Fine Paintings | 30th May 2013 by Lyon & Turnbull

Fine Paintings Thursday, 30th May, 2013 33 Broughton Place Edinburgh EH1 3RR

Fine Paintings Thursday, 30th May, 2013 at 6pm Sale Number LT380

Viewing Sunday, 26th May 2pm - 5pm Monday, 27th May 10am - 5pm Tuesday, 28th May 10am - 5pm Wednesday, 29th May 10am - 5pm Thursday, 30th May 10am - 1pm

Specialists Nick Curnow nick.curnow@lyonandturnbull.com Emily Johnston emily.johnston@lyonandturnbull.com Charlotte Riordan charlotte.riordan@lyonandturnbull.com

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

1§ FB791/84 KEN HOWARD R.A. (BRITISH b. 1932) THE WINDBREAK Signed, oil on canvas 25.5cm x 30cm (10in x 12in)

£1,500-2,500

2§ FB791/78 KEN HOWARD R.A. (BRITISH b. 1932) ALMYROS BEACH, CRETE MORNING LIGHT EFFECT Signed, inscribed and dated verso,’15.09.09’, oil on board 20cm x 25.5cm (8in x 10in)

£1,200-1,800

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

3 FE499/31 WILLIAM MCBRIDE (SCOTTISH D.1913) SHEEP SHEARING Signed, oil on canvas 44cm x 60cm (17.25in x 23.5in) Exhibited: Royal Glasgow Institute for the Arts

£800-1,200

4 FE188/13 EDWARD TRAIN (BRITISH 1801-1866) ON A MOUNTAIN PASS Signed and dated 1851, oil on canvas 38cm x 59cm (15in x 23.25in)

£1,000-1,500

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

5 FE149/2* JOHN MACWHIRTER R.A., R.S.A., R.I., R.E. (SCOTTISH 1819-1911) EDINBURGH BY MOONLIGHT Signed, oil on canvas 104cm x 152.5cm (41in x 60in)

£3,000-5,000

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

6 FB66/13 ERSKINE NICOL R.S.A., A.R.A. (IRISH 1825-1904) THE DUBLIN MOUNTAINS FROM TEMPLEOGUE Signed and dated 1854, inscribed on a label verso, oil on canvas 38cm x 74cm (15in x 29.25in)

£2,000-3,000

7 FE430/47 SAM BOUGH R.S.A. (SCOTTISH 1822-1878) UNLOADING THE CATCH Signed, oil on panel 30cm x 43cm (12in x 17in)

£2,000-3,000

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

8 FE188/17 EDWIN MASTERS (BRITISH 19TH/20TH CENTURY) A BUSY VILLAGE STREET Signed, oil on canvas 51cm x 76cm (20in x 30in)

£1,000-1,500

9 FE465/1 HENDRICK PIETER KOEKKOEK (DUTCH 1843-c.1890) A SUMMER IDYLL Signed, oil on canvas 39cm x 58.5cm (15.5in x 23in)

£2,000-3,000

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

10 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)

£1,000-1,500

11 FE499/21 SIR JAMES LAWTON WINGATE R.S.A. (SCOTTISH 1846-1924) FARM WORKERS AND HAYCART Signed and dated 1875, oil on canvas 76cm x 63.5cm (30in x 25in)

£1,500-2,500

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

12 FF427/1 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) BOULEVARD DES ITALIENS, PARIS Signed, oil on board 51cm x 61cm (20in x 24in)

£10,000-15,000

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

13 FE499/4 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) SUNRISE OVER THE CLYDE Signed, gouache 17.5cm x 25.5cm (7in x 10in)

£600-900

14 FG82/30 SAM BOUGH R.S.A. (SCOTTISH 1822-1878) STOCKWELL BRIDGE Signed, pencil and watercolour 20cm x 15cm (8in x 6in)

and another by the same hand ‘Trongate’ (2) £1,500-2,000

15§ FE188/8 JAMES MCBEY (SCOTTISH 1883-1959) SAN GIORGIO, SUNRISE Signed, inscribed and dated ‘19 September 1924’, pen and ink and watercolour 28cm x 43cm (11in x 17in) Provenance: M.Knoedler & Co. New York

£1,500-2,000

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

16 GEORGE CHINNERY R.A. (BRITISH 1774-1852) RIVERSIDE TEMPLE, DACCA Pencil 24cm x 34cm (9.5in x 13.5in) Provenance: Thos. Agnew & Sons,Ltd no.27679

£600-800

17 JAMES KAY R.S.W., R.S.A. (SCOTTISH 1858-1942) TRONGATE Signed and inscribed ‘To Mrs Stevenson with comps’, watercolour 47cm x 59cm (18.5in x 23.25in)

£3,000-5,000

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

William McTaggart The works represented in this sale span the breadth of McTaggart’s career, from the early example ‘In Charge’ of 1965, through to the late portrait of his youngest children Nelly and Betty in 1901. Throughout his work the subject of children in a landscape features heavily. How this was conveyed, however, was to evolve both ideologically and stylistically. In the 1860s McTaggart’s work still incorporated elements of the genre scene. His admiration for the PreRaphaelites, in particular Millais, also meant that he was inclined towards an element of symbolism in his paintings, with children being deployed for his spring and summer subjects and elderly figures for autumn and winter. His main objective was for his sitters to have “a direct immediate contact with the natural environment.”[1] In the instance of ‘In Charge’ it takes the form of the innocently sleeping child lying amidst the summery grasses, oblivious and carefree while the dog bears the weight of responsibility for its welfare. This sense of the ‘oneness’ of children and nature was to gradually reinforce itself thematically, though the 1870s and 80s saw a period of stylistic transition. The dual aspects of figure and landscape became evermore

balanced in terms of the focus of his compositions; his purpose being to highlight the unity of the two elements. As in, ‘Return of the Lobster Boats’ of 1901, McTaggart’s paintings became increasingly focused on the West coast shoreline and the elemental forces that sweep it. He adopted what would be described as an increasingly impressionistic looseness of

handling to better evoke these conditions. Though he was aware of the work of the Impressionist School having seen an exhibition in London in 1883, he is largely believed to have arrived at this broken, suggestive brushwork as a natural and logical development of his own experimentation. The figures of children remained present but now, as in the portrait of

Nelly and Betty of 1901, they are unified with the landscape, wholly absorbed compositionally and tonally. [1] p.40, ‘William McTaggart: 18351910’, by Lindsay Errington, published National Gallery of Scotland, 1989

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

18 FF149/2 WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) RETURN OF THE LOBSTER FISHERS Signed and dated 1901, oil on panel 25.5cm x 28cm (10in x 11in) Note: This is a study for the picture in the Melbourne Gallery begun at Machrihanish in 1899

19 FG82/23 WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) IN CHARGE Signed and dated 1865, oil on canvas 25.5cm x 35.5cm (10in x 14in) Exhibited: Royal Scottish Academy 1866, no.441 Dundee 1867 Literature: James L Caw, William McTaggart 1917, pp.41,228

£7,000-10,000

Literature: James L.Caw, William McTaggart, 1917, p.274

£6,000-9,000

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

20 FE149/5* WILLIAM MCTAGGART R.S.W., R.S.A. (SCOTTISH 1835-1910) WAITING FOR THE RETURNING BOATS Signed and dated 1880, watercolour 38cm x 56cm (15in x 22in) Provenance: The drawing was given by the artist to the Dundee Art Society and won in the Art Union by Mr Alexander Banks, Dundee Literature: James Caw, William McTaggart 1908,p.249

£1,500-2,000

21 FG82/35 WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) CARRADALE - RUNNING FOR SHELTER Signed and dated 1885, watercolour 24cm x 35.5cm (9.5in x 14in) Provenance: William McTaggart Sale 1889, no.64 Literature: James L Caw, William McTaggart 1917, p.255 which states that this is the sketch for the larger oil picture dated 1887

£4,000-6,000

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

22 WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) A DOUBLE PORTRAIT OF NELLY AND BETTY MCTAGGART Signed and dated 1901, oil on canvas 113cm x 85.5cm (44.5in x 33.75in) Provenance: The Artist’s Trustees Literature: James L Caw, William McTaggart 1917, p.274

£5,000-7,000

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

23 FE499/19 RICHARD WRIGHT OF LIVERPOOL (BRITISH 1735-1774) A SQUADRON OF BRITISH WAR SHIPS IN A MEDITERRANEAN PORT WITH CAPTURED FRENCH VESSELS DURING THE SEVEN YEARS WAR Oil on canvas 109cm x 168cm (43in x 66in)

£10,000-15,000

Richard Wright was born in Liverpool in 1735. Although he always claimed to be a selftaught artist, the fact that he was a contemporary and neighbour of Liverpool painters William Caddick and George Stubbs has certainly played some influence on his work. Deciding to focus on the representation of marine subjects, Wright moved to London around 1760 where he became known as ‘Wright of Liverpool’. There he had the chance to develop his style further under the influence of the long tradition of Dutch sea painters who sought the patronage of the British Monarchy at the end of the 17th Century after the AngloDutch wars had weakened the Dutch supremacy at the sea. As soon as he moved to London, Wright presented his

works at the Society of Arts where he exhibited every year until 1773. In 1764 his perhaps most famous painting ‘The Fishery’ – now in The Yale Centre for British Art – won the Society’s prize for the best sea view and granted him a national reputation as a sea painter. Depicting a ship entering the harbour in a storm, ‘The Fishery’ possesses that clarity of detail and masterful use of dramatic light that defines Wright’s artistic style and connects him to the Dutch tradition. Throughout his career Wright went on many journeys on board British ships, recording crucial moments of 18th Century British naval history. The painting presented here shows a scene from the Seven Years’ War, the conflict between England and France that involved almost all the great world powers of the time. It is likely that the work was realised between 1758 and 1761, years during which the most important naval battles between England and France took place in European seas. Wright, who in 1759 painted the famous

Battle of Quiberon Bay in which he assisted in person from a victorious British ship, had probably been travelling with the English fleet since the year before when England defeated France in two other battles off the SpanishPortuguese coast at Cartagena and Lagos. The geological rocky formation that emerges in the background of the painting together with the Moresque architecture of some of the buildings suggest the hypothesis that the Mediterranean port of the title belongs to a city along the Spanish coast, maybe between Cartagena and the British naval base of Gibraltar. Accounts of the Battle of Cartagena seem to redirect the choice of the location to the former of the two: in February 1758 a British fleet blockaded a convoy of French ships in the harbour of Cartagena preventing them going to the aid of the reinforcement that was being attacked by the rest of the British fleet off the coast with the result of the almost total destruction of the French squadron.

Quite unusual among his depictions of ships in rough seas, this rather peaceful scene is an example of Wright’s ability to survey the composition in meticulous details, from the sailors in the foreground to the extraordinary reproduction of the vessels and the architectural elements of the town in the background. The dramatic use of light gives the composition an atmospheric tone that seems to anticipate the great landscape tradition of the Romantic era. Interestingly, Wright’s name as marine painter was so well known that the English artist Sir Joshua Reynolds employed him to paint naval scenes in the background of at least two of his portraits: the Duchess of Ancaster and the Captain Alexander Hood, the action of which depicts, once again, a moment of the Franco-British conflict during the Seven Years’ war.

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

24 FC614/1 ATTRIBUTED TO PETER MONAMY (BRITISH 1681-1749) THE LANDFALL OF THE ROYAL CAROLINE, FIRING A SALUTE Oil on canvas 71cm x 114cm (28in x 45in)

£3,000-5,000

25 FG17/1 ATTRIBUTED TO LAI FONG PORTRAIT OF THE ADELAIDE TRADER ‘GLANCE’ Inscribed, oil on canvas 51cm x 66cm (20in x 26in) Note: The ‘Glance’ was built in 1869 by Wm. Watson of Sunderland for W. Pellier of London. Gross tons 911 with dimensions of 198.1ft x 33.1ft x 27.7ft

£1,000-1,500

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

26 WILLIAM CLARK OF GREENOCK (SCOTTISH 1803-1883) THE YACHT RACE Signed, oil on canvas 28cm x 38cm (11in x 15in) Literature: A.S.Davidson, Marine Art: The Clyde 2001, Ill.p.75

£3,000-5,000

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

27 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 Schaeffer, author ‘J.E. Buttersworth’; and thence by descent

£20,000-30,000

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

28§ LT2013/35 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)

£1,000-1,500

29§ LT2013/37 HENRY SCOTT (BRITISH 1911-2005) THE WHITE CLIPPER ‘SIERRA PARIMA’ 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.

£3,000-5,000

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

30 FE188/21 HORATIO MCCULLOCH R.S.A. (SCOTTISH 1805-1867) THE BURNS MONUMENT, BRIG O’ DOUNE Oil on canvas 43.5cm x 65cm (17in x 25.5in)

£1,500-2,000

31 FE188/22 ALEXANDER CARSE (SCOTTISH 1770-1843) A TAVERN INTERIOR Oil on canvas 46cm x 61cm (18in x 24in)

£3,000-5,000

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

32 FE499/29 REVEREND JOHN THOMSON OF DUDDINGSTON H.R.S. (SCOTTISH 1778-1840) KINBANE CASTLE - COUNTY ANTRIM Oil on panel 51cm x 75cm (20in x 29.5in) Note: Possibly the painting listed in an Exhibition of Pictures and Sketches by John Thomson of Duddingston held soon after his wife’s death during the month of February 1846 at 19 Princes St, Edinburgh Literature: Robert W.Napier, Rev. J.Thomson of Duddingston, 1919, p.506

£2,000-3,000

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

33 FG82/3 SAM BOUGH R.S.A. (SCOTTISH 1822-1878) MID-QUAY, GREENOCK HARBOUR Signed and dated 1858, inscribed on a label verso, oil on panel 43.5cm x 33cm (17.25in x 13in)

£12,000-18,000

Though born in Carlisle, Sam Bough spent much of his career north of the Scottish border, living variously in Glasgow, Hamilton, Edinburgh and periodically around the Fife coast. A famously ramshackle and romantic figure, he was entirely selftaught, eventually taking up with the prominent Scottish landscape artists Horatio McCulloch and Alexander Fraser, with whom he honed his talents on expeditions to Cadzow Forest. Dating from 1858, this picture is from the tail end of his Glasgow period. His biographer Sidney Gilpin wryly remarks that his time spent in the city “was still the old tale: little forethought and less thriftiness” and was, indeed, perhaps the most financially difficult period of the artist’s

entire career. Initially he had yet to take the leap into making his living solely as a fine artist and was still at this stage a theatrical set painter, albeit of increasing renown. It was during his time at the Princess Theatre that he met and married a young contralto from one of the shows. The affair was conducted in typically unorthodox fashion, with the pair having known each other for a mere three months. Invigorated by this new phase in his life, Bough increasingly began to paint and sketch the Glasgow locality and his work was met with a degree of success that enabled him to give up his job as a scene painter. Though he appeared a somewhat scatterbrained and careless character, his work itself was far from it.

Excellent painting, from the compositional structure to the atmosphere evoked, is a result of instinctive and often swift decision making. This decisiveness lies in the artist’s inherent skill and their confidence with their brush, and was something Bough had in abundance. The painting represented here is demonstrative of a masterly ability to describe what was before him in marvellous detail, whilst simultaneously sacrificing unnecessary elements in order to evoke a mood within the scene. It is also, in many ways, a precursor of his in depth explorations of the harbours of the East Neuk in the latter half of his career, where the influence of McCulloch would give way the evocation of Turner and his rosy skies and silhouetted ships.

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

34 FB66/12 JAMES WEBB (BRITISH 1825-1895) EVENING, WIMBLEDON COMMON Signed and dated ‘61, oil on canvas 46cm x 81cm (18in x 32in)

£1,000-1,500

35 FB66/14 FOLLOWER OF JAMES WEBB (BRITISH 1825-1895) FIGURES CROSSING A BRIDGE Oil on canvas 31cm x 56cm (12in x 22in)

£600-800

36 FE188/4 WILLIAM CURRIE (SCOTTISH fl. 1846-1868) VIEW OF EDINBURGH FROM THE SOUTH Inscribed on a label verso, oil on canvas 30.5cm x 46cm (12in x 18in)

£800-1,200

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

37 FE149/1* 18TH SCOTTISH CENTURY SCHOOL SIR NEIL MENZIES AT THE HEAD OF HIS CLAN WITH CASTLE MENZIES BEYOND Oil on canvas 74cm x 122cm (29in x 48in)

£1,500-2,500

38 FE188/10 ALEXANDER NASMYTH (SCOTTISH 1758-1840) VIEW OF DUNKELD ON THE RIVER TAY Inscribed on label verso, oil on panel 46cm x 61cm (18in x 24in)

£4,000-6,000

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

William Fettes Douglas William Fettes Douglas enjoyed a successful career as both Curator of the National Gallery of Scotland between 1877 and 1882, and as the 6th President of the R.S.A., a position he held for nine years. He is best known, however, for his notable contribution to the narrative painting genre. Following in Sir David Wilkie’s footsteps, Fettes Douglas tackled historical, literary and

religious subjects, though his esoteric imaginings of magicians and alchemists remain among his most idiosyncratic and popular motifs. His subjects are described in a high level of detail, often featuring beautifully observed still lives within the wider composition. A keen antiquarian, the objects littering the Money Lender’s study and crowded monk’s garret in Adding to the Glory of the Saints were

often in fact the artist’s own possessions. The Money Lender, featured in this sale, is critically regarded as being among the artist’s finest works, provoking comparisons to Dutch ‘Golden Era’ artist Pieter de Hooch with its cleverly imagined landscape visible through the window at the rear of the scene. The play of light was also a characteristic of his work,

our attention often focused by the light from a lamp or window. The success of these complex compositions is demonstrative of his technical skill as an artist and the reason he was highly regarded by art historians including James Caw, author of the important volume ‘Scottish Paintings Past and Present’, the first to champion the appreciation of Scottish art.

39 FE499/70 SIR WILLIAM FETTES DOUGLAS R.S.A. (SCOTTISH 1822-1891) ON A HOUSE TOP IN ROME Inscribed on a contemporary label verso which covers original painted inscription, oil on canvas laid down 25.5cm x 35.5cm (10in x 14in) Note: Thought to be a portrait of the artist’s wife Exhibited: Royal Scottish Academy 1874, no.154

£1,000-1,500

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

40 FE499/65 SIR WILLIAM FETTES DOUGLAS R.S.A. (SCOTTISH 1822-1891) ADDING GLORY TO THE SAINTS Signed and inscribed verso, oil on panel 25.5cm x 43cm ( 10in x 17in) Exhibited: Royal Scottish Academy 1870, no.593

£1,000-1,500

41 FE499/66 SIR WILLIAM FETTES DOUGLAS R.S.A. (SCOTTISH 1822-1891) CALM WEATHER, PORT SETON Inscribed on a label verso, oil on canvas laid down 12cm x 42cm (4.5in x 16.5in)

£800-1,200

42 FE499/64 SIR WILLIAM FETTES DOUGLAS R.S.A. (SCOTTISH 1822-1891) THE MONEY LENDER Signed with a mongram and dated ‘61, oil on canvas 55cm x 91cm (21.5in x 36in)

£2,000-3,000

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

43 FE499/63 SIR WILLIAM FETTES DOUGLAS R.S.A. (SCOTTISH 1822-1891) UN CONTRE-TEMPS Signed with a monogram and dated ‘79, oil on canvas 50cm x 38cm (20in x 15in)

£1,500-2,000

44 FE499/71 SIR WILLIAM FETTES DOUGLAS R.S.A. (SCOTTISH 1822-1891) THE CONSPIRATORS Signed with a monogram and dated 1866, oil on canvas 46cm x 62cm (18in x 24in) Exhibited: Royal Scottish Academy 1867, no.351

£2,000-3,000

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

45 FORD MADOX BROWN (BRITISH 1821-1893) QUEEN ELEANOR, STUDY FOR STAINED GLASS, WILLIAM MORRIS & CO. Signed with monogram and dated ‘70, inscribed, ink and wash

back forms of stained glass design. Quotations from Brown himself reveal that the simplicity demanded proved a challenge he very much enjoyed rising to meet. To Brown, the fundamental requirements of good design were “invention, expression and good dramatic action”.[2] This lot is specifically cited by the historian Mary Bennett in her definitive catalogue raisonne.

122cm x 41cm (48in x 16in) Note: Inscribed ‘This cartoon is the property of the artist, copyright for stained glass only granted to the firm of William Morris Co.’

“They have a command of gesture and movement both dramatic and subtle, from the profound expression of grief (note The Entombment, 1865: C122, A88) to the delicately conveyed character (note Queen Eleanor for Cambridge, 1870: C154).”[1]

£3,000-5,000 Ford Madox Brown is recognised as a greatly influential artistic figure of the late 19th century. Often grouped with the Pre-Raphaelites by both association and stylistic similarity, Brown was in fact only ever peripherally engaged with the movement and largely pursued an independent path. His association with the group began by way of his friendship with the young Dante Gabriel Rossetti who, as an admirer of Brown’s technique, approached him for tuition. Together they became founding members of the design firm Morris, Marshall, Faulkner and Company in 1861. A schism of ideologies resulted in its reformation as simply Morris and Company in 1874, after which time Brown no longer produced designs alongside members of the PreRaphaelite Brotherhood. This lot is one of 129 cartoons created by Brown, 123 of which, including this example, were seen to fruition as stained glass panels. Designed in 1870 it is one of several window panels Brown created for Peterhouse, Cambridge University’s oldest college. It depicts Queen Eleanor of Castile (d.1290), the first wife of Edward I. Eleanor, born into a famously literary court and thus better educated than the average medieval noblewoman, is hailed as the founder of

The subtlety of this design is indeed noteworthy; the draperies simply rendered and the composition uncluttered, the Queen’s expression beatifically serene and her hand gesture saintly in its minimalism. Queen Eleanor – though relatively unpopular in her own time – has been beloved of historians since the 17th century and, around the time Brown created his design, had been warmly rendered in a recent account of the Lives of the Queens of England from the Norman Conquest written by the historian Agnes Strickland in 1859.

Peterhouse which dates to 1280 when Edward I allowed a number of scholars to be housed in the Hospital of St John, later the site of the college. In Brown’s depiction, the Queen is seen holding her sceptre, “in the act of conferring on the college the charter”.[1] Brown’s style has often been described by art historians as graphic, a tendency which naturally lent itself to the pared-

Though Brown ceased to design stain glass after the dissolution of Morris, Marshall, Faulkner and Company, the linear discipline he learned during the period would impact on his later works, most notably his famous murals for Manchester Town Hall, a commission he worked on until his death in 1893. [1] p. 504 and p.427, ‘Ford Madox Brown: A Catalogue Raisonne’, by Mary Bennett, vol. 2, published Paul Mellon Centre by Yale University Press, New Haven and London, 2010. [2] p.19, A check-list of designs for stained glass by Ford Madox Brown’, by A. C. Sewter

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

46 FE210/1 JAMES ARCHER R.S.A. (SCOTTISH 1823-1904) SERENADE Signed with a monogram and indistinctly dated, oil on canvas 66cm x 45cm (26in x 17.75in)

£1,500-2,000

47 FE188/12 JAMES ARCHER R.S.A. (SCOTTISH 1823-1904) SCHOLARLY PURSUITS Signed with a monogram and dated 1869, oil on canvas 61cm x 46cm (24in x 18in)

£2,000-3,000

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

48 FE149/12* ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) READING THE GLASGOW WEEKLY NEWS Signed, oil on canvas 41cm x 31cm (16in x 12in)

£4,000-6,000

49 FG51/3 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1935) PEELING TATTIES Signed, oil on canvas 31cm xs 25.5cm (12in x 10in)

£3,000-5,000

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

50 FE430/43 JOHN MACWHIRTER R.A., R.S.A., R.I., R.E. (SCOTTISH 1839-1911) A SHOWER AT SEA Signed with a monogram, watercolour 33cm x 52cm (13in x 20.5in)

£500-800

51 FG66/3 SAM BOUGH R.S.A. (SCOTTISH 1822-1878) VIEW OF THE FORTH OF FIRTH FROM EAST LOTHIAN Signed and dated 1876, watercolour 28cm x 51cm (11in x 20in)

£700-1,000

52§ FE188/16 PATRICK DOWNIE R.S.W. (SCOTTISH 1871-1945) PASSING SHIPS Signed and dated 1903, gouache 38cm x 56cm (15in x 22in)

£600-800

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

53 FG82/32 ROBERT MCGOWN COVENTRY A.R.S.A., R.S.W. (SCOTTISH 1855-1941) ST. PAUL’S FROM THE THAMES Signed, watercolour 20cm x 24cm (8in x 9.5in)

£800-1,200

54 FC697/1 THOMAS MILES RICHARDSON JUNIOR R.W.S. (BRITISH 1813-1890) A HIGHLAND HARVEST FIELD Signed and dated 1859, watercolour 25.5cm x 86.5cm (10in x 34in)

£2,000-3,000

55 FG51/2 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1935) SEAGULLS OFF A CLIFF-FACE Signed and inscribed ‘Musselburgh’, watercolour 35.5cm x 41cmb (14in x 16in)

£1,000-1,500

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

56 JOHN FREDERICK HERRING SENIOR (BRITISH 1795-1865) PORTRAIT OF A DARK BROWN HUNTER IN A STABLE INTERIOR Signed, oil on canvas 51cm x 61cm (20in x 24in) Provenance: Descendants of the Duke of Grafton.

£3,000-5,000

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

57 JOHN FREDERICK HERRING SENIOR (BRITISH 1795-1865) PORTRAIT OF A DARK BAY HUNTER IN A STABLE INTERIOR Signed, oil on canvas 51cm x 61cm (20in x 24in) Provenance: Descendants of the Duke of Grafton.

£3,000-5,000

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

58 FF39/19 JOHN FAED R.S.A. (SCOTTISH 1819-1902) THE FISHERMAN’S DAUGHTER Signed and dated 1876, oil on canvas 61cm x 49cm (24in x 19.25in)

£3,000-5,000

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

59 FE406/2 WILLIAM POWELL FRITH (BRITISH 1819-1909) A PENSIVE YOUNG WOMAN Oil on canvas 74cm x 62cm (29in x 24.5in)

£4,000-6,000

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

60 FG51/4 GOURLAY STEEL R.S.A. (SCOTTISH 1819-1894) STUDY FOR THE HIGHLAND PARTING Signed, oil on canvas 51cm x 69cm (20in x 27in)

£1,000-1,500

61 FE396/61 RICHARD WHITFORD (BRITISH d. 1890) STUDY OF A HORSE IN LANDSCAPE Signed and dated 1860, oil on canvas 51cm x 61cm (20in x 24in)

£800-1,200

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

62 FE188/19 ALEXANDER YOUNG (SCOTTISH 1865-1923) LANDING THE CATCH Signed and dated 1911, oil on canvas 51cm x 76cm (20in x 30in)

£800-1,200

63 FB66/15 JAMES WEBB (BRITISH 1825-1895) SNAPE, SUFFOLK Signed and dated 1878, inscribed verso, oil on canvas 35.5cm x 61cm (14in x 24in)

£2,000-3,000

64 FE340/1 CHARLES MARTIN HARDIE R.S.A. (SCOTTISH 1858-1916) SLEEPING SHEPHERD Signed and dated ‘86, oil on canvas 51cm x 76cm (20in x 30in)

£2,000-3,000

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

65 HERMANUS 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) £15,000-20,000

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

66 FB66/16 DANIEL ISRAEL (AUSTRIAN 1859-1901) ODALISQUE Signed and inscribed ‘München’, oil on panel 11cm x 18cm (4.25in x 7in)

£3,000-5,000

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

67 FF418/7 MANÉ-KATZ (FRENCH/ UKRANIAN 1894-1962) HEAD OF A BOY Signed with initials, oil on board, oval 17.5cm x 13cm (7in x 5.25in) Provenance: O’Hana Gallery, London

£2,500-3,500

68 FG63/3 JOSÉ GILBERT (FRENCH 1862-1935) TYPE MAROCÉAN Entitled and dated 1905 on label verso, oil on canvas 33cm x 24cm (13in x 9.5in)

£1,500-2,000

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

69§ FF181/1 ÉDOUARD LÉON CORTÈS (FRENCH 1882-1969) CARRIAGES, MADELEINE Signed, oil on canvas 33cm x 46cm (13in x 18in)

£20,000-30,000

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

70 JOSEPH FARQUHARSON R.A. (SCOTTISH 1846-1935) HOMEWARD BOUND Signed, oil on canvas 51cm x 76cm (20in x 30in)

£30,000-50,000

Joseph Farquharson was one of the most highly esteemed and commercially successful landscape artists of his generation. His skill at depicting his native Aberdeenshire, or more particularly its snow, was widely admired. Walter Sickert, admitting in the Daily Telegraph that he found Farquharson’s rose-tinted traditionalism a guilty pleasure, even described his mastery of the snow scene as on a par with Gustave Courbet.[1] Farquharson was born into affluence and latterly became the laird of the Finzean estate upon the death of his brother. Artistically, he was greatly influenced by the work of his family friend Peter Graham, also a painter of highland scenes. His further education

was in the Parisian atelier of Carolus-Duran for several years in the early 1880s, studying alongside his friend John Singer Sargent. The en plein air painting trips made to Barbizon at this time were to plant the seeds of his continued art practise. Painting en plein air in Scotland however, and more particularly in Aberdeenshire in the dead of winter, posed inevitable difficulties. Farquharson overcame this with the invention of a transportable wheeled painting shed, complete with large glazed window and stove. From this cosy vantage point he was able to observe the wildlife of the forests and glens that, oblivious to his presence, moved fearlessly round and about his cabin. His artistic ingenuity extended to the modelling of his own startlingly realistic sheep which could be positioned ‘just so’ compositionally in lieu of the more erratic real thing. This somewhat eccentric

measure, combined with his love of snow, earned him the nickname ‘Frozen Mutton Farquharson’.[2] Though sheep feature heavily in his oeuvre, it was not his only motif. This painting features his other favourite device – the lone child in a landscape. A single isolated little figure can create the suggestion of a narrative within a scene. Are they lost, left to wander in the snow as the end of the day draws in? Or are they heading home, the suggestion of a cosy cottage just around the bend to greet them? These rather poetic elements are ever present in the artist’s work, his paintings never reading as simple, straight forward landscapes. The glint of light on water and the sense of hush we all recognise when the world is blanketed in snow play a lyrical part in our interpretation of this work.

unsurprising that Farquharson seldom deviated from his successful formula. Indeed, when you can be said to have truly mastered a genre, perhaps it is unnecessary to do so. [1] p.5, ‘Joseph Farquharson of Finzean’, published by Aberdeen Art Gallery and Museum, 1985 [2] p.12 ibid

With the proceeds of his painting sales going towards the upkeep of the Finzean estate, it is perhaps

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

72 JOSEPH FARQUHARSON R.A. (SCOTTISH 1846-1935) THE HAYFIELD Signed, oil on canvas 63cm x 89.5cm (24.75in x 35.25in)

£4,000-6,000

71 JOSEPH FARQUHARSON R.A. (SCOTTISH 1846-1935) AUTUMN GOLD Signed, oil on canvas 115cm x 90cm 45.25in x 35.5in)

£30,000-50,000

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

73- FE188/20 JOSEPH FARQUHARSON R.A. (SCOTTISH 1846-1935) PEONY ROSES Signed, oil on canvas 51cm x 71cm (20in x 28in) Provenance: Fine Art Society, London, 1924

£5,000-7,000

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

74 FE188/3 THOMAS BROMLEY BLACKLOCK (SCOTTISH 1863-1903) THE ENCHANTED GARDEN Signed, oil on board 30.5cm x 38cm (12in x 15in)

£1,000-1,500

75 FE188/7 GEORGE OGILVY REID R.S.A. (SCOTTISH 1853-1928) THE LATEST NEWS Signed, oil on canvas 25.5cm x 33cm (10in x 13in)

£1,000-1,500

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

76§ FG82/25 WILLIAM MILLLER FRAZER R.S.A. (SCOTTISH 1864-1961) SUMMER FLOWERS Signed and dated 1886, inscribed verso ‘In memory of the sunshine at Whistlefield’, oil on canvas 25.5cm x 35.5cm (10in x 14in)

£2,000-3,000

77§ FF117/1 BERTRAM PRIESTMAN (BRITISH 1868-1951) JERUSALEM FROM THE MT. OF OLIVES Signed, inscribed and indistinctly dated ‘Charles Harris from Bertram Priestman’, oil on canvas 44.5cm x 61cm (17.5in x 24in)

£1,000-1,500

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

78 FE499/22 JOHN CAMPBELL MITCHELL R.S.A. (SCOTTISH 1862-1922) IN GARTMORE Signed, oil on canvas 51cm x 61cm (20in x 24in) Exhibited: Royal Academy, Exhibition of Scottish Art, 1939

£1,000-1,500

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

79FE188/24 DUNCAN CAMERON (SCOTTISH 1837-1916) HARVEST-TIME Signed, oil on canvas 51cm x 76cm (20in x 30in)

£2,000-3,000

80 FE465/3 DAVID FULTON R.S.W. (SCOTTISH 1848-1930) THE SQUIRREL Signed, oil on canvas 56cm x 68cm (22in x 26.75in)

£2,000-3,000

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

81 FE188/1 JAMES GILES R.S.A. (SCOTTISH 1801-1870) ON THE ITALIAN LAKES Signed and dated 1830, oil on board 35.5cm x 51cm (14in x 20in)

£2,000-3,000

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

82 FG25/1 ARTHUR PERIGAL R.S.A., R.S.W. (SCOTTISH 1816-1884) THE COWDEN HILLS, GLEN TORRIDON, ROSS-SHIRE Signed and dated 1865, inscribed with title on label verso, oil on canvas 69cm x 117cm (27.25in x 46in)

£3,000-5,000

83 FF102/1 CHARLES HODGE MACKIE R.S.A., R.S.W., P.S.S.A. (SCOTTISH 1862-1920) ST. PETER’S, ROME Signed, inscribed verso, oil on board 28cm x 33cm (11in x 13in)

£1,000-1,500

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

84 FE188/15 WILLIAM ALFRED GIBSON (SCOTTISH 1866-1923) A DUTCH CANAL WITH PUNT Signed, oil on canvas 46cm x 56cm (18in x 22in)

£1,500-2,000

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

Léon Augustin Lhermitte Born in 1844 in Northern France, Léon Augustin Lhermitte was one of the most significant artists working within the Realist tradition in the latter decades of the 19th century. Realism was an artistic movement spanning the disciplines of painting, literature and theatre which developed in the 1850s after the 1848 Revolution. In keeping with the political tone of the period, artists were concerned with depicting the everyday lives of all aspects of society. Their aim was to create an art form that was relevant to the masses rather than elevated above the comprehension of the lay person by literary allusion, allegory or the assumption of a prior understanding of the art historical canon. Spanning several decades and encompassing a broad remit, there is no specific unifying ideology associated with the movement as such, and the subject matter varies from scenes of urban industry to rural peasantry at work in the fields. Realism’s early days were its most politicised and the cause of much contention among the traditional art institutions of Paris, with the work of artists like Gustave Courbet gradually changing the face of prestigious

exhibitions like the annual Paris Salons. Born and bred in the countryside, Lhermitte followed in the footsteps of Jean-François Millet by largely focusing his attention on rural subject matter. While Millet self-consciously elevated the status of the peasant workers, Lhermitte’s work can be read as a veneration of the timeless rhythms of the countryside as opposed to overt social or political commentary. Writing about an exhibition held in London in 1909, an art critic for the Daily Telegraph commented that his works “stand for realism half transformed by the poetry of sympathy”. Emile Zola, the figurehead of Naturalist literature and a close friend of Lhermitte, proclaimed Realism to be the choice between ‘vrai’ (truth) and ‘beau’ (beauty). The ‘truer’ you were, the more progressive your art was perceived to be. Lhermitte clearly did not feel that these elements were necessarily mutually exclusive. The ‘truth’ he saw in the fields and woodlands of France was beauty. His figures are depicted in a natural, un-staged manner and, as here in ‘At the End of the Day’, are often somehow incidental to rather than the focus of the scene. Critics both contemporaneous and in

subsequent years have bestowed high praise on his pastel studies, showcasing as they do the excellent draughtsmanship which elevated his work above many of his peers. In this picture we see the influence of Impressionism pervading his technique – with a tangible looseness of handling and the gradation of light and tone picked out in subtle flecks of yellow and pink. In ‘The Seamstresses of the Convent’, Lhermitte provides his audience with a rare glimpse behind the convent’s doors – revealing an industrious society within a society. Again the artist creates a representation which, though not exactly idealised, certainly seems to celebrate the activity of his sitters, in this case the nuns in their sunny workroom bent intently over their sewing. Esteemed and collected within his lifetime, Lhermitte exhibited work at the Paris Salons on several occasions and won the Grand Prize at the Exposition Universelle in 1889. His work was cited as an inspiration to younger generations of artists including Vincent Van Gough.

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

85 FF148/1 LÉON AUGUSTIN LHERMITTE (FRENCH 1844-1925) THE SEAMSTRESSES OF THE CONVENT Signed and indisitinctly dated 189-, pastel 50cm x 70cm (19.75in x 27.5in)

£7,000-10,000

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

86FF149/1 LÉON AUGUSTIN LHERMITTE (FRENCH 1844-1925) AT THE END OF THE DAY Signed, pastel 50cm x 41cm (19.75in x 16in)

£6,000-8,000

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

87 ROBERT MCGOWN COVENTRY A.R.S.A., R.S.W. (SCOTTISH 1855-1941) A WOODLAND CLEARING Signed and dated 1902, oil on panel 35.5cm x 25.5cm (14in x 10in)

and another by the same hand ‘In the Trossachs’(2) £1,000-1,500

88 JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) KIRRIEMUIR FAIR Signed and dated ‘87, watercolour 27cm x 20cm (10.5in x 8in)

£1,500-2,000

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

William Heath Wilson Born in Glasgow from a particularly talented family, William Heath Wilson was taught the art of painting by his father, the artist and architect Charles Heath Wilson, who in 1849 was appointed second headmaster of the newly founded Glasgow School of Design. Williamâ&#x20AC;&#x2122;s grandfather was the Scottish-born landscape painter Andrew Wilson, the only formal pupil of Alexander Nasmyth, who was mostly known for his scenes of the Italian countryside painted in a manner very much influenced by his master.

With such an artistic, inspiring background it was almost inevitable that William Heath Wilson would follow his paternal roots specialising in genre scenes and landscape painting. Although small in dimensions, his oil scenes possess a poetic sensitivity that seems to be directly inspired by certain French landscapes by Corot and his fellow painters of the Barbizon School. At the same time, the unfinished touch and the bright tonal qualities that pervade his paintings are a reminiscent of the luminous compositions of William McTaggart.

The works presented in this sale come from one of the many journeys that Wilson completed around Italy, a country that has been of particular inspiration to his family, first with his grandfather Andrew who permanently moved there in 1826 and then with his father Charles who decided to settle in Florence in 1868 to study Michelangelo. These six paintings represent landscapes in and around the cities of Venice, Florence and Palermo and were most certainly realised within the same trip that Wilson took between 1887 and 1888. In

them it is possible to see the clear atmosphere that characterises the style of the emerging generation of the Glasgow Boys who gathered around the Glasgow School of Art of which Wilson himself was a headmaster. In the following years, Wilson travelled further to Italy and Egypt attracted by the bright light and colours of these countries. Eventually he settled in Wenhaston, Suffolk where he continued to paint the English countryside through his distinctive small limpid oils.

89 FG82/10 WILLIAM HEATH WILSON (SCOTTISH 1849-1927) PALERMO Signed, signed, inscribed and dated 1888 verso, oil on panel 15cm x 24cm (6in x 9.5in)

ÂŁ3,000-5,000

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

90 FG82/11 WILLIAM HEATH WILSON (SCOTTISH 1849-1927) THE ROAD TO MONTREALE Signed, signed, inscribed and dated 1888, oil on panel 13cm x 20cm (5in x 8in)

£1,500-2,000

91 FG82/12 WILLIAM HEATH WILSON (SCOTTISH 1849-1927) THE ARNO BELOW FLORENCE Signed and inscribed verso, oil on panel 13cm x 20cm (5in x 8in)

£1,500-2,000

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

92 FG82/15 WILLIAM HEATH WILSON (SCOTTISH 1849-1927) PALERMO Signed, signed, inscribed and dated 1888 verso, oil on panel 13cm x 20cm (5in x 8in)

£1,500-2,000

93 FG82/13 WILLIAM HEATH WILSON (SCOTTISH 1849-1927) TEMPLE RUINS, ITALY Signed, oil on panel 15cm x 24cm (6in x 9.5in)

£1,500-2,000

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

94 FG82/14 WILLIAM HEATH WILSON (SCOTTISH 1849-1927) VENICE Signed, inscribed and dated 1888 verso, oil on panel 13cm x 20cm (5in x 8in)

ÂŁ2,000-3,000

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

95 FF151/26 MIKHAIL GUERMACHEFF (UKRANAIN 1867-1930) SNOW COVERED RIVER LANDSCAPE Signed, oil on canvas 46cm x 56cm (18in x 22in)

£1,000-1,500

96 FF39/20 HENRY REYNOLDS STEER (BRITISH 1858-1928) AN AFTERNOON NAP Signed and dated 1882, watercolour 51cm x 76cm (20in x 30in)

£600-800

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

97 FE188/23 WILLIAM WELLS (SCOTTISH 1872-1923) HOME FROM THE FIELDS Signed, oil on canvas 63.5cm x 76cm (25in x 30in)

£6,000-8,000

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

98ยง FG82/28 CHARLES OPPENHEIMER R.S.A., R.S.W. (SCOTTISH 1876-1961) THE WILLOW POOL Signed, oil on board 33cm x 41cm (13in x 16in)

ยฃ4,000-6,000

The Glasgow Girls

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

Bessie MacNicol This group of three pictures by Bessie MacNicol are rare examples of the work of this fine Glasgow artist, whose life was tragically cut short at the age of 34. MacNicol is often referred to as the most important woman painter in Glasgow at the beginning of the 20th century. She was born in 1869, the daughter of a schoolmaster, and attended Glasgow School of Art from 1887 until 1892 under Fra Newberry, and was exposed to the influences of the Glasgow Boy painters as well as the flourishing designers coming out of the School of Art. After leaving the School MacNicol studied art in Paris at the Academie Colarossi. In 1893 she exhibited at the Royal Academy, for the first and only time. One of her most famous works, the small painting ‘A French Girl’, demonstrated a mature style and was a sensuous and ravishing study of a girls head

in profile. MacNicol exibited the picture at the Glasgow Institute when she returned to the city in 1895. A critic commented at the time ‘...Art Lovers at once saw that in Bessie MacNicol a new artistic force had arisen in Glasgow’. The enigmatic sitter in the small portrait in oils represented here is strikingly similar to her model for ‘A French Girl’, sharing the same jet black hair and heavy-lidded expression. MacNicol’s interest in the depiction of women and in costume is certainly evident in the picture of fashionable women offered here. The sensual quality which she expressed in her early portrait ‘A French Girl’ are again demonstrated in the delightful watercolour ‘The Visit’. The artist luxuriates in the glamorous clothes of the sitter and in the rich upholstery of the couch which she reclines on. The direct

99 FG82/9 BESSIE MCNICOL (SCOTTISH 1869-1904) LADY IN A LACE COLLAR Signed, oil on canvas 23.5cm x 18.5cm (9.25in x 7.25in)

£2,000-3,000

and confident gaze and the flushed cheeks suggest no ordinary assignation, a subtext rendered all the more interesting when considering the artist’s own gender. In 1896 MacNicol attained her own studio at the top of St Vincent Street in Glasgow and also spent time in Kirkcudbright, a small town popular with Glasgow artists including E. A. Hornel whose portrait MacNicol painted around this time, and whose

influence led her to produce work that was lighter, brighter, and more decorative in its brushwork. However, by the beginning of the new century her pictures once more took on a darker tone, and she continued to paint until her death during pregnancy in 1904. Literature: Burkhauser, Jude (edit.) and Tanner, Ailsa Glasgow Girls: Women in Art and Design 1880-1920, 1990, pp. 192-199

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

100 BESSIE MCNICOL (SCOTTISH 1869-1904) THE VISIT Signed, watercolour 27cm x 18cm (10.5in x 7in)

£1,500-2,000

101 BESSIE MCNICOL (SCOTTISH 1869-1904) LADY WITH A FUR COLLAR Signed and dated 1904, watercolour 27cm x 18cm (10.5in x 7in)

£2,000-3,000

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

102§ FG82/34 JESSIE MARION KING (SCOTTISH 1875-1949) PRAY YOU HEAR MY SONG OF A NEST Signed and inscribed, pen and ink and watercolour, heightened with gold and silver 24cm x 16cm (9.5in x 6.25in)

£2,000-3,000

103§ FG82/33 KATE CAMERON R.S.W., R.E. (SCOTTISH 1874-1965) STILL LIFE WITH PANSIES Signed and dated 1894, watercolour 35.5cm x 35.5cm (14in x 14in) Exhibited: Helensburgh District Arts Club, West of Scotland Artists, 1976, no13 Glasgow Art Gallery & Museum 1976

£3,000-5,000

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

104§ FG98/1 STANSMORE RICHMOND LESLIE DEANS (SCOTTISH 1866-1944) GIRL IN A STRAW HAT Oil on canvas 69cm x 56cm (27in x 22in) Provenance: Familly of Robert Macaulay Stevenson and thence by descent Sotheby’s, Glasgow 1985 Exhibited: Lillie Art Gallery, Milngarvie 1984, no.12 Glasgow Art Gallery and Museum, Glasgow Girls 1990 Literature: Glasgow Girls - Women in Art and Design 1880-1920, Ed. Jude Burkhauser 1990, Illustrated fig.281 p.209

£6,000-8,000

With an unusual first name, Stansmore Richmond Leslie Dean was often mistaken for a male artist, which served her as an advantage in the male oriented art community of the famous Glasgow School to which she was associated. Together with painters like Bessie MacNicol and Norah Neilson Gray and designers like Ann Macbeth, she belonged to the ‘Glasgow Girls’, a group of female artists whose talent has been obscured by the fellow Glasgow Boys until very recently. In 1988 a dedicated exhibition finally recognised their importance, in some cases for the first time.

Born in Glasgow in 1866, Dean grew up in lively artistic environment, her father was the artistAlexander Davidson Dean. In 1883 Dean became a student of the Glasgow School of Art where she met artists such as C.R. Mackintosh and Margaret Rowat, sister of Jessie Newbery, another Glasgow Girl. Following in her colleague’s steps, she spent some time travelling abroad, especially to South of France, Brittany and Holland which much inspired her work in terms of subject matter and the use of bright colours.

she started exhibiting at the Glasgow Institute in 1984 and by the time she married the fellow artist Robert Macaulay Stevenson in 1902 her name was already well known among the members of the Glasgow School. In this stimulating environment Dean developed her style further towards a realism and a naturalism which drew, like her colleagues, on the Post-Impressionist language of the Barbizon school on the one hand and on the Londonbased American painter James McNeill Whistler on the other.

A member of the Society of Lady Artists’ Club in Glasgow,

Girl in a Straw Hat, painted around 1910, perfectly shows

how Dean strove for a naturalistic approach to portraiture on which she focused most of her artistic production. The result is a fascinating figure whose rapt expression is enhanced through an accurate use of light and shade which perfuse the painting with a rather intimate note. The allusive rendering of the subject and the harmonious balance of contrasting hues show the clear influence of Whistler, whose paintings Dean probably saw in Glasgow and London.

Various Artists

105 FE499/11 WILLIAM THORNLEY (BRITISH 1867-1898) ARRIVAL OF THE FLEET Signed, oil on canvas 25.5cm x 41cm (10in x 16in)

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

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106 FG46/1 WILLIAM ALFRED GIBSON (SCOTTISH 1866-1931) ON A DUTCH CANAL Signed, oil on canvas 30.5cm x 46cm (12in x 18in)

£1,000-1,500

107 FG16/1 JAMES FAED JUNIOR (SCOTTISH 1856-1920) GATHERING STORM Signed, oil on board 25.5cm x 38cm (10in x 15in)

£1,000-1,500

108 FE188/9 DAVID FARQUHARSON A.R.A., A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1840-1907) MOORLAND IN ATHOLL Signed and dated 1899, oil on canvas 35.5cm x 61cm (14in x 24in)

£1,500-2,000

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

109ยง FE188/18 GEORGE HOUSTON R.S.A., R.S.W., R.G.I. (SCOTTISH 1869-1947) A GREY DAY IN AYRSHIRE Signed, oil on canvas 46cm x 61cm (18in x 24in)

ยฃ2,000-3,000

The Glasgow Boys

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

George Henry and Edward Atkinson Hornel Henry and Hornel represented their own distinct branch of the Glasgow School. They were disinterested in the naturalism favoured by many of their contemporaries which found its roots in the French movement spearheaded by artists such as BastienLepage, finding more common ground in the work of Gauguin and the Pont Aven School. In simple terms they embraced a move away from realism and narrative in favour of decorative construction of form and colour, a key influence within this being the formal structures and tonality of Japanese prints. Though many of the Glasgow Boys often worked, theorised and socialised together closely, Henry and Hornel took a step further by collaborating on the same canvases, perhaps most famously in the case of their work ‘The Druids’ in 1890 (Kelvingrove Museum, Glasgow), which dazzled and perplexed critics in equal measure. The ‘Japanism’ of the pair’s art practise was among one of the most advanced artistic developments taking place in Britain at the time. Japan was closed to Europe and remained a place of mystery to the average Westerner.

Their dealer Alexander Reid – personally acquainted with the Pont Aven School and a collector of Japanese prints himself – was among those who funded an eighteenth month long trip for the adventurous pair. Living among the Japanese people, both artists focused their work on female figures engaged in routine activities in an interior setting; arranging their sitters to emulate the Japanese prints which had first inspired the voyage. Though their subject matter was closely linked, the two men in fact spent large portions of the trip separately, the proximity having apparently begun to take its toll on an increasingly stifled Henry.[1] Consequently, the Japanese output of the previously close aesthetic collaborators is subtly but inherently divergent. Hornel focused – as in the example here – on sculpting his surface texture to decorative, patterned effect, producing “some of the most richly coloured works of his career.”[2] The technique creates a whirling, dream-like effect which had much in common with his critically acclaimed pre-voyage scenes like ‘A

Galloway Idyll’ of 1890. Henry, however, produced paintings with a more faithful adherence to the formal traditions of Japanese art; creating a great many works in watercolour, tonally akin to the prints of Hokusai and Hiroshige. His choice of medium was perhaps just as well; the oils he worked on being almost wholly destroyed on the return journey to Scotland in 1894, sticking together whilst in the ship’s hold. For both Henry and Hornel, the Japanese phase would be the high point of their careers in terms of innovation and critical acclaim. In the years after the trip, debts, responsibilities and the simple advance of age would lead them along a more populist artistic path. Nevertheless, their time in Japan clearly had a profound effect and interestingly reemerged thematically towards the end of each of their careers.

[1] p.227, ‘The Glasgow Boys’, by Roger Bilcliffe, Frances Lincoln; Revised edition, 2008 [2] p.229, ibid

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110 FG82/5 EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) JAPANESE DANCER AND MUSICIAN Signed and indistinctly dated, oil on canvas 35.5cm x 33cm (14in x 13in)

£15,000-20,000

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

111 FG82/16 GEORGE HENRY R.A., R.S.A., R.S.W. (SCOTTISH 1858-1943) BLOSSOM-TIME Signed, watercolour 53.5cm x 26cm (21in x 10.25in)

£10,000-15,000

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

112FD724/1 EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) BRIGHOUSE BAY Signed and dated 1926, oil on canvas 41cm x 51cm (16in x 20in)

£7,000-10,000

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

In the summer of 1891, Lavery was invited to Glencarron House, in Ross and Cromarty, the shooting lodge of John McLaren MP. He was given the commission to paint a series of pictures for the Gun Room.[1] It is unlikely that this task was ever carried out, because Lavery quickly became a family friend and in the following winter executed a large double portrait of two of the McLarens’ daughters, Esther and Katherine (fig 1).[2] This was shown to great acclaim at the Royal Academy and the Paris Salon, while Lavery was engaged on McLaren’s portrait.[3] His relationship with Esther, a girl in her late teens, became particularly close and at this time, she stood for a Whistlerian full-length portrait that was shown at

the Royal Academy in 1894 as A Lady in Brown (fig 2).[4] A letter dated 5 February 1930, which accompanies the present lot, refers to the deterioration which had taken place on the surface of A Lady in Brown, and which remains visible to this day. During the early nineties, Lavery was much enamored with new methods of achieving the sunken effects associated with Whistler’s works. The ruinous after-effects of using petrol as a diluent, for example, are however absent from the present intimate sketch. This little portrait, which may have been a study for the full-length version, is distinguished by its frontal directness. It reveals the extent to which Lavery’s ‘fair women’ of the exerted influence over the second generation of Glasgow Boys, such as David Gauld, whose decorative full-face head studies emerged almost simultaneously.[5] Nevertheless when Lavery showed a striking profile portrait of Esther in 1895 as A Lady in Black (unlocated), Frederick Wedmore, grouping him with Whistler and Guthrie, praised the ‘artistic feeling’ of

Fig 1 Esther and Katherine, Daughters of Lord McLaren, 1891-2. City Art Centre, Edinburgh

Fig 2 A Lady in Brown, 1893-4. Private Collection

all three, declaring that ‘with them all, if a portrait is not in every case a likeness, it is at all events a picture’.[6] The two leading Glasgow School portrait painters were, at this point, linked in a determination to explore abstract harmony within a genre that was threatened more than any other by the arrival of photography. In this, the pretty daughter of the Lord Advocate for Scotland was undoubtedly an asset. We are grateful to Professor Kenneth McConkey for his assistance in cataloguing this lot. [1] John McLaren, (1831-1910) Liberal Member of Parliament and Lord Advocate for Scotland and his wife, Ottolie Augusta Schwabe, (1835-1914) had three daughters,

one of whom was the sculptor, Ottilie Helen Wallace (1875-1947). [2] Kenneth McConkey, John Lavery, A Painter and his World, 2010 (Atelier Books), p. 59, 219-220. Esther Joanna Marie McLaren (c1871-5 -1950) and her elder sister, Katherine (1870-1966) were both painted separately on other occasions by Lavery. Esther married Alan Blackburn in 1899, when Lavery presented her with a small sketch of a family picnic at Glencarron. [3] Lavery’s first portrait of John McLaren, a three-quarter length shown at the Salon in 1893, remains unlocated. A second portrait dating from 1899 is contained in the Scottish National Portrait Gallery, Edinburgh. [4] A McLaren family legend has it that Esther had a brief romantic attachment to Lavery. See McConkey, 2010, p. 220. [5] During the early nineties, the Glasgow dealer, Thomas Lawrie, staged a number of ‘Fair Women’ exhibitions featuring Lavery’s work. [6] Frederick Wedmore, ‘Some Portraits of the Season’, The Studio, vol V, 1895, p. 123.

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113 FE261/1 SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., R.O.I., L.L.B. (IRISH 1856-1941) STUDY OF ESTHER MCLAREN Signed and inscribed ‘To Esther McLaren’, oil on canvas 35.5cm x 31cm (14in x 10in) Provenance: The sitter and thence by family descent

£15,000-20,000

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

Among the many attractions of the Glasgow International Exhibition in 1888 were cooking demonstrations, band performances, a military tattoo, displays of fireworks and in August, a State Visit of Queen Victoria. John Lavery, an unofficial ‘artist-inresidence’ at the exhibition, was on hand to record these events for posterity, at the same time as painting scenes in the exhibition halls, kiosks, cafés, and at the Bishop’s Palace, specially constructed to display the relics of Mary, Queen of Scots.[1] Above this latter building, the Bishop’s Café on the hillside overlooking the park, was an ideal vantage point from which to launch fireworks. Although it is difficult to be certain of his position on the night, it is likely that the present picture was painted from close to the Bachelor’s Café further along the bank from the palace, at the far end of the exhibition park, close to the perimeter of the university, and overlooking a wide stretch of the river Kelvin. From here Lavery could see the lanterns on one or two pleasure boats moored in the river, as well as roman candles illuminating one of the bridges linking the main exhibition hall to the tobacco and flower kiosks. Overhead, the sky was lit by exploding rockets. On one occasion the display accompanied a mock battle,

celebrated in doggerel in The Baillie. … Then from its Battlements The Bishop’s Café – lo! Sent forth a scathing fire pell-mell, Of shell-less shot-less shell Upon the Bungalow …[2] The reason for Lavery’s continued presence at the exhibition has been the source of some speculation, but it is likely that he was under contract to the enterprising dealer, William Craibe Angus. In October 1888, one month before the final closure of the exhibition, Lavery staged a show of fifty Glasgow International sketches. These were praised in the local press as

‘impressions’ that were also ‘strikingly effective works of art’. ‘Even in the slightest’, we are told, … he is never weak or common, and … he has never repeated himself, either in the matter of scene, arrangement, colour or effect.[3] Of necessity Fireworks over the Kelvin is one of the most abstract and swiftly executed of the entire series. Never before had Lavery been faced with such a challenge. Painting cascades of falling sparks was one thing, but one also had to observe the illumination of drifting clouds of smoke as they encircled buildings, bridges and river banks, sunk in darkness. In the moment, Lavery is

unlikely to have thought of Turner, but he would surely have known that it was a painting of fireworks, Nocturne in Black and Gold: The Falling Rocket, (fig 1) had led James McNeill Whistler into court in 1878 in his famous libel case against John Ruskin.[4] Whistler had been accused of ‘hurling a pot of paint in the public’s face’. Was Lavery now doing the same? There is no sense that the enlightened Glasgow audience failed to comprehend Lavery’s sketches, and no evidence to suggest that his challenging picture of fireworks over the Kelvin was accepted as anything less than a true record of an exciting, if noisy occasion. We are grateful to Professor Kenneth McConkey for his assistance in cataloguing this lot.

Fig 1 James McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket, 1876, Detroit Institute of Arts

[1] For a fuller account of Lavery’s work at the Glasgow International see Kenneth McConkey, John Lavery, A Painter and his World, 2010 (Atelier Books), pp. 40-8. [2] Quoted from Stanley K Hunter, Kelvingrove and the 1888 Exhibition, 1990 (Privately Printed), p. 188. The ‘Bungalow’ was the Royal Bungalow Dining Room. [3] The Baillie, 3 October 1888, p. 11; quoted in Kenneth McConkey, Sir John Lavery RA, 1856-1941, 1984 (exhibition catalogue, Fine Art Society and Ulster Museum), pp. 36-7. [4] Eighteen months prior to the Glasgow Interantional, Lavery and Whistler had met in Piccadilly and spent the evening together. The young painter would have known about the notorious case.

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

114 FG82/17 SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., R.O.I., L.L.B. (IRISH 1856-1941) FIREWORKS OVER THE KELVIN: GLASGOW INTERNATIONAL EXHIBITION, 1888 Signed and dated ‘88, oil on canvas 54cm x 35.5cm (21.25in x 14in)

£30,000-40,000

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115§ FG82/29 SIR GEORGE PIRIE R.S.A., R.S.W., L.L.D. (SCOTTISH 1864-1946) STUDY OF A TERRIER Signed, oil on board 14cm x 23cm (5.5in x 9in)

£800-1,200

116 FG105/1 DAVID GAULD R.S.A. (SCOTTISH 1865-1936) A FRENCH WATERMILL Signed, oil on canvas 51cm x 76cm (20in x 30in)

£1,500-2,000

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

117 STUART PARK (SCOTTISH 1862-1933) VIOLAS Signed, oil on canvas 38cm x 30.5cm (15in x 12in)

£2,000-3,000

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

118 FE188/11 STUART PARK (SCOTTISH 1862-1933) STILL LIFE OF PINK ROSES Signed, oil on canvas 38cm x 30.5cm (15in x 12in)

£1,000-1,500

119 FE188/25 STUART PARK (SCOTTISH 1862-1933) STILL LIFE OF RED AND YELLOW ROSES Oil on canvas 51cm x 76cm (20in x 30in)

£2,000-3,000

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

120 FG82/22 WILLIAM KENNEDY (SCOTTISH 1859-1918) FEEDING THE ANIMALS Signed and dated 1886, oil on canvas

When the group that would come to be called the Glasgow Boys was still in its embryonic stages, William Kennedy was part of the strand that included Sir John Lavery, Thomas Millie Dow and Alexander Roche. This early sub-group was formed in the art ateliers of Paris in the 1880s, being among the first of their contemporaries to study on the continent. Kennedy, a Scot, had begun his training in Paisley Art School before heading to Paris where he studied under Jules Bastien-Lepage, an artist in the Naturalist tradition who is considered among the Boy’s greatest influences. Kennedy, Lavery, Roche and Millie Dow first travelled to Grez-sur-Loing in 1883. Two hours by train from Paris, the riverside town claimed status as an artistic and literary colony from the 1870s onwards, attracting the likes of Robert Louis Stevenson and John Singer Sargent. With a 12th century church, a mill, a quaint main street and a river running through it, Grez contained all the stimulus the Boys required. Here the young men felt able to observe the lesson of their master Bastien-Lepage who advocated the immersion of the artist into the society which he hoped to naturalistically depict, becoming part of the local community as opposed to an outside observer. While here,

84cm x 61cm (33in x 24in)

£5,000-7,000

Kennedy and his fellows began practising large scale en plein air subjects. Only a few of Kennedy’s surviving works have been traced back to his time spent in Grez and this painting – though not fully resolved with its visible pentimento surrounding the figure’s head and torso – is likely to be one such rare example. Arthur Melville had also spent some time in Grez in 1880 and had tackled the subject of the single peasant figure. Here

Kennedy takes up the motif, depicting a young local girl feeding a flock of birds. The two hotels frequented by the artist – the Chevillon and Laurent – both had gardens that stretched down to the Loing river. It is likely that one or other was the setting for this picture. We can also detect similarities to his best known work from the period, ‘Spring’ (1884), in the shared palette of blue greens, the use of the grass to explore texture and the left of centre

focus to the compositional structure. Though posterity has accorded him a quieter reputation than his fellow artists of the school, Kennedy was highly regarded by the other Glasgow Boys, as was evidenced by his election as president of their “shortlived” society in 1887.[1] [1] p.124. ‘Pioneering Painters: The Glasgow Boys’, Glasgow Museums Publishing, 2010.

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

James Paterson Many of the Glasgow Boys first met one another during life classes held in the studios of W.G. McGregor. Though keen to keep abreast of developments within the newly created scene, socially and artistically, Paterson was somewhat separate from his fellow group members, both circumstantially and ideologically. He was from an affluent background and did not share the same constraints felt by the other Boys. Furthermore, though

figuration was central to the work of his fellow group members like Guthrie and Walton, Paterson was mainly interested in landscape in its pure form. Several years older than many of the other Boys, he became the first to marry, moving away from the hub of Glasgow to settle down in the small town of Moniaive in Galloway in 1884. Accounts of Paterson paint a picture of a man of contradictions; he was by

turns serious and romantic, a homebody and a great lover of travel. We can perhaps gather as much from his artwork; his oils are painstakingly crafted and his watercolours, though obviously still carefully designed and executed, are generally more spontaneous and colourful. Likewise, the paintings of his chosen corner of the world Moniaive are considered and reflective, in contrast to those depicting his travels to Tenerife and

beyond which are vibrant and more loosely handled. This approach – both focused and impassioned – is arguably the key strength of his deeply atmospheric work, his paintings evoking the sense of having captured a particular moment and mood in time.

121 FG82/27 JAMES PATERSON R.S.W., R.S.A., R.W.S. (SCOTTISH 1854-1932) A SUMMER STROLL Signed and inscribed ‘Roseneath’, watercolour 30.5cm x 42cm (12in x 16in)

£2,000-3,000

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

122 JAMES PATERSON R.S.W., R.S.A., R.W.S. (SCOTTISH 1854-1932) BREAKING WAVES, ORATEVA Signed and inscribed ‘Tenerife’, watercolour 53cm x 75cm (21in x 29.5in)

£7,000-10,000

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

Edward Arthur Walton In the mid to late 1880s, when Walton painted In the Byre and Schoolmates, he was at the peak of his career. He had absorbed the techniques of Millet and Bastien-Lepage and had been able to observe the new Impressionist ideas concerning colour and light. Walton was a leading figure among the group now known as the Glasgow Boys and he enjoyed mutually inspiring friendships with Guthrie, Crawhall and Kennedy, in particular, at this time. Depictions of traditional rural life were now more important than generic landscape painting. The figure in the landscape, in harmony with nature was a powerful motif and the Walton produced some of the most resonant examples of the period. In certain paintings by the Glasgow Boys, we see the plight of the rural poor but in most cases, there is a sense of respect, even nostalgia for agricultural life during a period that had seen rapid industrialisation. Children were especially idolised for their purity. For Walton there was no more perfect subject than that of the innocent child, unaware that he or she is being observed, surrounded by nature. Early in his career, and ahead of his peers, Walton chose to

utilise watercolour for finished paintings that were intended for exhibitions rather than being purely a medium for preparatory studies. In the Byre relates closely to one of Walton’s most important watercolours, The Herd Boy (National Gallery of Scotland). In the Byre may have been painted at Cockburnspath, a farm in the Scottish Borders which was almost an artists‘ colony. Walton visited the village between 1883-1885, and there, he and Guthrie painted cattle, pigs, fowl, donkeys and markets, usually including one figure, occasionally two figures but rarely with much interaction between them. They are quiet paintings, offering a feeling of repose and introspection.

Schoolmates may also have been painted at Cockburnspath but from the impressionist style, it seems likely that it was executed slightly later at Cambuskenneth, near Stirling where Walton had a studio between 1888-1894. Schoolmates relates closely to two works dating to 1884; James Guthrie’s major painting, also titled Schoolmates (Musée des Beaux-Arts, Ghent) and Playmates by George Henry (Private Collection). The comparison with the Guthrie is particularly direct, in both

paintings two children walk side-by-side and are seen in profile. Guthrie’s painting includes a third older child leading the group and is more detailed. By painting the children from this perspective, one child is partly concealed by the other. It is not a traditional composition but with this placement of figures, there is a naturalism to the pose. The staccato brushwork in Walton’s painting perfectly conveys dappled light and a sense of movement. The overall impression is of tranquil companionship.

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

123FG82/6 EDWARD ARTHUR WALTON R.S.A., R.S.W., R.W.S. (SCOTTISH 1860-1922) THE SCHOOLMATES Signed, oil on canvas 46cm x 28cm (18in x 11in) Exhibited: Walton Exhibition 1923

£40,000-60,000

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

124 FG82/36 EDWARD ARTHUR WALTON R.S.A., R.S.W., R.W.S. (SCOTTISH 1860-1922) IN THE BYRE Signed, watercolour 35.5cm x 46cm (14in x 18in)

£6,000-8,000

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

125 THOMAS MILLIE DOW R.S.W. (SCOTTISH 1848-1919) A VENETIAN CANAL SCENE WITH GONDOLAS Signed with initials, watercolour 48cm x 65cm (19in x 25.5in)

£1,000-1,500

Various Artists

126 FE188/5 WALLER HUGH PATON R.S.A., R.S.W. (SCOTTISH 1828-1895) ON THE TAY AT MURTHLY Signed and dated 1870, oil on panel 20cm x 46cm (8in x 18in)

£4,000-6,000

127§ FE188/26 SPENCE SMITH R.S.A. (SCOTTISH 1880-1951) A WOODED RIVER LANDSCAPE Signed, oil on canvas 91cm x 61cm (36in x 24in)

£1,500-2,000

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

128 FF411/2 WILLIAM ALFRED GIBSON (SCOTTISH 1866-1931) QUIET WATER Signed, indistinctly inscribed and dated 1-1-1919, oil on board 24cm x 32cm (9.5in x 12.5in)

£800-1,200

129 FG25/2 ARTHUR PERIGAL R.S.A., R.S.W. (SCOTTISH 1816-1884) GLEN LEDNOCH, PERTHSHIRE Signed and dated 1868, oil on canvas 84cm x 134cm (33in x 52.75in)

£1,500-2,000

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

130ยง FF39/8 HENRY JOHN LINTOTT R.S.A. (BRITISH 1878-1965) SEA-WIND Oil on board 76cm x 56cm (30in x 22in) Exhibited: Royal Academy 1941 Russell Cotes Art Gallery, Bournemouth, Exhibition of works by eminent living artists, 1945

ยฃ1,000-1,500

100

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

131§ FF39/9 HENRY JOHN LINTOTT R.S.A. (BRITISH 1878-1965) MAY DANCE Oil on canvas 76cm x 61cm (30in x 24in)

£1,000-1,500

132§ FF39/7 HENRY JOHN LINTOTT R.S.A. (BRITISH 1878-1965) SPRING-TIME Oil on canvas 91cm x 61cm (36in x 24in)

£1,000-1,500

101

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133FD756/1 HORACE WESTON TAYLOR (AMERICAN 1881-1934) CONTEMPLATION Signed, gouache 31cm x 25.5cm (12in x 10in)

£1,000-1,500

134 FF185/1 PATRICK WILLIAM ADAM R.S.A. (SCOTTISH 1854-1929) JAPANESE ANENOMES Oil on canvas, inscribed on a label verso 24in x 20in (61cm x 51cm )

£1,000-1,500

102

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

135 FE188/14 WILLIAM WELLS (SCOTTISH 1872-1923) WAITING FOR THE FLEET Signed, oil on board 23cm x 13.5cm (9in x 5.5in)

£1,500-2,000

136 FC697/2 WILLIAM KAY BLACKLOCK (BRITISH 1872-1924) PREPARING THE MID-DAY MEAL Signed, watercolour 29cm x 21.5cm (11.5in x 8.5in)

£800-1,200

103

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137 FD753/1 ROBERT GEMMELL HUCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) IN THE SHALLOWS Signed, oil on panel 18cm x 25.5cm (7in x 10in)

£4,000-6,000

138 FF151/78 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) AMONGST THE BENTS Signed, oil on board 16cm x 23cm (6.5in x 9in)

£2,000-3,000

104

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139§ LT2013/36 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.

£3,000-5,000

105

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140§ FD726/2 JOHN MCGHIE (SCOTTISH 1867-1952) THE OLD FISHWIFE Signed, oil on canvas 51cm x 61cm (20in x 24in)

£1,500-2,000

141§ FG66/2 ROBERT RUSSELL MACNEE G.I. (SCOTTISH 1880-1951) CHICKENS IN A FARM YARD Signed, oil on board 24cm x 29cm (9.5in x 11.5in)

£800-1,200

106

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142 FF39/18 ROBERT ALEXANDER R.S.A., R.S.W. (SCOTTISH 1840-1923) BY THE HEARTH Signed, oil on canvas 35.5cm x 25.5cm (14in x 10in)

£800-1,200

143 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) DRYING WASHING Oil on board 51cm x 61cm (20in x 24in)

£2,000-3,000

107

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144§ FG66/1 WILLIAM MILLER FRAZER R.S.A. (SCOTTISH 1864-1961) CHILDREN ON THE BEACH, MACHRIHANISH Signed, oil on canvas 46cm x 61cm (18in x 24in)

£2,500-3,500

145§ FE430/45 SIR PETER SCOTT (BRITISH 1909-1989) FLIGHTING GEESE Signed and dated 1969, oil on board 51cm x 76cm (20in x 30in)

£3,000-5,000

108

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146ยง FF36/1 JOHN MCGHIE (SCOTTISH 1967-1952) SAILING THE TOY BOAT Signed, oil on canvas 46cm x 61cm (18in x 24in)

ยฃ4,000-6,000

109

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James McIntosh Patrick James McIntosh Patrick is frequently referred to as Scotland’s foremost landscape artist of the 20th century. Success came relatively early and, by his death in 1998, Patrick was a household name and arguably one of the most famous Scottish artists of the last century. A Dundonian by birth, his passion for his native county of Angus was reflected in his many depictions of the area. His colourful, traditionalistic approach to the landscape genre found him favour among academics, critics, collectors and gallery goers alike. As with many artists of the period, the Second World War

147§ FG82/18 JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) GLAMIS VILLAGE FROM THE RIVER Signed and dated ‘46, pen and ink and watercolour 37cm x 55cm (14.5in x 21.5in)

£5,000-7,000

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was to impact significantly on Patrick’s style and his pre and post-war output are easily distinguishable. His war time activities took him close to front line action and Patrick, who had previously found working from the studio suited his fastidious approach, took to sketching on the spot. His brushwork would loosen as a result and he would ever after chose to work en plein air; his style, though still retaining its trademark attention to detail, becoming more painterly and impressionistic from then on. Two of the landscapes featured in this sale are examples of his earlier style. Here his influences are far

removed from impressionism and indeed the 20th century altogether. Instead, we see a debt to the Old Masters, particularly Rubens, Rembrandt and, most obviously of all, Breugel. Patrick initially made his name as an etcher until the medium’s fall from favour in the 1930s. The accuracy and fine detail demanded by the etching plate is clearly visible in his early landscape oils and watercolours. Like Breugel, Patrick’s work from this period is characterised by its vastly sweeping, almost panoramic scope, countered with exquisite detail – from the moss on a wall to the glisten of a crow’s wing. His adoption of an unusually

skewed, often elevated perspective lends these early works a medieval, fairytalelike reading. Also in common with Breugel, Patrick frequently favoured a cultivated landscape to a wilderness, and even in his 1934 masterwork ‘The Three Sister’s of Glencoe’, a gypsy wagon can be observed battling its way through the snow. In the examples shown here, his interest in man’s relationship with the land is highly evident as is the pervading sense that Patrick was seeking to capture and idealise a transitory moment in the history of our landscape.

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148§ FG104/1 JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) NEAR LUNDIE, ANGUS Signed, watercolour 53.5cm x 73.5cm (21in x 29in)

£2,000-3,000

149§ FF85/1 JAMES MCINTOSH PATRICK R.S.A., R.O.I., L.L.D. (SCOTTISH 1907-1998) MILL NEAR BRECHIN Signed and dated ‘40, watercolour 26.5cm x 39cm (10.5in x 15.5in)

£1,000-1,500

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150ยง FE212/1 JAMES MCINTOSH PATRICK R.S.A., R.G.I., R.O.I. (SCOTTISH 1907-1998) MYLNEFIELD, CARSE OF GOWRIE, PERTHSHIRE Signed, inscribed with title and dated gallery label verso, oil on canvas 63.5cm x 74cm (25in x 29in) Exhibited: The Fine Art Society, 1964

ยฃ4,000-6,000

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Stanley Faraday Pinker (19242012) was born in Windhoek, Namibia. His art makes oblique comment on personal displacement as a result of the political angst of apartheid South Africa. Pinker has exhibited extensively in both South Africa and the UK, and his paintings have steadily grown in popularity at auction globally. Pinker studied at the Continental School of Art in Cape Town under Maurice van Essche, and also at the Hammersmith school of Art under Alistair Grant. Van Essche was a student of Henri Matisse and it is therefore unsurprising that this residual influence can be detected in Pinker’s references to Cubism. His exposure to the works of Matisse via Van Essche combined with a decade spent in Europe resulted in Pinker drawing inspiration from other moderns such as Braque and Klee. As a white European born in a colony Pinker was uncertain that he belonged in Africa and in 1951 he left for Europe. He lived here for twelve years, exhibiting in group shows with artists such as Ceri Richards and Prunella Clough, before his friendship with Van Essche led to employment in 1969 at the Michaelis School of Fine Art in Cape Town where he taught until 1986. Although Pinker’s artistic career

spanned over fifty years it was only once he was back in South Africa that his art began to truly flourish. Because of his time in Europe he was able to engage more objectively with the characters and contradiction of South African life as well as with the history of European painting. As a painter he absorbed modernist principles, but conceptually his work engaged with South African identity, environment, and its tumultuous history. Initially Pinker’s paintings were almost entirely concerned with landscape but by the 1960’s, as his knowledge of societal complexities within South Africa grew, he began to introduce figures, as seen in this painting. His decision to break away from idealised landscapes and move towards figuration made his work less specific of place and more specific to personal identity and narrative. His cryptic allusions to apartheid never over-rode the general sense of decorative elegance in his work, which set him apart from many artists working at this time when overt reference to the political situation was the norm. After this figurative phase Pinker turned to a more conceptual approach to painting with a highly individual and particular style.

151 STANLEY FARADAY PINKER (SOUTH AFRICAN 1924-2012) THE PARASOL Signed, oil on board 33.5cm x 20cm (13.25in x 8in)

£10,000-15,000

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152 FG27/1 ERROL STEPHEN BOYLEY (SOUTH AFRICAN 1918-2007) VIEW FROM NEWLANDS Signed, oil on board 35.5cm x 51cm (14in x 20in)

£1,000-1,500

153FE465/5 TERENCE JOHN MCCAW (SOUTH AFRICAN 1913-1978) AFRICAN VILLAGE Signed, oil on canvas 41cm x 61cm (16in x 24in)

£2,000-3,000

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154§ FE188/2 WILLIAM MILLLER FRAZER R.S.A. (SCOTTISH 1864-1961) ON THE OUSE, CAMBRIDGESHIRE Signed, inscribed and dated June 1934 on the frame verso, oil on board 25.5cm x 35.5cm (10in x 14in)

£1,000-1,500

155 FG40/1 ADRIAAN HENDRIK BOSHOFF (SOUTH AFRICAN 1935-2007) VEGETABLE SELLER Signed, oil on board 20cm x 33cm (8in x 13in)

£2,000-3,000

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156§ AUGUSTUS EDWIN JOHN O.M., R.A. (WELSH 1878-1961) THE POLICEMAN Signed, pencil sketch 23cm x 28.5cm (9in x 11.25in) Exhibited: The Fine Art Society, London Provenance: The Amaryllis Fleming Collection

£1,000-1,500

157§ AUGUSTUS EDWIN JOHN O.M., R.A. (WELSH 1878-1961) STUDY FOR ‘GALWAY’ Signed, pencil sketch 24.5cm x 36cm (9.75in x 14.25in) Exhibited: The Fine Art Society, London Provenance: The Amaryllis Fleming Collection Note: This work is a study for John’s largest mural. Painted in 1915, it is a study of Galway City in the West of Ireland.

£1,000-1,500

158§ DAME LAURA KNIGHT R.A., R.W.S. (BRITISH 1877-1970) DANCING AT QUAGLINO’S Signed and inscribed, pen and wash, unframed 19cm x 22cm (7.5in x 8.5in)

£800-1,200

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159ยง FC827/1 AUGUSTUS EDWIN JOHN O.M., R.A. (WELSH 1878-1961) MAGNOLIA Signed, oil on canvas 91cm x 71cm (36in x 28in) Provenance: Thelma Cazalet-Keir. A bequest to the Royal Scottish Academy in 1989 in memory of her mother and late husband Daniel Edwin Muir

ยฃ10,000-15,000

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160§ LT2013/32 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)

£4,000-6,000

161§ LT2013/33 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)

£4,000-6,000

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162ยง FG82/26 SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., R.S.W., R.A. (SCOTTISH 1898-1973) ON THE HARBOUR QUAY Signed, pencil and watercolour 25.5cm x 35.5cm (10in x 14in)

ยฃ2,500-3,500

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163§ SIR WILLIAM GEORGE GILLIES C.B.E., R.A., R.S.A., R.S.W., L.L.D. (SCOTTISH 1898-1973) NEAR BURNHOUSE Signed and dated ‘58, pencil and watercolour 25.5cm x 35.5cm (10in x 14in)

£2,000-3,000

164§ SIR WILLIAM GEORGE GILLIES C.B.E., R.A., R.S.A., R.S.W., L.L.D. (SCOTTISH 1898-1973) HARVEST, LYNE Signed and dated 1953, pencil and watercolour 39.5cm x 57cm (15.5in x 22.5in)

£3,000-5,000

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165ยง FE91/1 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

ยฃ3,000-5,000

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166§ FG82/2 JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) OVERLOOKING THE BAY Signed, watercolour 35.5cm x 46cm (14in x 18in)

£3,000-5,000

167§ FG82/24 JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) PITTENWEEM Signed, watercolour 28cm x 33cm (11in x 13in)

£2,000-3,000

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168ยง FG82/4 JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) BARGES ON THE SEINE, PARIS Signed, oil on board 35.5cm x 46cm (14in x 18in)

ยฃ30,000-40,000

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169§ FE499/6 DAVID SAWYER R.B.A. (BRITISH 20TH CENTURY) WINTER SUNSET ACROSS THE LAGOON Signed, oil on board 38cm x 76cm (15in x 30in)

£1,000-1,500

170§ FE499/24 DAVID SAWYER R.B.A. (BRITISH 20TH CENTURY) ON THE BEACH, PERRANPORTH Signed, oil on board 51cm x 101cm (20in x 40in)

£1,000-1,500

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171ยง ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., R.O.I., R.B.A. (SCOTTISH 1895-1965) EYEMOUTH Signed, watercolour 48.5cm x 61cm (19in x 24in) Provenance: Mercury Gallery, London, 1983

ยฃ2,500-3,500

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172§ FB791/80 KEN HOWARD R.A. (BRITISH b. 1932) BEACH AT MARAZION Signed, inscribed and dated 1999 verso, oil on board 24cm x 30cm (9.5in x 12in)

£800-1,200

173§ FB791/82 KEN HOWARD R.A. (BRITISH b. 1932) EVENING LIGHT, VULCANO, SABBIE NERE Signed, inscribed and dated on a label verso,’07.06.09’, oil on board 25.5cm x 30cm (10in x 12in)

£800-1,200

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174ยง FE472/1 DENIS PEPLOE R.S.A. (SCOTTISH 1914-1993) FISHING BOATS, SPAIN Signed, oil on board 46cm x 61cm (18in x 24in)

ยฃ2,500-3,500

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175§ FF151/72 SIR ROBIN PHILIPSON R.A., P.P.R.S.A., R.S.W., R.G.I., L.L.D., D.LITT (SCOTTISH 1916-1992) POPPIES ON A BLUE GROUND Signed and dated 1983 on a label verso, oil on board 106.5cm x 183cm (42in x 72in) Exhibited: Edinburgh College of Art, Robin Philipson Retrospective 1989, no.139

£30,000-40,000

A jug holding Oriental Poppies, their petals like white crepe paper pinned together by the deep blue of their stamens. One unassuming red poppy among the bunch brings a splash of warmth to an otherwise cooltoned painting. Still life paintings often feature colourful blossoms but here, it is the vivid blue background that contributes colour while the deluge of flowers brings pattern to the composition. The dramatically vibrant background has a luminous quality, almost as though it is one of Philipson’s stained glass studies. The artist produced a series of still life paintings in the 1980s and became preoccupied with the poppy in

particular: ‘What attracted me to poppies was their splendour – the sheer power and yet the delicacy of their colour’. Although not directly intending any symbolism in his paintings, Philipson would have been aware of the strong association the poppy has with opium, sleep and peace. The poppy flower with its ambiguous combination of strength and fragility, fits in particularly well with the ethereal feeling that runs through all of Philipson’s key themes, from the ‘observed’ figures to religious subjects. The series of poppy paintings, many of which are impressive in scale, are amongst Philipson’s most successful and popular works.

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176§ FF151/43 SIR ROBIN PHILIPSON R.A., P.P.R.S.A., R.S.W., R.G.I., L.L.D., D.LITT (SCOTTISH 1916-1992) MEN OBSERVED Signed verso, oil on canvas 31cm x 46cm (12in x 18in) Exhibited: Edinburgh College of Art, Robin Philipson Retrospective 1989, no.117

£2,000-3,000

177§ FF151/42 SIR ROBIN PHILIPSON R.A., P.P.R.S.A., R.S.W., R.G.I., L.L.D., D.LITT (SCOTTISH 1916-1992) COMPANIONS II Inscribed and dated 1985 on a label verso, pastel 23cm x 28cm (9in x 11in) Exhibited: The Scottish Gallery, Robin Philipson Memorial Exhibition, no.31

£600-900

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178ยง FE781/3 JACK VETTRIANO (SCOTTISH b. 1950) STUDY FOR LUCKY NO.7 Signed, oil on canvas 38cm x 30cm (15in x 12in) Note: Lucky No.7 was exhibited in The Ballroom Spy, 2011

ยฃ3,000-5,000

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179ยง FE781/1 JACK VETTRIANO (SCOTTISH b. 1951) STUDY FOR RUMBA IN BLACK Signed, oil on canvas 38cm x 30cm (15in x 12in) Note: Rumba in black was exhibited in The Ballroom Spy, 2011

ยฃ3,000-5,000

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180ยง FE781/2 JACK VETTRIANO (SCOTTISH b. 1950) STUDY FOR STARRY, STARRY NIGHT Signed, oil on canvas 38cm x 30icm (15in x 12in) Note: Starry, Starry Night was exhibited at The Ballroom Spy, 2011

ยฃ3,000-5,000

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181§ FE736/1 NAEL HANNA (SCOTTISH/IRAQI b. 1959) STORMY NIGHT, WEST COAST Signed, oil on canvas 68cm x 98cm (27in x 38.5in)

£1,500-2,000

182§ FE736/5 NAEL HANNA (SCOTTISH/IRAQI b. 1959) THE WHITE VASE Signed, oil on canvas 61cm x 61cm (24in x 24in)

£500-800

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183 FE430/46 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) HALF LENGTH PORTRAIT OF A LADY IN BLACK - LADY SKELTON Signed and dated ‘10, oil on canvas 76cm x 63.5cm (30in x 25in)

£5,000-7,000

135

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184 FF24/1 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) A STILL LIFE OF FRUIT Signed, oil on canvas 64cm x 77cm (25.25in x 30.25in) Provenance: J. Gibson Jarvie Esq Exhibited: Royal Academy of Arts, London, Exhibition of Scottish Art, 1939, no.565

£60,000-80,000 This work – a larger than average, fully worked up still life dating from 1926 originally featured in the collection of George Leslie Hunter’s cousin, Gibson Jarvie. As Hunter’s friend, dealer and biographer T. J. Honeyman describes, whenever the artist was “properly ‘up against it’, and was forced to find money somehow or somewhere, his fail-me-never was his cousin.”[1] Re-payment was in the form of gifted paintings and sketches. Though obviously a generous man with a sense of family

responsibility, Jarvie clearly had faith in his cousin’s abilities; commissioning Hunter to paint a portrait of his daughter in 1931, just prior to the artist’s death. The studios of the bohemian and often shambolic Hunter were generally a chaos of artistic materials and props, and the eccentric clutter of the arrangement here is suggestive of the space in which he was working. Here Hunter continues to explore his favoured motifs of the drapery. His ability to make sense of the chaos, to make such a complex arrangement balanced and readable, speaks volumes about his virtuosity by this stage of his career. His paintings were, at this time, attracting critical praise and in high demand with the eminent dealers of Glasgow and Edinburgh. This example is somewhat unusual in its exploration of a specific tonal scheme; his

harmonising of browns, pinks and oranges taking precedence over his usual clashing colours, lending the work a quiet sophistication. His style, famously described as “uneven genius”, is controlled and decisive here. Hunter once commented that as an artist he was compelled to push forward. This work brims with the ingenuity which made his work so distinctive in its own time and so important in the years that would follow. It was exhibited at the Royal Academy in 1939 and remains among the most substantial works by Hunter to appear on the market.

[1] p.67, ‘Introducing Leslie hunter’, by T. J. Honeyman, published Faber and Faber Ltd, 1937

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185§ ROBERT EADIE R.S.W. (SCOTTISH 1877-1954) ON THE CLYDE AT BROOMIELAW Signed, oil on canvas 102cm x 127cm (40in x 50in)

£4,000-6,000

186§ EARL HAIG O.B.E., R.S.A. (SCOTTISH 1918-2009) RIVER LANDSCAPE Signed, oil on panel 33cm x 41cm (13in x 16in) Provenance: Redfern Gallery Ltd, London, February 1955

£1,000-1,500

138

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187§ FG35/1 MARY ARMOUR R.S.A., R.S.W., R.G.I. (SCOTTISH 1902-2000) BLUE STILL LIFE Signed and dated ‘64, oil on canvas 61cm x 79cm (24in x 31in)

£4,000-6,000

139

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188§ SIR WILLIAM GEORGE GILLIES A.R.A., R.S.A., P.R.S.W. (SCOTTISH 1898-1973) NEAR PEEBLES, 1972 Signed, pencil and watercolour 25.5cm x 35.5cm (10in x 14in)

£600-800

189§ SIR WILLIAM GEORGE GILLIES R.A., R.S.A., PR.S.W. (SCOTTISH 1898-1973) ROOFTOPS, TEMPLE Signed, watercolour 48.5cm x 56.5cm (19in x 22.25in)

£3,000-5,000

140

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190 FC592/2† FRANCIS CAMPBELL BOILEAU CADELL, R.S.A., R.S.W. (SCOTTISH 1883-1937) IONA COTTAGES signed and dated ’19, oil on canvas board 37cm x 44cm (14.5in x 17.5 in) Provenance: The Scottish Gallery, Edinburgh Phillips, Edinburgh, ‘Fine Paintings’, 4th May 1990, Lot 64 Exhibited: Edinburgh, The Scottish Gallery ‘20th Century Scottish Masters’, September 1987

£10,000-15,000

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The Mixer Men (1944) is a significant, rare to market example of the artist’s student-era artwork. Enrolling at the Glasgow School of Art in 1940, Eardley studied for a diploma in drawing and painting until 1943; her talents recognised even at this early stage. A review of her end of year show in 1940 noted that her work had “a fine robust confidence”. Interestingly these same adjectives could comfortably be applied to her mature work, making it apparent that her distinctive aesthetic took shape early on. Government legislation during the inter-war years demanded that Eardley and her fellow students take up a profession. Like many of her contemporaries, Eardley signed up for teacher training at Jordanhill, only to quickly conclude after one term that it wasn’t a profession suited either to her temperament or her incessant compulsion to paint. To avoid being ‘called up’ she took on a job as a joiner’s labourer. It was around this period that her experiences of the world immediately around her became the focus of her work. For Eardley, 1940s Glasgow was to prove an important cultural melting pot. Stanley Spencer, whose depictions of everyday life were clearly an inspiration, was made an

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official war artist and spent significant lengths of time depicting the Clydeside docks. Even more formatively, the young artist made the acquaintance of the exiled Josef Herman, a Polish artist whose work was to resonate strongly with many British artists practising at the time. In his diaries Herman refers to their meetings, recalling Eardley’s homemade sketchbook which was “very large and awkward to handle”, and remarking that “from her early efforts it was difficult to perceive the fine artist she would become.” Nevertheless, these sessions together clearly indelibly impacted on Eardley, notably here in her adoption of the worker motif.

The Mixer Men is likely to depict her fellow labourers at the joinery. It’s clashing yellow and blue Fauvist palette and earthy subject matter has led critics to detect the influence of Van Gogh’s and his early homages to the working man. The heavy limbs and spatial sense of bulk are directly inspired by the work of both Josef Herman and Henry Moore, whom Eardley also highly regarded. Here we see the embryonic development of the same slightly cartoonish proportions that would characterise her later work, an element of realism rooted in its cleverly articulated

sense of movement – the weight of the barrow telling in the sagging set of the shoulders and the firm plant of the feet. Though reading less comprehensively than her later work, it was her first attempt at an ambitious compositional structure and, as such, represents an important step in her development. The picture was exhibited at the Royal Glasgow Institute for Fine Art in 1944, being hung in prime position “on the line” of the viewer’s gaze; an achievement indeed for a recent graduate. Well received by critics at the time, the work was praised for its personality and freshness. It has since been referenced by all of Eardley’s biographers and was included in her 2009 retrospective at the National Gallery of Scotland, being perceived as a seminal painting in her stylistic development in terms of colour, line, composition and subject matter. This sale represents the rare opportunity to purchase what is widely viewed as a landmark work in the artist’s oeuvre.

191§ FG12/1 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) THE MIXER MEN Oil on canvas 90.5cm x 80cm (35.75in x 31.5in) Exhibited: Scottish Arts Council, 1975, Joan Eardley, lent by Mrs P.H.Black Talbot Rice Gallery, Joan Eardley Retrospective, 1988, no.4 Hayward Gallery, London, Joan Eardley Retrospective 1988/89 National Galleries of Scotland, Joan Eardley, 2008 Literature: Cordelia Oliver, Joan Eardley, 1988, p.18, ill.p.19 Fiona Pearson, Joan Eardley, 2007, Ill.no.15

£30,000-50,000

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192ยง JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) CATTERLINE Oil on board 78cm x 101.5cm (30.75in x 40in) Provenance: The Estate of the Late Alasdair Milne.

ยฃ30,000-50,000

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193ยง JOHN PIPER C.H. (BRITISH 1903-1992) PARK GATES, BLENHEIM Signed, pen and ink, watercolour and gouache 38cm x 56cm (15in x 22in) Provenance: The Estate of the Late Alasdair Milne.

ยฃ6,000-8,000

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194§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) BOY’S HEAD Signed with the executor’s inventory number EO.895, pencil and chalk 23cm x 15cm (9in x 6in)

£5,000-7,000

195§ JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) KATHLEEN DILLON MORRISON Charcoal 23cm x 16cm (9in x 6.25in) Exhibited: Leicester Galleries, London, J.D.Fergusson 1964, no.38

£1,500-2,000

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196ยง FF432/1 JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) STILL LIFE OF TULIPS AND NARCISSI Signed, oil on board 61cm x 51cm (24in x 20in)

ยฃ3,000-5,000

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197ยง FB791/14 JOHN BELLANY H.R.S.A., R.A., C.B.E. (SCOTTISH b. 1942) SNAKE HEAD Signed, oil on canvas, unframed 91cm x 91cm (36in x 36in)

ยฃ2,000-3,000

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198ยง FB791/19 JOHN BELLANY H.R.S.A., R.A., C.B.E. (SCOTTISH b. 1942) THE CHURCH AT CROMARTY Signed, oil on canvas, unframed 101.5cm x 76cm (40in x 30in)

ยฃ2,000-3,000

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199ยง FE499/34 JOHN BOYD R.P., R.G.I. (SCOTTISH 1940-2001) ET IN ARCADIA EGO Signed and inscribed, oil on canvas 122cm x 152.5cm (48in x 60in)

ยฃ3,000-5,000

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200ยง FF116/1 SIR WILLIAM MACTAGGART P.R.S.A., R.A., R.S.W. (SCOTTISH 1903-1981) THE EBB TIDE Signed, oil on board 63cm x 76cm (25in x 30in)

ยฃ4,000-6,000

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201ยง FE499/40 VICTORIA CROWE O.B.E., F.R.S.E., R.S.A., R.S.W. (SCOTTISH b. 1945) WINTER REFLECTIONS Signed, mixed media 76cm x 76cm (30in x 30in)

ยฃ1,500-2,500

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202ยง FE499/37 DAME ELIZABETH BLACKADDER D.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH b. 1931) ORCHIDS Signed and dated 1983, watercolour 58cm x 81cm (23in x 32in)

ยฃ4,000-6,000

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

203 FF148/2 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) IONA Signed, oil on panel 33cm x 38cm (13in x 15in)

£30,000-50,000

It is worth appreciating the accuracy of Peploe and Cadell’s Iona paintings. In the twentieth century painters were increasingly keen to emphasise the essence of a landscape without much interest in topographical details, however, both Peploe and Cadell paid a great deal of attention to the rock formations on Iona and the positions from which they painted can still be identified today.

When painting the present work, Peploe set up his easel and stool on the white sands at the most northern tip of Iona. In the background is the north-western coastline of Mull with the cliffs of Treshnish Point outlined at the left. The reddish rocks in the middle-distance are the Eiliean Annraidh, Gallic for ‘Stormy Island’. The clear blue water separating Iona from this rocky islet is the Strait of Storm and the large rock on the left is Pulpit Rock. This painting compares very closely to a 1920s seascape by Cadell which hangs in the

Hunterian. Comparing the two paintings, it is interesting to note that as well as accurately capturing the structure of the rocks, the colour tones in both works consistently show the variations between the rocks; some with more blue, others yellow or red. What makes these Iona paintings so successful is that whilst taking such care with the unchanging topography, Peploe has also conveyed the sense of shifting waters, rolling clouds and the crisp northern light. You can almost feel the sea breeze.

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LY O N & T U R N B U L L Cataloguing Terms

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 Index

Index Adam, P.W., 134 Alexander, R., 142 Archer, J., 46, 47 Armour, M., 187 Bellany, J., 197, 198 Blackadder, E., 202 Blacklock, T.B., 74 Blacklock, W.K., 136 Boshoff, A.H., 155 Bough, S., 7, 14, 33, 51 Boyd, J., 199 Boyley, E.S., 152 Brown, F.M., 45 Buttersworth, T., 27 Cadell, F.C.B., 183, 190 Cameron, D., 79 Cameron, K., 103 Carse, A., 31 Chinnery, G., 16 Clark, W. of Greenock, 26 Cortés, E.L., 69 Coventry, R.M., 53, 87 Crowe, V., 201 Currie, W., 36 Deans, S.R.L., 104 Douglas, Sir W.F., 39-44 Dow, T.M., 125 Downie, P., 52

Farquharson, J., 70-73 Fergusson, J.D., 195 Flint, Sir W.R., 160, 161 Fong, L., follower of, 25 Frazer, W.M., 76, 144, 154 Frith, W.P., 59 Fulton, D., 80 Gauld, D., 116 Gibson, W.A., 84, 106, 128 Gilbert, J., 68 Giles, J., 81 Gillies, Sir W., 162-165, 188, 189 Guermacheff, M., 95 Haig, E., 186 Hanna, N., 181, 182 Hardie, C.M., 64 Henry.G., 111 Herald, J.W., 88 Herring, J.F. Snr., 56, 57 Hornel, E.A., 110, 112 Houston, G., 109 Howard, K., 1, 2, 173, 174 Hunter, G.L., 184 Hutchison, R.G., 48, 49, 55, 137, 138, 143 Israel, D., 66 John, A.E., 156, 157, 159

Eadie, R., 185 Eardley, J., 191, 192, 194 Faed, J., 58 Faed, J.Jnr., 107 Farquharson, D., 108

Kay, J., 12, 13, 17 Kennedy, W., 120 King, J.M., 102 Knight, Dame L., 158 Koekkoek, H. Snr., 65

Koekkoek, H.P., 9 Lavery, Sir J., 113, 114 Lhermitte, L.A., 85, 86 Lintott, H.J., 130, 131, 132 Mackie, C.H., 83 Macnee, R.R., 141 MacNicol, B., 99, 100, 101 Mactaggart, Sir W., 200 Macwhirter, J., 5, 50 Mané-Katz, 67 Masters, E., 8 McBey, J., 15 McBride, W., 3 McCaw, T.J., 153 McCulloch, H., 30 McGhie, J., 140, 146 McTaggart, W., 18-22 Milne, J.M., 166, 167, 168, 196 Mitchell, J.C., 78 Monamhy, P., attributed to, 24

Pirie, Sir G., 115 Priestman, B., 77 Redpath, A., 171 Reid, G.O., 75 Reid, J.R., 10 Richardson, T.M. Jnr., 54 Sawyer, D., 169, 170 Scott, H., 28, 29, 139 Scott, Sir P., 145 Scottish School, 37 Smith, S., 127 Steel, G., 60 Steer, H.R., 96 Taylor, H.W., 133 Thomson, Rev. J. of Duddingston, 32 Thornley, W., 105 Train, E., 4 Vettriano, J., 178, 179, 180

Nasymth, A., 38 Nicol, E., 6 Oppenheimer, C., 98 Park, S., 117, 118, 119 Paterson, J., 121, 122 Paton, W.H., 126 Patrick, J.M., 147-150 Peploe, D., 174 Peploe, S.J., 203 Perigal, A., 82, 129 Philipson, Sir R., 175, 176, 177 Pinker, S.F., 151 Piper, J., 193

Walton, E.A., 123, 124 Webb, J., 34, 63 Webb, J., follower of, 35 Wells, W., 97, 135 Whitford, R., 61 Wilson, W.H., 89-94 Wingate, Sir J.L., 11 Wright, R. of Liverpool, 23 Young, A., 62

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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. 13. TERMS OF SALE The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot. 14. STANDARD VENDOR FEES AND CHARGES (Subject to VAT) (1) Commission: 15% of the first £3000 and 10% thereafter is charged on the selling price of each lot (subject to a minimum charge of £30). Loss and damage warranty: 1.5% on value of lots sold. Photography: max £40 mono per lot, max £250 colour. Internet Marketing Service: £10 per lot. (2) If a vendor wishes to withdraw a lot 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

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. GENERAL 17. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. 18 (1) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (2). Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them. 19. Any notice to any buyer, seller, bidder or viewer may be given by first class mail in which case it shall be deemed to have been received by the addressee 48 hours after posting. 20. Special terms may be used in catalogue descriptions of particular classes of items (Books, Jewellery, paintings, guns, firearms etc) in which case the descriptions must be interpreted in accordance with any glossary or guidance notes appearing in the catalogue. These notices and terms will also form part of our terms and conditions of sales. 21. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect. 22. Scottish law applies to the interpretation of these Conditions.

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