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Lot 451
SIR WILLIAM MACTAGGART PRSA RA FRSE RSW (SCOTTISH 1903 - 1981),SOME FLOWERSoil on board, signed, titled label versoimage size 40cm x 30cm, overall size 59cm x 49cm Framed.Exhibition label verso: Christmas Exhibition 1968, Aitken Dott & Son (now The Scottish Gallery), Edinburgh.Note: Born at Loanhead in 1903, Sir William MacTaggart is one of the best-loved and yet least well-understood of Scottish artists. MacTaggart, grandson of the great landscape painter, took his Diploma at the same time as William Gillies and Geissler and followed the same route to Paris. Back in Edinburgh he was a founder member of the 1922 Group (of younger painters), in 1927 he joined the Society of Eight whose members included Colourists Cadell and Peploe and began a consistently successful exhibition career starting at The Scottish Gallery in 1929. A sumptuous painter in oils, he was a prolific draughtsman and preferred pastel to watercolour; instinctively an expressionist and romantic painter his outlook shifted dramatically after the Munch exhibition at the SSA in 1931 (eventually marrying the Norwegian curator Fanny Aavatsmark) and again after studying Roualt in Paris in the early sixties. MacTaggart taught at the Edinburgh College of Art, 1933–58, and was president of the Royal Scottish Academy, 1959–64. He was knighted in 1962 and made a Chevalier of the Legion of Honour in 1968. UK Public collections hold seventy-three of his paintings.Condition is good overall, with no visible issues.
Lot 611
French School, early 19th century- Portrait of a young girl in a bonnet; pastel on paper, 25.5 x 20.5 cm. Framed and glazed. Unexamined out of frame. General damage and losses to the gesso of the frame. Approximately three small holes towards the left of the sheet. A vertical line running down the left edge of the sheet, possibly from where the sheet has been attached to another. Possible minor abrasions and marks to the sheet. Otherwise in fair condition overall.
Lot 1201
Michael Cline, American b.1973- Heads-N-Feds, 2009; pastel on paper, 63.5 x 63cm (framed) Provenance: Daniel Reich, New York, where purchased by the present owner.Framed and glazed. Unexamined out of frame. Damage and marks to the frame generally. Minor tears, folds, and creases to the edges generally, with particularly noticeable tears and losses to the corners of the sheet. Possible light creases and marks to the sheet generally. Otherwise in good condition overall.
Lot 429
A collection of vintage silver and costume jewellery, a 26mm wide white metal bracelet with eight niello panels depicting dancing figures and elephants, marked Made in Siam Sterling; a Chinese white metal bracelet testing as silver with eight 23mm hemispherical links, four set with pink quartz and four with embossed village scenes, marked Made in China Silver; a 4.2mm wide half hinged bangle decorated in enamel marked 800 silver; a child's multi coloured pastel glass necklace with small birds, 40cm; paste duette dress clip; marcasite duette clip Birmingham 1953; paste set brooches; 1960's three strand pink plastic necklace; faceted purple crystal necklace; gilt metal charm bracelet and other bracelets, green quartz silver ring etc.
Lot 497
CLARICE CLIFF BREAKFAST SET - 13 pieces, beige/cream ground with brown, green and black bands, painted to the centre with a basket of flowers in pastel colours including muffin warmer dish, twin sliced toast rack, teapot, sugar basin and milk jug, black backstamp 'Clarice Cliff Wilkinson Ltd' and impressed 'No 36'
Lot 337
After Claude Monet 'Woman with a Parasol Turned to the Right' copy of the 1886 work in the collection of the Musée d'Orsay, pastel on canvas board102 x 66cmCondition ReportFramed 119.5 x 85cm, in ornate gilt, carved frame. The frame appears to be a mixture of late 19th century carved giltwood on the most ornate part, however appears to be put together with 20th century elements to fit the picture. Frame has minor losses and appears to be regilt in parts, but overall presents well. The image itself is in good condition with no obvious condition issues.
Lot 487
A VINTAGE WEDDING DRESS, 'Gone With The Wind' style with pink rose detail around skirt and hooped underskirt, a pastel pink feather stole, cream lace parasol, a new and unused 'Vintage Southern Belle' style fancy dress costume, a pair of black leather Victorian button up ladies boots, size 4, a box of assorted ladies hats together with a soft brown leather hat box (1 box +5 loose)
Lot 510
A GROUP OF SEVEN SECOND HALF 20TH CENTURY PAINTINGS, including Richard Smith (British) 'Still Life with Fruit Bowl II', oil on canvas, signed with initials lower right, 34cm x 26cm, the oil is loose from the frame which bears a gallery label for Brian Sinfield of Grafton House Gallery, Richard Smith Exhibition May 1992 No. 24, attributed to Amanda Richardson, a watercolour of flowers and foliage in a tin mine? landscape, slipped in the mount, attributed verso, 42.5cm x 28cm, Judy Coleman, modernistic village scene, oil on board, signed and dated (19)74 with the 4 overlinked to read 75, 75.5cm x 98.5cm, Judith Stowell, Longhorn Bull and Cow, pastel on blue paper, signed lower right, 22cm x 53cm, etc. (7)
Lot 105
* PAT DOUTHWAITE (SCOTTISH 1939 - 2002), UNTITLED pastel on paper image size 48cm x 62cm, overall size 69cm x 88cm Mounted, framed and under glass. Provenance: The Corrymella Scott Gallery. Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.
Lot 212
Original vintage travel advertising poster for the Danish State Railway (DSB - Danske Statsbaner; founded 1885) to promote its train services. Fantastic graphic design by the Danish artist Aage Rasmussen (1913-1975) depicting The Storstrom Bridge from below with white clouds in pastel toned sky and yellow sun reflecting on the water. The missing part of the poster should read - Expressroute to the North Warnemunde-Gedser-Copenhagen. Poor condition, folds, creasing, staining, foxing, tears, missing lower part of the poster. Country of issue: Denmark, designer: Aage Rasmussen, size (cm): 89x62, year of printing: 1937.
Lot 97
A mixed group of Clarice Cliff, comprising a 'United Service' pepper pot, 9cm high; a mug with handle modelled as a pixie, shape 23/4, 7.3cm high; five pin dishes, including 'Pastel Autumn', 'Blue Chintz', 'Newlyn', 'Gibraltar' and 'Melon Red'; a Sabot clog, a/f, a preserve pot, shape 230, with lid and other items. (14)
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46080 item(s)/page