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William Bell Scott Auction Price Results

William Bell Scott (1811-1890)  Please Register/Login to access your Invaluable Alerts

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Bell Scott, William

Lot 4: 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)

Lot 6: 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

Lot 7: 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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Lot 10: William Bell Scott, H.R.S.A.

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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

Lot 13: 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

Lot 14: 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

Lot 19: 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)

Lot 22: 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

Lot 24: 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)

Lot 31: 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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Lot 41: William Bell Scott (1811-1890)

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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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Lot 42: William Bell Scott (1811-1890)

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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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Lot 43: William Bell Scott (1811-1890)

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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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Lot 44: William Bell Scott (1811-1890)

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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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Lot 45: William Bell Scott (1811-1890)

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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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Lot 46: William Bell Scott (1811-1890)

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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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Lot 47: William Bell Scott (1811-1890)

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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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Lot 48: William Bell Scott (1811-1890)

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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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Lot 49: William Bell Scott (1811-1890)

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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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Lot 50: Alice Boyd (1825-1897) after Alexander Munro (1825-1871)

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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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Lot 56: *John Frederick Herring, Snr. (British, 1795-1865) THE START OF

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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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Lot 57: William Bell Scott (1811-90) the basin of st. mark's from the campanile, signed W. B. Scott l.l.,

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

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Lot 59: Scott (William Bell, 1811-1890 ) Loch Ard, West

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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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Lot 59: SCOTT, WILLIAM BELL (1811-1890)

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

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

Lot 61: 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

Lot 63: 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 , 1811-1890 penkill castle, ayrshire watercolour

Lot 71: 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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WILLIAM BELL SCOTT

Lot 71: 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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Lot 72: Thodule-Augustin Ribot (French, 1823-1891)

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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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Lot 75: SCOTT, WALTER.

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Description: Autograph letter signed ("W.S.") to William Erskine, 29 September 1810. 2 pages, 4to, tear across text carefully repaired, autograph address panel in Scott's hand with faded postmark. A fine, witty letter from Scott, inviting his friend to visit "as I want to consult you about Waverley and a thousand things," and mentioning his poem "The Lady of the Lake" which "Messrs. Mevlin & Reynolds are at this blessed moment [converting] into a play." Adding: "So you see I may amuse the theatrical public without any additional exertion of my own" -- SCOTT. Autograph letter signed ("W Scott") to his publisher John Ballantyne, Caille Shul, n. d. 1 page, 4to, small tears to folds at lower margin . Scott corrects an historical detail: "The date is 1187. I mentioned wishing a revise but if you are sure you are correct in names etc. it does not matter." He ends: "I wish to have two copies of the [undeciperable] manuscript so far as it has gone. It is I am aware incomplete." With covering letter from John Ballantyne to Mr Hare, Edinburgh, 9 January 1839. 1 page, 4to, with address panel on verso, seal intact. "I am happy to send you the autograph of Sir W. Scott" -- SCOTT. Autograph letter signed ("Walter Scott") to William Laidlaw, Abbotsford, no date. 2 pages, 4to. Fine. Scott writes to his good friend Laidlaw, asking for assistance in buying land from his neighbor, Mr. Milne. Scott writes: "I have no objection to any of his terms except...the price which...is 3 above the value." I empower you to offer 3300 over-head for the portion..." -- SCOTT. Manuscript check signed on verso ("Walter Scott"), Edinburgh, 11 December 1811. 2 pages, oblong. Payment of 190 to the author by John Ballantyne, his publisher. (3).

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William Bell Scott, HRSA (1811-1890) STUDIES OF

Lot 77: William Bell Scott, HRSA (1811-1890) STUDIES OF

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Description: William Bell Scott, HRSA (1811-1890) STUDIES OF FALLEN TREES AND FOLIAGE signed with monograms pen and ink 16.5 x 14cms; 6 1/2 x 5 1/2in. ovals 21cms; 8 1/4in. circular (3)

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WILLIAM BELL SCOTT R.S.A (1811-1890) STUDY OF A LIONS HEAD 20.5cm x 20.5cm (8in x 8in)

Lot 88: WILLIAM BELL SCOTT R.S.A (1811-1890) STUDY OF A LIONS HEAD 20.5cm x 20.5cm (8in x 8in)

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Description: WILLIAM BELL SCOTT R.S.A (1811-1890)STUDY OF A LION'S HEADOil and gouache on paper,quatrefoil-shaped20.5cm x 20.5cm (8in x 8in)Estimate £ 600-800Provenance:Penkill Castle until 1992

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William Bell Scott (1811-1890)

Lot 88: William Bell Scott (1811-1890)

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Description: A Messenger of the New Faith: Rome AD 150 - 'What communion has light with darkness....?' signed, indistinctly inscribed and dated 'WILLIAM.BELL. SCOTT.MN. SEP (?) 1867' (lower left), signed and inscribed 'Painted by William B. Scott./33 Elgin Road. Notting Hill. London.W.' (on an old label on the reverse) and further signed and inscribed 'IN ROME.A.D...../William B. Scott.' (on the stretcher) oil on canvas 28 7/8 x 45 1/8 in. (73.3 x 114.6 cm.) PROVENANCE with Christopher Wood, London, 1980. Anon. sale, Christie's, London, 23 October 1981, lot 207 (unsold); re-offered, Christie's, London, 1 June 1984, lot 173, when acquired by the present owner. EXHIBITION Edinburgh, Royal Scottish Academy, 1868, no. 300. NOTES As the inscription on the back records, the picture was painted at 33 Elgin Road, Notting Hill, Scott's address from 1864, (when he settled in London on giving up the mastership of the Government School of Design in Newcastle), to 1870, when he moved to Bellevue House, Cheyne Walk, Chelsea, to be nearer his old friend D.G. Rossetti. The painting in the Collection by Scott's mistress, Alice Boyd (lot 89), also seems to have been painted in Elgin Road. The picture shows a girl who has been converted to Christianity remonstrating with a group of pagans in Rome in AD 150. This was during the benign reign of Antoninus Pius, before the persecution of Christians had begun. The symbolic use of light in the picture - the convert bringing daylight into the darkened chamber occupied by the pagans - is very obvious, and indeed was emphasised by the quotation attached to the title when the picture was exhibited in 1868. It is typical that Scott should be painting a classical subject in the late 1860s, a period which saw the beginnings of the late Victorian classical revival. Although the phenomenon is associated mainly with artists such as Leighton and Poynter, many of the Pre-Raphaelites were affected to a lesser degree. Parallels to Scott's flirtation with classicism can be found in the work of Millais, Rossetti, Burne-Jones and others.

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William Bell Scott (Scottish, 1811-1890)

Lot 95: William Bell Scott (Scottish, 1811-1890)

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Description: A study of a sprite signed with initials (lower left) watercolour over pencil 21.5 x 12.5 cm.(8 1/2 5 in.)

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Lot 95: SCOTT, William Bell (1811-1890)

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Description: Chaucer reading his Poem of The Flower and the Leaf Oil/canvas & arched top 26,0 x 35,4 inches (66.0 x 90.0cm) Illustrated.

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Lot 97: SCOTT, William Bell (1811-1890, British)

Description: The Resurrection. Portrait of Alice Boyd, s.i.d.March 1874 pencil W/C htd.white dr verso double-sided Works on paper (8x6in).

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Lot 98: SCOTT, William Bell (1811-1890, British)

Description: Moses bringing down the Tablets of Law, pencil black ink W/C htd.white arched top Works on paper (6x8in).

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Lot 99: SCOTT, William Bell (1811-1890, British)

Description: Study of head of girl, pencil Works on paper (9x11in).

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Lot 117: Berthe Morisot (1841-1895)

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Description: Fillettes la fentre (Jeanne et Edma Bodeau) stamped with signature bottom left 'Berthe Morisot' (Lugt 1826) oil on canvas 25 x 19 in. (65.5 x 49 cm.) Painted at the Chteau du Mesnil, 1892 PROVENANCE Mr. and Mrs. Ernest Rouart, Paris Galerie Hopkins-Thomas, Paris Galerie Daniel Malingue, Paris LITERATURE M. Angoulvent, Berthe Morisot, Paris, 1933, pp. 99 and 144, no. 525 M.-L. Bataille and G. Wildenstein, Berthe Morisot, Catalogue des peintures, pastels et aquarelles, Paris, 1961, p. 43, no. 298 (illustrated, fig. 303) P. Huisman, Berthe Morisot, Charmes, Lausanne, 1962, p. 53 (illustrated in color) J.-D. Rey, Berthe Morisot, Paris, 1982, p. 64 (illustrated in color, p. 88) Y. Rouart, A. Clairet and D. Montalant, Berthe Morisot, Catalogue raisonn de l'oeuvre peint, Paris, 1997, no. 302 (illustrated in color) EXHIBITION Paris, Galerie Durand-Ruel, Berthe Morisot (Madame Eugne Manet), March, 1896, p. 25, no. 94 Paris, Muse de l'Orangerie, Berthe Morisot, summer, 1941, p. 22, no. 100 London, Arts Council of Great Britain, Berthe Morisot: An Exhibition of Paintings and Drawings, 1950, p. 15, no. 47 Limoges, Muse Municipal, Hommage Berthe Morisot et Pierre-Auguste Renoir, July-Oct., 1952, p. 33, no. 20 (illustrated, pl. X) Dieppe, Muse, Berthe Morisot, July-Sept., 1957, p. 6, no. 49 (illustrated) New York, Wildenstein & Co., Inc., Loan Exhibition of Paintings, Berthe Morisot, Nov.-Dec., 1960, no. 57 (illustrated) London, Wildenstein & Co., Ltd., Loan Exhibition of Paintings, Berthe Morisot, Jan.-Feb., 1961, p. 46, no. 40 (illustrated, pl. 40) Paris, Muse Jacquemart Andr, Berthe Morisot, spring, 1961, no. 81 Vevey, Muse Jenisch, Berthe Morisot, June-Sept., 1961, p. 10, no. 68 Paris, Galerie Hopkins-Thomas, Berthe Morisot, April-June, 1987, no. 47 (illustrated in color) Washington, D.C., National Gallery of Art, Berthe Morisot: Impressionist, Sept.-Nov., 1987, pp. 160 and 222, no. 95 (illustrated in color, p. 161, pl. 95). The exhibition traveled to Fort Worth, Kimbell Art Museum, Dec., 1987-Feb., 1988; and Mount Holyoke, College Art Museum, March-May, 1988. Paris, Galerie Daniel Malingue, Matres Impressionnistes et Modernes, Oct.-Dec., 1990, no. 3 (illustrated in color) Paris, Muse Marmottan, Les femmes impressionnistes: Mary Cassatt, Eva Gonzals, Berthe Morisot, Oct.-Dec., 1993, p. 158, no. 79 (illustrated in color) NOTES The present picture was painted in 1892 just outside of Mzy, a small village in the valley of the Seine to the north-west of Paris. Morisot first visited Mzy in April 1890 with her husband Eugne Manet and their daughter Julie. They had been searching in vain all spring for a country house, and one day stopped without great expectation at Mzy; they were immediately captivated by the picturesque town, and rented a spacious house there with fine views over the Seine valley and the plateau of Le Gibet. They returned to the same spot for the summer of 1891, and in July of that year decided to purchase a seventeenth-century chateau at nearby Juziers, the so-called Chteau du Mesnil. Eugne's health was failing by this time, and Morisot had become concerned that she and her husband were growing old prematurely; watching her daughter and nieces learn to draw and paint, she was nostalgic for her own youth. In a letter to her close friend, the poet Stphane Mallarm, dated July 14, 1891, she wrote: Eugne told you, did he not, that we were negotiating to buy a chateau; we are carried away by the desire to be in a beautiful setting before we die... Your sentence, "I am working and trying to grow older" describes me perfectly. If only you could always speak for me! (Quoted in ed. D. Rouart, Berthe Morisot, The Correspondence, London, 1987, p. 182) And in a letter to her sister which she wrote towards the end of that summer, Morisot explained: I am constantly aware of the fact that life is moving on and that it is high time to reveal what is in one's heart. I very often think about our life of old, about all of us. I am at Mzy; it is raining almost incessantly; the place is too pretty to be spoiled... (Quoted in ibid., p. 184) The months which Morisot spent at Mzy were enormously fruitful ones; as she wrote to her sister, "I have projects, many projects..." (quoted in ibid., p. 184). The landscape was a source of great pleasure and inspiration to her, as indicated by the series of exuberant, highly decorative pastels of the sun-swept gardens and orchards around her home which she executed in 1891 (fig. 1). She also began work at Mzy on one of the most important paintings of her late years, Le cerisier, a project which would periodically occupy her until the early months of 1893 (fig. 2). Negotiations for the Chteau du Mesnil were completed by October 1891; but Eugne Manet died in April 1892, and Morisot decided to remain in Paris that summer rather than return to Mzy without her husband. She rented out the chateau instead, visiting only once for a short period in September. The present picture was executed during this visit, and according to Charles Stuckey and William Scott, was the most ambitious work which Morisot made at the time (C.F. Stuckey and W.P. Scott, exh. cat., op. cit., Washington, D.C., 1987, p. 160). It depicts Jeanne and Edma Bodeau, two young redheaded sisters from the town of Mzy, posed with their pet cats on the sill of an open window overlooking the garden of the chateau. Although her daughter Julie retained pride of place as Morisot's favorite model during her months at Mzy, she also turned with mounting frequency to the local children of the town; Jeanne and Edma reappear in several works of this time, frequently surrounded by lush foliage as they are here (fig. 3). Fillettes la fentre exemplifies the best characteristics of the artist's late style. Drawing became increasingly important to Morisot in the late 1880s, and by 1887 she was using pastel, watercolor, charcoal, red chalk and colored pencil to make preparatory studies for her pictures. The smooth contours of the present picture stand in marked contrast to the frenzied brushwork of her earlier paintings, clearly illustrating the results of her new working methods. As Kathleen Adler and Tamar Garb have commented: In 1891 Morisot's close friend Stphane Mallarm said in an interview: "I think...that there should be only allusion. The contemplation of objects, the image emanating from the dreams which the objects excite, this is poetry... To suggest, that is the dream..." Morisot's later work has much in common with this ideal of suggestiveness. The sketchiness of handling which had characterized her painting since the early 1870s broadened into sweeping painterly brushmarks, and the debate about the sketch versus the finished painting, so important in the Impressionist years, was superseded by a concern with the evocation of mood and atmosphere. (K. Adler and T. Garb, Berthe Morisot, Ithaca, New York, 1987, p. 77) The influence of Renoir is also palpable in the pictures which Morisot made at Mzy. Renoir stayed with Morisot and her family at Mzy on several occasions during the summer of 1891, and is also reported to have visited them there in 1890. Morisot and Renoir had been close friends at least since 1885, when Julie recorded in her diary, "M. Mallarm and M. Renoir were the closest friends, the Thursday regulars" (quoted in B.E. White, Renoir, His Life, Art and Letters, New York, 1984, p. 192); Renoir was commissioned by Morisot and Eugne Manet to paint Julie's portrait in 1887, and when Morisot died in 1895 her will named Renoir as one of Julie's two guardians, along with Mallarm. Renoir was an ardent supporter of Morisot's work: in a letter to her dated August 17, 1891, following one of his sojourns to Mzy, he wrote: Above all, finish the canvas with the cherry trees... I send you all my wishes for success. Give my greetings to the girls and to Manet. (Quoted in ibid., p. 192) At the same time that Morisot was working on Le cerisier, Renoir was painting an important canvas entitled Jeunes femmes cueillant des fleurs, now in the Museum of Fine Arts in Boston (fig. 4). The models for both pictures were the same: thirteen-year-old Julie Manet and her cousins Jeanne and Paule Gobillard, the daughters of Morisot's sister Yves. Moreover, both pictures reveal the same graceful, supple line and rich yet luminous palette; and both pictures demonstrate the artists' mounting interest in the integration of classicizing human forms with a vibrant, decorative background. (In the same vein, note the similarity between the landscape in Renoir's picture and that in Morisot's L'alle du jardin de Mzy (fig. 1).) These are the characteristics which would carry Renoir through the celebrated next decades of his career, and which would engender such masterpieces as Jeunes filles au piano of 1892 (Galerie du Jeu de Paume, Paris). (fig. 1) Berthe Morisot, L'alle du jardin de Mzy, 1891 Private Collection (fig. 2) Berthe Morisot, Le cerisier, 1891-1892 Private Collection (fig. 3) Berthe Morisot, Fillette au Mesnil, 1892 Private Collection (Christie's, November 13, 1996) (fig. 4) Pierre-Auguste Renoir, Jeunes femmes cueillant des fleurs, circa 1891 Museum of Fine Arts, Boston.

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Lot 125: Paul Cezanne (1839-1906)

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Description: Paysage avec conduite d'eau oil on canvas 18.1/8 x 21.7/8 in. (46 x 55.5 cm.) Painted circa 1879 PROVENANCE Emile Schuffenecker, Paris (?) Ambroise Vollard, Paris Galerie Etienne Bignou, Paris Alex. Reid & Lefevre, Ltd., London David Eccles, London W. Scott & Sons, Montreal Mr. and Mrs. Murray Chipman, Montreal Anon. sale, Sotheby's, London, Nov. 29, 1976, lot 26 (illustrated) Mario de Botton, London Anon. sale, Sotheby's, New York, May 18, 1983, lot 36 (illustrated in color) LITERATURE N. Iavorskaia, Paul Czanne, Milan, 1935, pl. 13 (illustrated) H. Comstock, Connoisseur, vol. 98 (no. 420), Aug., 1936, pp. 105-106 (illustrated) L. Venturi, Czanne, son art--son oeuvre, Paris, 1936, vol. I, p. 132, no. 309 (illustrated, vol. II, pl. 83) R.H. Hubbard, European Paintings in Canadian Collections, Toronto, 1962, vol. II ( Modern Schools ), pp. 56 and 150 (illustrated, p. 57, pl. XXVIII) S. Orienti, The Complete Paintings of Czanne, New York, 1972, p. 100, no. 320 (illustrated, p. 101) J. Rewald, The Paintings of Paul Czanne, A Catalogue Raisonn, New York, 1996, vol. I, p. 269, no. 404 (illustrated, vol. II, p. 127) EXHIBITION London, Alex. Reid & Lefevre, Ltd., Paul Czanne, July, 1935, no. 7 Montreal, W. Scott & Sons, Renoir and his Contemporaries, spring, 1936, no. 28 (illustrated) Montreal, Museum of Fine Arts, Montreal Collections, Feb., 1949, no. 11 Toronto, Art Gallery of Ontario, Paintings by European Masters from Private and Public Collections in Toronto, Montreal and Ottawa, Jan.-Feb., 1954, p. 21, no. 66 Montreal, Museum of Fine Arts, Canada Collects: European Painting, Jan.-Feb., 1960, p. 54, no. 133 (illustrated) NOTES Czanne painted this subject at least four times around 1879; the site has not been identified although it is presumed that it is close to Auvers where the artist lived in the 1870s. John Rewald dates the work to 1879 and allies it to a painting which Leo Stein bought from Vollard in 1904 (fig. 1). Stein called his picture Landscape with Spring House, in reference to the small building in the foreground. Stein's painting, now in the Barnes Collection in Philadelphia, depicts from a closer viewpoint the mill and group of houses which we see in the present picture. The small red brick structure in the left foreground of this painting housed a pipe used to drive a mill wheel which is visible, half submerged, in the meadow in the foreground. Regarding Czanne's works of this period, Fritz Novotny wrote in 1938: In some ways the works of this phase--the last part of the seventies and the time around 1880--provide a more distinct expression of the space-forming principles of Czanne than do the works of the succeeding periods. They do so in a more remarkable, less complicated fashion. Within Czanne's evolution, their style appears like a clearly formulated program. The main feature that derives from this is the homogeneity of the pictorial structure... Of great importance here are the evenly distributed values, the balance of the structural parts of pictorial cohesion: as far as the execution is concerned, this is seen in the closely assembled, fat, mostly rather pigment-loaded brush strokes that frequently are oriented in parallel diagonals. This even distribution of values and this balance emphatically express a lack of contrast that pervades the entire picture plane and thus also the picture space. (Quoted in J. Rewald, op. cit., p. 272) Czanne spent two periods in the 1870s--the first between 1874 and 1877 and the second between 1879 and 1882--in or near Pontoise, approximately forty miles west of Paris. Pissarro had settled in Pontoise in 1866 and Dr. Gachet, the highly supportive patron and collector of the Impressionists, lived nearby at Auvers. Czanne and Pissarro painted side-by-side on many occasions during these years, and it was here, under the gentle tutelage of Pissarro, that Czanne developed both his characteristic way of handling paint and the brushstroke that he used throughout the remainder of his career. He began by copying a Pissarro landscape, learning to do without black and to use the primary colors and their derivatives (figs. 2 and 3). Roger Fry has written: At Auvers Czanne became in effect apprentice to Pissarro... Czanne had, properly speaking, no method. He improvised all the time, and always with a rather desperate courage. One sees portraits executed in a clayey paste, ploughed up with the furrows of a large brush... But here at Auvers Pissarro put into his hands a technical method in which all was calculated beforehand, in which one proceeded with methodical deliberation and strict precaution, step by step, touch by touch, towards a preconceived and clearly envisaged goal. (R. Fry, Czanne: A Study of his Development, New York, 1958, pp. 34-35) Fry goes on to describe the way in which Pissarro's influence affected Czanne's impetuous spirit: "It turned him away from the inner vision and showed him the marvelous territory of external vision..." ( ibid., p. 35). Czanne made views of Auvers throughout the decade and it is instructive to compare the present picture with an 1874 view of the town (fig. 4). In 1874 Czanne painted an expansive view with a uniform illumination and without many of the devices of traditional painting, such as chiaroscuro and repoussoir. Czanne believed that nature "falls before our eyes [and] gives us the picture...[we must] give the image of what we see, forgetting all that has existed before us" (quoted in R. Shiff, Czanne and the End of Impressionism, Chicago, 1984, p. 113). He wrote to Emile Bernard in 1904 to explain the significance of his method: One is neither too scrupulous, too sincere, nor too submissive before nature; but one is more or less master of his model, and above all his means of expression. One must penetrate what lies before him, and strive to express himself as logically as possible. (Quoted in ed. J. Rewald, Paul Czanne, Correspondance, Paris, 1937, p. 262) Paysage avec conduite d'eau extends the technique of the 1874 work and provides a transition into the painting of the 1880s and 1890s. Writing about the present picture, John Rewald notes, "The brushwork does not follow any consistent pattern: there are loose twirls in the sky and dense horizontal strokes in the fields, whereas the foliage of the trees shows mostly a strictly diagonal pattern" (J. Rewald, op. cit., p. 269). This freedom of brushwork is markedly different from the technique of the later works, where the strokes are uniform and harmonize the details; Richard Shiff describes Czanne's "technique of originality: his concern for detail and his development of a unifying pattern" (R. Shiff, op. cit., p. 116). The palette in the present work is particularly notable. Rewald describes it as "green, interspersed with white buildings topped by red roofs" (J. Rewald, op. cit., p. 269); with its restrained and unified tonality, it differs markedly from the 1874 picture. Discussing the role of color in the paintings of these years, Shiff writes, "Color therefore articulates Czanne's field of vision more than any variation in the line that shapes form, or in the chiaroscuro that models form" (R. Shiff, op. cit., p. 119). Shiff identifies the sharp yellow-green of the 1874 Auvers landscape as the best indicator of the revolution that Czanne was trying to introduce into his work. This intense color, which appears in the foreground and middle ground of the painting, would not have been used by artists such as Claude, who would have mixed the yellow with blue or black to produce a duller color. "Czanne's unusual color serves to signify in all his painting, whether of observed or imagined subjects, that his technique is original in the double sense: it is derived from his direct, 'unattenuated' observation of nature and is independent of the technical tradition it clearly defies" ( ibid., p. 115). An indication of the extent of this revolution can be found in the praise that Zola gave to Pissarro in L'Evenement in (year?): "His canvases are devoid of all pyrotechnics, all the artifice that intensifies the extremely powerful and harsh reality of nature" (quoted in J. Pissarro, op. cit., p. 52). In the preface to his monograph on Czanne, Meyer Shapiro wrote: The visible world is simply not represented on Czanne's canvas. It is re-created through strokes of color among which are many that we cannot identify with an object and yet are necessary for the harmony of the whole. If his touch of pigment is a bit of nature (a tree, a fruit) and a bit of sensation (green, red), it is also an element of construction which binds sensations or objects. The whole presents itself to us on the one hand as an object-world that is colorful, varied and harmonious, and on the other hand as the minutely ordered creation of an observant, inventive mind intensely concerned with its own process... In this complex process...the self is always present, poised between sensing and knowing, or between its perceptions and a practical ordering activity... (M. Shapiro, Czanne, New York, 1962, p. 10) (fig. 1) Paul Czanne, La conduite d'eau, circa 1879 The Barnes Collection, Philadelphia (fig. 2) Camille Pissarro, Rue de Saint-Antoine l'Hermitage, Pontoise, 1875 Private Collection (fig. 3) Paul Czanne, Le clos des Mathurins Pontoise (L'Hermitage), circa 1877 Pushkin State Museum of Fine Arts, Moscow (fig. 4) Paul Czanne, Vue panoramique d'Auvers-sur-Oise, 1873-1874 The Art Institute, Chicago.

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Lot 126: William Bell Scott

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Description: Horoscope by Geomancy pen and ink 2.3/4 x 3.1/4in. (7 x 8.2cm.).

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Lot 131: Stanton MacDonald-Wright (1890-1973)

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Description: L'Age D'Or: A Triptych each: oil on panel each: 96 x 48.1/8 in. (244 x 122 cm.) PROVENANCE The University of California, Los Angeles, California. LITERATURE D.W. Scott, "Stanton MacDonald-Wright: A Retrospective," American Art Review, January-February 1974, pp. 50-51 EXHIBITION Washington, DC, National Collection of Fine Arts, The Art of Stanton MacDonald-Wright, May-June 1967, no. 98 Los Angeles, California, The Art Galleries, University of California, Stanton MacDonald-Wright, An Apprentice: A Retrospective Exhibition 1911-1970, November-December 1970, no. 70.

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Lot 141: SCOTT, WILLIAM BELL (1811-1890)

Description: The Gloaming: Manse Graden in Berwickshire, 1862, 1862 Oil/canvas 13x19 in (33x48.2 cm) signed Wood, The Pre-Raphaelites, p. 88.

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Lot 161: CARLYLE, Thomas (1795-1881) -- SCOTT, William Bell (1811-1890). Chorea sancti viti; or, Steps

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Description: CARLYLE, Thomas (1795-1881) -- SCOTT, William Bell (1811-1890). Chorea sancti viti; or, Steps in the Journey of Prince Legion. London: George Bell, 1851. 4° (285 x 186mm). Title and preface in black, sepia and blue. 12 etched plates by and after Scott. (Some staining at lower margins.) Original printed limp boards (rebacked, inner hinges split). Provenance: presentation copy from the artist to Carlyle (front pastedown inscribed 'Thomas Carlyle Esqr. with the Artist's Compliments'; front cover inscribed 'Miss Helen Welsh T.C. (Chelsea) 1 July 1851) -- purchased from Elkin Matthews, London, 20 March 1939, £1 16s. PRESENTATION COPY TO CARLYLE. The Chorea sancti viti and William Blake: Etchings from his work by W.B. Scott (1878) were Scott's principal published designs. The present work was printed by George Bouchier Richardson at Newcastle-upon-Tyne where Scott worked for twenty years organising art schools in the north, and actively involving himself in the fields of both art and poetry. This copy contains an issue of The Christian Socialist, vol. II, no. 55, November 15, 1851, presumably inserted by one of the Carlyles. In his memoirs, Scott described Carlyle as having a home in Chelsea that 'was not very exhilerating; his book shelves were largely filled with the Annual Register, and nothing but common ugly portaits were on the walls' (I, p. 270). Carlyle was 'the gruffest and most ungenial of all mortals, yet also a 'redoubtable friend and fellow Scotsman... one of the intellectual potenates of the age and of all time' (II, p. 20).

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Portrait of William Bell Scott (1811-1890), bust-length, in a black coat

Lot 169: Portrait of William Bell Scott (1811-1890), bust-length, in a black coat

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Description: Arthur Hughes (1832-1915), after David Scott Portrait of William Bell Scott (1811-1890), bust-length, in a black coat inscribed COPIED BY ARTHUR HUGHES FROM THE PAINTING BY DAVID SCOTT/WILL/SM BELL SCOTT/AETAT 21' (to the upper edge) oil on canvas 24 x 18 in. (61 x 45.7 cm.)

Condition Report: No significant damage is apparent. Not examined under U V light. For a more detailed report contact the department.

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William Bell Scott

Lot 170: William Bell Scott

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Description: Alexander Munroe (1825-1871) William Bell Scott signed with a monogram (lower right) oil on board, en grisaille 16½ x 16½ in. (42 x 42 cm.), octagonal

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Lot 173: William Bell Scott (1811-1890)

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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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Lot 174: William Bell Scott (1811-1890)

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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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Lot 175: William Bell Scott (1811-1890)

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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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Lot 176: William Bell Scott (1811-1890)

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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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