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Lot 214
Francis Ragot, Pieter Paul Rubens - Assumption of the Virgin / Description: The Assumption of the Virgin; the Virgin in the sky led upward by angels toward a burst of divine light, two of them holding a floral crown and a palm; Christ above welcoming her; the twelve apostles gathered around the open tomb, some of them stretching out their arms; St John the Evangelist at right and looking up at the Virgin; three women probably Mary Magdalene and Virgin Mary's sisters, one of them holds a flower referring to the blossoms that miraculously filled the empty coffin; three books lying in foreground; arched composition. Engraving made by Francois Ragot showing painting in Museum Kunst Palast, Düsseldorf, inv.no.2309 (Rooses 358). After Paulus Ponitius. / Dimensions: 65,00 x 44,00 cm / Condition: This very large engraving is in good condition considering it's format. The image is complete with with text lines and trimmed outside the borderline, narrow on top with perhaps one or two millimeter of loss. The thick laid paper has some flattened folds on the backside. Schneevoogt 1873 / Catalogue des estampes gravées d'après P.P.Rubens (78.29) Engraving /Circa: 1630-1670 360
Lot 234
Cornelis Galle (1576-1650) - Portrait of Carolus Quintus after Titian Portrait of Emperor Charles V (1500-1558). Charles was the eldest son of Philip the Handsome and Joan of Castile, who would enter history as Joan the Mad. The countries he ruled, the Spanish Empire, together formed the largest European empire since that of Charlemagne. In fact, his entire empire, so including the American and Asian territories, was even larger than the earlier Roman Empire and it can rightly be called one of the first world empires of the New Age. In this bust portrait, he is shown in profile. The light reflects on his shining armor. We also recognize the chain of the Order of the Golden Fleece. The Subscript "En fulminanti similis inuic ta Herculis, Ultra labores arma sic Carolis tulit" links to the motto of arms 'Plus Ultra' chosen by Emperor Charles V. It was a variation on 'Non plus ultra', the text Hercules is said to have chiselled on the Pillars of Hercules on either side of the Strait of Gibraltar to mark the end of the world in classical antiquity. Under Charles's reign, Spain experienced tremendous colonial expansion and with the new motto, he wanted to indicate that the Strait of Gibraltar was no longer the end of the world and that Spain's ambitions extended further. 22,00 x 17,00 cm Excellent condition, nice dark sharp print, clearly defined plate edges. With full plate border and wide margins in the full sheet of watermarked laid paper (Weapon of Amsterdam) Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (133) Engraving 1630-1650 220
Lot 21
Adolphe Appian - Chemin de L'etang de Frignon - 1877 / Description: CHEMIN DE L'ETANG DE FRIGNON (ISERE) 1877 ( J.40, P.45 ). A winter scene. Signed Appian 77 in top right corner. / Dimensions: 10,80 x 19,80 cm / Condition: Impression on laid paper with margins. In very good condition. / Literature: Curtis & Prouté 1968 / Adolphe Appian, son oeuvre gravé et lithography (45) --- Jennings.40 ---- Appian was one of the outstanding landscape painters of the 19th century in Lyon. He was also an excellent etcher who was extremely sensitive to light and atmosphere. He was able to create a mood with line and by carefully leaving a fine layer of ink on the surface of the copper plate which prints as pale tone. Adolphe Appian studied at the École de Dessin et Beaux-Arts in Lyon, where he was taught by Jean-Michel Grobon (1770-1853). In 1851 he debuted at the Salon of Lyon with three paintings. In 1852 he moved to Crémieu, where he painted the region. He befriended Corot and Daubigny and they influenced his work. 1854 he made his first excursion to the forest of Fontainebleau, In 1861 Appian settled in Creys, located twenty-five kilometers from Crémieu and ten kilometers from Morestel. In 1863 he became an active member of the new Société des Aquafortistes founded by Alfred Cadart in 1862.F. In 1866 the two works he exhibited in Paris were bought by Napoleon III and by princess Mathilde. From 1871 until the early nineties he often visited the Mediterranean coast.Appian is one of the regional artists who showed their territory with love and grace. Besides his paintings he made 76 etchings and 4 litho. Appian was one of the artists closely followed by the publisher Cadart who's merit it was to publish their genius graphical work. Appian was responsible together with Corot and Daubigny for the renewal of the etching in the middle of the 19th century. The great esteem for his work was boosted by Atherton Curtis for Paul Prouté who published his catalogue raisonné in 1968.He based his catalogue on that one of H. Jennings published in the Print Collector's Quarterly" from February 1925 / Medium: Etching /Circa: 1873 160
Lot 122
Anthonie Wierix, Maerten de Vos - The Resurrection, first state / Description: Passion of Christ: The Resurrection; Christ seen holding a cross and levitating above his coffin; scared guards seen sheltering themselves from the light coming from Christ; in a decorative border with four narrative ovals with miracles of Christ and other stories from the Old and New Testament. Engraving made by Antonius Wierix (1552-1604) after the design drawing by Maarten de Vos (1532-1603), published by: Eduard van Hoeswinckel (fl. 1570s-died 1583). A first state before the number. The border reminds the decoration on hand painted miniatures, especially the ones in the style of Bruges from 15th century. This one with the pot of flowers and Jonas with the Whale is a very nice one, in the series. / Dimensions: 19,00 cm x 15,60 / Condition: Excellent brilliant early impression of the first state, on a dense clearly watermarked laid paper. In an excellent untouched condition. / Literature: A preparatory drawing by Maarten de Vos is in the Staatsgalerie, Stuttgart, inv.no.C1745 --- Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (201.I) -----Maquoy-Hendrickx 1979 / Les Estampes des Wierix ... catalogue raisonné (139. I/IV) -----Alvin 1866 / Catalogue raisonné de l'oeuvre des trois frères Jan, Jérome et Antoine Wierix (336) / Medium: Engraving /Circa: before 1583 400
Lot 50
Pierre-Auguste Renoir, "Sur la plage à Benneval" / Description: Sur la plage à Benneval. Etching with drypoint made by Pierre-Auguste Renoir (1841-1919) in Paris in 1892. Edition of Loys Delteil in 1923 Le Peintre-graveur illustré, vol 17, Paris 1923. Reference : D. 5 iii (Delteil 5.3). Etching printed on cream wove paper, Van Gelder laid paper, with large margins. Light browning caused by the framing. Good dark impression with some drypoint. Traces of aging not disturbing. / Dimensions: 13,8 cm x 9,5 cm / Condition: Etching printed on cream wove paper, Van Gelder laid paper, with large margins. Light browning caused by the framing. Good dark impression with some drypoint. Traces of aging not disturbing. / Literature: D. 5 iii (Delteil 5.3) / Medium: etching /Circa: 1892 300
Lot 23
Adolphe Appian - Une noria a Bordiquier (Italy) - 1873 / Description: UNE NORIA A BORDIQUIER (ITALIE) 1873. ( J.33, P.37 ). Exhibited in the Paris Salon. This is a very unusual subject for Appian, but it is, nonetheless, a strong image. Bordighera is on the Italian coast between Monaco and San Remo. This is a larger print: 29 by 20,5 cm on plate border. It is signed upper left 'Appian 1878'.With full plate border and 1 cm margins. / Dimensions: 29,00 x 20,50 cm / Condition: Impression on laid paper with 1 cm. Margins. In very good condition. / Literature: Curtis & Prouté 1968 / Adolphe Appian, son oeuvre gravé et lithography (37) --- Jennings.33 ---- Appian was one of the outstanding landscape painters of the 19th century in Lyon. He was also an excellent etcher who was extremely sensitive to light and atmosphere. He was able to create a mood with line and by carefully leaving a fine layer of ink on the surface of the copper plate which prints as pale tone. Adolphe Appian studied at the École de Dessin et Beaux-Arts in Lyon, where he was taught by Jean-Michel Grobon (1770-1853). In 1851 he debuted at the Salon of Lyon with three paintings. In 1852 he moved to Crémieu, where he painted the region. He befriended Corot and Daubigny and they influenced his work. 1854 he made his first excursion to the forest of Fontainebleau, In 1861 Appian settled in Creys, located twenty-five kilometers from Crémieu and ten kilometers from Morestel. In 1863 he became an active member of the new Société des Aquafortistes founded by Alfred Cadart in 1862.F. In 1866 the two works he exhibited in Paris were bought by Napoleon III and by princess Mathilde. From 1871 until the early nineties he often visited the Mediterranean coast.Appian is one of the regional artists who showed their territory with love and grace. Besides his paintings he made 76 etchings and 4 litho. Appian was one of the artists closely followed by the publisher Cadart who's merit it was to publish their genius graphical work. Appian was responsible together with Corot and Daubigny for the renewal of the etching in the middle of the 19th century. The great esteem for his work was boosted by Atherton Curtis for Paul Prouté who published his catalogue raisonné in 1968.He based his catalogue on that one of H. Jennings published in the Print Collector's Quarterly" from February 1925 / Medium: Etching /Circa: 1873 180
Lot 328
Paulus Potter - The Cow Herd Paulus Potter The herd of cows. Etching. 1649. sign in the plate. u. dat. Hollstein IV (VII). - Strong pressure from the smaller plate. - Light foxing, otherwise in good condition. - 18,30 x 20,30 cm Very good impression, with full plate border and margins on a laid paper sheet. A couple of faded rust stains upper left. Remains of two old hinges on the backside of the top margin Hollstein IV (VII)Bartsch 14 - "Le Vacher". Engraving 1649 560
Lot 2001
Tag Heuer Monaco gentleman's automatic chronograph wristwatch, circa 2005, Ref. CW2111-0, black dial with date aperture at 6 o'clock, subsidiary dials at 3, 6 and 9 for seconds, 30 minute and 12 hour recording, on black leather strap with original fold-over claspCondition Report:Movement functioning, dial good, cover with some light scratches, light scratches to case, star / stop functioning, the centre seconds hand does not jump back to 12 when bottom push button is operated, crown and hands good, clasp and strap good, case diameter = 38mm (excluding crown)
Lot 2216
Longines ladies 9ct gold manual wind wristwatch, Cal. 410, on integral 9ct gold bracelet, London 1972, boxedCondition Report:Approx 21.8gm (excluding movement), bracelet non magnetic, movement functioning, couple of very light pale marks to dial (not detrimental) otherwise good condition, replacement Longines crown, length = 18.5cm, case diameter = 1.8cm
Lot 2212
Victorian silver centre seconds key wound chronograph pocket watch by Joseph Mellanby, Stockton, No. 126109, white enamel dial with Roman numerals, outer seconds track numbered 5-60, case by The Lancashire Watch Co Ltd, Chester 1896, on silver Albert chainCondition Report:Movement functioning, stop/start lever functioning, few scratches to glass cover, dial a couple of very light marks otherwise good, case diameter = 5.3cm, chain length = 31cm (links wearing thin in areas)
Lot 2020
18ct gold single stone old cut diamond ring of approx 2.80 carat, with eighteen round brilliant cut diamond set shank of approx 3.00 carat, total diamond weight approx 5.80 caratCondition Report:Approx 7.8gm, tested 18ctsize O-P, band depth = 5mm, principal diamond 9.3mm x 9mm x 5.25mm with a large culet, slight chip to facet edge, diamond colour approx K-M, bright with good movement, clarity approx SI1 - eye clean with some very light specks only visible under 10x loop, diamonds within shank bright with good movement, approx colour H-J, clarity VS-SI, each approx 3.5mm diameter
Lot 2036
18ct gold seven stone ruby and round brilliant cut diamond half eternity ring, London 1984Condition Report:Approx 3.15gm, size N, hallmark rubbed, tested 18ct also, some light rubbing to rubies visible under 10x loop, diamond bright well matched, diamond diameter = approx 2mm, max band depth = 3.7mm
Lot 2006
18ct white octagonal cut peridot, old cut and baguette cut diamond cluster ring, stamped 18ct Plat, peridot approx 8.70 caratCondition Report:Approx 9gm, size O-P, some very light nibbles to peridot, diamonds bright, well matched, overall head = 16mm x 17mm (including single baguette diamonds either side), well presented, shank good
Lot 2003
Rolex Precision gentleman's 9ct gold manual wind presentation wristwatch, 17 jewel movement, Cal 1225, silvered dial with baton hour markers, case No. 90150, London 1971, on original leather strap and gilt Rolex buckle, boxed with papersCondition Report:Movement currently functioning and clean, seconds hand detached, dial very very light scratch below 11 o'clock, back case with scratches and light dent, hour hand does not set correct, ahead of time - additional photo to demonstrate this, crown comes out of movement but functioning the movement not move the hands, case diameter = 33mm (excluding crown), Rolex crown, hands moving freely, back case inscribed 'Presented to R. Bramfitt by the directors of the Provincial Building A.. loyal service',
Lot 2009
Victorian 18ct gold single stone diamond ring, the central star set old cut diamond with a scallop shell detail either side, Chester 1898Condition Report:Approx 3.2gm, size Q, overall good condition, head depth = 6.8mm, diamond diameter = 2.2mm, bright good colour with some light inclusions
Lot 2000
Rolex Oyster Perpetual Date Submariner 'Kermit' gentleman's stainless steel automatic wristwatch, circa 2005, model No 16610LV, serial No. D079091, 60 minute rotating green bezel, on Rolex Oyster stainless steel bracelet, with fold-over clasp, boxed with service guarantee dated 2014Condition Report:Movement functioning, dial good, one very very small brown speck in luminous dot a 1pm - looking through loop would probably rub off appears to be on the surface, bezel and glass good, some light scratches to back case, bracelet and lug area, crown good, service paper from Parkhouse stating full service, exchange of bezel insert and crown, date correlates to Rolex service date, no other paperwork, case = 40mm (excluding crown)
Lot 2016
Early 20th century 18ct gold sapphire and old cut diamond cluster ring, total diamond weight approx 0.50 caratCondition Report:Approx 3.6gm, tested 18ct, size L-M, diamonds bright well matched, small chip to one at facet edge, SI clarity, large culets, some very slight grey, sapphire with some light nibbles to facet edges, head = 10.5mm diameter
Lot 2014
18ct white gold seven stone round brilliant cut diamond daisy flower head cluster pendant, on 9ct white gold chain, total diamond weight approx 0.95 caratCondition Report:18ct pendant approx 1.75gm, length = 1.7cm, diamonds bright well matched, good colour approx H,, eye clean with some very light inclusions VS -SI, 9ct chain approx 2.5gm, length = 51.5cm, both good condition
Lot 2030
18ct white gold rubover set five stone princess cut diamond hinged bangle, stamped 750Condition Report:Approx 12.25gm, tested 18ct, inner circumference = 18cm, diamonds bright well matched, diamond diameter = 2.5mm, clasp good, some light scratches to gold and rubbing otherwise good condition
Lot 2002
Longines gentleman's 14ct gold manual wind wristwatch, Cal. 428, champagne dial with baton hour markers, on integral 14ct gold bracelet, London import mark 1972Condition Report:Approx 46.4gm (excluding movement), bracelet non magnetic, movement functioning and clean, some light marks to dial and scratches to cover, bracelet just splitting slightly towards face, still sound, case diameter = 26mm (excluding crown), overall length = 20.5cm
Lot 55
δ Henry Moore (1898-1986)Four Studies for Seated Mother and Child; Mother and Child versoPen and ink, watercolour wash, wax crayon, circa 1947-49, signed in black ink lower right, on medium weight off-white wove paper, the full sheet 291 x 228mm (11 1/2 x 9in)We are grateful to the Henry Moore Foundation for their assistance with the cataloguing of this lot. This work will be included in the artist's forthcoming catalogue raisonne and is listed in the Henry Moore Foundation's archives under 2022.15.Lot EssayThis captivating watercolour, ink, wash, and wax crayon drawing was created between 1947 and 1949. It depicts the affectionate gestures between mother and child explored from four different angles and poses, the child moving playfully while Moore captures each new perspective. On the reverse, a larger study of the pair is portrayed with a muted colour palette of pale green, yellow and translucent purple wash, the artist's attention here is on the core contours of the body and subtle light needed to create their silhouette. The war years were a time of change and upheaval for Moore who was already a celebrated sculptor by its outbreak. In 1940, after his Hampstead home and studio were bombed, he was forced to stop sculpting and focus instead on drawing. In particular, he sketched those sheltering in the London underground during the Blitz raids (1940-41) and mastered the technique of using wax crayon resist with watercolour and ink washes. The wax resist allowed Moore to play with light and dark, capturing the shapes of figures in the shadows.Mother and Child is one of Moore's most iconic motifs and his increased focus on the subject is notable in the war period. In 1944, he completed a major commission of 'Madonna and Child' for St Matthew's Church, Northampton. This interest was also marked by two major events in the artist's life, his mother's tragic death in 1944 and within two years, the birth of his only daughter, Mary. It was also around this time that the family relocated to Perry Green, Hertfordshire, and his new studios were set in a countryside idyll of bright light and open space. Moore's drawing here moves away from the evocation of life's fragility found in the haunting shelter series and instead embraces warmth and even joy in its study of the unspoken and intimate bond shared between mother and child.Drawing inspiration from African and Pre-Columbian art, the present work was created at the height of Moore's fame and hails from one his most sought-after periods, the immediate post-war years. In 1948, Moore represented Britain at the Venice Biennale, the exhibition was incredibly well received, and he won the coveted International Sculpture Prize that year. Moore said of this landmark exhibition that it "laid the foundation" of his international career. The present double-sided drawing relates to bronzes featured in this exhibition and is beautifully worked in his trademark mixture of inks, watercolour, and wax crayon. δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 18
* MARY BATCHELOR (SCOTTISH 1944 - 2017), HIGHLAND LOCH IN SPRING oil on coard, signedmounted, framed and under glassimage size 40cm x 50cm, overall size 74cm x 83cm Note: Mary Batchelor attended the Glasgow School of Art where her tutors included: Peter Howson, David Linley and Norrie Kirkham. Working exclusively in acrylics, Mary Batchelor, produced paintings with vibrant and compelling colours. Mary was constantly inspired by the Scottish landscape. She loved bringing the ever changing Scottish countryside to life in her paintings. Mary also found great inspiration from travel abroad, enjoying the challenge of capturing unfamiliar scenes and different light. Mary Batchelor paintings are influenced by the strong tradition of Scottish colourists. She credited Scottish Colourists - Cadell, Peploe, Fergusson and Hunter as a source of great inspiration in her paintings. She admired the bold use of colour and texture, and the confidence exuded in every brush stroke which has contributed so richly to the tradition of Scottish painting.
Lot 24
* MARY BATCHELOR (SCOTTISH 1944 - 2017), SUMMER SAILS oil on board, signed, titled label versomounted, framed and under glassimage size 19cm x 19cm, overall size 48cm x 48cm Artist's label versoNote: Mary Batchelor attended the Glasgow School of Art where her tutors included: Peter Howson, David Linley and Norrie Kirkham. Working exclusively in acrylics, Mary Batchelor, produced paintings with vibrant and compelling colours. Mary was constantly inspired by the Scottish landscape. She loved bringing the ever changing Scottish countryside to life in her paintings. Mary also found great inspiration from travel abroad, enjoying the challenge of capturing unfamiliar scenes and different light. Mary Batchelor paintings are influenced by the strong tradition of Scottish colourists. She credited Scottish Colourists - Cadell, Peploe, Fergusson and Hunter as a source of great inspiration in her paintings. She admired the bold use of colour and texture, and the confidence exuded in every brush stroke which has contributed so richly to the tradition of Scottish painting.
Lot 60
* ETHEL WALKER (SCOTTISH b. 1941) PEARS AND PLUMS oil on board, signed, titled and dated 1995 labels versoframed and under glassimage size 44cm x 47cm, overall size 64cm x 67cm Label verso: The Gatehouse Gallery, GlasgowNote: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from the Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. In The Scottish Contemporary Art Auction of 12th September 2021 "The Silver Table" (lot 562), a mixed media by Ethel Walker sold for £2600 (hammer) and in our December 2021 auction "The Lace Cloth" achieved £3000 (hammer).
Lot 169
* CLAIRE HARKESS RSW (SCOTTISH b. 1970), FINCH watercolour on paper, signed in pencil, titled versomounted, framed and under glassimage size 21cm x 26cm, overall size 44cm x 48cm Note: Claire Harkess was born in Ayr, Scotland, graduating from Glasgow School of Art in the early 1990s. In recent years her painting has taken her to fragile lands to study and interpret life on the edge. Antarctica, Outback Australia and St Kilda are all places where, in such extreme environments, survival is difficult and the balance of life is delicate. Harkess has also worked on the Galápagos Islands, made famous by Charles Darwin’s ‘The Origin of the Species’. This isolated volcanic outpost remained relatively untouched by man, evolving to become one of the World’s unique ecosystems. The balance present in nature is clearly communicated through Claire's paintings. Painting in watercolour or gouache offers a unique directness; the essential qualities of light and energy present in the natural world are the very essence of the medium itself. The delicacy of her palette and oriental economy of her mark-making creates a subtle tension representing a world that is ‘holding still’, giving a sense of freedom, spirit, time and place. Claire's work is exhibited at The Scottish Gallery, where her most recent highly successful solo show was in July 2020, and at other prestigious galleries around the UK.
Lot 29
* MARY BATCHELOR (SCOTTISH 1944 - 2017), GARDENS AT LUSS oil on canvas, signed, titled label versoframed and under glass image size 20.5cm x 26cm, overall size 35cm x 39cm Artist's label versoNote: Mary Batchelor attended the Glasgow School of Art where her tutors included: Peter Howson, David Linley and Norrie Kirkham. Working exclusively in acrylics, Mary Batchelor, produced paintings with vibrant and compelling colours. Mary was constantly inspired by the Scottish landscape. She loved bringing the ever changing Scottish countryside to life in her paintings. Mary also found great inspiration from travel abroad, enjoying the challenge of capturing unfamiliar scenes and different light. Mary Batchelor paintings are influenced by the strong tradition of Scottish colourists. She credited Scottish Colourists - Cadell, Peploe, Fergusson and Hunter as a source of great inspiration in her paintings. She admired the bold use of colour and texture, and the confidence exuded in every brush stroke which has contributed so richly to the tradition of Scottish painting.
Lot 30
* MARY BATCHELOR (SCOTTISH 1944 - 2017), WINDOW, SIENA oil on board, signed, titled label versoframed and under glassimage size 20cm x 20cm, overall size 35cm x 35cm Artist's label versoNote: Mary Batchelor attended the Glasgow School of Art where her tutors included: Peter Howson, David Linley and Norrie Kirkham. Working exclusively in acrylics, Mary Batchelor, produced paintings with vibrant and compelling colours. Mary was constantly inspired by the Scottish landscape. She loved bringing the ever changing Scottish countryside to life in her paintings. Mary also found great inspiration from travel abroad, enjoying the challenge of capturing unfamiliar scenes and different light. Mary Batchelor paintings are influenced by the strong tradition of Scottish colourists. She credited Scottish Colourists - Cadell, Peploe, Fergusson and Hunter as a source of great inspiration in her paintings. She admired the bold use of colour and texture, and the confidence exuded in every brush stroke which has contributed so richly to the tradition of Scottish painting.
Lot 28
* ETHEL WALKER (SCOTTISH b. 1941) RED GLASS AND ROSES oil on board, signed, titled label versoframedimage size 44cm x 44cm, overall size 62cm x 62cm Handwritten label versoNote: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from the Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. In The Scottish Contemporary Art Auction of 12th September 2021 "The Silver Table" (lot 562), a mixed media by Ethel Walker sold for £2600 (hammer) and in our December 2021 auction "The Lace Cloth" (a slightly smaller oil on board than "Study in Blue") achieved £3000 (hammer).
Lot 49
* COLIN FRASER (SCOTTISH b. 1956), BREAKING WAVES egg tempera on panel, signed, titled and dated 2000 label versoframed and under glassimage size 78cm x 108cm, overall size 107cm x 137cm Label verso: The Gatehouse Gallery, GlasgowComment: An outstanding and very large work by Colin Fraser and probably the largest example to be offered at auction.Note 1: By repute, the lady is the artist's wife. Colin Fraser's work rarely appears at auction but in 2021 Bonhams, London sold "Warm Light" (61 x 65cm egg tempera) by Fraser for £3000 (hammer) - lot 153, Modern British & Irish Art 28th April 2021 and in The Scottish Contemporary Art Auction of 10th November 2022 lot 61 "Early Morning Light" (a 67 x 46cm egg tempera) by Colin Fraser sold for £2200 (hammer).Note 2: Colin Fraser was born in Glasgow in 1956. He studied art in Brighton while in his twenties before moving to Lund in southern Sweden, where he lives with his wife and children. He exhibits regularly at the Royal Academy Summer Show, Catto Gallery and Petley Fine Art in London, Mira Godard Gallery in Canada as well as at galleries in New York and Glasgow. His work is held in numerous private and corporate collections throughout North America, the UK, Europe and Asia. Ever since his first exhibition in Brighton in 1978, Colin Fraser has worked almost exclusively in egg tempera, which has the benefit of being very long lasting, with examples over two thousand years old still in existence, and was the most widely used painting medium until the sixteenth century, when it was superseded by oils. However, it is also extraordinarily time-consuming. The painted surface must be built up layer by translucent layer, with the paint drying instantaneously and not amenable to manipulation afterwards, unlike oil paints. Although a notoriously difficult medium, it has become a firm favourite of Fraser’s, who says that the “restrictions have been paramount in helping me be more direct in my approach to the work, with the instant drying and transparency of the paint actively contributing to a higher level of spontaneity of execution”. Colin Fraser is particularly drawn to its vitality which reminds him “of the dynamism of the sun – never static, always changing”. “Observed light is usually what attracts me into the process of painting,” he says. “The surface of a work painted in tempera simply has a unique glow which cannot be imitated in other mediums”. Constructing each painting is an arduous process, each beginning with an idea or a chance observation followed by weeks of experimentation with arrangements and preparatory drawings. Many of his scenes are staged with strategic placement of chairs, diaphanous textiles and trays of fruit. He believes that the painter “chooses the content and the arrangement, and then it becomes a question of striving to achieve a particular mood”. The prestigious Catto Gallery (London) has staged highly succesful solo shows for Colin Fraser in 2015, 2017, 2019 & 2022.
Lot 123
* MARY DAVIDSON (SCOTTISH b. 1955), LIGHT AND SHADOW oil on board, signed, titled label verso framed and under glass image size 45cm x 45cm, overall size 63cm x 63cm Handwritten label verso.Exhibition label verso: 'The Gullane Masters 2012' Gullane Art Gallery, GullaneNote: Mary was born in Dundee and lived in Australia for a few years as a child. She lived in Glasgow for 12 years from 1986 before moving to West Lothian in 1998. Mary studied at Glasgow School of Art and has been exhibiting regularly since 1994. Since then she has taken part in many exhibitions, to wide acclaim, on both sides of the Atlantic and now has works in numerous private collections in Britain and abroad. She is an artist member of the Glasgow Society of Women Artists and the Paisley Art Institute and regularly exhibits at the R.S.W., R.G.I. and Laing Art Exhibitions. Her paintings are also exhibited in prestigious art galleries around the UK. Mary works mainly in oil. She paints a range of subject matters in an expressive manner that captures light and colour. She is perhaps best known for her still life paintings. Her work is in numerous corporate, private and public collections including Vanity Fair in New York; the Duke of Bedford collection; Gray's School of Art, Aberdeen; East Dunbartonshire Council and Cala Homes.The condition is good overall, with no visible or known issues.
Lot 19
* MARY BATCHELOR (SCOTTISH 1944 - 2017), PINK SKY REFLECTIONS oil on board, signedmounted, framed and under glassimage size 41cm x 50cm, overall size 74cm x 84cm Note: Mary Batchelor attended the Glasgow School of Art where her tutors included: Peter Howson, David Linley and Norrie Kirkham. Working exclusively in acrylics, Mary Batchelor, produced paintings with vibrant and compelling colours. Mary was constantly inspired by the Scottish landscape. She loved bringing the ever changing Scottish countryside to life in her paintings. Mary also found great inspiration from travel abroad, enjoying the challenge of capturing unfamiliar scenes and different light. Mary Batchelor paintings are influenced by the strong tradition of Scottish colourists. She credited Scottish Colourists - Cadell, Peploe, Fergusson and Hunter as a source of great inspiration in her paintings. She admired the bold use of colour and texture, and the confidence exuded in every brush stroke which has contributed so richly to the tradition of Scottish painting.
Lot 172
* GLEN SCOULLER RSW RGI DA (SCOTTISH b. 1950), RED AND BLUE BOATS, HASTINGS oil on wood panel, signed, mounted, framed and under glassimage size 15cm x 15cm, overall size 31cm x 35cm 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.
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534325 item(s)/page