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William Mctaggart

(1835 -  1910 ) Wikipedia® : William Mctaggart
McTAGGART William  A Summer Idyll Bay Voyach

Lyon & Turnbull
Dec 8, 2016
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Artworks in Arcadja
270

Some works of William Mctaggart

Extracted between 270 works in the catalog of Arcadja
William Mctaggart -  A Summer Idyll Bay Voyach

William Mctaggart - A Summer Idyll Bay Voyach

Original 1893
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Gross Price
Lot number: 23
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Description:
WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) A SUMMER IDYLL - BAY VOYACH Signed and dated 1876-93, oil on canvas 61cm x 91cm (24in x 36in) Provenance:Mrs Archibald Smith Exhibited:Scottish National Exhibition, Edinburgh 1908 Literature:James L Caw, William McTaggart, 1917, Ill.p.75 'a Summer Day, Bay Voyach....one of his most delightful creations - wonderful in the mingled delicacy and brilliance of its high pitched colour, full of quietude touched with gladness and of tranquility that is yet pregnant with life' Note: A copy of James Caw's book, William McTaggart accompanies this lot.
William Mctaggart - Lochaber No More

William Mctaggart - Lochaber No More

Original 1861
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Lot number: 13
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Description:
William McTaggart RSA RSW (British, 1835-1910)

Lochaber No More signed and inscribed 'W McTaggart/Painted in 1861 in oil' (lower right) pencil and watercolour 67 x 50 cm. (26 3/8 x 19 11/16 in.)

Footnotes

Provenance McTaggart Sale, 1889, no. 65 Mr and Mrs James Younger, Mount Melville Literature JL Caw, William McTaggart, Glasgow 1917, p. 258 P Kvaerne, William McTaggart, Edinburgh, 2007, plate 48 Painted 1887-88, this watercolour relates to a much earlier oil which had been McTaggart's first depiction of the important theme of emigration. The oil also alluded to the poem by Allan Ramsay Sr, said to have been inspired by a Jacobite fugitive after the uprising in 1715. It was engraved to illustrate a volume of Ramsay's verse.
William Mctaggart - Happy Hours

William Mctaggart - Happy Hours

Original 1886
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Price:

Lot number: 17
Other WORKS AT AUCTION
Description:
William McTaggart RSA RSW (British, 1835-1910)
Happy Hours signed and dated 'W McTaggart/1886' (lower right) oil on canvas 46 x 66 cm (18 1/8 x 26 in.)
Footnotes
Provenance Mrs John McTaggart, Helensburgh Sale; Sotheby's, London, August 30, 2000, lot 1256 Private Collection, UK Literature Sir James Caw, William McTaggart, A Biography and Appreciation, James Maclehose & Sons, Glasgow, 1917, p.256 Probably painted at Carnoustie, this picture recalls other contemporary subjects of children at harvest-time such as Corn in the Ear.
William Mctaggart - Polton Road

William Mctaggart - Polton Road

Original 1889
Estimate:

Price:

Gross Price
Lot number: 28
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Description:
William McTaggart RSA RSW (British, 1835-1910)
Polton Road, 1889
signed with studio stamp (lower right)
watercolour with traces of pencil
33.5 x 52 cm. (13 3/8 x 20 1/2 in.)
Provenance
The artist's granddaughter
Sale; Sotheby's, Hopetoun House, 30 April 1985, lot 221, where purchased by the present owner
William Mctaggart - Over The Harbour Bar

William Mctaggart - Over The Harbour Bar

Original 1886
Estimate:

Price:

Lot number: 16
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Description:
William McTaggart, R.S.A., R.S.W.

1835-1910

OVER THE HARBOUR BAR

signed and dated l.r.: W M

c

Taggart / 1886 ; further inscribed and signed on the artist's label attached to the reverse

oil on canvas

101.5 by 127 cm.; 40 by 50 in.

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Saleroom Notice

Provenance

William Gibson, Inverary

Exhibited

Royal Scottish Academy, 1888, no. 278

Catalogue Note

A harbour bar is a shallow sand bar across the mouth of a harbour. Here we see the oarsmen bringing the boat into harbour with powerful strokes, a fisherman stands at the helm, rope coiled ready in his hand, waiting to secure the boat to its moorings. In the summers of 1883 and 1885 McTaggart went to stay at Carradale on the east coast of Kintyre. The main focus of his work here was the lives of the herring fishermen, both out at sea and on the shore. Here he painted a number of pictures and sketches which he would then go on to use as compositions for larger works in the coming years, such as The Storm, 1890 (National Gallery of Scotland). He also painted a watercolour, Crossing the Bar, 1883 (National Gallery of Scotland) which was later developed into Over the Harbour Bar,one of his most important pictures of the period. The two paintings are almost identical in the placement of the two boats with the wave breaking beyond, the spray jetting upwards in a thick white impasto, gulls rising in the distance as if disturbed by the waves. The lapse of time between sketch and finished piece was not unusual for McTaggart and illustrates his habit of spending the summers painting outdoors and storing up material for later re-working in the studio during more inclement weather.

The painting is a wonderful example of the artist\’\’s middle period: he has moved away from the more tightly painted and highly finished narrative paintings of his early career and is concentrating on simple, immediate scenes of every day life without literary or allegorical meaning. His brush work has loosened yet not to the point where the figures are merging into the landscape; they are still detailed and expressive, his knowledge of fishing vessels is very apparent, we also see the lovely detail of the herring filling the bottom of the boat. \“..in his interest and appreciation of the visual aspects of nature, and the ever-varying phenomena of light and atmosphere, he is truly modern; but he brings with him also the eye of the poet – a sympathetic insight into the significance of life and nature – which divides him from the mere recorders of fact, be they never so broadly expressive, and places him among creative artists. (\‘A Scottish Impressionist\’\’, James Caw, Art Journal, 1894).

Similarities between McTaggart's work and that of impressionists is undeniable – the broad brush strokes and sophisticated use of colour; the ability to capture a moment in time, conveying the constantly changing effects of light on the sea, painted plein air. He had an instinctive and spontaneous feel for colour and effects of sunlight, developing a technique, possibly influenced by the Hague School of artists, some of whom had exhibited in Scotland in the 1870s, of loading his brush straight from the tube and applying thick strokes of impasto. However, despite these comparisons with the developments in continental Europe, McTaggart\’\’s work was very rooted in Scotland and his work arguably owes as much to John Constable as the French Impressionists, who he is unlikely to have seen as early as the 1880s when his work was already becoming much freer. Constable\’\’s work was exhibited in Edinburgh in the 1880s, particularly in 1886 the year Over the Harbour Bar was painted, when the six footer studies of the Hay Wain and The Leaping Horse (both Victoria & Albert Museum) were exhibited at the Edinburgh International Exhibition. 1886 was a watershed moment in McTaggart\’\’ s career and given his acknowledged admiration for Contstable, it is quite likely that seeing the studies which are far more free than the finished works would have had some impact on him.

Ultimately, however, William McTaggart was a very single-minded and creative artist and no imitator. His style developed independently from modern trends and while he may have been encouraged to broaden his strokes, or paint directly from nature by developments in the contemporary art scene, his style was unique and remarkably progressive for its time. James L. Caw, McTaggart\’\’s biographer recounts a fascinating anecdote from the late 1880s:

\‘McTaggart, who was little concerned with labels, although deeply interested in ideas, hearing it (impressionism) constantly referred to one varnishing day at the Academy, took Wingate (the artist James Lawson Wingate) aside and asked, \“what is this impressionism they are all talking about?\” \“Well I fancy,\” the reply came with a twinkle, \“I fancy it\’\’s just what you and I have been doing for a good many years\”. (Per Kvaerne, Singing Songs of the Scottish Heart, William McTaggart 1835-1910, Atelier Books, p.249, quoting James L. Caw, William McTaggart R.S.A., V.P.R.S.W. A Biography and an Appreciation, 1917, p.100).

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