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Sold for £20,000

Condition report

Condition is very good overall, with no visible signs of restoration, damage, or known issues. Additional images have been uploaded to our website.


oil on board, signed
46.5cm x 61.5cm (approximately 18.31 x 24.21 inches)
Framed and under glass.
Provenance: Long term property of a private family collection in Fife, Scotland. So far as we can ascertain, "Iona Shore" has never been offered at auction.
Note: John Maclauchlan Milne was encouraged by his father – the Scottish landscape painter Joseph Milne. His father’s influence is apparent in his early work, before his style was transformed by the Scottish Colourists and modern French painters, particularly Cézanne. During the First World War Maclauchlan Milne left his home in Dundee to fight in France on the Western Front. France had a strong impression on the young artist. From 1919 -1932 he spent long periods in France. Initially he stayed at rue des Quatre-Vents in Paris but by 1924 Milne was in Cassis with Peploe, Cadell and Duncan Grant. They also spent considerable time in San Tropez. Almost all his exhibits in the 1920’ s were of Mediterranean subjects. His obituarist wrote ‘ like Peploe, he saw Cézanne and was immediately conquered… Here in the Midi, Milne found himself and the impact of this new experience stamped all his subsequent work'. At the outbreak of the Second World War, Maclauchlan Milne returned to Scotland and settled at High Corrie on the Isle of Arran. Here he painted the whitewashed cottages, the little jetty below the village and Goat Fell, the highest peak on the island. He died in Arran in 1957. Maclauchlan Milne exhibited at the Royal Scottish Academy, at the Glasgow Institute and showed works in London and New York. A Centenary exhibition of his work was held at Dundee Art Gallery and Museum in 1985 and a Retrospective Exhibition was held at Portland Gallery (London) in 2010. As well as enjoying the company of the Scottish Colourists and exhibiting alongside them, Milne shared many of their patrons. William Boyd, the Managing Director of Keiller’s marmalade firm, became one of his most important patrons. In Boyd’s home at Claremont several works by William McTaggart, Peploe, Hunter and Milne were displayed. His collection of French paintings included Monet, Sisley, Van Gogh, Matisse, Bonnard, Vuillard and de Segonzac. Alexander Keiller, head of the marmalade firm, was another important patron. He paid Milne a stipend – so that he could spend the summers in France – in return for paintings. The collector, Matthew Justice, was a close friend of George Leslie Hunter as well as his agent during the 1920s. Justice owned around a dozen of Milne’s paintings; his sitting-room was hung exclusively with works by Peploe and Milne and his drawing room contained eleven Peploes, three Marchands, one Hunter and five Milne’s. The Justice collection also included works by Vuillard, Segonzac, Moreau and Matisse. Justice was friends with William Boyd and James Tattersall, another important patron of Milne. Maclauchlan Milne may only have visited Iona on three occasions in 1937, 1938 & 1939. On each visit he stayed at the St Columba Hotel. These are his only documented visits, but there might have been more. The majority of his Iona paintings are of, or from, the north end of the island and the view to the north of the Treshnish Isles was one he was known to have repeated with variations of the viewpoint and the angle. Undoubtedly, many of these paintings were produced in the studio and Milne was famed for his ability to make the quickest of sketches, some on the inside of a cigarette packet, and later work them up in the studio so successfully capturing the atmosphere that they gave the impression of having been painted on the spot. This talent was admired by many of his contemporaries and it also highlights Maclauchlan Milne's focus on "atmosphere" rather than exact topographical accuracy. Iona has long been the subject of prayer, prose and poetry. This historic and sacred island has also been the focus of a multitude of artists for more than two centuries. In the early to mid-twentieth century it was visited in the summers by many of Scotland's most renowned painters including the Scottish Colourists Cadell and Peploe. It was generally the case that when times were tough for artists, collectors would more readily invest in an Iona painting than any other subject.

Whilst every effort is made to provide accurate and honest condition reports, none of our staff is a professional conservator, restorer or engineer. Any condition report offered should be accepted as an indication of any obvious issues or problems or the lack of them. Buyers are urged to satisfy themselves in respect of the condition of any lot and McTear’s can provide contact details of local professional restorers who will provide fully comprehensive expert reports – usually for a modest charge. The condition report does not form part of any contract between McTear's and the buyer, and all lots are offered "as is" in accordance with our Terms of Business in the printed catalogue and available on our website.