Malcolm Wilson RIBA NAA (contemporary, Cumbria) "Denton Holme 16" and "Ullswater No 12", limited edition giclee prints, former signed, in card mounts and brushed metallic frames under glass, 76 cm x 89 cm ["Malcolm has exhibited work several times at the Royal Academy both as an artist and an architect. The past president Sir Hugh Casson, described his landscapes as being of National Importance. Born in a small mining village, in County Durham, he was encouraged by his art teacher at the age of just 14 to paint and understand the importance of light and its pivotal role in Art History. His work revolves around this traditional English Landscape, its changing weather and a true backbone of Art History in this country. He qualified as a Chartered Architect in 1979 and is the director of a Private Architects Practice in Cumbria having worked most of his professional life in Southern England and London. He now lives closer to the landscape he loves". www.malcolmwilson.com]
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Nick Smith (British), 'Haring Dog (Red)', 2019, giclee print in colours with screenprint varnish in 330gsm Somerset Satin paper, signed, dated, and numbered from an edition of 66 in pencil, published by Rhodes Contemporary Art; sheet: 54 x 61cmARRsheet: 54 x 61cmIn very good conditionNo knocks or tears to the sheetOne minor crease/indentation to the left hand edge of the sheet, visible upon close inspectionThis work has been stored flat and has never been framed.
DE REAUMUR (M): 'The Art of Hatching and Bringing Up Domestick Fowls of All Kinds, at any time of the year.': London, printed for C Davis, 1750: FIRST EDITION in English, half title, 15 engraved folding plates, last plate torn with some loss and neatly repaired, recent half calf, 8vo: BURDON (William, Captain): 'The Gentleman's Pocket-Farrier; shewing, how to use your horse on a journey and what remedies are proper for common misfortunes that may befal him on the road..', Dublin, printed by S Powell, 1733: waterstaining to first and final few quires, copious early marginalia at pp38, contemporary blind ruled calf, 12mo: plus one other book. (3)
A quantity of vintage and contemporary costume jewellery to include a Chanel-style pendant, metal bangle set with small white stones, an Art Deco style red beaded necklace, various brooches to include Art Deco style examples, animal examples, various vintage compacts to include a golfing-style example, an example in the form of a camera with legs of man, a white metal compact with cut-out map of India, etc and a hat display mannequin.
Frances Bildner Corporate Abstract British Artist - A contemporary modern art acrylic on canvas painting entitled ' Opium Eaters '. The painting depicts two figures within multi coloured spirals with blue tones throughout. Measures approx; 610mm x 760mm. COLLECTION; Anyone wishing to collect this item in-person, please note this lot is located offsite and collection will be required from a 'BA' (Bath) postcode, by appointment only. Exact location given after payment received. For anyone else, our usual courier service is available as usual, please find details on the shipping tab . Frances Bildner is a professional painter who has exhibited widely in both Europe and the United States. She is also the founder of Creative Wiz Kids. It is a children's playgroup that she started in New York City in 1990 and is now based in London.
Hans J. WegnerTwo 'Shell' chairs, model no. FH1936, designed in 1948, produced 1948-mid 1950sWalnut-veneered plywood, beech.Each: 69.5 x 70.5 x 62.5 cm Manufactured by Fritz Hansen, Copenhagen, Denmark.Footnotes:ProvenancePrivate collection, LondonBonhams, London, 'Post War and Contemporary Art & Design', 10 March 2010, lot 4Acquired from the above by the present ownerLiteratureJohan Møller Nielson, Wegner en Dansk Møbelkunstner, Copenhagen, 1965, p. 82Lesley Jackson, The New Look: Design in the Fifties, exh. cat., Manchester City Art Galleries, 1991, p. 41Christian Holmsted Olesen, Wegner: just one good chair, exh. cat., Design Museum Denmark, Copenhagen, 2014, pp. 158, 166This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Robin DayTwo rare cocktail units, model no. 652, designed for the 'Furniture Trades Exhibition', Earl's Court, London, 1951 Sycamore, sycamore-veneered plywood, glass. Each: 183 x 71 x 44 cm Manufactured by Hille & Co., London, United Kingdom. One drawer impressed HILLE OF LONDON.Footnotes:LiteratureArchitects' Journal, 22 Feb 1951, p. 234The Cabinet Maker, 28 April 1951, p. 365Architects' Journal, 2 August 1951, p. 136Mavis Watney, 'Three Robin Day Cabinets', Antique Collecting, The Journal of the Antique Collectors Club, vol. 36, no. 7, December 2001-January 2002, illustrated p. 44Lesley Jackson, Robin & Lucienne Day: Pioneers of Contemporary Design, London, 2011, p. 174Tradition versus Modernity – The Ambiguity of British DesignLesley JacksonWriter, Curator and Design HistorianIt is impossible to understand the evolution of modern British design without addressing the thorny issue of tradition. It keeps bubbling up during the post-war period long after British designers had embraced the concept of 'Contemporary' design. Even in the 1960s, a decade we think of as unashamedly progressive, there was still a vestigial hankering for tradition, manifested through Art Nouveau and Art Deco revivalism. Since the 1980s, historical allusions have resurfaced again in a new guise, often ironic, emboldened by Post Modernism. Without recognising and reconciling these two apparently conflicting impulses – tradition versus modernity – it is difficult to appreciate the distinctive character of British design.It was the Finnish architect Alvar Aalto who helped to sow the seeds of Modernism in the UK. His appealingly tactile bent laminated wood furniture for Finmar [lot 14] found a receptive audience in the otherwise rather stick-in-the-mud market in Britain during the 1930s. Interestingly, as well as being sold through modern design emporia such as Bowman Brothers in Camden Town, Aalto's furniture was exhibited at Fortnum and Mason, a bastion of tradition. Gerald Summers' short-lived company, Makers of Simple Furniture, was clearly inspired by Aalto during its all-too-brief but glorious existence. The few surviving pieces from this remarkable workshop, such as the laminated birch plywood Mirror [lot 4], reflect the British propensity for organic modernism.Like many manufacturers, Makers of Simple Furniture was forced to close in 1940 following the outbreak of the Second World War. The ensuing period of make-do-and-mend austerity meant that ambitious young furniture designers, such as Robin Day, had to put their careers on hold for over a decade. The Festival of Britain in 1951 was a seminal event in British post-war design. As well as kick-starting the country's economic and cultural recovery, it provided a launch pad for a host of up-and-coming designers, including less well known figures such as the architect Ray Leigh, who went on to become Design Director at Gordon Russell, as well as acknowledged names such as Ernest Race and Robin Day. Day had already achieved international renown in 1948 when he and Clive Latimer won first prize in the storage section of the International Low-Cost Furniture Competition organised by the Museum of Modern Art in New York. It was this competition that brought Day to the attention of Hille, the firm with whom he would collaborate so productively for the next three decades. Day was determined to make the most of the unique opportunities provided by the Festival of Britain to showcase his ideas and get his furniture into production. As well as winning the contract to design the seating for the Royal Festival Hall, he created several room settings for the Homes and Gardens Pavilion. His stylish steel-framed room divider featuring an etching by the sculptor Geoffrey Clarke took pride of place in an open-plan living room / dining room, along with the aerodynamic moulded plywood chairs he had created for the Royal Festival Hall. While these designs are justifiably famous, some of Day's other contributions to the Festival are less well documented. Amongst these was a Cocktail Cabinet [lot 1] originally created for Hille's stand at the Furniture Trades Exhibition at Earl's Court in January 1951, which was later incorporated into a Country Parlour at the Festival designed by Eden Minns on behalf of the Council of Industrial Design. These cabinets, with their attractive sycamore and cherry veneers and their beaded tambour-effect bottom cupboards, are a curious hybrid, harnessing the traditional cabinetmaking skills of Hille's workforce, but embodying new ideas about functionalism and the clean-lined aesthetics of modern design. Although Robin Day's success at the Festival convinced Hille to pin their flag to the mast of modern design, other firms, such as Gordon Russell, who were based in Broadway in the heart of the Cotswolds, took a more measured path. Their post-war output continued to reflect the dichotomy between tradition and modernity, as evidenced by the finely crafted executive Desk [lot 22] designed by Ray Leigh and Trevor Chinn.The artist craftsman John Makepeace, who rose to prominence in the 1970s, is another designer whose work fuses tradition and modernity. On a purely technical level, his Fireside Desk [lot 10] represents the pinnacle of centuries-old hand craftsmanship, reflecting his conscious decision to pursue craft as an alternative to functionalist mass-production. Unexpectedly perhaps, the design incorporates some unmistakably modern materials, such as melamine and stainless steel. Makepeace's mastery of lamination and his fascination with organic forms also hark back to Alvar Aalto. The technical ingenuity displayed by John Makepeace, along with his entrepreneurialism, are both recurrent features of British design. Not surprisingly, these two characteristics frequently go hand-in-hand, with designers such as Ernest Race establishing their own companies specifically to produce their own technically unconventional designs [lot 8]. Artists Eduardo Paolozzi and Nigel Henderson, who teamed up in 1954 to found Hammer Prints to produce their own textiles, lamps and furniture, also demonstrate these qualities [lot 7]. They, too, were mavericks who chose to operate independently outside the establishment framework. Significantly, their radical pick-and-mix eclecticism drew on 'borrowed' imagery from historical sources, including 17th century woodcuts and 18th and 19th engravings, another typically quirky example of the fruitful alliance between tradition and modernity in British design.Paolozzi and Henderson's mischievous iconoclasm and do-it-yourself mentality have parallels with the ethos of New Wave designers Tom Dixon and Mark Brazier Jones, who pioneered the concept of Creative Salvage during the 1980s. In their case, however, it was the collapse of manufacturing that prompted them to become designer-makers. Dixon's iconic S Chair [lot 27] with its steel base and armature has an overtly contemporary aesthetic, although its rush upholstery derives from traditional crafts. The shock tactics of this deliberate mismatch enhance its visual impact. The incongruous marriage between tradition and modernity also lies at the heart of many of Mark Brazier Jones's pieces, such as his Dressing Table and Mantle Clock [lots 23 and 37] with their playful allusions to extravagant 18th-century rococo idioms. Such objects were already an anachronism by the 1990s but J... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
JONATHAN RICHARDSON AND STUDIO (BRITISH C. 1665-1745) PORTRAIT OF THE DUCHESS OF ROXBURGHE AS MARCHIONESS OF BOWMOUNT, THREE-QUARTER LENGTH, SEATED, WEARING A BLUE DRESS, HER CORONET BESIDE HER, IN A SUNDERLAND FRAME Oil on canvas 122 x 100cm (48 x 39¼ in.) Provenance: Christie's, The Gryn Castle House Sale, 18th July 2006, lot 602 Jonathan Richardson rose from a humble family of weavers to become one of the most sought-after and influential portrait painters in England during the first half of the 18th Century. He was responsible not only for executing a large number of portraits, but also for three treatises on painting. The influence of these works was significant, especially on the young Sir Joshua Reynolds, who claimed that Richardson's writing inspired him to become an artist. Richardson trained under the portrait painter John Riley, later marrying Riley's niece. His career as a portrait painter prospered and, by 1731, he was described by the contemporary art historian George Vertue as one of the three foremost masters of the day. He executed accomplished and sensitive portraits, with a richness of colouring that set him apart from his two main rivals Sir Godfrey Kneller and Michael Dahl. Condition Report: The canvas has been relined and is on a later stretcher, which is providing good support. Visible stretcher marks. Some surface dirt and a reddish discolouration of the varnish. Areas of craquelure, mainly in the figure. UV reveals a few areas of scattered retouching. Condition Report Disclaimer
A SET OF SIX LOUIS XV PRINTED AND PAINTED WALLPAPER PANELS MID 18TH CENTURY entitled 'La Dance', 'La Sculpture', 'L'Agriculture', 'La Geographie', 'La Peinture' and 'La Musique', each depicting figural groups at their various pursuits above exotic and fantastical animals, within floral arched trellis borders, published by Daumont Paris (later tinted and some damages) each panel approximately 146 x 56 cm Provenance: Bonham's, Fine English & Continental Furniture & Works of Art Sale, 23rd November 2004, Lot 184 Condition Report: All with fading, rips, tears, surface damages and creasing, signs of joins and with later strengthening paper to the rears to hold old tears and damage together. Old losses and holes The decoration appears to be later, the colours too vibrant and not as carefully applied as would have been the case if this was contemporary to the panels themselves The ebonised timber strips to top and base are later One has rips to the upper edges and is too fragile at present to hang, another with rips at the bottom and the timber strip is off Please see additional images for visual reference to condition Condition Report Disclaimer
▴ Billy Childish (b.1959)Crying soldier, c.1990soil on canvas50 x 25cmProvenance: the artist;Lilford Gallery, Canterbury, 3 Aug 2007Childish was born in 1959 in Chatham, Kent. In his late teens, Childish worked as an apprentice stonemason at a naval dockyard. At the same time, he began his artistic career - producing hundreds of paintings which ultimately gained him entry to the prestigious St Martin’s School of Art in London. Childish was subsequently expelled in 1981, whereupon he began to experiment with different forms of expression, such as writing confessional poetry and recording LPs. Through each of these disciplines, Childish seeks to express themes such as protest, his struggle with addiction, and war. The painting in question addresses the lattermost theme, depicting a crouching soldier with tears falling from his eyes. Childish has expressed that he most strongly identifies with artists who have been labelled as outsiders; those operating independently from other groups or on the parameters of society, such as Van Gogh and Munch. Childish has received acclaim for his work in the form of solo exhibitions at venues such as the Institute of Contemporary Art in London, whilst also having his work displayed in group exhibitions alongside artists such as Tracey Emin and Juergen Teller.Condition ReportFramed size 57 x 30.5cmA little dusty but no obvious condition issues.
Ɵ Topographical.- Howel (J.) Londinopolis Historical Discourse or Perlustration of the City of London, first edition, title printed in red and black, lacking engraved portrait and double-page view of London, browning, some stains and foxing, bookplates of Samuel Martin and his son, Alfredi Trice Martin, leather-backed marbled boards, detached, spine defective, J. Streater for H. Twiford et al, 1657 § Hare (Augustus J.C.) Walks in London, 2 vol., first edition, wood-engraved illustrations, browning to edges, bookplates of Charles B. Cochran, later maroon morocco, gilt, raised bands to spines, g.e., 1878 § Ireland (Samuel) Picturesque Tour through Holland, Brabant and part of France; Made in the Autumn of 1789, 2 vol., 43 aquatint plates, 2 full-page etchings, [c. 1789]; Picturesque Views on the River Thames with Observations on the Works of Art in its Vicinity, 2 vol., additional sepia aquatint titles, 52 sepia aquatint plates, 2 maps, vignette illustrations, errata leaves, armorial bookplates of Joseph Granville Stuart Goff, Hale Park, both contemporary calf, gilt, rubbed, spines worn and bumped, corners scuffed, T. and J. Egerton, 1790- 1791; and others, v.s. (21) Condition Report: Others Include - Throsby (John) Town and County of Leicester, 6 vol., first edition, folding engraved map, 23 engraved plates (2 folding), list of subscribers at end of vol. 6, browning, light foxing, contemporary mottled calf with red morocco panels to spines, gilt, light marks, spine ends and corners bumped,12mo, printed for the author by S. Crowder, 1777 § Gloucestershire.- Delineations of Gloucestershire being Views of the Principal Seats of Nobility & Gentry with plates engraved from their original drawings by J. & H.S. Storer with the Historical & Descriptive Notices by J.N. Brewer, numerous steel-engraved plates, depicted Chavenage House, Highgrove and Gatcombe Park etc., foxing and browning, full tooled morocco, gilt, g.e., binding rubbed and detached, spine worn and bumped, corners scuffed, 8vo, Sherwood, Gilbert & Piper [c.1830s] § Jones & Co. [publisher]. Jones' Views of the Seats, Mansions, Castles &c. of Noblemen and Gentlemen in England, Wales, Scotland and Ireland, forming part of the general series of Jones' Great Britain Illustrated, engraved calligraphic title, 68 engraved plates, foxing and stains, marbled e/ps., later half calf, gilt, rubbed, extremities bumped, 1829 § A Description of England and Wales, Containing a particular Account of each County, 2 vol. only (of 10) first and second editions, numerous copper plates, engraved illustrations, contemporary inscriptions to front pastedowns, browning and light foxing throughout, vol.1, with a hole to pp.119-120, contemporary calf, rubbed, joints cracked to upper and lower boards, Newbery and Carnan, 1775-1769 § Bristol.- Evans (John) The History of Bristol, Civil and Ecclesiastical, vol. 2 only (of 2) first edition, 8 engraved plates, foxing, browning and staining, contemporary quarter calf, rubbed and worn, Bristol: 1816 § Kent.- The History and Antiquities of Rochester and its Environs, first edition, 5 engraved plates (lacks engraved folding map) browning to preliminaries, occasional light foxing, full calf, light rubbing, red morocco panel to spine, raised bands, spine ends and corners bumped, Rochester; T Fisher Unwin, 1772 § Echard (Laurence) The Gazetteer's; or. Newman's Interpreter, two parts in one vol., 1731-1732 § Hughes (William) The Treasury of Geography, full-page plates, maps and woodcuts, half calf marbled boards, gilt, marbled edges, 1867. Condition Report Disclaimer
A SET OF EIGHT GEORGE II WALNUT AND PARCEL GILT DINING CHAIRSCIRCA 1730With repeating eagle motifs, each vertical splat with the Altieri crest, the six stars surmounted by a galero, mantle and tassels, each with drop in seats and cabriole legs terminating in claw and ball feeteach 104cm high, 53cm wide, 49cm deep; together with a pair of later chairs to match, 19th century(10) Provenance:Possibly commissioned by Vincenzo Maria Altieri for Palazzo Altieri, Rome Formerly the Messel family collection in the Dining Room at their 104 Lancaster Gate residenceThence by descent to Oliver Messel Purchased from Oliver Messel by Frederick and Phyllis Baden Watkins for Flaxley AbbeyLiterature: J. Lees-Milne, 'Flaxley Abbey, Gloucestershire - III: The Home of Mr. and Mrs. F.B. Watkins', Country Life, 12 April 1973, p. 980, fig. 2, The Entrance Hall. Sale Room notice: One of the drop in seats are missing from the chair J. Musson, 'Bradley Court, Gloucestershire', Country Life, 15 September 2005, pp. 133-134 and fig. 5. T. Messel, Oliver Messel: in the theatre of design, New York, 2011, pp. 122-123, 'the entrance hall'. This set of ten walnut and parcel-gilt dining chairs together with two mahogany examples en suite bear the arms of the Altieri family from Rome. They were originally at 104 Lancaster Gate, the London family of Britain's greatest stage director and artist, Oliver Messel (1904-78). When Nymans burnt down in 1947, Oliver and his two siblings received some of the remaining contents, and after the death of their mother, Maud (née Sambourne), in 1960, Oliver inherited more of the furniture from Lancaster Gate and Holmstead Manor. The chairs were subsequently sold by Oliver to his clients, Frederick and Phyllis Watkins, for Flaxley Abbey, Gloucestershire, almost certainly around 1960 when he was assisting them with the renovation and refurbishment of the abbey; a project that he worked on sporadically until 1973. Frederick Baden Watkins wrote how very gifted Oliver was: 'Once he had an inspiration, he'd get a piece of paper and sketch it out. What could have taken me five years, would take him five minutes' (C. Castle, Oliver Messel: A Biography, London, 1986, p. 216). When a room was completed, Oliver would look to his own collection for furniture: 'I've got a pair of mirrors at Nymans that would look right there', and Watkins would buy them (ibid., p. 217). Furniture probably also came from Oliver's London house, Pelham Place, as he wrote: 'Poor Pelham Place, I gather, is now striped to the bone. George has gone down to Flaxley with another load' (ibid., p. 226). Two of these chairs were photographed in the Entrance Hall at Flaxley in 1973 (J. Lees-Milne, 'Flaxley Abbey, Gloucestershire - III: The Home of Mr. and Mrs. F.B. Watkins', Country Life, 12 April 1973, p. 980, fig. 2). The chairs with their Italian Altieri coat-of-arms complimented Oliver's large mural painting of an Italianate urn. A central arcaded recess with a Robert Adam-style doorway led from the entrance hall to the dining room where presumably the remainder of the suite was situated. Oliver's nephew Thomas Messel made a contemporary set of chairs modelled on the Altieri set for his own home at Bradley Court, Gloucestershire (J. Musson, 'Bradley Court, Gloucestershire', Country Life, 15 September 2005, pp. 133-134, fig. 5). In 1986, Thomas included this model of chair, both side and armchairs, in his firm's furniture range, which he named the 'Venetian' Cardinal Chair' (National Art Library, TL.Thom 1.1). The papal family of Altieri became extinct in 1955, with the death of the last prince, Prince Ludovico Altieri (1878-1955). It is not known how this set became part of the Messel collection but it is possible that they were collected by either Ludowig Messel or Leonard Messel- both enthusiastic collectors- in the early 20th century. The broad proportions of these chairs with their waisted upright back posts, solid shaped baluster splat, compass seat and cabriole legs are typical of high quality 'banister back' chairs of the 1730s. The arched crest rail has evolved from the milkmaid's yoke found in Chinese prototypes. The chair-back is slightly bent to ergonomically fit the back of the sitter. The introduction of the 'India back' - India or Indian being used to denote all of South and South East Asia - also sometimes called a 'bended', 'crook'd' or 'sweep' back chair is considered 'the most radical and far-reaching design innovation of the eighteenth century' (A. Bowett, Early Georgian Furniture 1715-1740, Woodbridge, 2009, p. 156). Related crest rails and splats can be found on a set of walnut chairs, 1734, supplied by Daniel How and Thomas Moore in the Lady Lever Art Gallery, Port Sunlight (ibid., p. 180, plate 4:73). Another example made in giltwood, 1730-40, was probably made for Richard Temple, 1st Viscount Cobham, for Stowe House, Buckinghamshire (ibid., p. 181, plate 4:75). The back of the splats of the present chairs have been chamfered to 'lighten' their appearance. These chairs are highly unusual for the carved decoration on the 'shoe' (where the splat joins the back of the drop-in seat) and the stylised claw and ball feet. Condition Report: There are scratches, marks, knocks, cracks and abrasions consistent with age and use.There are losses, observations and restorations including: missing one of the drop in seats; one of the drop in seats with a hand written label in ink 'Col. Messel'; there is evidence of worm; the parcel gilt rubbed and knocked revealing in some places the underlying washes, gesso or wood; some damage and restorations including split vase shaped splats, leg and seat rail joints, dowelling repairs, metal braces, inset wood repairs, repairs with screws. The red silk damask worn, marked and some torn, the hessian webbing visible to the undersides.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
Erik Nitsche (Swiss, 1908 - 1998) "Amoreiras Towers in Portugal" Signed lower right. Original Mixed Media on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the Portugal Europa 1987 Modern Art - Architecture stamp issued May 5, 1987. From mountain rivers rushing toward the Atlantic coast in northern Portugal ... to lush vineyards and cork groves flourishing among the mountain valleys, there is a balance between the various elements of Portugal's landscape and its architectural legacy. Just as the traditional architecture is in harmony with the natural landscape of Portugal, the modern architecture is in keeping with the busy cities of contemporary times. This artwork features the Amoreiras Towers (Torres das Amoreiras). Located in the capitol city of Lisbon, the building is made up of housing, offices and a shopping mall. The architect of the "Torres das Amoreiras" is Tom?s Taveria. Born in Lisbon, Taveira taught architecture at the University of Lisbon and practiced architecture in Portugal, South Arabia, Arab Emirates, Macao, Angola, and Cabo Verde. Image Size: 14 x 12 in. Overall Size: 20 x 15 in. Unframed. (B10983)
Anita Pate (Scottish, Contemporary), Small Fish with Kelp, a blue lustre glass dish or plaque, signed to the base. 28cm. Note: Anita Pate studied glass and stained glass at Edinburgh College of Art before establishing the Hourglass workshop in West Lothian in 1976. From 1978 to 1979 she was artist in residence at Sunderland Polytechnic. In the early 1980s she travelled around and worked in Australia and New Zealand. She returned to Scotland in 1984. Characterised by exotic colours and engraving, Pate's glass can be found in numerous public collections.
*MATILDA TUMIM (B. 1963) 'Pagan' signed and dated 1996 in pencil to the margin, mixed media on paper, 19cm x 29cmProvenance: Purchased from The Blue Gallery, London, SW3 in 1996Matilda Tumim is a painter and draughtsman, born in London, who was a pupil at Bedales School, 1976–81. She was included in the exhibition Bedales Art & Design, organised in 1999 by the William Jackson Gallery at Art99, in the Business Design Centre. Tumim studied at Chelsea School of Art, 1981–2; Falmouth College of Art, 1982–5; and Royal College of Art, 1986–8. Mixed shows included South Bank Picture Show, Festival Hall, prize winner, 1987; The Discerning Eye, Mall Galleries, prize winner, 1992; Contemporary Art Society Market, 1994; and The Judge Hangs, Michael Parkin Gallery, 1997. She shared a show at Nicholas Bowlby Gallery, Tunbridge Wells, 1998. Later solo exhibitions included Blue Gallery, 1996. Contemporary Art Society, Orkney’s Tankerness House Museum and Islands Council, and Unilever hold examples ('Artists in Britain Since 1945' by David Buckman)
*MATILDA TUMIM (B. 1963) 'Nocturne' 1996, figural study on salvaged wood, displayed in a box frame, 17cm x 34cmProvenance: Purchased from The Blue Gallery, London, SW3 in 1996Matilda Tumim is a painter and draughtsman, born in London, who was a pupil at Bedales School, 1976–81. She was included in the exhibition Bedales Art & Design, organised in 1999 by the William Jackson Gallery at Art99, in the Business Design Centre. Tumim studied at Chelsea School of Art, 1981–2; Falmouth College of Art, 1982–5; and Royal College of Art, 1986–8. Mixed shows included South Bank Picture Show, Festival Hall, prize winner, 1987; The Discerning Eye, Mall Galleries, prize winner, 1992; Contemporary Art Society Market, 1994; and The Judge Hangs, Michael Parkin Gallery, 1997. She shared a show at Nicholas Bowlby Gallery, Tunbridge Wells, 1998. Later solo exhibitions included Blue Gallery, 1996. Contemporary Art Society, Orkney’s Tankerness House Museum and Islands Council, and Unilever hold examples ('Artists in Britain Since 1945' by David Buckman)
'HERDING UNDER WILLOWS', BY LI KERAN (1907-1989)China. Ink and watercolors on paper. Finely painted with two boys wearing farmer's hats and white shirts, each riding a water buffalo, the animals' bodies only partly visible as they move across a river under a willow tree, one boy pulling on a vine.Inscriptions: Upper left, signed 'Li Keran'. Lower left with a lengthy inscription. Three seals of the artist.Provenance: UK trade, by repute acquired from an English private collection. Condition: Excellent condition with minor wear, soiling, and creasing.Dimensions: Image size 82.5 x 54.8 cm, Size incl. mounting 124 x 68.3 cmLi Keran (1907-1989) was a contemporary Chinese guohua painter and art educator. Considered one of the most important Chinese artists in the latter half of the 20th century, he was also an influential professor at the Central Academy of Fine Arts where he taught a generation of Chinese artists. Although trained in Western oil painting, he was known for his traditional literati paintings with influences from Qi Baishi and Huang Binhong, two renowned masters in Chinese painting. Li is also noted for the enlivened water buffaloes in his paintings. Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 21 April 2021, lot 2507Price: HKD 945,000 or approx. EUR 122,500 converted and adjusted for inflation at the time of writingDescription: Li Keran, Herding Under WillowsExpert remark: Compare the closely related motif. Note the size (67.5 x 44.8 cm)李可染(1907-1989)《牧牛圖》中國。紙本設色。畫中有兩個戴著笠帽的男童，各自騎著一頭水牛，嬌小可愛，與體型較大的水牛形成對比，其愉快的神情則與水牛的酣然之態一致。一個男孩拉著一根柳樹條。整幅畫構圖巧妙，款識：《牧牛圖》，可染鈴印：可染來源：英國古玩市場，據説來自英國私人老收藏。品相：狀況極佳，輕微磨損、汙漬和摺痕。尺寸：畫面82.5 x 54.8厘米，總124 x 68.3厘米 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2021年4月21日，lot 2507 價格：HKD 945,000（相當於今日EUR 122,500） 描述：李可染《柳溪歸牧圖》 專家評論：比較非常相近的形制。請注意尺寸(67.5 x 44.8厘米)。
Rémy Martin-Louis XIII Black Pearl-MagnumGrande Champagne. Baccarat crystal decanter No. 63 of 358. In original presentation case and outer packaging. Accompanied by certificate of authenticity, booklet and stopper. Engraved labelling. Filled to 1.5L. Cognac, 40% volume1 Baccarat crystal decanterFootnotes:Black Pearl was created as an homage to the very beginnings of LOUIS XIII. This unique tierçon No. C.100-46, with eaux-de-vie matured between 40 to 100 years of age, of the family's reserve in the Domaine de Merpins, was selected to produce this important Louis XIII large format: a contemporary 'Black Pearl' version of the original metal flask that inspired Paul-Émile Rémy Martin when he created LOUIS XIII in 1874. To craft this superb metallic decanter, the House of Baccarat treated the crystal using a unique plating technique. This gives the decanter a beautiful reflective quality, with myriad subtle contrasts of light and dark dancing across its surface. Achieving this dichroic effect involves layering successive thin coatings of precious materials (titanium, carbon and gold) one upon the other. The result is a true work of art.This lot is subject to the following lot symbols: †† VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Quakers.- Davis (Lydia, compiler) Album of Quaker manuscripts & original art, including autograph contributions by notable Quakers such as Jeremiah Wiffin (an undated initialled copy of his abolitionist poem 'Appeal for the Injured African'), Thomas Pole (6 small fine original drawings of rural scenes on 2 sheets, and a set of initials for Lydia Davis) Thomas Shillitoe (a religious rumination, Tottenham, 1833), and Joseph Storrs Fry (a religious quotation), also a pencil drawing of 'Eatington [Ettington, Warwickshire] Meeting House', possibly by a Sarah Lowe, botanical watercolours, and various copied Quaker writings, occasional spotting or staining, contemporary blind-stamped and gilt black calf, corners worn, rubbed, especially the joints, small 4to, [c. 1800-60 (mostly 1820-45)].⁂ An interesting album of Quaker material compiled by Lydia Davis, of Alstone Green, Gloucestershire.
Abbey copy.- Repton (Humphry) Fragments on the Theory and Practice of Landscape Gardening, first edition, half-title, 43 plates, comprising: one wood-engraved and letterpress plan, 21 hand-coloured aquatints (of which 2 double-page, 8 with overslips), 6 tinted aquatints (one with overslip), 13 aquatints (2 with overslips), 27 text illustrations, comprising: 9 aquatints (2 with overslips), 18 wood-engravings, occasional light offsetting, contemporary russia, stamped in gilt and blind, g.e., [Abbey, Scenery 391; Tooley 398], 4to, Printed by T. Bensley and Son...for J. Taylor, 1816.⁂ An excellent copy of Repton's last great work on landscape gardening, which he calls "the pleasing combination of Art and Nature adapted to the use of Man."Provenance: [Major] John Roland Abbey (bookplate).
A CARVED CELADON-GLAZED 'LOTUS' VASE, QIANLONG MARK AND PERIODChina, 1736-1795. Finely carved in high relief around the body with stylized lotus flowerheads borne on scrolling leafy vines, overall incised with minute details, above a lappet border and below a band of ruyi heads. The shoulder similarly decorated with foliate scroll below a distinct leiwen border, the neck with overlapping palm blades above pendent trefoils, with further ruyi bands at the foot and below the rim. The base incised with a six-character seal mark da Qing Qianlong nianzhi in intaglio within a slightly recessed square and of the period.Provenance: West Berkshire, United Kingdom, local trade. By repute acquired from a private estate. Condition: Excellent condition with minor old wear and firing flaws, tiny surface scratches. Weight: 3,097 g Dimensions: Height 38.3 cmThe rounded sides supported on a spreading foot and sweeping up to an angular shoulder and waisted neck. Covered overall in a lustrous sea-green glaze pooling to a rich and deep celadon tone within the carved recesses. The base and inside glazed as well, leaving only the foot rim unglazed, revealing the white biscuit.From its fine potting, translucent pale green celadon glaze, crisp lotus scroll and supporting designs, this vase reveals the technical and artistic virtuosity of craftsmen active at the Imperial kilns in Jingdezhen during the 18th century. The form evokes a sense of effortless elegance, despite its design being meticulously executed and conceived in advance. The decoration and glaze both draw from the celebrated ceramic tradition of Longquan in Zhejiang province and reinterpret it to suit the eclectic taste of the 18th century and growing interest in timeless elegance, literally overarching millennia. Celadon-glazed wares are perhaps the type of ceramics most intimately associated with China. Their origins can be traced back to the Bronze Age, and since then they continued to be popular throughout the Chinese empire. The brilliant bluish-celadon glazes created at the Longquan kilns had provided much inspiration to the potters of the Jingdezhen imperial kilns since the early Ming dynasty. By lessening the amount of iron in the glaze, the potters were able to create a cool and delicate celadon glaze that, when applied on a white porcelain body, resembled the translucency and texture of pale celadon jade. A wide range of exquisite celadon tones was created in the early Qing dynasty, as a result of the Yongzheng and Qianlong Emperors' appreciation of Song dynasty porcelain. Much admired by contemporary connoisseurs was the douqing (bean-green), a bright sea-green color, and the present fenqing (soft green), a pale celadon-green glaze. When applied to finely carved pieces as on the present vase, the thinning and pooling of the glaze on the raised lines and the recesses create a delicate shaded effect, thus accentuating the crispness of the design. The present vase belongs to a group of monochrome wares where, by using a multi-level carving technique, the craftsmen have created a contrast in the color tone, as if two shades of the same color were used. The motif is elaborate and complex, displaying a level of porcelain carving and incision quality only achieved in the Imperial kilns of the 18th century, yet without any cluttering or overload whatsoever. The elegant silhouette of this vase, its restrained decoration, subtle glaze, and intaglio mark suggest that it was made in the early to middle years of the Qianlong reign, some time before designs slowly started to become overtly elaborate. Expert's note: The luxuriant lotus scroll on the present vase, which is particularly crisp in its rendering, was adapted from the somewhat rough and rustic designs on Longquan celadons of the Yuan and Ming dynasties. By adding tall palm blades to the neck, precise ruyi borders to the edges, multi-layer lappets to the lower body, and a hyper-accurate leiwen band to the shoulder, the artist has sensibly transitioned original Longquan designs into the highly formal decor language of the Imperial court. Later copies of these designs always lack such sophisticated semantics, for they not only demand complete submission to simplicity, but also scrupulously precise execution. Literature comparison: Compare a related Imperial celadon-glazed globular jar, also with a six-character incised seal mark of Qianlong in intaglio within a slightly recessed square and of the period, illustrated by Marchant, Recent Acquisitions 2012, Important Chinese Porcelain from Private Collections, London, page 94, no. 41. Compare a related celadon-glazed vase in the Qing Court collection, also with a Qianlong mark and of the period, with similarly carved ruyi heads, illustrated in Monochrome Porcelain: The Complete Collection of the Treasures of the Palace Museum, 1999, pages 152-153, no. 138. Compare a related celadon-glazed vase with carved lotus scrolls, with a similar incised Qianlong seal mark and of the period, illustrated in Shanghai Museum, Beijing Museum, Art Museum, The Chinese University of Hong Kong, Qing Imperial Monochromes. The Zande Lou Collection, Shanghai, Beijing, Hong Kong, 2005, p. 120, no. 43. Compare a closely related celadon-glazed bottle vase, 37.5 cm high, also with a Qianlong mark and of the period, with similarly carved palm blades, at Sotheby's Hong Kong, 8 April 2011, lot 3018. Compare a related celadon-glazed fanghu, 34.9 cm high, also with a Qianlong mark and of the period, with similarly carved lotus scroll, at Sotheby's New York, 16 September 2014, lot 158. Finally, compare also a closely related pear-shaped vase, Jiaqing mark and period, at Christie's Hong Kong, 29 and 30 April 2001, lot 554. Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 8 April 2011, lot 3018Price: HKD 20,000.000 or approx. EUR 2,935.000 converted and adjusted for inflation at the time of writingDescription: A Fine and Extremely Rare Carved Celadon-Glazed Bottle Vase, Seal Mark and Period of QianlongExpert remark: Compare the closely related celadon glaze, form, and characteristic carving techniques including high reliefs and remarkably fine incision work with corresponding glaze poolings.Auction result comparison: Type: Related Auction: Sotheby's London, 6 November 2019, lot 17 Price: GBP 375,000 or approx. EUR 492,500 converted and adjusted for inflation at the time of writingDescription: A superb and rare carved celadon-glazed 'peony' vase, Qianlong incised seal mark and periodExpert remark: Compare the related celadon glaze, carved decoration, and incised seal mark, and particularly the near-identical lappet border above the foot, perfectly encapsulating the skill required to make this vase. Note the slightly smaller size (32.4 cm).
'BANANA LEAVES AND LOQUATS', BY QI BAISHI (1864-1957)China, ca. 1930. Ink and watercolors on paper. Superbly painted with two large banana leaves executed with bold and vivid brushstrokes, a bunch of ripening loquats, their orange-yellow color reminiscent of a sunset, lying on the lower leaf, a few scattered fruits having dropped from the bunch.Inscriptions: Signed Baishi, one seal 'Baishi'.Provenance: Mi Chou Gallery, after 1957, New York, USA. A private collector, acquired from the above (invoice lost), possibly at the exhibition “3 Masters of Contemporary Chinese Painting” which took place at the gallery from September 9-27, 1958. Thence by descent in the family. The back with an old label (7.5 x 10.2 cm) from “Mi Chou Gallery, 801 Madison Avenue, New York 21, NY”. The label bears typewritten information about the present lot including the title, the artist “Ch'i Pai-shih (1864-1957)”, the medium “Ink & colors on paper” and the dating “ca. 1930”, all confirming the above, and a smaller label, “13. Banana Leaves and Loquats”. Michael Sullivan notes in Art and Artists of Twentieth-Century China, Berkeley, 1996, pages 208-9, that Mi Chou Gallery, founded by Frank Cho in 1954, was the first Chinese contemporary art gallery in the United States and broke ground with exhibitions of renowned artists like Qi Baishi and Zhang Daqian. Sullivan further notes that initially, the gallery was established in the home of famed Chinese paintings collector and scholar, C.C. Wang. Having their works exhibited in New York for the first time was an immense opportunity for Chinese artists, and so Mi Chou Gallery had access to the finest works by the greatest painters of the era.Condition: Excellent condition with minor wear and minimal soiling.Dimensions: Image size 130 x 33.5 cm, Size incl. frame 163.2 x 52.8 cmMatted and framed behind glass.Qi Baishi (1864-1957) is one of the most important Chinese artists of the 20th century and has received countless honors and awards like no other painter in the People's Republic of China. He began a career as a carpenter, though he taught himself to paint using a manual from the Qing dynasty period. His style, which Qi Baishi developed in the second half of his life, is characterized by a powerful, spontaneous brushstroke. He expanded his subject matter to figures, animals, vegetation, and landscape and began to incorporate rich color into his compositions, painting in an ever-freer style. His works are focused on the spiritual, ephemeral, and mystical qualities of the human condition. In 1953, he was elected president of the China Artists Association, and one year later he was elected to the National People's Congress.Auction result comparison: Type: Related Auction: Sotheby's Paris, 23 June 2016, lot 172 Price: EUR 75,000 or approx. EUR 88,000 adjusted for inflation at the time of writing Description: Qi Baishi (1864-1957), Loquats Expert remark: Compare the loquats of similar dark yellow color. Note the much smaller size (33.5 x 33.3 cm).Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 7 October 2012, lot 1192 Price: HKD 2,060,000 or approx. EUR 334,500 converted and adjusted for inflation at the time of writing Description: Qi Baishi (1864-1957), Loquats Expert remark: Compare the loquats, most of which are of similar dark yellow color. Note the smaller size (92.5 x 33.5 cm).Auction result comparison: Type: Related Auction: Poly International, Beijing, 2 December 2010, lot 2174 Price: CNY 1,736,000 or approx. EUR 332,000 converted and adjusted for inflation at the time of writing Description: Qi Baishi, Banana Tree Leaf Expert remark: Compare the banana leaves. Note the similar size (136 x 34 cm). 齊白石款《芭蕉與琵琶》中國，約 1930，紙本水墨設色。兩片大芭蕉葉，近景簡筆構圖，筆墨大膽而生動；一束成熟的枇杷，金黃誘人。 款識：隔麤塵輕，碧玉鋪滿地黃金，白石；鈴印：白石 來源：紐約米舟畫廊，1957年後；私人收藏，購於米舟畫廊 (發票遺失)，可能購於1958年9月9-27日舉辦的 “三位中國當代繪畫大師” 畫展展覽期間，一直保存在同一家族。背面有米舟畫廊舊標籤 (7.5 x 10.2厘米) “Mi Chou Gallery，801 Madison Avenue，New York 21，NY”。Michael Sullivan 在Art and Artists of Twentieth-世紀 China （Berkeley 1996，第208-9頁）注釋，米舟畫廊由Frank Cho 於1954年創立，是美國第一家中國當代藝術畫廊，由齊白石、張大千等著名藝術家的展覽而出名。Sullivan進一步指出，最初，畫廊深受著名的中國畫收藏家和學者 C.C. 王推崇。第一次在紐約展出作品對中國藝術家來說是一個巨大的機會，因此米舟畫廊可以接觸到那個時代最偉大的畫家最優秀的作品。品相：狀況極佳，輕微磨損與污漬。 尺寸：畫面130 x 33.5厘米，總 163.2 x 52.8 厘米 鏡片裝框。由於字數限制，完整中文敘述請至www.zacke.at查看。
CATRIONA MILLAR,BIBAoil on canvas, signed and titled versoimage size 40cm x 28cm, overall size 60cm x 48cm Framed and under glass.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. 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. In the Scottish Contemporary Art Auction of 3rd May 2015 lot 2138 "The Agency" by Millar sold for £2800 (hammer).
CATRIONA MILLAR,JOOLSoil on canvas, signed and titled versooverall size 31cm x 23cm Unframed.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. 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. In the Scottish Contemporary Art Auction of 3rd May 2015 lot 2138 "The Agency" by Millar sold for £2800 (hammer).
CATRIONA MILLAR,JAYoil on canvas, signed and titled versooverall size 31cm x 23cm Unframed.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. 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. In the Scottish Contemporary Art Auction of 3rd May 2015 lot 2138 "The Agency" by Millar sold for £2800 (hammer).
CATRIONA MILLAR,BARNABYoil on canvas, signed and titled versoimage size 22cm x 16cm, overall size 41cm x 35cm Framed and under glass.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. 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. In the Scottish Contemporary Art Auction of 3rd May 2015 lot 2138 "The Agency" by Millar sold for £2800 (hammer).
CATRIONA MILLAR,ROSIEoil on canvas, signed, titled and dated 2017 versoimage size 24cm x 18cm, overall size 27cm x 21cmFramed.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. 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. In the Scottish Contemporary Art Auction of 3rd May 2015 lot 2138 "The Agency" by Millar sold for £2800 (hammer).
* LILIAN NEILSON (BRITISH 1938 - 1998),SEA BANK, CATTERLINEoil on board, titled label versoimage size 75cm x 30cm, overall size 81cm x 36cm Framed. Handwritten artist's label verso. Note: Lil Neilson was a member of the quartet who became known as 'The Catterline School' along with Joan Eardley, Annette Stephen and Angus Neil. Lil Neilson studied at Duncan of Jordanstone College of Art from 1956-60, including a summer school at Hospitalfield House, Arbroath. She completed a post-diploma year tutored by Hugh Crawford and Alberto Morroco in 1960-61 and was awarded a travelling scholarship to France and Italy in 1961-62. On her return she joined Joan Eardley in Catterline: they had become friends in 1960 at Hospitalfield House and Eardley invited Lil to paint in the studio she and Annette Stephen shared in Catterline. Like many other painters and visitors, Lil became enthralled with the place. At this time Lil also worked backstage with Reet Guenigault in theatres including the Traverse in Edinburgh and also in England, returning to Catterline to nurse Eardley when her illness was diagnosed in the new year of 1963. Reet joined them three months later to take over and give Lil a rest, and after Eardley's death in August of that year, Lil bought No 2 South Side, Catterline, to make her home in one half and studio at the other end. Some pictures of this period show Catterline views which Eardley famously painted, especially with the great round moons low in the summer sky. Neilson's foregrounds are less detailed and the viewer's eyes are led upwards towards the sky. Lil continued to work in theatres until 1969, when she returned to Catterline to try to work through the Eardley influences which had been made more than a bitter cup. She felt that she must paint that problem out in Catterline. She spent some time in Norfolk with Gaydon Phillips, but not many paintings of Norfolk exist and she returned to paint in Catterline regularly over the next nine years. She moved permanently to Catterline in 1986 and, once there, Joyce Laing's Pittenweem gallery exhibited some of Lil's work which showed new directions. In 1989, at the influential 369 Gallery, Edinburgh, an exhibition shared with Annette Stephen showed a two-room retrospective of Lil's work. Her last show was 'Certain Days and Other Seasons' (1997) at both Seagate and Aberdeen Art Galleries. Lil pronounced this to be ''the end of my life's work'', prophetically as it turned out, for by August 1997 it became apparent that this private and reticent woman had been working under duress for the past two years as the extent of her disease was discovered. Lil's good friends and neighbours loved and nursed her, enabling her to be in her beloved Catterline until she needed the services of Roxburgh House. Lil Neilson's paintings rarely appear at auction and those which have in recent years have often been small studies and sketches which perhaps explains why her UK auction record price remained the £4600 (hammer) for "Catterline" achieved for lot 1744 in The Scottish Contemporary Art Auction on 15.12.2013. However, in The Scottish Contemporary Art Auction of 17th April 2022, "A Beached Boat" by Neilson ( a 43 x 92cm oil) sold for £5000 (hammer) - a new auction record for the artist and then in the same auction on 21st August 2022 "Red Boat" set yet another new world auction record when it sold for £6500 (hammer).
* JOHN KINGSLEY RSW DA PAI (SCOTTISH b. 1956)CRETAN LANDSCAPEoil on canvas, signedimage size 61cm x 76cm, overall size 79cm x 94cm Framed and under glass.Provenance: we are grateful to John Kingsley for confirming the title and commenting "It was near Rethymnon (Crete) as I recall, in the area of the ruined fortress above the town. I visited there around 1990".Note: John Kingsley was born in Glasgow in 1956. He studied drawing and painting at Glasgow School of Art from 1973-77. His art tutors included James Downie Robertson, David Donaldson and Geoffrey Squire. From 1980-86 he exhibited in one-man shows at the annual S.N.O. Promenade Concerts at the Kelvin Hall, Glasgow and in 1986 he was elected a member of Group 81 Artists, who exhibited regularly at the McLellan Galleries, Glasgow. John Kingsley has established a reputation as a leading Scottish contemporary artist. He was a finalist in the Hunting Art Prizes competition in London in 1989, 1993 and 1998, and was highly commended in the same competition in 1996. In 1991 Kingsley won the William Bowie Landscape Prize and in 1992 the Mary Armour Award at the Paisley Art Institute. Kingsley has an international reputation with art works in many public and private art collections across Europe, Australia, Canada and the USA. His paintings are found in the art collections of HRH The Duke of Edinburgh, Argyll and Bute District Council and the Royal College of Physicians and Surgeons, Glasgow and in numerous corporate collections throughout the UK.
* GEORGINA MCMASTER (SCOTTISH b. 1980),BEST FRIENDoil on canvas, signed with initials as is the artist's normimage size 30cm x 40cm, overall size 37cm x 47cm Framed.Note: Georgina graduated from Edinburgh College of Art in 2002, gaining a BA Honours in Visual Communication and specializing in Drawing and Painting. She was awarded the First Time Exhibitor prize in 2007 at the Royal College of Physicians and Surgeons of Glasgow and the David Cargill Award in 2008 by the prestigious Royal Glasgow Institute of the Fine Arts. Also in 2008, she was elected as an Artist Member of the Glasgow Art Club. Her paintings are widely exhibited throughout Scotland and in London. Georgina has been featured in many magazines and newspapers including: Scottish Field Magazine, Art News Scotland Journal, The Herald Newspaper, Galleries Magazine, Scottish Women Magazine, Paisley Daily Express, Sunday Mail, The Scotsman Newspaper and The Glasgow Magazine. In The Scottish Contemporary Art Auction of 6th March 2022, "Camouflage" (lot 206) by Georgina McMaster sold for £4400 (hammer) setting another UK auction record price for one of Scotland's most notable young artists.
* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006),CONTINENTAL FIELDSoil on board, signed and dated '01image size 40cm x 44cm, overall size 54cm x 59cm FramedNote: Bill Birnie studied at Glasgow School of Art under Gilbert Spencer and then at Hospitalfield under Ian Fleming. After graduating, he joined the staff at Hyndland Secondary School in 1952. That same year he was also elected a member of the Society of Scottish Artists (SSA). In 1958, he became a founder member of the Glasgow Group and formed the Glasgow Group Society, of which he was Vice-President for 32 years. In 1965, he was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW), a society of which he also became Vice-President and Treasurer. He became Principal Art Teacher at Douglas Academy, near Bearsden, and later at Gryffe High, near Kilbarchan. Bill's abilities not only as a teacher but also as an administrator were noticed by the Department of Education and he was soon appointed Head Examiner in Art for Scotland. He still managed to maintain a very active exhibiting schedule and showed in all the main public galleries and many of Scotland's best commercial galleries. His work was enthusiastically collected and increasingly sought after. He was elected a member of the Royal Glasgow Institute of Fine Art (RGI) and of the Paisley Art Institute (PAI). In the early years, he painted from his garden, showing the village of Kilbarchan in its changing seasons, under a quiet blanket of winter snow, or framed in a blazing sunset through autumnal trees. Later visits to France and Italy with his artist wife, Cynthia Wall, whom he married in 1953, brought new subject matter, cafe scenes, vine groves, Italian clifftop villages, and the crumbling facades of palaces and churches of Venice. It was characteristic of the man that when told that his illness was terminal, he calmly put his affairs in order and started work for a final one-man show at the Open Eye Gallery (Edinburgh) the scene of so many of his successful shows. Unsurprisingly, the exhibition was a complete sell-out. In recent years there has been a widely acknowledged acceleration in the prices achieved at auctions around the UK for William Birnie's paintings. In the Scottish Contemporary Art Auction of 8th November 2020 lot 567 "The Red House" (Kilbarchan) a 60 x 90cm oil sold for £3000 (hammer) which, not for the first time in recent years, set a new auction record for a painting by William Birnie.
* MOIRA BEATY (SCOTTISH 1922 - 2015),A STILL LIFE OF VIBRANT FLOWERSoil on board, signedimage size 60cm x 34cm, overall size 69cm x 43cm Framed.Note: Moira went to Glasgow School of Art in 1939 where her contemporaries included Joan Eardley and Margot Sandeman. These three young women were regarded by their lecturers as the brightest stars of their generation. After one year as a student she was recruited to Bletchley Park where she worked as a code breaker, one of Churchill's 'corkscrew thinkers'. She returned to GSA in 1947 to complete her studies. Moira's enduring talent was recognised again in 2014 at the age of 92 with a sell out exhibition in Kirkcudbright. Moira Beaty was a resolute and determined woman who was an integral part of the famous group at Bletchley Park who did much to aid the Allies' victory in the Second World War. She worked in Hut 8 where Alan Turing and Peter Twinn set up the Naval Enigma Code. Beaty was responsible to Twinn - the first mathematician to be recruited to Bletchley. ''I discovered something,'' Beaty modestly remarked years later, ''a code within a code. I was immediately moved to within the codebreakers and became a cryptographer working on the German Secret Service codes.'' The Twinn team was involved in breaking the secretive Abwehr codes which were even more complicated than the ordinary military messages. The information this provided to the Allies in such major operations as the desert campaign, the D-Day landings and the sinking of the battleship Tirpitz proved vital to the war effort. Her first solo exhibition was at the Open Eye Gallery in Edinburgh in 1979 and at the Collins Gallery in Glasgow. Her works were also seen at the Cadogan Contemporary Gallery in London and around Dumfries - notably at the Gracefield Arts Centre. In 2001 Gracefield held a major retrospective exhibition of both Moira and Stuart Beaty's works, entitled Full Circle. In 2014 Beaty officially opened the Kirkcudbright Summer Art Exhibition: Glasgow Girls 1920 - 1960, and held a solo exhibition in the town's Harbour Cottage Gallery. Both exhibitions were hugely popular and, at 92, Moira Beaty was still making a strong impression and gaining new collectors. The two most recent examples of Moira Beaty's work (both significantly smaller than "A Still Life of Vibrant Flowers") to have been offered through our auctions have achieved hammer prices of £700 and £800.
* MICHAEL SCOTT (SCOTTISH 1946 - 2006),LOVERS AFTER THE FLOODoil on canvas, signed, titled versoimage size 66cm x 61cm, overall size 82cm x 77cm Framed and under glass.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).
* MICHAEL SCOTT (SCOTTISH 1946 - 2006),CIRCEoil on canvas, signed, titled versoimage size 60cm x 49cm, overall size 69cm x 59cm Framed and under glass.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).
* GLEN SCOULLER RSW RGI DA (SCOTTISH b. 1950),STILL LIFE WITH HEN & CORMORANToil on canvas, signed, titled label versoimage size 77cm x 77cm, overall size 95cm x 95cm Framed. 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.
* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013),SCOTTISH HARBOUR oil on canvas, signed, further signed and dated 1994 versoimage size 152cm x 152cm, overall size 169cm x 169cm Framed.Note: Collector demand has never been higher for the work of John Bellany and numerous examples have been sold in recent months both by 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) - probably the highest auction price achieved for a post 1969 example of these dimensions by Bellany. "Scottish Harbour" (likely Port Seton) is one of the larger examples we've offered in recent times and has been consigned by a private Scottish collector. This large composition is more detailed than many of Bellany's harbour scenes and is, as one would expect, a magnificent celebration of "colour".
* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948),CATHEDRAL WINDOW WITH FLOWERSoil on canvas, signedimage size 75cm x 75cm, overall size 101cm x 101cmFramed and under glass.Provenance: Private collection Lochgilphead (Argyll).Comment: Rare subject matter for Jolomo and a magnificent large example.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.Condition of both picture and frame are good overall.
* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948),A WINTER SUNSET, DUNROSTAN, KNAPDALEoil on canvas, signed, titled and dated 2018 versoimage size 41cm x 41cm, overall size 64cm x 64cm Framed and under glass. Artist's label verso.Provenance: Private collection Lochgilphead (Argyll).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.Condition of picture and frame are both good overall. Provenance is from a private Scottish collection.
* GERARD BURNS (SCOTTISH b. 1961),BALLERINAoil on canvas, signedimage size 62cm x 41cm, overall size 80cm x 60cm Framed.Note: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh, Lemond Gallery (Glasgow). Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow. Portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.Condition is good overall, with no visible signs of damage or known issues.
* DONALD PROVAN (SCOTTISH b. 1964),EAST COASTmixed media on paper, signed, titled and dated 2002 versoimage size 50cm x 70cm, overall size 69cm x 89cmMounted, framed and under glass.Note: Edinburgh-based artist Donald Provan is renowned for his water-related paintings. His work centres on two distinct areas; the land or seascape above and the fish life below. Donald graduated from Edinburgh College of Art in 1986 with a degree in Drawing and Painting, and then gained a Post Graduate Diploma in 1987. His preferred medium is oil which he uses in different ways dependent on the subject matter. In his paintings of fish he applies the paint in a controlled way, whilst in his seascapes he uses thicker paint, with washes of turpentine, letting the paint dictate the final direction of the painting. He has participated in numerous exhibitions throughout the UK, and has had many solo exhibitions in Scotland. Provan is the recipient of several major awards including the Elizabeth Greenshields Foundation Grant, Canada in 1987 and 1992 and the Royal Scottish Society of Painters in Watercolour Small Painting Award at the Royal Scottish Academy in 2008. His work is in many private and public collections, including the Royal Bank of Scotland, the University of St Andrews and Edinburgh College of Art. Provan's principal Scottish gallery is the prestigious Open Eye Gallery (Edinburgh) and his most recent solo show there was 9th - 27th March 2021. Donald Provan's work very rarely appears at auction but in The Scottish Contemporary Art Auction of 17th April 2022 lot 274 "Shoal on Pale Grey" (32 x 63cm) by Donald Provan sold for £1800 (hammer).
* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018),FROM THE CAR PARKoil on board, signed and dated '9944cm x 47cmFramed and under glass.Titled verso, but obscured by the backboard.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).
* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018),JOUCAS FROM THE SUNFLOWER FIELDoil on board, signed and dated '9436cm x 44cmFramed and under glass.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).
* JACK MORROCCO DA (SCOTTISH b. 1953),REFLECTIONS, CANAL DU MIDI, NEAR COLOMIERSoil on canvas, signed, titled labels versoimage size 61cm x 91cm, overall size 83cm x 113cm Framed and under glass.Artist's label verso.Label verso: Gullane Art Gallery, Gullane.Provenance: Private Glasgow collector (downsizing).Note: An exceptional and large example by one of Scotland's most successful contemporary artists. Jack Morrocco's work very rarely appears at auction, anywhere.
ERNI UPTON FRSA,TRAIGH NA CRICHE, NORTHWEST IONAoil on canvas, signed, titled versoimage size 51cm x 101cm, overall size 78cm x 128cm Framed.Note: A Scot, born in Ayrshire in 1936, Erni Upton has been painting since childhood. Schooled at Ayr Grammar & Ayr Academy, much of his youth was spent with the fisherfolk of West Scotland and their boats and he still cruises these waters each year. He trained at Glasgow School of Art, where he studied under Donaldson, Mathieson and Robertson. His work reflects their influences and those of the Scottish colourists who like him, spent much time in the wonderful light and colours of the West Coast. Painting in this tradition, he works with oils on canvas, using both brush and knife. In 1985, after many years in banking, he returned to Art & Design when he established an interior design company in Shrewsbury, Shropshire. He continued to work in oils, mainly commissions for corporate and private clients, but it was not until 1999, when the company was sold, that more time became available for painting. His work is successfully shown in many galleries in England, Scotland and abroad, most recently in Istanbul, where he was invited, as a result of commission work, to have a solo exhibition at the British Embassy, and a subsequent solo at one of the premier galleries in the city. He was elected a Fellow of the Royal Society for Arts, London, in November 2004. In recent years exhibition venues have included: Rowles Fine Arts, Strathearn Gallery, Greens & Blues Gallery, Morningside Gallery, Annan Gallery, Iona House Gallery, Alpha Gallery, Queens Gallery, Gigha Gallery and Frames Gallery. In The Scottish Contemporary Art Auction of 9th May 2021, two Iona paintings by Erni Upton (lots 787 & 789) sold for prices of £2000 & £2800 (hammer).
ERNI UPTON FRSA,SAORSA ASHORE, RUDHA CHINN MHOR, ARDMINISH, GIGHAoil on canvas, signed, titled versoimage size 42cm x 52cm, overall size 62cm x 72cm Framed.Note: A Scot, born in Ayrshire in 1936, Erni Upton has been painting since childhood. Schooled at Ayr Grammar & Ayr Academy, much of his youth was spent with the fisherfolk of West Scotland and their boats and he still cruises these waters each year. He trained at Glasgow School of Art, where he studied under Donaldson, Mathieson and Robertson. His work reflects their influences and those of the Scottish colourists who like him, spent much time in the wonderful light and colours of the West Coast. Painting in this tradition, he works with oils on canvas, using both brush and knife. In 1985, after many years in banking, he returned to Art & Design when he established an interior design company in Shrewsbury, Shropshire. He continued to work in oils, mainly commissions for corporate and private clients, but it was not until 1999, when the company was sold, that more time became available for painting. His work is successfully shown in many galleries in England, Scotland and abroad, most recently in Istanbul, where he was invited, as a result of commission work, to have a solo exhibition at the British Embassy, and a subsequent solo at one of the premier galleries in the city. He was elected a Fellow of the Royal Society for Arts, London, in November 2004. In recent years exhibition venues have included: Rowles Fine Arts, Strathearn Gallery, Greens & Blues Gallery, Morningside Gallery, Annan Gallery, Iona House Gallery, Alpha Gallery, Queens Gallery, Gigha Gallery and Frames Gallery. In The Scottish Contemporary Art Auction of 9th May 2021, two Iona paintings by Erni Upton (lots 787 & 789) sold for prices of £2000 & £2800 (hammer).
ERNI UPTON FRSA,OYSTERCATCHERS, PORT DUNAIN, NORTHWEST IONAoil on board, signed, titled versoimage size 26cm x 31cm, overall size 45cm x 50cm Framed.Note: A Scot, born in Ayrshire in 1936, Erni Upton has been painting since childhood. Schooled at Ayr Grammar & Ayr Academy, much of his youth was spent with the fisherfolk of West Scotland and their boats and he still cruises these waters each year. He trained at Glasgow School of Art, where he studied under Donaldson, Mathieson and Robertson. His work reflects their influences and those of the Scottish colourists who like him, spent much time in the wonderful light and colours of the West Coast. Painting in this tradition, he works with oils on canvas, using both brush and knife. In 1985, after many years in banking, he returned to Art & Design when he established an interior design company in Shrewsbury, Shropshire. He continued to work in oils, mainly commissions for corporate and private clients, but it was not until 1999, when the company was sold, that more time became available for painting. His work is successfully shown in many galleries in England, Scotland and abroad, most recently in Istanbul, where he was invited, as a result of commission work, to have a solo exhibition at the British Embassy, and a subsequent solo at one of the premier galleries in the city. He was elected a Fellow of the Royal Society for Arts, London, in November 2004. In recent years exhibition venues have included: Rowles Fine Arts, Strathearn Gallery, Greens & Blues Gallery, Morningside Gallery, Annan Gallery, Iona House Gallery, Alpha Gallery, Queens Gallery, Gigha Gallery and Frames Gallery. In The Scottish Contemporary Art Auction of 9th May 2021, two Iona paintings by Erni Upton (lots 787 & 789) sold for prices of £2000 & £2800 (hammer).
ERNI UPTON FRSA,JURA FROM KINTYREoil on board, signed, titled versoimage size 27cm x 37cm, overall size 41cm x 51cm Framed.Note: A Scot, born in Ayrshire in 1936, Erni Upton has been painting since childhood. Schooled at Ayr Grammar & Ayr Academy, much of his youth was spent with the fisherfolk of West Scotland and their boats and he still cruises these waters each year. He trained at Glasgow School of Art, where he studied under Donaldson, Mathieson and Robertson. His work reflects their influences and those of the Scottish colourists who like him, spent much time in the wonderful light and colours of the West Coast. Painting in this tradition, he works with oils on canvas, using both brush and knife. In 1985, after many years in banking, he returned to Art & Design when he established an interior design company in Shrewsbury, Shropshire. He continued to work in oils, mainly commissions for corporate and private clients, but it was not until 1999, when the company was sold, that more time became available for painting. His work is successfully shown in many galleries in England, Scotland and abroad, most recently in Istanbul, where he was invited, as a result of commission work, to have a solo exhibition at the British Embassy, and a subsequent solo at one of the premier galleries in the city. He was elected a Fellow of the Royal Society for Arts, London, in November 2004. In recent years exhibition venues have included: Rowles Fine Arts, Strathearn Gallery, Greens & Blues Gallery, Morningside Gallery, Annan Gallery, Iona House Gallery, Alpha Gallery, Queens Gallery, Gigha Gallery and Frames Gallery. In The Scottish Contemporary Art Auction of 9th May 2021, two Iona paintings by Erni Upton (lots 787 & 789) sold for prices of £2000 & £2800 (hammer).
* ALFRED ALLAN (SCOTTISH b. 1944),ELIE BEACH oil on canvas, signedimage size 50cm x 75cm, overall size 65cm x 91cmFramed.Note: Alfred Allan also paints under the name Allan Nelson. He is a well-known artist living in Fife and he paints the surrounding areas. Recent sales of Alfred Allan's paintings in The Scottish Contemporary Art Auctions have included hammer prices of £1100, £850, £800, £750, £700 & £650.
* JOE KEARNEY (SCOTTISH 1939 - 2017),THE POET SLEEPSpastel on paper, signed and dated '78, titled label versoimage size 41cm x 30cm, overall size 58cm x 47cm Mounted, framed and under glass.Label verso: The Kelvin Gallery, Glasgow.Note: Joseph "Joe" Kearney was born in 1939 in Glasgow and was a past Vice President of Glasgow Art Club. Kearney trained at Glasgow School of Art and was a contemporary of John Byrne. He exhibited at The Royal Society of Portrait Painters, The Royal Scottish Academy, The Royal Glasgow Institute, The Annan Gallery, Ewan Mundy and Glasgow Art Club. His works are held in several notable collections including The Scottish Ballet and Glasgow Art Gallery & Museums.
* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006),FROM THE ENDRICKoil on board, signed and dated '89, titled label versoimage size 59cm x 55cm, overall size 71cm x 67cm Framed.Handwritten label verso.(The Endrick Water or River Endrick is a river which flows into the eastern end of Loch Lomond)Comment: Rare subject matter for Bill Birnie but a superb example of his talent. Note: Bill Birnie studied at Glasgow School of Art under Gilbert Spencer and then at Hospitalfield under Ian Fleming. After graduating, he joined the staff at Hyndland Secondary School in 1952. That same year he was also elected a member of the Society of Scottish Artists (SSA). In 1958, he became a founder member of the Glasgow Group and formed the Glasgow Group Society, of which he was Vice-President for 32 years. In 1965, he was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW), a society of which he also became Vice-President and Treasurer. He became Principal Art Teacher at Douglas Academy, near Bearsden, and later at Gryffe High, near Kilbarchan. Bill's abilities not only as a teacher but also as an administrator were noticed by the Department of Education and he was soon appointed Head Examiner in Art for Scotland. He still managed to maintain a very active exhibiting schedule and showed in all the main public galleries and many of Scotland's best commercial galleries. His work was enthusiastically collected and increasingly sought after. He was elected a member of the Royal Glasgow Institute of Fine Art (RGI) and of the Paisley Art Institute (PAI). In the early years, he painted from his garden, showing the village of Kilbarchan in its changing seasons, under a quiet blanket of winter snow, or framed in a blazing sunset through autumnal trees. Later visits to France and Italy with his artist wife, Cynthia Wall, whom he married in 1953, brought new subject matter, cafe scenes, vine groves, Italian clifftop villages, and the crumbling facades of palaces and churches of Venice. It was characteristic of the man that when told that his illness was terminal, he calmly put his affairs in order and started work for a final one-man show at the Open Eye Gallery (Edinburgh) the scene of so many of his successful shows. Unsurprisingly, the exhibition was a complete sell-out. In recent years there has been a widely acknowledged acceleration in the prices achieved at auctions around the UK for William Birnie's paintings. In the Scottish Contemporary Art Auction of 8th November 2020 lot 567 "The Red House" a 60 x 90cm oil sold for £3000 (hammer) which, not for the first time in recent years, set a new auction record for a painting by William Birnie.
* JOE MCINTYRE (SCOTTISH b. 1940),EVENING IN THE CITY KIOSK, BASTILLE, PARISoil on canvas laid on board, signedimage size 26cm x 20cm, overall size 45cm x 38cm Framed and under glass.Note: Joe McIntyre was born in Dundee in 1940. His work has been exhibited extensively around the UK and in the USA. Collections include: HM The Queen, HRH The late Duke of Edinburgh, HRH The Late Princess Margaret, Dundee City Chambers, J & B Scotch Whisky (New York), Dundee City Art Gallery, Pernod (London), The Scottish Arts Council, Fine Arts Society (London), Tayside Regional Council, Arbroath Art Gallery, The Lincoln Centre (New York), Johnston & Johnston (New York) and numerous other corporate collections. In the Scottish Contemporary Art Auction of 5th July 2020 "Summer in the City, Dundee" (lot 632) set yet another world auction record for McIntyre, selling for £1900 (hammer).
* AVRIL PATON (SCOTTISH b. 1941),THE ASTROLOGER (LAMURA VON BOELLING) watercolour on paper, signed, titled and dated 1994 label versoimage size 46cm x 34cm, overall size 77cm x 68cm Mounted, framed and under glass. Label verso: The Gatehouse Gallery, Glasgow.Comment: The painting was kindly authenticated for us by Arvil herself. Paton was able to provide additional context for the picture, saying that although the label verso dates the picture as 1994, it was painted in 1993, and purchased from the gallery in 1994. The portrait is of Lamura Von Boelling, a Canadian astrologer who came to Glasgow in the 1980s and taught astrology to many in the city. Note: a rare early work by Avril Paton, the artist who painted "Windows in the West", one of Scotland's best known and most popular contemporary paintings which was acquired for the nation by The Scottish National Gallery of Modern Art and is currently on display at Kelvingrove Gallery, Glasgow. There has been much written about Paton's work from the 1980/90s explaining the meticulous detail and the many months it took to complete a single picture. Paton eventually moved on to a more spontaneous abstract style of work and consequently her earlier paintings are a distinct isolated body of work and the examples from this time are few and rarely, if ever, appear at auction. However, in The Scottish Contemporary Art Auction on 16th August 2020 lot 591 Topping Out Day by Avril Paton was sold for a new auction record price of £8000 (hammer). Paton's early work from this period has been studied as part of the curriculum for many of the nation's youth and there are several talks and discussions on YouTube.
* PETER HOWSON OBE (SCOTTISH b. 1958),INTO THE LIGHToil on canvas, signedimage size 120cm x 90cm, overall size 140cm x 110cm Framed and under glass.Note: A classic large Howson composition with a title to match. In The Scottish Contemporary Art Auction of 21st August 2022, lot 70 "Crucifixion" by Peter Howson sold for £11,250 (hammer) and almost as impressively, lot 115 "Gorlitz" in the same sale, a small (23 x 30cm) mixed media drawing on paper by him sold for £1400 (hammer).Condition is good overall.
* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006),THE YELLOW GABLE (KILBARCHAN)oil on board, signed and dated '83, titled and further dated labels versoimage size 31cm x 61cm, overall size 40cm x 70cm Framed.Handwritten artist's label verso.Label verso: The Macaulay Gallery, Stenton.Comment: In our opinion, a special Kilbarchan picture. Birnie's compositional skills are strongly evident in this specific view of the village he lived in and loved. No doubt Birnie will have immediately realised how "The Yellow Gable" presented the opportunity to legitimately introduce a big block of bold colour which will have made painting this scene irresistible. His "The Red House" (referred to below) is another example of how Birnie understood how featuring one strong and perhaps unexpected colour can transform and define a composition.Note: Bill Birnie studied at Glasgow School of Art under Gilbert Spencer and then at Hospitalfield under Ian Fleming. After graduating, he joined the staff at Hyndland Secondary School in 1952. That same year he was also elected a member of the Society of Scottish Artists (SSA). In 1958, he became a founder member of the Glasgow Group and formed the Glasgow Group Society, of which he was Vice-President for 32 years. In 1965, he was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW), a society of which he also became Vice-President and Treasurer. He became Principal Art Teacher at Douglas Academy, near Bearsden, and later at Gryffe High, near Kilbarchan. Bill's abilities not only as a teacher but also as an administrator were noticed by the Department of Education and he was soon appointed Head Examiner in Art for Scotland. He still managed to maintain a very active exhibiting schedule and showed in all the main public galleries and many of Scotland's best commercial galleries. His work was enthusiastically collected and increasingly sought after. He was elected a member of the Royal Glasgow Institute of Fine Art (RGI) and of the Paisley Art Institute (PAI). In the early years, he painted from his garden, showing the village of Kilbarchan in its changing seasons, under a quiet blanket of winter snow, or framed in a blazing sunset through autumnal trees. Later visits to France and Italy with his artist wife, Cynthia Wall, whom he married in 1953, brought new subject matter, cafe scenes, vine groves, Italian clifftop villages, and the crumbling facades of palaces and churches of Venice. It was characteristic of the man that when told that his illness was terminal, he calmly put his affairs in order and started work for a final one-man show at the Open Eye Gallery (Edinburgh) the scene of so many of his successful shows. Unsurprisingly, the exhibition was a complete sell-out. In recent years there has been a widely acknowledged acceleration in the prices achieved at auctions around the UK for William Birnie's paintings. In the Scottish Contemporary Art Auction of 8th November 2020 lot 567 "The Red House" a 60 x 90cm oil sold for £3000 (hammer) which, not for the first time in recent years, set a new auction record for a painting by William Birnie.Condition is good overall.
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