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The Art of Picture Making 5 - 29 March 2014
(1926-1998) the art of picture making 5 - 29 march 2014 16 Dundas Street, Edinburgh EH3 6HZ tel 0131 558 1200 email [email protected] www.scottish-gallery.co.uk Cover: Paola, Owl and Doll, 1962, oil on canvas, 63 x 76 cms (Cat. No. 29) Left: Self Portrait, 1965, oil on canvas, 91.5 x 73 cms (Cat. No. 33) 2 | DAVID McCLURE THE ART OF PICTURE MAKING | 3 FOREWORD McClure had his first one-man show with The “The morose characteristics by which we Scottish Gallery in 1957 and the succeeding recognise ourselves… have no place in our decade saw regular exhibitions of his work. painting which is traditionally gay and life- He was included in the important surveys of enhancing.” Towards the end of his exhibiting contemporary Scottish art which began to life Teddy Gage reviewing his show of 1994 define The Edinburgh School throughout the celebrates his best qualities in the tradition 1960s, and culminated in his Edinburgh Festival of Gillies, Redpath and Maxwell but in show at The Gallery in 1969. But he was, even by particular admires the qualities of his recent 1957 (after a year painting in Florence and Sicily) Sutherland paintings: “the bays and inlets where in Dundee, alongside his great friend Alberto translucent seas flood over white shores.” We Morrocco, applying the rigour and inspiration can see McClure today, fifteen years or so after that made Duncan of Jordanstone a bastion his passing, as a distinctive figure that made a of painting. His friend George Mackie writing vital contribution in the mainstream of Scottish for the 1969 catalogue saw him working in a painting, as an individual with great gifts, continental tradition (as well as a “west coast intellect and curiosity about nature, people and Scot living on the east coast whose blood is part ideas. -
The Argyll Collection Catalogue
THE ARGYLL COLLECTION 2020 Catalogue CAT. NO. DESCRIPTION 1 Barclay Untitled Ceramic 100mm wide 2 Watkin Montrose Untitled Ceramic 200mm high 180mm at widest point Signature incised 3 RH Untitled Ceramic 180 x 125mm at widest point Inscribed RH 4 RH Untitled Ceramic 105 x 100mm at widest point Inscribed RH 5 David Cohen Untitled Ceramic 300 x 100mm wide 6 Badje Pickard Untitled Ceramic 195 x 100mm diameter 7 Unknown Untitled Ceramic 350 x 120mm at widest point 8 David Cohen Untitled Ceramic 235 x 170mm at widest point 2 9 Unknown Untitled Ceramic 115mm long 10 Unknown Untitled Ceramic 130mm diameter 11 Unknown Untitled Ceramic 190 x 160 mm diameter 12 L. John Davey Untitled Ceramic 320mm diameter 14 Katie Horsman Sleck Cow Stoneware/Ceramic 250mm long 15 Philip Reeves Tide Collage 68.5 x 71.2cm Signed lower left, dated 1970 3 16 Anne Gillie Untitled Drawing 43 x 56cm 17 Will Maclean Still life of Bones Tied to a Post Pen and Ink 40.6 x 27.8cm Signed bottom right corner 18 Glen Scouller Simon Charcoal 37.5 x 45.7cm Signed GS lower right 19 Glen Scouller Self Portrait with Vincent the Cat Charcoal 22.8 x 20.3cm Signed GS upper right 20 Edna Whyte Towards the Black Isle Drawing 38.2 x 53.3cm Signed E. Whyte dated (19)68, lower right 4 21 Anda Paterson Victims of War Pen and Ink Washes 102 x 69cm Signed and dated 1968 lower right 22 Jak Katarikawe Ethnic Figure Wax Crayon 82 x 51cm Signed bottom centre 23 Angus Neil Corn Stooks near Stonehaven Pastel on Glasspaper 24.2 x 33cm 24 Hamish Lawrie Industrial Landscape Oil Pastel 17 x 24cm Signed -
Bernard Fleetwood-Walker (1893-1965) By
The Social, Political and Economic Determinants of a Modern Portrait Artist: Bernard Fleetwood-Walker (1893-1965) by MARIE CONSIDINE A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of History of Art College of Arts and Law The University of Birmingham April 2012 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT As the first major study of the portrait artist Bernard Fleetwood-Walker (1893- 1965), this thesis locates the artist in his social, political and economic context, arguing that his portraiture can be seen as an exemplar of modernity. The portraits are shown to be responses to modern life, revealed not in formally avant- garde depictions, but in the subject-matter. Industrial growth, the increasing population, expanding suburbs, and a renewed interest in the outdoor life and popular entertainment are reflected in Fleetwood-Walker’s artistic output. The role played by exhibition culture in the creation of the portraits is analysed: developing retail theory affected gallery design and exhibition layout and in turn impacted on the size, subject matter and style of Fleetwood-Walker’s portraits. -
Scottish Paintings & Sculpture
Scottish Paintings & Sculpture (450) Thu, 10th Dec 2015, Edinburgh Lot 62 Estimate: £1500 - £2000 + Fees § SIR WILLIAM MACTAGGART P.P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) THE BEECHES Signed, oil on board 18cm x 25.5cm (7in x 10in) Exhibited: Aitken Dott & Son, Sir William MacTaggart, Christmas Exhibition 1966, no.51 Note: Sir William MacTaggart is an artist of whom Edinburgh has long and rightly been proud. He was a central figure of the Edinburgh Group, a loose collective of critically and commercially successful artists which included his peers Anne Redpath, Sir William Gillies, William Crozier and Adam Bruce Thompson. Beyond this, MacTaggart also held many key roles within the city's artistic institutions. Born in Loanhead, Midlothian, he went on to study at the Edinburgh College of Art, later taking up a teaching post there, as well as serving as president of the Society of Scottish Artists between 1933-36, and ultimately as president of the Royal Scottish Academy in the years 1959-64. A towering figure in the Scottish art scene, his contribution was also recognised out with Scotland from early on in his career; he was a member of and exhibiter in the Royal Academy, and was knighted in 1962. MacTaggart came from artist stock, successfully proving his own merit and emerging from the long shadow cast by his grandfather, the popular and influential "Scottish Impressionist" William McTaggart. Aside from a looseness and airy freedom of brushwork, their work has little in common, though they both looked towards artistic developments in France when formulating the basis of their own personal style. -
THE SCOTTISH SALE Tuesday 12 and Wednesday 13 April 2016 Edinburgh
THE SCOTTISH SALE Tuesday 12 and Wednesday 13 April 2016 Edinburgh THE SCOTTISH SALE PICTURES Tuesday 12 April 2016 at 2pm ANTIQUES AND INTERIORS Wednesday 13 April 2016 at 11am 22 Queen Street, Edinburgh BONHAMS Enquiries Gordon Mcfarlan Sale Number 22 Queen Street Pictures +44 (0) 141 223 8866 23492 Edinburgh EH2 1JX Chris Brickley [email protected] +44 (0) 131 225 2266 +44 (0) 131 240 2297 Catalogue +44 (0) 131 220 2547 fax [email protected] Fiona Hamilton £10 www.bonhams.com/edinburgh +44 (0) 131 240 2631 customer services Colleen Bowen [email protected] Monday to Friday 8.30 to 18.00 VIEWING +44 (0) 131 240 2292 +44 (0) 20 7447 7447 Friday 8 April 10am-4pm [email protected] Arms & Armour Saturday 9 April 1pm-4pm Kenneth Naples Please see back of catalogue Sunday 10 April 1pm-4pm Iain Byatt-Smith +44 (0) 131 240 0912 for important notice to Monday 11 April 10am-4pm +44 (0) 131 240 0913 [email protected] bidders Tuesday 12 April 10am-4pm [email protected] Wednesday 13 April 9am-11am Ceramics & Glass Illustrations Areti Chavale Katherine Wright Bids Front cover: Lot 62 (detail) +44 (0) 131 240 2632 +44 (0) 131 240 0911 +44 (0) 20 7447 7447 Back cover: Lot 66 (detail) [email protected] [email protected] +44 (0) 20 7447 7401 fax Inside front cover: Lot 183 To bid via the internet please Inside back left: Lot 306 London Books, Maps & Manuscripts visit bonhams.com Facing page: Lot 20 Chris Dawson Henry Baggott +44 (0) 131 240 0916 +44 (0) 20 7468 8296 IMPORTANT INFORMATION Telephone Bidding [email protected] Bidding by telephone will only be [email protected] The United States Government has banned the accepted on lots with a low Works of Art, Textiles, Clocks Jewellery import of ivory into the USA. -
Scottish Art, Edinburgh, Thursday 5 December 2013
Scottish Art, Art, Scottish Edinburgh, Thursday 5 December 2013 Edinburgh, Thursday 5 December 2013 Bonhams 22 Queen Street Edinburgh Scottish Art EH2 1JX Thursday 5 December 2013 at 2 pm +44 (0) 131 225 2266 Edinburgh +44 (0) 131 225 2547 fax 20661 International Auctioneers and Valuers - bonhams.com Scottish Art Thursday 5 December 2013 at 2pm 22 Queen Street, Edinburgh Bonhams Enquiries Customer Services 22 Queen Street Monday to Friday 8.30am to 6pm Edinburgh EH2 1JX Chris Brickley +44 (0) 20 7447 7447 +44 (0) 131 225 2266 +44 (0) 131 240 2297 +44 (0) 131 225 2547 fax [email protected] Please see back of catalogue www.bonhams.com/scottishart for important notice to bidders Colleen Bowen Viewing +44 (0) 131 240 2292 Illustrations 22 Queen Street, Edinburgh [email protected] Front cover: Lot 71 Sunday 1 December 11am-3pm Back cover: Lot 6 Monday 2 December 10am-4pm Iain Byatt-Smith Inside front cover: Lot 22 Tuesday 3 December 10am-4pm +44 (0) 131 240 0913 Facing page: Lot 58 Wednesday 4 December 10am-4pm [email protected] Last page: Lot 21 Thursday 5 December 10am-2pm Inside back cover: Lot 99 Graham Wood Bids +44 (0) 20 7447 7448 +44 (0) 131 240 2632 +44 (0) 20 7447 7401 fax [email protected] To bid via the internet please visit www.bonhams.com London Chris Dawson Please note that bids should be +44 (0) 20 7468 8296 submitted no later than 24 hours [email protected] prior to the sale. -
Your Guide to the Art Collection
ART AND ACADEMIA YOUR GUIDE TO THE ART COLLECTION Heriot-Watt University, Edinburgh EH14 4AS 0131 449 5111 www.hw.ac.uk AG1107 CONTEMPORARYFind out more SCOTTISH ART FURTHER READING Heriot-Watt University would like to thank the Patrick N. O’Farrell: Heriot-Watt University: artists, their relatives and estates for permission An Illustrated History to include their artworks. Pearson Education Ltd, 2004 Produced by Press and Public Relations, Heriot-Watt University: A Place To Discover. Heriot-Watt University Your Guide To The Campus Heriot-Watt University, 2006 Printed by Linney Print Duncan Macmillan: Scottish Art 1460-2000 Photography: Simon Hollington, Douglas McBride Mainstream, 2000 and Juliet Wood Duncan Macmillan Copywriter: Duncan Macmillan Scottish Art in the Twentieth Century Mainstream, 1994 © Heriot-Watt University 2007 THE ART COLLECTION 1 CONTENTS INTRODUCTION A highlight of the collection is a group of very fine INTRODUCTION 1 Heriot-Watt University’s art collection reflects paintings by artists associated with the College of SIR ROBIN PHILIPSON 2 its history and the people who have shaped its Art, a good many of them first as student and then development over two centuries. Heriot-Watt as teacher. Many of these pictures were bought JOHN HOUSTON 4 University has a long-standing relationship with by Principal Tom Johnston and gifted by him to the DAVID MICHIE 6 the visual arts. One of the several elements brought University. The collection continues to grow, however. ELIZABETH BLACKADDER 8 together to create Edinburgh College of Art in 1907 Three portraits by Raeburn of members of the was the art teaching of what was then Heriot-Watt Gibson-Craig family and a magnificent portrait DAVID McCLURE 10 College. -
Publications 2018–19 New Books
Publications 2018–19 New Books The National Galleries of Scotland’s award-winning Victoria Crowe: Beyond Likeness exceptional skill of this remarkable artist’s portraits and Victoria Crowe, herself, publishing house is committed to producing books Duncan Macmillan, Victoria Crowe contributes many insightful accounts of on the visual arts which are engaging, accessible & Julie Lawson her own thoughts and perceptions as each and affordable, combining high-quality writing and 220 X 245MM | 96PP work developed. rigorous research with the best in design. As well as 65 COLOUR ILLUSTRATIONS This book also tells Crowe’s own story 978 1 911054 22 1 | £14.95 PAPER producing books that provide access to the national – both professional and personal – through collection and accompany exhibitions, we publish ‘The most important portraits to me are the her art. She has developed an approach ones of people who have enriched my own to portraiture that seeks to do more than a number of titles on different aspects of art, art thinking or awareness. Areas of philosophy, record the outward appearance of a person; practice and art history, furthering the Galleries' religion, psychological perspectives, poetry, she aims to represent something of the programme of scholarly research. Our publications music, art history, women’s roles and the inner life. are designed to enhance the visitor experience and inner life are important issues for me – and With eighty illustrations, the portraits to reflect and extend the Galleries’ educational and all have been nurtured by these people whom include the artist’s family, composer scholarly activities. I have met through portraiture.’ Ronald Stevenson, pioneer medical Victoria Crowe scientist Dame Janet Vaughan, poet Our publications encompass new academic research; Victoria Crowe is one of Britain’s most Kathleen Raine, actor Graham Crowden, fresh perspectives on well-known and loved art; books vital and original figurative painters. -
1 H Downes 2019 Strawberries, Cream & Pimm's, Housman Room, 10Th July 2019 Notes from the Talk by Helen Downes on the Slad
Strawberries, cream & Pimm’s, Housman Room, 10th July 2019 Notes from the talk by Helen Downes on the Slade School of Fine Art and UCL Art Museum – the new rehang of the Housman Room Introduction Hello, it’s nice to be here this evening and to have the opportunity to tell you more about the paintings that surround you as you spend time in the room. All the works are from UCL Art Museum’s Slade Collection and I’ve been fortunate enough to work on various projects for UCL Art Museum, the most recent of which was Spotlight on the Slade Collections, a Paul Mellon Centre funded project which ran for three years between 2015-2018 - to catalogue and research the Slade collections. But this evening, I’m going to tell you a bit about the collection and its background, and about the works in this room. My talk will be in two parts – I’ll start with a brief, 10 minute introduction to the room and the works and then give you an opportunity to have a wander around before telling you a bit more about the prize system at the Slade and the works in this room. Introduction to the room, background to the Slade Collection at UCL Art Museum and orientation with the hang: As many of you will know, the room has recently been decorated and a new painting hang was curated by Dr Nina Pearlman, Manager of the Art Collections and Dr Andrea Fredericksen, Curator of the Art Collections. All the works on display are from UCL Art Museum’s collection. -
GULDEN-DISSERTATION-2021.Pdf (2.359Mb)
A Stage Full of Trees and Sky: Analyzing Representations of Nature on the New York Stage, 1905 – 2012 by Leslie S. Gulden, M.F.A. A Dissertation In Fine Arts Major in Theatre, Minor in English Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Dr. Dorothy Chansky Chair of Committee Dr. Sarah Johnson Andrea Bilkey Dr. Jorgelina Orfila Dr. Michael Borshuk Mark Sheridan Dean of the Graduate School May, 2021 Copyright 2021, Leslie S. Gulden Texas Tech University, Leslie S. Gulden, May 2021 ACKNOWLEDGMENTS I owe a debt of gratitude to my Dissertation Committee Chair and mentor, Dr. Dorothy Chansky, whose encouragement, guidance, and support has been invaluable. I would also like to thank all my Dissertation Committee Members: Dr. Sarah Johnson, Andrea Bilkey, Dr. Jorgelina Orfila, and Dr. Michael Borshuk. This dissertation would not have been possible without the cheerleading and assistance of my colleague at York College of PA, Kim Fahle Peck, who served as an early draft reader and advisor. I wish to acknowledge the love and support of my partner, Wesley Hannon, who encouraged me at every step in the process. I would like to dedicate this dissertation in loving memory of my mother, Evelyn Novinger Gulden, whose last Christmas gift to me of a massive dictionary has been a constant reminder that she helped me start this journey and was my angel at every step along the way. Texas Tech University, Leslie S. Gulden, May 2021 TABLE OF CONTENTS ACKNOWLEDGMENTS………………………………………………………………ii ABSTRACT …………………………………………………………..………………...iv LIST OF FIGURES……………………………………………………………………..v I. -
University of Edinburgh Museums & Galleries
UNIVERSITY OF EDINBURGH MUSEUMS & GALLERIES COLLECTIONS POLICIES DOCUMENT 2010-2015 _______________________________________________________________________ APPROVED BY UNIVERSITY COURT XX XXXX 2010 INDEX 1 INTRODUCTION 1.1 Introduction 1.2 Museums & Galleries Collections 1.3 Director of University Collections Office and Museums Development 2 EXTERNAL VALIDATION 2.1 Accreditation with the Council for Museums, Libraries & Archives 2.2 Recognised Collections of National Significance to Scotland 3 MANAGEMENT & GOVERNANCE 3.1 Management 3.2 The Governing Body 3.3 University Collections Advisory Committee (UCAC) 3.4 Committee of Curators of University Committees (CCUC) 3.5 The Talbot Rice Advisory Board (TRGAB) 3.6 Financial Management 3.7 Workforce Development 4 POLICIES APPENDICIES A University Collections Strategic Development Plan 2010-2015 A1 Edinburgh University Collection of Historic Musical Instruments A2 Fine Art Collections A3 Natural History Collections A4 Cockburn Museum A5 Talbot Rice Gallery Business Plan 2011/2013 B Museums & Galleries General Acquisitions & Disposal Policy 2010-2015 B1 Policy Statement – Edinburgh University Collection of Historic Musical Instruments B2 Policy Statement – Natural History Collections B3 Guidelines for deciding on requests for the repatriation of items from the University Collections C Access Policy D Collections Management & Preservation Policy E Forward Plans for the University of Edinburgh Collections 09/10 E1 Edinburgh University Collection of Historic Musical Instruments E2 Fine Art Collections F Committee Membership & Remits 1 UNIVERSITY OF EDINBURGH MUSEUMS & GALLERIES COLLECTIONS POLICIES DOCUMENT 2010-2015 _________________________________________________________________ 1. INTRODUCTION 1.1 The University of Edinburgh has a 400 year history of collecting and maintaining culturally and scientifically significant objects, samples and artefacts in a number of fields. This document outlines the context for the policies governing the University’s museums and galleries collections. -
Rosse Papers Summary List: 17Th Century Correspondence
ROSSE PAPERS SUMMARY LIST: 17TH CENTURY CORRESPONDENCE A/ DATE DESCRIPTION 1-26 1595-1699: 17th-century letters and papers of the two branches of the 1871 Parsons family, the Parsonses of Bellamont, Co. Dublin, Viscounts Rosse, and the Parsonses of Parsonstown, alias Birr, King’s County. [N.B. The whole of this section is kept in the right-hand cupboard of the Muniment Room in Birr Castle. It has been microfilmed by the Carroll Institute, Carroll House, 2-6 Catherine Place, London SW1E 6HF. A copy of the microfilm is available in the Muniment Room at Birr Castle and in PRONI.] 1 1595-1699 Large folio volume containing c.125 very miscellaneous documents, amateurishly but sensibly attached to its pages, and referred to in other sub-sections of Section A as ‘MSS ii’. This volume is described in R. J. Hayes, Manuscript Sources for the History of Irish Civilisation, as ‘A volume of documents relating to the Parsons family of Birr, Earls of Rosse, and lands in Offaly and property in Birr, 1595-1699’, and has been microfilmed by the National Library of Ireland (n.526: p. 799). It includes letters of c.1640 from Rev. Richard Heaton, the early and important Irish botanist. 2 1595-1699 Late 19th-century, and not quite complete, table of contents to A/1 (‘MSS ii’) [in the handwriting of the 5th Earl of Rosse (d. 1918)], and including the following entries: ‘1. 1595. Elizabeth Regina, grant to Richard Hardinge (copia). ... 7. 1629. Agreement of sale from Samuel Smith of Birr to Lady Anne Parsons, relict of Sir Laurence Parsons, of cattle, “especially the cows of English breed”.