A few examples of appraisal values for
ROTHESAY

• T. Hearne/W. Byrne, S. Middiman, T.
  T. Hearne/W. Byrne, S. Middiman, T. Medland A pair of hand colored engravings of "Rothesay Castle" and "Stirling Castle", each measuring approx. 8-3/4" x 10-3/4" sight size, French matted and framed under glass overall approx. 16" x 18". Both have printed information in French affixed to the verso.
• Albert Gilbert/Rothesay From Batone
  Albert Gilbert/Rothesay From Batone Hill/signed/oil on board
• Circle of Allan Ramsay
  Circle of Allan Ramsay (Scottish, 1713-1784) portrait of a lady Label attached verso indistinctly inscribed "A portrait, Jean daughter of George Earl of Dalhousie she married Robert second Viscount O---ird", oil on canvas, framed. H: 30 in. W: 24 3/4 in. Re-lined. Signs of retouch along top edge. All over cracking which appears stable. Dirty, discolored varnish with some streaking. Generally good to very good condition. ,500
• Clarence Roe (British
  Clarence Roe (British 1870-1909)/A Highland Landscape/signed/oil on canvas, 58.5cm x 90.25cm
• CLARENCE HENRY ROE OIL ON CANVAS
  CLARENCE HENRY ROE OIL ON CANVAS (British 1850-1909) Scottish Loch at Dusk an autumn landscape with mountains in the background. Image measures 20'' x 30'' signed ''C.H. Roe'' lower center and dated (18)74. With stamp on verso ''Prepared by Winsor & Newton 38 Rathbone Place London''. Set in a gilt wood and gesso frame.
• * BURNS ROBERT Poems Chiefly in the
  * BURNS ROBERT Poems Chiefly in the Scottish Dialect. Edinburgh: For the Author 1787. 8vo full recent calf gilt-lettered red leather spine label renewed endpapers half-title engraved frontispiece subscriber's list. Second [first Edinburgh] edition with ''Boxburgh'' for ''Roxburgh'' in subscriber's list and ''stinking'' (for ''skinking'') on p. 263. Offsetting from frontispiece; otherwise very fine.
• Rae St Clare Goff, oil on board,
  Rae St Clare Goff, oil on board, Highland Blue, S.L.L, approx 12cm x 22cm
• § JOHN DUNCAN FERGUSSON R.B.A.
  § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) ROYAN, 1909 oil on board, signed, inscribed and dated verso26cm (10 1/4in), 34cm (13 1/2in)Fergusson painted Royanduring the exceptional period when he lived in France from 1907 until 1914. More than any other British artist, he played a part in the heady creative circles of Paris’s pre-war art world and whilst there made the works on which his international standing is based.Following sporadic attendances at the Académies Colarossi and Julian in the French capital in the late 1890s, Fergusson began his career in Edinburgh. His first solo exhibition was held at the Baillie Gallery in London in 1905. However, as Alice Strang has explained: ‘An increasing interest in developments in contemporary art in Paris and parallel frustration with the conservatism of the art world in Scotland, an inheritance following his father’s death in 1906 and the start of his relationship with the painter Anne Estelle Rice (1877-1959) in Paris-Plage in 1907, culminated in Fergusson’s decision to move to Paris later that year.’ (1)Fergusson declared ‘Paris is simply a place of freedom’ and established himself in a studio in Montparnasse. (2) First-hand experience of the very latest developments in French art, such as those made by the Fauve artists Henri Matisse, André Derain and Kees van Dongen, had an immediate and dramatic effect upon his work, as can be seen in Royan. This encompasses the bold colour, simplification of form and expressive technique which signalled Fergusson’s progression from the Edwardian sophistication of his earlier work to the forefront of the avant-garde.Royan dates from a key year in Fergusson’s career. In 1909 he exhibited at the Venice Biennale for the first time and moved to the inspiring environment of a new light and orderly studio, in the rue Notre Dame des Champs. Moreover, as Kirsten Simister has written: ‘Fergusson’s artistic confidence and ambition reached an all-time high in 1909 when he was elected a Sociétaire of the Salon d’Automne and given an entire wall for his exhibits.’ (3) Election to this progressive exhibiting society was recognition by Fergusson’s peers of his contribution to the modern movement and he recalled: ‘To me, considering myself a revolutionary, this was a very great honour…it had the effect of confirming my feeling of independence, the greatest thing in the world, not merely in art but in everything.’ (4) Rice received the same honour the following year and together they became key figures in the celebrated group of Anglo-American artists who, for example, founded the cutting-edge journal Rhythm in 1911. After three years of encouragement from Fergusson, his fellow Scottish Colourist Samuel John Peploe moved to Paris in 1910, where he lived for two years.Simister continues: ‘In both 1909 and 1910 Fergusson, Peploe and Rice spent summer holidays together painting in Royan and nearby Saintonge, on the west coast of France. The sea and harbour inspired a number of small paintings made outdoors, which make use of stronger colour to heighten the emotional impact and mood of the scene…[Some]…indicate a tighter, more structured organisation of composition, a feature which became more pronounced over the years to come.’ (5) Fergusson had long been stimulated by working en plein air, in locations as varied as Princes Street Gardens in Edinburgh, the Scottish island of Islay and during summer painting trips to France with Peploe from 1904 to 1907. His enjoyment of responding directly and spontaneously to light and weather conditions, as well as to architectural and natural features, is clear in many of the paintings he created outdoors.In 1913, Fergusson left Paris in search of ‘more sun, more colour’ and settled on the Cap d’Antibes. (6) Due to the outbreak of World War One he moved to London, but returned to the French capital for a decade from 1929. World War Two prompted a move to Glasgow, where Fergusson died in 1961.(1) Alice Strang et al, D. Fergusson, Edinburgh 2013, p.16.(2) J. D. Fergusson, Modern Scottish Painting, Glasgow 1943, p.70.(3) Kirsten Simister, Living Paint: J. D. Fergusson 1874-1961, Edinburgh 2001, p. 39.(4) J. D. Fergusson quoted by Margaret Morris in The Art of J. D. Fergusson: A Biased Biography, Glasgow 1974, 2010 edition, p. 53.(5) Simister op.cit., p. 42.(6) J. D. Fergusson, ‘Memories of Peploe’, Scottish Art Review, vol. viii, no.3, 1962, p.31.
• ROBERT WILLIAM ARTHUR ROUSE
  ROBERT WILLIAM ARTHUR ROUSE (BRITISH 1867-1951), SHIPYARD, OIL ON CANVAS, 21 X 24 IN, FRAME: 24 X 28 INRobert William Arthur Rouse (British 1867-1951), Shipyard, Oil on Canvas, 21 x 24 in, Frame: 24 x 28 in,
• Samuel Bough RSA (British
  Samuel Bough RSA (British 1822-1878)/A Fishing Fleet at Tarbut, Loch Fyne/signed, inscribed and dated 1856/watercolour and bodycolour, 42cm x 64.75cm
• Charles Rousse (British, fl.
  Charles Rousse (British, fl. 1882-1885), quaint European street scene with a Gothic tower soaring in the background; watercolor; 18" x 13 1/4"; signed lower right.
• A James I Rose Ryal with the King
  A James I Rose Ryal with the King enthroned the reverse with shield on rose
• SIR HENRY RAEBURN(British,
  SIR HENRY RAEBURN(British, 1756-1823) Sir William Johnstone Pulteney, Bart. (5th Baronet of Westerhall), unsigned, oil on canvas, 35-3/5 x 27-3/8 in.; gilt wood frame, 41 x 33 in. Provenance: Presumed Lord Grantley or "Miss Johnstone"; Ex-collection of Lewis J. Ruskin; Sotheby's Arcade, April 24, 1995 [Lot 0165A]; Estate of Dr. Paul and Jo Sarazen, Shelby, North Carolina Note: Literature: G.E. Eyre and W. Spottiswoode, publishers, Classified list of photographs of paintings and drawings, Victoria and Albert Museum, 1878, no. 653, pg. 74 Exhibited: Phoenix Art Museum, Phoenix, Arizona (label verso) Condition: lined, crackle, cupping, cleavage, abrasions at edges, retouch; frame with abrasions
• William Anslow Thornley British,
  William Anslow Thornley British, 1857-1898 The Port of Rochester at Sunset Estimate:$2,000-$4,000
• Circle of Allan Ramsay (Scottish,
  Circle of Allan Ramsay (Scottish, 1713-1784) Portrait of Walter Scott, M.D. of Harden, in red waistcoat, oil on canvas, 29-7/8 x 25 in.; 18th century style carved and gilt wood frame,
• ROBERT ROLAND MCIAN (BRITISH 1803 -
  ROBERT ROLAND MCIAN (BRITISH 1803 - 1856) 'GAELIC GATHERINGS: HIGHLANDERS AT HOME' , SIX COLOR LITHOGRAPHS, FRAMED: 19 X 22-3/8 INRobert Roland McIan (British 1803 - 1856) 'Gaelic Gatherings: Highlanders at Home' , Six Color Lithographs, Framed: 19 x 22-3/8 in
• David Farquharson ARA (Scottish
  David Farquharson ARA (Scottish 1839-1907)/In The Trossachs/signed and dated '84/oil on canvas, 50.75cm x 76.25cm
• PRINT, GATJA HELGART ROTHE Gatja
  PRINT, GATJA HELGART ROTHE Gatja Helgart (G.H.) Rothe (German/American, 1935-2007), "Glass Rose," 1993, mezzotint in colors, pencil signed lower right, titled lower center, edition 11/150, sight: 24.5"h x 26.75"w, overall (with frame): 31.25"h x 33.25"w
• Roscoe (Thomas), South Wales and
  Roscoe (Thomas), South Wales and River Wye, London: Tilt, Wasbourne and Simpkin, Cattermole, Cox, together with Roscoe (Thomas), Wanderings in North Wales, London: Tilt, Wasbourne and Simpkin, Cattermole, Cox, 8vo, contemporary gilt tooled leather, AEG, illustrated with multiple plates and maps/Provenance: From the Library of Paul Stickler, a Gloucestershire collector of books and maps.
• *Ian Ramsay (British b. 1965) Boats
  *Ian Ramsay (British b. 1965) Boats Docked on a Lakefront 1987 watercolor signed Ian Ransay and dated (lower right) 20 x 26 1/2 inches.
• ATTRIBUTED TO JOHN SWETE
  ATTRIBUTED TO JOHN SWETE (BRITISH, CIRCA 1752-1821) The ruins of Rosslin Castle watercolour 21 x 30cm Provenance Michael Appleby of St. James's
• Samuel Bough RSA (Scottish
  Samuel Bough RSA (Scottish 1822-1878)/The Avenue, Kelty, Fife/signed and dated 1876/watercolour and bodycolour, 28cm x 33cm
• William Scott of Brighton
  William Scott of Brighton (1783-1850) watercolour View of Rouen 15.5 x 21.5in. Estimate ?200-300 Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid prior to placing a bid. All transactions are governed by Gorringes Conditions of Sale.Sold for ?220
• Robert Ramsey Russell (Scottish fl.
  Robert Ramsey Russell (Scottish fl. 1876-1912) oil on canvas 'Nydia' signed 19 x 11.5in. Estimate ?400-600 Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid prior to placing a bid. All transactions are governed by Gorringes Conditions of Sale.Sold for ?380
• RONALD ROBERT MCIAN (BRITISH,
  RONALD ROBERT MCIAN (BRITISH, 1803-1856) FOUR SCOTTISH CLANSMEN: MACNEIL, MACRAE, GORDON AND ROSS EACH A HAND-COLORED PRINT: 14 X 19...RONALD ROBERT MCIAN, (BRITISH, 1803-1856) FOUR SCOTTISH CLANSMEN: MacNEIL, MacRAE, GORDON and ROSS, Each a hand-colored print: 14 x 19 1/2 in. (sight) Framed (4)
• Richard Hayes (19th/20th
  Richard Hayes (19th/20th Century)/Brodick, Isle of Arran/signed/oil on canvas, 50cm x 75cm
• Douglas Cameron (fl.1880-1910)
  Douglas Cameron (fl.1880-1910) oil on canvas 'Highland Rovers' signed Exhibited at the R.A 1915 36 x 28in. Estimate ?400-600 Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid prior to placing a bid. All transactions are governed by Gorringes Conditions of Sale.Sold for ?420
• CLARENCE HENRY ROE (BRITISH,
  CLARENCE HENRY ROE (BRITISH, 1850-1909), RYDAL WATER Oil on canvas, signed at lower left, inscribed at lower right, the canvas with circa 1880s stencil for Geo. Rowney & Co. of London, presented in an antique gilt composition frame.
• ROSIE J. MORISON, BRITISH
  ROSIE J. MORISON, BRITISH FL.1889-1904, CRAIL HARBOUR, SCOTLAND, OIL ON CANVAS, 14 X 18 IN. (35.56 X 45.72 CM.), FRAME: 19 X 23 IN. (48.26 X 58.42 CM.)ROSIE J. MORISON, BRITISH, fl.1889-1904 CRAIL HARBOUR, SCOTLAND, Oil on canvas Lower right signed: J.Morison; verso inscribed: Crail Harbour / J Morison / Kilmalcolm Oil on canvas Dimensions: 14 x 18 in. (35.56 x 45.72 cm.), Frame: 19 x 23 in. (48.26 x 58.42 cm.)
• Scottish School, 18th century
  Scottish School, 18th century pair of portraits: robert morison and margaret russell The first inscribed 'Robert Morison' on canvas verso, evidence of paper label on verso, oil on canvas, framed. H: 29 1/2 in. W: 21 1/4 in. PROVENANCE: Robert Morison (1722-1791) married Margaret Russell (1720-1800) in 1758 in Perth, Scotland. The pair of portraits were found in Virginia. lined retouch
• James Paterson PRSW RSA RWS
  James Paterson PRSW RSA RWS (1854-1932)/The Red Barn/sketch of a moorland landscape/signed and dated lower left; inscribed verso/oil on canvas board, 26.75cm x 31.75cm/Note: educated at the Glasgow School of Art in the 1870s, James Paterson became associated with a group of artists who became known as 'The Glasgow Boys', including James Guthrie, John Lavery and William York Macgregor. Sharing a desire to move away from the formality of 19th Century art, they represented the start of modernism in
• William R.C. Watson British,
  William R.C. Watson British, 1866-1921 Morning Loch Tay, Perthshire - Gathering the Flock, 1902 Estimate:$5,000-$7,000
• SIR HENRY RAEBURN, RA RSA FRSE
  SIR HENRY RAEBURN, RA RSA FRSE (SCOTLAND, 1756 - 1823) Self Portrait, oil on canvas, unsigned, in early replica deep cove gold frame, OS: 34" x 30", SS: 23 1/2" x 19 1/2". Cleaned and relined
• FINE ANTIQUE BRITISH SAILOR’S
  FINE ANTIQUE BRITISH SAILOR’S WOOLIE PORTRAIT OF THE SA...Fine Antique British Sailor’s Woolie Portrait of the Sailing Vessel, “Ross-Shire”, Glasgow 1891 , seagulls swarming a lighthouse in the background, with floral wool-work boarder, in bird's eye maple frame Overall 29.5 in. x 43 in. Condition: Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
• Roisin O'Shea, Illustrations of
  Roisin O'Shea, Illustrations of Ireland, signed print, signed lower right, approx 19cm H x 26cm W
• (SHAKESPEARE WILLIAM) TOWNE ROSA M.
  (SHAKESPEARE WILLIAM) TOWNE ROSA M. Plant Lore of Shakespeare. Louisville KY: The Frame House Gallery (1974). Folio half orange morocco over marbled boards title in gilt to spine a.e.g. slipcase. With color plates by Rosa Towne after paintings in the Botanical Museum of Hawaii. Light wear to slipcase; hinges starting; otherwise fine.