A World War I Denison of Birmingham white metal cased compass, 45mm diameter; part broad arrow to reverse dated 1918, numbered 83182together with a continental silver cased indistinctly named open face pocket watch, with subsidiary dial, the silvered chapter ring with black Arabic numerals and gilt hands, 45mm diameter; a white metal open face pocket watch, the white dial with subsidiary dial and black Arabic numerals 52mm diameter and an Art Deco Rotary white metal cased ladies cocktail watch with Arabic numerals on a black leather strap Further details: both pocket watches wind not working, one with hairlines to dial both work marked, ladies watch winds ticking, dial marked foxed, compass good Note: regarding watches/pocket watches please note movements untested, functionality untested, modifications and restorations may not be disclosed in the catalogue description, for more information on any detail related to this lot please request a condition report with specific questions or view the lot in person
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Art Deco diamond and emerald platinum brooch, comprising a central collet set old European cut diamond approx 0.16ct, rub-over set either side with a single square cut emerald, within a diamond set geometric pierced panel of single and rose cut diamonds, length approx 40mm, trombone clasp, unmarked, total gross weight approx 7.6gms Further details: slight bending to pin, stones present, minor wear and tear commensurate with age
A collection of mixed silver plated items to include; a large entrée dish with beaded edging; a stylish Art Deco style Albany Plate four piece tea set; two plated sauceboats; cased and loose flatwares inc. a set of silver handled knives and silver collared mother of pearl set; toast rack; egg cups etc. Also included in the lot is a Chester silver four division toast rack (A/F - split and broken from frame near bottom), and a miniature Birmingham silver presentation trophy. (1 box) Weighable silver: approx. 92.7 grams (2.9ozt)
A 19th century Victorian Art Nouveau mahogany chaise lounge. The chaise having carved back rest carved with Nouveau whiplash in blind fretwork and carved darts to side. Raised over turned gadrooned supports on castors. Upholstered in a blush pink velvet type fabric with brocade to edge. Measures approx. 80x160x60cm
A vintage 20th century Art Nouveau style pine wood single box bed frame. Having ball finials and carved headboard / foot board. Panelled and arched decoration to both, pediment top with column / pillar effect. Comes apart for ease of transports. With sleepers and bar fixings. Measures approx. 112x117cm (headboard)
A vintage 20th century Art Nouveau style pine wood single box bed frame. Having ball finials and carved headboard / foot board. Panelled and arched decoration to both, pediment top with column / pillar effect. Comes apart for ease of transports. With sleepers and bar fixings. Measures approx. 112x117cm (headboard)
The larger brooch is a handmade triangle with dangling beads and an artist signature on the back. It has two pins on the back and measures approximately 3.75"L x 1.25"W. The smaller brooch is more traditional art deco and measures approximately 1"L x 2"W. Dimensions: See DescriptionCondition: Age related wear.
Colorful fringed silk scarf in a lively pop art design of various cats in bowties. Romero Britto is a Brazilian artist that combines elements of cubism, pop art, and graffiti painting in his work. R. Britto sewn in tag. Artist: Romero BrittoDimensions: 50"L x 10.5"WCondition: Age related wear.
Colorful fringed silk scarf in a lively pop art design of a smiling girl whose hair has a fire-like quality. Romero Britto is a Brazilian artist that combines elements of cubism, pop art, and graffiti painting in his work. R. Britto sewn in tag. Artist: Romero BrittoDimensions: 50"L x 10.5"WCondition: Age related wear.
* JAMES MCINTOSH PATRICK OBE RSA ROI (SCOTTISH 1907 - 1998), THE OLD BARN, MEIGLE, PERTHSHIRE watercolour on paper, signed and titled, further titled labels versomounted, framed and under glassimage size 22cm x 30cm, overall size 54cm x 62cm Labels verso: The Scottish Gallery, Edinburgh; The Fine Art Society, EdinburghNote: 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.
GEORGE HENRY RA RSA RSW (SCOTTISH 1858 - 1943), THE LOCKET oil on canvas, signed, titled label versoframed image size 101cm x 79cm, overall size 121cm x 100cmExhibition label verso: No. 80, Irish International Exhibition, Dublin 1907. Label verso: Thomas Agnew & Sons, London.Note: The model for “The Locket” was Alice Perry. Alice posed for several works by George Henry in his studio at Glebe Place, Chelsea (London) between 1904 and 1906. These include “The Poinsettia” (1904) , “The Blue Gown” (1906) both exhibited at the Glasgow Institute of Fine arts, “Ready for the Theatre” (1905) and "The Tortoiseshell Mirror" (Paisley Museum & Art Gallery). Many of the works of this period show the strong influence of the works of Whistler. Whistler had several iconic works with the model seated in a similar manner. Ninety-six of George Henry's paintings are held in UK public collections including at Glasgow Museums, Kelvingrove, The Hunterian, The Laing, The Guildhall Art Gallery (London), Kirkcaldy Galleries, Manchester Art Gallery, The National Galleries of Scotland and The City Art Centre (Edinburgh) and numerous others in National collections outside the UK. His fabulous work of an elegant Edwardian “The Black Hat” (1910) is considered to be one of his finest works in the genre and was most recently exhibited to the public in "Modern Britain 1900 - 1960 Masterworks from Australian and New Zealand Collections" a major exhibition organised by the National Gallery of Victoria, Melbourne (15th November 2007 - 24th February 2008).Note 2: A leading member of the Glasgow School (Glasgow Boys), the most progressive artists in Britain during the latter part of the 19th c., George Henry moved to 26 Glebe Place, Chelsea (London) and established a hugely successful society portrait practice. He showed annually at the Royal Academy from 1904. Aside from formal figure work, he produced a number of elegant exhibition pieces around this time which were, in part, influenced by his lengthy visit to Japan with E. A. Hornel 1893-94.
* MARGARET MORRIS (BRITISH 1891 - 1980), RAM GOPAL oil on canvas, signed and dated 1960 versoframed image size 74cm x 55cm, overall size 92cm x 73cm Exhibition label verso: Glasgow Civic Art Association. Note 1: Margaret Morris was a young English dancer and the wife of John Duncan Fergusson, whom she met in 1913. They settled in Paris in 1929. The following year Fergusson became President of the Groups d'Artistes Anglo-Americans in Paris. Of the four Scottish Colourists, Fergusson was the one who was accepted by the French as one of their own and his reputation was instrumental in bringing about the success of the Paris exhibition in 1931 of Les Peintres Ecossais. Morris enjoyed great success as a Dancer, teacher, choreographer and painter. As dancer and teacher; she developed her own free style of dancing, opening a school in London (1910), establishing the Margaret Morris Movement (1925) and founding the Celtic Ballet (1947) and two Scottish National Ballets, in Glasgow (1947) and in Pitlochry (1960). Although she became an accomplished painter in the Scottish colourist style aided by her marriage to Fergusson and her many years spent in Paris, her first love was always dancing and in the painting of Ram Gopal she brings both of these mediums together with great skill. Morris brings together the portrait of Gopal surrounded by his troupe in many different dance poses, creating a great sense of movement and modernism.Note 2: Ram Gopal was an Indian dancer and Choreographer. He played a significant role in bringing Indian dance to International audiences between the 1930s to the late 1960s. He and his troupe performed at London's Aldwych Theatre in 1939. During this visit, he also danced at a charity performance for the Hindustani Social Club. According to his passport, Ram Gopal was born in Bangalore in 1917, although some claim his date of birth to have been up to five years earlier. La Meri, the American danseuse, visited India in 1937 and, discovering Gopal, invited him to teach her Kathakali and accompany her on a tour of the Far East. He danced in Rangoon, Malaya, Java, the Philippines, China and Japan. He then went to the USA in 1938 and then on to Europe and was feted when he arrived in London. The press praised Gopal's accomplished dancing, comparing him favourably with Uday Shankar. Ram Gopal received rave reviews and was set to stay in Britain for a long run, but with the outbreak of the Second World War had to return to India.Ram Gopal built a dance school in Bangalore during the war years, and welcomed the London Ballet Company to India. Ram Gopal returned to London in July 1947. He was asked to perform at the reopening of the Indian section of the Victoria and Albert Museum on 17 September 1947. Subsequently he and his company were asked to perform seasons of several weeks at numerous theatres in London, such as The Prince’s Theatre, Adelphi and Cambridge. He founded a school of Indian dance in London in 1962 and spent his last years in England. He died in Surrey in 2003.
EDWARD ATKINSON HORNEL (SCOTTISH 1864 - 1933), THE ROBIN NEST oil on canvas, signed and dated 1918framed and under glassimage size 75cm x 63cm, overall size 102cm x 89cm Note: Born in Bacchus Marsh, Victoria Australia, on 17 July 1864 of Scottish parents, and he was brought up and lived practically all his life in Scotland after his family moved back to Kirkcudbright in 1866. He studied for three years at the art school at Edinburgh, and for two years at Antwerp under Professor Verlat with his friend William Stewart MacGeorge. Returning from Antwerp in 1885, he met George Henry and associated himself with the Glasgow Boys. Hornel and Henry collaborated upon "The Druids Bringing in the Mistletoe" (1890), a procession of druidic priests bringing in the sacred mistletoe, gorgeous with polychrome and gold. The two worked side by side to achieve decorative splendour of colour, Hornel boldly and freely employing texture effects produced by loading and scraping, roughening, smoothing, and staining. In 1893-94 the two artists spent a year and a half in Japan, where Hornel learned much about decorative design and spacing. Towards the close of the nineties his colours, while preserving their glow and richness, became more refined and more atmospheric, and his drawing more naturalistic, combining sensuous appeal with emotional and poetic significance. In 1901 he declined election to the Royal Scottish Academy. A member of Glasgow Art Club, Hornel exhibited in the club's annual exhibitions. In 1901 he acquired Broughton House, a townhouse and garden in Kirkcudbright, which was his main residence for the rest of his life with his sister Elizabeth. There he made several modifications to the house and designed a garden taking inspiration from his travels in Japan. He also made an addition of a gallery for his paintings. On his death the house and library were gifted to the town "for the benefit of the citizens of Kirkcudbright" and Broughton House (the Hornel Museum) is now administered by the National Trust for Scotland. There are examples of his works in the museums of Aberdeen, Buffalo, Bradford, St. Louis, Toronto, Montreal, Glasgow, Edinburgh, London, Leeds, Manchester, Hull, Bath, and Liverpool. In UK public collections alone there are 186 documented examples of Hornel's work.
JOSEPH HENDERSON RSW (SCOTTISH 1832 - 1908), AYRSHIRE SEASCAPE oil on canvas, signed framedimage size 67cm x 100cm, overall size 96cm x 123cm 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.
DAVID FARQUHARSON ARA ARSA RSW ROI (SCOTTISH 1839 - 1907), LAMLASH SHORE oil on canvas, signed, dated in presentation plaqueframedimage size 51cm x 91cm, overall size 65cm x 106cmNote: A native of Blairgowrie, where he was born in 1839, David Farquharson, A.R.S.A., A.R.A., first contributed to the Scottish Academy Exhibition in 1868. Though the subject was from Solwayside — a district to which he frequently returns in after-years—his early pictures deal mostly with that border land of Perth and Forfar shires adjoining his native town. After his removal to Edinburgh, about 1872, his subjects are less localised, as is evidenced by such titles as “The Last Furrow,” 1878; “Noonday Rest,” 1879; “Sheep-plunging,” 1880; the first-named of which received wide publicity, having been purchased and engraved by the Royal Association. In 1882 he was elected Associate of the Royal Scottish Academy, and about that time “The Links of Forth,” The Prisons of the Bass,” and one or two Dutch subjects marked his artistic progress. About 1887 Mr. Farquharson removed to London, and after a residence of some years there, partly for health reasons, he made his residence in Cornwall. But his visits to Scotland were frequent, and to the close his pictures illustrate the scenery of his native country, as well as that of his adopted home in the neighbourhood of Penzance. From the date of his going south he was a regular exhibitor at the Royal Academy, where his work soon attracted the attention of Art lovers in the metropolis. In 1879 his picture “In a Fog” was purchased by the Trustees of the Chantrey Fund, a distinction which was also accorded to the more important “ Birnam Wood,” exhibited in 1906. Mr. Farquharson owed little to Art training. The fact that he was over thirty before leaving his native district sufficiently accounts for this; and it was the more remarkable that his work shows a continuous development, his ablest pictures belonging to his last years. That which brought him the Associateship of the Royal Academy, “Full Moon and Spring Tide,” was exhibited at Burlington 5 House—where it occupied a centre in the great room—as late as 1904. “The Pilchard Season” and “ Dark Tintagel ” were his two last exhibited works. He died at Birnam, Perthshire, on 12th July. (the above text was transcribed from the 1907 RSA Annual Report). Forty-one of his paintings are held in UK public collections.
DAVID WEST RSW (SCOTTISH 1868 - 1936), WEST BEACH, LOSSIEMOUTH oil on canvas, signed, titled in presentation plaque framedimage size 50cm x 75cm, overall size 81cm x 105cm Note: David West was a watercolour painter of land, sea and sky. He was born on 12 November 1868 in Lossiemouth, the youngest of 12 children, and died 8 October 1936 in Glasgow. West was the son of Captain James West, commander of a sailing schooner. In 1883 West’s parents moved to Aberdeen and West attended Aberdeen grammar school for one year before going to sea with his father. During this time West found time to attend the Aberdeen Mechanics Institute and studied life drawing. While still working as a seaman he continued to paint culminating in his award of a gold medal at the Industry and Art Exhibition in Aberdeen in 1888. From 1889 to 1894, West exhibited at the Royal Scottish Academy and the Royal Academy in London. That five-year period saw him being accepted for the Royal Academy on successive years. When still in his twenties he had won for himself a wide reputation as a watercolour landscape painter. In 1892 he was commissioned by the Countess of Aberdeen to undertake a number of paintings for her. In 1893 West returned to Lossiemouth having spent a time traveling in the Netherlands to study Dutch art. West further travelled to the Klondyke and on his return four of his Klondike paintings were exhibited at the RSA. In 1903, the Society of Scottish Artists chose West to represent them at the Munich Exhibition. He was elected a Member of The Royal Scottish Society of Painters in Watercolour on 19 February 1908 and exhibited extensively at the Society’s Annual Exhibitions and also those of The Royal Glasgow Institute of Fine Arts. In 1935 West was elected Vice-President of the RSW.
KATE WYLIE (SCOTTISH 1877 - 1941), STILL LIFE, FLOWERS IN VASE oil on board, signedframedimage size 35cm x 45cm, overall size 40cm x 51cm 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.
* JAMES MCINTOSH PATRICK OBE RSA ROI (SCOTTISH 1907 - 1998), DICHTY BRIDGE watercolour on paper, signed, titled and dated 1985 versomounted, framed and under glassimage size 53cm x 73cm, overall size 80cm x 102cm 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 PATERSON PRSW RSA RWS (SCOTTISH 1854 - 1932), COPELAND MILL oil on board, signedframedimage size 29cm x 45cm, overall size 42.5cm x 58cm Note: James Paterson is often categorised as one of the so-called Glasgow Boys, but his work differed from that of other artists in this group because he created mainly pure landscapes in which figures only ever played minor roles. After studying at Glasgow School of Art and in Paris, Paterson travelled in France and Italy. He enthusiastically encouraged the publication in 1888, of the short-lived journal The Scottish Art Review. He left Glasgow in 1884, and settled in Moniaive, Dumfriesshire with his wife. Paterson continued his long-established friendship with William York MacGregor and finally moved to Edinburgh in 1905, becoming a prominent member of the Royal Scottish Academy. Thirty-six of his paintings are held in UK public collections.
SIR DAVID YOUNG CAMERON ARSA RSW RA RSA (SCOTTISH 1865 - 1945), THE ROYAL SCOTTISH ACADEMY, EDINBURGH etching on paper, signed, titled label versomounted, framed and under glassimage size 18cm x 36cm, overall size 44cm x 59cm Label verso: T. & R. Annan & Sons, GlasgowNote 1: Issued with the Special Edition of The Royal Scottish Academy, Edited by Frank RinderNote 2: David Young Cameron (1865–1945) 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.
ROBERT HOPE RSA (SCOTTISH 1869 - 1936), LOTHIAN LANDSCAPE oil on canvas, signedframed image size 64cm x 76cm, overall size 92cm x 106cmNote: Born in Edinburgh in 1868, Robert Hope died there on the 10th of May 1936. He was originally a lithographic draughts- man, afterwards working at designs for printers, and book illustration. As a student of the School of Design, Edinburgh, he was awarded a National gold medal, and in the Royal Scottish Academy Life School gained, in the years 1893 to 1895, prizes for painting and drawing and the Chalmers Bursary. Afterwards he studied in Julian’s Academy in Paris. His election to the Academy as Associate was in 1911 and as full Member in 1925. In 1910 he was Chairman of the Society of Scottish Artists. His Diploma Work is a figure subject entitled “ Glints of Gold.” and the Scottish Modern Arts purchased “ An Old Herd ” in 1935. “ The Charm ” is in the Glasgow Corporation Collection, and he is also represented in Wellington Art Gallery, New Zealand. Mr. Hope was varied in his work, painting landscape and figures, portraits and some large decorative schemes. His first notable commission in decoration was for the ballroom of Manderston House. He also painted the “ Blue Blanket ” in Edinburgh City Chambers, and the apse of St. Cuthbert’s Church. In 1921 he painted an important picture of the General Assembly of the Church of Scotland addressed by Karl Haig, a work necessitating a great many portrait studies of the principal figures. Much of his subject-matter was derived from Scottish ballad and song, as the “ Bonnie Kilmeny,” which was purchased by the King of Romania.
EDWARD ARTHUR WALTON RSA PRSW (SCOTTISH 1860 - 1922), THE MILL ON THE GRYFE, KILMACOLM oil on canvas, signedframed image size 58cm x 80cm, overall size 79cm x 101cm Note: A wonderful atmospheric painting capturing the rural landscape at dusk by Glasgow Boy E A Walton. Walton was one of twelve children of Jackson Walton, a Manchester commission agent and a competent painter and photographer. Some of Edward's siblings were well known in their time - his brother George Henry Walton (1867-1933) was a noted architect, furniture designer and stained glass designer, Constance Walton was an acclaimed botanical painter, while Helen Walton, born 1850, was a decorative artist who studied at the Glasgow Government School of Design and was artistic mentor to the family. Walton enjoyed his art training at the Kunstakademie Düsseldorf and then at the Glasgow School of Art. He was a close friend of Joseph Crawhall - Walton's brother Richard having married Judith Crawhall in 1878 - George Henry and James Guthrie and lived in Glasgow until 1894 where he became part of the Glasgow School or Glasgow Boys, all of whom were great admirers of Whistler. Their favourite painting haunts were in the Trossachs and at Crowland in Lincolnshire. In 1883 Walton joined Guthrie, who had taken a house in the Berwickshire village of Cockburnspath. He also produced a remarkable set of watercolours in Helensburgh in 1883, showing the affluent suburb and its decorous people. These images are regarded as some of the finest of the Glasgow School and praised for their clarity, colour and strong decorative sense. Carrying out portrait commissions became Walton's main source of income. In the 1880s and 1890s he painted murals in the main building of the Glasgow International Exhibition of 1888 and other buildings in the city. Walton also attended painting classes at the Glasgow studio of W. Y. Macgregor, one of the central figures of the Glasgow School. Walton exhibited from 1880 in both Glasgow, at the Royal Glasgow Institute of Fine Arts, and Edinburgh, at the Royal Scottish Academy, being elected an associate of the Academy in 1889 and a full member in 1905. He was in London from 1894 until 1904, living in Cheyne Walk in Chelsea, and a neighbour of Whistler and John Lavery. While in London, Walton often painted in Suffolk, spending summers at the Old Vicarage in Wenhaston. Here he painted pastoral scenes in oil and watercolour, the latter often on buff paper with creative interplay between paper and paint. He used extensive underpainting in his oils, thereby creating subtle effects. In 1907 he accompanied Guthrie on a painting trip to Algiers and Spain and in 1913 worked in Belgium. The World War I years led to his discovering Galloway and he became a frequent visitor to the area. From 1915 he served as President of the Royal Scottish Water Colour Society. Walton's use of oil was reserved largely for important portraits in the Whistlerian manner. Walton married the artist Helen Law (née Henderson) after becoming engaged on 29 November 1889. Helen gave up her painting career in order to tend to their family. Their son John (1895-1971), became Regius Professor of Botany at the University of Glasgow. Their daughter Cecile (1891-1956), was a successful painter, sculptor and illustrator in Edinburgh. Their youngest daughter Margery married William Oliphant Hutchison in 1918. Sixty eight of his paintings are held in UK public collections including Glasgow Museums & Galleries.
CHARLES LESLIE (BRITISH fl. 1835 - 1890), MOONLIT LANDSCAPE, HIGHLANDS oil on canvas, signedframedimage size 26cm x 46cm, overall size 50cm x 70cm Note: Charles Leslie was one of the first Victorian landscape artists to portray scenes of the Scottish and Welsh moorlands and became one of the better-known painters of these themes. His landscapes often feature stark mountains in the background towering over still waters with open skies above. Leslie exhibited at the Royal Academy (5 works), the British Institution (3 works), the Suffolk Street Gallery of the Society of British Artists (16 works) and also exhibited in many lesser-known Victorian art venues.[He died of liver disease at the age of 46 on 9 September 1886 at Mitcham Road Tooting, near Wandsworth, Surrey. British museums with examples of his work include the National Library of Wales, the Royal Holloway Museum, at the University of London and the Victoria Museum and Gallery in Liverpool. One of his landscapes is also on view at the Museum Geelvinck Hinlopen Huis in Amsterdam (Netherlands).
* JAMES MCBEY (SCOTTISH 1883 - 1959), MACDUFF limited edition etching on paper, signed and numbered VIIImounted, framed and under glassimage size 30cm x 20cm, overall size 56cm x 46cm Note: Self-taught as an artist, McBey was born in Newburgh near Aberdeen. He worked as a bank clerk from the age of fifteen, learning about art from books. After reading about etching, he became interested in printmaking, producing his first prints using a domestic mangle and building his own printing press. An admirer of Rembrandt’s prints, McBey launched his artistic career in 1910 by travelling to Holland. He returned to live in London before working in Egypt as an Official War Artist in 1917. McBey reached the peak of his popularity as an etcher in the 1920s, but when the print market collapsed due to the Depression he mainly produced portraits on commission. McBey didn’t associate himself with artistic movements, but saw himself as a traditional, skilled craftsman.
* MARY HOLDEN BIRD (BRITISH 1889 - 1978), GAY WEATHER watercolour on paper, monogrammed, titled versomounted, framed and under glassimage size 24cm x 35cm, overall size 47cm x 56cm Note: Mary Holden Bird was a painter and etcher, mainly of seascapes and landscapes. She studied at Heatherley’s School of Fine Art and went on to show at the Fine Art Society (where she had frequent one-man exhibitions), The Royal Acadmy (London), RSW, RBA and the Paris Salon. Mary was married to the prominent cartoonist Cyril Kenneth Bird, who drew for Punch as "Fougasse". She was especially fond of the area around Morar, Scotland, where she came to live and produce much of her well known and loved paintings. One of her transparent-washed watercolours is illustrated in Percy V Bradshaw’s book Watercolour: A Truly English Art. Mary Bird – known to her friends as Molly – lived in London for a time and then in Morar, Scotland. She invariably signed her work with a monogram.
JAMES STUART PARK (SCOTTISH 1862 - 1933), PINK ROSE oil on canvas, signedframedimage size 30cm x 45cm, overall size 38cm x 53cm 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.
* CONSTANCE WALTON RSW (SCOTTISH 1865 - 1960), STILL LIFE watercolour on paper, signed mounted, framed and under glass image size 29cm x 39cm, overall size 49cm x 57cm Note: Constance Walton trained at Glasgow School of Art and was a member of the group known as the Glasgow Girls, women artists and designers who came to the fore in the late nineteenth century, thanks to the enlightened attitude of the head of school, Francis Newbery, who set out to enrol men and women equally. Constance Walton became best known for flower studies. One of the leading Glasgow Girls, Constance Walton’s work comes up for sale relatively rarely. The Fleming Collection hold her work.
SAMUEL FULTON (SCOTTISH 1855 - 1941), GLEN OF IMAAL TERRIER oil on canvas, signedframed and under glassimage size 34cm x 44cm, overall size 53cm x 64cm Note: Samuel Fulton was born in Glasgow on 26 April 1855, the son of Samuel Fulton, a baker and Jane Strang. He lived at Surrey Street and attended the Free Church Normal School before entering High School. Initially he worked as an apprentice baker in his father's business before starting to paint for a living at around the age of 24. He lived in Airdrie in 1881 and also worked from Torrance, Stirlingshire and Campsie Glen & Kilmacolm, Renfrewshire. During the late 19th century he returned to the family business but continued painting. He exhibited in Glasgow and Edinburgh. Fulton specialised in painting portraits of dogs and was adept at capturing the character and mood of the animal in his work. It is highly likely he kept dogs himself possibly Terriers as he painted the breed repeatedly throughout his life. Examples of his paintings can be found at the Royal Scottish Academy, Glasgow Art Gallery & Museum and the Paisley Museum.
ALEXANDER FRASER JNR RSA RSW (SCOTTISH 1828 - 1899), EARLY SPRING GORSE IN BLOOM oil on canvas, signed, titled versoframedimage size 46cm x 66cm, overall size 64cm x 84cm 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 HERBERT JAMES GUNN RA RP (SCOTTISH 1893 - 1964), PORTRAIT OF SILVANUS NICOL oil on canvas, signedframedimage size 92cm x 72cm, overall size 100cm x 80cm Note: Painter, born in Glasgow, Scotland who studied at Glasgow School of Art, Edinburgh College of Art and at the Académie Julian in Paris under J.P. Laurens. His life as a painter was interrupted by World War I, in which he lost two brothers, and he enlisted with the Artists' Rifles in 1915 being commissioned into the 10th (Scottish) Rifles in 1917. James Gunn as he was known exhibited at RA, RSA, Paris Salon and elsewhere. Elected an Associate of the RA, 1953, and RA, 1961, RSW, 1930 and was also President of the Society of Portrait Painters. He painted the State Portrait of HM Queen Elizabeth II in her 1953 coronation robes and was knighted in 1963. The SNPG held a retrospective exhibition in 1994. His work is in the collections of Aberdeen Art Gallery, Cartwright Hall Museum, City of Edinburgh Art Collection, Dundee University, Fitzwilliam Museum, Cambridge, GAC, Harris Museum and Art Gallery, Preston, Hunterian, IWM, Jersey Heritage, Kelvingrove Art Gallery and Museum, Museums Sheffield, National Museums Liverpool, NMM, National Museums Northern Ireland, NMW, NPG, National Trust, Plymouth Art Gallery, Potteries Museum and Art Gallery, Rochdale Arts & Heritage Service, Slade School, SNPG and the Tate Gallery.
EDWARD ATKINSON HORNEL (SCOTTISH 1864 - 1933), ROSY CHEEKS oil on canvas, signed and dated 1915framed and under glassimage size 37cm x 37cm (circular), overall size 61cm x 61cm Note: Born in Bacchus Marsh, Victoria Australia, on 17 July 1864 of Scottish parents, and he was brought up and lived practically all his life in Scotland after his family moved back to Kirkcudbright in 1866. He studied for three years at the art school at Edinburgh, and for two years at Antwerp under Professor Verlat with his friend William Stewart MacGeorge. Returning from Antwerp in 1885, he met George Henry and associated himself with the Glasgow Boys. Hornel and Henry collaborated upon "The Druids Bringing in the Mistletoe" (1890), a procession of druidic priests bringing in the sacred mistletoe, gorgeous with polychrome and gold. The two worked side by side to achieve decorative splendour of colour, Hornel boldly and freely employing texture effects produced by loading and scraping, roughening, smoothing, and staining. In 1893-94 the two artists spent a year and a half in Japan, where Hornel learned much about decorative design and spacing. Towards the close of the nineties his colours, while preserving their glow and richness, became more refined and more atmospheric, and his drawing more naturalistic, combining sensuous appeal with emotional and poetic significance. In 1901 he declined election to the Royal Scottish Academy. A member of Glasgow Art Club, Hornel exhibited in the club's annual exhibitions. In 1901 he acquired Broughton House, a townhouse and garden in Kirkcudbright, which was his main residence for the rest of his life with his sister Elizabeth. There he made several modifications to the house and designed a garden taking inspiration from his travels in Japan. He also made an addition of a gallery for his paintings. On his death the house and library were gifted to the town "for the benefit of the citizens of Kirkcudbright" and Broughton House (the Hornel Museum) is now administered by the National Trust for Scotland. There are examples of his works in the museums of Aberdeen, Buffalo, Bradford, St. Louis, Toronto, Montreal, Glasgow, Edinburgh, London, Leeds, Manchester, Hull, Bath, and Liverpool. In UK public collections alone there are 186 documented examples of Hornel's work.
WILLIAM PRATT (SCOTTISH 1855 -1936), AFTER POTATO HARVEST oil on canvas, signed and dated 1909, titled label versoframed image size 62cm x 47cm, overall size 90cm x 74cm Handwritten label versoNote: William Pratt was born in Glasgow in 1854 and studied at the Glasgow School of Art. A painter of country subjects, landscapes, marines, portraits and genre scenes, he furthered his studies at the Academie Julian in Paris. William Pratt was influenced by the Scottish painter Sir David Wilkie RA and the Irish artist William Mulready RA. William Pratt enjoyed considerable success during his career, exhibiting at the Royal Academy in London and in Paris at the Salon, where he won an 'honourable mention' in 1902. He exhibited seventy paintings at The Royal Scottish Academy between 1877 and 1929. His work is represented in the Gallery of Modern Art in Venice, and his paintings can be found in the Dumbarton, Crail, Glasgow and Paisley Museums in his native Scotland, as well as the National Museum in Northern Ireland. Auction appearances of Pratt's larger paintings are becoming rarer but in 2005 "Burning the Shaws" was sold by Sotheby's for £21,600 (premium) and in 2019 Lyon & Turnbull achieved £4000 for "Study of a Head" (a 36cm x 25.5cm oil). Most recently (May 2021), Woolley & Wallis (Salisbury, Wiltshire) sold "Girl Driving Cattle" (a 57.3 x 76.4cm oil) for £3800 (hammer).
* WILLIAM MERVYN GLASS (SCOTTISH 1885 - 1965), CLIFFS oil on board, monogrammedframedimage size 45cm x 55cm, overall size 67cm x 77cm Note: William Mervyn Glass was born in Aberndeenshire in 1885. He studied at Gray's School of Art in Aberdeen and at the Royal Scottish Academy Life School in Edinburgh. He also studied in Paris and Italy. In 1913 he moved to Edinburgh before serving in the War. A painter of coastal scenes, seascapes and landscapes, he was particularly fond of painting Iona, where he would paint alongside Maclauchlan Milne, Cadell and Peploe. Glass refused to teach and committed his time to painting: 'The thing that gets me is that 9/10 ths of the painters in Scotland have to beg for their bread and butter. In their spare time and during holidays they squeeze in enough time to do some real painting'. His work was exhibited at the Royal Academy, Royal Scottish Academy, Royal Glasgow Institute and Aberdeen Artists' Society. He was awarded the Maclaine-Watters bronze medal and Chalmers Jervise prize. Glass often signed his work with his initials 'WMG'.
ART DECO INLAID WALNUT MANTEL CLOCK, CIRCA 1930s with three train eight day movement striking on eight gongs, the silvered dial with Arabic numerals, the case inlaid with burr and boxwood, mounted with white metal presentation plaque, on chromed supports, along with another Art Deco style mantel clockthe walnut clock 30cm wideQty: 2
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