Scottish Paintings & Sculpture

Total Page：16

File Type：pdf, Size：1020Kb

Scottish Paintings & Sculpture (482) Thu, 8th Dec 2016, Edinburgh Lot 73 Estimate: £3000 - £5000 + Fees § STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) AFTERNOON REST Signed and dated 1915, watercolour and bodycolour 25.5cm x 35.5cm (10in x 14in) Exhibited: Duncan Miller Fine Art, London Note: Stanley Cursiter was one of the most important figures of British art during the twentieth century. As Director of the National Galleries of Scotland, Cursiter introduced modernism to the country by bringing Roger Fry's seminal exhibition Manet and the Post-Impressionists to the capital in 1913, showing works of the Post-Impressionists and the Futurists to the country for the first time. He was also a keen supporter of the development of modern Scottish art and played an instrumental role in the creation of the Scottish National Gallery of Modern Art. Born in Orkney in 1887, Cursiter moved to Edinburgh in 1904 to become an architect. However, drawing and painting was where he excelled and he soon completed his studies at the Edinburgh College of Art. After the First World War, his services in which resulted in him being awarded an O.B.E., Cursiter worked as an artist and completed numerous canvases from his luxurious apartment at 11 Royal Circus in Edinburgh. In 1930 Cursiter took on the role of Director of the National Gallery of Scotland and remained in the position until 1948 when he returned to his native Orkney with his wife Phyllis Hourston. In the same year, Cursiter was appointed as the King's Painter and Limner- a role which he possessed until his death in 1976. Cursiter was immensely proud of his homeland and painted its landscapes with great passion and admiration. .

Copy Link

Recommended publications

John Davie Manson Robertson CBE, DL, FRSA 6 November 1929
John Davie Manson Robertson CBE, DL, FRSA 6 November 1929 - 2 November 2015 With the death of Mr John D M Robertson on 2nd November 2015, the county has lost a highly respected member of the community who served these islands and beyond for a substantial part of his life. Retirement was not a word in his vocabulary and his zest to remain active meant that he never retired and was involved in the family business until the very end. Over many years he also gave much time to an array of public organisations, and his belief in maintaining good personal relationships guided his deliberations in the institutions he served. But first and foremost he was a devoted husband to Norette and proud father of Susan, John, Fiona and Sinclair. He recognised that ultimately the most important thing in life is family, and always maintained that any success he achieved stemmed from Norette's selfless, unflinching support and resilience. Born in Golspie in 1929, John moved to Orkney in 1943 with his Orcadian parents, two sisters and brother. The family can trace its roots to Rousay, records going as far back as 1650. A pupil at Kirkwall Grammar School, he continued his education with a Law degree at Edinburgh University where he distinguished himself in sport gaining a Blue for Cross Country running and Quarter Mile hurdling, being runner-up in the 1953 Scottish Amateur Athletics Championships in the latter event. After graduating in 1953 he secured one of two Scottish places with the Anglo-Iranian Oil Company (later to become BP) and spent time at various locations in the UK, Llandarcy, Wales being a personal highlight, before a secondment to Aden, Yemen where he managed several hundred employees.
[Show full text]
Inventory Acc.13367 William Crosbie
Acc.13367 October 2013 Inventory Acc.13367 William Crosbie National Library of Scotland Manuscripts Division George IV Bridge Edinburgh EH1 1EW Tel: 0131-623 3876 Fax: 0131-623 3866 E-mail: [email protected] © Trustees of the National Library of Scotland Papers, 1933-1972, of the artist William Crosbie (1915-1999), with related printed material, circa 1943-1990. This small collection of material was apparently cleared from his studio at 12 Ruskin Lane, Glasgow, many years after his death. William Crosbie was born in Hankow, China, to Scottish parents. He moved to Glasgow in 1926 and studied at Glasgow School of Art from 1932 to 1934, after which time he was able to travel in Europe on a Haldane Travelling Scholarship. From 1937 to 1939 Crosbie lived in Paris, where he studied under Léger and Maillol. In the 1940s and 1950s Crosbie made his name as a mural painter. His commissions included a mural for the Festival of Britain in 1951. Crosbie also produced illustrations for books and designed the scenery for a ballet. (Information from National Galleries of Scotland website) Bought, 2012. 1-11. Correspondence. 12. Diary. 13. Artwork. 14-15. Photographs. 16. Financial. 17-19. Miscellaneous. 20-21. Printed items. 1-11. Correspondence. 1. Letters from Archibald and Mary Crosbie, parents of William Crosbie, 1933-1946, but mostly undated. With two letters of Archibald to Mary, 1913. 2. Letters of Grace Crosbie, William Crosbie’s first wife. 1934, 1946, but mostly undated. 3. Letters from Glasgow School of Art, 1935-1944, with a few related papers. Includes a number of letters of William Oliphant Hutchison, director of the School from 1932 to1943.
[Show full text]
Former Fellows Biographical Index Part
Former Fellows of The Royal Society of Edinburgh 1783 – 2002 Biographical Index Part Two ISBN 0 902198 84 X Published July 2006 © The Royal Society of Edinburgh 22-26 George Street, Edinburgh, EH2 2PQ BIOGRAPHICAL INDEX OF FORMER FELLOWS OF THE ROYAL SOCIETY OF EDINBURGH 1783 – 2002 PART II K-Z C D Waterston and A Macmillan Shearer This is a print-out of the biographical index of over 4000 former Fellows of the Royal Society of Edinburgh as held on the Society’s computer system in October 2005. It lists former Fellows from the foundation of the Society in 1783 to October 2002. Most are deceased Fellows up to and including the list given in the RSE Directory 2003 (Session 2002-3) but some former Fellows who left the Society by resignation or were removed from the roll are still living. HISTORY OF THE PROJECT Information on the Fellowship has been kept by the Society in many ways – unpublished sources include Council and Committee Minutes, Card Indices, and correspondence; published sources such as Transactions, Proceedings, Year Books, Billets, Candidates Lists, etc. All have been examined by the compilers, who have found the Minutes, particularly Committee Minutes, to be of variable quality, and it is to be regretted that the Society’s holdings of published billets and candidates lists are incomplete. The late Professor Neil Campbell prepared from these sources a loose-leaf list of some 1500 Ordinary Fellows elected during the Society’s first hundred years. He listed name and forenames, title where applicable and national honours, profession or discipline, position held, some information on membership of the other societies, dates of birth, election to the Society and death or resignation from the Society and reference to a printed biography.
[Show full text]
The Recent Future of Scottish Art Robin Baillie and Neil Mulholland Scottish Art Since 1960 Institute
variant 42 | winter 2011 | 3 The recent future of Scottish Art Robin Baillie and Neil Mulholland Scottish Art since 1960 Institute. In terms of institutions, these are the Historical Reflections and Contemporary Overviews narrow limits of the book’s structure. Craig Richardson He starts in 1960 with the Scottish National (2011) London, Ashgate, 230 pages Gallery of Modern Art (SNGMA) and laments ISBN: 978-0-7546-6124-5 (hardback) that it never took the form that it might have. In a discussion recorded over two sessions, Robin He describes its residency in Inverleith House Baillie and Neil Mulholland address issues raised by and its move to the West End, but there’s never Craig Richardson’s recently published book ‘Scottish any conclusion reached regarding why this entire Art since 1960’, which describes its intention as: episode might, ultimately, have any import. This is especially odd given that what sometimes ends up “Providing an analysis and including discussion being, rightly, celebrated in the book is the value (interviewing artists, curators and critics and accessing of independent curatorial activity. I wonder, why non-catalogued personal archives) towards a new bother with the perceived ‘centre’? chronology, Richardson here examines and proposes a sequence of precisely denoted ‘exemplary’ works RB: What he doesn’t say is what a national modern which outlines a self-conscious definition of the art institution should be doing. He criticises interrogative term ‘Scottish art.’ Richardson addresses existing institutions for conservative bias, key areas of cultural politics and identity to illuminate establishment bias, traditionalist bias, and possibly the development of Scottish art, enhancing our anti-Scottishness, but he doesn’t actually map out understanding of the dynamics of art practice today.” a possible alternative programme.
[Show full text]
S.J. PEPLOE Scotland's First Modernist
S.J. PEPLOE SCOtland’s FIRST MODERNIST S.J. PEPLOE (1871-1935) SCOtland’s FIRST MODERNIST 8 OCTober – 3 NOVEMBER 2012 2 FOREWORD “In his painting he tried to find the essentials This exhibition marks the beginning of by persistent trial. He worked all the time another public surge of interest in the from nature but never imitated it. He often work of Samuel John Peploe, prior to took a long time to make contact with the opening of a major exhibition at the a place and was discouraged by failure. Scottish National Gallery of Modern Art He wanted to be sure before he started (November 2012 – June 2013) and in and seemed to believe that you could be conjunction with a new, updated book sure. I don’t think he wanted to have a written by his grandson, Guy Peploe. struggle on the canvas: he wanted to be Included in this exhibition are sensitive sure of a thing and do it. That gave his examples from his early career, liquid picture something.” painting like By Firelight of 1908, a portrait of one of his favourite models Peggy Macrae; Îsle de Bréhat of 1911 which is JD Fergusson quintessentially modern and White Roses Memories of Peploe (Scottish Art Review, and Fruit of c.1922, a perfect example of his 1962) mature syntheses of design and dazzling colour. It is a hundred years since Peter McOmish Dott, (the son in Aitken Dott & Son), who had been Peploe’s first great advocate, took fright at SJ’s radically modern palette and cancelled his show.
[Show full text]
CEMA) and the Development of the Arts Council in Scotland Background, Politics, Visual Art Policy 1919-1947
University of Dundee DOCTOR OF PHILOSOPHY The Council for the Encouragement of Music and the Arts (CEMA) and the development of the Arts Council in Scotland background, politics, visual art policy 1919-1947 McArthur, Euan Award date: 2005 Awarding institution: University of Dundee Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 20. Jun. 2016 DOCTOR OF PHILOSOPHY The Council for the Encouragement of Music and the Arts (CEMA) and the development of the Arts Council in Scotland background, politics, visual art policy 1919-1947 Euan McArthur 2005 University of Dundee Conditions for Use and Duplication Copyright of this work belongs to the author unless otherwise identified in the body of the thesis. It is permitted to use and duplicate this work only for personal and non-commercial research, study or criticism/review. You must obtain prior written consent from the author for any other use.
[Show full text]
National Fund for Acquisitions Grants Paid 2009–2010 National Fund for Acquisitions Grants Paid 2009–2010
National Fund for Acquisitions Grants Paid 2009–2010 National Fund for Acquisitions Grants Paid 2009–2010 Hazel Williamson National Fund for Acquisitions Manager National Museums Scotland Chambers Street Edinburgh EH1 1JF Tel 0131 247 4106 Fax 0131 247 4312 email [email protected] Cover: Mixed media sculpture, Seven and Seven Is or Sunshine Bathed the Golden Glow, 2008, by Jim Lambie, acquired by Culture and Sport Glasgow with a grant from the National Fund for Acquisitions. Photo © Keith Hunter Photography. National Fund for Acquisitions The National Fund for Acquisitions (NFA), provided by Scottish Government to the Trustees of National Museums Scotland, contributes towards the acquisition of objects for the collections of Scottish museums, galleries, libraries, archives and other similar institutions open to the public. The Fund can help with acquisitions in most collecting areas including objects relating to the arts, literature, history, natural sciences, technology, industry and medicine. Decisions on grant applications are made in consultation with NMS staff and with the Directors and staff of the National Galleries of Scotland and the National Library of Scotland. The allocation for 2009/10 was £200,000. During the year the Fund received 82 applications. NMS aims to give a substantive response to applications within fifteen working days. During the period of this report this was achieved for 74% of applications received. Ten of the applications received were unsuccessful; six were turned down, in one case the applicant was outbid at auction and three further applications arrived too late to be considered prior to auction. During 2009/10, 83 payments totalling £230,783 were made to 32 organisations or collections.
[Show full text]
SSAH – Though I Distant Future
Newsletter No. 25 Spring 2007 archival material relating to the history of the Gallery. I am From the Chair currently studying for an MSc in Archives Administration at the University of Wales, Aberystwyth by distance learning, and hope to start my dissertation in the not too appy New Year from the SSAH – though I distant future. suspect by the time you read this, the bright shiny newness of 2007 will have worn off Gillian Peebles H somewhat! Apologies for the fact that this issue is both I became an art historian last autumn, graduating with an later and shorter than intended – my co-editor Venda MSc from the University of Edinburgh. I took the course Pollock now has an exciting new teaching post at the Uni- part-time while working as an Advocate at the Scottish versity of Newcastle which has meant that time has been Bar. I am now pursuing my career in the arts full-time. limited. We are hoping to recruit further assistance with Born and brought up in Glasgow, I studied Law at the newsletter soon. Glasgow University. After my legal training I moved to Those of you who were at our AGM at Kelvingrove Edinburgh to work as a litigation solicitor. I served as a in December will know that there was unanimous ap- Board Member of the Scottish Legal Aid Board in 1992-96 proval for our proposals to alter the society’s constitu- and as a Writer to the Signet. I called to the Bar in 1995. tion in order to increase the size of the committee.
[Show full text]
Blue Plaque Trail
Discover the stories behind the that link places and people through objects in our collection Use this guide and follow the trail through the historic streets of Stromness and explore the town’s heritage Original map designed by Iain Ashman Note image credit: SM=Stromness Museum Number 1: The Lieutenant’s House The first stop on our walk is this large house with walled garden, also known as ‘The Speddings’ after a chemist who once lived here. Lieutenant James Robertson RN (Royal Navy) built this house after retiring from a naval career. He began at the age of 23 as an Able-Bodied Seaman aboard HMS Lapwing in Nova Scotia. Following a period in the Mediterranean and after serving on seven different vessels, he became Lieutenant in 1815 of HMS Paulina. Local tradition says that James also served as Acting Lieutenant at the Battle of Plattsburg in America in 1812, however local historian Ray Fereday discovered this to be incorrect. James settled back in Stromness and retired on half pay. He married Miss Ann Spence of Pow Ship’s Log from HMS Paulina, written by Lieut. James Robertson RN (Orkney Library & Archive) and they had ten children, Lieut. James Robertson RN several of whom did not survive (Orkney Library & Archive) childhood. The shore in Stromness used to lie directly below this house. The land where the Ferry Road now is has been reclaimed from the sea. Number 2: Miller’s House – continue along John Street for 165 m and look to your right, up a close just before the British Legion is stop number 2 Lieutenant Joseph Miller RN was another distinguished naval officer from Stromness.
[Show full text]
David Scruton Phd Thesis
D788709 91A0550?A . 80;2@10=3# 930;7;5 0;2 A316;7>B3 !C<8% 7" 2EXMH @GTWVRQ 0 ALIUMU @WFPMVVIH JRT VLI 2IKTII RJ =L2 EV VLI BQMXITUMV[ RJ @V% 0QHTIYU (--( 4WOO PIVEHEVE JRT VLMU MVIP MU EXEMOEFOI MQ ?IUIETGL/@V0QHTIYU.4WOOAIZV EV. LVVS.&&TIUIETGL$TISRUMVRT[%UV$EQHTIYU%EG%WN& =OIEUI WUI VLMU MHIQVMJMIT VR GMVI RT OMQN VR VLMU MVIP. LVVS.&&LHO%LEQHOI%QIV&('')*&)-,+ ALMU MVIP MU STRVIGVIH F[ RTMKMQEO GRS[TMKLV WILLIAM McTAGGART: Landscape Meaning and Technique by David Scruton Submitted for the degree of PhD. University of St.Andrews September 1990 I ABSTRACT This thesis alms to provide an interpretation of McTaggart's work within a discussion of critical discourse in British art, referring In particular to the relative values of content and technique, in the second half of the nineteenth century. The first section contains an overview of the critical approaches to McTaggart's work from early career to the present day, centred upon how the notion of "impressionist" has been applied to McTaggart. This Is followed by an examination of some of the broad determinants of McTaggart's career, such as patronage and his relationship with Academic establishment. Section II deals with content In landscape art, looking first at the status of landscape In British art. It examines how content was dealt with in Scottish landscape painting prior to McTaggart, and how McTaggart's choice of painting locations addressed traditions of Scottish landscape. The notion of the "poetic" landscape Is advanced as an appropriate Interpretation of McTaggart's approach. Within this, specific Influences upon McTaggart, such as that of J.E.
[Show full text]
Rhythms of Land and Sea Rhythms of Land and Sea
RHYTHMS OF LAND AND SEA RHYTHMS OF LAND AND SEA An exhibition celebrating Orkney, in recognition of the 30th anniversary of Wilhelmina Barns-Graham’s seminal trip to the islands. 6 - 29 october 2014 www.scottish-gallery.co.uk/orkney 16 Dundas Street, Edinburgh EH3 6HZ tel 0131 558 1200 email [email protected] www.scottish-gallery.co.uk cover: Wilhelmina Barns-Graham, Two Journeys, 1988 oil on canvas, 102 x 126.2 cms (detail) (cat. 8) left: Sylvia Wishart, Bobby Greig’s Close, Stromness, 1965 oil on board, 63 x 43 cms (detail) (cat. 37) Looking to Hoy from Stromness, May 2014 photograph: Christina Jansen 2 Contents FOREWORD 4 WILHELMINA BARNS-GRAHAM 6 INTrodUCTION 28 SIR STANLEY CURSITER 30 FIAZ ELSON 36 GRACE GIRVAN 38 DIANA LESLIE 42 PETER McLAREN 50 FRANCES PRIEST 54 FRED SCHLEY 56 EDWARD TEASDALE 64 FRANCES WALKER 68 JAMES AND TILLA WATERS 76 SYLVIA WISHART 80 3 Foreword George Mackay Brown, whose poetry evokes the Orkney landscape as visually as if he were wielding a paintbrush, once wrote a haiku about the Northern sky: “Orkney turns upon poles of light and darkness./ A summer midnight, the north/ Is red with the two lamps of dawn and sunset.” Because Orkney is so open to the sky, it is the scudding clouds and endlessly changing light that remain longest in the memory of those who see it for the first time. That, and the deep green of its fields: “Long green coats from the hills’ throat to the shore” as Mackay Brown described them.
[Show full text]
20Th Century Gallery Educator’S Pack This Pack Contains Information Regarding the Contents and Themes of the 20Th Century Gallery
20th Century Gallery Educator’s Pack This pack contains information regarding the contents and themes of the 20th Century Gallery. On our website you can find further resources to explore. The 20th Century Gallery showcases Dundee’s nationally significant collection of twentieth century art.The first exhibition to be shown will be Consider the Lilies: Scottish Painting 1910- 1980. This acclaimed exhibition, a partnership project with the National Galleries of Scotland, toured to the Dean Gallery, Edinburgh, The Fleming Collection, London, and Kirkcudbright during our redevelopment period. Contents List of Artists Alexander Allan / Edward Baird 02 Wilhelmina Barns-Graham / John Bellany 03 Dennis Buchan / William Burns 04 F.C.B. Cadell 05 Robert Cargill / Stewart Carmichael 06 Peter Collins / Robert Colquhoun 07 James Cowie / Stanley Cursiter 08 Neil Dallas Brown / David Foggie 09 John Duncan Fergusson 10 Alec Grieve / John Houston 11 James Howie / George Leslie Hunter 12 William Johnstone / Harry Keay 13 Jack Knox / Robert MacBryde 14 William McCance / David McClure 15 Talbert McLean / John MacLauchlan Milne 16 Albert Morrocco 17 James McIntosh Patrick 18 Samuel John Peploe 19 Robin Philipson / John Quinton Pringle 20 Anne Redpath / Jon Schueler 21 William Scott / Sydney d’Horne Shepherd 22 The 20th Century Gallery: Gallery Information ‘Consider the Lilies’ Overview and gallery information 24 Alexander Allan Fantastic Landscape, c. 1938 Oil on board Scottish Arts Council Bequest 1997 Allan studied in Dundee, London and Arbroath between 1932 and 1939. He is known as an exceptional draughtsman and painter of meticulously rendered landscapes, still lifes and portraits. Fantastic Landscape is a relatively early work and its precision and clarity show Allan’s sympathies with James Cowie and his teachers at Dundee, Edward Baird and James McIntosh Patrick.
[Show full text]