William McCance Sold at Auction Prices

Painter, Sculptor, Illustrator

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      • § WILLIAM MCCANCE (SCOTTISH 1894-1970)
        Oct. 02, 2024

        § WILLIAM MCCANCE (SCOTTISH 1894-1970)

        Est: £300 - £500

        WILLIAM MCCANCE (SCOTTISH 1894-1970) THREE CAT SKETCHES Pencil sketch (3) each 17.5cm x 23cm (7in x 9in), unframed From the Estate of William McCance. The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market. Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes. McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography. In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications. Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years. By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.

        Lyon & Turnbull
      • § WILLIAM MCCANCE (SCOTTISH 1894-1970)
        Oct. 02, 2024

        § WILLIAM MCCANCE (SCOTTISH 1894-1970)

        Est: £300 - £500

        WILLIAM MCCANCE (SCOTTISH 1894-1970) THREE RED NUDE STUDIES - 1930 Each signed and dated, pencil and coloured chalk (3) 52.5cm x 40cm (20.75in x 15.75in); 52.5cm x 40cm (20.75in x 15.75in); 46cm x 30.5cm (18in x 12in), unframed From the Estate of William McCance.

        Lyon & Turnbull
      • § WILLIAM MCCANCE (SCOTTISH 1894-1970)
        Oct. 02, 2024

        § WILLIAM MCCANCE (SCOTTISH 1894-1970)

        Est: £500 - £700

        WILLIAM MCCANCE (SCOTTISH 1894-1970) THREE DRAWINGS: SCRUBBING; WORKING; SLEEPING Pencil on paper (3) 30.5cm x 40.5cm (12in x 16in); 40.5cm x 30.5cm (16in x 12in); 32cm x 22cm (12.5in x 8.75in) From the Estate of William McCance.

        Lyon & Turnbull
      • § WILLIAM MCCANCE (SCOTTISH 1894-1970)
        Oct. 02, 2024

        § WILLIAM MCCANCE (SCOTTISH 1894-1970)

        Est: £300 - £500

        WILLIAM MCCANCE (SCOTTISH 1894-1970) TWO STANDING NUDE STUDIES - 1930 Each signed and dated to the lower edge, pencil and charcoal, mounted together each sheet 36.75cm x 24cm (14.5in x 9.5in) From the Estate of William McCance.

        Lyon & Turnbull
      • § WILLIAM MCCANCE (SCOTTISH 1894-1970)
        Oct. 02, 2024

        § WILLIAM MCCANCE (SCOTTISH 1894-1970)

        Est: £300 - £500

        WILLIAM MCCANCE (SCOTTISH 1894-1970) THREE WOOD ENGRAVINGS MOUNTED TOGETHER llustration to 'Clych Atgot' (a);Illustration to ‘Clych Atgot' (b);Memorial to Sir John Rhys, signed in print (3) image size 13cm x 9cm (5in x 3.5in); 4.25cm x 5.5cm (1.75in x 2.25in); 10.25cm x 8.5cm (4.25in x 3.25in), each unframed From the Estate of William McCance. Exhibited: Dundee City Art Gallery, William McCance Exhibition, cat.no.50

        Lyon & Turnbull
      • § WILLIAM MCCANCE (SCOTTISH 1894-1970)
        Oct. 02, 2024

        § WILLIAM MCCANCE (SCOTTISH 1894-1970)

        Est: £200 - £300

        WILLIAM MCCANCE (SCOTTISH 1894-1970) INITIALS FOR 'THE FABLES OF ESOPE' ‘Series B’, wood engravings, Artist's Proof, numbered 3, 6 and 12/12, signed, inscribed with title and editioned in pencil to lower edge (3); ‘Series C’, wood engraving, Artist's Proof, numbered 12/12, signed, inscribed with title and editioned in pencil to lower edge (1); Further untitled and uneditioned print with initials (1). (5 works total) ‘Series B’ and ‘C’ 26.25cm x 14.5cm (10.5in x 5.75in); untitled print 26cm x 39.5cm (10.25in x 15.5in), all unframed From the Estate of William McCance. These initials were designed and engraved by McCance for the Gregynog Press edition of the Fables of Aesop (1932), which also featured illustrations by Agnes Miller Parker. The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market. Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes. McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography. In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications. Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years. By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.

        Lyon & Turnbull
      • § WILLIAM MCCANCE (SCOTTISH 1894-1970)
        Oct. 02, 2024

        § WILLIAM MCCANCE (SCOTTISH 1894-1970)

        Est: £300 - £500

        WILLIAM MCCANCE (SCOTTISH 1894-1970) FIGURE IN GREEN AND BLACK - 1955 Signed and dated lower right, monotype print with overlay ink and pencil drawing on brown paper 30cm x 20cm (12in x 8in) From the Estate of William McCance. Exhibited: Reading Museum, 1960; McKechnie Institute, Girvan, 1972; Ewan Mundy Fine Art. The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market. Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes. McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography. In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications. Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years. By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.

        Lyon & Turnbull
      • § WILLIAM MCCANCE (SCOTTISH 1894-1970)
        Oct. 02, 2024

        § WILLIAM MCCANCE (SCOTTISH 1894-1970)

        Est: £300 - £500

        WILLIAM MCCANCE (SCOTTISH 1894-1970) RECLINING GIANT - 1945 Signed and dated '45 lower right, watercolour wax resist and pencil 27cm x 37.5cm (10.75in x 37.5in) From the Estate of William McCance. Exhibited: Dundee City Art Gallery, cat.no.52; Scottish National Gallery of Modern Art, 1990 The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market. Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes. McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography. In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications. Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years. By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.

        Lyon & Turnbull
      • § WILLIAM MCCANCE (SCOTTISH 1894-1970)
        Oct. 02, 2024

        § WILLIAM MCCANCE (SCOTTISH 1894-1970)

        Est: £300 - £500

        WILLIAM MCCANCE (SCOTTISH 1894-1970) TWO NUDE STUDIES Signed and dated 1930 lower right, pencil and charcoal, and an unmounted companion, pencil and charcoal (2) each 51cm x 38cm (20in x 15in)  From the Estate of William McCance. The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market. Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes. McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography. In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications. Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years. By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.

        Lyon & Turnbull
      • § WILLIAM MCCANCE (SCOTTISH 1894-1970)
        Oct. 02, 2024

        § WILLIAM MCCANCE (SCOTTISH 1894-1970)

        Est: £300 - £500

        WILLIAM MCCANCE (SCOTTISH 1894-1970) IMPROVISED SEATED FIGURE - 1955 Monotype, signed with initials in pencil lower left 21cm x 24.5cm (8.25in x 9.75in) From the Estate of William McCance. Exhibited: Reading Museum and Art Gallery, 1960, no.134 The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market. Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes. McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography. In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications. Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years. By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.

        Lyon & Turnbull
      • § WILLIAM MCCANCE (SCOTTISH 1894-1970)
        Oct. 02, 2024

        § WILLIAM MCCANCE (SCOTTISH 1894-1970)

        Est: £1,000 - £1,500

        WILLIAM MCCANCE (SCOTTISH 1894-1970) TREES Watercolour and pencil 24cm x 35.5cm (9.5in x 14in) From the Estate of William McCance. The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market. Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes. McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography. In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications. Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years. By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.

        Lyon & Turnbull
      • § WILLIAM MCCANCE (SCOTTISH 1894-1970)
        Oct. 02, 2024

        § WILLIAM MCCANCE (SCOTTISH 1894-1970)

        Est: £400 - £600

        WILLIAM MCCANCE (SCOTTISH 1894-1970) PORTRAIT OF AGNES MILLER PARKER; BLUE NUDE IN AN ORKNEY CHAIR - 1930 Portrait of Agnes Miller Parker, charcoal;Blue Nude in an Orkney Chair, signed and dated lower left, charcoal and blue chalk (2) the sheet 26cm x 25cm (10.25in x 9.75in); 50.5cm x 38cm (20in x 15in), unframed From the Estate of William McCance. The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market. Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes. McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography. In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications. Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years. By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.

        Lyon & Turnbull
      • § WILLIAM MCCANCE (SCOTTISH 1894-1970)
        Oct. 02, 2024

        § WILLIAM MCCANCE (SCOTTISH 1894-1970)

        Est: £300 - £500

        WILLIAM MCCANCE (SCOTTISH 1894-1970) TWO NUDE STUDIES - 1930 Signed and dated lower edge, pencil and charcoal, mounted together image sizes 34cm x 17.5cm (13.25in x 7in); 33cm x 17.5cm (13in x 7in), unframed From the Estate of William McCance. The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market. Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes. McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography. In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications. Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years. By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.

        Lyon & Turnbull
      • McCance, William (1894-1970)
        Sep. 19, 2024

        McCance, William (1894-1970)

        Est: £400 - £600

        McCance, William (1894-1970) Collection of books from the library of William McCance, Scottish artist and controller of the Gregynog Press including: Gaudier Brzeska, a Memoir by Ezra Pound, 1916 (first edition, 4to, original green cloth, with William McCance's large linocut bookplate, designed and cut by himself, 12.5 x 9cm); The Fleuron No. 2, 1926 (4to, original quarter cloth, ownership inscription of William McCance to front free endpaper); Vincent Steer, Printing Design and Layout, c.1930 (4to, original cloth, ownership inscription ‘W McCance, Typography Dept’ to front free endpaper, annotations identifying typefaces to half-title and title-page, 2 leaves of manuscript notes laid in); and 27 others,  general literature including paperbacks and reprints, either with McCance's ownership inscriptions or gift inscriptions to McCance (often naming him as ‘Mac’), 4 of which inscribed to McCance and his wife Agnes Miller Parker, one work (Robert Gibbings, Sweet Thames Run Softly, 1940) inscribed ‘To Willie, from Agnes, Xmas 1940’, together with one work (John Donne, Love Poems, Zodiac Books, 1950) inscribed ‘To Dearest Agnes, with much love Edna, Xmas 1952’ (31) Mrs Margaret McCance, second wife of William McCance. William McCance married Agnes Miller Parker in 1918. In 1930 he was appointed controller of the Gregynog Press, in Powys, Wales, remaining in the position for three years. In the 1940s and '50s he served as lecturer in typography and book production at the University of Reading, living during that period at Pheasant's Hill, Hambleden, Buckinghamshire.

        Lyon & Turnbull
      • λ WILLIAM MCCANCE (SCOTTISH 1894-1970), SIAMESE CAT
        Mar. 13, 2024

        λ WILLIAM MCCANCE (SCOTTISH 1894-1970), SIAMESE CAT

        Est: £600 - £800

        λ WILLIAM MCCANCE (SCOTTISH 1894-1970)SIAMESE CAT Charcoal and pencil 15.5 x 19cm (6 x 7¼ in.)Drawn circa 1920.

        Dreweatts 1759 Fine Sales
      • WILLIAM MCCANCE (SCOTTISH 1894-1970) CENSOR SKETCH NO.10 - 1955
        Feb. 13, 2024

        WILLIAM MCCANCE (SCOTTISH 1894-1970) CENSOR SKETCH NO.10 - 1955

        Est: £300 - £500

        WILLIAM MCCANCE CENSOR SKETCH NO.10 - 1955 Monotype the image 32cm x 23cm (12.5in x 9in) The Open Eye Gallery, Edinburgh

        Lyon & Turnbull
      • William McCance (British, 1894-1970) Torso 30 cm high (excluding the plinth). (please note that this work is a posthumous recast)
        Oct. 11, 2023

        William McCance (British, 1894-1970) Torso 30 cm high (excluding the plinth). (please note that this work is a posthumous recast)

        Est: £700 - £900

        William McCance (British, 1894-1970) Torso numbered and dated '1/6 1991' bronze 30 cm high (excluding the plinth). please note that this work is a posthumous recast

        Bonhams
      • § WILLIAM MCCANCE (SCOTTISH 1894-1970) ABSTRACT FIGURE - 1927
        Jun. 28, 2023

        § WILLIAM MCCANCE (SCOTTISH 1894-1970) ABSTRACT FIGURE - 1927

        Est: £400 - £600

        § WILLIAM MCCANCE (SCOTTISH 1894-1970) ABSTRACT FIGURE - 1927 Signed and dated lower left, pen on tracing paper, and a companion, a woodcut, signed and dated 1930 in pencil to margin lower left, inscribed with title 'Machine Gods' lower right (both unframed, 16cm x 7cm (6.25in x 2.75in); 17.5cm x 23cm (7in x 9in)) Qty: (2)

        Lyon & Turnbull
      • § WILLIAM MCCANCE (SCOTTISH 1894-1970) REFUGEES - 1956
        Jun. 28, 2023

        § WILLIAM MCCANCE (SCOTTISH 1894-1970) REFUGEES - 1956

        Est: £400 - £600

        § WILLIAM MCCANCE (SCOTTISH 1894-1970) REFUGEES - 1956 Signed lower right, dated lower left, watercolour and ink on blotting paper (17.5cm x 22cm (7in x 8.75in)) Provenance: Cyril Gerber Fine Art, Glasgow

        Lyon & Turnbull
      • § WILLIAM MCCANCE (SCOTTISH 1894-1970) CROUCHING FIGURE
        Jun. 08, 2023

        § WILLIAM MCCANCE (SCOTTISH 1894-1970) CROUCHING FIGURE

        Est: £800 - £1,200

        § WILLIAM MCCANCE (SCOTTISH 1894-1970) CROUCHING FIGURE Signed and dated 1925, charcoal, and a companion by the same hand, 'Back of Nude' (39cm x 32cm (15.5in x 12.5in)) Qty: (2) Provenance: The Artist's widow

        Lyon & Turnbull
      • § WILLIAM MCCANCE (SCOTTISH 1894-1970) SIAMESE CAT
        Feb. 07, 2023

        § WILLIAM MCCANCE (SCOTTISH 1894-1970) SIAMESE CAT

        Est: £300 - £500

        § WILLIAM MCCANCE (SCOTTISH 1894-1970) SIAMESE CAT Signed with initials and dated '34, pencil on buff paper (20cm x 24cm (8in x 9.5in)) Provenance: Cyril Gerber Fine Art, Glasgow

        Lyon & Turnbull
      • § WILLIAM MCCANCE (SCOTTISH 1894-1970) SIAMESE CAT
        Dec. 08, 2022

        § WILLIAM MCCANCE (SCOTTISH 1894-1970) SIAMESE CAT

        Est: £700 - £900

        § WILLIAM MCCANCE (SCOTTISH 1894-1970) SIAMESE CAT Signed with initials and dated '34, pencil on buff paper (20cm x 24cm (8in x 9.5in)) Provenance: Cyril Gerber Fine Art, Glasgow

        Lyon & Turnbull
      • William McCance (British, 1894-1970) Ready to go 24 x 37 cm. (9 7/16 x 14 9/16 in.)
        Oct. 19, 2022

        William McCance (British, 1894-1970) Ready to go 24 x 37 cm. (9 7/16 x 14 9/16 in.)

        Est: £400 - £600

        William McCance (British, 1894-1970) Ready to go studies in pencil on buff paper 24 x 37 cm. (9 7/16 x 14 9/16 in.)

        Bonhams
      • William McCance (British, 1894-1970) Bottles (1928) 17.7 x 11.2 cm. (6 15/16 x 4 7/16 in.)
        Oct. 19, 2022

        William McCance (British, 1894-1970) Bottles (1928) 17.7 x 11.2 cm. (6 15/16 x 4 7/16 in.)

        Est: £800 - £1,200

        William McCance (British, 1894-1970) Bottles (1928) signed and dated 'W McCance 1928' (lower right) pencil 17.7 x 11.2 cm. (6 15/16 x 4 7/16 in.)

        Bonhams
      • William McCance (British, 1894-1970) Figures on escalator 17.7 x 14.5 cm. (6 15/16 x 5 11/16 in.)
        Oct. 19, 2022

        William McCance (British, 1894-1970) Figures on escalator 17.7 x 14.5 cm. (6 15/16 x 5 11/16 in.)

        Est: £600 - £800

        William McCance (British, 1894-1970) Figures on escalator signed with initials and dated 'WMcC/1925' (lower right) pencil 17.7 x 14.5 cm. (6 15/16 x 5 11/16 in.)

        Bonhams
      • William McCance (British, 1894-1970) The Dressing Gown, 1965 18.5 x 11.5 cm. (7 5/16 x 4 1/2 in.)
        Oct. 19, 2022

        William McCance (British, 1894-1970) The Dressing Gown, 1965 18.5 x 11.5 cm. (7 5/16 x 4 1/2 in.)

        Est: £300 - £500

        William McCance (British, 1894-1970) The Dressing Gown, 1965 linocut 18.5 x 11.5 cm. (7 5/16 x 4 1/2 in.)

        Bonhams
      • § WILLIAM MCCANCE (SCOTTISH 1894-1970) STILL LIFE WITH JUG AND FRUIT
        Dec. 09, 2021

        § WILLIAM MCCANCE (SCOTTISH 1894-1970) STILL LIFE WITH JUG AND FRUIT

        Est: £400 - £600

        § WILLIAM MCCANCE (SCOTTISH 1894-1970) STILL LIFE WITH JUG AND FRUIT Signed and dated '26, pencil on buff paper (15cm x 12.5cm (6in x 5in)) Provenance: From the collection of the late Dr Angus Gibson, to be sold to support the University of Edinburgh Art Collection Footnote: Exhibited: Cyril Gerber Fine Art, Glasgow, William McCance, September 1989 Note: McCance was a major proponent of the modern movement during the inter-war period. He lived in London during the 1920s with his wife, the artist Agnes Miller Parker. They became involved with the English avant-garde art world whilst maintaining links with Scotland. Their assimilation of Surrealism and Cubism was unusual amongst their Scottish contemporaries and can be seen in this rare, complex and fully-realised drawing. Such works led Hugh MacDiarmid to describe the couple in 1925 as 'unquestionably the most promising phenomena of contemporary Scotland in regard to art' (quoted in Alice Strang, A New Era: Scottish Modern Art 1900-1950, Edinburgh 2017, p.10).

        Lyon & Turnbull
      • § WILLIAM MCCANCE (SCOTTISH 1894-1970) NUDE STUDY
        Jun. 10, 2021

        § WILLIAM MCCANCE (SCOTTISH 1894-1970) NUDE STUDY

        Est: £600 - £800

        § WILLIAM MCCANCE (SCOTTISH 1894-1970) NUDE STUDY Signed and dated 1930, charcoal (35cm x 35cm (13.75in x 13.75in)) Provenance: Dr Margaret McCance (the artist's widow); Ewan Mundy Fine Art

        Lyon & Turnbull
      • § WILLIAM MCCANCE (SCOTTISH 1894-1970) PARADISE NEAR PAINSWICK
        Dec. 04, 2020

        § WILLIAM MCCANCE (SCOTTISH 1894-1970) PARADISE NEAR PAINSWICK

        Est: £3,000 - £5,000

        § WILLIAM MCCANCE (SCOTTISH 1894-1970) PARADISE NEAR PAINSWICK Signed and dated 1927, inscribed and dated 1927 verso, oil on board (61cm x 46cm (24in x 18in)) Footnote: Exhibited: Reading Museum and Art Galleries, 'William McCance Retrospective Exhibition,' 1960; National Galleries of Scotland, 'William McCance,' 1990; Dundee Art Gallery, 'William McCance,' no.16. Provenance: The artist's family and by descent. Note: This painting depicts The Royal William on the road between Cheltenham and Gloucester.

        Lyon & Turnbull
      • § WILLIAM MCCANCE (SCOTTISH 1894-1970) SEATED NUDE
        Dec. 04, 2020

        § WILLIAM MCCANCE (SCOTTISH 1894-1970) SEATED NUDE

        Est: £500 - £800

        § WILLIAM MCCANCE (SCOTTISH 1894-1970) SEATED NUDE Signed and dated 1926, pencil and pastel on buff paper (48cm x 37cm (19in x 14.5in))

        Lyon & Turnbull
      • § WILLIAM MCCANCE (SCOTTISH 1894-1970) HEAD STUDY - LUCY
        Jun. 16, 2020

        § WILLIAM MCCANCE (SCOTTISH 1894-1970) HEAD STUDY - LUCY

        Est: £300 - £500

        § WILLIAM MCCANCE (SCOTTISH 1894-1970) HEAD STUDY - LUCY Signed and dated '20, pencil (Dimensions: 32cm x 26.5cm (12.5in x 10.5in)) Exhibited: William McCance Retrospective, Reading Museums & Art Galleries, 1960

        Lyon & Turnbull
      • § William McCance (Scottish 1894-1970) NUDE BACK
        Jan. 15, 2020

        § William McCance (Scottish 1894-1970) NUDE BACK

        Est: £800 - £1,200

        Signed with initials and dated 1930, charcoal (Dimensions: 50cm x 29.5cm (19.75in x 11.5in))

        Lyon & Turnbull
      • § William McCance (Scottish 1894-1970) DIKS RAC - 1961
        Jan. 15, 2020

        § William McCance (Scottish 1894-1970) DIKS RAC - 1961

        Est: £3,000 - £5,000

        Signed and dated, oil on board (Dimensions: 60cm x 45cm (23.5in x 17.75in))

        Lyon & Turnbull
      • § William McCance (Scottish 1894-1970) FRUIT COMPOSITION
        Dec. 05, 2019

        § William McCance (Scottish 1894-1970) FRUIT COMPOSITION

        Est: £2,000 - £3,000

        Inscribed verso, oil on board (Dimensions: 27cm x 35cm (10.5in x 13.75in)) (27cm x 35cm (10.5in x 13.75in))

        Lyon & Turnbull
      • § William McCance (Scottish 1894-1970) TIMBERSCOMBE
        Dec. 05, 2019

        § William McCance (Scottish 1894-1970) TIMBERSCOMBE

        Est: £1,500 - £2,000

        Signed, inscribed and dated 1928, oil on board (Dimensions: 25.5cm x 34cm (10in x 13.5in)) (25.5cm x 34cm (10in x 13.5in))

        Lyon & Turnbull
      • § William McCance (Scottish 1894-1970) FEMALE NUDE
        Dec. 05, 2019

        § William McCance (Scottish 1894-1970) FEMALE NUDE

        Est: £800 - £1,200

        Signed and dated 1930, black chalk and pencil (Dimensions: 49cm x 30cm (19.25in x 11.75in)) (49cm x 30cm (19.25in x 11.75in))

        Lyon & Turnbull
      • William McCance, Scottish 1894-1970 The Gods, 1928; pencil, signed and date
        Sep. 26, 2018

        William McCance, Scottish 1894-1970 The Gods, 1928; pencil, signed and date

        Est: £600 - £800

        William McCance, Scottish 1894-1970 The Gods, 1928; pencil, signed and dated 1928, 11.5x14.4cm, (ARR)Note: the original window mount with inscribed label reading The Gods 1928 No 84 Foyle's No 38, accompanies this lot

        Roseberys
      • [§] WILLIAM MCCANCE (SCOTTISH 1894 - 1970) COMPOSITION WITH FRUIT 28cm x 38cm (11in x 15in)
        Jun. 14, 2017

        [§] WILLIAM MCCANCE (SCOTTISH 1894 - 1970) COMPOSITION WITH FRUIT 28cm x 38cm (11in x 15in)

        Est: £2,000 - £4,000

        [§] WILLIAM MCCANCE (SCOTTISH 1894 - 1970) COMPOSITION WITH FRUIT Oil on canvas 28cm x 38cm (11in x 15in)

        Lyon & Turnbull
      • [§] WILLIAM MCCANCE (SCOTTISH 1894-1970) TIMBERSCOMBE, SOMERSET 31.5cm x 40cm (12.25in x 15.75in)
        Dec. 08, 2016

        [§] WILLIAM MCCANCE (SCOTTISH 1894-1970) TIMBERSCOMBE, SOMERSET 31.5cm x 40cm (12.25in x 15.75in)

        Est: £4,000 - £6,000

        [§] WILLIAM MCCANCE (SCOTTISH 1894-1970) TIMBERSCOMBE, SOMERSET Oil on board 31.5cm x 40cm (12.25in x 15.75in)

        Lyon & Turnbull
      • [§] WILLIAM MCCANCE (SCOTTISH 1894-1970) CLOTH MILLS ON THE CHALFORD CANAL 25.5cm x 34.5cm (10in x 13.5in)
        Dec. 08, 2016

        [§] WILLIAM MCCANCE (SCOTTISH 1894-1970) CLOTH MILLS ON THE CHALFORD CANAL 25.5cm x 34.5cm (10in x 13.5in)

        Est: £4,000 - £6,000

        [§] WILLIAM MCCANCE (SCOTTISH 1894-1970) CLOTH MILLS ON THE CHALFORD CANAL Oil on board 25.5cm x 34.5cm (10in x 13.5in)

        Lyon & Turnbull
      • [§] WILLIAM MCCANCE (SCOTTISH 1894-1970) WOMAN READING 45.5cm x 35cm (18in x 14in)
        Dec. 08, 2016

        [§] WILLIAM MCCANCE (SCOTTISH 1894-1970) WOMAN READING 45.5cm x 35cm (18in x 14in)

        Est: £1,200 - £1,800

        [§] WILLIAM MCCANCE (SCOTTISH 1894-1970) WOMAN READING Signed and dated 1925, pastel on brown paper 45.5cm x 35cm (18in x 14in)

        Lyon & Turnbull
      • William McCance (1894-1970) The Awakening
        Jul. 14, 2016

        William McCance (1894-1970) The Awakening

        Est: £1,200 - £1,800

        William McCance (1894-1970) The Awakening pencil 8 5/8 x 5 7/8 in. (22 x 15 cm.) Executed circa 1925.

        Christie's
      • William McCance (1894-1970) Nude
        Jul. 14, 2016

        William McCance (1894-1970) Nude

        Est: £800 - £1,200

        William McCance (1894-1970) Nude signed 'William McCance' (lower right) and inscribed 'Felt-pen drawing' (lower left) ink and felt-tipped pen 9 ¾ x 4 ¾ in. (24.8 x 12 cm.)

        Christie's
      • § WILLIAM MCCANCE (SCOTTISH 1894-1970) MOVEMENT IN A LANDSCAPE 25.5cm x 35.5cm (10in x 14in)
        Jun. 09, 2016

        § WILLIAM MCCANCE (SCOTTISH 1894-1970) MOVEMENT IN A LANDSCAPE 25.5cm x 35.5cm (10in x 14in)

        Est: £3,000 - £5,000

        § WILLIAM MCCANCE (SCOTTISH 1894-1970) MOVEMENT IN A LANDSCAPE Signed with initials and dated '23, oil on canvas laid down 25.5cm x 35.5cm (10in x 14in)

        Lyon & Turnbull
      • § WILLIAM MCCANCE (SCOTTISH 1894-1970) ROOFTOPS 26cm x 35cm (10.25in x 13.75in)
        Jun. 09, 2016

        § WILLIAM MCCANCE (SCOTTISH 1894-1970) ROOFTOPS 26cm x 35cm (10.25in x 13.75in)

        Est: £5,000 - £7,000

        § WILLIAM MCCANCE (SCOTTISH 1894-1970) ROOFTOPS Oil on board 26cm x 35cm (10.25in x 13.75in)

        Lyon & Turnbull
      • Storm 61 x 45.5 cm. (24 x 17 15/16 in).
        Dec. 04, 2014

        Storm 61 x 45.5 cm. (24 x 17 15/16 in).

        Est: £2,000 - £3,000

        Storm signed and dated 'W McCance 1930' (lower right); titled and further signed 'Storm/by W McCance' to (backboard) oil on board 61 x 45.5 cm. (24 x 17 15/16 in).

        Bonhams
      • Tree Trunk Composition (1921) 41 x 51 cm. (16 1/8 x 20 1/16 in.)
        Dec. 04, 2014

        Tree Trunk Composition (1921) 41 x 51 cm. (16 1/8 x 20 1/16 in.)

        Est: £3,000 - £4,000

        Tree Trunk Composition (1921) signed and dated 'W. McCance 1924' (lower left) oil on canvas 41 x 51 cm. (16 1/8 x 20 1/16 in.)

        Bonhams
      • Head of Walter 45 x 35 cm. (17 11/16 x 13 3/4 in.)
        Dec. 04, 2014

        Head of Walter 45 x 35 cm. (17 11/16 x 13 3/4 in.)

        Est: £800 - £1,200

        Head of Walter signed with initials and dated '1926' (lower right) conte 45 x 35 cm. (17 11/16 x 13 3/4 in.)

        Bonhams
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