Scottish Art

Scottish Art

View full screen - View 1 of Lot 49. FRANCIS CAMPBELL BOILEAU CADELL, R.S.A., R.S.W. | IONA, COWS ROCK AND THE ROSS OF MULL.

Property from the Estate of the Late John Michael Dyson

FRANCIS CAMPBELL BOILEAU CADELL, R.S.A., R.S.W. | IONA, COWS ROCK AND THE ROSS OF MULL

Auction Closed

September 18, 02:04 PM GMT

Estimate

40,000 - 60,000 GBP

Lot Details

Description

Property from the Estate of the Late John Michael Dyson


FRANCIS CAMPBELL BOILEAU CADELL, R.S.A., R.S.W.

1883-1937

IONA, COWS ROCK AND THE ROSS OF MULL



signed l.r.: F.C.B. Cadel

oil on board

36 by 45.5cm., 15 by 18in.

Painted circa 1926

The medium of this work should read, oil on board, laid on panel, and not as stated in the printed catalogue.

Phillips, Edinburgh, 5 May 1995, lot 22;

Duncan R. Miller Fine Arts, London, where purchased by Mr John Michael Dyson and thence by descent

P. Macleod Coupe, Paintings of Iona; Cadell and Peploe, Malvern, 2014, p.115, pl.96

London, Duncan R. Miller Fine Arts, Scottish Colourists, 1995, no.7

The present work depicts a view from the North End of the Isle of Iona, with the foreground dominated by the north-eastern corner of Cows Rock and looking across the water towards Mull. Located off the west coast of Scotland, Iona’s beautiful landscape, colour and light enchanted and captivated Cadell when he first visited in 1912. It provided him with limitless artistic inspiration, and he returned almost every summer, encouraging fellow Colourist Samuel John Peploe to do the same. The composition is defined by dynamic contrasts in colour; pinkish tones of the Caledonian granite on the Ross of Mull are set against turquoise waters, and black rocks are stark against white sand. The boldness of colour and line reflect the influence of French Post-Impressionism that so defined the artistic direction of the Scottish Colourists.


The local islanders grew fond of Cadell over the many years he painted there. In turn he appreciated their modest, unadorned lifestyle. As Roger Billcliffe writes, ‘its simplicity of life – primitive almost – was obviously a welcome change from the style and pace of life of Edinburgh’ (Roger Billcliffe, The Scottish Colourists – Cadell, Fergusson, Hunter, Peploe, 1989, p.41). Regarded with genuine affection as well as respect for his talents as an artist by the people of Iona, the young boys of the island graced him the nickname ‘Himself’ for his exuberant eccentricity. Yet for all his cheerful friendliness, Cadell also prized the island’s sequestered tranquillity. Above all his Iona views offer the viewer a unique sense of escapism, onto the expanses of white sands and the swatches of azure where no human presence disturbs one’s contemplation of natural beauty.