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Francis Campbell Boileau Cadell R.S.A., R.S.W. (Scottish, 1883-1937) 'Iona' - View of the island
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Description
Francis Campbell Boileau Cadell R.S.A., R.S.W. (Scottish, 1883-1937)
'Iona' - View of the island of Eileen Annraidh, from the White Strand of The Monk.
oil on canvas board
signed and dated ‘13
36 x 43cm
Francis Cadell is as renowned for his depictions of the Hebridean island of Iona, as he is for his stylish still-lifes and images of Edinburgh's New Town interiors and inhabitants. Indeed, the importance of his Iona paintings was recognised by a room dedicated to them in the major retrospective of his work held at the Scottish National Gallery of Modern Art in 2011 and they were the subject of a chapter in the accompanying publication ('Warmed by the sun, blown by the wind': Cadell and Iona' in Alice Strang, F. C. B. Cadell, Edinburgh 2011).Following the success of Cadell's breakthrough trip to Venice in 1910 and his subsequent solo exhibition at The Scottish Gallery, Cadell further cemented his professional standing by becoming a co-founder of the Society of Eight in 1912. His fellow members in this exhibiting group included John Duncan, James Paterson and Sir John Lavery. Cadell's work was represented in their first exhibition, mounted in the West End of Edinburgh that year, and in all of their subsequent shows until his death in 1937.
It was in 1912, a year before the current work was executed, and at this propitious point in his career, that Cadell visited Iona for the first time. The island had found growing favour with artists since the mid-nineteenth century, not least with Cadell's Society of Eight colleagues Duncan and Paterson. He may also have been encouraged to travel there by his friend Ivar Campbell, the nephew of the 9th Duke of Argyll, who owned the island. Iona's attractions are many and varied and had an immediate impact on Cadell. As Alice Strang has written 'the ever-changing light conditions on Iona, the effect of sunshine on the shallow water along the beaches of dazzling white sand, the intensity and range of colour of the surrounding sea, sky and land, the complexity of its rock formations and wide range of views within and beyond the island, inspired Cadell time after time'’. Cadell was to spend almost every subsequent summer there until about 1933, apart from during War service. He was happy for people to watch him at work and was affectionately known as 'Himself' in the community.
In 1920, Cadell introduced Samuel Peploe to the island and he too returned for regular visits thereafter. In contrast to his studio-based practice in Edinburgh, whilst on Iona Cadell favoured working outdoors. St Columba's Bay, Iona encapsulates his joyful response to the beauty of his natural surroundings. Legend has it that it was to here, the most southern bay on the island, that St Columba arrived from Ireland in 563AD to establish Christianity in Scotland. It provides views to the Black Island, Islay and Jura. In the present work, Cadell captures the very edge of the machair, before an expanse of sand is intruded upon by weathered outcrops of rock. The movement and varying colours of the sea as it flows in the bay and beyond, is depicted underneath a cloud-scudded sky; the whole is lit by glorious sunshine. Cadell's Iona works proved popular and sold well, not least in the Society of Eight exhibitions. Examples are held in numerous public collections, including those of the National Galleries of Scotland, Aberdeen Art Gallery & Museum, the Hunterian Art Gallery, University of Glasgow and The McManus: Dundee's Art Gallery & Museum.
Good clean condition, small pin specks in the paint particularly across the lower margin and near the signature, later ornate cream and gilt scroll frame with T. & R. Annan & Sons, Glasgow original label along with later Sotheby's inscriptions.
'Iona' - View of the island of Eileen Annraidh, from the White Strand of The Monk.
oil on canvas board
signed and dated ‘13
36 x 43cm
Francis Cadell is as renowned for his depictions of the Hebridean island of Iona, as he is for his stylish still-lifes and images of Edinburgh's New Town interiors and inhabitants. Indeed, the importance of his Iona paintings was recognised by a room dedicated to them in the major retrospective of his work held at the Scottish National Gallery of Modern Art in 2011 and they were the subject of a chapter in the accompanying publication ('Warmed by the sun, blown by the wind': Cadell and Iona' in Alice Strang, F. C. B. Cadell, Edinburgh 2011).Following the success of Cadell's breakthrough trip to Venice in 1910 and his subsequent solo exhibition at The Scottish Gallery, Cadell further cemented his professional standing by becoming a co-founder of the Society of Eight in 1912. His fellow members in this exhibiting group included John Duncan, James Paterson and Sir John Lavery. Cadell's work was represented in their first exhibition, mounted in the West End of Edinburgh that year, and in all of their subsequent shows until his death in 1937.
It was in 1912, a year before the current work was executed, and at this propitious point in his career, that Cadell visited Iona for the first time. The island had found growing favour with artists since the mid-nineteenth century, not least with Cadell's Society of Eight colleagues Duncan and Paterson. He may also have been encouraged to travel there by his friend Ivar Campbell, the nephew of the 9th Duke of Argyll, who owned the island. Iona's attractions are many and varied and had an immediate impact on Cadell. As Alice Strang has written 'the ever-changing light conditions on Iona, the effect of sunshine on the shallow water along the beaches of dazzling white sand, the intensity and range of colour of the surrounding sea, sky and land, the complexity of its rock formations and wide range of views within and beyond the island, inspired Cadell time after time'’. Cadell was to spend almost every subsequent summer there until about 1933, apart from during War service. He was happy for people to watch him at work and was affectionately known as 'Himself' in the community.
In 1920, Cadell introduced Samuel Peploe to the island and he too returned for regular visits thereafter. In contrast to his studio-based practice in Edinburgh, whilst on Iona Cadell favoured working outdoors. St Columba's Bay, Iona encapsulates his joyful response to the beauty of his natural surroundings. Legend has it that it was to here, the most southern bay on the island, that St Columba arrived from Ireland in 563AD to establish Christianity in Scotland. It provides views to the Black Island, Islay and Jura. In the present work, Cadell captures the very edge of the machair, before an expanse of sand is intruded upon by weathered outcrops of rock. The movement and varying colours of the sea as it flows in the bay and beyond, is depicted underneath a cloud-scudded sky; the whole is lit by glorious sunshine. Cadell's Iona works proved popular and sold well, not least in the Society of Eight exhibitions. Examples are held in numerous public collections, including those of the National Galleries of Scotland, Aberdeen Art Gallery & Museum, the Hunterian Art Gallery, University of Glasgow and The McManus: Dundee's Art Gallery & Museum.
Good clean condition, small pin specks in the paint particularly across the lower margin and near the signature, later ornate cream and gilt scroll frame with T. & R. Annan & Sons, Glasgow original label along with later Sotheby's inscriptions.
PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
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Francis Campbell Boileau Cadell R.S.A., R.S.W. (Scottish, 1883-1937)
'Iona' - View of the island of Eileen Annraidh, from the White Strand of The Monk.
oil on canvas board
signed and dated ‘13
36 x 43cm
Francis Cadell is as renowned for his depictions of the Hebridean island of Iona, as he is for his stylish still-lifes and images of Edinburgh's New Town interiors and inhabitants. Indeed, the importance of his Iona paintings was recognised by a room dedicated to them in the major retrospective of his work held at the Scottish National Gallery of Modern Art in 2011 and they were the subject of a chapter in the accompanying publication ('Warmed by the sun, blown by the wind': Cadell and Iona' in Alice Strang, F. C. B. Cadell, Edinburgh 2011).Following the success of Cadell's breakthrough trip to Venice in 1910 and his subsequent solo exhibition at The Scottish Gallery, Cadell further cemented his professional standing by becoming a co-founder of the Society of Eight in 1912. His fellow members in this exhibiting group included John Duncan, James Paterson and Sir John Lavery. Cadell's work was represented in their first exhibition, mounted in the West End of Edinburgh that year, and in all of their subsequent shows until his death in 1937.
It was in 1912, a year before the current work was executed, and at this propitious point in his career, that Cadell visited Iona for the first time. The island had found growing favour with artists since the mid-nineteenth century, not least with Cadell's Society of Eight colleagues Duncan and Paterson. He may also have been encouraged to travel there by his friend Ivar Campbell, the nephew of the 9th Duke of Argyll, who owned the island. Iona's attractions are many and varied and had an immediate impact on Cadell. As Alice Strang has written 'the ever-changing light conditions on Iona, the effect of sunshine on the shallow water along the beaches of dazzling white sand, the intensity and range of colour of the surrounding sea, sky and land, the complexity of its rock formations and wide range of views within and beyond the island, inspired Cadell time after time'’. Cadell was to spend almost every subsequent summer there until about 1933, apart from during War service. He was happy for people to watch him at work and was affectionately known as 'Himself' in the community.
In 1920, Cadell introduced Samuel Peploe to the island and he too returned for regular visits thereafter. In contrast to his studio-based practice in Edinburgh, whilst on Iona Cadell favoured working outdoors. St Columba's Bay, Iona encapsulates his joyful response to the beauty of his natural surroundings. Legend has it that it was to here, the most southern bay on the island, that St Columba arrived from Ireland in 563AD to establish Christianity in Scotland. It provides views to the Black Island, Islay and Jura. In the present work, Cadell captures the very edge of the machair, before an expanse of sand is intruded upon by weathered outcrops of rock. The movement and varying colours of the sea as it flows in the bay and beyond, is depicted underneath a cloud-scudded sky; the whole is lit by glorious sunshine. Cadell's Iona works proved popular and sold well, not least in the Society of Eight exhibitions. Examples are held in numerous public collections, including those of the National Galleries of Scotland, Aberdeen Art Gallery & Museum, the Hunterian Art Gallery, University of Glasgow and The McManus: Dundee's Art Gallery & Museum.
Good clean condition, small pin specks in the paint particularly across the lower margin and near the signature, later ornate cream and gilt scroll frame with T. & R. Annan & Sons, Glasgow original label along with later Sotheby's inscriptions.
'Iona' - View of the island of Eileen Annraidh, from the White Strand of The Monk.
oil on canvas board
signed and dated ‘13
36 x 43cm
Francis Cadell is as renowned for his depictions of the Hebridean island of Iona, as he is for his stylish still-lifes and images of Edinburgh's New Town interiors and inhabitants. Indeed, the importance of his Iona paintings was recognised by a room dedicated to them in the major retrospective of his work held at the Scottish National Gallery of Modern Art in 2011 and they were the subject of a chapter in the accompanying publication ('Warmed by the sun, blown by the wind': Cadell and Iona' in Alice Strang, F. C. B. Cadell, Edinburgh 2011).Following the success of Cadell's breakthrough trip to Venice in 1910 and his subsequent solo exhibition at The Scottish Gallery, Cadell further cemented his professional standing by becoming a co-founder of the Society of Eight in 1912. His fellow members in this exhibiting group included John Duncan, James Paterson and Sir John Lavery. Cadell's work was represented in their first exhibition, mounted in the West End of Edinburgh that year, and in all of their subsequent shows until his death in 1937.
It was in 1912, a year before the current work was executed, and at this propitious point in his career, that Cadell visited Iona for the first time. The island had found growing favour with artists since the mid-nineteenth century, not least with Cadell's Society of Eight colleagues Duncan and Paterson. He may also have been encouraged to travel there by his friend Ivar Campbell, the nephew of the 9th Duke of Argyll, who owned the island. Iona's attractions are many and varied and had an immediate impact on Cadell. As Alice Strang has written 'the ever-changing light conditions on Iona, the effect of sunshine on the shallow water along the beaches of dazzling white sand, the intensity and range of colour of the surrounding sea, sky and land, the complexity of its rock formations and wide range of views within and beyond the island, inspired Cadell time after time'’. Cadell was to spend almost every subsequent summer there until about 1933, apart from during War service. He was happy for people to watch him at work and was affectionately known as 'Himself' in the community.
In 1920, Cadell introduced Samuel Peploe to the island and he too returned for regular visits thereafter. In contrast to his studio-based practice in Edinburgh, whilst on Iona Cadell favoured working outdoors. St Columba's Bay, Iona encapsulates his joyful response to the beauty of his natural surroundings. Legend has it that it was to here, the most southern bay on the island, that St Columba arrived from Ireland in 563AD to establish Christianity in Scotland. It provides views to the Black Island, Islay and Jura. In the present work, Cadell captures the very edge of the machair, before an expanse of sand is intruded upon by weathered outcrops of rock. The movement and varying colours of the sea as it flows in the bay and beyond, is depicted underneath a cloud-scudded sky; the whole is lit by glorious sunshine. Cadell's Iona works proved popular and sold well, not least in the Society of Eight exhibitions. Examples are held in numerous public collections, including those of the National Galleries of Scotland, Aberdeen Art Gallery & Museum, the Hunterian Art Gallery, University of Glasgow and The McManus: Dundee's Art Gallery & Museum.
Good clean condition, small pin specks in the paint particularly across the lower margin and near the signature, later ornate cream and gilt scroll frame with T. & R. Annan & Sons, Glasgow original label along with later Sotheby's inscriptions.
PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Pictures Old Masters - Modern British - Tuesday 11th March 2025
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