one-person exhibition at the Lefevre Gallery in 1943. At the height of their acclaim they courted a large circle of friends - including Michael Ayrton, Francis Bacon, Lucian Freud and John Minton as well as the writers Fred Urquhart, George Barker, Elizabeth Smart, and Dylan Thomas - and were renowned for their parties at their studio (77 Bedford Gardens). Influenced by Graham Sutherland and John Piper, MacBryde became a well-known painter of the Modernist school of art, known for his brightly coloured Cubist studies. His later work evolved into a darker, Expressionist range of still lifes and landscapes. In collaboration with Colquhoun, he created several set designs during and after the Second World War. These included sets for Gielgud's Macbeth, King Lear at Stratford and Massine's Scottish ballet Donald of the Burthens, produced by the Sadler's Wells Ballet at Covent Garden in 1951. During the 1950s, both MacBryde and Colquhoun lost the attention of the art scene, and as both had become heavy drinkers, serious artistic work became almost impossible. Since neither had any private means, they were reduced at times to near destitution.
ROBERT RUSSELL MACNEE (SCOTTISH 1880 - 1952), VILLAGE ROAD watercolour on paper, initialledmounted, framed and under glassimage size 15cm x 22cm, overall size 25cm x 31cm Note: Born in Milngavie, Scotland. MacNee studied at The Glasgow School of Art and exhibited at the Royal Academy; Royal Scottish Academy; Paris Salon; Glasgow Institute of the Fine Arts; Walker Art Gallery, Liverpool; Manchester City Art Gallery; Royal Hibernian Academy; and Royal Society of Painters in Water Colours. He enjoyed considerable commercial success in his lifetime and thirteen of his paintings are held in public collections in the UK including Glasgow Museums & Galleries.
* DOROTHY JOHNSTONE ARSA (SCOTTISH 1892 - 1980), PORTRAIT OF LIZ AS YOUNG GIRL oil on board, signed and dated 1974 framed image size 45cm x 38cm, overall size 58cm x 51cm Provenance: by descent through the artists family Note: Having been one of the first students at the newly-established Edinburgh College of Art (ECA), Johnstone began exhibiting at the Royal Scottish Academy (RSA) in 1912, followed by the Royal Glasgow Institute in 1913 and at the Royal Academy of Arts in London in 1915. She focussed on figure painting, often on a sizeable scale. In recognition of her readily-achieved professional standing and due to the mobilisation of male staff following the outbreak of World War One, Johnstone began teaching at ECA in 1914. The studio facilities she enjoyed there, plus the stimulus provided by her students meant that her work developed apace. She spent most summers between 1915 and 1924 in Kirkcudbright, often staying in one of Jessie M. King's cottages, and became a key figure in the town's art circles. Meanwhile, in 1919 Johnstone joined the re-convened exhibiting society, the Edinburgh Group, whose members included Cecile Walton, Eric Robertson and David Macbeth Sutherland. A joint exhibition with Walton in 1924 led to the artists being described as 'two brilliant daughters of Scotland'. However, Johnstone's wedding to her ECA colleague David M Sutherland that year meant she had to resign her from her job, as the 'Marriage Bar' legislation prevented married women from holding full-time teaching positions. With the birth of her children and her husband's appointment as Head of Gray's School of Art in Aberdeen, Johnstone's career lost momentum. She continued to paint as domestic responsibilities permitted and was elected an Associate Member of the RSA in 1962. Her death in 1980 was marked by a Memorial Exhibition mounted at Aberdeen Art Gallery in 1983.
* ROBERT HARDIE CONDIE RSW (SCOTTISH 1898 - 1981) IT IS NOT YET SPRING, GLENESK watercolour on paper, signed, titled versomounted, framed and under glassimage size 32cm x 43cm, overall size 53cm x 63cm Note: Robert Hardie Condie RSW 1898 – 1981 Scottish landscape painter in oils and watercolours. Condie was born in Kirkcaldy and studied art at Edinburgh College of Art. He was the Art Master at Brechin High School from 1928 until his retirement in 1963. He was elected a member of The Royal Scottish Society of Painters in Watercolours in 1959.
JOHN DUVALL (BRITISH 1816 - 1892), BAY HUNTER AT A GATE oil on canvas, signed framedimage size 35cm x 45cm, overall size 42cm x 53cm Note: John Duvall was originally from Margate but moved to Ipswich in 1852, just as his career was burgeoning. He established a studio and drawing school in Ipswich’s Buttermarket and initially focussed on portrait painting before becoming more renowned as a animal painter. His great patron Herman Biddell commissioned him to illustrate the the first edition of the Suffolk Stud book in 1880. Subsequently John Duvall became the artist most associated with Suffolk heavy horses, commissions rolled in and he painted animals for the nobility including the Royal family. From 1875 Duvall became the first Chairman of the Ipswich Fine Art Society, he exhibited widely throughout Suffolk and also at the Royal Academy and Walker Art Gallery. In 1869 he produced his most famous work - Suffolk Show in Christchurch Park, which is a permanent fixture at Christchurch Mansion, Ipswich. He painted predominantly in oils on canvas. His early rural genre works often featuring his own children as models in roles such as bird scorer or match girl. Twenty-seven of his paintings are held in UK public collections.
JOSEPH DENOVAN ADAM RSA RSW (SCOTTISH 1842 - 1896), NEAR CRAIGMILL, STIRLING watercolour on paper, signed, titled in the frameframed and under glassimage size 30cm x 45cm, overall size 58cm x 72cmNote: Joseph Denovan Adam specialised in painting the Highland landscape and local farm life, especially Highland cattle. Born on 19 September 1841 in Glasgow, Denovan Adam’s family moved to London in order to advance his father’s career. Along with receiving an early education in art from his father, he studied at what is now known as the Royal College of Art and attended life-classes at Langham and the Royal Academy. Father and son also regularly toured Scotland together on sketching holidays. Denovan Adam experienced public and critical success throughout his life, exhibiting at the RSA, Royal Glasgow Institute of the Fine Arts, Royal Scottish Society of Painters in Watercolours—where he was elected RSW in 1880—and held large solo exhibitions in 1890 and 1895, both at Dowdeswell Gallery in London. In the early 1870s, he moved back to Scotland, settling in Stirling in 1887. He also leased a home and small farm nearby in Craigmill. It was there that Denovan Adam founded a school where he taught animal drawing and painting. For models, students had access to dogs and livestock, including his small herd of Highland cattle. In addition to pens for the animals, Denovan Adam built a glass studio so that classes could continue during inclement weather. Elected ARSA in 1884, it was in 1892, the year after he exhibited his Diploma Work, Evening, Strathspey, that he was made an RSA. In 1894 the painting was awarded a gold medal at the Paris Salon. Shortly after these successes, suffering from nephritis, Denovan Adam was forced to move to Glasgow and died at home on 22 April 1896. Twenty-four of his pictures are held in UK public collections.
ALEXANDER FRASER JNR RSA RSW (SCOTTISH 1828 - 1899), FEEDING THE CHICKENS oil on canvas, signed handwritten label verso framedimage size 33cm x 51cm, overall size 43cm x 60cmLabel verso: Alistair Anderson Gallery, Glasgow.Note: Alexander Fraser Jnr was a Scottish landscape painter who is also known as Alexander Fraser the Younger as his father, Alexander George Fraser (1786–1865), was also a Scottish painter. Fraser was the biographer of the Scottish artist, Horatio McCulloch. Fraser’s childhood interest in painting was nurtured by his father Alexander an able amateur artist, who gave him elementary tuition. He enrolled at the Trustees’ Academy in Edinburgh, supplementing his studies by attendance at the life school of the Royal Scottish Academy (RSA). By the early 1850s he had abandoned Scottish genre and devoted himself exclusively to landscape. Fraser was among the first Scottish painters to work en plein air direct from nature. He was a good friend of Samuel Bough and Horatio McCulloch. After a time spent working in England, he returned to Edinburgh where he enjoyed most recognition as annual exhibitor at the RSA from 1847, and was a frequent exhibitor at the Royal Glasgow Institute of the Fine Arts from 1861 until his death in 1899. Sixty-five of Fraser's paintings are held in UK public collections including: Glasgow Museums, The National Galleries of Scotland, The Hunterian, Dundee Museums, Paisley Art Institute, Sheffield Museums, Kirkcaldy Museums, The RSA, Hospitalfield, Rozelle House, Perth & Kinross and The City Art Centre (Edinburgh).
SIR EDWARD JOHN POYNTER (BRITISH 1836 - 1919), PORTRAIT STUDY OF A LADY pencil on paper, monogrammed and dated 1864mounted, framed and under glassimage size 26cm x 21.5cm, overall size 41cm x 36cm Note: (b Paris, 20 Mar. 1836; d London, 26 July 1919). English painter and administrator, son of the architect Ambrose Poynter, and great-grandson of the sculptor Thomas Banks. He formed his academic style in Italy (1853–4), where he met Frederic Leighton and admired Michelangelo above all other artists, and in Paris (1856–9), where he studied with Gleyre. His reputation was made with the huge Israel in Egypt (1867, Guildhall AG, London) and he became one of the most popular painters of the day with similar elaborate historical tableaux in which he displayed his great prowess as a draughtsman (The Catapult, 1868, Laing AG, Newcastle upon Tyne). In his later career, however, he confined himself to smaller works, similar to Alma-Tadema's classical genre scenes, devoting his time mainly to administration: he was the first Slade professor at University College London, 1871–5; principal of the National Art Training School (now the Royal College of Art); director of the National Gallery, 1894–1904; and president of the Royal Academy, 1896–1918. At the Slade he established an emphasis on draughtsmanship that became characteristic of the school and at South Kensington he revived a stagnant curriculum (by virtue of this office he was also supervisor of the chief provincial art schools, and in these too he raised standards). However, he was hostile towards recent developments in art, castigating the Impressionists for ‘their incompetency in drawing and slovenliness in execution’ (preface to the 4th edition of his Lectures on Art, 1897).
* JAMES MCINTOSH PATRICK OBE RSA ROI (SCOTTISH 1907 - 1998), DRYBURGH ABBEY watercolour on paper, signed, titled and dated 1933, titled versomounted, framed and under glassimage size 24cm x 35cm, overall size 46cm x 56cm Note: After the war, Patrick returned to Dundee with his wife and family and began painting outdoors rather than in the studio which he had upstairs in his house. By the 1950's he had perfected his style and technique in outdoor landscape painting and began recording his beloved Angus countryside on canvas, working in all seasons and all weather conditions. His style was traditional and he didn't have much time for ''contemporary'' interpretations of landscape. ''The Tay Bridge from My Studio Window'', painted in 1947, is probably the best known of Patrick's works and illustrates the detailed style which he had finally decided upon as suiting his temperament best. He was elected a full member of the Royal Scottish Academy in 1957. His reputation grew throughout the sixties and seventies and by the early eighties, he was a giant in the Scottish art world. James McIntosh Patrick was an exemplar in his life and work and imparted his knowledge freely. He was, without doubt, the most able landscape painter that Scotland has produced in the 20th century and stands on equal terms with most of Europe's best landscape painters of that era. Sixty of his pictures are held in UK public collections at many of the finest museums and galleries in the UK.
JAMES CAMPBELL NOBLE RSA (SCOTTISH 1846 - 1913), HARBOUR SCENE oil on canvas, signed framed and under glass image size 51cm x 61cm, overall size 75cm x 85cm Note: RSA Obituary by James Guthrie RSA. Transcribed from the 1913 RSA Annual Report: The death of James Campbell Noble, on 25th September, removed from the Academy’s active list the name of one of its most widely known members. Born in Edinburgh on the 22nd of July 1845, Mr. Noble’s earliest association with art, like that of Sir George Reid, was in the department of lithography. As a lad of fifteen he entered the employment of Mr. J. O. Brown, a well-known exponent of that branch of engraving, where he was engaged mainly on architectural subjects; and when after four years, his master retired from business, young Noble continued his vocation on such work as came to hand, illustrating in this way several volumes on anatomical and surgical subjects. During those years he attended the Trustees’ School of Design and, later, the Academy’s Life Class, where he carried off more than one of the leading honours, including the Keith prize in 1873. It was as a figure painter that Mr. Noble first came before the public, and his contributions to the Exhibition commence in 1869, with a picture entitled “ Watching Conspirators.” For some years his exhibits are few and intermittent, but from 1873 onwards he is a regular and copious contributor, and till towards the close of that decade figure subjects predominate. “ Near the end of the Weft” (1875), and “The Duet (1879), are typical of the period. About the later seventies, however, a change of motive and direction is visible, when, under the influence of the pleinaw movement then beginning to assert itself in Scotland, he turned, like several of his contemporaries, to those problems of light which are most readily dealt with under the open sky. For a while harbour and shipping subjects furnish themes for the broader treatment implied in the change; these he found on our rivers and estuaries from the Forth to the Thames and Medway. One or two visits to the Berwickshire coast during the earlier ’eighties gave a more local and individual turn to his work, and from that time till nearly the close of the century, during which Mr Noble made Coldingham his home, his pictures are mostly associated with that village and neighbourhood. Many of them illustrate the sea-faring and fisher-life of that rockbound coast, as witness such titles as “The Fisherman’s Return” (1883), “The Signal of Distress” (1888) and “Making for Harbour” (1893). But far from confining himself to sea or shore, he draws largely for subject-matter on the agricultural and historic interest of the adjacent districts, with occasional flights to more distant sketching grounds. But the outstanding feature of Mr. Noble’s art career is the virility of his later work. At a period of life when new developments, either of technique or outlook are rare, moved, perhaps, by a visit to Holland about the close of the century, his art shows a distinct advance in both spheres ; and this quickening of his powers was maintained to the end. During these last years Mr. Noble portrays with equally facile brush the barge-thronged rivers of the Low Countries and the romantic scenery of the Highlands. Something of temperamental affinity seemed to be drawing him strongly towards the latter class of subjects; and it was during a visit to the land of the Campbells that he was prostrated by the illness which, after a few days, proved fatal. Always keenly interested in the work of his juniors, Mr. Noble had for many years been a visitor at the Academy’s Life School and School of Painting, where his strong personality and sympathetic temperament gave him a unique position amongst a long succession of students, by whom, in after years, his advice and encouragement were highly valued. He was a power also in the social life of the art community and served for the full term of office as President of the Scottish Arts Club. His intimate relations with the musical membership of the club peculiarly fitted him for such a position, and, in conjunction with his personal accomplishments in that direction, made his name a household word in the widersocial life of the city. Though he never took a very prominent part in debate, the influence of his wide and varied experience made itself felt in many ways at the Council Board of the Academy. Beyond the membership of the Academy your Council regret to record the deaths of two distinguished painters whose works have frequently lent interest to the Exhibitions of recent years. Mr. Joseph Crawhall, a native of Northumberland, who had attained to great eminence as an animal painter; and M. Gaston la Touche, whose romantic treatment of subjects in various genres had given his work a unique position in contemporary French Art.
* RALSTON GUDGEON RSW (SCOTTISH 1910 - 1984), PEREGRINE FALCON AND PREY watercolour on paper, signedframed and under glassimage size 50cm x 70cm, overall size 58cm x 78cm Note: Ralston Gudgeon was a Scottish artist, best known for painting birds and animals mostly in gouache watercolour. He studied at the Glasgow School of Art in 1933 and won the Torrance Memorial Award of the Glasgow Institute. When Ralston Gudgeon was elected to the RSW in 1937, he became the youngest man ever to achieve that honour. In 2018, "The Scottish Wild Cat" by Gudgeon sold in our auction for £900 (hammer) which "signposted" a resurgence of collector interest in his work. This resurgence of buyer interest has continued unabated.
* DOROTHY JOHNSTONE ARSA (SCOTTISH 1892 - 1980), IAN AS A BABY oil on board, signed, titled versoframed and under glassimage size 25cm x 18cm, overall size 31cm x 24cm Exhibition label verso: Memorial Exhibition, Fine Art Society, Edinburgh, February 1983 Label verso: Aberdeen Art Gallery + Museums Provenance: by descent through the artists familyNote: Having been one of the first students at the newly-established Edinburgh College of Art (ECA), Johnstone began exhibiting at the Royal Scottish Academy (RSA) in 1912, followed by the Royal Glasgow Institute in 1913 and at the Royal Academy of Arts in London in 1915. She focussed on figure painting, often on a sizeable scale. In recognition of her readily-achieved professional standing and due to the mobilisation of male staff following the outbreak of World War One, Johnstone began teaching at ECA in 1914. The studio facilities she enjoyed there, plus the stimulus provided by her students meant that her work developed apace. She spent most summers between 1915 and 1924 in Kirkcudbright, often staying in one of Jessie M. King's cottages, and became a key figure in the town's art circles. Meanwhile, in 1919 Johnstone joined the re-convened exhibiting society, the Edinburgh Group, whose members included Cecile Walton, Eric Robertson and David Macbeth Sutherland. A joint exhibition with Walton in 1924 led to the artists being described as 'two brilliant daughters of Scotland'. However, Johnstone's wedding to her ECA colleague David M Sutherland that year meant she had to resign her from her job, as the 'Marriage Bar' legislation prevented married women from holding full-time teaching positions. With the birth of her children and her husband's appointment as Head of Gray's School of Art in Aberdeen, Johnstone's career lost momentum. She continued to paint as domestic responsibilities permitted and was elected an Associate Member of the RSA in 1962. Her death in 1980 was marked by a Memorial Exhibition mounted at Aberdeen Art Gallery in 1983.
JAMES STUART PARK (SCOTTISH 1862 - 1933), WHITE AND PINK ROSES oil on canvas, signedframedimage size 30cm x 39cm, overall size 47cm x 57cm Note: Painter, born in Kidderminster, Worcestershire of Scottish parents, brought up in Ayrshire. He attended Glasgow School of Art, his parents having returned to Scotland soon after his birth. Park furthered his studies in Paris with Lefebvre, Cormon and Boulanger. He was a colleague of the Glasgow Boys, sharing a studio with David Gauld and James Kay. He exhibited at the RSA and GI, RSW, Connell & Sons and in England at the RA, Walker Art Gallery, Liverpool, MAFA and Baillie Gallery. Park specialised in painting arrangements of flowers, usually against a dark background. He was largely noted for his flower studies, in particular roses. He also painted a limited series of head and shoulder studies of young girls, surrounded by flowers. Examples of his work are to be found in the collection of the Dick Institute and Lillie Art Gallery, Milngavie and Dundee City Art Galleries and Museums.Condition is good overall, with no visible or known issues.
* DOROTHY JOHNSTONE ARSA (SCOTTISH 1892 - 1980), ON THE BEACH pencil and watercolour on paper, titled label versomounted, framed and under glassimage size 13cm x 14cm, overall size 38cm x 38cm Exhibition label verso: Edinburgh Festival Exhibition 1987, Bourne Fine Art, Edinburgh Provenance: by descent through the artists familyNote: Having been one of the first students at the newly-established Edinburgh College of Art (ECA), Johnstone began exhibiting at the Royal Scottish Academy (RSA) in 1912, followed by the Royal Glasgow Institute in 1913 and at the Royal Academy of Arts in London in 1915. She focussed on figure painting, often on a sizeable scale. In recognition of her readily-achieved professional standing and due to the mobilisation of male staff following the outbreak of World War One, Johnstone began teaching at ECA in 1914. The studio facilities she enjoyed there, plus the stimulus provided by her students meant that her work developed apace. She spent most summers between 1915 and 1924 in Kirkcudbright, often staying in one of Jessie M. King's cottages, and became a key figure in the town's art circles. Meanwhile, in 1919 Johnstone joined the re-convened exhibiting society, the Edinburgh Group, whose members included Cecile Walton, Eric Robertson and David Macbeth Sutherland. A joint exhibition with Walton in 1924 led to the artists being described as 'two brilliant daughters of Scotland'. However, Johnstone's wedding to her ECA colleague David M Sutherland that year meant she had to resign her from her job, as the 'Marriage Bar' legislation prevented married women from holding full-time teaching positions. With the birth of her children and her husband's appointment as Head of Gray's School of Art in Aberdeen, Johnstone's career lost momentum. She continued to paint as domestic responsibilities permitted and was elected an Associate Member of the RSA in 1962. Her death in 1980 was marked by a Memorial Exhibition mounted at Aberdeen Art Gallery in 1983.
* DAVID MACBETH SUTHERLAND RSA (SCOTTISH 1883 - 1973), AYRSHIRE oil on board, titled and dated 1927 versoframedimage size 26cm x 31cm, overall size 34cm x 39cm Provenance: by descent through the artists familyNote: David Sutherland was born in Wick. He studied at the Royal Scottish Academy under Charles Mackie and at Edinburgh College of Art (ECA). Awarded the Carnegie Travelling Scholarship, Sutherland used it to travel to Spain, France and the Low Countries. After the war he taught at Edinburgh college of Art and, with Mary Newbery and Dorothy Johnstone, he helped revive the Edinburgh Group. In 1924 Sutherland and Dorothy Johnstone were married. Towards the end of the decade Sutherland often painted in the north-east with colleagues William Gillies and John Maxwell. Upon his appointment as principal of Gray's School of Art in 1933 he and Dorothy moved to Aberdeen. Sutherland continued to paint on both the west and east coasts. The Sutherlands retired to east Aberdeenshire in 1948. David Sutherland is mainly known for his Scottish and Breton landscapes. He also painted portraits.
KATE WYLIE (SCOTTISH 1877 - 1941), STILL LIFE WITH FLOWERS oil on canvas board, signedframedimage size 28cm x 30cm, overall size 34cm x 37cm Note: Kate Wylie was a flower painter and her work is in the Glasgow Museums. Born in Skelmorlie, Ayrshire, she painted in oil and watercolor. She is now best known for her flowers paintings. Kate Wylie trained at Glasgow School of Art and often painted on the Isle of Arran where she had a cottage at Blackwater Foot. In 1942 a memorial exhibition of her work, and that of Janet Aitken and Elma Story, was held at Glasgow Society of Lady Artists.
HENRY ROBERTSON WATT (CANADIAN 1896 - 1964), PORTRAIT OF AN ELEGANT WOMAN pastel on paper, signed and dated 1932mounted, framed and under glass image size 28cm x 22cm, overall size 48cm x 40cm Note: Renowned as a talented portrait painter, Robin Watt ( Henry Robertson) was born in Victoria, British Columbia and studied at the Royal Military Academy in Sandhurst, England. During World War I, he served as an officer with the Green Howard Regiment, was wounded in battle and decorated with the Military Cross, and the Croix de Guerre. After the war, he studied for three years at the Slade School of Art, London, with Henry Tonks, Walter Russell, and William Steer; at the St. Martin's School of Art and at the Central School of Art where he learned etching under W.P. Robins. Later, he continued his studies at the Académie Colorossi in Paris and the British School of Art in Rome. An admirer of Augustus John and Edgar Dégas, he worked in oil, watercolour and charcoal, favouring a realist approach, producing portraits, still lifes, and in his later years abstract works. By the late 1920s, he returned to Canada and settled in Montréal. Around 1932, he returned to England, where he worked for an unknown period with his wife Dodie Watt, as an art teacher in a boy's school. Upon his return to Canada in 1949, he was immediately recognized as a fine portraitist and in the same year, invited to paint the portrait of Earl Wavell, Colonel of The Black Watch (Royal Highland Regiment) on the occasion of his visit to Canada. In 1951, the Montréal Museum of Fine Arts held a solo exhibition of Watt's portraits and still lifes that art critic Robert Ayre recommended they call "Faces and Flowers".
JAMES ELDER CHRISTIE NEAC (SCOTTISH 1847 - 1914), BUBBLES oil on canvas, signed, further signed and titled versoframed and under glassimage 31cm x 25cm, overall 42cm x 38cm Note: Born in Fife he trained at the art school in Paisley and in South Kensington winning Gold Medals at the RA in 1876 and 1877. He moved to Paris 1882-1885 and on his return became a founding member of the New English Art Club. In 1893 he returned to Glasgow, Christie was known for his genre and allegorical painting executed in a broad style and for his pictures of children and scenes from Burns. Christie was associated with the Glasgow boys.
* JAMES MCINTOSH PATRICK OBE RSA ROI (SCOTTISH 1907 - 1998), THE ESK watercolour on paper, signed and titledmounted, framed and under glassimage size 38cm x 28cm, overall size 60cm x 50cm Note: After the war, Patrick returned to Dundee with his wife and family and began painting outdoors rather than in the studio which he had upstairs in his house. By the 1950's he had perfected his style and technique in outdoor landscape painting and began recording his beloved Angus countryside on canvas, working in all seasons and all weather conditions. His style was traditional and he didn't have much time for ''contemporary'' interpretations of landscape. ''The Tay Bridge from My Studio Window'', painted in 1947, is probably the best known of Patrick's works and illustrates the detailed style which he had finally decided upon as suiting his temperament best. He was elected a full member of the Royal Scottish Academy in 1957. His reputation grew throughout the sixties and seventies and by the early eighties, he was a giant in the Scottish art world. James McIntosh Patrick was an exemplar in his life and work and imparted his knowledge freely. He was, without doubt, the most able landscape painter that Scotland has produced in the 20th century and stands on equal terms with most of Europe's best landscape painters of that era. Sixty of his pictures are held in UK public collections at many of the finest museums and galleries in the UK.
JAMES MCMASTER RSW RBA (SCOTTISH 1856 - 1913), THE PILE LIGHT, TAYPORT watercolour on paper, signed and titledmounted, framed and under glassimage size 12cm x 18cm, overall size 31cm x 36cmNote: Glasgow painter of landscapes, coastal scenes and seascapes in oil and watercolour, painted mostly Highland views and seascapes in the “wet” technique in watercolour in a manner similar to Coulston Young. Elected RSW 1885, RBA 1890, Exhibited RA, RSW RSA, AAS, RI, L and GI. Represented in Glasgow Museums and Galleries and Paisley Art Institute.
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