From the estate of the late 'Rocket' George Wander 1971 BSA 740cc Rocket III Mk1Registration no. EVB 92J Frame no. HD00193 A75REngine no. HD00193 A75R•Owned by Rocket George since April 1977•Fastidiously maintained in the current ownership•Large history fileThis was the bike that gave our friend Rocket George Wander his nickname. In April 1977 George responded to a small ad which read 'BSA Rocket Three £550 or P/X cheaper British bike'. We know this because the very small advert is taped to the back of an envelope (within the history file) which has been cut in half. The bottom half of the same envelope bears a handwritten and dated receipt for £540 – so we know that George negotiated a £10 reduction in the price! It was the start of a 45 year love affair, and the bike became part of the family. The BSA triple had a short production life which started in 1968 and ended prematurely in 1972 due to the company's huge financial problems. By contrast the last Triumph T160 rolled off the production line in 1976. The Rocket 3 and Trident were brought to the market shortly before Honda's ground-breaking CB750. The triples were faster, but the styling didn't meet with universal approval, and they lacked the glamour of the Honda which boasted a five-speed gearbox, an overhead camshaft, a disc brake, and an electric starter. A successful but hugely expensive racing programme ceased when the money ran out. By this time the British motorcycle industry was in deep trouble, and the arrival of several other Japanese superbikes was imminent. George's Rocket 3 is supplied with a current V5C, an older V5, multiple tax discs, the oldest being 1982, and a stack of old MoT certificates. The earliest supplied MoT was issued 14.2.78 and records a mileage of 20,327. By 2005 the mileage on the MoT certificate had increased to 45,427, but in 2006 it is quoted as only 37. Therefore a new speedometer is presumed to have been fitted around that time. The bike is offered with a Haynes manual, BSA's own workshop manual, parts list, and maintenance notes. George's BSA M24 website includes a photo of the Rocket 3 with the comment 'fully restored in 2006', but the very large number of invoices supplied suggest that he may also have restored it at some previous date, and that regular maintenance was certainly ongoing. The engine oil is believed to have been drained, and some recommissioning will be necessary following a period of inactivity. Prospective bidders should satisfy themselves as to the motorcycle's completeness and mechanical condition prior to bidding. Offered with keys. There cannot be many BSA triples boasting longer ownership or such fastidious maintenance. George's cherished Rocket 3 is offered for sale now because he couldn't face parting with it while he was still with us. This is a rare opportunity to acquire a much-loved machine.Footnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
We found 77111 price guide item(s) matching your search
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- List
- Grid
-
77111 item(s)/page
SCOTTISH VS. ENGLISH LEAGUE MEDAL 1899,awarded to Robert 'Bobby' Walker of Heart of Midlothian F.C., obverse with enamelled lion rampant motif to centre, below blue enamelled scrolling border inscribed 'Scottish English League 1899', the reverse inscribed 'R. Walker', in nine carat gold, 4.3cm including bale, approx. 14g, offered alongside a copy of The Heart of Midlothian Football Club; A Pictorial History 1874-1984, a photograph of him in later life, and newspaper clippingsNote: Bobby Walker made over 300 appearances for Hearts between 1896 and 1919. He is often considered one of their greatest ever players and played a pivotal role in the early history of the club, setting many records. When he signed, he played in a few games that helped clinch Heart's second League title in 1897. He was the first Hearts player to score over 100 league goals, and scored their 1000th SFL goal. Other achievements include his 33 goals against Hibs, still a record. He was the most capped Scottish footballer for Heart of Midlothian with 29 caps until the record was broken in 2006 by Steven Pressley. He also held the Scotland national team caps record at various points from 1905 to 1931. The Football Encyclopaedia from 1934, edited by Frank Johnston, referred to him simply as "Bobby Walker, the greatest natural footballer who ever played."Condition generally good. Minor nicks to enamel on 'League' and 'English' as per original image. Degree of fading to name. All as expected with a medal of this age.
**PLEASE NOTE COLLECTION OF THIS LOT WILL BE FROM BISHTON HALL STAFFORDSHIRE**After Sir William Russell Flint (Scottish 1880—1969)Madame du Barry as a BachanteColour reproductionTitled in pencil on the margin39cm x 25cm And A large colour print of a still life of flowers, modern, 73cm x 58cm (2)Cond: both good state
ERNIE BARNES (1938-2009)The Gospel Truth 1985 signedacrylic on canvas 91.4 by 121.9 cm. 36 by 48 in.This work was executed in 1985. Footnotes:We wish to thank the Ernie Barnes Family Trust for their kind assistance in cataloguing this lot.ProvenanceCollection of Tim Hauser, California (acquired directly from the artist in 1985)Thence by descent to the present ownerExhibitedRiverside, Riverside Art Museum, Visual Voice, 2016Ernie Barnes' legacy has crystallized as one of the most significant and upstanding careers of a late great American artist. A young, aspiring boy from segregated Durham, North Carolina, who took to the football pitch as a professional player in the NFL before his first solo show in New York in 1966, Barnes' artistic inclinations were a constant throughout his life that he wove seamlessly together with his love of sport, music, and the sense of community and shared experience that underpinned his creative passion. The gospel halls of Barnes have become some of the most iconic and highly sought-after paintings by the artist, and The Gospel Truth is arguably the finest example of which to come to market. Displaying a remarkable attention to detail and almost chiaroscuro sense of space and light – whose hallowed windows descend in golden sunbeams dappled across the congregation – one cannot shake the imagistic power of a canvas that is bursting with a rapturous joy, marking the height of Barnes' career but a year after he was the official artist of the 1984 Olympic Games in Los Angeles. Across the glorious intensity of The Gospel Truth, Barnes revels in a kind of ecstasy that is both unique to his painting and to the American south that he was raised in. His subjects cast their arms aloft, heads raised to the sky, some held between hands, others throw their bodies and twist their faces in uncontrollable adulation. Recalling his childhood trepidation at the volume and fervour of a congregation in the throes of gospel verse, Barnes glimpsed something that remained at the heart of his career throughout his life; a sense of human presence and power that is found in the individual and in the collective consciousness. In the aptly titled The Gospel Truth this essential quality comes to the fore with remarkable force and artistry. In the finest examples by the artist, the light, depth of field and figurative dynamism identifies masterworks from great paintings – this is such a piece. From the halos that cascade amongst the pulsating crowd to the vignette of the lower edges that frames our gaze, the unique hazy glow of Barnes' paintings makes them radiate an inner light, projecting from the wall with a swirling, intensely layered surface that glistens as it catches the hips and shoulders of the dancing congregation. The Gospel Truth boasts a palette that is immaculately refined and delicately shifts between sunbeam and shadow. Like Barnes' night-time dance venues and pool halls that capture after-hours socialising and amusement, the Sunday morning of The Gospel Truth reveals another kind of liberation, one of worship, community and song, that nevertheless spills over into a party of stupendous energy. Purchased from the artist by Tim Hauser, eight-time Grammy winner and founder of The Manhattan Transfer, the present work bespeaks a musical passion shared between two masters of their craft. Introduced by the bassist Kenny Gradney of Little Feat., who also came up with the name 'The Gospel Truth', the painting was acquired fresh off Barnes' easel by Hauser and would be a brightening focal point of his collection amongst friends. It comes to market now as one of the most remarkable gospel canvases to have remained in constant ownership since its making, full of unique details and qualities that make it one of the most inspired paintings by the artist. Barnes' life and career has become refocused since his retrospective at the California African American Museum in summer 2019. If the truly American Renaissance man existed, it was him. He was unquestionably a natural artist, demonstrating a childhood fascination with the language of painting, intrigued by Delacroix, Michelangelo, and Toulouse-Lautrec. He was rarely without his sketchbook that accompanied him to classroom and track and field alike. Barnes' early sporting ability was an enabler for his artistic pursuit. He earned a full scholarship to the North Carolina College at Durham where he majored in art, and in turn was drafted to the Baltimore Colts in 1959, going on to play for the San Diego Chargers and Denver Broncos, before calling time on his professional career in 1965.Nevertheless, it would be a mistake to consider his term in the NFL a segue from his painting. From his early interests, Barnes' athleticism influenced his artistic inclinations in the most beautiful of ways and placed him at the epicentre of an Americana that made him a bona fide voice of a generation. From his high school captaincy of the football team to the biggest teams in the NFL, his appreciation of the body – of form, of strength, of stamina, of limits – was ingrained. Commenting on his relationship to sport and its impact on his practice, Barnes commented that 'being an athlete helped me to formulate an analysis of movement, and movement is what I wanted to capture on canvas more than anything else; I can't stand a static canvas' (the artist in: 'ernie barnes this is my art', YouTube, 28 July 2011). Athletes and artists share this deep connection, recognizing the nature of physicality and the performative translations that are essential to their endeavours. From illustrating his teammates to the dance halls and marching bands of his native Durham, the elongated, mannerist forms of his characters evince an understanding beyond the visual; of a figuration that embodies the mood, the intensity, and the soul of person.The individual, or moreover, the subjective experience, is at the heart of Barnes' artistic design. Throughout The Gospel Truth and his career at large, the closed eyes of Barnes' characters have been a definitive and iconic motif, one that speaks volumes of how he illustrates the plurality of black experience and culture. Barnes appreciated art as the most complete and intense form of expression of the inner life, but undoubtedly recognized the transformative power of representation in his own painting. The drawn eyelids of his characters he regarded as a manifestation of 'how blind we are to one another's humanity,' but he went still further: 'We stop at color quite often [...] We look upon each other and decide immediately: This person is Black, so he must be ... This person lives in poverty, so he must be ...' (the artist in: Kareem Abdul-Jabbar, 'How Athlete-Artist Ernie Barnes Captured Black Culture's 'Joy and Communal Dignity'', hollywoodreporter.com, 10 May 2019). The expressive body became the locus for Barnes' painting that literally embodied the humanity he sought to reproduce.As the golden light pierces the windows and rains upon the choral troupe and seated attendees, one cannot help but feel the ebullience and religiosity that makes The Gospel Truth such a profound celebration of black joy and community. It is an unashamedly hip-shaking vision whose rhythm and noise is tantalisingly close to breaking from the walls of its frame. For Barnes, it represents one of the most genuine and magnificent scenes of the America that he knew and was raised in, and thus one of the most collectible paintings to have come to market by the artist. A richly coloured and highly contrasted palette, it demonstrates the masterly confidence that Ba... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Catalan or Valencian school, late 17th century."Still life of flowers".Oil on canvas.Re-drawn.Restorations. Lack of polychromy. Frame with woodworm.Probably, it was a painting of overdoor.Measurements: 81 x 64,5 cm.An elegant vase decorated with gilded bronze gallons holds a variety of floral species: roses, carnations, daisies... which combine their beautiful corollas in a somewhat anarchic and wild way. The open curtain and the framing based on fluted pilasters lend a certain theatricality to the scene, as if it were an aristocratic portrait. The vase rests on a velvet cloth. This emphasis on staging is characteristic of the Baroque period in which the painting is set. The painter has paid great attention to the precise description of each flower and each of its petals, a detail that is also evident in the painstaking rendering of the textures and qualities of the bronze and marble. The format and subject of the painting suggest that it could have been a still life for a door or window.
Granada school, second half of the 17th century."Virgin and Child".Oil on canvas.Frame of the XVIII century.Measurements: 100 x 76,5 cm; 90 x 66 cm (frame).A very young Virgin, of almost adolescent aspect, holds the Infant Jesus with a soft and tender gesture, taking the small infantile foot with her left hand, and leaning the little head against her chest. The painting corresponds to the subject matter, composition and technique of Pedro Atanasio, strongly influenced by Alonso Cano and Van Dyck. The love between mother and child is emphasised through a slightly idealised, extremely tender representation, with strong baroque light modelling faces and bodies. Skilful glazes reproduce the transparency of the canvases. St John's face appears on one side, looking enraptured by the scene.During the 17th and 18th centuries, ambitious pictorial series and extensive iconographic programmes were created for churches and convents, as well as printed prints, medals and reliquaries for private devotion. As a whole, regardless of their size or medium, these images fulfilled the aim of sacralising everyday life beyond the altars. As for the Granada school, when Alonso Cano returned to Granada in 1652, he attracted all the artists to him. It could almost be said that the features that characterise the school are the features of its style. Thus, in all of them, the search for the ideal and elegant in the types, the avoidance of realism and genre scenes, paying little attention to portraiture and almost no attention to still life. Rich colour intonations abound in all of them, with specific palette preferences, such as the use of asphalt, as well as a taste for Flemish painting, which would have been encouraged by Pedro de Moya, who is said to have travelled to Flanders and England. From its style, we can relate this image to the hand of Pedro Atanasio de Bocanegra, a painter from Granada who was a disciple of Alonso Cano, Pedro Moya and Juan de Sevilla, the most active artist in Granada in the 1660s. His first known work was the decorations for the Corpus Christi festivities in his native city in 1661. During the following years we find commissions such as the series of canvases he executed between 1665 and 1666 for the cloister of the convent of Nuestra Señora de Gracia, now lost; or the numerous paintings, including the "Conversion of Saint Paul", which he painted between 1668 and 1672 for the altar of the college of the Society of Jesus, now the church of Saints Justo and Pastor (in situ). At the same time he was commissioned to decorate the Carthusian monastery in Granada with large scenes from the life of the Virgin. He was also appointed painter to the cathedral. After this period he went to Seville in 1686, and from there he left for the court of Madrid, where he was protected by Don Pedro de Toledo, Marquis of Mancera. Thanks to the influence of his protector, Bocanegra was awarded the title of painter to the king "ad honorem" for his painting "Allegory of Justice", inspired by a mid-16th-century Venetian print and now in the Royal Academy of San Fernando. After his stay in Madrid, Pedro Bocanegra returned to Granada. In addition to the aforementioned art galleries and religious centres, works by this master can now be found in the Zaragoza Museum, the Goya Museum in Castres, the Diocesan Museum of Sacred Art in Vitoria and the Fine Arts Museum in Granada, as well as in various private collections.
Dutch school; 17th century."Portrait of a lady.Oil on panel.It presents faults and restorations.Measurements: 41 x 34,5 cm; 55,5 x 49 cm (frame).The delicacy of the stroke and a skill in the handling of the drawing of the author reveal the portrait of a young lady. Despite the sobriety of the scene, which consists only of the bust of the sitter, the piece stands out for its quality, elegance and subtlety in such a way as to create a very psychologically charged scene, where we can intuit the personality of the young woman, whose clothes and ornaments subtly reveal her high social position to the viewer. The large ruff, the ornate headdress that gathers her hair, the pearl in her earring and even the freshness of her cheeks confirm her status.It was undoubtedly in the paintings of the Dutch school that the consequences of the political emancipation of the region and the economic prosperity of the liberal bourgeoisie were most overtly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, the taste for the real and the material, the sensitivity to the apparently insignificant, meant that the Dutch artist was at one with the reality of everyday life, without seeking any ideal that was alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect, masterly technique and a conceptual subtlety in the lyrical treatment of light. As a result of the break with Rome and the iconoclastic tendency of the Reformed Church, paintings with religious themes were eventually eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone in accordance with the new society. Portraits, landscapes and animals, still lifes and genre painting were the thematic formulas that became valuable in their own right and, as objects of domestic furniture - hence the small size of the paintings - were acquired by individuals from almost all social classes and classes of society.
Spanish or Italian school; first half of the 18th century."Gideon making an offering".Oil on canvas.It has slight restorations.It conserves a period frame.Measurements: 43 x 63 cm; 56 x 72 cm (frame).In this image the author shows us an image of biblical origin, starring Gideon and the Angel. Both characters define an earthly and a heavenly space, although the angel comes closer, descending from the sky and making fire flow from an altar, where the offerings are still on it. Off-centre, the figure of Gideon is presented in profile to the viewer, astonished by the presence of the angel. Both figures, heirs to and inspired by classical antiquity, show great dynamism, derived from the fluidity of their clothing and the counter-posed and foreshortened poses, which generate a sensation of space. The artist shows his pictorial mastery, not only through the main figures, but also with the landscape in the background and the still life in the lower foreground. The image is based on the narrative of Genesis, which says "On the eve of a Passover, Gideon uttered the complaint: "Where are all the wonders that God did for our fathers in this night, when he slew the first-born of the Egyptians, and Israel came out of bondage with glad hearts? Gideon asked for proof of God's will by means of three miracles: first a sign from the Angel of the Lord, in which the angel appeared to Gideon and caused fire to come out of a rock (Judges 6:11-22), and then two signs involving a fleece, performed on consecutive nights and exactly opposite each other. First he awoke with his fleece covered with dew, but the surrounding ground dried up. Then, the next morning, his fleece dry but the surrounding ground covered with dew (Judges 6:36-40).Formally, this work is dominated by the influence of the Roman-Bolognese classicism of the Carracci and their followers, one of the two great currents of the Italian Baroque, together with Caravaggist naturalism. Thus, the figures are monumental, with idealised faces and serene, balanced gestures, in an idealised representation based on classical canons. The rhetoric of the gestures, theatrical and eloquent, clearly baroque, is also typical of 17th-century Italian classicism. The importance of the chromatic aspect should also be noted, which is very well thought out, toned and balanced, centred on basic shades of red, ochre and blue. The way the scene is composed, with a circular rhythm, is also typical of this school of Baroque classicism.
* MOIRA BEATY (SCOTTISH 1922 - 2015), A STILL LIFE OF VIBRANT FLOWERS oil on board, signed image size 60cm x 34cm, overall size 69cm x 43cm Framed. Note: Moira went to Glasgow School of Art in 1939 where her contemporaries included Joan Eardley and Margot Sandeman. These three young women were regarded by their lecturers as the brightest stars of their generation. After one year as a student she was recruited to Bletchley Park where she worked as a code breaker, one of Churchill's 'corkscrew thinkers'. She returned to GSA in 1947 to complete her studies. Moira's enduring talent was recognised again in 2014 at the age of 92 with a sell out exhibition in Kirkcudbright. Moira Beaty was a resolute and determined woman who was an integral part of the famous group at Bletchley Park who did much to aid the Allies' victory in the Second World War. She worked in Hut 8 where Alan Turing and Peter Twinn set up the Naval Enigma Code. Beaty was responsible to Twinn - the first mathematician to be recruited to Bletchley. ''I discovered something,'' Beaty modestly remarked years later, ''a code within a code. I was immediately moved to within the codebreakers and became a cryptographer working on the German Secret Service codes.'' The Twinn team was involved in breaking the secretive Abwehr codes which were even more complicated than the ordinary military messages. The information this provided to the Allies in such major operations as the desert campaign, the D-Day landings and the sinking of the battleship Tirpitz proved vital to the war effort. Her first solo exhibition was at the Open Eye Gallery in Edinburgh in 1979 and at the Collins Gallery in Glasgow. Her works were also seen at the Cadogan Contemporary Gallery in London and around Dumfries - notably at the Gracefield Arts Centre. In 2001 Gracefield held a major retrospective exhibition of both Moira and Stuart Beaty's works, entitled Full Circle. In 2014 Beaty officially opened the Kirkcudbright Summer Art Exhibition: Glasgow Girls 1920 - 1960, and held a solo exhibition in the town's Harbour Cottage Gallery. Both exhibitions were hugely popular and, at 92, Moira Beaty was still making a strong impression and gaining new collectors. The two most recent examples of Moira Beaty's work (both significantly smaller than "A Still Life of Vibrant Flowers") to have been offered through our auctions have achieved hammer prices of £700 and £800.
* VIOLET MCNEISH KAY RSW (SCOTTISH 1914 - 1971), STILL LIFE WITH CHINESE VASE oil on board, signed image size 44cm x 34cm, overall size 59cm x 49cm Framed. Note: Violet Kay was a painter in oil and watercolour; she was a teacher of art and crafts. Born in Glasgow the daughter of the artist James Kay, she studied at Glasgow School of Art from 1931–3 under William Somerville Shanks and W O Hutchison. Kay Exhibited at the RSW, RSA, Paisley Institute, and Glasgow Lady Artists’ Club. She joined in 1935 and won its Lauder Award in 1948. The Pilgrim Trust and Paisley Corporation bought her work. Lived at Garelochhead, Dunbartonshire, but died in Helensburgh.
* DAVID MCLEOD MARTIN RSW RGI (SCOTTISH 1922 - 2018), GULLS & HARBOUR, ANSTRUTHER pastel on paper, titled label verso image size 34cm x 52cm, overall size 50cm x 72cm Mounted, framed and under glass. Artist's label verso. Note: David sold his paintings through our auctions from time to time and was always kind, courteous and well liked. David McLeod Martin was born in Glasgow in 1922. He studied at Glasgow School of Art from 1940 to 1942 before serving in India with the Royal Air Force between 1942 and 1946. He returned to Glasgow School of Art in 1946 where he studied under David Donaldson and met his future wife, the painter Isobel Smith. After graduating from Glasgow School of Art in 1948 he pursued a career in teaching. He married Isobel in 1949 and moved to Eaglesham where he lived for the rest of his life. He was elected a member of the Royal Glasgow Institute of Fine Arts in 1959 and the Royal Scottish Society of Painters in Watercolour in 1961. Between 1973 and his retirement in 1983, David Martin was Principal Teacher of Art at Hamilton Grammar School. After his retirement from teaching he concentrated full time on his painting. Numerous highly successful solo shows in London were to follow and he continued to enjoy commercial success and critical acclaim both at home and throughout the UK for the rest of his life. David Martin was widely regarded as one of the finest still life and landscape painters of his generation and his work is held in numerous public, corporate and notable private collections including The Arts Council of Scotland, The City of Edinburgh Art Collection, Perth Museum and Art Gallery, The Dick Institute, Kilmarnock, Robert Fleming and Company Ltd, Linklaters and Paine, Lord MacFarlane, The Earl of Moray, Credit Lyonnais Bank, Warburg Asset Management and the Clydesdale Bank. A major retrospective of his work was held at Perth Museum and Art Gallery in 1999.
ANDRÉ DERAIN (1880-1954)Barques à marée basse signed 'a derain' (lower right)oil on canvas laid down on panel15.8 x 15.9cm (6 1/4 x 6 1/4in).Painted circa 1934Footnotes:The authenticity of this work has been confirmed by the Comité André Derain. ProvenanceContessa Anna Laetitia Pecci-Blunt Collection, France and Italy.Thence by descent to the previous owner.Private collection, Rome (acquired from the above).Anna Laetitia Pecci-Blunt (1885-1971), better known as 'Mimi', was a distinguished art collector in Italy. She was born into a noble and cultivated family from Perugia, and was the goddaughter of Pope Leo XIII (Gioacchino Pecci). Growing up in high society, Mimi spent her formative years abroad before making Rome her base. In 1919, she married the wealthy American banker, Cecil Blunt. The newlyweds settled in Paris where they opened their home to musicians, artists, poets, and dancers. Artists such as Serge Diaghilev, Jean Cocteau, Marie Laurencin, Salvador Dalí and Léonard Tsuguharu Foujita were frequent guests, the latter portraying the Pecci-Blunt family in 1923. It was in Paris that her life-long journey of art collecting started, and where her passion for fostering the exchange between Italian and foreign artists truly came to life. The Pecci-Blunt residence grew into an artistic hub where an eccentric mix of royals, intellectuals and celebrities would gather, and lavish costume balls were held. Homes in Tuscany, Rome and the US followed. In the late 1930s, Mimi opened an extension of her Roman gallery La Cometa in New York, where she was the first to showcase Italian contemporary artists in a scene still largely dominated by French art. After the liberation of Europe, the family returned to Italy where Mimi continued to be an advocate for the arts until her death in 1971.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
* ANNE REDPATH OBE RSA ARA (SCOTTISH 1895 - 1965),STILL LIFE WITH FLOWERS FRUITS AND VEGETABLES watercolour on paper, signedimage size 39cm x 54cm, overall size 65.5cm x 78.5cm Mounted, framed and under glass.Note: Anne was born in Galashiels, the daughter of a tweed designer (she later described how she used flecks of colour in a manner similar to tweed makers: ‘I do with a spot of red or yellow in a harmony of grey, what my father did in his tweed’). In 1913 she studied at Edinburgh College of Art and in 1920 she married James Beattie Michie, an architect with the War Graves Commission in France, where they lived for the next fourteen years. During this time she did little painting, devoting herself to her family (she had three sons). In 1934 she returned to Scotland, living first in Hawick and then from 1949 in Edinburgh (she became gradually estranged from her husband, who worked in London). From the 1950s she attained a distinguished position in the Scottish art world and was awarded various honours. Her main subjects were landscapes and still-lifes, richly coloured and broadly handled in the tradition of the Scottish Colourists (in her later work there is sometimes a hint of Expressionism). She travelled a good deal, painting landscapes in, for example, Spain and Portugal. Redpath retains a position as one of the most highly regarded Scottish artists of the twentieth century and UK public collections hold one hundred and sixteen examples of her work.
ROBERT GEMMELL HUTCHISON RSA RBA ROI RSW (SCOTTISH 1855 - 1936),CARNOUSTIEoil on board, signedimage size 22cm x 29cm, overall size 35cm x 42cm Framed.Note: Robert Gemmell Hutchison was born at 35, North Richmond Street, Edinburgh on 1st July 1855. He was the first child of George Hutchison, a brass founder, and his wife Margaret Forman. Soon after his birth, the family moved to 37, Carrubbers Close, Canongate. It is not recorded which school Robert attended but he did not enjoy the experience! He was described as “scraping from class to class with as little work as possible, and, as soon as he could, leaving it gladly”. From the census of 1871, the family was still at 37, Carrubbers Close and had increased to seven; three sons and four daughters. With encouragement from his mother of whom he “always speaks with great reverence”, he was determined to become an artist and aged 17, enrolled at the Board of Manufacturers` School of Art in Edinburgh (also called the Trustees Academy). One of his instructors here was William McTaggart. He also attended the Royal Scottish Academy (RSA) Schools. At this time, he received valuable advice and help from the artist J. Campbell Noble RSA and thus encouraged, he sent some of his paintings to the RSA Annual Exhibitions. After several rejections, he was eventually successful in 1878 when he had three small landscapes exhibited: Youthful Labour, Quiet Pastures and A Country Well. One of these was bought by the Royal Association for the Promotion of the Fine Arts in Scotland and for which Hutchison received the sum of six guineas. He submitted the paintings from his studio at 1, India Buildings, Edinburgh. On 24th June 1879, Robert aged 23, married Janet Boe who was 21 and the daughter of a grocer in Biggar. The marriage took place at 4, Morningside Park, Edinburgh. On the marriage certificate he listed his occupation as “artist (figure painter)” and his address as 38, Jamaica Street, Edinburgh. The couple had nine children only five of whom survived infancy. These were four daughters; Jane (1880-1956), Marion Maud (1887-1963), Roberta Louise (1889-1966), Ann Carr Forman (1893-1978) and a son, George Jackson Hutchison who was born in 1895. After a period spent painting landscapes along the Fife coast, Robert began to specialise in scenes of Scottish rural life especially those involving children and in the year after his marriage, he had a painting The Empty Cradle exhibited at the Royal Academy (RA) in London. His studio was now at 53, George Street, Edinburgh. There followed five exhibits at the RA over the next decade. He continued to exhibit annually at the RSA and in 1886 was awarded a prize for his painting Boys Guddling Trout. From 1888 onwards he also exhibited at the Royal Glasgow Institute. At the 1891 Census he was an “artist, figure and portrait”, living at 4, Melville Place, Edinburgh with his wife and four daughters. His son George was born at the same address four years later. He began to paint and exhibit widely throughout Britain. A favourite location was Carnoustie in Angus where he had a house, “Coral Den”, in William Street. He also painted at Machrihanish, at Musselburgh and on the Farne Islands. Robert was elected to many prestigious institutions throughout the British Isles including the Royal Scottish Society of Painters in Watercolour, (RSW) in 1895, the Royal Society of British Artists (RBA), 1896, the Royal Institute of Oil Painters (ROI), and Associate of the Royal Scottish Academy (ARSA) in 1901. In 1903 he exhibited a work Bairnies Cuddle Doon at the Paris Salon. He was awarded a gold medal and the painting was purchased by the Scottish Modern Arts Association. He was awarded a second gold medal at the Paris Salon Exhibition of 1928 for his painting The White Seam. This was bought by Paisley Corporation and is now at the Paisley Museum and Art Gallery. Hutchison was elected to full membership of the RSA in 1911, replacing William McTaggart who had died the previous year. Several examples of Gemmell Hutchison's paintings have sold at auction in recent years for figures over and around £100,000. He retains his position as one of Scotland's best loved artists of the late 19th and early 20th century.
* SIR WILLIAM MACTAGGART HRA PRSA HRSW LLD (SCOTTISH 1903 - 1981),STILL LIFE WITH MOONLIGHT OVER DRUMMOND PLACE GARDENSoil on canvas, signed, titled label versoimage size 78cm x 130cm, overall size 93cm x 143cmFramed. Handwritten artist's label verso.Comment: MacTaggart lived at No 4 Drummond Place and this is a view from one of his windows, looking east towards Bellevue Church.Note: Born at Loanhead in 1903, Sir William MacTaggart is one of the best-loved and yet least well-understood of Scottish artists. MacTaggart, grandson of the great landscape painter, took his Diploma at the same time as William Gillies and Geissler and followed the same route to Paris. Back in Edinburgh he was a founder member of the 1922 Group (of younger painters), in 1927 he joined the Society of Eight whose members included Colourists Cadell and Peploe and began a consistently successful exhibition career starting at The Scottish Gallery in 1929. A sumptuous painter in oils, he was a prolific draughtsman and preferred pastel to watercolour; instinctively an expressionist and romantic painter his outlook shifted dramatically after the Munch exhibition at the SSA in 1931 (eventually marrying the Norwegian curator Fanny Aavatsmark) and again after studying Roualt in Paris in the early sixties. MacTaggart taught at the Edinburgh College of Art, 1933–58, and was president of the Royal Scottish Academy, 1959–64. He was knighted in 1962 and made a Chevalier of the Legion of Honour in 1968. UK Public collections hold seventy-three of his paintings.Condition is good overall, with no visible issues.
Mary Fedden OBE RA RWA, British 1915 - 2012 - Still life with eggs and butterfly, 2006; watercolour on paper, signed and dated lower left 'Fedden '06', 19.7 x 12 cm (ARR) Provenance: NSPCC Art Auction, Autumn 2006, no.23; private collection, purchased from the above and thence by descent Note: Mary Fedden is one of the most beloved British artists of the twentieth century, known for her harmonious and carefully composed landscapes and still lifes. This work is an excellent example of her nature style, in its bright palette and flattened perspective, that is comparable with her contemporaries Winifred Nicholson and Anne Redpath. Married to the painter Julian Trevelyan, Fedden exhibited in major events such as the 1951 Festival of Britain and later taught at the Royal College of Art, where her students included David Hockney and Patrick Caulfield. Her works are in major UK collections, including the Tate, New Hall Cambridge and Bristol Art Gallery. Please refer to department for condition report
A PAIR OF EARLY 20TH CENTURY 18 CARAT GOLD CUFFLINKS BIRMINGHAM 1912 The oval panels alternately engraved with a crest and the initials EMP, with full hallmark and M&M makers mark, with belcher link connectors Size/dimensions: panels 1.8cm long Gross weight: 13.1 grams Condition Report: There is wear to the cufflinks commensurate with use, there is some rubbing to the detail on the cufflinks, there is thinning between the links, but they still have some life left. Condition Report Disclaimer
Loading...-
77111 item(s)/page