(From the Estate of Sir John and Lady Clare Keswick at Portrack House, Dumfriesshire, lots 143-149)AGATE 'WATER CALTROP' GROUP QING DYNASTY, 19TH CENTURY 清 瑪瑙雕菱角佩 帶木座cleverly worked with two stacking smaller water caltrops touching a larger, with a bespoke wooden stand 4.4cm wide The Estate of Sir John and Lady Clare Keswick at Portrack House, Dumfriesshire.Sir John Henry Keswick, KCMG (1906–1982) was an influential Scottish businessman in China and Hong Kong. He was the tai-pan of Jardine, Matheson & Co., the leading British trading firm in the Far East, and had established friendships with many Chinese politicians, including Zhou Enlai, Premier of the People's Republic of China, and Madame Soong Ching-ling, wife of Sun Yat-sen during his stay in China. He was also a representative of the Special Operations Executive, a British intelligence service during the Second World War. Sir John spoke fluent Chinese. He was a Chinese art collector, particularly contemporary paintings.He married Clare Mary Alice Cynthia Catherine Celia Elwes (1905–1998) in 1940 and had a child Margaret Keswick (1941–1995) who founded Maggie's Centres for those suffering from cancer. Compare to an agate 'water caltrop' group, Qing dynasty, 19th century, previously in the Tuyet Nguyet and Stephen Markbreiter collection, sold at Sotheby's Hong Kong, 26 May 2021, lot 175. An agate carving of water caltrop, further with water chestnut, symbolising infinite love, Qing dynasty, is in the National Palace Museum, Taipei, museum number Guza 故雜906.
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18k gold textured brooch designed by Georges Braque, a rare 18k gold textured brooch from 1963, a bird flying right against clouds and decorated with red enamel (model 4). (designed by Georges Braque, French painter and sculptor, lived 1882-1963), called: 'Antiboree', made of red enamel and 18 carat yellow gold (signed: or750 / Bijoux de Braque and LP2457). Total weight: 22 grams, Height: 3.5 cm, Length: 6 cm. (* Attached for illustration are several screenshots of similar pins and prices from auction sites and galleries abroad). Relevant literature - R. de Cuttoli and H. de Löwenfeld, Metamorphoses de Braque. Gouaches, bijoux, sculptures, lives d'art, lithographies, Paris 1989, p. 19 (original gouache and gold brooch with blue enamel); Martine Newby Haspeslagh, Jewelry by Contemporary Painters and Sculptors @50: 1967-2017. Didier Ltd, London 2017, pp. 32-33 (* Georges Braque was a French painter who worked at the beginning of the 20th century. He is considered, along with Pablo Picasso, the founder of the Cubist movement in modern art.) Period: 20th century
AUSTEN, JANE. Pride and Prejudice, 3rd 'Peacock' edition, London: George Allen, 1903, illustrated throughout by Hugh Thomson, including frontispiece and illustrated title. Original decorative green cloth gilt, some scattered spotting, top edge gilt, facsimile signature by Hugh Thompson with a dedication to the notable art critic J. Comyns Carr. Near-contemporary gift inscription in to front free endpaper. Some spotting. Spine and cover with some fading.
MATILDA TUMIM (BRITISH, B. 1963) (2)Migrant (1996), two framed as one mixed media on wood framed size 23 x 26cm ARR Provenance The Blue Gallery, Walton Street, London; Private collection, UK together with another mixed media on wood by the same hand, St Magnus Tales, No. 24 (1993), two framed as one, framed size 20 x 20cm Provenance Contemporary Art Society Market; Private collection, UK (2)
ANA MARIA PACHECO (BRAZILIAN, B. 1943)Untitled, Study for Painting oil on paper 20.5 x 21.5cm Provenance Contemporary Art Society Market; Private collection, UKCondition reportThe Contemporary Art Society label on the back says it's oil on paper, however, looking through the glass it appears as though it could be oil on canvas.A little undulation to canvas/paper.Appears in generally good condition and ready to hang.Under glass and not examined out of frame.
A pair of Japanese Imari-ware 'La Dame au Parasol' platesEdo periodEach painted in underglaze blue and enamelled and gilt to the centre with an elegant lady wearing a kimono, and her maidservant holding a parasol, the reverse with seven iron-red insects, 22.5cm diameter each (2).Provenance: K. Main Collection, J-22 (label associated to one plate).The Dame au Parasol is one of the most famous designs by Cornelis Pronk, the famous Dutch draughtsman and porcelain designer. He was commissioned by the Dutch East India Company to produce a number of designs to be produced by Chinese and Japanese potters; the Dame au Parasol is the only design known to exist in both Chinese and Japanese porcelain.According to contemporary sources it was not possible to agree a reasonable price with Japanese potters, so no orders were made; a few plates of this design are however known, and in Museum collections worldwide, including the Victoria & Albert Museum (London) or the Ashmolean Museum (Oxford), the Minneapolis Institute of Art (Gift of Leo and Doris Hodroff), the Metropolitan Museum of Art (New-York). Cf. C.J.A. Jorg, Pronk Porcelain, pp. 71-3; T. Volker, The Japanese Porcelain Trade of the Dutch East India Company after 1683, (Leiden, 1959), p. 78-81.For a similar example, see Soame Jenyns, Japanese Porcelain, (London, 1965), pl. 46A. Condition Report: Expected light wear consistent with age and firing imperfections consistent with type, including some spots of crazing to glaze.One dish with approx. 8x5.5cm U-shaped rim section broken off and restored, with circular infills to the reverse to suggest it was possibly originally riveted.
Bindings. Sculpture. Egyptian - Assyrian - Greek - Roman..., Illustrated Hand-books of Art History, by George Redford, 1888, wood engraved frontispiece and illustrations, contemporary calf by Mudie, elaborate gilt decorated spine, 8vo, together with history of the Conquest of Mexco..., by William H. Prescott, new edition, London: George Routledge and Sons, 1866, engraved frontispiece, light spotting, front blank free endpaper inscribed 'Alfred Musgrave from Lady Windsor Decr. 1867', contemporary calf by Bickers and Son, gilt decorated spine, extremities slightly scuffed, 8vo, and The Chantry Priest of Barnet, A Tale of the Two Roses, by Alfred J. Church, 4th thousand edition, London: Seeley & Co., 1885, chromolithograph and sepia lithograph plates, contemporary calf by Bickers and Son, gilt decorated spine, 8vo, with The Bible of St. Mark..., by Alexander Robertson, London: George Allen, 1898, monochrome plates from photos, all edges gilt, early 20th-century green morocco gilt by W.J. Mansell, 8vo, plus other 19th & early 20th-century decorative leather bindings, mostly 8voQTY: (23)
The Complete Fisherman; Or, Universal Angler: Containing Full Directions for taking all kinds of River Fish... to which is added the Whole Art of Fly-Fishing... , 4th edition, London: Fielding & Walker, no date, c. 1778, engraved frontispiece (offset to title) , 4 pp. publisher's adverts at rear, bound with The Complete Vermin-Killer: A Valuable and Useful Companion for Families, in Town and Country... , 4th edition, with considerable additions, London: Fielding & Walker, 1777, contemporary half calf over marbled boards, calf gilt reback and corners restored, tall 12mo, preserved in a modern cloth book box with gilt-titled spine label torn with some loss to outer and top margins not affecting image or text, 4 pp. publisher's adverts at rear, some spotting throughout, title-page slightly browned, uncut, large armorial bookplate of Hugh Cecil Earl of Lonsdale to front pastedown and later bookplate of John A. McKinley to facing endpaper, modern antique-style calf with leather title label to spine, tall 12moQTY: (1)
Le Capilartiste. Journal Professionnel des Coiffeurs Posticheurs, 2 volumes, Paris, 1909, 1935, numerous monochrome illustrations, some loose leaves, toned throughout, later cloth bindings, large 8vo, together with:Langridge (A.), The Premier System of Cutting Gentlemen's Garments,...,London: Minister & Co., circa 1900, numerous monochrome illustrations, gutters cracked, some light toning throughout, original cloth, boards rubbed & slightly marked, large 4to, plusFoan ( Gilbert A. & N. E. B. Wolters), The Art and Craft of Hairdressing, 4th edition, London: The New Era Publishing Co., colour frontispiece, numerous monochrome illustrations, some light spotting & toning, contemporary green cloth, boards & spine slightly rubbed, large 8vo, plus a further earlier edition, and other similar early 20th-century ladies & gentlemen's fashion & styling referenceQTY: (26)
* Bowlker (Charles). The Art of Angling Improved, in all its Parts, Especially Fly-Fishing... , 1st edition, Worcester, M. Olivers, [1746], some light browning, old ink inscription to front free endpaper identifying this as the Henry Lowndes copy, contemporary sheep gilt, rubbed, 12moQTY: (1)NOTE:The Lowndes library of angling books was sold by Sotheby's in November 1843; see Westwood & Satchell, p. 55.
Charfy (Guiniad, i.e. George Smeeton). The Fisherman: Or, the Art of Angling Made Easy. Containing the most Approved Methods in Use for Fishing or Angling... , 2nd edition, London: J. Smeeton, [1815], publisher's adverts to title verso, small gilt-titled oval leather bookplate of Lowther to front pastedown and later bookplate of John A. McKinley to facing endpaper, contemporary speckled calf gilt, slight edge wear, antique-style calf reback with gilt-titled leather spine label, 8voQTY: (1)NOTE:Westwood & Satchell, pp. 58 & 67-68.
Denon (Dominique Vivant). Planches du voyage dans la Basse et la Haute Egypte, atlas volume only, Paris: Henri Gaugain & Chaillou, 1829, 143 engraved plates (including 20 bis & 54 bis), a few plates at front with faint old damp-stain to lower outer margin (occasionally touching plate), light intermittent spotting and minor dust-soiling to margins, contemporary brown quarter morocco gilt, some light wear to extremities, foot of upper joint split, elephant folio (60 x 41 cm)QTY: (1)NOTE:Atabey 338 (for 3rd edition); Blackmer 471 (for 2nd edition).'Denon's work has been justly praised. As a member of the Commission des Sciences et Arts which accompanied Napoleon's expedition to Egypt, he remained in Egypt for thirteen months, working continuously to record the Egyptian monuments. He was the first to reveal the richness of Egyptian art to Europe'. (Atabey).
Taylor (Samuel). Angling in all its Branches, Reduced to a Complete Science: Being the Result of more than Forty Years real Practice and Strict Observation throughout the Kingdoms of Great Britain and Ireland... , 1st edition, London: T. M. Longman & O. Rees, 1800, half-title, 6 pp. publisher's adverts at rear, contemporary bookseller's catalogue description and reviews pasted to half-title verso, manuscript 'Errors from the Press' to front free endpaper verso, scattered minor spotting, bookplate of W. A. Foyle, Beeleigh Abbey, top edge gilt, later tree calf gilt, a little rubbed, 8vo, together with:The North Country Angler; Or the Art of Angling: As Practised in the Northern Counties of England, 4th edition, London: Longman, Hurst, Rees, Orme, and Brown, 1817, vignette on title, advertisement leaf at rear, bookplate of Robert Mowbray to front pastedown, 19th-century half morocco gilt over marbled boards, rubbed, 12mo, plus Jesse (Edward), The Angler's Rambles, 1st edition, London: John Van Voorst, 1836, engraved illustration at head of dedication (offset to title verso), circular armorial bookplate of Thomas Howitt to front pastedown, contemporary green half morocco gilt over marbled boards, heavily rubbed, 8voQTY: (3)
Antiquarian. A large collection of miscellaneous 18th & 19th century literature. Nisbet (Alexander). A System of Heraldry Speculative and Practical: With the True Art of Blazon, According to the Most Approved Heralds in Europe..., 2 volumes, Edinburgh: J. MackEurn, 1732 (volume 1) and R. Flemming..., 1741 (volume 2), titles in red and black, contemporary ownership signature to head of title pages, numerous plate of coats of arms, light spotting throughout, contemporary calf, hinges and joints cracked, rubbed and worn, folio together with, Austen (John. H). A Guide to the Geology of the Isle of Purbeck and the South-West of Hampshire, Blandford: W. Shipp..., 1852, numerous plates, contemporary calf, slightly rubbed 8vo, plus Latham (Charles). In English Homes, volume 2 only, 2nd edition, London: George Newnes Limited, 1902, numerous monochrome illustrations, publishers original decorative green cloth, a little worn and frayed, edges bumped, folio, and Bayle [Pierre]. A General Dictionary, Historical and Critical..., volumes 1 - 6 and 9 only, London; J. Roberts, 1734 - 1739, titles printed in red and black, contemporary calf, hinges and joints cracked, rubbed and worn, folio and other 18th - early 20th-century leather-bound volumes etc. QTY: (6 shelves)
AN 18K GOLD 'CIRCLE ROPE' BRACELET, DESIGNED BY SCHLUMBERGER, FOR TIFFANY & CO. Designed as a series of openwork twisted gold links, in 18K gold, signed Tiffany & Co. and Schlumberger, length 19.8cm Jean Schlumberger (1907-1987) began his career in Paris in the 1930s as a designer of costume jewellery for the renowned couturier Elsa Schiaparelli and by the end of the decade he was creating fine jewellery for a discerning clientèlec. In 1939 he joined forces with Nicholas Bongard and together they opened a jewellery shop at 745 Fifth Avenue. From plummy amethysts to bursting bright turquoise, Schlumberger looked to nature for inspiration, combining coloured gems with diamonds and yellow gold to create a riot of hue and light. Tiffany & Co., under the direction of Walter Hoving, recruited Schlumberger in 1955 with hopes to breathe new life into the company and create a new look. Schlumberger was one of only four jewellers that Tiffany has allowed to sign their work and it was his playful imagination that mounted a jewelled bird on top of the famous Tiffany Yellow Diamond. In many ways a man ahead of the crowd, Schlumberger was the first jewellery designers to be awarded the prestigious ‘Coty American Fashion Critics’ Award in 1958. “Schlumberger brings to his art classic design principles of the Renaissance,” reported The Blue Book of 1986. Diana Vreeland, the respected editor of Vogue, wrote that Schlumberger appreciated “the miracle of jewels, which for him are the ways and means to the realisation of his dreams”. Created in his studio on the mezzanine level of Tiffany’s Fifth Avenue flagship store, his designs became de rigueur for fashionable women of the time including Diana Vreeland, Babe Paley, Elizabeth Taylor, and Audrey Hepburn. Perhaps most famous of all his designs were his pailloné enamel bracelets, which were to become dubbed ‘Jackie Bracelets’ due to First Lady Jacqueline Kennedy Bouvier’s fondness for the pieces, of which she owned several. The shimmering colours of the bracelet were achieved through an unusual technique wherein translucent enamel and foil were layered on top of another. One of Schlumberger’s most enduring designs, this bracelet can still be found in Tiffany’s contemporary collections and are still admired and sought after. Of these bracelets, fashion editor Diana Vreeland wrote “His enamel is perfection…He likes to stab enamel with nails of gold, as if to hold it from flying back to the world of nature from which he’s taken its colours”. Schlumberger retired in the late 1970s and died in 1987, but more than a hundred of his designs continue to be made by Tiffany artisans. In 1995, he became only the third ever jewellery designer to be honoured with a retrospective on his work titled ‘Un Diamant dans la Ville’ in the Musée des Arts Décoratifs, Paris, who still house many of his original design sketches. Schlumberger pieces have not only held their value at auction but continue to increase in general.
A GOLD ‘TRINITY’ RING, BY CARTIER, 1997 Composed of three polished interlocking bands in either yellow, white or rose gold, mounted in 18K gold, signed Cartier and 1997, numbered, with maker's mark, French assay marks, ring size N (59) The Cartier Trinity collection is shrouded in numerous myths and tales rich with symbolism. However, the true story begins in the 1920s, amid its roaring Art Deco era, almost 80 years after Cartier was established and famed for its colourful and exotic creations in geometric forms, high-contrast colour combinations, and carved precious gemstones. Louis Cartier, the son of the namesake founder, designed an intertwined ring. This revolutionary creation would become a distinctive code of Cartier style. Louis dared to go back to the basics of pure design with no embellishments, a stark contrast to the trend then. With boldness, he created the renowned Cartier three-ring Trinity in 1924. The intertwining ring debuted at the 1925 Paris Exposition, when Cartier displayed the ring and bracelet alongside other more colourful, opulent jewellery. That year they were photographed by Edward Steichen for American Vogue and worn by the American interior designer and tastemaker Elsie de Wolfe. The design quickly gained a cult following with luminaries such as Cocteau and the Duke of Windsor, who famously adorned two rings on his pinkie. After its introduction, Cartier introduced the three-band ring in various colours and materials. Both ring and bracelet achieved resounding success, symbolizing elegance. With its flawless blend of clean lines, ideal proportions, and precise shapes, they emerged as a hallmark of design excellence achievable only by Cartier artisan jewellers. The ring's triumph owes much to its flawless design as well as its profound symbolism. Its interconnected nature invites myriad interpretations, from a symbol of family devotion passed down through generations to an emblem of enduring friendship or everlasting love. Objects imbued with such poetic significance effortlessly become cherished parts of our lives, resonating with memories and emotions. In 1997, following a decade of evolution, the three-band ring was officially christened Trinity. As part of the les must de Cartier line, the jewellery house crafted a version of the ring featuring an engraving of the slogan on the rose gold band. However, the brand later discontinued the slogan, and subsequent models of the ring did not include the engraving. As time passed, the style of the Trinity collection underwent various adaptations. Some iterations incorporated jewels into the design, while others saw shifts in shape and style to align with contemporary trends. In the 1990s, the ring was resized to larger proportions to reflect the prevailing preference for heavier jewellery. Over time, the Trinity collection evolved into a signature choice for a diverse array of personalities, from icons like Cary Grant and Grace Kelly to contemporary figures like Nicole Kidman, Paul Mescal, and Catherine, Princess of Wales. A century since its creation, both men and women still adorn themselves with the Trinity ring, necklace, earrings, and bracelet. This year, marking the Trinity's 100th anniversary, the Maison, reaffirming the enduring appeal of its innovative design. The charm of the Trinity collection remains as potent as ever.
AN 18K GOLD NECKLACE, BRACELET, BROOCH AND EARCLIPS EN SUITE, BY CHAUMET, CIRCA 1970 Each composed of openwork square and round links of abstract design, with polished and matt finish, earclips of square-design, each in 18K gold, each signed Chaumet, with maker’s mark 'JC' for Joseph Chaumet, French assay marks, with maker's pouch, necklace length 66.5cm, bracelet length 18.3cm, brooch length 8.7cm, width 6.2cmm, ear clips length 3.2cm (brooch can be worn as the pendant of the necklace) Established in 1780 by Marie-Étienne Nitot, Chaumet evolved into Europe's premier jeweller under his skilful craftsmanship. Successive generations, including François-Regnault Nitot and Joseph Chaumet, furthered the legacy, pioneering opulent designs and expanding clientele to include royalty. Embracing Art Deco and the Roaring Twenties, Chaumet's creations evolved with fashion while maintaining a blend of tradition and modernism, captivating a global audience. Continuing the legacy of excellence, Chaumet's esteemed designers and jewellers, including the likes of Pierre Sterlé and René Morin, upheld the Maison's iconic style while infusing it with a contemporary twist. The 1970s epitomised a time of experimentation and liberation. Across music, politics, fashion, ideals, and space exploration, every realm offered avenues for fresh encounters. Embracing change and exploring uncharted territories required the emergence of new identities, artisans, and visionary thinkers pioneering innovation. These trailblazers significantly influenced the trajectory of jewellery history, they contributed to pivotal moments through advancements in technique, the introduction of novel aesthetics, and the embrace of liberated concepts. In a bold move that reshaped the landscape of jewellery, Chaumet introduced the Arcade, a revolutionary store concept, in 1970, redefining the very essence of luxury shopping. Amidst whispers in the press, Chaumet entertained the idea of crafting a novel sales unit devoted to jewellery and contemporary living. The Chaumet brothers entrusted Agence Bernard Cognard with the task of envisioning this modern realm. The interior designer faced the challenge of giving the Arcade its own architectural identity separates from the historic boutique. They strategically placed a central showcase pillar in one of the twin arcades, creating an open space reminiscent of an art gallery. Black and Orly blond anodized aluminium materials contrasted with Place Vendôme's traditional aesthetics, while frameless windows added an ethereal touch. Inside, the Arcade was designed as a sanctuary for a modern lifestyle, with elements like beige sofas and Chinese lacquer accents blending in hues of rye, amber, and black. Inspired by decades design, the space was engineered for adaptability, with ceiling-mounted rails and wheeled display units. The Arcade symbolized a global transformation during a crucial period in the Maison’s history and the realm of French jewellery craftsmanship. Its design reflected innovative approaches to presenting, selling, and purchasing jewellery, aligning seamlessly with the evolving lifestyle of the 1970s. Despite the coordination of traditional boutiques alongside the Arcade, both units featured their collections in unified sales catalogues. What may appear counterintuitive by contemporary standards was viewed differently in that era. The Arcade spearheaded future advancements for Chaumet and other leading jewellery houses, showcasing iconic collections like Liens and Labyrinthe. At the core of this progressive approach lay experimentation, artisans were granted full creative autonomy, both within the design studio and workshop. This freedom extended to the extent that they appropriated the use of gold nuggets, dubbing their finishing technique the Arcade polish. Gold underwent various treatments, including hammering, polishing, texturing, brushing, and assuming organic forms, moulding itself to the wearer's skin. These creations, blurring the boundaries between traditional jewellery and art, challenged conventions through their innovative designs. The advertising for the Arcade embodied dynamic design, strategically crafted to ward off monotony. This evolution extended beyond mere sales catalogues, encompassing architectural concepts, graphic branding, and the structural organization of boutiques into separate sections such as Chaumet High Jewellery, the Chaumet Arcade, and the enduring Chaumet watches. The “Labyrinthe” collection, made of transformable necklace, bracelet, pendant and brooch. It was made between 1970 and 1980 and sold at l’Arcade.
A RUBY AND DIAMOND NOVELTY BROOCH, BY SABBADINI Designed as a stylised bee, the body set with buffed-top rubies, the head with circular-cut ruby eyes accented with brilliant-cut diamonds, with similarly-cut diamond wings, mounted in 18K gold, signed Sabbadini, with maker's mark 'S' for Sabbadini, Italian registry mark 963MI, length 2.6cm Sabbadini is a long-standing Italian Jewellery House, in fact it is the only jewellery house that still manufactures in central Milan. The flagship store on the celebrated Via Montenapoleone, opened in 1998 and was the first and only commercial space created by the legendary architect-designer Renzo Mongiardino. The Sabbadini Jewellery house is celebrated for its tiny stones clustered in seamless pavés around single statement gems and its exquisite enamelling of natural motifs, ranging from flowers to dogs and its signature bees, which founder Alberto designed for his wife Stefania. The jewellery pieces are contemporary and reflect the Sabbadini’s love of modern art. It is a family run business, Stefania helps run the company with their son and CEO, Pierandrea. All jewellery pieces are designed with the 3 elements at their core, to be unique, elegant and precious.
A GOLD 'TRINITY' BANGLE, BY CARTIER Composed of three interlocking polished 18K tri-coloured gold bangles, signed Cartier Paris, with maker's mark 'SCA' for société cartier anonyme, with maker's mark 'AG' for Gross, French assay marks, with maker's pouch, inner diameter approximately 6.5cm Gross is a Parisian workshop founded in 1860 by August Gross. They were originally chain makers and have worked for Cartier amongst others. The Cartier Trinity collection is shrouded in numerous myths and tales rich with symbolism. However, the true story begins in the 1920s, amid its roaring Art Deco era, almost 80 years after Cartier was established and famed for its colourful and exotic creations in geometric forms, high-contrast colour combinations, and carved precious gemstones. Louis Cartier, the son of the namesake founder, designed an intertwined ring. This revolutionary creation would become a distinctive code of Cartier style. Louis dared to go back to the basics of pure design with no embellishments, a stark contrast to the trend then. With boldness, he created the renowned Cartier three-ring Trinity in 1924. The intertwining ring debuted at the 1925 Paris Exposition, when Cartier displayed the ring and bracelet alongside other more colourful, opulent jewellery. That year they were photographed by Edward Steichen for American Vogue and worn by the American interior designer and tastemaker Elsie de Wolfe. The design quickly gained a cult following with luminaries such as Cocteau and the Duke of Windsor, who famously adorned two rings on his pinkie. After its introduction, Cartier introduced the three-band ring in various colours and materials. Both ring and bracelet achieved resounding success, symbolizing elegance. With its flawless blend of clean lines, ideal proportions, and precise shapes, they emerged as a hallmark of design excellence achievable only by Cartier artisan jewellers. The ring's triumph owes much to its flawless design as well as its profound symbolism. Its interconnected nature invites myriad interpretations, from a symbol of family devotion passed down through generations to an emblem of enduring friendship or everlasting love. Objects imbued with such poetic significance effortlessly become cherished parts of our lives, resonating with memories and emotions. In 1997, following a decade of evolution, the three-band ring was officially christened Trinity. As part of the les must de Cartier line, the jewellery house crafted a version of the ring featuring an engraving of the slogan on the rose gold band. However, the brand later discontinued the slogan, and subsequent models of the ring did not include the engraving. As time passed, the style of the Trinity collection underwent various adaptations. Some iterations incorporated jewels into the design, while others saw shifts in shape and style to align with contemporary trends. In the 1990s, the ring was resized to larger proportions to reflect the prevailing preference for heavier jewellery. Over time, the Trinity collection evolved into a signature choice for a diverse array of personalities, from icons like Cary Grant and Grace Kelly to contemporary figures like Nicole Kidman, Paul Mescal, and Catherine, Princess of Wales. A century since its creation, both men and women still adorn themselves with the Trinity ring, necklace, earrings, and bracelet. This year, marking the Trinity's 100th anniversary, the Maison, reaffirming the enduring appeal of its innovative design. The charm of the Trinity collection remains as potent as ever.
A TRINITY RING, BY CARTIER, CIRCA 2015 Designed as three interlocking bands, two polished white gold hoops and one in black ceramic, mounted in 18K white gold, numbered, Swiss assay mark, European convention mark, with certificate of authenticity from Cartier, dated 2015, ring size O½ (56) The Cartier Trinity collection is shrouded in numerous myths and tales rich with symbolism. However, the true story begins in the 1920s, amid its roaring Art Deco era, almost 80 years after Cartier was established and famed for its colourful and exotic creations in geometric forms, high-contrast colour combinations, and carved precious gemstones. Louis Cartier, the son of the namesake founder, designed an intertwined ring. This revolutionary creation would become a distinctive code of Cartier style. Louis dared to go back to the basics of pure design with no embellishments, a stark contrast to the trend then. With boldness, he created the renowned Cartier three-ring Trinity in 1924. The intertwining ring debuted at the 1925 Paris Exposition, when Cartier displayed the ring and bracelet alongside other more colourful, opulent jewellery. That year they were photographed by Edward Steichen for American Vogue and worn by the American interior designer and tastemaker Elsie de Wolfe. The design quickly gained a cult following with luminaries such as Cocteau and the Duke of Windsor, who famously adorned two rings on his pinkie. After its introduction, Cartier introduced the three-band ring in various colours and materials. Both ring and bracelet achieved resounding success, symbolizing elegance. With its flawless blend of clean lines, ideal proportions, and precise shapes, they emerged as a hallmark of design excellence achievable only by Cartier artisan jewellers. The ring's triumph owes much to its flawless design as well as its profound symbolism. Its interconnected nature invites myriad interpretations, from a symbol of family devotion passed down through generations to an emblem of enduring friendship or everlasting love. Objects imbued with such poetic significance effortlessly become cherished parts of our lives, resonating with memories and emotions. In 1997, following a decade of evolution, the three-band ring was officially christened Trinity. As part of the les must de Cartier line, the jewellery house crafted a version of the ring featuring an engraving of the slogan on the rose gold band. However, the brand later discontinued the slogan, and subsequent models of the ring did not include the engraving. As time passed, the style of the Trinity collection underwent various adaptations. Some iterations incorporated jewels into the design, while others saw shifts in shape and style to align with contemporary trends. In the 1990s, the ring was resized to larger proportions to reflect the prevailing preference for heavier jewellery. Over time, the Trinity collection evolved into a signature choice for a diverse array of personalities, from icons like Cary Grant and Grace Kelly to contemporary figures like Nicole Kidman, Paul Mescal, and Catherine, Princess of Wales. A century since its creation, both men and women still adorn themselves with the Trinity ring, necklace, earrings, and bracelet. This year, marking the Trinity's 100th anniversary, the Maison, reaffirming the enduring appeal of its innovative design. The charm of the Trinity collection remains as potent as ever.
A DIAMOND TRINITY PENDANT ON CHAIN, BY CARTIER Composed of three interlocking tri-coloured gold hoops connected with a brilliant-cut diamond bale, suspending from a curb-link rose gold chain, mounted in 18K gold, both signed Cartier, numbered, Italian registry mark '1TO', pendant length 2.1cm, chain length 42cm The Cartier Trinity collection is shrouded in numerous myths and tales rich with symbolism. However, the true story begins in the 1920s, amid its roaring Art Deco era, almost 80 years after Cartier was established and famed for its colourful and exotic creations in geometric forms, high-contrast colour combinations, and carved precious gemstones. Louis Cartier, the son of the namesake founder, designed an intertwined ring. This revolutionary creation would become a distinctive code of Cartier style. Louis dared to go back to the basics of pure design with no embellishments, a stark contrast to the trend then. With boldness, he created the renowned Cartier three-ring Trinity in 1924. The intertwining ring debuted at the 1925 Paris Exposition, when Cartier displayed the ring and bracelet alongside other more colourful, opulent jewellery. That year they were photographed by Edward Steichen for American Vogue and worn by the American interior designer and tastemaker Elsie de Wolfe. The design quickly gained a cult following with luminaries such as Cocteau and the Duke of Windsor, who famously adorned two rings on his pinkie. After its introduction, Cartier introduced the three-band ring in various colours and materials. Both ring and bracelet achieved resounding success, symbolizing elegance. With its flawless blend of clean lines, ideal proportions, and precise shapes, they emerged as a hallmark of design excellence achievable only by Cartier artisan jewellers. The ring's triumph owes much to its flawless design as well as its profound symbolism. Its interconnected nature invites myriad interpretations, from a symbol of family devotion passed down through generations to an emblem of enduring friendship or everlasting love. Objects imbued with such poetic significance effortlessly become cherished parts of our lives, resonating with memories and emotions. In 1997, following a decade of evolution, the three-band ring was officially christened Trinity. As part of the les must de Cartier line, the jewellery house crafted a version of the ring featuring an engraving of the slogan on the rose gold band. However, the brand later discontinued the slogan, and subsequent models of the ring did not include the engraving. As time passed, the style of the Trinity collection underwent various adaptations. Some iterations incorporated jewels into the design, while others saw shifts in shape and style to align with contemporary trends. In the 1990s, the ring was resized to larger proportions to reflect the prevailing preference for heavier jewellery. Over time, the Trinity collection evolved into a signature choice for a diverse array of personalities, from icons like Cary Grant and Grace Kelly to contemporary figures like Nicole Kidman, Paul Mescal, and Catherine, Princess of Wales. A century since its creation, both men and women still adorn themselves with the Trinity ring, necklace, earrings, and bracelet. This year, marking the Trinity's 100th anniversary, the Maison, reaffirming the enduring appeal of its innovative design. The charm of the Trinity collection remains as potent as ever.
A PAIR OF DIAMOND AND ENAMEL 'TAJ MAHAL' EARCLIPS, DESIGNED BY JEAN SCHLUMBERGER FOR TIFFANY AND CO. Of a pointed, dome design, centring a brilliant-cut diamond accented by blue enamel stripes and textured gold, mounted in 18K gold, signed Sclumberger and Tiffany & Co., with maker's case, length 1.7cm Jean Schlumberger (1907-1987) began his career in Paris in the 1930s as a designer of costume jewellery for the renowned couturier Elsa Schiaparelli and by the end of the decade he was creating fine jewellery for a discerning clientèle. In 1939 he joined forces with Nicholas Bongard and together they opened a jewellery shop at 745 Fifth Avenue. From plummy amethysts to bursting bright turquoise, Schlumberger looked to nature for inspiration, combining coloured gems with diamonds and yellow gold to create a riot of hue and light. Tiffany & Co., under the direction of Walter Hoving, recruited Schlumberger in 1955 with hopes to breathe new life into the company and create a new look. Schlumberger was one of only four jewellers that Tiffany has allowed to sign their work and it was his playful imagination that mounted a jewelled bird on top of the famous Tiffany Yellow Diamond. In many ways a man ahead of the crowd, Schlumberger was the first jewellery designers to be awarded the prestigious ‘Coty American Fashion Critics’ Award in 1958. “Schlumberger brings to his art classic design principles of the Renaissance,” reported The Blue Book of 1986. Diana Vreeland, the respected editor of Vogue, wrote that Schlumberger appreciated “the miracle of jewels, which for him are the ways and means to the realisation of his dreams”. Created in his studio on the mezzanine level of Tiffany’s Fifth Avenue flagship store, his designs became de rigueur for fashionable women of the time including Diana Vreeland, Babe Paley, Elizabeth Taylor, and Audrey Hepburn. Perhaps most famous of all his designs were his pailloné enamel bracelets, which were to become dubbed ‘Jackie Bracelets’ due to First Lady Jacqueline Kennedy Bouvier’s fondness for the pieces, of which she owned several. The shimmering colours of the bracelet were achieved through an unusual technique wherein translucent enamel and foil were layered on top of another. One of Schlumberger’s most enduring designs, this bracelet can still be found in Tiffany’s contemporary collections and are still admired and sought after. Of these bracelets, fashion editor Diana Vreeland wrote “His enamel is perfection…He likes to stab enamel with nails of gold, as if to hold it from flying back to the world of nature from which he’s taken its colours”. Schlumberger retired in the late 1970s and died in 1987, but more than a hundred of his designs continue to be made by Tiffany artisans. In 1995, he became only the third ever jewellery designer to be honoured with a retrospective on his work titled ‘Un Diamant dans la Ville’ in the Musée des Arts Décoratifs, Paris, who still house many of his original design sketches. Schlumberger pieces have not only held their value at auction but continue to increase in general.
ink on rice paper, 109 by 120cm Provenance: Michael Goedhuis Footnote: Liu Xuguang completed his PhD at Beijing’s Tsinghua University with a “Theory of Essence Consciousness”, subsequently he elaborated this concept during art study visits to Japan. His research was based on a single character from the oldest Chinese character tradition, marks of “bu” (?) found on Chinese bone writing. On the basis of this character he created works, often using large sheets of rice paper, on which he drew a dense web of “bu” (?) marks, drawn with oily earthy work ink and iron dust made himself. The lively vibration of all the “bu” (?) marks follows a single direction, but none of them is absolutely the same as the other. Thus they become the epitome of a many-voiced foundational act of civilization that translates direct verbal exchange into the permanence of objectifying signs, a new, social form of memory. His search for the “Essence of Consciousness” is therefore not a regressive longing for the origins, but a link of contemporary culture with its foundations, still handed down in China.
ink and acrylic on paper, 123 by 123cm Provenance: Michael Goedhuis Footnote: Born in Datong, Shanxi, in 1964, Wei Ligang has been at the forefront of contemporary ink painting’s development on the mainland, and he was one of the organizers of the June 1999 “Bashu Parade: ’99 Chengdu Retrospective of Chinese Modern Calligraphy at the End of the 20th Century” exhibition. In 1981, at the age of 17, Wei was admitted to Nankai University in Tianjin to study mathematics. He became the president of the calligraphy society at the university, which enabled him to connect with leading local calligraphers. After graduating in 1985, Wei was assigned to teach mathematics at the Teachers’ Training School in the industrial city of Taiyuan, but he succeeded in persuading the school to allow him to teach calligraphy in 1988. Wei Ligang moved to Beijing in 1995 to concentrate on his art. His training in mathematics has contributed to his abstract form of calligraphy. Many of his works are based on “Wei Squares,” a formula inspired by the square framework printed on practice paper for the characters that students copy repeatedly when learning calligraphy. Different from his gold-ground paintings, in which individual brushstrokes are not discernible, the Wei Square calligraphic paintings subtly combine painting and calligraphy: the density of ink ranges from solid black with dry brushstrokes to pale greys. Wei Ligang constantly deconstructs and re-forms the characters in his paintings while hinting at traditional script-forms (such as formal, running, or “grass” script), thus declaring his deep roots in Chinese culture. His works were included in the pioneering exhibition organized by Gordon Barrass at the British Museum in 2002.
PEDRO CHORÃO - NASC. 1945, "Entre o Céu e a Terra", oil on canvas, signed and dated 1996, on the back. Notes: it was part of the exhibition "60 Years 60 Artists Modern and Contemporary Art", held between November 24th and December 4th, 2011 at the Mystetskyi Arsenal Museum in Kiev, according to the label pasted on the back., Dim. - 130 x 162 cm
Edwin EDWARDS (1823-1879) Brixham, 1863 Etching Signed, titled and dated within the etching 13.5cm x 22.5cm, 27cm x 35cm with the frame. Edwin Edwards (1823 – 1879) was a successful English artist who now is little known. Edwards didn’t become a professional artist until he was 38. He concentrated on etchings and landscapes of his native England. He was well liked and had many clients. About 54 of his works were accepted by the prestigious Royal Academy. He presented very realistic views of life in contemporary England. This etching shows the covered fish market in Brixham. An example can be found in the Royal Albert Memorial Museum and Art Gallery, though it is not currently on view. Shipping is available from £25.22 to a UK Mainland address.
Ivan BRAY (1967) Comfort Mixed media on paper backed onto card Image of the painting found within the catalogue 'Poetry & Truth' from Goldfish Contemporary Fine Art 28.5cm x 20cm Together with three other works by the artist, largest 36.5cm x 28cm. Shipping is available from £25.22 to a UK Mainland address.
Jamie Wyeth, a prominent American painter and member of the renowned Wyeth family of artists, has made significant contributions to the art world with his distinctive style and exploration of subjects ranging from portraiture to rural landscapes. Born in 1946, Jamie Wyeth's art is marked by his keen observation, emotive brushwork, and dynamic compositions.Jamie Wyeth's artistic legacy can be encapsulated as follows:1. **Artistic Heritage**: As a member of the Wyeth family, Jamie Wyeth carries on a legacy of artistic excellence, following in the footsteps of his father, Andrew Wyeth, and grandfather, N.C. Wyeth. He has continued to build upon this legacy while forging his own path.2. **Diverse Subjects**: Jamie Wyeth's artistic range is impressive, encompassing portraits, landscapes, still life, and genre scenes. His ability to capture the essence of his subjects, whether people, animals, or environments, is a hallmark of his art.3. **Emotional Resonance**: Wyeth's works often carry emotional resonance, evoking a sense of mood and atmosphere that draws viewers into the world he depicts. His expressive brushwork contributes to the depth of feeling in his paintings.4. **Portraits and Personalities**: Wyeth's portraits of various individuals, including family members, friends, and prominent figures, reflect his ability to capture the personality and essence of his subjects, revealing both their exterior appearance and inner depth.5. **Connection to Nature**: Jamie Wyeth's art frequently reflects his deep connection to the natural world. His rural landscapes and depictions of animals demonstrate his affinity for the rural life and the environment.6. **Technique and Experimentation**: Wyeth's use of various painting techniques and mediums, including oil, watercolor, and tempera, showcases his versatility as an artist. He is unafraid to experiment with different approaches to achieve his desired effects.7. **Cultural and Historical Impact**: Jamie Wyeth's contributions have left a mark on American art, particularly in the realm of contemporary realism. His exploration of subjects that hold personal, cultural, or historical significance resonates with a broad audience.8. **Legacy of Excellence**: Wyeth's artistic legacy is characterized by his commitment to craftsmanship, observation, and storytelling through paint. He has upheld the tradition of realist painting while infusing it with his own unique voice.Jamie Wyeth's legacy as an artist is one of skillful observation, emotional depth, and artistic exploration. His ability to capture the essence of people, places, and moments continues to resonate with viewers and underscores his significance as a contemporary realist painter.Measures 23.5 x 17.5.
* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948), STILL LIFE oil on canvas, signed and dated 2000framed and under glassimage size 29cm x 29cm, overall size 50cm x 50cm 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.
* GLEN SCOULLER RSW RGI DA (SCOTTISH b. 1950), HEN + DOG KENNEL I watercolour on paper, signed, titled label versomounted, framed and under glass image size 14cm x 15cm, overall size 44cm x 43cm Artist's label verso.Note: Glen Scouller is a contemporary Scottish artist, known for his vibrant and expressive landscapes and still lifes, which showcase his interest in bold colours and the movement of light. Scouller was born in Glasgow in 1950 and studied at Glasgow School of Art from 1968-73. As a student, he won the Royal Scottish Academy Painting Award and in 1973, was awarded the Post Graduate Study Award, the WO Hutcheson Prize for Drawing and Travelling Scholarship to Greece. In the following years, Scouller won more awards for his work, including the Lauder Award, Glasgow Art Club and Scottish Amicable Award, Royal Glasgow Institute of Fine Arts. He regularly exhibits at the Royal Scottish Academy, The Royal Glasgow Institute of Fine Arts and the Royal Scottish Society of Painters in Watercolour. In 1989, he was elected a member of the Royal Glasgow Institute of the Fine Arts, followed by the Royal Scottish Society of Painters in Watercolour in 1997.Since 1977, Scouller has had over 40 solo exhibitions across Scotland and internationally. His works are held by both public and private collections worldwide, including The Scottish Office in Edinburgh, De Beers and the First National Bank of South Africa.Condition of the picture is good overall, with no visible or known issues.
* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948), SPRING, BARNLUASGAN oil on board, signed and dated '98, titled versoframed and under glassimage size 41cm x 41cm, overall size 57cm x 57cmNote: 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. Note 2: The lochs at Barnluasgan are home to some of Scotland's newest animal residents. Families of beaver have spent the last decade building lodges and dams, creating a unique wetland landscape in the heart of Argyll.
* HANNAH FRANK (SCOTTISH 1908 - 2008), GARDEN (1932) lithograph on paper, signed in pencilmounted, framed and under glassimage size 32cm x 28cm, overall size 56cm x 47cm Note: "Garden (1932)" is one of the rarest Hannah Frank signed prints. A previous example of this print was sold (by McTear's) for £650 (lot 526 The Scottish Contemporary Art Auction 27th September 2020). Since McTear's first promoted Hannah Frank's spectacular work in 2011, the prices for her ever more rare signed prints have continued to rise with many current prices being more than five times higher than those achieved barely a decade ago. The latest UK auction record figure for a single signed lithograph was most recently achieved (twice) in our auction on 24th October 2021 and now stands at £820 (hammer). Note 2: Hannah Frank was the last living link to the Arts and Crafts and Art Nouveau period. She studied at the Glasgow School of Art and Glasgow University in the 1920`s and her haunting pen and ink drawings have been exhibited at the Royal Academy, Royal Scottish Academy and Royal Glasgow Institute. A series of lithographs of some of her 90 drawings were made in the 1960's and again in the 1980's to satisfy the demand for her work after exhibitions in Edinburgh and Glasgow. Only a relatively few of these prints were hand signed (in pencil) by Hannah and it's understood that only one print was ever editioned (numbered) in a conventional manner. A major exhibition at the Royal Glasgow Institute in 2006 brought her work to a new generation of admirers and received considerable press coverage. Her work toured for five years in the UK and the USA culminating in an exhibition at Glasgow University which opened on her 100th birthday 23rd August 2008. After her death, she was awarded a posthumous Honorary Doctorate at Glasgow University and Glasgow City Council`s Lord Provost`s Award For Art (2009).
* TOM MACKENZIE (SCOTTISH 1947 - 2018), BROTHER'S POINT limited edition colour etching on paper, signed, titled and numbered 18/40 mounted, framed and under glassimage size 45cm x 60cm, overall size 67cm x 80cm Note: Tom MacKenzie was educated at Portree High School and at 17 left home to enrol at Duncan of Jordanstone School of Art in Dundee. This did not work out and after a year he went to London. His pursuit of art continued at evening classes in life drawing while working in a variety of jobs by day. In 1976 he moved back to Scotland, joining a team of many talents at the Glasgow Print Studio. John Taylor, a colleague and long-time friend, says: "Tom MacKenzie’s art was made from the Isle of Skye’s unique cornucopia of visual riches: the huge, notched and jagged coastline; sea lochs with many rocky islands; the Cuillins, the most awesome mountains in Britain." Living and working on the lovely Isle of Skye, Tom MacKenzie was renowned for his wonderful colour etchings of the island and the West Coast of Scotland. These large and very stylish etchings are appreciated and collected worldwide. Working from his studio and workshop in Portree, the island’s capital, Mackenzie used three steel plates to produce his etchings and limited the editions to 75 or less, printed on 300gm, Arches waterleaf paper. He was a very popular figure in Portree where he lived and worked and a much-respected artist throughout Scotland and far beyond. In The Scottish Contemporary Art Auction of 12th September 2021, three colour etchings by Tom Mackenzie sold for hammer prices of £300, £320 and £340.
* MURIEL BARCLAY, RETAIL REVIEW oil on canvas, signed, titled label versoframed image size 31cm x 31cm, overall size 52cm x 52cm Label verso: The Contemporary Fine Art Gallery, Eton.Note: In the inaugural Scottish Contemporary Art Auction staged by McTear's on 22nd November 2008, "Pink Tutu Tune" by Muriel Barclay sold for £7475 (premium) which was widely reported to be a record price for any maiden painting at public auction by a Scottish artist (past or present). Muriel Barclay is one of Scotland's most successful living artists and her exhibiting history is impressive. Her paintings are enthusiastically collected around the UK and auction appearances of her larger paintings, such as "Leg Pulling", are extremely rare. Collections include: Sir Arnold Clark, Lord Harris, The Sultan of Brunei, Alex McLeish, Sir Jack Harvey, HBOS, Biggart Baillie, Arisaig Partners, Ernie Els (golfer) and numerous other prestigious corporate and private collections worldwide. In The Scottish Contemporary Art Auction of 13th December 2020 "Peace Delegation" (a 77 x 87cm oil, lot 612) by Barclay, sold for £5500 (hammer) and in The Scottish Contemporary Art Auction of 24th October 2021 lot 836 "Venice" by Muriel Barclay sold for £6000 (hammer).
* GEORGINA MCMASTER (SCOTTISH b. 1980), ELVIS oil on canvas, signedframedimage size 70cm x 100cm, overall size 87cm x 118cm Note: In The Scottish Contemporary Art Auction of 6th March 2022, "Camouflage" (lot 206, a 91 x 121cm oil on canvas) by Georgina McMaster sold for £4400 (hammer) setting another UK auction record price for one of Scotland's most notable young artists.
* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018), HILLS AND SEA oil on board, signedframed and under glassimage size 48cm x 48cm, overall size Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi-abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely, especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In recent times we have offered a growing number of Sheila Macmillan's paintings with several achieving more than £1000. The current leading price is £1700 (hammer) for "Ronda, Spain", a 45 x 48cm oil on board (lot 510A, The Scottish Contemporary Art Auction 24th October 2021).
* ETHEL WALKER (SCOTTISH b. 1941), NASTURTIUMS oil on board, signed, titled label versomounted, framed and under glassimage size 19cm x 24cm, overall size 43cm x 49cm Label verso: The Rowan Gallery, Drymen.Note: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from the Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. In The Scottish Contemporary Art Auction of 12th September 2021 "The Silver Table" (lot 562), a mixed media by Ethel Walker sold for £2600 (hammer) and in our December 2021 auction "The Lace Cloth" achieved £3000 (hammer).
CATRIONA MILLAR, ALICE IN THE AFTERNOON oil on canvas, initialledframedimage size 51cm x 41cm, overall size 68cm x 57cm Note: Catriona Millar's work takes its inspiration from the stories that lie at the heart of the human condition, and the sparkle of a narrative behind the eyes of her subjects hints at everything from longing to melancholy. Her work often juxtaposes human characters with a variety of animal confidants, with some seeming physically present in the composition while others take on a talismanic quality. Born in Glasgow, Catriona Millar studied at Harrogate School of Art and Grays School of Art, Aberdeen. Since the success of her sell-out 2005 degree show she has exhibited across the UK including the Royal Scottish Academy, Edinburgh. In October 2006 she came to the attention of Charles Saatchi with her first solo exhibition at the Dundas Street Gallery, Edinburgh. Catriona Millar now lives and paints in the southeast of England. Catriona Millar is listed in the 2012 edition of Who's Who in Scotland. In the Scottish Contemporary Art Auction of 3rd May 2015 lot 2138 "The Agency" by Millar sold for £2800 (hammer).
* ETHEL WALKER (SCOTTISH b. 1941), CORNER TABLE gouache on paper, signed, titled label versomounted, framed and under glass image size 18cm x 15cm, overall size 37cm x 34cm Label verso: The Rowan Gallery, Drymen.Note: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from the Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. In The Scottish Contemporary Art Auction of 12th September 2021 "The Silver Table" (lot 562), a mixed media by Ethel Walker sold for £2600 (hammer) and in our December 2021 auction "The Lace Cloth" achieved £3000 (hammer).Condition is good overall, with no visible or known issues.
CATRIONA MILLAR, MEADOWLARK oil on canvas, initialledframedimage size 53cm x 33cm, overall size 63cm x 53cm Note: Catriona Millar's work takes its inspiration from the stories that lie at the heart of the human condition, and the sparkle of a narrative behind the eyes of her subjects hints at everything from longing to melancholy. Her work often juxtaposes human characters with a variety of animal confidants, with some seeming physically present in the composition while others take on a talismanic quality. Born in Glasgow, Catriona Millar studied at Harrogate School of Art and Grays School of Art, Aberdeen. Since the success of her sell-out 2005 degree show she has exhibited across the UK including the Royal Scottish Academy, Edinburgh. In October 2006 she came to the attention of Charles Saatchi with her first solo exhibition at the Dundas Street Gallery, Edinburgh. Catriona Millar now lives and paints in the southeast of England. Catriona Millar is listed in the 2012 edition of Who's Who in Scotland. In the Scottish Contemporary Art Auction of 3rd May 2015 lot 2138 "The Agency" by Millar sold for £2800 (hammer).
* JAMES SOMERVILLE (SCOTTISH b. 1936), UNTITLED oil on board, signedframedimage size 31cm x 61cm, overall size 36cm x 66cmNote: Originally from Fife, Jimmy went to Edinburgh College of Art, then returned to Fife in 1960 where he became a Principal Teacher of Art in Glenrothes High School. He held various posts on secondment as National Development Officer for Art and Design, was Principal Examiner with the Scottish Examination Board, and was involved in the introduction and implementation of Standard Grade Art & Design in schools. James retired from this work many years ago and began painting and exhibiting on a full-time basis. Slightly abstracted in style, and although always starting from drawings of specific places, they are taken well beyond the picturesque. The finished paintings show a concentration on atmosphere, mood, and response to things seen rather than mere representation of actual places. James Somerville's paintings are held in the collections of: The Scottish Arts Council, Edinburgh Hospitals Collection, Pitlochry Festival (Harry Cruden) Collection, Fife Regional Council, and numerous private collections at home and abroad. James Somerville's paintings rarely appear at auction but in The Scottish Contemporary Art Auction of 23rd January 2022 lot 136 "Village from the Shore" a 61.5 x 74.5cm oil (by Somerville) sold for £750 (hammer).Condition is good overall.
* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948), EMERALD EVENING, PORTUAIRK oil on canvas, signed and dated 2002, titled versoframed and under glassimage size 62cm x 62cm, overall size 81cm x 81cm 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.
* TOM MACKENZIE (SCOTTISH 1947 - 2018), THE BEACH ROCK limited edition etching on paper, signed, titled and numbered 32/75mounted, framed and under glassimage size 43cm x 60cm, overall size 68cm x 83cmNote: Tom MacKenzie was educated at Portree High School and at 17 left home to enrol at Duncan of Jordanstone School of Art in Dundee. This did not work out and after a year he went to London. His pursuit of art continued at evening classes in life drawing while working in a variety of jobs by day. In 1976 he moved back to Scotland, joining a team of many talents at the Glasgow Print Studio. John Taylor, a colleague and long-time friend, says: "Tom MacKenzie’s art was made from the Isle of Skye’s unique cornucopia of visual riches: the huge, notched and jagged coastline; sea lochs with many rocky islands; the Cuillins, the most awesome mountains in Britain." Living and working on the lovely Isle of Skye, Tom MacKenzie was renowned for his wonderful colour etchings of the island and the West Coast of Scotland. These large and very stylish etchings are appreciated and collected worldwide. Working from his studio and workshop in Portree, the island’s capital, Mackenzie used three steel plates to produce his etchings and limited the editions to 75 or less, printed on 300gm, Arches waterleaf paper. He was a very popular figure in Portree where he lived and worked and a much-respected artist throughout Scotland and far beyond. In The Scottish Contemporary Art Auction of 12th September 2021, three colour etchings by Tom Mackenzie sold for hammer prices of £300, £320 and £340.
* ETHEL WALKER (SCOTTISH b. 1941), DAISIES gouche on board, signed, titled label versomounted, framed and under glassimage size 22cm x 16cm, overall size 40cm x 36cm Label verso: The Rowan Gallery, Drymen.Note: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from the Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. In The Scottish Contemporary Art Auction of 12th September 2021 "The Silver Table" (lot 562), a mixed media by Ethel Walker sold for £2600 (hammer) and in our December 2021 auction "The Lace Cloth" achieved £3000 (hammer).
* HAMISH MACDONALD DA PAI (SCOTTISH 1935 - 2008), BEACH, ST IVES acrylic on board, signed, titled label versomounted, framed and under glass image size 52cm x 65cm, overall size 77cm x 89cm Label verso: The Rowan Gallery, Drymen.Note: Hamish MacDonald was born in Glasgow in 1935. He studied at Glasgow School of Art between 1963 and 1967. From 1968 he successfully combined painting with teaching and also guest lectured throughout Scotland. In 1991 he retired from his post as an Art Department Principal to concentrate fully on the development of his painting. Much of his work was inspired by the Scottish Colourist movement, but MacDonald preserved an individuality which marks him out as both a vibrant and important artist. Throughout his career he succeeded in capturing dramatic scenes with his own passionately innovative palette. Hamish MacDonald is now widely regarded as one of Scotland's most successful contemporary artists. From 1964, Hamish staged numerous solo exhibitions in Scotland and Cornwall. He also participated in group shows with prominent galleries in London and throughout the UK. His works can be found in many major collections throughout the world.
* RYAN MUTTER (SCOTTISH b. 1978) UNTITLED oil on canvas, signedframedimage size 51cm x 101cm, overall size 69cm x 118cmNote: Born in 1978, Ryan Mutter studied at The Glasgow School of Art, where he graduated in 2001. He has since won many distinguished awards, including a remarkable six from the Royal Glasgow Institute of Fine Arts. His inspiration comes from Britain's industrial heritage and its connection between man and the sea. In Glasgow alone, shipbuilding provided work for 70,000 men in more than 50 yards spread along 11 miles of quayside. But today these yards sit empty, a silent shadow of their former self. The advancements made in technology and design methods superseded the old, and made once important skills and craftsmanship redundant. This is what drives Ryan as he looks to capture and remind people of how important this workforce was in the development of the modern world. Ryan has built up a formidable reputation as a powerful contemporary painter of Industrial and Maritime subjects. His bold realism combined with expressionistic brushwork transports you into a world of arresting detail and mechanised splendour. Perhaps unsurprisingly, very few of Ryan Mutter's paintings appear at auction (anywhere) and his larger work is even rarer. However, in The Scottish Contemporary Art Auction of 28th March 2021, lot 517 "Cutty Sark in Moonlight" a relatively small 38 x 46cm oil on canvas (by Ryan Mutter) sold for £3000 (hammer)Condition of the picture is good overall, with no visible or known issues.
* JAMES ORR (SCOTTISH 1931 - 2019), SCOTSTOWN, BANFF oil on board, titled versoframed and under glass image size 30cm x 35cm, overall size 47cm x 52cm Exhibition label verso: May 1992, Riverside Gallery, StonehavenNote: James Orr was a regular and successful contributor to The Scottish Contemporary Art Auctions. A modest man when it came to his own achievements, his work is held in the collection of HRH The Late Duke of Edinburgh and in many private collections across the world. He won several awards for his work, including the RGI’s Royal College of Physicians & Surgeons of Glasgow Award. His paintings have given and continue to give great pleasure to many people. Renowned for his kindness and generosity, he also nurtured many budding artists and gave his time generously through artist demonstrations for many art clubs across Scotland.Condition is good overall, with no visible or known issues.
* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), THE PORTRAIT OF ALBERT IRVIN RA oil on canvas, signed and titled, dated 1987 verso framed image size 151cm x 121cm, overall size 170cm x 137cm Note 1: From 1973 to 1978 Bellany was head of the Faculty of Painting at Croydon College of Art, where his colleagues included David Royle, Denis Bowen, Barry Martin and Mel Gordon. It was at this time that he became a close friend of the abstract-expressionist painter Albert Irvin OBE RA. They had first met at the RCA and Irvin selected his "Three Fishermen" for a London Group exhibition. Bellany invited Irvin to teach at Croydon on a part-time basis, a compliment later returned when Bellany left Croydon and Irvin found him a job at Goldsmiths College of Art. Bellany was drinking heavily at this time and as Albert Irvin later commented "To go out with John meant you were going to lose two days of your life". Bellany's 1988 liver transplant started early in the morning of 30th April - the day before "May Day", the seafarers distress call. An irony not lost on him. Remarkably, he was deemed well enough to receive visitors by 12 May and the first were Bert and Betty Irvin. Irvin wrote: John was in his single room in Ward C9 with balloons tied to his bedhead. Watercolours and drawings that he's done since he's been here were on the walls as was the photograph of him and Helen by Lord Snowdon and several of his postcards.The rest were in a box under his bed. He looked yellow and his eyes were very yellow, as Helen had warned us. He was magnificent. His will to survive and his optimism were indomitable. His sense of humour was superbly and ridiculously intact, as when he insited that we have photographs taken with him with his pyjamas open & his operation and pipes, and bottles and bags on display". Albert Irvin was known as "Uncle Bert" to the Bellany family. Note 2: Collector demand has never been higher for the work of John Bellany and numerous examples have been sold in recent months by both McTear's and others at ever more impressive prices. In The Scottish Contemporary Art Auction of 29th May 2022 "The Finnon Smoker" by Bellany sold for £80,000 (hammer) and in the same sale, "Bass Rock Fable" (a 76 x 61cm unframed oil) sold for £12,000 (hammer). In our 21st August 2022 auction, lot 137 "The Newspaper Hat" (a 61 x 51cm oil) sold for £9500 (hammer). "Like-for-like" auction prices for original paintings are usually difficullt to assess, but in The Scottish Contemporary Art Auction of April 2023, two Bellany paintings which had been acquired in our auctions in September and November 2014 were consigned for sale by the same owner. The original 2014 selling prices were £1800 and £4000 and the same paintings sold in April for £3800 and £7000 (all hammer prices). This equates to a growth in value of 86.2% in fewer than nine years. In The Scottish Contemporary Art Auction of 25th May 2023, lot 282, "Restless Wave" a 90 x 90cm oil (by Bellany) sold for £9000 (hammer) and in our auction of 9th November, lot 92, "Harbour" a 90 x 120cm oil by Bellany sold for £11000 (hammer).
* MICHAEL SCOTT (SCOTTISH 1946 - 2006), SYLVIA AND TED (DECLAIMING CHAUCER) oil on canvas, signed, titled label versoframed and under glass image size 90cm x 60cm, overall size 112cm x 82cm Handwritten artist's label verso.Note: Born in Aberdeenshire in 1946, Michael Scott (Mike Scott) studied Political Science at Liverpool before doing a one year's teacher training course in Huddersfield. After moving to Glasgow, Scott took a full-time research post at Glasgow University followed by a lecturing post at the re-named Glasgow Caledonian University. By 1997 demand for his work had become so great that he had to resign his post at the University to paint full time. Awards Include The David Cargill Senior Award, Royal Glasgow Institute. Exhibitions Include 1988~John D Kelly Gallery, Glasgow: 1994~Roger Billcliffe Fine Art, Glasgow ~Contemporary Fine Art, Eton; 1995~Portland Gallery, London; 1997~Fosse Gallery, Stowe on Trent ~Contemporary Fine Art, Eton; 1998~Portland Gallery, London; 2001~Portland Gallery, London, 2004~Portland Gallery, London; 2010~A Memorial Exhibition, Roger Billcliffe, Glasgow. Collections Include Distillers plc, Robert Fleming Holdings Ltd, Spencer Stuart & Associates, Teachers Whisky, Whyte and Mackay and others. To mark the 10th anniversary of Michael Scott's death, The Roger Billcliffe Gallery staged an exhibition of his work 1st April - 30th April 2016. In The Scottish Contemporary Art Auction of 24th October 2021, lot 599 "Echo & Narcissus" a 60 x 60cm oil by Michael Scott sold for £3800 (hammer) and in recent times, other examples in our auctions have more than once achieved prices in excess of £4000 (hammer). In The Scottish Contemporary Art Auction of 23rd December 2021, lot 655 "Dancing The King" sold for £5000 (hammer).
* HAMISH MACDONALD DA PAI (SCOTTISH 1935 - 2008), SUMMER, LOCH LOMOND limited edition giclee print on paper, signed and titledframed and under glassimage size 17cm x 25cm, overall size 29cm x 37cm Note: Hamish MacDonald was born in Glasgow in 1935. He studied at Glasgow School of Art between 1963 and 1967. From 1968 he successfully combined painting with teaching and also guest lectured throughout Scotland. In 1991 he retired from his post as an Art Department Principal to concentrate fully on the development of his painting. Much of his work was inspired by the Scottish Colourist movement, but MacDonald preserved an individuality which marks him out as both a vibrant and important artist. Throughout his career he succeeded in capturing dramatic scenes with his own passionately innovative palette. Hamish MacDonald is now widely regarded as one of Scotland's most successful contemporary artists. From 1964, Hamish staged numerous solo exhibitions in Scotland and Cornwall. He also participated in group shows with prominent galleries in London and throughout the UK. His works can be found in many major collections throughout the world.
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