* BRUCE TIPPETT (BRITISH 1933 - 2017), LANDSCAPE WITH REEDS charcoal on paper, signed and dated '08mounted, framed and under glassimage size 43cm x 53cm, overall size 75cm x 82cm Note: Bruce Tippett was a British born artist who was championed by Philip Granville (Lord's Gallery, London) and the legendary Betty Parsons (Betty Parsons Gallery, New York) and others. Jane England writes in her 1992 catalogue : "In 1957, he (Tippett) saw Japanese brush paintings for the first time at the British Museum (which now houses nine Bruce Tippett drawings). He recalls now that 'Something awoke in me and I entered another realm'. The works of the Japanese calligraphers inspired him by their mixture of spontaneity and contemplation. Like the Zen masters, Tippett achieved spontaneity by constantly paring down the image and concentrating on its essential spirit, with no sign of the struggle involved. When Tippett first saw a work by Hartung at Gimpel Fils in May 1958, he was struck by the similarities of their respective calligraphic styles. These similarities had different origins. In Tippett's case the energetic strokes and lines came from his early drawings of reeds and stakes in marsh landscapes and the studies he had made of building structures, whereas Hartung's expressive calligraphy came from his early experiments with automatism." Alan Bowness pointed out in his "Portrait of the Artist" (1958) that "having made the first steps on his own Tippett realized that the calligraphic paintings of Hartung pointed in the direction he wished to go but by the end of 1957 Tippett had reached something that was recognizably an original manner, and the drawings done then and at the beginning of this year have a remarkable ease and assurance." After Peggy Guggenheim closed her Art of This Century Gallery in 1947, Parsons was one of only a very few gallery owners to promote avant-garde American art at a time when the commercial demand for it was minuscule. The Betty Parsons Gallery was also, for a considerable time, the only gallery in the US which promoted and supported Abstract Expressionism. Parsons played a major and significant role in establishing New York as the centre of the art world and Jackson Pollock, Mark Rothko, William Congdon, Clyfford Still, Theodorus Stamos, Ellsworth Kelly, Hedda Sterne, Forrest Bess, Michael Loew, Lyman Kipp, Judith Godwin, Tony Smith, Robert Rauschenberg, Barnett Newman and many other artists owed much to Betty Parsons. Bruce Tippett first visited New York in 1965 when Dorothy Miller bought one of his paintings for MOMA. He met Betty Parsons at the Venice Biennale in 1966 and immediately afterwards she visited his studio in Rome and bought several paintings and drawings for her gallery. Bruce Tippett exhibited regularly at The Betty Parsons Gallery (New York) from 1967 and had his last solo show there in 1981, the year before Betty Parsons died. Bruce Tippett continued to exhibit in the US and the UK and even more frequently in Italy and France. He died in France in 2017, where he had lived and worked since 2005. His work is held in some of the most important collections in the US and Europe including The Louvre (Paris), The British Museum (London), Galleria Nazionale d’Arte Moderna (Rome) and MOMA (New York), yet in his country of birth, his work remains relatively unknown.
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* ANDREW FITZPATRICK, DARROCH PARK, GOUROCK pastel on paper, signed, titled label versomounted, framed and under glass image size 44cm x 30cm, overall size 68cm x 52cm Label verso: Compass Gallery, GlasgowNote: Andrew Fitzpatrick was born in Greenock in 1966. He went to St. Columba’s School in Gourock before studying drawing and painting at Glasgow School of Art from 1984 to 1988. On graduating, Andrew exhibited mainly in Edinburgh but also in Amsterdam and Glasgow. He currently lives and works in Glasgow.
* JOCK MACINNES RGI (SCOTTISH, b. 1943) UNTITLED mixed media on canvas, initialledunframed, as intendedoverall size 183cm x 152cm Note: Jock MacInnes RGI (b.1943) is a Scottish artist producing paintings derived from a collection of objects, images and symbols associated with Celtic traditions and heritage of a narrative culture. Jock MacInnes was born in Glasgow and studied at Glasgow School of Art from 1962 to 1967. In the year after graduation he travelled to Europe with a scholarship and on his return took up a lecturing post at Glasgow School of Art where he remained until 1996. In 1988 he was elected member, and to the council, of the Scottish Society of Artists and member of the Royal Glasgow Institute of Fine Arts. In 1995 he was elected to the council of the Royal Glasgow Institute of Fine Arts. His many awards include the Colquhoun Memorial Painting Competition – 1st prize in 1978, the Scottish Drawing Competition at the Paisley Art Institute – 1st prize in 1988 and 1991, the Cargill Award also in 1991 and the Scottish Amicable Prize in 1999 both at the Royal Glasgow Institute of Fine Arts. Since 1980 he has had regular solo exhibitions in Glasgow, Edinburgh, Ayrshire, London, Truro and Collioure in France. MacInnes’ paintings refer to memories of an experience or a feeling and for him the drawing process relies heavily on this recollection. He is liberated from the constraints of strict observation, so that invention and discovery can be embraced in the process. His paintings are recognised by his own developed style of mark-making on prepared gesso boards and canvases. The combined subject matter of and technique are reminiscent of the works of his influencers; the early twentieth century European masters and St. Ives group artists George Braque and Ben Nicholson included. His work is held in private, corporate and public collections including the Dick Institute, Kilmarnock, the Paisley Art Institute, the Dunbartonshire Education Authorities, Scottish Amicable, Glasgow University and the Royal Bank of Scotland.
* JOHN PHILIP BUSBY RSA RSW SWLA (BRITISH 1928 - 2015), RESTING KOOKABURRA watercolour on paper, signed, titled verso mounted, framed and under glass image size 19cm x 17cm, overall size 37cm x 34cm Exhibition label verso: John Busby - Landscapes & Birds, 8 March - 2 April 1997, The Scottish Gallery, Edinburgh Note: John Philip Busby was born in Bradford in 1928 and attended Ilkley Grammar School. After National Service, he studied at Leeds College of Art and then at Edinburgh College of Art (ECA) where he was awarded post-graduate and major travel scholarships. On return from France and Italy he was invited to join the staff of ECA, where he taught drawing and painting from 1956 until 1988. In 1959 he was commissioned to paint the mural Christ in Glory in the Scottish Episcopal Church, St Columba-by-the-Castle, Edinburgh. A member of the Royal Scottish Academy (RSA) and the Royal Scottish Society of Painters in Watercolour (RSW), he served as President of the Society of Scottish Artists, (SSA) 1976-79. A life-long bird watcher and naturalist (at age 17 he was at the inaugural meeting of the Wharfdale Naturalists Society in 1945), he was a founder member of the Society of Wildlife Artists (SWLA). He led courses in Switzerland, Crete, the Falklands and Galapagos Islands, in Orkney and at Nature in Art in Gloucestershire, and in 1989 he began a Seabird Drawing course based at North Berwick. Now named after him, this has continued each year since, attracting participants from many parts of the world. He took part in projects with the Artists for Nature Foundation (ANF) in Holland, Poland, Spain, Ireland, India, Portugal and Israel, and in SWLA/Forestry Commission projects in the New Forest and in the oak woods in the west of Scotland. In 1991 he was filmed in Shetland for the Granada TV production “Portrait of the Wild – Summer‘. John Busby illustrated over 35 books about birds and animals, mostly about behaviour, ranging from seabirds and garden birds to tigers and otters, plus a book of poems by Kenneth Steven (Wild Horses) and many of the illustrations in The RSPB Anthology of Wildlife Poetry. His own books are mentioned elsewhere but also include a booklet Landscapes at the Edge of the Sea in 2010 with his rock pool paintings, and another for the first Curious Eye exhibition which he curated at the RSA in 2007. In 2009 he was declared "Master Wildlife Artist" by the Leigh Yawkey Woodson Art Museum in Wisconsin USA. He exhibited widely both at home and abroad and had a major retrospective exhibition at Bradford City Art Gallery in 1999/2000. More recently a retrospective exhibition, planned before his death, was held at Nature in Art, Gloucester in August 2015, and two large exhibitions to celebrate his landscapes (at the Royal Scottish Academy) and drawings (at The Scottish Gallery) were held in Edinburgh in June 2016, with another at the Wildlife Art Gallery in Lavenham, Suffolk in November 2017. In 2019 a major exhibition of his paintings was held during the Edinburgh Arts Festival, 29th July to 2nd September at the Open Eye Gallery in Edinburgh.
* IONA LEISHMAN, WILD CASTLE oil on board, signed, titled versoframedimage size 31cm x 34cm, overall size 41cm x 44cm Note: "My experience as Historic Environment Scotland’s first artist in residence at Stirling Castle proved a crucial time in my development as a professional artist. Here, I painted the strong energies of this ancient place, producing vividly-imagined historic work. In subsequent years I was invited back by HES to exhibit commemorative work marking the Battles of Flodden and Bannockburn and the life of Marie de Guise, mother of Mary, Queen of Scots. Throughout my life I have learned from many other wonderful makers of art and have honed my own expression to include agitated, textured surface from which the images can emerge in inventive colour and media."
* MICHAEL DURNING PPAI PAI RSW (SCOTTISH b. 1970) AILSA CRAIG oil on board, signed, titled versoframed and under glassimage size 22cm x 28cm, overall size 37cm x 43cm Note: Michael Durning is a multi-award-winning artist who served as President of Paisley Art Institute (2011 - 15). He exhibits throughout the UK. Collections include: Royal Scottish Academy; Countess of Wemyss and March; Municipality of Karmoy, Norway; Municipality of Collioure, France; British Nuclear Fuels; Hospitalfield House; City of Glasgow College Foundation; Dundee Port Authority and North Ayrshire Council.
* BRYAN EVANS, CLYDE REFLECTIONS watercolour on paper, signedmounted, framed and under glassimage size 16cm x 24cm, overall size 45cm x 52cm Note: Bryan Evans is an artist who depicts in his paintings the rainy streets and tenement closes of Glasgow, Edinburgh and other Scottish towns and cities. Bryan was born in Pembrokeshire in West Wales in 1964. After one year at Dyfed College of Art in Carmarthen he studied a degree in Fine Art at Loughborough College of Art in Leicestershire, England. During this course he visited Glasgow School of Art on a three month exchange visit. Upon graduation he moved to Glasgow and has lived there ever since exhibiting his watercolours throughout Scotland. He works mainly in the medias of watercolour paintings, etchings and mezzotints. He has work in collections throughout Britain, Europe, and North America, and has gained considerable acclaim with his atmospheric interpretations of wet city streets and moody interiors.
* GEOFFREY ROPER (BRITISH 1942 - 2020), THE TRENCHCOAT oil on board, titled label versoframed image size 22cm x 17cm, overall size 43cm x 38cm Label verso: The Edinburgh Gallery, DundasNote: Born in Nottingham in 1942, Roper studied at Nottingham College of Art. He then attended Edinburgh College of Art as an Andrew Grant Scholar (1960-1962) where he was awarded a Diploma in Drawing & Painting. During this time Geoff won a travelling scholarship and also studied at Hospitalfield, Arbroath in summer 1962. Awarded an Andrew Grant Post Graduate Year in 1963. Studied under Sir Robin Philipson RA HRSA, John Maxwell RSA and James Cumming RSA. Roper has had 45 one man exhibitions since 1964 at numerous prestigious galleries including: William Street Gallery; Douglas Foulis Gallery; David Letham Gallery; Great King Street Gallery; Figurehead Gallery, Leith; Rolls Royce; and the Open Eye Gallery, Edinburgh; The Fine Arts Society in Edinburgh, Glasgow and London; Silver Coin Gallery, Harrowgate; Civic Art Gallery, Middlesbrough; King Street Gallery, Dublin; and Pavilion Croix des Gardes, Cannes.
* ALISON MCKENZIE RSW (SCOTTISH 1907 - 1982), HONESTY gouache on paper, signed, titled and dated 1972 label versomounted, framed and under glass image size 45cm x 38cm, overall size 70cm x 62cm Label verso: Royal Scottish Society of Painters in Water-ColoursNote: Watercolourist, engraver, designer and teacher, sister of the artist Winifred McKenzie, born in Bombay, India. Studied at Glasgow School of Art, 1926-9, winning the Fra Newbery Medal. From 1930-42 she worked in London and studied under the noted engraver Iain Macnab at the Grosvenor School of Modern Art. In 1942 she moved to St Andrews, Fife, and in 1946 joined her sister as part-time lecturer at Dundee College of Art. She retired in 1957 to care for her elderly mother but continued to paint. By then the sisters had established the printmaking department there. Showed RSA, RSW and NS both of which she was a member and SSWA and had two-man shows with her sister at Cork Street Gallery (London) and English Speaking Union Gallery, Edinburgh. McKenzie, who was especially influenced by the work of Braque, did railway posters and other ephemera, all marked with exquisite sense of design and apt colour. Seven examples of her work are held in UK public collections.
* ALAN DAVIE CBE RA HRSA RWA (SCOTTISH 1920 - 2014) UNTITLED pen on paper, signed and dated 2011mounted, framed and under glassimage size 13cm x 12cm, overall size 32cm x 30.5cmNote: Alan Davie was recognised internationally as a new radical force in modern painting and was hailed by art critic Alan Bowness as, alongside Francis Bacon, one of the most influential artist of his time. He was an artist who created his own unique style, thoroughly spontaneous, and on drawing from a number of different interests, including his own experiences of primitive art, Abstract Expressionism, Surrealism and Zen Buddhism. However, despite his diverse influences, a Davie painting could never be mistaken for anyone else's work. Alan Davie first trained as a painter at Edinburgh College of Art where he also took up jazz music, and earned money as a musician, poet and jeweller. After his marriage in 1947 to fellow art student Janet Gaul, he travelled widely in Europe and for the first time was exposed to Italian masterpieces such as Cimabue and Giotto in Florence, before meeting Peggy Guggenheim in Venice who introduced him to Pollock's early work. Her recognition and later patronage of his work propelled him onto the international arena. When Davie returned to England he was taken on by the London gallery Gimpel Fils, where he had his first solo exhibition and from then on had the support of both the gallery and the Gimpel family. Initially however, it was in America where he experienced the greatest success; at his first New York exhibition, every painting sold mostly to major institutions and in 1956, when he first visited New York, the city's major artists of the day turned out to meet him, including Pollock and Rothko. In 1957 he showed work at the Museum of Modern Art in Paris and at the Guggenheim in New York. In 1958, he was part of the Critic's Choice Exhibition selected by David Sylvester and in the same year he represented Britain at the Venice Biennale. Alan Davie's work has been widely exhibited and is included in numerous international public and private collections, including the Tate Britain, the Arts Council of Great Britain, the Victoria & Albert Museum, the Foundation Maeght and the Museum of Modern Art, New York. His exuberant and expressive paintings possess a unique force that can be associated with the New York School and also the St Ives School, yet he also stood alone from these groups. He borrowed freely from all cultures, and it is the combination of these experiences, together with his freedom of expression, that gives Davie his unique style.
* MICHAEL DURNING PPAI PAI RSW (SCOTTISH b. 1970), UNTITLED acrylic on board, signed and dated 1998mounted, framed and under glassimage size 62cm x 77cm, overall size 90cm x 120cmNote: Michael Durning is a multi-award-winning artist who served as President of Paisley Art Institute (2011 - 15). He exhibits throughout the UK. Collections include: Royal Scottish Academy; Countess of Wemyss and March; Municipality of Karmoy, Norway; Municipality of Collioure, France; British Nuclear Fuels; Hospitalfield House; City of Glasgow College Foundation; Dundee Port Authority and North Ayrshire Council.
* ANDA PATERSON RSW RGI PAI (SCOTTISH 1935 - 2022), PEOPLE OF GLASGOW mixed media on board, titled label versoframed and under glass image size 14cm x 15cm, overall size 24cm x 25cm Exhibition label verso: Christmas '74, Compass Gallery, GlasgowNote: Painter and administrator, born in Glasgow, married to the artist James Spence. With him she founded the Glasgow Group in the late 1950s, which did much to promote an interest in contemporary art in the west of Scotland and elsewhere. Paterson studied at Glasgow School of Art, in Spain and Portugal. She was elected RSW in 1966 and to Royal Glasgow Institute of the Fine Arts in 1978, and was a winner of the Anne Redpath and Latimer Awards. She showed in mixed exhibitions in Scotland and abroad and had a solo show at Compass Gallery, Glasgow, in 1971, being included in The Compass Contribution at Tramway, Glasgow, in 1990. Paterson was noted for her unusual pictures of ordinary people, often old, lonely and hard-up, which she treated with sympathy. Her work is held by Scottish Arts Council, Arts Council of Northern Ireland and New York Print Workshop.
* KATHLEEN CADDICK (BRITISH b. 1937), WOODED LANDSCAPE acrylic on board, monogrammedframedimage size 72cm x 95cm, overall size 83cm x 108cmNote: Although born in Liverpool, Kathleen spent her childhood in Buckinghamshire where the beech woods and far reaching views across the Chiltern Hills must have subconsciously implanted her love of trees. She trained at High Wycombe College of Art and graduated with NDD Hons. in painting. She worked as a freelance designer and art teacher while her son was growing up. She then returned to run a graphics design studio, during which time she was also an examiner for the City and Guilds London. She started painting full time in 1968 exhibiting mainly in London. In 1976 she began etching, working with the Reich British Art in Germany and CCA Galleries, London. Since then her work has been widely exhibited and collected in this country as well as in Germany, USA, Canada, the Far East and Australia. She has worked on commissions for the National Trust and the Woodland Trust. Kathleen's vision of landscape is the subject matter of her work expressing feelings of space, peace and tranquillity through her use of muted colours.
* ANDREW HAY (SCOTTISH 1944 - 2024), BEARDED GENTLEMAN mixed media on paper, signedmounted, framed and under glassimage size 92cm x 68cm, overall size 103cm x 79cmNote: Having started to paint at the age of 39, within a year the People's Palace Museum, Glasgow had purchased ten paintings and had given Hay his first solo exhibition. Since then his works have been included in numerous public and private collections. His work deals with both narrative and nature, sometimes subverting one or the other in order to advance his artistic practise. His insistence on invention, freedom and risk affirms continuity in his aesthetic spirit. He used a network of codes, symbols and expressive techniques which played off his collective memory and familiarity of everyday objects and culture from his childhood and juxtaposes them with present day reality. In so doing he embodied them with a new philosophical discourse. Andrew’s work now features in many significant public and private collections and is in the permanent collections of Glasgow's Kelvingrove, Gallery of Modern Art and The People's Palace.
GRAHAM H D MCKEAN, WELL OILED oil on canvas, signed, titled versoframedimage size 35cm x 35cm, overall size 53cm x 53cm Note: In 1996, after 17 years as a graphic designer, Graham McKean decided to commit himself totally to producing his oil paintings. Graham McKean’s paintings have featured in numerous exhibitions and are increasingly appearing at the U.K.’s leading auction houses. His work has now become highly collectible and is held in prestigious private and public collections worldwide. Graham also supports a number of charities through events and auctions. A review by the late W. Gordon Smith (Art Critic, The Scotsman), described the work of Graham McKean as a cross between the painters John Byrne and Stanley Spencer, but with an “interesting bite”. Graham McKean needs little introduction to our buyer audience having been consistently one of our most popular and best selling artists since the inaugural Scottish Contemporary Art Auction in November 2008.
FRANK COLCLOUGH (SCOTTISH 1941 - 2023), NORTH BEACH IONA TO MULL & BEN MORE oil on board, signed, titled versoframed and under glassimage size 50cm x 37cm, overall size 72cm x 60cm Note: Frank Colclough was born in Wick, Caithness and lived in London before settling back in Scotland in 1975. He originally worked as a design draughtsman while studying art at Camberwell Art School and worked as a professional artist since 1981. All Frank Colclough early contemporary paintings were in watercolour, but over recent years he worked in acrylic and oils. The inspiration for Frank Colclough paintings stems from his admiration of the Scottish colourist movement. This is reflected in his paintings which consist mainly of marine views of the Scottish West Coast and colourful still life studies. Frank Colclough contemporary paintings appear in many private and public art collections. The RSW, RGI and RSA have also regularly exhibited his work. Frank was a frequent, popular and very successful contributor to The Scottish Contemporary Art Auctions from 2008 for many years.
* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), SEAGULL IN THE MIST and UNTITLED two watercolours on paper, both signedboth mounted, framed and under glass the Seagulls image size 19cm x 25cm, overall size 40cm x 45cmNote: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.
* GRAHAM H D MCKEAN, FAT SAM pencil on paper, signed and titledmounted, framed and under glassimage size 20cm x 42cm, overall size 44cm x 37cm Note: In 1996, after 17 years as a graphic designer, Graham McKean decided to commit himself totally to producing his oil paintings. Graham McKean’s paintings have featured in numerous exhibitions and are increasingly appearing at the U.K.’s leading auction houses. His work has become highly collectible and is held in prestigious private and public collections worldwide. Graham also supports a number of charities through events and auctions. A review by the late W. Gordon Smith (Art Critic, The Scotsman), described the work of Graham McKean as a cross between the painters John Byrne and Stanley Spencer, but with an “interesting bite”. Graham McKean needs little introduction to our buyer audience having been consistently one of our most popular and best selling artists since the inaugural Scottish Contemporary Art Auction in November 2008.
* PETER KNOX (BRITISH b. 1942), MANY FACES oil on board, signedunframedoverall size 36cm x 36cm Note: Heavy industrial images tend to be the (more than welcome) norm for many an artist who has grown up in and around the North East of England, a proud and resolute region and people who’s previous generations were collectively responsible for the accumulative successes of mining, shipbuilding, railway construction and steelworking to name but four industries on which the North East’s reputation was built and in which its economy prospered, until fairly recent times. One such son of this area was acclaimed contemporary fine artist, Peter Knox, whose signature works of art provide a very visual dialogue and readily seal a pictorial documentation of the lives and industrious times of the landscape which it’s fair to say shaped Knox’s childhood. Knox’s visual diary presents enigmatic and evocative industrial images, which whilst portray typical vistas in a unswervingly unrealistic illustrative gaze, never lose sight of an entrenched affection and underlying sensitivity for what the artist describes himself as a vanishing world. If there’s one common thread running through Knox’s work it’s that inextricable link between the awareness, connection and concept of family, friends and childhood all being woven into his canvases. With nearly every family in the North East at one time seeing many of its members employed in the shipyards that dotted the banks of the River Tyne, the engineering works which worked in tandem with the dockyards, the mines or the steelworks, the sense of community and a common purpose was immense, and is a socio-economic essence which Knox captures with style, grace and aplomb in his individual and collective pictures. Typical scenes of the North East’ said industrial heritage were more often than not witnessed from the crossbar of Knox’s father’s bicycle, as father and son took in the sights, sounds and smells of their hometown during Knox junior’s formative years, and it was undoubtedly this powerful scenery which inspired the (as yet) unexplored artist in Knox retrospectively. Knox was born in Hartlepool back in 1942 and has plied his trade as a professional fine artist for in excess of 35 years now, having initially trained in creative disciplines both locally, at Hartlepool and then latterly, in Leicester. In 1968 onwards, Knox became a tutor for the College of the Sea (now known as the Marine Society) and courtesy of this role was fortunate enough to travel around the globe in the guise of art instructor, passing on his knowledge and skillset in drawing and painting to others, primarily those aboard merchant ships. Knox had always possessed an affinity with the sea, born and bred on the coast himself, and as a child dreamed of adventures on the high seas and circumnavigating the ocean waves further a field, habitually losing himself in wondrous fictional worlds filled with late night naval tales and fishing yarns passed down through successive generations of coastal-dwelling folk. After following his heart and experiencing a life at sea, Knox returned to land and enjoyed a three year stint as an art lecturer in Norwich, before eventually opting to take up painting on a full-time basis and seeking to dedicate himself to his personal calling permanently. Now living and working in the Scottish Borders, Knox’s art has found favour with fans and collectors alike, around the world, with a continual host of galleries exhibiting his work, whilst a number of his paintings are found in the collection of The National Maritime Museum as well as the Marine Society.
* JOHN BYRNE RSA (SCOTTISH 1940 - 2023), TEDDY BOY (STROLLIN) mixed media on paper, signed, titled label versoframed and under glassimage size 25cm x 5cm, overall size 43cm x 23cm Label verso: Lemon Street Gallery, TruroNote: John Byrne studied at both Edinburgh and Glasgow Schools of Art in the late 50s and early 60s. A superb painter and draughtsman, the multi-talented Byrne was also a first-class playwright (‘The Slab Boys’, ‘Tutti Frutti’), his ear for dialogue was as acute (and witty) as his eye for detail. Much of his subject matter in both disciplines is overtly autobiographical, he often included or refers to the Teddy Boy/Rock and Roll era of his youth. Byrne designed record covers for Donovan, The Beatles, Gerry Rafferty and Billy Connolly. His work is held in major collections in Scotland and abroad. Several of his paintings hang in The Scottish National Portrait Gallery in Edinburgh, the Museum of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow.
* ANDREW HAY (SCOTTISH 1944 - 2024), FEMALE PORTRAIT acrylic on boardframedimage 55.5cm x 43cm, overall 70cm x 57.5cmNote: Having started to paint at the age of 39, within a year the People's Palace Museum, Glasgow had purchased ten paintings and had given Hay his first solo exhibition. Since then his works have been included in numerous public and private collections. His work deals with both narrative and nature, sometimes subverting one or the other in order to advance his artistic practise. His insistence on invention, freedom and risk affirms continuity in his aesthetic spirit. He used a network of codes, symbols and expressive techniques which played off his collective memory and familiarity of everyday objects and culture from his childhood and juxtaposes them with present day reality. In so doing he embodied them with a new philosophical discourse. Andrew’s work now features in many significant public and private collections and is in the permanent collections of Glasgow's Kelvingrove, Gallery of Modern Art and The People's Palace.
* ANN WEGMÜLLER RSW RWS RGI (SCOTTISH b. 1941), LANDSCAPE oil on board, signedframedimage size 60cm x 82cm, overall size 74cm x 95cm Label verso: The Atholl Gallery, DunkeldNote: Ann Wegmuller was born in Gourock on the West Coast of Scotland. She graduated with Honours from the Duncan of Jordonstone College of Art in Dundee in 1985. She has won several prestigious awards including the Scottish Society of Women Artists Ryden Award in 1986 and the James Torrance Memorial Award by the Royal Glasgow Institute in 1989. A professional member of the Scottish Society of Women Artists, she has exhibited at the Royal Scottish Academy, The Scottish Society of Women Artists, The Royal Glasgow Institute, St. Andrews Fine Art, The Riverside Gallery, Stonehaven The Gatehouse Gallery in Glasgow and elsewhere. Her work is found in numerous private collections in the UK, Germany, Switzerland, France, Sweden, Hong Kong and New Zealand.
* LADY LUCINDA MACKAY (SCOTTISH b. 1941), BATMAN IN DIRLETON ink on paper, monogrammed, titled label versomounted, framed and under glassimage size 20cm x 27cm, overall size 36cm x 44cm Exhibition label verso: 1 - 15 September (2018), The Torrance Gallery, EdinburghNote: Artist and teacher, notably a draughtsman and painter of portraits, born in Sunninghill, Berkshire, brought up in the family home, Glenapp Castle, Ayrshire. Lady Mackay was the daughter of the 3rd Earl of Inchcape, chairman of the shipping line P&O who also ran Inchape PLC and was director of many other companies. Lucy Mackay was educated in Switzerland, Cambridge and at Edinburgh University and Edinburgh College of Art, 1960–5, under David Talbot Rice and William Gillies, graduating with a master’s honours degree in fine art. In 1973–4 she completed a postgraduate illustration studies year at the Central School of Art and Design. She settled in Edinburgh where she studied advanced botanic illustration at the Royal Botanic Garden, and where as a member of the Scottish Arts Club from 1983 she regularly attended life studies. Mackay began her extensive teaching career in 1966 as art assistant at Edinburgh Academy for Boys; from 1968–76 taught art, design and pottery at schools in the London area; then again in Edinburgh at the Salisbury Centre, 1981–2. In 1999 she joined the register of Angus County’s artists-in-residence for primary schools, serving at several schools. After winning first prize in a portrait painting competition run by the magazine Nursery World, 1953, and exhibiting a prize painting in the Daily Mail competition to celebrate the opening of the Forth Road Bridge, 1964, Mackay took part in many group shows, including the RSA. Among later solo exhibitions were The Italian Institute, Edinburgh, 1991; Torrance Gallery, Edinburgh, 1995, 1998 and 2005; and The Forum, Ocean Terminal, Leith, in aid of the Bethany Trust, 2004. She travelled extensively in several continents with paints and sketch-book. As well as a series of self-portraits Mackay completed many portraits, including Ronald Fletcher, broadcaster, 1968; the Queen’s Counsel Lionel Daiches, 1979–80; singer Ian Caddy, 1980–1; Professor David Daiches with his brother Lionel, 1988–9; the composer and conductor Emre Araci, 1997; and cellist Harriet Johnson, 2000. Her work was held by collections including the Scottish National Portrait Gallery; London College of Music; Royal Over-Seas League; Scottish Arts Club; Barlinnie Prison; and Geffrye Museum.
* MARY BATCHELOR (SCOTTISH 1944 - 2017), GREEN DOOR oil on canvas, signed, titled label versoframed and under glass image size 15cm x 21cm, overall size 34cm x 39cm Artist's label versoNote: Mary Batchelor attended the Glasgow School of Art where her tutors included: Peter Howson, David Linley and Norrie Kirkham. Working exclusively in acrylics, Mary Batchelor, produced paintings with vibrant and compelling colours. Mary was constantly inspired by the Scottish landscape. She loved bringing the ever changing Scottish countryside to life in her paintings. Mary also found great inspiration from travel abroad, enjoying the challenge of capturing unfamiliar scenes and different light. Mary Batchelor paintings are influenced by the strong tradition of Scottish colourists. She credited Scottish Colourists - Cadell, Peploe, Fergusson and Hunter as a source of great inspiration in her paintings. She admired the bold use of colour and texture, and the confidence exuded in every brush stroke which has contributed so richly to the tradition of Scottish painting.
* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948), EASDALE ISLAND, ARGYLL oil on canvas, signed and dated 2002, titled versoframed and under glassimage size 32cm x 32cm, overall size 61cm x 61cm Note: Jolomo remains one of Scotland's most celebrated contemporary artists. In The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer) and on 20th June 2021 lot 641 "Nick's Tug at Crinan" achieved £6000 (hammer). In our August 2021 auction, "Portnahaven, Islay" sold for £6000 (hammer). These being just three of numerous recent auction prices which reflect the strong and ever-growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison. In The Scottish Contemporary Art Auction of 28th September 2023 lot 38 LEE SHORE - NO LANDING ON STAFFA, sold for £8000 (hammer) setting a new auction record for a painting by John Lowrie Morrison.
* ALEXANDRA (SANDIE) GARDNER (SCOTTISH b. 1945), RECLINING NUDE oil on canvas panel, signed, titled versoframed and under glassimage size 31cm x 28cm, overall size 49cm x 46cm Label verso: Roger Billcliffe Gallery, GlasgowNote: Alexandra (Sandie) Gardner is without doubt one of Scotland's most successful and well known living artists. Unquestionably one of the country's biggest personalities in the Scottish art world. Born in 1945 in Glasgow, Sandie is fiercely proud of her working-class roots. Showing extraordinary artistic talent from the age of 5, Sandie was accepted to study at the prestigious Glasgow School of Art in 1963. She worked hard and was closely under the tutelage of the Head of School, David Donaldson. Almost unbelievably, as soon as she qualified, Sandie was offered a lecturing position at the Art School, she was 22 years old. Sandie had a highly successful teaching career and throughout these years she was able to paint for several prestigious galleries in Edinburgh, Glasgow and London and had several highly acclaimed solo shows. After some 21 years at GSA , Sandie retired from teaching in 1988 to become a full-time professional artist and she never looked back.
DOUGLAS LENNOX, HARVEST TIME oil on board, signed and dated '20, titled versoframedimage size 41cm x 51cm, overall size 57cm x 67cmHandwritten artist's label versoNote: Douglas Lennox was born in 1948 and was educated in Kilmarnock. He attended Glasgow School of Art 1966-70 and Jordanhill College of Education 1970-71. Early retirement from being Principal Teacher of Art and Design in Grange Academy in Kilmarnock means he can now concentrate full-time on painting. He now lives in Darvel in the Irvine Valley which has been the inspiration for much of his work. His work is predominantly made up of landscapes and seascapes in Ayrshire. The seascapes feature the marinas and harbours of the Scottish coast. The basis of his work is simply a continual fascination with what he sees. He works directly in front of the subject throughout the year as he feels that there is no substitute to being out there responding to changing light and seasons. His work is in a variety of media to suit conditions and subject - oil, watercolour, gouache and pastels. Duncan Shanks, who was one of his teachers at art school, was an early influence. The work of the Impressionists, The Glasgow Boys and the Scottish Colourists are all constant influences.
* PHILIP RASKIN (SCOTTISH b. 1947), LIGHT BEFORE DARK oil on canvas, signed, titled versoframedimage size 20cm x 20cm, overall size 36cm x 36cm Note: Born in 1947, Philip studied at the Glasgow School of Art in the 1960s. However, due to his father's untimely death, he had to postpone his career in art and left art school to enter the business world where he stayed for the next 30 years. For 20 of those years, he was the well known proprietor of The Inn on the Green, a celebrated jazz restaurant, in Glasgow. During this time, he maintained his contact with the world of art however, by running a schedule of art exhibitions and openings within the venue. Upon leaving the restaurant in the 1990s, Philip returned to his easel and brushes and since then has become a successful full time artist with broad appeal. He now lives and works from his studio just outside Glasgow. Philip's unique style is instantly recognisable combining a heavy impasto application of the paint alongside more delicate and sensitive brush strokes. Focussing mainly on landscape painting, his inspiration comes from the islands of the west coast of Scotland with Barra, Islay, Jura and Arran being some of his favourite locations. He deftly captures the essence and light of the landscapes through his work, the rugged shorelines, dramatic seascapes and ever changing skies. "I tend to paint very private places for the viewer to own and enjoy. No people, no houses, no telegraph poles; just expansive skies, mist tumbling on a distant hillside and a silence broken only by lapping water and gulls ascending".
* PETER GRAHAM ROI (SCOTTISH b. 1959), AVENUE DE LA BOURDONNAIS, PARIS oil on canvas, signed, titled and dated 1991 versoframed and under glassimage size 51cm x 57cm, overall size 69cm x 76cm Note: Peter Graham was born in Glasgow in 1959. He attended the Glasgow School of Art, graduating in 1980. In 2000 Peter was elected to Full Membership of The Royal Institute of Oil Painters, R.O.I. Peter has earned a reputation as one of Britain’s most gifted and distinctive Modern Colourists. His work is often related to the Modern Scottish School but Peter has a flamboyant style which is unique, – detailed brushwork combined with loose fluid strokes creating vibrant contrasts of pure colour, line and tone. In the winter months within his studio, he delves deeply into the still life genre, creating some of his most stunning compositions, always with colour as the dominant theme but reflecting the heightened sense of atmosphere and passion that comes directly from painting in the beauty of the Mediterranean. Recently, hugely successful exhibitions in London have allowed Peter to take on extra studio space and his work is being enthusiastically exhibited by many of the UK's most prestigious galleries. Peter Graham's paintings do not appear at auction frequently.Condition of the picture is good overall, with no visible or known issues.
FRANK COLCLOUGH (SCOTTISH 1941 - 2023), SPRING FLOWERS & FRUIT oil on board, signed, titled versoframed and under glassimage size 29cm x 29cm, overall size 52cm x 52cm Note: Frank Colclough was born in Wick, Caithness and lived in London before settling back in Scotland in 1975. He originally worked as a design draughtsman while studying art at Camberwell Art School and worked as a professional artist since 1981. All Frank Colclough early contemporary paintings were in watercolour, but over recent years he worked in acrylic and oils. The inspiration for Frank Colclough paintings stems from his admiration of the Scottish colourist movement. This is reflected in his paintings which consist mainly of marine views of the Scottish West Coast and colourful still life studies. Frank Colclough contemporary paintings appear in many private and public art collections. The RSW, RGI and RSA have also regularly exhibited his work. Frank was a frequent, popular and very successful contributor to The Scottish Contemporary Art Auctions from 2008 for many years.
* JOHN BYRNE RSA (SCOTTISH 1940 - 2023), UNTITLED offset lithograph on paperframed and under glassimage size 36cm x 26cm, overall size 54cm x 45cm Note: John Byrne studied at both Edinburgh and Glasgow Schools of Art in the late 50s and early 60s. A superb painter and draughtsman, the multi-talented Byrne was also a first-class playwright (‘The Slab Boys’, ‘Tutti Frutti’), his ear for dialogue was as acute (and witty) as his eye for detail. Much of his subject matter in both disciplines is overtly autobiographical, he often included or refers to the Teddy Boy/Rock and Roll era of his youth. Byrne designed record covers for Donovan, The Beatles, Gerry Rafferty and Billy Connolly. His work is held in major collections in Scotland and abroad. Several of his paintings hang in The Scottish National Portrait Gallery in Edinburgh, the Museum of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow.
* JAMES MCDONALD (SCOTTISH b. 1956), BLUE ANCHOR BAY artist's proof mezzotint on paper, signed, dated 2016 and inscribed 'A/P', titled versomounted, framed and under glass image size 11.5cm x 9.5cm, overall size 31cm x 28cm Label verso: Roger Billcliffe Gallery, GlasgowNote: James McDonald studied at Edinburgh College of Art 1974-78, and completed his postgraduate year there in 1979. McDonald has painted full-time since studying at Edinburgh, and his work has won numerous awards including the Andrew Grant Travelling Scholarship, British Council Travel Grant and the Alexander Stone Foundation Award. He has exhibited widely throughout the U.K. and overseas and is in private and public collections including the Victoria & Albert Museum, London; BBC; STV and all major Scottish banks.
* JIM NICHOLSON (BRITISH 1924 - 1996), WILD POPPIES, EAST LOTHIAN watercolour on paper, signed, titled versomounted, framed and under glass image size 49cm x 63cm, overall size 74cm x 88cm Label verso: The Macaulay Gallery, StentonNote: Jim Nicholson came to Edinburgh and worked for an advertising company for nine years, before joining the National Trust for Scotland in 1964, as its first artist designer. He retired in 1983 with the title of Art Director and had contributed immensely to the Trust's growth and effectiveness. He visited St Kilda; many of his paintings were of that world-renowned archipelago, and Trust work there always had his special interest. While being a full time artist by then, he was also a keen hill walker which enabled him to gain access to other remote parts of Scotland, particularly the North-West and Hebridean Islands. Since the 1970's Jim held over 40 one-man exhibitions throughout Scotland and in London, his work being in great demand. Many of his paintings are in public and private collections in America, Australia, Canada, Germany, Hungary, Japan, South Africa and New Zealand, and throughout Britain, including that of HM Queen Elizabeth the late Queen Mother.
* IRENE LESLEY MAIN (SCOTTISH 1959 - 2023), SAUCHIEHALL STREET, GLASGOW watercolour on paper, signed and titled mounted, framed and under glassimage size 12cm x 22cm, overall size 33cm x 44cm Note: Irene Lesley Hope Main was born in Glasgow. She studied Drawing and Painting at the Glasgow School of Art from 1976 until graduating in 1980 (under Donaldson, Robertson, Shanks and Rae), the Patrick Allan-Fraser School of Art at Hospitalfield to which she won a scholarship, and in Italy. She travelled extensively throughout Europe, America and Africa and exhibited widely in one-person and group exhibitions in the United Kingdom, Europe and America. She was a full-time painter, a winner of the Hiram Walker Award and the Lauder Award, and had studios in Glasgow, Athens and Brodick, Isle of Arran. Lesley Main was strongly influenced by the Scottish Colourists (in particular, J. D. Fergusson) and the Glasgow School, with its emphasis on light and shade, use of colour and sensuous handling of paint, and traditional pursuit of academic excellence. Her great love of nature underpinned her joie de vivre and essential optimism, of which her work is a direct and fluent complement and statement. Lesley Main's work is well-known, and is in public and private collections world- wide, including those of: H.R.H. Diana, the late Princess of Wales; Allied Irish Bank; Argyll Group; Australian Capital Equity; Bank of Ireland; British Petroleum; Charterhouse Development Capital; Citicorp Scrimgeour Vickers International; Clyde Port Authority; Commonwealth Development Corporation; Robert Fleming Holdings; Henry Ford Foundation; G. K. Goh; Gouldens; Iomart Group; Lam Soon Group; Lanitis Development; Lithgow Group; John Makepeace; Mercury Asset Management; Metropole Group; Prudential Corporation; BWD Rensburg; Royal Bank of Scotland; Save and Prosper; Scottish Arts Council; Herbert Smith; South African Department of Foreign Affairs; Standard Life; Deloitte Touche; University of Strathclyde; Warwick Arts Trust; Yarrow.
* SHELAGH CAMPBELL, WINTER LANDSCAPE acrylic on canvas, signed and dated 2011framed and under glassimage size 79cm x 59cm, overall size 100cm x 80cm Note: Studied at Glasgow School of Art. "As with many women artists of my era in the sixties, family came first for many years, although I never stopped painting. We lived in Ullapool, Wester Ross, with the glorious colours of the land and sea. We swapped Ullapool for Qatar in the Arabian Gulf (I still painted Wester Ross). In Qatar, I exhibited paintings, taught briefly, worked on Doha radio, and worked as an artistic advisor on Qatar TV. About 20 years ago I met my old teacher and great friend James D. Robertson RSA. He took me under his wing and told me to “Get bloody painting.” Because of Jimmy, I succeeded in having work accepted by the annual exhibitions of the RGI, RSW and PAI. I was winner of ‘The House for an Art Lover’ award at the Paisley Art Institute Exhibition in 2016 and winner of ‘The Glasgow Gallery’ award at the Paisley Art Institute Exhibition in 2018. My Exhibition at the ‘House for An Art Lover’ ‘Going Solo at Sixty-Nine’ ran for several months in the Spring of 2017.
* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948), BEACH AND STORM ISLAND, IONA oil on board, signed and dated '99, titled versoframed and under glassimage size 41cm x 41cm, overall size 62cm x 62cm Note: Jolomo remains one of Scotland's most celebrated contemporary artists. In The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer) and on 20th June 2021 lot 641 "Nick's Tug at Crinan" achieved £6000 (hammer). In our August 2021 auction, "Portnahaven, Islay" sold for £6000 (hammer). These being just three of numerous recent auction prices which reflect the strong and ever-growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison. In The Scottish Contemporary Art Auction of 28th September 2023 lot 38 LEE SHORE - NO LANDING ON STAFFA, sold for £8000 (hammer) setting a new auction record for a painting by John Lowrie Morrison.
* FIONA C GRAHAM, RED TENEMENTS, GLASGOW acrylic on board, signed, titled versoframed and under glassimage size 34cm x 44cm, overall size 46cm x 47cm Artist's label versoLabel verso: The Fotheringham Gallery, Bridge of AllanNote: "Born in Glasgow in 1970, I started painting at an early age and after attending a night school course in life drawing at Glasgow School of Art went on to study History of Art at St Andrews University. After completing a business start up course in Glasgow I began painting professionally full time. Years of living in a vibrant city like Glasgow has had a huge influence on my work, very much a case of painting what I know and love. The people, the buildings and the inescapable weather are my inspiration and I'm always interested in the contrast between the grandeur and the grittiness within the city, the changing seasons and moods, the recognisable views versus the hidden gems, nooks and crannies, the lost past and the fast disappearing architecture. In an ever changing cityscape I can always find a new challenge to paint and try to look for beauty in the everyday, overlooked and ignored aspects of city life. In contrast to city subjects, family ties and happy childhood memories have given me a great affection for the East coast of Scotland and I enjoy trying to capture the unique light and sense of space of the coastline and again I'm drawn to buildings, people and their history and traditions.
* SIR BILLY CONNOLLY CBE (SCOTTISH b. 1942), SCOTTY POSER XV limited edition giclee print on paper, signed and numbered 12/24, titled and dated 2022 certificate verso, from the Born on a Rainy Day series framed and under glass image size 57cm x 77cm, overall size 65cm x 86cm Note 1: Certificate verso by Washington Green Fine Art. Note 2: The world-famous comedian’s iconic artworks have no less impact than one of his legendary comedy sketches. The faceless figures possess an extraordinary self-awareness and humanity. Devoid of emotion or expression, their anonymity opens them up to individual interpretation, creating a unique bond with the viewer. Featured by The Times and documentaries including Billy Connolly: It's Been a Pleasure, his minimalist drawings have been described as 'poignant', 'funny' and 'enigmatic' by critics. It was on a rainy day in 2007 that Billy first put pen to paper. Taking refuge from the grey drizzle of Montreal, Canada, he entered an art shop with a twinkling curiosity and left with an armful of supplies and the urge to create. Back in his hotel room, his felt-tip pens and sketchbook formed a portal for his imagination, and over the next five years his drawings evolved into his debut fine art collection, Born On A Rainy Day, which launched in 2012. Billy's highly-collectible series of limited edition prints and stainless steel sculptures is as humorous as his own comedy, with elements of his own life unexpectedly appearing throughout. Billy Connolly is unarguably one of the world’s finest stand-up comics. He has also been an acclaimed actor and musician; now he has turned his rich talents into visual art, with many hugely popular collections of limited edition prints and steel sculptures. “I’d never drawn in my life until this point, but I just started drawing weird islands and carried on drawing.” Billy creates his art at his Florida home, where he draws a plethora of wondrous images, from extinct Scottish cats and horses with two legs, to Teddy Boys and flying babies. Whatever takes his imagination, he gets down on paper for his avid collectors. In 2023, a coffee-table book of Billy’s art was published by Castle Fine Art, featuring over 300 published and unpublished works, and he was thrilled with the result. “I didn't know there were so many pieces. I thought I must have 12 or 20. I don't know how many, but there are over 300 in the book. 300! That's ridiculous. It's lovely.” “Some of them are quite virginal and purist and they go for the good side of life. And others are quite dodgy and a bit bad taste, which pleases me greatly. They're of a world of their own. There's no similarity whatsoever in writing a book and drawing; drawing oozes from you. It takes hold of part of what's in your head and makes you do it on paper”.
* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948), HOT DAY, CRINAN oil on board, signed and dated '98, titled versoframed and under glassimage size 29cm x 29cm, overall size 47cm x 47cm Note: Jolomo remains one of Scotland's most celebrated contemporary artists. In The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer) and on 20th June 2021 lot 641 "Nick's Tug at Crinan" achieved £6000 (hammer). In our August 2021 auction, "Portnahaven, Islay" sold for £6000 (hammer). These being just three of numerous recent auction prices which reflect the strong and ever-growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison. In The Scottish Contemporary Art Auction of 28th September 2023 lot 38 LEE SHORE - NO LANDING ON STAFFA, sold for £8000 (hammer) setting a new auction record for a painting by John Lowrie Morrison.
* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948), BIG GERBERAS oil on canvas, signed and dated 2003, titled versoframed and under glassimage size 41cm x 41cm, overall size 62cm x 62cmNote: Jolomo remains one of Scotland's most celebrated contemporary artists. In The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer) and on 20th June 2021 lot 641 "Nick's Tug at Crinan" achieved £6000 (hammer). In our August 2021 auction, "Portnahaven, Islay" sold for £6000 (hammer). These being just three of numerous recent auction prices which reflect the strong and ever-growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison. In The Scottish Contemporary Art Auction of 28th September 2023 lot 38 LEE SHORE - NO LANDING ON STAFFA, sold for £8000 (hammer) setting a new auction record for a painting by John Lowrie Morrison.
* SARAH CARRINGTON (SCOTTISH b. 1977), SEA GRASSES + THISTLES, IONA mixed media on board, titled labels verso mounted, framed and under glass image size 14cm x 20cm, overall size 34cm x 39cm Handwritten artist's label versoLabel verso: Roger Billcliffe Gallery, GlasgowNote: Sarah Carrington (b.1977) is an Edinburgh born landscape artist. She creates land and seascape paintings using acrylic, ink, emulsion, oil, sand and chalk to describe the variety of textures found at the seashore, and to evoke the mood and weather of the coastlines of Scotland and Ireland. Sarah Carrington graduated in 1999 with a sell-out degree show and an MA in Fine Art from the University of Edinburgh and Edinburgh College of Art. She began her career as a self-employed artist based in Edinburgh; her memories of childhood holidays to the west coast of Scotland and student sailing excursions around the Hebrides have a lasting influence on her sea and landscape paintings. Now based on the north coast of Ireland, she paints both the coastlines of Scotland and Ireland noting the similarities between these two Celtic lands. She has exhibited regularly throughout the UK and her works are held in public and private collections nationally. Sarah is represented by The Open Eye Gallery (Edinburgh) and the Roger Billcliffe Gallery (Glasgow). On 10th July 2022, lot 201 a large (overall size 122cm x 250cm) triptych by Carrington sold in The Scottish Contemporary Art Auction for £2600 (hammer) setting a new UK auction record for the artist.
* PETER GRAHAM ROI (SCOTTISH b. 1959), GARDEN VIEW mixed media on board, signed and dated '89mounted, framed and under glassimage size 69cm x 59cm, overall size 102cm x 92cm Note: Peter Graham was born in Glasgow in 1959. He attended the Glasgow School of Art, graduating in 1980. In 2000 Peter was elected to Full Membership of The Royal Institute of Oil Painters, R.O.I. Peter has earned a reputation as one of Britain’s most gifted and distinctive Modern Colourists. His work is often related to the Modern Scottish School but Peter has a flamboyant style which is unique, – detailed brushwork combined with loose fluid strokes creating vibrant contrasts of pure colour, line and tone. In the winter months within his studio, he delves deeply into the still life genre, creating some of his most stunning compositions, always with colour as the dominant theme but reflecting the heightened sense of atmosphere and passion that comes directly from painting in the beauty of the Mediterranean. Recently, hugely successful exhibitions in London have allowed Peter to take on extra studio space and his work is being enthusiastically exhibited by many of the UK's most prestigious galleries. Peter Graham's paintings do not appear at auction frequently.
* JOHN BYRNE RSA (SCOTTISH 1940 - 2023), RON DONACHIE AS DENNIS SPROUL FROM TUTTI FRUITTI mixed media on paper, signed, titled labels versomounted, framed and under glass image size 20cm x 15cm, overall size 41cm x 35cm Labels verso: The Scottish Gallery, Edinburgh; Roger Billcliffe Gallery, GlasgowNote: John Byrne studied at both Edinburgh and Glasgow Schools of Art in the late 50s and early 60s. A superb painter and draughtsman, the multi-talented Byrne was also a first-class playwright (‘The Slab Boys’, ‘Tutti Frutti’), his ear for dialogue was as acute (and witty) as his eye for detail. Much of his subject matter in both disciplines is overtly autobiographical, he often included or refers to the Teddy Boy/Rock and Roll era of his youth. Byrne designed record covers for Donovan, The Beatles, Gerry Rafferty and Billy Connolly. His work is held in major collections in Scotland and abroad. Several of his paintings hang in The Scottish National Portrait Gallery in Edinburgh, the Museum of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow.
![[PRIVATE SCOTTISH COLLECTION, RENFREWSHIRE] TWO PORCELAIN VASES 19TH-20TH CENTURY 十九至二十世紀 綠地軋道粉彩鳳凰牡丹紋瓶 及 紅釉撇口瓶（共兩件）com](https://cdn.globalauctionplatform.com/f2dc49da-377a-4713-abac-b1d300cb2f79/18a426e3-0287-4df7-8d12-b1d300cc860a/468x382.jpg)
[PRIVATE SCOTTISH COLLECTION, RENFREWSHIRE] TWO PORCELAIN VASES 19TH-20TH CENTURY 十九至二十世紀 綠地軋道粉彩鳳凰牡丹紋瓶 及 紅釉撇口瓶（共兩件）comprising: a lime-green ground ‘sgraffito’ with famille rose ‘phoenixes’ vase; and a baluster vase covered overall save for the base with sang de boeuf glaze (2) heights: 21.8cm and 21.4cm Private Scottish collection, Renfrewshire; A selection of Chinese and Japanese art from the same collection was sold at this saleroom, 17 May 2024, lots 328-350.
![[PRIVATE SCOTTISH COLLECTION, RENFREWSHIRE] INLAID BRONZE TRIPOD KORO AND COVER MEIJI PERIOD OF LATER 明治或以後 銅嵌金銀絲出戟沖耳三足爐the](https://cdn.globalauctionplatform.com/f2dc49da-377a-4713-abac-b1d300cb2f79/1a0d7712-2439-4e8b-971c-b1d300cc8780/468x382.jpg)
[PRIVATE SCOTTISH COLLECTION, RENFREWSHIRE] INLAID BRONZE TRIPOD KORO AND COVER MEIJI PERIOD OF LATER 明治或以後 銅嵌金銀絲出戟沖耳三足爐the bulbous body resting on three cylindrical high feet, decorated on the raised band with roundels against shaped panels alternating by flanges, the decorations accented by gold and silver wires, cover similarly decorated topped with a flaring tubular finial, the neck flanked with upright pierced handles 18.1cm high; 1328g Private Scottish collection, Renfrewshire; A selection of Chinese and Japanese art from the same collection was sold at this saleroom, 17 May 2024, lots 328-350.
![[PRIVATE SCOTTISH COLLECTION, RENFREWSHIRE] GROUP OF THREE INLAID BRONZE 'FLORAL' WARES MEIJI PERIOD OR LATER 明治或更晚 銅花鳥紋對瓶及碟](https://cdn.globalauctionplatform.com/f2dc49da-377a-4713-abac-b1d300cb2f79/51bdd997-6f66-4760-a80d-b1d300cc87de/468x382.jpg)
[PRIVATE SCOTTISH COLLECTION, RENFREWSHIRE] GROUP OF THREE INLAID BRONZE 'FLORAL' WARES MEIJI PERIOD OR LATER 明治或更晚 銅花鳥紋對瓶及碟（共三件）comprising: a dish elegantly decorated with floral spray and a bird, right margin engraved with maker's mark; and a pair of slender vases decorated with flowers, unmarked (3) Dish: 21.6cm high; Vases: 15.9cm high each Private Scottish collection, Renfrewshire; A selection of Chinese and Japanese art from the same collection was sold at this saleroom, 17 May 2024, lots 328-350.
TWO LONGQUAN CELADON-GLAZED DISHES MING DYNASTY OR LATER 明或更晚 龍泉青釉花卉紋大盤（共兩件）one centre moulded with a spray of flowers, enclosed by ribbed cavetto; the other with moulded floral medallion in the centre, the cavetto carved with undulating floral motifs (2) diameters: 33.1cm and 33.6cm Private Scottish collection, Edinburgh; collected Asian Art in the 1960s to 1970s whilst working in Asia for The Hong Kong and Shanghai Bank (HSBC) as a senior executive, thence by descent.
INCISED QINGBAI 'FLORAL' CONICAL BOWL SOUTHERN SONG TO YUAN DYNASTY 南宋至元 青白釉刻花卉紋葵口斗笠碗thinly potted on a short foot with gently notched rim, carved freely to the interior of stylised floral foliage, covered all over with a translucent bluish-green glaze save for the foot rim and part of the base revealing the burnt orange body and marked in black ink a Chinese character ‘five’ 19.4cm diameter Private Scottish collection, Scottish Borders. The owner had an enduring friendship with Dr Kenneth Lawley (1937-2023), a lifelong Asian art collector and a significant part of whose collection was sold in this saleroom, 3 November 2023, lot 1-95. Dr Lawley was close to the collection offered in this sale, indeed some of the items came directly from him. He would share his research, his catalogue, and his admiration of these items with the owner, as a natural consequence of their friendship. By repute acquired from Dr Kenneth Lawley, who acquired from David Bowden, 4 March 2006, with an original receipt.
![[PRIVATE SCOTTISH COLLECTION, RENFREWSHIRE] PAIR OF SMALL LANGYAO GREEN-GLAZED VASES QING DYNASTY, 18TH-19TH CENTURY 清 郎窯綠釉小](https://cdn.globalauctionplatform.com/f2dc49da-377a-4713-abac-b1d300cb2f79/21fd8b71-66b4-44d2-82ce-b1d300cc852c/468x382.jpg)
[PRIVATE SCOTTISH COLLECTION, RENFREWSHIRE] PAIR OF SMALL LANGYAO GREEN-GLAZED VASES QING DYNASTY, 18TH-19TH CENTURY 清 郎窯綠釉小對瓶each of compressed bottle form, the exterior and base covered in a pale apple-green crackled glaze (2) 7.5cm high each Private Scottish collection, Renfrewshire; A selection of Chinese and Japanese art from the same collection was sold at this saleroom, 17 May 2024, lots 328-350.
GROUP OF FIVE SANCAI WARES MING DYNASTY 明 三彩男俑、供桌、魚供盤、衣箱及衣架（共五件）comprising: a standing male guardian figure; an offering table laden with various offerings of pig head, bread, rooster, fruit, stacks of cakes; a fish on offering plate; a large chest; and a robe rack/temple stand (5) the offering table: 33.5cm wide Private English collection, Brighton. The figure was purchased from Fortune Arts Company (福昌工藝), Hong Kong on 6 April, 1995, with an original receipt; The offering table with fruits was purchased from Maxsheen Curios Furniture & Wood Carvings (文興家具文玩木刻), Hong Kong on 15 April 1995, with an original receipt; also comes with a Certificate of Antiquity (no. 49900) issued from Hong Kong Art Craft Merchants Association Limited (香港藝術商品協會) stated the piece is dated to the Ming dynasty; The fish on offering plate was purchased from Ming House Antiques & Arts (宗明坊), Hong Kong on 1 October 1994. with an original receipt; The chest was purchased from Wing Tat Hong (永達行), Hong Kong on 1 October 1994, with an original receipt; The robe rack/temple stand was purchased from Fortune Arts Company (福昌工藝), Hong Kong on 1 April, 1995, with an original receipt.
TWO BLUE AND WHITE WARES QING DYNASTY, 19TH CENTURY 清 青花雙龍戲珠紋將軍罐 及 冰梅紋蓋罐（共兩件）comprising: one baluster vase with cover, the body painted with a pair of confronting dragons chasing a flaming pearl, shoulders set with four moulded mythical animal heads, on a wooden stand; and a kamcheng, jar with cover, decorated with cracked-ice and prunus motif (2) heights: 44.3cm and 22cm Private Scottish collection, Edinburgh; Collected Asian Art in the 1960s to 1970s whilst working in Asia for The Hong Kong and Shanghai Bank (HSBC) as a senior executive. Thence by descent.
![[PRIVATE SCOTTISH COLLECTION, RENFREWSHIRE] SATSUMA BOWL AND A DISH BY HODODA, MEIJI PERIOD 明治 保土田款 薩摩燒人物紋六方碗及盤（共兩件）comprisi](https://cdn.globalauctionplatform.com/f2dc49da-377a-4713-abac-b1d300cb2f79/3e35be05-556e-4295-bed5-b1d300cc89ba/468x382.jpg)
[PRIVATE SCOTTISH COLLECTION, RENFREWSHIRE] SATSUMA BOWL AND A DISH BY HODODA, MEIJI PERIOD 明治 保土田款 薩摩燒人物紋六方碗及盤（共兩件）comprising: a deep bowl rising to hexagonal mouth, the base with ‘Satsuma, Hododa’ mark; and a dish decorated with figures in the centre medallion with eight panels on the cavetto, the base with ‘Hododa Sei, S.H’ mark (2) diameters: 22.7cm and 24.8cm Private Scottish collection, Renfrewshire; A selection of Chinese and Japanese art from the same collection was sold at this saleroom, 17 May 2024, lots 328-350.
![[PRIVATE SCOTTISH COLLECTION, RENFREWSHIRE] GROUP OF THREE CRACKLE-GLAZED WARES 19TH-20TH CENTURY 十九至二十世紀 仿哥釉青花山水人物紋瓶 及 成化款](https://cdn.globalauctionplatform.com/f2dc49da-377a-4713-abac-b1d300cb2f79/2f6fa013-359a-4f65-b175-b1d300cc8684/468x382.jpg)
[PRIVATE SCOTTISH COLLECTION, RENFREWSHIRE] GROUP OF THREE CRACKLE-GLAZED WARES 19TH-20TH CENTURY 十九至二十世紀 仿哥釉青花山水人物紋瓶 及 成化款 仿哥釉筆筒（共三件）comprising: an oval vase decorated with underglaze blue with shanshui landscape against a fine crackle ground; and a pair of ge-type-glazed brush pots, each base inscribed with a four-character Chenghua mark (3) Vase: 22cm high; Brush pots: 12cm high each Private Scottish collection, Renfrewshire; A selection of Chinese and Japanese art from the same collection was sold at this saleroom, 17 May 2024, lots 328-350.
![[PRIVATE SCOTTISH COLLECTION, RENFREWSHIRE] SATSUMA DISH BY KAZAN, MEIJI PERIOD 明治 ‘京都陶磁器合資會社造 桓山’款 薩摩燒人物紋碟of oval form with](https://cdn.globalauctionplatform.com/f2dc49da-377a-4713-abac-b1d300cb2f79/d086e1c9-8fdf-4cb9-aeaf-b1d300cc88d2/468x382.jpg)
[PRIVATE SCOTTISH COLLECTION, RENFREWSHIRE] SATSUMA DISH BY KAZAN, MEIJI PERIOD 明治 ‘京都陶磁器合資會社造 桓山’款 薩摩燒人物紋碟of oval form with shorter sides undulating, the shallow interior painted with a group of adult figures surrounding a bonfire and children at play in a scenic surrounding, the base marked ‘Kyōto tōjiki gōshigaisha zō’, ‘Kazan’ 22.6cm wide Private Scottish collection, Renfrewshire; A selection of Chinese and Japanese art from the same collection was sold at this saleroom, 17 May 2024, lots 328-350.
![[PRIVATE SCOTTISH COLLECTION, RENFREWSHIRE] THREE SATSUMA WARES MEIJI PERIOD 明治 服部、光山、魁山款 薩摩燒人物紋瓶及碗（共三件）comprising: a balust](https://cdn.globalauctionplatform.com/f2dc49da-377a-4713-abac-b1d300cb2f79/d81964f6-ea09-431d-a712-b1d300cc8b01/468x382.jpg)
[PRIVATE SCOTTISH COLLECTION, RENFREWSHIRE] THREE SATSUMA WARES MEIJI PERIOD 明治 服部、光山、魁山款 薩摩燒人物紋瓶及碗（共三件）comprising: a baluster vase painted with rakan and figures, the base with ‘Hattori Zo’ mark; a larger bowl painted with figures inside and out, the base with ‘Kaizan’ mark; and a lobed bowl decorated with flowers and figures, the base inscribed ‘Kozan’ (3) Vase: 14.1cm high; Bowls: 13.9cm and 12.6cm diameters Private Scottish collection, Renfrewshire; A selection of Chinese and Japanese art from the same collection was sold at this saleroom, 17 May 2024, lots 328-350.
MASSIVE IMARI VASE WITH COVER 20TH CENTURY 二十世紀 伊萬里鶴紋帶蓋大瓶painted on both sides of the body in shaped cartouches with a pair of cranes in a pond, against a green ground decorated with bamboo leaves and blooming peonies, the domed cover topped with a large shishi finial 114cm high Private Scottish collection, Renfrewshire; A selection of Chinese and Japanese art from the same collection was sold at this saleroom, 17 May 2024, lots 328-350.
QINGBAI TAOTIE-MASK HANDLED RIBBED VASE SONG DYNASTY 宋 青白瓷鋪首銜環弦紋瓶 帶木座of archaistic bronze hu form, the ribbed body flanked with a pair of taotie-mask handles suspending fixed rings, covered overall with a pale blue glaze of green tone, with a wooden stand 28.8cm high Private English collection, Brighton; purchased from Wing Kei Curios & Porcelain (永基古玩瓷器), Hong Kong on 1 March 1995, with an original receipt. A closely comparable Qingbai vase in the collection of the Hong Kong Museum of Art was on loan and exhibited at the Indra and Harry Banga Gallery, City University of Hong Kong for the ‘The Grand Gathering of the Century: Zodiac Heads from the Yuanmingyuan and Important Treasures’ exhibition during 4th July and 30th November, 2023. A further Qingbai vase similar in form is in the National History Museum, Taipei, Taiwan, museum number: 77-00209.
![[PRIVATE SCOTTISH COLLECTION, RENFREWSHIRE] CANTON FAMILLE ROSE HEXAGONAL JARDINIÈRE WITH STAND QING DYNASTY, 19TH CENTURY 清](https://cdn.globalauctionplatform.com/f2dc49da-377a-4713-abac-b1d300cb2f79/7ec323b8-fd54-494a-b8b9-b1d300cc8594/468x382.jpg)
[PRIVATE SCOTTISH COLLECTION, RENFREWSHIRE] CANTON FAMILLE ROSE HEXAGONAL JARDINIÈRE WITH STAND QING DYNASTY, 19TH CENTURY 清 廣彩人物紋六方盆帶托each facet painted with figures in gardens and courtyards, the stand of matching form painted with flowers and butterflies 27.4cm wide Private Scottish collection, Renfrewshire; A selection of Chinese and Japanese art from the same collection was sold at this saleroom, 17 May 2024, lots 328-350.
Moorland, Chelsea Works, Burslem, Art Deco style (1990s) stylish part coffee set consisting of tea pot, milk jug, sugar bowl and cover and one tea cup and saucer, all of curved angular shape and white colourway, with silvered painted finias to coffee and sugar, coffee pot approx. 22.8cm high. Further details: no signs of damage, small firing chips to base of sugar; general wear.
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