* GLEN SCOULLER RSW RGI DA (SCOTTISH b. 1950),STILL LIFE WITH HEN & CORMORANToil on canvas, signed, titled label versoimage size 77cm x 77cm, overall size 95cm x 95cm Framed. Artist's label verso.Note: Glen Scouller is a contemporary Scottish artist, known for his vibrant and expressive landscapes and still lifes, which showcase his interest in bold colours and the movement of light. Scouller was born in Glasgow in 1950 and studied at Glasgow School of Art from 1968-73. As a student, he won the Royal Scottish Academy Painting Award and in 1973, was awarded the Post Graduate Study Award, the WO Hutcheson Prize for Drawing and Travelling Scholarship to Greece. In the following years, Scouller won more awards for his work, including the Lauder Award, Glasgow Art Club and Scottish Amicable Award, Royal Glasgow Institute of Fine Arts. He regularly exhibits at the Royal Scottish Academy, The Royal Glasgow Institute of Fine Arts and the Royal Scottish Society of Painters in Watercolour. In 1989, he was elected a member of the Royal Glasgow Institute of the Fine Arts, followed by the Royal Scottish Society of Painters in Watercolour in 1997.Since 1977, Scouller has had over 40 solo exhibitions across Scotland and internationally. His works are held by both public and private collections worldwide, including The Scottish Office in Edinburgh, De Beers and the First National Bank of South Africa.
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* LIN PATTULLO (SCOTTISH b. 1949),STILL LIFEoil on board, signed, titled label versoimage size 23.5cm x 23.5cm, overall size 41cm x 41cm Framed and under glass.Label verso: Art Exposure Gallery, Glasgow.Note: Lin Pattullo is one of Scotland's most successful artists who exhibits her work regularly in numerous galleries throughout Scotland, in London and in the west of England. She is an elected member of the Glasgow Society of Women Artists (GSWA) and the Paisley Art Institute (PAI). She has exhibited many times at the Royal Glasgow of Fine Arts (RGI) and the Royal Scottish Academy. She holds the Lauder Award at the GSWA, the Neville Award at the PAI and the J Trevor & Webster Award at the RGI. Lin Pattullo's work is held in the collection of HRH Prince Charles and in numerous corporate and notable private collections throughout the UK and beyond.
* LADY LUCINDA L MACKAY (SCOTTISH b. 1941),NEW COLLEGE FROM PRINCES STREET (Edinburgh)watercolour on paper, monogrammed and dated '99, titled labels versoimage size 34cm x 49cm, overall size 51cm x 66cm Mounted, framed and under glass.Label verso: The Torrance Gallery, Edinburgh.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.
* DAVID MCLEOD MARTIN RSW RGI (SCOTTISH 1922 - 2018),GULLS & HARBOUR, ANSTRUTHERpastel on paper, titled label versoimage 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.
* DAVID MCLEOD MARTIN RSW RGI (SCOTTISH 1922 - 2018),UNTITLED mixed media on paper, signedimage size 56cm x 76cm, overall size 78cm x 97cm Mounted, framed and under glass.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.
* DRYSDALE SCOTT (SCOTTISH b. 1963),THE GIFT OF GIVINGoil on boardimage size 91cm x 102cm, overall size 112cm x 122cmFramed.Label verso: The Lemond Gallery, Glasgow; Drysdale Scott Solo Show July 2016 where acquired by the current vendor.Note: Trained at Glasgow School of Art 1983-1987 and pursued a career in teaching but in recent years his work has been in hot demand from astute collectors. Scott is a painter who specialises in figure compositions portraits and still life. He creates narrative images that are based on modern-day themes and events. Like many of the artists who have had an influence on his work, he has a great interest in “capturing a moment in time”. Composition, realism and strong draughtsmanship are of equal importance to him as is the narrative involved in creating his work. His main influences are – Velazquez, Titian, La Tour, Caravaggio, Hopper, Bacon and Freud.
JOHANN ZOFFANY (1733-1810) Edward Townsend Singing 'The Beggar' painted in 1796, oil on mahogany panel, 76.2 x 63.5 cm; 30 x 25 inches, in its original eighteenth-century carved frame.Provenance: Johann Zoffany;Zoffany sale, Robins, 9th May 1811, lot.89;Henry Harris;Harris sale, Robins, 12th July 1819, lot.6;Thomas Wilkinson (1762-1837);Jane Anne Brymer (1804-1870), daughter of the above;William Ernest Brymer (1840-1909) of Ilsington House;Wilfred John Brymer (1883-1957); son of the aboveConstance Mary Brymer (1885-1963), sister of the above;John Hanway Parr Brymer (1913-2005); nephew of the above;Maureen Brymer (1924-2021) by inheritanceExhibited: London, Royal Academy, 1796, no.85 (‘Mr Townsend as the beggar in the pantomime of Merry Sherwood’);London, Royal Academy, Exhibition of Works by the Old Masters, 1893, no.44 (‘An Actor’)Literature: Victoria Manners and George Charles Williamson, John Zoffany RA: His Life and Works 1735-1810, London, 1920, p.276; Mary Webster, Johann Zoffany, New Haven and London, 2011, p.585 Martin Postle, Johann Zoffany RA: Society Observed, exh. cat., New Haven (Yale Center for British Art), pp.44-45, reproducedThis little-known theatrical portrait is one of the finest works by Johann Zoffany from the end of his career. Depicting the comic actor Edward Townsend singing ‘The Beggar’, a song by the playwright John O’Keeffe written and set to music by William Reeve for Merry Sherwood, or Harlequin Forester by William Pearce, an entertainment on the theme of Robin Hood. Zoffany captures Townsend with his mouth open wide in the midst of the song. This unusually animated portrait is rendered with Zoffany’s characteristic attention to the minute details of costume and physiognomy. Zoffany was a pioneer of theatrical portraiture, where individual actors are portrayed in the roles for which they were most celebrated, it is a genre which was uniquely developed in Britain in the eighteenth century. Here the comic singer Edward Townsend is shown on stage singing in the midst of William Pearce’s popular pantomime Merry Sherwood. But rather than merely being an illustration of the entertainment, Zoffany paints a portrait of Townsend en role, exploiting a complex layer of relationships between audience and actor, viewer and painting. Zoffany’s theatrical portraits are regarded as some of his most innovative and beguiling works and only a handful remain in private collections, of which this is one of the finest. Preserved in outstanding condition and painted on a mahogany panel, this portrait has not been on the open market since the early nineteenth century and has not been exhibited in public since 1893.By 1796 Johann Zoffany was at the height of his powers as a portrait painter, particularly paintings of complex conversation groups and interiors scenes, rich with domestic and decorative details. Recently returned from a period spent in India, where he had completed a series of remarkable images of European and Indian sitters, including Colonel Maudaunt’s Cock Match now in the Tate, London. Zoffany re-established himself as one of London’s leading portrait painters. Zoffany had found success in London in the 1760s producing a series of remarkable and hugely popular portraits of famous actors. Zoffany worked particularly closely with David Garrick, commemorating his most celebrated theatrical roles in a series of largely comic portraits.The comic singer Edward Townsend sang The Beggar at the first performance of Pearce’s popular pantomime Merry Sherwood at Covent Garden on 21 December 1795. Townsend made the song popular and it became a favourite peace in his repertoire: he sang it at his benefit on 20 May 1796, and was still rendering it at Covent Garden in June 1800. The entertainment, and Townsend’s performance, were an immediate sensation. The success of the pantomime may well have prompted Zoffany to paint Townsend and to submit the painting for the annual exhibition at the Royal Academy in 1796, where the painting is described in the exhibition catalogue as: ‘Mr Townsend in the Beggar, full of expression and character, and a striking resemblance.’ The painting was hugely admired by contemporaries at the annual exhibition. The critic Anthony Pasquin noted: ‘Mr Townsend, the Comedian in the Character of a Beggar. Zoffany. This portrait is eminently characteristic, with a strict adherence to the minutiae of the stage dress. The countenance partakes of all the muscular whim of the original contour and expression of this supplicating visage.’Robin Simon has noted that in his theatrical portraits, such as this, Zoffany’s: ‘nuanced approach enabled him to create a distinctive effect: that of depicting the actors both in and out of character at the same time. This duality lies at the heart of his achievement; but it also reflects the contemporary practice of a number of leading comic actors who, in a tradition that survives in the British pantomime, would interact, sometimes even verbally, with the audience during performance.’[1] There is a sense that in the present portrait Zoffany has caught Townsend totally absorbed in his performance. It is this duality which made Zoffany’s theatrical portraits so publicly successful.The present painting has not been publicly exhibited since 1893, when it was lent to the Royal Academy’s annual exhibition of old master paintings, as a consequence it has remained largely unknown to scholars. Mary Webster, in her authoritative 2011 monograph on Zoffany, assumed the painting was missing. The present portrait remained in Zoffany’s collection and was included in his posthumous auction in 1811. It was acquired in 1820 by Thomas Wilkinson the son of Jacob Wilkinson who was one of Zoffany’s most important supporters. A Director of the East India Company, Wilkinson acquired The Watercress Girl by Zoffany in 1780 and its pendant, The Flower Girl. Zoffany also painted his portrait in 1782 (The Chequers Trust) and Wilkinson, in turn, was one of those who supported Zoffany’s petition to travel to India. The painting passed to Thomas Wilkinson’s daughter Jane Anne, who married the Reverend William Thomas Parr Brymer, the painting has remained by descent in the Brymer family ever since.
PAT METHENY. Nine 12" long plays. 'American Garage' ECM 1155, vg; 'As Falls Wichita, So Falls Wichita Falls' ECM 1190, vg; 'Watercolours' ECM 1097, vg; 'Offramp' ECM 1216, vg; 'Works' 823 270-1 vg; 'Works II' 837 272-1, vg; 'New Chautauqua' ECM 1131, vg; 'Still Life (Talking)' 924 145-1, vg; 'Letter From Home' 924 245-1, vg. (9)
ROCK/POP/JAZZ. Seventeen 12" albums. THE BEATLES. 'Let it Be,' PCS 7096, g disc, 1970; '1967-1970,' PCSP 718, g discs, 1968; JOHN LENNON. 'Plastic Ono Band,' PCS 7124, vg disc, 1970; 'Double Fantasy,' K99131, vg disc, 1980; THE ROLLING STONES. 'Love You Live,' COC 89101, g to vg, 1977; 'Get Yer Ya-Ya's Out!' 6.22158, German import, all vg, 1970; 'Still Life,' CUN 39115, all vg, 1981; With ten others including Eric Clapton and Ry Cooder. (17)
Charles Lamb RHA RUA (1893-1964)Portrait of a Fisherman with LobsterOil on canvas, 93 x 87cm (36½ x 34¼")SignedProvenance: In private ownership with the same family since acquiredCharles Lamb was a talented painter whose output encompassed portraits, still-life, Breton subjects, western and northern landscapes, harbour and fishing scenes, as well as depictions of the Famine, and the Claddagh. Fisherman with Lobster is a leading work of Lamb’s mid-career purchased in the 1940s from the artist by Jack McCabe of Portadown. McCabe knew and admired Lamb, and according to his son John, he purchased one of his paintings with his first pay packet (correspondence, 1998). McCabe continued buying works by Lamb when he was a young artist, and they formed the nucleus of the collection, which hung in his wife’s hotel, the Seagoe Hotel, Portadown, in the restaurant that became known as ‘Lambs’. The Lamb Restaurant opened in the early 1980s attended by many of the Lamb family. It was a popular venue and, in its heyday, displayed eleven works by Lamb ranging from northern landscapes painted in Rostrevor and around the River Bann to scenes from the west of Ireland, the largest of which was Fisherman with Lobster (correspondence with Jack McCabe’s wife, 1994). The painting dates to c.1937, when Lamb showed a work listed as The Lobster Man at Newry Feis, which is likely to be Fisherman with Lobster.The portrait is of Pádraic Ghrealís from Rinn, Connemara, known as ‘the lobster man’. He was married to Nan Mhichil Liam Mc Donagh, a close friend of the Lamb household, her portrait is in the National Gallery of Ireland. Ghrealís was a great sailor and deep-sea fisherman, as the portrait shows, earning his livelihood from lobster fishing. The couple had several daughters and four sons who, together with their father, were great rowers. The composition emphasises the large, seated figure, possibly positioned above Caladh Thaidhg harbour, overlooking in the background the small island and village of Lettermullan across from Carraroe. Ghrealís and his wife Nan modelled for other works by Lamb including, a commission from the Haverty Trust in 1934, to paint Pattern Day in Connemara, for University College Galway. The subject is the ancient ritual of the pattern, where a traditional pilgrimage to a site associated with a local saint involved people doing circuits around a holy well with prayers and penance. At the time that Lamb painted Fisherman with Lobster he was living in Carraroe, Co Galway. Born in Portadown, he trained at the Belfast School of Art, winning a scholarship to the Dublin Metropolitan School of Art (NCAD), where he graduated in 1921. Pádraic Ó Conaire, the Galway poet and writer, encouraged him to go to Connemara to find the landscape and skies he wanted to paint. In 1923 he met Katharine, the daughter of Ford Madox Ford, who was studying veterinary medicine in Dublin, and in 1927, after Lamb’s trip to Brittany, the couple were married. They settled in Carraroe, where in 1933, Lamb built a house and studio to accommodate their growing family. In the 1930s he was elected an academician of the Royal Hibernian Academy (RHA) and the Ulster Academy of Arts (RUA). Lamb began painting single figures early in his career. An early example, The Lough Neagh Fisherman, 1921 (Ulster Museum), portrays a young northern fisherman against the backdrop of Lough Neagh. It is a confident study that demonstrated Lamb’s skill at portraiture and helped him to make his mark at the RHA. He developed this portrait style into an idealised form of ‘national type’, which by 1930, included figures from the west of Ireland, singly or in couples, most notably in the well-known iconic painting, The Quaint Couple, 1931 (Crawford Art Gallery, Cork). In Fisherman with Lobster, Lamb employs a golden light on the right of the figure leaving the left in shadow, placing Ghrealís in the foreground to stand out against a brilliant background landscape and blue sky. His hands hold a lobster and pot, and his rugged weather-beaten face betrays a lifetime of fishing. Ghrealís wears a well-used báinín jacket, brown striped geansaí, and black cap. The portrait is a work of great assurance and confident painting, reflecting virtuosity of brushwork in the tonal build-up of the face, the vivid blue sea and green island landscape. This is Lamb at his best illustrating a form of monumental portraiture at which he excelled, depicting the people he felt reflected the ‘national essence’ and, in the process, becoming one of Ireland’s most influential 20th century landscape painters.During Lamb’s subsequent career, he ran a summer school from 1936 to 1950s in Carraroe, attended by numerous important artists, and hosted a summer exhibition where visitors could see and buy his paintings. He illustrated ‘Cré na Cille’ by Máirtín Ó Cadhain (1949) and ‘An Tincéra Buí’ by Séan Ó Coisdealbha (1962). His work was shown internationally in London, Brussels, New York, Boston, and Ottawa, the 1933 Century of Progress Exhibition Chicago, the 1923 Olympic Games Exhibitions in Los Angeles, and 1948 in London. He exhibited at the RA, RUA, RHA, Oireachtas, Aonach Tailteann, Dublin Painters Gallery, and at art societies in Belfast, Cork, Galway, Limerick, Tipperary, and Waterford. Lamb died in 1964 and is buried in Carraroe. Dr. Marie Bourke, August 2022
Mihail Chemiakin (Russian, b. 1943). Group of two lithographs including:One print titled "Angel in a Mask," depicting an abstract winged figure wearing a mask. Pencil signed along the lower right; numbered 11/300 along the lower left.One print titled "The Mask with a Still Life," depicting masks among an abstracted still life. Pencil signed along the lower right; numbered 105/300 along the lower left.Provenance: Distinguished corporate collection, Minnesota.(Each) Sight; height: 28 1/2 in x width: 20 in. Framed; height: 39 in x width: 31 in.
Patrick S. "P.S." Gordon (American, b. 1953). Group of four framed serigraphs.Two titled "A Well Bred Painting," depicting a still life with tulips, a lobster claw, and various serving instruments. Each pencil signed and dated 1987 along the lower right. One numbered 103/200 along the lower left. The other numbered AP 24/30 along the lower left.One titled "Basic Black with Pearls," depicting a still life with irises, a mask, and a strand of pearls. Pencil signed and dated 1986 along the lower left; numbered in Roman numerals LXXXI/CL (81/150) along the lower left.One titled "Satsuma Vases," depicting a still life of two vases and a wallpapered background. Pencil signed and dated 1987 along the lower left; numbered 133/200 along the lower left.Provenance: Distinguished corporate collection, Minnesota.(Sight) height ranges from 27 in to 38 in; width ranges from 28 1/2 in to 35 in. (Framed) height ranges from 38 in to 49 in; width ranges from 36 in to 45 1/2 in.
Louise Nevelson (American, 1899-1988). Screenprint on acetate over serigraph on glossy white wove paper titled "I Do Like To Be Beside the Seaside," from the portfolio "Facade," 1966. Faintly pencil signed and dated along the lower right; inscribed "Artist's Proof" along the lower left. Titled and with a poem by British poet Edith Sitwell printed along the verso. This work depicting an abstract collage of Nevelson's own sculptures inspired by Sitwell's poetry.Lot Essay: Louise Nevelson was a powerhouse of modernist sculpture. Her bold constructions using found objects shook the art world, as did her often scandalous, larger-than-life persona. Her work was cutting-edge during her lifetime and remains relevant, her unique approach to storytelling and her breathtaking, gothic silhouettes as fascinating to modern viewers as they were to her contemporaries.Louise Nevelson was born to a poor Jewish family in Kiev in what was then the Russian Empire in 1899, but immigrated to the United States with her family in 1901. The family settled in Rockland, Maine, where her father ran a lumber yard. She often played with the scraps as a child, taking an early interest in sculpture. In school, she had no aptitude for academics, but excelled in her art classes, and enjoyed creating whimsical clothing for herself, constructing hats and other items. When she was eighteen, she was introduced to Charles Nevelson, a wealthy New Yorker, by his brother Bernard, with whom she had become friends when his work in the shipping business had taken him to Rockland. They married in 1918, and she moved to New York City. She was immediately enraptured by the city, and took full advantage of the opportunities it offered to a young woman with a thirst to learn: she took acting and music classes, attended concerts and lectures, and visited museums. Despite her love for her new home, Nevelson found herself very unhappy in her marriage, particularly after the birth of her son. She found escape in visiting museums, where she was inspired by things as diverse as Japanese Noh theater costumes and cubist artworks, and by attending art classes at the Art Students League. Finally, in 1931, she left her husband and traveled to Munich to study with Hans Hofmann. Cubism as he taught it resonated with Nevelson, and had a major effect on shaping her later work. In her words, “[i]f you read my work, no matter what it is, it still has that stamp. The box is a cube.†After traveling for a few more months, she returned to the United States to be with her family, but soon returned to Europe, eager to learn more in the art schools of Paris. After a brief stay there, she returned to the United States and the Art Students League. She soon met Diego Rivera, and began working as an assistant to him. She continued to take every opportunity to expand her art horizons, even taking up modern dance as part of her ongoing fascination with space and how space is occupied. In 1941, Nevelson had her first show at Nierendorf Gallery, marking her breakthrough in the fine art world. She displayed sculptures created from boxes, leveraging her Cubist roots and obsession with space into something entirely new. She began receiving critical recognition, and continued expanding her work, moving literally outside the box. Around this time, Nevelson first began working with found objects. She felt that found objects already had stories of their own to tell, and assembling them as she was allowed her to contribute to those stories, and to keep the stories of discarded objects alive in a powerful way. While the way she manipulated these objects in her sculptures varied significantly throughout her career, their presence remained a constant. In the mid-1940s, she began exhibiting her work regularly, and her success continued from there. Throughout the 1950s and 1960s, her work was purchased by major museums, and she began receiving commissions to create the kinds of found-object sculptures for which she had become well known. These iconic sculptures were dark, monochromatic spires, disguising and making majestic the most mundane of objects. She was often grouped in exhibitions with the most influential artists of her time. Through the 1970s and 1980s, she received numerous honorary degrees and even had several books published on her. She continued working and experimenting until her death in 1988, pushing the boundaries of color, texture, and form. She continued to try new sculptural media—though always admitting that wood was her favorite—along with making prints, designing costumes, and writing poetry.Sight; height: 22 3/4 in x width: 17 1/4 in. Framed; height: 23 1/2 in x width: 18 in.
Chao Chung-Hsiang (Zhao Chunxiang) (Chinese, 1910-1991). Ink and color on paper depicting two birds perched atop an abstract swirl. Signed along the lower right, and inscribed "to dear Kathreyn [sic] Cozene: for your birth all best wishes for today, March 24, 1973. Chung-Hsiang Chao, NYC."Chao Chung-Hsiang was born in Henan, China, in 1910. He began his artistic training under Lin Fengmian at the Hangzhou Academy of Fine Art, which provided him with both a strong basis in classical Chinese painting and in the growing movements of modern art. He left China in 1948, initially traveling through Taiwan and then Europe, before settling in New York City. There, he threw himself into the burgeoning Abstract Expressionist movement, creating bright, abstract canvases with oil and acrylic. In the early 1960s, he made a return to painting with the traditional Chinese media of ink and wash on rice paper. While he returned in many ways to traditional artistic practices, he retained many aspects of Abstract Expressionism, such as his vivid colors and gestural brushstrokes.This artwork shows Chung-Hsiang’s mastery of traditional painting techniques blending with a modernist sensibility. His manipulation of the ink and wash are expert and clearly display his classical training; at the same time, the colors are energetic, almost fluorescent, and the strong shape and form of the abstract lines lend a strong sense of the modern to the composition. The birds speak to the emotional state of Chung-Hsiang’s time in New York. Chung-Hsiang left his wife and son behind in China when he went off traveling, and during his time in New York, he took to keeping birds as pets to assuage the loneliness. The birds featured often in his works as a representation of family and longing. While there is a tinge of sadness to the artwork, its original purpose is a reminder that Chung-Hsiang’s life was still far from bleak: this painting was created as a birthday gift for a friend, a member of the family he found for himself in his new home.Sight; Height: 22 1/2 in x width: 22 in. Framed; Height: 29 1/2 in x width: 29 1/2 in.
Manoucher Yektai (Iranian/American, 1921-2019). Group of five still life drawings in ink on paper. Three depict plants in vases; one depicts a sunset over a mountain; one depicts a teacup on a saucer. All signed and dated 1977 along the margins.Height ranges from 8 in to 8 1/2 in; width ranges from 11 in to 12 1/4 in.
Louise Nevelson (Ukrainian/American, 1899-1988). Black plaster abstract sculpture depicting a figure on a marble base, ca. 1935.Exhibitions: Washburn Gallery, New York, "Louise Nevelson: Sculpture and Drawings from the 1930s," March 21 - April 19, 1997.Provenance: Estate of the Artist; Private Florida Collection; Washburn Gallery; Private Massachusetts Collection; Private Minnesota Collection.Lot Essay: Louise Nevelson was a powerhouse of modernist sculpture. Her bold constructions using found objects shook the art world, as did her often scandalous, larger than life persona. Her work was cutting-edge during her lifetime and remains relevant, her unique approach to storytelling and her breathtaking, gothic silhouettes as fascinating to modern viewers as they were to her contemporaries.Louise Nevelson was born to a poor Jewish family in Kiev in what was then the Russian Empire in 1899, but immigrated to the United States with her family in 1901. The family settled in Rockland, Maine, where her father ran a lumberyard. She often played with the scraps as a child, taking an early interest in sculpture. In school, she had no aptitude for academics, but excelled in her art classes, and enjoyed creating whimsical clothing for herself, constructing hats and other items.When she was eighteen, she was introduced to Charles Nevelson, a wealthy New Yorker, by his brother Bernard, with whom she had become friends when his work in the shipping business had taken him to Rockland. They married in 1918, and she moved to New York City. She was immediately enraptured by the city, and took full advantage of the opportunities it offered to a young woman with a thirst to learn: she took acting and music classes, attended concerts and lectures, and visited museums. Despite her love for her new home, Nevelson found herself very unhappy in her marriage, particularly after the birth of her son. She found escape in visiting museums, where she was inspired by things as diverse as Japanese Noh theater costumes and cubist artworks, and by attending art classes at the Art Students League.Finally, in 1931, she left her husband and traveled to Munich to study with Hans Hofmann. Cubism as he taught it resonated with Nevelson, and had a major effect on shaping her later work. In her words, “[i]f you read my work, no matter what it is, it still has that stamp. The box is a cube.†After traveling for a few more months, she returned to the United States to be with her family, but soon returned to Europe, eager to learn more in the art schools of Paris. After a brief stay there, she returned to the United States and the Art Students League. She soon met Diego Rivera, and began working as an assistant to him. She continued to take every opportunity to expand her art horizons, even taking up modern dance as part of her ongoing fascination with space and how space is occupied.In 1941, Nevelson had her first show at Nierendorf Gallery, marking her breakthrough in the fine art world. She displayed sculptures created from boxes, leveraging her Cubist roots and obsession with space into something entirely new. She began receiving critical recognition, and continued expanding her work, moving literally outside the box. Around this time, Nevelson first began working with found objects. She felt that found objects already had stories of their own to tell, and assembling them as she was allowed her to contribute to those stories, and to keep the stories of discarded objects alive in a powerful way. While the way she manipulated these objects in her sculptures varied significantly throughout her career, their presence remained a constant.In the mid-1940s, she began exhibiting her work regularly, and her success continued from there. Throughout the 1950s and 1960s, her work was purchased by major museums, and she began receiving commissions to create the kinds of found-object sculptures for which she had become well known. These iconic sculptures were dark, monochromatic spires, disguising and making majestic the most mundane of objects. She was often grouped in exhibitions with the most influential artists of her time. Through the 1970s and 1980s, she received numerous honorary degrees and even had several books published on her.She continued working and experimenting until her death in 1988, pushing the boundaries of color, texture, and form. She continued to try new sculptural media—though always admitting that wood was her favorite—along with making prints, designing costumes, and writing poetry. The present work is an impressive example of her early sculptural work. Its bold, boxy silhouette in striking black foreshadows her iconic monochromatic constructions, while showing her early cubist influences.Height: 19 1/4 in x width: 15 in x depth: 22 in.
Mary Martin (British, 1907-1969)Opposition signed, titled and dated 'Mary Martin '56/'Opposition'' (verso)oil with plaster relief and gouache on panel61 x 122.1 cm. (24 x 48 in.)(unframed)Footnotes:ProvenanceThe Artist, from whom acquired by John Weeks, 1962, thence by descent to the present ownerPrivate Collection, U.K.Mary Martin was an innovative Constructivist artist, part of an avant-garde group which included Victor Pasmore, Robert Adams, Adrian Heath, Anthony Hill and her husband Kenneth Martin, who she had met while studying at the Royal College of Art. Martin explored the possibilities of making constructed abstract art, often using the medium of the relief and three-dimensional shapes to do this, starting from the late 1940s and early 1950s. She is best known for her complex reliefs which used square and rectangular shapes organised in different permutations and often to dazzling effect, exploring the many combinations she could create from the repetition of one simple element, which later centred around the cube. As she herself wrote in 1957, 'the end is always to achieve simplicity'. Mary and Kenneth had two children, John and Paul, born in 1944 and 1946 respectively, and caring for their sons limited the output of Mary's work at this time. In the late 1940s her work was still quite representational and richly coloured, including Still Life with Fruit from 1948 (Private Collection), which glows with orange and yellow tones. Her first abstract work was made shortly after, and she moved quickly to a palette of mostly grey, white and black, using almost no colour at all between 1949 and 1956. Opposition, painted in 1956, is an extremely rare work by Martin. Not only is the medium very experimental – oil with plaster relief and gouache – but it shows an unexpected foray into colour too. In 1957 she commented: 'At first, in an abstract work, colour is eliminated or severely restricted in order to free it from association. Once that has been achieved and colour becomes free, one can again use as wide a range as the form demands.' (M. Martin, 'The End is Always to Achieve Simplicity', 1957, quoted in A. Grieve, Constructed Abstract Art in England After the Second World War: A Neglected Avant-Garde, Yale University Press, New Haven, 2005, p.92). In 1956 she began to experiment with colour more fully, which we can see in the present work. This makes Opposition all the more refreshing and shows an increasing confidence in this new mode of working. White still forms the basis for the work, but is joined by black, pink, red, green, brown, turquoise and pale blue. Not only does Martin's use of colour mark this work as very significant, but the medium is a departure from many of the materials she was using at that time too. Previously her constructed reliefs used mostly plywood, Perspex and stainless steel cut into square or rectangular shapes, so the shift to painting as well as soft, modelled plaster and curving lines shows a facet of her working practice that is very little-known. Opposition is therefore an unusual but important work, perhaps even unique in its medium and use of colour for this date, using a complex palette, painting and curved forms when most of her work of this time was characterised by hard-edged geometry, a slim range of colours and materials which could be cut or cast.The present lot was acquired directly from the artist by the architect John Weeks in 1962, whom Martin collaborated with on a number of occasions, including on a pavilion at the seminal This is Tomorrow exhibition in 1956 at the Whitechapel Gallery in London. The exhibition evolved from an initial idea from architect and writer Theo Crosby for an exhibition involving architects, artists, designers and theorists and was a collaboration with members of the Independent Group. The thirty-eight participants formed twelve groups, which worked towards producing one artwork, and the result was a series of interactive installations, with Mary Martin, Kenneth Martin and John Weeks forming group 9. Mary Martin also collaborated with Weeks in 1957 for a relief for Musgrave Park Hospital, Belfast. She used similar proportions for the work, titled The Waterfall, as Weeks and his partner Richard Llewelyn Davies used in the design of the hospital, also incorporating materials used in the construction of the building – including warm grey brick, white painted cement and satin-finished stainless steel. In thanks for this commission, the artist gave Weeks a relief from 1954, White Relief with Black. Weeks and Martin shared many things, not just a common aesthetic, but also a concern for art and architecture that had a social relevance, with Weeks devoting much of his architectural practice to hospitals.With unique provenance and extremely rare in its use of materials and colour, Opposition presents a fascinating insight into Martin's working practice in the mid-1950s, when she was an active member of the nearly all-male Constructivist movement. An avant-garde artist but also a working mother, not only are pieces from this period scarce but it is even more unusual to find one in this experimental style. It is an honour to present this very special work to the market.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Dame Elizabeth Blackadder O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (British, 1931-2021)Lilies and Mixed Flowers signed 'Elizabeth V. Blackadder' (lower left)pencil and watercolour80.7 x 59 cm. (31 3/4 x 23 1/4 in.)Painted in 2010Footnotes:ProvenanceThe ArtistWith The Scottish Gallery, EdinburghPrivate Collection, U.K.Elizabeth Blackadder, born and raised in Falkirk, Scotland, is perhaps best known for her delicate paintings and drawings of flowers and still life, usually brimming with blooms of various shapes and hues. This may in part be due to her childhood fascination with flowers, when she began collecting local flora, and compiling her specimens by pressing them and labelling them with their full Latin names. Here, the lily stems arch and weave above a sea of reds and purples, their pink flutes raised triumphantly towards all corners of the composition. Her artistic approach broaches the scientific, with her precise and analytical attention to detail, and the simple white background, coming together to create something wholly harmonious, soft, and lyrical.As the first woman to become an academician of both the Royal Academy of Arts in London and the Royal Scottish Academy, Blackadder was a trailblazer for women in the arts. Through her work as a teacher at Edinburgh College of Art, and fundamentally as an artist, she forged a path into the predominantly male-centric world of art of the 20th Century, where she garnered respect and high acclaim for her output. Blackadder went on to be appointed an Order of the British Empire in 1982, before being made the very first female Artist Limner by the Queen, a position within the Royal Household which is unique to Scotland.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Vanessa Bell (British, 1879-1961)Flowers in Quentin Bell's mug signed with initials and dated 'VB/55' (lower right)oil on canvas33.2 x 24 cm. (13 x 9 3/8 in.)Footnotes:ProvenanceWith The Adams Gallery, London, where acquired by the family of the present owner, thence by descentPrivate Collection, U.S.A.The mug depicted in this still life was designed by Quentin Bell, and the flowers include Pinks and Astrantia.We are grateful to Richard Shone for his assistance in cataloguing this lot.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
Vanessa Bell (British, 1879-1961)Still life with roses signed with initials and dated 'VB 58' (lower right)oil on canvas47 x 40.8 cm. (18 1/2 x 16 in.)Footnotes:ProvenancePrivate Collection, U.K.From 1916 Charleston, an isolated farmhouse situated near Firle, Sussex, became the home of Vanessa Bell and her family along with the artist Duncan Grant. Soon after their arrival, the artists began to embellish the interior with paintings, furniture, textiles, and ceramics; while the garden became a luxuriant space adorned with ponds, mosaics, and sculptural features. From the desk by the French window in her bedroom, the artist was able to see the garden in full bloom during the summer months in which a mass of roses vied for space alongside carnations, lilies, and sweet peas. The present work, depicting a generous grouping of roses in various bright colours, was painted during the 1950s and demonstrates Bell's long association with still life. Here we see her entirely modern interpretation of the traditional subject with the incorporation of a patterned fabric drawing our eyes around the composition. In 2017, a new shrub rose was introduced at the Chelsea Flower Show by David Austin with the name Rosa Vanessa Bell. We are grateful to Richard Shone for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Dutch or Flemish school; 17th century."Portrait of a merchant or sailor", c. 1640.Oil on panel. Engatillada.It has a label of provenance: Count Tomar.Measurements: 116, 5 x 85 cm; 142 x 112 cm (frame).The author of this work shows us a royal and magnificent image, following the models established in the portrait of previous epoch, the artist places the protagonist of the scene between two big curtains that contribute a great theatricality to the scene, in the last plane we can appreciate an interior where a frame stands out in which there is the heraldic shield of the family to which the protagonist belongs, This is a symbol of his social relevance and also shows a portrait inherited from earlier aesthetic formulas, as in the Baroque period the background is completely eliminated and replaced by dark tones that help to monumentalise the figure. As for the main figure, he is portrayed almost in his entirety, turned three-quarter length, dressed in his uniform, sword and baton of command, thus consolidating his social importance, already intuited through the coat of arms. As for the technique, it is worth noting the great realism of the face, which shows us a mature person, with a forehead furrowed with wrinkles, and this realism and quality is also reflected in the clothing, with the white collar topped with lace.It was undoubtedly in the paintings of the Dutch school that the consequences of the political emancipation of the region, as well as the economic prosperity of the liberal bourgeoisie, were most openly 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.
Venetian School, c. 1620 Ottoman Honey Merchant Oil on unlined canvas Dimensions: 77 (H) x 103 cm. (L)  (30 3/8 x 40 ½ inches) This incredibly rare early depiction of an Eastern Mediterranean or North African honey merchant is thought have been painted circa 1620. It predates the Flemish-French painter Jean Baptiste Vanmour (1671-1737) by around 100 years. Vanmour has been considered, until the emergence of this painting, to be the earliest and most refined recorder of Ottoman secular life. In the present painting, the honey merchant sits in his carpeted tent in obvious control of the trade around him. His accountant sits in deference whilst the apiarists and their workers present their straw skeps, or hives. This fascinating scene of everyday life in the Ottoman world, an Empire which included the Eastern Mediterranean and North Africa, illustrates much more than at first glance. Such an early depiction executed in oil on canvas is exceptional. Aside from the two iconic painters Gentile Bellini (active about 1460; died 1507), with his portrait of the Sultan Mehmet II of 1480 in the National Gallery, London and the aforementioned Van Mour, there are scarce western depictions of Ottoman or North African existence.  The artist of Ottoman Honey Merchant was probably Venetian both on stylistic and cultural grounds. The artist seems to be aware of the Bassano family of artists, reflecting their same blocky figures. The book-keeper turned away from the viewer is also familiar stylistically tothe Bassano dynasty. Certainly the strong and particular narrative content suggests therecording of a first-hand experience, although the potential name of this itinerant artist is not currently known.  Venetians were still the largest foreign community in Istanbul during the sixteenth century and remained the Ottomans’ most important international trading partners well into the seventeenth century. This mutually beneficial relationship provided each partner with access to key ports and valuable goods. Though territorial wars intermittently interrupted their relationship, both empires relied on trade for their economic well-being. As a Venetian ambassador expressed, ‘being merchants, we cannot live without them.’  The Ottomans sold wheat, spices, raw silk, cotton and ash (for glass making) to the Venetians, while Venice provided the Ottomans with finished goods such as soap, paper and textiles. The same ships that transported these everyday goods and raw materials also carried luxury objects such as carpets, inlaid metalwork, illustrated manuscripts and glass.  Honey was a highly significant commodity in Ottoman Empire during the period 1200 to 1700.  It was produced in huge quantities in almost every non-arid coastal region, from the Black Sea all the way to modern day Morocco, although it was most abundantly harvested in Attica and Turkey. The honey was used as a sweetener but also as a preservative for fruitsand fresh produce like meat, the wax from the bees was a pleasant-smelling core source of lighting and the honey could also be used medicinally as a natural antiseptic. Unsurprisingly, the Ottoman rulers had their own tax code for honey, with the duty collected being one akcËeor two akcËes from each beehive, depending on the locality and custom. The painting is redolent with period detail:  the merchant sits on a flat weave rug; in front of him is a painted tray (possibly either metal or papier maché) with a brass coffee pot and a white, glazed cup and saucer.  He wears prayer beads on his wrist.  The blue and white tent has been erected close to a town gateway which can bee seen beyond.  The book-keeper wears what appears to be a black burnous with a white hood;  this garment derives from the Berber Nomadic tribes and therefore strongly suggests that the scene could be identified as being North African.  To the right are three black men, almost certainly enslaved (the middle of the three being heavily disguised in a dark hood).  There was an ancient slave trade across the Sahara to the Mediterranean coast and also up the East coast of Africa and the Red Sea As there were restrictions on the enslavement of Muslims, “pagan†areas further to the South became an important source of enslaved people.  Ottoman areas of Anatolia and Attica tended to enslave Christians from the Black Sea and the Balkans, often prisoners of war.  Therefore the existence of the three figures to the right emphasises the likely location of this picture as being North Africa.  A secular painting of such antiquity of any trade is profoundly rare.  But the fact that the trade illustrated is the buying and selling of honey and beeswax is even more enthralling, it being one of the most universal and ancient of foods, sources of light and medicine.  There is evidence of human harvesting of honey from over 8,000 years ago.  And the honeybee itself has become a symbol of the natural health of the planet: bees are vital for the preservation of ecological balance and biodiversity in nature. They provide one of the most recognisable ecosystem services, that being pollination, which makes production of food possible. By doing so, bees protect and maintain ecosystems as well as animal and plant species, and contribute to genetic and biotic diversity.  Bees also act as indicators of the state of the environment. Their presence, absence or quantity tells us when something is happening with the environment and when appropriate action is needed. Therefore, this painting is a uniquely complex and layered object, addressing the history of art, trade, culture, race, dress, custom, food and natural sciences.
![German School 17th Century Oil on Canvas [a]: A Still Life of Walnuts on a Ledge [b]: A Still Life of Cob Nuts on a Ledge Dim](https://cdn.globalauctionplatform.com/d722c9cf-c199-4211-9ff6-af0a0107dfb7/fbf82e2c-7223-42ff-b7fe-af0b00c9ce11/468x382.jpg)
To be sold without reserve Mary Fedden OBE, RA (1915-2012) Still Life of Fruit Gouache on Paper Signed and Dated '2002' Provenance: This work was given by Fedden to Sir Peter Wright - the famous choreographer, after he took her to a performance of The Nutcracker. It has the original inscription on the back of the new conservation frame. (It was cut from the old one and added in). Dimensions: (Framed) 12 (H) x 15 in. (W) (Paper) 4.5 (H) x 7 in. (W)
Zouaoui (Belgian, Late 20th Century) 'Still life fruit in blue and white bowl', oil on panel, signed lower right and dated 1997 to panel on reverse, 7cm x 9cm, J. Douvey 'Untitled river scene', oil on panel, signed lower left, 16cm x 23cm and one other 20th Century 'Untitled young girl', oil on panel, unsigned, in gilt frame, 16cm x 11cm (3)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 full condition report.
Attributed to Charles George Hood Kinnear (1830-1894) Album of salt prints from calotype negatives, c.1846-8 containing 120 photographic salt prints from calotype negatives, pasted onto rectos only of thick paper leaves, photograph dimensions mainly approx. 15.5 x 11.5cm or similar (leaf dimensions 27 x 22cm), many with bevelled corners, a few arch-topped or in octagonal, oval or circular form, with pencilled captions, dates and foliation, prints towards rear within brown ink frames, the album retaining two initial blanks, one with partial list of subjects, one with ownership inscription reading in part 'Letham Grange, Arbroath, the photographs comprising: 32 portraits of sitters of various social classes, including 'a poacher', 'a smith', various other tradesmen or farmhands (e.g. a man seated with horse tack, a man holding a trowel, and a man holding a log and axe), and smartly-dressed figures, several named, including 'R. Rutherford', 'Dr Burt, 'Capt Maitland R.N.', 'J. G. Murray' (this figure holding a shotgun), Robert Murray (2 portraits), 'An A.R.S.A.' (identified in list at front as J[ohn] C[rawford] Brown [Scottish painter, 1805-1867]), a young woman in a patterned dress (2 portraits), a young boy with a riding crop, a boy seen through a gate in a garden wall, and a man in top-hat posing in stone Gibbs-surround doorway; studies including a still life of game; 2 smaller prints on one mount, respectively titled 'Lacock Abbey, Wilts, from a Talbotype;' and 'Shakespeare's house from a Talbotype'; 14 prints not from life (i.e. from prints or paintings); and numerous views of Kinloch House and its grounds and outbuildings, Collessie (village in Fife), Kames House (Berwickshire), Cunnoquhie House, Falkland Palace, Inchrye Abbey, and Edinburgh (Scott Monument, St George's Church, St John's Chapel, High School, Pitt statue, gaol, and similar); together with 4 photogenic drawings of tree-leaves or grasses (these not from negatives, and in addition to the 120 mentioned). Contemporary fine-diaper cloth album, gilt-lettered 'Calotypes' on front cover, rebacked and recornered, endpapers renewed with bookplate (containing arms of the Kinnear family) reimposed to front pastedown, a few mounts stained from adhesive, a few prints with pencilled embellishments in some cases adding architectural detail, final 11 leaves detached but remaining conjugate, lacunae in foliation indicating a few leaves excised.The album is sold with an extensive collection of related material, including:1. 4 additional photograph albums:a & b) Two albums respectively containing 60 and 25 albumen prints mainly of architecture in Scotland and Northumberland, 1890 & 1892, all approx. 15 x 20cm, mounted rectos only on stiff card, and including Drygrange House and Compstone House, both designed by Kinnear's architectural firm Peddie & Kinnear (with captions to that effect, i.e. 'Drygrange House - C.G.H.K. fecit'; 'Compstone House, Kirkcudbright, C.G.H.K. fecit'), and a few family portraits and non-architectural views, pencilled captions to mounts (in a similar hand to those in the calotype album);c) Album of 52 albumen prints, 1887, including Oxford colleges, Scottish houses including Drygrange (see above), jubilee celebrations at Kinloch, a portrait Wellwood Herries Maxwell of Munches House (Liberal politician, 1817-1900; Kinnear's wife was Jessie Jane Maxwell), outdoor scenes including three figures on a wooded path (one figure identified in a later hand as 'C. M. K.', i.e. Kinnear's son Charles Maxwell), and similar, all approx. 15 x 20cm or slightly smaller, pencilled captions throughout (in a similar hand to the preceding items);d) Album of approx. 60 silver gelatin prints, c.1902, mainly Scottish views and family scenes, including the Maxwell family at Munches House, puffins on Handa Island, etc.2) Album of architectural sketches, signed and dated C. G. H. Kinnear, Genoa, 1854, approx. 30 leaves + blanks, annotated pencil sketches on rectos and versos, including studies of architectural detail (tracery, mouldings, doorways, elevations, etc.) in both Genoa and Pisa;3) Charles George Hood Kinnear's diploma of election as associate of the Royal Scottish Academy, 1893, lithographic document on vellum, signed by Queen Victoria ('Victoria R');4) A large volume of Kinnear family documents and letters, 18th-20th century, approx. 200 in total, including letters from Charles's brother John Boyd Kinnear (1828-1920), Liberal politician, letter to John Boyd Kinnear from John Bright, various deeds (including sasines, on vellum), bonds, contracts, inventories, album of 15 watercolour views in France and Ireland, 1920s, scrap albums belonging to Elizabeth Anne Kinnear including a menu inscribed by ornithologist Peter Scott (1909-1989), and similarNote: Note:A highly important and newly discovered album by a pioneer of photography, dating from within a few years of Fox Talbot's invention of the calotype method and its introduction to Scotland in 1841 by Sir David Brewster.Charles George Hood Kinnear was born in 1830 at Kinloch House, near Collessie, Fife, into a wealthy banking family. In 1849 he was articled to Edinburgh architects William Burn and David Bryce. It is suggested in the Dictionary of Scottish Architects that he may have learnt photography from Bryce, though the dates in this album indicate that his photographic experiments pre-date their known professional association.Kinnear became a founding member of the Photographic Society of Scotland in 1856, and in the same year entered into partnership with Edinburgh architect John Dick Peddie. In 1857 he went on an architectural and photographic tour of northern France using a new form of camera with a conical bellows which 'set the pattern for nearly all subsequent cameras' (Schaaf & Taylor). His final public exhibition of photographs was in 1864, after which his architectural work absorbed most of his efforts; the firm of Peddie & Kinnear had become hugely successful, securing major commissions for private houses, public buildings and churches throughout Scotland which remain major landmarks to this day, including Edinburgh's Cockburn Street, and the hydropathics at Dunblane, Craiglockhart and Callander. He was elected associate of the Royal Scottish Academy in 1893, and died suddenly at his offices in Edinburgh in 1894.A full list of the contents of the main album in this lot is available on request. Lot 57 in the sale, the Kinnear family autograph album, contains letters to C. G. H. Kinnear from various figures including Fox Talbot.Further reading: Schaaf & Taylor, Impressed by Light: British Photographs from Paper Negatives, 1840-1860 (2007), p. 338.Provenance: Inherited by the vendor from Elizabeth Hay (née Kinnear, 1924-2017), descendant of C. G. H. Kinnear.
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