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Click here to subscribeWilliam Cruickshank RA RSA (1848-1922) British, a still life study of dead game in an interior setting, a basket, pitcher and mice to the background, watercolour, signed, 13 cm x 20 cm glazed in a gilt frame.Footnote: Provenance: Bearing a Phillips lot number label (63), for 'Sale No. 371'Condition report: Some wear to the fraam, with marks to the mount, otherwise good.
William Cruickshank RA RSA (1848-1922) British, a still life study of dead game birds in an interior setting, a water jug to the background, watercolour, signed and dated 1871, 13 cm x 16 cm glazed in a gilt frame.Footnote: Provenance: Bearing a Phillips lot number label (62), for 'Sale No. 371'Condition report: Image appears in good order, some damage to the frame.
William Cruickshank RA RSA (1848-1922) British, a still life study of dead game in an outdoor setting, a stoneware jug to the background, watercolour, signed, 12 cm x 19.5 cm glazed in a gilt frame.Footnote: Provenance: Bearing a Phillips lot number label (63), for 'Sale No. 371'Condition report: Some losses and wear to the frame, otherwise good.
Qty of framed pictures to include still life, print of apples, St Francis preaching to the Birds, framed needlework sampler of basket of flowers, framed original print by F Mackenzie of the Oxford Botanic Gardens & Oil on panel of an old man reported by vendor to be attributed to Andrew Geddes (1783-1844)
CHARLES SIMS RA Watercolour, On the Dunes, bares Verso label from The Fine Art Society dating 19/3/36 signed lower right, 21x34cm CONDITION: Some foxing and fly damage; and still life watercolour study of flowers initialled PW and SIDNEY YATES JOHNSON Watercolour study of a river in the Highlands signed JS lower left, all framed and glazed
An exceptional façon de Venise gilded, enamelled and engraved vase and cover, Court Glasshouse, Innsbruck, circa 1570-91The shouldered ovoid bowl applied with three gilt raspberry prunts, decorated with two central bands of gilt and low-fired enamel foliate scrollwork panels alternating with similar panels in diamond-point, all between formal engraved borders, the rim with a formal foliate border above a gilt and enamel spiral band, set on a collar above a small cushion and a globular knop, the hollow stem moulded with two lion masks flanking scroll motifs all between gadrooned borders, the folded conical foot engraved with a band of false gadroons, the double-domed cover with a knopped finial, applied with three prunts and similarly decorated, 31.5cm high (2)Footnotes:ProvenanceRev. William Fraine Fortescue Collection, Chesterton, Oxfordshire, sold circa 1889Lady 'Lili' Maria Elisabeth Augusta Cartwright (née von Sandizell)Thence by descent to her son, William Cornwallis Cartwright, Aynhoe Park, OxfordshireThence by family descent to the present ownerAn old paper label attached to the foot of this vase records its provenance thus: 'Bought in Chesterton at sale of Rev- Fortescue late incumbent of that Parish'. William Fraine Fortescue (1810-1889) was the second son of William Fortescue of Writtle Lodge, Essex. He was a fellow of New College, Oxford, from 1828-50 and became vicar of Chesterton in 1849.In 1570 Archduke Ferdinand II of Tyrol founded a glasshouse in the garden of his home at Schloss Ambras, Innsbruck, having become increasingly dissatisfied with the glass made in Hall and a continued reliance on Venice for luxury tableware for use at his new residence. Through negotiations with the Venetian authorities, he secured the temporary loan of craftsmen from Murano and obtained permission to use various raw materials and tools brought from Venice. Although never commercially viable, a number of Venetian master glassblowers were recorded at Innsbruck including Pietro d'Orso (1571), Salvatore Savonetti (1573-75 and 1578) and his father Bastian (1578) and Andrea Tudin (1575 and 1583), all of whom returned to Murano once they had honoured their contracts. The Archduke also employed around 50 painters each with different artistic talents, who were most likely German. The cold-painted decoration on these wares was usually executed in red, green and gold, reflecting Germanic taste.The long accepted attribution to the Court Glasshouse at Innsbruck for this unusual group of glass, with its distinctive grey tint and its cold-painted and diamond-point engraved decoration, has been debated and a tentative attribution to Venice suggested by some scholars, see Anna-Elisabeth Theuerkauff-Liederwald, Venezianisches Glas der Veste Coburg (1994), p.242. The Archduke continued to purchase Venetian pieces after the opening of his own Glasshouse, see Erwin Baumgartner, Verre de Venise et façon de Venise (1995), p.99. This included '10 vergoldete Deckelpokale' in 1575 which may correspond to covered vases of this type, see Erich Egg, Die Glashütten zu Hall und Innsbruck (1962), p.45. Although probably made as reliquaries, still-life paintings from the early 17th century show vessels of similar shape without decoration containing wine.For comparable examples with lion mask stems in the Kunsthistorisches Museum, Vienna, see Egg (1962), nos.27, 34 and 35. Another in blue glass from the Ernesto Wolf Collection, now in the Landesmuseum Württemberg, is illustrated by Brigitte Klesse and Hans Mayr, European Glass from 1500-1800 (1987), no.35. Other comparable examples without lion mask stems are illustrated by Egg (1962), nos.30-33, by Rainer Ruckert, Die Glassammlung des Bayersischen Nationalmuseums München, vol.I (1982), no.147, by Rudolf von Strasser and Walter Spiegl, Dekoriertes Glas (1989), p.163, no.6, and by Olga Drahotova, Europäisches Glas (1982), p.37, no.12. See also the example from the Mühleib Collection sold by Bonhams on 2 May 2013, lot 6 and that in the Museo del Vetro di Murano (accession no. Cl.VI n.01124) illustrated by Attilia Dorigato, Il Museo vetrario di Murano (1986), pl.21. An example without decoration from Aynhoe park was sold by Sotheby's on 14 July 1975, lot 322. Further similarly decorated examples with lion mask stems but of cylindrical form are illustrated by Egg (1962), nos.36 and 41 and another from the Mühleib Collection was sold by Bonhams on 2 May 2013, lot 5.For further information on this lot please visit Bonhams.com
A Royal Worcester 'painted fruit' composite coffee set, dated 1921-22 and 1934-35Painted all over with still life compositions of autumn fruits set against a mossy ground, with gilt interiors and handles, all pieces signed by the artists, comprising a coffee pot and cover by William Ricketts, a cream jug by Tom Lockyer, a sugar bowl by Louis Flexman, a small dish by Edward Townsend, four coffee cups and saucers by Horace Price and William Ricketts, and two coffee cans and saucers by Albert Shuck and Harry Ayrton, coffee pot 16.9cm high, puce marks, two cups and saucers with retailer's marks for THE NORTHERN GOLDSMITHS Co, NEWCASTLE-UPON-TYNE (17)For further information on this lot please visit Bonhams.com
A Venetian bowl, 17th centuryThe generous cup-shaped bowl moulded with twelve ribs, applied with two trailed scroll handles with pincered ornament, on a circular foot, 18.3cm across the handlesFootnotes:ProvenanceLady 'Lili' Maria Elisabeth Augusta Cartwright (née von Sandizell)Thence by descent to her son, William Cornwallis Cartwright, Aynhoe Park, OxfordshireThence by family descent to the present ownerA bowl of identical form is shown in a still life painting by Christian Berentz (German, 1658-1722), formerly in the Liechtenstein Princely Collections and sold by Sotheby's on 7 July 2011, lot 204. Berentz was painting in Rome from 1680 until his death, suggesting an Italian origin for a bowl of this type. A rib-moulded example of different form with similar handles is illustrated by Anna-Elisabeth Theuerkauff-Liederwald, Venezianisches Glas der Veste Coburg (1994), p.130, no.85. A similarly moulded bowl with plain handles is in the Metropolitan Museum of Art (accession no. 83.7.71).For further information on this lot please visit Bonhams.com
* TOM HOVELL SHANKS RSW RGI PAI (SCOTTISH 1921 - 2020), LOCH AILORT watercolour on paper, signed 20cm x 64cm Mounted, framed and under glass. Note: Tom was born in Glasgow and spent his early years in Dennistoun. After his father’s death, when Tom was just ten years old, he and his older brother were raised by their mother and her two sisters. Shelving his dream of going to art school, he left school in his early teens and got a job as an office boy at Templeton’s carpet factory, but art remained his passion. As young as seven, on family holidays to Skye he would set off with his drawing book and sketch the mountains. He later spoke of this as a formative experience which defined what would be his key subject for the rest of his artistic life. At Templeton’s he began to exhibit his drawings and paintings in the art club and worked his way up to a job in the design department at the time when the company was creating the carpets for Cunard’s new liner, the Queen Mary. Returning to Glasgow after the war, he started attending night classes at Glasgow School of Art where his exceptional work was spotted by the director, Harry Barnes, who encouraged him into full-time study. He graduated in 1950, winning a prestigious travelling scholarship which took him to France, Italy and Belgium, painting as he went. Tom’s wife-to-be, June, was a fellow student at Glasgow School of Art. They married in 1953 and were together for 65 years until her death in 2018. Tom and June moved to Rosehill in Kilbarchan in 1956, sharing the big house with artist friends Bill Birnie and his wife Cynthia (Wall). Tom and June’s daughters, Judy and Wendy, grew up alongside the three Birnie children, forming lifelong friendships. Tom also began to exhibit his own paintings with Glasgow gallery Cyril Gerber Fine Art, a relationship which continued until Cyril’s death (2012) and after the gallery passed to his daughter Jill. Tom was elected to membership of the Royal Scottish Society of Painters in Watercolour (RSW) in 1957. The family often spent the six-week summer holiday in the Highlands, where Tom would head off daily to paint and draw. Working en plein air was an important aspect of his practice, whether painting the mountains or sketching seascapes on the deck of a ferry bound for the islands. He took early retirement from teaching to concentrate on painting. Always productive, Tom was now able to exhibit regularly with a range of galleries and a following quickly grew for his work. Never one for self-promotion, he preferred to leave June to work the room at private views and could often be found in quiet conversation with art students or gallery assistants, learning about their work. He was made RGI in 1983 and PAI in 1996. At no point did advancing age curb Tom’s productivity as an artist. If anyone ever asked why he was still wielding a paintbrush in his nineties, they would be quietly told: “I’m an artist, that’s what I do.” A master of watercolour, he particularly enjoyed capturing the moods and weather of the Highlands, the shifting patterns of cloud and light over panoramas of mountains. In old age, he decided to experiment with oil paint and produced a handful of exquisite works, adapting the techniques he used so masterfully in watercolour to this new medium. His last solo show was at Jill Gerber Fine Art in 2018, and he continued to supply paintings for group shows, and painted well into his 99th year. He celebrated his 99th birthday in April during the pandemic lockdown with his three great-grandchildren singing to him through his window. The pandemic meant attendance at his funeral was limited, but friends and neighbours lined the streets of Kilmacolm as his cortege passed, to honour a man who is remembered as a caring, modest gentleman and an exceptional artist. Notable collections include HRH Prince Philip, The Hunterian (Glasgow) and The House of Lords (London).
* PETER HOWSON OBE (SCOTTISH b 1958), LAST MAN ON EARTH oil on canvas, signed 60cm x 90cm Framed. Label verso: Flowers East Gallery, 119/205 Richmond Road, London. Note: Painted in 1989, this work is from a very important period in the artist's life. In 1987 Howson painted “The Noble Dosser” (Tate Gallery Collection). This was the period when the artists career was to take off, his portraits of down-and-outs and dark urban characters were to capture the imagination of art collectors and equally importantly; ordinary Glasgow people who had never bought art before, invested in the artist’s work in large numbers. Howson's reputation grew rapidly and so began an International career which has earned him multiple sell out shows with Flowers Gallery in London and New York. The list of celebrity collectors is considerable and still growing. The theme of life’s struggles permeates throughout the many phases of the artist's career, none more so than the figure in this painting. A figure washed up on the shores of a desolate land, alone and in despair. Like many of Howson’s works there is a glimmer hope, his dog sits loyally waiting for his master to wake and go on with life.
* PETER GRAHAM ROI (SCOTTISH b 1959), OLD TOWN, ALTEA gouache on paper, signed and dated '89 75cm x 62cm Mounted, framed and under glass. Note: A rare appearance at auction for one of Scotland's and the UK's most successful contemporary artists. Peter Graham was born in Glasgow in 1959. He attended the Glasgow School of Art, graduating in 1980. In 2000 Peter was elected to Full Membership of The Royal Institute of Oil Painters, R.O.I. Peter has earned a reputation as one of Britain’s most gifted and distinctive Modern Colourists. His work is often related to the Modern Scottish School but Peter has a flamboyant style which is unique, – detailed brush work combined with loose fluid strokes creating vibrant contrasts of pure colour, line and tone. In the winter months within his studio he delves deeply into the still life genre, creating some of his most stunning compositions, always with colour the dominant theme but reflecting the heightened sense of atmosphere and passion that comes directly from painting in the beauty of the Mediterranean. Recently, hugely successful exhibitions in London have allowed Peter to take on extra studio space and his work is being enthusiastically exhibited by many of the UK's most prestigious galleries.
STIK (BRITISH b 1979) and THIERRY NOIR (FRENCH b 1958), PROMOTIONAL POSTER FOR WALL EXHIBITION AT IMPERIAL WAR MUSEUM limited edition photographic print, signed by both artists 82cm x 58cm Unframed Note: Released 9th Nov at Imperial War Museum. Stik is a British graffiti artist based in London, he has been painting all his life but only began getting recognition when he started painting his recognizable stick/Stik figures (without permission) on the street over a decade ago. He was either squatting or homeless for a good proportion of the time he has been a graffiti artist, and was at a St Mungo’s hostel in Hackney up until 2011. His murals started out in Hackney Wick in London and spread to Shoreditch and west towards to the rest of London. These days you will be hard pressed to walk around Shoreditch without catching a glimpse of one of Stik’s large murals – usually on shop shutters and walls. Thierry Noir is a French artist who is claimed to be the first street artist to paint the Berlin Wall. His brightly coloured paintings, which often feature cartoon-like profiles, are now considered iconic and can still be seen on the East Side Gallery. He currently lives and works in Berlin, Germany. Approximate retail value £400 Generously donated by Mikey Dread. The Proceeds of sale from this lot will benefit The Glasgow Children's Hospital Appeal.
* MARY DAVIDSON (SCOTTISH CONTEMPORARY), CARNATIONS IN THE STUDIO oil on board, signed 50cm x 60cm Framed and under glass. Note: Mary was born in Dundee and lived in Australia for a few years as a child. She lived in Glasgow for 12 years from 1986 before moving to West Lothian in 1998. Mary studied at Glasgow School of Art and has been exhibiting regularly since 1994. Since then she has taken part in many exhibitions, to wide acclaim, on both sides of the Atlantic and now has works in numerous private collections in Britain and abroad. She is an artist member of the Glasgow Society of Women Artists and the Paisley Art Institute and regularly exhibits at the R.S.W., R.G.I. and Laing Art Exhibitions. Her paintings are also exhibited in prestigious art galleries around the UK. Mary works mainly in oil. She paints a range of subject matters in an expressive manner that captures light and colour. She is perhaps best known for her still life paintings. Her work is in numerous corporate, private and public collections including Vanity Fair in New York; the Duke of Bedford collection; Gray's School of Art, Aberdeen; East Dunbartonshire Council and Cala Homes.
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