There are 77111 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe§ Raymond Campbell (British, b. 1956), still life with bottles of port, oil on panel, signed lower left, 38 x 29cm, framed.Please note that Artists Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price, visit www.dacs.org for more information
Raymond Campbell (British, b. 1956), still life with wine and cheese, oil on panel, signed lower left, 49 x 39cm, framed.Please note that Artists Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price, visit www.dacs.org for more information
◆ SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) STILL LIFE WITH WHITE JUG AND PEARS Signed, oil on canvasDimensions:18in x 16in (45.7cm x 40.7cm)Provenance:Provenance: Sotheby’s Gleneagles, Scottish and Sporting Pictures and Sculpture, 2 September 1998, lot 1479, as ‘Still Life with Pears (The White Jug)’Portland Gallery, LondonExhibited: London, Portland Gallery, The Scottish Colourists, 14 June-19 July 2002, no.52London, Portland Gallery in association with The Scottish Gallery, Edinburgh, S. J. Peploe (1871-1935), 7-29 November 2012, no.18, Ill.col.p.29.Note: Still Life with Jug and Pears of c.1925 reveals Peploe’s mastery of the still life genre, which came to maturity in his practice during the 1920s. He summed up his dedication to the theme, even beyond the landscapes and portraits for which he is also celebrated, in 1929, when he declared: ‘there is so much in mere objects, flowers, leaves, jugs, what not – colours, forms, relation – I can never see mystery coming to an end.’[i] The still life was the primary focus of the work made in his longest-serving studio, at 54 Shandwick Place in Edinburgh’s West End. Peploe moved there in 1917 after it was vacated by his friend, the artist James Paterson and maintained it until a move to nearby Castle Street in 1934. The Director of the National Galleries of Scotland, Stanley Cursiter, described it thus: ‘the room had a large, high and well-placed window. The scheme of decoration was…kept in a very light key and he surrounded himself with brilliant colours.’[ii] As Roger Billcliffe has explained: ‘Peploe set himself as a target the perfect still-life painting. It had been his first love and his first serious achievements had been in still-life. His temperament made him ideally suited to the task. His calm reasoning and thoughtful manner enabled him to make a careful analysis of the problems which face the still-life painter and he set about resolving them.’[iii] A sense of this dedication is clear in a description of visiting Peploe in his studio by his niece, Margery Porter: ‘How well I recollect my Mother and myself climbing those steep stairs and arriving panting at the top to ring his bell in fear and trembling lest our climb had been in vain. But usually he would usher us in wearing a white painting coat and a crownless hat…The studio was a large one, round which I would prowl entranced, after strict warnings not to disturb the still-life group which would almost inevitably be covering the table. My uncle would arrange and re-arrange these groups for perhaps three days before he was satisfied that the balance and construction were perfect, then he would paint them quite rapidly.’[iv] Alongside a cast of cherished objects, including jugs, plates, bowls and various lengths of fabric, Peploe would introduce flowers or fruit to his still lifes according to the season. The apples and pears of Still Life with Jug and Pears would suggest that it is an autumnal painting. This caused some consternation amongst the purveyors of such produce, as explained by Cursiter: ‘When he selected his flowers or fruit from a painter’s point of view he presented a new problem to the Edinburgh florists. They did not always understand when he rejected a lemon for its form or a pear for its colour and he remained unmoved by their protestations of ripeness or flavour.’[v] Still Life with Jug and Pears contains all the hallmarks of Peploe’s work of the mid-1920s as he developed from the highly-complex and high-pitched still lifes of earlier in the decade and progressed towards the more raw and expressive style of the early 1930s. There is an overall feeling of dignity in the arrangement, subtle palette and natural lighting of this painting. The depiction of the pears in the foreground is a masterclass in perspective, whilst the warm tones of the apple to the right provide the colour focal point of the composition. Peploe’s enduring interest in the work of Paul Cézanne is clear, for example in the strength of form created by defined planes of colour, particularly in the fruit. Deliberately distinct brushstrokes convey shadow and reflection. The arrangement of objects is asymmetrical yet perfectly balanced, presided over by the jug. The edge of the table on which they are presented is aligned to the lower horizontal plane of the canvas, as Peploe skilfully plays with notions of reality and representation. Moreover, the cropping, such as of the dish on the left, suggests the space beyond the table and the frame. Peploe was to explore these concerns further in works such as the related and slightly later Still Life with Jug and Grapes (The Courtauld, London, acc.no. P.1992.XX.1). In this painting, the same jug has taken centre stage in the foreground, drapery plays a more significant role on the table-top and Peploe has extended the sense of distance by including a covered chair in the background. The poise and classical simplicity of Still Life with Jug and Pears has given way to a less polished vigour. Still Life with Jug and Pears dates from a particularly propitious period in Peploe’s career. During the 1920s his reputation was cemented in Scotland and spread to London, Paris and New York. He had regular solo exhibitions at The Scottish Gallery in Edinburgh and La Société des Beaux-Arts in Glasgow. When the latter business merged with the Lefèvre Gallery in London in 1926, Peploe’s work was also shown there. In 1923, paintings by Peploe, Cadell and Hunter were shown at the Leicester Galleries in London and again in 1925, joined by the work of John Duncan Fergusson. The four artists were celebrated in an exhibition at the Galerie Barbazanges, Paris in 1924, from which a painting by Peploe was acquired for the French national collection. In 1927, he was elected a full member of the Royal Scottish Academy and the Tate acquired one of his still lifes, meaning that he was represented in the British national collection. In 1928 a solo exhibition of his work was staged at the C. W. Kraushaar Galleries, New York and a room was dedicated to his work in the newly extended Kirkcaldy Museum and Art Gallery. Corsan Morton, Curator at Kirkcaldy, summed up Peploe’s achievements of the period in his catalogue foreword: ‘It is in his still lifes, his arrangements of flowers, fruit, utensils and so on, that he has of late years achieved a very definite personal style of great beauty, which places him in a class by himself…He handles with distinction everything he touches.’[vi] [i] As quoted in Stanley Cursiter, Peploe: An Intimate Memoir of an Artist and of his Work, Edinburgh 1947, p.73.[ii] Cursiter, op.cit., p. 41.[iii] Roger Bilcliffe, The Scottish Colourists: Cadell, Fergusson, Hunter, Peploe, London 1990, p.51.[iv] As quoted in Alice Strang et al, S. J. Peploe, Edinburgh 2012, p.23.[v] Cursiter, ibid., p.55.[vi] As quoted in Cursiter, ibid., p.63.
§ ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) MARGUERITES IN A BLUE AND WHITE VASE Signed, oil on boardDimensions:57cm x 46cm (22.5in x 18in)Note: Of all the genres of fine art, Redpath is most closely associated with that of the still life. Her love for this theme stretches back to her student days at Edinburgh College of Art, as she recalled:When I was at college I was very fond of still life. People said I wasn’t actually painting what was in front of me, that it was a vision of still life. Those were more impressionistic than I have ever done since, because I was terribly keen on light, high pitched light and shadow, and I used more of an accidental quality than I have ever done since.[1] Indeed, the first work which Redpath exhibited in public was titled Still Life and was displayed at the Royal Scottish Academy (RSA) in 1919. Following her marriage in 1920 and fourteen years spent living in France, Redpath returned to Scotland in 1934. She resumed painting in earnest and emerged as an artist of importance. This was recognised by the first acquisition of one of her works for a public collection, when the RSA purchased the still life The Lace Cloth for £50 in 1944 (acc.no.2006.37). Admiration for her still lifes soon spread to England; when the Sunday Times art critic Eric Newton reviewed the Royal Academy of Arts (RA) exhibition of 1948, he exclaimed ‘Anne Redpath’s still lifes stand out like patches of blue sky on a grey day.’[2] The following year, Redpath moved to Edinburgh where she set about decorating her new home with the objects she loved to collect and which were often the subject matter of her work. The striking patterned vessel in Marguerites provided one such prop. The bright blue which covers most of its surface is the perfect complement to the variously coloured titular flowers which spill out of and over its neck. The arrangement is set upon a square of fabric, itself placed on an enigmatic surface, with hints of the surrounding space provided in the background. Redpath’s relish in the application of paint is clear from the precise detailing of petals, to the broader brushstrokes with which expressive swathes of the support are covered.Redpath’s professional success continued unabated and on 13 February 1952 she was elected a full member of the RSA, the first female painter to achieve that rank. In the same year she moved to 7 London Street in Edinburgh’s Georgian New Town, which was to be her home for the rest of her life. Redpath discussed the objects she collected and lived amongst, explaining in 1961:With my awful magpie tendency to collect things I have collected so many objects around me that are paintable. I buy them because I like them…any artist really becomes very aware in a visual way…and therefore you surround yourself with these things which are ready to be painted and ask to be painted. Sometimes for months you’re not really aware of them then suddenly a light changes or you feel different and suddenly you see those things as you would in a picture and you either help their arrangement or it just so happens that an artist almost sub-consciously does arranging all the time.[3] [1] As quoted in George Bruce, Modern Scottish Painters: Anne Redpath, University Press, Edinburgh 1974, p.3.[2] As quoted by Patrick Bourne, Anne Redpath 1895-1965, Edinburgh 2004, p.46.[3] LM AR interviews[I think this comes from BBC Scotland Counterpoint 1961 by George Bruce]
§ ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) DISH OF FRUIT Signed, oil on boardDimensions:44.5cm x 74cm (17.5in x 29in)Provenance:Exhibited: Nottingham University, Nottingham, Scottish Committee, Arts Council of Great Britian: Six Scottish Painters, 1959Note: Of all the genres of fine art, Redpath is most closely associated with that of the still life. Her love for this theme stretches back to her student days at Edinburgh College of Art, as she recalled:When I was at college I was very fond of still life. People said I wasn’t actually painting what was in front of me, that it was a vision of still life. Those were more impressionistic than I have ever done since, because I was terribly keen on light, high pitched light and shadow, and I used more of an accidental quality than I have ever done since.[1] Indeed, the first work which Redpath exhibited in public was titled Still Life and was displayed at the Royal Scottish Academy (RSA) in 1919. Following her marriage in 1920 and fourteen years spent living in France, Redpath returned to Scotland in 1934. She resumed painting in earnest and emerged as an artist of importance. This was recognised by the first acquisition of one of her works for a public collection, when the RSA purchased the still life The Lace Cloth for £50 in 1944 (acc.no.2006.37). Admiration for her still lifes soon spread to England; when the Sunday Times art critic Eric Newton reviewed the Royal Academy of Arts (RA) exhibition of 1948, he exclaimed ‘Anne Redpath’s still lifes stand out like patches of blue sky on a grey day.’[ii] The following year, Redpath moved to Edinburgh where she set about decorating her new home with the objects she loved to collect and which were often the subject matter of her work. Redpath’s professional success continued unabated and on 13 February 1952 she was elected a full member of the RSA, the first female painter to achieve that rank. In the same year she moved to 7 London Street in Edinburgh’s Georgian New Town, which was to be her home for the rest of her life. Redpath discussed the objects she collected and lived amongst, explaining in 1961:With my awful magpie tendency to collect things I have collected so many objects around me that are paintable. I buy them because I like them…any artist really becomes very aware in a visual way…and therefore you surround yourself with these things which are ready to be painted and ask to be painted. Sometimes for months you’re not really aware of them then suddenly a light changes or you feel different and suddenly you see those things as you would in a picture and you either help their arrangement or it just so happens that an artist almost sub-consciously does arranging all the time.[1] Redpath’s mature career settled into a pattern of regular travel abroad as well as solo and group exhibitions in Edinburgh and elsewhere, accompanied by an ever-growing professional standing. In 1960 she became the first Scottish woman to be elected an Associate of the RA. Her death in Edinburgh in 1965 was marked with multiple memorial exhibitions, including those mounted by the RSA and the Scottish Committee of the Arts Council of Great Britain; still lifes featured prominently in all of them. [1] LM AR interviews[I think this comes from BBC Scotland Counterpoint 1961 by George Bruce] [1] As quoted in George Bruce, Modern Scottish Painters: Anne Redpath, University Press, Edinburgh 1974, p.3.[2] As quoted by Patrick Bourne, Anne Redpath 1895-1965, Edinburgh 2004, p.46.
§ ◆ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) THE YELLOW JUMPER Oil and collage on boardDimensions:57cm x 56.5cm (22.5in x 22.25in)Provenance:Exhibited: The Scottish Gallery, Edinburgh, Festival Exhibition, 1964, no.27 Glasgow Art Gallery & Museum, Glasgow Art Galleries and Museums Association Show, no.242 Note: Joan Eardley’s reputation as one of the leading British artists of the twentieth century is based on her portrayal of the Townhead district of Glasgow – in particular of its children – and of Catterline, a fishing village on the Scottish north-east coast.Having trained at Glasgow School of Art (GSA) and Hospitalfield College of Art, Arbroath, Eardley was awarded scholarships by GSA and the Royal Scottish Academy which allowed her to travel in France and Italy. She began to draw and paint children on her return to Glasgow in 1949. Three years later she moved to a studio at 204 St James Road in Townhead in the city centre, which she was to maintain until her premature death in 1963. It was on the second floor, wedge-shaped with large windows and a glazed roof and was described as being ‘filled with pictures, sketches and drawings of the neighbourhood and its occupants.’[1]The area, of mixed residential and light industrial use, was overcrowded and dilapidated. However, Eardley was drawn to its vibrancy and closeknit community. She explained ‘I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with.’[2] Eardley was able to champion and memorialise the neighbourhood in its post-war guise even as the wide-scale demolition of the Clyde Valley Regional Plan began in the early 1960s.Eardley became a regular sight in the streets, sketching buildings, people and scenes of daily life in chalks and pastels, which she then worked up into paintings in the studio. She was also rarely without a camera, which provided a way in which to capture, for example, the games, squabbles and other interactions between the local youngsters who spent much of their time outside.The Yellow Jumper of 1963 is an outstanding example of Eardley’s paintings of the children of Townhead. As Patrick Elliott has pointed out, it was in the mid-1950s that Eardley’s interest in depicting children gathered momentum.[3] She explained ‘I have a studio in Glasgow off Parliamentary Road and some of the children living in the district used to watch me at work. I thought it would be a good idea to paint them. There was only one difficulty – if they didn’t sit still I couldn’t paint them.’[4]This difficulty was overcome by the willingness of the twelve children of the Samson family - who lived nearby - to model for her. Ann Samson remembered: ‘To get to her studio you went up a spiral stair…She gave us paper to draw and toys to keep us quiet. ”Sit in peace” she’d say as she was drawing us…We used to get 3d off Joan for posing for her and went to Miss Bickett’s to buy sweets…She was really serious…She was never cheeky or angry.’[5]Two of Ann’s Samson siblings are the sitters in The Yellow Jumper. It comes from a celebrated series that Eardley began in the early 1960s, depicting two children positioned in front of a wall. This was often, as can be seen here, the red wall of the scrap-metal business on the ground-floor beneath her studio. The word ‘METAL’ in The Yellow Jumper is a direct quotation from the graffiti-surrounded advertising upon it and was applied using an old set of stencils.Indeed, The Yellow Jumper contains all the elements which have been described as the key themes in Eardley’s figurative work: ‘The bright…ground…studded with a collage of sweet-paper wrappers, foil from cigarette packets and newspaper scraps. The worn letters of the…shop-fronts has been stencilled on. The oddly patterned clothes speak of the hand-me-down items we see in Eardley’s own photographs and sketches of the children and create an intense visual texture.’[6] The flotsam and jetsam of Glasgow street life have been collected and used in the creation of the work and she even pressed into the support, applying literal graffiti to the painting rather than simply depicting it. Film footage of Eardley painting a closely related work shows the speed, energy and physicality with which she worked.[7] She often re-used canvases and there is a painting of Glasgow tenements on the reverse of The Yellow Jumper.The painting’s square format focusses attention on the half-length children, who gazed directly at the artist and now at the viewer. Their ease and intimacy is clear in a pose in which they wrap their arms around each other and press themselves together. Eardley’s use of paint and colour to layer up, for example, facial features and to describe clothing, as well as to re-create the surfaces and atmosphere of the outdoor world, is extraordinary. Her expressiveness borders on the abstract in some passages of this vibrant and masterful image.The Yellow Jumper is closely related to Two Children, c.1962 and Two Children before Lettered Wall, 1963 (both Private Collection), which were shown in the National Galleries of Scotland 2016 exhibition Joan Eardley: A Sense of Place, and to Brian and Pat Samson, on long-loan to Gracefield Arts Centre, Dumfries from the Walker Family.We are grateful to Ann Samson and Jan Patience for their help in researching this work.Endnotes can be viewed on our website. [1]As recalled by Robert Henriques in 1955, see Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, Edinburgh 2016, p. 15 and p.127, n.15.[2] As quoted in 1959, see Elliott and Galastro, op.cit., p.14 and p.127, n.8.[3] See Elliott and Galastro, ibid., p.17.[4] See Elliott and Galastro, ibid., p.17.[5] See Elliott and Galastro, ibid., p.19.[6] Fiona Pearson and Sara Stevenson, Joan Eardley, Edinburgh 2007, p.73.[7] See Laurence Henson (Director), Three Scottish Painters, Templar Film Studios sponsored by The Scottish Committee of the Arts Council, The British Council and the Films of Scotland Committee, 1963, from approximately 6:04, see https://movingimage.nls.uk/film/2263 (accessed 7 November 2022).
§ ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998) STILL LIFE WITH CLOWN AND BIRDCAGE Signed and dated '96, oil on canvasDimensions:101.5cm x 76cm (40in x 30in)Provenance:Exhibited: The Scottish Gallery, Edinburgh, Alberto Morrocco New Paintings, Festival Exhibition, 1996, no.6
Lydia Corbett/Sylvette David, French b.1934 - Still life with women; acrylic and ink on paper, signed lower left 'Sylvette David', also signed along bottom right edge 'Lydia Corbett', 37 x 50 cm (ARR) Note: an artist in her own right, she is also well known for sitting for Picasso in his 'Sylvette' series of paintings
Anne Redpath RSA ARA ARWS, Scottish 1895-1965 - Still Life with Staffordshire Figure, 1955; ink wash on paper, signed lower right 'Anne Redpath', 35.3 x 55 cm (ARR) Provenance: with Mercury Gallery, London (according to the label attached to the reverse of the frame); the estate of the late designer Anthony Powell, purchased from the above in 1975 Note: Anne Redpath is one of the best loved Scottish artists of the 20th century, known for the subtle colouration of her work. Redpath was a natural heir to the Scottish Colourists such as FCB Cadell and S J Peploe, continuing a tradition in Scottish painting of experimentation with the modernist still life. The present work in black and white shows how carefully her works are composed, the form emerging from the tonal composition.
George Kennerley (British 1908-2009) Still life with vase of flowers on a table Signed, acrylic on board.41cm x 31cm (16.25in x 12.25in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.
Nicholas Horsfield (British 1917-2005) Still life with cup and saucer Signed and dated 1980 on verso, oil on canvas.22cm x 29.5cm (8.75in x 11.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately reframed but not glazed.
* LADY LUCINDA L MACKAY (SCOTTISH b. 1941),TWO VASES OF ANEMONEoil on canvas, signed, titled label versoimage size 51cm x 41cm, overall size 61cm x 51cm Framed. Artist's label verso.Note: Born in Berkshire, Mackay was brought up in Scotland and educated in Switzerland. She trained at Edinburgh College of Art under William Gillies, graduating in 1965, and undertook postgraduate studies at the Central School of Art, London in 1973. Alongside her career as a professional artist, painting portraits, landscapes and still-life and exhibiting widely, Mackay has worked as a teacher of art, design and ceramics. Her paintings are characterised by bold brushwork and vibrant colours. Mackay lives in Edinburgh. Nine of Lucinda Mackay's works are held in UK public collections including The National Galleries of Scotland.
* ETHEL WALKER (SCOTTISH b. 1941),STUDY IN BLUEoil on board, signed, titled and dated 2001 label versoimage size 82cm x 82cm, overall size 101cm x 101cm Framed and under glass. Label verso: The Gatehouse Gallery, Glasgow.Comment: a superb example of Ethel Walker's celebrated still life paintings and almost certainly the largest Ethel Walker we've ever offered.Note: 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).
* JOHN BULLOCH SOUTER (SCOTTISH 1890 - 1972),GRAN VIAwatercolour on paperimage size 24cm x 33cm, overall size 40cm x 49cm Mounted, framed and under glass. Label verso: The Late John Bulloch Souter Archive, Rendezvous Gallery, Aberdeen.Note: John Bulloch Souter, was born in Aberdeen and studied at Gray`s School of Art. After serving in the Royal Medical Corps during World War I, JBS became a highly successful and celebrated portrait painter. Sitters included Gladys Cooper, Ivor Novello, Fay Compton, entertainers and celebrities of the era, academics, military officers and society figures. He exhibited at The Redfern Gallery, the Fine Art Society, Royal Scottish Academy and the Royal Academy. During World War II he worked in the Censorship Department as a translator. He also restored paintings from The Royal Collection at Windsor Castle. In 1926 his painting "The Breakdown" caused an international media storm and it was eventually withdrawn from the Royal Academy. The original painting was destroyed by Souter but he repainted a copy from the original sketches in 1962 which he amusingly dated 1926 - 62 and which was sold in Edinburgh in 2018 for £60.000. Souter married Christian Grace Reid in February 1926 at St Paul's Parish Church, Hammersmith. The couple were Jazz enthusiasts and were also regular visitors to the Opera. London was, and is, one of the most vibrant cities in the world and the diversity of entertainment appealed to the young Aberdonian and his beautiful wife. After 26 years of married life in London, Jack (as he was known to his friends and family) and Christian moved back to Aberdeen (1952) when JBS inherited "Kinnoull" 19, Anderson Drive in the city, from his sister Anne. Souter was a remarkably talented artist who painted an extraordinarily diverse range of subject matter in a variety of styles and mediums. He painted one of the most controversial British pictures of the 20th century and in so doing, possibly inadvertently, highlighted prejudices virulent in the 1920s and still resonant and acutely "current" almost a century later.
SIMON LAURIE RSW RGI (SCOTTISH b. 1964),BREAKFAST TABLEacrylic on board, signedimage size 80cm x 85cm, overall size 102cm x 107cm Framed.Note: Simon Laurie is a contemporary Scottish landscape and still life artist, whose paintings are characterised by references to Scottish life and society, incorporating fish, boats, religious symbols and everyday items. These objects are arranged upon a rich textural ground created by the application of multiple layers of acrylic paint. He has worked with acrylic paint for almost 30 years, developing his own individual style and fundamental visual language. Laurie was born in Glasgow and studied at Glasgow School of Art from 1982 to 1988. He was elected a member of the Royal Scottish Society of Painters in Watercolours (RSW) in 1991 and the Royal Glasgow Institute (RGI) in 2000, where he served as convener for six years. He has had many solo shows, both in the UK and abroad, and has won many prestigious and major awards. His work is held in many public, private and corporate collections including Aberdeen Art Gallery, Contemporary Arts Society, London; Feren Art Gallery, Hull; Freshfields, London; Leicestershire Education Committee; Lillie Art Gallery, Milngavie; Nationwide Building Society, London; Royal Bank of Scotland; TSB Headquarters, London; Unilever PLC; William Teacher and Sons Ltd; Wyse Group; Walter Scott Investments Ltd, Edinburgh; Biggart Baillie; Aberdeen Asset Management; The Whisky Society, Edinburgh; Adam and Co Bank; Provident Financial; The Scottish Arts Club, Edinburgh.
* FIONA STURROCK,STILL LIFE OF FLOWERS IN A VASEoil on board, signedimage size 59cm x 59cm, overall size 79cm x 79cm Framed.Note: Fiona Sturrock’s paintings demonstrate her love of colour and the practice of mixing colour, laying down patterns of light, shade and texture to produce bold representations of what she is observing. She tends to work on one painting at a time, giving it full focus and energy, which often translates visibly in the intensity of colour and boldness of the finished piece of work. Fiona paints from a mixture of life scenes, photographs and imagination. She is influenced by historical works of Colourists and Impressionists, and is hugely inspired by the wealth and richness of contemporary Scottish art that surrounds us in the present day. Fiona’s work features across a number of galleries and is held in private collections internationally.
* JOHN G BOYD RP RGI (SCOTTISH 1940 - 2001),SHED, BARFED oil on canvas, signed, titled and dated 1973 versoimage size 61cm x 91cm, overall size 78cm x 108cm Framed and under glass. Note: John Boyd was born in Stonehaven, Kincardineshire in 1940. He studied at Gray's School of Art, Aberdeen (1958 - 1962) where he was taught by Robert Henderson Blyth. He briefly studied at Hospitalfield where he met John Byrne and Sandy Fraser, who was to become a lifelong friend. Boyd moved to Glasgow and from 1967 - 1988 he taught at Glasgow School of Art before turning to painting full time. His first solo show was held in Edinburgh in 1967, after which he exhibited regularly at the RA, the RSA, the RGI and RSPP. A major retrospective of his work was held in Glasgow, in 1994. Boyd won numerous awards and was elected a member of the Royal Glasgow Institute of Fine Arts in 1982 and a member of the Royal Society of Portrait Painters in 1989. His work is held in private collections owned by, among others, the Earl of Moray and Lord MacFarlane as well as numerous corporate collections including The Fleming Collection, Bank of Ireland, Murray Johnson and Arthur Anderson. Public collections include the Paisley Art Gallery, the People's Palace, Glasgow Museums and the Lillie Art Gallery, Milngavie. He was noted for his strongly coloured landscapes, portraits and still life's, mostly in oils, with his best work being produced in the last ten years of his life.
Loading...
