Painter, Illustrator, Still life painter, b. 1913 - d. 1989
Artist William Scott, born in Scotland in 1913, was an abstract artist whose paintings exhibited these characteristics while often retaining enough form to be recognizable. Scott believed the subjects of his painting were, in themselves, unimportant, merely forming the basis of a picture that represented space, form, and color. Painter William Scott studied at the Belfast School of Art and the London Royal Academy of Art. Thereafter, he lived and worked in various locations including Cornwall, Pont-Aven, Dublin, and London.
Artist Scott's work was greatly influenced by the geometric style of Swiss painter Paul Klee, and the stylistic representations of French artist Georges Braque. William Scott abstract paintings for sale include his well-known artworks of pots and pans, figural representations of people, as well as completely abstract paintings. Brighten your workplace with vintage and modern abstract paintings for sale at Invaluable.
▲ William Scott RA (1913-1989) White, Umber and Grey, 1962 signed 'W. Scott' l.r., gouache 49 x 61.5cm Provenance: Sotheby's, London, November 1996, lot 78; with Hanover Gallery, London; Design Research Unit, acquired from the above; Sotheby's, London, 14 March 1979, lot 197; a private collection; Sotheby's, London, 'Modern & Post-War British Art', 27 November 1996, lot 78; the property of a private collector. Condition Report: Framed: 70 x 81cm Rippling to the edges of the sheet. A little time staining with a faint border of discolouration around the edges, please refer to illustration. The sheet appears to be stuck down to the mount in several places around the edges, but does not appear to be laid down. Deckled edges. Presents well overall and ready to hang. Not viewed out of perspex glazed frame. Perspex has light scratches in upper right.
▲ William Scott RA (1913-1989) 'Grey, Black and White', 1959 signed 'W. Scott' l.r., gouache, watercolour and collage 48 x 66cm, unframed Provenance: With Hanover Gallery, London, 1960; Mr and Mrs P Wakefield; Sotheby's, London, 1 October 1997, lot 265; the property of a private collector. William Scott’s 'Grey, Black and White', 1959, exemplifies his distinct approach to abstraction - balancing restraint with expressive energy. While often associated with simplicity, his late 1950s and 1960s works embraced texture, layering and gestural application. He experimented with contrasts - thick and thin paint, smooth and rough surfaces - allowing imperfections to become part of the composition. In this piece, Scott abandons defining outlines, letting forms emerge organically. Muted tones of black, grey, brown, and off-white create a quiet tension, while his raw, unfinished surface reflects his belief in 'the beauty of the thing done badly'. Paint is pushed, scraped and layered, revealing his process and rejecting a polished aesthetic in favour of something more tactile and immediate. Despite its abstraction, Scott’s work never fully detaches from reality. As he stated, 'I cannot be called non-figurative while I am still interested in the modern magic of space…the things of life'. In 'Grey, Black and White' he captures this ambiguity, hinting at stone walls, landscapes, or familiar objects, while remaining open to interpretation. The artist's paintings from this period focus as much on the act of painting as the final image. His careful yet spontaneous approach invites viewers to engage with space, texture and form in a way that feels both structured and free. Scott's 'Grey, Black and White' stands as a testament to his mastery of abstraction, where surface and tone create an atmosphere of quiet dynamism and subtle depth. Reference: Norbert Lynton, 'William Scott', Thames & Hudson Ltd., London, 2004. Condition Report: Mount: 73 x 91cm Presents well overall. A little possible time staining and fading. There are some remnants of paper on the front of the work in the centre of the square in the lower right, possibly the remains of previous collage (?). There is some abrasion to the surface of the paper at the bottom of pale brown collaged rectangle in the upper right quarter. Hinge mounted with two pieces of tape applied to the reverse of the top corners.
▲ William Scott RA (1913-1989) Composition (I), 1960 signed and dated 'W. SCOTT 60' l.r., mixed media 24.5 x 31cm, unframed Provenance: The Hanover Gallery, London; Anthony Garrod Esq., a private collector; Phillips, London, 25 November 1997, lot 54; the property of a private collector. Exhibited: The Hanover Gallery, London, 'William Scott', 17 May - 17 June 1961. Condition Report: The work appears to be a combination of gouache, watercolour, pastel and black chalk. A little staining and discolouration to the edges. Faint dirty marks and light smudging in the lower right quarter, please refer to illustration. A very small dirty mark between the thin blue line and the edge of the sheet in the lower left. A couple of tiny dark speckles to the unpainted area in the upper right.
▲ William Scott RA (1913-1989) Untitled (table still life) signed and dated 'W SCOTT 53' l.r., charcoal 48 x 61cm Provenance: Sotheby's, London, '20th Century British Art', 10 March 2005, lot 43; the property of a private collector. Condition Report: Framed: 74 x 89cm Light creasing to lower third and edges. Small diagonal fold marks to lower corners. A 2.5cm crease to the upper left corner and a tiny fold in the upper right corner. Appears to be stuck down in the corners. Presents well overall and ready to hang. Not viewed out of glazed frame.
▲ William Scott RA (1913-1989) Untitled, c.1953 (William Scott Archive No. 1862) signed 'W. Scott' l.r., gouache 43 x 55.5cm, unframed Provenance: Sotheby's, London, '20th Century British Art, including works from the Collection of Jean-Yves Mock', 10 March 2005, lot 40, sold for £51,600; the property of a private collector. Condition Report: A pinhole to the centre of the top edge with a small 5mm tear centre right. Two small nicks to the extreme right edge. A light scratch 9cm in length between the two white lines on the left side.
▲ William Scott RA (1913-1989) Untitled black chalk and watercolour 20 x 23cm, unframed Provenance: With Archeus Fine Art, London; the property of a private collector. Condition Report: Mount: 40 x 43cm The work has been executed on a sketchbook page with a perforations along the left edge. A little time staining and smudging. Watercolour has been applied around the edges of the sheet. Stuck down with two small pieces of tape applied to the reverse of the upper corners.
▲ William Scott RA (1913-1989) Untitled; verso, another abstract sketch pencil and black chalk 25 x 35cm, unframed Provenance: With Archeus Fine Art, London; the property of a private collector. Condition Report: The work has been executed on a sketchbook page with perforations to the left edge. Red and orange paint to the extreme edges. Time staining. Smudging in areas. A small, faint semi-circular mark at the bottom of the right edge.
▲ William Scott RA (1913-1989) Untitled signed 'W SCOTT' l.r., black chalk 28 x 38cm Provenance: The Hanover Gallery, London; Sotheby's, London, 'The Collection of Jean-Yves Mock', 7 February 2005, lot 92; the property of a private collector. Condition Report: Framed: 48 x 60cm A little time staining but appears to be in otherwise good condition and ready to hang. Deckled top edge. Not viewed out of glazed frame. Appears to be stcuk down in the corners.
▲ William Scott RA (1913-1989) Untitled, c.1952 signed 'W SCOTT' l.r., black chalk 28 x 38cm Provenance: With Hanover Gallery, London; Sotheby's, London, 'The Collection of Jean-Yves Mock', 7 February 2005, lot 91; the property of a private collector. Condition Report: Framed: 46.5 x 59.5cm Appears to be in good condition. Slightly deckled lower and right edges. Looks to be stuck down in the corners. Not viewed out of glazed frame.
▲ William Scott RA (1913-1989) 'Orange Still Life', 1956 (William Scott Archive No.1893); verso, pencil sketch of Mary Scott, the artist’s wife, late 1930s signed 'W. Scott' l.r., gouache 50.5 x 68cm Provenance: Private collection, USA; Offer Waterman & Co., London; the property of a private collector. The drawing of Mary Scott is similar to the oil painting ‘Seated Nude’, 1939, Tate, London. We are grateful to the William Scott Archive for their kind assistance with the cataloguing of the present work. In the 1950s, William Scott's use of vibrant colours, like orange and ochre, played a crucial role in his still-life compositions, marking a key period in his artistic development. As a member of the post-war British painting group, including artists such as Patrick Heron, Terry Frost and Peter Lanyon, Scott was influenced by the boldness of abstract expressionism. In 1953, his exposure to the New York School, where he met leading figures like Rothko, de Kooning and Pollock, made a significant impact on his approach to abstraction. Despite this, Scott remained deeply attached to the still-life genre, finding ways to modernise it while infusing it with abstraction. His works from the late 1950s often featured everyday objects like jugs, bowls and pans, painted against bold backgrounds in colours like orange. These hues, especially the warm tones of orange, went beyond mere decoration - they emphasised the physical presence of the objects and imbued the scenes with energy. Scott's choice of orange can be seen as a deliberate effort to elevate these everyday items, drawing attention to their form and giving them a unique vibrancy. This use of colour was particularly striking in works, as seen here in lot 278, where the colour envelops the composition, making items seem dynamic and essential. For Scott, orange was not only a visual tool but also a way to convey a sense of warmth and vitality. It helped balance the austerity of his minimalist approach with the sensuality he sought to evoke. By combining the figurative and abstract elements of his work, Scott's use of orange served as a bridge between his engagement with American abstraction and his European roots in more tactile, representational art. Condition Report: Framed: 67 x 84.5cm The work is executed on paper. Rippling to the sheet visible when viewed from the side under raking light. Pinholes to top corners. A tiny tear to the extreme upper right corner. Lower edge torn slightly unevenly. Presents well overall when viewed on the wall. Not viewed out of glazed frame.
WILLIAM SCOTT, R.A. (1913-1989). Still Life with Two Lemons and Grapes. coloured chalk, coloured crayon, gouache and pencil on paper20 x 26 7/8 in. (50.8 x 68 cm.).
William Scott (1913-1989) Still Life (Archeus 48) Screenprint in colours, 1973, signed and dated in pencil, numbered from the edition of 250, printed by Kelpra Studio, published by Christie's Contemporary Art, London, on wove paper, the full sheet printed to near the edges, sheet 678 x 882mm (26 3/4 x 34 3/4in) This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
William Scott (British 1913 - 1989) Iona, 1961 lithograph on paper signed, dated and numbered 'W. Scott 61 222/300' (lower right) sheet size 501 x 619 mm.
William Scott (1913-1989), original lithograph in colours on paper, Night Advance, 13cm x 20cm, mounted, glazed and framed. Printed by W.S.Cowell, 1945
William Scott 1913 Greenock - 1989 Coledord - "Iona" - Farblithografie/Papier. 5/300. 50 x 61,8 cm (Druck- und Blattmaß). Sign. und dat. r. u.: W. Scott (19)61. Das Blatt liegt lose. Leicht gebräunt. Randmängel (Leichte Knickspuren, Knickspur mit leichter Papierläsur m. r.) - Lit.: Schmied, Wieland. Wegbereiter zur modernen Kunst. 50 Jahre Kestner-Gesellschaft. Hannover 1966, S. 305. Das Blatt erschien 1961 als Jahresgabe der Kestner-Gesellschaft Hannover.
Property from a Bluffton, SC Private Collection Description: William Scott (Irish/English, 1913-1989), Pears, Lithograph, pencil signed, dated 79 and numbered 1/150 on lower edge, depicting pears on a blue background, with COA from Christies, matted and framed. Frame size: 25 1/4 in. x 31 1/4 in. William Scott was one of the leading British artists of his generation. During his lifetime, his work was exhibited widely, both at home and abroad, and continues to be to this day. His paintings can be found in public collections around the world, including the Tate, the Solomon R. Guggenheim Museum, New York, the Metropolitan Museum of Art, New York, the Muse National dÕArt Moderne, Paris, and the Art Gallery of New South Wales, Sydney. (Williamscott.org) Measurements: Height: of sheet19 1/2 in. x Width: 25 3/4 in. Condition: Good condition, not viewed out of frame. Notice to bidders: The absence of a condition report does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the conditions of aging. PHOTOS MAY ALSO ACT AS A CONDITION REPORT. Please review all photos closely prior to bidding. Complete condition reports are available by request, no later than 24 hours prior to the live auction. All lots are offered and sold 'AS ISÕ, and Everard Auctions will not provide refunds based on condition. Timepiece movements, lighting and electrics have not been tested, and art has not been examined out of the frame unless otherwise stated. We do not guarantee the condition of frames. By placing a bid, either in person, by phone, absentee or via the Internet, you signify that you agree to be bound by the conditions of sale. Everard Auctions does not provide any shipping or packing services. We recommend that all potential buyers obtain pack/ship estimates prior to bidding. Please contact us for a list of recommended shippers.
Attributed to William Scott, English, 1913 to 1989, oil painting on board depicting an abstract composition. Signed lower right. Framed. William Scott is known for Abstract expressionist and still life painting. William Scott is known for Abstract expressionist and still life painting. An artist whose work changed markedly from rather traditional still life painting to abstraction, William Scott was born in Scotland and at age eleven, in 1924, moved with his family to County Fermanagh in Northern Ireland. There he studied at the Model School and took night classes from Kathleen Bridle at the Technical School. In 1928, he enrolled in the Belfast College of Art, and in 1931, began study on a Landseer Scholarship at the Royal Academy School in London. From 1946 to 1956, he lived in Bath, England where he was a senior lecturer at the Bath Academy of Art. During this period, he also traveled to New York where he met and was much influenced by leading abstract expressionists Jackson Pollock, Elaine de Kooning, Mark Rothko and Franz Kline. It was at this point that his art expression underwent a drastic change. Modern and Contemporary English Fine Art, Abstract Oil Paintings, Wall Art, and Collectibles. One of a kind artwork.
▲ William Scott RA (1913-1989) 'Grapes' lithograph in colours, 1979 50 x 64cm, unframed Provenance: The Estate of Stanley Jones MBE RE. There is the opportunity for this lot to be embossed with 'Estate of Stanley Jones' blind stamp after purchase. Condition Report: Unsigned. Appears to be in good condition. A couple of light cresecent shaped handling creases are visible to the reverse however the front of the print does not appear to be affected.
William Scott CBE RA (1913 - 1989) Still Life, 1957 Gouache on paper, 51 x 74cm Signed lower right Throughout the 1950s, Deborah BrownÕs work became increasingly abstracted, partly due to the experience of painting stage sets and designs for Mary OÕMalley at the Lyric Theatre, until in 1958 she began to make her first gestural non-representational paintings, in which her interest in musical structure and effect were influential. Although keenly engaged with American and European contemporaries, such as Pollock, Rothko and de Stal, she quickly began to explore three-dimensionality, breaking through the canvas surface and adding everyday materials in a manner that foreshadowed the emergence of the Arte Povera movement later in the decade. From the mid-1960s, Brown used fibreglass in a sculptural manner on canvas or board and eventually began to make independent three-dimensional fibreglass works.
William Scott 1913 Greenock - 1989 Coledord - "Iona" - Farblithografie/Papier. 247/300. 50 x 61,8 cm (Druck- und Blattmaß). Sign. u. dat. r. u.: W. Scott (19)61. Das Blatt liegt lose. Leicht angeschmutzt. Leicht knickspurig.
William Scott CBE RA, British 1913-1989, Composition from 35 artists, 1981; lithograph in colours on Whatman wove, signed and inscribed HC in pencil (an Hors Commerce print outside the edition of 50), published by the Royal College of Art, London, sheet: 50 x 65 cm, (unframed) (ARR) Note: There is a print from this edition in the collection of The V and A, London.
WILLIAM SCOTT RA CBE (SCOTTISH 1913-1988) FOR EDINBURGH WEAVERS Pair of 'Skara Brae' pattern fabric panels, designed 1959 Framed and glazed 49 h x 49 w x 6 d Notes: See Victoria & Albert Museum, London, accession number CIRC.266-1960 for another example of this fabric.
William Scott (British, 1913-1989), Busby, from the Coronation Series, lithograph in colours, 1953, published by the Royal College of Art, signed in pencil and numbered 18 of 50, 56cm x 50cm, framed. Note: Artist Resale Rights apply
William Scott R.A. (British, 1913-1989) Wynnstay Park, Ruabon signed 'W. Scott' (lower right); titled 'WYNNSTAY PARK/RUABON' (on sheet verso) watercolour and pen and ink on paper 21.5 x 38cm (8 7/16 x 14 15/16in). with a further watercolour and pencil on paper, on the reverse, of a similar subject, by the same hand
William Scott CBE RA, British 1913-1989, Second Triangles, 1972; screenprint in colours on wove, signed, dated and numbered 3/72 in pencil, printed by Kelpra Studio, published by Leslie Waddington, sheet: 57.5 x 77.5cm, (framed) (ARR)
William Scott CBE RA, British 1913-1989, Equals, from A Poem for Alexander, 1972; screenprint in colours on wove, signed, dated and numbered 3/72 in pencil, sheet: 58 x 77 cm, (framed) (ARR)
William Scott RA (1913 - 1989) Untitled (Thirty Five Artists) 1982 Lithograph in colours on wove paper, 50.5 x 65.5cm (20 x 25¾) Signed in pencil Published by the Royal College of Art London, proof aside from the edition of 50 Provenance: Private Collection, Dublin
(Greenock 1913 - Bath 1989) "Jar and Plate" 1971 oil on canvas cm 64x64.5 Titled and dated 1971 on the reverse Provenance Falchi Arte Moderna, Milan Private collection, Milan Exhibition "William Scott" Falchi Arte Moderna, Milan, October 1972, n.20 in catalogue Literature M. Valsecchi "William Scott" Milan, Falchi Arte Moderna, 1972, ill. in colour British Council Lecture, 1972, slide 71 S. Whitfield, L. Inglis "William Scott: Catalogue Raisonné of Oil Paintings" Londra, Ed. Thames and Hudson, 2013, n. 705 IT "Jar and Plate" 1971 olio su tela cm 64x64,5 Titolato e datato 1971 al retro Provenienza Falchi Arte Moderna, Milano Collezione privata, Milano Esposizioni "William Scott" Falchi Arte Moderna, Milano, ottobre 1972, n.20 in catalogo Bibliografia M. Valsecchi "William Scott" Milano, Falchi Arte Moderna, 1972, ill. a colori British Council Lecture, 1972, slide 71 S. Whitfield, L. Inglis "William Scott: Catalogue Raisonné of Oil Paintings" Londra, Ed. Thames and Hudson, 2013, n. 705
William Scott CBE RA (1913-1989) ONE PEAR, 1979 oil on canvas signed and dated on reverse h:12 w:16 in. Provenance: Gallery Moos, Toronto; Sotheby's, London, 7 May 2009, lot 58; Private collection Exhibited: 'W. Scott Memorial Exhibition', Anderson Gallery, Buffalo, 26 September to 31 October 1992, catalogue no. 29 The present work is listed in the William Scott Archive as no. 1569. William Scott is internationally recognised as one of the most significant artists of the twentieth century. Born in Greenock in Scotland, he later moved to his father's native Enniskillen; he studied art initially in Northern Ireland, then in London. He lived for a time in mainland Europe until the outbreak of the second World War. Scott's work addressed a range of themes, but he is best known for his ground-breaking approach to still life where he combined his response to familiar domestic objects, like cooking utensils and foodstuffs, drawing on the abstract possibilities of their profiles. Objects were projected both individually and in their relationships to each other; sometimes represented like musical notes - harmonious or discordant - ranged across the surface of the canvas. They could appear outlined or profiled as complete forms, or cut-off as though the array continued beyond the picture plane. Scott chose the forms of common, mundane, familiar domestic objects; his appreciation of their simple abstracted beauty made their very ordinariness compelling, a strategy that ran counter to the long tradition of valuing the rare exclusivity of high craftsmanship of rich materials. Scott's appreciation of the ordinary was fundamental to Modernism, to an egalitarian accessibility and ubiquity. Abstraction is recognised as a defining element of Modernist imagery and Scott evolved his objects from a relatively naturalistic representation, becoming increasingly stylised, until the full abstraction of his Berlin Blues series in the 1960s. However, he regularly returned to objects in the tangible world. In the 1970s, Scott carried out several paintings and works on paper that explored the potential of the pear, typically with its projecting stalk. While various fruit forms appear in his work from time to time, the pear provided a particular focus. The resulting series examined the profile and the formal relationships, either singly or in groups. In some artworks the object appeared in outline, and in others, it was presented as a dense flat form, as in One Pear. In some images, Scott presented the forms as though floating against a monochromatic ground, while in others, such as One Pear, the entity is framed as though displayed on a plate. Scott alluded to his preference for manufactured over natural objects, and while the pear might be deemed a natural object, its distillation to a two-dimensional shape, and presentation within a linear 'frame', removes it decisively from a naturalistic setting. Scott's deceptively simple arrays are visually compelling, their arrangement and form demonstrating the relationship of positive and negative space. Such imagery distinguishes abstraction from description, and gives the forms a kind of ritualistic value that both depends on, and separates them from, their mundane origins. Yvonne Scott, April 2024
WILLIAM SCOTT C.B.E., R.A. (BRITISH 1913-1989) BLUE STILL LIFE Lithograph, P.P., bears signature, indistinctly dated and editioned lower right the sheet 56cm x 76cm (22in x 30in) This is believed to have been given as a gift from Scott to the artist and printmaker Andy Hawkins in the 1970s. This is a printer's proof from the early 1970s, before the image was released in a wider lithographic edition in 1975, printed by Curwen Studio, published for PSA Supplies Division by Edition Alecto Ltd, as a commission by the Department of the Environment, who issued it internally within government departments. As a gift, it is possible that the work was signed and dated at a later point.
