William Bell Scott, Scottish 1811-1890- The Garden of Eden; Angel; The Nativity; and There shall be no more death...; etchings on paper, each after William Blake, each signed 'W.B Scott' (within the plate, lower right), and 'William Blake, inv:' (within the plate, lower left), 22.7 x 16.4 cm. and smaller, four (4). Provenance: Private Collection, UK. Note: Working against the backdrop of the Pre-Raphaelite movement, Scott was closely associated with various prominent artists of the Victorian period, including Dante Gabriel Rossetti (1828-1882) and Arthur Hughes (1832-1915). He worked as the Principal of the Newcastle School of Art between 1843 and 1864, and, in this capacity, was one of the first artists to record the development of the Industrial Revolution, which, over the course of the 19th-century transformed the city of Newcastle. His oeuvre was varied and he executed a large body of works exploring historical and religious themes, as well as the industrial revolution and modern society. The present works exhibit Scott's skill as an etcher, depicting scenes after Blake's own original illustrations.
William Bell Scott Scottish, (1811-1890) St Marks, Venice, 1886 etching on paper laid on cardboard Signed, titled and dated in the lower left corner. Some stains mostly in the margins. Strong impression in dark brown ink.
WILLIAM BELL SCOTT (BRITISH, 1811-1890) A tile design for Penkill Castle: Three Voles pencil, watercolor and bodycolor, heightened with gum arabic on paper
WILLIAM BELL SCOTT (BRITISH, 1811-1890) Five designs for tiles for Penkill Castle: A Rooster; A Roosting Hen with... pencil, watercolor and bodycolor heightened with gum arabic on paper 5 3/8 x 5 3/8 in. (13.6 x 13.6 cm.) each (5)
William Bell Scott, Scottish 1811-1890- Three figures in the doorway of a church; pencil and watercolour heightened with white on card laid down on board, signed with initials 'W.B.S.' (lower left), with the remnants of a watercolour on the backing board, 15.1 x 10.7 cm. (unframed). Provenance: Private Collection, UK. Note: Working against the backdrop of the Pre-Raphaelite movement, Scott was closely associated with various prominent artists of the Victorian period, including Dante Gabriel Rossetti (1828-1882) and Arthur Hughes (1832-1915). He worked as the Principal of the Newcastle School of Art between 1843 and 1864, and, in this capacity, was one of the first artists to record the development of the Industrial Revolution, which, over the course of the 19th-century transformed the city of Newcastle. His oeuvre was varied and he executed a large body of works exploring historical and religious themes, as well as the industrial revolution and modern society. He also produced a number of more romanticised landscapes and historical scenes. The present work depicts a group of three figures huddling at the foot of the doorway of a large church or cathedral, dwarfed by its scale. A pile of baskets lies in front of them, seemingly having come from the open door of what appears to be a somewhat incongruous shed, contrasting with the grandeur of the building behind.
WILLIAM BELL SCOTT (SCOTTISH, 1811-1890) Three Rabbits; Two Young Monkeys; A Fox; A Watchful Dog; A Sleeping Cat with... oil, gouache, and gum arabic on paper each; 5 1/2 x 5 1/2 in. (14 x 14 cm.) (5)
WILLIAM BELL SCOTT (1811-1890) WOMAN LOOKING OUT FOR HER HUSBAND AND BROTHERS Watercolour Provenance: Penkill Castle. The Stone Gallery. Wallington Hall. Anderson Garland (25cm x 17cm)
WILLIAM BELL SCOTT H.R.S.A., L.L.D. (SCOTTISH 1811-1890) THE BARGE OF THE FAIRY MAB Inscribed with title and address and 'Government School of Design' on a contemporary label verso, feigned arched top, oil on canvas (61cm x 51cm (24in x 20in)) Provenance: Careston Castle, Brechin, Angus Exhibited: Royal Scottish Academy, Edinburgh, Annual Exhibition, 1845, no.175 O, then, I see Queen Mab hath been with you. She is the fairies' midwife, and she comes In shape no bigger than an agate-stone On the fore-finger of an alderman, Drawn with a team of little atomies Athwart men's noses as they lies asleep; Her wagon-spokes made of long spinners' legs, The cover of the wings of grasshoppers, The traces of the smallest spider's web, The collars of the moonshine's wat'ry beams, Her whip of cricket's bone; the lash of film… — Mercutio in Romeo and Juliet, Act I, scene IV William Bell Scott was born in Edinburgh in 1811, the son of the engraver Robert Scott (1777-1841) and younger brother of the painter and poet David Scott (1806-1849). He trained in fine art at the Trustees’ Academy, a forerunner of Edinburgh College of Art. In 1837 he moved to London, where he soon developed a connection with a group of painters known as ‘The Clique’ who met to sketch together. ‘The Clique’ was founded by the renowned fairy painter Richard Dadd in the late 1830s, and co-alesced around a rejection of high art and a belief that their work should not conform to academic ideals. Bell Scott formed a friendship with Dadd, and they collaborated on illustrations for Samuel Carter Hall’s ‘Book of British Ballads’ (1842). The group disbanded in 1843 after Dadd was diagnosed insane and institutionalised at Bethlem for killing his father during a psychotic breakdown. In 1843 Bell Scott was offered the position of Master of the Government School of Design at Newcastle-upon-Tyne, where he would remain for the following twenty years. He nevertheless maintained a relationship with the Pre-Raphaelites in London, and contributed poetry to their journal ‘The Germ’. He was close to William Holman Hunt and, in particular, Dante Gabriel Rossetti, whose family championed his work. Bell Scott is best-known for his history paintings. In 1854 he was commissioned to paint a series of works depicting the history of Northumberland for Wallington Hall, the Morpeth home of his most valued patron Lady Trevelyan. Five years later he met Alice Boyd of Penkill Castle, Ayrshire, while she studied in Newcastle. The relationship became close, and from the 1860s Scott lived with Alice Boyd and his wife Letitia in a ménage à trois between Scotland and London until the end of his life. Following her brother’s death in 1865 Alice became the owner of Penkill, and Bell Scott spent several years in the 1860s painting the staircase with a series of frescos illustrating James I’s poem ‘The Kings Quair’. ‘The Barge of the Fairy Mab’ was exhibited at the Royal Scottish Academy in 1845, and pre-dates Bell Scott’s Pre-Raphaelite associations. The Fairy Queen Mab is glimpsed through lily petals glowing in the moonlight, being transported on a barge formed from lily pads. Her hair falls in flowing golden tresses and she holds a long red wand, which she directs towards a spider spinning silken threads, as her wide eyes gaze upwards towards the web. The Fairy Queen and several of her attendants are unclothed, with a sensuous allure of form that could not have been freely expressed in a traditional Victorian genre or history painting. The intense jewel-like colour draws the eye towards the heart of the composition, as does the detailed rendering of the elf-like creatures, insects, bugs and leaves. Even the delicate threads of the web are beautifully illuminated. The scene is enclosed within leaves and grasses, through which fairies make their way, with bright star-like torches on their heads, past a swan nestled in the background. There is joy, humour and mischief in the rendering of Fairy Queen Mab and her entourage, and it is a delight to glimpse into this fantasy. Queen Mab is a mischievous yet benevolent figure. In ‘Romeo and Juliet’ she is referred to as the fairies’ midwife, who delivers sleepers their innermost fancies in the form of dreams. In Victorian Britain a great fashion for fairy painting co-incided with a resurgence of interest in Shakespearean plays such as ‘The Tempest’ and ‘A Mid-Summer Night’s Dream’, in which fairies feature as characters. The popularity of the fairy genre is seen as a reaction to the societal and environmental changes being wrought by industrialisation and the expansion of the suburbs. Viewers sought escapism from the changing world through mystical, spiritual and fantastical scenes and images of the natural world. The fairy genre is rare in Bell Scott’s oeuvre, yet in ‘The Barge of the Fairy Mab’ he has created a charming example of Victorian fairy painting at its best.
William Bell Scott, Scottish 1811-1890- A lady on a terrace with a baby, a duel beyond; pencil and watercolour heightened with white on paper, signed with initials �WB.S.� (lower right), 12 x 19.8 cm. Provenance: Alan B. Gateley and thence by descent.; Anon. sale, Sotheby�s, London, 13 July 2010, lot 19.; Where purchased by the present owner. Note: Working against the backdrop of the Pre-Raphaelite movement, Scott was closely associated with various prominent artists of the Victorian period, including Dante Gabriel Rossetti (1828-1882) and Arthur Hughes (1832-1915). His ouevre was varied and he produced a large body of works exploring historical and religious themes, as well as the industrial revolution and modern society. His relationship with his pupil Alice Boyd (1825-1897) drew him, and indeed many Pre-Raphaelite artists and writers, to Penkill Castle, Ayrshire. This close association continued until his death and it is possible that the setting for the present watercolour is inspired by Penkill, or indeed one of the country houses he frequented in the north. Please refer to department for condition report
WILLIAM BELL SCOTT (Scottish, 1811-1890) Spanish Student watercolour heightened with white titled in pencil lower left: Spanish Student 23 x 18cm (39.5 x 34.5cm framed) PROVENANCE: Sotheby's, London Private Collection, Canberra, acquired from the above 1970s
William Bell Scott, Scottish 1811-1890- A lady on a terrace with a baby, a duel beyond; pencil and watercolour heightened with white on paper, signed with initials âWB.S.â (lower right), 12 x 19.8 cm. Provenance: Alan B. Gateley and thence by descent.; Anon. sale, Sothebyâs, London, 13 July 2010, lot 19.; Where purchased by the present owner. Note: Working against the backdrop of the Pre-Raphaelite movement, Scott was closely associated with various prominent artists of the Victorian period, including Dante Gabriel Rossetti (1828-1882) and Arthur Hughes (1832-1915). His ouevre was varied and he produced a large body of works exploring historical and religious themes, as well as the industrial revolution and modern society. His relationship with his pupil Alice Boyd (1825-1897) drew him, and indeed many Pre-Raphaelite artists and writers, to Penkill Castle, Ayrshire. This close association continued until his death and it is possible that the setting for the present watercolour is inspired by Penkill, or indeed one of the country houses he frequented in the north. Please refer to department for condition report
William Scott (Scottish, 1811-1890) etching on paper depicting a Venice scene. Signed and dated August 1881 lower right in the plate. Unframed. William Bell Scott was an artist in oils and watercolor and occasionally printmaking. He was also a poet and art teacher, and his posthumously published reminiscences give a chatty and often vivid picture of life in the circle of the Pre-Raphaelites. He was one of the first British artists to extensively depict the processes of the Industrial Revolution.
William Bell Scott (Scottish, 1811-1890) The Norns watering the Tree of Life signed and dated 'W. B. Scott 1876' (lower right); signed with monogram (centre left); titled in stylised script (around the neck of the central urn) oil on canvas175 x 114.5cm (68 7/8 x 45 1/16in).Presented in the original gilt frame decorated by Henry Treffry Dunn Provenance: Dr. Elton Augustus Eckstrand (1928-2008) Collection, Penkill Castle, Scotland (castle and contents acquired in 1978).The Property of Elton A. Eckstrand; Sale, Christie's, Penkill Castle, Scotland, 15 December 1992, lot 181. Private collection, UK (acquired from the above sale).While Medieval literature was a predominant inspiration, William Bell Scott like William Morris, was fascinated by the ancient legends and particularly drawn to the Nordic myths – a theme that Scott so admirably visualises in the present work. Dated 1876, this large oil depicts the Norns – the three Nordic goddesses who, as dispensers of fate, represented the past, present and future. They were charged with tending the Yggdrasill (or Iggdrasil), a mighty ash tree that supported the whole universe. This tree of life had three main roots, one of which extended into the dwelling of the gods, known as Asgard. Beside this root was a spring, from which the Norns constantly watered the tree. Scott, who was a skilled artist and writer, composed a poem to accompany this painting. In 1876 he sent his verse The Norns Watering Yggdrasill to The Athenaeum and later featured it in A Poet's Harvest Home, being one hundred Short Poems by William Bell Scott. The anthology, published in 1882, was dedicated to William Michael Rossetti, brother of his other great friend Dante Gabriel Rossetti. The painting was also reproduced as an engraving, appearing in The Etcher, 1879, vol. I, pl. 3, of which an example can be found in the Fine Arts Museums of San Francisco.Of Scott's many obituaries, The Academy, (6th December 1890, p. 529) described this oil as "his last easel painting of significance." The painting comes with a fascinating history since it once hung at Penkill Castle, the home of Alice Boyd, Scott's pupil, muse, and lover. He and Alice first met in 1859, when Scott was head of the Newcastle School of Design and while he was still working on his famous historical murals for the Trevelyan family at Wallington, Northumberland. At the time Alice, who never married, was living at Penkill with her much adored brother Spencer, who had inherited the fairy-like castle near Girvan. As 14th laird, Spencer lovingly restored the somewhat dilapidated castle with its round tower and crenelated battlements overlooking the Firth of Clyde toward the Isle of Arran. When Spencer Boyd died prematurely in 1865 and Alice became the 15th laird, Scott was keen to continue his visits to Penkill. Thus, he embarked on decorating the walls of the spiral staircase in the new tower with murals illustrating scenes from The King's Quair, a poem believed to have been written by James I of Scotland while imprisoned at Windsor Castle. During his many visits to Penkill, Scott, sometimes brought his wife Letitia, who accepted his and Alice's close relationship. In fact, the ménage à trois seemed to work well with the Scotts spending part of the summer at Penkill and then Alice staying with them during the winter months at their London homes, firstly at Elgin Road, Notting Hill and then at 92 Cheyne Walk, Chelsea (close to Rossetti who lived at no. 16). In addition to Scott, other visitors to Penkill from the Pre-Raphaelite fraternity included Dante Gabriel Rossetti, his sister Christina, William Morris and Arthur Hughes. During his stays, Hughes painted views of the garden and interior including one of the main hall, where the present painting eventually hung above the fireplace. Scott's last five years were spent at Penkill, with Alice as his constant companion. He died there on 22nd November 1890 and was buried nearby in Old Daily churchyard in the Boyd family burial plot. When Alice died in 1897, she too was buried there.In a letter dated 18th April 1876 to William Michael Rossetti, Scott invited him and his wife to see his picture at his home in Cheyne Walk. This is assumed to be the present work for in a subsequent letter to W. M. Rossetti, dated July 2nd 1876, he urged both him and his brother Dante Gabriel to "make another inspection of The Norns Watering Iggdrasil, on which he has done further work, and has also sent a poem on the subject to The Athenaeum" (online annotations to William Bell Scott's letters at Durham University Library, respectively MSS. 838/115 and 838/120/1-2). When apart from Alice, Scott regularly wrote to her. In his discussion of these letters, W. E. Fredeman notes that in June 1876 "Scott's spare time was devoted to etching a number of his 'Backhome' sketches, visiting the R. A. Exhibition, painting on his picture, The Norns....", to which he added a footnote "This picture, for which H. T. Dunn [Henry Treffry Dunn] was decorating the frame, is discussed in several letters quoted here; its present location is unknown. WBS' poem on the picture appears in A Poet's Harvest Home." (William Evan Fredeman, The Letters of Pictor Ignotus: William Bell Scott's Correspondence with Alice Boyd, 1859-1884, 1976, p. 319). The fact that the decoration of the frame was given to Henry Treffry Dunn, Rossetti's studio assistant, adds weight to the importance to which Scott placed on his painting. Dunn was working on the frame during 1877. On June 19th that year, Scott noted in a letter to Alice "I first went along to Rossetti's not to see him but Dunn to understand whether he had got the verses on the label done." Four months later, on 17th October, he referred once more to Dunn and Rossetti (who was in poor health) "Yesterday Dunn came in by way of seeing the Norns' frame now the label is on it, but I fancy to tell me about DG [Rossetti]" (ibid, pp. 324-5).Following Alice Boyd's death in 1897, Penkill and all its works of art were inherited by her spinster half-niece Eleanor Margaret Courtney Boyd (1864-1946; whose father was the son of Alice and Spencer Boyd's mother by her second marriage). When Eleanor Margaret died in 1946, the building and contents were passed to her half-sister Evelyn May Courtney, who then added Boyd to her name when inheriting the castle and becoming laird of Penkill. A former dancing teacher and gentle by nature, she grew frail, in debt and prone to unscrupulous visitors who 'borrowed' or took items from Penkill. In particular, she fell prey to Willie Hume, who delivered her milk and other requirements. He moved into the gate lodge as her caretaker, then persuaded her to sell the lodge for a nominal sum and gradually began selling items from Penkill. On one occasion Hume and a local antiques dealer tried to remove a portrait by Scott of Alice and her brother Spencer which was firmly fixed to the wall. On the frame was a sign written by Scott warning "Move not this picture, Let it be, For love of those in effigy." Taking no notice of the words, Hume duly removed the portrait but immediately he began choking and died from angina that night. The incident prompted Evelyn May to sell the castle and its remaining art in 1978. The purchaser was Dr Elton Augustus Eckstrand, an American lawyer with a passion for the Pre-Raphaelites. He enjoyed this painting hanging in prime position in the main hall over the fireplace, one of the three fates most notably casting her sombre otherworldly gaze on all who passed beneath her. Eckstrand cared for Penkill but when reaching sixty, he decided that it was time to move on. The castle was sold separately while the contents were auctioned on site by Christie's in December 1996. The sale comprised 325 lots to include original pieces of furniture and furnishings that Alice and Scott would have used. Among the many works of art, were ancestral portraits, paintings by Arthur Hughes and a number by Alice which more than demonstrated her skill as an artist. There were also over thirty drawings, watercolours and oils by Scott (some being grouped into one lot). Among them were historical and literary scenes, portraits of Alice, her brother Spencer and their grandfather as well as a full-scale drawing for 'The Norns Watering the Tree of Life' and of the course the painting itself, which was acquired by the present owner. Since then it has appeared on national television and was the inspiration for a scene in a large format 70mm film, 'Sacred Journey', about the life of St Cuthbert and the foundation of Durham Cathedral and City, which also included other imagery inspired by Scott's Northumbrian murals.We know that the work was owned by Eckstrand and was included in his sale in 1996. However, knowledge of its ownership prior to Eckstrand is more speculative, especially since when writing in 1976, W. A. Fredeman noted that "its present location is unknown" (Fredeman, op. cit, p. 319). Fredeman visited Penkill in the 1960s so either he missed the work, which may have been in storage or it was not at Penkill at that stage but was acquired by Eckstrand, who then later took it to the castle. Sadly, Fredeman is no longer alive so cannot be consulted. Despite this discrepancy, it is logical to assume that the painting was at Penkill when Scott died in 1890 and that it was still there when Alice died six and a half years later. If that was the case, it would then have been inherited by Eleanor Margaret Courtney Boyd and in turn by Evelyn May Courtney Boyd. Six preparatory drawings for the finished oil are in the National Galleries of Scotland Collection. These provide an interesting insight into how Scott developed his composition. Two are intricately detailed watercolour studies of the ash tree's foliage and bark, together with some lines from his poem. Three others are pencil drawings of the Norns themselves and clearly indicate that at one stage Scott had intended for one of the goddesses to be leaning forward while holding onto the handle of a large urn. A sixth study or cartoon worked in pen and ink with subtle brown and grey washes on tracing paper shows the final composition as here with the three Norns, the birds above and swans below in the same poses (fig 1). The finished oil, which is a synthesis of these and other unrecorded studies, stands as testimony to Scott's skill as an artist and storyteller.
William Bell Scott (1811-1890) Thou has left me ever, Jamie pencil, watercolour and bodycolour heightened with gum arabic and with scratching out on paper 16 ½ x 26 in. (41.9 x 66 cm.)
WILLIAM BELL SCOTT (BRITISH, 1811-1890) POSTHUMOUS PORTRAIT OF THE ARTIST'S SISTER Signed with monogram, inscribed and dated 1828, oil on board 34cm x 25.5cm (13.5in x 10in)
SCOTT, William Bell (British 1811-1890) Stroll on a Country Road. No signature apparent. Note verso in modern hand stating that attribution is pencilled on mount obscured by framing. W/Clr
WILLIAM BELL SCOTT (1811-1890). "Three head studies mounted as one - Portrait of Solomon Hart reading, another portrait of Solomon Hart and a portrait of F.B. Barwell" pencil all signed with initials and dated 10 June 1874 each drawing measuring 18.5 x 12.3 cm mounted as one, unframed
SCOTT, William Bell (British 1811-1890) Stroll on a Country Road. No signature apparent. Note verso in modern hand stating that attribution is pencilled on mount obscured by framing.
SCOTT, William Bell (British 1811-1890) Stroll on a Country Road. No signature apparent. Note verso in modern hand stating that attribution is pencilled on mount obscured by framing. W/Clr 30x21cm
Scott (William Bell, 1811-1890). And the Waters prevailed upon the Earth an hundred and fifty days, 1878, etching on wove paper, plate size 265 x 204mm (10.5 x 8ins), framed and glazed, with Abbott & Holder label to verso (1)
William Bell Scott, British 1811-1890- The Norns Watering the Tree of Life 1876; etching, signed and dated within the plate, 25.5x17cm: Dante Gabriel Rossetti, British 1828-1882- A Sonnet; wood-engraving, inscribed within the plate DG Rossetti pro matre fecit Apr: 27. 1880 and ANIMA, 9.5x15cm: Hubert Von Herkomer, German/British 1849-1914- Caller Herrin after John Everett Millais, publ. August 1st 1882 by The Fine Art Society Limited, 148 New Bond Street, London; mezzotint and etching, inscribed with the artists and remarques of their profile, 68x53cm: Robert Bowyer Parkes, British 1830-1904- Sing Birdie Sing publ. July 8th, 1870, by Henry Graves & Co, the Proprietors, Publishers to H.M. the Queen, and T.R.H. the Prince & Princess of Wales, 6 Pall Mall, London; etching and mixed technique with hand-colouring, 71x52.5xm: together with a quantity of 19th century prints, by and after various hands, various techniques, various sizes, (unframed) (alot) Provenance: From the collection of The Estate of the Hon Christopher Lennox-Boyd
William Bell Scott (1811-1890) THE GARDEN AT KINGSTANDING with inscription on a label verso watercolour 20 x 27cms; 8 x 10 3/4in. PROVENANCE The Julian Hartnoll Gallery, Duke Street, London. See illustration
William Bell Scott (1811-1890) THE GARDEN AT KINGSTANDING with inscription on a label verso watercolour 20 x 27cms; 8 x 10 3/4in. PROVENANCE The Julian Hartnoll Gallery, Duke Street, London. See illustration
William Bell Scott, HRSA (1811-1890) TYNEMOUTH PRIORY AND GINGLING GEORDY'S CAVE signed and dated 18th December, 1863; with gallery labels verso watercolour 23.5 x 33.7cms; 9 1/4 x 13 1/4in. PROVENANCE The Stone Gallery, Newcastle. Formerly the property of the Leathart family. NB A study of King Edward's Bay which the Artist later used in his large oil painting The Descent of the Danes in his important Wallington Hall Mural Series.
William Bell Scott, HRSA (1811-1890) "TYNEMOUTH PRIORY AND GINGLING GEORDY'S CAVE" signed and dated 18th December, 1863; with gallery labels verso watercolour 23.5 x 33.7cms; 9 1/4 x 13 1/4in. PROVENANCE The Stone Gallery, Newcastle. Formerly the property of the Leathart family. NB A study of King Edward's Bay which the Artist later used in his large oil painting "The Descent of the Danes" in his important Wallington Hall Mural Series.
William Bell Scott, HRSA (1811-1890) STUDIES OF FALLEN TREES AND FOLIAGE signed with monograms pen and ink 16.5 x 14cms; 6 1/2 x 5 1/2in. ovals 21cms; 8 1/4in. circular (3)
William Bell Scott [1811-1890] after Filippino Lippi St Peter being freed from Prison signed with a monogram and dated 31 Aug 1858, watercolour and bodycolour, 35 x 23.5cm.
William Bell Scott (1811-1890) Arthur Hughes reading signed with initials 'W.B.S' and dated '3 October 1886' and possibly signed by the sitter 'Arthur Hughes' (lower right) pencil, pen and ink, on paper 7¼ x 4¼ in. (18.4 x 10.8 cm.)
William Bell Scott (1811-1890) King Arthur carried to the Land of Enchantment "Some men yet say, in many parts of England, that Arthur is not dead; but by the will of our Lord Jesu, carried into another place, that he will come again, and win the holy cross. And men say there is written on the tomb, "Arthurus, Rex quondam, Rex futurus." - Romance of Arthur. signed and dated 'W.B. Scott. 1847...1862' (lower left) oil on canvas 34 x 45 in. (86.3 x 114.3 cm.)
PROPERTY OF PRE-RAPHAELITE INC. 1811-1890 THOU HAST LEFT ME EVER, JAMIE signed l.r.: W B. SCOTT; signed, titled and inscribed on the backboard: Thou has left me ever, Jamie,/ Thou hast left me ever,/ Burns./ William B. Scott/ Bellevue House, Chelsea. pencil and watercolour 41.5 by 64cm., 16¼ by 25¼in.
William Bell Scott (1811 - 1890) oil on board in glazed gilt frame entitled - The Mandolin Player, bearing The Stone Gallery label, 30cm x 22cm Provenance: Miss Alice Boyd and Sothebys 1993
WILLIAM BELL SCOTT (English, 1811-1890) The Butler's Surprise On All Hallows Eve Oil on canvas 30.25 x 21.75 in. Not signed EXHIBITED: Scottish Royal Academy, 1848 From an Important California Collection.
Attributed to William Bell Scott 1811-1890- "News From Paris-1793-Death of the King"; oil on canvas, bears inscription on the reverse, 58.5x145cm SUBJECT TO VAT
Arthur Hughes (1832-1915), after David Scott Portrait of William Bell Scott (1811-1890), bust-length, in a black coat inscribed COPIED BY ARTHUR HUGHES FROM THE PAINTING BY DAVID SCOTT/WILLM BELL SCOTT/AETAT 21' (to the upper edge) oil on canvas 24 x 18 in. (61 x 45.7 cm.)
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