McTear's Timed | British & International Pictures

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

DUNCAN MACKELLAR RSW (SCOTTISH 1849 - 1908), OUTSIDE THE TAVERN

716

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30 GBP

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150 - 250 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

ATTRIBUTED TO JOHN BUCKNELL RUSSELL (SCOTTISH 1819 - 1893) SPEY SALMON

722

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160 GBP

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160 GBP

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300 - 500 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

SCOTTISH SCHOOL (19TH CENTURY), VIEW AT LOCH LOMOND

723

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20 GBP

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100 - 200 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* EDMUND BLAMPIED RBA (BRITISH 1886 - 1966), UNTITLED

724

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20 GBP

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100 - 200 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* ROBERT HENDERSON BLYTH (BRITISH 1919 - 1970), COMRIE ROAD

728

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150 GBP

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300 - 500 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* JOHN MILNE PURVIS (SCOTTISH 1881 - 1965), THREE SHIRES HEAD, BUXTON

730

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1

60 GBP

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60 GBP

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200 - 400 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

JAMES WATTERSON HERALD (SCOTTISH 1859 - 1914), RESTING TIME

734

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200 GBP

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400 - 600 GBP

pastel on paper, titled labels verso mounted, framed and under glass image size 40cm x 47cm, overall size 65cm x 71cm Label verso: The George Street Gallery, Perth. Note: Born in Forfar in 1859, the son of a shoemaker, James Watterston Herald went on to become a recognised figure in twentieth-century Scottish art. His emphasis on decorative colour, subtle tone and harmony of composition created delicate figurative and luminous landscapes which are delightful to view. Herald was educated at West Burgh School, Forfar and later at Forfar Academy. At the age of 14 Herald attended the art class at the High School of Dundee, under the direction of the art master, Mr Kennedy, who regarded Herald as a most promising talent and awarded him the prize for excellence in drawing. By the time he had completed High School, Herald had acquired a reputation for having quite a skill for drawing, especially capturing caricatures of local celebrities and customers who frequented his father's shop. These sketches formed the basis of his early experiments in watercolour and oil paintings that he completed from memory due to a shyness of drawing in company. Moving to Edinburgh in 1884, he frequented the exhibitions that were now readily available to him and produced an impressive body of work mainly inspired by the streets and closes of Edinburgh's Old Town. It was during this time that Herald's work began to meet with critical acclaim. Several of his works were exhibited by the Royal Scottish Academy. Returning to Angus around 1890 Herald developed techniques and perfected the themes that would become his trademark such as the crowd scenes, public groups and circuses, as well as the many harbour motifs. Today the popularity of James Watterston Herald continues to grow and his works can be found hanging on the walls of many homes and galleries throughout his native Scotland and beyond. One hundred and thirty-one of his paintings are held in UK public collections.

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

JAMES STUART PARK (SCOTTISH 1862 - 1933) WHITE JASMINE

735

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1

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600 GBP

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1,000 - 2,000 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

JAMES PATERSON PRSW RSA RWS (SCOTTISH 1854 - 1932), THE RIGHT HONOURABLE J PARKER SMITH PC, JP, DL,

736

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100 GBP

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200 - 400 GBP

pastel, chalk and pencil on paper, signed and dated 1918, titled label verso mounted, framed and under glass (original mount and frame) image size 46cm x 31cm, overall size 71cm x 53cm Handwritten artist's label verso. Note 1: After settling in Edinburgh, James Paterson drew several accomplished portrait sketches of high-profile contemporaries including a self-portrait drawing (1916) in pastel, chalk and pencil which is now in the collection of The National Galleries Of Scotland. The portrait offered here is an outstanding example of his characteristic style as a draughtsman. Paterson often used hatching in red and grey chalk to model the face and give it depth. James Paterson`s work was exhibited at The Kelvingrove Gallery as part of the major "Glasgow Boys" Exhibition (2010) and at The Hunterian Art Gallery (Glasgow) in "James Paterson : Works From The Artists Studio" (2010)-an exhibition dedicated entirely to his own work. The Sitter: James Parker Smith of Jordanhill, PC, JP, DL, FRSE (30 August 1854 – 30 April 1929) was a Scottish barrister and politician who served as Liberal Unionist MP for Partick. He was first elected at a by-election in 1890 but lost the seat in 1906. He was a Cambridge Apostle. He had previously contested Greenock and Paisley. He was born on 30 August 1854 the son of Archibald Smith of Jordanhill (son of James Smith of Jordanhill) and his wife, Susan Emma Parker. Although his father was Scottish he was born in London and spent much of his life in England. He was educated at Winchester College. He then studied law at Trinity College, Cambridge, graduating with a BA in Mathematics (as fourth Wrangler) in 1877 and an MA in 1880. He qualified as a barrister in 1888. From 1890 to 1906 his interests changed from law to politics. In January 1900, Smith was appointed assistant private secretary to Joseph Chamberlain, Secretary of State for the Colonies. He held this post until 1903. He was sworn of the Privy Council in 1904. In 1915 he returned to Winchester as a fellow and as warden of the college. He later became a director of the Union Bank of Scotland. In 1921 he was elected a fellow of the Royal Society of Edinburgh. His proposers were Frederick Orpen Bower, Ralph Allan Sampson, Sir Edmund Taylor Whittaker and Sir James A. Ewing. In 1882 he was married to Mary Louisa Hamilton. They were parents to Archibald Colin Hamilton Parker Smith, the 5th Laird of Jordanhill, and Wilmot Babington Parker Smith. His brothers included Arthur Hamilton Smith, Henry Babington Smith, Lt Commander Charles Stewart Smith and Rev Walter Edward Smith. He died at the Brooks's Club in London on 30 April 1929 Note 2: In our auction of 11th August 2010, lot 13 "Portrait of a Lady" (dated 1916) a similar pastel, chalk and pencil portrait by James Paterson sold for £2600 (hammer).

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

CHARLES FRANCE (BRITISH 19TH/20TH CENTURY), ENGLISH LANDSCAPE WITH CATTLE

737

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260 GBP

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500 - 700 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

ATTRIBUTED TO EDUARD VEITH (AUSTRIAN 1858 - 1925), MELANCHOLIE, STUDY OF MAGDA GRASMAYR (NEE MAUTNNE

738

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1

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360 GBP

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700 - 1,000 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

JOSEPH (JOE) MILNE (SCOTTISH 1861 - 1911), THE VICTORIAN GALLERY

744

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50 GBP

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200 - 400 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* ROBERT OSCAR LENKIEWICZ (BRITISH 1941 - 2002), PORTRAIT STUDY

746

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50 GBP

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100 - 200 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

NELSON DAWSON (BRITISH 1859 - 1941), ROW BOAT AND CLOUDY SKIES

747

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1

50 GBP

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50 GBP

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100 - 200 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

AUGUSTA LEBARIB-DESVES (FRENCH 1806 - 1894), STUDY OF A WOMAN

748

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20 GBP

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100 - 200 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

ETHEL LEONTINE GABAIN RBA ROI SWA (FRENCH/BRITISH 1883 - 1950), THE PATCH

749

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1

200 GBP

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200 GBP

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200 - 400 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

BRITISH SCHOOL (19TH CENTURY), READING TIME

750

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1

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80 GBP

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150 - 250 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

GIOVANNI BATTISTA PIRANESI (ITALIAN 1720 - 1778), THE SO-CALLED VILLA OF MAECENAS AT TIVOLI, INTERIO

751

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120 GBP

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300 - 500 GBP

engraving on paper mounted, framed and under glass image size 42cm x 60cm, overall size 58cm x 82cm Note: Giovanni Battista Piranesi (1720-1778) was born at Mogliano Veneto in Italy. His father was a stonemason and a master builder, and his mother was the elder sister of Matteo Lucchesi (1705-1776), a renowned architect and engineer who had connections in aristocratic circles. Piranesi’s family expected him to be an architect, and his upbringing in the architectural world of Venice was foundational in his future achievements. The Venice in which Piranesi grew up introduced him to the architecture of the theatrical stage through the various productions he worked on, an experience that would be influential to the style he developed. Piranesi learned to perfect the art of stage design, discovering how to render light and shade with dramatic effect, draw architecture from unique angles, and take risks with perspective. Piranesi was captivated by the antiquity of Rome from a very young age, visiting the ancient city as an inexperienced draughtsman aboard an ambassadorial train. During his time in Rome, he drew everything: temples, palaces, bridges, aqueducts, and all of the fragments of Rome’s past which were, at the time, only just being uncovered and restored. At twenty-five (1745), Piranesi received an offer of work from a publisher in Rome and returned to settle there for life. In his early years in Rome, he published almost no artwork and spent the majority of his time observing and sketching ancient ruins and styling imaginary reconstructions. Soon after his arrival in Rome, Piranesi apprenticed himself briefly to the Sicilian Giuseppe Vasi (1710-1782) the most famous producer of etched views of Rome, which he supplied to Grand Tourists as a lasting souvenir. At thirty two, Piranesi married Angela Pasquini. He put his wife’s dowry towards a supply of huge copper plates, allowing him to establish and sustain his independent career as a view-maker. Piranesi, in collaboration with some young French artists from the Academy, began to distribute his own etchings with a series of small vedute over several decades. In the next thirty-five years, Piranesi would etch over a thousand big plates. He made a substantial fortune by selling his huge views, and some of his copper plates are still used in Rome today. Piranesi died in 1778 in Rome after a long decline in health. Even though Piranesi lived in Rome for the majority of his life, and used Rome as his main source of inspiration, he stated frequently that he considered himself a subject of the Republic of Venice. The title page of his famous Vedute di Roma is taken up by the words “Drawn and engraved by Giambattista Piranesi Venetian architect,” signifying the importance Piranesi assigned to his Venetian origins.

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* RALSTON GUDGEON RSW (SCOTTISH 1910 - 1984), STILL LIFE

754

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1

100 GBP

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100 GBP

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150 - 250 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* RAMON DURAN FONT (SPANISH b. 1939), STILL LIFE

758

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80 GBP

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150 - 250 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

GEORGE HOUSTON RSA RSW (SCOTTISH 1869 - 1947), GARRON BRIDGE, INVERARY

761

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150 GBP

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250 - 450 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* JOSEF HERMAN OBE RA (POLISH/BRITISH 1911 - 2000), MOTHER & CHILD

762

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1

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400 GBP

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GBP

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1,000 - 2,000 GBP

oil on board, titled verso mounted, framed and under glass image size 15cm x 9.5cm, overall size 33cm x 26cm Provenance: Valued and featured on BBC Antiques Roadshow 2013 Series 35 episode 14 venue Cawdor Castle where the valuation was "I can easily see that making £2000". After the program aired, the BBC received an email from the family of the mother and child depicted. The central text includes ".... drawing by Joseph Herman of a mother and child. My parents lived in South Wales in the late 40’s/early 50’s and knew Herman and his wife well. My father was an artist and worked closely with him. My mother recognised the drawing as it was of herself and first child, my elder brother, a bonny 65 year old now." A copy of the BBC email to the current vendor's family is available to the buyer as is a copy of the email received by the BBC from the son/brother of the mother/child depicted. Note: Polish-born painter who became a British citizen in 1948. He was born in Warsaw, the son of a Jewish cobbler, and studied at the Warsaw School of Art, 1930–31. In 1938 he moved to Brussels, then in 1940 to Glasgow, where he became a friend of another Polish refugee, Jankel *Adler. He moved to London in 1943, then from 1944 to 1953 lived in the Welsh mining village of Ystradgynlais. Ill health forced him to seek a drier climate and subsequently he lived in London and Suffolk. Herman is best known for his sombre pictures of Welsh miners, with whom he felt a strong affinity. He often showed their black figures silhouetted against the sun: ‘This image of the miners on the bridge against a glowing sky mystified me for years with its mixture of sadness and grandeur. ’ Michael Jacobs and Malcolm Warner write that ‘The harsh realities of life here provided a subject perfectly attuned to his expressionist style of painting. He feels that he has achieved a special empathy with the local inhabitants, and knew that he was accepted by them as soon as they referred to him by the affectionate nickname “Joe bach” (little Joe). Much of his time at Ystradgynlais was spent underground observing the life of the miners’ (The Phaidon Companion to Art and Artists in the British Isles, 1980). Herman made a considerable reputation with his mining scenes and was commissioned to paint a mural for the Festival of Britain in 1951 (Miners, Glynn Vivian Art Gallery and Museum, Swansea). In subsequent paintings he depicted the life of other working people he had seen on his extensive travels, which are documented in his book Related Twilights: Notes from an Artist's Diary (1975). He made an impressive collection of African sculpture and his figure style was to some extent based on it. More than one hundred works by Josef Herman are held in UK public collections.

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* HERBERT DAVIS RICHTER (BRITISH 1874 - 1955), STILL LIFE WITH BLUE AND WHITE VASE

766

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1

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100 GBP

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300 - 500 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

FRENCH SCHOOL (19TH CENTURY), TWO BEACH SCENES

768

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100 GBP

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200 - 400 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

WILLIAM PERRING HOLLYER (BRITISH 1834 - 1922), MONARCH OF THE GLEN

769

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1

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50 GBP

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200 - 400 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

ABRAHAM SOLOMON (BRITISH 1824 - 1862), MOTHER AND DAUGHTER

770

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1

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800 GBP

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1,500 - 2,500 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

* IAN FLEMING RSA RSW RGI (SCOTTISH 1906 - 1994), CATHEDRAL SUITES

774

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1

100 GBP

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100 GBP

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200 - 400 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

BRITISH SCHOOL (18TH CENTURY), PORTRAIT OF A GENTLEMAN

778

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1

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50 GBP

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200 - 400 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

SCOTTISH SCHOOL (20TH CENTURY), PORTRAIT OF A LADY

782

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1

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50 GBP

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200 - 400 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

BRITISH SCHOOL (19TH CENTURY), PORTRAIT OF A SEATED GENTLEMAN

785

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1

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20 GBP

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100 - 200 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

WILLIAM STRANG RA RP RE (SCOTTISH 1859 - 1921), THREE DRUNKS

791

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1

50 GBP

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50 GBP

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100 - 150 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

DANIEL IZZARD FCA OIP (CANADIAN 1923- 2007), THE OLD RABBI, JERUSALEM

793

Quantity

1

20 GBP

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20 GBP

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100 - 200 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

AFTER RAPHAEL SANZIO (ITALIAN 1483 - 1520), MADONNA WITH CHILD AND BOOK

794

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1

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100 GBP

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300 - 500 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

WILLIAM STRANG RA RP RE (SCOTTISH 1859 - 1921), ST MARTIN'S BRIDGE, TOLEDO

795

Quantity

1

45 GBP

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45 GBP

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100 - 150 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

HORACE OVERTON JONES (BRITISH 1856 - 1928), WATERGATE BAY, CORNWALL

796

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1

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80 GBP

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200 - 400 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

WILLIAM STRANG RA RP RE (SCOTTISH 1859 - 1921), SEGOVIA CATHEDRAL, SPAIN

798

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1

45 GBP

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45 GBP

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100 - 150 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

PETER MACGREGOR WILSON RSW (SCOTTISH 1856 - 1928), SAILING IN THE HIGHLANDS

799

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1

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80 GBP

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150 - 250 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

CIRCLE OF VLADIMIR GRIGORYEVICH TRETCKIKOFF (RUSSIAN 1913 - 2006), PORTRAIT OF A WOMAN

800

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1

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150 GBP

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300 - 500 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

ROBERT PAYTON REID ARSA (SCOTTISH 1859 - 1945), CATTLE GRAZING, INVERKEITHING, FIFE

801

Quantity

1

0 GBP

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1,000 GBP

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2,000 - 3,000 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

JAMES CAMPBELL NOBLE RSA (SCOTTISH 1846 - 1913), SUNSET, GOGAR HOUSE, EDINBURGH

802

Quantity

1

0 GBP

Opening bid

400 GBP

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0 GBP

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GBP

Estimate

800 - 1,200 GBP

oil on canvas, signed framed image size 57cm x 77cm, overall size 76cm x 96cm Partial handwritten label verso Note: RSA Obituary by James Guthrie RSA. Transcribed from the 1913 RSA Annual Report: The death of James Campbell Noble, on 25th September, removed from the Academy’s active list the name of one of its most widely known members. Born in Edinburgh on the 22nd of July 1845, Mr. Noble’s earliest association with art, like that of Sir George Reid, was in the department of lithography. As a lad of fifteen he entered the employment of Mr. J. O. Brown, a well-known exponent of that branch of engraving, where he was engaged mainly on architectural subjects; and when after four years, his master retired from business, young Noble continued his vocation on such work as came to hand, illustrating in this way several volumes on anatomical and surgical subjects. During those years he attended the Trustees’ School of Design and, later, the Academy’s Life Class, where he carried off more than one of the leading honours, including the Keith prize in 1873. It was as a figure painter that Mr. Noble first came before the public, and his contributions to the Exhibition commence in 1869, with a picture entitled “ Watching Conspirators.” For some years his exhibits are few and intermittent, but from 1873 onwards he is a regular and copious contributor, and till towards the close of that decade figure subjects predominate. “ Near the end of the Weft” (1875), and “The Duet (1879), are typical of the period. About the later seventies, however, a change of motive and direction is visible, when, under the influence of the pleinair movement then beginning to assert itself in Scotland, he turned, like several of his contemporaries, to those problems of light which are most readily dealt with under the open sky. For a while harbour and shipping subjects furnish themes for the broader treatment implied in the change; these he found on our rivers and estuaries from the Forth to the Thames and Medway. One or two visits to the Berwickshire coast during the earlier ’eighties gave a more local and individual turn to his work, and from that time till nearly the close of the century, during which Mr Noble made Coldingham his home, his pictures are mostly associated with that village and neighbourhood. Many of them illustrate the sea-faring and fisher-life of that rockbound coast, as witness such titles as “The Fisherman’s Return” (1883), “The Signal of Distress” (1888) and “Making for Harbour” (1893). But far from confining himself to sea or shore, he draws largely for subject-matter on the agricultural and historic interest of the adjacent districts, with occasional flights to more distant sketching grounds. But the outstanding feature of Mr. Noble’s art career is the virility of his later work. At a period of life when new developments, either of technique or outlook are rare, moved, perhaps, by a visit to Holland about the close of the century, his art shows a distinct advance in both spheres ; and this quickening of his powers was maintained to the end. During these last years Mr. Noble portrays with equally facile brush the barge-thronged rivers of the Low Countries and the romantic scenery of the Highlands. Something of temperamental affinity seemed to be drawing him strongly towards the latter class of subjects; and it was during a visit to the land of the Campbells that he was prostrated by the illness which, after a few days, proved fatal. Always keenly interested in the work of his juniors, Mr. Noble had for many years been a visitor at the Academy’s Life School and School of Painting, where his strong personality and sympathetic temperament gave him a unique position amongst a long succession of students, by whom, in after years, his advice and encouragement were highly valued. He was a power also in the social life of the art community and served for the full term of office as President of the Scottish Arts Club. His intimate relations with the musical membership of the club peculiarly fitted him for such a position, and, in conjunction with his personal accomplishments in that direction, made his name a household word in the wider social life of the city. Though he never took a very prominent part in debate, the influence of his wide and varied experience made itself felt in many ways at the Council Board of the Academy. Beyond the membership of the Academy your Council regret to record the deaths of two distinguished painters whose works have frequently lent interest to the Exhibitions of recent years. Mr. Joseph Crawhall, a native of Northumberland, who had attained to great eminence as an animal painter; and M. Gaston la Touche, whose romantic treatment of subjects in various genres had given his work a unique position in contemporary French Art.

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Jul 13

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AFTER JOHN OPIE RA (BRITISH 1761 - 1807), THE MURDER OF JAMES I, KING OF SCOTLAND

805

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200 GBP

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400 - 600 GBP

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Jul 13

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FOLLOWER OF FRANZ VON DEFREGGER (AUSTRIAN 1835 - 1921), LITTLE BIRD

806

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300 GBP

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300 GBP

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600 - 800 GBP

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Jul 13

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* JOSEPH ALFONSO TOFT ROI (BRITISH 1866- 1964), BLUE SKIES ABOVE THE SCOTTISH HIGHLANDS

807

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300 GBP

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500 - 700 GBP

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Jul 13

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* GEORGE JAMES RANKIN (BRITISH 1883 - 1959), COCK AND HEN PHEASANTS AT THE EDGE OF A WOOD

808

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150 GBP

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300 - 500 GBP

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Jul 13

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* JAMES MCBEY (SCOTTISH 1883 - 1959), CHATHAM NO. 2

809

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300 GBP

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600 - 800 GBP

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Jul 13

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LOUIS-ROBERT CARRIER-BELLEUSE (FRENCH 1848 - 1913), MUSSEL GATHERERS, SAINT-MALO, BRITTANY

811

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1

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300 GBP

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600 - 800 GBP

oil on canvas, signed, titled label verso framed image size 33cm x 70cm, overall size 51cm x 88cm Label verso: Tom Bell Fine Art, Troon Note: this lot includes a conservation report and confirmation of signature. Note 2: Born in Paris on 4 July 1848, Louis-Robert Carrier-Belleuse grew up watching his father, Albert-Ernest Carrier-Belleuse, earn his living as a practicing artist. The elder Carrier-Belleuse entered the Ecole des Beaux-Arts in 1840 under the auspices of sculptor David d’Angers, but he elected to study decorative arts at the Petite Ecole shortly thereafter, perhaps because he felt that it would offer a better livelihood for his growing family. When Louis-Robert was only two years old, his father accepted a job in England where he designed ceramics and metalwork models for the Wedgwood factory, among others. This interlude lasted five years, until 1855 when the family returned to France where Albert-Ernest found work in Napoleon III’s massive urban renewal projects for Paris. Throughout these years, the young Louis-Robert studied with his father, absorbing his basic art education through direct observation, on-the-job training, and paternal instruction. Eventually, Louis-Robert entered the Ecole des Beaux-Arts where he focused his studies on painting. Under the direction of Alexandre Cabanel and Gustave Boulanger, two of the most successful painters of the era, Carrier-Belleuse mastered the academic techniques of drawing from plaster casts of famous sculptures, and in due course, the live model. In 1870, just as the Second Empire was coming to its disastrous conclusion, Carrier-Belleuse made his debut at the annual Salon. The eruption of the Franco-Prussian War disrupted life significantly; although it is unknown whether or not the 22-year-old Carrier-Belleuse served in the French Army, most young men performed their military duty at this age. As a result of the war—and the internecine bloodshed of the Commune—life in Paris was fundamentally changed. The city had been beaten and battered, and the political divisions among the citizenry were both painful and raw. The arts community was no exception. Traditionalists who supported the academic canon were impatient with the increasing number of artists who advocated for a fresh approach to painting as well as new venues in which to exhibit their work. Carrier-Belleuse, while not as radical as the Impressionists, nevertheless found his voice as a “painter of modern life” to cite Charles Baudelaire’s famous phrase. Like Constantin Guys, the painter that Baudelaire held up as his example, Carrier-Belleuse captured the daily life of Parisian streets. His images included people from all walks of life, whether it illustrated workingmen delivering sacks of flour in Porteurs de farine of 1885, or casual strollers on the grand boulevards as in The Bookseller of 1881. In both of these images, the painter’s academic education is obvious in the clear delineation of the human body, but his choice of urban subject matter suggests the influence of Degas or Steinlen, especially in the seemingly random combinations of anonymous figures going about their daily routine. Carrier-Belleuse also occasionally painted amusing genre scenes such as The Animal Sculptor. This undated work depicts the sculptor (perhaps Carrier-Belleuse himself) in his studio trying to grab a bite of lunch while the plaster swan on his worktable appears to be interrupting him. Nearby, two live swans observe this action, presumably a bit miffed that they are not being fed as well. The joke is purely visual, and it remains comical today precisely because it does not depend on any external narrative. What is even more intriguing is the compositional structure that Carrier-Belleuse created; the standard two-point perspective grid is offset by a technique that Degas often used of undermining the spatial organization by drawing parallel lines that will not meet at the hypothetical horizon. In 1889, Carrier-Belleuse accepted an appointment as artistic director of the Hippolyte Boulenger & Cie faience manufactory at Clichy-le-Roi where he designed new forms for the earthenware sculpture and pottery. That same year, Hippolyte Boulenger opened a retail store at 18 rue Paradis in Paris to showcase the new designs being produced. In fact, the building itself functioned as a ‘catalogue’ of the ceramic tiles from Choisy-le-Roi. The year 1889 was momentous. Not only did Carrier-Belleuse begin his tenure at Clichy-le-Roi, but he also received a Silver Medal at the Exposition Universelle. In addition, his contributions to France’s art and culture were recognized with the Legion of Honor Medal. At this time, he also began to focus increasingly on sculpture, particularly portrait busts. One of the more curious developments of Carrier-Belleuse’s career was the establishment of his reputation as a sculptor in Central American nations. This appears to have begun with a commission for the tomb of the liberal reformer and modernizer of Guatemala, President Justo Rufino Barrios, who died in April 1885. This in turn led to a large sculptural group designed as a National Monument for Costa Rica in 1890. Located in San José’s Parque Nacional near the Congress Building, the bronze monument commemorates the heroes of Costa Rican freedom. When it was unveiled during Independence Day celebrations on September 15, 1895, the Costa Rican people saw seven figures, five of them women. These allegorical figures represented the nations of Central America—Costa Rica, Nicaragua, El Salvador, Guatemala, and Honduras—each carrying some type of weapon to defend her sovereignty against foreign invaders. The sixth figure is the American military expansionist, William Walker, who attempted to annex Central America to the United States in 1855-57. Carrier-Belleuse depicted him hiding his face from the female defenders of freedom. The seventh figure, a fallen soldier, serves as a universal reminder of the human cost of warfare. The last decade of Carrier-Belleuse’s career was devoted primarily to sculpture and large-scale faience projects. When he died on 15 June 1913, his passing was noted not only in France, but also in the newspapers in London and New York.

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Jul 13

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JOHN MACWHIRTER RA HRSA RI RE (SCOTTISH 1839 - 1911), CROSSING AT LOW TIDE

812

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1

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30 GBP

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100 - 200 GBP

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FOLLOWER OF GEORGE MORLAND (BRITISH 1763 - 1804), FIGHTING DOGS

821

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1

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200 GBP

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400 - 600 GBP

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Jul 13

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THOMAS FAED RA HRSA (SCOTTISH 1826 - 1900), THE WATER CARRIER

823

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1

500 GBP

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500 GBP

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800 - 1,200 GBP

oil on canvas framed image size 36cm x 31cm, overall size 46cm x 41cm Provenance: Private collection, UK Note: Transcribed from the RSA Annual Report of 1900: Thomas Faed, R.A, H.RS A.. was born in 1826 at Barlay Mill, Gatehouse of Fleet, in the stewartry of Kirkcudbright, where his father was a Millwright and Engineer. Having early shown a strong feeling for Art, he came to Edinburgh when yet a youth, and entered the Board of Trustees’ School of Design, as a student under Sir William Allan, where in course of 1847 he gained the first prize for Painting. He also studied Miniature painting under his elder brother, Mr. John Faed, R.S.A., who at that time practised the art in Edinburgh. He exhibited his first picture in the Royal Scottish Academy in 1844,e? water-colour called “Scene from the Old English Baron,” and soon after took to oil painting. For eight consecutive years he contributed liberally to the Academy's Annual Exhibition. In 1852 he removed to London ; his works, however, were frequently seen thereafter in the Royal Scottish Academy, and continued to be very attractive. To domestic genre painting he was devoted, and in that branch of art achieved great distinction and success. For the subjects of his works he generally chose incidents in the cottage life of Scotland, its song and story. A considerable number of his pictures have been engraved. Among his most characteristic works are: “The Draught Players,” 1847; “The Thorn in the Foot.” 1848; “First Letter from the Emigrants,” 1849; Scott and his Literary Friends at Abbotsford,” engraved by his brother, Mr. James Faed; “ The First Step,” 1852; “The Mitherless Bairn.” 1855; “The First Break in the Family,” 1857; “ From Dawn to Sunset,” 1873; Home and the Homeless,” 1856: “Sunday in the Backwoods,” 1859; “Coming Events Cast their Shadows before” and “His only Pair,” 1860; “From Dawn to Sunset,” 1861; “The Silken Gown” and “The Irish Orange Girl,” 1863; “Our Washing Day” and “Baith Father and Mither,” 1864; “Pot Luck” and “Ere Care Begins,” 1866; “Worn Out,” “ The Flower of Dunblane,” and “The Cradle,” 1868; “ Homeless,” 1869; “ A Highland Mother,” 1870; “ A Wee Bit Fractious,” 1871. He was elected an Associate of the Royal Scottish Academy in 1850, but resigned on his election to the Associateship of the Royal Academy in 1862. In the same year he was elected an Honorary Member of the Royal Scottish Academy, and in further recognition of his high talent as a painter he was entertained by the Members of the Academy at a banquet given in Edinburgh in 1873. He died at his residence in London on 17th August 1900.

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Jul 13

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WILLIAM CHARLES THOMAS DOBSON RA RWS (BRITISH 1817 - 1898), THE YOUNG FISHERMAN

824

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1

400 GBP

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400 GBP

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600 - 800 GBP

oil on canvas, monogrammed framed image size 36cm x 31cm, overall size 53cm x 47cm Note: W C T Dobson was born in Hamburg on 8 December 1817, the son of John Dobson, an English merchant, who had married in Germany. As the result of financial concerns, the family moved to England in 1826, and Dobson was educated in London. He began his study of art by making drawings of antiquities at the British Museum, and received his earliest lessons from Edward Opie, a nephew of the portrait painter, John Opie. In 1836, he entered the Royal Academy Schools, where he studied, most notably, under Charles Lock Eastlake, who rarely took pupils. In 1841, while living at 4 King’s Terrace, Bagnigge Wells Road (now King’s Cross Road), he was awarded a silver medal by the Society of Arts for his oil painting, The Prodigal Son. He began to exhibit regularly at the Royal Academy in 1842, following his move to 28 Exmouth Street, Spa Fields. Through the influence of Eastlake, Dobson gained a teaching position at the new Government School of Design at Somerset House. In 1843, Dobson moved to Birmingham to take up the position of headmaster of its Government School of Design. He remained in the Midlands until 1846, the year that he married Caroline Parkes in Kings Norton (then in Worcestershire). They then travelled to Italy, and stayed mainly in Rome, where he furthered his studies. While there, he may have made the acquaintance of members of the Nazarene school of German religious painters. Certainly, he moved on to Germany, and absorbed the Nazarene influence so strongly that he then devoted himself to historical and, increasingly, Biblical subjects in both oil and watercolour. In 1847, he entered two historical cartoons, Lamentation and Boadicea, into the competition to produce murals for the new Houses of Parliament. The commission by Queen Victoria of The Almsdeeds of Dorcas (1855; Royal Collection) as a birthday present for Prince Albert confirmed his reputation as a painter of religious subjects. In both these and secular genre scenes, he focussed on idealised images of children. While abroad, Dobson gave his address as 23 Newman Street, his London studio in the artists’ quarter north of Oxford Street. On his return, he settled at 5 Chalcot Villas, Haverstock Hill, with his growing family, which, by 1851, included two young sons, William and Henry. A third son, Edmund, who would become a painter of rustic genre, was born in 1857. Dobson also took on pupils, including, in about 1854, Edward Poynter, who would gain fame as a painter of neo-classical subjects. In the late 1850s, he returned to Germany, and resided in Dresden. By 1861, and for at least 20 years from that date, he and his family lived at Eldon House, Rosslyn Park. Dobson was elected an Associate of the Royal Academy in 1860, and a full Academician in 1871. Working increasingly in pure watercolour as well as in oil, he was elected an Associate of the Society of Painters in Water Colours in 1870, and a full member in 1875, exhibiting about 60 works there in all. He was also a member of the Etching Club. In 1878, he was appointed a British juror for the Exposition Universelle, Paris, and was represented there by three watercolours. Late in life, Dobson and his wife, moved to Gentilhurst, a house in the hamlet of Lickfold, northeast of Midhurst, Sussex. He exhibited the last of more than 100 works at the Royal Academy in 1894, and retired from that institution a year later. He died at Undercliff House, a boarding house at Ventnor on the Isle of Wight, on 30 January 1898. His work is represented in the Royal Collection.

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Jul 13

Lot location: Glasgow

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SCOTTISH SCHOOL (20TH CENTURY), CROFTS OF DIPPLE, MUIR OF ORD

827

Quantity

1

35 GBP

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35 GBP

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100 - 200 GBP

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Jul 13

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* RALSTON GUDGEON RSW (SCOTTISH 1910 - 1984), FIGHTING COCKERELS

829

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50 GBP

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200 - 400 GBP

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Jul 13

Lot location: Glasgow

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* RALSTON GUDGEON RSW (SCOTTISH 1910 - 1984), PARTRIDGE

832

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1

50 GBP

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50 GBP

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100 - 200 GBP

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Jul 13

Lot location: Glasgow

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* RALSTON GUDGEON RSW (SCOTTISH 1910 - 1984), YELLOWHAMMER

833

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1

50 GBP

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50 GBP

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100 - 200 GBP

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Jul 13

Lot location: Glasgow

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JAMES FILLANS (SCOTTISH 1808 - 1852) BUST OF ROBERT BURNS

835

Quantity

1

550 GBP

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550 GBP

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1,000 - 2,000 GBP

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Jul 13

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SCOTTISH SCHOOL (19TH CENTURY SCHOOL), MARY QUEEN OF SCOTS

836

Quantity

1

25 GBP

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25 GBP

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100 - 200 GBP

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Jul 13

Lot location: Glasgow

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* ANNIE FRENCH (SCOTTISH 1872 - 1975), AMELIA'S BOOK OF POEMS

837

Quantity

1

20 GBP

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20 GBP

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100 - 200 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

839

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1

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20 GBP

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100 - 200 GBP

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Jul 13

Lot location: Glasgow

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ITALIAN SCHOOL (20TH CENTURY), TWO EVENING VIEWS OF VENICE

840

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20 GBP

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100 - 200 GBP

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Jul 13

Lot location: Glasgow

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

847

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1

0 GBP

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20 GBP

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100 - 200 GBP

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Jul 13

Lot location: Glasgow

Auction currency	GBP
Buyer's premium	24 %
Online commission	3 %
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