Noël Paton Sold at Auction Prices

SIR JOSEPH NOEL PATON R.S.A. (SCOTTISH 1821-1901)

SIR JOSEPH NOEL PATON R.S.A. (SCOTTISH 1821-1901) MICHELANGELO SCULPTING THE STATUE OF 'NIGHT' Oil on canvas, arched top 61cm x 76cm (24in x 36in) Presented by A. M. McDougall, Esq., 1932. How is a masterpiece conceived? Sir Joseph Noël Paton invites us to ponder the very alchemy of genius by welcoming us into Michelangelo Buonarotti’s studio as he finishes carving ‘Night’. In a shadowy loggia the Renaissance artist crouches in front of his monumental marble, pausing after a campaign of chiselling to appraise his work. A spent hourglass sits on a nearby table, and a toolbox and sketchbook lie at the artist’s feet, while the view through the arch suggests that Michelangelo has taken the silhouette of Florence as his muse. The city glows blue under the light of the moon, which crests around the arch, illuminating the artist upon the completion of his masterwork.Paton’s use of breaking light to represent ‘divine inspiration’ can be connected to the Pre-Raphaelite artist William Holman Hunt’s seminal 1853 painting ‘The Awakening Conscience’ (Tate Britain). Paton had declined an invitation to join the Pre-Raphaelite Brotherhood, electing instead to return to Scotland, but he continued to paint in a Pre-Raphaelite style and remained familiar with the Brotherhood and their output. So moved was Paton by ‘The Awakening Conscience’ that he was impelled to produce several of his own works exploring the enigma of creation and enlightenment. These include an 1861 painting of Luther who, after a sleepless night induced by a crisis of faith, is suddenly granted spiritual clarity as a ray of dawn sun touches his brow (National Galleries of Scotland), as well as a painting of Dante meditating on the nature of sin beneath an apparition of two adulterous lovers from his Divine Comedy (Bury Art Museum). In the 1860s Paton produced a further painting of Michelangelo in contemplation, which was gifted to the William Morris Gallery in 1935 from the collection of Sir Frank Brangwyn. It might be conjectured that Paton’s interest in the nature of creative conception has something to do with the fact that he received little formal artistic training. At the age of seventeen he took his first job as Head Designer at a muslin manufacturer in Paisley, and after working in this capacity for three years, he briefly studied at the Royal Academy Schools in London, where he formed a lifelong friendship with John Everett Millais. (Rodger, Robin. “The Patons of Dunfermline: Bi-Centenary of Sir Joseph Noël Paton RSA (1821-1901).” Royal Scottish Academy, December 10 2021. [accessed 24th July 2024]). By all accounts, Paton was an expert on folklore and fairytale, themes which inspired many of his paintings and brought him considerable success and renown. In 1861 Paton travelled to Italy, where he likely beheld Michelangelo’s ‘Night’ in the Medici Chapel in San Lorenzo, Florence. Upon his return, Paton published a book of poetry which included ‘A Confession’, a tongue-in-cheek reflection on Michelangelo’s art, so majestic as to drive the viewer to distraction:No, Buonarotti, thou shalt not subdueMy mind with thy Thor-hammer! All that playOf ponderous science with Titanic thewAnd spastic tendon - marvellous, ‘tis true! -Says nothing to my soul. Thy “terrible way”Has led enow of worshippers astray;I will not walk therein!(Sir Joseph Noël Paton, Poems by a Painter, William Blackwood, Edinburgh, 1861, p.156)

SIR JOSEPH NOEL PATON, F.R.S.A. (SCOTTISH, 1821-1901)

SIR JOSEPH NOEL PATON, F.R.S.A. (SCOTTISH, 1821-1901) SIR JOSEPH NOEL PATON, F.R.S.A. (SCOTTISH, 1821-1901) Study of Christian resting (for Bunyan's Pilgrim's progress) dated '1865' (lower left) pen and blue ink 19 x 15.2 cm (7 1/2 x 6 in.) overall framed: 44 x 38 cm (17 5/16 x 14 15/16 in.) Provenance Patron Studio sale, Toovey's, west Sussex, October 2001

SIR JOSEPH NOEL PATON R.S.A. (SCOTTISH 1821-1901)

SIR JOSEPH NOEL PATON R.S.A. (SCOTTISH 1821-1901) CALIBAN Oil on board, circular 24cm (9in) diameter A series of engravings ‘Compositions from Shakespeare’s Tempest' after paintings by Paton were issued by William P. Nimmo & Co.  in May 1845. Caliban, Plate XI, was accompanied by the the relevant quotation:The isle is full of noises,Sounds and sweet airs that give delight, and hurt not.Sometimes a thousand twangling instrumentsWill hum about mine ears; and sometimes voices.That, if I had then waked after a long sleep,Will make me sleep again; and then, in dreaming,The clouds methought, would open and shew richesReady to drop upon me; that when I waked,I cried to dream again. Subjugated native, vengeful conspirator: in this remarkable roundel Sir Joseph Noel Paton encapsulates all the idiosyncrasies of one of Shakespeare’s most ambiguous and complex characters. Caliban, former master of the island on which The Tempest is set, is robbed of his sovereignty and enslaved to Prospero. Over the play’s course he makes violent designs against Miranda and falls under Stephano’s sway, and delivers monologues about the island with great pathos and poeticism. In this composition we find Caliban crouched on the shore. Mischievous fairies twist in the air, teasing with their pretty music: one strikes a cymbal above Caliban’s head. In torment, with shining eyes and wrought hands, Caliban can no longer distinguish between the fairies’ intoxicating song and the ‘sounds and sweet airs’ of the island. In true Shakespearean fashion, nothing - not even the island - is as it first appears. Sir Joseph Noel Paton was renowned for his Shakespearean fairy scenes. His meticulous and descriptive style was ideally suited to the narrative subjects in which he specialised, exemplified in Caliban by the miniscule seashells and barnacles arranged around the driftwood-strewn beach, the rosy sunset casting glittering highlights across the waves, and the diaphanous silhouettes of the fairies, almost indistinguishable from the clouds. Following studies at the Royal Academy Schools in London, Paton was invited by his friend John Everett Millais to join the Pre-Raphaelite Brotherhood. Paton declined, electing instead to return to Scotland to cultivate his expert knowledge of folklore and legend. He did, however, continue to paint in a Pre-Raphaelite style, and his subject-matter was predominantly fantastical, mythological or moralising. Upon viewing Paton’s 1849 masterpiece The Quarrel of Oberon and Titania (National Galleries of Scotland acc.no.NG293), Lewis Carroll noted with excitement in his diary: ‘we counted 165 fairies!’ Amongst his admirers was Queen Victoria, who in 1864 commissioned Queen Victoria in the Death Chamber of the Prince Consort and named him Queen’s Painter and Limner.When he was still in his twenties, Paton published a series of engravings inspired by The Tempest in 1845, including one composition which appears to be based upon the present lot. The National Galleries of Scotland also holds a preparatory pencil sketch for Caliban, which they were bequeathed in 1946 from the collection of the Scottish Symbolist painter John Duncan (acc.no.D 4252/32 C). A similar composition by Paton dating to 1868 is held in the collection of Glasgow Life (acc.no.1804))   

JOSEPH NOEL PATON, R.S.A. (BRITISH, 1821-1909) Christian at the foot of the

JOSEPH NOEL PATON, R.S.A. (BRITISH, 1821-1909) Christian at the foot of the cross - The Pilgrim's Progress oil on canvas, with an arched top 15¾ x 10½ in. (40 x 26.5 cm.)

Joseph Noel Paton (1821-1901)- attributed

Joseph Noel Paton (1821-1901)- attributed, Oriental illusion , oil on canvas, monogrammed bottom right, framed. 38X55 cm

SIR JOSEPH NOEL PATON, R.S.A. (1821-1909) The Adversary!: 'Where their worm

SIR JOSEPH NOEL PATON, R.S.A. (1821-1909) The Adversary!: 'Where their worm dieth not, and the fire is not quenched' oil on canvas 15 x 8 3/4 in. (38.1 x 22.2 cm.)

Sir Joseph Noël Paton, Paolo and Francesca Da Ramini (two works)

Sir Joseph Noël Paton Paolo and Francesca Da Ramini (two works) 1859 oil on panel, engraving 9.75 h × 7.75 w in (25 × 20 cm) 13 h × 10 w in (33 × 25 cm) Lot includes the original oil painting, Paolo and Francesca Da Ramini, as well as an engraving after the work. Provenance: Sotheby's, London, Victorian Paintings, 19 December 2001, Lot 88 | Private Collection (one work) This work will ship from Rago in Lambertville, New Jersey.

SIR JOSEPH NOEL PATON (1821-1901) STUDY OF A KNIGHT AND A MAIDEN

SIR JOSEPH NOEL PATON (1821-1901) STUDY OF A KNIGHT AND A MAIDEN pencil, red chalk and oil on paper, later inscribed to the mount SIR JOSEPH NOEL PATON (27cm x 19.5cm) Provenance: Campbell Wilson Fine Art

UNKNOWN CERES WITH AN ANGEL CIRCA: 1880

Original gouache on paper in the manner of Scottish artist Sir Joseph Noel Paton (1821-1901) titled "Ceres with an Angel", c. 1880. This painting is unsigned. Beautifully framed in molding from Spain and matting from Holland. Framed size: 22.75" x 19.25. Image size: 12.75" x 9". In excellent condition.In ancient Roman religion, Ceres was a goddess of agriculture, grain crops, fertility, and motherly relationships. She was originally the central deity in Rome's so-called plebeian or Aventine Triad, then was paired with her daughter Proserpina in what Romans described as "the Greek rites of Ceres". Her seven-day April festival of Cerealia included the popular Ludi Ceriales (Ceres' games). She was also honored in the May illustration of the fields at the Ambarvalia festival, at harvest-time, and during Roman marriages and funeral rites.Ceres is the only one of Rome's many agricultural deities to be listed among the Dii Consentes, Rome's equivalent to the Twelve Olympians of Greek mythology. The Romans saw her as the counterpart of the Greek goddess Demeter, whose mythology was reinterpreted for Ceres in Roman art and literature.The Scottish artist, Sir Joseph Noel Paton, (13 December 1821 – 26 December 1901 Edinburgh), was born in Wooer's Alley, Dunfermline, Fife, to Joseph Neil Paton and Catherine MacDiarmid, damask designers and weavers in the town. He continued the family trade for a short time. He had strong artistic inclinations however and studied briefly at the Royal Academy, London in 1843. He is the brother of Amelia Robertson Hill and Walter Hugh Paton. He also had one brother, Archibald, and two sisters, Catherine and Alexia, who all died in childhood. Sir Joseph erected a monument on the grave of his parents and dead siblings in later life, the grave was probably originally unmarked. It lies on the north side of Dunfermline Abbey and is a distinctive red granite Celtic cross amongst other smaller sandstone. He painted in the Pre-Raphaelite style and became a painter of historical, fairy, allegorical and religious subjects.

SIR JOSEPH NOEL PATON, RSA (SCOTTISH, 1821-1901)

Sir Joseph Noel Paton, RSA (Scottish, 1821-1901) Ophelia inscribed to the reverse 'Ophelia / Noel Paton / no. 3' oil on board 21.5cm diam. Footnote: Provenance: [By repute: Bought from the Hughes family in Liverpool c. 1898 and given to Rev. Jones (d. 1977)] Presumably his Sale, Sotheby's Belgravia, 18th April 1978, lot 65, when acquired by the present owner

Sir Joseph Noel Paton, R.S.A.(1821-1909) - The Lady of Shalott

Sir Joseph Noel Paton, R.S.A.(1821-1909) The Lady of Shalott oil on canvas, circular 10 ¾ in. (24.4 cm.) diameter

SIR JOSEPH NOEL PATON (1821-1901) FAMILY AT PRAYER

SIR JOSEPH NOEL PATON (1821-1901) FAMILY AT PRAYER Pen & ink, signed, inscribed and dated under mount TO DR CAMERON LEES, WITH ALL FRIENDLY REGARDS. NOEL PATON, NOVR. 1888 (15.5cm x 26cm)

Sir Joseph Noel Paton R.S.A. (1821-1901) The Song of Silenus

Signed with a monogram and dated 1848-58, oil on canvas (Dimensions: 19cm x 37cm (7.5in x 14.5in)) (19cm x 37cm (7.5in x 14.5in))

Attributed to Joseph Noel Paton, (1821-1901 British), Three works depicting scenes from the epic poem "The Lady of the Lake" by Sir Wal

Attributed to Joseph Noel Paton (1821-1901 British) Three works depicting scenes from the epic poem "The Lady of the Lake" by Sir Walter Scott Each: Watercolor on paper Each: Inscribed in pencil in the lower margin with passages from the poem, the second signed in pencil in the lower right margin in a different hand than the inscription Sheet of each: 9.5" H x 7" W

Noel Paton (1821-1901)-attributed

Noel Paton (1821-1901)-attributed, oriental night scene oil on canvas monogrammed and dated 1848 bottom right framed

PORTRAIT PAINTING OF JOHN SPENSE BY JOSEPH PATON

PATON, Sir Joseph Noel, (UK, 1821-1901): Portrait of John Spense, Identified on presentation plaque, Oil/Canvas, 27" x 25", in a period frame (regilded), 37.5" x 34.5".

PORTRAIT PAINTING OF JOHN SPENSE BY JOSEPH PATON

PATON, Sir Joseph Noel, (UK, 1821-1901): Portrait of John Spense, Identified on presentation plaque, Oil/Canvas, 27" x 25", in a period frame (regilded), 37.5" x 34.5".

SIR JOSEPH NOEL PATON, R.S.A. | Prospero and Miranda, The Tempest

oil on paper, circular

SIR JOSEPH NOEL PATON, R.S.A. | A Dream of Latmos

oil on panel, circular

SIR JOSEPH NOEL PATON, R.S.A. | Paolo and Francesca

watercolor, gouache and pencil on paper heightened with gum arabic

Sir Joseph Noel Paton RSA (British, 1821-1901) The Entombment 16 x 24.5 cm. (6 5/16 x 9 5/8 in.) (arched top)

The Entombment signed with initials 'J.N.P.' (lower left) and dated indistinctly 'April/59, May/...' (lower right); further extensively inscribed and dated '1859' (on a label verso) oil on board 16 x 24.5 cm. (6 5/16 x 9 5/8 in.) (arched top) Footnotes Provenance Miss Peggy McNab, 15 July 1917

*SIR JOSEPH NOEL PATON, R.S.A. (1821-1900)

*SIR JOSEPH NOEL PATON, R.S.A. (1821-1900) BOTTOM AND THE FAIRIES, A SCENE FROM 'A MIDSUMMER NIGHT'S DREAM' oil on board 55 cm by 83 cm; 22 in by 32 in framed Exhibited Brighton, Brighton Art Gallery, Follies and Fantasies, 5th May-31st August 1971, No.46 Provenance The Fine Art Society, London Shakespeare's enduringly popular comedy A Midsummer Night's Dream was to become the subject of many of Paton's most celebrated works, amongst them The Quarrel of Oberon and Titania which is now in the National Galleries of Scotland. The painting was a favourite of Lewis Carroll and was displayed at the Paris Exhibition of 1850 as a significant example of British art of its date. Today Paton is remembered as one of the great exponents of the Victorian Fairy painting tradition and his subjects in this vein are steeped in folklore and mysticism, nowhere more than in this evocative depiction of another part of the same Shakespeare play. Paton is often referred to as the Scottish Pre-Raphaelite, having turned down an invitation from John Everett Millais to join the brotherhood. He was one of Queen Victoria's favourite artists, receiving a knighthood and being appointed the Queen's Limner for Scotland in 1865.

Attributed to Joseph Noel Paton (1821-1901 British)

Three works depicting scenes from the epic poem ''The Lady of the Lake'' by Sir Walter Scott, each: inscribed in pencil in the lower margin with passages from the poem, the second signed in pencil in the lower right margin in a different hand than the inscription, each: unframed watercolor on paper, paper size: each: 9.5'' H x 7'' W, est: $1200/1800.

Sir Joseph Noel Paton, R.S.A. 1821-1909) The song of Silenus oil on canvas

Sir Joseph Noel Paton, R.S.A. 1821-1909) The song of Silenus oil on canvas 7 3/4 x 15 in. 19.7 x 38.1 cm.)

Attributed to Joseph Noel Paton (1821-1901 British)

Three works depicting scenes from the epic poem ''The Lady of the Lake'' by Sir Walter Scott, each: inscribed in pencil in the lower margin with passages from the poem, the second signed in pencil in the lower right margin in a different hand than the inscription, each: unframed watercolor on paper, paper size: each: 9.5'' H x 7'' W, est: $2000/3000.

Paton, Noël

Paton, Noël Genealogy of the Celtic Earls of Atholl...with chart of the descendants of Conan... Privately printed, 1873. Small oblong folio, inscribed to Mrs Brewster-Macpherson from the author, red cloth gilt

SIR JOSPEH NOEL PATON R.S.A. (SCOTTISH 1821-1901) UNDINE 22cm x 25.5cm (8.5in x 10in)

SIR JOSPEH NOEL PATON R.S.A. (SCOTTISH 1821-1901) UNDINE Signed indistinctly with initials and dated 1841, oil on board 22cm x 25.5cm (8.5in x 10in)

SIR JOSEPH NOEL PATON R.S.A (SCOTTISH 1821-1901) A MOONLIGHT SCENE WITH PUCKISH FIGURE SEATED ON A TOADSTOOL 14cm x 9.5cm (5.5in x 3...

SIR JOSEPH NOEL PATON R.S.A (SCOTTISH 1821-1901) A MOONLIGHT SCENE WITH PUCKISH FIGURE SEATED ON A TOADSTOOL Signed with an 'i' and dated 1876, oil on board, arched top 14cm x 9.5cm (5.5in x 3.75in)

Sir Joseph Noel Paton RSA (1821-1901) 'Miss Bogle

Sir Joseph Noel Paton RSA (1821-1901) 'Miss Bogle Hurts Mr Jaapes Feelings 1840' Pencil and watercolour, monogram, label verso 'The Fine Art Society 1989', 15 x 13cm

Sir Joseph Noel Paton RSA (British, 1821-1901)

A Scene from Midsummer Night's Dream signed with initials and dated 'J.N.P./Oct. 1846' (lower right) oil on panel 22.2 x 24.9 cm. (8 3/4 x 9 13/16 in.) unframed

Attributed Joseph NoÙl Paton (1821-1901)

Attributed Joseph NoÙl Paton (1821-1901) Preparatory sketch incorporating three figures Pencil and bodycolour 12cm x 19cm

Autograph - Joseph Noel Paton

Scottish artist (1821-1901). Collection of 10 ALSs, signed "J. Noel Paton," or "Noel Paton," some on black-bordered stationery, ranging in date from the 1850s to the 1890s; an LS, signed "Noel Paton," dated December 4, 1882; and an AQS, signed "Noel Paton, Sept. 1878," on a gray 7 x 4.5 sheet. Paton writes: "That which is not food is not delicious to the well-governed and wise appetite." In very good overall condition.

SIR JOSEPH NOEL PATON R.S.A (SCOTTISH 1821-1901) AGNUS DEI 17cm x 10cm (6.75in x 10in)

SIR JOSEPH NOEL PATON R.S.A (SCOTTISH 1821-1901) AGNUS DEI Oil on paper, oval type 17cm x 10cm (6.75in x 10in)

SIR JOSEPH NOEL PATON R.S.A (SCOTTISH 1821-1901) THE SONG OF SILENUS 19cm x 38cm (7.5in x 15in)

SIR JOSEPH NOEL PATON R.S.A (SCOTTISH 1821-1901) THE SONG OF SILENUS Signed and dated 1858, oil on canvas 19cm x 38cm (7.5in x 15in)

ATTRIBUTED TO JOSEPH NOEL PATON RSA (SCOTTISH 1821

ATTRIBUTED TO JOSEPH NOEL PATON RSA (SCOTTISH 1821 - 1902) LEONARDO DA VINCI oil on board 21cm x 16cm

ATTRIBUTED JOSEPH NOEL PATON (1821-1901) BRITISH A

ATTRIBUTED JOSEPH NOEL PATON (1821-1901) BRITISH A three quarter length portrait of a lady in a white dress holding a posy of flowers seated in an evening landscape with stars shining above. Indistinctly signed. Inscribed on stretcher. Oil on canvas. 36 x 28ins.

Sir Joseph Noel Paton RSA (1821-1901) ''Odyssey V,

Sir Joseph Noel Paton RSA (1821-1901) ''Odyssey V, Ulysses restrained by Circe'' Inscribed, extensively inscribed on various exhibition labels verso, pencil drawing on three joined pieces of paper, circular, 21.5cm diameter; provenance: Abbott & Holder Ltd, 30 Museum Street, London, and the artist's family also exhibited: The Maas Gallery Ltd, 15a Clifford Street, London, stock no.MG13772; And a further portrait study of the artist as a young man, seated wearing Victorian dress and sideburns, inscribed personally to Lady Maitland with the compliments of J Noel Paton and dated April 1848, initialled and dated 1848, also initialled and dated July 1846 and inscribed on an exhibition label verso, pencil drawing with shaped cut corners, 26cm by 21cm overall, provenance: Abbott & Holder Ltd (as above) and numbered 62498, the original price of £400 and the stock no.62498 (2)

Sir Joseph Noël Paton R.S.A. (1821 - 1901) good

Sir Joseph Noël Paton R.S.A. (1821 - 1901) good quality oil study depicting Christ carrying a lamb and cross, in lozenge-shaped gilt mount and gilt carved frame formed as branches, engraved brass plaque to reverse - This Picture was Painted by Sir Noël Paton R.S.A. and given by him to Princess Christian On her Wedding Day, July 5th 1866, 17cm x 10cm

SIR JOSEPH NOEL PATON, R.S.A.

PROPERTY OF PRE-RAPHAELITE INC. 1821-1901 THE LADY OF SHALOTT signed with monogram l.r. oil on canvas, circular diameter: 26cm., 10in.

Sir Joseph Noel Paton, R.S.A. (1821-1909)

Sir Joseph Noel Paton, R.S.A. (1821-1909) The Valley of the Shadow of Death signed with a monogram and dated '1866' (lower right) oil on board 12 x 7½ in. (30.5 x 19 cm.)

Sir Joseph Noel Paton, R.S.A. (1821-1909)

Sir Joseph Noel Paton, R.S.A. (1821-1909) Christian at the foot of the cross - Pilgrim's Progress signed with monogram (lower right) and signed and inscribed 'The copyright of this Picture is Reserved by/Noel Paton' (on the stretcher) oil on canvas, with an arched top 15¾ x 10½ in. (40 x 26.5 cm.)

Sir Joseph Noel Paton, R.S.A. (1821-1909)

Sir Joseph Noel Paton, R.S.A. (1821-1909) 'The Isle is full of Noises' Caliban, Stephano and Trinculo led by Ariel: An illustration to 'The Tempest', Act III, scene 2 signed with monogram and dated '68' (lower right) oil on canvas 12¼ in. (31 cm.) diam. in the original frame

Sir Joseph Noel Paton, R.S.A. , 1821-1901 song of silenus oil on canvas

Sir Joseph Noel Paton, R.S.A. , 1821-1901 Sir Galahad and the Angel oil on panel

Sir Joseph Noel Paton R.S.A. (1821-1901) Young

Sir Joseph Noel Paton R.S.A. (1821-1901) Young Lady and Gentleman in a Wooded Landscape Signed and dated June 26th 1854, pen and ink drawing, 17.5cm by 22.5cm

Sir Joseph Noel Paton, R.S.A. (1821-1901)

Sir Joseph Noel Paton, R.S.A. (1821-1901) The Indian boy's mother, a study for 'The Quarrel of Oberon and Titania' (1849) oil on canvas 13 x 11 1/8 in. (33 x 28.2 cm.)

Joseph Noël Paton England 1821-1901. "The song of

Joseph Noël Paton England 1821-1901. "The song of Silenus". Monogramsignerad och daterad 1848-58. Olja på duk, 19 x 37,5.

- Sir Joseph Noel Paton, R.S.A. , 1821-1901 mors janua vitae (death, the gateway of life) oil on canvas

signed with monogram and dated 66 l.l. oil on canvas