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Live
Venue address
Dreweatts
Donnington Priory
Newbury, Berkshire
RG14 2JE
United Kingdom
At Home in Three Counties: The Collection of Donald & Hilary Macpherson
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Viewing in London (highlights): 16-17 Pall Mall, SW1Y 5LU
7 Apr: 10:00-16:00 BST
8 Apr: 10:00-16:00 BST
Viewing in Newbury (full sale): see below
Auction dates
Apr 29, 2026 10:30 AM BST
Viewing dates
Apr 26, 2026 10:00 AM - 03:00 PM BST
Apr 27, 2026 10:00 AM - 04:00 PM BST
Apr 28, 2026 10:00 AM - 04:00 PM BST
Apr 29, 2026 09:00 AM - 01:00 PM BST
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Featured lots
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4,000 - 6,000 GBP
HAROLD HARVEY (BRITISH 1874-1941)
THATCHING THE RICK
Oil on canvas
Signed and dated 40 (lower left)
46 x 40.5cm (18 x 15¾in.)
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λ JACK MILLAR (BRITISH 1921-2006)
WINTER LANDSCAPE THROUGH A WINDOW
Oil on board
Signed (lower right)
76 x 50cm (29¾ x 19½in.)
Provenance:
The David Paul Gallery, Chichester
Acquired from the above in February 1980
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λ ETHELBERT WHITE (BRITISH 1891-1972)
WORKING IN THE SNOW
Oil on canvas
Signed (lower right)
64 x 76.5cm (25 x 30in.)
Provenance:
The David Paul Gallery, Chichester
Acquired from the above in December 1986
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1
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2,500 - 3,500 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979)
THE EMBANKMENT BY CHELSEA BRIDGE IN THE SNOW
Oil on canvas
Signed (lower left)
50.5 x 65cm (19¾ x 25½in.)
Painted in 1922.
Provenance:
Sale, Christie's, London, 29 October 1971, lot 192
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1
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2,000 - 3,000 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979)
BUILDINGS ON THE BANKS OF A RIVER, FRANCE
Oil on canvas
Signed (lower left)
46.5 x 65.5cm (18¼ x 25¾in.)
Provenance:
Sale: Sotheby's, London, 7 June 1978, lot 88
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1
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2,000 - 3,000 GBP
λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979)
STILL LIFE OF A CYCLAMEN AND SOME FRUIT IN A BOWL
Oil on canvas
Signed (upper right)
72.5 x 92cm (28½ x 36in.)
Provenance:
The New Art Centre, London
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λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979)
TOWARDS PARIS FROM THE SEINE
Oil on board
Signed (lower right)
31.5 x 40.5cm (12¼ x 15¾in.)
Provenance:
Paisnel Gallery, London
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1
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1,000 - 1,500 GBP
λ GEORGE DEVLIN (BRITISH 1937-2014)
PEYRIAC DE MER
Oil on canvas
Signed (lower right)
81 x 86cm (31¾ x 33¾in.)
Provenance:
The Scottish Gallery, Edinburgh
Exhibited:
Edinburgh, The Scottish Gallery, George Devlin - New Paintings , 8 January - 2 February 1994, no. 3
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λ GEORGE DEVLIN (BRITISH 1937-2014)
THE EPTE AT FOURGES
Oil on canvas
Signed (lower left)
44 x 49cm (17¼ x 19¼in.)
Painted in 1996.
Provenance:
Portland Gallery, London
Acquired from the above in December 1996
Exhibited:
London, Portland Gallery, December 1996, no. 6
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1
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3,000 - 5,000 GBP
λ ALBERTO MORROCCO (BRITISH 1917-1998)
LANDSCAPE NEAR ROYAN
Oil on canvas
Signed (lower right); further signed, numbered and dated 19 (verso)
47 x 60.5cm (18½ x 23¾in.)
Provenance:
Fosse Gallery, Stow-on-the-Wold (acquired directly from the artist)
Acquired from the above in September 1989
Alberto Morrocco was born in Aberdeen and entered Grays School of Art on leaving school, aged 14. As well as forging a successful career as a painter and achieving international recognition, Morrocco taught throughout his life. He initially taught at Grays School of Art from 1946, before being appointed Head of the School of Painting and Drawing at Dundee Art College in 1950, a position he retained until his retirement in 1983. He was elected Associate of the Royal Scottish Academy in 1951, full member in 1963, was awarded the San Vito Prize in Rome in 1950 and later awarded an OBE for services to the Arts. His wife was the artist Vera Mercer.
Morrocco's work is characterised by a freedom of handling and a bold palette. He depicted landscapes (see lot 78, 79 and 81) and still lifes (see lots 82, 83), as well as portraits and figurative works and many of his subjects were influenced by his Italian heritage.
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1
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4,000 - 6,000 GBP
λ ALBERTO MORROCCO (BRITISH 1917-1998)
CUTTING SUNFLOWERS
Oil on canvas
Signed and dated 95 (lower right); further, signed and titled (to label verso)
50.5 x 55.5cm (19¾ x 21¾in.)
Provenance:
Thackeray Gallery, London
Acquired from the above in March 1995
Exhibited:
London, Thackeray Gallery, March 1995, no 21
Alberto Morrocco was born in Aberdeen and entered Grays School of Art on leaving school, aged 14. As well as forging a successful career as a painter and achieving international recognition, Morrocco taught throughout his life. He initially taught at Grays School of Art from 1946, before being appointed Head of the School of Painting and Drawing at Dundee Art College in 1950, a position he retained until his retirement in 1983. He was elected Associate of the Royal Scottish Academy in 1951, full member in 1963, was awarded the San Vito Prize in Rome in 1950 and later awarded an OBE for services to the Arts. His wife was the artist Vera Mercer.
Morrocco's work is characterised by a freedom of handling and a bold palette. He depicted landscapes (see lot 78, 79 and 81) and still lifes (see lots 82, 83), as well as portraits and figurative works and many of his subjects were influenced by his Italian heritage.
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λ LEON MORROCCO (BRITISH B. 1942)
WINDOW WITH BIRD AND WINE BOTTLE
Oil on canvas
Signed (lower left) and dated '91
30.5 x 25.5cm (12 x 10in.)
Exhibited:
London, Portland Gallery, June 1991, no. 9
Leon Morrocco is the eldest son of artists Albert Morrocco and Vera Mercer. Born in Edinburgh, his landscapes and still lifes are inspired by his extensive travels through Europe, South America and his time in Australia. He studied at the Duncan of Jordanstone College of Art, Dundee, the Slade School of Art, London and Edinburgh College of Art. He also won a scholarship to study at the Accademia di Brera, Milan in 1968. Alongside his own developing career as a painter, he also began to teach, initially at the Edinburgh College of Art from 1965, then the Glasgow School of Art from 1969, before moving to Australia in 1979, to become Head of the Department of Fine Art at the Chisholm Institute, Melbourne. He returned to Britain in 1991.
His work is characterised by a bold palette and an extraordinary facility for draughtsmanship.
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1
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Estimate
1,500 - 2,500 GBP
λ ALBERTO MORROCCO (BRITISH 1917-1998)
DOG AND DECKCHAIR
Oil on panel
Signed and indistinctly dated (lower right); further signed and titled (to label verso)
20.5 x 30cm (8 x 11¾in.)
Provenance:
Fosse Gallery, John Lindsey Fine Art Ltd., Stow-on-the-Wold
Acquired from the above in February 1989
Exhibited:
Stow-on-the-Wold, Fosse Gallery, Scottish Painters , 6-18 February, 1989, no. 53
Alberto Morrocco was born in Aberdeen and entered Grays School of Art on leaving school, aged 14. As well as forging a successful career as a painter and achieving international recognition, Morrocco taught throughout his life. He initially taught at Grays School of Art from 1946, before being appointed Head of the School of Painting and Drawing at Dundee Art College in 1950, a position he retained until his retirement in 1983. He was elected Associate of the Royal Scottish Academy in 1951, full member in 1963, was awarded the San Vito Prize in Rome in 1950 and later awarded an OBE for services to the Arts. His wife was the artist Vera Mercer.
Morrocco's work is characterised by a freedom of handling and a bold palette. He depicted landscapes (see lot 78, 79 and 81) and still lifes (see lots 82, 83), as well as portraits and figurative works and many of his subjects were influenced by his Italian heritage.
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1
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Estimate
6,000 - 8,000 GBP
λ ALBERTO MORROCCO (BRITISH 1917-1998)
PEPPERONI AND STRIPED CLOTH
Oil on canvas
Signed and dated 88 (upper right); further signed and title (to label verso) and signed again and inscribed Still Life on a White Table (to stretcher verso)
63 x 76cm (24¾ x 29¾in.)
Provenance:
Thackeray Gallery, London
Acquired from the above, October 1988
Exhibited:
London, Thackeray Gallery, October 1988, no. 28
Alberto Morrocco was born in Aberdeen and entered Grays School of Art on leaving school, aged 14. As well as forging a successful career as a painter and achieving international recognition, Morrocco taught throughout his life. He initially taught at Grays School of Art from 1946, before being appointed Head of the School of Painting and Drawing at Dundee Art College in 1950, a position he retained until his retirement in 1983. He was elected Associate of the Royal Scottish Academy in 1951, full member in 1963, was awarded the San Vito Prize in Rome in 1950 and later awarded an OBE for services to the Arts. His wife was the artist Vera Mercer.
Morrocco's work is characterised by a freedom of handling and a bold palette. He depicted landscapes (see lot 78, 79 and 81) and still lifes (see lots 82, 83), as well as portraits and figurative works and many of his subjects were influenced by his Italian heritage.
Condition Report:
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1
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Estimate
6,000 - 8,000 GBP
λ ALBERTO MORROCCO (BRITISH 1917-1998)
STILL LIFE WITH PUMPKIN AND PEPERONI
Oil on canvas
Signed and dated 88 (upper right); further signed and titled (to label verso)
71 x 76cm (27¾ x 29¾in.)
Provenance:
Fosse Gallery, John Lindsay Fine Art Ltd., Stow-on-the-Wold (acquired directly from the artist)
Exhibited:
Stow-on-the-Wold, Fosse Gallery, Scottish Painters , 6-18 February 1989, cat. no. 49
Literature:
Exhibition Catalogue, Fosse Gallery, Scottish Painters , 1989, no. 49, illus.
Alberto Morrocco was born in Aberdeen and entered Grays School of Art on leaving school, aged 14. As well as forging a successful career as a painter and achieving international recognition, Morrocco taught throughout his life. He initially taught at Grays School of Art from 1946, before being appointed Head of the School of Painting and Drawing at Dundee Art College in 1950, a position he retained until his retirement in 1983. He was elected Associate of the Royal Scottish Academy in 1951, full member in 1963, was awarded the San Vito Prize in Rome in 1950 and later awarded an OBE for services to the Arts. His wife was the artist Vera Mercer.
Morrocco's work is characterised by a freedom of handling and a bold palette. He depicted landscapes (see lot 78, 79 and 81) and still lifes (see lots 82, 83), as well as portraits and figurative works and many of his subjects were influenced by his Italian heritage.
Condition Report:
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λ VINCENT HADDELSEY (BRITISH 1934-2010)
FORRARD ON
Oil on canvas
Signed with initials (lower left)
50 x 61cm (19½ x 24in.)
Painted in 1968.
Provenance:
Arthur Tooth & Sons Ltd., London
Acquired from the above in November 1968
Exhibited:
London, Arthur Tooth & Sons Ltd, Les Peintres Naifs V , 3-21 December 1968, no. 31
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λ VINCENT HADDELSEY (BRITISH 1929-2010)
PHEASANT TO DRIVE FROM STANHOPES
Oil on canvas
Signed with initials (lower left)
22.5 x 27.5cm (8¾ x 10¾in.)
Painted in 1965.
Provenance:
Arthur Tooth & Sons Ltd., London
Acquired from the above in December 1966
Exhibited:
London, Arthur Tooth & Sons Ltd, Les Peintres Naifs III , 6 - 22 December 1966, no. 17
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λ VINCENT HADDELSEY (BRITISH 1929-2010)
A VIEW
Oil on canvas
Signed with initials (lower left); further signed, titled and dated 1971 (verso)
24 x 33.5cm (9¼ x 13in.)
Provenance:
Arthur Tooth & Sons, Ltd., London
Acquired from the above in December 1973
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λ VINCENT HADDELSEY (BRITISH 1934-2010)
THE EIGHT SAIL MILL
Oil on canvas
Signed with initials (lower left); further signed, titled and dated 1973 (verso
38 x 61cm (14¾ x 24in.)
Provenance:
Arthur Tooth & Sons Ltd, London
Acquired from the above in December 1973
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λ CAREL WEIGHT (BRITISH 1908-1997)
GIRL IN RAIN
Oil on board
Signed (upper right)
40.5 x 50.5cm (15¾ x 19¾in.)
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λ JACK MILLAR (BRITISH 1921-2006)
EVENING, RIBBLEHEAD, YORKSHIRE; CORNFIELD AND CHURCH
Oil on board
Both signed (lower right)
One 24 x 34cm (9 ¼ x 13 ¼ in.), the other 25 x 31cm (9¾ x 12in.) (2)
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1
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Estimate
1,000 - 1,500 GBP
λ JOHN HOUSTON (BRITISH 1930-2008)
ELIZABETH BLACKADDER PAINITNG THE SEA
Oil on board
Signed (lower left)
36 x 33.5cm (14 x 13in.)
Exhibited:
London, Caledonian Club, 1984
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1
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12,000 - 18,000 GBP
λ AUGUSTUS JOHN (BRITISH 1878-1961)
STILL LIFE, CINERARIA IN A TERRACOTTA POT
Oil on canvas
Signed (upper right)
65 x 53.5cm (25½ x 21in.)
Provenance:
Sale, Christie's London, 30 October 1970, lot 213
Exhibited:
London, Chenil Gallery, Harrison and Augustus John , 5 - 27 March 1971, no. 30
Augustus's first flower painting was done on the island of Ischia in 1925 and in the following years, he painted flowers given to him by Dorelia as a change from models. Like the present work, they were mostly painted in the late 1920s to 1930s.
We are grateful to Rebecca John for her kind assistance in cataloguing this work.
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1
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5,000 - 7,000 GBP
λ AUGUSTUS JOHN (BRITISH 1878-1961)
AURICULAS IN A GLASS VASE
Oil on canvas
59.5 x 44.5cm (23¼ x 17½in.)
Painted in 1942
Provenance:
Mrs Poppet Pol, the artist's daughter
Sale, Christie's London, 29 October 1971, lot 156
Acquired from the above
Exhibited:
London, British Institute of Adult Education, 1942, no. 274
London, New English Arts Club, February - March 1945, no. 24
London, Arts Council, British Painters 1939-45, 1946, no. 31
Leeds, Temple Newsam, John Exhibition , June-July 1946, no. 68
London, Royal Academy, Diploma Gallery, Augustus John Exhibition , 1954, no. 384
We are grateful to Rebecca John for her kind assistance in cataloguing this work.
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λ ETHELBERT WHITE (BRITISH 1891-1972)
FARMYARD
Oil on canvas
Signed (lower left)
45 x 56cm (17½ x 22in.)
With a study of cows, verso.
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163
ATTRIBUTED TO ALESSANDRO GREVENBROECK (ITALIAN 1717-1787)
AN ITALIAN COASTAL TOWN WITH SHIPPING AND A WRECK IN THE FOREGROUND
Oil on canvas
42 x 84cm (16½ x 33in.)
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1
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5,000 - 8,000 GBP
ADAM FRANS VAN DER MEULEN (DUTCH 1648-1690)
THE HUNTING PARTY, SHEPHERD AND RUINS BEYOND
Oil on canvas
96 x 130cm (37¾ x 51in.)
Provenance:
J O Flatten.
Condition Report:
Discoloured patchy varnish and overpaint in the sky
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171
Quantity
1
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4,000 - 6,000 GBP
BRITISH SCHOOL (17TH CENTURY)
BRITISH AND TURKISH SHIPS AND FIGURES IN A TRADING PORT ON THE LEVANT
Oil on canvas
97 x 123cm (38 x 48¼ in.)
Provenance:
Sale, Sotheby's, London, 28 October 1966, lot 116 (as 'Storck')
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THOMAS EDWARD SMYTHE (BRITISH 1825-1906)
VIEW OF IPSWICH
oil on canvas
Signed and dated 1882 (lower right)
23 x 30cm (9 x 11¾in.)
Provenance:
Martin Scadgell Fine Art, Pulborough, West Sussex
Acquired from the above in March 1983
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λ ALFRED DANIELS (BRITISH 1924-2015)
BOATS ON BRIGHTON BEACH
Oil on board
Signed and dated 1978 (lower left)
41 x 76cm (16 x 29¾in.)
Provenance:
Leonie Jonleigh Studio, Guildford
Private Collection, Geoffrey Court (acquired from the above in October 1973)
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λ ALFRED DANIELS (BRITISH 1924-2015)
ST. PAULS ACROSS THE THAMES
Oil on board
Signed and dated 1969 (lower right)
27 x 50cm (10½ x 19½in.)
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1
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Estimate
1,500 - 2,500 GBP
NARCISSE GUILBERT (FRENCH 1878-1942)
LE BASSIN DE DIEPPE
Oil on canvas
Signed (lower left); further signed and inscribed (verso)
47 x 61.5cm (18½ x 24in.)
Painted in 1930.
Provenance:
Arthur Tooth & Sons Ltd., London
Acquired from the above in January 1971
Exhibited:
Paris, Galerie Vatteau, Retrospective N. Guilbert , December 1969, no. 40
London, Arthur Tooth and Sons Ltd, Narcisse Guilbert 1878-1942 , 21 April - 16 May 1970, no. 15
Literature:
Arthur Tooth and Sons, Narcisse Guilbert 1878-1942 , 1970, no. 15, illus.
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λ DAVID MCCLURE (BRITISH 1926-1998)
HARBOUR, SEVILLE
Oil on board
Signed (lower left)
20.5 x 27.5cm (8 x 10¾in.)
Painted in 1951.
Provenance:
The Scottish Gallery, Edinburgh and London
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λ MARGRET THOMAS (BRITISH 1916-2016)
THE TABLE TOP
Oil on board
Signed with initials and dated 68 (lower left)
71 x 91.5cm (27¾ x 36in.)
Provenance:
Fosse Gallery (John Lindsay Fine Art), Stow-on-the-Wold (acquired directly from the artist)
Acquired from the above in February 1989
Exhibited:
Stow-on-the-Wold, Fosse Gallery, Scottish Painters , 6-18 February 1989, cat. no. 59
Literature:
Exhibition Catalogue, Scottish Painters , Fosse Gallery, no. 59, illus. in colours
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1
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Estimate
2,000 - 3,000 GBP
λ ROGER DE GREY (BRITISH 1918-1995)
TERRACES ABOVE LE ROURET
Oil on canvas
Signed with initials (lower left)
71 x 91.5cm (27¾ x 36in.)
Provenance:
Thomas Agnew & Sons Ltd., London
Condition Report:
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λ ROGER DE GREY (BRITISH 1918-1995)
RAINY COASTAL LANDSCAPE
Oil on canvas
Signed with initials (lower right)
101.5 x 101.5cm (39¾ x 39¾in.)
Condition Report:
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1
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1,500 - 2,500 GBP
λ SIR ROBIN PHILIPSON (BRITISH 1916-1992)
POPPIES ON A DARK GROUND
Watercolour
68 x 81.5cm (26¾ x 32in.)
Provenance:
Bruton Gallery, Bruton, Somerset
Acquired from the above in June 1986
Sir Robin Philipson was a seminal figure in the history of 20th Century Scottish Art. He was not only a painter with a flourishing career and widespread following, but he also taught at the Edinburgh College of Art and held numerous appointments. He joined the staff of the College of Art in 1947, having served in Burma and India during World War II. He became head of the School of Drawing and Painting in 1960, a position he held until he retired in 1982. He was elected an Associate of the Royal Scottish Academy in 1952, Academician in 1962 and President in 1973, remaining in post until his retirement in 1983. He was also elected an Academician of the Royal Academy, London in 1981. He was knighted in 1976 for services to art in Scotland. He was elected a Fellow of the Royal Society of Edinburgh in 1978 and received numerous honorary awards from Scottish universities, as well as being awarded Commander de l'Ordre du Merit de la Republique Française.
The work of Oskar Kokoschka (1886-1980) proved influential on the young Philipson and in the 1950s he began to look towards American Abstract Expressionism. Philipson's work is especially notable for his energetic handling of paint, heavy impasto and bold, jewel-like palette.
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λ DONALD BAIN (BRITISH 1904-1979)
DEUX CITRONS
Oil on board
Signed (lower left); further signed, titled and dated 1966 (verso)
41 x 33cm (16 x 12in.)
Provenance:
Paisnel Gallery, London
Exhibited:
London, Woodstock Gallery, 1958
Glasgow, New Charing Cross Gallery, 1966
Dundee & tour, Retrospective , 1972-73, no. 38
London, A Scottish Colourist , July 2000, no. 25
Literature:
Exhibition Catalogue, Dundee & tour, Retrospective , no. 38, illus.
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λ DAVID MCCLURE (BRITISH 1926-1998)
GOLDEN BOWL; FLOWERS AND NEW POTATOES
Oil on board, a pair
Both signed (lower right); both further signed, titled and dated 1987 (verso)
Each 20.5 x 25.5cm (8 x 10in.) (2)
Provenance:
Portland Gallery, London
Acquired from the above in December 1987
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λ PHILIP SUTTON (BRITISH B.1928)
FLOWERS FROM MORFA TERRACE
Oil on canvas
With later inscription with title, date 1990 and artist's name (verso)
61 x 61cm (24 x 24in.)
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2,500 - 3,500 GBP
λ DAVID MCCLURE (BRITISH 1926-1998)
WHITE CHALICE
Oil on canvas
Signed (lower left); further signed, titled and dated 1976 (verso)
71 x 91.5cm (27¾ x 36in.)
Provenance:
Fosse Gallery (John Lindsay Fine Art Ltd.), Stow-on-the-Wold (acquired directly from the artist)
Acquired from the above in February 1989
Exhibited:
Stow-on-the-Wold, Fosse Gallery, Scottish Painters , 6-18 February 1989. cat. no. 35
Literature:
Exhibition Catalogue, Scottish Painters, no. 35, illus.
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λ JACK MILLAR (BRITISH 1921-2006)
QUIMIAC AND LE CROISIC, BRITTANY
Oil on board, a pair
Both signed with initials (lower right)
Each 19.5 x 25cm (7½ x 9¾in.) (2)
Both painted in 1987.
Provenance:
Duncan Campbell, London
Acquired from the above in September 1987
Exhibited:
London, Duncan Campbell Fine Art, Three Painters , 2 September - 31 October 1987, nos. 4 & 6
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λ ANTHONY GROSS (BRITISH 1905-1984)
SEGOS VALLEY WITH WILD ORCHIDS AND MARGUERITES
Oil and ink on canvas
Signed and dated 1978 (lower left)
89.5 x 131cm (35 x 51½in.)
Provenance:
The New Art Centre, London
Sale, Christie's, London, 9 March 1984, lot 283
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270
AFTER THE MASTER OF THE MAGDALEN LEGEND (ITALIAN SCHOOL, LATE 17TH CENTURY)
PORTRAIT OF GENTLEMAN, TRADITIONALLY IDENTIFIED AS JOHN OF LUXEMBOURG (? - 1508), LORD OF THE CITY
Oil on panel, gold leaf
In an octagonal picture frame
33 x 22cm (12 x 8½in.)
The present painting is after a work in the Royal Museums of Fine Arts of Belgium, Brussels
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λ ANDREW HEMINGWAY (BRITISH B. 1955) TREES IN AN EXTENSIVE LANDSCAPE Tempera on board Signed with initials (lower left) 15.5 x 14.5cm (6 x 5½in.) Condition Report:
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λ ANDREW HEMINGWAY (BRITISH B. 1955) FLOWER POTS ON WINDOWSILL Tempera on board Signed with initials (lower left) 10.5 x 13cm (4 x 5in.) Condition Report:
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λ ANDREW HEMINGWAY (BRITISH B.1955) TWO PLANT POTS Tempera and pastel Signed (lower right) 31 x 28cm (12 x 11in.) Condition Report:
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3,000 - 5,000 GBP
λ SIR ROBIN PHILIPSON (BRITISH 1916-1992)
POPPIES
Oil on canvas
Signed and dated 1987 (verso)
96 x 87cm (37¾ x 34¼in.)
Provenance:
Bruton Gallery, Bruton, Somerset
Acquired from the above in November 1988
Exhibited:
Somerset, Bruton Gallery, The Secret Garden , November 1988, no. 32
Sir Robin Philipson was a seminal figure in the history of 20th Century Scottish Art. He was not only a painter with a flourishing career and widespread following, but he also taught at the Edinburgh College of Art and held numerous appointments. He joined the staff of the College of Art in 1947, having served in Burma and India during World War II. He became head of the School of Drawing and Painting in 1960, a position he held until he retired in 1982. He was elected an Associate of the Royal Scottish Academy in 1952, Academician in 1962 and President in 1973, remaining in post until his retirement in 1983. He was also elected an Academician of the Royal Academy, London in 1981. He was knighted in 1976 for services to art in Scotland. He was elected a Fellow of the Royal Society of Edinburgh in 1978 and received numerous honorary awards from Scottish universities, as well as being awarded Commander de l'Ordre du Merit de la Republique Française.
The work of Oskar Kokoschka (1886-1980) proved influential on the young Philipson and in the 1950s he began to look towards American Abstract Expressionism. Philipson's work is especially notable for his energetic handling of paint, heavy impasto and bold, jewel-like palette.
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λ SIR ROBIN PHILIPSON (BRITISH 1916-1992)
IN A RED ROOM
Oil on board
Signed and dated 1988 (verso)
35.5 x 35.5cm (13¾ x 13¾in.)
Provenance:
Bruton Gallery, Bruton, Somerset
Acquired from the above in November 1988
Exhibited:
Somerset, Bruton Gallery, The Secret Garden , 1988, no. 5
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λ SIR ROBIN PHILIPSON (BRITISH 1916-1992)
COMPOTIER OF FRUIT
Oil on board
Signed and dated 1991 (verso)
45.5 x 46cm (17¾ x 18in.)
Provenance:
Bruton Gallery, Bruton, Somerset
Acquired from the above in November 1991
Exhibited:
Somerset, Bruton Gallery, Zigzag of Time, 5 - 30 November, 1991, no. 13
Sir Robin Philipson was a seminal figure in the history of 20th Century Scottish Art. He was not only a painter with a flourishing career and widespread following, but he also taught at the Edinburgh College of Art and held numerous appointments. He joined the staff of the College of Art in 1947, having served in Burma and India during World War II. He became head of the School of Drawing and Painting in 1960, a position he held until he retired in 1982. He was elected an Associate of the Royal Scottish Academy in 1952, Academician in 1962 and President in 1973, remaining in post until his retirement in 1983. He was also elected an Academician of the Royal Academy, London in 1981. He was knighted in 1976 for services to art in Scotland. He was elected a Fellow of the Royal Society of Edinburgh in 1978 and received numerous honorary awards from Scottish universities, as well as being awarded Commander de l'Ordre du Merit de la Republique Française.
The work of Oskar Kokoschka (1886-1980) proved influential on the young Philipson and in the 1950s he began to look towards American Abstract Expressionism. Philipson's work is especially notable for his energetic handling of paint, heavy impasto and bold, jewel-like palette.
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1
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Estimate
1,200 - 1,800 GBP
λ GEORGE DEVLIN (BRITISH 1937-2014)
BOATS AT DUNWICH
Oil on canvas
Signed (lower right)
50.5 x 55.5cm (19¾ x 21¾in.)
Painted in 2000.
Provenance:
Portland Gallery, London
Acquired from the above in December 2000
Exhibited:
London, Portland Gallery, December 2000, cat. no. 37
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λ GEORGE DEVLIN (BRITISH 1937-2014)
NEAR OMERVILLE
Oil on canvas
Signed (lower right)
81 x 86cm (31¾ x 33¾in.)
Painted in 1990.
Provenance:
The Scottish Gallery, Edinburgh
Acquired from the above in October 1990
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320
λ DEVLIN (BRITISH 1937-2014)
POPPIES IN A CORNFIELD WITH VILLAGE BEYOND
Oil on canvas
Signed (lower right); further signed and dedicated For Katy/with love (verso)
81.5 x 86.5cm (32 x 34in.)
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1
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2,000 - 3,000 GBP
λ JOHN ANTHONY PARK (BRITISH 1880-1962)
A PEACEFUL HAVEN
Oil on board
Signed (lower right); further signed and titled (verso)
40 x 51cm (15½ x 20in.)
Provenance:
Paisnel Gallery, London
Acquired from the above, June 2008
The artist and writer Sven Berlin described John Anthony Park as one of the best of English colourists and unsurpassed as a painter of light: He painted like an angel .
Brought up in Lancashire, Park moved to St Ives aged 19 and met Julius Olsson who took Park under his wing. In 1902, Park entered the St Ives School of Painting, run by Olsson and Algernon Talmage, before moving to Paris for a year in 1905. Park's immersion into the Impressionist and Post Impressionist world of Paris' art scene, had a profound impact on the young artist. He developed a style of working with rapid, short brush strokes in a broad rich palette, capturing the effects of light and colour on his chosen subjects, which he used to such effect in his sparking views of the harbours and coast in and around St Ives. He became regarded as a bridge between the plein-air artists of the late 19 th Century and the St Ives group of artists who rose to prominence in the mid-20 th Century.
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1,500 - 2,500 GBP
λ JOHN ANTHONY PARK (BRITISH 1880-1962)
SUMMER, ST. IVES
Oil on board
Signed (lower right)
32 x 39cm (12½ x 15¼in.)
Provenance:
Sale, Sotheby's London, 30 September 1986, lot 28
Montpelier Studio, London
Acquired from the above in May 1993
Exhibited:
London, Montpelier Studio, no. 424
The artist and writer Sven Berlin described John Anthony Park as one of the best of English colourists and unsurpassed as a painter of light: He painted like an angel .
Brought up in Lancashire, Park moved to St Ives aged 19 and met Julius Olsson who took Park under his wing. In 1902, Park entered the St Ives School of Painting, run by Olsson and Algernon Talmage, before moving to Paris for a year in 1905. Park's immersion into the Impressionist and Post Impressionist world of Paris' art scene, had a profound impact on the young artist. He developed a style of working with rapid, short brush strokes in a broad rich palette, capturing the effects of light and colour on his chosen subjects, which he used to such effect in his sparking views of the harbours and coast in and around St Ives. He became regarded as a bridge between the plein-air artists of the late 19 th Century and the St Ives group of artists who rose to prominence in the mid-20 th Century.
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1,000 - 1,500 GBP
λ JOHN ANTHONY PARK (BRITISH 1880-1962)
ST. IVES
Oil on panel
Signed (lower left)
36 x 43cm (14 x 16¾in.)
Provenance:
Paisnel Gallery, London
The artist and writer Sven Berlin described John Anthony Park as one of the best of English colourists and unsurpassed as a painter of light: He painted like an angel .
Brought up in Lancashire, Park moved to St Ives aged 19 and met Julius Olsson who took Park under his wing. In 1902, Park entered the St Ives School of Painting, run by Olsson and Algernon Talmage, before moving to Paris for a year in 1905. Park's immersion into the Impressionist and Post Impressionist world of Paris' art scene, had a profound impact on the young artist. He developed a style of working with rapid, short brush strokes in a broad rich palette, capturing the effects of light and colour on his chosen subjects, which he used to such effect in his sparking views of the harbours and coast in and around St Ives. He became regarded as a bridge between the plein-air artists of the late 19 th Century and the St Ives group of artists who rose to prominence in the mid-20 th Century.
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λ JOHN ANTHONY PARK (BRITISH 1880-1962)
ST. IVES HARBOUR
Oil on canvas-board
Signed (lower right)
29 x 39cm (11¼ x 15¼in.)
Provenance:
Sale, Christie's South Kensington, 9 May 2007, lot 79
The artist and writer Sven Berlin described John Anthony Park as one of the best of English colourists and unsurpassed as a painter of light: He painted like an angel .
Brought up in Lancashire, Park moved to St Ives aged 19 and met Julius Olsson who took Park under his wing. In 1902, Park entered the St Ives School of Painting, run by Olsson and Algernon Talmage, before moving to Paris for a year in 1905. Park's immersion into the Impressionist and Post Impressionist world of Paris' art scene, had a profound impact on the young artist. He developed a style of working with rapid, short brush strokes in a broad rich palette, capturing the effects of light and colour on his chosen subjects, which he used to such effect in his sparking views of the harbours and coast in and around St Ives. He became regarded as a bridge between the plein-air artists of the late 19 th Century and the St Ives group of artists who rose to prominence in the mid-20 th Century.
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λ JOHN ANTHONY PARK (BRITISH 1880-1962)
RIVER LANDSCAPE WITH CHURCH
Oil on board
Signed (lower left)
33 x 40cm (12 x 15½in.)
The artist and writer Sven Berlin described John Anthony Park as one of the best of English colourists and unsurpassed as a painter of light: He painted like an angel .
Brought up in Lancashire, Park moved to St Ives aged 19 and met Julius Olsson who took Park under his wing. In 1902, Park entered the St Ives School of Painting, run by Olsson and Algernon Talmarge, before moving to Paris for a year in 1905. Park's immersion into the Impressionist and Post Impressionist world of Paris' art scene, had a profound impact on the young artist. He developed a style of working with rapid, short brush strokes in a broad rich palette, capturing the effects of light and colour on his chosen subjects, which he used to such effect in his sparking views of the harbours and coast in and around St Ives. He became regarded as a bridge between the plein-air artists of the late 19 th Century and the St Ives group of artists who rose to prominence in the mid-20 th Century.
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λ CAREL WEIGHT (BRITISH 1908-1997)
CAMPDEN HILL EARLY MORNING
Oil on board
Signed and titled (to label verso)
26 x 33cm (10 x 12in.)
Provenance:
The David Paul Gallery, Chichester
Acquired from the above in October 1980
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EDWARD MORLAND LEWIS (BRITISH 1903-1943)
CHEYNE WALK
Oil on board
20 x 28cm (7¾ x 11in.)
Provenance:
Paisnel Gallery, London
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