Sir Joseph Noel Paton (Scottish,1821-1901) and ‘Others’, A 19th Century Album – Drawings / Pmalder Cottage

Out of stock

Total number: Watercolours (65); Drawings (53); Prints (17); Photographs (7); Documents (3). A complete list of all the items are listed in the INDEX below.

Photos of other drawings etc., not available on our website can be sent by email on request.

Included with the sale of the album is an edition of “Coleridge’s rime of the Ancient Mariner”, illustrated by Joseph Noel Paton, published by the Art-union of London, 1863.

Condition: The majority of the drawings are in good condition although a small number of watercolours (by Fleming) do have tears. One watercolour No.117, has been listed as A/F in the index, this means that in our opinion the item is beyond repair. Both front and back covers are loose and the spine is missing. For further queries concerning condition or to request a photo please contact us by phone or email.

Description

The album contains many original works by the Paton family and circle. Pmalder Cottage at Greenock was the home of Allan Park Paton (1817 or 1818–1905), a writer and patron of the arts who had been associated with many important artists including Dante Gabriel Rossetti and Burne-Jones. He was one of the most accomplished and eminent citizens of the 19th century Greenock, probably best remembered as the Librarian of the Watt Library, a post he held for 25 years. Before his librarianship he was a notary, a poet, and a Shakespearian scholar. He also wrote regular articles for the Greenock Advertiser e.g. “Notes about Greenock”. Allan was the eldest of 9 children of John Paton, writer in Greenock, and his wife Margaret Park. His father died when he was 17 and he became responsible for the welfare and education of his brothers and sisters. He did not marry until he was 46 but unfortunately his wife, Annabella Rodgers, died of Tuberculosis after only 6 years of marriage, leaving a son and daughter. At the time of Annabella’s death he was already the librarian of the Watt for which the Greenock Advertiser had reported he was “so peculiarly qualified” because of his interest in old books and manuscripts. The library was his life and even at the age of 74 he was reluctant to retire. He was also responsible for the placement of stained glass windows at the Old West Kirk of Greenock. In 1864 after 23 years of closure the church was being restored, Rossetti and Burne Jones were commissioned by Allan to make designs for four windows. E.B.J. designed Faith, Music, & The Adoration of the Lamb while D.G.R. designed Charity. With the album is a small unsigned watercolour along with newspaper clippings and a photo which tell the story of the windows of Old West Kirk.

ALBUM INDEX
The album comprises of – (60) watercolours, (30) pencil drawings, (1) pencil and chalk drawing, (21) ink drawings, (17) prints (including etchings), (7) photographs, and (1) page of newspaper clippings. There are 12 missing pages and 26 blank pages.

1. Watercolour: Frontispiece by John Stewart. ‘Anabella Paton – Pmalder Cottage’.
2. Photograph: ‘Faith’ Stained glass window in Old West Kirk, Greenock, designed by Sir Edward Burne – Jones.
3(L). Print: Mature engraving ‘The Eve of St. John’ after a design by J. N. Paton.
3(R). Ink drawing: by Joseph Noel Paton (1821-1901). ‘First Thought’ design for ‘The Eve of St. John’.
4. Missing.
5. Pencil drawing: by Thomas Mackinlay (1832-1870). ‘Two Children Playing with a Doll’.
6. Two pencil drawings: by Mary Chambers, (daughter of Robert Chambers). Roundel ‘Female in Robes’ and a ‘Group of Angels’.
7. Red ink drawing: by A. Roxburgh. ‘Portrait of a Lady’ standing full length. Dated 4th Feb 1854.
8. Pencil drawing: by Norman Macbeth RSA (1821-1888). Roundel ‘Miss Minta Melville and Allan Park Paton’.
9. Missing.
10. Ink drawing: by Joseph Noel Paton (1821-1901). ‘Frightful state of affairs at (wood’s?) ally’
11. Watercolour: by John Fleming (1792-1845). ‘Portrait of a Lady wearing a Yellow Dress’.
12(L). Photograph: Sculptured bust ‘Madame Branier’ by John Tweed (1869-1933).
12(R). Red ink drawing: by A. Roxburgh. Interior ‘House in Storey Street, Paisley’. Dated 30th Jan 1854.
13. Missing.
14(L). Newspaper clippings related to ‘The Morris Windows in the Old West Kirk’.
14(R). Red ink and wash: Portrait study by Edward Forbes.
15. Ink drawing: by Hablot Knight Browne (1815-1882), pen name Phiz. ‘Figure Studies’. Dated 42.
16(L). Print, etching: by James Fraser Paton (1865-1910). ‘Scottish Loch’.
16(R). Pencil drawing: by William Gair. ‘Jew’
17. Ink drawing: by Joseph Noel Paton (1821-1901). ‘The Happy Valley’
18. Pencil and sepia wash: by John Fleming (1792-1845). ‘Hunterian Museum : Glasgow College’.
19. Two pencil drawings: by Thomas Mackinlay (1832-1870). ‘Portrait of an Artist’ and ‘Sketch of a Ship in Dock’
20. Two watercolours: by Graham. ‘Religious Studies’.
21(L). Watercolour: by John Fleming (1792-1845). ‘Highland Landscape’.
21(R). Pencil drawing: by Alexander Macmillan. ‘Street Studies’.
22 Two pencil drawings: by H. L. Tennant (Sheriff). ‘Lake Views’.
23. Missing.
24. Watercolour: by Alexander Macmillan. ‘Winter Landscape’
25. Watercolour: by James Fraser Paton (1865-1910). ‘Highland Landscape’.
26. Ink drawing: Illustrated page of a poem: by Joseph Noel Paton (1821-1901).
27. Blank.
28. Pencil drawing: by William Gair. ‘Lady Sketching at an Easel’.
29. Photograph: possibly by Julia Margaret Cameron (1815-1879). Unconfirmed and not included in the catalogue raisonné. ‘Allan Park Paton and Mary Weir in Garden Bower at Pmalder Cottage’.
30. Blank.
31. Ink drawing: by Joseph Noel Paton (1821-1901). ‘Frustrated Student’. Dated Nov. 25th 1849.
32. Watercolour: by James Fraser Paton (1865-1910). ‘Sunrise’. Dated 21st June 1882.
33. Blank.
34. Watercolour: by Ida Paton. ‘Chinese Vase’.
35. Watercolour: by John Fleming (1792-1845). ‘Highland Landscape with Bridge’. Signed with initials and dated 1822.
36(L). Ink drawing (Cartoon): by James Fraser Paton (1865-1910). ‘Man Taking Snuff’. Dated 26th November 1902.
36(R). Ink drawing: by Joseph Noel Paton (1821-1901). ‘Frustrated Student No.2’.
37. Blank.
38. Missing.
39. Pencil and chalk drawing: ‘Seated Lady Drinking Tea’.
40. Missing.
41. Watercolour: by John Fleming (1792-1845). ‘Highland Landscape with Figure on a Path’.
42. Pencil drawing: by Alexander Macmillan. ‘Home Studies’.
43. Blank.
44(L). Prints (2): after Ida Paton. Illustrations to ‘The Peacock at Home’. a Poem. Pub: London 1809. Author Catherine Ann Dorset.
44(R). Prints (3): after Ida Paton. Illustrations to ‘The Peacock at Home’. a Poem. Pub: London 1809. Author Catherine Ann Dorset.
45(L). Prints (3): after Ida Paton. Illustrations to ‘The Peacock at Home’. a Poem. Pub: London 1809. Author Catherine Ann Dorset.
45(R). Prints (4): after Ida Paton. Illustrations to ‘The Peacock at Home’. a Poem. Pub: London 1809. Author Catherine Ann Dorset.
46(L). Prints (2): after Ida Paton. Illustrations to ‘The Peacock at Home’. a Poem. Pub: London 1809. Author Catherine Ann Dorset.
46(R). Ink drawing: by Joseph Noel Paton (1821-1901). ‘End of a Nott’.
47. Blank.
48. Watercolour: by James Fraser Paton (1865-1910). ‘Landscape’.
49. Blank.
50. Blank.
51. Watercolour: by James Fraser Paton (1865-1910). ‘Epping Forest’.
52. Watercolour: by John Gibb (1831-1909). ‘Innellan’.
53. Blank.
54. Watercolour: by John Fleming (1792-1845). ‘Highland Landscape with Two Figures on a Path before a Village’.
55. Blank.
56. Blank.
57. Watercolour: by John Fleming (1792-1845). ‘Woodland’.
58. Pencil drawing: by Alexander Macmillan. ‘Home Studies’.
59. Blank.
60. Pencil drawing: by Joseph Noel Paton (1821-1901). ‘Rape of Proserpine’. Dated 1832 (aged 11).
61. Pencil drawing: by Alexander Macmillan. ‘Studies of Pigeons’.
62. Ink drawing: by Joseph Noel Paton (1821-1901). ‘Angel Sitting on a Rock’. Dated Oct 9th 1850.
63. Watercolour: by John Fleming (1792-1845). ‘Cottages in a Highland Landscape’.
64. Missing.
65. Missing.
66. Blank.
67. Pencil drawing: by Joseph Noel Paton (1821-1901). ‘The Green Boat, of Pmalder Cottage: Bob in Command’.
68. Missing.
69. Blank.
70. Pencil drawing: by Alexander Macmillan. ‘Home Studies’.
71. Watercolour: by John Fleming (1792-1845). ‘Highland River Landscape’.
72. Blank.
73(L). Watercolour: by James Fraser Paton (1865-1910). ‘Guildford’.
74(L). Watercolour: attributed to James Fraser Paton (1865-1910). ‘Trees’.
75. Blank.
76. Ink drawing: by Joseph Noel Paton (1821-1901). ‘Head and Shoulder Portraits of Two Women’.
77. Blank.
78. Pencil drawing: by Alexander Macmillan. ‘Street Studies’.
79. Watercolour: by Ida Paton. ‘Sunset over a Lake’.
80. Blank.
81. Pencil drawing: by Alexander Macmillan. ‘Home Studies’. Dated 1887.
82. Watercolour: by James Fraser Paton (1865-1910). ‘Trees by a Lake’. Signed and dated 1891.
83. Watercolour: by Hugh Riviere (1869-1956). ‘Study of a Bird’.
84. Blank.
85. Blank.
86. Pencil drawing: by Joseph Noel Paton (1821-1901). ‘Head of a Man Wearing a Helmet’.
87. Watercolour: by James Fraser Paton (1865-1910). ‘Steam Boat on a Lake’. Dated Aug 1896.
88. Ink drawing: by Alexander Macmillan. ‘Street Studies’.
89. Ink drawing: by Joseph Noel Paton (1821-1901). ‘Weirie’.
90. Blank.
91. Watercolour: by Ida Paton. ‘Country Farm’.
92. Blank.
93. Blank.
94(L). Watercolour: by James Fraser Paton (1865-1910). ‘Side Profile Head of a Woman’. Signed Fraser Paton.
95. Blank.
96. Missing.
97. Ink drawing: by Joseph Noel Paton (1821-1901). ‘Anger’.
98. Watercolour: by Ida Paton. ‘Sailing on a Loch’.
99. Pencil drawing with tints of colour: artist unknown. ‘Portrait sketch of Allan Park Paton as a Child’. Inscribed Pmalder Cottage 20th August.
100. Watercolour: by James Fraser Paton (1865-1910). ‘Lighthouse and Boat’. Dated Aug 1896.
101(L). Print etching: unknown artist. ‘Figures Standing before a House’.
101(R). Watercolours (2): by James Fraser Paton (1865-1910). ‘By The Sad Sea Waves’ and ‘The 4th Party’. Wemyss Way, dated July 1898.
102. Blank.
103. Blank.
104. Watercolour: by John Fleming (1792-1845). ‘Woodland Bank’.
105(L). Photographs (2): bronze statue: ‘Col. Benson’ by John Tweed (1869-1933).
106. Blank.
107. Watercolour: by John Fleming (1792-1845). ‘Trees and Figures on a Path’.
108(L). Ink drawing: unknown artist. ‘Steamship on the Coast’.
109. Watercolour: by Ida Paton. ‘Flower Study’.
110. Pencil drawing: by Alexander Macmillan. ‘Street Studies’.
111(L). Watercolour: by John Fleming (1792-1845). ‘Dunolly Castle – Oban Bay’.
112. Watercolour: by Ida Paton. ‘Flower Study’.
113(L). Watercolours (3): by Ida Paton. ‘Flower Studies’. Watt Monument.
113(R). Watercolours (2): by Alexander Macmillan. ‘Street Studies’.
114. Watercolour: by Ida Paton. ‘Reflection’. A bird ‘Dick’ died 26th Aug 1895.
115(L). Watercolours (3): by Ida Paton. ‘Flower and Bird Studies’. Watt Monument.
115(R). Watercolours (3): by Ida Paton. ‘Flower and Bird Studies’. Watt Monument.
116(L). Watercolours (3): by Ida Paton. ‘Flower Studies’. Watt Monument.
116(R). Watercolours (8): by Ida Paton. ‘Flower Studies’. Watt Monument.
117(L). Watercolour: by John Fleming (1792-1845). ‘Highland Landscape’. A/F
118. Watercolour: by Ida Paton. ‘Flower Study’. Home Cottage, 1895.
119. Missing.
120(L). Photograph: by John Tweed (1869-1933). ‘Bust of an Actor’.
120(R). Pencil drawing: by Joseph Noel Paton (1821-1901). First Thoughts – illustration for ‘Coleridge’s Ancient Mariner’. – The souls did from their bodies fly – They fled to bliss or woe – And every soul, it passed me by – Like the whizz of my cross bow.
121(L). Watercolour: by James Fraser Paton (1865-1910). ‘Cottage in Woodland’.
121(R). Pencil drawings (3): by Joseph Noel Paton (1821-1901). First Thoughts – illustration for ‘Coleridge’s Ancient Mariner’.
122(L). Pencil drawings (4): by Joseph Noel Paton (1821-1901). First Thoughts – illustration for ‘Coleridge’s Ancient Mariner’.
122(R). Pencil drawing: by Joseph Noel Paton (1821-1901). First Thoughts – illustration for ‘Coleridge’s Ancient Mariner’. – Oh shrieve me, shrieve me, holy man!
123. Pencil drawing: by Joseph Noel Paton (1821-1901). First Thoughts – illustration for ‘Coleridge’s Ancient Mariner’. – It is an ancient Mariner, and he stoppeth one of three.
124. Pencil drawing: by Joseph Noel Paton (1821-1901). First Thoughts – illustration for ‘Coleridge’s Ancient Mariner’. – By thy long grey beard and glittering eye, now wherefore stopps’t thou me? Inscribed Pmalder Cottage Oct 24th 1849.
125. Missing.
126. Blank.
127. Ink drawing: by Alexander Macmillan. ‘Seated Man’.
End Page: Photograph of a pen and ink drawing by Joseph Noel Paton. ‘Drawing room of Pmalder Cottage: Nov 1851. – Margaret, Robert, and Mary Weir Paton. (Bluphocks) dog. Statuettes – Foley’s “Innocence”, and G. Mossman’s “Wayside Flower”.

LOOSE MATERIAL
Comprising – (5) watercolours, (1) drawing, (2) military documents.

1. Watercolour: by James Fraser Paton (1865-1910). ‘Highland Landscape with a Shepherd and his Flock’. Signed.
2. Watercolour: by James Fraser Paton (1865-1910). ‘A Country Path’.
3. Watercolour: by James Fraser Paton (1865-1910). ‘Moonlight’.
4. Watercolour: possibly J. N. Paton. ‘Street Scene’. Signed with monogram and dated 1886.
5. Watercolour: unknown artist. ‘Windows at Old West Kirk’.
6. Pencil drawing: by Alexander Macmillan. ‘Interior Study with Man Standing at a Window ‘. Signed and dated 1889.
7. Temporary certificate: 2nd Lieutenant Allan Park Paton, Land Forces, Infantry 1915.
8. Certificate: Lieutenant Allan Park Paton, The Northumberland Fusiliers. Invalided from services, 21st Sep 1918.

Brand

Paton, Sir Joseph Noel (1821-1901)

Paton was a Scottish artist, illustrator and sculptor. He was also a poet and had a deep seated interest in, and knowledge of, Scottish folklore and Celtic legends. He was born in Wooer's Alley, Dunfermline, Fife, on 13 December 1821 to Joseph Neil Paton and Catherine MacDiarmid, damask designers and weavers in the town. He is the brother of the sculptor Amelia Robertson Hill and the landscape artist Waller Hugh Paton. He also had one brother, Archibald, and two sisters, Catherine and Alexia, who all died in childhood; Paton 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 markers. Paton attended Dunfermline School and then Dunfermline Art Academy, further enhancing the talents he had developed as a child. He followed the family trade by working as the design department director in a muslin factory for three years. Most of his life was spent in Scotland but he studied briefly at the Royal Academy, London in 1843, where he was tutored by George Jones. While studying in London Paton met John Everett Millais, who asked him to join the Pre-Raphaelite Brotherhood. In 1858, he married Margaret Gourlay Ferrier and the couple had eleven children (seven sons and four daughters). Their eldest son, Diarmid Noel Paton (1859–1928), became a regius professor of physiology in Glasgow during 1906 while another son, Frederick Noel Paton (1861–1914), was appointed as director of commercial intelligence to the government of India in 1905 but was also a noted illustrator. The invitation to be an official member of the Brotherhood was turned down by Paton although he painted in the Pre-Raphaelite style and became a painter of historical, fairy, allegorical and religious subjects. Together with Daniel Maclise, Paton was a folklore expert; according to Christopher Wood, an expert in Victorian art, Maclise and Paton were the only artists working in the genre of fairy paintings with expertise in folklore. Paton's knowledge of Celtic legends and Scottish folklore is reflected in his paintings. During his short spell in London, Paton became acquainted with Samuel Carter Hall, editor of The Art Journal, and he commissioned Paton to design some of the illustrations for his 1842 book The Book of British Ballads. Other commissions to design book illustrations included the 1844 edition of Shelley's lyrical drama Prometheus Unbound, an 1845 publication of Shakespeare's The Tempest and an 1863 version of Coleridge's poem The Rime of the Ancient Mariner. In 1844 Paton's first painting, Ruth Gleaning, was exhibited at the Royal Scottish Academy. He won a number of prizes for his work including for two of his most famous works The Quarrel of Oberon and Titania and The Reconciliation of Oberon and Titania (1847 – Westminster Hall), both of which are available to public view at the National Gallery of Scotland. An earlier study of the Quarrel painting was completed in 1846 and featured as Paton's diploma picture at the Royal Scottish Academy that year. The Academy purchased the earlier work for £700. Made an associate of the Royal Scottish Academy in 1847 and a fellow in 1850. In 1865, he was appointed Queen's Limner for Scotland. He also published two volumes of poetry and produced a number of sculptures. Two years later he received the knighthood and in 1878 was conferred the degree LL. D. by the University of Edinburgh. Paton was a well known antiquary, whose specialty was arms and armour. He died in Edinburgh on 26 December 1901, and is buried in Dean Cemetery (in the obscured lower terrace to the south). His daughter, Hamilton Lora (1868-1921), is buried 10m to his east with her husband, Robert Scott Moncrieff (1862-1923). Wikipedia.
Album size:

15 in. High x 13 in. Wide x 2 in. Deep. (38.2 cm x 33.1 cm x 5 cm.)