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Lot 26
ROBERT MCGREGOR R.S.A. (SCOTTISH 1847-1922) GATHERING MUSSELS Signed and dated 1919, oil on canvas 61cm x 101.5cm (24in x 40in) Exhibited: The Fine Art Society 1977 Note: Robert McGregor is renowned for his pioneering approach in the genre of work scenes of rural life. The genre acquired a dramatic popularity in France, where it was represented by Gustave Courbet and Jules Bastien-Lepage, however it hadn't reached Britain until the late 1870s. McGregor's simple pastorals are notable for a unique combination of the French influences on the one hand, and the artist's loyalty to the old traditions of the Scottish painting on the other. Among his most prominent works are The Knife-Grinder (1878), now in the McManus Museum, Dundee, and Gathering Stones (1879) in the Glasgow Art Gallery and Museum. McGregor had no formal art training until his relocation to Edinburgh, where he later attended the Royal Scottish Academy, yet he is believed to have received some artistic instruction from a Frenchman while still in Yorkshire. Once at the R.S.A., McGregor made rapid progress, getting elected an associate in 1882. He became a full R.S.A. member seven years later. Although McGregor never worked in a foreign atelier, his style was influenced by continental painters, including Courbet and Millet. Unlike other Scottish painters, the majority of whom remained loyal to a local palette, in his colourist approach McGregor maintained a distinctively French use of the grey scale, with a light effect similar to that seen in black and white photography. Having adopted an artistic approach derived from the works of Courbet, McGregor frequently reduced the foreground of his paintings in order to increase a sense of the bulkiness of the peasants' figures. A brilliant example of such composition is the present canvas depicting a young woman with a basket. The scene drawn from everyday life is executed in a warm palette, where thicker strokes of the pastel-blue sky in the top left corner are balanced with the deep-blue colour of the water and the girl's jacket. McGregor's use of heavier brushwork is softened by the elaborate lacework of the girl's headscarf. Gathering Mussels belongs to the eponymous series of works depicting peasants gathering clams in the setting of a distinctively Scottish coastal landscape. This large-scale work, executed in 1919, demonstrates the artist's use of grey tonality to create the effect of sunless weather and gives the painting a diffused silvery glow. Therefore, this later work represents one of the best examples of the artist's engagement with French painting techniques in the depiction of Scottish countryside settings.
Lot 52
CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928) THE ROAD THROUGH THE ROCKS, PORT VENDRES Signed, watercolour 27.5cm x 38cm (10.75in x 15in) Provenance:Dr M Poleres McCunn (Mrs Aiden Thomson) Dr Thomas Howarth, Christie's 17 February 1994, Lot 76 Exhibited:McLellan Galleries, Glasgow, Charles Rennie Mackintosh, Margaret Macdonald Mackintosh, Memorial Exhibition 1933, no. 57 School of Architecture, University of Toronto, Charles Rennie Mackintosh, Works from the Collection of Professor Thomas Howarth, 1967, no. 54 Art Gallery of Toronto, Charles Rennie Mackintosh, Memorial Exhibition, 1978, no. 163 National Galleries of Scotland, Charles Rennie Mackintosh in France, 2005, no.24 Literature:Roger Billcliffe, Mackintosh Watercolours, 1978, ill.p. 140 Note:Roger Billcliffe dates this watercolour c.1926-27 and points out that ' This is probably Mackintosh's earliest surviving view of Port Mailly on the outskirts of Port Vendres.' 'This man ought to be an artist!' - Sir James Guthrie, on seeing Charles Rennie Mackintosh's watercolours at Glasgow School of Art. In Mackintosh Watercolours, Roger Billcliffe indicates that this inferred division between art and architecture was the opposite of how Mackintosh viewed his work, but it is an interesting introduction to the particular artistic talent of a man still known best for his architectural designs. Mackintosh drew throughout his life. Earlier in his career these drawings recorded details to be utilised in his design ideas and work, but as he aged he began to use pencil and watercolour to create finished artistic works in their own right, starting with the imaginative, symbolist pictures of the early 1890s and moving through a focus on botanical subjects in his later works. The Road through the Rocks dates from c. 1926-27, following his move to the South of France on the advice of friends, particularly the Scottish Colourist painter, J.D. Fergusson. Here he turned his unique approach to the countryside, where the interaction between the natural and man-made intrigued him. In the work seen here, this man-made intervention is one of the forts stationed along the coast and border with Spain. Mackintosh captures both its harmonious insertion into the landscape and the smooth, angular contrast it offered against the undulating hills and jagged cliff edges, capturing the seemingly organic pattern of man and nature with an architect's eye. The Road through the Rocks was included in the 1933 Memorial Exhibition dedicated to Charles and his wife, Margaret Macdonald Mackintosh, where nearly all the later watercolours were purchased by personal friends. It was later in the collection of Professor Thomas Haworth, an eminent collector and promoter of Mackintosh's work, who amassed the largest private collection of his work, as well as publishing many works on Mackintosh.
![[§] ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., R.O.I., R.B.A. (SCOTTISH 1895-1965) STILL LIFE OF WHITE CYCLAMEN Oil on b](https://cdn.globalauctionplatform.com/b4beedbe-1dc3-4e24-ba17-a75900c76850/4a54c53a-d708-4d94-f428-d905a55a1f8c/468x382.jpg)
Lot 78
SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) A STILL LIFE OF APPLES AND PEARS Signed, oil on canvas 44.5cm x 41cm (17.5in x 16in) and verso 'Portrait of a young woman' Provenance:Alex Reid & Lefevre Ltd, London Note: This subtly tonal still life is typical of Peploe's work of the late 1920s and early 1930s. By this time he had left behind the vivid primaries of his earlier paintings of the late war years and early 1920s and adopted an altogether more muted palette. Hailed in 1926 by the Scotsman as a 'Scottish Cezanne', Peploe shows himself in this picture and others known to have been painted during this period, to have mastered a rare harmony of colour and form. Clearly he recognised his profound debt to the French painter, always keeping a copy of one of Cezanne's works pinned to the wall of his studio, which at this time was at 54 Shandwick Place in Edinburgh. Peploe had moved here in 1917, during the war and would remain here until 1934 and his move to nearby Castle Street. Perhaps Peploe's most obviously Cezanne-esque still life is that now in Aberdeen Art Gallery, dated to 1930, in which the brushwork is less apparent than in the picture shown here and the forms altogether more clearly defined. The work on offer here builds on that experience and bears more of a resemblance in handling to another still life in the collection of Kirkcaldy Art Gallery, dated to 1931 and it may be from a similar date. It was an important year for the Colourists, for it was in 1931 that the four painters showed together for the second time in a Paris group exhibition, Les Peintres Eccossais, at the Galerie Georges Petit, along with Telfer Bear and Dunlop. With an introduction by the British Prime Minister, Ramsay Macdonald, the show contained ten works by Peploe, including still lifes with roses and fruit, and views of Iona. From this group Peploe sold a landscape, Le Foret, a view of Cassis, to the French government and on his return to Scotland held a successful solo show at Reid and Lefevre in Glasgow. It is interesting to note that another still life, on long loan to Birmingham Museums, includes the same wine glass shown in the current picture and is largely painted with the same palette. While this has been dated to 1927-1929, it may well be slightly later, given its similarity. More importantly, when establishing dates, the Kirkcaldy picture is united with the current painting by the bold facets used on the fruit, the brushwork of the highlights on the apples and the use of broad strokes of brown and violet in the areas of darkest shade. All three works possess a delicacy of touch and a sensitivity which emphasises the fragility and mutability of their subject matter in a way which perfectly echoes the underlying principles of Peploe's prevailing French inspiration.
![[§] JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) A STILL LIFE OF WILD FLOWERS Oil on canvas laid down 41cm x 31cm (16in x 12i](https://cdn.globalauctionplatform.com/b4beedbe-1dc3-4e24-ba17-a75900c76850/7f2e2736-5610-442a-90da-3809368ce750/468x382.jpg)
Lot 81
[§] JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) A STILL LIFE OF WILD FLOWERS Oil on canvas laid down 41cm x 31cm (16in x 12in) Provenance:T.R.Craig Esq C.B.E. and thence by descent Note:Craig was a friend and supporter of Eardley's friend Angus Neil and family tradition says that it was acquired through him. A very similar still life was sold in these rooms 28 November 2006, lot 171 for £28,000 By 1962, Joan Eardley's ill health was keeping her indoors in her Catterline cottage, no longer able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1962-3. Though Eardley resented her confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter. 1963 was the year Eardley was elected to the Royal Scottish Academy, and finally gained recognition south of the border with a hugely successful show in Rowland, Browse and Delbanco, London. Her life was tragically cut short at just 42 years of age in the August of that year.
Lot 542
§ Vanessa Bell (British, 1879-1961) Still life with tulips and roses in a vase and a bust of a child by a curtain signed lower right "Vanessa Bell 1957" oil on canvas 50 x 37cm (20 x 14in) Provenance: The Adams Gallery, 54 Davies Street, Berkeley Square, London, W1 Private collection, London Condition appears fine.
Lot 52
A ROYAL WORCESTER PEDESTAL COMPORT, 1930, of oval form with two acanthus leaf sheathed high loop handles on a fluted waisted socle and stepped circular foot, painted in polychrome enamels by Kitty Blake with a still life vignette of blackberries and blossom within gilt borders, signed, puce mark, shape 194/H, 7 1/4" high (Est. plus 18% premium inc. VAT)
Lot 54
A ROYAL WORCESTER CHINA SMALL CABINET CUP AND SAUCER, c.1950, painted in polychrome enamels by Roberts and Price with a still life of peaches and cherries, plums and raspberries on a mossy bank, the cup with solid gilt interior, signed, black mark, saucer 3 3/4" diameter (Est. plus 18% premium inc. VAT)
Lot 119
The following 56 lots were collected in the Sepik river area of Papua New Guinea during the middle of the 20th Century by repute by a missionary who was stationed there both before and after the Second World War. The Sepik river is the longest in Papua New Guinea and its course traverses numerous different terrains. There are numerous isolated villages throughout its course and over 120 languages developed through time. The various tribes all venerated the crocodile and produced wood carvings, masks and canoe prows of varying forms making accurate attributions difficult. This area still remains a difficult place to access and the traditional way of life continues largely unchanged to this day. Tribal: A male ancestor figure 152cm.; 60ins high
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