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Anne Redpath Sold at Auction Prices

Painter, b. 1895 - d. 1965

Anne Redpath was born in Galashiels, Scotland, in 1895, the first daughter of a textile designer. She went on to study at the Edinburgh College of Art, where she was described as the most promising student of her year, and won a travel scholarship to Italy.

Her time in Italy was to have a profound influence on her career. Having spent her early years as an artist immersed in the respectable Calvinist tradition, the opulent sense of the divine in Roman Catholic art proved to be a revelation, with the religious tranquillity of the early Renaissance masters informing her subsequent paintings.

In 1920 she moved to France with her husband, an architect, and her art took a back seat as she focused on raising three sons. She did not revisit painting in earnest until she returned to Scotland when the relationship ended in 1934. When she did so, however, it was with renewed vigour.

From 1942 onwards, as her confidence in her abilities returned, her palette became more vibrant. She was a central figure in the group of painters known as The Edinburgh School, sometimes described as the heirs to the Scottish Colourists.

Redpath was an habitual traveller in her latter years, her journeys across Europe becoming the subject of her work; she was well-known for her landscapes, still lifes and pictures of church interiors.

Redpath was president of the Scottish Society of Women Artists from 1944-47, working tirelessly to promote the paintings of women who had been ignored by the British establishment. In 1952 she became the first woman artist to be elected to the Royal Scottish Academy as an Academician, and today her works can be found in the National Gallery of Scotland.

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  • § ANNE REDPATH O.B.E., R.S.A., A.R.A., A.R.W.S., L.L.D., R.O.I., R.B.A. (SCOTTISH 1895-1965)
    Dec. 05, 2024

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., A.R.W.S., L.L.D., R.O.I., R.B.A. (SCOTTISH 1895-1965)

    Est: £2,000 - £3,000

    ANNE REDPATH O.B.E., R.S.A., A.R.A., A.R.W.S., L.L.D., R.O.I., R.B.A. (SCOTTISH 1895-1965) ROADSIDE COTTAGES, CORSICA Watercolour 28cm x 38cm (11in x 15in) Exhibited: The Scottish Gallery, Edinburgh, Anne Redpath Exhibition, 1965, no.23

    Lyon & Turnbull
  • § ANNE REDPATH O.B.E., R.S.A., A.R.A., A.R.W.S., L.L.D., R.O.I., R.B.A. (SCOTTISH 1895-1965)
    Dec. 05, 2024

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., A.R.W.S., L.L.D., R.O.I., R.B.A. (SCOTTISH 1895-1965)

    Est: £2,000 - £3,000

    ANNE REDPATH O.B.E., R.S.A., A.R.A., A.R.W.S., L.L.D., R.O.I., R.B.A. (SCOTTISH 1895-1965) FRENCH LANDSCAPE Signed, pencil and watercolour  37.75cm x 49.5cm (14.75in x 23.5in)

    Lyon & Turnbull
  • § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965)
    Dec. 05, 2024

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965)

    Est: £1,500 - £2,000

    ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) WHITE GLOXINIA Signed, watercolour 56.5cm x 77.5cm (22.25in x 30.5in) Property of a Private Aficionado. This work is believed to date to c.1964.

    Lyon & Turnbull
  • § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965)
    Dec. 05, 2024

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965)

    Est: £8,000 - £12,000

    ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) AFRICAN VIOLETS Signed, oil on board  41cm x 61cm (16in x 24in) Stone Gallery, Newcastle-upon-Tyne;Cyril Gerber Fine Art, Glasgow.

    Lyon & Turnbull
  • § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965)
    Dec. 05, 2024

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965)

    Est: £15,000 - £20,000

    ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) FARM AT SPITTAL ON RULE Signed, oil on canvas laid down on board 51cm x 61cm (20in x 24in) Exhibited: Society of Scottish Artists, 1944;Portland Gallery, London, Anne Redpath Centenary Exhibition June-July 1995, no.16;Literature: Patrick Bourne, Anne Redpath 1895-1965: Her Life and Work, Atelier Books, Edinburgh, 1989, pl.31, p.36  After fourteen years spent living in France and establishing a family, Redpath returned to the Scottish Borders in 1934. With all three of her sons attending school, Redpath resumed painting in earnest. She was ambitious and committed in equal measure, sending work regularly to the group exhibitions staged in Edinburgh. She revived her relationships with the Society of Scottish Artists (SSA) and the Royal Scottish Academy (RSA) and also began to show with the Royal Scottish Society of Painters in Watercolours and the Scottish Society of Women Artists (SSWA, now Visual Arts Scotland).It was during the 1940s that Redpath emerged as an artist of importance. This was recognised by the first acquisition of one of her works for an Edinburgh public collection, when the RSA purchased The Lace Cloth for £50 in 1944. That year she painted and exhibited – at the SSA – Farm at Spittal on Rule and was elected President of the SSWA. The titular farm is some six miles northeast of Hawick, where Redpath had grown up and where she also lived from 1934 until 1949. With a simplification of form as gentle as her palette, Redpath depicted the array of farm buildings scattered over the inclined site. More freely painted passages, such as the sky and the foreground, point to the untrammelled expressiveness which was to develop later in her practice, whilst the mixture of deep black with sensitively combined hues of grey, white and violet reveal a sensitivity to colour which was a defining characteristic of her oeuvre.Three years later, Redpath received her first solo exhibition in Scotland, at Gordon Small’s gallery in Edinburgh. The review of it in The Scotsman on 13 March 1947 praised the ‘individuality of colour and intimate gaiety’ of the work shown, which could be taken as a description of the present painting.

    Lyon & Turnbull
  • § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965)
    Dec. 05, 2024

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965)

    Est: £8,000 - £12,000

    ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) THE RED DECANTER Signed, oil on board 46cm x 38cm (18in x 15in)

    Lyon & Turnbull
  • λ ANNE REDPATH (SCOTTISH 1895-1965), THE SITTING ROOM
    Oct. 23, 2024

    λ ANNE REDPATH (SCOTTISH 1895-1965), THE SITTING ROOM

    Est: £20,000 - £30,000

    λ ANNE REDPATH (SCOTTISH 1895-1965)THE SITTING ROOMOil on canvas 91 x 91cm (35¾ x 35¾ in.)Painted in 1957.

    Dreweatts 1759 Fine Sales
  • λ ANNE REDPATH (SCOTTISH 1895-1965), STILL LIFE WITH JUG OF FLOWERS
    Oct. 23, 2024

    λ ANNE REDPATH (SCOTTISH 1895-1965), STILL LIFE WITH JUG OF FLOWERS

    Est: £3,000 - £5,000

    λ ANNE REDPATH (SCOTTISH 1895-1965)STILL LIFE WITH JUG OF FLOWERSWatercolour Signed (lower centre)49.5 x 59.5cm (19¼ x 23¼ in.)

    Dreweatts 1759 Fine Sales
  • ANNE REDPATH, A.R.A. (1895-1965). Chrysanthemums and Honesty. oil on canvas
    Oct. 17, 2024

    ANNE REDPATH, A.R.A. (1895-1965). Chrysanthemums and Honesty. oil on canvas

    Est: £15,000 - £25,000

    ANNE REDPATH, A.R.A. (1895-1965). Chrysanthemums and Honesty. oil on canvas 30 x 30 in. (76.2 x 76.2 cm.).

    Christie's
  • ANNE REDPATH, A.R.A. (1895-1965). Still life with flowers in a jug. oil on
    Oct. 17, 2024

    ANNE REDPATH, A.R.A. (1895-1965). Still life with flowers in a jug. oil on

    Est: £60,000 - £80,000

    ANNE REDPATH, A.R.A. (1895-1965). Still life with flowers in a jug. oil on panel 21 ½ x 24 in. (54.6 x 61 cm.).

    Christie's
  • After Anne Redpath (1895-1965): Flowers in a Blue Vase
    Sep. 11, 2024

    After Anne Redpath (1895-1965): Flowers in a Blue Vase

    Est: $400 - $800

    Oil on board, signed 'Anne Redpath' lower right, with label from Mercury Gallery. 17 x 17 in., 23 x 23 in. (frame).

    STAIR
  • ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A (SCOTTISH 1895-1965)
    Aug. 13, 2024

    ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A (SCOTTISH 1895-1965)

    Est: £300 - £500

    ANNE REDPATHCOCKTAIL - 1957 Lithograph, 22/50, signed and numbered in pencil to margin, published by Harley Brothers Limited, with their blindstamp 45cm x 66cm (17.75in x 26in) Exhibited: The Scottish Gallery, Edinburgh, ‘Anne Redpath: Oils & Works on Paper,’ August-September 2008, cat. 14. Literature: Allan, Chris, Artists at Harley's: Pioneering Printmaking in the 1950s, Hunterian Art Gallery, Glasgow, 2000, cat. no. 94.YesO.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A.ArtistSCOTTISH18951965 Anne Redpath was the daughter of a Galashiels tweed designer, which she cited was her introduction to the harmony of colour.

    Lyon & Turnbull
  • Anne Redpath (Scottish, 1885-1965), 'The Spanish Church', oil on canvas, 30 x 40cm
    Jun. 25, 2024

    Anne Redpath (Scottish, 1885-1965), 'The Spanish Church', oil on canvas, 30 x 40cm

    Est: £7,500 - £8,500

    § Anne Redpath (Scottish, 1885-1965) 'The Spanish Church' oil on canvas

    Gorringes
  • § ANNE REDPATH O.B.E., R.S.A., A.R.A., A.R.W.S., L.L.D., R.O.I., R.B.A. (SCOTTISH 1895-1965)
    Jun. 06, 2024

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., A.R.W.S., L.L.D., R.O.I., R.B.A. (SCOTTISH 1895-1965)

    Est: £12,000 - £18,000

    ANNE REDPATH O.B.E., R.S.A., A.R.A., A.R.W.S., L.L.D., R.O.I., R.B.A. (SCOTTISH 1895-1965) CORSICAN VILLAGE Signed, oil on board 51cm x 61cm (20in x 24in)

    Lyon & Turnbull
  • § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965)
    Jun. 06, 2024

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965)

    Est: £30,000 - £50,000

    ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) INTERIOR WITH PATTERNED RUG Signed, oil on panel laid down 80cm x 95cm (31.5in x 37.5in) Having lived in France for fourteen years and following the birth of her three sons there, Redpath returned to the Scottish Borders in 1934. She lived first at 52 Orchard Terrace, Hawick, before moving to nearby 5 Beaconsfield Terrace. She resumed painting in earnest and was soon embedded in the Edinburgh art world, as a member of the Society of Scottish Artists and the Scottish Society of Women Artists. Her work was shown regularly in group exhibitions in Edinburgh, Glasgow and, from 1946, in London. Her first solo exhibition in Scotland was held at the Gordon Small Gallery in the Scottish capital in 1947, the year in which she was elected an Associate of the Royal Scottish Academy.Interior with Patterned Rug dates from this propitious period in Redpath’s career. She continued the tradition of the interior in Scottish art history, following in the footsteps of forebears including David Wilkie, Wiliam Quiller Orchardson and more recently F. C. B. Cadell, and made a distinct contribution to the genre in her own right. Having been struck by the effect of a colourful rug hung on white plaster walls in Florence whilst on an Edinburgh College of Art travelling scholarship, Redpath thereafter took great care over the decoration and furnishing of her homes. They in turn became the subject of some of her most celebrated works, not least The Mantelpiece of c.1947 in the collection of the National Galleries of Scotland.Redpath’s training at Edinburgh College of Art, where she was an outstanding student, and her direct exposure to modern French art during the 1920s and early 1930s, particularly that of Henri Matisse and Eduoard Vuillard, also contributed to the achievements realised in works such as Interior with Patterned Rug. From a slightly raised, oblique viewpoint, Redpath orchestrated a complex composition of white painted furniture, carefully rendered still life objects dispersed across the image, the patterned rug which takes up almost half of the canvas surface area and a deft use of colour to draw the eye around the room. As Philip Long has pointed out:“The similarity of Redpath’s work from the 1940s to aspects of Matisse’s painting is clear, in particular the tendency to flatten forms and make them decorative elements in an overall pictorial design and the ability to use colour to create harmonies, striking juxtapositions and to express volume.” (Philip Long, Anne Redpath 1895-1965, National Galleries of Scotland, Edinburgh, p.19) The present painting is at once highly personal, providing a glimpse into a domestic space, as well as international in its art historical scope.  

    Lyon & Turnbull
  • Anne Redpath OBE RSA ARA LLD ARWS ROI RBA (British, 1895-1965) Gloxinias
    May. 15, 2024

    Anne Redpath OBE RSA ARA LLD ARWS ROI RBA (British, 1895-1965) Gloxinias

    Est: £7,000 - £10,000

    Anne Redpath OBE RSA ARA LLD ARWS ROI RBA (British, 1895-1965) Gloxinias signed 'Anne Redpath' (lower right) oil on canvas 50.8 x 60.9cm (20 x 24in).

    Bonhams
  • Anne Redpath OBE RSA ARA LLD ARWS ROI RBA (British, 1895-1965) Spring in Spain
    May. 15, 2024

    Anne Redpath OBE RSA ARA LLD ARWS ROI RBA (British, 1895-1965) Spring in Spain

    Est: £10,000 - £15,000

    Anne Redpath OBE RSA ARA LLD ARWS ROI RBA (British, 1895-1965) Spring in Spain signed 'Anne Redpath' (lower left) oil on board 38 x 51cm (14 15/16 x 20 1/16in).

    Bonhams
  • 19TH C PRIMITIVE RIVER SCENE PAINTING
    May. 04, 2024

    19TH C PRIMITIVE RIVER SCENE PAINTING

    Est: $500 - $1,500

    O/CANVAS PRIMITIVE RIVER SCENE ATTRIB. TO REDPATH 18"X22"ESTIMATE ANNE REDPATH( (1895-1965) BORN IN GALASHIELS, SCOTLAND STUDIED AT EDINBURGH COLLEGE OF ART,

    D. L. Straight Auctioneers
  • Ann Redpath (Scottish, 1895-1965) “The red flower” still life, oil on canvas, canvas, size 24 x 18 inches, overall 31 1/2 x 26, signed lower left
    Apr. 30, 2024

    Ann Redpath (Scottish, 1895-1965) “The red flower” still life, oil on canvas, canvas, size 24 x 18 inches, overall 31 1/2 x 26, signed lower left

    Est: $200 - $400

    Ann Redpath (Scottish, 1895-1965) “The red flower” still life, oil on canvas, canvas, size 24 x 18 inches, overall 31 1/2 x 26, signed lower left

    Bill Hood & Sons Arts & Antiques Auctions
  • ANNE REDPATH, A.R.A. (1895-1965) Madonna in Lisbon oil on canvas 24 x 20 in
    Mar. 21, 2024

    ANNE REDPATH, A.R.A. (1895-1965) Madonna in Lisbon oil on canvas 24 x 20 in

    Est: £7,000 - £10,000

    ANNE REDPATH, A.R.A. (1895-1965) Madonna in Lisbon oil on canvas 24 x 20 in. (61 x 50.8 cm.)

    Christie's
  • ANNE REDPATH, A.R.A. (1895-1965) St Paul de Vence oil on board 28 x 36 in.
    Mar. 21, 2024

    ANNE REDPATH, A.R.A. (1895-1965) St Paul de Vence oil on board 28 x 36 in.

    Est: £20,000 - £30,000

    ANNE REDPATH, A.R.A. (1895-1965) St Paul de Vence oil on board 28 x 36 in. (71.1 x 91.4 cm.)

    Christie's
  • § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) MARGUERITES IN A WHITE VASE
    Dec. 07, 2023

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) MARGUERITES IN A WHITE VASE

    Est: £20,000 - £30,000

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) MARGUERITES IN A WHITE VASE Oil on canvasboard (61cm x 51cm (24in x 20in)) Provenance: Acquired from The Scottish Gallery, Edinburgh in 1965 and thence by descent to the present owner Exhibited: The Scottish Gallery, Edinburgh, Anne Redpath, 19 November - 4 December 1965, no. 20 Lyon & Turnbull, Glasgow, Select Works by Anne Redpath and Joan Eardley from Private Collections, 16 March - 10 April 2015 Note: This painting dates from c.1964 As the undisputed matriarch of Edinburgh’s art world after World War Two, Redpath’s mature career was characterised by a pattern of regular solo and group exhibitions in Edinburgh, London and elsewhere. Her professional standing continued to grow, not least by becoming the first Scottish woman artist to be elected an Associate member of the Royal Academy of Arts in London in 1960 and with the acquisition of her painting, Landscape at Kyleakin, by the newly established Scottish National Gallery of Modern Art in 1962 (GMA 814). Redpath remained as active as ever in the affairs of institutions such as Edinburgh College of Art, the Society of Scottish Artists and the Royal Scottish Academy, on whose council she served four times between 1953 and 1962. As a result, she was aware of, if not directly involved in, the presentation of contemporary European art in the annual group exhibitions staged in the Scottish capital, including the work of Georges Braque, Oskar Kokoschka and Nicolas de Staël. This keeping abreast of developments in Continental painting can be seen in the expressive handling of paint in the late work Marguerites in a White Vase. Deploying her material and using a palette - based on harmonious tones of white, blue and grey with brightly coloured highlights - as only an artist of great experience and technical ability could achieve, it is an example of the still life genre infused with joie de vivre for which she is renowned. Redpath explained about her works of this period: ‘I think I have always been interested, for instance, in the textural quality of paint and painting and while, in a way they are more abstract to see than they were before, yet they are still quite real and I don’t think they ever will be completely lost in abstraction.’ (quoted by Alice Strang, Queen of Edinburgh: Anne Redpath and her Circle, lecture given at the Scottish National Gallery, Edinburgh on 24 January 2023). Moreover, Terence Mullay declared in his review of her solo exhibition at the Scottish Gallery, Edinburgh in 1960: ‘Anne Redpath’s latest exhibition…confirms her position as one of the finest painters to-day…[Her work]…provides an admirable example of how paint can be handled with enormous verve and can be all the more exciting for being closely controlled…Above all, it is her use of colour that is so moving… Her painting appeals both to the emotions and to the head.’ (Daily Telegraph and Morning Post, 25 August 1960, p. 19) Redpath’s death in 1965 was marked in multiple ways, including memorial displays and exhibitions were mounted by the Royal Scottish Academy, Scottish Gallery and Scottish Art Club. The Scottish Committee of the Arts Council of Great Britain mounted a major touring memorial exhibition of eighty-six works, which opened in Edinburgh later that year, as did an exhibition at the Scottish Gallery in which Marguerites in a White Vase was shown; it was acquired from there by the painting’s previous owner.

    Lyon & Turnbull
  • Anne Redpath
    Nov. 15, 2023

    Anne Redpath

    Est: $12,000 - $18,000

    Scottish, 1895-1965 Peonies, 1962 Signed Anne Redpath (lr) Oil on canvas 20 x 24 inches (50.8 x 61 cm) Provenance: Aitken Dott & Son, Edinburgh (Framed dimensions: 25 3/8 x 29 1/2 x 2 inches) Dark red pigment at lower center has lifted in three spots, exposing canvas weave, but is apparently stable. Scattered areas of craquelure, most apparent where white pigments are thickest. No sigs of restoration under UV inspection.

    DOYLE Auctioneers & Appraisers
  • § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) COCKTAIL
    Oct. 18, 2023

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) COCKTAIL

    Est: £300 - £500

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) COCKTAIL Lithograph, 5/50, signed and numbered in pencil to margin (50.75cm x 74.5cm (20in x 29.25in))

    Lyon & Turnbull
  • § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) A CORSICAN VILLAGE
    Oct. 18, 2023

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) A CORSICAN VILLAGE

    Est: £300 - £500

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) CORSICAN VILLAGE, 1957 Lithograph, from an edition of 70, signed in plate (the image 23.5cm x 31cm (9.25in x 12.25in)) Literature: Christopher Allan, Artists at Harleys: Pioneering Printmaking in the 1950s, Glasgow, 2000, p.33 [no.96], repr. col. on p.45

    Lyon & Turnbull
  • Anne Redpath OBE RSA ARA LLD ARWS ROI RBA (British, 1895-1965) Design for a Tapestry
    Oct. 11, 2023

    Anne Redpath OBE RSA ARA LLD ARWS ROI RBA (British, 1895-1965) Design for a Tapestry

    Est: £1,200 - £1,800

    Anne Redpath OBE RSA ARA LLD ARWS ROI RBA (British, 1895-1965) Design for a Tapestry inscribed, dated, and indistinctly inscribed 'sketch design for tapestry 1962/#59 -- Cat' (verso) gouache 23.5 x 34.5cm (9 1/4 x 13 9/16in).

    Bonhams
  • Anne Redpath OBE RSA ARA LLD ARWS ROI RBA (British, 1895-1965) Rocky Hillside
    Oct. 11, 2023

    Anne Redpath OBE RSA ARA LLD ARWS ROI RBA (British, 1895-1965) Rocky Hillside

    Est: £3,000 - £5,000

    Anne Redpath OBE RSA ARA LLD ARWS ROI RBA (British, 1895-1965) Rocky Hillside signed 'Anne Redpath' (lower right) oil on board 39.5 x 49.5cm (15 9/16 x 19 1/2in).

    Bonhams
  • Anne Redpath OBE RSA ARA LLD ARWS ROI RBA (British, 1895-1965) Winter Flowers sheet 37 x 53cm (14 9/16 x 20 7/8in).
    Oct. 11, 2023

    Anne Redpath OBE RSA ARA LLD ARWS ROI RBA (British, 1895-1965) Winter Flowers sheet 37 x 53cm (14 9/16 x 20 7/8in).

    Est: £150 - £200

    Anne Redpath OBE RSA ARA LLD ARWS ROI RBA (British, 1895-1965) Winter Flowers signed 'Anne Redpath' (lower right), numbered '16/75' (lower left) lithograph sheet 37 x 53cm (14 9/16 x 20 7/8in).

    Bonhams
  • Anne Redpath OBE RSA ARA LLD ARWS ROI RBA (British, 1895-1965) Violets
    Oct. 11, 2023

    Anne Redpath OBE RSA ARA LLD ARWS ROI RBA (British, 1895-1965) Violets

    Est: £6,000 - £8,000

    Anne Redpath OBE RSA ARA LLD ARWS ROI RBA (British, 1895-1965) Violets signed 'Anne Redpath' (lower left) oil on board 34.5 x 44.5cm (13 9/16 x 17 1/2in).

    Bonhams
  • Anne Redpath OBE RSA ARA LLD ARWS ROI RBA (British, 1895-1965) Hill Village
    Oct. 11, 2023

    Anne Redpath OBE RSA ARA LLD ARWS ROI RBA (British, 1895-1965) Hill Village

    Est: £10,000 - £15,000

    Anne Redpath OBE RSA ARA LLD ARWS ROI RBA (British, 1895-1965) Hill Village signed 'Anne Redpath' (lower right) oil on board 41 x 56cm (16 1/8 x 22 1/16in).

    Bonhams
  • λ ANNE REDPATH (BRITISH 1895-1965), WINDSOR FLOWERS
    Oct. 06, 2023

    λ ANNE REDPATH (BRITISH 1895-1965), WINDSOR FLOWERS

    Est: £200 - £400

    λ ANNE REDPATH (BRITISH 1895-1965) WINDSOR FLOWERSLithograph printed in coloursSigned in pencil and numbered 20/45 Image: 28 x 45.5cm (11 x 17¾ in.)

    Dreweatts 1759 Fine Sales
  • Anne Redpath O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (British, 1895-1965) The White Begonia
    Sep. 20, 2023

    Anne Redpath O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (British, 1895-1965) The White Begonia

    Est: £15,000 - £20,000

    Anne Redpath O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (British, 1895-1965) The White Begonia signed 'Anne Redpath' (lower left) oil on canvas 87 x 112cm (34 1/4 x 44 1/8in).

    Bonhams
  • § ANNE REDPATH, O.B.E., A.R.A. (BRITISH. 1895–1965)
    Jul. 04, 2023

    § ANNE REDPATH, O.B.E., A.R.A. (BRITISH. 1895–1965)

    Est: £15,000 - £25,000

    § ANNE REDPATH, O.B.E., A.R.A. (BRITISH. 1895–1965) PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION (LOTS 7-14) ANNE REDPATH, O.B.E., A.R.A. (BRITISH. 1895–1965) Daffodils oil on board 50.8 x 40.6 cm. (20 x 16 in.) Painted in 1951 Provenance With Mercury Gallery, London, 26 January 1981, where purchased by the family of the present owner Please note there is a further still life work painted verso 'I do with a spot of red or yellow in a harmony of grey, what my father did in his tweed’ – Anne Redpath Born in Scotland in 1895, Anne Redpath was the daughter of a tweed designer, so it is no surprise that her awareness of colour and composition was something she was astute to from a young age. Daffodils, is just one example of this. Redpath’s use of colour, line and composition is carefully woven together in this case, and in that many other works she produced. After graduating from Edinburgh Collage of Art, during the 1920s Redpath devoted much time to family life while residing in France, with children and her husband. Whether it was time spent in France admiring the work of artists such or Cezanne and Bonnard or her classical grounding at art school in Scotland, it is clear Redpath’s influences are plentiful. In the mid-1930s Redpath moved back to Edinburgh and spent time painting. She was the first female painter Academician admitted to the Royal Scottish Academy in 1947. Her influence among the art circles within Edinburgh has been noted by many and her contribution to the Scottish Academy. ARR

    Chiswick Auctions
  • § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) STILL LIFE WITH ASPIDISTRA
    Jun. 08, 2023

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) STILL LIFE WITH ASPIDISTRA

    Est: £10,000 - £15,000

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) STILL LIFE WITH ASPIDISTRA Signed, oil on board (61cm x 51cm (24in x 20in))

    Lyon & Turnbull
  • § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) WHITE CYCLAMEN
    Jun. 08, 2023

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) WHITE CYCLAMEN

    Est: £4,000 - £6,000

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) WHITE CYCLAMEN Oil on board (28cm x 33cm (11in x 13in))

    Lyon & Turnbull
  • § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) STILL LIFE
    Jun. 08, 2023

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) STILL LIFE

    Est: £2,000 - £3,000

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) STILL LIFE Signed, gouache (20cm x 20cm (8in x 8in))

    Lyon & Turnbull
  • § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) DAISIES IN THE GARDEN I
    Dec. 08, 2022

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) DAISIES IN THE GARDEN I

    Est: £3,000 - £5,000

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) DAISIES IN THE GARDEN I Signed, watercolour (38cm x 53cm (15in x 21in)) Provenance: Cecil and Mary Gibson, Anstey, Leicestershire Cecil Gibson and Mary Wheatcroft met whilst students at Edinburgh University. After their marriage Cecil established a general medical practice in Anstey, Leicestershire. They became serious collectors of Scottish art and Scottish silver. In 2003 they left a substantial bequest to the Scottish National Gallery of Modern Art, which has so far made possible the acquisition of fifteen works of modern and contemporary art, including by John Bellany, Norah Neilson Gray and Dorothy Johnstone (see www.nationalgalleries.org).

    Lyon & Turnbull
  • § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) ROADSIDE COTTAGES, CORSICA
    Dec. 08, 2022

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) ROADSIDE COTTAGES, CORSICA

    Est: £3,000 - £5,000

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) ROADSIDE COTTAGES, CORSICA Mixed media (28cm x 38cm (11in x 15in)) Exhibited: The Scottish Gallery, Edinburgh, Anne Redpath, 19 November - 4 December 1965, no.23

    Lyon & Turnbull
  • § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) DISH OF FRUIT
    Dec. 08, 2022

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) DISH OF FRUIT

    Est: £10,000 - £15,000

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) DISH OF FRUIT Signed, oil on board (44.5cm x 74cm (17.5in x 29in)) Exhibited: Nottingham University, Nottingham, Scottish Committee, Arts Council of Great Britian: Six Scottish Painters, 1959 Of all the genres of fine art, Redpath is most closely associated with that of the still life. Her love for this theme stretches back to her student days at Edinburgh College of Art, as she recalled: When I was at college I was very fond of still life. People said I wasn’t actually painting what was in front of me, that it was a vision of still life. Those were more impressionistic than I have ever done since, because I was terribly keen on light, high pitched light and shadow, and I used more of an accidental quality than I have ever done since.[1] Indeed, the first work which Redpath exhibited in public was titled Still Life and was displayed at the Royal Scottish Academy (RSA) in 1919. Following her marriage in 1920 and fourteen years spent living in France, Redpath returned to Scotland in 1934. She resumed painting in earnest and emerged as an artist of importance. This was recognised by the first acquisition of one of her works for a public collection, when the RSA purchased the still life The Lace Cloth for £50 in 1944 (acc.no.2006.37). Admiration for her still lifes soon spread to England; when the Sunday Times art critic Eric Newton reviewed the Royal Academy of Arts (RA) exhibition of 1948, he exclaimed ‘Anne Redpath’s still lifes stand out like patches of blue sky on a grey day.’[ii] The following year, Redpath moved to Edinburgh where she set about decorating her new home with the objects she loved to collect and which were often the subject matter of her work. Redpath’s professional success continued unabated and on 13 February 1952 she was elected a full member of the RSA, the first female painter to achieve that rank. In the same year she moved to 7 London Street in Edinburgh’s Georgian New Town, which was to be her home for the rest of her life. Redpath discussed the objects she collected and lived amongst, explaining in 1961: With my awful magpie tendency to collect things I have collected so many objects around me that are paintable. I buy them because I like them…any artist really becomes very aware in a visual way…and therefore you surround yourself with these things which are ready to be painted and ask to be painted. Sometimes for months you’re not really aware of them then suddenly a light changes or you feel different and suddenly you see those things as you would in a picture and you either help their arrangement or it just so happens that an artist almost sub-consciously does arranging all the time.[1] Redpath’s mature career settled into a pattern of regular travel abroad as well as solo and group exhibitions in Edinburgh and elsewhere, accompanied by an ever-growing professional standing. In 1960 she became the first Scottish woman to be elected an Associate of the RA. Her death in Edinburgh in 1965 was marked with multiple memorial exhibitions, including those mounted by the RSA and the Scottish Committee of the Arts Council of Great Britain; still lifes featured prominently in all of them. [1] LM AR interviews[I think this comes from BBC Scotland Counterpoint 1961 by George Bruce] [1] As quoted in George Bruce, Modern Scottish Painters: Anne Redpath, University Press, Edinburgh 1974, p.3. [2] As quoted by Patrick Bourne, Anne Redpath 1895-1965, Edinburgh 2004, p.46.

    Lyon & Turnbull
  • § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) THE VICTORIAN TRAY
    Dec. 08, 2022

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) THE VICTORIAN TRAY

    Est: £10,000 - £15,000

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) THE VICTORIAN TRAY Signed, oil on board (48.5cm x 71cm (19in x 28in)) Provenance: Lefevre Gallery, London Exhibited: Cyril Gerber Fine Art, Glasgow Portland Gallery, London, Anne Redpath 1895-1965 Centenary Exhibition, 23 June - 21 July 1995, no.33 The Scottish Gallery, Edinburgh, 2017 Of all the genres of fine art, Redpath is most closely associated with that of the still life. Her love for this theme stretches back to her student days at Edinburgh College of Art, as she recalled: When I was at college I was very fond of still life. People said I wasn’t actually painting what was in front of me, that it was a vision of still life. Those were more impressionistic than I have ever done since, because I was terribly keen on light, high pitched light and shadow, and I used more of an accidental quality than I have ever done since.[1] Indeed, the first work which Redpath exhibited in public was titled Still Life and was displayed at the Royal Scottish Academy (RSA) in 1919. Following her marriage in 1920 and fourteen years spent living in France, Redpath returned to Scotland in 1934. She resumed painting in earnest and emerged as an artist of importance. This was recognised by the first acquisition of one of her works for a public collection, when the RSA purchased the still life The Lace Cloth for £50 in 1944 (acc.no.2006.37). Admiration for her still lifes soon spread to England; when the Sunday Times art critic Eric Newton reviewed the Royal Academy of Arts (RA) exhibition of 1948, he exclaimed ‘Anne Redpath’s still lifes stand out like patches of blue sky on a grey day.’[ii] The following year, Redpath moved to Edinburgh where she set about decorating her new home with the objects she loved to collect and which were often the subject matter of her work. Redpath’s professional success continued unabated and on 13 February 1952 she was elected a full member of the RSA, the first female painter to achieve that rank. In the same year she moved to 7 London Street in Edinburgh’s Georgian New Town, which was to be her home for the rest of her life. Redpath discussed the objects she collected and lived amongst, explaining in 1961: With my awful magpie tendency to collect things I have collected so many objects around me that are paintable. I buy them because I like them…any artist really becomes very aware in a visual way…and therefore you surround yourself with these things which are ready to be painted and ask to be painted. Sometimes for months you’re not really aware of them then suddenly a light changes or you feel different and suddenly you see those things as you would in a picture and you either help their arrangement or it just so happens that an artist almost sub-consciously does arranging all the time.[1] Redpath’s mature career settled into a pattern of regular travel abroad as well as solo and group exhibitions in Edinburgh and elsewhere, accompanied by an ever-growing professional standing. In 1960 she became the first Scottish woman to be elected an Associate of the RA. Her death in Edinburgh in 1965 was marked with multiple memorial exhibitions, including those mounted by the RSA and the Scottish Committee of the Arts Council of Great Britain; still lifes featured prominently in all of them. [1] LM AR interviews[I think this comes from BBC Scotland Counterpoint 1961 by George Bruce] [1] As quoted in George Bruce, Modern Scottish Painters: Anne Redpath, University Press, Edinburgh 1974, p.3. [2] As quoted by Patrick Bourne, Anne Redpath 1895-1965, Edinburgh 2004, p.46.

    Lyon & Turnbull
  • § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) STILL LIFE ON A RED GROUND
    Dec. 08, 2022

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) STILL LIFE ON A RED GROUND

    Est: £20,000 - £30,000

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) STILL LIFE ON A RED GROUND Signed, oil on canvas (86cm x 112cm (34in x 44in)) Provenance: By family descent in 2005 to the current owner Still Life on a Red Ground is a later, majestic work painted on an unusually impressive scale. A selection of objects, from wine glass to bunch of glasses, has been carefully and unsymmetrically arranged. The varying spaces between the elements creates relationships and visual rhythm over the striped surface on which they sit, which is tipped up to the frontal plane. Redpath forgoes classical notions of perspective, form and volume as depth is flattened and an abstract field of colour is formed in the background, with the layering of warm and dramatic tones. A single broad and bravura brushstroke of white dispenses with any illusion beyond the fact of the canvas on which the work is painted. This avant-garde approach was partly the result of Redpath’s engagement with developments in contemporary French art – not least having seen exhibitions of Nicolas de Staël and Tachisme mounted by the Society of Scottish Artists in Edinburgh in 1954 and 1956.

    Lyon & Turnbull
  • § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) MARGUERITES IN A BLUE AND WHITE VASE
    Dec. 08, 2022

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) MARGUERITES IN A BLUE AND WHITE VASE

    Est: £15,000 - £20,000

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) MARGUERITES IN A BLUE AND WHITE VASE Signed, oil on board (57cm x 46cm (22.5in x 18in)) Of all the genres of fine art, Redpath is most closely associated with that of the still life. Her love for this theme stretches back to her student days at Edinburgh College of Art, as she recalled: When I was at college I was very fond of still life. People said I wasn’t actually painting what was in front of me, that it was a vision of still life. Those were more impressionistic than I have ever done since, because I was terribly keen on light, high pitched light and shadow, and I used more of an accidental quality than I have ever done since.[1] Indeed, the first work which Redpath exhibited in public was titled Still Life and was displayed at the Royal Scottish Academy (RSA) in 1919. Following her marriage in 1920 and fourteen years spent living in France, Redpath returned to Scotland in 1934. She resumed painting in earnest and emerged as an artist of importance. This was recognised by the first acquisition of one of her works for a public collection, when the RSA purchased the still life The Lace Cloth for £50 in 1944 (acc.no.2006.37). Admiration for her still lifes soon spread to England; when the Sunday Times art critic Eric Newton reviewed the Royal Academy of Arts (RA) exhibition of 1948, he exclaimed ‘Anne Redpath’s still lifes stand out like patches of blue sky on a grey day.’[2] The following year, Redpath moved to Edinburgh where she set about decorating her new home with the objects she loved to collect and which were often the subject matter of her work. The striking patterned vessel in Marguerites provided one such prop. The bright blue which covers most of its surface is the perfect complement to the variously coloured titular flowers which spill out of and over its neck. The arrangement is set upon a square of fabric, itself placed on an enigmatic surface, with hints of the surrounding space provided in the background. Redpath’s relish in the application of paint is clear from the precise detailing of petals, to the broader brushstrokes with which expressive swathes of the support are covered. Redpath’s professional success continued unabated and on 13 February 1952 she was elected a full member of the RSA, the first female painter to achieve that rank. In the same year she moved to 7 London Street in Edinburgh’s Georgian New Town, which was to be her home for the rest of her life. Redpath discussed the objects she collected and lived amongst, explaining in 1961: With my awful magpie tendency to collect things I have collected so many objects around me that are paintable. I buy them because I like them…any artist really becomes very aware in a visual way…and therefore you surround yourself with these things which are ready to be painted and ask to be painted. Sometimes for months you’re not really aware of them then suddenly a light changes or you feel different and suddenly you see those things as you would in a picture and you either help their arrangement or it just so happens that an artist almost sub-consciously does arranging all the time.[3] [1] As quoted in George Bruce, Modern Scottish Painters: Anne Redpath, University Press, Edinburgh 1974, p.3. [2] As quoted by Patrick Bourne, Anne Redpath 1895-1965, Edinburgh 2004, p.46. [3] LM AR interviews[I think this comes from BBC Scotland Counterpoint 1961 by George Bruce]

    Lyon & Turnbull
  • § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) STUDY FOR 'THE CHILDHOOD OF ST. GENEVIEVE'
    Dec. 08, 2022

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) STUDY FOR 'THE CHILDHOOD OF ST. GENEVIEVE'

    Est: £1,000 - £1,500

    § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) STUDY FOR 'THE CHILDHOOD OF ST. GENEVIEVE' Watercolour and gouache (53.5cm x 25.5cm (21in x 10in)) Provenance: The artist's family Exhibited: The Scottish Gallery, Edinburgh, Anne Redpath: Fifty - A Celebratory Exhibition, 3 July - 1 August 2015, no.2 This watercolour is after a mural by Pierre-Cécile Puvis de Chavannes (1824-98) in the Panthéon, Paris, which he painted between 1874 and 1879. Redpath made this work circa 1919, having seen the mural whilst in the French capital thanks to a travelling scholarship awarded to her by Edinburgh College of Art.

    Lyon & Turnbull
  • Anne Redpath RSA ARA ARWS, Scottish 1895-1965 - Still Life with Staffordshire Figure, 1955; ink
    Dec. 08, 2022

    Anne Redpath RSA ARA ARWS, Scottish 1895-1965 - Still Life with Staffordshire Figure, 1955; ink

    Est: £1,500 - £2,000

    Anne Redpath RSA ARA ARWS, Scottish 1895-1965 - Still Life with Staffordshire Figure, 1955; ink wash on paper, signed lower right 'Anne Redpath', 35.3 x 55 cm (ARR) Provenance: with Mercury Gallery, London (according to the label attached to the reverse of the frame); the estate of the late designer Anthony Powell, purchased from the above in 1975 Note: Anne Redpath is one of the best loved Scottish artists of the 20th century, known for the subtle colouration of her work. Redpath was a natural heir to the Scottish Colourists such as FCB Cadell and S J Peploe, continuing a tradition in Scottish painting of experimentation with the modernist still life. The present work in black and white shows how carefully her works are composed, the form emerging from the tonal composition.

    Roseberys
  • Anne Redpath, RSA, ARA, ARWS, Scottish 1895-1965, Still life with jug; lithograph in colours on
    Nov. 30, 2022

    Anne Redpath, RSA, ARA, ARWS, Scottish 1895-1965, Still life with jug; lithograph in colours on

    Est: £250 - £350

    Anne Redpath, RSA, ARA, ARWS, Scottish 1895-1965, Still life with jug; lithograph in colours on wove, signed and inscribed proof in pencil, image: 28 x 45 cm, (framed) (ARR) Please refer to department for condition report

    Roseberys
  • λ ANNE REDPATH (BRITISH 1895-1965), BEACHED BOATS
    Oct. 19, 2022

    λ ANNE REDPATH (BRITISH 1895-1965), BEACHED BOATS

    Est: £2,000 - £3,000

    λ ANNE REDPATH (BRITISH 1895-1965)BEACHED BOATS Charcoal, watercolour and gouache Signed (lower right)24.5 x 34.5cm (9½ x 13½ in.)Provenance:Private CollectionSandra Lummis Fine Art, London

    Dreweatts 1759 Fine Sales
  • Anne Redpath ARA ARWS RSA, Scottish 1895-1965 - Still Life with Staffordshire Figure, 1955;
    Oct. 11, 2022

    Anne Redpath ARA ARWS RSA, Scottish 1895-1965 - Still Life with Staffordshire Figure, 1955;

    Est: £2,500 - £4,000

    Anne Redpath ARA ARWS RSA, Scottish 1895-1965 - Still Life with Staffordshire Figure, 1955; ink wash on paper, signed lower right 'Anne Redpath', 35.3 x 55 cm (ARR) Provenance: with Mercury Gallery, London (according to the label attached to the reverse of the frame); the estate of the late designer Anthony Powell, purchased from the above in 1975 Note: Anne Redpath is one of the best loved Scottish artists of the 20th century, known for the subtle colouration of her work. Redpath was a natural heir to the Scottish Colourists such as FCB Cadell and S J Peploe, continuing a tradition in Scottish painting of experimentation with the modernist still life. The present work in black and white shows how carefully her works are composed, the form emerging from the tonal composition. Please refer to department for condition report

    Roseberys
  • Anne Redpath O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (British, 1895-1965) St Paul de Vence 85 x 110.5 cm. (33 3/8 x 43 1/2 in.)
    Sep. 28, 2022

    Anne Redpath O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (British, 1895-1965) St Paul de Vence 85 x 110.5 cm. (33 3/8 x 43 1/2 in.)

    Est: £10,000 - £15,000

    Anne Redpath O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (British, 1895-1965) St Paul de Vence signed 'Anne Redpath' (lower right) and titled 'St Paul de Vence' (on a label attached to the stretcher) oil on canvas 85 x 110.5 cm. (33 3/8 x 43 1/2 in.) For further information on this lot please visit the Bonhams website

    Bonhams
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