DOCSLIB.ORG

The Scottish Pictures Auction Lot 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Scottish Pictures Auction Lot 1 The Scottish Pictures Auction Sun, 14th Feb 2016 Lot 1 Estimate: £6000 - £9000 + Fees EDWARD ARTHUR WALTON RSA PRSW RP NEAC (SCOTTISH 1860-1922), MISS MABEL CUTHBERTSON SEATED WITH HER DOLL oil on canvas, signed 'E A Walton' lower right, inscribed verso 'Mabel, with 'daughter of MacArthur Cuthbertson Esq.' (on a partial label verso) and with artist's stamp 'E A WALTON, Edinburgh' verso 115cm x 87cm (45.27 x 34.25 inches) Framed Note: Exhibited The Royal Glasgow Institute (RGI) Exhibition 1909, catalogue number 522. Biographical: Edward was one of twelve children of Jackson Walton, a Manchester commission agent and a competent painter and photographer. Some of Edward's siblings were well known in their time - his brother George Henry Walton (1867-1933) was a noted architect, furniture designer and stained glass designer, Constance Walton was an acclaimed botanical painter, while Helen Walton, born 1850, was a decorative artist who studied at the Glasgow Government School of Design and was artistic mentor to the family. Walton enjoyed his art training at the Kunstakademie Düsseldorf and then at the Glasgow School of Art. He was a close friend of Joseph Crawhall - Walton's brother Richard having married Judith Crawhall in 1878 - George Henry and James Guthrie and lived in Glasgow until 1894 where he became part of the Glasgow School or Glasgow Boys, all of whom were great admirers of Whistler. Their favourite painting haunts were in the Trossachs and at Crowland in Lincolnshire. In 1883 Walton joined Guthrie, who had taken a house in the Berwickshire village of Cockburnspath. He also produced a remarkable set of watercolours in Helensburgh in 1883, showing the affluent suburb and its decorous people. These images are regarded as some of the finest of the Glasgow School and praised for their clarity, colour and strong decorative sense. Carrying out portrait commissions became Walton's main source of income. In the 1880s and 1890s he painted murals in the main building of the Glasgow International Exhibition of 1888 and other buildings in the city. Walton also attended painting classes at the Glasgow studio of W. Y. Macgregor, one of the central figures of the Glasgow School. Walton exhibited from 1880 in both Glasgow, at the Royal Glasgow Institute of Fine Arts, and Edinburgh, at the Royal Scottish Academy, being elected an associate of the Academy in 1889 and a full member in 1905. He was in London from 1894 until 1904, living in Cheyne Walk in Chelsea, and a neighbour of Whistler and John Lavery. While in London, Walton often painted in Suffolk, spending summers at the Old Vicarage in Wenhaston. Here he painted pastoral scenes in oil and watercolour, the latter often on buff paper with creative interplay between paper and paint. He used extensive underpainting in his oils, thereby creating subtle effects. In 1907 he accompanied Guthrie on a painting trip to Algiers and Spain and in 1913 worked in Belgium. The World War I years led to his discovering Galloway and he became a frequent visitor to the area. From 1915 he served as President of the Royal Scottish Water Colour Society. Walton's use of oil was reserved largely for important portraits in the Whistlerian manner. Walton married the artist Helen Law (née Henderson) after becoming engaged on 29 November 1889. Helen gave up her painting career in order to tend to their family. Their son John (1895-1971), became Regius Professor of Botany at the University of Glasgow. Their daughter Cecile (1891-1956), was a successful painter, sculptor and illustrator in Edinburgh. Their youngest daughter Margery married William Oliphant Hutchison in 1918. Sixty eight of his paintings are held in UK public collections including Glasgow Museums & Galleries..
Load more

Recommended publications
  • Japonisme in Britain - a Source of Inspiration: J
    Japonisme in Britain - A Source of Inspiration: J. McN. Whistler, Mortimer Menpes, George Henry, E.A. Hornel and nineteenth century Japan. Thesis Submitted for the Degree of Doctor of Philosophy in the Department of History of Art, University of Glasgow. By Ayako Ono vol. 1. © Ayako Ono 2001 ProQuest Number: 13818783 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818783 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346 GLASGOW UNIVERSITY LIBRARY 122%'Cop7 I Abstract Japan held a profound fascination for Western artists in the latter half of the nineteenth century. The influence of Japanese art is a phenomenon that is now called Japonisme , and it spread widely throughout Western art. It is quite hard to make a clear definition of Japonisme because of the breadth of the phenomenon, but it could be generally agreed that it is an attempt to understand and adapt the essential qualities of Japanese art. This thesis explores Japanese influences on British Art and will focus on four artists working in Britain: the American James McNeill Whistler (1834-1903), the Australian Mortimer Menpes (1855-1938), and two artists from the group known as the Glasgow Boys, George Henry (1858-1934) and Edward Atkinson Hornel (1864-1933).
    [Show full text]
  • National Fund for Acquisitions Annual Report 2016–2017 1 National Fund for Acquisitions Annual Report 2016–2017 National Fund for Acquisitions Annual Report 2016–2017
    National Fund for Acquisitions Annual Report 2016–2017 1 National Fund for Acquisitions Annual Report 2016–2017 National Fund for Acquisitions Annual Report 2016–2017 Dr Hazel Williamson National Fund for Acquisitions Manager 0131 247 4106 Karyn McGhee National and International Partnerships Officer 0131 247 4024 National Fund for Acquisitions National and International Partnerships Department National Museums Scotland Chambers Street Edinburgh EH1 1JF [email protected] www.nms.ac.uk/nfa NFA Blog NFA Flickr Cover: Oil on panel, The Pier at Cove – Loch Long, c1934, by F C B Cadell, acquired by the Scottish Maritime Museum. © Scottish Maritime Museum National Fund for Acquisitions Introduction The National Fund for Acquisitions (NFA), provided by Scottish Government to 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 following consultation with curatorial staff at National Museums Scotland, the National Galleries of Scotland and the National Library of Scotland who provide expert advice to the Fund. Funding The annual grant from the Scottish Government for 2016/17 was £150,000. The NFA made 64 payments totalling £131,525 which enabled acquisitions with a total value of nearly £373,000. This included payment of grants which had been offered but not yet claimed at the end of the previous financial year. At 31 March 2017, a further 11 grants with a total value of £33,418 had been committed but not yet paid.
    [Show full text]
  • 1809 the Glasgow Boys Presentation
    RICKMANSWORTH U3A ART APPRECIATION GROUP The Glasgow Boys September 2018 The Glasgow Boys - influences Jules Bastien-Lepage, (1848 – 1884) French painter of rustic outdoor genre scenes widely imitated in France and England. Bastien-Lepage studied under Alexandre Cabanel, first exhibited at the Paris Salon of 1870, and won a medal at the Salon of 1874 for Spring Song. Style owes a little to Édouard Manet and in the tradition of Jean-François Millet and Gustave Courbet. A sentimental element characterizes Bastien-Lepage’s work. He was also a portraitist of note. October, 1878,by Jules Bastien-Lepage (1848-1884), Oil on Canvas, 1,807 mm x 1,960 mm, National Gallery of Victoria, Australia The Glasgow Boys - influences James Abbott McNeill Whistler (1834 – 1903) American artist, based primarily in the United Kingdom. Averse to sentimentality and moral allusion in painting and a leading proponent of "art for art's sake". While his art is characterized by a subtle delicacy, his public persona was combative. He found a parallel between painting and music and entitled many of his paintings "arrangements", "harmonies", and "nocturnes", emphasizing the primacy of tonal harmony. Whistler influenced the art world and the broader culture of his time with his artistic theories and his friendships with leading artists and writers. Variations in Flesh Colour and Green—The Balcony, 1865 by James McNeill Whistler (11 Jul 1834 - 17 Jul 1903), Oil on Board Freer Gallery of Art, Washington, United States James Guthrie (1859 - 1930) A Hind’s Daughter, 1883 Oil
    [Show full text]
  • Japonisme in Britain
    TPS (234mm x156mm) ISBN: 041540584X Royal Octavio (234mm x156mm)(210) JAPONISME IN BRITAIN Japan held a profound fascination for western artists in the latter half of the nineteenth century and the influence of Japonisme on western art was pervasive. Paradoxically, just as western artists were beginning to find inspiration in Japan and Japanese art, Japan was opening to the western world and beginning a process of thorough modernisation - some have said westernisation. The mastery of western art was included in the programme. This book examines the nineteenth-century art world against this back- ground and explores Japanese influences on four artists working in Britain in particular: the American James McNeill Whistler, the Australian Mortimer Menpes and the 'Glasgow Boys' George Henry and Edward Atkinson Hornel. Richly illustrated throughout. Ayako Ono gained her Doctorate from Glasgow University and is currently teaching in Japan. JAPONISME IN BRITAIN Whistler, Menpes, Henry, Hornel and nineteenth-century Japan Ayako Ono RoutledgeCurzon Taylor & Francis Group LONDON AND NEW YORK First published 2003 by RoutledgeCurzon 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Simultaneously published in the USA and Canada by RoutledgeCurzon 270 Madison Ave, New York NY 10016 RoutledgeCurzon is an imprint of the Taylor & Francis Group Transferred to Digital Printing 2006 © 2003 Ayako Ono Typeset in Times Ten by Wearset Ltd, Boldon, Tyne and Wear All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.
    [Show full text]
  • The Scottish Pictures Auction Lot 1
    The Scottish Pictures Auction Sun, 14th Feb 2016 Lot 1 Estimate: £6000 - £9000 + Fees EDWARD ARTHUR WALTON RSA PRSW RP NEAC (SCOTTISH 1860-1922), MISS MABEL CUTHBERTSON SEATED WITH HER DOLL oil on canvas, signed 'E A Walton' lower right, inscribed verso 'Mabel, with 'daughter of MacArthur Cuthbertson Esq.' (on a partial label verso) and with artist's stamp 'E A WALTON, Edinburgh' verso 115cm x 87cm (45.27 x 34.25 inches) Framed Note: Exhibited The Royal Glasgow Institute (RGI) Exhibition 1909, catalogue number 522. Biographical: Edward was one of twelve children of Jackson Walton, a Manchester commission agent and a competent painter and photographer. Some of Edward's siblings were well known in their time - his brother George Henry Walton (1867-1933) was a noted architect, furniture designer and stained glass designer, Constance Walton was an acclaimed botanical painter, while Helen Walton, born 1850, was a decorative artist who studied at the Glasgow Government School of Design and was artistic mentor to the family. Walton enjoyed his art training at the Kunstakademie Düsseldorf and then at the Glasgow School of Art. He was a close friend of Joseph Crawhall - Walton's brother Richard having married Judith Crawhall in 1878 - George Henry and James Guthrie and lived in Glasgow until 1894 where he became part of the Glasgow School or Glasgow Boys, all of whom were great admirers of Whistler. Their favourite painting haunts were in the Trossachs and at Crowland in Lincolnshire. In 1883 Walton joined Guthrie, who had taken a house in the Berwickshire village of Cockburnspath.
    [Show full text]
  • Écosse : Migrations Et Frontières Scotland: Migrations and Borders
    Études écossaises 18 | 2016 Écosse : migrations et frontières Scotland: Migrations and Borders Cyril Besson, David Leishman et Véronique Molinari (dir.) Édition électronique URL : http://journals.openedition.org/etudesecossaises/1037 DOI : 10.4000/etudesecossaises.1037 ISSN : 1969-6337 Éditeur UGA Éditions/Université Grenoble Alpes Édition imprimée Date de publication : 25 avril 2016 ISBN : 978-2-84310-324-7 ISSN : 1240-1439 Référence électronique Cyril Besson, David Leishman et Véronique Molinari (dir.), Études écossaises, 18 | 2016, « Écosse : migrations et frontières » [En ligne], mis en ligne le 01 janvier 2017, consulté le 15 mars 2021. URL : http://journals.openedition.org/etudesecossaises/1037 ; DOI : https://doi.org/10.4000/ etudesecossaises.1037 © Études écossaises Numéro 18 Écosse : migrations et frontières Scotland: migrations and borders Sous la direction de Cyril Besson, David Leishman et Véronique Molinari Université Grenoble Alpes 2016 ÉTUDES ÉCOSSAISES RESPONSABLE : Cyril Besson ÉQUIPE DE réDACTION ET COMITÉ DE LECTURE : Cyril Besson, Pierre Carboni, Christian Civardi, Sylvie Kleiman-Lafon, David Leishman, Gilles Leydier, Patrick Menneteau, Gavin Miller, Véronique Molinari, Pierre Morère, Steve Murdoch, Marie Odile Pittin-Hedon, Clotilde Prunier, Bernard Sellin, Roderick Watson, John Young. Numéros disponibles No1 – Écosse, Regards d’Histoire, 1992. No 2 – Littérature écossaise : voix nouvelles, 1993. No 3 – Aspects du XVIIIe siècle ; Recherches en culture écossaise moderne, 1996. No 4 – La poésie écossaise – Lettres de la rébellion jacobite, 1997. No 5 – Une Écosse autonome ?, 1998. No 6 – Arts plastiques et cinéma en Écosse, 1999-2000. No 7 – L’étrange, le mystérieux, le surnaturel, 2001. No 8 – Le roman écossais moderne, 2002. No 9 – L’Écosse au féminin, 2003-2004. No 10 – La réputation, 2005.
    [Show full text]
  • Le Thème Du Travail Agricole Dans Les Tableaux Des
    Études écossaises 18 | 2016 Écosse : migrations et frontières Le thème du travail agricole dans les tableaux des Glasgow Boys, ou l’Écosse selon des peintres victoriens Farm Work in the Glasgow Boys’ Paintings or Scotland As Seen by a Group of Victorian Painters Marion Amblard Édition électronique URL : http://journals.openedition.org/etudesecossaises/1114 DOI : 10.4000/etudesecossaises.1114 ISSN : 1969-6337 Éditeur UGA Éditions/Université Grenoble Alpes Édition imprimée Date de publication : 25 avril 2016 Pagination : 119-132 ISBN : 978-2-84310-324-7 ISSN : 1240-1439 Référence électronique Marion Amblard, « Le thème du travail agricole dans les tableaux des Glasgow Boys, ou l’Écosse selon des peintres victoriens », Études écossaises [En ligne], 18 | 2016, mis en ligne le 01 janvier 2017, consulté le 16 mars 2021. URL : http://journals.openedition.org/etudesecossaises/1114 ; DOI : https://doi.org/10.4000/etudesecossaises.1114 © Études écossaises Marion Amblard Université Grenoble Alpes Le thème du travail agricole dans les tableaux des Glasgow Boys, ou l’Écosse selon des peintres victoriens Tout au long de l’année 2010, les peintres de l’école de Glasgow, désor- mais connus sous le nom de Glasgow Boys, ont été à l’honneur en Grande- Bretagne. Plusieurs expositions leur ont été consacrées à Londres, à Édim- bourg et surtout dans la ville de Glasgow qui a organisé la plus grande rétrospective dédiée à ces artistes depuis 1968 1. Les Glasgow Boys ont occupé le devant de la scène artistique écossaise des années 1880 jusqu’au début du XXe siècle, ils jouissaient alors d’une renommée internationale puisque leurs tableaux étaient exposés en Europe et aux États-Unis.
    [Show full text]
  • Dean Village News Issue 174 Summer 2016
    Dean Village News Issue 174 Summer 2016 www.deanvillage.org All Change in Dean Village In July 1939 Allan Watt Ritchie, chief sanitary inspector of the town council, had condemned 96 houses as being unsanitary. As there were no plans to replace these buildings, the 241 individuals affected would be dispersed throughout the city. These plans were abandoned in September due to the impending conflict of World War II and the need to preserve all existing housing. Following the conclusion of the war nothing much happened. Life continued as normal. One house, Bell’s Brae House, was saved by Aleksander Zyw (see page 15). A Polish airman, who was also an artist, he had fallen in love with Dean Village. The house was origi- nally built around 1650. There were stories that the cellars were once used by smugglers to store contraband moved up the river. When Zyw purchased the house in 1946, reportedly for £300, it was a filthy condemned ruin, with the roof caved in. There was a tiny sweet shop at the front. Zyw commissioned a young Basil Spence to do the re- construction. In 1949 there was an attempt to start a potato crisp factory in the large hall in Well Court. Legget’s tannery provided much of the work in the village and in 1957 submitted plans to modernise. (Continued on page 2) 1 Then in November 1958 the Edinburgh Evening News reported that £100,000 was to be spent on renovation of the village. The first phase would concentrate on the bottom of Dean Path and the open areas of Hawthornbank.
    [Show full text]
  • Glasgow Boys (And Girls) Colin Lomas Mobile 07909 896 541 [email protected]
    Page 1 of 4 A Fresh Look at The Glasgow Boys (and Girls) Colin Lomas mobile 07909 896 541 [email protected] Through the 1880s and 1890s a group called the Glasgow Boys was interpreting and expanding Impressionist and post- impressionist painting. Their subject matter featured rural, prosaic scenes from in and around Glasgow. Their colourful depictions attempted to capture the many facets of the character of Scotland. These artists - some 15- 20 - were brought together by a passion for realism and naturalism and this showed in the pieces they produced. Along with this passion for naturalism, they shared a marked distaste for the Edinburgh oriented Scottish art establishment, which they viewed as oppressive. Driven and motivated by these ideals they embraced change, created masterpieces, and became Scottish icons in the process. Some of more famous names are James Paterson and William York Macgregor who brought the group together, plus Joseph Crawhall, Thomas Millie Dow, James Guthrie, George Henry, Edward Hornel and Bessie MacNicol. A great influence on their art was the French Realism – painter such as Jules Bastien-Lepagebut (see below) - but all of their experiences around the world greatly impacted on and inspired their work, in particular in Spain, North Africa, and Japan. The production of naturalistic paintings was new to this time and their techniques were very innovative. Similarly, the pieces often created a sense of movement, an accurate (or naturalistic) depiction of light and shade, and extremely realistic texture. This made them stand out in the art community. The conspicuous absence of women in the “Glasgow Boys” will be noticed.
    [Show full text]
  • SCOTTISH ART Wednesday 16 September 2015 Edinburgh SCOTTISH ART | Edinburgh Wednesday 16 September 2015 22763
    SCOTTISH ART Wednesday 16 September 2015 Edinburgh SCOTTISH ART | Edinburgh | Wednesday 16 September 2015 | Edinburgh Wednesday 22763 SCOTTISH ART Wednesday 16 September 2015 at 14.00 22 Queen Street, Edinburgh BONHAMS BIDS EnQUiriES CUstomER SERVicES 22 Queen Street +44 (0) 20 7447 7447 Chris Brickley Monday to Friday 8.30 to 18.00 Edinburgh EH2 1JX +44 (0) 20 7447 7401 fax +44 (0) 131 240 2297 +44 (0) 20 7447 7447 +44 (0) 131 225 2266 To bid via the internet please [email protected] +44 (0) 131 220 2547 fax visit bonhams.com Please see back of catalogue www.bonhams.com/scottishart Iain Byatt-Smith for important notice to TELEPhonE BIDDING +44 (0) 131 240 0913 bidders SELECTED HIGHLIGhts on Bidding by telephone will only be [email protected] VIEW accepted on lots with a low ILLUstrations New Bond Street, London estimate in excess of £500.00 Areti Chavale Front cover: Lot 60 Tuesday 1 September +44 (0) 131 240 2292 Back cover: Lot 50 09.00-16.30 Please note that bids should be [email protected] Inside front cover: Lot 44 Wednesday 2 September submitted no later than 24 hours Inside back cover: Lot 22 09.00-16.30 prior to the sale. Saskia Robertson Facing page: Lot 37 +44 (0) 131 240 2632 Last page: Lot 69 Blythswood Hotel, Glasgow New bidders must also provide [email protected] Tuesday 8 September proof of identity when submitting IMPORTANT INFORMATION 10.00-16.00 The United States bids. Failure to do this may London Government has banned the result in your bids not being Chris Dawson FULL saLE on VIEW: import of ivory into the USA.
    [Show full text]
  • Summer Exhibition, May 31St to July 9Th, 1912, Whitechapel Art Gallery
    1 WHITECHAPEL ART GALLERY M SUMMER. 1912 SCOTTISH ART AND HISTORY Committee : Mr. Charles Aitken, Keeper of the National Gallery, British Art. Mr. J. Craig Annan. Mr. Percy Bate, Director of the Aberdeen Art Gallery. Mr. James Bone. Mr. James L. Caw, Director of the National Galleries of Scotland. Mr. George Clausen, R.A. The Rev. Professor Cooper, D.D. Mr. George Eyre-Todd. The Hon. Walter John James. Mr. Arthur Kay, F.S.A. Mr. Andrew Lang. Mr. John Lavery, A.R.A., R.S.A. Sir John Stirling Maxwell, Bart., F.S.A. Mr. J. Coutts Michie, A. R.S.A. Sir James Balfour Paul, Lyon King of Arms. The Right Hon. The Lord Pentland. Colonel J. L. Rutley. Mr. A. Stodart Walker. Mr. C. E. Whitelaw, F.S.A. Scot. Ap"pointed by the Trustees : The Rev. Canon Barnett. Mrs. Barnett. Mr. W. M. Blyth. Mr. W. H. Davison. Mr. W. C. Johnson, L.C C. Mr. Gilbert A. Ramsay, Director. Mr. C. Campbell Ross, Secretary. WHITECHAPEL ART GALLERY HIGH STREET, WHITECHAPEL SUMMER EXHIBITION, 1912 "SCOTTISH ART AND HISTORY" MAY 31ST to JULY 9TH Open from 12 noon to 9.30 p.m. As the greater number of the exhibits have been brought from Scotland the expenses of the exhibition are very heavy. It is hoped that visitors will place contributions in the boxes provided for that purpose or send subscriptions or donatons to the Secretary, Mr. C. CAMPBELL ROSS, at the Gallery. The main part of the Lower Gallery illustrates Scot- tish History; Scottish Ait is shown in the North end of Lower Gallery, Small Gallery anc, Upper Gallery.
    [Show full text]
  • Francis Henry Newbery and the Glasgow School of Art
    Rawson, George Mansell (1996) Francis Henry Newbery and The Glasgow School of Art. PhD thesis. http://radar.gsa.ac.uk/5419 Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given RADAR http://radar.gsa.ac.uk/ [email protected] FRANCIS HENRY NEWBERY AND THE GLASGOW SCHOOL OF ART Thesis presented to the Department of Architecture of the University of Glasgow for the Degree of Doctor of Philosophy by GEORGE MANSELL RAWSON October 1996 © George Rawson This is a one volume 1216 edition of the original two volume thesis held in Glasgow University Library with slightly different pagination. 1 ABSTRACT This thesis takes the form of a biographical study of the art teacher and painter Francis Henry Newbery. Its focus is Newbery’s thirty-three year association with the Glasgow School of Art. The first two chapters examine Newbery’s early life and his educational background in Dorset and London where he attended the National Art Training School at South Kensington. John Beard, Newbery’s headmaster at the Bridport General School in Dorset, the educational theory of Friedrich Froebel and the modern approach to art teaching of Edward Poynter the Principal of the National Art Training School are all identified as formative influences in the development of Newbery’s own approach to pedagogy at Glasgow.
    [Show full text]