Lyon & Turnbull Sale No 316 - Fine Paintings by Mike Bascombe

EDINBURGH Fine Paintings

Thursday 2nd June 2011 33 Broughton Place Edinburgh

Fine Paintings Thursday 2nd June 2011 at 6pm PLEASE NOTE THAT THIS SALE COMMENCES AT 6PM Sale Number LT316

Viewing Sunday 29th May 12 noon - 4pm Monday 30th May 10am - 5pm Tuesday 31st May 10am - 5pm Wednesday 1st June 10am - 5pm (restricted viewing) Day of sale 10am - 1pm (strictly no viewing after this time)

Specialists Nick Curnow nick.curnow@lyonandturnbull.com Rebecca Wall rebecca.wall@lyonandturnbull.com

Catalogue: £10 BUYERS’ PREMIUM 25% up to £25,000 20% thereafter. VAT will be charged on the premium at the rate imposed by law. *20% VAT chargeable on the lot itself †5% import VAT on the lot §Droit de Suite (artists’ retail rights) applies (see our Terms and Conditions of Sale and Information for Buyers).

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Part One Lots 1-108

The Royal Scottish Academy ÏThe Royal Scottish Academy is an independent body of artists and architects founded, as Scotland’s oldest artists’ collective, as The Scottish Academy in 1826. The first Annual Exhibition was held in 1827 and, as the Academy developed in stature, its membership increased in the disciplines of painting, sculpture and architecture. The Academy was granted a royal charter in 1838 and from that date has been known as the Royal Scottish Academy (R.S.A.). Prince Albert laid the foundation stone of a new building on The Mound, designed to house the newly formed National Gallery of Scotland in the west of the building and the Royal Scottish Academy in the east. The R.S.A. first held its Annual Exhibition in the new galleries in 1855 and these continued there until 1910. The R.S.A. also had its Council room, Library and Life School in the building. A Parliamentary Order in 1910 transferred the Academy to new premises in the adjacent building, formerly known as the Royal Institution. In return, the Academy gifted ninety-six paintings and sculptures and approximately two thousand drawings to the National Gallery of Scotland. This building has been the venue for the Academy’s Annual Exhibitions since 1911. The three-year Playfair Project, completed by N.G.S. in 2003, added further exhibition space to the lower floor of the Royal Scottish Academy building. During the three years of building refurbishment the Academy began an extensive review of its structure, staffing and operation. The appointment of an Exhibition Co-ordinator generated a year-round programme of exhibitions and events, juxtaposing works from a wide range of artists and artists’ groups with those by Academicians. R.S.A. Scholars and Bursary-holders represent Scotland ’s younger artists and architects and attract a correspondingly younger audience. The annual Student Exhibition has been reconfigured as the R.S.A. New Contemporaries, showcasing the best work from Scotland ’s Fine Art Degree Shows and projects from the Schools of Architecture. New initiatives have also been introduced within the R.S.A. Annual Exhibition, including themed curations and historical responses drawn from the Collections. At the core of these Collections are the Diploma Works deposited by each Academician on election. These works are underpinned by extensive archives of correspondence, papers, drawings, photographs and studio artefacts. Prominent Members have bequeathed significant collections of their own work – Sir William Gillies R.S.A. and

William Littlejohn R.S.A. being recent examples. There are collections which had been primarily used for teaching such as the master drawings assembled by David Laing HR.S.A. and collections representing the work of R.S.A. Scholars. The Library includes photographic albums, early texts on anatomy, books illustrated by artists and publications on Scottish art and artists. The Collections have been confirmed by the Scottish Museums Council as being of National Significance. They are widely consulted by visiting scholars and works are regularly loaned to exhibitions in the UK and abroad. The work of the Academy is extended through its education programme which, in partnership with the Friends of the R.S.A., provides talks, lectures and demonstrations, both in the galleries and through studio visits and expeditions. A range of residencies for artists are offered in collaboration with specialist residency centres throughout Scotland. The Gillies Fund supports a range of educational and publishing initiatives while the BorthwickNorton Bequest benefits the exhibition programme. Academicians are elected by their peers and are Scots by birth or domicile; the majority live and work in Scotland, from the Orkney Islands to the Borders. The most senior Honorary Academician is Prince Philip, the Duke of Edinburgh, while others include distinguished artists and architects, writers, historians and musicians. The Academy embodies a wealth of professional experience in Fine Art and Architecture with Members taking a leading role in higher education and in many of Scotland ’s leading cultural institutions. The R.S.A. is one of very few bodies active within the cultural sector which employs a full-time staff and mounts a year-round programme, yet is not directly dependant on government funding at local or national level. Through this independence it is well placed to give an unbiased view, provide a platform for debate or a forum for advocacy. The R.S.A. maintains a unique position in Scotland as an independently funded institution led by eminent artists and architects whose purpose is to promote and support the creation, understanding and enjoyment of the visual arts through an ongoing programme of exhibitions and related educational events. The R.S.A. also administers a range of scholarships, awards and residencies for artists in Scotland and has an historic and nationally significant collection of Scottish artworks and archive available for consultation by appointment.

LY O N & T U R N B U L L Fine Paintings

1 FA826/1 JAMES RIDDEL A.R.S.A., R.S.W. (SCOTTISH 1857-1928) FEEDING THE HENS Signed, oil on canvas 51cm x 61cm (20in x 24in)

£1,000-1,500

2 FA601/2 EDMUND THORNTON CRAWFORD R.S.A. (SCOTTISH 1806-1885) BEACH SCENE, EAST COAST Inscribed on a label verso, oil on board 38cm x 46cm (15in x 18in)

£800-1,200

LY O N & T U R N B U L L Fine Paintings

3 FA684/4 TOM SCOTT R.S.A. (SCOTTISH 1854-1927) HORNS HOLE Signed, inscribed, and dated ‘96, watercolour 25cm x 35cm (9.8in x 13.8in)

£500-700

4 FA753/1 SAM BOUGH R.S.A. (SCOTTISH 1822-1878) THE FORD Signed and dated 1868, watercolour with bodycolour 31.5cm x 46cm (12.4in x 18.1in) Exhibited: Glasgow International Exhibtion, 1901

£800-1,200

LY O N & T U R N B U L L Fine Paintings

5 FA641/1 DAVID FOGGIE R.S.A., R.S.W. (SCOTTISH 1878-1948) A REST IN THE WOODS Signed and dated 1907, watercolour 24cm x 35cm (9.5in x 13.75in)

£500-800

6 FA845/4 ROBERT WEIR ALLAN R.S.A., R.W.S., R.S.W. (SCOTTISH 1852-1942) A BUSY HARBOUR Signed and dated 1937, watercolour 51cm x 76cm (20in x 30in)

£1,000-1,500

LY O N & T U R N B U L L Fine Paintings

7 FA843/1 SAM BOUGH R.S.A. (SCOTTISH 1822-1878) AT LOW TIDE Signed and dated 1861, oil on canvas 21cm x 31cm (8.25in x 12in)

£2,000-3,000

LY O N & T U R N B U L L Fine Paintings

8 FA220/7 PETER GRAHAM R.A., R.S.A. (SCOTTISH 1836-1921) THE CRADLE OF THE SEA-BIRD Signed and dated 1872, oil on canvas 51cm x 76cm (20in x 30in)

£2,000-3,000

LY O N & T U R N B U L L Fine Paintings

9 FA215/1 WILLIAM MILLER FRAZER R.S.A. (SCOTTISH 1864-1961) PITTENDYNIE Signed, inscribed and dated 1923 verso, oil on board 25cm x 35cm (9.75in x 13.75in)

£800-1,200

10 FA842/6 GEORGE OGILVY REID R.S.A. (SCOTTISH 1851-1928) WATCHING THE BOATS Signed, oil on canvas 63cm x 76cm (25in x 30in)

£2,000-3,000

LY O N & T U R N B U L L Fine Paintings

11 LB409/1 ROBERT MCGREGOR R.S.A. (SCOTTISH 1847-1922) FISHERS - BRITTANY Signed, oil on canvas 46cm x 74cm (18in x 29in)

£2,000-3,000

LY O N & T U R N B U L L Fine Paintings

12 FA870/8 HENRY JOHN SYLVESTER STANNARD R.B.A., R.S.A. (BRITISH 1870-1951) A SUSSEX COTTAGE Signed, watercolour 27cm x 38cm (10.5in x 15in)

£500-800

13 FA161/1 ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905) A SANDY COVE Signed with a monogram, pastel 28cm x 38cm (11in x 15in)

£400-600

LY O N & T U R N B U L L Fine Paintings

14 EZ878/24 STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) LANDSCAPE, CASSIS Signed, watercolour 25.5cm x 35.5cm (10in x 14in)

£2,500-3,500

LY O N & T U R N B U L L Fine Paintings

15 FA452/5 ROBERT NOBLE R.S.A., P.S.S.A. (SCOTTISH 1857-1917) ON THE BEACH, BUCKHAVEN Signed, oil on canvas 51cm x 76cm (20in x 30in)

£1,500-2,000

16 FA220/9 ARCHIBALD KAY R.S.A., R.S.W. (SCOTTISH 1860-1935) SHEEP IN MOORLAND Signed, oil on canvas 61cm x 91cm (24in x 36in)

£1,500-2,500

LY O N & T U R N B U L L Fine Paintings

17 FA842/5 DAVID FARQUHARSON A.R.A., A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1840-1907) HEAD OF BALCARY BAY, ON THE SOLWAY Signed and dated ‘87, inscribed on a label verso, oil on canvas 31cm x 51cm (12in x 20in)

£3,000-5,000

LY O N & T U R N B U L L Fine Paintings

18 FA130/1 JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) ON THE RIVERBANK Signed, watercolour 52cm x 39cm (20.5in x 15.5in)

£800-1,200

19 FA130/2 JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) ON THE TWEED Signed, watercolour 52cm x 39.5cm (20.5in x 15.5in)

£1,000-1,500

LY O N & T U R N B U L L Fine Paintings

20 FA574/1 JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) THE JETTY, LOCH LEVEN Signed, signed, inscribed and dated 1979 on label verso, oil on canvas 63.5cm x 76cm (25in x 30in)

£10,000-15,000

LY O N & T U R N B U L L Fine Paintings

21 FA844/6 ROBERT PAYTON REID A.R.S.A. (SCOTTISH 1859-1945) HARVEST TIME GLEN FINDLAS Signed, oil on canvas 41cm x 61cm (16in x 24in)

£1,000-1,500

22 FA819/1 WILLIAM MARSHALL BROWN R.S.A., R.S.W. (SCOTTISH 1863-1936) THE DULSE GATHERERS Signed, oil on canvas 20cm x 29.5cm (8in x 11.5in)

£2,000-3,000

LY O N & T U R N B U L L Fine Paintings

23 FA817/1 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) IDLE MOMENTS Signed, oil on canvas 36cm x 46cm (14in x 18in)

£15,000-20,000

LY O N & T U R N B U L L Fine Paintings

24 FA843/7 JOHN JAMES BANNATYNE R.S.W. (SCOTTISH 1836-1911) IN A ROCKY COVE Signed, oil on canvas 41cm x 53cm (16in x 21in)

£1,000-1,500

25 FA846/5 ARTHUR PERIGAL R.S.A., R.S.W. (SCOTTISH 1816-1884) THE WATERS OF LEITH ABOVE COLT BRIDGE Inscribed on a label verso, oil on canvas 61cm x 91cm (24in x 36in)

£1,000-1,500

LY O N & T U R N B U L L Fine Paintings

26 FA845/2 JOHN HENRY LORIMER R.S.A., R.S.W., R.W.S., R.P (SCOTTISH 1856-1936) PATRICK, SON OF SIR DAVID CHALMERS, AND HIS DOG Signed and dated 1886, oil on canvas 127cm x 102cm (50in x 40in) Exhibited: Royal Academy 1886, no.955 Royal Scottish Academy 1886, no.70

£15,000-20,000

LY O N & T U R N B U L L Fine Paintings

27 FA843/4 ROBERT MCGOWN COVENTRY A.R.S.A., R.S.W. (SCOTTISH 1855-1941) RIVER LANDSCAPE WITH BARGE Signed, oil on board 20cm x 25.5cm (8in x 10in)

£800-1,200

28 FA972/1 DAVID GAULD R.S.A. (SCOTTISH 1865-1936) A WOODED RIVER LANDSCAPE, FRANCE Signed, oil on canvas 60cm x 73cm (23.5in x 28.75in)

£2,000-3,000

LY O N & T U R N B U L L Fine Paintings

29 FA973/1 DAVID GAULD R.S.A. (SCOTTISH 1865-1936) CALVES BY A BYRE Signed, oil on canvas 51cm x 76cm (20in x 30in)

£4,000-6,000

LY O N & T U R N B U L L Fine Paintings

30 FA452/2 DAVID FARQUHARSON A.R.A., A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1840-1907) LOCH KATRINE Signed and dated ‘90-1, signed with initials and inscribed verso, oil on canvas 56cm x 91cm (22in x 36in)

£3,000-5,000

31 FA994/20 WILLIAM BEATTIE-BROWN R.S.A. (SCOTTISH 1831-1909) CATTLE IN A WOODED RIVER LANDSCAPE Signed, oil on canvas 41cm x 56cm (16in x 22in)

£800-1,200

LY O N & T U R N B U L L Fine Paintings

32 LB407/1 PATRICK WILLIAM ADAM R.S.A. (SCOTTISH 1854-1929) THE SMITHY Signed and dated 1919, oil on canvas 88cm x 140cm (34.5in x 55in)

£7,000-10,000

LY O N & T U R N B U L L Fine Paintings

33 FA508/6 GEORGE SMITH R.S.A. (SCOTTISH 1870-1934) HOMEWARD BOUND Signed, oil on board 51cm x 41cm (20in x 16in)

£1,500-2,000

34 FA842/3 PATRICK WILLIAM ADAM R.S.A. (SCOTTISH 1854-1929) BY THE WELL Signed, oil on board 46cm x 36cm (18in x 14in)

£1,000-1,500

LY O N & T U R N B U L L Fine Paintings

35 FA220/3 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) CLYDE PADDLE STEAMER Signed, oil on canvas 63cm x 91cm (25in x 36in) Exhibited: City of Bradford Art Gallery, 1940, no. 315

£4,000-6,000

LY O N & T U R N B U L L Fine Paintings

36 FA215/2 WILLIAM DARLING MCKAY R.S.A. (SCOTTISH 1844-1924) BESIDE THE POOL Signed with initials, oil on canvas 22.5cm x 33cm (9in x 13in)

£500-700

37 FA452/1 GEORGE WHITTON JOHNSTONE R.S.A., R.S.W. (SCOTTISH 1849-1901) A WOODED RIVER LANDSCAPE WITH DISTANT STONE BRIDGE Signed and dated ‘86, oil on canvas 81cm x 127cm (31.75in x 50in)

£2,000-3,000

LY O N & T U R N B U L L Fine Paintings

38 FA187/1 HORATIO MCCULLOCH R.S.A. (SCOTTISH 1805-1867) MID DAY BREAK Oil on canvas 87cm x 110cm (34.25in x 43.25in)

£6,000-8,000

LY O N & T U R N B U L L Fine Paintings

39 FA994/5 JAMES GILES R.S.A. (SCOTTISH 1801-1870) DEER ON A HILLSIDE Signed, oil on board 33cm x 51cm (13in x 20in)

£2,000-3,000

40 FA845/5 DAVID FARQUHARSON A.R.A., A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1840-1907) MEADOW SCENE Inscribed verso, oil on canvas 56cm x 91cm (22in x 36in)

£2,500-4,000

LY O N & T U R N B U L L Fine Paintings

41 FA994/18 PETER GRAHAM R.A., R.S.A. (SCOTTISH 1836-1921) EVENING Signed and dated 1891, oil on canvas 164cm x 123cm (64.5in x 48.5in)

£4,000-6,000

LY O N & T U R N B U L L Fine Paintings

42 FA161/3 ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905) WASHERWOMEN BY THE STREAM Signed with initials, watercolour 29cm x 21.5cm (11.5in x 8.5in)

£600-800

43 EAC193/1 JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) LOCH KATRINE Signed, watercolour 51cm x 38.5cm (20in x 15.2in)

£1,500-2,000

LY O N & T U R N B U L L Fine Paintings

44 EW282/19 JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) DEPARTING SNOWS Signed, oil on canvas 51cm x 61cm (20in x 24in)

£3,000-5,000

LY O N & T U R N B U L L Fine Paintings

45 FA869/5 THOMAS FAED R.A., R.S.A. (SCOTTISH 1826-1900) NAE ANITHER DROP Oil on board, arched top 32cm x 25.5cm (12in x 10in) Exhibited: Fine Art Society, Edinburgh, Art in Scotland 1806-1920, 1980.

£3,000-5,000

46 FA187/2 ERSKINE NICOL R.S.A., A.R.A. (SCOTTISH 1825-1904) A VISIT TO CHEESE AND BREAD Signed and dated 1851, oil on panel 39cm x 27cm (15.5in x 10.5in) Exhibited: Royal Scottish Academy 1851, no. 242

£2,000-3,000

LY O N & T U R N B U L L Fine Paintings

47 FA994/19 OTTO LEYDE R.S.A., R.S.W. (SCOTTISH 1835-1897) THE FISHING PARTY Signed and dated 1875, oil on canvas 127cm x 150cm (50in x 59in)

£3,000-5,000

LY O N & T U R N B U L L Fine Paintings

48 FA994/16 ROBERT MCGOWN COVENTRY A.R.S.A., R.S.W. (SCOTTISH 1855-1941) GATHERING WRACK Signed, oil on canvas 31cm x 51cm (12in x 20in)

£1,000-1,500

49 FA994/7 SAM BOUGH R.S.A. (SCOTTISH 1822-1878) ON THE AVON NEAR BRISTOL Signed and inscribed, watercolour 37cm x 52cm (15in x 20in)

£1,000-1,500

LY O N & T U R N B U L L Fine Paintings

50 FA573/3 SIR DAVID MURRAY R.A., R.S.A., R.I., R.S.W. (SCOTTISH 1849-1933) THE HOLLOW TREE Signed and dated ‘97, oil on canvas 61cm x 91cm (24in x 36in)

£2,000-3,000

Born on Aros, Kintyre, to a family of very modest means, his father an agricultural labourer who frequently moved his family for work, William McTaggart showed early signs of interest in the arts and a talent for drawing and painting. The twelveyear-old McTaggart was apprenticed with the apothecary Dr John Buchan in Campbeltown, who appears to have had an active role in encouraging and nurturing the talent of the boy, introducing him to the painter Daniel MacNee. McTaggart was fortunate enough to be able to enrol into the Trustees’ Academy in Edinburgh in 1852 and attend courses for free, earning his lodgings and living by painting portraits. His arrival at the Academy coincided with the arrival of Robert Scott Lauder, who was an inspirational teacher and was responsible for creating a particularly strong crop of young Scottish artists in his time there. McTaggart began to exhibit in 1856 and was made an associate of the Royal Scottish Academy in 1859, aged only twenty-four. His roots in portraiture are evident in the work from the late 1850s and 1860s. Indeed, lot 51, painted in 1864 and exhibited at the Royal Glasgow Institute in 1866, is inscribed ‘Emma Shiels’ on the reverse, hinting at a particular model/sitter for the young girl in the composition. McTaggart’s work at the beginning of his professional career is strongly aligned to that of the Pre-Raphaelites. Indeed, he visited Manchester in 1857, where he saw work by William Collins, Holman Hunt and Millais. Those 38

artists’ profound interest in colour and focus on pastoral or poetic subject matter, figures in the landscape, and children, as in the case of Millais, seem to have produced a strong response in McTaggart, with lots 51 and 53 being particularly strong examples of this development. He remained rooted in his Scottish heritage, however, and his landscapes, increasingly important in his compositions, continued to be recognisably Scottish, both in topography and in his treatment of them, looking back to the great Scottish landscape painting tradition of Alexander Nasmyth and almost-contemporary Alexander Fraser. An interesting comparison might be drawn between lot 51 and the much larger composition, Spring, painted for his important patron G B Simpson, and now in the collection of the National Galleries of Scotland . The treatment of the figures, in the level of detail and their setting within a welcoming landscape that mirrors the youth and charming attributes of the girls, is very similar indeed. McTaggart’s reputation grew considerably in the 1860s and he was elected a full member of the R.S.A. in 1870. Several of McTaggart’s contemporaries at the Trustees’ Academy had departed to London and frequently exhibited at the Royal Academy . McTaggart refused to exhibit ‘outside his country’ in the 60s but did send pictures to the Royal Academy in the early 1870s. Lot 53 was one such work, shown in London in 1872 and at the R.S.A. in 1875. It

features a composition related to the earlier important work Spring, two young children resting in a landscape, one lying down, the other more upright, but the palette and treatment of his subject matter has began to change irrevocably. The range of colours used is now far narrower, whereas the application of paint is much looser, almost cursory in the typically Highland landscape that serves as our setting. As his style developed his critics reproached McTaggart for his broader handling of paint, advising him to burn his large brushes and revert back to finer ones. He remained steadfast on his course however, declaring ‘They will change; I cannot’ (p.7, Exhibition Catalogue for Paintings by William McTaggart, June-July 1937, City of Manchester Art Gallery). A review of his portrait of Mrs Orchar, his friend’s wife, intoned ‘some fine qualities but it is slovenly in execution, wanting in texture and definition.’ (The Arts Journal, 1887, p.125) Lot 52 fully demonstrates the radical change in direction the artist’s work took in the 80s and 90s. The palette is even narrower and the composition supremely simplified, creating a harmonious and extremely simple landscape with the two figures an intrinsic and natural part of it. Lindsay Errington has shown how McTaggart was greatly influenced by the work of Whistler and as a result how he ceased to use his paint in a descriptive manner but rather applied oils in an evocative way, producing a harmonious and almost abstract work in the process.

The artist began to frequently visit both the East and West coasts of Scotland , in particular Crail and Carnoustie, and Campbeltown and Machrihanish in the West. The present lot is most likely to have been painted at Machrihanish, which is described in a book from 1876 which McTaggart owned as: ‘The long crescent of Machrihanish, girdled by sands, wind-tossed into fantastic hillocks, receives the full weight of the Atlantic…Even in calm there is a weird suggestiveness in the ceaseless moaning of that surf, like the breathing of a wild beast.’ By the 1980s McTaggart frequently worked outdoors, painting the landscape in situ, preferring to add any human figures in the studio afterwards. The figures in these later landscapes are an intrinsic part of nature, and become even more entrenched into the sea and sand in the later, and even more loosely painted series of the Emigrants and The Coming of St Columba. McTaggart’s painterly technique, great interest in light and evocative rather than descriptive depiction of his subject matter in his mature works have rightly earned him the title of a Scottish Impressionist. We might argue that he was to 19th century Scottish art and to the Glasgow Boys, what Edouard Manet was to the Impressionists: a forefather and important precedent for the development of Modernity in painting in his country.

LY O N & T U R N B U L L Fine Paintings

51 FA817/2 WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) LIBERTY Signed with a monogram and dated 1864, inscribed and dated verso ‘Emma Shiells 1864’ oil on panel 30.5cm x 25.5cm (12in x 10in) Provenance: Rev. J Lorimer Munro Exhibited: R.G.I. 1866 Literature: James Caw, William McTaggart 1917, p.227 with different title

£10,000-12,000

52 FA871/4 WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) THE SHORES OF THE ATLANTIC Signed and dated 1880-1901, oil on canvas 71cm x 98cm (28in x 38.5in) Provenance: John Mathewson, Dundee Fine Art Society Ltd, London 1973 no.5391 Literature: James Caw, William McTaggart 1917, p.245 Exhibited: Royal Glasgow Institute 1889 New Zealand 1890 Dundee Exhibitions 1912 (as Their Native Element)

53 FA871/3 WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) AMONG THE HEATHER Signed and dated 1872, oil on canvas 49cm x 59.5cm (19.25in x 23.5in) Provenance: Graham Paton, Alloa Literature: James L Caw, William McTaggart 1917, p.233 Exhibited: Royal Academy 1872 Royal Scottish Academy 1875 possibly as Fern Gatherers, see Caw p. 236.

£25,000-35,000

£30,000-50,000

LY O N & T U R N B U L L Fine Paintings

54 FA846/1 WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) SAFE ARRIVAL Oil on canvas 87cm x 164cm (34.25in x 64.5in)

£1,000-1,500

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55 FA844/8 PETER GRAHAM R.A., H.R.S.A. (SCOTTISH 1836-1921) HIGHLAND CATTLE IN A MOUNTAIN GLEN Signed and dated 1900, oil on canvas 91cm x 78cm (36in x 28in)

£3,000-5,000

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56 FA869/2 HUGH CAMERON R.S.A., R.S.W., R.O.I. (SCOTTISH 1835-1918) THE GO-CART Signed, watercolour 19cm x 41cm (7.5in x 16in)

£400-600

57 FA753/5 ROBERT BURNS A.R.S.A. (1869-1941) WINTER LIGHT ON THE LAMMERMUIRS Signed, oil on canvas 50cm x 75cm (20in x 30in)

£600-800

LY O N & T U R N B U L L Fine Paintings

58 FA846/3 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) THE TOY WHISTLE Signed, oil on panel 18cm x 25.5cm (7in x 10in)

£10,000-15,000

LY O N & T U R N B U L L Fine Paintings

59 FA994/11 JAMES PATERSON R.S.A., R.S.W., R.W.S. (SCOTTISH 1854-1932) THE MILL Signed, inscribed and indistinctly dated ‘Moniaive 189-’, oil on panel 101.5cm x 128cm (40in x 50.5in) Exhibited: A painting entitled The Mill was exhibited in 1892, no.453

£7,000-10,000

LY O N & T U R N B U L L Fine Paintings

60 FA442/1 WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) & JOHN MACWHIRTER R.A., R.S.A. (SCOTTISH 1839-1911) MUSHROOM GATHERERS Signed by both artists and dated ‘78, oil on canvas 66cm x 46cm (26in x 18in)

£3,000-5,000

LY O N & T U R N B U L L Fine Paintings

61 FA573/5 SIR DAVID MURRAY R.A., R.S.A., R.I., R.S.W. (SCOTTISH 1849-1933) HOME FROM THE FIELDS Signed and dated ‘05, oil on canvas 46cm x 61cm (18in x 24in)

£2,000-3,000

LY O N & T U R N B U L L Fine Paintings

62 FA844/3 GEORGE HOUSTON R.S.A., R.S.W., R.G.I. (SCOTTISH 1869-1947) ON THE PROMENADE, RHU Signed, oil on canvas 46cm x 61cm (18in x 24in)

£4,000-6,000

LY O N & T U R N B U L L Fine Paintings

63 FA844/5 SAM BOUGH R.S.A. (SCOTTISH 1828-1878) EDINBURGH CASTLE, EVENING Signed, watercolour 32cm x 49cm (12.5in x 19.25in)

£3,000-5,000

LY O N & T U R N B U L L Fine Paintings

64 FA831/1 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) RIVER LANDSCAPE, PERTHSHIRE Signed with initials, oil on canvas 41cm x 61cm (16in x 24in)

£4,000-6,000

LY O N & T U R N B U L L Fine Paintings

65 FA225/1 GEORGE HOUSTON R.S.A., R.S.W. (SCOTTISH 1869-1947) STILL LIFE WITH MARGUERITES AND MARIGOLDS Signed, oil on canvas 61cm x 46cm (24in x 18in)

£1,000-1,500

66 FA845/8 SIR GEORGE REID P.R.S.A., R.S.W., L.L.D. (SCOTTISH 1841-1913) A STILL LIFE OF GLADIOLI Signed with a monogram, oil on canvas 122cm x 61cm (48in x 24in)

£1,000-1,500

LY O N & T U R N B U L L Fine Paintings

67 FA642/1 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) AUTUMNAL LANDSCAPE Signed and inscribed label verso, oil on board 61cm x 74cm (24in x 29.5in) Provenance: James McClure & Son, Glasgow Exhibited: Royal Glasgow Institute Walker Art Gallery, Liverpool, Sixtieth Autumn Exhibition, 1934, cat. no. 12

ÂŁ3,000-5,000

LY O N & T U R N B U L L Fine Paintings

68 FA994/2 JAMES KAY R.S.A., R.S.W. (SCOTTTISH 1858-1942) TRONGATE Signed, oil on board 15cm x 20.5cm (6in x 8in)

£1,500-2,000

69 FA592/2 WILLIAM SOMMERVILLE SHANKS R.S.A., R.S.W. (SCOTTISH 1864-1951) A STILL LIFE OF APPLES Signed, oil on panel 18cm x 25.5cm (7in x 10in)

£800-1,200

LY O N & T U R N B U L L Fine Paintings

70 FA573/8 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) THE MADELEINE AND RUE ROYAL, PARIS Signed, oil on canvas 56cm x 79cm (22in x 31in)

£10,000-15,000

LY O N & T U R N B U L L Fine Paintings

71 FA589/1 WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) HOUSES IN STOCKBRIDGE Signed and dated 1951, ink on paper 32cm x 38cm (12.6in x 15in)

£500-700

72 FA843/5 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) ON THE CLYDE Signed, mixed media 51cm x 76cm (20in x 30in)

£2,000-3,000

LY O N & T U R N B U L L Fine Paintings

73 FA222/1 JAMES KAY R.S.A, R.S.W. (SCOTTISH 1858-1942) SUNSET, PRINCES DOCK, GLASGOW Signed, oil on board 31cm x 46cm (12in x 18in)

£4,000-6,000

LY O N & T U R N B U L L Fine Paintings

74 FA994/15 MARY ARMOUR R.S.A., R.S.W. (SCOTTISH 1902-2000) SNOW IN THE GARDEN Signed and dated ‘68, oil on canvas 63cm x 76cm (25in x 30in) Exhibited: Royal Scottish Academy 1969, no. 254

£3,000-5,000

LY O N & T U R N B U L L Fine Paintings

75 FA846/4 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) AMONGST THE DUNES Signed, oil on board 20cm x 28cm (8in x 11in)

£10,000-15,000

LY O N & T U R N B U L L Fine Paintings

76 EW282/18 JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) ON THE ANGUS COAST Signed, oil on canvas 61cm x 51cm (24in x 20in)

£3,000-5,000

LY O N & T U R N B U L L Fine Paintings

77 FA842/4 JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) STRAND ON THE GREEN Signed, watercolour 25cm x 38cm (9.75in x 15in)

and a companion, a pair (2) £1,000-1,500

LY O N & T U R N B U L L Fine Paintings

78 FA753/3 DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926-1998) HOUSES ON THE SEA FRONT Signed, oil on board 34cm x 48cm (13.4in x 18.9in) Provenance: Ex collection of William Wilson, exhibited Aitken Dott & Son, ‘Recent Aquisitions’, April - May 1977, cat. no. 75

£800-1,200

79 FA573/4 WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) ST. TROPEZ Signed and dated 1951, pen and ink and watercolour 48cm x 58cm (18in x 22.75in)

£1,500-2,000

LY O N & T U R N B U L L Fine Paintings

80 FA452/6 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) THE ETERNAL HILLS OF ROSS Signed, oil on canvas 31cm x 36cm (10in x 14in)

£2,500-4,000

LY O N & T U R N B U L L Fine Paintings

81 FA846/9 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) IONA BEACH SCENE Signed, watercolour 14cm x 18cm (5.5in x 7in) Exhibited: Durand Knox Galleries 1921, no.12

£2,000-3,000

82 FA711/1 JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) DUCKS ON THE RIVER Signed, watercolour 37cm x 55.5cm (14.6in x 21.9in)

£700-900

LY O N & T U R N B U L L Fine Paintings

83 FA791/1 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) CHILD STUDY Signed, pastel 22cm x 20cm (8.75in x 8in) Provenance: A gift to the current owner from Joan Eardley’s mother on the occasion of her 50th wedding anniversary

£10,000-15,000

LY O N & T U R N B U L L Fine Paintings

84 FA791/2 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) RED ROOFS, TREES AND COWS Signed, mixed media 39cm x 48cm (15.5in x 19in) Provenance: Mrs Irene Eardley Exhibited: The Scottish Arts Council, Joan Eardley, 1964, no. 17

ÂŁ8,000-12,000

LY O N & T U R N B U L L Fine Paintings

85 FA791/3 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) A GLASGOW TENEMENT Pastel 20cm x 25cm (8in x 9.75in) Provenance: A gift to the current owner’s husband from Joan Eardley’s mother on the occasion of his 50th wedding anniversary

£6,000-8,000

LY O N & T U R N B U L L Fine Paintings

86 FA791/5 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) A DESERTED LANE Signed, pastel 42cm x 56cm (16.5in x 22cm) Provenance: A gift from Joan Eardley’s mother to the current vendor

£4,000-6,000

LY O N & T U R N B U L L Fine Paintings

87 FA791/4 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) TREE STUDY Mixed media 59cm x 46.5cm (23.25in x 18.25in) Provenance: Mrs Irene Eardley Exhibited: The Scottish Arts Council, Joan Eardley, 1964, no. 19

ÂŁ5,000-7,000

LY O N & T U R N B U L L Fine Paintings

88 FA662/1 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) HARVEST CATTERLINE Watercolour, with the estate number ED1210 10.5cm x 23cm (4.25in x 9in) Exhibited: Ewan Mundy Fine Art, Glasgow, Eardley Exhibiton, 1996

£2,000-3,000

89 FA993/3 JAMES COWIE R.S.A., L.L.D. (SCOTTISH 1886-1956) GIRL WITH BERET Authenticated by the artist’s daughter Barbara on a label verso, pencil 28cm x 22.5cm (11in x 9in) Exhibited: Cyril Gerber Fine Art, Glasgow, 1988, no. 68

£500-800

LY O N & T U R N B U L L Fine Paintings

90 FA993/1 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) BOY WITH CLASPED HANDS Signed, pastel 18cm x 10cm (7in x 4in)

£3,000-5,000

LY O N & T U R N B U L L Fine Paintings

91 FA817/3 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) INTERIOR -SANTA MARIA DELLA SALUTE, VENICE Signed and dated ‘11, oil on canvas 117cm x 90cm (46in x 35.5in) Provenance: Sir Patrick Ford Jonathon Clark Ltd, London, Private Collection Exhibited: Royal Scottish Academy, Festival Exhibition, Peploe, Cadell, Hunter, 1949 Literature: Tom Hewlett, Cadell: A Scottish Colourist, 1988, p.29, pl.17

£80,000-120,000

In 1629, a terrible epidemic cast its pall over the city of Venice. Lasting for over sixteen months, the Black Death would devastate the population of La Serenissima, carrying away 46,490 of its citizens, including the Republic’s Doge. In such dark times, the Venetian Senate turned to heaven for aid, hoping that patronage would succeed where prayer had failed, and voted to erect a basilica to Santa Maria della Salute, the Madonna of Health. Rising like a crown from the turquoise waters of the Grand Canal, a statue of its patron saint serenely surveying the city from her vantage point atop the dome’s apex, the pristine white basilica has always been an emblem of hope to Venetians,

a talisman against the shadows of death. Each year on November 21st the faithful proceed from the Piazza San Marco to the Salute by means of a temporarily-erected bridge of boats that span the Grand Canal, linking the two spiritual centres of the city. Crowds press through narrow Venetian calli, pilgrims hoping to be cured of ailments alongside tourists eagerly experiencing the heightened atmosphere of a major religious and civic spectacle. The contrast between the frenzy of the Festa della Salute and the quiet scene of devotion in the midst of architectural splendour masterfully captured by Cadell in this painting could not be more striking. Since its construction under the Baroque architect Baldessare Longhena in 1631, the Salute has served as a site of religious and artistic pilgrimage in equal measures, inspiring artists from Canaletto to Turner and Cadell’s near contemporary, John Singer Sargent. While Sargent depicted the exterior of the church (often perching in a gondola to do so), Cadell has chosen to capture the effect of light and shade in the interior, accepting the challenge of depicting its

remarkable octagonal centralised plan, unique in Venetian architecture of its time. Longhena rooted his bold architectural vision in Venetian tradition through his use of Istrian stone (recalling the works of Palladio and Mauro Codussi) and whitewashed stucco to create bright, even lighting in its interior. In his depiction of the nave of the church seen from one of its many side-chapels, the young Cadell has clearly absorbed the lessons of the Impressionists, using a thick and fluid impasto brushwork in which orange merges with red, blue and lilac. In this painting, white stone is never simply white, but rather reflects the gold surface of altars, rich hues of carved wood, and the red velvet curtains which veil the shimmering light of the lagoon pouring through the basilica’s windows. Cadell draws all the more attention to the potency of light in the basilica’s interior through his depiction of the shade cast by its dramatic piers. The shadows of the painting’s foreground, shrouding the features of the lady lost in prayer, blend harmoniously into the middleground, while the patterns in the marble floor emerge from darkness at its lower edge

before losing themselves again in the dazzling light at the basilica’s centre. The presence of the seated figure adds an element of intimacy to a painting which, painted on an unusually large scale for the artist at this time, otherwise alludes to the magnificent scale of the Salute itself, its monumental quality reinforced by the strong vertical rhythm of its Composite columns, and the diminutive figure in fashionable dress strolling under its soaring arches. Cadell’s trip to Venice- which proved to be an important catalyst in his development as a Colourist, would have been beyond the means of the artist (who had a dandy’s taste but unfortunately not the private income to match) were it not for the financial assistance of his patron, Patrick Ford. Ford funded his visit to the city in 1910, in return choosing six of the best paintings to emerge from the trip, including this work alongside two other depictions of Santa Maria della Salute, whose beauty and significance in the history and landscape of the city clearly impressed the collector.

LY O N & T U R N B U L L Fine Paintings

92 FA831/2 JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) VILLAGE SCENE Signed, watercolour 38cm x 28cm (15in x 11in)

£1,000-1,500

93 FA667/1 MARY ARMOUR R.S.A., R.S.W., R.G.I., L.L.D. (SCOTTISH 1902-2000) HELLEBORES Signed and dated 1983, and inscribed artist label verso, oil on canvas 30cm x 25cm (11.8in x 9.8in)

£1,000-1,500

LY O N & T U R N B U L L Fine Paintings

94 FA993/6 SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., R.S.W., R.A. (SCOTTISH 1898-1973) STILL LIFE ON A LIGHT GROUND Signed, oil on canvas 68.5cm x 68.5cm (27in x 27in) Exhibited: Scottish Arts Council, William Gillies Retrospective, 1970

£3,000-5,000

95 FA994/4 SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., R.S.W., R.A. (SCOTTISH 1898-1973) BERWICKSHIRE LANDCSAPE Signed and dated 1956, pencil and watercolour 25.5cm x 46cm (10in x 18in)

£2,500-3,500

LY O N & T U R N B U L L Fine Paintings

96 FA573/1 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) IONA Signed, oil on panel 38cm x 46cm (15in x 18in)

£40,000-60,000

For centuries a site of religious pilgrimage, the Scottish island of Iona would, in the early twentieth century, become equally important as a site of artistic pilgrimage for Colourist Samuel Peploe, becoming, for an artist so deeply influenced by Cézanne, his own ‘Mont SainteVictoire’.1 While fellow Colourist Francis Campbell Boileau Cadell first visited Iona in 1912, Peploe’s eagerly anticipated first visit would not occur until 1920. Writing to Cadell while invalided in France during the First World War, Peploe would declare that ‘when the war is over I shall go to the Hebrides and recover some vision I have lost. There is something marvellous about the western seas.’2 Indeed, the jewelcoloured waters and white sands of the island would prove an artistic and spiritual sanctuary for the artist, and he would, it seems, recover that vision dimmed by the horrors of war, finding

endless inspiration in the pink-hued rocks around the island’s northern tip, and the shifting effect of light and tides on the sea that separates the tiny island from that of Mull. In the present work, painted later in the artist’s life, we observe the continuing influence his southern counterpart, Cézanne, had on Peploe, who delights in the angular forms of the foreground crags rising triumphantly from the white sands, leading the eye to the mellow turquoise and blue of the sea beyond. While still rich, Peploe’s palette would become mellower and more contemplative in later years, and in these works, in the words of his biographer, Stanley Cursiter, there is no suggestion that:

flowing depth which one feels in great orchestral music.3 Peploe’s Iona scenes proved immensely popular among collectors in his lifetime, and the island has become indelibly linked to his name. He would continue to visit the island each summer until the year of his death, working tirelessly on a much-loved subject.

1Peploe, Guy. S J Peploe 1871-1935. Scottish National Gallery of Modern Art, Edinburgh, 1985, pg. 14. 2Quoted in The Scottish Colourists 1900-1930, Scottish National Gallery of Modern Art, Edinburgh, 200, pg. 29. 3Peploe: An intimate memoir of an artist and his work. Thomas Nelson and sons Ltd, London, 1947, pg. 76.

colour was being searched for and accentuated for its own sake, but rather that the whole picture surface was a web of some rich material in which notes of colour emerge and forms take shape. This continuity of colour content seems to give to his work in these years the broad,

LY O N & T U R N B U L L Fine Paintings

97 FA817/5 MARGARET HISLOP R.S.A., R.B.A. (SCOTTISH 1894-1972) STILL LIFE WITH TULIPS Signed, oil on board 61cm x 76cm (24in x 30in)

£2,000-3,000

98 FA817/4 MARGARET HISLOP R.S.A., R.B.A. (SCOTTISH 1894-1972) AFRICAN FLOWERS IN A VASE Signed, oil on board 46cm x 56cm (18in x 22in)

£1,500-2,000

LY O N & T U R N B U L L Fine Paintings

99 FA820/1 JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) A STILL LIFE OF CHRYSANTHEMUMS Oil on canvas 76cm x 61cm (30in x 24in) Exhibited: Portland Gallery, London, John Maclauchlan Milne 2010, no.84

£7,000-9,000

LY O N & T U R N B U L L Fine Paintings

100 FA444/2 SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I., L.L.D., D.LITT. (SCOTTISH 1916-1992) FRUIT - ST.MAXIMIN 1977 Inscribed on a label verso, pastel 33.5cm x 33.5cm (13.25in x 13.25in) Exhibited: Aitken Dott & Son, Christmas Exhibition 1977, no.79

£2,000-3,000

101 FA444/3 SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I., L.L.D., D.LITT. (SCOTTISH 1916-1992) FLOWERS AND SEA 11 Signed and inscribed on backboard verso 1967, watercolour 22cm x 28.5cm (8.25in x 11.25in) Exhibited: Aitken Dott & Son, 1968, ‘The modern spirit in Scottish painting’, 1978

£1,000-2,000

LY O N & T U R N B U L L Fine Paintings

102 FA444/1 SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I., L.L.D., D.LITT. (SCOTTISH 1916-1992) STANDING FIGURE Inscribed on a label verso, oil on board 40.5cm x 26.5cm (16in x 10.5in) Exhibited: Aitken Dott & Son, Festival Exhibition 1976, no.58

£3,000-5,000

103 FA752/1 SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I., L.L.D., D.LITT. (SCOTTISH 1916-1992) MARTYRDOM, II Signed verso, and inscribed artist label verso, mixed media on canvas 39cm x 29cm (15.4in x 11.4in) Exhibited: Aitken Dott & Son, Christmas Exhibition 1967, cat. no. 101

£2,000-3,000

LY O N & T U R N B U L L Fine Paintings

104 FA976/1 SIR ROBIN PHILIPSON R.A., R.S.A., P.R.S.W., R.G.I., L.L.D., D.LITT. (SCOTTISH 1916-1992) MONKEYS BEFORE A TEMPLE FRIEZE Oil and mixed media on canvas 152.5cm x 152.5cm (60in x 60in)

£15,000-20,000

Monkeys Before A Temple Frieze is exemplary of several key artistic themes discernible in the work of the innovative and influential Scottish artist Sir Robin Philipson. After training at Edinburgh College of Art, during World War II Philipson served with the King’s Own Scottish Borderers in India and Burma. While unable to paint as much as he would wish under war time conditions, in later life he was inspired to return to the exotic motifs such as Brahma cattle and Burmese horses first encountered during active service. Here we observe the expressive interaction of two monkeys framed against an exotic temple frieze, reminiscent of the predelle of Catholic altarpieces explored by the artist in his 1960’s series of Mexican church interiors. Indeed, in its composition (dominated by strong horizontals), the

painting continues a theme first explored in his First World War series and such works as Stone the Crows. Inspiration for the horizontal, strip format first arose when Philipson wandered in to a performance of Joseph Losey’s King and Country in a local cinema. A scene in which soldiers drag a young man through the snow to his execution triggered a strong emotional response in the artist, who chose to replicate the format of the film reels in his painting. Nevertheless, the anguished atmosphere of the earlier series is entirely absent from this later work, in which harmonious tones and Philipson’s exquisite handling of paint combine with a slight element of humour in the very human figures of the monkeys, one strutting jauntily to the right of the picture plane as his companion observes with a disgruntled expression.

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105 FA971/2 JOHN HOUSTON R.S.A., R.S.W., S.S.A. (SCOTTISH 1930-2008) SUMMER GARDEN Signed, oil on board 12.5in x 30.5cm (5in x 12in) Exhibited: Scottish Gallery, Edinburgh Christmas Exhibition 1976, no.177

£700-900

106 FA971/3 JOHN HOUSTON R.S.A., R.S.W., S.S.A. (SCOTTISH 1930-2008) GARDEN ABOVE A POOL Signed, watercolour 13cm x 18cm (5,25in x 7in)

£600-800

LY O N & T U R N B U L L Fine Paintings

107 FA971/1 JOHN HOUSTON R.S.A., R.S.W., S.S.A. (SCOTTISH 1930-2008) HARVEST LANDSCAPE Signed, oil on cnvas 112cm x 102cm (44in x 40in)

£4,000-6,000

LY O N & T U R N B U L L Fine Paintings

108 FA876/2 EARL HAIG O.B.E., A.R.S.A. (SCOTTISH 1918-2009) ST. MARKS, VENICE Signed, oil on canvas 51cm x 61cm (20in x 24in)

£2,000-3,000

Part Two Lots 109-222

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109 FA450/2 PHILIP JAMES DE LOUTHERBOURG (FRENCH 1740-1812) THE QUARRY MEN Oil on canvas 46cm x 61cm (18in x 24in)

£3,000-5,000

LY O N & T U R N B U L L Fine Paintings

110 EAC74/7 PHILIP JAMES DE LOUTHERBOURG (FRENCH 1740-1812) THE CARTERS, PATTERDALE Signed, oil on canvas 41cm x 58.5cm (16in x 23in) Provenance: David Messum Fine Paintings, Beaconsfield

£1,500-2,000

LY O N & T U R N B U L L Fine Paintings

111 FA32/1 ATTRIBUTED TO JEAN MICHEL MOREAU LE JEUNE (FRENCH 1741-1814) THE MARRIAGE OF MARIEANTOINETTE TO THE FUTURE LOUIS XVI, VERSAILLES 1770 Watercolour and ink on paper laid down on card, unframed 16.7cm x 30cm (6.6in x 11.8in)

Note: This drawing would appear to be a preparatory sketch for a larger drawing (now held at the Chateau of Versailles) by Jean Michel Moreau le Jeune entitled ‘Illumination du parc de Versailles et du Grand Canal’’ with the description ‘A l’occasion du mariage du Dauphin futur Louis XVI avec l’archiduchesse Marie-Antoinette, le 19 mai 1770’, illustrated in the article ‘Les Fêtes royales au XVIIIe siècle’ by Jérôme de La Gorce in “Versailles”, edited by Pierre Arizzoli-Clémentel, Paris, Mazenod, 2009, v. 2, p. 539. The attribution to the hand of Jean Michel Moreau le Jeune has been confirmed by Jérôme de La Gorce of L’Université Paris Sorbonne-Paris IV.

£1,000-1,500

LY O N & T U R N B U L L Fine Paintings

112 FA800/1 WILLIAM HENRY HUNT O.W.S. (1790-1864) THE VALENTINE Signed twice, watercolour 38cm x 28cm (15in x 11in) Provenance: Presented to Thomas Wilkinson J.P. by members of the Darwen Manufacturers Association. May 22nd 1922.

ÂŁ2,000-3,000

LY O N & T U R N B U L L Fine Paintings

113 FA842/2 GEORGE NAPIER (SCOTTISH 1823-1869) RUNNING DOWN THE FIRTH OF CLYDE Signed and dated 1867, inscribed on a label verso, oil on canvas 36cm x 56cm (14in x 22in)

£3,000-5,000

LY O N & T U R N B U L L Fine Paintings

114 FA846/6 ATTRIBUTED TO SIR HENRY RAEBURN R.A. (SCOTTISH 1756-1823) HALF LENGTH PORTRAIT OF A GENTLEMAN Oil on canvas 76cm x 63cm (30cm x 25in) Note: This painting bears a plaque identifying the sitter as Sir James Sinclair. Records list a James Sinclair, 12th Earl of Caithness, born in 1766. Provenance: Charles Pratt, New York and thence by descent.

ÂŁ2,000-3,000

LY O N & T U R N B U L L Fine Paintings

115 FA870/4 EDWARD CHARLES BARNES (BRITISH 1830-1882) THE TRAVELLING CIRCUS Signed with a monogram, oil on canvas 36cm x 46cm (14in x 18in)

£3,000-5,000

LY O N & T U R N B U L L Fine Paintings

116 FA731/1 FREDERICK SAMUEL BEAUMONT (BRITISH b. 1861) REVERIE Signed and dated Jan 1891, oil on canvas 121cm x 65cm (47.5in x 25.5in)

£1,500-2,500

LY O N & T U R N B U L L Fine Paintings

117 FA870/1 ALEXANDER NASMYTH (SCOTTISH 1758-1840) BRECHIN CASTLE FROM THE RIVER Oil on canvas 88cm x 138cm (34.5in x 54.25in)

£6,000-8,000

LY O N & T U R N B U L L Fine Paintings

118 FA817/6 WILLIAM DAVIS (IRISH 1812-1873) SCOTCH TERRIERS Signed, oil on canvas, arched top 30.5cm x 36cm (12in x 14.25in) Provenance: Sir Donald Currie KCMG

ÂŁ5,000-7,000

LY O N & T U R N B U L L Fine Paintings

119 FA215/3 JAMES PEEL R.B.A. (BRITISH 1811-1906) HOMEWARD BOUND Signed and dated 1877, oil on canvas 61cm x 102cm (24in x 40in)

£1,000-1,500

120 FA844/1 GEORGE BLACKIE STICKS (BRITISH 1843-1938) GYPSY ENCAMPMENT Signed and dated 1874, oil on canvas 61cm x 91cm (24in x 36in)

£1,500-2,000

LY O N & T U R N B U L L Fine Paintings

121 FA871/8 ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928) NEAR INVERSNAID, LOCH LOMOND Signed, signed and inscribed verso, oil on canvas 51cm x 76cm (20in x 30in)

£7,000-10,000

LY O N & T U R N B U L L Fine Paintings

122 FA843/8 THOMAS BROMLEY BLACKLOCK (SCOTTISH 1863-1903) ON THE MUIRTON, BLAIRGOWRIE Signed and dated ‘97, signed, inscribed and dated verso, oil on canvas 41cm x 58cm (16in x 22.75in)

£1,500-2,000

123 LB409/2 THOMAS ROSE MILES (BRITISH 1869-1910) UNLOADING THE CATCH Signed, oil on canvas 51cm x 76cm (20in x 30in)

£1,000-1,500

100

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124 FA500/22 FRANK O. SALISBURY (BRITISH 1874-1962) THE LATEST FASHION Signed, oil on canvas 102cm x 81cm (40in x 32in)

£1,000-1,500

101

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125 FA770/1 ANTON BURGER (GERMAN 1824-1906) SHEPHERD AND FLOCK ON HEATHLAND Signed and dated 1881, oil on canvas 36cm x 46cm (14in x 18in)

£800-1,200

126 LB407/2 ATTRIBUTED TO MARGARET NASMYTH ON THE WAY TO MARKET Oil on canvas 71cm x 91cm (28in x 36in)

£2,000-3,000

102

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127 FA843/6 ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928) THE HEADS OF LOCH LOMOND Signed, oil on canvas 41cm x 61cm (16in x 24in)

£6,000-8,000

103

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128ยง FA860/55 HUGO GOLLI CALLED VALLIN (ITALIAN b. 1921) A TRANQUIL VENETIAN CANAL Signed, oil on canvas 61cm x 91cm (24in x 36in)

ยฃ2,000-3,000

104

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129 FA845/6 BERNARD POTHAST (DUTCH 1882-1966) THE NEW ARRIVAL Signed, oil on canvas 80cm x 100cm (31.5in x 39.5in)

£7,000-10,000

105

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130 FA845/1 WILLIAM ALFRED GIBSON (SCOTTISH 1866-1931) ON A DUTCH CANAL Signed, oil on canvas 51cm x 61cm (20in x 24in)

£2,000-3,000

131 FA844/2 19TH CENTURY SCOTTISH SCHOOL CURLERS ON A FROZEN LOCH Oil on canvas 41cm x 51cm (16in x 20in)

£1,000-1,500

106

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132 FA871/7 SIDNEY RICHARD PERCY (BRITISH 1821-1886) HIGHLAND CATTLE WATERING IN A MOUNTAIN LOCH Signed and dated 1871, oil on canvas 61cm x 95cm (24in x 37.5in)

£20,000-30,000

107

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133 FA576/2 WILLIAM BRADLEY LAMOND R.B.A. (SCOTTISH 1857-1924) AUTUMN PLOUGHING Signed, oil on canvas 36cm x 46cm (14in x 18in)

£1,500-2,000

134 FA753/2 THOMAS CORSAN MORTON (SCOTTISH 1859-1928) AN AUTUMN LANDSCAPE Signed, oil on canvas 45cm x 56cm (17.7in x 22in)

£600-800

108

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135 FA869/1 JOSEPH FARQUHARSON R.A. (SCOTTISH 1846-1935) A GLIMPSE OF LOCH KATRINE Signed, oil on canvas 31cm x 46cm (12in x 18in)

£3,000-5,000

109

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136 FA156/2 JAMES WRIGHT R.S.W. (SCOTTISH c. 1885-1947) SEPTEMBER, BRUGES Signed, oil on panel 66cm x 94cm (26in x 37in)

£1,000-1,500

137 FA470/1 JOHN PATRICK DOWNIE R.S.W. (SCOTTISH 1854-1945) GOOD FRIENDS Oil on canvas 48cm x 58cm (19in x 23in) Exhibited: Royal Glasgow Institute of the Fine Arts 1918, no.287

£800-1,200

110

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138 FA994/17 LOUIS BOSWORTH HURT (BRITISH 1856-1929) HIGHLAND CATTLE WATERING IN A MOUNTAIN LOCH Signed, oil on canvas 91cm x 76cm (36in x 30in)

£8,000-12,000

111

LY O N & T U R N B U L L Fine Paintings

139 FA994/13 ALEXANDER BALLINGALL (SCOTTISH 1870-1910) UNLOADING THE CATCH Signed, watercolour 46cm x 71cm (18in x 28in)

and a companion a pair (2) £1,500-2,000

112

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140 FA871/1 LOUISE RAYNER (BRITISH 1832-1924) VIEW OF THE LAWNMARKET ON THE ROYAL MILE, EDINBURGH Signed, watercolour 51cm x 34cm (20in x 13.5in)

£15,000-20,000

113

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141 FA156/1 HARRY SUTTON PALMER R.I. (BRITISH 1854-1933) LOOKING DOWN THE WYE TO SIMMONS GAT Signed, signed, inscribed and dated 1884 on a label verso, watercolour 41cm x 64cm (16in x 25in)

£500-800

142 EAA449/6 THOMAS MARIE MADAWASKA HEMY (BRITISH 1852-1937) SHIPPING ON THE THAMES, TOWER OF LONDON IN THE DISTANCE Signed and dated 1883, watercolour 63cm x 101.5cm (25in x 40in)

£1,500-2,000

114

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143 FA871/2 LOUISE RAYNER (BRITISH 1832-1924) VICTORIA STREET FROM THE GRASSMARKET Signed, watercolour and bodycolour 71cm x 51cm (28in x 20in)

£20,000-30,000

115

LY O N & T U R N B U L L Fine Paintings

144 FA994/9 WILLIAM GEDDES (SCOTTISH 1841-1884) THE DAY’S CATCH Signed, oil on canvas 47cm x 75cm (18.5in x 29.5in)

£1,500-2,000

145 FA845/7 JOSEPH HENDERSON R.S.W. (SCOTTISH 1832-1908) BY THE LOCH Signed, oil on canvas 71cm x 91cm (28in x 36in)

£2,000-3,000

116

LY O N & T U R N B U L L Fine Paintings

146 FA994/12 JESSIE MCGEEHAN (SCOTTISH 1872-1961) DRESSING-UP Signed, oil on canvas 112cm x 86cm (44in x 33.75in)

£4,000-6,000

117

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147 FA220/4 JOHN HENDERSON (SCOTTISH 1860-1924) CHILDREN ON THE BEACH Signed, oil on canvas 46cm x 76cm (18in x 30in)

£2,000-3,000

148 FA959/1 JOHN HOWARD LYON (SCOTTISH c. 1870-1921) THE HAUNT OF THE GULL Signed, oil on canvas 60cm x 101cm (23.5in x 39.75in) Provenance: Drambuie Collection

£1,500-2,000

118

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149 FA846/2 JOHN HENDERSON R.S.W. (SCOTTISH 1860-1924) SEASIDE COTTAGES, BALLANTRAE Signed, oil on canvas 76cm x 102cm (30in x 40in)

£3,000-5,000

119

120

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150 FA871/6 JOSEPH FARQUHARSON R.A. (SCOTTISH 1846-1935) GLOWED WITH TINTS OF EVENING’S HOUR Signed and dated 1911, oil on canvas 102cm x 152.5cm (40in x 60in) Exhibited: Royal Academy 1911, no.119 Literature: Royal Academy Pictures and Sculpture 1911, Illustrated, Cassell & Company Ltd, London

£100,000-150,000

The hill, the vale, the tree, the tower, Glowed with the tints of evening’s hour, The beach was silver sheen, The wind breathed soft as lover’s sigh, And, oft renewed, seemed oft to die With breathless pause between. - Sir Walter Scott, The Lord of the Isles, XIII: 15-20

Although trained in Paris and exhibiting in London, Joseph Farquharson was deeply tied to the Scottish countryside and his Finzean estate, as the source for the title of this painting illustrates. He was born in 1847 in Edinburgh, and began his artistic education at the Trustees’ Academy, and at the life classes of the Royal Scottish Academy, where he first exhibited at the age of just fifteen. This work, titled Study from Nature, is perhaps prophetic of his mature interest in the natural world, and the snow-laden landscape scenes for which he would later become famed. His precocious talent might also have hinted at his future development into a painter whose ‘extraordinary virtuosity’ would be admired by fellow artist Walter Sickert.1 The young Farquharson was much influenced by landscape painter Peter Graham, however the four winters from 1880 that he spent under the tutelage of Carolus-Duran in his Parisian atelier proved to be a turning point in his development as an artist. The French academic painter discouraged his pupils from using under drawings, instead urging

them to shape the forms of their work directly on the canvas in paint. Indeed, in Farquharson’s work, such as this painting, we observe his masterful - and traditional painterly technique, which Sickert believed led to the contemporary viewer’s ‘slight sense of playing truant from Bloomsbury’. Whilst in Paris Farquharson would also have had the opportunity to experience first-hand the works of the Barbizon School and the Impressionists, famed for their work en plein air and, indeed, in 1881 he exhibited the snowscape Paysage - effet d’hiver at the Salon. Returning to Scotland, however, he ingeniously adapted the methods of his continental counterparts to the harsher northern climate by building a number of heated painting huts throughout the Finzean estate. Safe in their relative warmth, Farquharson could observe the effects of a dying day’s light on snow and trees from behind a large glass window, sometimes waiting weeks in order to capture a fleeting atmospheric condition on canvas.

least one each year in the Royal Academy from 1894 to 1925, excepting 1914, the year of his marriage. This work, exhibited at the Royal Academy in 1911, displays those qualities most-loved in ‘The Painting Laird’s’ work; his faithful capture of the distant rose glow of an evening sun across a winter landscape, the scene filled with a quiet stillness, broken only by the beat of a crow’s wing through chill winter air. In this world, nature rules supreme; man’s only trace his weary tracks beaten through snow and mingled with those of the sheep he has led on to warmer pastures, the cottages around the stream’s bend bowed beneath their frosty blanket, yet hinting at warmth and companionship beside the hearth. Indeed, such works were so admired that crowds would eagerly gather around them at the Royal Academy shows, delighting in each subtle variation on familiar themes, while prints after his paintings proved infinitely popular.

Farquharson became famed for his snow-scenes (leading to the epithet ‘frozen-mutton Farquharson’), exhibiting at

1Irwin, Francina. 1985. Joseph Farquharson of Finzean, Waverley Press, Aberdeen, pg. 5.

121

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151 FA994/1 JOHN HENDERSON (SCOTTISH 1860-1924) THE AYRSHIRE COAST AND AILSA CRAIG Signed, oil on canvas 46cm x 69cm (18in x 27.25in)

£1,500-2,000

152 FA994/6 JOSEPH HENDERSON R.S.W. (SCOTTISH 1832-1908) FISHING BOAT AT SUNSET Signed, oil on canvas 31cm x 46cm (12in x 18in)

£800-1,200

122

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153 FA871/5 JOSEPH FARQUHARSON R.A. (SCOTTISH 1846-1935) SHEEP GRAZING IN A SNOW COVERED LANDSCAPE Signed, oil on canvas 91cm x 71cm (36in x 28in)

£20,000-30,000

123

LY O N & T U R N B U L L Fine Paintings

154 FA842/8 ALEXANDER HOHENLOHE BURR (SCOTTISH 1835-1899) JENKIN’S SCHOOL Oil on canvas 38cm x 58cm (15in x 22.75in)

£2,000-3,000

155 FA870/6 THOMAS FAED (AFTER) FROM DAWN TO SUNSET Bears signature, oil on canvas 56cm x 81cm (22in x 32in)

£2,000-3,000

124

LY O N & T U R N B U L L Fine Paintings

156 FA842/1 LOUIS BOSWORTH HURT (BRITISH 1856-1929) HIGHLAND CATTLE WATERING IN A MOUNTAIN LOCHAN Signed, oil on canvas 31cm x 41cm (12in x 16in)

£3,000-5,000

125

LY O N & T U R N B U L L Fine Paintings

157 FA994/8 ALFRED DE BREANSKI JUNIOR (BRITISH 19TH/20TH CENTURY) EARLY MORNING, RYDAL WATER Signed, signed and inscribed verso, oil on canvas 63cm x 76cm (25in x 30in)

£1,500-2,000

158 FA864/1 JOHN MORRIS (BRITISH 19TH/20TH CENTURY) HIGHLAND CATTLE IN A MOUNTAIN GLEN Signed, oil on canvas 61cm x 91cm (24in x 36in)

£1,200-1,800

126

LY O N & T U R N B U L L Fine Paintings

159 FA457/1 ROBERT WATSON (BRITISH 1865-1916) SHEEP ON A MOUNTAIN OUTCROP Signed and dated 1904, oil on canvas 91cm x 71cm (36in x 28in)

£2,000-3,000

127

LY O N & T U R N B U L L Fine Paintings

160 FA491/1 JOHN MCGHIE (SCOTTISH 1867-1952) REVERIE Signed, oil on panel 35cm x 25cm (13.75in x 9.75in)

£1,500-2,000

161 FA521/1 THEOBALD BUTLER GOULD (BRITISH d. 1918) PORTRAIT OF A LADY Signed, oil on canvas 64cm x 52cm (25.2in x 20.5in)

£800-1,200

128

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162 FA220/8 WILLIAM ALFRED GIBSON (SCOTTISH 1866-1933) LE LOIR PRÈS LAVARDIN Signed, oil on canvas 76cm x 102cm (30in x 40in) Exhibited: Royal Glasgow Institute 1917, no.1

£3,000-5,000

129

LY O N & T U R N B U L L Fine Paintings

163 FA870/7 JOHN WATSON MCLEA (SCOTTISH fl. 1832-1861) KIRKCALDY FROM RAVENSCRAIG CASTLE Signed, oil on canvas 38cm x 61cm (15in x 24in)

£2,000-3,000

164 FA844/7 ALFRED DE BREANSKI JUNIOR (BRITISH 19TH/20TH CENTURY) THE EVENING LIGHT ON A HIGHLAND LOCH Signed, signed and inscribed verso, oil on canvas 41cm x 56cm (16in x 22in)

£2,000-3,000

130

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165 FA870/2 ROBERT BROWN JOHNSTON (SCOTTISH fl. 1880-1903) WITHIN A MILE OF EDINBURGH TOWN Signed, inscribed on a label verso, oil on canvas 76cm x 127cm (30in x 50in) Exhibited: Royal Scottish Academy 1889, no. 224

£4,000-6,000

131

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166 FA457/2 CHARLES JAMES LAUDER R.S.W. (SCOTTISH 1840-1920) SAN GIORGIO MAGGIORE, VENICE Signed, oil on canvas 46cm x 56cm (18in x 22in)

£800-1,200

167 FA508/8 ROBERT RUSSELL MACNEE G.I. (SCOTTISH 1880-1952) A COTTAGE GARDEN Signed, oil on canvas 36cm x 51cm (14in x 20in)

£1,500-2,000

132

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168 FA846/8 WILLIAM PAGE ATKINSON WELLS (SCOTTISH 1872-1923) ‘TATTIE HOWKIN’ Signed, oil on canvas 51cm x 61cm (20in x 24in)

£4,000-6,000

133

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169 FA845/3 ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928) THE RANNOCH HILLS, N.B. Signed, signed and inscribed verso, oil on canvas 51cm x 76cm (20in x 30in)

£4,000-6,000

134

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170 FA994/10 ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928) THE LLUGWY IN FLOOD CAPEL CURIG Signed and dated 1912-13, oil on canvas 81cm x 122cm (31.75in x 48in)

£6,000-8,000

135

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171 FA161/6 ROBERT WINTER FRASER (BRITISH 1872-1930) BY THE RIVER, CARDINGTON Signed, inscribed and dated ‘01, watercolour 24cm x 45cm (9.5cm x 17.5in)

and a companion a pair ‘On the River Stour’ (2) £600-900

171A FA843/3 WILLIAM ALFRED GIBSON (SCOTTISH 1866-1931) RIVER LANDSCAPE WITH BOAT Signed, oil on panel 15cm x 23cm (6in x 9in)

£800-1,200

136

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172 FA870/5 SIDNEY RICHARD PERCY (BRITISH 1821-1882) NOON Signed, inscribed on a label verso, oil on canvas 41cm x 66cm (16in x 26in)

ÂŁ3,000-5,000

137

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173 FA457/3 WILLIAM LEE HANKEY R.W.S., R.I., R.O.I. (BRITISH 1869-1952) LOADING TIMBER, ST.TROPEZ Signed, watercolour 43.5cm x 55.5cm (17.25in x 21.75in)

£600-800

174 FA870/3 HENRY JOHN DOBSON R.S.W. (SCOTTISH 1858-1928) THE BIBLE LESSON Signed, watercolour 25.5cm x 38cm (10in x 15in)

£500-800

138

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175 FA869/4 JESSIE MCGEEHAN (SCOTTISH 1872-1961) LEARNING TO WALK Signed, oil on canvas 51cm x 69cm (20in x 27in)

£2,000-3,000

139

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Born in Budapest in 1869, Philip de László was a tailor’s son who would become one of Europe’s most successful and respected portrait painters, capturing on canvas the likeness of heads of state (including four American presidents), members of European royal families from our own Queen Elizabeth II to Kaiser Wilhelm II, and a plethora of artists, writers, and elegant society ladies. His oeuvre is now rightly recognised as ‘a mirror to the Indian summer of the aristocrats of Europe in the Edwardian era, through the storms that swept so many away and through to the 1930’s, with not a quiver of uncertainty as to their future.’1

176 FA963/1 PHILIP DE LASZLO (HUNGARIAN 1869-1937) HALF LENGTH PORTRAIT OF WILLIAM AIKEN Signed and dated 1932, oil on canvas 81cm x 66cm (32in x 26in)

£2,000-3,000

140

William Aiken was deeply involved with the city of Dundee, and a keen patron of the arts. Born in 1880, he became City Chamberlain, and served during World War Two as Divisional Food Officer. He was appointed Justice of the Peace, and in 1949 received the Order of the British Empire . His portrait is recorded in the artist’s archive, where we learn that de László completed it in a single morning on the 26th July 1932. Discussing the artist’s fame in his lifetime for capturing a likeness in under two hours, the National Portrait Gallery’s Paul

Moorhouse declares that his ‘brilliance can now be seen for what it is. He was an excellent colourist, a wonderful craftsman and hugely accomplished.’2 The swift, expressive brushwork of this portrait concisely captures the personality of its subject, with whom the artist had developed a friendship after first meeting him in 1929. It is typical, too, of the artist’s portraits of male sitters (such as that of Sir Luke Fildes, held in the National Portrait Gallery, London), in its warm brown and black background, enlivened by the vivid midnight blue of his suit and tie. Artist and sitter exchanged a number of warm, handwritten letters, while Lucy de László wrote from the French Riviera and Eastbourne thanking William Aiken for the boxes of shortbread he sent from Scotland! Their friendship endured, and in 1933 he was invited to the wedding of de László’s son. Philip de László died in 1937, some years before his friend William Aiken, who passed away in 1950.

1Suzy Menkes, “A Hungarian Artist’s Brush with grandeur,” International Herald Tribune, (January 9, 2004). 2 ‘Portait of a neglected painter: Philip de László’s works to go on display’, The Guardian (Tuesday 23 March 2010)

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‘His was an inspirational personality. Under him, men did more than they could possibly imagine they could do, were braver than they knew themselves to be.’ Max Harper, Lovat’s staff captain, writing in his obituary.

177 LB408/1 FREDERIC WHITING R.P.S., R.S.W., R.I. (BRITISH 1874-1962) HALF LENGTH PORTRAIT OF LORD LOVAT Signed and verso, oil on canvas, unframed 61cm x 51cm (24in x 20in)

£800-1,200

Born Simon Christopher Joseph Fraser in 1911, ‘Shimi’ Lovat succeeded his father (himself a distinguished soldier who raised the Lovat Scouts during the Second Boer War) as 17th Lord Lovat and 24th Chief of Clan Fraser of Lovat in 1933. His military career began when he joined the Scots Guards, immediately upon graduating from Magdalen College Oxford in 1932. Though he left several years later in 1937, upon the outbreak of World War II he joined his father’s regiment, the Lovat Scouts, later transferring to a commando group, whom he led in a famously successful raid on the Lofoten Islands in 1941. Perhaps he is most well-known, however, for his role in the Dieppe Landing in 1942, in which the commando which he led captured the

enemy battery near Varengeville, the only success of the Dieppe Raid. He was awarded the DSO for his role in the operation, having already received the Military Cross for his part in a reconnaissance raid on Boulogne. He appears in the 1962 film The Longest Day, played by actor Peter Lawford. Lovat served as Joint UnderSecretary for Foreign Affairs in the 1945 caretaker government, and continued to speak on Highland matters in the House of Lords. He retired from military service in 1962, retaining the honorary rank of brigadier until his death in 1995.

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178 FA497/5 WILLIAM CONOR R.H.A., R.U.A. (IRISH 1881-1958) THE JUICY APPLE Signed, pastel 34cm x 26cm (13.5in x 10.25in)

£3,000-5,000

179 FA860/57 WALTER RICHARD SICKERT A.R.A. (BRITISH 1860-1942) DE VENEZIA Indistinctly inscribed, drawing 31cm x 22cm (12in x 8.5in)

£1,500-2,000

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180 FA860/56 WALTER RICHARD SICKERT A.R.A. (BRITISH 1860-1942) PORTRAIT OF AN ARTIST WITH PALETTE Signed and inscribed ‘Dieppe’, oil on canvas 41cm x 32.5cm (16in x 12.75in) Literature: Wendy Baron, Sickert: Painting and Drawings, New Haven (London: 2006), b/w ill. p. 476 Provenance; Philips 23rd November 1993 (19) col repr. With Brandler Galleries, Essex, 1993

£6,000-8,000

Walter Sickert was a prolific artist who played an active role in the artistic life in Britain, both as a painter and as an art teacher. Born in Munich to a German-Danish father and an English mother, he moved to London with his family in 1851 and pursued a brief career in acting before enrolling in the Slade School of Art and entering the studio of Whistler, becoming his assistant.

Portrait of an Artist is listed in Dr Wendy Baron’s catalogue

raissonnée of Sickert’s work under no. 551 and she speculates that this canvas is likely to date from 1920-1922. Sickert was living just outside Dieppe with his second wife, Christine, but she died from tuberculosis in October 1920. Sickert was distraught and many friends, fellow artists and former students flocked to lend their sympathy and help. Baron suspects that the sitter of this portrait is likely to be one of the female artists, some of them former

students, who visited Sickert during this time. One colleague and life-long friend, Sylvia Gosse, was already living close to Dieppe, in a house in Envermeu in the early 1920s. In fact, she looked after Christine Sickert in her last months and became housekeeper for Sickert after his wife’s death. Gosse had studied under Sickert in London and partnered him in running the Westminster Technical Institute in London. A portrait

of hers, offered in these rooms in June 2010, has now been revealed to be a selfportrait and features a hat very similar indeed to the one in this canvas. Whilst Baron judges the lack of detail in the face and ‘disingenuous expression and staring eyes’ as making it impossible to confirm the identity of the sitter in the present work, it is certainly possible that this is indeed a depiction of Sickert’s loyal friend and fellow artist Gosse.

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181 FA994/3 HANS HANSEN R.S.W. (SCOTTISH 1853-1947) A BUSY STREET Signed, watercolour 30.5cm x 20cm (12in x 8in)

£1,000-1,500

182 FA646/1 ELIAS MOLLINEAUX BANCROFT (BRITISH 1846-1924) THE ORIGINAL ENTRANCE TO THE TOWN HALL, ROTHENBURG Signed and dated ‘02, inscribed verso, oil on canvas 58cm x 41cm (22.75in x 16in)

£700-900

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183 FA5/31 EDWARD STOTT A.R.A. (BRITISH 1856-1918) BELATED Signed, oil on canvas 56cm x 84cm (22in x 32.5in) Exhibited: Royal Academy 1907, no.307 Liverpool Art Exhibition 1907, no. 988 Rochdale Art Gallery

£15,000-20,000

A close friend of Millet and Bastien-Lepage, Stott trained in Paris under Alexandre Cabanel and at the Ecole des Beaux-Arts under Carolus Duran, before returning to England in 1889, where he devoted himself to producing scenes of rural life around his home at Amberley, in Sussex . Although influenced by the rural naturalism which swept through art across Europe

from the 1880s onwards, he did not work directly from nature, but rather became famed for his interest in chiaroscuro effects and twilight scenes, such as this painting, Belated. Under the dying day’s light, a weary country woman drives her cattle towards the inviting lights of home, and the hearth’s warm protection against the chill of night,

accompanied by a flock of geese similarly homewardbound. Having exhibited in London since 1883, Stott became an associate of the Royal Academy in 1906, bequeathing his estate to the Academy in order to fund travelling scholarships for future artists.

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184 LB411/3 DAME LAURA KNIGHT R.A., R.W.S. (BRITISH 1877-1970) CLOWN STUDY WITH LION Signed, pen and ink 22cm x 14cm (8.75in x 5.5in)

£1,500-2,000

184 LB411/2 DAME LAURA KNIGHT R.A., R.W.S. (BRITISH 1877-1970) CLOWN STUDY Signed, inscribed and dated ‘Fond greetings to Kay this Christmas 1960. May 1961 bring your heart’s desire With love from Harold and Laura’ pen and ink and wash 25cm x 20cm (9.75in x 8in)

£1,500-2,000

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186 LB411/1 DAME LAURA KNIGHT R.A., R.W.S. (BRITISH 1877-1970) HEAVY LAND Signed, pencil and watercolour 79cm x 57cm (31in x 22.5in)

£6,000-9,000

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187 FA993/4 SIR WILLIAM ORPEN R.H.A., R.A. (IRISH 1878-1931) DRAY HORSES, CANY Pen and ink and wash 23cm x 28cm (9in x 11in) Exhibited: Pyms Gallery, London, B.425

£800-1,200

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188 FA576/1 DAME LAURA KNIGHT R.A., R.W.S. (BRITISH 1877-1970) SOUVENIR OF ROMEO AND JULIET AT THE REGENT JULY 1924 Signed, inscribed and dated, charcoal 34cm x 25cm (13.5in x 9.75in)

£1,000-1,500

189 FA452/4 SIR WILLIAM RUSSELL FLINT R.A., R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) STRIDING NUDE Signed, pastel 41cm x 28cm (16in x 11in)

£1,000-1,500

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190 FA459/1 LAURENCE STEPHEN LOWRY R.A. (BRITISH 1887-1976) THE HAWKER’S CART Signed and dated 1929, oil on canvas

£300,000-500,000

It is most dominant in terms of the proportion of the canvas it occupies. Lowry eventually took to ageing the background colour of the canvas, applying the pigment and letting it sit for several years so that the hue took on an off-white colour, the better to blend with the narrow palette used by the artist.

Born in Salford in 1887, L S Lowry rarely left Manchester and Salford and indeed Great Britain, despite regularly exhibiting north of the border, in Europe and in France in particular. Self-taught to some extent, Lowry maintained employment as a cashier at the Pall Mall Property Company in Salford and as a clerk for a firm of accountants throughout his life. His role as a rent collector allowed him to roam Salford and Manchester exploring the urban landscape and its inhabitants. The Hawker’s Cart is typical of his paintings from the late 1920s and early 1930s when he had just finished attending Salford School of Art and had almost fully developed his unique visual aesthetic and the sort of subject matter which was to remain of constant interest throughout his career. The year just before the Hawker’s Cart was painted, 1928, was significant because it saw the emergence of Flake White as his most important pigment.

The Hawker’s Cart contains all the components of a successful Lowry composition, from the whimsical foregrounded people and pets, through the jaunty tenements in the middle ground and the vertical chimneys spewing out smoke towards the grey sky, albeit domestic and not industrial. It is often said that many of Lowry’s compositions take on the quality of a stageset, and that is particularly evident here, as the building on the right of the composition in particular has taken on a theatrical coulisses-like quality, framing our window onto this street scene. This view was also recently propounded by the Northern-born actor Sir Ian McKellan who pointed out in a private debate on Lowry’s work held in London in 2009 the popularity of theatre and the proliferation of theatres, music halls and theatre houses in the Greater Manchester area, no less than 64 according to Sir Ian. Lowry was certainly an ardent theatre-goer and in particular

53.5cm x 39.5cm (21in x 15.5in) Exhibited: Royal Scottish Academy 1934, no.229 where purchased by the RSA Royal Academy of Arts, L.S.Lowry, 1976, no.341 Salford Art Gallery, L.S.Lowry Centennary Exhibition, 1987

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an admirer of the work of the Manchester School of dramatists such as Harold Brighouse and Stanley Houghton. The present composition is strongly linked with a series of works, on a similar scale from the late 1920s and first half of 1930s which depict men and women sometimes going about their business, more frequently engaged in a more dramatic scene, as depicted in The Arrest, 1927 (Castle Museum Nottingham), or The Fight 1935 (The Lowry). These paintings and the present one happily portray the theatre of everyday life and the entertainment it provides. In this case, the viewer is focused on the relatively undramatic episode of the Hawker’s Cart arriving and enticing local residents with its produce, but the element of the community watching goings on is ever-present in the figures amongst the window curtains, observing the street and the

protagonists below, or indeed looking at the viewer who is in turn yet another observer of the scene. Whilst Lowry did not venture north of the border until 1944 when he visited Edinburgh for an exhibition, returning to paint in Glasgow subsequently, he frequently exhibited at the Royal Scottish Academy from 1930 to 1939. The present painting was possibly exhibited in Rochdale in 1931 and was bought by the Royal Scottish Academy the year it was exhibited there in 1934, the same year that he was elected a member of the Manchester Academy and the Royal Society of British Artists. The RSA clearly recognised the contribution Lowry was to make to twentieth century painting at an early stage in his career, more than twenty years before Lowry was elected as an Associate of the Royal Academy in London, let alone a full member which did not happen until 1962.

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191 FA546/1 WILLIAM LIONEL WYLLIE R.A. (BRITISH 1851-1931) CASSILIS CASTLE Signed and dated 1909, watercolour 46cm x 28cm (18.1in x 11in)

£800-1,200

192 FA846/7 KATHARINE CAMERON R.S.W., R.E. (SCOTTISH 1874-1965) THE MERMAID ROSE Signed, watercolour 51cm x 38cm (20in x 15in)

£1,000-1,500

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193 FA161/4 JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) WOODED LANDSCAPE WITH WINDMILL Signed, watercolour 26cm x 23cm (10.25in x 9in)

£500-800

194 FA804/2 JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) ST. PAULS FROM THE THAMES, SUNSET Watercolour 17.5cm x 25.5cm (7in x 10in)

£1,000-1,500

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195 FA876/1 SIR HERBERT HUGHES-STANTON R.A. (BRITISH 1843-1937) WASHERWOMEN ON THE BANKS OF A RIVER, ITALY Signed, oil on canvas 61cm x 76cm (24in x 30in)

£3,000-5,000

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196 MYLES BIRKETT-FOSTER R.W.S. (BRITISH 1825-1899) STORMY DAY, ST. ANDREWS Signed with a monogram, watercolour 58cm x 84cm (22.75in x 33in)

£8,000-12,000

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197 FA804/31 JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) FEEDING THE SWANS Indistinctly signed, pastel 53cm x 44.5cm (21in x 17.5in)

£2,000-3,000

198 LB333/1 SHEILA FELL R.A. (BRITISH 1931-1979) HOUSES ON BUTTERMERE Oil on canvas 91cm x 70cm (35.75in x 27.5in) Note: Partial label verso suggests that the painting may have been with Roland Browse and Delbanco, London Provenance: Lady Kennet

£4,000-6,000

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199 FA844/4 JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) MARKET DAY Signed, pastel 41cm x 51cm (16in x 20in)

£2,000-3,000

200 FA869/3 ARTHUR PERCY DIXON (SCOTTISH fl. 1884-1917) PRINCES STREET GARDENS LOOKING WEST TO THE NATIONAL GALLERY AND CASTLE Signed, oil on canvas 41cm x 56cm (16in x 22in)

£1,000-1,500

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201 FA876/3 EMILY BEATRICE BLAND (BRITISH 1867-1954) A STILL LIFE OF SUMMER FLOWERS Signed, oil on canvas 61cm x 51cm (24in x 20in) Exhibited: Venice Biennale 1936, no.121

£2,000-3,000

202 EAC207/1 ETHEL CARRICK FOX (AUSTRALIAN 1872-1952) A STILL LIFE OF MIXED FLOWERS Signed, oil on board 61cm x 46cm (24in x 18in) Note: The authenticity of this painting has been confirmed by Susanna de Vries author of Ethel Carrick Fox, Travels and Triumphs of an Impressionist. She suggests a date of 1907-10.

£2,000-3,000

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203 FA792/1 DOROTHEA SHARP (BRITISH 1874-1955) STILL LIFE OF SUMMER FLOWERS Signed, oil on board 51cm x 41cm (20in x 16in)

£3,000-5,000

203A FA220/6 KATE WYLIE (SCOTTISH 1877-1941) MIXED FLOWERS Signed, oil on canvas 61cm x 51cm (24in x 20in)

£800-1,200

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Over her long career Mary Fedden has become one of the nation’s most-treasured artists. Writing about Fedden’s enduring appeal, Christopher Andreae declares: Her work can become something of an addiction. More than one collector has been known to sleep on the pavement outside a gallery all night so as not to miss the opportunity of buying a favourite. Perhaps part of the appeal of her work lies in its apparent simplicity coupled with its exquisite execution, anchored in the long pictorial tradition of Dutch still life and underpinned by her early formation at the Slade School of Art. Indeed, Fedden’s is an oeuvre that merits close inspection, and while her concise and effective compositions provide immediate pleasure (demonstrated by their popularity in reproduction as prints and postcards, china and textiles), our delight can only be enhanced by a lingering gaze and appreciation of her painterly skill, her brush strokes as easily identifiable as a signature. After a war spent in the Land Army and as a staff driver in France and finally Germany, Fedden soon built on the foundations of her Slade training, and her work was profoundly influenced by the seismic shifts which shook painting in the post-war

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years. Her favoured motif is that of a still life at a window, in which the gaze first savours the transient beauty of flowers before appreciating the landscape beyond, an image which appears repeatedly in the works of modernist English painters such as Paul Nash, Christopher Wood, and John Piper. Perhaps the most significant influence on Fedden’s artistic and personal development, however, was her relationship with artist and poet Julian Trevelyan, with whom she lived for many happy years at Durham Wharf, on the Thames at Chiswick. Trevelyan and Fedden married in 1951, and while the artist claims that she does not consciously imbue her stilllife works with symbols and hidden meanings, we might wonder at the significance of the ivy- long a symbol of love and undying fidelity- which wraps itself tenaciously round the base of the vase in this Still Life With Candle, painted in the same year. Here we observe the freshness of the artist’s post-war style, moving beyond the muted naturalism of her Slade years, and also the Neo-Romantic strain which runs throughout Fedden’s work and manifests itself in the surreal atmosphere of the painting, in which summer and winter blooms mingle under the warm glow of a candle, and against the backdrop of a snow-covered landscape ripe with narrative potential.

We find the same dramatic tension in the later painting, Tatiana and the Letter, executed in 1994. This work combines elements of Fedden’s preferred genre, still life, with the suggestion of a moonlit landscape beyond the open window, and the inclusion of a female figure pouring over a freshly written page. While studying at the Slade, Fedden was most affected by her tutor Vladimir Polunin, a theatre designer who had worked with the Ballets Russes, and the billowing curtain which often reappears in her paintings is a testimony to the influence which he proved to be on Fedden, who indeed designed sets for performances at Sadler’s Wells before opting to dedicate herself to easel painting. The curtain not only neatly frames the composition (as in traditional works such as Vermeer’s The Art of Painting), but also lends an element of theatricality, and sense that the scene might be a play unfolding before our eyes, inviting interpretation. Indeed, it is not surprising to discover that the painting was included in an exhibition held to accompany Glyndebourne’s 1994 opera season. Fedden (who as an opera lover has designed a number of programme covers and other promotional material for Glyndebourne), chose to illustrate a key moment in Tchaikovsky’s Eugene Onegin. In a celebrated aria, the heroine, Tatiana, realising that she is utterly in thrall to

the cold Onegin, takes up her quill to declare her love for him: I write to you – no more confession is needed, nothing’s left to tell. I know it’s now in your discretion with scorn to make my world a hell. Alas for Tatiana, her love is scorned until it is too late, yet Fedden clearly captures the anguish which drives Tatiana to confession, and the hope which fills the moment of the letter’s composition, translating onto canvas the magical beauty of Tchaikovsky’s score. Mary Fedden was elected to the Royal Academy and received the OBE in the 1990’s. Her work is included in numerous public collections including The Tate Collection, HM The Queen’s Collection, and National Gallery of New Zealand.

204§ FA860/37 MARY FEDDEN R.A. (BRITISH b. 1915) TATIANA AND THE LETTER Signed and dated 1994, oil on board 61cm x 51cm (24in x 20in) Exhibited: Glyndebourne Festival 1994 where illustrated in the Festival Programme. It is not unreasonable to suggest that the painting was inspired by the opera Eugene Onegin shown at Glyndebourne that year.

£6,000-8,000

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205ยง FA860/39 MARY FEDDEN R.A. (BRITISH b. 1915) MIXED FLOWERS IN A JUG Signed and dated 1951, oil on canvas 51cm x 51cm (20in x 20in)

ยฃ8,000-12,000

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206ยง FA860/38 MARY FEDDEN R.A. (BRITISH b. 1915) WINTER STILL LIFE WITH CANDLE Signed and dated 1950, oil on canvas 61cm x 51cm (24in x 20in)

ยฃ4,000-6,000

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207 EAC150/19 JOHN MCNAIRN (SCOTTISH 1910-2009) STILL LIFE IN BROWN VASE Signed, oil on board 51cm x 33cm (20in x 13in)

£800-1,200 Born in the Scottish Borders in 1910, John McNairn enjoyed a long and fruitful artistic career. He began his training at Edinburgh College of Art in 1927 (a particularly productive and exciting time in the College’s history), before continuing his studies in Paris at the Académie Scandinave under Othen Friesz. While the most talented students of the College had traditionally undertaken further study abroad, his choice of Académie was somewhat unusual, yet allowed him to pursue his interest in PostImpressionism and a direct and truthful style of painting. Whilst in Paris he would meet Robin John, Julian Trevelyan, and S.W. Hayter, developing friendships which would be influential in the shaping of his artistic career. McNairn would later travel extensively in Spain, and served in India during WWII. Upon his return he would become Head of Art at Selkirk High School, also meeting his wife, fellow artist Stella McNairn, with whom he founded a gallery. John McNairn passed away in 2009.

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208 EAC150/2 JOHN MCNAIRN (SCOTTISH 1910-2009) THE ETTRICK VALLEY IN WINTER Signed, oil on board 71cm x 122cm (28in x 40in)

£2,000-3,000

209 EAC150/12 JOHN MCNAIRN (SCOTTISH 1910-2009) BROWN LANDSCAPE Signed, oil on board 61cm x 79cm (24in x 31in)

£1,000-1,500

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210 FA860/23 JOHN ARMSTRONG A.R.A. (BRITISH 1893-1973) PIERROT Signed with a monogram, oil on board 122cm x 69cm (48in x 27in) Provenance: New Grafton Gallery, London Exhibited: Arts Council of Great Britain, John Armstrong, 1975, no.108

ÂŁ6,000-9,000

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211 FA860/24 JOHN ARMSTRONG A.R.A. (BRITISH 1893-1973) MONUMENTAL FIGURE GROUP Signed with a monogram, oil on canvas 69cm x 61cm (27.25in x 24in)

£4,000-6,000

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212 FA860/3 ANTOINE BLANCHARD (FRENCH 1910-1988) LES GALERIES LAFAYETTE, BOULEVARD HAUSSEMANN, PARIS Signed, signed and inscribed verso, oil on canvas 33cm x 46cm (13in x 18in)

£2,000-3,000

213 FA842/7 HERBERT DAVIS RICHTER R.I., R.S.W., R.O.I., R.B.A. (BRITISH 1874-1955) STILL LIFE WITH TRAY Signed, oil on canvas 63cm x 76cm (25in x 30in)

£1,500-2,000

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214 FA592/1 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) STILL LIFE OF CHRYSANTHEMUM Signed, oil on board 46cm x 41cm (18in x 16in)

£8,000-12,000

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Born in St Andrews in 1912, Wilhelmina Barns-Graham’s artistic career would span over seven decades, constantly driven by fresh inspiration and an overwhelming creative impulse. During her lifetime she would struggle with the critical eclipse of her work in favour of fellow members of the St Ives School with which her name has become inextricably linked. Undaunted, however, she would continue to produce work of astounding beauty until the last months of her long and full life, and is now recognised as one of the greatest British artists of the 21st century.

215 FA451/3 WILHELMINA BARNS-GRAHAM C.B.E., H.R.S.A., H.R.S.W. (SCOTTISH 1912-2004) SEPTEMBER IN ORKNEY 1 Signed and dated 1987, oil on hardboard 30cm x 90.8cm (11.75in x 35.75cm) Provenance: The Barnes-Graham Trust

£5,000-7,000

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Barns-Graham divided her time between Cornwall and Fife, and so too her artistic influences and training were fed both by her training at Edinburgh School of Art, and by the fertile creative atmosphere of St Ives. Here from 1940 she would meet and befriend the leaders of the new School; Ben Nicholson, Barbara Hepworth and Naum Gabo. Artistic osmosis was inevitable in this small Cornish town which would become renowned internationally as the seat of Modernism in Britain , yet Barns-Graham would soon develop her own clear pictorial vocabulary in such works as Pink. Part of her 1954 ‘Geoff and Scruffy’ series, this strongly structural work (in which the artist combines rich colour with firmly-modelled geometric shapes) demonstrates the bold steps into abstraction which would lead critics to label the artist in this decade as Britain’s foremost female abstract painter. A trip to the Balearic Islands , combined with her first encounter with

American Abstract Expressionism, however, ensured that 1958 would mark a turning point in BarnsGraham’s pictorial approach. At this time her work became freer, and more painterly; hard geometric edges softening as brushwork itself came to play a role as important as colour and line in her canvases, as in the rich green-hued Untitled. Alongside her more abstract work, Wilhelmina found constant inspiration in landscape, such as the golden patchwork tints of rolling Scottish hills in her work of 1987, September in Orkney. Barns-Graham visited Orkney several times throughout the 1980’s, and indeed on an earlier trip she had delighted in the natural geological slab patterns of Warbeth’s beach, recreating them in the fine acrylic Warbeth No. 4, (1985), in which they attain the clarity and deep tone of stained glass. Quite different in atmosphere is the bright gouache of 1986, Summer Painting Series (No. 4). While

illustrating the artist’s continuing attraction to strong geometric forms, in this vibrant and playful depiction of a sun-drenched afternoon on St Ives’ Porthmeor Beach we see Barns-Graham returning to the figurative style of her early work. Art historians have seen 1988 as the beginning of a final phase in Barns-Graham’s development, a late burst of creativity that would last until the end of her life. Having been reminded of her own mortality by a period of severe illness, her work would attain a higher pitch of urgency and freedom of expression. In Eight Lines- Wave Rhythms, we see the masterly draughtsmanship and skilful manipulation of line for which Barns-Graham had first garnered critical praise in her 1950 chef-d’oeuvre, Glacier Crystal, Grindenwald. In this later work, the fluid lines of waves hum with all the latent energy of the ocean, flooded, in their ogilvie forms, with a synaesthetic evocation of music.

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216 FA451/6 WILHELMINA BARNS-GRAHAM C.B.E., H.R.S.A., H.R.S.W. (SCOTTISH 1912-2004) WARBETH 4 Signed and dated Oct 1985, acrylic on paper on hardboard 53cm x 17.7cm (20.75in x 7in) Provenance: The Barnes-Graham Trust

ÂŁ5,000-7,000

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217 FA451/1 WILHELMINA BARNS-GRAHAM C.B.E., H.R.S.A., H.R.S.W. (SCOTTISH 1912-2004) WAVE RHYTHMS Signed and dated 1988, acrylic on card 14.8cm x 20.1cm (5.75in x 8in) Provenance: The Barnes-Graham Trust

£2,000-3,000

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218 FA451/2 WILHELMINA BARNS-GRAHAM C.B.E., H.R.S.A., H.R.S.W. (SCOTTISH 1912-2004) SUMMER PAINTING SERIES (NO.4) Signed and dated 1986, gouache 56.3cm x 76.7cm (22.25in x 30.25in) Provenance: The Barnes-Graham Trust

£4,000-6,000

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219 FA451/4 WILHELMINA BARNS-GRAHAM C.B.E., H.R.S.A., H.R.S.W. (SCOTTISH 1912-2004) PINK 1954 Signed, inscribed and dated 1954 verso, oil on canvas 55.5cm x 40cm (21.75in x 15.75in Provenance: The Barnes-Graham Trust

ÂŁ10,000-15,000

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Proceeds from the sale of these works will help fund the Wilhelmina Barns-Graham’s vital work from their headquarters, the artist’s Scottish studio, Balmungo, which will be reopening in June following extensive refurbishment. It will serve as a centre of research for the artist’s life and work, housing

her art collection and archive, and will host residencies of both artists and writers. In addition, the Trust will continue to offer scholarships to art students from around the UK , equally crucial to their development as the travelling scholarship which allowed the young Willie to first settle in St Ives.

220 FA451/5 WILHELMINA BARNS-GRAHAM C.B.E., H.R.S.A., H.R.S.W. (SCOTTISH 1912-2004) UNTITLED - MARGARET SERIES 1958 Oil on canvas 70.8cm x 90.8cm (27.75in x 35.75in) Provenance: The Barnes-Graham Trust

£12,000-16,000

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Carel Weight’s work is imbued with a unique atmosphere at once comfortingly familiar, and strangely unsettling. Born in Paddington in 1908, the artist spent much of his childhood with his godmother in the then working-class district of Fulham, and running like a refrain throughout his work are motifs of everyday British experiences such as this scene, The Village Cup Tie. An eternal image of rural life, the painting nevertheless captures a very specific and tense moment in time; the ball forever suspended in mid-air, never to meet the ready embrace of the goalkeeper’s outstretched hands, while the referee’s whistle rings without cease to a collective intake of breath. With its inclusive crowd of men and women, children and grandparents, the focus of the painting is nevertheless the isolated figure of a player, head bowed in shame as all point accusingly towards his fallen opponent. Anchoring the whole is the unwavering mass of the local church, its age-old stone solid against a forbidding sky, amidst branches bent beneath buffeting winds Writing about his life-long friend in an introduction to the Royal Academy’s 1982 retrospective of Weight’s works, Ruskin Spears describes how ‘Carel at this time was a great mine of information; he seemed to

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have read Art History from the cradle, and his knowledge of the technique of oil painting was extensive.’1 Indeed, while his oeuvre is clearly of his time, in dialogue with the works of Stanley Spencer in its surreal undercurrents and evocative, in his love of narrative detail, of Lowry’s northern crowd scenes, The Village Cup Tie also manifests Weight’s interest in the work of Pieter Brueghel. His villagers, gleefully cheering on their yellow striped or azure champions, their characters skilfully rendered through the idiosyncrasies of dress, echo their distant Dutch counterparts, taking equal joy in a sporting activity shared as Brueghel’s winter skaters. In contrast to the rural setting of The Village Cup Tie, Weight’s Foxwood is typical of another strong strain running through his oeuvre, namely suburban scenes of ‘strange happenings in the common place’ which gave rise to the epithet of ‘the Alfred Hitchcock of English painting.’2 In a seemingly unremarkable London street of Victorian homes, something quite out of the ordinary is indeed taking place: a screaming lady clutches at her hair, which stands on end with fright; a boy rushes from his doorstep and another stands frozen with shock. The figures which people this surreal world serve, like the chorus of a

Greek tragedy, to communicate through their exaggerated expressions the fear inspired in them by whichever unseen horror is taking place beyond the picture-plane. Our anticipation of impending doom is heightened by the contrast between the work’s quotidian backdrop and its characters’ uncustomary response, and, as in a horror film, by the artist’s decision not to describe the object of their fear, but rather to allow our imaginations to conjure our own monsters. Nevertheless, underpinning the scene is an element of humour present in much of Weight’s work, only enhanced by the almost anthropomorphic house which surveys the scene, combined with the blithe indifference of the girl calmly continuing with her day on the right of the canvas. Weight first trained at Hammersmith School of Art, winning a scholarship to the Royal College of Art which, however, he sacrificed for the sake of economy, enrolling instead at Goldsmith’s College. During World War II he became an official War Artist, travelling through Italy and later Vienna and Greece , where he recorded the scars of war upon great art historical sites. In the postwar years, he became a tutor at the Royal College of Art, nurturing a generation of great British talent including

Peter Blake, David Hockney, and John Bratby. In 1965 he was elected to the Royal Academy , having been awarded the CBE in 1962. His work is now included in the Tate Collection. 1Carel Weight RA: A Retrospective Exhibition. Belmont Press, Northampton, 1982. 2Strange Happenings in the Common Place: A Retrospective Exhibition of the work of Professor Carel Weight R.A. C.B.E. Mid Wales Litho Ltd., 1993, pg.

221 FA860/9 CAREL WEIGHT R.A. (BRITISH 1908-1997) FOXWOOD Signed, oil on canvas 89.5cm x 94.5cm (35in x 37in) Provenance: Bernard Jacobson Gallery, London 1968 Exhibited: Newport Museum and Art Gallery, 1993, ‘Strange Happenings in the Common Place: A retrospective exhibition of the work of Carel Weight C.B.E., R.A.’ Literature: Carel Weight R.A. - A retrospective Exhibition, Belmont Press 1982

£6,000-8,000

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222 FA860/10 CAREL WEIGHT R.A. (BRITISH 1908-1997) VILLAGE CUP TIE Signed and inscribed verso, oil on panel 91cm x 130cm (36in x 51.25in) Note: This painting dates from 1946 Provenance: Austin Desmond Fine Art Limited, London Exhibited: Newport Museum and Art Gallery, 1993, ‘Strange Happenings in the Common Place: A retrospective exhibition of the work of Carel Weight C.B.E., R.A.’ Gallery 27, London, ‘England’s Glory an Exhibition of Football’ Literature: Carel Weight R.A - A retrospective Exhibition, Belmont Press 1982

£15,000-20,000

END OF SALE

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Glossary of Cataloguing Terms The following expressions with their accompanying explanations are used by Lyon & Turnbull as standard cataloguing practice. Our use of these expressions does not take account of the condition of the lot or the extent of any restoration. Buyers are recommended to inspect the property themselves. Written condition reports are usually available on request.

Name(s) or Recognised Designation of an Artist without any Qualification In our opinion a work by the artist Attributed to... In our opinion probably a work by the artist in whole or in part. Studio of ... / Workshop of ... In our opinion a work executed in the studio or workshop of the artist, possibly under his supervision. Circle of ... In our opinion a work of the period of the artist and showing his influence. Follower of ... In our opinion a work executed in the artistâ&#x20AC;&#x2122;s style but not necessarily by a pupil. Manner of ... In our opinion a work executed in the artistâ&#x20AC;&#x2122;s style but of a later date. After ... In our opinion a copy (of any date) of a work of the artist.

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Signed ... / Dated ... / Inscribed ... / In our opinion the work has been signed/dated/inscribed by the artist. Bears Signature ... / Date ... / Inscription ... / In our opinion the signature/date/inscription appears to be by a hand other than that of the artist. Dimensions are given height before width.

LY O N & T U R N B U L L Fine Paintings

Index Adam, P.W., 32, 34 Allan, R.W., 6 Armour, M., 74, 93 Armstrong, J., 210, 211 Ballingall, A., 139 Bancroft, E.M., 182 Bannatyne, J.J., 24 Barnes, E.C., 115 Barns-Graham, W., 215-220 Beattie-Brown, W., 31 Beaumont, F.S., 116 Birkett-Foster, M., 196 Blacklock, T.B., 122 Blanchard, A., 212 Bland, E.B., 201 Bough, S., 4, 7, 49, 63 Brough, R., 13, 42 Brown, W.M., 22 Burger, A., 125 Burns, R., 57 Burr, A.H. 154 Cadell, F.C.B., 81, 91 Cameron, H., 56 Cameron, K., 192 Cameron, Sir D.Y., 64, 80 Conor W., 178 Coventry, R.M., 27 Cowie, J., 89 Crawford, E.T., 2 Cursiter, S., 14 Davis, W., 118 de Breanski, A. Junior, 157, 164 de Breanski, A. Senior, 121, 127, 169, 170 de Loutherbourg, P.J., 109, 110 de L谩szl贸, P., 176 Dixon, P.D., 200

Dobson, H.J. 174 Downe, J.P., 137

Johnston, R.B., 165 Johnstone, G.W., 37

Eardley, J., 83-88, 90 Earl Haig, 108

Kay, A., 16 Kay, J., 35, 67, 68, 70, 72, 73 Knight, Dame L., 184, 185, 186, 188

Faed, T., 45 Faed, T., after, 155 Farquharson, D., 17, 30, 40 Farquharson, J., 135, 150, 153 Fedden, M., 204, 205, 206 Fell, S., 198 Flint, Sir W.R., 188 Foggie, D., 5 Fox, E.C., 202 Fraser, R.W., 171 Frazer, W.M., 9 Gauld, D., 28, 29 Geddes, W., 144 Gibson, W.A., 130, 162, 171A Giles, J., 39 Gillies, Sir W.G., 94, 95 Golli, H., called Vallin, 128 Gould, T.B., 161 Graham, P., 8, 41, 54 Hankey, W.L., 173 Hansen, H., 181 Hemy, T.M.M., 142 Henderson, J., 145, 147, 149, 151, 152 Herald, J.W., 193, 194, 197, 199 Hislop, J., 97, 98 Houston, G., 62, 65 Houston, J., 105, 106, 107 Hughes-Stanton, Sir H., 195 Hunt, W.H., 112 Hunter, G.L. 214 Hurt, L.B., 138, 156 Hutchison, R.G., 23, 58, 75

Lamond, W.B., 133 Lauder, C.J., 166 le Jeune, J.M.M., attributed to, 111 Leyde O., 47 Lorimer, J.H., 26 Lowry, L.S., 190 Lyon, J.H., 147 MacNee, R.R., 167 McClure, D., 78 McCulloch, H., 38 McGeehan J., 146, 175 McGhie J., 160 McGown, R., 49 McGregor, R., 11 McKay, W.D., 36 McLea, J.W., 163 McNairn, J., 207, 208, 209 McTaggart, W., 51-54, 60 Miles, T.R., 123 Milne, J.M., 77, 82, 92, 99 Morris, J., 158 Morton, T.C., 134 Murray, Sir D., 50, 61 Napier G., 113 Nasmyth, A., 117 Nasmyth, M., attributed to, 126 Nicol, E., 46 Noble, R., 15

Palmer, H.S., 141 Paterson, J., 59 Patrick, J.M., 18, 19, 20, 43, 44, 76 Peel, J., 119 Peploe, S.J., 96 Percy, S.R., 132, 172 Perigal, A., 25 Philipson, Sir R., 100-104 Pothast, B., 129 Raeburn, Sir H., attributed to, 114 Rayner, L., 140, 143 Reid, G.O., 10 Reid, R.P., 21 Reid, Sir G., 66 Richter, H.D., 213 Riddel, J., 1 Salisbury, F.O., 124 Scott, T., 3 Scottish School, 131 Shanks, W.S., 69 Sharp, D., 203 Sickert, W.R., 179, 180 Smith, G., 33 Sticks, G.B., 120 Stott, E., 183 Sylvester, H.J., 12 Watson, R., 159 Weight, C., 221, 222 Wells, W.P.A., 168 Whiting, F., 177 Wilson, W., 71, 79 Wright, J., 136 Wylie, K., 203A Wyllie, W.L., 191

Orpen, Sir W., 187

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International Sale of Old Master Paintings & Works of Art Edinburgh: Wednesday, September 28th, 2011 Philadelphia: Friday, October 7th, 2011

Further entries are invited until August 12th, 2011 Contact: David Weiss (Freeman’s) Direct tel: +1 267-414-1214 dweiss@freemansauction.com

Nick Curnow (Lyon & Turnbull) Tel: +44 (0)131 557 8844 nick.curnow@lyonandturnbull.com

FREEMAN’S 1808 Chestnut Street Philadelphia, PA 19103 Telephone: +1 215.563.9275 Fax: +1 215.563.8236 www.freemansauction.com

LYON & TURNBULL 33 Broughton Place Edinburgh EH1 3RR Telephone: +44 (0)131 557 8844 Fax: +44 (0)131 5578668 www.lyonandturnbull.com

JEAN-BAPTISTE GARNIER (french fl. circa 1748-1759) ABRICOTS ET PRUNES Signed with initials “JB.”(cojoined) G.f” bottom center. Oil on panel 9 7/8 x 13 1/8 inches (25.1 x 33.3 cm) provenance: Kunsthandel P. De Boer, Amsterdam Private Collection, Paris Acquired from the above, 1955 Thence by descent in the family Private collection, New York state literature: Michel Fare, Le Grand Siecle de la Nature Morte en France, Fribourg, 1974, p. 252 illus. $12,000-18,000 (£7,500-11,250)

Contemporary Paintings & Works of Art Thursday 25th August, 2011 33 Broughton Place, Edinburgh

ERIC HOLT (BRITISH b. 1944) CARNIVAL FANTASY Signed and dated 1990-91, oil on canvas 91cm x 61cm (36in x 24in)

ÂŁ2,000-3,000

Viewing times Sunday 21st August 12 noon to 4pm Monday 22nd August to Tuesday 23rd August 10am - 5pm Morning of Sale By appointment only

Enquiries Nick Curnow Tel: +44 (0)131 557 8844 nick.curnow@lyonandturnbull.com

Further entries are invited until 15th July 2011

w w w. lyo n a n d t u r n b u l l . co m

STANDARD TERMS & CONDITIONS OF SALE Lyon & Turnbull carries on business with bidders, buyers and all those present in the auction room prior to, or in connection, with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein. 1. DEFINITIONS In these Conditions: (a) “Auctioneer” means the firm of Lyon & Turnbull or its authorised auctioneer, as appropriate; (b) “deliberate forgery” means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which, at the date of the sale, had a value materially less than it would have had if it had been in accordance with the description; (c) “hammer price” means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) “terms of consignment” means the stipulated terms and rates of commission on which Lyon & Turnbull accepts instructions from sellers or their agents; (e) “total amount due” means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) “sale proceeds” means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising;

Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk (*) or dagger (†). Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots.

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(a) pay to us the total amount due in cash or in such other way as is agreed by us. We accept cash, bank transfer (details on request), Switch or Debit Cards and Visa or MasterCard (please note there is a surcharge of 1.5% (VAT included) when using credit cards). We do not accept American Express.

All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

(2) any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. 7. TITLE AND COLLECTION OF PURCHASES (1) The ownership of any lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (2) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than four working days following the day of the auction or upon the clearance of any cheque used for payment after which you shall be responsible for any removal, storage and other associated charges. (3) No purchase can be claimed or removed until it has been paid for. (4) It is the buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main saleroom and the potential storage charges for lots not collected by the appropriate time.

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(b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid, which must be raised before the next lot is offered, shall be settled at the auctioneer’s absolute discretion. (c) Bidders shall be deemed to act as principals. (d) Once made, no bid may be withdrawn. (e) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. 3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion. 4. THE PURCHASE PRICE The buyer shall pay the hammer price together with a premium thereon. Antiques, Jewellery & Silver and Pictures (Not Fine Sales) 17.5%. All other sales (Fine/Special/Collections) 25% up to £25,000 / 20% thereafter. VAT will be charged on the premium at the rate imposed by law.

(2) We shall, as agent for the seller and on their behalf pursue these rights and remedies only as far as is reasonable to make appropriate recovery in respect of breach of these Conditions

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2. BIDDING PROCEDURES AND THE BUYER

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5. VALUE ADDED TAX

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origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer or our employees or agents or the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 “information to buyers”. (2) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation. 16. FORGERIES Notwithstanding the preceding Condition, any Lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

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GENERAL

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13. TERMS OF SALE The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot. 14. STANDARD VENDOR FEES AND CHARGES (Subject to VAT) (1) Commission: 15% of the first £3000 and 10% thereafter is charged on the selling price of each lot (subject to a minimum charge of £30). Loss and damage warranty: 1.5% on value of lots sold. Photography: max £40 mono per lot, max £250 colour. Internet Marketing Service: £10 per lot. (2) If a vendor wishes to withdraw a lot consigned for sale, a withdrawal fee will apply; this will be charged at 15% of the mid estimate with any photography charges incurred and all subject to VAT at the current rate. 15. DESCRIPTIONS AND CONDITION (1) While we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness,

18 (1) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (2). Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them. 19. Any notice to any buyer, seller, bidder or viewer may be given by first class mail in which case it shall be deemed to have been received by the addressee 48 hours after posting. 20. Special terms may be used in catalogue descriptions of particular classes of items (Books, Jewellery, paintings, guns, firearms etc) in which case the descriptions must be interpreted in accordance with any glossary or guidance notes appearing in the catalogue. These notices and terms will also form part of our terms and conditions of sales. 21. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect. 22. Scottish law applies to the interpretation of these Conditions.

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ITH

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