JAMES PATERSON, P.R.S.W., R.S.A.
THE GATE TO THE HIGHLANDS
signed l.l.: James Paterson; signed and inscribed on the reverse
oil on canvas
49.5 by 74.5cm., 19½ by 29¼in.
Original canvas. There are areas of fine craquelure pattern, these appear stable. Otherwise the work appers to be in very good condition and is ready to hang.
UV light inspection reveals some infilling to areas of craquelue and a few scattered specks of very minor retouching. Sensitivley executed.
Held in a reeded gold frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
W.N. Roberts Esq., by 1910;
Dowell's Edinburgh, 1973;
P. Glenn Ross Esq.;
Edinburgh, Royal Scottish Academy, 1908, no.237;
Brussels, Exposition Universelle, 1910;
London, Whitechapel Art Gallery, Twenty Years of British Art, 1910, no.65;
London, The Fine Art Society, Scottish Painting 1830-1930, April-May 1974, no.70;
Edinburgh, The Fine Art Society, 100 Years of Scottish Paintings, 1974, no.116;
Glasgow and Edinburgh, The Fine Art Society, Glasgow 1900, 1979, no.109
The Scotsman, 6 February 1908, p.7;
St Andrews Citizen, 22 February 1908, p.4;
A. Patterson Wallace, The Glasgow Boy, James Paterson of Moniaive, 1854-1932, privately published, 2015, p.232, no.F91
The present work shows the famous Old Stirling Bridge a subject Paterson returned to numerous times. In this rendering, Paterson balances careful observation of the symbolic medieval masonry with sensitive exploration of light and reflection.