Fine Paintings | 29th November 2012 by Lyon & Turnbull

Fine Paintings Thursday, 29th November, 2012 33 Broughton Place Edinburgh EH1 3RR

Fine Paintings including works from The Knightley Collection The Collection of John Mackenzie, Inverness-shire The Estate of Rudolph Schaefer, Pennsylvania A Private Swiss Estate Thursday, 29th November, 2012 at 5pm Sale Number LT367

Viewing Sunday, 25th November 2pm - 5pm Monday, 26th November 10am - 5pm Tuesday, 27th November 10am - 5pm Wednesday, 28th November 10am - 5pm Thursday, 29th November 10am - 1pm

Specialists Nick Curnow nick.curnow@lyonandturnbull.com Charlotte Riordan charlotte.riordan@lyonandturnbull.com

Catalogue: £10 BUYER’S 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 (artist’s retail rights) applies (see our Terms and Conditions of Sale and Information for Buyers).

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Indian & Asian Paintings & Sculpture

Property of John Mackenzie, Inverness-shire Lots 1-8 and 86

Arpita Singh Over the last few decades, India has undeniably grown in stature in Western awareness, both economically and culturally speaking. The Indian art scene inevitably evolved alongside the industrial and social developments and so too has outside interest in their artists. One of the most well known - not to say significant - of the first wave to come to universal attention is Arpita Singh. Born in 1937, Singh lives in New Delhi where she studied at the School of Art in the 1950s. She has exhibited widely in group and solo shows with notable venues, including the Royal Academy in London and the Pompidou Centre in Paris. Though Singh’s career has seen some level of experimentation, her work has a remarkably strong identity and explores specific and familiar motifs. Lyon & Turnbull are delighted to present ‘Don’t cross Central Park at night’, a painting created for her 1996 solo exhibition at the Centre of International Modern Art in Calcutta. Singh’s work is rare on the UK’s secondary art market, and this piece

perfectly exemplifies both her traditional idioms and the exploration of the new themes which emerged in her art from the 1990s onwards. The 90s saw Singh introduce a vulnerability to her female figures. Depicting the nude for the first time in her 1996 exhibition, she began to develop the new motif of the curled, foetal and incumbent woman. The title of this work is taken from a line by the Nobel Prize winning Mexican poet Octavio Paz, which resonated with Singh’s growing maternal concerns about the safety of society. Her palette of grey and blue is reflective of this undercurrent of emotion. Also present is the slightly surreal quality that characterises much of her work. The bustling juxtaposition of figures, cars, letters and numbers create a dream-like effect that refuses to read as a narrative. Despite the tension of the subtexts, this jumbled, almost stream of consciousness approach to her canvas lends the work a sense of playfulness. It is also demonstrative of her absorption - subconscious or otherwise - of the folk art traditions of her culture, manifest here in a decorative

arrangement of colour, form and texture that almost borders on pattern.

1 FE30/5 ARPITA SINGH (INDIAN b. 1937)

Included in several texts examining contemporary female artists, the temptation has been to view Singh’s work from a feminist reference point. Though issues of suppression and inequality pervade the art of many of her contemporaries, Singh resists such interpretations of her own work. She states that her paintings are feminine in that they are created by a woman in Indian society examining her place within it, but argues that this is an inevitability rather than an intention, and not something that need blinker the reading of her work. She describes her process as very much an organic articulation of her inner thoughts as opposed to being something formalised and premeditated.

ROAD SIGN: DONT CROSS CENTRAL PARK AT NIGHT Signed and dated 1995, inscribed, oil on canvas 91.5cm x 106.5cm (36in x 42in) Provenance: Chemould Gallery, Bombay Exhibited: CIMA Gallery, Calcutta, Arpita Singh, 1996, referred to in the text and illustrated in the plates

£40,000-60,000

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

4 2 FE30/8 ARPITA SINGH (INDIAN b. 1937)

3 FE30/7 ARPITA SINGH (INDIAN b. 1937)

UNTITLED

Signed and dated 1996, pen and ink and watercolour

Signed and dated ‘96, pen and ink and watercolour

4 FE30/6 ARPITA SINGH (INDIAN b. 1937)

21.5cm x 30cm (8.5in x 11.25in)

21.5cm x 30cm (9.5in x 11.25in)

Provenance: Chemould Gallery, Bombay

£3,000-5,000

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

5 FE30/10 JU MING (CHINESE b.1938) TAI CHI FIGURE Signed and dated '91, numbered 8/20, bronze 33cm x 30cm x 28cm (13in x 12in x 11in) Provenance:

Hanart (Tapei) Gallery November 25, 1994 £30,000-50,000 Ju Ming is one of Taiwan’s foremost sculptors. He won fame in Asia in the 1970s with the success of his Tai Chi Series, of which the work featured in this sale is an example. In the early 1980s his career came to the attention of the Western art world and he found ready representation in New York. Today, you are able to visit the Juming Museum near Taipei which, funded by the artist himself, houses a considerable body of his work. His practise is almost entirely figurative and encompasses the mediums of wood, bronze, ceramic and steel. In critical narratives, Ju Ming’s career is frequently described as a “journey”. This word is apt in its usage as he has built and refined his art practise in the face of numerous material obstacles, while simultaneously striving to harmonise his career with his spirituality. Born in rural Tongsiao in 1938, Ming was the eleventh child in his family. His school career was short, leaving at

thirteen years of age to begin financially assisting his parents. His first epiphany, as it were, came at the age of fifteen when he witnessed the restoration and repair of the town shrine. He gained an apprenticeship under the craftsman Lee Chin-chuan which marked the first stage in his journey as a sculptor. Chin-chuan was to have an immense impact on Ming, encouraging him to develop his draughtsmanship and to respect and work with the integrity of his materials. A driven individual, Ming set up his own practise in his twenties and, for a time, made a success of the venture. A competitive market place and ill-advised overexpansion of the company led to its failure but also marked Ming’s realisation that his strengths lay as an artist, as opposed to a businessman. His determination and intuitive understanding of the nuances of sculptural practise was notable in his subsequent decision to reapprentice himself under the artist Yang Yu-Yu. Continued focus and dedication to his craft led quickly to critical and commercial success.

tangible representation of the self-discipline that sets him apart as a master of his craft. Ming had been encouraged to take up the art of Tai Chi by Yang Yu-Yu and took to it instantly. He found that his approach to sculpture – the respect for his materials, allowing them to follow their own natural forms – resonated with Tai Chi’s message of universal harmony. Many of the works from the Tai Chi Series are on an awe-inspiringly monumental scale but in Ming’s hands even bronze has a lightness and gentleness. Their silent, balanced perfection is such that visitors to the Juming Museum have described feelings of immense inner peace in their presence. Though the work represented here is of one of several examples made on a more compact scale, the essence is in no way diminished. Rather, it has been distilled for daily contemplation and enjoyment in the home.

The Tai Chi Series was pivotal to Ming’s career. As well as bringing him to international attention it was the first fruition of his hard sought refinement as an artist; a

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

6 FE30/1 YU YOUHAN (CHINESE b. 1943) THE LONG MARCH Signed in Chinese and dated 1993, acrylic on canvas 96.5cm x 117cm (38in x 46in) Provenance: Hanart (Tapei) Gallery November 25, 1994

£50,000-70,000 Like his contemporary Li Shan, Yu Youhan, born in 1943, also succeeded in depicting Mao in a new, unproscribed light. His relationship with the political leader is less ambiguous and conflicted than Shan’s. Yu Youhan’s work generally carries more of a focus upon the nature of icons and the human tendency to adulate, which he often explored via the juxtaposition of Eastern and Western popular figures. Central to his practise is a play upon the Maoist principle of “art for the pleasure of the masses”. His art is patterned with flowers and other folk art characters, lending a whimsical, almost psychedelic reading of his work.

His piece ‘The Long March’ has a particularly personal resonance. As a young man growing up under the rule of Mao Zedong, Youhan and several childhood friends, including the artist Zhang Hongtu, attempted to trace the footsteps of their leader on the Long March. In 1934-5, Mao had led the Communist army thousands of miles over a period of 370 days in retreat against the forces of the Chinese Nationalist Party. It was on the march that he gained considerable political power, garnering much support and rising rapidly within the ranks of the Communist party. The idealistic young artists walked

on foot to the place of Mao’s birth, carrying flags and a portrait of their leader. Upon their return to Shanghai however, Hongtu was investigated under suspicion of anti-Revolutionary sympathies and became disabused with the regime as a result. This breakdown in his political ideologies eventually led to his decision to emigrate to the U.S.A. Youhan remained and, alongside Li Shan, went on to gain significant renown in China and beyond. He now lives and works in Shanghai, teaching at the Shanghai Institute of Industrial Arts.

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

Li Shan In the late 1980s and early 1990s China witnessed the rise of its avant-garde art scene, the most significant and internationally renowned branch of which was the Political Pop movement. The key protagonists were Wang Guangyi, Li Shan and Yu Youhan. Predominant in each of their practise was experimentation and play with iconographic imagery, most obviously with famous propaganda portraits of the Chinese Communist leader, Chairman Mao Zedong. The Political Pop artists walked a fine, not to say complex, line and engaged with potentially explosive subject matter. Their sophisticated explorations of political satire and Western art practise left a legacy that remains hugely influential today. Born in 1940, Li Shan is best known for his highly regarded Rouge Series (1989) in which he depicts an ambiguously gendered Mao wearing lipstick and carrying a lotus flower, set upon a background of punchy, primary colour that clearly owes much to the influence of American Pop Art. Shan grew up during the Cultural Revolution, a period of Zedong’s rule that saw the

‘cleansing’ of capitalist and bourgeois elements from Chinese Communist society, with major restrictions placed on artistic expression, as per the Socialist Realist model of the Soviet Bloc. Shan, who was one of the urban youths sent to gain “re-education through labour” as part of Mao’s Down to the Countryside project, would study Western art, such as Impressionism, in secret. The Cultural Revolution effectively ended upon the death of Mao in 1976 and the subsequent generation were left to assimilate complicated mixed feelings towards his regime. Contemporaries such as Zhang Hongtu, who emigrated to the U.S.A. in the late 1980s, are overtly critical of the censorship which had been a major bi-product of Mao’s dictates. Li Shan and Yu Youhan, however, are less explicit in their politics and gentler in their mockery of Mao’s image. By playing with Mao’s gender, Shan is able to diffuse residual tensions in his fellow countrymen’s encoded interpretations of the image, allowing for a more objectified consideration of Mao. Also of significance was his Seven Days of the Week series. Shan selected the

goose as a reoccurring motif but refuses to elaborate on the meaning with which he has imbued it. Commonly, it has been interpreted as a cipher for humanity; the identical nature of the geese representative of our repetitive and often mundane existence. This series also marked Shan’s move away from figuration and he has since only depicted animals and insects in his art. Shan continues to experiment widely and is regarded as being consistently a step ahead of many of his contemporaries.

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7 LI SHAN (CHINESE b. 1942) ROUGE SERIES -YOUNG MAO Signed, inscribed and dated 1994, mixed media on canvas 38cm x 50cm (15in x 19.5in) Provenance: Hanart (Tapei) Gallery November 25, 1994

ÂŁ10,000-15,000

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

8 LI SHAN (CHINESE b. 1942) SEVEN DAYS OF THE WEEK Signed inscribed and dated 1994, mixed media on canvas 38cm x 50cm (15in x 19.5in) Provenance: Hanart (Tapei) Gallery November 25, 1994

ÂŁ10,000-15,000 9-15 No lots

British & Continental Paintings

The Knightley Collection Part I

Antonietta Brandeis Born in Miskowitz, Austria, in 1849 Antonietta Brandeis began her artistic education studying under Karel Javerek in Prague. She later moved to Italy, furthering her training as a pupil at the Academy in Venice. The city had long been closely affiliated with Austria (it was under her rule for a large part of the 19th century) and such a move was not uncommon for Austrian artists. Fellow Austrians, such as F.R. Unterberger and Eugen de Blaas, also drew inspiration from Venice’s inimitable setting and celebrated light but Brandeis’ prolific production of

architecturally accurate city vistas was unparalleled amongst her contemporaries. In her work prominent landmarks are rendered in precise detail, as can be seen in paintings such as Santa Maria Della Salute and The Bridge of Sighs. Brandeis records the variety and beauty of Venice’s architecture meticulously while managing to capture the unique light and vitality of Venice. Splashes of vivid colour and a notable human interest – almost all her work features gondolas gliding past the iconic buildings – give us a

bright, serene sense of the life of the city. Venice had been an essential stop for wealthy Europeans on the Grand Tour since the 17th century and the constant flow of tourists provided a ready market for Brandeis’ work. Affluent travellers keen to return home with souvenirs of their time in the city found the ideal mementos in her small scale, ‘postcard’ views. While she also painted famous sites in Rome and Florence, it is Brandeis’ Venetian works which remain her most admired and sought after.

16 ANTONIETTA BRANDEIS (CZECHOSLOVAKIAN 1849-1910) SANTA MARIA DELLA SALUTE AND THE CUSTOM’S HOUSE Signed, oil on panel 12cm x 21.5cm (4.75in x 8.5in)

£4,000-6,000

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

17 FD98/2 ANTONIETTA BRANDEIS (CZECHOSLOVAKIAN 1849-1910) THE RIALTO BRIDGE Signed with a monogram, oil on canvas 24cm x 34cm (9.5in x 13.5in)

£4,000-6,000

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

18 FD98/5 ANTONIETTA BRANDEIS (CZECHOSLOVAKIAN 1849-1910) SANTA MARIA DELLA SALUTE Signed with a monogram, oil on panel 32.5cm x 23cm (12.75in x 9in)

£7,000-10,000

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

19 ANTONIETTA BRANDEIS (CZECHOSLOVAKIAN 1849-1910) PALAZZO VENDRAMIN, VENICE Signed, oil on panel 17cm x 24cm (6.75in x 9.5in)

and a companion a pair ‘Chioggia’ (2) £7,000-9,000

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Édouard Henri Leon Cortès Cortès was born in 1882 in Lagny-sur-Marne, a few miles east of Paris, the centre of the European art world in the late nineteenth and early twentieth century. Artists from across the globe travelled to the French capital to study and paint its beautiful countryside. Views of Paris, or as it became known ‘the City of Lights’, were in great demand with both collectors and tourists. Édouard had both French and Spanish ancestry. His father was Antonio Cortès, a Spanish Court painter. Antonio began teaching Édouard at an early age and enrolled him in a private elementary school where he continued his schooling until the age of 13. From this point on he devoted his life to art – working and studying with both his father and older brother. At the age of seventeen he began his studies at the École des Beaux-Arts, Paris. He first exhibited his work in 1901 at the Salon des Artistes Français. His piece depicting a dramatic Paris scene at dusk brought him immediate recognition. He became an

active member of the prestigious Société des Artistes Francais and the Union des Beaux-Arts de Lagny of which he was the Union’s first president. He received many awards and considerable public recognition and was a frequent exhibitor at the Paris exhibitions including the Salon d’Automne, Salon d’Hiver, Salon de la Société Nationale de l’Horticulture and Salon des Indépendants.

lights on wet pavements, shadows on the street, glowing windows and street lamps, or the flash of a scarf belonging to an unseen passerby. Scenes such as ‘Avenue de L’Opera,’ ‘Porte St. Denis’ and his other works on sale, are typical of his style and subjects, depicting Paris landmarks such as Nôtre Dame and the Opera House, surrounded by fashionable Parisians and vibrant bustling metropolitan streets.

‘Nôtre Dame by Night’ follows in the tradition of painting night scenes, or “nocturnes”, made popular by the Impressionists. The Impressionists’ fascination with the momentary and the transient is echoed in the transitory nature of the light of Cortès’ sunsets and dusks.

After dedicating his life to seizing the magic of Paris during its transition from the romantic Belle Epoque to the modern, twentieth century capital as we know it, Cortès has left a legacy of exuberant and atmospheric Parisian scenes, now found in many prestigious collections around the world.

Édouard Cortès’ paintings express the romance, energy and charm of Paris in the late nineteenth and early twentieth century through his masterful application of bold brush strokes and colour. His works display great technical skill in their perspective and composition. The viewer’s eye is caught by fascinating details, such as the play of

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

20§ FD98/9 ÉDOUARD HENRI LEON CORTÈS (FRENCH 1882-1969) VIEW OF NÔTRE DAME Signed, oil on canvas 33cm x 46cm (13in x 18in)

£10,000-15,000

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

21§ FD98/8 ÉDOUARD HENRI LEON CORTÈS (FRENCH 1882-1969) AVENUE DE L’OPERA Signed, oil on panel 17cm x 22cm (6.75in x 8.75in)

and a companion a pair ‘Place Vendôme’ (2) £10,000-15,000

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

22 GIOVANNI GRUBACS (ITALIAN 1829-1919) THE MOLO, VENICE Signed, oil on panel 15cm x 25.5cm (6in x 10in)

£6,000-8,000

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

Willem Koekkoek

23 FD98/28 WILLEM KOEKKOEK (DUTCH 1839-1895) VIEW OF AMSTERDAM IN WINTER Signed, oil on canvas 86.5cm x 123cm (34in x 48.5in)

ÂŁ80,000-120,000

Willem Koekkoek was the son of Hermanus Koekkoek Snr. and a third generation member of the highly regarded Koekkoek dynasty of painters. Each focused on a specific sub-genre of landscape with Willem making the townscape unequivocally his own. There is an abundance of detail to be read within his works; every brick, paving slab and roof tile described with meticulous care. Like his father Hermanus Snr., Willem also favoured representations of industrious activities and every character within his city microcosms tells his own narrative. The 19th century Dutch School were often known to sketch en plein air in spite of

cold and even snowy conditions. Despite working closely with his subjects, Willemâ&#x20AC;&#x2122;s views were often capriccios; romanticised accounts of the everyday. Romanticism can loosely be described as an intellectual movement which evolved in response to the political and scientific developments of the Enlightenment, manifesting in various forms across the Continent. French artists such as Eugene Delacroix provided an emotive and often politicised reaction to the Neo-Classicism that had dominated the arts for centuries while the Germans explored a fascination with nature and its elemental forces. At the same time, the Dutch turned to the 17th century for inspiration,

returning to the snow, town and seascapes that defined the work of their predecessors during the Dutch Golden Age. Willem and his peers had a gentle take on the concept; perceived by some critics as indicative of a national character. The Dutch have historically been viewed as a practical and industrious people with a landscape which undoubtedly lends itself more readily to pastoral depictions than to the sublime. Their subjects are rose-tinted idylls which celebrate simple pleasures, with emphasis placed on atmosphere over drama and consistency over upheaval. The gently atmospheric subject matter of works by artists like Willem Koekkoek exude a peaceful wholesomeness that is difficult to tire of, and have proved perennially popular among collectors.

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24 FD98/29 WILLEM KOEKKOEK (DUTCH 1839-1895) VIEW OF A DUTCH TOWN IN WINTER WITH FIGURES BY A RIVER Signed, oil on panel 21cm x 15cm (8.25in x 6in)

£3,000-5,000

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

25 FD98/27 WILLEM KOEKKOEK (DUTCH 1839-1895) WINTER STREET SCENE IN HOLLAND Signed, oil on panel 41cm x 30cm (16in x 11.75in)

£12,000-18,000

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

Frederik Marinus Kruseman Born in Haarlem in 1816, Frederik Marinus Kruseman studied under several significant figures of the 19th century Dutch School, including Jan Reekers and Barend Cornelis Koekkoek. Like the Koekkoek’s, many of Frederik Marinus Kruseman’s family were artists by industry. He was a relative of the phenomenally successful Cornelis Kruseman (17971857) and the cousin of Jan Adam Kruseman (1804-1862), a painter of historical scenes. Frederik specialised in seasonal landscapes, his greatest talent lying in the depiction of snow scenes which have since become his most sought after works. The snow scene is the quintessential motif of Romantic Dutch art. The Flemish Renaissance artist Pieter Bruegel The Elder is largely credited with having

inventing the genre. One of his most famous works, ‘Hunters in the Snow’, was painted during an unusually harsh winter in 1565. This was the start of a period which scientists now refer to as the ‘Little Ice Age’, which saw a plunge in temperatures in the Western hemisphere between the mid-16th century and 17th century. A time of massive adjustment and apprehension for the people of Medieval Europe, Bruegel recorded the changed landscape and its subsequent impact. Rather than painting a bleak picture, however, the images are generally uplifting and relay a positive message about the adaptability of the human race. By the 19th century the harshness of the Little Ice Age was much diminished and, perhaps through nostalgia for the sense of

community and revelry that pervades Bruegel’s work, artists in the 19th century chose to embellish their own winter scenes accordingly. In this work, Kruseman represents the same skating revellers, the children wrapped up warm to play, the rustic figures going about their daily business. Kruseman travelled extensively in Northern Europe, working closely within the communities he painted and in 1845 he settled in Brussels. This sensitivity to his subjects and gentle nostalgia for his artistic heritage means that his artworks are both highly regarded and immensely collectable today.

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26 FREDERIK MARINUS KRUSEMAN (DUTCH 1816-1882) A DUTCH WINTER LANDSCAPE Signed and dated 1876, oil on canvas 50cm x 70cm (19.75in x 27.5in) Literature: Marjan Van Heteren, Jan De Meere, Frederick Marinus Kruseman painter of pleasing landscapes.

ÂŁ40,000-60,000

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

27 FREDERIK MARINUS KRUSEMAN (DUTCH 1816-1882) WINTER LANDSCAPE Signed and dated 1870, oil on canvas 70cm x 100cm (27.5in x 39.5in) Literature: Marjan Van Heteren, Jan De Meere, Frederick Marinus Kruseman painter of pleasing landscapes.

ÂŁ80,000-120,000

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

28 FD98/30 FREDERIK MARINUS KRUSEMAN (DUTCH 1816-1882) A WINTER LANDSCAPE Signed and dated 1853, oil on panel 26cm x 35cm (10.25in x 13.75in)

£20,000-30,000

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

29 FD98/17 CORNELIS CHRISTIAAN DOMMERSEN (DUTCH 1842-1928) UTRECHT Signed with initials and dated ‘94, oil on canvas 28cm x 21.5cm (11in x 8.5in)

£2,000-3,000

30 FD98/40 JAN FRANCISCUS SPOHLER (DUTCH 1853-1894) THE DRAWBRIDGE, AMSTERDAM WITH THE NEW TOWER IN THE DISTANCE Signed, signed and authenticated on a label verso, oil on panel 20cm x 16cm (8in x 6.25in)

£4,000-6,000

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

Hermanus Koekkoek Snr. Hermanus Koekkoek Snr (1815-1882) was famed for his beautifully atmospheric seascapes. A member of the Koekkoek dynasty, he was the youngest of the four famous Koekkoek brothers, all of whom were highly successful artists working in the manner of the 17th century Dutch School. Hermanus initially trained under his artist father, Jan Hermann Koekoekk, before moving to Amsterdam to continue his development. He went on to father Hermanus Jnr. and Willem Koekkoek who enjoyed lucrative and critically admired artistic careers in their own right. Hermanus conducted much of his career in Amsterdam and was a member of, and

regular exhibitor in, the Dutch Royal Academy. It is thought that he lived in Britain for a time as he is also recorded as having exhibited work in the Royal Academy in London. The subject of the work represented here would almost certainly have been painted during this period. It is demonstrative of many of his typical compositional devices; the industrious workers, the atmospheric sky, the painstakingly observed rigging and sail arrangements, the majority of the compositional detail confined to a slim, right angled section of the painting. Hermanus’ work is generally read as patriotic, his focus frequently on the bustling industry of the Dutch shipping channels and waterways. As a

consequence, examples of foreign scenes such as this are somewhat unusual, though they explore his typical motifs. Perhaps best known for depicting millpond still waters, wind roughened seas are a little less common within his oeuvre. While the majority of 19th century Dutch Romanticism was pastoral, rose-tinted and idyllic, the acknowledgement of the turbulence of nature’s forces in this work has more in common with the Romanticism of the British and German Schools of the time.

31 FD98/25 HERMANNUS KOEKKOEK SNR. (DUTCH 1815-1882) A BUSY COASTAL SCENE WITH FISHING BOATS AND FIGURES ON THE BEACH Signed, oil on canvas 70.5cm x 100cm (27.75in x 39.5in)

£50,000-80,000

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

32 HERMANNUS KOEKKOEK SNR. (DUTCH 1815-1882) DUTCH SHIPPING OFF AMSTERDAM Signed, oil on canvas 35.5cm x 58cm (14in x 22.75in)

and a companion a pair ‘Shipping in an estuary’ (2) £30,000-50,000

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

33 FD98/18 ADRIANUS EVERSEN (DUTCH 1818-1897) ZWOLLE, HOLLAND Signed and inscribed, oil on panel 41cm x 53.5cm (16in x 21in)

£15,000-20,000

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

34 FD98/41 JAN JACOB SPOHLER (DUTCH 1811-1866) A WINTER LANDSCAPE WITH FIGURES ON A FROZEN RIVER Signed, oil on panel 25cm x 32.5cm (9.75in x 12.75in)

£5,000-8,000

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

35 FD98/42 JAN JACOB SPOHLER (DUTCH 1811-1866) SKATERS ON A FROZEN RIVER Signed, oil on canvas 42cm x 65cm (16.5in x 25.5in)

£7,000-10,000

Other Properties

36 FE154/19 BERNARD POTHAST (DUTCH 1882-1966) HELPING MOTHER Signed, oil on canvas 76cm x 66cm (30in x 26in)

£5,000-7,000

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

37 HENDRIK WILLEM MESDAG (DUTCH 1831-1915) ARRIVAL OF THE FISHING FLEET Signed, watercolour 51cm x 35.5cm (20in x 14in) Provenance: Presented to the current owner’s grandfather T A S Fortune O.B.E who was General Manager of Leith Docks. During the 1930’s extensive work was carried out to the docks by Dutch workers and Fortune was presented with the watercolour in appreciation at the end of the contract.

£6,000-8,000

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

38 FE509/1 FOLLOWER OF THOMAS VAN APSHOVEN (FLEMISH 1622-1664) A BUSY VILLAGE SCENE WITH CAROUSING FIGURES AND DISTANT WINDMILL Oil on canvas 120cm x 206cm (47.25in x 81in)

£6,000-8,000

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

39 FD466/3 FOLLOWER OF PAUL BRIL (FLEMISH 1554-1626) A WOODED LANDSCAPE WITH FIGURE BEING BAPTISED Oil on copper 23cm x 34.5cm (9in x 13.5in)

£4,000-6,000

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

40 FA917/1 EDWARD PRITCHETT (BRITISH 1828-1864) SANTA MARIA DELLA SALUTE AND THE BACINO Signed, oil on canvas 24cm x 39.5cm (9.5in x 15.5in) Provenance: Property of a deceased estate.

£8,000-12,000

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

41 FD400/2 JOHN FREDERICK LEWIS R.A. (BRITISH 1804-1876) HEAD OF A CAIRO LADY Mixed media on panel, oval, inscribed on a label verso 14.5cm x 12.5cm (5.75in x 5in)

£800-1,200

42 FE154/13 JOHN CHESSELL BUCKLER (BRITISH 1793-1894) VIEW OF EDINBURGH FROM ST. MARY’S CHAPEL Signed, pen and ink and watercolour 24cm x 33cm (9.5in x 13in)

£2,000-3,000

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

43 H. HUME NISBET (SCOTTISH 1849-1923) SUNSET AT SYDNEY HARBOUR Signed and dated 1872, inscribed verso, oil on canvas 63cm x 91cm (25in x 36in)

£1,000-1,500

44 FRITZ KLINGELHÖFER (GERMAN 1831-1903) FIGURES IN A RIVERSIDE ENCAMPMENT Signed, inscribed and dated ‘Niger 1887’, oil on canvas, unframed 63cm x 93cm (25in x 36.5in)

£1,000-1,500

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

45 FA917/2 EDWARD LADELL (BRITISH 1821-1886) A STILL LIFE OF FRUIT, WINE GLASS AND DECANTER Signed with a monogram, oil on canvas, arched top 34cm x 29cm (13.5in x 11.5in) Provenance: Property of a deceased estate.

ÂŁ8,000-12,000

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

46 FC857/4 ALFRED POLLENTINE (BRITISH 1836-1890) SANTA MARIA DELLA SALUTE FROM THE GRAND CANAL Signed and dated ‘80, oil on canvas 23cm x 38cm (9in x 15in)

and a companion ‘A view of the Grand Canal’ (2) £2,000-3,000

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

47 FC972/27 ARTHUR HACKER R.A. (BRITISH 1858-1919) HOME FROM THE FIELDS Signed, oil on canvas 152cm x 91cm (60in x 36in)

£10,000-15,000

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

48 FC972/33 ATTRIBUTED TO LOUISE J. GUYOT (FRENCH 1869-1927) GUIDING THE HERD HOME Signed ‘J. L. Guyot, Paris’, oil on canvas 35cm x 57cm (13.75in x 22.5in)

£1,200-1,500

49 FE28/1 G** VAUTIER (19TH/20TH CENTURY) ON THE RIVER BANK Signed, oil on canvas 41cm x 61cm (16in x 24in)

£700-1,000

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

50 FE611/2 EUGENE VERBOECKHOVEN (BELGIAN 1799-1881) RUSTIC PUSUITS Signed and dated 1874, oil on panel 56cm x 48.5cm (22in x 19in) Provenance: Dr Isobel Wylie Hutchison, Carlowrie Castle, 1982

ÂŁ3,000-5,000

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

51* FE187/1 THOMAS BUTTERSWORTH (BRITISH 1768-1842 KING GEORGE IV'S VISIT TO SCOTLAND - THE ARRIVAL AT LEITH Signed, oil on canvas 20cm x 88cm (8in x 34.5in)

and a companion a pair 'Disembarcation of the Royal Party at Leith; (2) Provenance: Kennedy Galleries Inc. New York Rudolph Schaefer, author J.E. Buttersworth, 19th Century Marine Painter, and thence by descent

£30,000-50,000

Viewed as a significant, indeed pivotal, figure in British maritime portraiture, Thomas Buttersworth is remarkable among fellow artists of the subject in that he had served a significant naval career prior to carving his reputation as a painter. Born in 1768, Buttersworth was a native of the Isle of Wight. Considering the island’s long history of seafaring, it is perhaps unsurprising that ships were to become his way of life in one form or another. Buttersworth had climbed the ranks to midshipman by the age of thirty two, but found himself discharged later that year after sustaining an injury at the port in Menorca. He had begun painting very early on

in his naval days and it is thought his discharge from the military was the catalyst which led him to take up a career as a painter in earnest. Within a decade Buttersworth had risen to prominence as an artist of maritime subjects. His firsthand experience of significant battles, such as Trafalgar and Cape Saint Vincent, lent his compositions a drama and technical realism that thrilled the buying public, whose fascination with the sublime during the early decades of the 19th century demanded representations of adventure, peril and adversity. More than happy to oblige them, many of his works depict battles, pirates and shipwrecks, focusing on events in modern history. Such was his popularity by 1810 that he was appointed the official marine painter of the East India Company. His reputation continued to expand as a result, culminating in the inclusion of one of his paintings, the Ville du Paris, in a Royal Academy exhibition in 1813. In 1822 Buttersworth recorded the landing of the newly crowned King George IV in Edinburgh, the first Royal visit to Scotland since 1650,

the days of the Stuart monarchs. Organised for political reasons, it was hoped the visit would serve to increase the king’s popularity across the English Border and quell the rumblings of Scottish radicals who, in the light of the recent revolutions in France and America, viewed his rule as little better than an oligarchy. Buttersworth was to record the moment the King’s vessel the Royal George docked into the Port of Leith. Here he was greeted by hundreds of his Scottish subjects and conveyed along the streets of Edinburgh, transformed into a festival of traditional pageantry, up to the Castle. The ship arrived at noon on the 14th August, the landing postponed until the 15th due to severe drizzle which, if it not portentous, was at any rate predictable.

the presence of such nationalism and adopted the Highlander’s tartan and the kilt as their uniform also. This subsequent craze for “Highlandism” still influences the way Scotland perceives itself and is perceived today. A sense of united, national identity was reborn. Buttersworth’s paintings tap into the romance of the occasion, their sweeping panoramas entirely suited to capturing Edinburgh’s unique topography. As Robert Mudie wrote in his contemporaneous account of the King’s visit: “the broken outline of crags, and cliffs, and stupendous buildings, peered out amidst the incumbent gloom with a wild and most romantic effect. The King surveyed this singular prospect with the most marked interest; and, turning to his attendants, exclaimed, ‘This is wonderful! – what a sight!”

The visit, orchestrated to a great extent by the famous author Sir Walter Scott, proved significant politically and socially for Scotland. Highland clans were united; encouraged to display their traditionalism. The Lowland middle and upper classes, largely responsible for the Highland Clearances of recent years, were infected by

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

52 CECIL ALDIN (BRITISH 1870-1935) PUNCH LOOKING FOR MASTER Signed and inscribed, coloured chalk 20cm x 16cm (8in x 6.25in)

£600-900

53 HENRI LE SIDANER (FRENCH 1862-1939) PLACE DE LA CONCORDE Signed, pencil, inscribed verso ‘1er croquis pr le tableau du Museé de Tourcoing’ 10cm x 15cm (4in x 6in) Provenance: Roland, Browse and Delbanco, London

£700-900

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

54 FE154/11 JOHN MITCHELL (SCOTTISH 1837-1929) THE DEE VALLEY NEAR BALMORAL Signed and dated 1897, watercolour 38cm x 54cm (15in x 21.25in)

£800-1,200

55 FE584/2 WILLIAM SIMPSON R.I., R.G.S. (SCOTTISH 1823-1899) QUEEN'S VIEW, LOCH TUMMEL Signed, inscribed and dated 3 Sep 1880, watercolour 36cm x 53.5cm (14in x 21in)

£1,200-1,800

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

56 FE154/9 WILLIAM WATSON (BRITISH 1831-1921) SHEEP ON A HILLSIDE Signed and dated 1892, oil on canvas 33cm x 48cm (13in x 19in)

£1,000-1,500

57 FC972/28 ALFRED PROVIS (BRITISH 1843-1886) FEEDING THE PETS Signed and dated 1876, oil on canvas 31cm x 41cm (12in x 16in)

£1,500-2,500

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

58 FD449/3 ENRIQUE SERRA (SPANISH 1859-1918) PORTRAIT STUDY OF A GIRL Signed, oil on canvas 73.5cm x 41cm (29in x 16in)

£3,000-5,000

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

59 ALFRED POLLENTINE (BRITISH 1836-1890) THE SANSOVINO LIBRARY AND SANTA MARIA DELLA SALUTE FROM THE BASIN Signed and dated ‘80, oil on canvas 23cm x 38cm (9in x 15in)

and another by the same hand ‘View of Venice’ (2) £2,000-3,000

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

60 FC972/30 OLIVER CLARE (BRITISH 1853-1927) STILL LIFE OF ASSORTED FRUIT ON A LEDGE Signed and dated 1920, oil on canvas 44cm x 53cm (17.25in x 21in)

£800-1,200

61 FE120/6 WILLIAM A. BREAKSPEARE R.I. (BRITISH 1855-1914) THE TRYST Signed, oil on panel 19cm x 30.5cm (7.5in x 12in)

£500-800

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

62ยง FA917/3 ANTOINE BOUVARD (FRENCH 1870-1956) BRIDGE OVER THE CANAL Signed, oil on canvas 51cm x 66cm (20in x 26in) Provenance: Property of a deceased estate.

ยฃ6,000-8,000

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

63 FE179/1 ALBERT LEBOURG (FRENCH 1849-1928) LA MARNE AU PARC DE SAINT-MAUR Signed, oil on canvas 40cm x 73cm (15.75in x 28.75in) Provenance: Richard Green , London

£15,000-20,000

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

Walter Richard Sickert The work offered here for sale is part of a key series of paintings created by Sickert of St Mark's Square in Venice. Sickert first visited Venice in his early thirties, having fallen in love with the city through the etchings of his tutor James McNeill Whistler. He instantly formed an attachment, describing it as â&#x20AC;&#x153;the loveliest city in the worldâ&#x20AC;? and visited regularly between

the years 1894 and 1904. The motif of St Mark's Square was chosen partly from a commercial view point to alleviate his financial worries at the time, and partly out of a fascination with the results of repeating a composition time and again in different light effects and times of day. Unlike the famous Venetian precedents created by Whistler, Turner and Monet,

Sickert's Venice is not a dream-like city of light or a romantically faded jewel in a fallen empire's crown. His studies reflect the reality of the place; the ragged wellworn truth behind the veneer. His works still venerate the city but do not feel the need to disguise the fact its grandeur has faded, albeit in a strangely charming fashion. His Venetian output has

recently been re-evaluated; its importance previously sidelined in the face of populist interest in his Camden Murder series and it is now recognised as having been crucial to his continued artistic development. Returning each time with a renewed sense of creativity, Sickert was able to firmly instate himself as the leader of modern British art.

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

64§ FD663/2 WALTER RICHARD SICKERT R.A. (BRITISH 1860-1942)

65 FC972/26 HAROLD HARVEY (BRITISH 1874-1941) HOLIDAYS

FIGURES IN THE PIAZZA IN FRONT OF ST. MARKS, VENICE

Signed and dated ‘12, oil on canvas

Oil on panel

Provenance: Henry B. Briggs, Plymouth Pyms Gallery, London, Rural and Urban Images, 1984, no.30

18cm x 23cm (7in x 9in) Provenance: George Plank acquired directly from the artist

38cm x 48cm (15in x 19in)

Exhibited: Plymouth Art Gallery, 1913 Pyms Gallery, 1984, no.30 Penlee House Gallery, Penzance, Newport Art Gallery and Wolverhampton Art Gallery, Harold Harvey, Painter of Cornwall, 2001-2002, no.163 Literature: Kenneth McConkey, Peter Risdon and Pauline Sheppard, Harold Harvey, Painter of Cornwall, no.163, p.142

£20,000-30,000

£10,000-15,000

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

66 FE619/3 ALFRED DE BREANSKI SNR. (BRITISH 1852-1928) VIEW OF ARROCHAR Signed, oil on canvas 36cm x 61cm (14in x 24in)

£4,000-6,000

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

67 FE154/14 ALFRED DE BREANSKI SNR. (BRITISH 1852-1928) EVENING NEAR DORCHESTER Signed, signed and inscribed verso, oil on canvas 61cm x 102cm (24in x 40in)

£3,000-5,000

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

68ยง FE619/2 ALFRED FONTVILLE DE BREANSKI JR. (BRITISH 1877-1955) LOCH ETIVE Signed, signed and inscribed verso, oil on canvas 61cm x 91cm (24in x 36in)

ยฃ2,000-3,000

The Knightley Collection Part II

69 FD98/16 WILLIAM DAVIES (BRITISH fl. 1890-1901) LOCH LESTIL Signed and dated 1889, inscribed verso, oil on canvas 23cm x 33cm (9in x 13in)

and a companion a pair ‘Capel Curig’ (2) £2,000-3,000

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

70 FD98/33 SIDNEY RICHARD PERCY (BRITISH 1821-1886) NEAR BARMOUTH, NORTH WALES Signed, oil on canvas 23cm x 46cm (9in x 18in)

and a companion a pair ‘On the Llugwy’ (2) £10,000-15,000

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

71 FD98/34 SIDNEY RICHARD PERCY (BRITISH 1821-1886) SYNIDOT FROM THE GLASYN, NORTH WALES Signed and dated ‘73, also signed and inscribed on label verso, oil on canvas 25.5cm x 48.5cm (10in x 19in)

£5,000-8,000

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

72 ANTONIETTA BRANDEIS (CZECHOSLOVAKIAN 1849-1910) THE BRIDGE OF SIGHS, VENICE Signed, oil on board 25cm x 15cm (9.75in x 6in)

and two others by the same hand a set of three (3) £12,000-15,000

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

73 FD98/6 ANTONIETTA BRANDEIS (CZECHOSLOVAKIAN 1849-1910) CANAL SCENE VENICE Signed, oil on panel 31cm x 22cm (12.25in x 8.75in)

£6,000-8,000

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

74 FD98/3 ANTONIETTA BRANDEIS (CZECHOSLOVAKIAN 1849-1910) A VENETIAN BACKWATER Signed with a monogram, oil on panel 49cm x 19cm (19.25in x 7.5in)

£5,000-7,000

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

75§ FD98/59 ÉDOUARD HENRI LEON CORTÈS (FRENCH 1882-1969) PORTE ST DENIS Signed, oil on canvas 33cm x 46cm (13in x 18in)

£10,000-15,000

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

76§ FD98/15 ÉDOUARD HENRI LEON CORTÈS (FRENCH 1882-1969) NÔTRE DAME BY NIGHT

77§ FD98/35 HENRY SCOTT (BRITISH 1911-2005)

33cm x 46cm (13in x 18in)

THE WOOL CLIPPER LOCH LOMOND IN GREY SEAS

£15,000-20,000

Signed, oil on canvas

71cm x 106.5cm (28in x 42in) Note: The Loch Lomond was built by J.G.Lawrie of Glasgow in 1870. Owned by the Glasgow Shipping Company she measured 226 feet in length with a 35 foot beam

£6,000-8,000

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

Henry Scott Henry Scott was a painter of marine and coastal subjects and a prominent member of the Royal Society of Artists. As well as painting lucrative portraits of shipping for wealthy clientele, he also executed a number of works of famous British and American Clippers, and it is these works which are represented in the sale. His works have often been confused with those of Montague Dawson (18901973). Scott works in a similar way to Dawson and captures a wonderful freshness and sense of immediacy. Scott’s palette is striking, with all surfaces and elements observed, capturing every

movement. His ships’ sails billow in a stiff breeze that is further emphasised by the spray of the water wisping across the top of the choppy seas. Particularly notable are his skies, which add to the sense of dynamism, further enlivening the canvas. ‘The Wool Clipper – Loch Lomond in Grey Seas’ and ‘The White Clipper – Sierra Perima’ depict Clippers, boats which sailed all over the world, primarily on the trade routes between the United Kingdom and its colonies in the East. Clippers were fast sailing ships of the 19th century with three or more masts and a square rig. They were generally narrow for

their length, could carry limited bulk freight and were small by late nineteenth century standards with a large total sail area. The boom years of the Clippers began in 1843 as a result of the growing demand for a more rapid delivery of tea from China. Clippers are the subjects of many of Scott’s works, including his depiction of the epic Tea Race of 1866. Sixteen clippers competed on the 16,000 mile passage from Foochow to London, in an event which attracted many wagers, with the victor able to claim the 10-shilling-per-ton bounty put up for the season by the London tea merchants.

Scott portrayed the dead-heat winners Ariel and Taeping driving close to their 14-knot maximums. This illuminating work shows both ships employing their stunsails in the push up the English Channel. In ‘Dawn Mist, Foochow’ Scott depicts the Chinese bay and the trading port which was the starting point of the great race of 1866, bustling with Tea Clippers, similar to Ariel and the Taeping. During his career he made the acquaintance of many 19th and early 20th century sailing captains. Earning their respect as well as developing an appreciative commercial art audience, Scott was made an honorary Life Member ‘Cape Horners’ of the International Association of Master Mariners, as well as being honoured as a Fellow of the Royal Society of Arts. His atmospheric seas populated with towering trade ships earned him international renown. Scott frequently exhibited at the Society of Marine Artists; The Royal Exchange, London; The Guildhall, London and the Royal Academy, London. He also exhibited at the St. Malo Museum, France and at Madison Square in New York.

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

78§ FD98/39 HENRY SCOTT (BRITISH 1911-2005) THE WHITE CLIPPER ‘SIERRA PERIMA’ Signed, oil on canvas 51cm x 76cm (20in x 30in) Note: The Sierra Parima was registered at 1518 tons. Built by J.Reid and Co in 1882, she was lost on the Sundiva Atoll in June 1896.

£6,000-8,000

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

79ยง FD98/37 HENRY SCOTT (BRITISH 1911-2005) MOONLIGHT ON THE BRITISH WOOL CLIPPER IVANHOE Signed, oil on canvas 61cm x 91cm (24in x 36in) Note: The Ivanhoe was registered at 1383 tons and built by Reid of Glasgow in 1868.

ยฃ6,000-8,000

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

80ยง FD98/36 HENRY SCOTT (BRITISH 1911-2005) DAWN MIST, FOOCHOW Signed, oil on board 35.5cm x 51cm (14in x 20in) Note: Foochow, a port in South East China, is the capital of Fujian Province and is located on the banks of the Min River. It reached its height of prosperity when it opened as a Treaty Port after the first Opium War (1839-42)

ยฃ3,000-5,000

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

81§ FD98/38 HENRY SCOTT (BRITISH 1911-2005) STUDY OF THE TRADE WINDS TEA CLIPPER ‘SPINDRIFT’ Signed, oil on canvas 91cm x 61cm (36in x 61in) Note: The Spindrift was built by Connell & Co of Glasgow in 1867. She measured 219 feet in length with a 35 foot beam and was registered at 889 tons.

£6,000-8,000

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

Donald Grant Donald Grant specialised in realistic scenes of wildlife in the Savannah depicting predators like the lion and leopard - scavengers such as the hyena and vulture - and their prey, namely the zebra, buffalo, and antelope - with verve and masterful dexterity. Grant’s talent was apparent from an early age. While still a schoolboy, Grant painted a large mural in a public building and won a national drawing and design competition. Grant followed a varied career, which began with the discipline of a long

apprenticeship as a shipbuilding draughtsman and continued with Army service in Africa. He also worked as a technical illustrator, a graphic designer and a free-lance advertising artist. His scenes of the African Savannah are infused with dramatic light and charged with atmosphere. His subjects, with poses so characteristic of the species they represent, reveal the hand of an artist who possessed a unique understanding of, and a

genuine concern for, the earth’s endangered wildlife. Grant used his art to raise funds for nature conservation and animal welfare charities worldwide. His technical perfection and ability to capture the look of the African wilderness and the wildlife it supports could only be acquired through a love of Africa best understood in his own words:“Here in this magnificent setting, which we should all do our utmost to protect, the finely balanced day-to-day drama of survival unfolds.”

82§ FD98/21 DONALD GRANT (BRITISH 1942-2001) CHEETAH ON THE PROWL Signed, oil on canvas 76cm x 127cm (30in x 50in)

£5,000-7,000

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

83ยง FD98/20 DONALD GRANT (BRITISH 1942-2001) A CHEETAH AND CUBS Signed, oil on canvas 76cm x 101cm (30in x 40in)

ยฃ5,000-7,000

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

84ยง FD98/22 DONALD GRANT (BRITISH 1942-2001) HURT PRIDE Signed, oil on canvas 76cm x 127cm (30in x 50in)

ยฃ4,000-6,000

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

85ยง FD98/23 DONALD GRANT (BRITISH 1942-2001) THE ROAR OF AFRICA Signed, oil on canvas 76cm x 127cm (30in x 50in)

ยฃ4,000-6,000

Other Properties

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

86§ FE30/4 XENIA HAUSNER (AUSTRIAN b. 1951) SPAR Signed with initials and dated ‘93/94, acrylic on board 170cm x 210cm (67in x 82.5in) Provenance: Bought from the artist at Traumkirchen Exhibited: Kathe-Kollwitz Museum, Berlin, Xenia Hausner Kampfzone p.20, illustrated p.91 Literature: Xenia Hausner - Heart Matters, Distributed Art Publishers, New York, p.14 as ‘Special Offer’ lll. p.91

£30,000-40,000

Born in Vienna in 1951, Xenia Hausner has enjoyed a highly successful career of which there have been two predominant phases. In the 1970s Hausner trained as a theatrical set designer both at the Academy of Fine Arts, Vienna and the Royal Academy of Dramatic Art, London. It was not until 1992 that she broke away from the theatre in order to focus on a career purely as a painter. It is inaccurate to say, however, that her career can be distinctly de-lineated into two separate disciplines. The theatrical is both inherent within, and essential to, her artwork, virtually the entirety of which is focused around the female portrait. Her models are very obviously just that; characters occupying a role, posed into very

deliberate set pieces. Staging her pictures in this way creates a static image of quiet intensity. Though Hausner’s scenes make no attempt to appear “authentic”, the directness of her sitter’s stare means they read like transitory moments frozen in time. This stare is virtually always present in her art. In ‘SPAR’ the viewer is forced into direct eye contact with the three protagonists, creating the distinct sense that beneath the stillness and restraint of the composition a message is being conveyed for interpretation. That none makes itself readily available serves to both unnerve and draw us in all the more. Her set pieces are complex in their simplicity; the coolly presented juxtaposition of surprising props and poses igniting our imaginations without ever providing a resolution. In ‘SPAR’ three young women stand enigmatically before an uncooked joint of meat. Their poses and stares are brazen and surly, the result of which is simultaneously amusing and disturbing in its incongruity. Hausner clothes her sitters in SPAR uniforms and embellishes workroughened hands as large and pink as the raw meat in front of them. The deliberate artifice of the scene and the

confrontational nature of their stares render such signifiers of little use in our interpretation of the work. From 2003 onwards, Hausner has focused on mixed media works and now frequently incorporates photographic elements in her work. She continues to exhibit regularly, predominantly in New York, Munich and Berlin, where she now lives.

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

87 PAUL MAITLAND (BRITISH 1863-1909) ON THE THAMES Inscribed on card verso ‘P. Maitland, c/o T. Roussell, 12, Bolton Studios, South Kensington, London’ oil on canvas laid down 30.5cm x 25.5cm (12in x 10in)

£1,500-2,000

100

Scottish Paintings

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

88ยง FB791/13 JOHN BELLANY H.R.S.A., R.A., C.B.E. (SCOTTISH b. 1942) THE OLIVE BRANCH, PORT SETON Signed, signed and inscribed verso, oil on canvas, unframed 91cm x 91cm (36in x 36in)

ยฃ2,000-3,000

102

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

89ยง FB791/25 JOHN BELLANY H.R.S.A., R.A., C.B.E. (SCOTTISH b. 1942) KINDRED STAR Signed, oil on canvas, unframed 91cm x 122cm (36in x 48in)

ยฃ3,000-5,000

103

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

90ยง FE77/4 NEIL HANNA (SCOTTISH/IRAQUI b. 1959) THE ITALIAN CHAPEL, ORKNEY Signed, oil on board 76cm x 106cm (30in x 41.75in)

ยฃ2,000-3,000

104

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

91ยง NEIL HANNA (SCOTTISH/IRAQUI b. 1959) SCOTTISH WILD FLOWERS AND BLACK COCKEREL Signed, oil on canvas 101.5cm x 101.5cm (40in x 40in)

ยฃ2,000-3,000

105

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

92§ FE91/2 ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998) SANTA MARIA FORMOSA, VENICE Signed and dated ‘82, oil on canvas 61cm x 61cm (24in x 24in)

£4,000-6,000

106

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93 FE154/21 CHARLES JAMES LAUDER R.S.W. (SCOTTISH 1841-1920) SHIPPING ON THE CLYDE Signed, oil on board 23cm x 43cm (9in x 17in)

£700-1,000

94 FE154/26 EUGENE DEKKERT (SCOTTISH fl. 1900-1940) ST MONANCE Signed, oil on canvas 41cm x 51cm (16in x 20in)

£1,000-1,500

107

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95§ FD676/1 ROBERT EADIE R.S.W. (SCOTTISH 1877-1954) VIEW OF LARGS; LOOKING ACROSS THE ISLE OF CUMBRAE Signed, signed verso, oil on board 68cm x 89cm (26.75in x 35in) Exhibited: The Fine Art Society, June 1982

£2,000-3,000

96 FD669/5 DAVID GAULD R.S.A. (SCOTTISH 1865-1936) A FRENCH RIVERSIDE TOWN Signed, oil on canvas 53cm x 63cm (21in x 25in)

£2,000-3,000

108

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97§ FE154/2 WILLIAM MILLER FRAZER P.S.S.A., R.S.A. (SCOTTISH 1864-1961) UNLOADING THE CATCH Signed, oil on canvas 41cm x 61cm (16in x 24in)

£2,000-3,000

98 FD254/1 JAMES WHITELAW HAMILTON R.S.A., R.S.W. (SCOTTISH 1860-1932) BOATS OFF BERWICK Signed, oil on canvas 61cm x 76cm (24in x 30in)

£2,000-3,000

109

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99 FD380/1 SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., R.O.I., L.L.B. (IRISH 1856-1941) STUDY FOR ‘SUMMER’ Signed, oil on board 35.5cm x 25cm (14in x 10in)

£10,000-15,000

The present study was painted in September 1903 at Beg Meil, on the Brittany coast. It was produced in preparation for John Lavery’s large canvas depicting a modern bather strolling on the beach. l’Été (Summer) (fig 1) was conceived as a complement to Printemps (Musée d’Orsay, Paris), painted earlier in the year and shown at the New Gallery in London and the Salon in Paris in 1904. This in turn was the most successful of a group of full length figurepieces recalling the ‘fancy’ portraits of Gainsborough. It epitomized le style anglais, the rage of the Parisian bourgeoisie in the year of the entente cordiale, and was purchased by the French government for its modern collection at the Musée du Luxembourg. The shrewd Lavery appears to have recognized this contemporary trend and in the early autumn set sail for Brittany accompanied by Mary Auras, the German girl

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who had posed for Printemps. Mary was in her teens when Lavery was introduced to her at Unter den Linden in Berlin two years earlier. She immediately joined his entourage and posed for numerous portraits, her good looks and flaming hair becoming the toast of Paris where it was assumed that she epitomized youth, beauty and Englishness. Arnold Bennett tells us that she lunched at the Embassies and ‘received five proposals [of marriage] in three months’. For appearances sake, the forty-seven-yearold Lavery took his Irish studio assistant, P Burrows Sheil, with him to the Brittany coast as a chaperone for Mary. The location was an important one. Beg Meil, where the renowned American painter, Alexander Harrison, had established a studio, was now being developed as a tourist resort and being close to the artists’ colony at Concarneau, it was ideally situated for checking out the current atelier gossip. There, in the hotel, Lavery unexpectedly encountered a young art student from Chicago, Hazel Martyn, who,

six years later, would become the second Mrs Lavery. For the present however, sketching Mary on the beach in a bathing costume was his main occupation. She carries a large parasol, accentuating the Japanese effect of the ensemble. Not only had Lavery used this device before, but he would have seen it employed to great effect by James McNeill Whistler. Since 1898, as President and Vice-President of the International Society of Sculptors, Painters and Gravers, they had been close correspondents and within recent weeks Lavery had been a pall-bearer at the older artist’s funeral. Now temporarily in charge of the society, he would shortly be inviting Auguste Rodin to become its figurehead, and a further close working relationship would develop – to the point where Summer, the large version of the present sketch would be presented to the great sculptor in exchange for a bronze figure group, Fugit Amour. Selwyn Brinton, writing in December 1908, recalled Rodin’s picture as, … a piece of the most brilliant Impressionism, absolutely vibrating with

light and imprisoning within its frame the intense shimmering heat of a summer’s day (‘Recent Paintings by John Lavery RSA, RHA’, The Studio, vol XLV, 1908, p. 174). All of this however, lay in the future. For the immediate present, Lavery faced a modern Venus rising from the sea who must be instantly captured with style and spontaneity. For evidence of this and the brief idyllic interlude at Beg Meil, we need look no further than the present Study for ‘Summer’.

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

100 JOHN QUINTON PRINGLE (SCOTTISH 1864-1925) FEEDING THE HENS, ARDESIER Pencil and watercolour 22cm x 28cm (8.5in x 11in) Provenance: A gift from Eva, James Meldrum’s second wife and thence by descent

£3,000-5,000

101 JOHN QUINTON PRINGLE (SCOTTISH 1864-1925) IN THE GARDEN, GARTCOSH, Pencil and watercolour 16cm x 18.5cm (6.25in x 7.25in) Provenance: A gift from Eva, James Meldrum’s second wife and thence by descent

£1,500-2,000

112

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

102ยง FE135/1 GEORGE HENRY R.A., R.S.A., R.S.W. (SCOTTISH 1858-1943) THE PAISLEY SHAWL Signed, watercolour 37cm x 34cm (14.5in x 13.5in)

ยฃ2,000-3,000

113

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

103 FE154/1 JOHN PHILIP R.S.A., R.A. (SCOTTISH 1817-1867) ‘NAEBODY COMING TO MARRY ME’ Signed with a monogram and dated 1863, oil on panel 51cm x 41cm (20in x 16in) Note: A painting of this title was exhibited at the Royal Scottish Academy 1863, no. 410.

£2,000-3,000

114

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

104 FE154/28 ROBERT MCGREGOR R.S.A. (SCOTTISH 1847-1922) WORN OUT Signed and dated ‘76, inscribed verso, oil on canvas 76cm x 63cm (30in x 25in)

£4,000-6,000

115

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

105 DAVID FARQUHARSON A.R.A., A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1840-1907) SHEEP PLUNGING Signed and dated ‘83, oil on canvas 36cm x 61cm (14in x 24in) Note: A painting of the same subject was exhibited at the Royal Scottish Academy in 1880.

£2,000-3,000

116

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

106 FE135/6 JOHN MACWHIRTER R.A., H.R.S.A., R.I., R.E. (SCOTTISH 1839-1911) IN GLEN AFFRIC Signed with a monogram, oil on canvas 76cm x 51cm (30in x 20in)

£1,000-1,500

107 FC954/30 SIR JAMES LAWTON WINGATE R.S.A. (SCOTTISH 1846-1924) POACHERS Signed and dated ‘85, oil on canvas 122cm x 91cm (48cm x 36in) Exhibited: Royal Scottish Academy 1885, no.336

£2,000-3,000

117

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

108§ FE154/22 WILLIAM MILLER FRAZER P.P.S.S.A., R.S.A. (SCOTTISH 1864-1961) ON THE BEACH, ARRAN Signed, oil on canvas 25.5cm x 35.5cm (10in x 14in)

£1,200-1,800

109 FE34/5 JAMES GILES R.S.A. (SCOTTISH 1801-1870) REPAIRING THE NETS Signed, oil on panel 17.5cm x 25.5cm (7in x 10in)

£600-900

118

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

110 FE154/29 JOSEPH HENDERSON R.S.W. (SCOTTISH 1832-1908) BATHING ON THE AYRSHIRE COAST Signed, oil on canvas 66cm x 99cm (26in x 39in)

£3,000-5,000

119

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

111 FE154/25 WILLIAM MARSHALL BROWN R.S.A., R.S.W. (SCOTTISH 1863-1936) GATHERING MUSSELS Signed, watercolour 31cm x 36cm (12in x 14in)

£2,000-3,000

112 FD34/1 WILLIAM MARSHALL BROWN R.S.A., R.S.W. (SCOTTISH 1863-1936) SAILING THE TOY BOAT Signed, oil on canvas 31cm x 41cm (12in x 16in)

£2,000-3,000

120

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

113 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) WADING Signed, oil on canvas 41cm x 31cm (16in x 12in)

£10,000-15,000

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The Knightley Collection Part III

Sir William Russell Flint By his death in 1969 Sir William Russell Flint was a world famous artist; a longterm Royal Academician and President of the Royal Society of Painters in Watercolour. A familiar face in London society where virtually the entirety of his career was conducted, his appreciators are often unaware that he was a born and bred Scotsman. Growing up in Portobello on the coast to the east of Edinburgh, he learnt his extraordinary skill as a watercolourist at his father’s knee; a ticket maker and illuminator of text, who practised art in his spare moments. Though his Scottish origins may be news to some, Flint’s extraordinary aptitude for painting in watercolour is widely recognised. By no means an easy art form, many of the world’s greatest artists in oil have singularly failed to grasp watercolour as a medium. It requires a delicacy and deftness of touch that many fail to master. Charles Wheeler, President of the Royal Academy at the time of Flint’s retrospective in 1962 described his technique as a “baffling skill”. These achievements were the result of an innate artistic instinct and extreme discipline and diligence both

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self-imposed and necessitated by circumstance. Flint recalls painting and scribbling in notebooks, “persistently, consistently, ever since I can remember.”[1] He was taken out of school at the age of fourteen, beginning a six year apprenticeship as a lithographic draughtsman with Banks and Co. Printers in Causewayside, Edinburgh. Though Flint recollects this period as “six interminable years of suppression of everything I loved”,[2] it would doubtless have provided him with an impressive work ethic and an unerring precision of line that benefited his future practise. Upon moving to London at the age of twenty, Flint gained employment with the Illustrated London News where he worked for a number of years. The paper circulated all around the British Commonwealth, bringing his illustrations to worldwide renown. By the end of the First World War, Flint was able to make a living solely from his watercolours alone, existing as a full-time artist from 1919 until his death. His new life-style allowed him to paint abroad frequently in France and Italy. It was during a trip to Rome in 1912 that Flint first began to focus on

development of his forte: representations of the female form. When recollecting the origins of his penchant for figuration, Flint names the occasion when as a young boy he caught sight of “a young housemaid on her knees scrubbing the front steps of a neighbour’s house … some movement of grace must have caught my eye and unconsciously instilled an ambition.”[3] His nudes and society ladies in their satin gowns are unfailingly exquisitely rendered. The works are demonstrative not only of an appreciation of women but of a finely honed aestheticism rooted in an understanding of classical traditions and reveal a tangible awe in the presence of a specific form of feminine beauty. The fine examples featured in this sale exemplify the industrious Flint’s “pursuit of (his) own indefinable ideal”.[4]

[1] p.39, ‘In Pursuit’, by Sir William Russell Flint, The Medici Society, London, 1969 [3] p.38, ibid [4] Foreword, ibid

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

114ยง FD98/12 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) THE SILVER FROCK Signed, signed and inscribed on a label verso, watercolour 27cm x 35.5cm (10.5in x 14in) Exhibited: Royal Society of Painters in Watercolours, no.5

ยฃ20,000-30,000

123

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

115ยง SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) RAY Signed, watercolour 28cm x 23.5cm (11in x 9.25in)

ยฃ6,000-8,000

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

116ยง FD98/13 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) CECILIA Signed, watercolour 19.5cm x 19cm (7.75in x 7.5in)

ยฃ8,000-12,000

125

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

117ยง SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) THE CORNER HOUSE Signed, watercolour 50cm x 68cm (19.5in x 26.75in)

ยฃ8,000-12,000

126

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

118ยง SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) THE MILL AT BARBASTE Signed, signed and inscribed on the backboard, watercolour 48.5cm x 67.5cm (19in x 26.5in)

ยฃ8,000-12,000

127

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119ยง FD98/14 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) CECILIA Signed, chalk drawing 37.5cm x 54cm 14.75in x 21.25in)

ยฃ4,000-6,000

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Other Properties

120§ FD618/7 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) ARRAN AND THE CLYDE FROM SHANDON Signed, signed and inscribed with back label verso, watercolour 33cm x 52cm (12.5in x 20.5in) Note: A label verso states ‘ To Mr & Mrs Whitelaw Hamilton with much affection from Sibylle & W. Russell Flint. Xmas 1919’

£1,500-2,000

121§ FD618/6 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) MARCH STORM, LOCH EARN Signed, signed and inscribed with title verso, watercolour 32cm x 44cm (12.5in x 17.25in) Exhibited: Glasgow Royal Institute of Fine Arts, 1916

£1,500-2,000

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

122§ SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) WINTER SPORTS IN THE ENGADINE Signed, watercolour 34cm x 49.5cm (13.5in x 19.5cm)

£3,000-5,000

123§ WILLIAM WILSON O.B.E.,R.S.A., R.S.W. (SCOTTISH 1905-1972) COLLIOURE Signed, pen and ink and watercolour 36.5cm x 51cm (14.5in x 20in)

£800-1,200

130

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

124§ SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., R.S.W., R.A. (SCOTTISH 1898-1973) CROFTS PLOCKTON, ROSS-SHIRE Signed and dated 1949, pen and ink and watercolour

FE255/1

24cm x 27cm (9.5in x 10.5in)

£1,500-2,000

125§ FE154/7 LENA ALEXANDER (SCOTTISH fl. 1940s) A PARIS STREET Signed, pastel 48cm x 56cm (18in x 22in)

£500-700

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

126 FE154/24 STUART JAMES PARK (SCOTTISH 1862-1933) PINK ROSE Signed twice, oil on canvas 38cm x 31cm (15in x 12in)

£1,000-1,500

127 FE610/2 ROBERT CREE CRAWFORD R.S.W. (SCOTTISH 1842-1924) AZALEAS Signed, oil on canvas 51cm x 41cm (20in x 16in)

£700-900

132

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

128 FE91/3 JOHN ROBERTSON REID R.I., R.B.A., R.O.I. (SCOTTISH 1851-1926) INTERRUPTED STUDIES Signed, oil on canvas 61cm x 46cm (24in x 18in)

£2,000-3,000

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129§ FE241/1 GEORGE HOUSTON R.S.A., R.S.W., R.I. (SCOTTISH 1869-1947) ARROCHAR Signed, oil on canvas 71cm x 91cm (28in x 36in)

£2,000-3,000

130§ FE154/10 ROBERT RUSSELL MACNEE (SCOTTISH 1880-1952) THE END HOUSE Signed and dated ‘15, oil on canvas 36cm x 46cm (14in x 18in)

£1,000-1,500

134

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

131 FE154/20 JOSEPH FARQUHARSON R.A. (SCOTTISH 1846-1935) IN THE BORDERLANDS Signed, oil on canvas 56cm x 91cm (22in x 36in)

£5,000-7,000

135

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

132 FE34/1 ALEXANDER ROCHE R.S.A. (SCOTTISH 1861-1921) A YOUNG BEAUTY Signed, oil on canvas, oval 51cm x 42cm (20in x 16.5in)

£1,500-2,500

136

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

133 FE611/1 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) TARBERT, LOCH FYNE Signed, oil on panel 31cm x 46cm (12in x 18in) Literature: Scottish Art 1460-1990, Duncan Macmillan 1990, Plate 259, p.312

£2,000-3,000

134§ FE154/15 WILLIAM MILLER FRAZER P.S.S.A., R.S.A. (SCOTTISH 1864-1961) ON THE OUSE Signed, oil on canvas 36cm x 46cm (14in x 18in)

£2,000-3,000

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

135§ FE138/3 STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) GIRLS BY A WINDOW Signed and dated 1923, oil on canvas

that he lived solely as a fulltime painter, it was his portraiture that cemented his reputation.

46cm x 41cm (18in x 16in)

£30,000-40,000 Polymath is not often a description easily or accurately bestowed. When describing Stanley Cursiter however, it is perhaps the only suitable term. Cursiter can claim rare success across many disciplines, amounting to an exceedingly long list of achievements. Not only was he a respected artist, he was variously the President of the Society of Scottish Artists, the Keeper of the National Galleries of Scotland and the Director of the National Portrait Gallery of Scotland. He instituted a restoration department within the National Galleries, assimilating and advancing knowledge of the scientific processes behind art restorative practise. He was also an author, notably publishing a hugely insightful memoir of his friend the Colourist S. J. Peploe. His artwork encompassed a successful foray into the experimental avant-garde of Futurism pre-WW1, as well as beautifully accomplished landscapes of his native Orkney. However, in the few years between 1919 and 1925

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Returning from the Front after the First World War, the well-connected Cursiter succeeded in taking up his artistic career where he had left off. By 1919 he had sold enough paintings to enable him to buy a town house in the prestigious Royal Circus, housing his studio in the upper levels. During this period he became obsessed with, as he puts it, “Art with a capital ‘A’,”[1] turning to study the Old Masters and examining pigment and compositional devices at a highly technical level. The result was the creation of “sumptuous and sensual portraits of women in the ‘Grand Manner’.”[2] After years of separation from his wife and the family environment during the war, Cursiter now revelled in representations of genteel domesticity. Following the artistic precedent of John Singer Sargent and Sir John Lavery, he elected to depict a tranquil oasis of sophistication. His figures are elegantly clothed and occupy tasteful parlours. Not a trace of the gathering clouds of political and economic unrest which were beginning to stir by the mid 1920s are to be

glimpsed through the fulllength windows. The art collectors of Edinburgh were wholly receptive to Cursiter’s civilised idyll and his paintings sold well. ‘Girls by a Window’ exemplifies this period of his career. It has been agreed by critics, contemporaneous and since, that Cursiter possessed a rare compositional ability and surety of colour. Here we find this easy talent in abundance; no sign of a struggle with either structure or palette to mar the scene’s pristine delicacy and effortlessly modern aesthetic. The women featured are likely to be his wife Phyllis and the dark haired, doe-eyed Poppy Low, one of his favourite models. Phyllis glances down to the right, a distant look in her eyes. Poppy leans against the window frame looking up

at the artist, and subsequently the viewer, with comfortable familiarity that borders on indifference. Both are clothed in white lace. The sun streams through the huge New Town window and fashionable, well-to-do figures move across the street outside. A favoured backdrop of Cursiter’s, we see this motif repeated in the substantial work Chez Nous (1925), housed in the National Gallery of Scotland, a nocturne and self-portrait which once again features the same women seated before the window. [1] p.40, ‘Stanley Cursiter: A Life of the Artist’, ed. Pamela Beasant, Orkney Museums and Heritage, 2007 [2] p.137, ‘Stanley Cursiter: A Life of the Artist’, essay by Dr Jonathon Blackwood, Orkney Museums and Heritage, 2007

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

136 FE619/1 SAM BOUGH R.S.A., R.S.W. (SCOTTISH 1822-1878) EDINBURGH FROM ST. ANTHONY’S CHAPEL Signed, signed and inscribed verso, oil on board 38cm x 51cm (15in x 20in)

£6,000-8,000

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

137§ JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) ON THE CLYDE Signed and inscribed verso, oil on canvas 51cm x 61cm (20in x 24in) Note: Possibly the painting exhibited at the Royal Scottish Academy 1888 under the title ‘Low tide on the river’.

£2,000-3,000

138 JAMES WHITELAW HAMILTON R.S.A., R.S.W. (SCOTTISH 1860-1932) CLOUDS OVER A MOUNTAIN GLEN Signed, oil on canvas 63cm x 76cm (25in x 30in)

£1,000-1,500

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139 FE619/4 LOUIS BOSWORTH HURT (SCOTTISH 1856-1929) HIGHLAND YEARLINGS Signed and dated 1885, oil on canvas 31cm x 46cm (12in x 18in)

£3,000-5,000

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140 FE154/18 GEORGE SMITH R.S.A. (SCOTTISH 1870-1934) THE FORD Signed, oil on canvas 63cm x 76cm (25in x 30in)

£1,200-1,800

141 FE1/86 ROBERT NOBLE R.S.A. (SCOTTISH 1857-1917) EAST LINTON Signed, oil on panel 13cm x 34cm (5in x 13.5in)

£500-700

143

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142 FE240/1 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1866-1936) THE SAPPHIRE SEA Signed, oil on board 31cm x 41cm (12in x 16in) Note: A small version of the painting exhibited at the Royal Scottish Academy in 1912 and acquired by Bolton Museum

ÂŁ14,000-18,000 144

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

143 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) BY THE SEA Signed, oil on board 18cm x 25.5cm (7in x 10in)

£2,000-3,000

144 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) ON THE SEA-SHORE Signed, oil on board 17cm x 27cm (6.75in x 10.5in)

£2,000-3,000

145

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

145§ JOHN BULLOCH SOUTER (SCOTTISH 1890-1972) THE BREAKDOWN Pastel 28cm x 33cm (11in x 13in) Provenance: The artist’s great niece Note: This is a study for the oil of the same title.

£2,000-3,000

146

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

146§ JOHN BULLOCH SOUTER (SCOTTISH 1890-1972) STILL LIFE OF PINK ROSES Signed, oil on board 49cm x 39cm (19.25in x 15.25in) Provenance: The artist’s great niece

£1,500-2,000

147§ JOHN BULLOCH SOUTER (SCOTTISH 1890-1972) DANCING FIGURE Chalk on brown paper 56cm x 38cm (22in x 15in) Provenance: The artist’s great niece Note: This is a study for the dancer in ‘The Breakdown’

£1,000-1,500

147

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

148 JOHN ROBERTSON REID R.I., R.B.A,. R.O.I. (SCOTTISH 1851-1926) ON THE PIER Signed and dated ‘90, oil on canvas 61cm x 46cm (24in x 18in)

£2,000-3,000

148

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

149 FE154/17 GEORGE SMITH R.S.A. (SCOTTISH 1870-1934) HORSES WATERING Signed, oil on board 31cm x 41cm (12in x 16in)

£1,000-1,500

150§ FE154/27 ROBERT RUSSELL MACNEE (SCOTTISH 1880-1952) IN THE FARMYARD Signed, oil on canvas 41cm x 51cm (16in x 20in)

£1,000-1,500

149

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

151 FE619/5 LOUISE RAYNER (BRITISH 1829-1924) WESTER CLOSE, NEWHAVEN Signed, watercolour 24cm x 20cm (9.5in x 8in)

£5,000-8,000

150

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

152 FE154/4 JAMES PATERSON N.E.A.C., R.W.S., R.S.A., P.R.S.W. (SCOTTISH 1854-1932) A HILLTOP VIEW Signed and dated 1925, watercolour 53cm x 73cm (21in x 28.75in)

£1,000-1,500

153 FE248/1 WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) THE YOUNG TRAWLERS Signed with the artist’s stamp, watercolour 40cm x 53.5cm (15.75in x 21in) Provenance: The artist’s estate Fine Art Society, London

£3,000-5,000

151

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

154§ SIR GEORGE PIRIE R.S.A., R.S.W., L.L.D. (SCOTTISH 1864-1946) TERRIER STUDY Signed, oil on canvas 46cm x 61cm (18in x 24in)

£800-1,200

155 WILLIAM HARDIE HAY (SCOTTISH c. 1813-1900) THE CHILDREN’S PARADISE Signed, oil on canvas 51cm x 66cm (20in x 26in)

£1,000-1,500

152

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

156ยง FD369/2 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) LOCH AWE Signed, oil on canvas 46cm x 76cm (18in x 30in)

ยฃ4,000-6,000

153

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

157ยง FE135/2 GEORGE HENRY R.A., R.S.A., R.S.W. (SCOTTISH 1858-1943) IN THE GALLERY Signed, oil on canvas 51cm x 31cm (20in x 12in)

ยฃ6,000-8,000

154

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

158 WILLIAM MARSHALL BROWN R.S.A., R.S.W. (SCOTTISH 1863-1936) WAITING FOR THE FLEET Signed, oil on canvas 41cm x 51cm (16in x 20in)

£10,000-15,000

155

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

159 FE1/27 ATTRIBUTED TO WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) EMILY Inscribed with the monogram and dated ‘63, oil on canvas, unstretched 20cm x 15cm (8in x 6in)

£1,000-1,500

160§ FE630/2 WILLIAM MILLER FRAZER R.S.A. (SCOTTISH 1864-1961) WOODED RIVER LANDSCAPE WITH PUNT Signed, oil on canvas 76cm x 63cm (30in x 25in)

£2,000-3,000

156

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

161 HARRY SUTTON PALMER (BRITISH 1854-1933) A SHEPHERD’S COB IN GLEN NEVIS, INVERNESS-SHIRE Signed, watercolour 36cm x 51cm (14in x 20in) Literature: A.R.Hope Moncrieff, Bonnie Scotland 1904, ill.opp.p.186

£1,000-1,500

162 FD664/11 WILLIAM KAY BLACKLOCK (SCOTTISH 1872-c. 1922) THE YOUNG SHEPHERDESS Signed, oil on canavs 51cm x 63cm (20in x 25in)

£2,000-3,000

157

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

163 FD466/2 JOHN MUNNOCH (SCOTTISH fl. 1895-1915) THE FLOWER SELLER Signed, oil on canvas 31cm x 41cm (12in x 16in)

£1,000-1,500

164§ DENIS PEPLOE R.S.A. (SCOTTISH 1914-1993) BIRDS AND FLOWERS Signed, oil on canvas 63cm x 76cm (25in x 30in) Exhibited: The Scottish Gallery, ‘Paintings from the Artist’s Studio’, 1984, no.21

£3,000-5,000

158

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

165ยง WILLIAM CROSBIE R.S.A. (SCOTTISH 1915-1999) STILL LIFE Signed and dated LXXV, oil on board 91cm x 91cm (36in x 36in)

ยฃ3,000-5,000

159

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

166§ WILLIAM GEAR (SCOTTISH 1915-1997) STRUCTURE WITH YELLOW Signed, signed, inscribed and dated ‘September 1965’ on the reverse, oil on canvas 122cm x 91cm (48in x 36in) Exhibited: Scottish Arts Council, Edinburgh, William Gear no.48

£5,000-7,000

160

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

167§ LENA ALEXANDER (SCOTTISH fl. 1940s) STILL LIFE Signed, pastel 51cm x 61cm (20in x 24in)

£500-700

168§ LENA ALEXANDER (SCOTTISH fl. 1940s) STILL LIFE Signed, pastel 51cm x 63cm (20in x 25in)

£500-700

161

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

169 JOSEPH CRAWHALL R.S.W. (SCOTTISH 1861-1913) PORTRAIT OF JAMES WHITELAW HAMILTON Inscribed ‘Jos. Crawhall Jnr, Paris 1887’, watercolour 22cm x 18cm (8.75in x 7in) Note: Inscribed old label verso ‘This watercolour drawing is by Jos, Crawhall Jnr. It was signed by him but is certified by me, J. Whitelaw Hamilton’.

£2,000-3,000

170§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) FISHERMAN Pastel 12cm x 9cm (4.75in x 3.5in) Provenance: Cyril Gerber Fine Art 1985, Inventory No. ED299

£1,500-2,000

162

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

171ยง JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) HEAD OF A BOY Signed, oil on panel 27cm x 17cm (10.5in x 6.75in)

ยฃ20,000-30,000

163

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

164

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

172 FE96/1 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) THE GIUDECCA AND REDENTORE Signed and dated ‘10, inscribed on the backboard verso, oil on board 37cm x 44.5cm (14.5in x 17.5in) Provenance: Sir Patrick Ford and thence by descent

£50,000-70,000 In 1909 Cadell undertook his first one man exhibition, represented by eminent Edinburgh dealers Aitken Dott. The show was only of limited success, his work too modern for the largely conservative tastes of the Edinburgh art world. Still, his heavily Impressionistic style of the period won him several staunch and valuable supporters. Most significant among them was Sir Patrick Ford who was to prove a lifelong friend and patron. It was the generosity of Ford that enabled Cadell to undertake a painting trip to Venice in 1910, on the agreement that Ford would have first pick of the resulting artworks. Venice's romanticised reputation as an artistic mecca had been cemented in the 19th century, with Lord Byron's dramatic poetry and J. M. W. Turner's evocative representations inspiring a generation of artists, each

keen to depict the city's unique vistas. Despite the explosion of tourist activity, Venice never became “passé” among artists. Modernists Manet and Whistler were attracted there, excited by the challenge of creating their own original interpretations of the now somewhat clichéd Venetian motifs. Though Claude Monet had resisted visiting until 1908, he too was stimulated by the beautiful architecture and mercurial light of the Lagoon, producing a series of atmospheric paintings which received wide critical approval when exhibited upon completion a few years later. Cadell, a progressive rather than a revolutionary, would have had no compunction about following directly in the footsteps of his artistic influences. Nevertheless the Venice trip, consistently described as “memorable” by his biographers, proved something of a revelation for him stylistically. The bright Mediterranean light shimmering off the canals had a marked effect on his palette, which now exploded into a riot of colour. Though Cadell could not have seen Monet's Venetian cityscapes first hand, the tonal similarities of their work is striking; both artists

punctuating the whites and creams of the sun-drenched architecture with pinks, purples and turquoises. Cadell's style became looser and more expressive than ever before. Bold, loaded brushstrokes were layered to convey the rippling surface of the waterways and fleeting impressions of the elegant passers-by. On a technical level Cadell surpassed himself during this short time in Venice, tackling the challenging architecture of the interior of the Santa Maria Della Salute and other locations around the city. However, it was his depictions of the living, breathing societal whirl of the place which really saw him come into his own. Cadell produced some refreshingly un-prosaic work, from the Carnivale atmosphere of a bustling St Mark's Square to quieter, more contemplative views of the city and its inhabitants. The work represented in this sale is one such tranquil corner. Against a backdrop of gathering clouds and lowering dusk, Cadell minimalistically describes the distinctive outline of the Redentore, the Church of the Most Holy Redeemer, mimicing the reflected light with swift, delicate lilac flicks

of his paint brush. As we lower our eyes and let them drift across the rippling harbour waves we meet the pensive figures at the canals edge; the suggestion of a narrative gently unfolding. A lady elegantly clothed in a billowing blouse and brimmed hat approaches the water where a male figure sits, legs swung over the edge, his features obscured by shadows cast by the darkening waters. Whether they are together or simply strangers is left for us to briefly meditate upon, before we are reabsorbed into the tranquil reverie inspired by the scene. After the trip was over his loyal patron Ford selected six of his favourite compositions, including this work which would remain in the family for decades. The others were exhibited in 1910 at Aitken Dott, a show which was again met with mixed success. The Venetian pilgrimage had undoubtedly, however, illuminated Cadell to the potential of his capabilities as a colourist. He returned enthused in his continuing art practise and endowed with a confidence that is visually apparent in his subsequent work.

165

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

173§ FE138/4 SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916-1992) ODALISQUE AND FLAYED FIGURE Signed, pen and ink and watercolour 18cm x 18cm (7in x 7in) Provenance: Portland Gallery, London 1990

£1,000-1,500

174§ FE1/29 JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) FIGURES IN A VILLAGE STREET Oil on board 11cm x 13.5cm (4.25in x 5.5in) Provenance: Anthony d’Offay Fine Art 1967 purchased by Howard Jacob

£2,500-3,500

166

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

175ยง FE138/2 JOHN HOUSTON O.B.E., R.S.A., R.S.W., R.G.I. (SCOTTISH 1930-2008) THE AVIARY Signed and dated 1961, oil on canvas 75cm x 100cm (30in x 40in)

ยฃ3,000-5,000

167

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

176§ FE204/1 SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916-1992) THE DISCUSSION Watercolour 14cm x 14cm (5.5in x 5.5in) Note: Bears Philipson’s label verso and dated 1986

£800-1,200

177§ FE1/4 MARY ARMOUR R.S.A., R.S.W., R.G.I., L.L.D. (SCOTTISH 1902-2000) A PEAR ON A PLATE Signed and dated 1983, oil on board 31cm x 25.5cm (12in x 10in)

£1,500-2,500

168

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

178ยง FE254/1 ANNE REDPATH O.B.E., R.S.A., A.R.A., R.W.A. (SCOTTISH 1895-1965) GLOXINIAS Signed, oil on canvas 51cm x 61cm (20in x 24in)

ยฃ15,000-20,000

169

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

179 FD369/1 GEORGE LESLIE HUNTER (SCOTTISH 1879-1931) STILL LIFE WITH PINK ROSES AND FRUIT Signed, oil on board 39cm x 34cm (15.5in x 13.5in)

£80,000-120,000 In 1937 Hunter's friend and dealer T. J. Honeyman published a biography of the artist. In the book's preparation, the author had been given access to some of Hunter's notebooks, all of which are extremely telling in regards to the artist's journey as a colourist. Detailed descriptions of the palette arrangements of Van Gogh, Cezanne, Gaugin, Whistler and William MacTaggart can be found. In a now famous statement, Hunter proclaims within the pages of his diaries: “Everyone must choose his own way, and mine will be the way of colour”.[1] His fascination with and devotion to colour can also be noted in a letter to a friend and patron, in which he confesses a fear that within his work, his sense of line will be read as greater.[2] Such letters and notes alert us to Hunter's keen and propulsive desire to be Modern. Hunter associated the linear with the Classical, the traditional, as did the Frenchmen he so admired and sought to emulate. Understanding and

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mastering the intuitive science of colour in order to form and construct was new, ground-breaking and irresistibly Modern. Hunter and the other Scottish Colourists were united in recognising and embracing these developments; assimilating and interpreting French Modernist art practise into their own. Though the collective quality of their output lent them to categorisation and, latterly, amalgamation, they reached their artistic conclusions on their own terms. As the most independent of the four, Hunter's work was also resultantly the most uneven. Foremost, he was artistically experimental. Philip Long, curator of the Scottish National Gallery of Modern Art at the time of the major Scottish Colourist retrospective in 2000 commented that Hunter's “deliberate adoption of a more immediate and forcible use of colour… often resulted in failed or unfinished compositions.”[3] Compounding this, his mental state was at times precarious and he suffered from several nervous-breakdowns and issues with neurosis at points throughout his life, often as a result of protracted periods spent in feverish bouts of productivity in the studio.

When his experiments worked, however, and the elements of his genius were in harmony, his work possesses real compositional mastery and a vibrancy of palette which still seems modern to even the most jaded 21st century eye. 'Still Life with Pink Roses and Fruit' is an example of Hunter at his best. The still life was arguably his area of excellence. His earlier works, pre-1920, demonstrate a debt to the Dutch masters, being darker in tone and less progressive stylistically. Later, however, the still life provided the perfect arena for Hunter's experimentation. Though he generally always depicted combinations of traditional objects; peeled fruit, fans, draperies and so on, his

approach was varied. Often he would concentrate on very carefully and slowly built up larger paintings, alternated with “smaller, more quickly executed panels”.[4] 'Still Life with Pink Roses and Fruit' interestingly meets somewhere in the middle. The sophisticated composition is highly complex but entirely successful. The colours are pure and riotous, but do not argue or clamour. Here Hunter achieves what he most desired - modernity in the use of colour.

[1] p.79, ‘Introducing Leslie Hunter’, by T. J. Honeyman [2] p.86, ibid [3] p.36, ‘Scottish Colourists’, National Gallery of Scotland, 2000 [4] p.24, ibid

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171

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180§ FE611/3 ETHEL WALKER (SCOTTISH b. 1941) A STILL LIFE OF TULIPS Signed, oil on board 63cm x 63cm (25in x 25in)

£2,000-3,000

181§ FE611/4 ETHEL WALKER (SCOTTISH b. 1941) MISTY RIVER, GLEN ETIVE Signed, oil on board 51cm x 61cm (20in x 24in)

£1,000-1,500

172

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

182§ FE138/1 JAMES MORRISON R.S.A., R.S.W., L.L.D. (SCOTTISH b. 1932) SUMMER CLOUDS OVER MONTROSE Signed and dated ‘78, oil on board 91cm x 151cm (36in x 60in) Provenance: Thackeray Gallery, London

£2,000-3,000

173

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

183ยง FB791/24 JOHN BELLANY H.R.S.A., R.A., C.B.E. (SCOTTISH b. 1942) MARKET SCENE, ITALY Signed, oil on canvas, unframed 91cm x 122cm (36in x 48in)

ยฃ3,000-5,000

174

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184ยง FD469/2 JOHN BELLANY H.R.S.A., R.A., C.B.E. (SCOTTISH b. 1942) THE BASS ROCK Signed, oil on canvas 92cm x 120cm (36.25in x 47.25in)

ยฃ3,000-5,000

175

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

185ยง FE135/4 DENIS PEPLOE R.S.A (1914-1993) SPANISH TOWN ON THE BEACH Signed, oil on canvas 61cm x 51cm (24in x 20in)

ยฃ1,500-2,000

176

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

186ยง SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., R.S.W., R.A. (SCOTTISH 1898-1973) WINTER BOUQUET Signed, signed, inscribed and dated 1940 on a label verso, oil on canvas 67cm x 87.5cm (26.5in x 34.5in) Exhibited: Scottish Arts Council, W.G.Gillies Retrospective, no.46

ยฃ5,000-8,000

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

187§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) GOSSIPING ON THE PAVEMENT, GLASGOW SLUM Pastel 12cm x 16cm (4.75in x 6.25in)

£1,500-2,000

188§ SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., R.S.W., R.A. (SCOTTISH 1898-1973) OLD MIDDLETON Signed and dated 1960, pencil and watercolour 25.5cm x 35.5cm (10in x 14in)

£800-1,200

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189ยง FC630/1 ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) EYEMOUTH Signed, pencil and watercolour 34cm x 46cm (13.5in x 18in) Note: This watercolour dates from the late 1930s when Anne Redpath used to holiday in Eyemouth

ยฃ5,000-7,000

179

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

190§ FC313/1 DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) REED BEDS AND LOCHAN Signed, signed and inscribed verso, oil on canvas laid down 43cm x 53cm (17in x 21in)

£1,800-2,500

191§ FC788/19 SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., R.S.W., R.A. (SCOTTISH 1898-1973) WINTER LANDSCAPE Signed, oil on canvas 35.5cm x 61cm (14in x 24in)

£2,500-4,000

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

192ยง FE32/1 ROBERT HENDERSON BLYTH R.S.A., R.S.W. (SCOTTISH 1919-1970) BAITED LOBSTER POT Signed, oil on board 105cm x 55cm (41.5in x 21.5in) Exhibited: Royal Scottish Academy 1954, no.115 Atkinson Art Gallery, Southport 1958 Arts Council, Six Scottish Painters, Nottingham University 1959

ยฃ1,500-2,500

181

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

193 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) VILLEFRANCHE Signed, pencil and coloured chalk 38cm x 43cm (15in x 17in)

£2,000-3,000

194 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) STREET SCENE IN FRANCE Signed, pen and ink and coloured chalk 37cm x 44cm (14.5in x 17.25in)

£3,000-5,000

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195 FE134/1 JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) FIGURE GROUP Bronze 10.5cm (4.25in) high

£1,500-2,500

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184

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196 FE249/1 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) IN THE WOODS, KIRKCUDBRIGHT Signed, oil on canvas 63cm x 75cm (25in x 30in) Provenance: Bears typed label verso ‘From the Misses Blyth and Mrs Blyth de Portillo per Gibson & Spears, Kirkcaldy’

£60,000-80,000 Kirkcudbrightshire has existed as an artist’s colony for over a century. Its geography nestles it in a quiet pocket between England and Scotland, and consequently its landscape has terrain that remains subtly unique to anywhere else in the UK. Artists converge to paint the perfect little harbour of Kirkcudbright and the leafy surrounding woodlands. Members of the Glasgow Boys put the area firmly on the map as an excellent source of artistic inspiration, E.A. Hornel and James Paterson notable among them. However, it was E.A. Taylor who first drew Kirkcudbright’s most famous visitor to the area. S.J. Peploe had spent long visits painting in France with friend and fellow artist J.D. Fergusson in the years prior to the First World War, which had resulted in a huge change in the direction of his work post 1910. First hand

exposure to Fauvism and to the continental light so different to that of his Edinburgh studios had naturally impacted his work to a great extent. In spite of this his biographer, the artist Stanley Cursiter, credits Peploe’s first trip to Kirkcudbright at the age of forty three as having reignited his interest in the tonal nuances created by the perpetually grey cast of Scottish light: “quieter harmonies were re-awakened, a more lyrical note creeps in, and his work gained in both strength and quality.”[1] What Peploe found, after this initial visit and on subsequent trips, was that in his work he no longer felt the need to sacrifice full colour for tonality, or vice versa. He could in fact be unbiased in his choices; sure in his mastery of both, and no longer having to seek either extreme.

simultaneously underpins the composition. The low little cottage with its high chimneys and the structural twists of the tree trunks would have provided an interesting formal exercise, suited to Peploe’s robust and often angular style. It is an excellent example of the Modernist tendency towards the minimal; carefully selecting specific elements and rejecting anything that may be extraneous or unnecessary to the viewer’s reading of the painting. Trees studies such as this became a common motif in Peploe’s oeuvre, notably in his outdoor work in Antibes in the late 1920s. Here too we find the fussy foliage sacrificed in order to provide focus to the

sculptural forms of the trunks themselves. ‘In the Woods, Kirkcudbright’ was bought by John Waldegrave Blyth, a significant Scottish art connoisseur and champion of Peploe’s work. At the time of his death, Blyth owned 84 paintings by his favourite Colourist. His profile as a collector has recently been raised again in public consciousness with a significant exhibition of the key remaining pieces from his collection sold at The Scottish Gallery earlier this year.

[1] p.89 ‘Kirkcudbright: 100 Years of an Artist’s Colony’, ed. Patrick Bourne, Atelier Publications, 2000

The work represented here is demonstrative of this easy use of colour. Structurally, we see Peploe’s keen acuity for design at the fore. A perfectly balanced and expertly engineered scene; the two trees anchor and enclose the viewer’s eye while the lightness of the cottage behind the dark trunks provides depth of field and

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

197 FE251/1 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) MISS DON WAUCHOPE’S ROBE Signed, oil on canvas 112cm x 86.5cm (44in x 34in)

£200,000-300,000 'Miss Don Wauchope's Robe' c.1915, was created during a particularly satisfying and productive period of Cadell's career. Upon returning from a formative trip to Venice in 1910, his work was instilled with a new brilliance of light and easy broadness of brushstroke. He had consolidated a position for himself within Edinburgh society as a colourful, witty and entertaining host; conducting 'artistic' evenings from his studio at 130 Great George Street which gained him the loyal support of patrons, won over by both the art and the man. He was a founding member of the Society of Eight, a group of Scottish artists who, from 1912, regularly organised their own exhibitions out with the normal routes of the gallery world. It boasted an array of talented and successful members including Patrick Adam and Sir John Lavery. These factors combined to provide a heightened confidence in Cadell's work that is abundantly visible to the

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viewer. Cadell was painting like a man in his element and it was reflected in commercial and critical success; to his extreme pleasure he had several works accepted for exhibition in the Royal Scottish Academy during this time. One of his oeuvre's quintessential themes - the elegant studio interior began to sell well, serving to fund his lifestyle which was as luxurious as money would allow. He also formed a highly productive working relationship with Miss Don Wauchope, a beautiful, elegant and thoroughly modern society lady who would sit for him regularly over the next fifteen years. It is her “brilliantly coloured robe”[1] that artlessly lies in a louche crumple of sumptuous material in the painting represented here. As gallerist Tom Hewlett quips when discussing the work in his 1988 biography of Cadell, “she obviously shared Bunty's taste for fine clothes”[2]. The

pair, it seems, were kindred spirits. A favourite recurring prop of Cadell's can also be observed on the side table in the form of an abstractedly rendered lapis blue porcelain buffalo. The same ornament can often be spotted in his interiors during this decade; on the mantlepeice in the stunning large-scale work 'The White Room' and in a still life study arranged with a mirror and buddah. The work as a whole is devised of masterful, extremely clever flashes of brushwork. The laquered floor, the creamy upholstrey, the blue-ish shadows cast against the wall are all artfully shaped with extremely dexterous, quick, adroit strokes. After the War Cadell's style underwent a marked change. Leaving behind the delicate whites, lilacs, pinks and expressive brushwork of his Impressionistic style he began to introduce the Fauveinfluenced flattened planes of vibrant colour which characterise his famous still

lifes. When considering his career retrospectively, these stunning societal interiors steeped in the influence of Whistler, Lavery and Sargent read as “a swansong of the innocent and idealistic Edwardian era”[3]. They are also, as with so much of his work, a reflection of the personality of the man himself: quick-witted, spirited, distinctive, ebullient and - of course - a little decadent.

[1] p.32, ‘Cadell: The Life and Works of a Scottish Colourist’, by Tom Hewlett, The Portland Gallery, 1988. [2] ibid [3] p.36, ibid

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

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, possible 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 Affandi, 14, 15 Aldin, C., 52 Alexander, L., 125, 167, 168 Armour, M., 177 Bellany, J., 88, 89, 183, 184 Blacklock, W.K., 162 Blyth, R.H., 192 Bough, S., 136 Bouvard, A., 62 Brandeis, A., 16-19, 72, 73, 74 Breakspeare, W.A., 61 Bril, P., follower of, 39 Brown, W.M., 111, 112, 158 Buckler, J.C., 42 Butterworth, T., 51 Cadell, F.C.B., 172, 197 Cameron, Sir D.Y., 156 Clare, O., 60 CortĂ¨s, E.H.L., 20, 21, 75, 76 Crawford, R.C., 127 Crawhall, J., 169 Crosbie, W., 165 Cursiter, S., 135 Davies, W., 69 de Breanksi, A.F. Jr., 68 de Breanski, A. Snr., 66, 67 Dekkert, E., 94 Dommersen, C.C., 29 Eadie, R., 95 Eardley, J., 170, 171, 187 Eversen, A., 33

Farquharson, D., 105 Farquharson, J., 131 Fergusson, J.D., 174, 195 Flint, Sir W.R., 114-122 Frazer, W.M., 97, 108, 109, 135, 160, 163 Gauld, D., 96 Gear, W., 166 Giles, J., 109 Gillies, Sir W.G., 124, 186, 188, 191 Grant, D., 82-85 Grubacs, G., 22 Gunawan, H., 9-12 Guyot, L.J., attributed to, 48 Hacker. A., 47 Hamilton, J.W., 98, 139 Hanna, N., 90, 91 Harvey, H., 65 Hausner, X., 86 Hay, W.H., 155 Henderson, J., 110 Henry, G., 102, 157 Houston, G., 129 Houston, J., 175 Hunter, G.L., 179, 193, 194 Hurt, L.B., 139 Hutchinson, R.G., 113, 142, 143, 144 Iskandar, P., 13 Kay, J., 133, 137 KlingelhĂśfer, F., 44

Koekkoek, H.Snr., 31, 32 Koekkoek, W., 23, 24, 25 Kruseman, F.M., 26, 27, 28 Ladell, E., 45 Lauder, C.J., 93 Lavery, Sir J., 99 le Sidaner, H., 53 Lebourg, A., 63 Lewis, J.F., 41 MacNee, R.R., 130, 150 MacWhirter, J., 106 Maitland, P., 87 McClure, D., 190 McGregor, R., 104 McTaggart, W., 153 McTaggart, W., attributed to, 159 Mesdag, H.W., 37 Ming, J., 7 Mitchell, J., 54 Morrison, J., 182 Morrocco, A., 92 Munnoch, J., 163 Nisbet, H.H., 43 Noble, R., 141 Palmer, H.S., 161 Park, S.J., 126 Paterson, J., 152 Peploe, D., 164, 185 Peploe, S.J., 196 Percy, S.R., 70, 71 Philip, J., 103

Philipson, Sir R., 173, 177 Pirie, Sir G., 154 Pollentine, A., 46, 59 Pothast, B., 36 Pringle, J.Q., 100, 101 Pritchett, E., 40 Provis, A., 57 Rayner, L., 151 Redpath, A., 178, 189 Reid, J.R., 128, 148 Roche, A., 132 Scott, H., 77-81 Serra, E., 58 Shan, L., 5, 6 Sickert, W.R., 64 Simpson, W., 55 Singh, A., 1-4 Smith, G., 140, 149 Souter, J.B., 145, 146, 147 Spohler, J.F., 30, 34, 35 van Apshoven, T., follower of, 38 Vautier, G., 49 Verboeckhoven, E., 50 Walker, E., 180, 181 Watson, W., 56 Wilson, W., 123 Wingate, Sir J.L., 107 Youhan, Y., 8

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Fine Asian Arts Tuesday, 5th December, 2012 33 Broughton Place, Edinburgh EH1 3RR Enquiries Lee Young Tel: +44 (0)131 557 8844 lee.young@lyonandturnbull.com Douglas Girton Tel: +44 (0)131 557 8844 douglas.girton@lyonandturnbull.com

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LEE MAN FONG (INDONESIAN 1913-1988) TWO BOYS WATCHING FIVE BUFFALO oil on board, framed 122cm high, 244cm wide

£300,000-500,000

CHINESE CARVED WHITE AND RUSSET JADE VASE QING DYNASTY, EARLY 19TH CENTURY the flattened balusted sides with twin loose ring handles and carved in high relief with bats amongst blossoming prunus branches 21.5cm high

£5,000-8,000

Silver Tuesday 27th November, 2012 33 Broughton Place, Edinburgh EH1 3RR

An Edwardian model of a snake D & J Welby, London 1910 22cm high, 29oz

ÂŁ1,000-1,500

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Jewellery Wednesday 28th November, 2012 33 Broughton Place, Edinburgh EH1 3RR

A contemporary fancy yellow and colourless diamond set necklace Length from clasp to tip of central drop 25.8cm

ÂŁ14,000-18,000

Enquiries Trevor Kyle (Jewellery) Tel: +44 (0)131 557 8844 trevor.kyle@lyonandturnbull.com Colin Fraser (Silver) Tel: +44 (0)131 557 8844 colin.fraser@lyonandturnbull.com

Waverley Station

P R IN C

WA ITH LE

N ST

Smaller items Mailboxes Etc 44/46 Morningside Road Edinburgh EH10 4BF The direct link to the ordering form is: http://www.mbeedinburgh.com/a rt-and-antiques.php Tel: +44 (0)131 556 6226 Fax: +44 (0)131 652 3673 Email: edinburgh@mbescotland.com

QU EE N

Packing and Shipping Please note that we do not pack or ship items. The following suggested carriers will be able to arrange packing and shipping; please contact them directly to receive a quote. You may wish to contact an alternative courier.

Local Deliveries Local deliveries can be arranged by A&S Pert Removals. Telephone 07876 343520.

St Andrew Square

Lyon & Turnbull saleroom

ES ST

ITH

Parking Multi-storey car parking is available at Greenside Place and in the St. James Centre; five minutes walk from the saleroom.

Furniture and larger items Constantine Constantine House North Caldeen Road Coatbridge North Lanarkshire ML5 4EF Tel: +44(0)1236 750055 Fax: +44(0)1236 750077 E-mail: enquiries@constantinemoving.com A Van Man Transport Unit 5, Benridge Park Holyrood Close, Creekmoor Poole, Dorset BH17 7BD Tel: +44 (0)1202 600 012 Fax: +44 (0)1202 600 206 Email: office@avmt.co.uk Fine Art Carriers Gallery Support Group 37 Cremer Street London E2 8HD Tel: +44 (0)20 7729 6692 Email: info@gallerysupportgroup.com

Arrangements for Sold Lots All bought items will be held free of charge at Broughton Place until the Friday following the sale. Thereafter lots will be removed to store in Edinburgh and a charge incurred. Administration fee: £20 + VAT Storage charges per lot per day are: Large Items £5 inc. insurance + VAT Small Items £2.50 inc. insurance + VAT Catering Refreshments will be available at the saleroom on view days and day of sale.

© Lyon & Turnbull Ltd. 2012. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted by any form or by any means without the prior written permission of Lyon & Turnbull Ltd.

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Fine American & English Paintings & Sculpture 12/02/12

Upcoming at Freeman’s

MONTAGUE DAWSON (british 1895-1973)

“THE CHARLES B. LUNT (997 TONS)” Signed ‘Montague Dawson’ bottom left; also inscribed ‘M.D 20 Far Horizion (sic)’The Charles B. Lunt of Newburyport / 997 Tons Built in 1859’ in pencil on canvas overlap verso, oil on canvas 20 x 30 in. (50.8 x 76.2cm) $20,000-30,000 (£12,500-18,750)

Auction Sunday, December 2nd at 2pm Exhibitions Thursday, November 29th Friday, November 30th Saturday, December 1st Please contact the department or www.freemansauction.com for further details

Inquiries: alasdair nichol 267.414.1211 anichol@freemansauction.com david weiss 267.414.1214 dweiss@freemansauction.com

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

andrew huber 267.414.1210 ahuber@freemansauction.com Catalogue $35

to preview, bid or consign visit us at

www.freemansauction.com

Board of Directors

Specialist Departments

Chairman Sir Angus Grossart

Pictures, Watercolours and

Vice Chairman Paul Roberts Managing Director Nick Curnow Directors Campbell Armour Rachel Doerr Trevor Kyle John Mackie Gavin Strang Associate Directors Lee Young Mhairi McFadden

Prints Nick Curnow Charlotte Riordan Furniture, Clocks and Works of Art Douglas Girton Lee Young Asian Works of Art Lee Young Rugs and Carpets Gavin Strang

European and Asian Ceramics Douglas Girton Campbell Armour Rare Books, Maps, Manuscripts and Photographs Simon Vickers Cathy Marsden Arms and Armour John Batty (consultant) Antique Sales Theo Burrell Lydia Stoker

Jewellery, Silver, Coins and Medals Trevor Kyle Colin Fraser Ruth Davis Decorative Arts and Design John Mackie

33 Broughton Place, Edinburgh EH1 3RR Tel +44 (0)131 557 8844 Fax +44 (0)131 557 8668

182 Bath Street, Glasgow G2 4HG Tel +44 (0)141 333 1992 Fax +44 (0)141 332 8240

email: info@lyonandturnbull.com www.lyonandturnbull.com

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78 Pall Mall, London SW1Y 5ES Tel +44 (0)20 7930 9115 Fax +44 (0)20 7930 7274

Valuation Department

Administration

Telephone: 0845 882 2794

VALUERS

UK Director Rachel Doerr

Scotland Trevor Kyle Campbell Armour Gavin Strang

Finance Manager Mhairi McFadden

Northern England David Hall (consultant)

Accounts Flo Marshall Eileen Welsh Hazel Tyrie

Client Services Linda Robinson Jane Lightfoot Jacky Thow Tessa Robson Business Development Lady Middleton John Sibbald John Thomson Tessa Thomson Lindsey Michie

North West England and Ireland Rachel Doerr

Operations Manager Alex Dove

Administration Edinburgh Kim Aitchison Glasgow Linda Robinson James McNaught

Midlands Patrick Bowen Michael Mays London and Home Counties Sean McIlroy South West & Wales Robin Barlow

Saleroom Staff Sydney Drew David Robertson Scott Mitchell David Fiddes Valerie Kyle Press and Public Relations Philip Gregory Marketing Matt McKenzie

London and Southern England Rachel Doerr Mobile: 07876 653602 rachel.doerr@lyonandturnbull.com

Lee Young Mobile: 07825 426555 lee.young@lyonandturnbull.com

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Jenny Johnson Tel: (0)20 7930 9115 jenny.johnson@lyonandturnbull.com

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STANDARD TERMS & CONDITIONS OF SALE

prevailing by law at the date of sale and is payable by buyers of relevant lots.

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.

6. PAYMENT

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; (g) “You”, “Your”, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate. 2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (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. 25% up to £25,000 / 20% thereafter. VAT will be charged on the premium at the rate imposed by law. 5. VALUE ADDED TAX 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

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(1) Immediately a lot is sold you will: (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 2% (VAT included) when using credit cards). We do not accept American Express. (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. 8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (1) If any lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (a) to proceed against you for damages for breach of contract; (b) to rescind the sale of that lot and/or any other lots sold by us to you; (c) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (d) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (e) to charge interest at a rate of 1.5% per month above the current base rate on the total amount due, to the extent it remains unpaid for more than four working days after the sale; (f) to retain that or any other lot sold to you until you pay the total amount due; (g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) to apply any proceeds of sale of other lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of) any of your property in our possession for any purpose until the debt due is satisfied. (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

9. THIRD PARTY LIABILITY 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. 10. COMMISSION BIDS While prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we shall if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer or our employees or agents shall be responsible for any failure to do so. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made. 11. WARRANTY OF TITLE AND AVAILABILITY The seller warrants to the auctioneer and to you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims. 12. AGENCY The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.

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.

13. TERMS OF SALE

GENERAL

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.

17. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

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 organized for sale, a withdrawal fee will apply; (a) If withdrawn over 28 working days prior to the sale, this will be charged at 10% of the mid estimate along with any ancilliary incurred (such as photography), all subject to VAT at the current rate. (b) If withdrawn within 28 working days of the sale, this will be charged at 20% of the mid estimate along with any ancilliary incurred (such as photography), 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, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably

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.

Absentee bid form Sale/customer details 33 Broughton Place Edinburgh EH1 3RR Tel +44 (0)131 557 8844 Fax +44 (0)131 557 8668

Sale Title Sale Date

Sale No.

Title

Initials

Client No.

182 Bath Street, Glasgow G2 4HG Tel +44 (0)141 333 1992 Fax +44 (0)141 332 2928 e-mail: info@lyonandturnbull.com www.lyonandturnbull.com

Surname Address Postcode Telephone

I request Lyon and Turnbull, without legal obligation of any kind on its part, to bid on the following lots up to the prices listed.

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£ Sterling limit Lot.No

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Ex. Premium & VAT

I understand that if any of my bids are successful the total price payable will be the amount of the final bid plus a Buyer’s premium calculated at the following rates: 25% up to £25,000 / 20% thereafter. VAT will be charged on the premium. The premium and VAT is payable by all purchasers. Lots in the catalogue marked * or † are subject to VAT on the hammer price as well as the premium. Where there are identical bids for a lot, the first bid received will be have precedence. Please make certain that your bids are submitted at least two hours before the start of the sale.

Client Signature

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33 Broughton Place, Edinburgh EH1 3RR Tel +44 (0)131 557 8844 Fax +44 (0)131 557 8668 email. info@lyonandturnbull.com www.lyonandturnbull.com

182 Bath Street, Glasgow G2 4HG Tel +44 (0)141 333 1992 Fax +44 (0)141 332 8240

78 Pall Mall, London SW1Y 5ES Tel +44 (0)20 7930 9115 Fax +44 (0)20 7930 7274