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 (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.
Scott, William (British, 1913-1989), Linear Pears, 1974, lithograph on cream wove paper, signed, dated and numbered 7/75 in pencil along the upper margin, sheet size 8.5 x 10.5 inches, unframed. Provenance: Martha Jackson Gallery, with compliments card signed by Martha's son David K. Anderson also included.
WILLIAM SCOTT CBE RA (IRISH 1913-1989) Hannover Gallery Poster 1969 offset lithographic poster in colours on wove published by The Hannover Gallery printed by Sergio Tosi, Milan sheet 80.5 x 60cm unframed ARR
William Scott (Irish, 1913-1989) Untitled, signed W. Scott lower right, gouache and watercolor on cream wove paper, sheet-10 1/2" x 13 1/2", Framed. Note: The William Scott Foundation, London, will not accept works for authentication.
William Scott 1913 Greenock - 1989 Coledord - "Iona" - Farblithografie/Papier. 73/300. 50 x 61,8 cm (Druck- und Blattmaß). Sign. und dat. r. u.: W. Scott (19)61. Das Blatt liegt lose. - 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.
William Scott CBE RA (1913-1989) JUG AND PEAR, 1983 oil on canvas signed and dated on reverse; also with exhibition labels on reverse h:19 w:22 in. Provenance: Gimpel Fils Gallery, London; Archeus Fine Art, London; Private collection; Whyte's, 28 November 2006, lot 35; Private collection Exhibited: 'William Scott', Gimpel and Weitzenhoffer, New York, 26 April to 28 May 1983 This work is registered in the William Scott Archive as number CR921. We are grateful to the William Scott Archive for their assistance in cataloguing this work. William Scott was born in Scotland in 1913. His father, a sign-writer and house painter, was Irish and from Enniskillen; his mother Scottish. The family moved back to Enniskillen in 1924 to find a better standard of living. Showing a keen interest in art William was sent to study with Kathleen Bridle who introduced him to watercolour painting and the French tradition in art. In 1928 he attended the Belfast College of Art and in 1931 studied at the Royal Academy Schools in London. He went on to become one of few Irish artists (although Scotland can claim him also) in the post World War II period to establish a national and indeed international reputation as an abstract or semi-abstract painter. His development as an artist followed the early Modernist pathway of moving from Naturalism towards a spare and poetic abstraction but without relinquishing the imprint of the original naturalistic or man made source. The French Modernist tradition of Cézanne, Bonnard and Braque was a potent early source of influence. He lived in France for periods in Cagnes-Sur-Mer and St Tropez in the south and at Pont Aven in the north. The wall paintings at Lascaux, which he visited in 1954, made a lasting impact. His consistent subject matters of kitchen table still lifes and the nude female figure he worked at and distilled to an emotional and erotic essence of line, colour, shape and texture. If his cottage still lifes left their first marks on a Scottish or Ulster table, his later ones still bore their imprint. In a memorial poem to the artist, Brendan Kennelly registers their impact: Hardly an outdoors man: Flickering candle, domestic gold, Bottle, basin, pot, pan: Slowly the shapes take hold. And will not be forgotten. Eggs, lemons, grapes, pears: The man walks through the kitchen, Wanders among the stars.1 The development of his work progressed towards less and less pictorial elements (a fish, a plate, a glass). The former supporting table top, tilted á la Cezanne, now becomes the vertical pictorial ‘field’ or working ‘ground’ and his gift for placement and structural balance becomes even more assured, simple and eloquent. Of his move from the representation of objects in space to the orchestration of objects and space he has commented: “My problem was to reduce the immediacy of the individual object and to make a synthesis of ‘objects and space’ so that the new conception would be the expression of one thing and not any longer a collection of loosely related objects”.2 In 1953 Scott visited New York and met Jackson Pollock and Marc Rothko among others. He was impressed by the scale and self assuredness of their work but the visit for him reinforced his Europeanism. In 1965 William Scott moved to a farmhouse near Coleford in England where there was an espaliered pear tree. He had, of course, painted pears earlier in his career e.g. Pears on a Plate, 1956/60. Now he had a constant source at hand and pears became something of a sub theme in his work. In Pears and Knife II, 1973, three pear shapes share a kind of musical notation with a plate, a knife and a glass registering a graphic and visual assonance. In 1976 he painted a series of seventeen small canvasses, entitled the ‘Orchard Series’ where the fruit sit like roosting birds painted mostly in varying shades of green and in varying dispositions. They evoke a primitive and erotic charge. Jug and Pear, 1983, was painted in the last years of his working life before he developed Alzheimer’s disease in 1986. He died in 1989. It shows the influence of Egyptian wall painting in the flattening out of the pear and jug, allowing their outlines to do all the work. It gains its power despite its scale, from the simplicity and humour of the relationship between the two pictorial protagonists. The jug squared off and stand-offish ignores, as it were, the shapely presence of the pear in this painterly drama. William Scott’s work is represented in many national and international collections. He has represented Britain in a group exhibition at the São Paulo Bienal (1953) and with a solo exhibition at the Venice Biennale (1958). He also has been included in Documenta, Kassel, Germany (1959) and Rosc, Dublin (1980). In 1986 a large retrospective of his paintings and drawings toured Ireland and Scotland and a major exhibition of his work was shown at IMMA in 1998. Numerous exhibitions of William Scott's work continue to take place nationally and internationally, most recently from October to December 2019 in New York at the Anita Rogers Gallery titled William Scott: Paintings and Drawings; Fifties through Eighties. Professor Liam Kelly Belfast, October 2006 1. Brendan Kennelly, If You Were Bold Enough (in memory of William Scott), published in William Scott 1913-1989, RHA, Dublin, 1990. 2. As quoted in essay by Ronald Alley, William Scott, Arts Council of Northern Ireland and the Arts Council / An Chomhairle Ealíon, 1986.
William Scott (1913-1989) after. Jug and Two Plates Offset lithograph printed in colours, 1997, published by Bernard Jacobson Gallery and William Scott Estate, London, for Habitat, from the edition of unknown size, on wove paper, with full margins, sheet 498 x 398mm (19 5/8 x 15 3/4in)
WILLIAM SCOTT (1913-1989); framed screen print on paper "White Bowl, Black Pan". Panel to rear dated "November 27th 1971", from The Redfern Gallery Ltd, Bond St, London. 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. 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. Scott's work was greatly influenced by the geometric style of Swiss painter Paul Klee, and the stylistic representations of French artist Georges Braque. Scott's work is represented at National Galleries Scotland and Tate Gallery London.
William Scott (1913-1989) Odeon I Lithograph printed in colours, 1966, signed and dated in pencil, numbered from the edition of 75, printed by Mathieu, Zurich, published by Editions Alecto, London, on wove paper, with full margins, sheet 635 x 769mm (30 1/4 x 24 7/8in) This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
William Scott R.A. (British, 1913-1989) Scalpay, from Europäische Graphik I (Archeus 18) Lithograph in colours, 1963, on Arches wove paper, signed, dated and numbered 57/65 in pencil, printed by Curwen Studio, London, published by Galerie Wolfgang Ketterer, Munich, with their blindstamp, the full sheet, framed Sheet 503 x 658mm (19 3/4 x 25 7/8in)
WILLIAM SCOTT CBE RA (IRISH 1913-1989) Two William Scott Bernard Jacobson Gallery Posters 1997 offset lithographs in colours on wove each sheet 50 x 40cm unframed ARR Note: Normal VAT fees apply and the standard of VAT will be charged on both hammer price and premium
William Scott, British, 1913-1989, Still life with Orange notes, 1980; wool pile carpet, from an edition of 25, with embroidered signature 'C. Scott' on the reverse, overall: 147 x 264 cm (ARR)
William Scott R.A. (British, 1913-1989) Still Life No. 1 signed and dated 'W. SCOTT 70' (lower right) watercolour and gouache 58.4 x 77.1 cm. (23 x 30 3/8 in.)
§ William Scott C.B.E., R.A. (British 1913-1989) Seated Figure, c.1953 charcoal on paper (35cm x 25cm (13 3/4in x 9 3/4in)) Provenance Archeus Fine Art, London, where acquired by the present owner, March 2001
§ WILLIAM SCOTT CBE RA (IRISH 1913-1989) WILLIAM SCOTT CBE RA (IRISH 1913-1989) Two William Scott Bernard Jacobson Gallery Posters 1997 offset lithographs in colours on wove each sheet 50 x 40cm unframed ARR Note: Normal VAT fees apply and the standard of VAT will be charged on both hammer price and premium
William Scott CBE RA (1913-1989) A GIRL SURVEYED - THE ARTIST TO HIS MODEL, 1970 lithograph; (no. 45 from an edition of 70) signed by the artist and poet lower left; numbered lower right; with Hyland Gallery label on reverse h:32 w:22 in. Provenance: Hyland Gallery, Belfast, 2006; Private collection
Pencil and gouache. Signed and dated 'W. SCOTT 74' (upper left). With original William Scott: Drawings publication. William Scott CBE RA (British, 1913 – 1989) Born 15 February 1913 in Greenock Scotland, William Scott was raised in his father’s hometown of Enniskillen in Northern Ireland from the age of eleven. Scott enrolled at the Belfast School of Art in 1928, where he began his career as a celebrated abstract painter known for his still lifes, landscapes, and female nudes. In 1942, Scott joined the Royal Army Ordnance Corps and later served with the Royal Engineers as a lithographic draughtsman. Throughout his service, he continued to paint and exhibit at both solo and group shows. Upon discharge from the army in 1946, Scott became Senior Painting Master at the Bath Academy of Art, where he would teach for the next ten years, during which time he associated with artists from the St. Ives group and American abstract expressionists. Though Scott left full-time teaching in 1956, he remained involved in art school education for the remainder of his life. In the 1960s and 70s, Scott’s work was exhibited all over the world, including retrospectives in Zurich, Hannover, and his home province of Ulster in Northern Ireland. In 1966, he was made a Commander of the Order of the British Empire and received honorary doctorates from the Royal College of Art in London, Queen’s University Belfast, and Trinity College Dublin. On 28 December 1989, Scott died at his home in Somerset. Scott’s work has been shown posthumously at the Irish Museum of Modern Art in 1998 and at The Verey Gallery, Eton College in 2016.
William Scott 1913 - 1989 Composition, from Thirty-Five Artists signed in pencil, dated and inscribed H.C. lithograph printed in colours on wove paper sheet: 501 by 652 mm. 19¾ by 25⅝ in. Executed in 1982; this is one of several hors commerce impressions aside from the numbered edition of 50, published by the Royal College of Art, London.
