Christie's /Oct 30, 2003
€14,417.18 - €21,625.77
Artworks in Arcadja32
Some works of John KnoxExtracted between 32 works in the catalog of Arcadja
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JOHN KNOX (SCOTTISH 1778-1845) THE CLOCH LIGHTHOUSE DURING A STORM Oil on canvas 54.5cm x 76cm (21.5in x 30in) See John Knox, Glasgow Art Gallery and Museum, 1974, no.19 for a variant of this painting. A painting entitled 'Cloch Lighthouse after a thunderstorm' was exhibited at the Glasgow Institute in 1822
Auction: Christie's -Oct 23, 2008 - LondonLot number: 2
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John Knox (1778-1845) View of Loch Lomond, with Glen Luss, Glen Douglas and the Isle ofArran in the left distance, and Ben Lomond, Loch Goil, Ben Lui andLoch Long in the right distance oil on canvas 12¼ x 48¼ in. (31.8 x 122.6 cm.) Provenance Anonymous sale; Christie's, Glasgow, 2 April 1969, lot 41 (soldfor 400 gns.). Exhibited Probably Glasgow Dilettanti Society, 3rd Annual Exhibition,1829, no. 93, as 'Panoramic View from the Top of BenLomond'. Lot Notes The panoramic landscapes of John Knox are among the mostcompelling visual testaments of the revival of interest in thelandscape of Scotland in the early 19th century, a revival thatowed much to Sir Walter Scott's poetry. Born in Paisley, the son of a yarn merchant, Knox moved to Glasgowin 1799, where he is recorded first as a portrait painter, in 1809,and later as landscape painter, in 1821. He travelled widely on thewest coast of Scotland, publishing a volume of lithographs entitledScottish Scenery drawn upon Stone by John Knox in 1823, possiblyinspired by William Daniell's A Voyage round Great Britain(1813-25). He lived in London between 1828 and 1836, exhibitingworks at the Royal Academy and British Institution. The southern shores of Loch Lomond lie just fourteen miles north ofGlasgow. With the largest surface area of all the Scottish Lochs(being twenty-four miles long, five miles wide and, at its deepestpoint, 600 feet deep), this sublime landscape has inspired artists,poets and writers for centuries, including the anonymous song,first published in 1841: By yon bonnie banks And by yon bonnie braes, Where the sun shines bright On Loch Lomond Oh we twa ha'e pass'd sae mony blithesome days, On the bonnie, bonnie banks O' Loch Lomond Oh, ye'll tak' the high road, and I'll tak' the low road, And I'll be in Scotland afore ye; But me and my true love will never meet again On the bonnie, bonnie banks o' Loch Lomond... Knox later captured this same vast panorama in two separate,consecutive canvases, South-Western view from Ben Lomond andNorth-Western view from Ben Lomond, which were exhibited at theGlasgow Dilettanti Society, 7th Annual Exhibition, in 1834 (nos.228 and 234). This pair has been identified with the pair now inthe Kelvingrove Art Gallery and Museum, Glasgow (William EuingBequest, 1874) and a second autograph pair purchased by Alexander,10th Duke of Hamilton, and 7th Duke of Brandon (1767-1852), for hishouse outside Glasgow, Hamilton Palace, and by descent in thefamily until 1986, when they were sold at Sotheby's (16 July 1986,lot 86) (private collection, on loan to the National Gallery ofScotland). In the South-Western view, Knox has positioned himselfabove the village of Rowardennan, with a vista across the Firth ofClyde towards the distant hills of Arran. The North-Western view istaken from the steeper slopes of Ben Lomond and shows the peak ofthe hill at 3,192 feet, beyond lies the upper reaches of LochLomond and on the right Loch Katrine, while Ben Lui can just beglimpsed in the far distance. The wide sweep of Knox's View of Loch Lomond anticipates the age ofphotography. But this may more properly be seen as a development onthe painter's part from formulas used in the panorama shows thatwere so popular at the time. In any case, it represents a decisivedeparture from the views composed in classical terms by Knox'sgreatest precursor as a landscape-painter in Scotland, AlexanderNasmyth (1758-1840). Knox describes Loch Lomond and its settingwith an almost scientific accuracy. His preoccupation withrecording what he observed was as intense as that of painters inthe following century, not least Sir David Young Cameron(1865-1945), who sought to define the drama of the Scottishlandscape. We are grateful to Helen Smailes of the National Gallery ofScotland and Hugh Stevenson of the Kelvingrove Art Gallery andMuseum, Glasgow for their assistance in cataloguing thislot.
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MEASUREMENTS measurements note 54.5 by 74 cm.; 21 ½ by 29 in. DESCRIPTION oil on canvas CATALOGUE NOTE Although very little biographical material exists, John Knox wasprobably raised in the west of Scotland, later living in Paisleyand in about 1809 moving to Glasgow. Contemporary accounts refer tohis work as a portraitist although almost all his surviving worksare landscapes, painted as in the present case with exquisiteclarity of light and sharpness of form. David and Francina Irwin,in their book Scottish Painters - At Home and Abroad havemade the interesting suggestion that Knox may have used a cameraobscura to prepare the compositions of his landscapes, which areoften widely panoramic in their scale. This could partly explainthe quality of stillness present in his works and the verydeliberate arrangement of overlapping landscape elements to formscreens within the composition.Knox exhibited at the Glasgow Institution for Promoting andEncouraging the Fine Arts in the West of Scotland, from 1821 and in1828 he joined the newly-formed Glasgow Dilettanti Society,participating in their annual exhibitions from this inaugural yearonwards. He also sent paintings to the exhibitions of the RoyalAcademy and British Institution in London. The great majority ofhis exhibited paintings were views in the mountains to the northand west of Glasgow, including many views taken on Loch Lomond andothers showing the River Clyde and its estuary. On other occasionshis painting expeditions took him to the English Lake District andto North Wales. Knox was also active as a teacher numbering HoratioMcCulloch and William Leighton Leitch, who were each to becomedistinguished landscape painters, among the students who attendedhis Glasgow drawing classes. The largest holding of John Knox'sworks is that in Kelvingrove Art Gallery and Museum in Glasgowwhich formed the basis of an exhibition of Knox's work there in1974.
Auction: Christie's -Oct 30, 2003 - EdinburghLot number: 1
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John Knox (1778-1845) The Clyde at Govan, with figures and a boat in the foreground oil on canvas 22 x 30 in. (55.9 x 76.2 cm.) Provenance with Ian MacNicol, Glasgow. Colonel W. Forbes. Anon. sale, Sotheby's Gleneagles, 30-31 August, 1973, lot 244, (sold £7,600). Govan stands on the south bank of the Clyde, at the Clyde's confluence with the River Kelvin and was the site for an important river crossing. Rowboat ferries operated there but were limited by size (they were too small to carrry horses and carts) and were occasionally overturned by the wash of passing boats. By 1784 the first chain-hauled ferry was introduced at Govan, between Water Row and Pointhouse. By the mid-19th Century the Govan Ferry could carry two carriages or carts as well as their horses and passengers. In 1857 the Clyde Navigation Trust took over the operation of the Govan Ferry and eight years later introduced one of the river's first steam ferries there. Little is known of the career of John Knox. He came from the west of Scotland and his family moved from Paisley to Glasgow just before 1800. He is primarily known for his landscapes and may have been a pupil of Alexander Nasmyth.
Auction: Sotheby's -Aug 28, 2002 - LondonLot number: 1046
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oil on canvas this lot contains 1 item(s). knox's painting is identified as a view of glencroe, which rises to the northwest from loch long and at the summit of which is found the hamlet of rest and be thankful. if the view is towards the west (and the fall of water in the foreground stream supports such an orientation), the cone-shaped mountain in the left-hand distance is either ben donich or beinn an lochain. john knox is an intriguing figure for whom there is frustratingly little biographical information. he seems to have been raised in the west of scotland, later living in paisley, and then - in about 1809 - moving to glasgow. mention is made in contemporary accounts of his work as a portraitist, but in fact almost all his surviving works are landscapes, painted as in the present case with great clarity of light and crispness of form. david and francina irwin, in their book scottish painters - at home and abroad (london: 1975) have made the interesting suggestion that knox may have used a camera obscura to prepare the compositions of his landscapes, which are occasionally widely panoramic in their scale. this may explain the quality of stillness and the very deliberate arrangement of overlapping landscape elements to form screens within the composition to be observed in the present painting. john knox was first an exhibitor at the glasgow institution for promoting and encouraging the fine arts in the west of scotland, from 1821. then in 1828 he seems to have joined the newly-formed glasgow dilettanti society, participating in their annual exhibitions from that first year onwards. he also sent paintings to the exhibitions of the royal academy and british institution in london. the great majority of his exhibited paintings were views in the mountains to the north and west of glasgow, including many views taken on loch lomond and others showing the river clyde and its estuary. on other occasions his painting expeditions took him to the english lake district and to north wales. knox was also active as a teacher, numbering horatio mcculloch and william leighton leitch - each to become a distinguished painter of highland mountainscapes - among the students who attended his glasgow drawing classes. the largest holding of john knox's works appears to be that in glasgow art gallery, which includes a view of loch lomond and another on ben lomond - both places close to glencroe. these formed the basis of an exhibition of knox's work at kelvingrove in 1974. exhibited: glasgow, tenth exhibition of the glasgow dilettanti society, 1837, no.136