Anna Jung Seo (Korean, b. 1964) - Untitled, 2011 - a 20th century oil on reinforced canvas abstract portrait painting. Signed and dated to back. Unframed and lead on board.' As a Korean artist in London, ‘dislocation’ has been my main interest. During 2012 – 2015, I explored the notion of distance in different spheres: psychological and emotional distance within people and geographical and physical distance between places and people.' The artist is fascinated by the way in which emotions and vulnerability of life can be dramatised into intimate or even awkward moments. This body of works is based upon the short memory following quick observations – sometimes repetitive – through daily encounters. Intrigued by scenes around herself, she tries to convey the vulnerability of these individuals by capturing the intense moments within small-scale paintings. Measures approx. 75cm x 60cm (29.5" x 23 3/4")
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An original 20th century acrylic & oil on canvas landscape painting of harbour scene. The painting depicting boats & people by pier with houses in the background. Framed in gilt & ebonised frame. Illegibly signed to bottom right, possibly reading David Norman.Measures approx. 65cm x 86cm including frame.
Daniele Karsenty-Schiller (French, b. 1933) St Tropez, 1974Oil on canvasSigned & dated bottom rightFramedKarsenty-Schiller was born on 18th July, 1933 in Paris. Known as a painter of animated and naive compositions, she only started painting in 1971. Since 1972, her works have been exhibited in Paris, including the salon d'automne. In a style close to naïve art, she went from the poignant description of German concentration camps to the composition of scenes of joy.Measures approx. 50cm x 100cm (19.5" x 39.5")
EDWARD ARTHUR WALTON R.S.A., P.R.S.W., H.R.W.S. (SCOTTISH 1860-1922) CHANCE ENCOUNTER Signed, oil on canvas 76cm x 73.5cm (30in x 29in) Presented by Mrs Fergus Morton and Mrs J. W. H. Gow, 1937. Titled ‘Landscape’, in Illustrated Catalogue of Paintings, Drawings, Sculpture in the Collections of Paisley Corporation and Paisley Art Institute, 1948. Exhibited: Hankyu Department Store, Umeda Main Store, Osaka, Japan, The Beautiful Landscape of Scotland, 11-16 November 1983; touring to Tenmaya Department Store, Okayama Main Store, Okayama, Japan, 18-23 November 1983. Edward Arthur Walton is well-known as one of the significant figures within the loose network of artists now commonly referred to as the ‘Glasgow Boys.’ It can therefore be difficult to separate his life and work from this movement, but it does a disservice to Walton not to pay attention to the wider picture of his long and illustrious career. He made his way as an artist from his late teens all the way until the day of his death, and during this over-forty-year period he was elected to, and participated in, various institutions and artistic bodies across the U.K., exhibited and won prizes internationally, and was widely praised by critics and fellow artists alike. ‘Walton was a painter so distinguished that he held a special place in the regard…of all who followed with any intelligence or interest the development of art in the country during the last three or four decades’ – Daily Record and Mail, 12 January 1924 (quoted in Fiona MacSporran, Edward Arthur Walton, Foulis Archive Press, Glasgow, 1987, p.9)Throughout his career, Walton’s output was varied, working consistently in both oil and watercolour and developing a successful portraiture practice. He worked largely to commission, while he continued to excel in his favoured landscape subjects, which are suffused with atmosphere, light, and a sensitivity and freedom that remains utterly compelling. Working in both mediums, we can feel his joy and pleasure in the world around him. He converts atmosphere to paint, so we can feel the warming sun and gentle breeze, smell the air and feel that particular freshness that lifts the spirit when we are surrounded by nature. Yet, this feeling of spontaneity and freedom is underpinned by an artistic rigour so that every dappled brushstroke and area of exposed ground or canvas is considered and intentional. Walton pays particular attention to light and shade, picking out shadows in rich tones of cooler shades, the gentle contrast serving the overall harmony and charm of the finished painting. As Helen Weller observes:‘They are not, in spite of their beauty and charm, simply an emotional response to nature; they are carefully conceived, to the extent of using unusual surfaces and a barium ground to enrich the colour. Nothing is irrelevant or inconsidered. The smallest stroke of warm colour on the sleeve of a tiny figure set in cool shadow is wholly necessary.’- Helen Weller, E.A. Walton, Bourne Fine Art exhibition catalogue, Edinburgh, 1981.Sketching in the countryside surrounding Glasgow from an early age, Walton seems to have had family support for his early artistic enthusiasm and talent, as training was arranged for him at the Kunstacademie, Dusseldorf in 1876-77, while he was still in his teens. On his return, he commenced his career as an artist in Glasgow, and in 1878 exhibited at the Glasgow Institute and was elected to the Glasgow Art Club, while attending Glasgow School of Art, and winning local and national competitions. Artistic networks, friendships and connections were important for the development of the Glasgow Boys, and for Walton, in particular. He initially met James Guthrie, who would become a life-long friend, while Joseph Crawhall became connected to his family through marriage, commencing another important friendship. Further relationships developed with a wide range of artists through painting and travel, including George Henry, Arthur Melville, James Whitelaw Hamilton, Thomas Corsan Morton, Alexander Kellock Brown, J.D. Taylor and William York Macgregor. Walton’s great enthusiasm for landscape meant he was keen to capture different viewpoints and evoke varied atmospheres and so pursued painting with his friends and colleagues in locations as varied as Rosneath, Brig O’ Turk, Helensburgh, Cockburnspath, Somerset and Cambuskenneth. All this exploration and artistic mingling proved potent, and by 1889 Walton could comfortably be called a successful, professional artist. That year he had received a full-page illustration in the April edition of the Scottish Art Review, was commissioned to paint the official portrait of Lord Provost King of Glasgow and was elected an Associate of the Royal Scottish Academy. In the same year, he also managed to visit Paris with Guthrie and to propose marriage to Helen Law at the Glasgow Art Club’s Grand Fancy Dress Ball, where he was dressed as Hokusai and his bride-to-be as ‘The Golden Butterfly,’ in homage to Whistler. Such was the Glasgow art scene at the time that John Lavery captured a quick sketch of the happy couple posing in their costumes.1890 was an important moment for the so-called ‘Glasgow School’ or ‘Glasgow Boys,’ as they received so much attention for their London exhibition at the Grosvenor Gallery, as well as their success in Munich. However, by 1893, Walton appears to have felt a little jaded with the Scottish scene and decided to move his family to London. There he remained well-connected to the wider artistic network, with Whistler his new neighbour, an artist whom he had admired for many years, even having petitioned Glasgow Museums to purchase one of his works. He worked to establish himself as a portrait painter over the ten-year period but following Whistler’s death, Guthrie persuaded Walton to return home. By 1904, Walton was settled in Edinburgh and would live the rest of his days as an established Scottish artist, confirmed by his promotion to full Academician of the R.S.A. in 1905. His wider artistic network remained strong, with even family holidays to Wenhaston bringing them into close contact with other artists, and Fra Newbery and his family becoming their temporary summertime neighbours. Walton continued to dedicate himself to painting. He participated in the mechanisations of various artworld establishments and received subsequent praise and continued high regard. He exhibited internationally, sending paintings to Munich, Paris, Berlin, St Louis and the Carnegie Institute internationals, and achieved many prizes and honours, including a Gold medal at the IX International in Munich. Following his sudden and early death, his work remained in very high esteem with the Guthrie-arranged Memorial Exhibition of 150 of Walton’s works declared by a leading critic as ‘one of the most interesting one-man shows ever assembled.’ (MacSporran, p.93). [Quote in title: Helen Weller, E.A. Walton, Bourne Fine Art Exhibition catalogue, Edinburgh, 1981]
SIR JOSEPH NOEL PATON R.S.A. (SCOTTISH 1821-1901) MICHELANGELO SCULPTING THE STATUE OF 'NIGHT' Oil on canvas, arched top 61cm x 76cm (24in x 36in) Presented by A. M. McDougall, Esq., 1932. How is a masterpiece conceived? Sir Joseph Noël Paton invites us to ponder the very alchemy of genius by welcoming us into Michelangelo Buonarotti’s studio as he finishes carving ‘Night’. In a shadowy loggia the Renaissance artist crouches in front of his monumental marble, pausing after a campaign of chiselling to appraise his work. A spent hourglass sits on a nearby table, and a toolbox and sketchbook lie at the artist’s feet, while the view through the arch suggests that Michelangelo has taken the silhouette of Florence as his muse. The city glows blue under the light of the moon, which crests around the arch, illuminating the artist upon the completion of his masterwork.Paton’s use of breaking light to represent ‘divine inspiration’ can be connected to the Pre-Raphaelite artist William Holman Hunt’s seminal 1853 painting ‘The Awakening Conscience’ (Tate Britain). Paton had declined an invitation to join the Pre-Raphaelite Brotherhood, electing instead to return to Scotland, but he continued to paint in a Pre-Raphaelite style and remained familiar with the Brotherhood and their output. So moved was Paton by ‘The Awakening Conscience’ that he was impelled to produce several of his own works exploring the enigma of creation and enlightenment. These include an 1861 painting of Luther who, after a sleepless night induced by a crisis of faith, is suddenly granted spiritual clarity as a ray of dawn sun touches his brow (National Galleries of Scotland), as well as a painting of Dante meditating on the nature of sin beneath an apparition of two adulterous lovers from his Divine Comedy (Bury Art Museum). In the 1860s Paton produced a further painting of Michelangelo in contemplation, which was gifted to the William Morris Gallery in 1935 from the collection of Sir Frank Brangwyn. It might be conjectured that Paton’s interest in the nature of creative conception has something to do with the fact that he received little formal artistic training. At the age of seventeen he took his first job as Head Designer at a muslin manufacturer in Paisley, and after working in this capacity for three years, he briefly studied at the Royal Academy Schools in London, where he formed a lifelong friendship with John Everett Millais. (Rodger, Robin. “The Patons of Dunfermline: Bi-Centenary of Sir Joseph Noël Paton RSA (1821-1901).” Royal Scottish Academy, December 10 2021. [accessed 24th July 2024]). By all accounts, Paton was an expert on folklore and fairytale, themes which inspired many of his paintings and brought him considerable success and renown. In 1861 Paton travelled to Italy, where he likely beheld Michelangelo’s ‘Night’ in the Medici Chapel in San Lorenzo, Florence. Upon his return, Paton published a book of poetry which included ‘A Confession’, a tongue-in-cheek reflection on Michelangelo’s art, so majestic as to drive the viewer to distraction:No, Buonarotti, thou shalt not subdueMy mind with thy Thor-hammer! All that playOf ponderous science with Titanic thewAnd spastic tendon - marvellous, ‘tis true! -Says nothing to my soul. Thy “terrible way”Has led enow of worshippers astray;I will not walk therein!(Sir Joseph Noël Paton, Poems by a Painter, William Blackwood, Edinburgh, 1861, p.156)
DAVID FORRESTER WILSON R.S.A. (SCOTTISH 1873-1950) PASSING DAY Signed, oil on canvas 102cm x 102cm (40in x 40in) Presented by J. A. D. McKean, Esq., 1923. Replete with sinuous lineation and compositional flair, Passing Day is a sensational example of David Forrester Wilson’s early Symbolist work, which earned the artist favour with generations of collectors – including none other than Andy Warhol. While the precise meaning of Passing Day remains elusive, it might be interpreted as an allegory for the transition from day into night. On the banks of a woodland stream we find a languorous androgyne, possibly representing the ‘Day’, whose russet gown is in tumbling disarray. Their head tips back in a state of ecstasy, slumber - or death. Certainly, they appear to submit to the pallid figure shrouded in black who hovers in the air, possibly representing ‘Night’. The androgyne appears ready to be lifted out of the waking world below, where bright, gem-like wildflowers sprout along the riverbank, and borne into the shadowy world above, where the diminishing twilight transforms the trees and hills into dark indistinction. Between the two worlds, the sentinel heron looks on impassively. Wilson was an acolyte of the eminent Belgian Symbolist Jean Delville, who had been his tutor at the Glasgow School of Art. Professor Delville encouraged his students to continue their studies on the continent, and accordingly in 1905 Wilson visited Belgium, Italy and France, as well as London. By the time Wilson returned to Scotland word of his prodigious talent had spread, and he was invited by Fra Newbery, head of the Glasgow School of Art, to return to the School as a member of staff. By 1931 Wilson had been appointed Professor of Drawing and Painting, a role he maintained until his retirement from teaching in 1938.Wilson was commissioned to execute a lunette for the banqueting hall of the Glasgow City Chambers in 1911, alongside other eminent Glasgow painters such as Sir John Lavery, E. A. Walton and George Henry. Wilson’s lunette, titled ‘Time and History’, remains one of his most important works. His Royal Scottish Academy obituary recorded that ‘his painting is characterised by refined drawing and colour and a strong sense of decoration. It is poetical in feeling which he often expressed through allegory. All his work is founded in the best historical traditions’. When Andy Warhol’s estate was offered posthumously at Sotheby’s in 1988, several works by David Forrester Wilson emerged from Warhol’s personal collection. One particularly significant Symbolist composition went on to sell for $110,000, ten times its pre-sale estimate. Titled ‘The Wind’, the piece portrayed two girls struggling to lead a goat home as the wind pulls at their clothes and hair. Wilson’s unorthodox take on the pastoral idyll must have appealed to Warhol’s tastes, for the painting hung in the boardroom of ‘The Factory’ in New York, and was said to have been one of the Pop Artist’s favourites.
SIR WILLIAM ALLAN R.A., P.R.S.A. (SCOTTISH 1782-1850) BLIND HARRY RECITING THE DEEDS OF WALLACE Oil on board 26cm x 37cm (10.25in x 14.5in) Presented by Mrs C. J. Allan, 1913. This painting is believed to be a sketch for a larger composition. Exhibited:City of Edinburgh Museum and Galleries, William Allan: Artist Adventurer, 30 June-6 October 2001, cat.no.30, illustrated in catalogue
EDWARD ARTHUR WALTON R.S.A., P.R.S.W., H.R.W.S. (SCOTTISH 1860-1922) THE LONE TREE Signed, watercolour 48cm x 67cm (19in x 26.5in) Fulton Bequest, 1933. Titled ‘Landscape’, in Illustrated Catalogue of Paintings, Drawings, Sculpture in the Collections of Paisley Corporation and Paisley Art Institute, 1948. Exhibited: Palace of the Arts, Empire Exhibition, Scotland, Bellahouston Park, 1938, no.226 repr. b/w p.34. Edward Arthur Walton is well-known as one of the significant figures within the loose network of artists now commonly referred to as the ‘Glasgow Boys.’ It can therefore be difficult to separate his life and work from this movement, but it does a disservice to Walton not to pay attention to the wider picture of his long and illustrious career. He made his way as an artist from his late teens all the way until the day of his death, and during this over-forty-year period he was elected to, and participated in, various institutions and artistic bodies across the U.K., exhibited and won prizes internationally, and was widely praised by critics and fellow artists alike. ‘Walton was a painter so distinguished that he held a special place in the regard…of all who followed with any intelligence or interest the development of art in the country during the last three or four decades’ – Daily Record and Mail, 12 January 1924 (quoted in Fiona MacSporran, Edward Arthur Walton, Foulis Archive Press, Glasgow, 1987, p.9)Throughout his career, Walton’s output was varied, working consistently in both oil and watercolour and developing a successful portraiture practice. He worked largely to commission, while he continued to excel in his favoured landscape subjects, which are suffused with atmosphere, light, and a sensitivity and freedom that remains utterly compelling. Working in both mediums, we can feel his joy and pleasure in the world around him. He converts atmosphere to paint, so we can feel the warming sun and gentle breeze, smell the air and feel that particular freshness that lifts the spirit when we are surrounded by nature. Yet, this feeling of spontaneity and freedom is underpinned by an artistic rigour so that every dappled brushstroke and area of exposed ground or canvas is considered and intentional. Walton pays particular attention to light and shade, picking out shadows in rich tones of cooler shades, the gentle contrast serving the overall harmony and charm of the finished painting. As Helen Weller observes:‘They are not, in spite of their beauty and charm, simply an emotional response to nature; they are carefully conceived, to the extent of using unusual surfaces and a barium ground to enrich the colour. Nothing is irrelevant or inconsidered. The smallest stroke of warm colour on the sleeve of a tiny figure set in cool shadow is wholly necessary.’- Helen Weller, E.A. Walton, Bourne Fine Art exhibition catalogue, Edinburgh, 1981.Sketching in the countryside surrounding Glasgow from an early age, Walton seems to have had family support for his early artistic enthusiasm and talent, as training was arranged for him at the Kunstacademie, Dusseldorf in 1876-77, while he was still in his teens. On his return, he commenced his career as an artist in Glasgow, and in 1878 exhibited at the Glasgow Institute and was elected to the Glasgow Art Club, while attending Glasgow School of Art, and winning local and national competitions. Artistic networks, friendships and connections were important for the development of the Glasgow Boys, and for Walton, in particular. He initially met James Guthrie, who would become a life-long friend, while Joseph Crawhall became connected to his family through marriage, commencing another important friendship. Further relationships developed with a wide range of artists through painting and travel, including George Henry, Arthur Melville, James Whitelaw Hamilton, Thomas Corsan Morton, Alexander Kellock Brown, J.D. Taylor and William York Macgregor. Walton’s great enthusiasm for landscape meant he was keen to capture different viewpoints and evoke varied atmospheres and so pursued painting with his friends and colleagues in locations as varied as Rosneath, Brig O’ Turk, Helensburgh, Cockburnspath, Somerset and Cambuskenneth. All this exploration and artistic mingling proved potent, and by 1889 Walton could comfortably be called a successful, professional artist. That year he had received a full-page illustration in the April edition of the Scottish Art Review, was commissioned to paint the official portrait of Lord Provost King of Glasgow and was elected an Associate of the Royal Scottish Academy. In the same year, he also managed to visit Paris with Guthrie and to propose marriage to Helen Law at the Glasgow Art Club’s Grand Fancy Dress Ball, where he was dressed as Hokusai and his bride-to-be as ‘The Golden Butterfly,’ in homage to Whistler. Such was the Glasgow art scene at the time that John Lavery captured a quick sketch of the happy couple posing in their costumes.1890 was an important moment for the so-called ‘Glasgow School’ or ‘Glasgow Boys,’ as they received so much attention for their London exhibition at the Grosvenor Gallery, as well as their success in Munich. However, by 1893, Walton appears to have felt a little jaded with the Scottish scene and decided to move his family to London. There he remained well-connected to the wider artistic network, with Whistler his new neighbour, an artist whom he had admired for many years, even having petitioned Glasgow Museums to purchase one of his works. He worked to establish himself as a portrait painter over the ten-year period but following Whistler’s death, Guthrie persuaded Walton to return home. By 1904, Walton was settled in Edinburgh and would live the rest of his days as an established Scottish artist, confirmed by his promotion to full Academician of the R.S.A. in 1905. His wider artistic network remained strong, with even family holidays to Wenhaston bringing them into close contact with other artists, and Fra Newbery and his family becoming their temporary summertime neighbours. Walton continued to dedicate himself to painting. He participated in the mechanisations of various artworld establishments and received subsequent praise and continued high regard. He exhibited internationally, sending paintings to Munich, Paris, Berlin, St Louis and the Carnegie Institute internationals, and achieved many prizes and honours, including a Gold medal at the IX International in Munich. Following his sudden and early death, his work remained in very high esteem with the Guthrie-arranged Memorial Exhibition of 150 of Walton’s works declared by a leading critic as ‘one of the most interesting one-man shows ever assembled.’ (MacSporran, p.93). [Quote in title: Helen Weller, E.A. Walton, Bourne Fine Art Exhibition catalogue, Edinburgh, 1981]
EDWARD ARTHUR WALTON R.S.A., P.R.S.W., H.R.W.S (SCOTTISH 1860-1922) THE OAK AND THE ASH Signed, oil on canvas 98cm x 85cm (38.5in x 33.5in) Presented by J. Greenlees, Esq., 1923. Edward Arthur Walton is well-known as one of the significant figures within the loose network of artists now commonly referred to as the ‘Glasgow Boys.’ It can therefore be difficult to separate his life and work from this movement, but it does a disservice to Walton not to pay attention to the wider picture of his long and illustrious career. He made his way as an artist from his late teens all the way until the day of his death, and during this over-forty-year period he was elected to, and participated in, various institutions and artistic bodies across the U.K., exhibited and won prizes internationally, and was widely praised by critics and fellow artists alike. ‘Walton was a painter so distinguished that he held a special place in the regard…of all who followed with any intelligence or interest the development of art in the country during the last three or four decades’ – Daily Record and Mail, 12 January 1924 (quoted in Fiona MacSporran, Edward Arthur Walton, Foulis Archive Press, Glasgow, 1987, p.9)Throughout his career, Walton’s output was varied, working consistently in both oil and watercolour and developing a successful portraiture practice. He worked largely to commission, while he continued to excel in his favoured landscape subjects, which are suffused with atmosphere, light, and a sensitivity and freedom that remains utterly compelling. Working in both mediums, we can feel his joy and pleasure in the world around him. He converts atmosphere to paint, so we can feel the warming sun and gentle breeze, smell the air and feel that particular freshness that lifts the spirit when we are surrounded by nature. Yet, this feeling of spontaneity and freedom is underpinned by an artistic rigour so that every dappled brushstroke and area of exposed ground or canvas is considered and intentional. Walton pays particular attention to light and shade, picking out shadows in rich tones of cooler shades, the gentle contrast serving the overall harmony and charm of the finished painting. As Helen Weller observes:‘They are not, in spite of their beauty and charm, simply an emotional response to nature; they are carefully conceived, to the extent of using unusual surfaces and a barium ground to enrich the colour. Nothing is irrelevant or inconsidered. The smallest stroke of warm colour on the sleeve of a tiny figure set in cool shadow is wholly necessary.’- Helen Weller, E.A. Walton, Bourne Fine Art exhibition catalogue, Edinburgh, 1981.Sketching in the countryside surrounding Glasgow from an early age, Walton seems to have had family support for his early artistic enthusiasm and talent, as training was arranged for him at the Kunstacademie, Dusseldorf in 1876-77, while he was still in his teens. On his return, he commenced his career as an artist in Glasgow, and in 1878 exhibited at the Glasgow Institute and was elected to the Glasgow Art Club, while attending Glasgow School of Art, and winning local and national competitions. Artistic networks, friendships and connections were important for the development of the Glasgow Boys, and for Walton, in particular. He initially met James Guthrie, who would become a life-long friend, while Joseph Crawhall became connected to his family through marriage, commencing another important friendship. Further relationships developed with a wide range of artists through painting and travel, including George Henry, Arthur Melville, James Whitelaw Hamilton, Thomas Corsan Morton, Alexander Kellock Brown, J.D. Taylor and William York Macgregor. Walton’s great enthusiasm for landscape meant he was keen to capture different viewpoints and evoke varied atmospheres and so pursued painting with his friends and colleagues in locations as varied as Rosneath, Brig O’ Turk, Helensburgh, Cockburnspath, Somerset and Cambuskenneth. All this exploration and artistic mingling proved potent, and by 1889 Walton could comfortably be called a successful, professional artist. That year he had received a full-page illustration in the April edition of the Scottish Art Review, was commissioned to paint the official portrait of Lord Provost King of Glasgow and was elected an Associate of the Royal Scottish Academy. In the same year, he also managed to visit Paris with Guthrie and to propose marriage to Helen Law at the Glasgow Art Club’s Grand Fancy Dress Ball, where he was dressed as Hokusai and his bride-to-be as ‘The Golden Butterfly,’ in homage to Whistler. Such was the Glasgow art scene at the time that John Lavery captured a quick sketch of the happy couple posing in their costumes.1890 was an important moment for the so-called ‘Glasgow School’ or ‘Glasgow Boys,’ as they received so much attention for their London exhibition at the Grosvenor Gallery, as well as their success in Munich. However, by 1893, Walton appears to have felt a little jaded with the Scottish scene and decided to move his family to London. There he remained well-connected to the wider artistic network, with Whistler his new neighbour, an artist whom he had admired for many years, even having petitioned Glasgow Museums to purchase one of his works. He worked to establish himself as a portrait painter over the ten-year period but following Whistler’s death, Guthrie persuaded Walton to return home. By 1904, Walton was settled in Edinburgh and would live the rest of his days as an established Scottish artist, confirmed by his promotion to full Academician of the R.S.A. in 1905. His wider artistic network remained strong, with even family holidays to Wenhaston bringing them into close contact with other artists, and Fra Newbery and his family becoming their temporary summertime neighbours. Walton continued to dedicate himself to painting. He participated in the mechanisations of various artworld establishments and received subsequent praise and continued high regard. He exhibited internationally, sending paintings to Munich, Paris, Berlin, St Louis and the Carnegie Institute internationals, and achieved many prizes and honours, including a Gold medal at the IX International in Munich. Following his sudden and early death, his work remained in very high esteem with the Guthrie-arranged Memorial Exhibition of 150 of Walton’s works declared by a leading critic as ‘one of the most interesting one-man shows ever assembled.’ (MacSporran, p.93). [Quote in title: Helen Weller, E.A. Walton, Bourne Fine Art Exhibition catalogue, Edinburgh, 1981]
SIR JAMES GUTHRIE P.R.S.A., H.R.A., R.S.W., L.L.D (SCOTTISH 1859-1930) THE STONEBREAKER Signed and dated '95, oil on canvas 160cm x 106cm (63in x 41.75in) Sir Frederick C Gardiner LLD, by 1924; Presented by James H Brown to Paisley Art Institute, 1948. Exhibited: Edinburgh, Royal Scottish Academy, 1924 no.141;Glasgow, Royal Glasgow Institute of the Fine Arts, 1926, no. 107, lent by Sir Frederick C Gardiner, KBE, LLD;Newcastle Polytechnic Art Gallery, Peasantries, 1981-82, no. 58 (cover repr. in catalogue; p. 59, entry by Kenneth McConkey) and tour to Sheffield, Paisley and Aberdeen Art Galleries. Literature:Caw, James L., Sir James Guthrie, PRSE, HRA, RSW, LLD, MacMillan & Co., London, 1932, pp.43, 215 & 230; Bilcliffe, Roger, The Glasgow Boys, Frances Lincoln, London, 2008, pp.169 & 171 repr.; A Paisley Legacy: The Paisley Art Institute Collection, Centenaries Catalogue, Paisley, 2015, p.46 repr. On 8 October 1931 Sir John Lavery rose to his feet at the opening of the Sir James Guthrie Memorial Exhibition in Kelvingrove Art Gallery to pay tribute to his old friend who had died in the previous Autumn. Casting his mind back to the days when Guthrie was one of the guiding spirits among the Glasgow Boys, Lavery ‘doubted if there existed half-a-dozen of Sir James’s pictures that he didn’t struggle over to the extent of re-painting again and again after they were adjudged to be complete’.[1] Guthrie, wracked with self-doubt in his early years, was a perfectionist who failed to recognize perfection.When he, Lavery, Melville, Walton and Macaulay Stevenson were together like ‘a brotherhood of the early Christians’, Guthrie would embark on a large canvas – Fieldworkers Sheltering from a Shower, for instance, begun at Cockburnspath in 1884 - only to abandon it. Then, having managed to complete In the Orchard 1885-86 (Glasgow Museums/National Gallery of Scotland) he would embark upon the equally ambitious depiction of a wayside conversation between a stonebreaker and a farmhand riding a white horse. Begun at Kirkcudbright in 1886, this was also never resolved at the time. In 1923, in his mid-sixties, he removed the section containing the horse and completed the present monumental Stonebreaker standing at rest, straightening his back and flexing his neck muscles.[2]For many years this work has puzzled historians in its apparent references to contemporary French Realism and Naturalism. A specific relationship has been proposed to Gustave Courbet’s iconic Stone Breakers of 1849.[3] Although evidence for a possible visit to Paris in 1882 during the posthumous Courbet Retrospective Exhibition at the Ecole des Beaux Arts may never be completely confirmed, it is clear that Guthrie and his Glasgow contemporaries were profoundly influenced by recent developments that brought peasant subject matter back into focus in France and Britain in the 1880s, and for this they looked to contemporaries such as Jules Bastien-Lepage and George Clausen.[4] Breadth of handling and square brushwork, modified in the present canvas, is obvious in the small version of The Stonebreaker, also painted at this time, while it is possible that both were painted in the vicinity of Kirkcudbright, on St Mary’s Isle, the long peninsula that stretches due south of the town towards the Solway Firth.[5] However, of the works of this year, there can be no doubt that the present monumental Stonebreaker is the most formidable. It carries a message that, to some limited extent, equates to Courbet’s programme. The motto adopted for the new Glasgow School by Macaulay Stevenson – ‘Progress and Poverty’ – seems embedded in this iconic image. We are grateful to Professor Kenneth McConkey for writing this catalogue entry.[1] ‘A Wonderful Artist …’, The Scotsman, 9 October 1931, p. 6. The full text of Lavery’s speech is contained in the Caw Papers, National Gallery of Scotland Library.[2] Guthrie’s model wearing a shabby felt hat and jerkin may well be the fieldhand who appears in contemporary work by George Henry and Edward Atkinson Hornel.[3] Guthrie’s visit to Paris in 1882, (Caw 1932, p. 49), is confirmed in Macaulay Stevenson’s notes on the artist, (c. 1891, unpublished ms; private collection). Guthrie would for instance, have known of future members of the Glasgow School – Lavery, William Kennedy and Thomas Millie Dow – who had decamped to Paris in November 1881.[4] Both Lepage and Clausen had exhibited at the Glasgow Institute of the Fine Arts.[5] The smeared blues in the background of The Stonebreaker can be read as an estuary.
FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W (SCOTTISH 1883-1937) PINK AND GOLD Signed, oil on canvas 102cm x 76cm (40in x 30in) Presented by Miss M. K. Muir McKean, 1932. The Scottish Colourist F C B Cadell’s Pink and Gold epitomises the celebration of feminine elegance and a sophisticated lifestyle for which he is renowned. Even its title is the essence of modernity, focussing on the high notes of colour within the image, namely his sitter’s headscarf, floral accessories and the gilt of the mirror in which they are reflected.Having trained in Paris and Munich, Cadell made his name in pre-World War One Edinburgh with paintings such as Reflections (Glasgow Life) and The Black Hat (Edinburgh Museums & Galleries). They featured fashionable ladies in the stylish interiors of the capital city’s New Town, often depicted in the artist’s own impressive studio at 130 George Street.Pink and Gold reveals how Cadell’s work developed following his move in 1920 to an imposing residence at nearby 6 Ainslie Place. He took great pains over the decoration and furnishing of his new quarters. The distinctive lilac of the painting’s background reveals it to have been created on the first floor, where front and back drawing-rooms were linked by double doors and he brought painted black floorboards up to a high polish. Cadell revelled in the original features of the house, such as the white marble mantelpiece glimpsed in Pink and Gold, its colour used to signify a feminine space in the vocabulary of Georgian architecture.During a landmark trip to Venice in 1910, Cadell’s imagination was captured by experiencing the city in mirror image in its watery surroundings. This led to an interest in reflections that became a defining characteristic of his work. Set to the centre-right of the background of Pink and Gold, the mirror reveals the space in front of the sitter, almost to where Cadell must have been positioned at his easel, its cropping also hinting at the room beyond. Furthermore, the device of the mirror allows Cadell to present his model in two poses, one looking directly at the viewer, the other seen in profile gazing beyond the realm of the canvas.The present painting also shows how Cadell’s practice progressed from the bright palette, tight technique and suppression of volume of the works made during his first years at Ainslie Place. Portrait of a Lady in Black (National Galleries of Scotland) defines this phase, which gave way to lower-toned works such as The Embroidered Cloak (Ferens Art Gallery) and then to the calmer atmosphere, more gentle palette and broader technique apparent in Pink and Gold. Cadell devoted decades to exploring an idealised portrayal of womanhood. Although his favoured model, Miss Bethia Hamilton Don Wauchope, sat for him for over fifteen years, his images of elegant, modish ladies – most often dressed in black, with carefully chosen luxurious accessories from broad-brimmed hats, glinting gold-hoop ear-rings and long white gloves – are not about the identity of a specific sitter. In Pink and Gold, Cadell contrasts his model’s fair complexion with the darkness of her outfit. The delicate defining of her facial features matches the treatment of the diaphanous nature of her headscarf as it falls over her back. In addition, freely-painted passages, such as the realisation of her be-gloved hands, verge on the abstract.Pink and Gold was presented to Paisley Art Institute (PAI) in 1932, by Miss Margaret Kathleen Muir MacKean (1879-1969) of Auchenlodment House, Elderslie and of the town’s soap then starch manufacturing family. They were leading citizens of Paisley, not least its artistic circles, with her uncle James Anderson Dunlop MacKean (1849-1932) becoming an Honorary President of the Institute. As a major collector, J. A. D. MacKean gave several important works to the PAI’s holdings, including George Henry’s The Banks of Allan Water: Spring, Autumn and Winter series (lots 76, 77 and 78).It is believed that Miss MacKean inherited Pink and Gold from her uncle, who died in the year of her gift. At the same time, her father William Muir MacKean gave Henry’s Beauty and the Beast to the PAI, whilst one of her other uncles, Major Norman MacKean, presented George Pirie’s The Hen Roost (lot 89); perhaps all three were given in memory of their recently deceased relative.Our thanks are due to Colin C. MacKean, Miss MacKean’s first cousin once removed and PAI’s current Treasurer, for his help with our research.
Fahr El-Nissa Zeid (Turquie, 1900-1991)Lever du soleil, Ischia signé 'Fahr El Nissa Zeid' en bas à gauche, tamponné 'NUMERO, Galleria d'Arte, Fiamma Vigo – Nino Bartoletti, Venezia' et étiquetté 'Vigo Fiamma, Zeid' au revers; étiquette de l'exposition pour Ischia de la Galleria II Centro, Napoli, au revershuile sur toile 72 x 135cm (28 3/8 x 53 1/8in).Exécuté en 1961.(Cette oeuvre est encadrée).signed 'Fahr El Nissa Zeid' lower left, stamped 'NUMERO, Galleria d'Arte, Fiamma Vigo – Nino Bartoletti, Venezia' and labelled 'Vigo Fiamma, Zeid' on the verso; further stamped with a Galleria Il Centro, Napoli, exhibition label for Ischia on the verso. oil on canvasFootnotes:ProvenanceCollection privée, Rome.ExpositionsGalleria Il Centro Napoli, Ischia, circa 1961.Peinte en 1961, cette grande composition abstraite montre la maîtrise unique de Fahr El Nissa Zeid dans l'art de fusionner couleur, émotion et forme. La toile est un tourbillon de couleurs vibrantes, une explosion qui attire immédiatement l'œil. Représentative de la période abstraite de Zeid, cette œuvre met en valeur son usage précis des couleurs et des formes à travers un jeu complexe de nuances et de textures.Fahr El Nissa Zeid, artiste d'une grande créativité et polyvalence, a été l'une des premières femmes à fréquenter l'Académie des Beaux-Arts d'Istanbul. Elle a ensuite étudié à l'Académie Ranson à Paris sous la direction de Roger Bissière. Après son mariage avec un membre de la famille royale hachémite de Jordanie, elle a exposé ses œuvres dans de nombreuses expositions individuelles à Londres, Paris, New York et au Moyen-Orient, avant de s'installer à Amman en 1976 après la mort de son mari, le prince Zeid.Cette œuvre est une peinture abstraite importante de Fahr El-Nissa Zeid datant du début des années 1960, considérée comme la période la plus aboutie de sa carrière. Artiste au répertoire extrêmement diversifié, Fahrelnissa alternait entre abstraction, expressionnisme, portrait et paysage. Ses abstractions monumentales sont souvent vues comme la synthèse la plus pure de son travail, combinant influences géométriques islamiques et représentations abstraites européennes.Le critique d'art français Charles Estienne, avec qui Fahrelnissa a collaboré, écrivait : « Ses peintures révèlent le défilé de nations étranges qui migrent d'un endroit à l'autre ; elles dévoilent – dans des lumières étranges virant au rouge cramoisi, des bleus de grandes vitrines, lourdes comme du plomb, enveloppées de noirs violents. Cette lumière rappelle les vitraux gothiques. Que ce mur épais et impénétrable de vitraux orientaux, qui saisit de manière inconnue et transparente, soit une ligne libre et sans limites, transmettant les derniers messages des arts islamiques à l'art français... »Painted in 1961, this large and abstract composition stands as a testament to Fahr El Nissa Zeid's unparalleled ability to blend colour, emotion, and form. The canvas is a vibrant chaos of colours – a radiant explosion that arrests the eye. The painting is characterized by Zeid's abstract phase, and is a rare work where her masterful use of colour and shape through an intricate dance of hues and textures.Profusely creative and astoundingly versatile Fahr El Nissa Zeid was an artist par excellence. One of the first women to attend the Fine Arts Academy in Istanbul, Fahr El-Nissa went on train at the Academi Ranson in Paris under Roger Bissiere. After marrying into the Hashemite Royal family of Jordan Fahr El-Nissa participated in a spate of international solo exhibitions in London, Paris, and New York and the Middle East before settling in Amman in 1976, after the death of her husband Prince Zeid.The present work is a highly significant abstract painting by Fahr El-Nissa Zeid from the early 1960's, her paintings from this period is widely considered to be her most mature body of work. An artist with one of the most diverse repertoires in the Middle East, Fahrelnissa oscillated between abstraction, expressionism, portrait art and landscape painting. Her monumental abstracts are considered the purest synthesis of her work; an amalgam of Islamic geometric influences and European abstract modes of representation colour and shape Zeid's abstract works.The French writer and art critic, Charles Estienne, with whom Fahrelnissa collaborated several works, wrote: 'Her paintings portray the parade of strange nations that migrate from one place to another; they expose -- in strange lights turning to crimson-reds, blues of huge glass cases, heavy as lead coils, enveloped in violent blacks. This light resembles the fabulous lights of Gothic stained glasses. Let this thick and impenetrable wall of Eastern stained glass, which grasps one in an unknown and transparent way, be a boundless and free line conveying the latest messages of Islamic arts to French art...'Profusely creative and astoundingly versatile Fahr El Nissa Zeid was an artist par excellence. One of the first women to attend the Fine Arts Academy in Istanbul, Fahr El-Nissa went on train at the Academi Ranson in Paris under Roger Bissiere. After marrying into the Hashemite Royal family of Jordan Fahr El-Nissa participated in a spate of international solo exhibitions in London, Paris, and New York and the Middle East before settling in Amman in 1976, after the death of her husband Prince Zeid.For further information on this lot please visit Bonhams.com
Steven Scholes (British 1952-) "New Crane Wharf, Wapping, London 1958" Signed, titled on verso, oil on canvas.29 x 39cm (framed 35 x 45cm)The painting is in very good, original condition with no obvious faults to report. The painting is framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.
William Turner F.R.S.A., R.Cam.A. (British 1920-2013) "Princess Street, Manchester" Signed, titled on verso, oil on board.19.5 x 24.5cm (framed 36 x 41cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.
James Lawrence Isherwood F.R.S.A., F.I.A.L. (British 1917-1989) "Bull and Manolette, Espana" Unsigned, titled on verso, oil on board.29 x 39cm (framed 39.5 x 49.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed.
Michael Ashcroft M.A.F.A. (British 1969-) "Abandoned Camper, Farington Moss" Signed, oil on board.14 x 19.5cm (framed 36.5 x 41.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Reg Gardner (British 1948-) "Bradford Colliery, Manchester" Signed, titled on verso, oil on board.24.5 x 17cm (framed 32.5 x 25cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed. The original frame has some minor scuffs and knocks commensurate with age.
James Lawrence Isherwood F.R.S.A., F.I.A.L. (British 1917-1989) "Wigan Sun - Caps and Shawls and Dogs" Signed, titled and dedicated on verso, oil on board.43.5 x 58.5cm (60.5 x 76cm)This painting is illustrated on page 257 of Isherwood (Anyone Can Paint - But Not Like Me!) by Stephen Eckersley, published 2009.Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed.
Geoffrey Key (British 1941-) "Three Girls" Signed and dated '01, oil on canvas.100 x 79.5cm (framed 121.5 x 101cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, restored condition. The painting has been re-lined. Under UV light there is evidence of some small areas of repair and overpainting. The painting is ornately framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.
Bohuslav Barlow (Czechoslovakia 1947-) "Shoreline Piper" Signed, titled and dated 2002 on artist's label verso, oil on canvas.90.5 x 72.5cm (framed 112 x 94cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.
James Lawrence Isherwood F.R.S.A., F.I.A.L. (British 1917-1989) "French Sun Boat" Signed, titled on verso, oil on board.34.5 x 44.5cm (framed 44.5 x 54.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is reframed but not glazed. The frame has some minor scuffs and knocks commensurate with age.
Don McKinlay (British 1929-2017) Standing nude Initialled and dated Jan '06, oil on board.59.5 x 44cm (framed 76.5 x 61.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed. The board is a little loose in its frame, and the frame has some minor scuffs and knocks commensurate with age.
Jack Simcock (British 1929-2012) "Landscape" Signed, titled on gallery label verso, oil on board.27 x 39.5cm (framed 28.5 x 41cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is framed but not glazed. The frame has some minor scuffs and scratches commensurate with age.
Bernard McMullen (British 1952-2015) "Manchester Cathedral" Signed, oil on board.46.5 x 51.5cm (mounted 51.5 x 56.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in good, original condition. The surface is a little grubby and there are some minor scuffs and marks across the painting. The painting is unframed but mounted. The fabric slip mount is grubby and has some minor scuffs and knocks.
John Hanley (British 1947-) "The Intellectuals" after L.S. Lowry Signed and dated 2017 on verso, with certificate of declaration and authenticity, oil and acrylic inks on canvas.58.5cm x 41cm (23in x 16.25in)The painting is in very good, original condition with no obvious faults to report. The painting is framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.
Pierre Adolphe Valette (French 1876-1942) "Chenillette" Unsigned, dated '31 Aug 35', oil on canvas laid on board.20.5 x 30.5cm (framed 55.5 x 65.5cm)The painting is in very good, original condition. There are some undulations across the painting and one or two minor surface marks. There are some scuffs and small areas of paint loss running down the right-hand edge of the painting. The painting is ornately reframed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Peter Shackleton (British 1933-2022) "Fiesta" Signed and dated '75, titled on label verso, oil on canvas.50.5 x 61cmArtists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in good, original condition. There is craquelure and cracking across the painting with some resultant lifting of the paint in areas and one or two flecks of paint loss. The surface of the painting is a little grubby and there is a small area of paint loss in the upper right-hand corner of the canvas. The painting is unframed.
Stephen Stringer (British 20th/21st century) Rural view Unsigned, oil on board.25 x 28cm (framed 38 x 41cm)The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Geoffrey Key (British 1941-) "Coffee Grinder" Signed and dated '90, titled on verso, oil on board.44.5 x 60cm (framed 70 x 85.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition. There are one or two minor surface marks across the painting and a small area of paint loss in the upper left-hand corner. The painting is ornately framed but not glazed. There are some spots of foxing on the fabric slip mount. The original frame has some minor scuffs and knocks commensurate with age.
Roger Hampson (British 1925-1996) "Derelict Church, Ancoats" Signed, titled on verso, oil on board.17 x 12cm (framed 32 x 27cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition. There are one or two minor scuffs and surface marks across the painting. The painting is ornately framed but not glazed.
Steven Scholes (British 1952-) "The Corner Shop, Ancoats, Manchester 1958" Signed, titled on verso, oil on canvas.28.5 x 38.5cm (framed 36 x 46cm)The painting is in very good, original condition with no obvious faults to report. The painting is framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.
Jack Simcock (British 1929-2012) "Cottage and Head" Signed and dated '69, oil on board.59.5 x 74.5cm (framed 70.5 x 85.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in good, original condition. There are some areas of craquelure across the surface of the darker areas of the painting, causing areas of subtle media loss in some parts. There are some minor surface marks across the lighter areas which are a little grubby. The painting is framed but not glazed. The original frame has some scuffs and knocks.
Richard Clare (British 1964-) Venetian scene Signed, oil on board.29 x 29cm (framed 46 x 46cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed. The frame has some minor scuffs and knocks commensurate with age, and there are a few surface marks on the slip board.
Malcolm Croft (British 1964-) "The Full English" Signed, titled on verso, oil on canvas.75 x 59.5cm (framed 96.5 x 81cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition. There are one or two spots of mould in the lower half of the painting. The painting is ornately framed but not glazed. The frame has some minor scuffs and surface marks commensurate with age.
Albert Barlow (British 1944-) "Going for a Game of Footy" Monogrammed, titled and dedicated on verso, oil on board.26 x 16cm (framed 45 x 34.5cm)The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed. The frame has one or two very minor scuffs and knocks commensurate with age.
William Turner F.R.S.A., R.Cam.A. (British 1920-2013) "Clark Green" Signed, titled on verso, oil on canvas.49 x 60cm (framed 62.5 x 73.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in good, original condition. There are areas of minor craquelure and hairline cracking across the surface and the varnish has yellowed universally across the painting. There is a slight outward bulge towards the centre right-hand edge of the canvas with some resultant hairline cracking and one or two flecks of paint loss. The painting is ornately framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.
Liam Spencer (British 1964-) "Mancunian Way - Sunset" Initialled, titled and dated 1997 on verso, oil on board.19 x 24cm (framed 36 x 41cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Arthur Delaney (British 1927-1987) "Northern Manufacturing Town" Signed, titled with the artist's handwritten interpretation on verso - "This was the northern scene in the 1930s as I remember it. There was usually a gloomy atmosphere - I'm sure November lasted all year round then or at least it seemed that way. The thing is there was a magic about those days that I still enjoy via my pictures", oil on board.36 x 28.5cm (framed 53.5 x 46cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately reframed and glazed.
Bernard McMullen (British 1952-2015) "Industrial Scene" Signed, titled, with two illustrations by the artist on verso, oil on board.46.5 x 64.5cm (framed 63 x 80.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed.
James Lawrence Isherwood F.R.S.A., F.I.A.L. (British 1917-1989) "Figures and Dog, Wigan" Signed, oil on board.29 x 39cm (framed 37.5 x 47.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.
Peter Brook (British 1927-2009) "White Cottages" Signed and titled, with gallery label - 'Thomas Agnew and Sons Ltd.,' on verso, oil on canvas.51 x 61cm (framed 53.5 x 63.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition. There are two subtle, linear protrusions running diagonally in the lower left-hand quarter of the canvas. The painting is framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.
Stuart Walton (British 1933-) "Beeston Hill, Leeds" Signed and dated '70, oil on board.59 x 91cm (framed 79 x 112cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition. The varnish has yellowed across the painting and there are one or two minor surface marks and scuffs. The painting is ornately framed but not glazed. The frame has some minor scuffs and knocks, and there are faint marks across the fabric mount board.
Ivan Taylor (British 1946-) "Lockett's Lane, Longton" Signed, titled on artist's label verso, oil on board.27 x 50.5cm (framed 49.5 x 71cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Bernard McMullen (British 1952-2015) "More Jobs Lost" Signed, oil on board.60 x 44.5cm (framed 79.5 x 64.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition. The surface of the painting is a little grubby. The painting is ornately framed but not glazed. There are some areas of surface mold across the fabric slip mount and the frame has some minor scuffs and knocks commensurate with age.
Ivan Taylor (British 1946-) "Grey Day, Walberswick, Suffolk" Signed, titled on label verso, oil on board.21.5 x 38.5cm (framed 45 x 62cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed and glazed.
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