The Fine Art Society in Edinburgh 20th CENTURY ......20th CENTURY PRINTMAKING The Fine Art Society in Edinburgh 15 JANUARY - 10 FEBRUARY 2018 20th CENTURY PRINTMAKING The Fine Art

20th CENTURY PRINTMAKING

The Fine Art Societyin Edinburgh

15 JANUARY - 10 FEBRUARY 2018



15 JANUARY - 10 FEBRUARY 2018

6 Dundas Street, Edinburgh, EH3 6HZ | +44 (0)131 557 4050www.fasedinburgh.com | [email protected]

All works are for salePlease contact the gallery for availability

JOHN RANKINE BARCLAY (1884-1962)

St Andrews Golf Clubsigned in pencil to marginetching and drypoint | 8 x 9 1/2 inches

provenance: Wishart Brown Ltd, Glasgow

1.

SIR DAVID YOUNG CAMERON ra rsa hrsw re (1865-1945)

Ben Ledi1911; initialled in plate; signed in pencil to margin in the first state of twoetching and drypoint | 15 x 11 3/4 inches

provenance: Mr J C Weir; Wishart Brown Ltd, Glasgowexhibited: Empire Exhibition, Scotland, 1938; Fine Art institute 1940-1941; Cameron Memorial Exhibition, Edinburgh, Glasgow and other cities and towns in Scotland, 1947-48. Other impressions exhibited at the Royal Academy, London, 1911, no.1405; Walker Art Gallery, 1911 and 1933; Carnegie Institute, Pittsburgh, 1919; Royal Glasgow Institute, 1937; Another impression is in the collection of the National Galleries of Scotland.literature: Frank Rinder, D. Y. Cameron, An Illustrated Catalogue of His Etched Work, James Maclehose & Sons, Glasgow, 1912, no.424; Bill Smith, D.Y. Cameron. The Visions of the Hills, Atelier Books Edinburgh, 1992, ill. p.78

2.


Ben Lomond1923; signed in plate; signed in pencil to marginin the sixth (final) stateetching and drypoint | 10 1/4 x 16 1/4 inches

exhibited: an impression was exhibited at the Royal Scottish Academy, Edinburgh, 1926. Impressions are in the collection of the National Galleries of Scotland, Edinburgh, the Art Institute Chicago, and the Art Gallery of New South Wales, Australialiterature: Frank Rinder, D. Y. Cameron, An Illustrated Catalogue of his Etchings and Dry-Points, 1887-1932, Jackson Wylie, Glasgow, 1932, no.468

3.


Doge’s Palace1902; signed in plate; signed in pencil to marginin the second (final) stateetching and drypoint | 9 3/4 x 15 3/4 inches

exhibited: an impression was exhibited at the Carnegie Institute, Pittsburgh, 1919. Impressions are in the collections of the Metropolitan Museum of Art, New York, and the Museum of New Zealand Te Papa Tongarewa literature: Frank Rinder, D. Y. Cameron, An Illustrated Catalogue of His Etched Work, James Maclehose & Sons, Glasgow, 1912, no.326

4.

JAMES McBEY (1883-1959)

Laguna Veneta1926; signed and numbered II/L in pen to margin; in the published state (British edition)etching | 7 x 14 3/4 inches

provenance: Wishart Brown Ltd, Glasgowexhibited: impressions are in the collections of Aberdeen Art Gallery and the National Museum of Art, Washington DCLiterature: Martin Hardie, Etchings and Dry Points from 1902 to 1924 by James McBey, P. & D. Colnaghi, London, 1925, no.227

5.


Mirage1928; signed and inscribed ‘Venice, 24 September 1925’ in plate;signed and numbered XIII/L in pen to margin; titled ‘Mirage’ in another hand on edge of sheet;in the published state (British edition)etching | 10 3/4 x 16 3/4 inchesexhibited: impressions are in the collections of Aberdeen Art Gallery and the Museum of New Zealand Te Papa Tongarewa Literature: Martin Hardie, Etchings and Dry Points from 1902 to 1924 by James McBey, P. & D. Colnaghi, London, 1925, no.238

6.


The Passing Gondola1926; signed and inscribed ‘Venice 21 September 1925’ in plate; signed and numbered XXXII in pen to margin;in the published state; edition of 80 (British edition)etching | 8 1/2 x 10 1/2 inches

provenance: James Connell & Sons, Glasgowexhibited: impressions are in the collections of Aberdeen Art Gallery; the British Museum, London; and the Victoria and Albert Museum, LondonLiterature: Martin Hardie, Etchings and Dry Points from 1902 to 1924 by James McBey, P. & D. Colnaghi, London, 1925, no.230

7.


The White Palace1930; signed and inscribed ‘Venice 21 September 1925’ in plate; signed and numbered XIV/L in pen to margin; in the published state (British edition)etching | 14 1/4 x 8 1/2 inches

provenance: W. B. Simpson, Glasgowexhibited: impressions are in the collections of Aberdeen Art Gallery; the British Museum, London; the Metropolitan Museum of Art, New York; the National Museum of Art, Washington DC; and the Museum of New Zealand Te Papa TongarewaLiterature: Martin Hardie, Etchings and Dry Points from 1902 to 1924 by James McBey, P. & D. Colnaghi, London, 1925, no.246

8.

SIR HENRY GEORGE RUSHBURY ra (1889-1968)

Carceri, San Gimignano1925; signed in pencil to margin; titled, inscribed and editioned 90 in pencil to sheet margin; inscribed ‘Own collection, F.R.’ to sheet by Florence Rushburydrypoint | 6 1/2 x 10 inches

provenance: the artist’s collection, thence by inheritance to his widow, Florence Rushburyexhibited: impressions are in the collections of the British Museum, London; and the Fine Art Museums of San FranciscoLiterature: Julia Rushbury, Henry Rushbury Prints: A Catalogue Raisonné, Royal Academy of Arts, London, 2010, no.51

9.

FRITZ EICHENBERG (1901-1990)

The Subway1934; signed, titled and editioned 200 in pencil to marginwoodcut | 6 1/4 x 4 3/4 inches

exhibited: impressions were exhibited at The Fine Art Society, London, 1979; and in American Prints 1900-1950, Yale University Art Gallery, Connecticut, 1983. Impressions are in the collections of the Metropolitan Museum of Art, New York; and the the Smithsonian American Art Museum, Washington DC

10.

WILLIAM WILSON rsa rsw (1905-1972)

The Duck Pond1936; monogrammed in plate; signed in pencil to marginetching | 5 1/4 x 5 1/2 inches

exhibited: an impression is in the collection of the National Galleries of Scotland, Edinburgh

11.


The Farm, 1929signed, titled, dated 1929 and numbered 4/25 in pencil to marginetching | 6 1/4 x 5 inches


12.


The Farm (with figure)signed in plate; signed, titled and numbered 3/10 in pencil to marginetching and drypoint | 6 x 5 1/4 inches

13.


Fishing Villageinscribed ‘This is a trial. Tell me if it is any good / Willie’wood engraving | 4 3/4 x 6 inches

14.


From my Studio Windowmonogrammed in plate; signed, titled and dated ‘23 Dec 1935, Edinburgh’ in pencil to marginetching | 4 1/2 x 4 inches


15.


Frozen Pond and Barnsigned and numbered ‘1 of 2 prints hand pulled’ in pencil to marginwood engraving | 8 x 9 1/2 inches

provenance: the collection of Edgar Holloway

16.


Pietasigned and titled in pencil to marginlinocut | 8 1/2 x 8 1/2 inches

17.


Rothenburg ob der Taubersigned, titled, dated 1929 and numbered 17/30in pencil to marginetching | 8 x 6 inches


18.


Sea Wall1936; signed, dated and titled in pen to margin; inscribed ‘With Best Wishes for Christmas and New Year, Willie Wilson’ inside cardetching | 6 1/4 x 5 1/4 inches


19.


St Monancesigned in plate; signed and titled in pencil to marginetching | 9 1/4 x 11 1/4 inches

Literature: Fiona Pearson, William Wilson 1905-1972, Scottish Masters series no.19, National Galleries of Scotland, Edinburgh, pg.24

20.


Swanston Farm1937; monogrammed in plate; signed in pencil to margin; titled in pencil on sheetinscribed ‘With Best Wishes for Christmas and New Year from Willie Wilson’ on inside cardetching | 5 3/4 x 4 inches


21.


A View of Edinburghmonogrammed in plate; signed and dated 1928 in pencil to marginetching | 7 x 5 1/2 inches


22.

JAMES McINTOSH PATRICK rsa (1907-1998)

Glencoe1928; signed and dated 28 in plate;signed and numbered 30/75 in pencil to marginetching | 6 3/4 x 9 3/4 inches

Additional impressions from the edition are available unframed

23.


Loch Lomondsigned and dated 1928 in plate; signed and numbered 27/75 in pencil to marginetching | 4 1/2 x 8 1/4 inches

exhibited: an impression is in the collection of the British Museum, London


24.


The Pass of Glencoesigned, titled ‘The Pass of Glencoe, from the study’, and dated 1928 in plate; signed and numbered 47/75 in pencil to marginetching | 5 3/4 x 7 3/4 inches

exhibited: impressions are in the collections of the National Galleries of Scotland, Edinburgh; the McManus Gallery, Dundee, and the British Museum, London


25.


Rocky Landscape, Ross-shire1933; signed and dated 33 in plate;signed and numbered 18/75 in pencil to marginetching | 6 x 8 inches

26.

GEORGE WILLIAM LENNOX PATERSON (1915-1986)

Hen Harriersigned, titled and numbered 7/100 in pencil to marginwoodcut | 7 3/4 x 6 inches

27.

DAVID SINCLAIR (b.1937)

Broken Shelfsigned, titled and numbered 4/12 in pencil to marginetching | 8 x 9 1/2 inches

provenance: the artist’s studio

28.


Jugs on Tablesigned, titled and numbered 2/25 in pencil to marginetching | 23 3/4 x 17 3/4 inches


29.


Timetablesigned, titled and numbered 1/25 in pencil to marginetching | 14 1/2 x 11 3/4 inches


30.


Waitingsigned, titled and numbered 6/20 in pencil to marginetching | 11 3/4 x 14 1/4 inches


31.


The Wall Beside an Armoiresigned, titled and numbered 2/10 in pencil to marginetching | 14 1/2 x 11 3/4 inches


32.

The Fine Art Societyin Edinburgh6 Dundas Street, Edinburgh, EH3 6HZ+44 (0)131 557 [email protected]

Published by The Fine Art Society in Edinburghfor the exhibition

held at 6 Dundas Street, Edinburgh, EH3 6HZfrom 15 January to 10 February 2018

Catalogue © The Fine Art Society in EdinburghImages © The Fine Art Society in Edinburgh; John McKenzie PhotographyAll rights reserved

Front cover (detail): 13. William Wilson, The Farm (with figure)Inside front cover (detail): 4. Sir David Young Cameron, Doge’s PalaceLeft (detail): 26. James McIntosh Patrick, Rocky Landscape, RosshireBack cover (detail): 6. James McBey, Mirage



Documents

The Fine Art Society in Edinburgh 20th CENTURY ......20th CENTURY PRINTMAKING The Fine Art Society in Edinburgh 15 JANUARY - 10 FEBRUARY 2018 20th CENTURY PRINTMAKING The Fine Art