⊕Edmond Xavier Kapp (lots 83-94) Oh to be silent! Oh to be a painter! Oh (in short) to be Mr. Kapp (Virginia Woolf) Introduction Widely remembered for his portraiture, in particular his distinctive form of character types (he did not like his work to be describe as caricature), Kapp was a highly versatile artist with an enquiring mind and a love of music. Appreciated in his lifetime also for his poetry and his evolving interest in abstraction, he aspired to write, mixed with the leading artists of the day and attracted the attention of critics and the cognoscenti. The following eight lots from his estate capture the singularity of his artistic vision and his constant thirst for innovation. Born in Islington, London, the son of Jewish-German parents, Kapp studied in Berlin, Paris and Cambridge, where he had his first exhibition, wrote for Granta and the Cambridge Magazine and attracted the attention of Max Beerbohm. While a 2nd Lieutenant with the Royal Sussex Regiment in the First World War, he sketched portraits of his fellow soldiers to amuse them in the trenches, including the young poet Edmund Blunden, and crossed paths with William Rothenstein at Amiens, a meeting Rothenstein recalls in his autobiography Men and Memories. After the Armistice Kapp held his first one man exhibition at the Little Art Rooms, Adelphi, London, the catalogue introduction written by Beerbohm. Commissions followed, together with the publication of his first book: Personalities published in 1919 and reviewed by Virgina Woolf in her essay Pictures and Portraits. Prominent figures who featured in his early work included Edwin Elgar, Percy Wyndham Lewis and Richard Strauss. Later, after the War, subjects ranged from Albert Einstein (1923) to the Duke of Windsor, the future King Edward VIII (1932); of leading personalities in the arts he captured the characters of Aldous Huxley and Noël Coward. Kapp typically rejected supplying caricatures to newspapers, preferring to choose his own subjects. But he did take on commissions, such as his series Ten Great Lawyers published in 1924 in the Law Society Journal. And his work appeared in a wide variety of periodicals, most notably Time and Tide, output that resulted in the publication of further volumes of his collected portraits, and an exhibition of his work at The Leicester Galleries, the leading contemporary gallery in London of the day. In 1922 Kapp married Yvonne Meyer, journalist, photographer, translator and writer, now best known for her biography of Eleanor Marx. On their honeymoon the young couple visited Beerbohm in Rapallo and settled the following year in Rome where Kapp studied at Sigmund Lipinsky’s art school and under Antonio Sciortino at the British Academy. There too he met the American painter Maurice Sterne who encouraged him to paint in oil. Kapp also developed his interest in lithography as a means to sell limited editions of his more well-known sitters. It led in 1935 to a commission for portraits of twenty-five delegates to the League of Nations in Geneva. Publication of the series brought him to the attention of Pablo Picasso, and the beginning of a close friendship between the two artists. Kapp captured Picasso’s profile in a sketch of him in his studio at 23 Rue La Boetie, Paris in 1938, purportedly the only likeness for which Picasso agreed to sit (collection of the Victoria & Albert Museum). And there are relaxed and informal photos of Picasso in bathing trunks snapped by Kapp in 1948 outside the restaurant Chez Nounou and the Hotel de la Mer in Golfe Juan when holidaying with Picasso in the South of France. During the Second World War Kapp was an Official War Artist; after the War he worked as an Official Artist to UNESCO. He kept a studio at 2 Steeles Studios, Haverstock Hill in Hampstead, North London and in Beausoleil, near Monaco in the Alpes Maritimes, and explored abstraction (lots 91-94). STILL-LIFE OF FLOWERS IN A BLUE AND WHITE JUGoil on canvas59.5 x 49.5cm; 23 1/2 x 19.5in67 x 57cm; 26 1/2 x 22 1/2in (framed)
We found 32316 price guide item(s) matching your search
There are 32316 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
32316 item(s)/page
WILLIAM MARLOW R.A. (BRITISH 1740-1813) STUDY OF A GARDENER SEATEDwatercolour over pencil on laid paper14.5 x 9.5cm; 5¾ x 3¾intogether with two further watercolours: Sir Robert Ker Porter (1777-1842) a soldier seated on a rock, signed and dated 1798, and attributed to William Anderson (1757-1837) figures in a tavernvarious sizes, all unframed(3)Provenancethe first: Leonard Gordon Duke (1890-1971), inventory no. D308, signed with initials LGD, titled and inscribed in his hand on the mount cf Marlow' Sketch Book in the Brit Mus
JOSEPH FARINGTON (BRITISH 1747-1821) HENLEY BRIDGEinscribed and dated Henley Bridge Augst 4th 1814, lower left, the reverse with another sketch of a large house in a parklandpen and ink and grey wash on two sheets of joined laid paper possibly from a sketchbook9.3 x 31.5cm; 3 3/4 x 12 1/2intogether with three further drawings by the same hand, A view of Exeter dated Sepr 22 1809, Bowness and six further architectural drawings by various hands including Syon House, Isleworth by James Spyer (Capability Brown's draughtsman), Sir John Hamilton and J. Powellvarious sizes, all unframed(9)
SIR GEORGE HAYTER (BRITISH 1792-1871) A GROUP OF FIVE WORKS INCLUDING TWO LANDSCAPE WATERCOLOURS AND THREE SHEETS OF FIGURE STUDIES IN PEN AND INK AND PENCILvariously inscribed and datedtogether with a group of four works by Sir John James Stewart (1770-1849) including three watercolours: a view of Leith, 1826, Ely Cathedral and a view near Bromley, and a sketch of a battle scene in pen and ink and sepia wash over pencilvarious sizes, all unframed on 9 sheets (some mounted together)(11)
DR WILLIAM CROTCH (BRITISH 1775-1847) THE WAIRS (WEIRS) NEAR OXFORD numbered and inscribed and dated, 61 The Wairs, near Oxford, April 28 1801 Oct 13 1842 / Brackins's Wairs, lower marginpencil and watercolour together with another watercolour by the same hand, numbered, signed with initials, dated, and inscribed, 79 WC Nov 1842 from one August 1800 copied from a sketch of a hovel in St Clememts Oxford by /J Malchair May 1785 - The Iffley bank on the rightthe first 13 x 23cm; 5 x 9inframed together(2)LiteratureIolo Williams, Early English Watercolours and Some Cognate Drawings by Artists Born Not Later Than 1785, 1952, p. 239
WILLIAM MCCANCE (SCOTTISH 1894-1970) THREE CAT SKETCHES Pencil sketch (3) each 17.5cm x 23cm (7in x 9in), unframed From the Estate of William McCance. The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market.Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes.McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography.In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications.Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years.By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.
NOEL COWARD; five framed theatre posters, together with a watercolour and pencil sketch of the costumes worn in the production, signed 'To Dean Love Bim' (costume designer Bim Hopewell), 38 x 56cm, and a Noel Coward HMV Recordings CD collection 1928-1953 (7).Provenance: - From the estate of Dean SullivanCondition Report: - Please note that this lot is not suitable for our in-house postage service.We would recommend collecting this lot or contacting Mailboxes Etc for postage of this lot, their details can be found on https://www.adampartridge.co.uk/services/transport/The glass is broken on the costume designs
A 19th century sketchbook containing pencil drawings, poetry and annotations, including a sketch of the bust of the Princess Victoria, Loch Lomond, a nautilus shell by R. L. Roberts after Owen, etc, together with a Holy Land album of photographic reproductions (2).Condition Report: The smaller album contains 15 original illustrations, mostly pencil, but with some pen and charcoal examples
Attributed to George Price Boyce (1826-1897) 'Hastings, Shrimpers', pencil sketch, titled in pencil, 9cm x 6.5cm overall and three similar smaller studies, unsigned At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Allan Alcorn, an American pioneering engineer and computer scientist best known for creating Pong, one of the first video games. Two signed items: An original signed sketch of Pong on white card, size 12x8 inches. Also a signed 10x8 inch modern photo of the advertisement, 'Pong by Atari'. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
CARVEN, collection Haute Couture, Printemps-Eté 1951. Tailleur en lainage écossais bordeaux et vert olive.Modèle: Chasseresse.Veste de forme cintrée à col tailleur partiellement recouvert de daim vert olive, effet de double panneau dans le dos souligné de frange et rejoignant les poches en biais, jupe droite. Doublure en soie ivoire siglée.Griffe ivoire, graphisme marronLe croquis de ce modèle provenant de la donation de madame Grog-Carven est conservé dans les collection du musée Galliera sous le n° 2015.0.23.51.Le rapport d'état de ce lot est disponible sur demande : fashion-paris@bonhams.comFootnotes: Haute Couture collection, Spring-Summer 1951. Bordeaux and olive green Scottish wool suit. Model: Chasseresse. Jacket with a curved shape, a tailored collar partially covered in olive green suede, double panel effect on the back highlighted by fringe and joining the pockets at the front, straight skirt. Ivory silk lining signed. Ivory claw, brown graphic.The sketch of this model from Madame Grog-Carven's donation is kept in the collection of the Galliera Museum under the number 2015.0.23.51. The status report for this batch is available on request : fashion-paris@bonhams.comFor further information on this lot please visit Bonhams.com
LOCAL INTEREST - a selection of books and literature associated with Hastings and St Leonards, including Historic Hastings by J. Manwaring Baines, Fishing Luggers of Hastings Parts 1 and 2 by James Hornell, a Concise Historical and Topographical Sketch of Hastings, Winchelsea, and Rye, including also several other places, by Fred W. L. Stockdale, The Story of the English Towns, Hastings, by L. F. Salzman, Burton's St Leonards by J Manwaring Baines, etc (20)
A LATE GEORGE III PURPLEHEART AND SPECIMEN WOOD WORK TABLEATTRIBUTED TO GILLOWS, C.1800-10the hinged lid inlaid with cube parquetry with various woods including: palm, calamander, maple and partridgewood, enclosing a fitted interior with coromandel lidded compartments and various utensils, on square tapering legs united by in-curved stretchers, on brass castors75.3cm high, 47cm wide, 39cm deepProvenanceThe contents of The Grange, Wendover.Catalogue NoteSix work tables with this form of stretcher uniting square tapering legs appear in the Gillows Estimate Sketch Books in the 1790s. The form of parquetry with unusual timbers can be seen in a work box supplied by Robert Gillow IV to Miss Elizabeth Giffard of Neerquis Hall, Flintshire in 1808. For a very similar table see Bonhams Fine English Furniture and Works of Art, 11th March 2009, lot 106.
FAHLSTRÖM, ÖYVIND1928 Sao Paulo - 1976 StockholmTitel: Sketch for World Map Part I (Americas, Pacific). Datierung: 1972. Technik: Serigrafie auf braunem Papier (gefaltet). Darstellungsmaß: 85 x 100cm.Blattmaß: 87,5 x 101cm. Bezeichnung: Im Druck signiert, datiert und betitelt. Provenienz:- Sammlung Kasper König, Berlin- König und Fahlström lernen sich in New York kennen- Verfasst das KatalogÂvorwort für die von König organsierte Ausstellung von Claes Oldenburg in Stockholm 1966- Posthum zeigt König den schwedischen Künstler in der Ausstellung "Westkunst" in Köln, 1981 Voraussichtliche Versandkosten für dieses Los: Deutschland: 39,00 Euro inkl. 6,23 Euro MwSt EU: 60,00 Euro inkl. 9,58 Euro MwSt Weltweit: 110,00 Euro inkl. 17,56 Euro MwSt zzgl. VersandversicherungErläuterungen zum Katalog Öyvind Fahlström Schweden Pop Art Nachkriegskunst Grafik 1970er Karte Papierarbeit Serigrafie Figur / Figuren
EISENMAN, NICOLE1965 VerdunTitel: Ohne Titel. Datierung: 2007. Technik: Bleistift und Kohle über Aquarell auf Velin. Maße: 30,5 x 28cm. Bezeichnung: Signiert und datiert unten rechts: Nicole Eisenman 2007. Rahmen/Sockel: Rahmen. Im Rahmen beschrieben. Provenienz:- Sammlung Barbara Weiss, Berlin- Sammlung Kasper König, Berlin"Kunst muss Widerstand haben"Als amerikanisch-jüdische Künstlerin mit queerem Hintergrund und deutsch-österreichischen Wurzeln, gilt Nicole Eisenman als starke Vertreterin der Diversität und des Widerstandes gegen konservative Stimmen. Gegenstand ihrer Malerei sind vor allem figurative Darstellungen queerer, oft nicht-binärer Figuren, die mit den kunsthistorischen Traditionen und ewigen Mythen brechen, indem sie diese aus einer meist weiblichen Perspektive, interpretieren. Untersuchung des männlichen IdealsDies lässt sich auch auf das Werk von 2007 übertragen, in dem Eisenman eindeutig auf die Bildsprache von Aquarellund Kohleskizzen der Moderne, wie denen von George Grosz und Otto Dix, zurückgreift. Die von ihr verwendete Kopfbedeckung der männlichen Figur, eine Melone, spielt auf die Zeit der industriellen Revolution an. Der Mann, der bis auf seinen Gehstock, den er wie einen Zepter hält, und einer Melone, unbekleidet ist, wird als Herrscher inszeniert. Er greift nach der weiblichen Figur, die sich neben ihm bückt und ihr Geschlechtsorgan präsentiert. Auf der anderen Seite steht ein kleiner ehrfürchtig zu ihm aufblickender Junge, während sich aus dem Schatten im Hintergrund eine tränenüberströmte Figur herausschält. Wie ein dystopisches Machtspiel eröffnet sich dem Betrachter die satirisch-karikativ zugespitzte Szene, die durch den subtilen Schriftzug "father" auf der Brust des Mannes einen weiteren Höhepunkt erreicht. Mit ihrem Werk hinterfragt und kritisiert die Künstlerin die gesellschaftlich vorgegebene Rolle des Mannes als erfolgreicher Geschäftsmann, als dominater Liebhaber, als absolutistischer Herrscher, als ein dem antiken Vorbild nachempfundenes körperliches Ideal sowie als Vaterfigur. Skulptur Projekte Münster2006 wird Eisenman in der von Kasper König konzipierten Ausstellung "Das Achte Feld" im Museum Ludwig gezeigt, wo die Thematiken Transsexualität, Gender und Drag künstlerisch verhandelt werden. 2017 partizipiert die Künstlerin ebenfalls an "Skulptur Projekte Münster" mit einem Brunnen und fünf Figuren, welche in lockeren Posen um das Wasserbecken positioniert sind. "Sketch for a mountain" erfreut sich zu seiner Eröffnung bei den Besuchern zwar großer Beliebtheit, gerät aber aufgrund diskriminierender und rechtsextremer Attacken in die Schlagzeilen. Seit 2021 ist es als Zeichen des Widerstandes gegen Hass und Ausgrenzung wieder öffentlich zugänglich, dank des Engagements des Vereins "Dein Brunnen für Münster" und einer großen Spendenbereitschaft. Voraussichtliche Versandkosten für dieses Los: Deutschland: 39,00 Euro inkl. 6,23 Euro MwSt EU: 60,00 Euro inkl. 9,58 Euro MwSt Weltweit: 110,00 Euro inkl. 17,56 Euro MwSt zzgl. VersandversicherungErläuterungen zum Katalog Nicole Eisenman Frankreich Zeitgenössische Kunst Unikate 2000er Rahmen. Im Rahmen beschrieben Akt Papierarbeit Bleistift Figurengruppe
▲ Ruskin Spear RA (1911-1990) A preparatory study of Fulham Football Clubcharcoal50 x 68.5cmA preparatory sketch for lot 66.Provenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportFramed: 71 x 88cmA little time staining with some light smudging. Small crease mark. A fold mark to the upper right edge. There appears to be a large repaired tear to the lower left quarter, please refer to illustration. Not viewed out of glazed frame.
▲ Edward Bawden RA (1903-1989) 'A Selection of Interesting Menus'pen and ink and watercolour21.5 x 13.5cm, folded,together with a preliminary pencil sketch for the abovewith Spider and Butterfly in pen and ink verso23 x 29cm, andTankan illustration for September from 'Kynoch Press Note Book', 1935, inscribed 'To Oliver Simon/from Edward Bawden' u.l., pen and ink14.5 x 23cm, all unframed (3)Provenance: The Estate of Stanley Jones MBE RE.Condition ReportA little light surface dirt. The pencil sketch has been folded in half and has pinholes to the upper corners. The lower right corner is creased. 'Tank' has a horizontal fold running parallel to the the upper edge 3.5cm below the edge of the sheet. The menu measures 21.5 x 27.5cm overall with a 3.5cm tear along the central fold, however the work itself does not appear to be affected.
Gaganendranath Tagore (Indian, 1867-1938) Untitled (landscape) watercolour, 9 x 24.5cm, framed and glazed inventory label verso which reads: 73 Sketch (Landcape) by Gaganendra Nath Tagore https://hansonsauctioneers.co.uk/painting-by-indian-great-uncovered-in-derbyshire-stuns-antiques-expert/
EDWARD ARTHUR WALTON R.S.A., P.R.S.W., H.R.W.S. (SCOTTISH 1860-1922) CHANCE ENCOUNTER Signed, oil on canvas 76cm x 73.5cm (30in x 29in) Presented by Mrs Fergus Morton and Mrs J. W. H. Gow, 1937. Titled ‘Landscape’, in Illustrated Catalogue of Paintings, Drawings, Sculpture in the Collections of Paisley Corporation and Paisley Art Institute, 1948. Exhibited: Hankyu Department Store, Umeda Main Store, Osaka, Japan, The Beautiful Landscape of Scotland, 11-16 November 1983; touring to Tenmaya Department Store, Okayama Main Store, Okayama, Japan, 18-23 November 1983. Edward Arthur Walton is well-known as one of the significant figures within the loose network of artists now commonly referred to as the ‘Glasgow Boys.’ It can therefore be difficult to separate his life and work from this movement, but it does a disservice to Walton not to pay attention to the wider picture of his long and illustrious career. He made his way as an artist from his late teens all the way until the day of his death, and during this over-forty-year period he was elected to, and participated in, various institutions and artistic bodies across the U.K., exhibited and won prizes internationally, and was widely praised by critics and fellow artists alike. ‘Walton was a painter so distinguished that he held a special place in the regard…of all who followed with any intelligence or interest the development of art in the country during the last three or four decades’ – Daily Record and Mail, 12 January 1924 (quoted in Fiona MacSporran, Edward Arthur Walton, Foulis Archive Press, Glasgow, 1987, p.9)Throughout his career, Walton’s output was varied, working consistently in both oil and watercolour and developing a successful portraiture practice. He worked largely to commission, while he continued to excel in his favoured landscape subjects, which are suffused with atmosphere, light, and a sensitivity and freedom that remains utterly compelling. Working in both mediums, we can feel his joy and pleasure in the world around him. He converts atmosphere to paint, so we can feel the warming sun and gentle breeze, smell the air and feel that particular freshness that lifts the spirit when we are surrounded by nature. Yet, this feeling of spontaneity and freedom is underpinned by an artistic rigour so that every dappled brushstroke and area of exposed ground or canvas is considered and intentional. Walton pays particular attention to light and shade, picking out shadows in rich tones of cooler shades, the gentle contrast serving the overall harmony and charm of the finished painting. As Helen Weller observes:‘They are not, in spite of their beauty and charm, simply an emotional response to nature; they are carefully conceived, to the extent of using unusual surfaces and a barium ground to enrich the colour. Nothing is irrelevant or inconsidered. The smallest stroke of warm colour on the sleeve of a tiny figure set in cool shadow is wholly necessary.’- Helen Weller, E.A. Walton, Bourne Fine Art exhibition catalogue, Edinburgh, 1981.Sketching in the countryside surrounding Glasgow from an early age, Walton seems to have had family support for his early artistic enthusiasm and talent, as training was arranged for him at the Kunstacademie, Dusseldorf in 1876-77, while he was still in his teens. On his return, he commenced his career as an artist in Glasgow, and in 1878 exhibited at the Glasgow Institute and was elected to the Glasgow Art Club, while attending Glasgow School of Art, and winning local and national competitions. Artistic networks, friendships and connections were important for the development of the Glasgow Boys, and for Walton, in particular. He initially met James Guthrie, who would become a life-long friend, while Joseph Crawhall became connected to his family through marriage, commencing another important friendship. Further relationships developed with a wide range of artists through painting and travel, including George Henry, Arthur Melville, James Whitelaw Hamilton, Thomas Corsan Morton, Alexander Kellock Brown, J.D. Taylor and William York Macgregor. Walton’s great enthusiasm for landscape meant he was keen to capture different viewpoints and evoke varied atmospheres and so pursued painting with his friends and colleagues in locations as varied as Rosneath, Brig O’ Turk, Helensburgh, Cockburnspath, Somerset and Cambuskenneth. All this exploration and artistic mingling proved potent, and by 1889 Walton could comfortably be called a successful, professional artist. That year he had received a full-page illustration in the April edition of the Scottish Art Review, was commissioned to paint the official portrait of Lord Provost King of Glasgow and was elected an Associate of the Royal Scottish Academy. In the same year, he also managed to visit Paris with Guthrie and to propose marriage to Helen Law at the Glasgow Art Club’s Grand Fancy Dress Ball, where he was dressed as Hokusai and his bride-to-be as ‘The Golden Butterfly,’ in homage to Whistler. Such was the Glasgow art scene at the time that John Lavery captured a quick sketch of the happy couple posing in their costumes.1890 was an important moment for the so-called ‘Glasgow School’ or ‘Glasgow Boys,’ as they received so much attention for their London exhibition at the Grosvenor Gallery, as well as their success in Munich. However, by 1893, Walton appears to have felt a little jaded with the Scottish scene and decided to move his family to London. There he remained well-connected to the wider artistic network, with Whistler his new neighbour, an artist whom he had admired for many years, even having petitioned Glasgow Museums to purchase one of his works. He worked to establish himself as a portrait painter over the ten-year period but following Whistler’s death, Guthrie persuaded Walton to return home. By 1904, Walton was settled in Edinburgh and would live the rest of his days as an established Scottish artist, confirmed by his promotion to full Academician of the R.S.A. in 1905. His wider artistic network remained strong, with even family holidays to Wenhaston bringing them into close contact with other artists, and Fra Newbery and his family becoming their temporary summertime neighbours. Walton continued to dedicate himself to painting. He participated in the mechanisations of various artworld establishments and received subsequent praise and continued high regard. He exhibited internationally, sending paintings to Munich, Paris, Berlin, St Louis and the Carnegie Institute internationals, and achieved many prizes and honours, including a Gold medal at the IX International in Munich. Following his sudden and early death, his work remained in very high esteem with the Guthrie-arranged Memorial Exhibition of 150 of Walton’s works declared by a leading critic as ‘one of the most interesting one-man shows ever assembled.’ (MacSporran, p.93). [Quote in title: Helen Weller, E.A. Walton, Bourne Fine Art Exhibition catalogue, Edinburgh, 1981]
SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941) PAISLEY LAWN TENNIS CLUB Signed and dated 1889, oil on canvas 63.5cm x 76cm (25in x 30in) Presented by James Begg, Esq., President of Paisley Art Institute (1920-27), 1917. Exhibited:Paisley, Paisley Art Institute, Annual Exhibition, 1918, no.157, where titled ‘Courts of the Paisley Lawn Tennis Club, June 1889’;St Andrews, Crawford Art Centre, John Lavery: The Early Career, 1880-1895,1983, no.13;Paisley, Paisley Museum & Art Galleries, A Paisley Legacy: The Paisley Art Institute Collection, 2015, no.12.Literature: McConkey, Kenneth, Sir John Lavery, Canongate Press, Edinburgh, 1993, p.42;McConkey, Kenneth, ‘Tennis Parties’, in Ann Sumner ed., Court on Canvas, Tennis in Art, Barber Institute & Philip Wilson Publishers, 2011, pp.63-64, repr. fig 3.17. During the early summer of 1889 Lavery returned to Paisley to make kit-kat sketches of dignitaries who had been invited to the reception held for The State Visit of Queen Victoria to the Glasgow International Exhibition in the previous year.[1] These tiny portraits would come together with 250 others in a large commemorative canvas depicting the event (Glasgow Museums). His year had begun in a flurry of travel arrangements and studio appointments. By the late Spring the project was well underway. Lavery had just returned from Darmstadt where he had painted the portrait of Princess Alix of Hesse (Private Collection), and other members of the royal retinue, when the short trip from Glasgow to Paisley took place. A visit, however brief, could not be made without calling upon friends in the town where he had staged his first solo exhibition in 1886. Principally these were members of the Fulton family who, on one particular day, had taken their daughter, Alice, to the local tennis club. [2] While the girl is omitted from the present canvas, both small oil sketches produced in preparation for it include her, while focussing upon the figure group at the right of the composition. A note in the minutes of Paisley Art Institute in 1915 identifies the women taking afternoon tea as Mrs William MacKean and Mrs Archibald Coats of Woodside, while the lady in the background wearing a red shawl was Mrs Stewart Clark of Filnside.[3] The three tennis players, glimpsed through blossoming trees are Nina Fullerton, Hugh Macfarlane and the watercolourist, Alexander Balfour McKechnie.[4] The note concludes by describing the present work as ‘an excellent example of the artist’s earlier “Impressionist” style’, implying that, as with the preparatory sketches, it was completed on the spot. The spot, the original Paisley lawn tennis club in Garthland Place, is likely to have been sited on land partly occupied by the Abercorn Bowling Club, close to the railway line.[5]Lawn tennis was, by 1889, approaching the height of its popularity. Invented by Major Clopton Wingfield in 1874, with the unappealing name, ‘Sphairistike’, it quickly replaced croquet as a middle-class pastime when boxed sets of essential equipment went on the market.[6] For the fashion-conscious factory-owners of Paisley, as the present canvas confirms, it provided the ideal theatre for social rivalries. For the artist however, in the midst of a year when time was measured in end-on appointments, dropping into the Paisley Lawn Tennis Club was a moment of delight. One had only to open a little pochade box or erect a lightweight tripod easel for the picture to come to him, unbidden. Lavery would later describe such moments as ones that brought him to ‘concert pitch’. These were times when in an elysian garden of women, the scene composed itself if you were quick enough to grasp its essence. In the present instance, there was no hesitation.We are grateful to Professor Kenneth McConkey for writing this catalogue entry.[1] McConkey 2010, pp. 43-48.[2] Two sketches are known to have been painted on the spot. A companion sketch (Private Collection) shows Alice holding a racquet on her lap while the women on the left, one holding a scarlet parasol, have swapped places. The background, simply indicated with a broad brush, represents one of the courts.[3] These women were of course, dynastic leaders of west of Scotland society. I am grateful to Andrea Kusel of Paisley Museum & Art Galleries for bringing this note to my attention in 2011.[4] Both Macfarlane and McKechnie were prominent members of the Club, the former taking on the role of Honorary Treasurer by the 1891-92 season.[5] Kusel, as above. I am also grateful to Michael Durning and Victoria Irvine, (emails 2015-18), for their valuable work on Lavery’s Fulton connections.[6] Sumner, 1911, p. 13.
SIR WILLIAM ALLAN R.A., P.R.S.A. (SCOTTISH 1782-1850) BLIND HARRY RECITING THE DEEDS OF WALLACE Oil on board 26cm x 37cm (10.25in x 14.5in) Presented by Mrs C. J. Allan, 1913. This painting is believed to be a sketch for a larger composition. Exhibited:City of Edinburgh Museum and Galleries, William Allan: Artist Adventurer, 30 June-6 October 2001, cat.no.30, illustrated in catalogue
EDWARD ARTHUR WALTON R.S.A., P.R.S.W., H.R.W.S. (SCOTTISH 1860-1922) THE LONE TREE Signed, watercolour 48cm x 67cm (19in x 26.5in) Fulton Bequest, 1933. Titled ‘Landscape’, in Illustrated Catalogue of Paintings, Drawings, Sculpture in the Collections of Paisley Corporation and Paisley Art Institute, 1948. Exhibited: Palace of the Arts, Empire Exhibition, Scotland, Bellahouston Park, 1938, no.226 repr. b/w p.34. Edward Arthur Walton is well-known as one of the significant figures within the loose network of artists now commonly referred to as the ‘Glasgow Boys.’ It can therefore be difficult to separate his life and work from this movement, but it does a disservice to Walton not to pay attention to the wider picture of his long and illustrious career. He made his way as an artist from his late teens all the way until the day of his death, and during this over-forty-year period he was elected to, and participated in, various institutions and artistic bodies across the U.K., exhibited and won prizes internationally, and was widely praised by critics and fellow artists alike. ‘Walton was a painter so distinguished that he held a special place in the regard…of all who followed with any intelligence or interest the development of art in the country during the last three or four decades’ – Daily Record and Mail, 12 January 1924 (quoted in Fiona MacSporran, Edward Arthur Walton, Foulis Archive Press, Glasgow, 1987, p.9)Throughout his career, Walton’s output was varied, working consistently in both oil and watercolour and developing a successful portraiture practice. He worked largely to commission, while he continued to excel in his favoured landscape subjects, which are suffused with atmosphere, light, and a sensitivity and freedom that remains utterly compelling. Working in both mediums, we can feel his joy and pleasure in the world around him. He converts atmosphere to paint, so we can feel the warming sun and gentle breeze, smell the air and feel that particular freshness that lifts the spirit when we are surrounded by nature. Yet, this feeling of spontaneity and freedom is underpinned by an artistic rigour so that every dappled brushstroke and area of exposed ground or canvas is considered and intentional. Walton pays particular attention to light and shade, picking out shadows in rich tones of cooler shades, the gentle contrast serving the overall harmony and charm of the finished painting. As Helen Weller observes:‘They are not, in spite of their beauty and charm, simply an emotional response to nature; they are carefully conceived, to the extent of using unusual surfaces and a barium ground to enrich the colour. Nothing is irrelevant or inconsidered. The smallest stroke of warm colour on the sleeve of a tiny figure set in cool shadow is wholly necessary.’- Helen Weller, E.A. Walton, Bourne Fine Art exhibition catalogue, Edinburgh, 1981.Sketching in the countryside surrounding Glasgow from an early age, Walton seems to have had family support for his early artistic enthusiasm and talent, as training was arranged for him at the Kunstacademie, Dusseldorf in 1876-77, while he was still in his teens. On his return, he commenced his career as an artist in Glasgow, and in 1878 exhibited at the Glasgow Institute and was elected to the Glasgow Art Club, while attending Glasgow School of Art, and winning local and national competitions. Artistic networks, friendships and connections were important for the development of the Glasgow Boys, and for Walton, in particular. He initially met James Guthrie, who would become a life-long friend, while Joseph Crawhall became connected to his family through marriage, commencing another important friendship. Further relationships developed with a wide range of artists through painting and travel, including George Henry, Arthur Melville, James Whitelaw Hamilton, Thomas Corsan Morton, Alexander Kellock Brown, J.D. Taylor and William York Macgregor. Walton’s great enthusiasm for landscape meant he was keen to capture different viewpoints and evoke varied atmospheres and so pursued painting with his friends and colleagues in locations as varied as Rosneath, Brig O’ Turk, Helensburgh, Cockburnspath, Somerset and Cambuskenneth. All this exploration and artistic mingling proved potent, and by 1889 Walton could comfortably be called a successful, professional artist. That year he had received a full-page illustration in the April edition of the Scottish Art Review, was commissioned to paint the official portrait of Lord Provost King of Glasgow and was elected an Associate of the Royal Scottish Academy. In the same year, he also managed to visit Paris with Guthrie and to propose marriage to Helen Law at the Glasgow Art Club’s Grand Fancy Dress Ball, where he was dressed as Hokusai and his bride-to-be as ‘The Golden Butterfly,’ in homage to Whistler. Such was the Glasgow art scene at the time that John Lavery captured a quick sketch of the happy couple posing in their costumes.1890 was an important moment for the so-called ‘Glasgow School’ or ‘Glasgow Boys,’ as they received so much attention for their London exhibition at the Grosvenor Gallery, as well as their success in Munich. However, by 1893, Walton appears to have felt a little jaded with the Scottish scene and decided to move his family to London. There he remained well-connected to the wider artistic network, with Whistler his new neighbour, an artist whom he had admired for many years, even having petitioned Glasgow Museums to purchase one of his works. He worked to establish himself as a portrait painter over the ten-year period but following Whistler’s death, Guthrie persuaded Walton to return home. By 1904, Walton was settled in Edinburgh and would live the rest of his days as an established Scottish artist, confirmed by his promotion to full Academician of the R.S.A. in 1905. His wider artistic network remained strong, with even family holidays to Wenhaston bringing them into close contact with other artists, and Fra Newbery and his family becoming their temporary summertime neighbours. Walton continued to dedicate himself to painting. He participated in the mechanisations of various artworld establishments and received subsequent praise and continued high regard. He exhibited internationally, sending paintings to Munich, Paris, Berlin, St Louis and the Carnegie Institute internationals, and achieved many prizes and honours, including a Gold medal at the IX International in Munich. Following his sudden and early death, his work remained in very high esteem with the Guthrie-arranged Memorial Exhibition of 150 of Walton’s works declared by a leading critic as ‘one of the most interesting one-man shows ever assembled.’ (MacSporran, p.93). [Quote in title: Helen Weller, E.A. Walton, Bourne Fine Art Exhibition catalogue, Edinburgh, 1981]
EDWARD ARTHUR WALTON R.S.A., P.R.S.W., H.R.W.S (SCOTTISH 1860-1922) THE OAK AND THE ASH Signed, oil on canvas 98cm x 85cm (38.5in x 33.5in) Presented by J. Greenlees, Esq., 1923. Edward Arthur Walton is well-known as one of the significant figures within the loose network of artists now commonly referred to as the ‘Glasgow Boys.’ It can therefore be difficult to separate his life and work from this movement, but it does a disservice to Walton not to pay attention to the wider picture of his long and illustrious career. He made his way as an artist from his late teens all the way until the day of his death, and during this over-forty-year period he was elected to, and participated in, various institutions and artistic bodies across the U.K., exhibited and won prizes internationally, and was widely praised by critics and fellow artists alike. ‘Walton was a painter so distinguished that he held a special place in the regard…of all who followed with any intelligence or interest the development of art in the country during the last three or four decades’ – Daily Record and Mail, 12 January 1924 (quoted in Fiona MacSporran, Edward Arthur Walton, Foulis Archive Press, Glasgow, 1987, p.9)Throughout his career, Walton’s output was varied, working consistently in both oil and watercolour and developing a successful portraiture practice. He worked largely to commission, while he continued to excel in his favoured landscape subjects, which are suffused with atmosphere, light, and a sensitivity and freedom that remains utterly compelling. Working in both mediums, we can feel his joy and pleasure in the world around him. He converts atmosphere to paint, so we can feel the warming sun and gentle breeze, smell the air and feel that particular freshness that lifts the spirit when we are surrounded by nature. Yet, this feeling of spontaneity and freedom is underpinned by an artistic rigour so that every dappled brushstroke and area of exposed ground or canvas is considered and intentional. Walton pays particular attention to light and shade, picking out shadows in rich tones of cooler shades, the gentle contrast serving the overall harmony and charm of the finished painting. As Helen Weller observes:‘They are not, in spite of their beauty and charm, simply an emotional response to nature; they are carefully conceived, to the extent of using unusual surfaces and a barium ground to enrich the colour. Nothing is irrelevant or inconsidered. The smallest stroke of warm colour on the sleeve of a tiny figure set in cool shadow is wholly necessary.’- Helen Weller, E.A. Walton, Bourne Fine Art exhibition catalogue, Edinburgh, 1981.Sketching in the countryside surrounding Glasgow from an early age, Walton seems to have had family support for his early artistic enthusiasm and talent, as training was arranged for him at the Kunstacademie, Dusseldorf in 1876-77, while he was still in his teens. On his return, he commenced his career as an artist in Glasgow, and in 1878 exhibited at the Glasgow Institute and was elected to the Glasgow Art Club, while attending Glasgow School of Art, and winning local and national competitions. Artistic networks, friendships and connections were important for the development of the Glasgow Boys, and for Walton, in particular. He initially met James Guthrie, who would become a life-long friend, while Joseph Crawhall became connected to his family through marriage, commencing another important friendship. Further relationships developed with a wide range of artists through painting and travel, including George Henry, Arthur Melville, James Whitelaw Hamilton, Thomas Corsan Morton, Alexander Kellock Brown, J.D. Taylor and William York Macgregor. Walton’s great enthusiasm for landscape meant he was keen to capture different viewpoints and evoke varied atmospheres and so pursued painting with his friends and colleagues in locations as varied as Rosneath, Brig O’ Turk, Helensburgh, Cockburnspath, Somerset and Cambuskenneth. All this exploration and artistic mingling proved potent, and by 1889 Walton could comfortably be called a successful, professional artist. That year he had received a full-page illustration in the April edition of the Scottish Art Review, was commissioned to paint the official portrait of Lord Provost King of Glasgow and was elected an Associate of the Royal Scottish Academy. In the same year, he also managed to visit Paris with Guthrie and to propose marriage to Helen Law at the Glasgow Art Club’s Grand Fancy Dress Ball, where he was dressed as Hokusai and his bride-to-be as ‘The Golden Butterfly,’ in homage to Whistler. Such was the Glasgow art scene at the time that John Lavery captured a quick sketch of the happy couple posing in their costumes.1890 was an important moment for the so-called ‘Glasgow School’ or ‘Glasgow Boys,’ as they received so much attention for their London exhibition at the Grosvenor Gallery, as well as their success in Munich. However, by 1893, Walton appears to have felt a little jaded with the Scottish scene and decided to move his family to London. There he remained well-connected to the wider artistic network, with Whistler his new neighbour, an artist whom he had admired for many years, even having petitioned Glasgow Museums to purchase one of his works. He worked to establish himself as a portrait painter over the ten-year period but following Whistler’s death, Guthrie persuaded Walton to return home. By 1904, Walton was settled in Edinburgh and would live the rest of his days as an established Scottish artist, confirmed by his promotion to full Academician of the R.S.A. in 1905. His wider artistic network remained strong, with even family holidays to Wenhaston bringing them into close contact with other artists, and Fra Newbery and his family becoming their temporary summertime neighbours. Walton continued to dedicate himself to painting. He participated in the mechanisations of various artworld establishments and received subsequent praise and continued high regard. He exhibited internationally, sending paintings to Munich, Paris, Berlin, St Louis and the Carnegie Institute internationals, and achieved many prizes and honours, including a Gold medal at the IX International in Munich. Following his sudden and early death, his work remained in very high esteem with the Guthrie-arranged Memorial Exhibition of 150 of Walton’s works declared by a leading critic as ‘one of the most interesting one-man shows ever assembled.’ (MacSporran, p.93). [Quote in title: Helen Weller, E.A. Walton, Bourne Fine Art Exhibition catalogue, Edinburgh, 1981]
ELIZABETH MARY WATT INTEREST, SKETCH BOOK by Hildigarde Cairns, Elizabeth Mary Watt's art teacher at Scotland Street School, including numerous sketches, rhymes and watercolours by Hildigarde and othersCondition good to fair. Bulk of pages coming loose in spine. Some staining and light discolour, though nothing severe. Approx 20 illustrations and further notes, poems, inscriptions.
![[Combe (William)] [The Three Tours of Doctor Syntax], comprising The Tour of Doctor Syntax in Search of the Picturesque; The](https://cdn.globalauctionplatform.com/5467794f-dd1d-460d-85a7-b1da00f65bbf/f06c4e61-1fde-4c79-8a55-b1e000eb11c5/468x382.jpg)
[Combe (William)] [The Three Tours of Doctor Syntax], comprising The Tour of Doctor Syntax in Search of the Picturesque; The Second Tour of Doctor Syntax, in Search of Consolation; The Third Tour of Doctor Syntax, in Search of a Wife, 3 vol., first edition, 2 hand-coloured aquatint vignette titles (vol. 2 without) and 78 hand-coloured aquatint plates by Thomas Rowlandson, original ink and wash sketch by Rowlandson bound into vol. 1 at start, captioned "St. Michael's Mount Cornwall" in ink on verso, the odd spot or patch of light soiling, light offsetting, handsomely bound in purple crushed morocco by Sangorski & Sutcliffe, gilt, inner gilt dentelles, spines uniformly sunned, some very slight rubbing to spine ends and corners, t.e.g., [Tooley 427-29], 8vo, R. Ackermann, 1812-20-21. *** The original sketch by Rowlandson depicts Doctor Syntax at work sketching the Mount from the beach below.Provenance: Rowlandson sketch at Christie's, South Kensington, British and Continental Watercolours and Drawings, 3 May 2001, lot 81.
Seeley (J.) Stowe. A Description of the House and Gardens...of the...Duke of Buckingham & Chandos, folding engraved frontispiece with 2 elevations by G.LSmith, lightly offset on title, original blue wrappers, titled in contemporary manuscript on covers, a few small stains, spine worn, Buckingham, J.Seeley, 1827; another copy, 24 engraved plates by T.Medland, 2 folding, 5 plates of plans only (lacking 2 folding ground plans), contemporary half calf, spine gilt, Buckingham, 1827 § Bridgman (John) An Historical and Topographical Sketch of Knole, first edition, half-title, 4 aquatint plates of views & details, 5 engraved plates of coats-of-arms, contemporary calf, rebacked preserving old spine, later labels, new endpapers, 1817 § Mackinlay (John) An Account of Rothesay Castle, first edition, engraved frontispiece showing plan only (view cut away, foxed), modern half calf, [Library Hub records 5 copies only], Greenock, William Scott, 1816 § Bell (T.) The Ruins of Liveden..., printed in red & black, 4 tinted lithographed plates, folding genealogical table, contemporary calf, spotted, 1847, some foxing, all but the fourth rubbed; and 10 others on notable houses, 8vo & 4to (15)*** Including both issues of the 1827 guide to the house and landscape gardens of Stowe, the first illustrated with only the larger elevations by Smith, the second with plates of all the various temples and monuments by Medland.
China.- Alexander (William) A Chinese soldier with his matchlock, with a faint subsidiary sketch of his head, watercolour over black chalks, on buff wove paper, artist's indistinct pencil note in the upper right corner, numbered '13' upper centre, sheet 210 x 143 mm (8 1/4 x 5 5/8 in), under glass, tipped onto mount support, some toning and surface dirt, framed, [circa 1814]Provenance: William Beckford; Hamilton Palace; Christie's house sale, 30 June 1882, lot 146. The Earl of Derby *** An original study for William Alexander's Picturesque Representations of the Dress and Manners of the Chinese, published in 1814.
Smith (James) Specimens of Ancient Carpentry, engraved throughout with title, list of plates and 35 plates engraved by J.Seago after Smith dated 1787, foxed, pencil sketch to verso of one plate, old ink inscription of Philip A.Robson, Sir Howard Colvin's copy with his signature and several letters to him loosely inserted, 19th century cloth, rubbed and stained, rebacked, corners repaired, new endpapers, [Harris 837, copies at New York Public Library and RIBA], 4to, [?1820s].*** The first illustrations of historic English roof carpentry to appear in a published book. First published as Specimen of Ancient Carpentry in 1736, but now virtually unobtainable, it was reissued by Seago with the plates re-engraved and some additional plates of Gothic mouldings in 1787, and again by J.Taylor in c.1819/20. All issues are rare.The loosely-inserted letters, written by librarians in Oxford, Cambridge and elsewhere, are in response to an inquiry from Colvin in the late 1970s, indicating that their libraries then possessed no copies of the first edition.
Probably late 19thc, a watercolour/gouache of an Egret perched on one leg, signed and mounted in a bamboo effect frame (50cms by 32cms, frame 63cms by 45cms). Also with a further painting of goldfish, signed and by the same hand (32.5cms by 24.5cms, frame 46cms by 37cms. (2). *CR Egret, generally good with the odd mark to the paper and mount. Goldfish, the paper and mount looks a little dirty inside and with some spotting to the paper, there are traces of a pencil sketch in the background.
FORMULA ONE (F1) INTEREST; a pencil drawing of Sir Stirling Moss, later signed by Stirling Moss, 24.5 x 17cm, framed and glazed, with accompanying handwritten card inscribed 'Dear Mr White, thanks for your letter and the sketch, I have signed this and I do hope in the correct place, all the best, yours Stirling Moss'.
Loading...-
32316 item(s)/page