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John Ronald Craigie Aitchison CBE RSA RA (13 January 1926 – 21 December 2009) was a Scottish painter. He was best known for his many paintings of the Crucifixion, one of which hangs behind the altar in the chapter house of Liverpool Cathedral, Italian landscapes, and portraits (mainly of black men, or of dogs). His simple style with bright, childlike colours defied description, and was compared to the Scottish Colourists, primitivists or naive artists, although Brian Sewell dismissed him as "a painter of too considered trifles".
His career-long fascination with the crucifixion was triggered by a visit to see Salvador Dalí's Christ of St John of the Cross in 1951 after it was acquired by the Kelvingrove Gallery.
Aitchison was born in Edinburgh, the son of the lawyer, politician and judge Craigie Mason Aitchison.[1][5] His grandfather, Reverend James Aitchison, was minister at the United Free Church Erskine Kirk in Falkirk. Aitchison was educated at Loretto School, Musselburgh, East Lothian until the death of his father in 1941 and then at home by private tutors.[6] His mother, Lady Aitchison, played international hockey.[7] Her family owned Tulliallan, an estate in Fife, where Aitchison did some of his first landscape painting.
He was rejected for military service in the Second World War on medical grounds. He studied law at Edinburgh University from 1944 to 1946, and at the Middle Temple in London in 1948, before changing career. He returned to Edinburgh in 1950 to practise painting in a converted mews house in Church Lane, and then studied at the Slade School of Fine Art in London from 1952 to 1954 under William Coldstream and Robert Medley. Aitchison won a prize for the best still life his second year. Fellow students included Michael Andrews, Tony Pacitti, Philip Sutton, Victor Willing, Paula Rego, Myles Murphy and Euan Uglow. Aitchison remained friends with Uglow, and was best man at his wedding.
Aitchison was awarded a British Council scholarship in 1955 to study in Italy. He toured the country, and was influenced by early Italian painting, particularly Piero della Francesca.[5] He returned to Scotland, but moved to Kennington in London in 1963.
Career: Early work:
Aitchison was one of "Six Young Contemporaries" at an exhibition at the Gimpel Fils gallery in 1954. His first solo exhibition was held at the Beaux Arts Gallery in London in 1959, and he held further solo exhibitions throughout the United Kingdom. He exhibited at Marlborough Fine Art in London in 1968. He was a part-time teacher at the Chelsea School of Art from 1968 to 1984.
His paintings were included in many group shows around the world from 1964, and in three retrospective exhibitions.[8]
Mature work: Aitchison became an Associate of the Royal Academy in 1978, and was elected as one of the 80 Members of the Royal Academy (or Royal Academicians) in 1988.[8] He resigned from the Academy in 1997 in protest over the display of Marcus Harvey's work Myra,[9] but rejoined in 1998.[10]
In 1996 he was commissioned to paint a mural of Calvary – a landscape illuminated by a mystical light – for the Gothic Revivalist Truro Cathedral in Cornwall. In 1997, he was commissioned to paint Calvary for Liverpool Cathedral, and he created a design for a Christmas stamp for the Royal Mail in 1999. Further sacred works by Aitchison are held the chapel of King's College, Cambridge.
Retrospectives of his work were held at the Serpentine Gallery in 1981, at Harewood House near Leeds in 1994, and at the Gallery of Modern Art in Glasgow in 1996. Other shows were held at the Museum of Modern Art, Powys in 2001 and at the Royal Academy in London in 2003. He won the Royal Academy's Korn Ferry International Award in 1989 and in 1991, won the first £30,000 Jerwood Painting Prize, sponsored by The Sunday Telegraph in 1994, and won the Nordstern Art Prize in 2000. He was made a Commander of the Order of the British Empire (CBE) in 1999.
Several of his works are held in the collection of the Tate Gallery.[11] He designed the Tate Gallery's Christmas tree and Christmas card in 1992.[12] Birmingham Museums & Art Gallery[13] and the National Galleries of Scotland[14] also own works.
Personal life: Aitchison lived and worked in London and in Italy. When in London, he lived in Kennington, where he occupied the same Victorian town house for 35 years. He bought Wayney, the first of his woolly Bedlington Terriers, from Crufts in 1971. He continued to own Bedlington Terriers over a 28-year period; in the later part of his life he owned three. They featured in a number of his paintings.[15]
Craigie Aitchison C.B.E., R.S.A., R.A. (British, 1926-2009) Crucifixion 2001 (Peck 16) Screenprint in colours, 2001, on wove paper, signed, dated and numbered 62/75 in pencil verso (there were also ten artist's proofs in Roman numerals), printed and published by Advanced Graphics, London, the full sheet, framed Sheet 1397 x 1092mm (55 x 43in)
BonhamsCraigie Aitchison C.B.E., R.S.A., R.A. (British, 1926-2009) Crucifixion (Peck 13) Screenprint in colours, 2000, on wove paper, signed, dated and numbered 49/75 in pencil verso (there were also ten artist's proofs in Roman numerals), printed and published by Advanced Graphics, London, the full sheet, framed Sheet 760 x 633mm (30 x 25in)
BonhamsCraigie Aitchison C.B.E., R.S.A., R.A. (British, 1926-2009) Bedlington (Dog) in Red (Peck 11) Screenprint in colours, 1999, on wove paper, signed, dated and numbered 12/75 in pencil verso (there were also ten artist's proofs), printed and published by Advanced Graphics, London, the full sheet, framed Sheet 1070 x 910mm (42 1/8 x 35 7/8in)
Bonhams§ CRAIGIE AITCHISON C.B.E., R.A.., R.S.A. (SCOTTISH 1926-2009) STILL-LIFE WITH BIRD VASE - 2004 Screenprint, 138/300, signed, dated and numbered in pencil verso (the sheet 28cm x 22cm (11in x 8.75in))
Lyon & TurnbullAitchison (Craigie, 1926-2009). Still Life with Jug and Check Sweater, 1952, oil on canvas AR * Aitchison (Craigie, 1926-2009). Still Life with Jug and Check Sweater, 1952, o il on canvas board, with printed manufacturer's label to verso '"Modern" Canvas Boards prepared in Scotland', 30.5 x 25.5 cms (12 x 10 ins), black painted frame QTY: (1) NOTE: Provenance: Gifted by the artist to his sister-in-law, Sally Aitchison, thence by family descent. Literature: Andrew Gibbon Williams, Craigie The Art of Craigie Aitchison (Canongate Books 1996), pages 27 and 169, plate 3, illustrated in colour page 24. Cate Haste, Craigie Aitchison A Life in Colour (Lund Humphries 2014) plate 21, illustrated in colour page 29. Craigie enrolled as a student at the Slade in October 1952, although he had already been receiving painting lessons from Adrian Daintrey and Gerald Frankl, and had completed a number of still lifes, including the present work, e arlier the same year at his Edinburgh studio in Church Lane. For some years it was known as Still Life with Jug and Check Cloth, but the checked area in the painting is in fact a hand knitted jumper made for Craigie by his mother, here depicted casually draped on the table.
Dominic Winter AuctionsCRAIGIE AITCHISON (SCOTTISH 1926-2009) Africa 1996 signed, dated and inscribed A.P in green pen screenprint in colours on wove sheet 99.5 x 69cm framed ARR Reference: see Tate Britain accession number P04006 for another example of the edition.
Chiswick Auctions§ Craigie Ronald John Aitchison C.B.E., R.A. (British, 1926-2009) Still-life with Bird Vase (Peck 47) screenprint in colours, 2004 on Saunders Waterford wove paper, signed, dated and numbered 98/300 in pencil verso (there were also 50 artist's proofs), printed by Advanced Graphics, London, co-published by Advanced Graphics, Timothy Taylor Gallery and Waddington Galleries, London, loose as issued, within the blue linen binder and slipcase, with the accompanying book 'Craigie Aitchison: Pictures',
GorringesCraigie Aitchison C.B.E., R.S.A., R.A. (British, 1926-2009) Lamentation oil on canvas 20.3 x 25.4 cm. (8 x 10 in.) Painted in 1963
BonhamsCRAIGIE AITCHISON, R.A. (1926-2009) Bird-Vase Still Life on Blue oil on board 25 3/4 x 8 1/2 in. (65.3 x 21.6 cm.)
Christie'sCraigie Aitchison C.B.E., R.S.A., R.A. (British, 1926-2009) Lemon and Birds (Peck 28) Screenprint in colours, 2002, on wove paper, signed, dated and numbered 73/75 in white ink (there were also ten artist's proofs), printed by Advanced Graphics, London, published by AXA Art Insurance, London, the full sheet Sheet 380 x 432mm (15 x 17in)
BonhamsCraigie Aitchison C.B.E., R.S.A., R.A. (British, 1926-2009) Indian Print II (Peck 21) Screenprint in colours, 2001, on wove paper, signed, dated and numbered 35/75 in white ink (there were also ten artist's proofs), printed and published by Advanced Graphics, London, with their blindstamp, the full sheet, framed Sheet 433 x 482mm (17 x 19in)
BonhamsCraigie Aitchison (British, 1926-2009) Pink Crucifixion (Peck 42) Etching in colours with carborundum and hand-colouring, 2004, on wove paper, signed and numbered 43/50 in pencil (there were also ten artist's proofs), printed by 107 Workshop, Wiltshire, co-published by Timothy Tayler Gallery and Waddington Galleries, London, the full sheet Sheet 762 x 650mm (30 x 25 5/8in)
BonhamsCraigie Aitchison (British, 1926-2009) Still-life with Bird Vase (Peck 47) Screenprint in colours, 2004, on Saunders Waterford wove paper, signed, dated and numbered 272/300 in pencil verso (there were also 50 artist's proofs), printed by Advanced Graphics, London, co-published by Advanced Graphics, Timothy Taylor Gallery and Waddington Galleries, London, loose as issued, within the blue linen binder and slipcase, with the accompanying book 'Craigie Aitchison: Pictures', the full sheet Sheet 280 x 220mm (11 x 8 5/8in) Volume 307 x 262 x 30mm (11 7/8 x 10 3/8 x 1 1/8in)(2)
BonhamsCraigie Aitchison (British, 1926-2009) Magpie (Pica Pica), from Nine London Birds (Peck 6) Lithograph in colours, 1994, on wove paper, signed and numbered 80/80 in pencil, printed by Paupers Press, London, published by the Byam Shaw School of Art, London, the full sheet Sheet 406 x 304mm (16 x 12in)
Bonhams§ Craigie Aitchison C.B.E., R.A.., R.S.A. (British 1926-2009) Boy With A Duck oil on canvas (221cm x 189.2cm (87in x 74 1/2in)) Provenance Christie's, London, 23 October 1996, lot 72; Christie's, London, 16 October 2013, lot 194; Private Collection, London.
Lyon & TurnbullJohn Ronald Craigie Aitchison (Scotland, 1926-2009). Screenprint Still Life With Bird Vase. Signed, dated 2004 and numbered 92/300 on verso. With additional info on verso. 11" x 8 1/2" (with frame 16" x 13 1/2").
Willow Auction HouseJohn Ronald Craigie Aitchison (Scotland, 1926-2009). Screenprint Still Life With Bird Vase. Signed, dated 2004 and numbered 92/300 on verso. With additional info on verso. 11" x 8 1/2" (with frame 16" x 13 1/2").
Willow Auction House§ CRAIGIE AITCHISON, R.A. (BRITISH, 1926-2009) CRAIGIE AITCHISON, R.A. (BRITISH, 1926-2009) Crucifixion inscribed and dated 'Crucifixion 1983' (on the canvas overlap verso) oil on canvas 152.5 x 101.5 cm. (60 x 40 in.) (unframed) Provenance Purchased directly from the artist by the family of the present owner Private Collection, U.K. ARR When Craigie Aitchison first witnessed Christ of Saint John of the Cross by Salvador Dali he embarked on a lifelong obsession and fascination with the subject. He first viewed the painting in 1951, after it was acquired by the Kelvingrove Gallery in Glasgow. The artist's vivid and modern interpretation of the crucifixion would form a huge part of his oeuvre and a subject he became synonymous with. Born in Edinburgh, Aitchison would study law, initially in his hometown and later in London before deciding to take a different path, returning to Scotland to paint the landscapes and rural countryside of Fife. Between 1952-4 he would study at Slade School of Fine Art underneath renown professor and painter William Coldstream and alongside Paula Rego, Michael Andrews and Victor Wiling. After a group show at Gimpel Fils in 1954, Aitchison would travel extensively throughout Italy, where his fascination with quattrocento and trecento styles of painting would have a profound impact on his own style and artistic output throughout his career. When he returned he would have his first solo exhibition at Beaux Arts in 1954, one of three, and continued to develop his pre-Renaissance influenced inimitable naiveté. Aitchison became transfixed between the interaction between light and dark, and the spaces in between. His crucifixion paintings toy with the distances between the subjects, offering vast expanses of intense, block colour flatly-applied and then dividing these spaces into linear segments further highlighting the subject matter. Variations on the series often feature other aspects including mountainous landscapes, his beloved Bedlington terrier, or trees and plantation. Here we see an incredibly paired down version of the subject, with some sparse flower stems to our left of the cross, one in bloom the other yet to spring, and a scant branch in the foreground appearing almost as a offering. The view gives us a wholly different view of one of the most painted subjects in Western culture, and provides a completely different perspective much like the one Aitchison witnessed in Glasgow, courtesy of Dali, at the start of his illustrious career.
Chiswick Auctions§ CRAIGIE AITCHISON, R.A. (BRITISH, 1926-2009) CRAIGIE AITCHISON, R.A. (BRITISH, 1926-2009) Isle of Arran oil on canvas 90 X 120 cm. (35 3/8 x 47 1/4 in.) Provenance Purchased directly from the artist by the family of the present owner in 1995 Private Collection, U.K. ARR The Isle of Arran, located off the West Coast of Scotland, in the Firth of Clyde, has long-held the attention of the creatives, having a special aura, with mythologies and stories spanning centuries. The isle was home to many areas of neolithic cairns and burial sites, with a larger site described as Giantâs Graves overlooking Whitling Bay. It was heavily mined for materials during the Bronze and Iron Ages with evidence of itâs export found all over Britain. The isle would later fall under the rule of Magnus III of Norway (or Magnus Barefoot as he was known) in 1103 but it was not until 1237 that the entirety of the Scottish isles gained independence after the Battle of Largs fought between Scotland and Norway which effectively ended the 500 year history of Norwegian invasions. Large Viking graves have been discovered in places on the isles which also Kingâs Cave, where Robert Bruce was thought to have sheltered circa 1306. Aitchison was fascinated with the isle, having spent much of his childhood on the Isle of Arran, he would paint many of his earlier works from photographs of these trips. He would return later, after his extensive travels throughout Italy, in 1970, to scatter his motherâs ashes to lie alongside his fatherâs. The isle of Arran clearly had a meaningful and profound effect on the artist, as a place of immense historic value, with deep-routed Celtic and religious connotations and one of peace and serenity. The pyramid-like peak of the isle was a symbol used much throughout his career and similar shapes would later find their way into crucifixion and other paintings. Arran of the many stags The sea strikes against her shoulders, Companies of men can feed there, Blue spears are reddened among her boulders. Merry hinds are on her hills, Juicy berries are there for food, Refreshing water in her streams, Nuts in plenty in the wood. (13th century Irish poem Acallam na Senórach)
Chiswick AuctionsCraigie Aitchison (British, 1926-2009) Crucifixion Screenprint in colours, 2001, on wove, signed, dated and inscribed 'AP II/X' in pencil verso, one of ten artist's proofs aside from the numbered edition of 75, printed and published by Advanced Graphics, London, the full sheet printed to the edges, 1395 x 1090mm (54 7/8 x 42 7/8in)(SH)(unframed)
BonhamsCraigie Aitchison C.B.E., R.S.A., R.A. (British, 1926-2009) Mixed flowers oil on canvas 40.6 x 40.6 cm. (16 x 16 in.) Painted circa 1956 (unframed)
BonhamsCraigie Aitchison C.B.E., R.S.A., R.A. (British, 1926-2009) Anemones with red background signed 'Craigie AITCHISON' (verso) oil on canvas 40.6 x 40.6 cm. (16 x 16 in.) Painted circa 1956/7 (unframed)
BonhamsJohn Ronald Craigie Aitchison (Scotland, 1926-2009). Screenprint Still Life With Bird Vase. Signed, dated 2004 and numbered 92/300 on verso. With additional info on verso. 11" x 8 1/2" (with frame 16" x 13 1/2").
Willow Auction HouseCRAIGIE AITCHISON (1926-2009) Pink Crucifixion Image & Sheet 761 x 651 mm.
Christie's