Charles Lees

(18001880 ) - Artworks
LEES Charles Euphemia (the Musician)

Bonhams /Oct 14, 2010
2,353.36 - 3,530.03
1,364.88

Find artworks, auction results, sale prices and pictures of Charles Lees at auctions worldwide.
Go to the complete price list of works Follow the artist with our email alert
Along with Charles Lees, our clients also searched for the following authors:
Cornelis Lieste, Alfred, Glendening Jnr., Samuel, Sam Bough, Alexander Kellock Brown, George Smith Armfield, Alexander Wellwood Rattray, Tom Donald
Artworks in Arcadja
22

Some works of Charles Lees

Extracted between 22 works in the catalog of Arcadja
Charles Lees - Skaters, A Scene On Duddingston Loch Near Edinburgh

Charles Lees - Skaters, A Scene On Duddingston Loch Near Edinburgh

Original 1853
Estimate:

Price:

Gross Price
Lot number: 63
Other WORKS AT AUCTION
Description:
Provenance Trafalgar Galleries, London, 1966; Private collection; Their sale, Sotheby's, 17 May 2011, lot 39; Private collection Exhibited Edinburgh, Royal Scottish Academy, 1854, no.81; London, Royal Academy, 1855, no.1305; Trafalgar Galleries, London, Country Life and Landscape 1800-1880, 1966, no. 21 63 Charles Lees 1800 - 1880 SKATERS, A SCENE ON DUDDINGSTON LOCH NEAR EDINBURGH signed and dated on the edge of the sled in the foreground: C Lees. F. 1853 oil on canvas 84 by 127cm.; 33 by 50in. Estimate 80,000 - 120,000 GBP Print The following condition report has been prepared by Hamish Dewar Ltd, 13 and 14 Mason's Yard, Duke Street, St James', London SW1Y 6BU: UNCONDITIONAL AND WITHOUT PREJUDICE Structural Condition The canvas has been lined and this is ensuring an even and secure structural support. Paint surface The paint surface has an even varnish layer. Inspection under ultra-violet light shows just very minimal spots of retouching on the outer framing edges. Summary The painting would therefore appear to be in excellent and stable condition and no further work is required.
Charles Lees - The Finished Sketch For The Golfers

Charles Lees - The Finished Sketch For The Golfers

Original
Estimate:

Price:

Gross Price
Lot number: 203
Other WORKS AT AUCTION
Description:
Lot Description Charles Lees, R.S.A. (1800-1880) The finished sketch for The Golfers: A Grand Match played on the St. Andrews Links by Sir David Baird, Bt. and Sir Ralph Anstruther, Bt. of Balcaskie, against Major Playfair and John Campbell, Esq., of Glensaddell, in 1850 oil on board 15½ x 24½ in. (39.4 x 62.2 cm.) Provenance The Hon. Colin Tennant. With Gooden & Fox, London. Christie's London, 9 July 1993, lot 158. View Lot Notes › This is the finished sketch for one of the most important and widely-known paintings of a golfing subject, The Golfers by Charles Lees (National Portrait Gallery of Scotland). The picture represents a celebrated encounter on the St. Andrews Links in which Sir David Baird and Sir Ralph Anstruther were matched against Major Playfair and John Campbell of Glensaddell. The scene is the 15th green on the Old Course. Major Playfair has just putted and Sir David Baird bends forward with his club in his hand to watch the fate of the stroke. Sir Ralph Anstruther stands by the hole, bare-headed, while Major Playfair's partner, Campbell of Glensaddell, is seen further to the right, smoking. Charles Lees was born at Cupar, Fife, and was a pupil of Sir Henry Raeburn, R.S.A. (1756-1823). After studying for some years in Rome, he settled in Edinburgh where he enjoyed a successful career as a painter of portraits, landscapes, historical subjects and scenes of Scottish life. He was fond of outdoor sports and painted many sporting scenes. In 1830 he was elected a member of the Royal Scottish Academy (for which he became Treasurer), and The Golfers was shown there in 1851 (no. 29). The picture was engraved by Charles F. Wagstaffe of Edinburgh and published on 20 December 1850 by Alexander Hill, print seller to the Queen, of 67 Princes Street. It is discussed at length in Robert Browning's A History of Golf (New York, 1955, pp. 55-8), and reproduced by David Stirk in Golf: A History of an Obsession (London, 1987, pp. 90-1). As Browning observes, the picture dates from 'the golden age of foursome play, (when) public interest was more excited over matches for high stakes beween partnerships of well-known amateurs than by the contests for the Silver Clubs or the stroke play competitions that succeeded them. All four contestants were famous players in their day, and are celebrated in verse in George Fullerton Carnegie's Golfiana, written in 1833 for the entertainment of the North Berwick and Royal and Ancient Clubs, to which they each belonged. In developing the final picture from the present sketch, Lees made a number of changes. Two other games of golf were shown taking place in the distance, and the number of spectators was increased, the additional figures including a mounted man and woman on the left. In both picture and sketch, many of the spectators are shown wearing the pink coats which indicated their membership of the Royal and Ancient. Both capture brilliantly the tension and drama of the match as everyone watches with bated breath to see if the putt will reach the hole and drop in. Major Playfair (1786-1861), later Sir Hugh Lyon-Playfair, was the third son of Dr James Playfair, principal of St. Andrews. At the age of eighteen he obtained a commission in the East India Company's Bengal army, in which he pursued a distinguished career, rising to the rank of major. Ill health caused him to return in 1817 (interviewing Napoleon on St Helena on the journey), and he spent the next three years travelling in Scotland, Ireland and Europe, but in the summer of 1820 he went back to India, finally resigning his commission in 1831. He settled at St. Andrews and in 1842 was elected provost, a post which he held until his death. His later years were devoted to municipal reform, fund-raising for the University, and the welfare fo the celebrated golf Club, all of which earned him a knighthood in 1858. Playfair's partner, John Campbell of Glensaddell, Kintyre, had been one of the knights in the famous Eglinton Tournament of 1839. He was described by Robert Clark in his book Golf: A Royal and Ancient Game (Edinburgh, 1875) as 'a sort of Magnus Apollo with the fashionables of his day...He was a great sporting man and, though a heavy-weight, rode remarkable well to hounds. He went in a balloon from Heriot's Hospital to Fife when such a thing was considered a bold feat. He was a noble-looking man, pompous in his manners, and very irascible; In golf he was well known for his long drive. Sir David Baird (1795-1852), 2nd Baronet, of Newbyth, Co. Haddington, was, as his tense and eager attitude indicates, a passionate devotee of golf. He listed his favourite sports as golf, salmon-fishing, deer-stalking and fox-hunting. He was the moving spirit in the creation of the North Berwick Club in 1832, serving as its first captain and, as an instance of his keenness for the sport, it was recorded that on a pouring wet day he drove from Newbyth to Musselburgh, played eight rounds of the nine-hole links, and drove back to Newbyth 'without changing a stitch'. He invariably played in a tall hat such as can be seen in the present painting. Like Major Playfair, Sir David Baird (1795-1852) had been in the army, achieving the rank of captain. He too, moreover, had an Indian connection, since he was a nephew of Sir David Baird, 1st Baronet (1757-1829), who had led the storming party which took Seringapatam in 1799 and appears in Wilkie's great masterpiece Sir David Baird discovering the Body of Tipoe Sahib (Edinburgh Castle, on loan to the National Gallery of Scotland). During the Peninsular War, Baird had been at the Battle of Corunna, in which he lost an arm, and it is interesting that his nephew's partner, Sir Ralph Abercrombie Anstruther (1804-1863), 4th Baronet, of Balcaskie, had also inherited his title from a hero of Corunna, his father, Sir Robert Anstruther, 3rd Baronet. Sir Ralph himself had served in the army as a captain in the Grenadier Guards. According to Carnegie he also had political ambitions, although he was never in Parliament. No doubt their military background help to bind these men together as golfing companions or rivals, but as Browning observes, the foursome seem to have varied somewhat in skill: 'Major Playfair appears, from an account of a handicap competition at North Berwick, to have been slightly the best, for he gives a stroke to Baird and Anstruther, who in turn are three strokes better than Campbell. But this was no doubt one of the attractions of foursome play. In matches between players of approximately equal skill, it was usual to strike a balance by giving of odds in the betting rather than by conceding a stroke or two in the round, and in foursome play any minor differnce could be adjusted in the arrangement of the partnerships, as in the present case, in which the strongest player and the weakest combined against the other two, with the added interest...that it is not always the strongest players who make the strongest partnerships. So pronounced was the taste for foursome play at this epoch that when the first attempt to hold a championship meeting was made, it was by foursomes...that it was decided'.
Charles Lees - Skaters, A Scene On Duddingston Loch Near Edinburgh

Charles Lees - Skaters, A Scene On Duddingston Loch Near Edinburgh

Original 1853
Estimate:

Price:

Lot number: 39
Other WORKS AT AUCTION
Description:
LOT 39 PROPERTY FROM A PRIVATE SCOTTISH COLLECTION CHARLES LEES 1800-1880 SKATERS, A SCENE ON DUDDINGSTON LOCH NEAR EDINBURGH signed and dated on the edge of the sled in the foreground: CLees. F. 1853 oil on canvas 100,000—200,000 GBP measurements 84 by 127cm.; 33 by 50in. Description signed and dated on the edge of the sled in the foreground: CLees. F. 1853 oil on canvas Trafalgar Galleries, London, 1966, where purchased by the fatherof the present owner Edinburgh, Royal Scottish Academy, 1854, no.81;London, Royal Academy, 1855, no.1305;Trafalgar Galleries, London, Country Life and Landscape 1800-1880,1966, no. 21 The Art Journal, 1854, p.109 'Within the last few years the author of this work has madeamazing progress in his art; all his previous efforts having beenimmeasurably distanced by his 'Curlers', - a large picture recentlyexhibited, and now being engraved; and also, and chiefly, by thepresent work, which is of the highest character in almost everydesirable quality of Art. The frosty atmosphere is delightfullyrendered in the sky, and its effects upon the faces of the movinggroups is marked with unmistakable correctness. The "scene" is acrowded one; but no damaging confusion is apparent in the system ofagroupment. On the contrary, such features of the composition asnaturally give value to it, are, without being frittered intodisjointed fragments, skilfully preserved and made prominent, andimpart a unity to the whole, in purpose, action, and character. Theskaters are thrown into bold and graceful poses, infinitelydiversified; the folds and arrangement of their costume rustling inthe breeze, truthfully indicate the velocity with which they areseverally urged onward in the "roaring play." In the rightforeground, a group, gathered around a girl selling fruit, is oneof the most happily rendered passages in the composition, and seemsbesides, to be necessary as a relief to he bustling action in otherparts. The 'Skaters' is a work of careful study, excellent indesign and expression, precious and harmonious in colour, andspiritedly and broadly handled.' (The Art Journal, 1854,p.104)Painted in 1853, the present work is the first and principletreatment of a subject which became a defining series of Lees'career. The picture's success and reception can be gauged by thenumerous works which followed in rapid succession; Skaters;Duddingston Loch By Moonlight, (RSA 1857, no.111) now in theFleming-Wyfold Collection, Winter afternoon: Curlers and Skaters onLinlithgow Loch (RSA 1858, no. 24), Winter Day: A Slide,Duddingston Loch (RSA 1859, no. 248), A Winter Holiday: Scene onthe Ice (RSA 1860, no. 437) and Shinty: Scene on the Ice atDuddingston (RSA 1862, no. 381).The beautifully realised figures display an amusing variety ofcharacter, from fallen children and flailing adults, through to theelegant gentleman in the central foreground whose competence issuch that he can afford a sideways glance at the beautiful youngstall holder who is selling her wares. With the silhouette ofCraigmillar Castle on the horizon, the skillfully renderedatmospheric conditions evoke an unmistakable sense of seasonalcelebration and frivolity. It is possible that the more gracefulskaters were members of the Edinburgh Skating Club, a societydedicated to figure-skating who regularly met at Duddingston, andwhose members were made up of local professionals and landedgentry. Founded in the 1740s It holds the distinction of being theearliest club of its type in the world. To gain membership,applicants had to perform a figure of eight on alternate feet andthen jump over a series of hats placed on the ice.The skating club is strongly associated with Raeburn's iconicportrait, The Revd. Robert Walker skating on Duddingston Loch. Leeswas born in Cupar, Fifeshire and was a pupil of Raeburn whoseinfluence and inspiration is clearly evident in both the style andsubject of the present work.
Charles Lees - Euphemia (the Musician)

Charles Lees - Euphemia (the Musician)

Original
Estimate:

Price:

Net Price
Lot number: 53
Other WORKS AT AUCTION
Description:
Charles Lees, RSA (Scottish, 1800-1880) Euphemia (the musician) label fragment verso oil on canvas 75.5 x 63.5cm (29 3/4 x 25in). Footnote: PROVENANCE: The artist's family, and by descent. Lees was born in Fife and is best known for the iconic 'A grandmatch played over St Andrews Links' (National Galleries ofScotland.) However despite being a prolific exhibitor at the RSAhis work rarely appears at auction.
Charles Lees - Viscount Valentia

Charles Lees - Viscount Valentia

Original
Estimate:

Price:

Net Price
Lot number: 231
Other WORKS AT AUCTION
Description:
Charles Lees R.S.A. (1800-1880): An importantmid-19th Century preliminary oil on paper portrait of ViscountValentia painted in preparation for 'The Golfers AGrand Match Played on St. Andrews Links 1841'. The painting hasbeen left untouched and undivided on board. This lot also includes a copy of 'Challenges & Champions', TheRoyal and Ancient Club 1754-1883, by John Behrend and Peter N.Lewis. 5 x 3½ inches Provenance: From a private collection in Surrey, England and aChristie's catalogue entry circa 1940, a copy of which is attachedto the reverse of the painting.
Arcadja LogoProducts
Subscriptions
Advertising
Sponsored Auctions
Subscriptions

Who we are
Our Product
Follow Arcadja on Facebook
Follow Arcadja on Twitter
Follow Arcadja on Google+
Follow Arcadja on Pinterest
Follow Arcadja on Tumblr