{"title":"New Arrivals","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eDiscover the latest arrivals at 63arts, featuring newly added original paintings, prints and works on paper. A regularly updated collection of fresh finds, selected for quality, character and lasting appeal.\u003c\/p\u003e","products":[{"product_id":"b-hampton-cottage-landscape-with-figure-and-dog","title":"B Hampton - Cottage Landscape with Figure and Dog","description":"\u003cp data-start=\"0\" data-end=\"53\" class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong data-start=\"0\" data-end=\"53\"\u003eB Hampton - Cottage Landscape with Figure and Dog\u003c\/strong\u003e\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"55\" data-end=\"421\"\u003eA charming late Victorian oil on canvas by B. Hampton, signed and dated March 1889 lower right. The work depicts a picturesque upland cottage landscape, with a whitewashed rural dwelling nestled beneath trees and a sunlit hill rising beyond. A small figure and dog on the track add a lovely narrative detail, giving the scene a quiet sense of life and scale.\u003c\/p\u003e\n\u003cp data-start=\"423\" data-end=\"765\"\u003ePainted with warm autumnal tones and expressive handling, the composition has a particularly attractive period character: rustic cottages, wooded slopes, rocky ground and distant hills, all arranged with a pleasing depth and softness. The golden light across the hillside contrasts nicely with the darker foreground trees and cottage shadows.\u003c\/p\u003e\n\u003cp data-start=\"767\" data-end=\"975\"\u003eThe canvas bears a Winsor \u0026amp; Newton, London stamp verso, consistent with the period, and the reverse also carries a later Langley Galleries, Rochester, Kent label. Presented in a decorative gilt frame.\u003c\/p\u003e\n\u003cp data-start=\"977\" data-end=\"1087\"\u003eA very appealing small Victorian landscape, decorative, atmospheric and in notably good condition for its age.\u003c\/p\u003e\n\u003cp data-start=\"1089\" data-end=\"1442\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e\u003cstrong data-start=\"1089\" data-end=\"1100\"\u003eArtist:\u003c\/strong\u003e B. Hampton\u003cbr data-start=\"1111\" data-end=\"1114\"\u003e\u003cstrong data-start=\"1114\" data-end=\"1124\"\u003eTitle:\u003c\/strong\u003e Cottage Landscape with Figure and Dog\u003cbr data-start=\"1162\" data-end=\"1165\"\u003e\u003cstrong data-start=\"1165\" data-end=\"1174\"\u003eDate:\u003c\/strong\u003e March 1889\u003cbr data-start=\"1185\" data-end=\"1188\" data-is-only-node=\"\"\u003e\u003cstrong data-start=\"1188\" data-end=\"1199\"\u003eMedium:\u003c\/strong\u003e Oil on canvas\u003cbr data-start=\"1213\" data-end=\"1216\"\u003e\u003cstrong data-start=\"1216\" data-end=\"1227\"\u003eSigned:\u003c\/strong\u003e Lower right\u003cbr data-start=\"1239\" data-end=\"1242\"\u003e\u003cstrong data-start=\"1242\" data-end=\"1258\"\u003eCanvas size:\u003c\/strong\u003e 24cm x 34cm\u003cbr data-start=\"1270\" data-end=\"1273\"\u003e\u003cstrong data-start=\"1273\" data-end=\"1289\"\u003eFramed size:\u003c\/strong\u003e 34cm x 44cm\u003cbr data-start=\"1301\" data-end=\"1304\"\u003e\u003cstrong data-start=\"1304\" data-end=\"1318\"\u003eCondition:\u003c\/strong\u003e Very good antique condition, with only very minimal surface dirt or yellowing. Light wear to the frame in keeping with age.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":54319612985685,"sku":null,"price":175.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/HamptonPlate.jpg?v=1783459448"},{"product_id":"j-d-henderson-great-western-road-glasgow","title":"J. D. Henderson – Great Western Road, Glasgow","description":"\u003cp\u003e\u003cstrong\u003eJoseph Donald Henderson (1925–2008) - Great Western Road, Glasgow\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAn evocative oil on canvas by the Scottish artist Joseph Donald Henderson, signed J. D. Henderson lower left. The work depicts Great Western Road at Kelvinbridge, Glasgow, looking east towards the city centre during the early years of the electric tram network.\u003c\/p\u003e\n\u003cp\u003eThe composition appears to have been based closely on an Edwardian postcard view dating from around 1904–05. Henderson retains many of its distinctive details, including the tram travelling along the tracks, the ornate street lamps, the groups of pedestrians and the imposing curved tenement building on the right.\u003c\/p\u003e\n\u003cp\u003eThe slender spire dominating the skyline belongs to Lansdowne Church, now incorporated into Websters Theatre, while the more distant spire of St Mary’s Episcopal Cathedral can be seen beyond. Together, these landmarks form one of the most recognisable historic views of Glasgow’s West End.\u003c\/p\u003e\n\u003cp\u003ePainted in a soft and atmospheric palette, Henderson transforms the monochrome photographic source into a warm, nostalgic cityscape. Sunlight falls across the sandstone architecture and roadway, while the numerous loosely handled figures give the scene a lively sense of movement, activity and scale.\u003c\/p\u003e\n\u003cp\u003eJoseph Donald Henderson was born in 1925 and lived in Rutherglen, Glasgow. Later biographical information recorded on the backing board states that he trained at the Sir John Cass School of Art in London and Glasgow School of Art. Alongside his painting, Henderson and his wife Eva operated Simply Stoneware Limited, a business retailing ceramics, wallpaper and related furnishings. He died in 2008.\u003c\/p\u003e\n\u003cp\u003ePresented in an ornate swept gilt frame. The reverse carries extensive later handwritten information identifying the artist, his address, training and the title of the painting.\u003c\/p\u003e\n\u003cp\u003eA particularly appealing historic Glasgow subject, combining architectural, social and transport history with considerable decorative charm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Joseph Donald Henderson\u003cbr\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Great Western Road, Glasgow\u003cbr\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e Later 20th century\u003cbr\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Oil on canvas\u003cbr\u003e\u003cstrong\u003eSigned:\u003c\/strong\u003e J. D. Henderson, lower left\u003cbr\u003e\u003cstrong\u003eCanvas size:\u003c\/strong\u003e 44cm x 59cm\u003cbr\u003e\u003cstrong\u003eFramed size:\u003c\/strong\u003e 58cm x 73.5cm\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition overall, with light surface dirt and minor age-related wear. Some rubbing and small marks to the decorative gilt frame. Later handwritten biographical and title inscriptions to the backing board.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":54399128600917,"sku":null,"price":395.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/HendersonPlate.jpg?v=1784327517"},{"product_id":"michael-mcveigh-royal-highland-show-ingliston","title":"Michael McVeigh - Royal Highland Show, Ingliston","description":"\u003cp\u003e\u003cstrong\u003eMichael McVeigh - Royal Highland Show, Ingliston, 1987\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA wonderfully detailed colour lithograph by the Scottish artist Michael McVeigh (b.1957), depicting the heavy-horse section of the Royal Highland Show at Ingliston. Signed and titled within the image, dated 1987 and numbered 3\/26 from a small limited edition.\u003c\/p\u003e\n\u003cp\u003eThe bustling composition is filled with magnificent working horses, handlers, spectators, children and agricultural vehicles. McVeigh compresses the activity into a densely layered scene, with the monumental horses dominating the foreground while numerous smaller narrative details reward closer inspection. Particularly charming is the small black dog standing among the handlers near the centre of the composition.\u003c\/p\u003e\n\u003cp\u003eBorn in Dundee, McVeigh studied Drawing and Painting at Duncan of Jordanstone College of Art before settling in Edinburgh. He is particularly known for his highly individual depictions of Scottish life, including crowded streets, harbours, public gatherings, musicians and animals. His work combines close observation with deliberately distorted perspective, giving familiar subjects an imaginative and gently humorous character.\u003c\/p\u003e\n\u003cp\u003eThe Royal Highland Show has been held at Ingliston, near Edinburgh, since 1960 and remains one of Scotland’s most important agricultural events. McVeigh’s lithograph captures the distinctive mixture of livestock, machinery and human activity associated with the show, while retaining the warmth and eccentricity characteristic of his work.\u003c\/p\u003e\n\u003cp\u003ePrinted in a restrained palette of earthy browns, ochres, muted greens and soft reds, the composition has an atmospheric, almost remembered quality. The fine crayon-like lines and layered tonal textures are particularly well suited to the lithographic medium.\u003c\/p\u003e\n\u003cp\u003eAn impression of this composition is held in the collection of the City of Edinburgh Museums and Galleries.\u003c\/p\u003e\n\u003cp\u003ePresented under glass in a dark wooden frame with a wide cream mount.\u003c\/p\u003e\n\u003cp\u003eA substantial and highly engaging Scottish print, combining agricultural and social history with McVeigh’s distinctive narrative style.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Michael McVeigh\u003cbr\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Royal Highland Show, Ingliston\u003cbr\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 1987\u003cbr\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Colour lithograph\u003cbr\u003e\u003cstrong\u003eEdition:\u003c\/strong\u003e 3\/26\u003cbr\u003e\u003cstrong\u003eSigned:\u003c\/strong\u003e Signed and titled within the image\u003cbr\u003e\u003cstrong\u003eImage size:\u003c\/strong\u003e 44.5cm x 64cm\u003cbr\u003e\u003cstrong\u003eFramed size:\u003c\/strong\u003e 71.5cm x 79cm\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition overall. Some scattered age-related spotting and light discolouration are visible to the sheet and mount. Minor marks and wear to the wooden frame. Glazed and not examined out of the frame.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":54399501336917,"sku":null,"price":195.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/McVeigh2Plate.jpg?v=1784337684"},{"product_id":"michael-mcveigh-i-am-getting-younger-everyday","title":"Michael McVeigh - I Am Getting Younger Everyday","description":"\u003cp\u003e\u003cstrong\u003eMichael McVeigh - I Am Getting Younger Everyday\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA richly detailed sepia etching by the Scottish artist Michael McVeigh (b.1957), depicting a group of traditional musicians gathered around a table in a Scottish pub. Signed and titled below in pencil and inscribed “PROOF” at the lower right.\u003c\/p\u003e\n\u003cp\u003eThree monumental figures dominate the composition: an accordion player, a mandolin player and a musician playing a tin whistle. A violin rests on the table beside a bottle of McEwan’s 80\/-, drinking glasses and a packet of cigarettes, while two further figures converse beneath a large McEwan’s sign in the background.\u003c\/p\u003e\n\u003cp\u003eThe gently humorous title, \u003cem\u003eI Am Getting Younger Everyday\u003c\/em\u003e, contrasts with the musicians’ solemn and introspective expressions. McVeigh presents the pub session not simply as entertainment, but as a place of companionship, memory and temporary rejuvenation. The unused violin is a particularly charming detail, suggesting a musical gathering already in progress, with players changing instruments or pausing between tunes.\u003c\/p\u003e\n\u003cp\u003eBorn in Dundee, McVeigh studied Drawing and Painting at Duncan of Jordanstone College of Art before settling in Edinburgh. He is particularly known for his highly individual depictions of Scottish life, including crowded streets, harbour communities, public gatherings, musicians and animals. His work combines close observation with deliberately distorted scale and perspective, giving familiar subjects an imaginative and gently dreamlike character.\u003c\/p\u003e\n\u003cp\u003eTraditional musicians and Scottish pub life were important subjects in McVeigh’s early work. The exaggerated scale of the figures, densely worked surfaces and mixture of humour and melancholy are especially characteristic of his distinctive narrative style.\u003c\/p\u003e\n\u003cp\u003ePrinted in warm brown ink, the etching has a softly aged and atmospheric appearance. Fine cross-hatching, areas of plate tone and loosely modelled textures create a scene that feels both closely observed and filtered through memory.\u003c\/p\u003e\n\u003cp\u003ePresented under glass in a dark wooden frame with a wide cream mount.\u003c\/p\u003e\n\u003cp\u003eA wonderfully characterful Scottish print, combining traditional music, pub culture and understated humour with McVeigh’s highly recognisable figurative style.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Michael McVeigh\u003cbr\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e I Am Getting Younger Everyday\u003cbr\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e Circa mid-1980s\u003cbr\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Sepia etching\u003cbr\u003e\u003cstrong\u003eEdition:\u003c\/strong\u003e Proof impression, inscribed “PROOF”\u003cbr\u003e\u003cstrong\u003eSigned:\u003c\/strong\u003e Signed and titled below in pencil\u003cbr\u003e\u003cstrong\u003eImage size:\u003c\/strong\u003e 20.5cm x 41cm\u003cbr\u003e\u003cstrong\u003eFramed size:\u003c\/strong\u003e 37.5cm x 58.5cm\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition overall. Some light age-related toning and minor marks are visible to the sheet and cream mount. Minor surface wear and small marks to the dark wooden frame. Glazed and not examined out of the frame.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":54399565365589,"sku":null,"price":165.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/McVeigh1Plate.jpg?v=1784338380"},{"product_id":"pierre-le-boeuff-domfront-normandy","title":"Pierre Le Boeuff – Domfront, Normandy","description":"\u003cp\u003e\u003cstrong\u003ePierre Le Boeuff - Domfront, Normandy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAn atmospheric early 20th-century oil painting of Domfront in Normandy by the British artist Thomas Edward Francis (1873–1961), working under the pseudonym Pierre Le Boeuff. Signed lower right and inscribed \u003cem\u003eDomfront, Normandy\u003c\/em\u003e on the reverse.\u003c\/p\u003e\n\u003cp\u003eThe painting depicts a narrow street winding through the old Norman town, lined with warm red-roofed buildings and animated by small figures, washing hung between the houses and a covered horse-drawn cart. Rising dramatically above the town is a slender church spire, giving the compact vertical composition an unexpectedly monumental sense of scale.\u003c\/p\u003e\n\u003cp\u003eParticularly appealing is the way the street bends out of sight around the buildings, suggesting the irregular layout and hidden corners characteristic of historic European towns. Francis combines close architectural detail with a warm, romanticised atmosphere, using soft earthy colours and touches of red, cream and blue.\u003c\/p\u003e\n\u003cp\u003ePierre Le Boeuff was one of several names associated with the London-born painter Thomas Edward Francis. According to the artist reference book \u003cem\u003eHidden Talents\u003c\/em\u003e, Francis commonly signed his French and Belgian views with the Le Boeuff pseudonym because a foreign artist’s name made Continental subjects easier to sell. He is also associated with the name Andrea Vasari.\u003c\/p\u003e\n\u003cp\u003eFrancis painted several related views of Domfront in different formats and from slightly varied perspectives. A larger horizontal composition repeats several elements found here, including the covered cart, washing and prominent spire, although the viewpoint and arrangement differ.\u003c\/p\u003e\n\u003cp\u003ePresented in an ornate gilt wooden frame with moulded composition decoration. The richly aged frame complements the warm tones and historic character of the painting.\u003c\/p\u003e\n\u003cp\u003eA charming and highly decorative view of Normandy, made particularly interesting by the artist’s unusual pseudonymous identity.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Thomas Edward Francis, working as Pierre Le Boeuff\u003cbr\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Domfront, Normandy\u003cbr\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e Circa 1900–1920\u003cbr\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Oil on canvas\u003cbr\u003e\u003cstrong\u003eSigned:\u003c\/strong\u003e Signed lower right and titled verso\u003cbr\u003e\u003cstrong\u003eImage size:\u003c\/strong\u003e 35cm x 25cm\u003cbr\u003e\u003cstrong\u003eFramed size:\u003c\/strong\u003e 52cm x 40cm\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e The painting is presented in very good antique condition overall, with light age-related craquelure but no obvious significant paint loss. The gilt frame has extensive cracking, lifting and flaking to the moulded composition decoration, particularly at the corners. Relatively little ornament has been lost, but the decorative surface remains fragile and should be handled carefully.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":54432556613973,"sku":null,"price":395.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/LeBoueffPlate.jpg?v=1784664990"},{"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"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/collections\/Janes_Plate.jpg?v=1784339071","url":"https:\/\/63arts.co.uk\/collections\/new-arrivals.oembed","provider":"63Arts Edinburgh","version":"1.0","type":"link"}