* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016),HIGH SEA FROM ISLAYwatercolour on paper, signed, titled label versoimage size 30cm x 42cm, overall size 56cm x 67cm Mounted, framed and under glass.Artist's label verso.Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.
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A Dunhill Silver Plate and Lucite 'Aquarium' Lighter, The Mount Stamped 'Dunhill', Patent Number 143752. Mid 20th Century oblong, each side with a differing tropical fish in a seascape, with silver plate mounts, a/f7.5cm highProvenance: Trevanion and Dean, Shropshire, 18 February 2017, lot 285.The base stamped 'Made in England' and with patent number. There are some scratches overall and cracks to each of the narrow sides. One side with a further chip to the bottom of the lucite.
Four Isle of Wight glass perfume bottles and stoppers, comprising a Millefirico example, height 9cm, a White Ribbon example from the Lace and Ribbons range, a globular Seascape example and a Sweet Pea example from the Sugar and Spice range, height 9.5cm, together with a White Azure apple paperweight.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Six framed pictures to include an Eileen Reay oil on canvas study of a Blue Winged Kookaburra, signed, 50cm x 40cm, 'Sailing on the Dart' ltd edn signed print (no. 464/500), signed ltd edn print of seagulls, 47cm x 37cm, watercolour & pastel painting of Noah's Ark, 20th century watercolour seascape, signed, and a framed set of four watercolour & pencil studies on panel of the reverse of a nude female, with Chinese-style seal mark, 92cm x 43cm
Group of Five framed pictures to include a 19th century watercolour of a mountainous lake scene, attributed to Thomas Danby, 52cm x 38cm, a 20th century watercolour of a seated gentleman, signed and dated '64, an early 20th century watercolour portrait of a standing gentleman in a top hat, 37cm x 36cm, a seascape watercolour and a print of a rural riverside scene in a walnut veneered frame
Six Watercolours including Thomas Bunting (Scottish 1851-1928) River Landscape Watercolour, Thomas Herbert Victor (W Sands) Watercolour of Clovelly Cottages, 17cm x 27cm, E H Morton Seascape Watercolour, 36cm x 26cm, Two Signed Watercolours of Sailing Boats at Sea and one other signed Watercolour
Nineteenth-century British School, stormy seascape with fishing boat, oil on canvas, signed indistinctly lower left, 30 x 56cm, framed.Condition Report: Clear wear to the artwork, including extensive craquelure to the canvas, most prominently a thin horizontal line extending across almost the entirety of the top of the canvas and another vertical line to the far left. There is also a small, 1cm high hole towards the lower left of the canvas. Condition is generally good apart from this, with the colours still vivid and few areas of loss.
JOAN RIERA FERRARI (Manacor, Mallorca, 1943)."Restoration of Abstract Expressionism. Remains of a shipwreck", 1989.Mixed media and collage on canvas.Signed and dated in the lower left corner. Signed, dated and titled on the back.With Genesis Gallery label on the back.Measurements: 81 x 100 cm.Joan Riera Ferrari began to paint in the eighties, after discovering the plastic force of the rocky landscape during a trip to Switzerland. In the nineties Riera Ferrari returned to figuration, without ever forgetting, however, the importance of the pictorial material itself. He held his first anthological exhibition at the Espacio Mallorca in Barcelona between December 2006 and January 2007. Riera Ferrari's painting finds light through a telluric range, inspired by the sea and the Mallorcan landscape. In this way, the artist redirects material abstraction towards imaginary spaces where the protagonists are the sea and the rugged rock. He transforms these landscapes into places of the soul, mysterious, suggestive, disturbing and magical, dark and luminous depending on the moment and the time, but, above all, always brilliant. His painting has the seascape as its main theme, but it goes beyond the simple repetition of the Mallorcan coastline, beyond the painting of simple decorative ambition. Riera Ferrari shows us a work in which the landscape has a pictorial treatment full of internal, unsatisfied restlessness, a vigorous and expansive force. Riera Ferrari is currently represented in the Museum and Art Fund of Porreres (Mallorca).
Ploos Van Amstel (1726-1798), B.Schreuder, seascape after Pieter Coopse From a collection of printdrawings here completely hand-colored (rare!) by Ploos van Amstel or in his workshop: Seascape with a fisherman pulling a fish-trap into a sloop at right, two larger sailing vessels at left, a town on a coast-line in background, Supervision: Cornelis Ploos van Amstel, print maker: Bernard Schreuder, after the drawing by Pieter Coopse (1642-1673). From a series of printdrawings (published in separate sets between 1765-1787). Etching made and published in 1775 . Etching and roulette in Ploos van Amstel 's crayon-manner. On the backside the coat of arms of Ploos van Amstel (Lugt. 2034) . Here completed with hand-colouring (rare!) by Ploos van Amstel or under his supervision (red, green, grey, blue... ) 10,80 x 22,00 cm Top quality original printdrawing in excellent condition on laid paper. Tipped with left side only on the original square thick laid paper sheet (42 x 38,50 cm) with hand drawn frame border in washed ink. Lit.: T. Laurentius, J.W. Niemeijer and G. Ploos van Amstel, 'Cornelis Ploos van Amstel 1726-1798, Kunstverzamelaar en Prentuitgever', Assen, 1980, p.266, no.24. ---- From the series: 'Ectypa' of Ploos van Amstel. Hand-colored etching in crayon-manner 1775
ALFRED STANNARD (BRITISH 1806-1889)SEA SHORE, MORNINGOil on canvasSigned and indistinctly dated '18**' (lower left); inscribed (on a label on the stretcher) 'No. 3 Sea Shore'38.6 x 64.8cm (15 x 25½ in.)Provenance:Private collection, UK, then by descent Exhibited: Possibly, Exhibition of the Norfolk and Norwich Association for the Promotion of the Fine Arts, 1849, no.19Literature: Harold AE Day, East Anglian Painters, Vol. III, Eastbourne Fine Art, Sussex, 1969, p.186, record of the aboveSea shore, morning is a beautifully calm panoramic seascape of subtle and exquisite colouring, with more than half the canvas devoted to the detailed study of a cloud-scudded sky. Though the scene is still and with little incident, the lighting is deftly dramatic from the layering of dark clouds on the horizon, to the foreground cast in unexpected shadow. Here three highly finished fisherman check lobster pots by the broken mast of a ship, while the middle-ground charts their colleagues progress from ship to shore. Stannard's serene surface is completed with intense precision, which William Frederick Dickes describes as 'an amount of Dutch finish quite unusual in the true Norwich School.' (The Norwich School of Painting, Jarrold & Sons, London, p.534)Writing of the celebrated family and their maritime views, Peter Kennedy Scott explains their continued importance: 'The Stannard family, who often painted ships at sea, used the sands for their subjects too. Delightful paintings of fishermen, with their boats and haul, provide us with a lasting record of the life and work these men endured. In fact, much of the Norwich School landscape painting is memorable for its historic portrayal of the life and times of this part of eastern England and the toils of the past.' (A Romantic Look at the Norwich School Landscapes by a Handful of Great Little Masters, Acer Art Publishing, 1998, p.36)Condition Report: The canvas is relined, paint layers appear stable. UV reveals scattered retouching and a restored tear above the figures on the left as well as along the edges. Stretcher marks slightly visible and fine craquelure throughout. Tape along outer edges. Condition Report Disclaimer
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