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Lot 25
Sir Thomas Alfred Jones (c.1823-1893) Woman Knittingoil on boardsigned with monogram centre left 43½ x 33cm (17.1 x 13in)Gorry Gallery, Dublin; Private Collection The exhibition, at the Gorry Gallery in 2016, of Connemara Girls by Sir Thomas Alfred Jones, marked the re-discovery of this almost forgotten painter of Irish life and people in the nineteenth century. Acquired by the Quinnipiac Great Hunger Museum, Connemara Girls was subsequently one of the highlights of the touring exhibition "Coming Home", shown at Dublin Castle and the West Cork Arts Centre in 2018. Another painting by Jones, also of an Irish 'colleen', Molly Macree, has long been a popular favourite in the National Gallery of Ireland. An eminently Victorian artist, Jones's own life story is like something from a novel by Charles Dickens. Abandoned as a child, he was raised in Dublin by foster parents, the philanthropist Mr. Archdale and his sisters. In 1833, showing talent as an artist, he was enrolled at the Dublin Society's Drawing Schools, and nine years later became a student at Trinity College, although he left without obtaining a degree. In 1841, Jones exhibited for the first time at the Royal Hibernian Academy, before setting off to continue his artistic studies on the Continent. The portrait Thomas-Alfred Jones, painted in 1851 by Pierre Puvis de Chevannes (Musee d'Orsay), may well be of the Irish artist during his time in France. Jones returned to Ireland after several years, setting up as a portrait painter. He exhibited regularly at the RHA, was elected an Associate in 1860, and nine years later succeeded Stephen Catterson Smith as President. In many of his paintings, Jones set out to create an idealised picture of how rural life in Ireland might be. He delighted in depicting country girls, bare-foot and wrapped in shawls, but healthy and rosy-cheeked. If the realities of life in rural Ireland failed to reach this ideal, this escaped his notice; his depictions of people were intended to be heart-warming and reassuring. In this painting, Jones celebrates the qualities of a woman who, though of advancing years, is still busy knitting, and doing her best to improve life for herself and her family. Her face, though lined with age, is handsome and resolute. She is outdoors, enjoying the good weather, although well wrapped up with shawls and a bonnet. Behind her is the neat white-washed wall of a cottage. Many of Jones's portraits are of 'colleens', or young girls, but this painting confirms that his interest was in depicting countrywomen of all ages, in a sympathetic and unsentimental way. Although attractive and popular, these scenes of country life were not Jones's main output as an artist. He was more at home as a society painter, depicting professional, social and political leaders. Among his commissions was a large series of portraits of the Lords Mayors of Belfast, among them William Ewart, James Haslett, Edward Coey, John Lytle, John Preston and others. His portrait of Queen Victoria is also in Belfast City Hall, while his portrait of James Hamilton is in the offices of Belfast Harbour Commissioners. Jones's sitters in Dublin included members of the Guinness family, surgeons, musicians, politicians and generals. In 1875 he painted portraits of the Earl and Countess of Bantry, while his portrait of Charles Stuart Parnell can be seen in the Oak Room of the Mansion House, Dublin. Peter Murray, October 2018
Lot 49
William Scott OBE RA (1913-1989) Abstract Composition (1964)pastel on paperExecuted in 1964. The Present work is registered with the William Scott Archive as no.1131 34 x 36½cm (13.4 x 14.4in)Private Collection; Christie's, London, Private Collection Sale, 8th March 1991, Lot 151; Private Collection William Scott's work is rooted in still life and the human figure but, over the course of his career, not unlike Giorgio Morandi with still life, he managed to accommodate whole worlds in the ostensible constraints of a single genre. By the 1960s, he was thoroughly at home in an idiom that was both intimate and architectonic in its reach. The elegant simplicity of forms and the management of space belie the relatively small scale of the work.
Lot 96
Liam Belton RHA (b.1947) Pewter and Eggs (2016)oil on canvassigned lower right, titled and dated on reverse 40 x 61cm (15.7 x 24in)Peppercanister Gallery, Dublin (label verso); Private Collection There's an almost eerie quality to Liam Belton's paintings. They are finished to a high degree of representational precision but are also unrealistic in that they are staged and unnatural - he prefers the term tableaux to describe them rather than the more obvious "still life." The choreography of objects in Pewter and Eggs recalls Picasso's penchant for imbuing still lifes with erotic symbolism - the anthropomorphic play is underlined here by the incorporation of the image of a female nude. The mood is different in Herb Cutter and Eggs, the dark curved blade rests against the wall, but there is an implied threat in the way that it both echoes and looms over the curved form of the eggs.
Lot 128
* MHAIRI MCGREGOR RSW (SCOTTISH b 1971), STILL LIFE OF A JUG WITH VALUTE PATTERN oil on board, signed 30cm x 30cm Framed Note: MHAIRI PATRICIA McGREGOR RSW was born in 1971. She studied at Glasgow School of Art from 1989 - 1993, gaining a BA (Hons) in Fine Art. She has exhibited very widely in Scotland, in England and Australia. While at Art School she received a number of awards including one month working in Vetheuil, France, a Christie’s Bursary for 3rd-Year Studies, Glasgow School of Art Landscape Drawing Prize for a sketchbook done in the open and a John Kinross Scholarship - 3 months working in Florence, Italy. Following graduation, she spent six months painting in Australia. In 1996 she was interviewed by BBC Radio Scotland for The Usual Suspects programme. In 1997 she was short-listed as one of four for the Alastair Salvesen Scholarship and she was awarded the Under 25 Regional Winner of the Laing Art Competition. She spent a further four months painting in Australia. In 1998 she was short-listed, one of six for Gilchrist-Fisher Memorial Award. She took part in a Scottish Television interview for The Home Show programme. In 1999 she was short-listed, one of four for the Alastair Salvesen Scholarship. She was awarded the Ruth Davidson Memorial Award - 3 months working in the South of France. She was elected Member of the Royal Scottish Society of Painters in Watercolour. In 2000 she was awarded Glasgow Art Club Fellowship and spent two months painting in Australia. In 2001 she was awarded the Alexander Graham Munro Travel Award and the Paisley Art Institute Prize. In 2002 she spent two months painting in Arizona and New Mexico.
Lot 189
* NONI MCCRONE (SCOTTISH act 1960 - 1970), AUTUMN STILL LIFE oil on board, signed 75cm x 62cm Framed Note: Daughter of the artist Laura Loudon (nee Bennie) and John Loudon, Art Master at Hamilton Academy and later Chief Inspector of Art for Scotland. Noni McCrone studied at Glasgow School of Art and became a member of The Glasgow Society of Lady Artists. Exhibited with Mary Armour, Alison McKenzie, Noel Slaney, Margaret Paterson, Anna Hotchkis, Louise Annand and other members at 5, Blythswood Square and at several other venues in the Glasgow area.
Lot 29
* DAVID MCLEOD MARTIN RSW RGI (SCOTTISH 1922 - 2018), BEACH TABLE WITH SHELLS oil on canvas, signed, further signed, titled and dated 2001 verso 60cm x 50cm Framed and under glass. Labels verso: John Martin (Gallery) of London; together with artist label. Note: It was with great sadness that all at McTear's heard of the death earlier this year of David Martin, aged 96. 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 and the influential Lemon Street Gallery (Truro) are staging a major exhibition of his work. as this catalogue goes to print, which will end on 3rd November 2018. The typical gallery price for a David Martin 60 x 50cm oil on canvas is approximately £4800.
Lot 34
* DIANNE BRANSCOMBE RMS (BRITISH B 1949 - ), THE DESSERT oil on board 41cm x 56cm Framed Note: Dianne was born in Norwich in 1949 and lives with her family in Norfolk. She studied art at Goldsmiths College, London and paints portraits, landscapes and still-life in both oils and watercolours, latterly concentrating on her fine detailed still-life paintings in oil which have won her many awards and for which she is now recognised as one of the UK's leading still-life artists. Dianne staged her first solo exhibition in 1983 followed by many successful exhibitions in Norwich and London.
Lot 43
VIVIAN MANTHEL-FRENCH (NEW ZEALAND), STILL LIFE OF FLOWERS, FRUIT AND CROCKERY watercolour on paper, signed and dated 1997 45.5cm x 36.5cm Mounted, framed and under glass Note: Vivian Manthel-French is an Elected Artist Member of the New Zealand Academy of Fine Arts and former President of the Wellington Watercolour Society, which later became Watercolour New Zealand. For a period of about 20 years, Vivian spent six months of each year in London, where she exhibited at the RWS, held solo exhibitions at New Zealand House and was chosen to hold a solo exhibition at the Commonwealth Institute. Vivian exhibits at the Academy, the Millwood Gallery and with Watercolour New Zealand.
Lot 44
PHILIP CRAIG (CANADIAN B 1951 - ), A TUSCANY VIEW oil on board, signed 64cm x 150cm Framed and under glass Note: Philip Craig was born in Ottawa in 1951. He was encouraged in his creative endeavours by his parents from an early age; taking specialized art courses in Ottawa he eventually graduated from Sheridan College of Art and Design in Toronto. Upon his return to Ottawa, Philip was hired by the CBC, as a television graphic designer. It was soon after that he was taken on by his first gallery after he was spurred on by older artists to submit a painting to Visual Art, Ottawa Survey Exhibition in 1975. For the next decade, Philip lived and worked in Newfoundland where his isolation from the art world allowed him to focus on traditional subject matter: landscapes, portraits, and still life. His paintings began to sell in both Ottawa and Newfoundland and with success came a growing demand for his works. By 1986, Philip and his young family returned home and he decided to paint full-time. Philip’s travels, first to England, then France, Italy, Morocco, and India enriched and inspired his works and gave him an appreciation for light. Collectors around the world now seek his paintings. Philip Craig is represented in Ottawa, Ontario by Koyman Galleries and Terence Robert Gallery where the typical price for a Philip Craig of these dimensions would be approximately $11,000.
Lot 6
* NORMAN EDGAR RGI, STILL LIFE AND YELLOW CUP oil on canvas, signed 76cm x 76cm Framed Note: Norman Edgar studied at Glasgow School of Art from 1966 to 70 and went on to teach there until 1990, when he left in order to paint full-time. He is a landscape and portrait painter, working in the Colourist tradition. A member of the Glasgow Institute of Fine Arts, he shows work regularly in the annual Royal Scottish Academy exhibitions. He has long been a resident of Gourock on the south bank of the River Clyde and marine activities feature prominently in his work. He is also widely regarded to be one of Scotland's leading still life painters.
Lot 1300
Part of a larger Advertising Original Vintage Poster – Circus Original Vintage Poster – Lions. The legendary Circus Sarrasani was created in Germany in 1901 by a visionary clown and animal trainer, Hans Stosch (1873-1934). Sarrasani remains one of the most celebrated circus names in both Europe and South America. The title was alive throughout the entire twentieth century, under a succession of owners of more or less legitimate lineage. In circus lore, Sarrasani is still a fabled name that evokes a history of epic proportions with sociopolitical undertones, dominated (and occasionally brought close to bankruptcy) by the larger-than-life personality and extravagant vision of its famous founder, Hans Stosch-Sarrasani. Country: Germany. Year: 1931. Artist: P. F. Tillmanns. Size (cm): 141x191 (Horizontal) Fair condition, paper losses, tears and stains, tape on folds.
Lot 154
16 x Various Jazz/Funk LPs. Pat Metheny Group, Still Life Talking. Charles Earland, Perceptions. Maze, Golden Time Of The Day. Grand Funk, Survival. David Sanborn (3) Voyeur, A Change Of Heart, Double Vision. Mezzoforte (4) Observations, Rising, No Limits, Surprize Surprize. Billie Holiday, The First Verve Sessions. Pennies From Heaven Vol 1 & 2. Evelyn King, Shame 12".
Lot 36
Royal Worcester pot pourri vase (a/f), H31cm, Royal Crown Derby Imari pattern dinner plate & cup & saucer, two 19th century serving dishes, hand painted with floral sprays on cobalt blue ground, 19th century Meissen figure and a Minton plate, decorated with still life (8) Condition Report & Further Details Worcester Vase- Chip on finial, large crack in foot covering almost the whole of the diameter and up the side of the bodyClick here for further images, condition, auction times & delivery costs
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77111 item(s)/page