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William Bell Scott Auction Price Results

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Scott (William Bell, 1811-1890). And the Waters prevailed upon the Earth an hun

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Description: Scott (William Bell, 1811-1890). And the Waters prevailed upon the Earth an hundred and fifty days, 1878, etching on wove paper, plate size 265 x 204mm (10.5 x 8ins), framed and glazed, with Abbott & Holder label to verso (1)

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Description: *[Blake, William]. And the Waters prevailed upon the Earth on hundred and fifty days, 1878, etching on wove paper by William Bell Scott (1811-1890), after the original design by William Blake, plate size 265 x 204 mm (10.5 x 8 ins), framed and glazed, with Abbott & Holder label to verso (1)

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SCOTT, William Bell (British 1811-1890) Stroll on a Country Road.  No signature apparent. Note verso in modern hand stating that attribution is pencilled on mount obscured by framing.

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Description: SCOTT, William Bell (British 1811-1890) Stroll on a Country Road. No signature apparent. Note verso in modern hand stating that attribution is pencilled on mount obscured by framing. W/Clr 30x21cm

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Bell Scott, William

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Description: Bell Scott, WilliamWilliam Blake, etchings from his works. London: Chatto and Windus, 1878, 4to, 8 etchings [lacking two], original boards, water damaged, staining throughout, gutter percha perished; Hussey, C. Tait McKenzie. Philadelphia, 1930. First edition, 4to, photographic plates, original green cloth gilt, corners bumped, some foxing; Bury, Adrian Shadow of Eros. London: Dropmore Press, 1952, 8vo, number 28 of 53 specially bound and signed by the author, original full morocco gilt, a fine copy (3)

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William Bell Scott (1811-1890)

Description: William Bell Scott (1811-1890) King Arthur carried to the Land of Enchantment "Some men yet say, in many parts of England, that Arthur is not dead; but by the will of our Lord Jesu, carried into another place, that he will come again, and win the holy cross. And men say there is written on the tomb, "Arthurus, Rex quondam, Rex futurus." - Romance of Arthur. signed and dated 'W.B. Scott. 1847...1862' (lower left) oil on canvas 34 x 45 in. (86.3 x 114.3 cm.)

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Scott (William Bel, 1811-1890) Culzean Castle, a

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Description: Scott (William Bel, 1811-1890) Culzean Castle, a leaf from a sketchbook, watercolour drawing, 130 x 180mm., inscribed and indistinctly dated in lower right, framed and glazed, 18th century; with a lakeland landscape by an unknown hand, pencil and watercolour, 200 x 295mm., framed and glazed (2)

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Description: 1811-1890 the butler's surprise on all hallows eve oil on canvas, framed 765 by 550mm., 30 by 21 1/2 in. Exhibited: Edinburgh, Royal Scottish Academy, 1848, no.327.

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WILLIAM BELL SCOTT(1811-1890). William Blake: Etchings from his Works: And the Waters prevailed upon the Earth an hundred days, Chatto & Windus, London, 1878

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Description: etching, printed in black, ca. 1878, on applied paper, from the set of ten, with margins, a repair in the right margin, some staining and other defects elsewhere in the margins P. 265 x 203 mm., S. 332 x 272 mm.

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WILLIAM BELL SCOTT 1811-1890

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Description: PROPERTY OF A GENTLEMANTHE FIRTH OF CLYDE FROM PENKILL CASTLEmeasurements note48 by 33 cm., 19 by 13 in.signed with monogram l.r. inscribed and an old label attached to the backboard: The Firth of Cylde, from/ Penkill Castle./ Painted by W.m Bell Scott/ 92 Cheyne Walk. Chelseawatercolour with bodycolourNOTEWilliam Bell Scott met his future pupil and mistress Alice Boyd in Newcastle in March 1859 when he was drawing master at the local government school. He first visited the ancestral home she shared with her brother Spencer Boyd in July 1860. In 1865, following the death of Spencer, Alice became laird of Penkill, the romantic castle perched on a promontory overlooking the Penwhapple burn five miles from Girvan in Ayrshire. Boyd, Scott and his wife divided their time between Penkill and the Scott's London home. The haven which the Scotts found at Penkill has been described as a 'relaxed atmosphere of art and animals, whisky, friends and endless talk' (Country Life, 21 March 1991, p. 118). Other members of the Pre-Raphaelite group spent time at Penkill and it was here that Rossetti found some solace in his most bleak moments of melancholia. His sister Christina delighted in the views of Ailsa Craig and the Clyde (visible in the present watercolour) from the window in her turret bedroom and Alma-Tadema showered every morning in the freezing torrents of the Penwhapple waterfall. A large watercolour by Bell Scott depicts the Boyds standing on the same battlements which appear in the present watercolour and looking out across the Clyde towards Ailsa Craig (Christie's, 15 December 1992, lot 170). Another view of the Clyde from Penkill is in the collection of Yale Center for British Art.

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WILLIAM BELL SCOTT

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Description: WILLIAM BELL SCOTT 1811 - 1890 LADY ON A TERRACE WITH A BABY, A DUEL BEYOND signed with initials l.r.: WB.S. watercolour 12 by 20cm., 4¾ by 8in.

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William Bell Scott (1811-1890)

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Description: The Eve of the Deluge. 'For as in the days that were before the Flood, they were eating and drinking, and marrying and giving in marriage, until the day that Noah entered into the Ark'. Matthew XXIV, verse 38signed and dated '1865' (lower left)oil on canvas29 1/4 x 45 3/8 (74.3 x 115.2 cm.)

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William Bell Scott [1811-1890] after Filippino

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Description: William Bell Scott [1811-1890] after Filippino Lippi St Peter being freed from Prison signed with a monogram and dated 31 Aug 1858, watercolour and bodycolour, 35 x 23.5cm.

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William Bell Scott (1811-1890)

Description: William Bell Scott (1811-1890) Arthur Hughes reading signed with initials 'W.B.S' and dated '3 October 1886' and possibly signed by the sitter 'Arthur Hughes' (lower right) pencil, pen and ink, on paper 7¼ x 4¼ in. (18.4 x 10.8 cm.)

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Description: Three Voles oil and gouache, heightened with gum arabic 51/2 x 51/2 in. (14 x 14 cm.) PROVENANCE Penkill Castle until 1992. LITERATURE Michael Hall, 'Penkill Castle, Ayrshire', Country Life, 21 March 1991, p. 120 (illustrated).

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Description: Two Hares oil and gouache, heightened with gum arabic 5.3/8 x 51/4 in. (13.7 x 13.4 cm.) PROVENANCE Penkill Castle until 1992.

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Description: An Owl; A Stork; A Mother Duck with seven Ducklings; and Swans Kissing oil and gouache, heightened with gum arabic, unframed 51/2 x 51/2 in. (14 x 14 cm.) (4) PROVENANCE Penkill Castle until 1992.

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Description: A Lion's Head; A Lynx; A Portrait of a young Boy; and A Portrait of a young Lady oil and gouache, heightened with gum arabic, unframed 8 x 8 in. (20.4 x 20.4 cm.) (4) PROVENANCE Penkill Castle until 1992.

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Description: A Fish; Two Squirrels; Two Mice and a Sunflower; and A Baboon oil and gouache, heightened with gum arabic, unframed 5.3/8 x 5.3/8 in. (13.7 x 13.7 cm.) (4) PROVENANCE Penkill Castle until 1992.

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Description: Newts eating Grapes; Frogs on a Lily Pond; A Swan with a green Snake; and Four Crabs oil and gouache, heightened with gum arabic 5.3/8 x 51/2 in. (13.7 x 14 cm.) (4) PROVENANCE Penkill Castle until 1992.

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William Bell Scott (1811-1890) THE GARDEN AT KINGS

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Description: William Bell Scott (1811-1890) THE GARDEN AT KINGSTANDING with inscription on a label verso watercolour 20 x 27cms; 8 x 10 3/4in. PROVENANCE The Julian Hartnoll Gallery, Duke Street, London. See illustration

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Description: A Rooster; A Roosting Hen with Chicks; Two Blackbirds; Two Magpies and a Beetle; and A Peacock oil and gouache, heightened with gum arabic, unframed 5.3/8 x 5.3/8 in. (13.7 x 13.7 cm.) (5) PROVENANCE Penkill Castle until 1992.

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Description: Three Rabbits; Two young Monkeys; A Fox; A watchful Dog; and A sleeping Cat with Mice oil and gouache, heightened with gum arabic, unframed 51/2 x 51/2 in. (14 x 14 cm.) (5) PROVENANCE Penkill Castle until 1992.

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Description: Pink and white Roses in an 18th Century silver Dish-cross, a chalkhill blue Butterfly above signed and dated 'W.B. Scott/1875' (lower left) oil on canvas 17.7/8 x 24.1/8 in. (45.5 x 61.2 cm.) PROVENANCE Penkill Castle until 1992.

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Description: William Bell Scott signed with monogram (lower right) monochrome oil on zinc octagonal 163/4 x 163/4 in. (42.5 x 42.5 cm.) PROVENANCE Penkill Castle until 1992. NOTES This is a copy by Alice Boyd of a portrait of William Bell Scott in bronze low-relief that was exhibited by Alexander Munro (her exact contemporary) at the Royal Academy in 1854 (no. 1531). The relief remained at Penkill during Scott's lifetime, and when he died in 1890 Alice put it on his tomb in Old Dailly churchyard. Before she did so, however, she made the present copy. It must be one of her last works, as she painted very little after her lover's death. About the same time that Munro executed the low-relief likeness of William Bell Scott, he also made a posthumous high-relief portrait of David Scott for the monument to his elder brother that William designed and executed in the Old Dean Cemetery in Edinburgh. A plaster cast of this was also at Penkill, and was sold at Christie's Penkill Castle sale on 15 December 1992, lot 36 (illustrated in catalogue). We are grateful to Katharine Macdonald for her help in preparing this entry.

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Description: THE EPSOM DERBY signed and dated 1835 oil on canvas 431/2 by 62 in. 110.5 by 157.5 cm. Painted in 1835, this work portrays the final review of horses before the start of the Epsom Derby. Herring annually painted the Derby winners for his great series of pictures and prints but on this occasion the young owner, John Bowes, commissioned the artist to paint a highly ambitious composition recording the start of the race. John Bowes, the son of the 10th Earl of Strathmore, was born in 1811 and grew up at Streatlam in County Durham, where his family ran a famous stud farm. His father died in 1820 but it was not until 1832, when John Bowes became twenty-one, that he took control of the extensive estate. It was that same year that "Mundig" (German for "of age"") was foaled by "Catton" out of Bowes" "Emma". "Mundig" was a very spirited horse and through the careful management of John Scott was brought to his peak by 1835. It was decided to run him in the Epsom Derby of that year. Not only was it Mundig"s major race, but it was also the first time that a horse from the north had won this most celebrated race on the English Calendar. It was testimony to the insightful trainer, John Scott, the ability of the rider, his brother William Scott, and to the enthusiasm of John Bowes. All three are names that resonate throughout British horse racing during the whole of the nineteenth century. In celebration of their achievement, Bowes commissioned the leading sporting artist of the day, John Frederick Herring, to record the event. This was to be the first milestone in a developing partnership and friendship. Bowes" position in the turf, established by this success, was to endure. Herring was the first artist to whom Bowes turned to produce meticulous records of his horses and their successes, and it was a promising union. The Epsom Derby of 1835 included a strong field of horses, as portrayed in the painting, with Lord Jersey"s "Ibrahim", the favorite, and Lord Offord"s "Ascot", a close second. In the event, "Ibrahim" faltered after Tattenham Corner and the race was left to "Ascot" and "Mundig". It was a hard run with the jockeys forcing the last drop of energy from their mounts. "Mundig" won by a head. Herring was not only a brilliant painter of horses, but also a shrewd businessman, and he clearly recognized this commission as being of supreme importance and one that would, if successfully handled, lead to further work for this wealthy patron. Indeed, he was right. The quality of the painting and the artist"s dexterity captivated Bowes and led the following year to the painting of The Streatlam Stud (sold in these rooms on June 5th, 1986), as well as individual portraits of a succession of remarkable winners including "Cotherstone", "Hetman", "Platoff", "Daniel O"Rourke", and "Western Australia"; all horses that established Bowes as one of the great patrons of the Turf. John Frederick Herring was one of the most celebrated painters of his age. Over the course of his illustrious career he painted no fewer than twenty-one Derby winners, thirty-four champions of the St. Leger, and eleven winners of the Oakes. A favorite of royalty, he was appointed animal painter to H.R.H. the Duchess of Kent (Queen Victoria"s mother) in 1845. Herring"s choice of composition for The Start of The Epsom Derby is a sterling example of his ability to portray both the thoroughbreds and their jockeys in a range of positions and movement. This compositional device also allowed the artist to boast his understanding and ability to depict the animal"s musculature while heightening the tension and excitement of the scene portrayed. Bowes, a distinguished breeder, was the first ever to win the Triple Crown. Amongst his other extraordinary achievements he was a Member of Parliament from 1832-47, a coal and shipping magnate, and together with his French wife, Josephine, he created what is now The Bowes Museum at Barnard Castle, an important collection of paintings and furniture. Upon his death in 1885 The Start of The Epsom Derby was bequeathed, along with his collection of sporting art, to his kinsman, Claude, 13th Earl of Strathmore. The painting then passed to his son Claude, 14th Earl of Strathmore whose younger daughter Elizabeth, now H.M. Queen Elizabeth the Queen Mother, grew up with the painting at the family"s home at St. Paul"s Walden Bury, outside London. In 1928 the painting was sold privately where it entered the present collection. An engraving of this work was made by C. Hunt and published in 1835 by J.F. Herring and S. & J. Fuller, at the S. & J. Fuller Sporting Gallery, 34 Rathbone Place, London. The plate was dedicated To J. Bowes, Esq., the horse"s owner. In discussing the print in a letter to the editor of Bell"s Life, Herring noted, "...I received the most liberal assistance from Mr. John Scott (the trainer) allowing me every facility in the getting up my portrait, and also by Mr. William Scott (the jockey), who has very kindly sat to me."" Provenance: John Bowes, the owner of the winning horse, "Mundig" By descent to his kinsman, Claude Bowes Lyon, 13th Earl of Strathmore and Kinghorne Claude George Bowes Lyon, 14th Earl of Strathmore and Kinghorne (by descent from the above) By descent until sold privately through Captain Spink in 1928 Willard S. Martin, Greatwood Farm, Plainfield, Vermont Newhouse Galleries, Inc., New York (acquired from the above circa 1937) Acquired by the present owner from the above in November 1937 Literature: J.F. Herring, Bell"s Life, Sunday, June 14, 1835, a letter to the editor Oliver Beckett, J.F. Herring & Sons, London, 1981, No. 375, pp. 47, 146.

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Description: watercolour heightened with gouache, 24 by 35cm.; 91/2 by 133/4in.

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Description: Scott (William Bell, 1811-1890 ) Loch Ard, West Highlands, watercolour over pencil, 195 x 310mm., mounted on washlined support, verso bears title and initials, framed and glazed .

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Description: Enchanted Corner, 1855c. Watercolour 7x10 inches (19x26 cm) signed.

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GEORGE VEAL (active 1886-1890), AFTER J. F. HERRING, SEN.

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Description: Winners of the Doncaster St. Leger: Jack Shirgar, 1821, with William Scott up; Memnon, 1825, with William Scott up; Matilda, 1827, with James Robinson up; and Roudon, 1829, with William Scott up all signed and inscribed (on the reverse) oil on canvas 18 x 24 in. (45.7 x 61 cm.) a set of four.

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WILLIAM BELL SCOTT BRITISH, 1811-1890

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Description: BOCCACCIO´S VISIT TO DANTE´S DAUGHTER68 by 99,5 cm.signed with the monogram centreoil on canvas

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WILLIAM BELL SCOTT

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Description: PROPERTY OF PRE-RAPHAELITE INC. 1811-1890 THOU HAST LEFT ME EVER, JAMIE signed l.r.: W B. SCOTT; signed, titled and inscribed on the backboard: Thou has left me ever, Jamie,/ Thou hast left me ever,/ Burns./ William B. Scott/ Bellevue House, Chelsea. pencil and watercolour 41.5 by 64cm., 16¼ by 25¼in.

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 William Bell Scott , 1811-1890 penkill castle, ayrshire watercolour

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Description: signed and dated with initials l.r.: W.B.S. 17/ 3/ 63 watercolour

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Description: Ribot, T.-A. L'Ecaillre (Woman Shucking Oysters) signed 't. Ribot' (lower center) oil on canvas 18 x 15.1/8 in. (46.5 x 38.4 cm.) PROVENANCE Collection de Mr. E. M. (Monteaux); sale, Htel Drouot, December 20-21, 1897, p. 38, no. 252 (L'Ecaillre). W.A. Coats; sale, 1904, no. 101 (as 'Femme ouvrant des huitres'). W. Scott & Sons, Montreal, 1928. Dominion Gallery, Montreal. NOTES While this was a common theme with other realists, such as Franois Bonvin, Ribot's interest in focusing on a single figure opening oysters is, seemingly, limited to this painting. Ribot's interest in still-life detail is noticeable in the oysters in the foreground and on the table in front of the young girl. The painting has a provenance traceable to the decade of the 1890s, a period when Ribot's works were often on constant display in Paris. Gabriel P. Weisberg will include this painting in his forthcoming mongraphic study on Ribot's work completed with the assistance of the Wildenstein Foundation.

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