British & European Paintings | 30th April 2014 by Lyon & Turnbull

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LYON & TURNBULL AUCTIONEERS EDINBURGH

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

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

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

BRITISH & EUROPEAN PAINTINGS 30TH APRIL 2014

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

British & European Paintings Wednesday, 30th April, 2014 33 Broughton Place Edinburgh EH1 3RR

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

St Andrew Square

Lyon & Turnbull saleroom

Local Deliveries Local deliveries can be arranged by A&S Pert Removals. Telephone 07876 343520. Packing and Shipping Please note that we do not pack or ship items. The following suggested carriers will be able to arrange packing and shipping; please contact them directly to receive a quote. You may wish to contact an alternative courier. Smaller items & Pictures Mailboxes Etc 44/46 Morningside Road Edinburgh EH10 4BF Tel: +44 (0)131 556 6226 Fax: +44 (0)131 652 3673 Email: edinburgh@mbescotland.com

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

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

© Lyon and Turnbull Ltd. 2014. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted by any form or by any means without the prior written permission of Lyon and Turnbull Ltd.

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British & European Paintings including A Private Collection of Sir William Russell Flint Wednesday, 30th April, 2014 at 11am Sale Number LT406

Viewing Sunday, 27th April 12 noon - 4pm Monday, 28th April 10am - 5pm Tuesday, 29th April 10am - 5pm Morning of sale strictly by appointment only

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

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

ENQUIRIES AND COMMISSION BIDS Lyon and Turnbull Ltd. 33 Broughton Place Edinburgh EH1 3RR Tel. 0131 557 8844 Fax. 0131 557 8668 email. info@lyonandturnbull.com www.lyonandturnbull.com

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LY O N & T U R N B U L L Important information for buyers

Buying at Auction This sale is subject to our standard Terms and Conditions of Sale. If you have not bought at auction before we will be delighted to advise you. Estimates Estimates are printed below each lot and do not include the buyer’s premium. The sale will be conducted in pounds sterling. Dimensions Dimensions are for guidance only; it is the buyer’s responsibility to ensure that they are correct. Buyer’s Premium 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. (see our Terms and Conditions of Sale). VAT The symbol † by a lot number indicates that VAT is payable by the purchaser at the standard rate on the hammer price. The symbol * by a lot number indicates that the lot has been temporarily imported from outside the EU and that VAT is payable by the purchaser at the rate of 5% on the hammer price. No VAT is payable on the hammer price or premium for books bought at auction. Droit de Suite This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the buyer on the hammer price and in addition to the buyer’s premium. It will not apply to works where the

hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. All royalty charges are paid to the appropriate collecting organisation and no handling costs or additional fees are retained by the auctioneer. Resale royalties are not subject to VAT. Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale. More information on Droit de Suite is available at www.dacs.org.uk Damage and Restoration Occasionally, when a lot has suffered extensive damage and/or restoration it is indicated in the catalogue. This is mentioned entirely at our discretion for the benefit of buyers. Where there is no mention of damage and/or restoration this should not be taken to mean that there is none. It is the buyer’s responsibility to ensure that the condition of lots is to their satisfaction (see our Terms and Conditions of Sale). Condition Reports If potential buyers are unable to inspect lots in person our specialists will be happy to prepare detailed Condition Reports on individual lots as quickly as possible. These are for guidance only and all lots are sold ‘as found’ (see our standard Terms and Conditions of Sale). Electrical Goods Lots that were once operated by mains electricity are bought entirely at the buyer’s risk. They are offered for sale for display or historical purposes and may not comply with current regulations. Bidding Please note that all first time bidders at Lyon & Turnbull will be asked to supply the following documents in order to facilitate registration:

1 – Government issued photo ID (Passport/ Driving licence) 2 – Proof of address (utility bill/ bank statement) You may present these documents in person or, alternatively, fax or email copies to us. We may, at our option, also ask you to provide a bank reference and/ or deposit. At the Sale Potential buyers must register and collect a bidding number before the sale begins, and show that number if successful in purchasing a lot. Please ensure that the auctioneer repeats the number correctly when confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer’s attention immediately. All lots will be invoiced to the name and address given on your registration form, which is nontransferable. If you have purchased a lot you may take your bidding number to the accounts department and receive an invoice immediately. If you have not been successful please leave the number at the Registration or Reception desks. In writing Bid forms are available at the sale and/or the back of the catalogue. These should be submitted in person, by post, or by fax as soon as possible prior to the sale and we will bid on your behalf up to the limit indicated. In the event of receiving two identical bids the first one received will take precedence. All bids must be received an hour before the sale. This service entirely at the bidder’s risk. By telephone Bids submitted by telephone must be confirmed in writing. Telephone bidding If you are unable to attend the sale we can normally arrange for you to bid on the telephone. This service is available entirely at our discretion and at the bidder’s risk. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We

recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. All bid requests must be received an hour before the sale. Methods of Payment Goods purchased will not be released until we have received full payment. Bank Transfer Please find details in any email invoice we issue or upon request from our accounts department. Cash Cash payments can be made at the accounts desk during or after a sale. Credit or Debit Cards Payment can be made by Visa Debit, Maestro, Mastercard or Visa Credit cards. Please note there is a 2% surcharge on credit card payments and we do not accept Amex.. Online Payments We no longer accept card payments by phone, please use our online payment service (powered by Worldpay). You will find a link to this service in any email invoice issue or you can visit the payments section of our website. Cheque Cheques should be made payable to Lyon and Turnbull Ltd. We reserve the right to wait until cheques have been cleared by our bankers before releasing bought goods. Cheques can be cleared prior to sale on request. Cheques drawn by third parties cannot be accepted. If paying by post please include the slip from your invoice. Collection It is the buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main saleroom.

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LY O N & T U R N B U L L British & European Paintings

1 FH15/1 DAVID WEST R.S.W. (SCOTTISH 1868-1936) THE LAST OF THE SCHOONERS Signed, watercolour 55cm x 75cm (21.5in x 29.5in) Exhibited: Royal Scottish Society of Painters in Watercolours no.2

£1,500-2,000

2§ FF553/68 JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) NEAR DRONLEY, ANGUS Signed, watercolour 36cm x 53.5cm (14in x 21in)

£1,000-1,500

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3 FG965/18 SAM BOUGH R.S.A. (SCOTTISH 1822-1878) MR AND MRS ADAMS AND FAMILY TOWING THE BOAT OUT OF MISCHIEF Signed and inscribed, watercolour 23cm x 31.5cm (9in x 12.25in)

£500-800

4 FH47/5 JAMES PATERSON P.R.S.W., R.S.A., R.W.S. (SCOTTISH 1854-1932) NAIRN Signed, inscribed and dated 1880, watercolour 24cm x 34cm (9.5in x 13.5in)

£700-900

5 FH74/3 WALLER HUGH PATON R.S.A., R.S.W. (SCOTTISH 1828-1895) DULLATUR Signed, inscribed and dated 17 Aug 1886, arched top, watercolour 24cm x 35.5cm (9.5in x 14in)

£1,200-1,800

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6§ FH74/2 WILLIAM MILLER FRAZER R.S.A. (SCOTTISH 1864-1961) GOGAR BURN, MIDLOTHIAN Signed, oil on board 25.5cm x 35.5cm (10in x 14in)

£1,000-1,500

7§ FF22/4 EDWARD IRVINE HALLIDAY (BRITISH 1902-1994) LOCH MORLICH Signed and dated 1946, inscribed on label verso, oil on board 38cm x 46cm (15in x 18in)

£1,200-1,800

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8 FG965/26 ATTRIBUTED TO JOHN WILSON EWBANK VIEW OF EDINBURGH AND LEITH FROM THE SEA Oil on canvas 25.5cm x 35.5cm (10in x 14in)

£800-1,200

9 SV85/23 JAMES CAMPBELL NOBLE R.S.A. (SCOTTISH 1846-1913) SHIPPING OFF THE DUTCH COAST Signed, oil on canvas 51cm x 61cm (20in x 24in)

£1,200-1,800

10 FD672/2 ALFRED MONTAGUE (BRITISH 1832-1883) BARGES OFF THE DUTCH COAST Signed, oil on canvas 36cm x 46cm (14in x 18in)

£800-1,200

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11 FG965/11 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) BARGES ON THE CLYDE Inscribed verso, oil on canvas 51cm x 61cm (20in x 24in)

£1,500-2,000

12 FF553/44 JOHN CHARLES MAGGS (BRITISH 1819-1895) WORCESTER TO LONDON COACH IN THE SNOW Signed, inscribed ‘Bath’ and dated 1880, oil on canvas 36cm x 66cm (14in x 26in)

and another coaching scene by the same hand (2) £1,500-2,500

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13 FG975/22 HENRY PERLEE PARKER (BRITISH 1795-1873) THE SMUGGLER’S RETURN Signed, oil on canvas 78.5cm x 109cm (31in x 43in)

£3,000-5,000

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14 FG993/3 GEORGE BLACKIE STICKS (BRITISH 1843-1938) THE SILVER STRAND, LOCH KATRINE Signed and dated 1898, signed, inscribed and dated verso, oil on canvas 71cm x 91cm (28in x 36in)

£1,500-2,000

15 FG965/17 LOUIS BOSWORTH HURT (SCOTTISH 1856-1929) GLEN DOCHART Signed, oil on board 14cm x 22cm (5.5in x 8.5in)

and a near pair ‘A spate in Glen Sligachan, Skye’ (2) £1,500-2,000

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16 FG330/6 FOLLOWER OF JEANBAPTISTE MONNOYER (FRENCH 1636-1699) A STILL LIFE OF ASSORTED FLOWERS IN A BRONZE VASE Oil on canvas 120cm x 98cm (47.25in x 38.5in)

£6,000-8,000 Monnoyer was a FrancoFlemish painter who gained great reputation for his pictures of flowers and fruit. Born in Lille, he studied in Antwerp before moving at a very young age to Paris. Documents register him in the French capital towards 1650 working on the decoration of Hôtel Lambert; there he met the famous artist Charles Le Brun who became his patron. As part of Le Brun’s atelier, Monnoyer helped decorate many royal residences at Vincennes, Versailles, Marly and the Tuileries. Soon his flower pieces became popular among the wealthy French class and in 1665 he was appointed a member of the Académie Royale de Peinture et de Sculpture. From 1666 he collaborated with the Gobelins tapestry workshop – of which Le Brun was director – and the Beauvais manufacturers, designing cartoons of flowers and fruit for the weavers, together with Jean Bérain and his son-inlaw Jean-Baptiste Blin. In 1690 Monnoyer followed the British ambassador Ralph Montagu to London where he

worked on the decoration of his house, Montagu House, which was to become the British Museum in 1754. He never left Britain again, and in the nine years before his death he produced flower panels for residences such as Hampton Court, Kensington Palace, Burlington House, Kedleston Hall, and often painted the flowers in Sir Godfrey

Kneller’s portraits. Monnoyer was particularly known for his meticulously detailed still lifes of flowers placed in classical vases set against elegant tapestries in the background. For decades his compositions were used as models by decorative designers. His followers counted Belin de Fontenay, who married his daughter, and his two sons.

Antoine, called ‘Young Baptiste’, also painted flowers although his works are much inferior to his father’s. Like him, he painted between London and Paris and became a member of the Académie Royale. The other son, ‘Frere Baptiste’, was a Dominican monk in Rome. He was a pupil of Jean Baptiste Corneille the younger and painted scenes from the life of St. Dominic.

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17 FH188/2 JOSEPH HIGHMORE (BRITISH 1692-1780) HALF LENGTH PORTRAIT OF ELIZABETH BANKS Signed, oil on canvas 63cm x 49cm (25in x 19.25in) Provenance: Collection of Lady Beryl Gilbert, Revsby Abbey, Lincolnshire and Knatchbull, Ropley House, Alresford

ÂŁ10,000-15,000 11

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18 FH479/1 WILLIAM CRAWFORD A.R.S.A. (SCOTTISH 1825-1869) BEDTIME Inscribed on a contemporary label verso, oil on canvas, oval 76cm x 60cm (30in x 29.5in)

£2,000-3,000

19 FG775/1 GEORGE SMITH (BRITISH 1829-1901) IN THE STUDIO Signed and dated 1865, oil on panel 43cm x 36cm (17in x 14in)

£3,000-5,000

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20 FG965/2 ROBERT MCGREGOR R.S.A. (SCOTTISH 1847-1922) WORN OUT Signed and dated ‘76, signed and inscribed verso, oil on canvas 76cm x 63cm (30in x 25in)

£2,000-3,000

21 FH19/1 EDWIN THOMAS ROBERTS (BRITISH 1840-1917) ‘DON’T TEASE ME NO MORE’ Signed and dated 1870, oil on canvas 91cm x 76cm (36in x 30in)

£1,000-1,500

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22 FF610/2 JAMES STARK (BRITISH 1794-1859) A VIEW ON THE YARE Oil on canvas 80cm x 113.5cm (31.5in x 44.75in) Exhibited: Whitchurch Art Exhibition Provenance: Sir Philip Grey Egerton

£5,000-8,000 James Stark was one of the key members of the Norwich School of painters. The group were at the forefront of 19th century British landscape painting and have been described at the first provincial British art movement. Though the work of the Norwich School is clearly rooted in the Dutch tradition, their unified aesthetic and enduring popularity is due to the quintessentially English nature of the scenery they depicted with gnarled oaks, winding rivers and tumble down bridges abounding in their work. Though his name became synonymous with Norfolk, Stark was in fact born a Scot; the son of a Fife-based dyer. The family moved to Norwich when Stark was a boy and it was during his time at Norwich Grammar School that he came to study art under John ‘Old’ Crome. John Crome and his fellow artist John Sell Cotman are regarded as the leaders of the Norwich School, and it

was their influence, notably Crome in Stark’s case, that prompted a number of talented landscapists to work in the same distinctive manner. Stark furthered his studies at the Royal Academy Schools where he made excellent progress. His talent was appreciated early on and at the age of twenty four he was awarded £50 by the British Institute – a significant critical endorsement. After his marriage in 1821, Stark lived in Great Yarmouth for several years before returning to Norwich and producing the well–received book of etchings titled ‘Views of Norfolk Rivers’ in 1834, produced in collaboration with a number of etchers.

Rivers were a favoured subject for all members of the School and wind their way through many of Stark’s works. The oil shown here depicts one of Starks favourite themes: the River Yare. Stark uses the riverbend as a compositional device to focus our attention on a small area of riverbank. The flat terrain of East Anglia lent itself to Stark and the School’s desire to create a sense of intimacy within their scenes; the river receding into the distance and the immediate foreground picked out in detail, from the riverside foliage to the cottage on the silty riverbank. Stark knew and loved Norfolk and was known amongst the local population. He therefore

regularly placed figures within his scenes – in this case a couple of fishermen who look up from their nets towards us, as if in recognition. Stark was successful within his lifetime and has been highly regarded ever since, with posterity continuing to hold the Norwich School in esteem. In latter years many of Stark’s works were wrongly attributed to his master Crome, though renewed scholastic interest in the School has since resolved any such misattributions and his reputation and standing within the 19th century British landscape tradition has continued to benefit as a result.

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23 FF593/2 ARCHIBALD KAY R.S.A., R.S.W. (SCOTTISH 1860-1935) CHARCOAL BURNERS Signed, oil on canvas 71cm x 91cm (28in x 36in)

£800-1,200

24 FH47/1 ROBERT HOPE R.S.A. (SCOTTISH 1869-1936) IN THE GLEN Signed, oil on canvas 49cm x 59.5cm (19.5in x 23.5in)

£800-1,200

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25 FF72/100 DIRK HALS (DUTCH 1591-1656) A CONVIVIAL PARTY Signed with monogram, oil on panel 29.5cm x 38cm (11.5in x 15in) Provenance: The Estate of Dr. Renate Davis deceased Note: Illustrated in the Rijksinstituut voor Kunsthistorische Documentatie

ÂŁ3,000-5,000

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26 FH340/2 MANNER OF THOMAS HUDSON HALF LENGTH PORTRAIT OF A MAN OF LETTERS Oil on canvas 91cm x 74cm (36in x 29in)

£800-1,200

27 FF929/1 CIRCLE OF JEAN-BAPTISTE VAN LOO FULL LENGTH PORTRAIT OF MARIA LESZCZYNSKA, WIFE OF LOUIS XV OF FRANCE Oil on canvas 52cm x 38cm (20.5in x 15in) Provenance: Magniac Collection William Esdaile, London

£3,000-5,000

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28§ FG672/3 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.S.W., R.W.S., R.E. (SCOTTISH 1865-1945) PORTE DE LA VILLE, AMBOISE Signed and inscribed, pencil and watercolour 28.5cm x 16cm (11.25in x 6.25in)

£1,500-2,000

29§ FH82/1 FRANCIS DODD R.A. (BRITISH 1874-1949) SOUTHAMPTON ROW, LONDON Signed, watercolour 26cm x 22cm (10.25in x 8.75in)

£500-700

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Sir William Russell Flint: A Private Collection

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Sir William Russell Flint By his death in 1969 Sir William Russell Flint was a world famous artist; originals and reproductions of his work hang on walls and galleries all over the UK as well as abroad. Known for his remarkable technical watercolour skills, he also painted in oil and tempera and produced fine drawings, etchings and book illustrations. Many are familiar with the wide variety of his subject matter which spanned from picturesque gypsies and sensuous nudes, to luminous landscapes and seascapes of Scotland, France, Italy and Switzerland. Lyon & Turnbull are pleased to offer a collection of some of the finest examples of Flint’s work ever presented at auction. The outstanding collection includes paintings of well-known reproductions such as The Dance of the Thousand Flounces, Cecilia and Holiday after Ramadan. A familiar face in London society where virtually the entirety of his career was conducted, Flint’s appreciators are often unaware that he was born and bred a Scotsman. Growing up in Portobello, on the coast outside Edinburgh, he learnt his extraordinary skill as a watercolourist at his father’s knee, a ticket maker and illuminator of text. After attending Daniel Stewarts College he entered a six year apprenticeship as a lithographer with Banks and Co. Printers in Causewayside, Edinburgh. Though hard and interminable, the strict

draughtsmanship training provided him with an impressive work ethic and an unerring precision of line. Charles Wheeler, President of the Royal Academy at the time of Flint’s retrospective in 1962 described his touch, delicate and extremely precise at the same time, as a “baffling skill”. In 1905 he married the model Sybylle Sueter whom he dearly loved for the next 35 years. Following a meeting with Philip Lee Warner of the Medici Society, he began to produce colour book illustrations which are now considered some of the finest of the period. The First World War abruptly interrupted his burgeoning career; between 1916 and 1919 he served as Lieutenant in the RNVR and later as a Captain in the RAF. It was after the war that his career as an artist finally took off and from that moment he was able to make a living solely from his watercolours alone. His new life-style allowed him to paint abroad frequently in Italy, Spain, Switzerland and especially in his beloved France, where he returned several times until his death. He was fascinated by the distinctive climate, architecture, costumes and customs of these distant sites. His reputation grew rapidly and soon his watercolours were keenly sought by many collectors all over the world. Scotland always remained a special place for Flint and he spent

many holidays in the Highlands or on its beautiful beaches depicting landscapes and delicate figures playing on the sand. It was during a trip to Rome in 1912 that Flint first began to focus on representations of the female form. His nudes and society ladies in their satiny gowns are unfailingly exquisitely rendered. When recollecting the origins of his penchant for figuration, Flint names the occasion when as a young boy he caught sight of “a young housemaid on her knees scrubbing the front steps of a neighbour’s house … some movement of grace must have caught my eye and unconsciously instilled an ambition.”[1] An astute and canny Scot with an impish sense of humour, Flint was also a prolific writer. He published various books of drawings and watercolours

with entertaining texts on his life as an artist and his models, such as the “Occasional Caprices for the edification of Ladies and the Delight of Gentlemen” or his semi-serious autobiography. In 1962, almost at the end of his career, his genius was internationally acclaimed by a solo exhibition at the Royal Academy of Art, of which he was a member since 1933. His works now feature in collection of institutions such as the British Museum, the Victoria and Albert Museum, the Art Institute of Chicago as well other public museums in Canada and Australia.

[1] Sir William Russell Flint, ‘In Pursuit’, The Medici Society, London, 1969, p.38

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30ยง FG975/10 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) SISTERS AT DINARD Signed, signed and inscribed with title on the backboard, watercolour 24cm x 33cm (9.5in x 13in) Exhibited: The Fine Art Society, London, Sept. 1941

ยฃ6,000-8,000

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31§ FG975/12 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) THE BATH OF SUSANNA Signed, watercolour 36cm x 54cm (14in x 21in) Exhibited: The Fine Art Society, London, June 1962, no.5177 with title ‘The Bath of Susanna, Chateau de St. Privat, Languedoc’, dated 1947

£8,000-12,000

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32ยง FG975/17 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) THREE AGAINST ONE Signed, signed and inscribed with title on the backboard, watercolour 49cm x 67cm (19in x 26in) Exhibited: The Fine Art Society, London, January 1958

ยฃ12,000-18,000

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On the Beach Amongst Russell Flintâ&#x20AC;&#x2122;s favourite subjects were lyrical images of bathing beauties strolling along the beaches of the countries he visited, from the coasts of England and Scotland to the sunny shores of Normandy, Brittany and the Mediterranean Sea. There are a series of watercolours that date back to the period between the two World Wars that are particularly interesting and of which the works presented

here are a good example. Each of them conveys the idea of happy times and joyous freedom. The charming women are engaging in various beach activities wearing fashionable bathing clothes, glamorous cloche hats and bobbed hair. They are immersed in a jazzy atmosphere synonymous with the 1920s-30s. Flint skilfully employs the watercolour medium to capture the sunlight dancing over the

waters and the tidal effects on the sand. However, the fact that the watercolours were painted immediately after the end of the First World War adds complexity to our reading of these happy scenes. Depicting a lighter hearted era, these works conceal the horror of war by presenting the viewer with a glimpse of past idyllic times. The considerable number of beach scenes that Flint

painted and sold in that period is significant, and once again proves Flintâ&#x20AC;&#x2122;s ability to successfully capture the spirit of an entire epoch.

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33§ FG975/14 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) THE CROWDED BEACH Signed, watercolour

34§ FG975/18 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) TWO SISTERS AND A JETTY Signed, signed and inscribed with title on the backboard, watercolour 37cm x 54.5cm (14.5in x 21.5in)

Exhibited: Royal Society of Painters in Watercolours, Autumn 1948 Note: A handwritten letter verso from Sir William Russell Flint to Mr. Hamilton Fulton dated Dec.11, 1948 states ‘Dear Mr. Fulton, I really feel touched by your perfectly, delightful letter. I am so glad that you like “Two Sisters and a Jetty” so well. May it long give you pleasure! Very sincerely yours W Russell Flint’

£8,000-12,000

24cm x 33cm (9.5in x 13in) Exhibited: The Fine Art Society, London, 1923, no.7

£4,000-6,000

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35ยง FG975/21 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) TRACK ACROSS THE DUNES Signed, signed and inscribed with title on the backboard, watercolour 53cm x 75cm (21in x 29.5in) Exhibited: The Fine Art Society, London, 1929

ยฃ10,000-15,000

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36§ FG975/13 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) THE BLUE TENT, PARAME Signed, inscribed and dated ‘Parame, 13.9.64’, watercolour 49cm x 67cm (19in x 26.5in) Provenance: Frost and Reed, Bristol, Registered no.D12823

£10,000-15,000

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37ยง FG975/19 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) UNDER THE SUNDIAL, COBONNE Signed, signed and inscribed with title on the backboard, watercolour 49cm x 67cm (19in x 26.5in) Exhibited: Robertson & Bruce, Dundee

ยฃ10,000-15,000

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38§ FG975/11 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) THE BASKET OF APPLES, BRANTÔME Signed, signed and inscribed with title on the backboard, watercolour 49cm x 67cm (19in x 26.5in) Provenance: Frost and Reed, Bristol, Registered no.D12342

£8,000-12,000

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Flint and his models Despite the fact Flintâ&#x20AC;&#x2122;s work also spanned the genres of landscape and seascape; he is undoubtedly best remembered for his sensuous portrayals of The Nude. Part of this is due to the extraordinary success of the over 100 signed limited editions that were published from the 1950s, specifically selected among this subject matter. Though some critics have remarked upon the eroticism

of Flintâ&#x20AC;&#x2122;s work, the artistâ&#x20AC;&#x2122;s intention was always aesthetic. Depicting his models in romanticised settings, their poses are exotic and contrived as in a studio sketchbook or like the alluring figures in fashion magazines. In these works Flint explores an ideal of feminine form that has fascinated him since he saw the magnificent Classical nudes of the Old Masters at the Scottish National Gallery.

Over more than 60 years the most eminent beauties of the time modelled for him, an innumerable number which included actresses and dancers such as Vivien Leigh, Elizabeth Webb, Moira Shearer and, of course, his ultimate feminine ideal, Cecilia Green.

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39§ FG975/2 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) DALITHA Signed, watercolour

40§ FG975/15 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) THE DANCER LOTUS SOSHAN Signed, signed and inscribed with title on the backboard, tempera 21.5cm x 60.5cm (8.5in x 24in) Provenance: Frost and Reed, Bristol, Registered no.D12465

£10,000-15,000

32.5cm x 60.5cm (13in x 24in)

£15,000-20,000

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41§ FG975/5 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) MATHILDA’S KITCHEN Signed, watercolour 35cm x 49cm (14in x 19in) Exhibited: The Fine Art Society, London, July 1956, no.150 as ‘Mathilda’s Kitchen, Lucenay’ MacConnal - Mason, London

£8,000-12,000

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42ยง FG975/16 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) THE SIRENS Signed, signed and inscribed with title on the backboard, watercolour 35.5cm x 26cm (14in x 10in)

ยฃ10,000-15,000

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43§ FG975/3 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) GYPSIES ON THE BEACH AT ZARAUZ Signed, watercolour 39cm x 52cm (15.5in x 20.5in) Exhibited: Royal Academy of Arts, Sir William Russell Flint Exhibition, 1962, no.134 as ‘Gipsies on a Basque Beach’ owner R.T. Pemberton Esq Williams & Son Gallery, Richmond, no.15531

£10,000-15,000

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44ยง FG975/6 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) MOCK TOIL Signed, watercolour 53.5cm x 76cm (21in x 30in) Provenance: Herbert Haigh, Esq. Exhibited: The Fine Art Society, London, no.35

ยฃ12,000-18,000

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Cecilia Green It was 1953 when the 71 yearold Sir William Russell Flint finally found what he had been chasing all his life as a watercolourist. That year a beautiful young former ballet dancer, rang his London studio door offering her modelling experience, despite the fact the artist had already politely stated in a phone call that he was in no need of a model. As he opened the door the painter found himself in front of the living manifestation of his ideal of feminine sensual beauty. The girl dressed in white and blue – Flint’s favourite colours – was Cecilia Green and was about to become not only his favourite model for the next fifteen years, but also one of his closest friends, a great inspiration and a precious assistant. Although already a universally acclaimed watercolourist, the arrival of Cecilia opened what was perhaps Flint’s most productive and successful period of his career. During these years he painted the watercolours that were later published as prints and that made his name even more popular – Cecilia Reading Poems is a fine example. Cecilia was the main character of his exotic and romantic settings becoming a Spanish gypsy, a bare breasted washerwoman in a

stonewalled medieval kitchen, a peasant in a Burgundy granary, an aristocratic lady in satin gowns reading books on a velvet sofa. In her lively appearance, striking beauty with high cheekbones and slanting eyes, in her grace natural and sensuous at the same time, Flint finally found the inspiration to give voice to his ideal. Cecilia was born in Hackney, London in 1931 from Russian parents who escaped to England during the Revolution. They lived in extremely poor conditions and young Cecilia suffered from malnutrition and poor health. A curious and witty spirit, she nurtured a deep love for music, opera and literature from the age of 6, when, as she recalls in her memoir, she could sing opera arias and quote Shakespeare’s sonnets.[1] At 13 she decided to become a ballet dancer and took a wide range of jobs to pay for ballet school, eventually joining the London Festival Ballet. Unfortunately her career was soon interrupted by tuberculosis. Too weak to go back to ballet she opted for a modelling career instead, for which she possessed the two major qualities: skills to endure long and difficult positions, and natural grace of pose. Soon gaining popularity amongst

the art schools, in 1953 she was eventually persuaded to contact Russell Flint. During the 15 years together she became much more than his model, often managing his relations with dealers and hosting his parties where she met fellow artists, actors and poets. She was also one of his closest friends and his most trustworthy critic, the only one he allowed to watch while he painted. Despite the many rumours that circulated at the time, their relation never trespassed the limit of propriety. The respectable Victorian gentleman as he was, Russell Flint was well aware that what was between the artist and the model was “not carnal love but close trusting mutually helpful companionship”.[2] Cecilia always thought of Willie with the dearest affection. Her fascinating memoir recounts about a courteous man that would never take off his jacket in her presence because it was not correct, even though he was more comfortable painting without it. He was the perfect Victorian gentleman who had been deeply in love with his wife Sybill for 35 years although she spent the last twenty of their marriage in a nursing home with a severe form of arthritis.

Towards the end of their long relationship Cecilia, who in 1958 had married the fine art consultant John Simmons, grew tired of the long hours of stiff poses and the inflexible discipline that the now octogenarian artist imposed. By 1966 she was in her midthirties and realised she needed a livelier life. Her departure left the artist in so much distress and outrage that he cancelled her from his autobiography, ‘In Pursuit’, published posthumous in 1970. Although she never saw him again, Cecilia never ceased to care about him and spent her later years painting watercolours. She died in November 2003 at the age of 72. [1] Keith S. Gardner, ‘Sir William Russell Flint, 1880-1969: A Comparative Review of the Artist’s Signed Limited Edition Prints’, 1986, pp.77-88 [2] Ibid

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45ยง SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) CECILIA READING POEMS Signed, signed on the backboard, watercolour 28cm x 40cm (11in x 15.5in) Provenance: Frost and Reed, Bristol, Registered no.D12224 Exhibited: Richard Green Gallery, London, no.SP315

ยฃ20,000-30,000

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46§ FG975/4 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) HOLIDAY AFTER RAMADAN, CAIRO Signed, signed and inscribed with title on the backboard, watercolour 49.5cm x 67.5cm (19.5in x 26.5in)

£10,000-15,000

Provenance: Frost and Reed, Bristol, Registered no.D11644 Exhibited: The Royal Academy of Art, Sir William Russell Flint Exhibition, 1962, no.4 Literature: Sir William Russell Flint, ‘Exhibition of works by Sir William Russell Flint’, Royal Academy of Art, 1962, p.44 Keith Gardner, ‘Sir William Russell Flint 1880-1969. A Comparative review of the artist’s signed limited edition prints’, 1986, p.286-287

Note: The 1962 Royal Academy catalogue contains the following entry from the artist: ‘The Europeanised groups in the crowds were certainly not attractive but western attire could not hide the Egyptian character of the women’s features. Away from the centre of the city the native swarms were totally different and well worth watching. They were picturesque in the full meaning of that word – and after their fast of Ramadan they were out to enjoy themselves and enjoy themselves they did, ashore and afloat. Many took to the Nile and acted as unsecured ballast for the numerous top-heavy sailing craft. My sketch book had never kept busier.’

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47§ FG975/8 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) PRISCILLA BY THE ARDÈCHE Signed, signed and inscribed with title on the backboard, watercolour 37cm x 55cm (14.5in x 22in)

£7,000-10,000

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48ยง FG975/7 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) PHYLLISS ALONE Signed, watercolour 48cm x 66cm (19in x 26in) Exhibited: Robertson and Bruce, Dundee, Dec. 1937

ยฃ10,000-15,000

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49ยง FG975/9 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) SALAMANDERS, ST-TROPEZ Signed, watercolour 33cm x 49.5cm (13in x 19.5in)

ยฃ8,000-12,000

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The Dance of the Thousand Flounces The first signed print to fetch over one thousand pounds when published by Frost & Reed in 1952, The Dance of the Thousand Flounces is considered by many to be Russell Flint’s most representative work. Russell Flint visited Spain twice in 1921 and in 1931. He was greatly fascinated by the vivacity of the Spanish culture, its earthy colours and breath-taking lights, its picturesque landscapes and, especially, its busy markets with gypsy dancers and guitarists. On several occasions he admitted how much his creativity was stirred by the incessant movement of the colourful

50§ FG975/20 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) THE DANCE OF THE THOUSAND FLOUNCES Signed, signed and inscribed with title Ladies of Almeria on the backboard, watercolour 49cm x 67cm (19in x 26.5in)

dresses and the whirling around to the ancient rhythm of castanets. The Dance of the Thousand Flounces is the best expression of this joyful sense of passionate freedom. Originally titled Dancers of Almeria, Flint later changed its name in an effort to more truly capture the relentless spirit of flamenco. Two of the models, Consuelito Carmona and Tani Morena, actually appear in Flint’s address book as Mrs Mary Vaughan and Mrs Tamara Egan respectively. It seems probable then that the artist recreated the scene back in his studio, having the models stage the scene before him. The landscape therefore owes

more to his imagination than the high Spanish sierras which were too dusty and savage for Flint’s taste. Nonetheless, the work effectively recollects Flint’s fascination with Spain and successfully expresses the irrepressible spirit of flamenco, explaining perhaps why The Dance became so popular.

Provenance: Frost and Reed, Bristol, Registered no.D6368, title ‘The Dance of the Thousand Flounces, Dr J. G. Williamson’ Exhibited: Frost and Reed, Bristol, 24-11-52, no.5824 Christopher Wade Ltd Literature: Keith Gardner, ‘Sir William Russell Flint 1880-1969. A Comparative review of the artist’s signed limited edition prints’, 1986, p.286-287

£30,000-50,000

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Other Properties

51§ FH85/1 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) ROSENEATH FROM ABOVE SHANDON Signed, inscribed and dated verso ‘Blue morning, April 1st 1924’, watercolour 25.5cm x 33cm (10in x 13in) Provenance: Spink, London, K3 9110

£1,500-2,500

52§ FG965/5 STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) ON A COUNTRY ROAD Signed and dated 1914, watercolour 53cm x 73.5cm (21in x 29in)

£2,000-3,000

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53§ FF553/66 MARY HOLDEN BIRD (SCOTTISH 1920-1978) BLUE WESTERN SEA, EIGG AND RHUM Signed with a monogram, watercolour 46cm x 61cm (18in x 24in)

£600-900

54§ FF584/61 JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) THE FARMYARD, SOUTH BALLUDERON Watercolour, signed 51cm x 71cm (20in x 28in)

£1,500-2,500

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55§ FH47/2 GEORGE HOUSTON R.S.A., R.S.W., R.G.I. (SCOTTISH 1869-1947) LOCH FYNE, NEAR DOUGLAS BRIDGE Signed, signed and inscribed with title label verso, oil on canvas 45cm x 59.5cm (17.75in x 23.5in)

£600-900

56§ FH172/1 WILLIAM MILLER FRAZER R.S.A. (SCOTTISH 1864-1961) IN THE MEADOW, PRESTON MILL Signed and dated 1896, oil on canvas 61cm x 91cm (24in x 36in)

£2,000-3,000

57 FH74/6 DUNCAN CAMERON (SCOTTISH 1837-1916) CASTLE IN A GLEN Signed and dated ‘73, oil on canvas 51cm x 76cm (20in x 30in)

£500-700

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58 FH74/7 ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928) LOCH AWE Signed, signed and inscribed verso, oil on canvas 61cm x 91cm (24in x 36in)

ÂŁ5,000-7,000

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59 FH27/1 WILLIAM BRADLEY LAMOND R.B.A. (SCOTTISH 1857-1924) UNLOADING THE CATCH Signed and dated ‘06, oil on canvas 41cm x 31cm (16in x 12in)

£1,000-1,500

60§ FG480/2 ALFRED FONTVILLE DE BREANSKI (BRITISH 1877-1955) EVENING - A VALLEY IN ARGYLL Signed, inscribed verso, oil on canvas 76cm x 51cm (30in x 20in)

£1,000-1,500

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61§ FG965/3 WILLIAM MILLER FRAZER R.S.A. (SCOTTISH 1864-1961) WIND IN THE REEDS Signed, oil on canvas 61cm x 91cm (24in x 36in)

£2,000-3,000

62 FH71/2 GILBERT MUNGER (AMERICAN 1837-1903) NEAR BOUGIVAL Signed, inscribed on a contemporary label verso, oil on panel 31cm x 46cm (12in x 18in)

£1,000-1,500

63 FG965/12 DUNCAN CAMERON (SCOTTISH 1837-1916) HARVEST TIME Signed, oil on canvas 51cm x 76cm (20in x 30in)

£2,000-3,000

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64§ FF922/18 WILLIAM MILLER FRAZER R.S.A. (SCOTTISH 1864-1961) LOCH RANZA, ARRAN Signed, oil on board 23cm x 46cm (9in x 14in)

£600-800

65 SV85/24 JAMES CAMPBELL NOBLE R.S.A. (SCOTTISH 1846-1913) A VENETIAN BOATYARD Signed, oil on canvas 48cm x 58.5cm (19in x 23in)

£1,200-1,800

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66 FH50/1 JAMES WEBB (BRITISH 1825-1895) GIBRALTAR Signed, inscribed and dated 1870 on a contemporary label verso, oil on canvas 81.5cm x 127cm (32in x 50in)

ÂŁ8,000-12,000 A remarkable marine painter, James Webb was born in Chelsea, London, where he lived all his life. He probably inherited his passion for painting from his father, the artist Archibald Webb and learnt the technique in the atelier of the landscape painter Clarkson Frederick Stanfield where he developed a certain sensibility towards the spectacular and picturesque. During his career, Webb travelled wildly

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throughout Europe painting coastal scenes in Holland, Italy, France, Spain, as well as England and Constantinople. His pictures always featured a specific local topographic element that made it possible to identify the location. He especially favoured theatrical scenes with dramatic elements, such as castles and ruins perched on cliff edges. Some of his most extraordinary oils depict places like Mount St. Michael, Ischia, Bamburgh Castle, San Sebastian and, naturally, Gibraltar. With an astonishing painterly competence, Webb used a range of pale and soft

colours in a robust naturalistic style. This powerful atmospheric effect owes much to the manner of J.M.W. Turner, who the artist met when he was 18. It is rather difficult to associate Webb to any specific school. He always followed his own personal reaction to a place and its atmosphere, painting what he saw. Together with his great ability in depicting nature, Webb also demonstrated an extraordinary interest in the details. Feverish human activity is constantly present in his compositions. Here, on the shore in front of the Gibraltar rock, different

businesses are taking place. The viewerâ&#x20AC;&#x2122;s eye is drawn from the group resting in the foreground to the fish-market scene that is taking place immediately behind, from the four people mending a net, to the fishermen in the water towards the rock. Everything is depicted in the most minute detail with delicate brushworks and bright colours that immerse the scene in a soft light. Webbâ&#x20AC;&#x2122;s paintings successfully manage to carry both a sense of powerful majesty and tranquil harmony at the same time.

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67 FG965/25 STUART PARK (SCOTTISH 1862-1933) KITTEN WITH A BALL OF WOOL Signed with a monogram and dated 1887, watercolour 31cm x 46cm (12in x 18in)

£1,000-1,500

68§ FG965/21 JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) GLAMIS Signed and dated ‘46, watercolour 41cm x 56cm (16in x 22in)

£3,000-5,000

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69 FF553/67 ANNA PALM DE ROSA (SWEDISH 1859-1924) PLACE DE L’OPÉRA DU CAFÉ DE LA PAIX, PARIS Signed, inscribed and dated ‘Janvier 1907’, watercolour 46cm x 76cm (18in x 30in)

£1,000-1,500

70 FG965/23 WILLIAM MARSHALL BROWN R.S.A., R.S.W. (SCOTTISH 1863-1936) MUSSEL GATHERERS Signed, watercolour 29.5cm x 34.5cm (11.5in x 13.5in)

£1,200-1,800

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71 FF553/51 JOHANNES ROSIERSE (DUTCH 1818-1901) INTERESTING NEWS Signed, oil on panel 46cm x 38cm (18in x 15in)

£1,000-1,500

72 FF922/20 ROBERT BURNS A.R.S.A. (SCOTTISH 1869-1941) YOUNG WOMAN AT HER TOILET Signed and dated 1904, oil on canvas 76cm x 61cm (30in x 24in) Exhibited: ‘Scottish Exhibition of Natural History, Art and Industry’, 1911, no.393

£1,000-1,500

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73 FG965/22 JOSEPH FARQUHARSON R.A. (SCOTTISH 1846-1935) A STILL LIFE OF PEONY ROSES Signed, oil on canvas 49.5cm x 69cm (19.5in x 27.25in)

£3,000-5,000

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74 FF990/1 ANTOINETTA BRANDEIS (CZECHOSLOVAKIAN 1849-1910) FOOTBRIDGE OVER THE CANAL Signed with a monogram, oil on panel 23cm x 33cm (9in x 16in) Provenance: Williams and Sons, London

ÂŁ4,000-6,000

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75ยง FG600/16 ANTOINE BOUVARD (FRENCH 1870-1956) A VENETIAN CANAL SCENE Signed, oil on canvas 46cm x 61cm (18in x 24in)

ยฃ4,000-6,000

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GIOVANNI JEAN SCHRANZ For a small island, Malta has more than its fair share of history. Over the years a succession of powers have claimed sovereignty, from the Phoenicians to the Romans, the Moorish to the Normans, Habsburg Spain, the Knights of St. John, Napoleon’s army and ultimately the British Empire until independence was finally negotiated in 1964. The reason? Its location at the heart of the Mediterranean which made it of great strategic importance as a naval base; centuries of military activity resulting in its five harbours becoming extensively, as well as beautifully, fortified. Amidst all of these fantastically intricate layers of history it would be hard to single out the island’s cultural highpoint. A strong contender, however, must surely be the artistic contribution made by the Schranz family in the 19th century. Austrian born Anton Schranz arrived in Malta in 1817, the first of several generations of talented artists who, working in a similar vein to one another, produced high quality paintings which combined the genres of ship

portraiture and landscape. Malta was the British naval headquarters at the time and the Schranzes capitalised on the fact that the island boasted a cosmopolitan mix of patrons, from British military personnel to important Italian political refugees. Many wished to take back a memento of their time there which explains why today many works by this family are found on foreign soil. Maltese collectors have since begun to actively repatriate them, creating a strong demand on the art market. Among the most sought after are works by Anton’s son Giovanni who followed most closely and successfully in his father’s footsteps. He was also a restorer, lithographer and teacher, setting up his own art school where pupils were trained in the Schranz manner. Exhibiting widely during his career, Giovanni’s paintings were included at the London Exhibitions of 1851 and 1886 and the Paris Exhibition of 1867 and his work was purchased by both Queen Adelaide, widow of William IV and Queen Victoria. What appealed to the viewer then still does now: a sense

of the adventurous and exotic. This was something that the Schranz family embraced, being remarkably welltravelled for the period. In many ways their art can be likened to that of British artist Edward Lear who in fact travelled to Malta c.1866 and whose work would have been known to Giovanni and relatives. Although Giovanni lived fairly comfortably for much of his life, he died - at the ripe old age of 88 after 64 years of artistic activity - in relative poverty. This (alongside the fact he was a father of nine!) is indicative of his disinterest in producing a high turnover of artworks. Fortunately he and his descendants were more concerned with maintaining the artistic integrity of the family name than accruing wealth at the expense of slipped standards. The philosophy to uphold quality at all times is abundantly apparent in the examples of Giovanni’s art featured in our sale. His figures, seen gesticulating to one another on the shoreline, are animated with individual personality and the exquisite detail of the surrounding architecture is picked out with

care. A sense of atmosphere is tangible, whether of the wind billowing in the ship’s sails and choppily across the sea or the baking stillness of a Mediterranean high noon in the Grand Harbour of Valletta. The Maltese are rightly proud of these painstakingly executed postcards from another time, and it is easy to see why.

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76 FG764/3 GIOVANNI JEAN SCHRANZ (MALTESE 1794-1882) A BRITISH FRIGATE AT ANCHOR IN VALLETTA HARBOUR Oil on canvas 45cm x 67cm (17.75in x 26.25in)

£10,000-15,000

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77 FG764/2 GIOVANNI JEAN SCHRANZ (MALTESE 1794-1882) A BRITISH FRIGATE LEAVING VALLETTA HARBOUR Oil on canvas 45cm x 67cm (17.75in x 26.25in)

£10,000-15,000

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78 FG764/4 GIOVANNI JEAN SCHRANZ (MALTESE 1794-1882) A BRITISH FRIGATE ENTERING VALLETTA HARBOUR DURING A STORM Oil on canvas 45cm x 67cm (17.75in x 26.25in)

£10,000-15,000

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79 FH309/2 JAN HENDRIK VERHEYEN (DUTCH 1778-1846) FIGURES IN A CHURCHYARD Signed, oil on panel 21cm x 21.5cm (8.25in x 8.5in)

£1,500-2,000

80 FG967/5 CHARLES HUNT (BRITISH 1829-1900) BOYS FISHING, WYBERTON NEAR BOSTON Signed and dated, inscribed on a contemporary label verso, oil on canvas 76cm x 107cm (30in x 42in)

£1,500-2,000

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81 FB72/2 ALFRED JOSEPH WOOLMER (BRITISH 1805-1892) THE ROCK POOL Signed, oil on canvas, arched top 132cm x 101.5cm (52in x 40in) Provenance: Pyms Gallery, London

ÂŁ2,000-3,000

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82 FG965/30 JOSEPH FARQUHARSON R.A. (SCOTTISH 1846-1935) ON THE HARBOUR QUAY Signed, oil on canvas 24.5cm x 42.5cm (9.5in x 16.75in)

£4,000-6,000

83 FH309/1 HORATIO MCCULLOCH (SCOTTISH 1805-1867) TRAVELLERS ON A WEST HIGHLAND ROAD Signed and dated 1845, oil on canvas 51cm x 76cm (20in x 30in)

£1,500-2,000

84 FG965/16 JAMES FAED JUNIOR (SCOTTISH 1856-1920) HEATHER ON A HILLSIDE Indistinctly signed, oil on panel 20cm x 29.5cm (8in x 11.5in)

£1,000-1,500

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85 FG993/1 JOSEPH ADAM (SCOTTISH fl. 1858-1916) AND JOSEPH DENOVAN ADAM R.S.A., R.S.W. (SCOTTISH 1842-1896) AT THE HEAD OF THE VALLEY Signed by both artists and dated 1868, oil on canvas 91cm x 76cm (36in x 30in)

£2,000-3,000

86 FG993/2 GOURLAY STEELL R.S.A. (SCOTTISH 1819-1894) CATTLE WATERING IN A MOUNTAIN STREAM Signed, oil on canvas, unframed 149cm x 126cm (58.5in x 50.25in)

£3,000-5,000

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87 JAMES WEBB (BRITISH 1825-1895) EDINBURGH FROM THE FIRTH OF FORTH Signed, oil on panel 22cm x 35.5cm (8.5in x 14in)

£1,500-2,000

88 FH170/1 JOHN SCOTT (BRITISH 1802-1885) BRINGING ELIZABETH ANNE INTO POSITION OFF TYNEMOUTH Signed and dated 1856, oil on canvas 66cm x 97cm (26in x 38.25in)

£2,000-3,000

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89 FH188/1 ANTOINE VOLLON (FRENCH 1833-1900) A STILL LIFE OF ASSORTED FLOWERS IN A FAMILLE ROSE VASE Signed, oil on canvas 73cm x 60cm (28.75in x 23.5in)

£6,000-8,000

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LADY HAMILTON AS THE COMIC MUSE Between the summers of 1782 and 1791, Emma Hart, the future Lady Hamilton, was George Romney’s favourite model and his muse. He was aged 47 and she 16 when they met, introduced by Romney’s friend and her protector, Charles Greville (Sir William Hamilton’s nephew). Over the next nine years Romney painted dozens of historical and fancy pictures of Emma, based on vibrant sketches from the life, in which she personified allegorical, mythological and literary heroines. Through replicas, copies and engravings, many of these works became his best-known pictures even in his lifetime; a century after his death, when leading collectors in Britain, Europe and the U.S.A. fought for them, they secured his place as a darling of the art market. Among these icons the Comic Muse is an enigmatic interloper. Its traditional title is a Victorian invention, not Romney’s own. In contrast to many of the Emmas, there is

no documentary evidence to date it closely and its early history is completely mysterious. There are no known copies of it, and there is no engraving. It is also unusual in being on an oval canvas - a format Romney occasionally used for society portraits of young women, but generally avoided in his depictions of Emma.

definitive form. Thus, in place of the serious, slightly awkward Emma of the earlier work, we have the more familiar coy expression of the temptress, whilst in the changes to the costume, at once both more classical and more exotic, Romney seems to be acknowledging the growing celebrity of his muse’s ‘Attitudes’.

Yet the oval format may be an important clue to the work’s intention. The picture’s design is closely related to the study of Lady Hamilton known as the Sibyl, in the National Portrait Gallery, with Emma turned to the left and looking back, as if interrupted, over her left shoulder. Commentators have often noted the poor management of the composition of this work, as well as the obvious signs that it has been framed as an oval in the past, and one plausible view of the Comic Muse is that it represents Romney ironing out the earlier picture’s faults and giving it its intended and

Alex Kidson

90 FF567/1 GEORGE ROMNEY R.A. (BRITISH 1734-1802) LADY HAMILTON AS THE COMIC MUSE Oil on canvas, oval 81cm x 64.5cm (32in x 25.5in) Provenance: Leggatt Brothers, London Private Collection, Glasgow A gift to the current vendor Note: We are grateful to Alex Kidson for the article accompanying this lot and confirm that, based on inspection, this painting will be included in his forthcoming catalogue raisonné of the artist.

£20,000-30,000

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91 FG965/10 DAVID FARQUHARSON A.R.A., A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1840-1907) DRYING THE NETS, SENNEN COVE, CORNWALL Signed and dated ‘95, oil on canvas 31cm x 51cm (12in x 20in)

£1,500-2,000

92 FH304/1 WILLIAM MOUNCEY (SCOTTISH 1852-1901) HARVEST TIME Signed, oil on canvas 51cm x 61cm (20in x 24in)

£1,000-1,500

93 FG965/8 DAVID FARQUHARSON A.R.A., A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1840-1907) AMONGST THE BRACKENS Signed and dated ‘90, inscribed verso, oil on canvas 61cm x 90cm (24in x 35.5in)

£1,000-1,500

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94§ FH309/3 HERMANN DE BRUYCKER (GERMAN 1858-1950) SHEEP GRAZING ON HEATHLAND Signed, oil on canvas 68cm x 100cm (26.75in x 39.25in)

£600-800

95 FH340/1 DANIEL SHERRIN (BRITISH 1868-1940) CATTLE WATERING IN A HIGHLAND LOCH Signed, oil on canvas 61cm x 107cm (24in x 42in)

£1,500-2,000

96 FG965/13 JOSEPH HENDERSON R.S.W. (SCOTTISH 1832-1908) BY THE LOCH Signed, oil on canvas 71cm x 91cm (28in x 36in)

£1,000-1,500

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97 FH71/1 VINCENT JEAN BAPTISTE CHEVILLIARD (FRENCH 1841-1904) APRÈS VEPRES Signed, inscribed on panel verso, oil on panel 23cm x 18cm (9in x 7in)

£600-900

98 FF807/3 EDWARD STOTT A.R.A. (BRITISH 1859-1918) CHILD STUFF Signed with initials, pastel 36cm x 20cm (14in x 8in)

£600-900

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99 FH301/4 ANNE ESTELLE RICE (AMERICAN 1878-1959) CONCERT ROUGE Signed, inscribed and dated ‘06, pencil, three images within one mount 19.5cm x 12cm (7.75in x 4.75in) largest

£2,000-3,000

100§ FG690/3 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) THE BODDIN Signed with initials, signed and inscribed on the backboard, oil on panel 16.5cm x 24cm (6.5in x 9.5in)

£1,000-1,500

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101ยง FG988/2 SIR MUIRHEAD BONE N.E.A.C., H.R.S.A., H.R.W.S. (SCOTTISH 1876-1953) A MANHATTAN EXCAVATION 1923 Drypoint on japan paper, thirteenth state of nineteen, 151 impressions in all 31cm x 25.5cm (12in x 10in)

ยฃ2,000-3,000

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102§ FH74/4 JAMES MCBEY (SCOTTISH 1883-1959) SAN GIORGIO MAGGIORE FROM THE BACINO Signed and numbered VI, in the plate 1925, etching 23cm x 46cm (9in x 18in)

£400-600

103§ FH74/5 SIR MUIRHEAD BONE N.E.A.C., H.R.S.A., H.R.W.S. (SCOTTISH 1876-1953) PICCADILLY CIRCUS AT NIGHT Signed, etching 30cm x 38cm (11.75in x 15in)

£800-1,200

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104 FF967/2 THOMAS GIRTIN (BRITISH 1775-1802) SOUTH VIEW OF MORETON CORBET CASTLE, SHROPSHIRE Signed and dated 1800, watercolour over pencil 32cm x 51cm (12.5in x 20in) Provenance: Commissioned by Sir Andrew Corbet 1st Bt. (1766-1835); thence by descent to Sir Walter Corbet, 4th Bt. (1856-1910); thence by descent to his daughter; Lesbia Corbet, later Lady Lambe (1905-1990); and thence by descent to the present owner. Literature: T. Girtin & D. Loshak, The Art of Thomas Girtin, London 1954, p. 184, no. 365

£8,000-12,000

Thomas Girtin is considered by many the founding father of watercolour as a reputable art form. Undoubtedly his atmospheric and powerful landscapes created by using direct broad washes freed the 18th-century topographical tradition from its rigid dependence on line drawing and opened the way for a liberated, romantic style which long influenced English painting. Girtin approached the art of watercolour while doing his apprenticeship with Edward Dayes, a topographical watercolourist. Between 1783 and 1789 he attended evening classes in the house of Thomas Monro who encouraged his pupils to learn by copying from prints and drawings. There, Girtin became a close friend of fellow pupil J. M. W. Turner, and the two often sketched together along the Thames or copied Old Masters, Girtin drew the outlines and Turner washed the effects. His presence at the annual Royal Academy exhibition from 1794 to 1801 contributed to establishing his reputation as an innovative watercolour artist. His style evolved from early topographical sketches demanded by publishers, to bolder and more spacious architectural landscapes which raised great admiration amongst his contemporaries, first of all Turner. When Girtin

died Turner was reported to have said, “Had Tom Girtin lived I should have starved”. Drawing his inspiration from the paintings of Canaletto and Rubens, Girtin experimented by adding pastel patches of colours, pen, brown ink and varnish in order to create strong, light-filled, dramatic scenes. Such impressive atmospheric effects of space and light have been often considered at the base of Romantic watercolour painting even more than Turner’s work. During his brief life Girtin nurtured a romantic love for ruins and desolate moorlands which he depicted over and over again during his many sketching trips around the country. In the summer of 1800 he was, once again, in the northern regions of Shropshire, Northumberland, Yorkshire and the Scottish Borders. Although his exact itinerary cannot be traced, it was presumably while on this tour that he stopped by Moreton Corbet ruins and was commissioned the present watercolour of the castle which dates to 1800. Together with another one recently sold at auction, this work is recorded in Girtin’s catalogue raisonné as one of the two watercolours commissioned by Sir Andrew Corbet, 1st Bt. which depict views of the castle ruins from

the North and from the South-East. The seat of the Corbet family since the 13th century, Moreton Corbet Castle was conspicuously rebuilt in 1560 by Sir Andrew Corbet and his son Sir Robert who was inspired by the Palladian villas he saw in Italy during his diplomatic travels. The majestic Elizabethan mansion was faced with stone and internally the walls were of brick. The architectural historian Nikolaus Pevsner described the building as one of the most impressive designs in the country. Unfortunately the castle was severely damaged during the Civil War when it served as a defence post for the Royalists against the Parliamentarian forces. The damaged buildings were never rebuilt and fell into disuse during the 18th century. Eventually the Corbet Family moved to Acton Reynald Hall. Today the ruins are still the propriety of the Corbet Family, but are managed by English Heritage and open to the public.

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105 FH50/2 WILLIAM CALLOW R.W.S. (BRITISH 1812-1908) RIVA DEGLI SCHIAVONI, VENICE Signed and dated 1863, watercolour 24cm x 32cm (9.5in x 12.5in)

£10,000-15,000

Born in Greenwich, William Callow learnt the art of print and aquatint engraving during his apprenticeship with the Fielding brothers. Already interested in drawing and watercolour, while there he had the chance to see the beautiful watercolours of Copley Fielding and this had a profound effects on his future career. In 1829 he moved to Paris to work as an engraver and met the artist Thomas Shotter Boys, who encouraged him to take up watercolours again. With Boys Callow flourished into an exceptional draughtsman and watercolour artist. In 1834 his fame in the French capital was so popular that he was asked by King Louis Philippe I of France in person to teach drawing to his children and to other children of the French nobility. Elected a member of the Old Watercolour Society Callow returned to London in 1841 and continued to teach extensively for many years to gentlemen and ladies of the wealthy British society. He progressively abandoned the French courteous style to paint larger and more dashing pictures. Although for a period he produced oil paintings which he presented at the Royal Academy, from 1867 onwards he dedicated exclusively to his

extraordinary watercolours. Without any preparatory work, Callow directly commenced with whatever local tint he required. His works carry a sense of freshness and spontaneity of composition hard to achieve. In 1845 he married one of his pupils, Harriet Ann Smart, and with her he reprised his extensive travels to France, Holland, Belgium, Germany, Switzerland and Italy. He was in Venice in 1840 where he took up residence in the famous Hotel Europa. There he met once again Turner, to whom he had been introduced a few years before upon his return to London. In his autobiography Callow remembers how, during that first visit, the two of them sat opposite each other at meals and engaged in conversation. He also recollects Turner’s impeccable self-discipline and how rather ashamed he felt enjoying his cigar in a gondola while the Maestro was hard at work so late.[1] He returned to Venice again in 1846 during his honeymoon and again in 1877, in 1880 and in 1892, each time welcomed by Jacomo, a gondolier on whose gondola he used to make sketches. The Riva degli Schiavoni was one of his favourite view points along the Grand Canal overlooking Palazzo Ducale.

In ‘lovely’ Venice he never grew tired of sketching the glorious architecture of the Palazzo and the Italian ladies with black and white veils, passing by on the Ponte della Paglia from the top of which it is possible to see the majestic Ponte dei Sospiri. Like Boys, Callow was fascinated by picturesque buildings and overhanging houses which formed the backdrops of lively and colourful street scenes. With a few precise lines, Callow manages to depict the Riva degli Schiavoni with such exactness that even today it is possible to indicate the precise place from where the view was taken. However, it is the effective disposition of light and shades, the free handling of pure colours and the harmonious contrasts of the animated scene on the bridge that perfectly render the atmosphere of a bright sunny day on the Venice canal. Callow realised various versions of this particular view. Many were sketches or rough watercolours. A few, like the one presented here, were more refined and finished works, showing an extraordinary accordance of drawing and colours.

[1] H. M. Cundall, William Callow, ‘An Autobiography’, 1908, p.67

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106§ FG721/1 CAMPBELL MACKIE (SCOTTISH 1886-1952) LOCH NA KEAL, ISLE OF MULL Signed, oil on canvas 68.5cm x 91cm (27in x 36in)

£2,000-3,000

107 FG965/28 JOSEPH FARQUHARSON R.A. (SCOTTISH 1846-1935) HERON IN FLIGHT - SUNSET Signed, oil on canvas 31cm x 46cm (12in x 18in)

£2,000-3,000

108 FG965/29 TOM SCOTT R.S.A. (SCOTTISH 1854-1927) LADHOPE HILL, YARROW Signed and dated 1915, inscribed on a label verso, watercolour 28cm x 33cm (11in x 13in)

£500-700

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109 FG965/1 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) TOWING INTO PORT ON THE CLYDE Signed, oil on canvas 76cm x 127cm (30in x 50in) Exhibited: Paisley Art Institute Exhibition 1888

ÂŁ3,000-5,000

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110 FG684/2 CONSTANCE PHILLOTT (BRITISH 1842-1931) SWANS ON PADDINGTON POND Inscribed on a label verso, watercolour, arched top 26.5cm x 26.5cm (10.5in x 10.5in)

£800-1,200

111 FF22/3 SIR JOSEPH NOEL PATON R.S.A. (SCOTTISH 1821-1901) UNDINE Signed indistinctly with initials and dated 1841, oil on board 22cm x 25.5cm (8.5in x 10in)

£1,000-1,500

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112 FH74/1 JAMES HARDY JUNIOR (BRITISH 1832-1889) A DAY’S SHOOTING Signed and dated ‘79, oil on panel 25.5cm x 38cm (10in x 15in)

£2,000-3,000

113 SV123/19 HUGH CAMERON R.S.A., R.S.W., R.O.I. (SCOTTISH 1835-1918) GATHERING MUSHROOMS Signed and dated 1856, oil on canvas 15cm x 25.5cm (6in x 10in)

£400-600

114§ SV60/40 JAMES HUMBERT CRAIG (IRISH 1878-1944) LACKAGH BRIDGE, DONEGAL Signed, oil on panel 25.5cm x 35.5cm (10in x 14in)

£1,200-1,800

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115 FF72/68 ADOLPHE JOSEPH THOMAS MONTICELLI (FRENCH 1824-1886) ELEGANT FIGURES IN A FOREST WITH DOGS Signed, oil on panel 45cm x 62cm (17.75in x 24.5in) Provenance: The Estate of Dr Renate Davis Deceased Note: This painting has been authenticated by Marc Stammegna

£3,000-5,000 Fêtes Galantes: A La Promenade The sky so pale the trees so slender Seem to smile at our bright dres That floats lightly, with an excess Of nonchalance, a wing-like tremor... Exquisite deceivers, charming coquettes Tender hearts, but devoid of vows, Speak with us delightfully and bow, And lovers flirt with their little pets... Paul Verlaine, 1869 The gallant gentlemen and elegantly costumed ladies depicted in this painting represent Monticelli’s visionary reinterpretation of the 18th century French Rococco tradition of ‘Fêtes Galantes’ or pleasure scenes - most notably mastered by Antoine Watteau (1684-1721). Monticelli’s great skill was to explore this

fantastical subject whilst also engaging with modern painterly techniques. Having studied the work of Eugène Delacroix (1798-1863), Monticelli introduced dark shadows and areas of luminosity, reviving the Rococo tradition with a passionate, poetic spirit. His use of dappled paint texture, rich colour glazes and lively tones resulted in intensely evocative and lyrical paintings. His later works become increasingly expressive, verging on abstraction. ‘Elegant Figures in a Forest with Dogs’ dates to circa 1870. With Paris facing a Prussian invasion in 1870, Monticelli left the city, returning to the Provence of his childhood. The beauty and

warmth of Provence imbues all Monticelli’s work - even his Parisian scenes. Monticelli‘s simple upbringing in rural Provence gave him a love of the local customs (verse, language, crafts and costumes) and his paintings suggest a desire to celebrate the traditional way of life. Instead of manicured gardens, Monticelli painted nature as wild and lush. He was aware that his painting style was not widely fashionable but, inspired by the things he saw in the natural world, he stood fast in his ways, pushing the subject of ‘scenes galantes’ to its most expressive limit.

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116 FG965/20 WALTER GRAHAM GRIEVE R.S.A., R.S.W. (SCOTTISH 1872-1937) MIXED FLOWERS IN A COPPER LUSTRE JUG Signed, oil on canvas 61cm x 51cm (24in x 20in)

£800-1,200

117§ FG671/1 MARY ARMOUR R.S.A., R.S.W., R.G.I. (SCOTTISH 1902-2000) STILL LIFE OF TULIPS AND LILIES Signed and dated 1984, oil on canvas 64cm x 54cm (25in x 21in)

£3,000-5,000

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118 FF575/3 DAVID ADOLF CONSTANT ARTZ (DUTCH 1937-1890) SAILING THE TOY BOAT Signed, watercolour and gouache 53cm x 35cm (21in x 13.5in)

£1,000-1,500

119§ FG965/6 ROBERT PAYTON REID A.R.S.A. (SCOTTISH 1859-1945) SUMMER TIME Signed and dated 1914, oil on canvas 91cm x 61cm (36in x 24in)

£2,000-3,000

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120ยง FF553/71 JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) THE TAY ESTUARY FROM BALMERINO Signed, oil on canvas 51cm x 61cm (20in x 24in)

ยฃ4,000-6,000

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121§ FH158/2 JOHN PIPER (BRITISH 1903-1992) COVENTRY CATHEDRAL 1940 Silkwork picture, signed and numbered 409/500 11cm x 14cm (4.25in x 5.5in)

£800-1,200

122§ FF72/105 JOHN PIPER C.H. (BRITISH 1903-1992) DESIGN FOR A STAINED GLASS WINDOW Signed and inscribed ‘Blasimon’, c.1969, media 55cm x 37cm (21.5in x 14.5in) Provenance: Purchased from the artist 1 July 1964 The Estate of Dr Renate Davis Deceased

£3,000-5,000

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123§ FF251/1 SIR HERBERT JAMES GUNN R.A., P.R.P., R.S.W. (SCOTTISH 1893-1964) PORTRAIT OF A BOY IN A GREEN JUMPER Signed, oil on canvas 76cm x 63cm (30in x 24in)

£2,000-3,000

124§ FF72/80 ARISTIDE MAILLOL (FRENCH 1861-1944) SEATED FEMALE NUDE Signed with a monogram, sanguine 30cm x 20cm (12in x 8in) Provenance: Roland Browse and Delbanco, London June 1962: The Estate of Dr Renate Davis Deceased

£800-1,200

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125 FH158/1 PAUL SIGNAC (FRENCH 1863-1935) SAILING BOATS, GROIX Signed, inscribed and dated 1922, charcoal and watercolour 19.5cm x 30cm (7.75in x 11.75in)

£12,000-18,000

When thinking about PostImpressionism, Paul Signac is one of the names that immediately spring to mind among artists like Cézanne, Van Gogh and Gauguin. Together with George Seurat, he is considered the founder of Pointillism. Born in Paris, he studied architecture. It was only after visiting Monet’s exhibition in 1880 that he decided to pursue a career as an outdoor painter. At first, his style still followed the orthodox influence of the Impressionist master. However, his encounter with George Seurat in 1884 marked a radical turning point in Signac’s artistic career. He was deeply fascinated by Seurat’s rigorous theory of colour division, so much in opposition with the instinctive approach of the Impressionists. The two started experimenting together on a new conception of paint according to which scientifically juxtaposed small dots of pure colour were to be used directly on canvas; it was then in the viewer’s eye – not on the surface – that these dots would combine and blend in a sensible image. Under Seurat’s

influence, Signac abandoned the short brushstrokes legacy of Monet and Corot and fully adopted this Pointillist style, of which he became the major spokesman after Seurat’s death in 1891. In over 50 years of artistic career Signac experimented with various media, from etchings and lithographs, to pen-and-ink sketches. However, it is his oils and watercolours that made him the celebrated artist he still is now. A fine painter of human figures and still lifes, Signac is most remembered for his vibrant landscapes of the Mediterranean coasts and its ports which he assiduously visited during many sailing trips on his beloved boat from St. Tropez, where he had a summer house, to Holland and Constantinople. It was during one of these travels that he discovered the great freedom of expression of watercolours. This medium allowed him to register his immediate impressions of the seascape and its vibrant colours with rapid sketches and colourful pointillist dots that he later elaborated in proper large studio oils. From 1899 till his death Signac never stopped sailing along the Mediterranean ports,

producing a considerable body of extraordinary luminous watercolours that have gained as much importance as his oils. From 1921 to 1924 he moved to Brittany, along the Atlantic coast of France, where he developed an interest for lighthouses and tuna boats. Groix, with its blue and white lighthouse, was a frequent landing port. A famous oil now in the Metropolitan Museum of New York depicts the same port view of the watercolour presented in this auction. Signac’s correspondence of these years reports of a small number of watercolours he painted in the French port. It is probable that this watercolour is part of the group mentioned in the letters and that they all served as models for the big Metropolitan oil. With its lively charcoal lines and its small, mosaic-like intense squares of colour, Sailing Boats, Groix is an exquisite example of Signac’s skilful and multifaceted art. Over the years Signac’s innovative technique had a profound influence on many artists of the 20th century.

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126 FG993/5 JOHN ROBERTSON REID R.I., R.B.A., R.O.I. (SCOTTISH 1851-1926) WAITING FOR THE FLEET Signed and dated ‘08, oil on canvas 61cm x 91cm (24in x 36in)

£1,500-2,000

127§ FG672/2 DAVID MACBETH SUTHERLAND R.S.A. (SCOTTISH 1883-1974) BOAT RACE, LOCH CARRON Signed, signed and inscribed on the backboard, oil on board 28cm x 48cm (11in x 18.75in)

£800-1,200

128 FG965/19 WILLIAM MOUNCEY (SCOTTISH 1852-1901) FIGURES IN A WOODED RIVER LANDSCAPE Signed, oil on canvas 51cm x 63cm (20in x 25in)

£1,000-1,500

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129§ FG991/2 SIR WILLIAM MACTAGGART P.P.R.S.A., R.A., R.S.W. (SCOTTISH 1903-1981) A STILL LIFE OF MIXED FLOWERS Oil on board 67cm x 48cm (26.25in x 19in) Provenance: St Andrews Fine Art, 1985

£1,500-2,000

130§ FF929/2 MAURICE ALFRED DECAMPS (FRENCH 1892-1953) STILL LIFE IN A FRENCH VASE Signed, oil on canvas 61cm x 76cm (24in x 30in)

£1,000-1,500

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131§ FH156/2 SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., P.P.R.S.W., R.A. (SCOTTISH 1898-1973) NEAR BURNHOUSE Signed and dated ‘58, pencil and watercolour 25cm x 35cm (9.75in x 13.75in)

£2,000-3,000

132§ FH156/1 SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., P.P.R.S.W., R.A. (SCOTTISH 1898-1973) HARVEST, LYNE Signed and dated 1953, pencil and watercolour 39cm x 57cm (15.5in x 22.5in)

£3,000-5,000

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133§ FG986/2 DIANE ARMFIELD R.A. (BRITISH b. 1920) DARK PANSIES WITH WILD FLOWERS Signed with initials, oil on board 38cm x 28cm (15in x 11in) Exhibited: Royal Academy 1992

£1,000-1,500

134§ FF924/1 MARY ARMOUR R.S.A., R.S.W., R.G.I. (SCOTTISH 1902-2000) RED AND WHITE HELEBORES Signed and dated 1981, oil on canvas 49cm x 65cm (19.25in x 25.5in)

£3,000-5,000

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135 FG965/4 JOSEPH HENDERSON R.S.W. (SCOTTISH 1832-1908) SWIMMING IN A ROCKY COVE Signed, oil on canvas 66cm x 100cm (26in x 39.5in)

£2,000-3,000

136 FG965/27 WILLIAM DARLING MCKAY R.S.A. (SCOTTISH 1844-1924) CROSSING THE ESTUARY AT LOW TIDE Signed with initials, oil on canvas 22cm x 31cm (8in x 12in)

£800-1,200

137§ FG965/24 ROBERT MACAULAY STEVENSON R.S.W. (SCOTTISH 1854-1952) ELEGANT WOMEN IN A ROWING BOAT Signed and dated 1880, oil on canvas 30.5cm x 51cm (12in x 20in)

£500-700

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138 FG993/6 JOHN CAMPBELL MITCHELL R.S.A. (SCOTTISH 1862-1922) SUNSET, MACHRIHANISH Signed, oil on canvas 46cm x 76cm (18in x 30in)

£1,500-2,000

139§ FG986/1 DIANE ARMFIELD R.A. (BRITISH b. 1920) AFTERNOON SUNSHINE, LATE SPRING IN WALES Signed with initials, oil on board 46cm x 61cm (18in x 24in) Exhibited: Royal Academy 1992

£800-1,200

140 FH301/1 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) KNOCK Signed, oil on board 49cm x 59cm (19.25in x 23.25in)

£2,000-3,000

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141§ FH236/1 HENRY MOORE O.M., C.H., F.B.A., R.B.S. (BRITISH 1898-1986) RECLINING NUDE Signed, pen and ink and wash 38cm x 56cm (15in x 22in) Provenance: Ivor Braka Whitford Fine Art, St. James’s, London Literature: Henry Moore Complete Drawings 1916-1929, Vol. 1, 1996, p.186 and dated to c.1928

£20,000-30,000

Since the Renaissance a debate has raged amongst artists and critics as to whether the essence of form is best captured by colour or line. Jean AugusteDominique Ingres and Eugene Delacroix famously resurrected the argument in the early 1800s, with the former memorably announcing: “Drawing is the probity of art. To draw does not mean simply to reproduce contours; drawing does not consist merely of line: drawing is also expression, the inner form, the plane, modelling. See what remains after that”. A century later this phrase was to be quoted often by an admiring Henry Moore. Proud to align himself with masters like Michelangelo and Ingres, Moore was vocal in his advocacy of line and made life drawing central to his practise. In an interview in 1960 with ‘Encounter’ magazine editor Stephen Spender, Moore outlined and differentiated between the six ‘types’ of drawing incorporated within his methodology. The sketch

offered here could be said to fall into his first two categories. Firstly, it is explorative; Moore is analysing the organic form of the sitter with the purpose of discovering something about that form. Secondly it is descriptive; he is trying to define something of the essence of that form. The sketch itself is likely to date from the late 1920s. From about 1921 onwards the majority of Moore’s drawings had been of the human figure and, since viewing a plaster of the Toltec-Maya figure the Chac Mool from Chichen Itza, Mexico at the Trocadero in Paris, he had repeatedly depicted reclining nudes. After his marriage to painting student Irina Radetsky in 1929 Moore had a readily available model and it was at this time that a low viewpoint became a recurring fixture of his work, which lent the sitter’s legs a bulky solidity and weight.

his career. It may even be the case that this work is a preparatory sketch for a specific sculpture as Moore created the first of his monumental bronzes around this time. It would fit with his practise as the artist was known to describe his subjects realistically initially before consciously abstracting away from the naturalistic form. The work also bears multiple tiny pinholes to its corners, suggesting it was moved around and pinned up for reference. It is an excellent example of the period and of its kind, perfectly illustrating Moore’s preoccupation at the time with what historian Kenneth Clark describes as “the stability established by a balance of head and knee”, the inspiration for which comes directly from the Chac Mool.

This exaggerated sense of mass was incorporated into and soon essential to his sculptural practise and remained so for the rest of

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142§ FH7/1 ELIZABETH BLACKADDER C.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT. (SCOTTISH b. 1931) GREEK CHURCH Signed, watercolour 38cm x 56cm (15in x 22in)

£1,500-2,000

143§ FH103/7 SIR WILLIAM MACTAGGART P.P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) HOUSES IN TREES Signed with the studio stamp 191, watercolour 37cm x 56cm (14.5in x 22in)

and another verso ‘Landscape with poppies’ £1,000-1,500

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144§ FG986/7 RICHARD EURICH O.B.E., R.A. (BRITISH 1903-1992) GULLS Signed and dated ‘89, signed, inscribed and dated verso, oil on board 46cm x 61cm (18in x 24in)

£2,000-3,000

145§ FH7/2 SIR ROBIN PHILIPSON R.A., P.P.R.S.A., R.S.W., R.G.I., L.L.D., D.LITT. (SCOTTISH 1916-1992) NUDE BY A WINDOW Oil on board 24cm x 19.5cm (9.5in x 7.75in)

£1,000-1,500 END OF SALE

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

Name(s) or Recognised Designation of an Artist without any Qualification In our opinion a work by the artist Attributed to... In our opinion probably a work by the artist in whole or in part. Studio of ... / Workshop of ... In our opinion a work executed in the studio or workshop of the artist, 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.

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Index Adam, J., 85 Adam, J.D., 85 Armfield, D., 133, 139 Armour, M., 117, 134 Bird, M.H., 53 Blackadder, E., 142 Bone, Sir M., 101, 103 Bough, S., 3 Bouvard, A., 75 Brandeis, A., 74 Brown, W.M., 70 Burns, R., 72 Callow, W., 105 Cameron, D., 63 Cameron, H., 113 Camerson, Sir D.Y., 28, 100 Chevilliard, V.J.B., 97 Constant, D.A., 118 Craig, J.H., 114 Crawford, W., 18 Cursiter, S., 52 de Breanksi, A. Snr., 58 de Breanksi, A.F., 60 de Bruycker, H., 94 de Rosa, A.P., 69 Decamps, M.A., 130 Dodd, R., 29

Eurich, R., 144 Ewbank, J.W., attributed to, 8 Faed, J. Jnr., 84 Farquharson, D., 91, 93 Farquharson, J., 73, 82, 107 Flint, Sir W.R., 30-51 Frazer, W.M., 6, 57, 61 Gillies, Sir W., 131, 132 Girtin, T., 104 Grieve, W.G., 116 Gunn, Sir H.J., 123 Halliday, E.I., 7 Hals D., 25 Hardy, J. Jnr., 112 Henderson, J., 96, 135 Highmore, J., 17 Hope, R., 24 Houston, G., 55 Hudson, T., manner of, 26 Hunt, C., 80 Hurt, L.B., 15 Kay, A., 23 Kay, J., 11, 109, 140 Lamond, W.B., 59

Macbeth, D., 127 Mackie, C., 106 MacTaggart, Sir W., 129, 143 Maggs, J.C., 12 Maillol, A., 124 McBey, J., 102 McCulloch, H., 83 McGregor, R., 20 McKay, W.D., 136 Mitchell, J.C., 138 Monnoyer, J-B., follower of, 16 Montague, A., 10 Monticelli, A.J.T., 115 Moore, H., 141 Mouncey, W., 92, 128 Munger, G., 62

Reid, J.R., 126 Reid, R.P., 119 Rice, A.E., 99 Roberts, E.T., 21 Romney, G., 90 Rosierse, J., 71 Schranz, G.J., 76, 77, 78 Scott, J., 88 Scott, T., 108 Sherrin, D., 95 Signac, P., 125 Smith, G., 19 Stark, J., 22 Steell, G., 86 Stephenson, R.M., 137 Sticks, G.G., 14 Stott, E., 98

Noble, J.C., 9, 65 Park, S., 67 Parker, H.P., 13 Paterson, J., 4 Paton, Sir J.N, 111 Paton, W.H., 5 Patrick, J.M., 2, 54, 68, 120 Philipson, Sir R., 145 Phillott, C., 110 Piper, J., 121, 122

van Loo, J-B., circle of, 27 Verheyen, J.H, 79 Vollon, A., 89 Webb, J., 66, 87 West, D., 1 Woolmer, A.J., 81

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Auction Thursday, 22nd May, 2014 33 Broughton Place, Edinburgh EH1 3RR

EDOUARDO PAOLOZZI R.A. (SCOTTISH 1855-1946) ÂŁ10,000-15,000

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ALLAN RAMSAY (SCOTTISH 1713-1784)

FURTHER ENTRIES ARE INVITED

ÂŁ20,000-30,000

Nick Curnow

Emily Johnston

Charlotte Riordan

0131 557 8844

020 7930 9115

0131 557 8844

nick.curnow@lyonandturnbull.com

emily.johnston@lyonandturnbull.com

charlotte.riordan@lyonandturnbull.com

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Modern & Contemporary Art This rare collection of world famous American and European painters from Corot and Boudin to Benson and Hassam has Auction 05/04/14 been in private hands and unseen for nearly 100 years. ARMAND GUILLAUMIN Exhibition opens Thursday, May 1 at 10am JEAN BAPTISTE CAMILLE COROT Alasdair Nichol 267.414.1211 (french, 1841-1927) 1796-1875) Anne Henry 267.414.1220 “LES RUINS(french DU CHATEAU DE CROZANT” anichol@freemansauction.com "GARDEN GATE" Signed bottom left, oil on canvas ahenry@freemansauction.com Signed 'Corot' bottom left, with

Aimee Pflieger 267.414.1221 apflieger@freemansauction.com

$15,000-25,000 (£9,000-15,000) partial label verso oil on canvas 13 x 18 1/4 in. (33 x 46.4cm) $60,000-80,000 Visit our website (detail)or call 267.414.1256 to purchase a catalogue.az

www.freemansauction.com

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Fine Asian Arts Wednesday, 4th June, 2014 33 Broughton Place, Edinburgh EH1 3RR

AN EMPEROR’S TWELVE-SYMBOL IMPERIAL FESTIVE DRAGON ROBE QING DYNASTY Provenance: Ex Leonard Gow Collection

£15,000-25,000

Enquiries Lee Young Tel: +44 (0)131 557 8844 lee.young@lyonandturnbull.com Douglas Girton Tel: +44 (0)131 557 8844 douglas.girton@lyonandturnbull.com

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Board of Directors

Specialist Departments

Chairman Sir Angus Grossart

Pictures, Watercolours and

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

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

Prints Nick Curnow Charlotte Riordan Emily Johnston (London) Furniture, Clocks and Works of Art Douglas Girton Lee Young Sara Pierdominici Asian Works of Art Lee Young Anna Westin (consultant) Sara Pierdominici Rugs and Carpets Gavin Strang

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

Decorative Arts and Design John Mackie

Interiors Theo Burrell Charlotte Riordan David Fiddes

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

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

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Jewellery, Silver, Coins and Medals Colin Fraser Trevor Kyle Ruth Davis

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Valuations Department

Administration

Lyon & Turnbull are one of the leading specialist valuation companies in the UK. In Scotland, we specialise in Inheritance Tax, Capital Gains Tax and other tax planning valuations.

Operations Manager Alex Dove

Edinburgh Tel: +44 (0)131 557 8844 Glasgow Tel: +44 (0)141 333 1992 valuations@lyonandturnbull.com Valuers Campbell Armour Trevor Kyle Gavin Strang Client Services Glasgow & the West Linda Robinson Edinburgh & the East Tessa Robson Eleanor Welsh Insurance & beyond Scotland Insurance valuations and other types of valuation in the rest of the UK and internationally are looked after by our partner valuations company, Pall Mall Art Advisors. Pall Mall Art Advisors Tel: +44 (0)845 882 2794 enquiries@pallmallartadvisors.com

Finance Manager Mhairi McFadden Accounts Flo Marshall Eileen Welsh Sarah Laing Administration Edinburgh Kim Aitchison Eleanor Welsh Glasgow Linda Robinson James McNaught Saleroom Staff Sydney Drew David Robertson Scott Mitchell David Fiddes Valerie Kyle Press and Public Relations Philip Gregory Marketing Matt McKenzie

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STANDARD TERMS & CONDITIONS OF SALE Lyon & Turnbull carries on business with bidders, buyers and all those present in the auction room prior to, or in connection, with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein. 1. DEFINITIONS In these Conditions: (a) “Auctioneer” means the firm of Lyon & Turnbull or its authorised auctioneer, as appropriate; (b) “deliberate forgery” means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which, at the date of the sale, had a value materially less than it would have had if it had been in accordance with the description; (c) “hammer price” means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) “terms of consignment” means the stipulated terms and rates of commission on which Lyon & Turnbull accepts instructions from sellers or their agents; (e) “total amount due” means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) “sale proceeds” means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising; (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 prevailing by law at the date of sale and is payable by buyers of relevant lots. 6. DROIT de SUITE This symbol § indicates works which may be subject to the Droit de Suite or Artist's Resale Right, which took effect in the United Kingdom on 14th February 2006.

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We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the buyer on the hammer price and in addition to the buyers premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros),charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the auctioneer. Resale royalties are not subject to VAT. Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale. More information on Droit de Suite is available at www.dacs.org.uk. 7. PAYMENT (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. 8. 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. 9. 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 10. 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. 11. 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. 12. 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. 13. AGENCY The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers. 14. 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. 15. 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. (3) Aftersales: We reserve the right to accept an after-auction offer on a lot on behalf of the vendor, at the agreed reserve price or above, for up to 48 hours after the original auction. 16. 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. 17. 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 18. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. 9 (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. 20. 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. 21. 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. 22. 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. 23. Scottish law applies to the interpretation of these Conditions.

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Bidder No

Bidding Form Sale/customer details

Telephone bid

Commission bid

Edinburgh Saleroom

Sale Title

33 Broughton Place Edinburgh EH1 3RR

Sale Date

Telephone 0131 557 8844

Sale No.

Title

Initials

Fax 0131 557 8668

Client No

email: info@lyonandturnbull.com

if known

Surname

www.lyonandturnbull.com

Address

I understand that if any of my bids are successful, the total price payable will be the amount of the final bid, plus a buyer’s premium calculated at 25% up to £25,000 then 20% thereafter.

Postcode Telephone

Telephone 2

VAT will be charged on the premium. The premium and VAT is payable by all purchasers.

E-mail May we email you in future regarding similar sales?

YES

How did you hear about this sale?

Lots in the catalogue marked † are subject to VAT at the standard rate on the hammer price. The symbol * by a Accompanying 1.Government-issued photo ID 2. Proof of address lot number indicates that the lot has Documents: (Passport / Driving License / National ID card) (Utility Bill / Bank Statement / Letter from Tax Authority) been temporarily imported from We may, at our discretion, ask you to provide a bank reference and/or a deposit as a condition of authorising you to bid outside the EU and that VAT is payable by the purchaser at the rate of 5% on the hammer price and the buyer’s Lot No. Description £ Sterling limit Excl. Premium & VAT (Commission bid only) premium.

Have you registered to bid with Lyon & Turnbull before?

YES

NO (if No please provide the following:)

No VAT is payable on the hammer price or premium for books bought at auction. Lots in the catalogue marked § are subject to Droit de Suite or Artist’s Resale Right. Please ask us for details or see our conditions of sale. Where there are identical bids for a lot, the first received will be executed. Please make certain that your bids are submitted at least one hour before the start of the sale. We will do our utmost to ensure all commission and telephone bids are executed, however this can not be guaranteed and is a service offered at the bidders risk.

I request Lyon & Turnbull, without legal obligation of any kind on its part, to bid on the above up to the prices listed. I understand that if any of my bids are successful, the total price payable will be the amount of the final bid, plus a buyer’s premium calculated at 25% up to £25,000 then 20% thereafter. VAT will be charged on the premium. I confirm that I accept and will bid in accordance with the terms and conditions of sale as printed in the catalogue, detailed on the Lyon & Turnbull website or available for inspection in the saleroom, subject to any amendment announced or published by Lyon & Turnbull prior to the fall of the hammer.

Bidding Form - version 14.1 Client Signature OFFICE USE ONLY

D at e Received by:

Time:

Photo ID:

Proof of address:

Date:

Bidder No: Bank ref/deposit:

111

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Scottish Silver & Accessories Wednesday, 13th August, 2014 33 Broughton Place, Edinburgh EH1 3RR

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

A fine late 19th century copy of the Monymusk reliquary In silver, copper and enamel with finely engraved decoration. ÂŁ5,000-10,000

FURTHER ENTRIES ARE INVITED

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

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

St Andrew Square

Lyon & Turnbull saleroom

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LYON & TURNBULL AUCTIONEERS EDINBURGH

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

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

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

BRITISH & EUROPEAN PAINTINGS 30TH APRIL 2014

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

British & European Paintings Wednesday, 30th April, 2014 33 Broughton Place Edinburgh EH1 3RR