{"title":"Modern","description":"\u003cp data-start=\"411\" data-end=\"703\"\u003eThis collection brings together works that bridge tradition and modernity, including Impressionist, Post-Impressionist, tonal, and decorative styles. Often marked by looser handling, atmosphere, and a more expressive use of colour and light, these works feel fresh while remaining accessible.\u003c\/p\u003e","products":[{"product_id":"emil-clahr-oil-painting-swedish-rural-landscape-fabodar-signed-nordic-art","title":"Emil Clahr - Swedish Rural Landscape “Fäbodar”","description":"\u003cp data-start=\"125\" data-end=\"224\"\u003e\u003cstrong data-start=\"125\" data-end=\"165\"\u003eEmil Clahr – \u003cem data-start=\"140\" data-end=\"149\"\u003eFäbodar\u003c\/em\u003e (Bro, Västbo), \u003c\/strong\u003e\u003cstrong data-start=\"168\" data-end=\"224\"\u003eSigned Swedish Rural Landscape, Oil on Board, Framed\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"226\" data-end=\"578\"\u003eAn original mid-20th-century oil on board by Emil Clahr, depicting a traditional Swedish rural fäbod scene with pasture, timber buildings, and rolling countryside. The composition captures the quiet character of the Scandinavian landscape with confidence and restraint, balancing pastoral simplicity with a strong sense of atmosphere and place.\u003c\/p\u003e\n\u003cp data-start=\"580\" data-end=\"1101\"\u003eClahr handles the scene in a modernist, expressionist-inflected style, using simplified forms, expressive brushwork, and a harmonious palette to create a composition that feels both structured and gently evocative. The buildings sit naturally within the landscape, while the broader arrangement of fields and rising ground gives the painting a calm and balanced decorative presence. The result is a characterful example of Nordic rural painting from the post-war period, with both visual warmth and regional identity.\u003c\/p\u003e\n\u003cp data-start=\"1103\" data-end=\"1498\"\u003eThe reverse bears the artist’s handwritten inscription “Fäbodmotiv (Bro, Västbo)”, identifying the subject and location and adding useful documentary interest. This connection to traditional pastoral life in Sweden gives the work an added cultural depth, making it especially appealing to collectors of Scandinavian art, modernist landscape painting, and regional rural subjects.\u003c\/p\u003e\n\u003cp data-start=\"1500\" data-end=\"1733\"\u003eSigned lower right and presented in a decorative late 20th-century frame, the painting displays very well and is ready to hang. A pleasing and authentic Swedish landscape with strong decorative value and a distinctive sense of place.\u003c\/p\u003e\n\u003cp data-start=\"1735\" data-end=\"2381\"\u003e\u003cstrong data-start=\"1735\" data-end=\"1746\"\u003eDetails\u003c\/strong\u003e\u003cbr data-start=\"1746\" data-end=\"1749\"\u003eArtist: Emil Clahr\u003cbr data-start=\"1771\" data-end=\"1774\"\u003eTitle: \u003cem data-start=\"1785\" data-end=\"1794\"\u003eFäbodar\u003c\/em\u003e \/ \u003cem data-start=\"1797\" data-end=\"1823\"\u003eFäbodmotiv (Bro, Västbo)\u003c\/em\u003e\u003cbr data-start=\"1823\" data-end=\"1826\"\u003eMedium: Oil on board\u003cbr data-start=\"1850\" data-end=\"1853\"\u003eSignature: Signed lower right\u003cbr data-start=\"1886\" data-end=\"1889\"\u003eImage size: 38 × 48 cm\u003cbr data-start=\"1915\" data-end=\"1918\"\u003eFramed size: 47 × 57 cm\u003cbr data-start=\"1945\" data-end=\"1948\" data-is-only-node=\"\"\u003eDate: Mid to late 20th century, undated\u003cbr data-start=\"1991\" data-end=\"1994\"\u003eCondition: Good overall condition. The paint surface is clean and stable, with no visible losses, lifting, or restoration. Colours remain fresh and well preserved, and the painting displays very well overall.\u003cbr data-start=\"2206\" data-end=\"2209\"\u003eFrame: Presented in a decorative late 20th-century frame with hanging wire. Ready to hang.\u003cbr data-start=\"2303\" data-end=\"2306\"\u003eProvenance: Handwritten inscription verso: \u003cem data-start=\"2353\" data-end=\"2381\"\u003e“Fäbodmotiv (Bro, Västbo)”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-start=\"2383\" data-end=\"2465\"\u003eThis is a genuine one-of-a-kind original artwork, not a print or reproduction.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":53563943846229,"sku":null,"price":145.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/SwedishLandscapePlate.jpg?v=1774906386"},{"product_id":"elisabeth-fairthorne-oil-painting-backwater-1937-signed-british-landscape","title":"Elisabeth Fairthorne - “Backwater” (1937)","description":"\u003cp data-start=\"125\" data-end=\"209\"\u003e\u003cstrong data-start=\"125\" data-end=\"163\"\u003eElisabeth Fairthorne – \u003cem data-start=\"150\" data-end=\"161\"\u003eBackwater, \u003c\/em\u003e\u003c\/strong\u003e\u003cstrong data-start=\"166\" data-end=\"209\"\u003eSigned Oil on Board, Dated 1937, Framed\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"211\" data-end=\"563\"\u003eAn original oil on board by Elisabeth Fairthorne, signed and dated 1937, depicting a tranquil riverside scene titled \u003cem data-start=\"336\" data-end=\"347\"\u003eBackwater\u003c\/em\u003e. The composition shows a quiet stretch of water with reflections, a footbridge, and a building partly screened by trees, capturing the calm and secluded atmosphere of a Thames-side backwater with considerable charm.\u003c\/p\u003e\n\u003cp data-start=\"565\" data-end=\"1047\"\u003ePainted during the interwar period, the work sits comfortably within the tradition of British landscape painting of the 1930s, combining careful observation with confident, painterly handling. Fairthorne’s brushwork gives the surface pleasing movement and texture, while the treatment of light across the water and foliage creates depth and a strong sense of place. The natural palette is harmonious and restrained, giving the picture both atmosphere and decorative versatility.\u003c\/p\u003e\n\u003cp data-start=\"1049\" data-end=\"1258\"\u003eA particularly appealing feature of the painting is its full inscription to the reverse, which reads:\u003cbr data-start=\"1150\" data-end=\"1153\"\u003e\u003cem data-start=\"1153\" data-end=\"1256\"\u003e“Backwater (Shiplake, Henley, Marsh Lock) Elisabeth Fairthorne, 23 Vicarage Road, Henley, Oxon, 1937”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-start=\"1260\" data-end=\"1592\"\u003eThis detailed inscription provides excellent documentary interest, firmly anchoring the work to its Thames Valley setting near Henley-on-Thames and adding a strong sense of authenticity and local character. It transforms the picture from a generic landscape into a clearly identified view, rooted in a specific place and moment.\u003c\/p\u003e\n\u003cp data-start=\"1594\" data-end=\"1922\"\u003eWith its generous scale and quietly atmospheric subject, this is a highly displayable painting, well suited to both traditional and contemporary interiors. It would particularly appeal to collectors of British interwar landscapes, Thames Valley scenes, and original decorative paintings with strong period character.\u003c\/p\u003e\n\u003cp data-start=\"1924\" data-end=\"2010\"\u003ePresented in a cream-painted wooden frame and fitted with hanging wire, ready to hang.\u003c\/p\u003e\n\u003cp data-start=\"2012\" data-end=\"2872\"\u003e\u003cstrong data-start=\"2012\" data-end=\"2023\"\u003eDetails\u003c\/strong\u003e\u003cbr data-start=\"2023\" data-end=\"2026\"\u003eArtist: Elisabeth Fairthorne\u003cbr data-start=\"2058\" data-end=\"2061\"\u003eTitle: \u003cem data-start=\"2072\" data-end=\"2083\"\u003eBackwater\u003c\/em\u003e\u003cbr data-start=\"2083\" data-end=\"2086\"\u003eMedium: Oil on board\u003cbr data-start=\"2110\" data-end=\"2113\"\u003eSignature: Signed lower right, \u003cem data-start=\"2148\" data-end=\"2157\"\u003e“EF 37”\u003c\/em\u003e\u003cbr data-start=\"2157\" data-end=\"2160\"\u003eInscription verso: Fully inscribed with title, location, address, and date\u003cbr data-start=\"2238\" data-end=\"2241\"\u003eUnframed size: 64 × 82 cm\u003cbr data-start=\"2270\" data-end=\"2273\"\u003eFramed size: 78 × 96 cm\u003cbr data-start=\"2300\" data-end=\"2303\"\u003eDate: 1937\u003cbr data-start=\"2317\" data-end=\"2320\"\u003eCondition: Good vintage condition overall. The paint surface is stable and presents well, with no active flaking or losses. There are two small historic holes to the top centre of the board, possibly from an earlier fixing, as shown in the photographs. A small area of historic retouching is present in the upper left, which is well executed and not easily noticeable under normal viewing conditions. The frame shows light age-related wear with some cracking to the corners.\u003cbr data-start=\"2798\" data-end=\"2801\"\u003eFrame: Cream-painted wooden frame with hanging wire. Ready to hang.\u003c\/p\u003e\n\u003cp data-start=\"2874\" data-end=\"2956\"\u003eThis is a genuine one-of-a-kind original artwork, not a print or reproduction.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":53563943878997,"sku":null,"price":195.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/FairthorneIG.jpg?v=1774905945"},{"product_id":"mid-century-male-portrait-oil-painting-on-board-in-deep-ebonised-frame","title":"Mid-Century Male Portrait","description":"\u003cp data-start=\"125\" data-end=\"196\"\u003e\u003cstrong data-start=\"125\" data-end=\"154\"\u003eMid-Century Male Portrait, \u003c\/strong\u003e\u003cstrong data-start=\"157\" data-end=\"196\"\u003eOil on Board in Deep Ebonised Frame\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"198\" data-end=\"568\"\u003eAn original mid-century oil on board depicting a young man in bust-length view, painted with a confident economy of handling and a restrained, atmospheric palette. The portrait has a strong decorative presence, with the sitter’s direct gaze, softly modelled features, and muted background combining to create an image that feels both characterful and quietly modern.\u003c\/p\u003e\n\u003cp data-start=\"570\" data-end=\"961\"\u003eThe work has a distinctly mid-century sensibility. Simplified forms, a reduced tonal range, and an understated painterly surface give the portrait a calm visual authority, while also making it highly versatile as an interior piece. Though unattributed, it is an assured and visually effective composition, appealing both as a piece of figurative art and as a one-of-a-kind decorative object.\u003c\/p\u003e\n\u003cp data-start=\"963\" data-end=\"1400\"\u003eA particularly striking part of the piece is the frame. The painting is presented in a deep ebonised frame with gilt slip, which gives it unusual wall presence and adds a sculptural, architectural quality to the whole. The frame appears to pre-date the painting and bears a partial Edinburgh trade label to the reverse, referencing 69 Shandwick Place and 19 Salisbury Place, adding a further layer of historical interest.\u003c\/p\u003e\n\u003cp data-start=\"1402\" data-end=\"1689\"\u003eThe result is a distinctive and decorative portrait with strong mid-century character, attractive proportions, and excellent display impact. It would sit particularly well in interiors that favour mid-century design, figurative art, or darker, more atmospheric decorative pieces.\u003c\/p\u003e\n\u003cp data-start=\"1691\" data-end=\"2254\"\u003e\u003cstrong data-start=\"1691\" data-end=\"1702\"\u003eDetails\u003c\/strong\u003e\u003cbr data-start=\"1702\" data-end=\"1705\"\u003eTitle: \u003cem data-start=\"1716\" data-end=\"1743\"\u003eMid-Century Male Portrait\u003c\/em\u003e\u003cbr data-start=\"1743\" data-end=\"1746\"\u003eMedium: Oil on board\u003cbr data-start=\"1770\" data-end=\"1773\"\u003eArtist: Unattributed\u003cbr data-start=\"1797\" data-end=\"1800\"\u003eSignature: Unsigned\u003cbr data-start=\"1823\" data-end=\"1826\"\u003eUnframed size: 29.5 × 24 cm\u003cbr data-start=\"1857\" data-end=\"1860\"\u003eFramed size: 48.5 × 43 × 8 cm\u003cbr data-start=\"1893\" data-end=\"1896\"\u003eDate: Mid-century\u003cbr data-start=\"1917\" data-end=\"1920\"\u003eCondition: Good overall condition with no visible paint losses. Minor age-related scuffs and wear to the frame, as shown in the photographs.\u003cbr data-start=\"2064\" data-end=\"2067\"\u003eFrame: Presented in a striking deep ebonised frame with gilt slip. A partial Edinburgh trade label remains verso, reading “69 Shandwick Place” and “19 Salisbury Place”. Ready to hang.\u003c\/p\u003e\n\u003cp data-start=\"2256\" data-end=\"2338\"\u003eThis is a genuine one-of-a-kind original artwork, not a print or reproduction.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":53563944141141,"sku":null,"price":185.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/MalePortraitPlate.jpg?v=1774899464"},{"product_id":"claude-lasson-floral-still-life-oil-painting-fruit-wine-glass-ornate-gilt-frame","title":"Claude Lasson - Still Life with Flowers, Oranges and Wine Glass","description":"\u003cp data-start=\"90\" data-end=\"157\"\u003e\u003cstrong data-start=\"90\" data-end=\"157\"\u003eClaude Lasson – Still Life with Flowers, Oranges and Wine Glass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"159\" data-end=\"495\"\u003eAn original oil on canvas by Claude Lasson, depicting a richly composed still life of white and red flowers beside oranges and a wine glass. Set against a dark ground and painted with confident, expressive brushwork, the composition has a strong decorative presence, balancing softness, colour and atmosphere with real painterly energy.\u003c\/p\u003e\n\u003cp data-start=\"497\" data-end=\"871\"\u003eThe contrast between the luminous white blooms and the deeper surrounding tones gives the picture immediate impact, while the oranges and glass introduce warmth and clarity across the arrangement. Lasson’s handling is loose and textured, allowing the surface to retain movement and vitality without losing the elegance associated with traditional floral still life painting.\u003c\/p\u003e\n\u003cp data-start=\"873\" data-end=\"1268\"\u003eThis is a work that sits comfortably between classic still life and decorative interior painting. Its palette and composition make it especially effective in a domestic setting, while the substantial ornate gilt frame enhances its sense of richness and display. The result is a painting with both visual charm and practical versatility, equally suited to traditional and more eclectic interiors.\u003c\/p\u003e\n\u003cp data-start=\"1270\" data-end=\"1431\"\u003ePresented in an ornate gilt frame and ready to hang, the painting also retains a paper label verso. A handsome 20th century original with strong interior appeal.\u003c\/p\u003e\n\u003cp data-start=\"1433\" data-end=\"1991\"\u003e\u003cstrong data-start=\"1433\" data-end=\"1444\"\u003eDetails\u003c\/strong\u003e\u003cbr data-start=\"1444\" data-end=\"1447\"\u003eMedium: Oil on canvas\u003cbr data-start=\"1468\" data-end=\"1471\"\u003eArtist: Claude Lasson\u003cbr data-start=\"1492\" data-end=\"1495\"\u003eTitle: Still Life with Flowers, Oranges and Wine Glass\u003cbr data-start=\"1549\" data-end=\"1552\"\u003eFramed Size: 55 × 67 cm\u003cbr data-start=\"1575\" data-end=\"1578\"\u003eImage Size: 40 × 51 cm\u003cbr data-start=\"1600\" data-end=\"1603\"\u003eDate: 20th century\u003cbr data-start=\"1621\" data-end=\"1624\"\u003eCondition: Presented in good overall vintage condition. The paint surface appears stable, with light age-related surface wear and texture consistent with the artist’s painterly handling. There may be minor surface variation and expected signs of age, as visible in the photographs.\u003cbr data-start=\"1905\" data-end=\"1908\"\u003eFrame: Presented in an ornate gilt frame. Ready to hang.\u003cbr data-start=\"1964\" data-end=\"1967\"\u003eLabel: Paper label verso\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":53563944501589,"sku":null,"price":165.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/LassonPlate.jpg?v=1774894772"},{"product_id":"robins-millar-mountain-landscape","title":"Robins Millar - Mountain Landscape","description":"\u003cp data-start=\"54\" data-end=\"105\"\u003e\u003cstrong data-start=\"54\" data-end=\"105\"\u003eRobins Millar – Mountain Landscape, watercolour\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"107\" data-end=\"543\"\u003eA fresh and atmospheric watercolour by the Scottish artist Robins Millar, depicting a mountain landscape with snow-capped peaks, a winding path, and sunlit green slopes beneath a soft, cloud-filled sky. The composition has a lovely sense of depth and movement, drawing the eye from the foreground track into the distant mountains, while the contrast between the bright meadow and the dramatic rock face gives the work real presence.\u003c\/p\u003e\n\u003cp data-start=\"545\" data-end=\"942\"\u003eMillar handles the scene with a confident lightness, using fluid washes and touches of stronger colour to suggest shifting weather, alpine light, and the rugged character of the landscape. The result is both calm and invigorating: a highly decorative and appealing landscape that works beautifully as an interior piece while retaining the freshness and immediacy that make watercolour so engaging.\u003c\/p\u003e\n\u003cp data-start=\"944\" data-end=\"1193\"\u003eThe work is signed lower left and retains a label verso for the Royal Scottish Society of Painters in Water-Colours, adding further interest to the picture’s history and presentation. It is housed in its frame under glass and displays very well.\u003c\/p\u003e\n\u003cp data-start=\"1195\" data-end=\"1639\"\u003e\u003cstrong data-start=\"1195\" data-end=\"1206\"\u003eDetails\u003c\/strong\u003e\u003cbr data-start=\"1206\" data-end=\"1209\"\u003eMedium: Watercolour on paper\u003cbr data-start=\"1237\" data-end=\"1240\"\u003eArtist: Robins Millar\u003cbr data-start=\"1261\" data-end=\"1264\"\u003eSubject: Mountain landscape\u003cbr data-start=\"1291\" data-end=\"1294\"\u003eSignature: Signed lower left\u003cbr data-start=\"1322\" data-end=\"1325\"\u003eUnframed size: 49 x 34 cm\u003cbr data-start=\"1350\" data-end=\"1353\"\u003eFramed size: 72.5 x 66 cm\u003cbr data-start=\"1378\" data-end=\"1381\"\u003eCondition: Overall in good condition. The watercolour itself presents well and is in good condition. There is slight separation to the frame mitres.\u003cbr data-start=\"1529\" data-end=\"1532\"\u003ePresentation: Framed under glass\u003cbr data-start=\"1564\" data-end=\"1567\"\u003eVerso: Label for the Royal Scottish Society of Painters in Water-Colours\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":53654246588757,"sku":null,"price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/MillarPlate.jpg?v=1775772414"},{"product_id":"victor-dolphyn-rural-european-house-in-the-countryside","title":"Victor Dolphyn - Rural European House in the Countryside","description":"\u003cp data-start=\"87\" data-end=\"163\"\u003e\u003cstrong data-start=\"87\" data-end=\"117\"\u003eVictor Dolphyn (1909–1992) \u003c\/strong\u003e\u003cstrong data-start=\"120\" data-end=\"163\"\u003eRural European House in the Countryside\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"165\" data-end=\"485\"\u003eA charming mid-century oil on canvas by the Belgian painter Victor Dolphyn, depicting a rural house set within a softly rolling European landscape. The composition has a calm, decorative quality, with gently simplified forms, expressive brushwork, and a restrained palette that gives the work both warmth and atmosphere.\u003c\/p\u003e\n\u003cp data-start=\"487\" data-end=\"995\"\u003eThe painting is especially appealing for the way the house sits naturally within the landscape, surrounded by trees and open ground, creating a scene that feels both tranquil and quietly romantic. Dolphyn’s handling is confident but not overstated, allowing the picture to retain a sense of freshness while still feeling balanced and composed. It is a work with an unmistakably continental character, well suited to traditional interiors as well as more modern spaces seeking a piece with softness and charm.\u003c\/p\u003e\n\u003cp data-start=\"997\" data-end=\"1262\"\u003eVictor Dolphyn was a Belgian painter known for landscapes, town views, still lifes, and figures, and this painting is a good example of the decorative appeal of his landscape work. The subject is timeless and versatile, making it an easy piece to place in the home.\u003c\/p\u003e\n\u003cp data-start=\"1264\" data-end=\"1382\"\u003ePresented in its frame and ready to hang, this is an attractive original oil painting with strong decorative presence.\u003c\/p\u003e\n\u003cp data-start=\"1384\" data-end=\"2029\"\u003e\u003cstrong data-start=\"1384\" data-end=\"1395\"\u003eDetails\u003c\/strong\u003e\u003cbr data-start=\"1395\" data-end=\"1398\"\u003eMedium: Oil on canvas\u003cbr data-start=\"1419\" data-end=\"1422\"\u003eArtist: Victor Dolphyn (Belgian, 1909–1992)\u003cbr data-start=\"1465\" data-end=\"1468\"\u003eSignature: Signed lower left\u003cbr data-start=\"1496\" data-end=\"1499\"\u003eSubject: Rural European house in the countryside\u003cbr data-start=\"1547\" data-end=\"1550\"\u003eUnframed size: 49.5 x 64 cm\u003cbr data-start=\"1577\" data-end=\"1580\" data-is-only-node=\"\"\u003eFramed size: 64.5 x 80 cm\u003cbr data-start=\"1605\" data-end=\"1608\"\u003eCondition: Original oil on canvas in good vintage condition overall, with light age-related surface wear. There are some small areas of loss, though these do not detract from the overall appearance of the piece. The canvas stretcher sits ever so slightly loose within the frame, but the picture remains well presented. The frame shows light general wear consistent with age and handling.\u003cbr data-start=\"1995\" data-end=\"1998\"\u003eFrame: Framed and ready to hang\u003c\/p\u003e\n\u003cp data-start=\"2031\" data-end=\"2102\"\u003eThis is an original one-of-a-kind artwork, not a print or reproduction.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":53659985314133,"sku":null,"price":295.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/DolphynPlate.jpg?v=1775852591"},{"product_id":"william-shirriffs-partridge-in-a-pear-tree-1966","title":"William Shirriffs - Partridge in a Pear Tree (1966)","description":"\u003cp data-start=\"0\" data-end=\"73\"\u003e\u003cstrong data-start=\"0\" data-end=\"73\"\u003eWilliam Shirriffs – Partridge in a Pear Tree, 1966 – Gouache Painting\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"75\" data-end=\"363\"\u003eA charming and highly decorative mid-century gouache by William Shirriffs, signed and dated 1966. The work depicts a white partridge perched within a stylised pear tree, set against a deep black ground filled with patterned leaves, white blossom-like forms, and delicate starry detailing.\u003c\/p\u003e\n\u003cp data-start=\"365\" data-end=\"840\"\u003eThe subject immediately recalls the familiar Christmas carol line, “a partridge in a pear tree,” but the treatment is far from conventional. Rather than a naturalistic bird study, Shirriffs gives the image a strong folk-art and illustrative quality, with flat areas of colour, rhythmic patterning, and a wonderfully graphic sense of design. The contrast between the white bird, green foliage, warm brown branches, and dark background gives the piece real decorative presence.\u003c\/p\u003e\n\u003cp data-start=\"842\" data-end=\"1216\"\u003ePainted in 1966, it sits well within the broader taste for bold mid-century design and would make an attractive seasonal display piece, while remaining visually strong enough to hang year-round. It is presented under glass in an ornate frame which appears to be gilt beneath a later layer of white paint, giving it a bright decorative finish that suits the composition well.\u003c\/p\u003e\n\u003cp data-start=\"1218\" data-end=\"1229\"\u003e\u003cstrong data-start=\"1218\" data-end=\"1229\"\u003eDetails\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"1231\" data-end=\"1902\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e\u003cstrong data-start=\"1231\" data-end=\"1242\"\u003eArtist:\u003c\/strong\u003e William Shirriffs\u003cbr data-start=\"1260\" data-end=\"1263\"\u003e\u003cstrong data-start=\"1263\" data-end=\"1273\"\u003eTitle:\u003c\/strong\u003e \u003cem data-start=\"1274\" data-end=\"1300\"\u003ePartridge in a Pear Tree\u003c\/em\u003e\u003cbr data-start=\"1300\" data-end=\"1303\"\u003e\u003cstrong data-start=\"1303\" data-end=\"1312\"\u003eDate:\u003c\/strong\u003e 1966\u003cbr data-start=\"1317\" data-end=\"1320\"\u003e\u003cstrong data-start=\"1320\" data-end=\"1331\"\u003eMedium:\u003c\/strong\u003e Gouache\u003cbr data-start=\"1339\" data-end=\"1342\"\u003e\u003cstrong data-start=\"1342\" data-end=\"1356\"\u003eSignature:\u003c\/strong\u003e Signed and dated lower centre\u003cbr data-start=\"1386\" data-end=\"1389\"\u003e\u003cstrong data-start=\"1389\" data-end=\"1407\"\u003eUnframed Size:\u003c\/strong\u003e 60 x 45 cm\u003cbr data-start=\"1418\" data-end=\"1421\"\u003e\u003cstrong data-start=\"1421\" data-end=\"1437\"\u003eFramed Size:\u003c\/strong\u003e 68 x 53 cm\u003cbr data-start=\"1448\" data-end=\"1451\"\u003e\u003cstrong data-start=\"1451\" data-end=\"1461\"\u003eFrame:\u003c\/strong\u003e Ornate gilt frame with white paint applied over the surface, glazed\u003cbr data-start=\"1529\" data-end=\"1532\"\u003e\u003cstrong data-start=\"1532\" data-end=\"1546\"\u003eCondition:\u003c\/strong\u003e Presented under glass and not examined out of the frame. There are a few very small flecks visible between the glass and the painted surface, but these are minor and barely noticeable in normal display. The frame has some age-related wear, but remains in good overall condition and is very presentable. Please see photographs for condition and appearance.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":53784130027861,"sku":null,"price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/SherrifsPlate.jpg?v=1777395663"},{"product_id":"vladimir-isaakovich-erlikh-sunflowers","title":"Vladimir Isaakovich Erlikh — Sunflowers","description":"\u003ch3 data-section-id=\"1mddlv2\" data-start=\"0\" data-end=\"67\"\u003eVladimir Isaakovich Erlikh — Sunflowers, Oil on Canvas\u003c\/h3\u003e\n\u003cp data-start=\"69\" data-end=\"452\"\u003eA vibrant mid-20th-century oil painting by Vladimir Isaakovich Erlikh (1924–2001), depicting a richly worked still life of sunflowers and wild flowers against a deep green ground. The composition is full of movement, with thick, expressive brushwork and strong contrasts between the bright yellow flower heads, blue and white accents, and the darker surrounding foliage.\u003c\/p\u003e\n\u003cp data-start=\"454\" data-end=\"804\"\u003eThe work is signed lower right in Cyrillic, reading В. Эрлих \/ V. Erlikh, and is also inscribed to the reverse. The verso inscription appears to include “Натюрморт”, meaning Still Life, together with the canvas size 60 x 70 cm. There is also a further upper inscription which may relate to a studio, catalogue or inventory number.\u003c\/p\u003e\n\u003cp data-start=\"806\" data-end=\"1080\"\u003eErlikh was a Ukrainian\/Soviet artist associated with Dnipropetrovsk, now Dnipro, and is recorded as a painter of portraits, landscapes and still lifes. This work is a strong example of his floral subject matter, combining decorative richness with a bold, painterly handling.\u003c\/p\u003e\n\u003cp data-start=\"1082\" data-end=\"1297\"\u003ePresented in a gilt-effect frame with decorative border detailing. The painting is in good overall vintage condition, with some light age-related wear to the frame. Please see photographs for full condition details.\u003c\/p\u003e\n\u003cp data-start=\"1299\" data-end=\"1310\"\u003e\u003cstrong data-start=\"1299\" data-end=\"1310\"\u003eDetails\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"1312\" data-end=\"1691\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e\u003cstrong data-start=\"1312\" data-end=\"1323\"\u003eArtist:\u003c\/strong\u003e Vladimir Isaakovich Erlikh \/ Erlich\u003cbr data-start=\"1359\" data-end=\"1362\"\u003e\u003cstrong data-start=\"1362\" data-end=\"1372\"\u003eTitle:\u003c\/strong\u003e Sunflowers \/ Натюрморт\u003cbr data-start=\"1395\" data-end=\"1398\"\u003e\u003cstrong data-start=\"1398\" data-end=\"1409\"\u003eMedium:\u003c\/strong\u003e Oil on canvas\u003cbr data-start=\"1423\" data-end=\"1426\"\u003e\u003cstrong data-start=\"1426\" data-end=\"1440\" data-is-only-node=\"\"\u003eSignature:\u003c\/strong\u003e Signed lower right in Cyrillic\u003cbr data-start=\"1471\" data-end=\"1474\"\u003e\u003cstrong data-start=\"1474\" data-end=\"1483\"\u003eDate:\u003c\/strong\u003e Mid-20th century\u003cbr data-start=\"1500\" data-end=\"1503\"\u003e\u003cstrong data-start=\"1503\" data-end=\"1519\"\u003eFramed Size:\u003c\/strong\u003e 83.5 x 74 cm\u003cbr data-start=\"1532\" data-end=\"1535\"\u003e\u003cstrong data-start=\"1535\" data-end=\"1553\"\u003eUnframed Size:\u003c\/strong\u003e 70 x 60 cm\u003cbr data-start=\"1564\" data-end=\"1567\"\u003e\u003cstrong data-start=\"1567\" data-end=\"1577\"\u003eFrame:\u003c\/strong\u003e Gilt-effect frame\u003cbr data-start=\"1595\" data-end=\"1598\"\u003e\u003cstrong data-start=\"1598\" data-end=\"1612\"\u003eCondition:\u003c\/strong\u003e Good overall vintage condition; light age-related frame wear; inscribed verso.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":53784343413077,"sku":null,"price":495.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/ErlichPlate.jpg?v=1777398296"},{"product_id":"mary-armour-rsa-rsw-auchenhean-lochwinnoch","title":"Mary Armour RSA RSW - Auchenhean, Lochwinnoch","description":"\u003cp data-end=\"82\" data-start=\"33\"\u003e\u003cstrong data-end=\"82\" data-start=\"33\"\u003eMary Armour RSA RSW – Auchenhean, Lochwinnoch\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-end=\"321\" data-start=\"84\"\u003eOriginal pastel on paper by Mary Armour RSA RSW (Scottish, 1902–2000), depicting Auchenhean near Lochwinnoch in Renfrewshire. Signed and dated ’62 lower right, with a handwritten label verso giving the artist, title, address, and medium.\u003c\/p\u003e\n\u003cp data-end=\"783\" data-start=\"323\"\u003eThe work is a lively and atmospheric Scottish landscape, handled with Armour’s characteristic confidence in colour and mark-making. Trees, cottages, paths, and patches of autumnal light are built up in broad, energetic pastel strokes, giving the scene a strong sense of immediacy. Rather than a tightly descriptive view, the composition feels observed quickly and directly, with the dark trunks and blue-grey roofs set against warm yellows, greens, and ochres.\u003c\/p\u003e\n\u003cp data-end=\"1084\" data-start=\"785\"\u003eMary Armour was an important Scottish painter and teacher, associated with Glasgow School of Art and elected to the RSA and RSW. Although especially admired for her still lifes and flower paintings, this landscape shows the same boldness of colour and expressive handling that characterise her wider work.\u003c\/p\u003e\n\u003cp data-end=\"1401\" data-start=\"1086\"\u003ePresented in a glazed frame. The work appears to have been reframed in 2024 by Framework Picture Framers, Newhaven, as indicated by the framer’s label verso. The older handwritten label has been retained and pasted onto the new backing board, apparently having been cut from the backing board of the previous frame.\u003c\/p\u003e\n\u003cp data-end=\"1414\" data-start=\"1403\"\u003e\u003cstrong data-end=\"1414\" data-start=\"1403\"\u003eDetails\u003cbr\u003e\u003c\/strong\u003e\u003cstrong data-end=\"1427\" data-start=\"1416\"\u003eArtist:\u003c\/strong\u003e Mary Armour RSA RSW\u003cbr data-end=\"1450\" data-start=\"1447\"\u003e\u003cstrong data-end=\"1460\" data-start=\"1450\"\u003eTitle:\u003c\/strong\u003e \u003cem data-end=\"1486\" data-start=\"1461\"\u003eAuchenhean, Lochwinnoch\u003c\/em\u003e\u003cbr data-end=\"1489\" data-start=\"1486\"\u003e\u003cstrong data-end=\"1498\" data-start=\"1489\"\u003eDate:\u003c\/strong\u003e 1962\u003cbr data-end=\"1506\" data-start=\"1503\"\u003e\u003cstrong data-end=\"1517\" data-start=\"1506\"\u003eMedium:\u003c\/strong\u003e Pastel on paper\u003cbr data-end=\"1536\" data-start=\"1533\"\u003e\u003cstrong data-end=\"1547\" data-start=\"1536\"\u003eSigned:\u003c\/strong\u003e Signed and dated lower right\u003cbr data-end=\"1579\" data-start=\"1576\"\u003e\u003cstrong data-end=\"1595\" data-start=\"1579\"\u003eFramed Size:\u003c\/strong\u003e 49 x 34 cm\u003cbr data-end=\"1609\" data-start=\"1606\"\u003e\u003cstrong data-end=\"1624\" data-start=\"1609\"\u003eImage Size:\u003c\/strong\u003e 44 x 29 cm\u003cbr data-end=\"1638\" data-start=\"1635\"\u003e\u003cstrong data-end=\"1648\" data-start=\"1638\"\u003eFrame:\u003c\/strong\u003e Glazed frame, reframed in 2024\u003cbr data-end=\"1682\" data-start=\"1679\"\u003e\u003cstrong data-end=\"1696\" data-start=\"1682\"\u003eCondition:\u003c\/strong\u003e Good condition. Presented cleanly in its current frame, with the original\/earlier handwritten label retained on the reverse.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":53837535248725,"sku":null,"price":395.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/Mary_Armour_Plate.jpg?v=1778088416"},{"product_id":"woodland-river-scene","title":"Woodland River Scene","description":"\u003cp data-start=\"0\" data-end=\"81\"\u003e\u003cstrong data-start=\"0\" data-end=\"81\"\u003eLarge 19th Century Woodland River Landscape Oil Painting, Signed Indistinctly\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"83\" data-end=\"417\"\u003eA large and atmospheric 19th-century woodland landscape, oil on canvas, depicting a shaded forest interior with a narrow river or stream running through the centre of the composition. Tall trees frame the scene on either side, while the reflective water draws the eye into the distance, creating a strong sense of depth and stillness.\u003c\/p\u003e\n\u003cp data-start=\"419\" data-end=\"816\"\u003eThe work is richly painted, with expressive brushwork and a deep palette of greens, blue-greens, yellows and shadowed earth tones. The handling of the foliage is particularly effective, capturing the impression of light filtering through dense leaves and branches. The scale gives the painting an impressive decorative presence, while the composition retains a quiet, intimate woodland atmosphere.\u003c\/p\u003e\n\u003cp data-start=\"1061\" data-end=\"1099\"\u003ePresented in a gold painted wooden frame.\u003c\/p\u003e\n\u003cp data-start=\"1101\" data-end=\"1112\"\u003e\u003cstrong data-start=\"1101\" data-end=\"1112\"\u003eDetails\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"1114\" data-end=\"1370\"\u003e\u003cstrong data-start=\"1114\" data-end=\"1125\"\u003eMedium:\u003c\/strong\u003e Oil on canvas\u003cbr data-start=\"1139\" data-end=\"1142\"\u003e\u003cstrong data-start=\"1142\" data-end=\"1153\"\u003eArtist:\u003c\/strong\u003e 19th Century School, signed indistinctly\u003cbr data-start=\"1194\" data-end=\"1197\"\u003e\u003cstrong data-start=\"1197\" data-end=\"1209\"\u003eSubject:\u003c\/strong\u003e Woodland river landscape\u003cbr data-start=\"1234\" data-end=\"1237\"\u003e\u003cstrong data-start=\"1237\" data-end=\"1246\"\u003eDate:\u003c\/strong\u003e 19th century\u003cbr data-start=\"1259\" data-end=\"1262\" data-is-only-node=\"\"\u003e\u003cstrong data-start=\"1262\" data-end=\"1280\"\u003eUnframed Size:\u003c\/strong\u003e 103 × 88 cm\u003cbr data-start=\"1292\" data-end=\"1295\"\u003e\u003cstrong data-start=\"1295\" data-end=\"1311\"\u003eFramed Size:\u003c\/strong\u003e Approx. 120 × 105 cm\u003cbr data-start=\"1332\" data-end=\"1335\"\u003e\u003cstrong data-start=\"1335\" data-end=\"1345\"\u003eFrame:\u003c\/strong\u003e Gold painted wooden frame\u003cbr\u003e\u003cstrong data-start=\"1372\" data-end=\"1386\"\u003eCondition: \u003c\/strong\u003eThe painting previously had a hole\/puncture to the canvas, which has been repaired and retouched. There is some remaining surface dirt, craquelure and general age-related wear. There is also a small area of uneven varnish\/gloss which is visible under certain lighting. The work presents very well overall, with strong decorative impact and rich colouring.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":53860800430421,"sku":null,"price":495.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/ForestPlate.jpg?v=1778334188"},{"product_id":"william-drummond-bone-r-s-w-a-r-s-a-corrag-buidhe","title":"William Drummond Bone R.S.W. A.R.S.A. - Corrag Buidhe","description":"\u003cp data-start=\"0\" data-end=\"80\"\u003e\u003cstrong\u003eWilliam Drummond Bone R.S.W. A.R.S.A. – \u003cem data-start=\"33\" data-end=\"48\"\u003eCorrag Buidhe\u003c\/em\u003e, Scottish Highland Oil Painting\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"82\" data-end=\"426\"\u003eOriginal oil on board by the Scottish artist William Drummond Bone RSW ARSA, depicting a dramatic Highland loch landscape beneath brooding hills and heavy cloud. The composition is painted with vigorous, expressive brushwork, using deep greens, browns, greys and muted silvery tones to create a strong sense of weather, distance and atmosphere.\u003c\/p\u003e\n\u003cp data-start=\"428\" data-end=\"820\"\u003eThe title, \u003cem data-start=\"439\" data-end=\"454\"\u003eCorrag Buidhe\u003c\/em\u003e, appears to refer to the Corrag Buidhe \/ Corrag Bhuidhe area associated with An Teallach in Wester Ross, one of Scotland’s most dramatic mountain landscapes. Rather than presenting the scene in crisp topographical detail, Bone captures the feeling of the place: dark slopes, shifting light, rough Highland weather and the pale sweep of water held between the hills.\u003c\/p\u003e\n\u003cp data-start=\"822\" data-end=\"1192\"\u003eBone studied at Glasgow School of Art and later joined its staff, eventually becoming a senior lecturer. He was the nephew of Sir Muirhead Bone and painted landscapes, seascapes and figure subjects in both oil and watercolour. This work is a strong example of his expressive Scottish landscape painting, with a particularly atmospheric treatment of the Highland setting.\u003c\/p\u003e\n\u003cp data-start=\"1194\" data-end=\"1436\"\u003eThe painting is signed lower right and is framed, with artist and title labels verso. A powerful mid-20th-century Scottish landscape, well suited to collectors of Highland views, Glasgow School artists and expressive modern Scottish painting.\u003c\/p\u003e\n\u003cp data-start=\"1438\" data-end=\"1700\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e William Drummond Bone R.S.W. A.R.S.A.\u003cbr data-start=\"1476\" data-end=\"1479\"\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cem data-start=\"1486\" data-end=\"1501\"\u003eCorrag Buidhe\u003c\/em\u003e\u003cbr data-start=\"1501\" data-end=\"1504\"\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Oil on board\u003cbr data-start=\"1524\" data-end=\"1527\"\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e Undated, mid-20th century\u003cbr data-start=\"1558\" data-end=\"1561\"\u003e\u003cstrong\u003eFramed size:\u003c\/strong\u003e 61 x 77 cm\u003cbr data-start=\"1584\" data-end=\"1587\"\u003e\u003cstrong\u003eBoard size:\u003c\/strong\u003e 44 x 60 cm\u003cbr data-start=\"1617\" data-end=\"1620\"\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Signed lower right\u003cbr data-start=\"1649\" data-end=\"1652\"\u003e\u003cstrong\u003eFrame:\u003c\/strong\u003e Gilt frame\u003cbr data-start=\"1669\" data-end=\"1672\"\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Labelled verso\u003cbr\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eThe painting is in good overall vintage condition, with some age-related surface dirt and general wear. The frame has visible rubbing, marks and small losses in places, including some wear to the edges, but remains presentable and suits the work well. The Blu-Tac in the photos has been removed. The labels verso show age, wear and old tape. Please see photographs for details.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":54121156903253,"sku":null,"price":395.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/BonePlate.jpg?v=1781195177"},{"product_id":"boris-spornikov-solovetsky-monastery","title":"Boris Spornikov - Solovetsky Monastery","description":"\u003cp\u003e\u003cstrong\u003eBoris Spornikov \u003cmeta charset=\"utf-8\"\u003e(Ukrainian, 1930–2005) – Solovetsky Monastery, White Sea, Oil on Board\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOriginal oil on board by Ukrainian artist Boris Spornikov, depicting Solovetsky Monastery on the White Sea. The fortified monastery is shown beside calm water, with its rounded towers, heavy walls and russet roofs set against a pale blue sky. Small figures and sailing boats animate the scene, while the loose, expressive handling gives the work a bright, atmospheric quality.\u003c\/p\u003e\n\u003cp\u003eThe identified subject gives the painting considerable historical interest. Solovetsky Monastery is not only one of the great monastic and fortified sites of northern Russia, but also carries a darker 20th-century history through its association with Soviet imprisonment and repression. This context connects especially well with the accompanying exhibition material for Spornikov’s Requiem Rus series, which dealt directly with victims of Soviet persecution.\u003c\/p\u003e\n\u003cp\u003eThe work is signed lower right and presented in a gilt frame. It is accompanied by related early-1990s exhibition ephemera for Ukrainian art shown in Edinburgh and Haddington, including material relating to Spornikov and his politically charged Requiem Rus collection. A distinctive and historically resonant work by a Ukrainian artist, combining architectural landscape with deeper cultural and political significance.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Boris Spornikov\u003cbr\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Solovetsky Monastery, White Sea\u003cbr\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Oil on board\u003cbr\u003e\u003cstrong\u003eFramed size: \u003c\/strong\u003e46 x 36 cm\u003cbr\u003e\u003cstrong\u003eUnframed size:\u003c\/strong\u003e 38 x 23.5 cm\u003cbr\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Signed lower right\u003cbr\u003e\u003cstrong\u003eFrame:\u003c\/strong\u003e Gilt frame\u003cbr\u003e\u003cstrong\u003eProvenance: \u003c\/strong\u003eAccompanied by related Ukrainian art exhibition pamphlets, including material for Spornikov’s Requiem Rus series\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e The painting is in good overall vintage condition, with light age-related surface wear visible in places. The frame has general age-related wear, surface marks and small knocks, in keeping with its age. Please see photographs for details.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":54237719069013,"sku":null,"price":395.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/SporikovPlate.jpg?v=1782685423"},{"product_id":"joel-m-roman-living-room-coffee-table","title":"Joel M. Roman — Living Room Coffee Table","description":"\u003cp data-start=\"0\" data-end=\"59\" class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong data-start=\"0\" data-end=\"59\"\u003eJoel M. Roman – Living Room Coffee Table, 1978, Gouache\u003c\/strong\u003e\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"61\" data-end=\"503\"\u003eOriginal gouache by American artist Joel M. Roman, depicting a brightly coloured living-room interior centred around a glass coffee table. The table is filled with decorative objects, flowers, fruit, blue-and-white ceramics and reflective glassware, set against a vivid blue sofa and a bold geometric rug. The composition has a strong sense of colour and pattern, with the domestic still life arranged almost like an interior-design vignette.\u003c\/p\u003e\n\u003cp data-start=\"505\" data-end=\"906\"\u003eRoman’s background in both painting and interior design gives this work particular appeal. Rather than a simple still life, the scene brings together many of the subjects associated with his work: colour, architecture, interiors, horticulture and personal objects. The result is a richly decorative 1970s interior study, full of saturated blues, oranges, reds and greens, with a lively modernist feel.\u003c\/p\u003e\n\u003cp data-start=\"908\" data-end=\"1190\"\u003eThe work is signed and dated 1978 lower left and is presented in a glazed frame with a wide textile mount. A stylish and highly decorative American gouache, well suited to an interior scheme and especially appealing for collectors of 1970s design, still life and domestic interiors.\u003c\/p\u003e\n\u003cp data-start=\"1192\" data-end=\"1747\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e\u003cstrong data-start=\"1192\" data-end=\"1203\"\u003eArtist:\u003c\/strong\u003e Joel M. Roman\u003cbr data-start=\"1217\" data-end=\"1220\"\u003e\u003cstrong data-start=\"1220\" data-end=\"1230\"\u003eTitle:\u003c\/strong\u003e Living Room Coffee Table\u003cbr data-start=\"1255\" data-end=\"1258\"\u003e\u003cstrong data-start=\"1258\" data-end=\"1267\" data-is-only-node=\"\"\u003eDate:\u003c\/strong\u003e 1978\u003cbr data-start=\"1272\" data-end=\"1275\"\u003e\u003cstrong data-start=\"1275\" data-end=\"1286\"\u003eMedium:\u003c\/strong\u003e Gouache\u003cbr data-start=\"1294\" data-end=\"1297\"\u003e\u003cstrong data-start=\"1297\" data-end=\"1313\"\u003eFramed size:\u003c\/strong\u003e 43 x 52 cm\u003cbr data-start=\"1324\" data-end=\"1327\"\u003e\u003cstrong data-start=\"1327\" data-end=\"1342\"\u003eImage size:\u003c\/strong\u003e 20 x 28.5 cm\u003cbr data-start=\"1355\" data-end=\"1358\"\u003e\u003cstrong data-start=\"1358\" data-end=\"1372\"\u003eSignature:\u003c\/strong\u003e Signed and dated lower left\u003cbr data-start=\"1400\" data-end=\"1403\"\u003e\u003cstrong data-start=\"1403\" data-end=\"1413\"\u003eFrame:\u003c\/strong\u003e Glazed frame with textile mount\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong data-start=\"34\" data-end=\"48\"\u003eCondition:\u003c\/strong\u003e The painting appears in good overall vintage condition. There are some age-related marks and light discolouration to the mount, along with general surface wear, rubbing and small knocks to the frame. The backing paper has torn in places. The work has not been examined out of its frame. Please see photographs for details.\u003cbr\u003e\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":54275005841749,"sku":null,"price":295.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/RomanPlate.jpg?v=1783028157"},{"product_id":"vintage-village-chapel-watercolour-painting","title":"Village Chapel","description":"\u003cp\u003e\u003cstrong\u003eVillage Chapel Watercolour Painting – Signed \u0026amp; Framed\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAn atmospheric watercolour depicting a quiet village chapel surrounded by cottages, hedgerows and open countryside. Signed indistinctly to the lower left, the painting is likely British and dates from the mid to late 20th century.\u003c\/p\u003e\n\u003cp\u003eThe chapel tower rises prominently above the surrounding buildings, partially obscured by the dark, twisting branches of a mature tree. A simple post-and-wire fence stretches across the foreground, separating the buildings from the rough grass and fields beyond. The closely grouped cottages, chimney stacks and church architecture give the composition the character of a secluded rural settlement.\u003c\/p\u003e\n\u003cp\u003eExecuted in a restrained palette of muted blue-greens, soft greys, ochres and pale stone tones, the painting has a distinctly cool and contemplative atmosphere. Delicate watercolour washes are combined with darker linear details, particularly in the branches, fencing and architectural outlines. These stronger drawn elements provide structure and contrast against the softly blended sky and buildings.\u003c\/p\u003e\n\u003cp\u003eThe artist has simplified the forms without losing the individual character of the scene. Subtle variations in colour suggest weathered stonework, rendered walls and different roof surfaces, while loosely applied marks describe the hedges and vegetation surrounding the chapel. The resulting composition has a decorative, almost illustrative quality associated with British post-war watercolour painting.\u003c\/p\u003e\n\u003cp\u003ePresented under glass in a narrow gilt-toned wooden frame with a wide cream mount and fine gold inner border. An appealing and highly decorative rural watercolour, particularly well suited to a traditional, country-house or cottage-inspired interior.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Signed indistinctly\u003cbr\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Village Chapel\u003cbr\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e Mid to late 20th century\u003cbr\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Watercolour, with ink or pen detailing\u003cbr\u003e\u003cstrong\u003eSigned:\u003c\/strong\u003e Signed indistinctly lower left\u003cbr\u003e\u003cstrong\u003eImage size:\u003c\/strong\u003e 27cm x 36.5cm\u003cbr\u003e\u003cstrong\u003eFramed size:\u003c\/strong\u003e 53cm x 44.5cm\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e \u003cmeta charset=\"utf-8\"\u003ePresented in good overall vintage condition. Some light age-related toning and minor marks are visible to the painting and mount. There are also a few small flecks of material within the mount, as detailed in the photographs, though these are minor and do not detract significantly from the overall presentation. Minor surface wear and marks to the frame consistent with age. Glazed and not examined out of the frame.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":54489836618069,"sku":null,"price":245.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/ChurchPlatE.jpg?v=1785280329"},{"product_id":"david-macbeth-sutherland-rsa-in-the-botanical-gardens","title":"David Macbeth Sutherland RSA - In the Botanical Gardens","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca data-encoded-tag-name=\"meta\" data-encoded-tag-value=\"\" data-encoded-attr-charset=\"dXRmLTg=\"\u003eAn expressive original oil on panel by the Scottish artist David Macbeth Sutherland RSA (1883–1973), depicting a mature tree in the Royal Botanic Garden Edinburgh. Rather than presenting a conventional panoramic view of the gardens, Sutherland moves directly beneath the canopy and makes the tree itself the monumental focus of the composition.\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca data-encoded-tag-name=\"meta\" data-encoded-tag-value=\"\" data-encoded-attr-charset=\"dXRmLTg=\"\u003eA sturdy reddish-brown trunk rises through the centre of the panel, while an intricate network of heavy, twisting branches spreads across almost the entire upper half of the image. The garden beyond is compressed into broad passages of fresh green, ochre, russet, grey and muted yellow. Sutherland’s vigorous handling gives the branches an almost animate quality, creating a rhythmic structure that approaches abstraction while remaining firmly rooted in observation.\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca data-encoded-tag-name=\"meta\" data-encoded-tag-value=\"\" data-encoded-attr-charset=\"dXRmLTg=\"\u003eThe tree is most likely a\u003cstrong\u003e \u003c\/strong\u003edeodar or Himalayan cedar (\u003cem\u003eCedrus deodara\u003c\/em\u003e), identifiable by its wide, tiered limbs and characteristically drooping secondary branches. The species was widely introduced into larger Victorian parks and gardens and became an important feature of the Royal Botanic Garden Edinburgh’s historic tree collection. \u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca data-encoded-tag-name=\"meta\" data-encoded-tag-value=\"\" data-encoded-attr-charset=\"dXRmLTg=\"\u003eIt is possible that the painting depicts the Garden’s celebrated deodar planted in 1859 by the Prince of Wales, later King Edward VII. That specimen stood prominently beside a garden path, eventually becoming the tallest tree at the Edinburgh site. The path-side position, spreading lower limbs and surrounding open lawn seen in Sutherland’s painting make the connection particularly tempting, although the precise individual tree cannot be confirmed. The historic cedar was sadly lost following severe damage during Storm Éowyn in January 2025. \u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca data-encoded-tag-name=\"meta\" data-encoded-tag-value=\"\" data-encoded-attr-charset=\"dXRmLTg=\"\u003eBorn in Wick, Caithness, Sutherland studied under Charles Hodge Mackie at the Royal Scottish Academy and continued his training at Edinburgh College of Art. After receiving a Carnegie Travelling Scholarship, he travelled through Spain, France and the Low Countries, experiences that helped introduce a freer and more modern approach to his painting. He later taught at Edinburgh College of Art and, alongside Mary Newbery and Dorothy Johnstone, helped revive the progressive Edinburgh Group. Sutherland married Johnstone in 1924 and became Principal of Gray’s School of Art in Aberdeen in 1933. He is particularly known for his Scottish and Breton landscapes, portraits and figure paintings. \u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca data-encoded-tag-name=\"meta\" data-encoded-tag-value=\"\" data-encoded-attr-charset=\"dXRmLTg=\"\u003eThe loosely worked surface is particularly appealing. Areas of the pale ground remain visible between the brushstrokes, while individual forms are stated with speed and confidence rather than laborious detail. This gives the painting the immediacy of a study made directly before the subject and places it among Sutherland’s more modern and adventurous landscape works.\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"\"\u003e\u003ca data-encoded-tag-name=\"meta\" data-encoded-tag-value=\"\" data-encoded-attr-charset=\"dXRmLTg=\"\u003eThe original Bourne Fine Art label verso identifies the work as \u003cem\u003eIn the Botanical Gardens, Edinburgh\u003c\/em\u003e, records the medium and dimensions, and confirms that it was exhibited as number 19 in the gallery’s Edinburgh Festival Exhibition of 1987. The work additionally carries provenance by descent through the artist’s family, giving it particularly strong documentary history.\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca data-encoded-tag-name=\"meta\" data-encoded-tag-value=\"\" data-encoded-attr-charset=\"dXRmLTg=\"\u003ePresented in a warm wooden frame with a broad cream-painted inner slip. A distinctive and atmospheric Edinburgh painting, combining an important Scottish artist, a historic garden setting and the possible depiction of one of the Royal Botanic Garden’s most celebrated trees.\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca data-encoded-tag-name=\"meta\" data-encoded-tag-value=\"\" data-encoded-attr-charset=\"dXRmLTg=\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e David Macbeth Sutherland RSA\u003cbr\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e In the Botanical Gardens, Edinburgh\u003cbr\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Oil on panel\u003cbr\u003e\u003cstrong\u003eSigned:\u003c\/strong\u003e No signature visible\u003cbr\u003e\u003c\/a\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e Probably 1910s–early 1930s\u003cbr\u003e\u003cstrong\u003eUnframed size:\u003c\/strong\u003e 44.5 × 37.5 cm\u003cbr\u003e\u003cstrong\u003eFramed size:\u003c\/strong\u003e 50 × 43 cm\u003cbr\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e Bourne Fine Art, Edinburgh Festival Exhibition, 1987, no. 19\u003cbr\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e By descent through the artist’s family; Bourne Fine Art, Edinburgh, 1987\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":54492224389461,"sku":null,"price":695.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/MacbethSutherlandPlate.jpg?v=1785326108"},{"product_id":"stella-crawford-fitting-out-at-st-abbs","title":"Stella Crawford - Fitting Out at St Abb's","description":"\u003cp\u003e\u003cstrong\u003eStella Crawford (1921–1991) - Fitting Out at St Abb's\u003c\/strong\u003e\u003cbr\u003eAn atmospheric acrylic on board by the Scottish artist Stella Crawford (1921–1991), depicting fishing boats and harbour buildings at St Abbs on the Berwickshire coast. Signed at the lower right and retaining extensive biographical and exhibition information to the reverse, together with an original artist’s label giving the title \u003cem\u003eFitting Out at St Abb's\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eA working fishing boat dominates the foreground, pulled alongside the harbour wall with its mast, ropes and rigging cutting across the composition. Two figures attend to equipment on the quayside at the left, while the distinctive whitewashed and stone buildings of the harbour rise behind. The title refers to the process of preparing or equipping a vessel for service, giving the scene a particularly strong connection to the working life of St Abbs rather than presenting the harbour simply as a picturesque coastal view.\u003c\/p\u003e\n\u003cp\u003eCrawford handles the scene with considerable freedom. Broad passages of muted grey, green and blue establish the cool coastal atmosphere, enlivened by flashes of ochre, orange and rust across the boat, roofs and foreground. Loosely worked passages of acrylic, dry brushwork and broken colour give the harbour surface considerable texture, while the pale rigging provides a strong linear structure across the composition.\u003c\/p\u003e\n\u003cp\u003eStella Crawford, née Meredith, was born in 1921 and undertook part-time studies at both Gray’s School of Art in Aberdeen and Glasgow School of Art. Based in Stirling, she exhibited extensively during the 1980s with a number of important Scottish exhibiting bodies and institutions.\u003c\/p\u003e\n\u003cp\u003eThe exhibition résumé retained to the reverse records appearances at the Smith Biennial in 1981 and 1983, the Scottish Society of Women Artists throughout the 1980s, the Royal Glasgow Institute in 1986 and 1987, and exhibitions of the Royal Scottish Society of Painters in Watercolour. It also records exhibitions with Central Arts and the Scottish Artists and Artist Craftsmen. Crawford died in 1991.\u003c\/p\u003e\n\u003cp\u003eThe Scottish Society of Women Artists, with which Crawford exhibited repeatedly, later developed into what is now Visual Arts Scotland. Her participation in exhibitions associated with the Royal Glasgow Institute and RSW places her within the active Scottish exhibiting community of the period, despite her work now being comparatively little documented on the secondary market.\u003c\/p\u003e\n\u003cp\u003eThe painting retains an especially interesting group of labels and documents to the reverse. Alongside Crawford’s exhibition history is an address label identifying her at 12A Gladstone Place, Stirling, and the original typed label recording the title \u003cem\u003eFitting Out at St Abb's\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003ePresented in a narrow silver-toned frame.\u003c\/p\u003e\n\u003cp\u003eA particularly appealing Scottish coastal painting combining the character of a working fishing harbour with Crawford’s loose, expressive handling of colour and atmosphere, enhanced by unusually extensive artist and exhibition documentation to the reverse.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Stella Crawford (née Meredith)\u003cbr\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cem\u003eFitting Out at St Abb's\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e Circa 1980s–early 1990s\u003cbr\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Acrylic on board\u003cbr\u003e\u003cstrong\u003eSigned:\u003c\/strong\u003e Signed lower right\u003cbr\u003e\u003cstrong\u003eUnframed size:\u003c\/strong\u003e 50cm x 60cm\u003cbr\u003e\u003cstrong\u003eFramed size:\u003c\/strong\u003e 53cm x 63cm\u003cbr\u003e\u003cstrong\u003eProvenance \/ Labels:\u003c\/strong\u003e Original artist’s title and price label, Stirling address label and exhibition résumé retained to the reverse\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition overall. Some minor age-related surface wear and marks are visible, consistent with age. The narrow silver-toned frame shows some light surface wear and small marks.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":54604912656725,"sku":null,"price":345.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/CrawfordPlate_54e0cc52-f5e3-4e22-986f-b8e6147654e9.jpg?v=1786483025"},{"product_id":"e-w-bearman-r-m-s-majestic","title":"E. W. Bearman - R.M.S. Majestic","description":"\u003cp\u003e\u003cstrong\u003eE. W. Bearman (American 1916–1992) - R.M.S. Majestic, White Star Line, 1957\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA highly detailed mid-century gouache by the American marine artist Edward W. Bearman (1916–1992), depicting the celebrated White Star liner \u003cem\u003eR.M.S. Majestic\u003c\/em\u003e underway on the North Atlantic. Signed and dated E. W. Bearman - 1957 at the lower right.\u003c\/p\u003e\n\u003cp\u003eBearman presents the immense liner from a low viewpoint, her sharply defined black hull rising above an expanse of vivid blue water. The ship is rendered with remarkable precision, from the three buff-and-black funnels and rows of portholes to the lifeboats, bridge, masts, rigging and signal flags. Against this highly controlled treatment of the vessel, the sea is handled in broad interlocking passages of turquoise, cobalt and white, while softly painted clouds and scattered seabirds give the composition a greater sense of movement and atmosphere.\u003c\/p\u003e\n\u003cp\u003eThe painting reflects Bearman's particular fascination with the great passenger ships of the steam age. Born in the United States in 1916, Bearman worked for many years in the railway industry and initially painted locomotives before extending his interest in mechanical subjects to the great transatlantic liners. His recorded subjects include \u003cem\u003eTitanic\u003c\/em\u003e, \u003cem\u003eOlympic\u003c\/em\u003e, \u003cem\u003eBritannic\u003c\/em\u003e, \u003cem\u003eLusitania\u003c\/em\u003e, \u003cem\u003eMauretania\u003c\/em\u003e, \u003cem\u003eAquitania\u003c\/em\u003e, \u003cem\u003eNormandie\u003c\/em\u003e and other celebrated vessels, establishing him as a specialist chronicler of the great ships of the late 19th and early 20th centuries.\u003c\/p\u003e\n\u003cp\u003eThe subject of the present work is the second White Star liner to bear the name \u003cem\u003eMajestic\u003c\/em\u003e. Originally launched in Hamburg in 1914 as the German liner \u003cem\u003eBismarck\u003c\/em\u003e, she was one of the enormous \u003cem\u003eImperator\u003c\/em\u003e-class vessels built for the Hamburg-Amerika Line. The outbreak of the First World War delayed her completion, and following the conflict she was transferred to Britain as part of the post-war settlement.\u003c\/p\u003e\n\u003cp\u003eCompleted for the White Star Line and renamed \u003cem\u003eMajestic\u003c\/em\u003e, she entered service in 1922 on the prestigious Southampton-Cherbourg-New York route. At more than 56,000 gross tons and approximately 956 feet in length, she was the largest vessel ever operated by White Star and, for a period, the largest passenger ship in the world. Together with \u003cem\u003eOlympic\u003c\/em\u003e and \u003cem\u003eHomeric\u003c\/em\u003e, she formed the company's principal three-ship express service across the North Atlantic during the 1920s.\u003c\/p\u003e\n\u003cp\u003eBearman depicts \u003cem\u003eMajestic\u003c\/em\u003e in her classic White Star appearance, with a deep black hull, white superstructure and three buff funnels with black tops. The American flag flying from the mast reinforces the ship's close association with the transatlantic passage to New York. Painted in 1957, almost two decades after the vessel's destruction, the work is deliberately retrospective and was almost certainly based on historic photographs and technical reference material rather than direct observation.\u003c\/p\u003e\n\u003cp\u003eThe later history of \u003cem\u003eMajestic\u003c\/em\u003e provides an especially interesting British and Scottish connection. Following the Cunard-White Star merger, she was withdrawn from passenger service in 1936 and subsequently acquired by the Admiralty for conversion into the training ship HMS \u003cem\u003eCaledonia\u003c\/em\u003e. Her funnels and masts were reduced in height so that she could pass beneath the Forth Bridge before taking up her new role at Rosyth. In September 1939 she was destroyed by fire there, and the remains were later taken to Inverkeithing for breaking up.\u003c\/p\u003e\n\u003cp\u003eAn especially useful comparison survives with another Bearman painting of \u003cem\u003eR.M.S. Majestic\u003c\/em\u003e, likewise signed and dated 1957, which was offered by Christie's New York in its 2008 Ocean Liner sale with an estimate of US$1,000–1,500. A printed copy of the Christie's catalogue entry has been retained on the reverse of the present picture by a previous owner. The Christie's example was substantially larger, measuring approximately 76 x 102cm, indicating that the present work appears to be a separate, smaller version of the same closely related composition rather than the painting previously offered at Christie's.\u003c\/p\u003e\n\u003cp\u003eThis repetition is consistent with Bearman's wider practice. Other documented liner portraits by the artist include substantial gouaches of \u003cem\u003eS.S. Normandie\u003c\/em\u003e and \u003cem\u003eS.S. Oceanic\u003c\/em\u003e, suggesting that the great transatlantic liners formed an important and sustained body of work throughout his career.\u003c\/p\u003e\n\u003cp\u003ePresented under glass with a broad cream mount in a large gilt-toned frame. The restrained framing allows the brilliant blue sea, black hull and warm funnels of the liner to dominate, giving the work considerable decorative impact and presence.\u003c\/p\u003e\n\u003cp\u003eA particularly impressive example of Bearman's specialist ocean-liner painting, combining meticulous technical detail with the bold colour and graphic clarity of gouache. The celebrated White Star subject, large scale, 1957 date and documented comparison with another \u003cem\u003eMajestic\u003c\/em\u003e composition offered by Christie's make this an especially appealing work for collectors of maritime art, ocean-liner history and White Star memorabilia.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Edward W. Bearman (American, 1916–1992)\u003cbr\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cem\u003eR.M.S. Majestic\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 1957\u003cbr\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Gouache on board\u003cbr\u003e\u003cstrong\u003eSigned:\u003c\/strong\u003e Signed and dated “E. W. Bearman - 1957” lower right\u003cbr\u003e\u003cstrong\u003eImage size:\u003c\/strong\u003e 57cm x 82cm\u003cbr\u003e\u003cstrong\u003eFramed size:\u003c\/strong\u003e 85cm x 109cm\u003cbr\u003e\u003cstrong\u003eProvenance \/ Documentation:\u003c\/strong\u003e Retains to the reverse a previous owner's printed Christie's catalogue reference for a separate, larger 1957 Bearman painting of \u003cem\u003eR.M.S. Majestic\u003c\/em\u003e, offered at Christie's New York in 2008 with an estimate of US$1,000–1,500\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition overall. The gouache presents strongly beneath glass, with minor age-related wear consistent with its date. The mount and large gilt-toned frame show some general signs of age and use. Please refer to the photographs for full details of condition.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":54728660713813,"sku":null,"price":695.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/BearmanPlate.jpg?v=1787492402"},{"product_id":"j-gowan-loch-creran","title":"J. Gowan - Loch Creran","description":"\u003cp\u003e\u003cstrong\u003eJ. Gowan (20th Century) - Loch Creran, 1973\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA striking 1973 watercolour by the little-documented artist J. Gowan, depicting the shores of Loch Creran on the west coast of Scotland. Signed at the lower right and inscribed “Loch Creran 1973” to the reverse.\u003c\/p\u003e\n\u003cp\u003eGowan approaches the Highland landscape with considerable freedom, using broad washes, vigorous brushwork and an unusually strong palette rather than attempting a tightly descriptive topographical view. The loch stretches away through the centre of the composition, enclosed by dark wooded hills and rocky ground, while a narrow road curves sharply into the foreground at the right.\u003c\/p\u003e\n\u003cp\u003eThe composition is particularly effective in the way this road draws the eye into the landscape. Beginning close to the lower edge, it follows the shoreline before disappearing among a dense stand of trees, creating a strong sense of movement and depth. Across the water, low hills and islands are reduced to broad passages of grey, brown and muted green.\u003c\/p\u003e\n\u003cp\u003eColour plays an important role throughout. The landscape is dominated by acidic yellow-greens, olive tones and deep brown-black washes, enlivened by small flashes of rust red and orange within the vegetation. Above, a luminous yellow sky is crossed by long bands of grey cloud, giving the scene an atmospheric quality that feels distinctly characteristic of post-war British watercolour.\u003c\/p\u003e\n\u003cp\u003eRather than carefully defining individual trees, rocks and plants, Gowan builds the foreground from rapid strokes, stains and overlapping areas of colour. Dark calligraphic marks are scattered among looser washes of yellow and green, while the trees at the right are handled as an almost continuous mass punctuated by warmer orange-red accents. The result is expressive and immediate, suggesting the changing light and dense vegetation of the western Scottish landscape.\u003c\/p\u003e\n\u003cp\u003eLoch Creran provides a particularly attractive Highland subject, with its mixture of water, wooded shoreline and surrounding hills. Gowan concentrates less on panoramic grandeur than on the experience of travelling through the landscape, using the winding road, enclosing vegetation and glimpsed water to create a more intimate sense of place.\u003c\/p\u003e\n\u003cp\u003eLittle biographical information has presently been established for J. Gowan, and the artist's identity remains uncertain. The painting is therefore offered conservatively under the name exactly as signed. Its confident handling, strong colour and highly individual interpretation of the landscape nevertheless make it an appealing example of later 20th-century Scottish or British watercolour painting.\u003c\/p\u003e\n\u003cp\u003eThe reverse retains the artist's handwritten inscription “Loch Creran 1973”, providing a firm identification of both subject and date.\u003c\/p\u003e\n\u003cp\u003ePresented behind glass in a simple pale-painted period frame. A particularly attractive and expressive West Highland landscape, combining fluid watercolour technique with bold colour and a strong sense of movement through the composition.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e J. Gowan\u003cbr\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cem\u003eLoch Creran\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 1973\u003cbr\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Watercolour on paper\u003cbr\u003e\u003cstrong\u003eSigned:\u003c\/strong\u003e Signed lower right\u003cbr\u003e\u003cstrong\u003eInscription:\u003c\/strong\u003e Titled and dated “Loch Creran 1973” verso\u003cbr\u003e\u003cstrong\u003eUnframed size:\u003c\/strong\u003e 36cm x 53.5cm\u003cbr\u003e\u003cstrong\u003eFramed size:\u003c\/strong\u003e 41cm x 58cm\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition overall. The watercolour presents well behind glass, with minor age-related toning and occasional small marks consistent with its age. The frame shows some general surface wear and minor losses commensurate with age.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":54807865753941,"sku":null,"price":225.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/GowanPlate.jpg?v=1788213674"},{"product_id":"evelyne-oughtred-buchanan-twilight-edinburgh","title":"Evelyne Oughtred Buchanan – Twilight, Edinburgh","description":"\u003cp\u003e\u003cstrong\u003eEvelyne Oughtred Buchanan (British 1883–1978) - Twilight, Probably Edinburgh\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAn atmospheric mid-20th-century oil on prepared canvas board by the British artist Evelyne Oughtred Buchanan (1883–1978), depicting a group of substantial buildings seen through a screen of bare trees at twilight. Signed at the lower left and retaining important original labels and inscriptions to the reverse, including the artist’s Edinburgh address and the title \u003cem\u003eTwilight\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eThe composition is dominated by the dark trunks and spreading branches of the foreground trees, which form a strong network of vertical and diagonal lines across the pale blue evening sky. Rather than treating the trees simply as framing devices, Buchanan brings them forward as one of the principal elements of the painting, partially obscuring the buildings beyond and giving the scene an intimate, slightly secluded character.\u003c\/p\u003e\n\u003cp\u003eBehind them, a group of grey and ochre buildings recedes across gently sloping ground. Buchanan handles the architecture in a deliberately understated manner, using broad areas of muted colour rather than precise architectural detail. Small passages of yellow and green within the windows provide some of the painting’s most distinctive accents, suggesting interiors beginning to glow as daylight fades.\u003c\/p\u003e\n\u003cp\u003eThe restrained palette is particularly effective. Cool blues dominate the sky, while the buildings are rendered in softened greys, browns and ochres. Against these quieter tones, the reddish-brown tree trunks and occasional illuminated windows introduce warmth and contrast. The result is a subdued but highly atmospheric urban landscape in which the transition from daylight to evening is conveyed through colour rather than dramatic darkness.\u003c\/p\u003e\n\u003cp\u003eThe location is not identified on the painting itself beyond the artist’s Edinburgh address, although the work has previously been catalogued as \u003cem\u003eTwilight (probably Edinburgh)\u003c\/em\u003e. Buchanan lived for many years at 2 Learmonth Terrace in Edinburgh and painted numerous Scottish landscapes and urban subjects, making an Edinburgh setting entirely consistent with her known work.\u003c\/p\u003e\n\u003cp\u003eEvelyne Oughtred Buchanan was born in Stockton-on-Tees in 1883 and later became closely associated with the Scottish art world. She studied for a period at Stanhope Forbes’s school in Newlyn and exhibited landscapes and portraits with institutions including the Royal Academy, Royal Scottish Academy, Royal Glasgow Institute and Society of Women Artists. After the First World War Buchanan and her family settled in Edinburgh, where she continued to paint for much of her long career.\u003c\/p\u003e\n\u003cp\u003eThe reverse of this painting is especially interesting. An old handwritten label records the title \u003cem\u003eTwilight\u003c\/em\u003e, the artist’s name, her address at 2 Learmonth Terrace, Edinburgh, and an original price of 15 guineas. A second, partially surviving label repeats the title and artist’s name.\u003c\/p\u003e\n\u003cp\u003eThe painting also retains its original commercial support labels. The board bears a printed Modern Canvas Boards – Prepared in Scotland label together with the stamp of Aitken Dott \u0026amp; Son, 26 South Castle Street, Edinburgh, one of Edinburgh’s best-known artists’ colourmen and art dealers.\u003c\/p\u003e\n\u003cp\u003eSignificantly, the reverse of this exact painting has been reproduced by the National Portrait Gallery in its research into Scottish artists’ canvas and panel suppliers, where the Modern Canvas Boards label and Aitken Dott \u0026amp; Son stamp are documented. The painting is identified there as \u003cem\u003eTwilight, probably Edinburgh\u003c\/em\u003e, providing an unusually useful independent record of the work and its materials.\u003c\/p\u003e\n\u003cp\u003eThe painting has also appeared previously at auction with Great Western Auctions in Glasgow, where it was catalogued under the same title and attribution.\u003c\/p\u003e\n\u003cp\u003ePresented in a substantial black period-style frame with a narrow gilt inner slip. The dark frame complements the strong silhouettes of the trees and gives the painting considerable decorative presence.\u003c\/p\u003e\n\u003cp\u003eA particularly interesting example of Buchanan’s Scottish-period work, combining an atmospheric Edinburgh subject with unusually strong documentary evidence to the reverse. The original title, artist’s address, 15-guinea price inscription, artists’ materials labels and subsequent National Portrait Gallery documentation give the painting a particularly well-preserved historical context.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Evelyne Oughtred Buchanan (1883–1978)\u003cbr\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cem\u003eTwilight (Probably Edinburgh)\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e Mid-20th century\u003cbr\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Oil on prepared canvas board\u003cbr\u003e\u003cstrong\u003eSigned:\u003c\/strong\u003e Signed lower left\u003cbr\u003e\u003cstrong\u003eUnframed size:\u003c\/strong\u003e 50cm x 60cm\u003cbr\u003e\u003cstrong\u003eFramed size:\u003c\/strong\u003e 65cm x 74.5cm\u003cbr\u003e\u003cstrong\u003eProvenance \/ Labels:\u003c\/strong\u003e Titled and inscribed verso with the artist’s name, 2 Learmonth Terrace, Edinburgh address and original price of 15 guineas. Original Modern Canvas Boards label and Aitken Dott \u0026amp; Son, Edinburgh supplier’s stamp retained verso. The reverse of this painting is reproduced in National Portrait Gallery research into Scottish artists’ painting supports.\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition overall. There is some bowing to the board and a surface score, together with minor age-related surface wear consistent with the painting’s age. The frame shows expected signs of age and previous use.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":55117281034581,"sku":null,"price":395.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/BuchananPlate.jpg?v=1790455975"},{"product_id":"dorothy-johnstone-arsa-portrait-of-the-artist-s-daughter-anne","title":"Dorothy Johnstone ARSA - Portrait of the Artist’s Daughter Anne","description":"\u003cp data-pm-slice=\"1 1 []\"\u003e\u003cstrong\u003e\u003cspan\u003eDorothy Johnstone ARSA (1892–1980) - Portrait of the Artist’s Daughter Anne, 1953\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAn exceptionally personal 1953 oil on board by the important Scottish artist Dorothy Johnstone ARSA, depicting her daughter Anne. Signed and dated at the lower right and retaining an old handwritten label to the reverse identifying both the sitter and artist, together with the family address at Woodhouselee, Cults, Aberdeenshire.\u003c\/p\u003e\n\u003cp\u003eAnne is shown seated three-quarter length in a wooden armchair, dressed almost entirely in dark blue and black and holding a vivid blue piece of fabric across her lap. Her fair hair is carefully arranged around her head, while a pale necklace provides a further point of contrast against the dark clothing. Johnstone gives particular attention to the sitter's face and hands, which are modelled in warmer pink, cream and ochre tones and stand out strongly from the surrounding dress.\u003c\/p\u003e\n\u003cp\u003eThe portrait is particularly effective in its balance between observation and painterly freedom. Anne's face is comparatively finely resolved, with subtle changes of colour used to describe the complexion and the fall of light, while the clothing and surrounding interior are handled much more broadly. Loose passages of blue, grey, ochre, green and muted red build the background without describing the room too literally, allowing the sitter to remain the clear focus of the composition.\u003c\/p\u003e\n\u003cp\u003eA particularly attractive feature is the restrained use of blue throughout the painting. The near-black blue of Anne's dress is relieved by the brighter cloth held between her hands, while touches of blue recur within the chair and surrounding interior. These cooler tones are offset by the warm browns, russets and ochres of the background, producing a sophisticated and distinctly mid-century palette.\u003c\/p\u003e\n\u003cp\u003eThe identity of the sitter gives the painting particular significance within Johnstone's work. Anne was the daughter of Dorothy Johnstone and the Scottish painter David Macbeth Sutherland. Johnstone had married Sutherland in 1924, and the couple had two children, Ian and Anne. Following Sutherland's appointment as Head of Gray's School of Art, the family moved to Aberdeen, where Johnstone continued to paint and exhibit while increasingly establishing herself as a portrait painter.\u003c\/p\u003e\n\u003cp\u003eJohnstone was born in Edinburgh in 1892 and was among the earliest generation of students to attend Edinburgh College of Art. She became associated with a notable circle of Scottish artists including Cecile Walton and Mary Newbery and exhibited regularly at the Royal Scottish Academy over a career spanning several decades. Although marriage required her to leave her teaching position at Edinburgh College of Art, she continued to paint throughout her life, producing portraits and landscapes and maintaining close connections with the Scottish artistic establishment. She was elected an Associate of the Royal Scottish Academy in 1962.\u003c\/p\u003e\n\u003cp\u003ePortraiture, and particularly the sympathetic depiction of younger sitters, became an important part of Johnstone's later practice. This work is especially appealing in that respect, recording not a commissioned sitter but a member of the artist's own immediate family. Painted in 1953, when Anne was approximately twenty-five years old, it combines the intimacy of a family portrait with the scale and compositional assurance of a substantial finished work.\u003c\/p\u003e\n\u003cp\u003eThe reverse retains an important old handwritten label reading “Anne \/ By Dorothy Johnstone \/ Mrs D. M. Sutherland \/ Woodhouselee, Cults \/ Aberdeenshire \/ Agent Taylor's, Aberdeen”, providing unusually strong contemporary identification of both sitter and artist and linking the painting directly with the Sutherland family home at Cults.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe reverse is also of additional interest. Much of the back of the board is presently concealed beneath old brown paper backing, but substantial areas of paint remain visible around its margins. These exposed passages, particularly along the lower and right edges, appear to form part of a further loosely painted study or composition on the reverse of the board. As the majority remains concealed beneath the historic paper, the nature of this second image cannot presently be determined, but it provides an intriguing glimpse into Johnstone's working practice and has been left undisturbed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePresented in a newly fitted dark stained wooden frame whose warm brown tones complement both the wooden chair and the muted colours of the interior. The simple, broad profile gives the painting a suitably understated period character while allowing the considerable scale and presence of the portrait to remain the focus.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA particularly appealing and personal example of Dorothy Johnstone's portraiture, combining an identified family sitter, a firm 1953 date, the artist's signature, an important contemporary label and the intriguing survival of a further painted study to the reverse. Its scale, restrained mid-century palette and direct connection to Johnstone's own family give the work particular interest within her portrait output.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eArtist:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Dorothy Johnstone ARSA (1892–1980)\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eTitle:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan\u003ePortrait of the Artist’s Daughter Anne\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eDate:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 1953\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eMedium:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Oil on board\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eSigned:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Signed and dated 1953 lower right\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eUnframed size:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 76cm x 64cm\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eFramed size:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 86cm x 73cm\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eProvenance \/ Labels:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Old handwritten label to the reverse identifying the work as \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eAnne\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, by Dorothy Johnstone, and giving the family address as Woodhouselee, Cults, Aberdeenshire, with “Agent Taylor's, Aberdeen” also inscribed\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eVerso:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Old paper backing concealing much of the reverse, with exposed margins revealing a further painted study or composition\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eCondition:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Good vintage condition overall, with minor age-related surface wear consistent with the painting's age. The historic paper backing to the reverse has been left undisturbed. Presented in a newly fitted dark stained wooden frame.\u003c\/span\u003e\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":55218518360405,"sku":null,"price":1795.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/JohnstonePlate.jpg?v=1791240606"},{"product_id":"dorothy-johnstone-arsa-1892-1980-still-life-vase-of-flowers","title":"Dorothy Johnstone ARSA (1892–1980) – Still Life Vase of Flowers","description":"\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDorothy Johnstone ARSA (Scottish 1892–1980) - Still Life Vase of Flowers, 1964\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA particularly attractive mid-20th-century oil on board by the important Scottish painter Dorothy Johnstone ARSA (1892–1980), depicting a loosely arranged bouquet of flowers in a white ceramic jug. Signed and dated 'Dorothy Johnstone 64' at the lower right and with an extensive unfinished figure study painted to the reverse. Provenance by descent through the artist's family.\u003c\/p\u003e\n\u003cp\u003eThe composition centres on a substantial white pottery jug filled with a profusion of flowers, including pale blue, pink and white blooms set amongst strongly articulated green stems and foliage. Johnstone avoids an overly formal arrangement, allowing the flowers to spread naturally across the upper half of the painting and giving the still life a lively, spontaneous character.\u003c\/p\u003e\n\u003cp\u003eThe flowers are handled with considerable freedom. Pale petals are built from broken passages of white, cream, soft pink, blue and violet, with individual blossoms suggested through quick, expressive marks rather than tightly delineated detail. Darker outlines and flashes of green give structure to the arrangement, while the vigorous surface retains a strong sense of the artist's brushwork.\u003c\/p\u003e\n\u003cp\u003eThe white jug provides a quieter visual anchor beneath the flowers. Its rounded body and looping handle are modelled through softly modulated whites, greys, pinks and ochres, with the vessel reflected subtly in the surface below. Johnstone surrounds it with a rich and complex arrangement of muted russets, browns, ochres and yellow-greens, creating a warm interior setting against which the cooler flowers stand out particularly effectively.\u003c\/p\u003e\n\u003cp\u003eThe background is treated almost as an abstract arrangement of colour and texture. Areas of deep red-brown, olive, mustard yellow and grey are layered and scraped across the board, with the underlying surface frequently allowed to remain visible. This energetic handling gives the work a distinctly modern character while retaining the intimacy and domesticity of the traditional flower painting.\u003c\/p\u003e\n\u003cp\u003eDorothy Johnstone was an important figure in 20th-century Scottish painting. Born in Edinburgh in 1892, she studied at Edinburgh College of Art and became closely associated with the city's artistic community. She exhibited extensively during a long career and was elected an Associate of the Royal Scottish Academy. Her work encompassed portraiture, figure painting, landscape and still life, with her later paintings often displaying an increasingly loose and expressive handling of paint.\u003c\/p\u003e\n\u003cp\u003eThe date of 1964 places this work firmly within Johnstone's mature period. By this stage her approach had moved well beyond the comparatively formal academic manner of her early career, and the broad, broken handling and emphasis upon colour visible here give the painting a particularly appealing post-war character.\u003c\/p\u003e\n\u003cp\u003eOf particular interest is the reverse of the board, which bears a substantial unfinished painted study of a recumbent figure in an interior, with a chair positioned near the figure's feet. The composition extends across almost the entire reverse and is considerably more developed than a simple preparatory sketch, with the figure, furniture and surrounding space all broadly blocked in using muted pink, blue, ochre, grey and brown. The presence of this second composition provides a fascinating insight into Johnstone's working process and suggests that the board may have been reused after an earlier figure study was abandoned.\u003c\/p\u003e\n\u003cp\u003eA small red number '114' also appears at the lower left of the reverse. Given the painting's provenance by descent through the artist's family, this may represent a studio or collection reference, although its precise significance is presently unknown.\u003c\/p\u003e\n\u003cp\u003eThe painting has particularly strong provenance, having descended directly through the artist's family. This direct connection, together with the signed and dated front and the extensive painted study on the reverse, makes it a notably well-documented and characterful example of Johnstone's later work.\u003c\/p\u003e\n\u003cp\u003eNow presented in a simple walnut frame whose warm reddish-brown tone complements the muted russets, ochres and pinks of the painting without distracting from the expressive surface.\u003c\/p\u003e\n\u003cp\u003eA highly appealing mature still life by Dorothy Johnstone, combining a softly coloured floral subject with vigorous, painterly handling and the added interest of a substantial figure study on the reverse.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eArtist:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Dorothy Johnstone ARSA (Scottish 1892–1980)\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eTitle:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eStill Life Vase of Flowers\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eDate:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 1964\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eMedium:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Oil on board\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eSigned:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Signed and dated 'Dorothy Johnstone 64' lower right\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eUnframed size:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 62cm x 46cm\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eFramed size:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 66.5cm x 51cm\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eFrame:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Walnut frame\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eReverse:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Extensive unfinished study of a recumbent figure in an interior, with chair; numbered '114'\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eProvenance:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e By descent through the artist's family\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eCondition:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Good vintage condition overall, with age-related surface wear and marks consistent with its age and working history. There is a small area of horizontal paint loss at the upper left, close to the flower heads, together with a narrow vertical area of loss to the right of the flowers and stems. The reverse retains the unfinished figure study and associated studio wear. Please refer to the photographs for a detailed indication of condition.\u003c\/span\u003e\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":55218581307733,"sku":null,"price":895.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/JohnstoneDecor_9c4edeee-919e-46ee-958d-fce1eda3ffd3.jpg?v=1791244952"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/collections\/Male_Portrait_Decor.jpg?v=1783197281","url":"https:\/\/63arts.co.uk\/collections\/early-modern.oembed?page=2","provider":"63Arts Edinburgh","version":"1.0","type":"link"}