Scottish Paintings & Sculpture | 22nd May 2014

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LYON & TURNBULL AUCTIONEERS EDINBURGH

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

22ND MAY 2014

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

SCOTTISH PAINTINGS & SCULPTURE

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

Thursday, 22nd May, 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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Thursday, 22nd May, 2014 at 6.30pm Sale Number LT409

Viewing Sunday, 18th May 12 noon - 4pm Monday, 19th May 10am - 5pm Tuesday, 20th May 10am - 5pm Wednesday, 21st May 10am - 5pm Thursday, 22nd May 10am - 1pm

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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1ยง FH247/1 GEORGE HOUSTON R.S.A., R.S.W., R.I. (SCOTTISH 1869-1947) SHEEP ON A COUNTRY ROAD, AUTUMN Signed, oil on canvas 71cm x 91cm (28in x 36in)

ยฃ2,000-3,000

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2 FG966/2 SAM BOUGH R.S.A. (SCOTTISH 1822-1878) HARVEST TIME Signed and dated 1858, oil on board 31cm x 46cm (12in x 18in)

£3,000-5,000

3§ FG993/4 JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) WINTER LANDSCAPE, PERTHSHIRE Signed, oil on canvas 51cm x 61cm (20in x 24in) Exhibited: Fine Art Society, London, May 1961

£5,000-7,000

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4 FF922/15 WALLER HUGH PATON R.S.A., R.S.W. (SCOTTISH 1828-1895) SUMMER EVENING, AROS, MULL Signed and dated 1885, signed and inscribed ‘Painted with Robertson’s medium’ verso, oil on canvas 81cm x 130cm (32in x 51in) Exhibited: R.S.A., 1885. no.522

£5,000-7,000

Born in Dunfermline in 1828, Waller Hugh Paton became one of the most successful Scottish landscape artists of the Victorian period and was the country’s foremost proponent of PreRaphaelitism. Through his brother Joseph Noel Paton, a fellow artist who had studied at the Royal Academy, he knew the leading figures of the movement including Millais and Ruskin. Their ideologies and aesthetic had a profound influence on Waller Hugh Paton and he painted meticulous, romanticised views of the Scottish Highlands, favouring moonlight and sunsets.

Paton mastered both oil and watercolour but seldom painted in oil on a large scale, and the work offered here for sale is therefore a relatively rare example. It depicts a view of Aros Castle on the Isle of Mull, one of Paton’s favoured artistic retreats. The castle was built by the MacDougall clan in the 13th century to protect their holdings but ended up in the hands of the Campbells after 400 years. The site can still be visited today.

Here the ruins are shown standing in an atmospheric, almost panoramic sweep. The scene is rendered wistfully romantic by the pink light of

an approaching dusk and the ghost of a crescent moon tentatively rises in the sky.

Tiny figures can be seen going about their daily lives – wandering amongst the ruins or boating on the loch. A small croft nestles in the background, smoke curling from its chimney. Despite trends at the time towards ‘the sublime’, Paton rarely dwarfed his figures within nature for dramatic effect, instead preferring to show mankind living comfortably within the spectacular and historic beauty of the Highlands and Islands.

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5 FF544/1 WILLIAM MARSHALL BROWN R.S.A., R.S.W. (SCOTTISH 1863-1936) FISHER BAIRNS Signed, oil on panel 23cm x 31cm (9in x 12in) Exhibited: Paisley Art Institute Exhibition No.2

ÂŁ4,000-6,000

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6ยง FH162/1 JOHN MCGHIE (SCOTTISH 1867-1951) WAITING FOR THE FLEET Signed, oil on canvas 71cm x 91cm (28in x 36in)

ยฃ6,000-8,000

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ALLAN RAMSAY The works shown here are close in age, painted in the decade immediately after the establishment of his London studio at the Grand Piazza in Covent Garden in 1737.

During this period Ramsay swiftly made a name for himself, establishing by the 1750s the reputation of Britain’s greatest portrait painter.

This success was largely owed to three important factors. Firstly, Ramsay’s career burgeoned at a time when society’s opinion of the arts had recently undergone a fairly dramatic shift. The 18th century saw a renewed age of connoisseurship with art patronage becoming a defining factor of what it meant to be a gentleman.

Secondly, Ramsay had enjoyed the successful introduction into London Society by his friend and champion Dr. Richard Mead an important and influential arbiter of taste. Thirdly, he was arguably the first artist in Britain to move away from the set conventions of previous generations and adopt a more naturalistic, French manner towards portraiture. His style is typified by a sophisticated delicacy, at the same time achieving a high level of truth to his subjects and an unprecedented sense of intimacy.

The earliest work offered here for sale is an interesting study

of ‘Miss Mitchell’ (1742), thought to be the granddaughter of Sir Thomas Willys, 1st Baronet of Fen Ditton and MP for Cambridgeshire. The work has emerged from a private collection after a considerable number of years and is an example of Ramsay’s acuity in presenting the viewer with an impression of character as opposed to a simple exercise in the rendering of likeness.

Beyond the extravagant beauty of her gown, this is a portrayal of an intelligent woman who meets our gaze with a direct look of some force. Ramsay counted many women among his friends, notably forging lifelong relationships with some of the leading blue-stockings of the day. Though little is now known about this sitter, her quiet self-possession still speaks volumes. The stunning, silvery gown is likely to have been the work of Ramsay’s favoured costume painter Vanhaeken, ‘The Tailor’, who he was using frequently at this point.

The male portrait shown here was painted just a year later in 1743. Depicting Lord John Murray, we see a handsome young man of proud military bearing. The fourth son of the Duke of Atholl, Murray had a long and successful military career. He became a General in the Black Watch and served abroad as, according to

Ramsay’s chief scholar and cataloguer Smart, Aide de Camp to the King, interesting given that his two half brothers, William Murray, Marquess of Tullibardine and Lord George Murray were leaders within the Jacobite movement. There is a detectable gentleness to his expression which fits with the knowledge that he was a generous defender of the rights of the men serving below him, philanthropically offering all who wanted it a rent-free cottage on his land upon retirement.

The final portrait was painted in 1748 and was one of five commissioned by Thomas Shairp, the Fifth Laird of Houston and a friend of the artist. His wife Janet, their son Thomas, daughter Janet and Thomas’ wife Anne, shown here, were sent the portraits upon completion by Ramsay in his London studio later that year. His daughter Janet’s portrait now hangs in the collection of Aberdeen Art Gallery and his son Thomas’s in the Edinburgh City Art Centre. Lyon and Turnbull handled the sale of Thomas Shairp’s own portrait last year and now that Anne has emerged on the market, only Shairp’s wife Janet remains in private hands. Here we find Anne wearing a striking gown of bold red and black, perhaps denoting a passionate nature, countered

by cheeks which appear rosily flushed in almost girlish fashion. This realistic rendering of flesh was due to Ramsay’s adopted technique of first painting the face as a mask of vermillion, slowly building up layers of tonal glazes and body-colour. It is easy to see from this stunning work why Smart cites this group of family portraits as being “among (Ramsay’s) most sensitive things”.

7 FH541/1 ALLAN RAMSAY (SCOTTISH 1713-1784) HALF LENGTH PORTRAIT OF MRS ANNE SHAIRP OF HOUSTON Inscribed verso ‘Ann Scott of Harden, wife of Thomas Shairp of Houston’ oil on canvas, feigned oval 76cm x 63cm (30in x 25in) Provenance: By family descent to John Shairp (d.1940) Doig Wilson & Wheatley, Edinburgh 1942 Gordon Small; Phillips, Edinburgh, 4 December 1998 (123) Literature: Alastair Smart, Allan Ramsay - A complete catalogue of his paintings 1999, p.180, illustrated fig.367

£20,000-30,000

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8 FH422/1 ALLAN RAMSAY (SCOTTISH 1713-1784) HALF LENGTH PORTRAIT OF LORD JOHN MURRAY (1711-1787) Signed and dated 1743, inscribed ‘Lord John Murray / Aide de Camp to the King’, oil on canvas 76cm x 63cm (30in x 25in) Provenance: Mrs Mary Foxlove, the sitter’s daughter and thence by descent until the 1960s Note: The sitter was the fourth surviving son of the 1st Duke of Argyll, a Colonel in the Black Watch 1745 and General 1770; MP for Perthshire 1734-61; he married Mary Dalton, who was also painted by Ramsay, in 1758

£20,000-30,000

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9 ALLAN RAMSAY (SCOTTISH 1713-1784) FULL-LENGTH PORTRAIT OF MISS MITCHELL Signed and dated 1742, oil on canvas 124.5cm x 95.5cm (49in x 37.5in) Provenance: Glennie sale, Sotheby's, 18 July 1928 (137), bt. Soames; Joseph Hayward, Chilterne House, Wiltshire; Christie's, 23 November 1973 (163, as unknown sitter), bt. Lacy; The Estate at Auchtertool House, Fife Note; Identified in the 1928 sale catalogue as 'believed to be Miss Mitchell, grand-daughter of Sir Thomas Willys, Bart', i.e. Sir Thomas Willys (1612-1701), 1st Bt. of Fen Ditton.

ÂŁ10,000-15,000

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10 FH343/1 SIR HENRY RAEBURN R.A. (SCOTTISH 1756-1823) HALF LENGTH PORTRAIT OF JOHN CAMPBELL OF CLATHICK Oil on canvas 76cm x 63cm (30in x 25in) Provenance: J. C. Colquhoun by 1868 Mrs Atherton by 1911 New House Gallery, New York at an unknown date Private Collection, USA until 2000 Private Collection, Scotland Exhibited: Glasgow Portraits Exhibition, 1868 Literature: Sir Walter Armstrong, Sir Henry Raeburn (with a biographical and descriptive catalogue by J. L. Caw), London and New York, 1901, p. 98 James Greig, Sir Henry Raeburn: his life and works with a catalogue of his pictures, published by ‘The Connoisseur’, London, 1911, p.40 David Mackie, Raeburn, Life and Art. A Complete Catalogue of the Artist’s Work, Edinburgh University Phd Thesis, 1994

£10,000-15,000

In Enlightened Scotland of late 1700 it was common fashion to have a portrait made by one of the famous artists of the day. A portrait was a mean to affirm one’s position and ultimately leave a sign in history. Those who counted in society all sought recognition through a portrait of themselves, be they nobles, intellectuals, merchants, members of the government or the military. Of course, their prestige would benefit even more if the author of the portrait was not just a normal artist, but the foremost portraitist of the day, Sir Henry Raeburn.

Amongst this circle was the gentleman sitting in this painting, John Campbell of Clathick, who had himself portrayed probably between 1795 and 1800. A successful tobacco merchant in Glasgow, John Campbell served as a bailie in the city from 1777 till 1786. His political career reached the culminating point when he was elected Lord Provost of Glasgow from 1788 to 1789. Originally from the estate of Clathick, near Comrie, Perthshire, John Campbell inherited the estate of Killermont from his wife Agnes Colquhoun whom he married in 1758. Their only

son Archibald adopted both family surnames after the death of his father and became a well-respected Scottish politician and lawyer.

Following his father’s steps, Archibald CampbellColquhoun commissioned his own portrait to no other artist than Raeburn himself.

Typical of Raeburn’s work from the late 1790s, the portrait of John Campbell shows the artist’s peculiar combination of vigourous directness and simplicity at its best. With few essential details he is able to put a consistent life in the portrait.

The face is brightly lit in contrast with the dark background and the halftones and soft touches suggest the texture of flesh and skin more completely.

Always interested in the character of his sitters, rather than in their beauty, Raeburn believed that a portrait ought to tell us more about the person than his own face can tell us. John Campbell’s portrait is an excellent example of Raeburn’s unique ability to convey such depth of insight.

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11 FF929/3 JOHN KNOX (SCOTTISH 1778-1845) THE CLOCH LIGHTHOUSE DURING A STORM Oil on canvas 54.5cm x 76cm (21.5in x 30in) Note: See John Knox, Glasgow Art Gallery and Museum, 1974, no.19 for a variant of this painting. A painting entitled ‘Cloch Lighthouse after a thunderstorm’ was exhibited at the Glasgow Institute in 1822

£6,000-8,000

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12 FH535/1 ATTRIBUTED TO DOMINIC SERRES (FRENCH 1719-1793) FIGURES AND BOATS IN LEITH HARBOUR - THE BRITISH LINEN TO THE RIGHT Bears initials, oil on panel 41cm x 61cm (16in x 24in) Literature: The History of the British Linen Bank, Charles A. Malcolm, 1950, Ill. p.92 as by Dominic Serres.

£4,000-6,000 Born in France, ship captain in Spain and prisoner of war in England, the adventurous Dominic Serres recorded the most important naval battles and harbour scenes of the time with a remarkable

historical accuracy. Official Marine Painter to King George III, Serres derived his inspiration from the Dutch tradition of marine landscapes, especially in the use of pure colours and the extreme attention to every minuscule detail.

This painting of Leith is an example of Serres’ fine, almost photographic-like perspective and represents an excellent record of the Edinburgh Harbour in the late 18th century. In the foreground two men are loading barrels and packages on a cart while, in the

background, merchants, fishermen, sailors and gentlemen are going about their everyday activities. The building depicted to the right belonged to the British Linen Bank which, in that period, like many other banks in the city, had a branch along the quayside. The Managing Clerk of the Leith Linen Bank James Bell was also a dealer in corn and wine and often used the office for his trades.

That is probably why a man is depicted entering the premises with a full basket on his back.

There are no written records

of Serres’ presence in Edinburgh. However, that he was in Leith at some point is rather likely, considering his long lasting friendship with Governor Hunter who served as an officer in various naval actions depicted by the artist and who himself was born and raised in Leith.

Edinburgh’s Capital Collections conserve two engravings of Leith attributed to Dominic Serres. One of them, dated 1790, depicts the exact same view of the painting with the hoist to unload the ships cargo to the left and the Linen Bank building to the right.

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13 FG888/1 WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) ON THE SAND HILLS IN SUMMER TIME Signed and dated 1875, oil on canvas 76cm x 103cm (25in x 40.5in) Exhibited: Royal Scottish Academy 1876, no.67 Note: This is a group portrait of Mrs J.J. Cowan and her children

ÂŁ15,000-20,000

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14 FF579/1 GEORGE HOUSTON R.S.A., R.S.W., R.I. (SCOTTISH 1869-1947) THE ARGYLL HOTEL, INVERARY 1927 Oil on canvas 68cm x 88cm (27in x 34.5in) Provenance: The artist and thence by descent Literature: Euan Robson, George Houston: Nature’s Limner, Atelier Books, Edinburgh, 1997, pp.61-62, plate 42

£3,000-5,000

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15 FH336/5 WILLIAM DARLING MCKAY R.S.A. (SCOTTISH 1844-1924) A HARVEST TWILIGHT Signed with initials and dated 1890, oil on canvas 43.5cm x 59cm (17in x 23.25in) Note: A painting of this title was exhibited at the Royal Scottish Academy 1891, no.172

£1,500-2,000

16 FG966/1 SAM BOUGH R.S.A. (SCOTTISH 1822-1878) THE DEPARTURE OF THE FLEET Signed, oil on panel 23cm x 33cm (9in x 13in)

£3,000-5,000

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17 FF973/5 DAVID OCTAVIUS HILL R.S.A. (SCOTTISH 1802-1870) PERTH, SUNSET, THE CELEBRATIONS FOR THE VISIT OF QUEEN VICTORIA 1842 Signed, oil on canvas, arched top 91cm x 183cm (36in x 72in) Exhibited: Arts Council of Scotland, D.O. Hill and R. Adamson: A Centenary Exhibition 1970/71, no.64 Note: Hill’s contemporaries thought highly of his paintings of sunset landscapes.

On the left, the town of Perth is lit by the celebration bonfires on the racecourse; on the right, the river walls of Bridgend are hung with carpets; on the river on the right-hand side, the Royal Barge is escorted by a number of boats

£5,000-8,000

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18 FH535/1 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) TENDING THE STOVE Signed, oil on board 23cm x 13cm (9in x 5in)

£3,000-5,000

19§ FH337/1 CECILE WALTON (SCOTTISH 1891-1956) ON THE LIDO, VENICE Oil on panel 80cm x 59cm (31.5in x 23.25in) Exhibited: City of Nottingham Art Museum, Nottingham Castle, Special Exhibition Cecile Walton 1922

£3,000-4,000

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20 FF922/22 ROBERT MCGREGOR R.S.A. (SCOTTISH 1847-1922) THE CHILDREN OF THE BEACH Signed, oil on canvas 93cm x 147cm (36.5in x 58in) Exhibited: ‘Dixie and Co.’, 1903, Liverpool; R.S.A., 1905, no.145

£10,000-15,000

Born in Yorkshire to a Scottish manufacturer, McGregor trained as a designer for textiles before he moved first to Dunfermline, his father’s birth place, and then to Edinburgh, where he pursued his interest in

painting. While he received some instruction from a French painter during his youth, it was by attending the Royal Scottish Academy that his talent rapidly progressed.

By 1882 his pastoral oils had stimulated such interest that he was elected an Associate of the RSA. McGregor never worked in a foreign atelier, and was too young to have been influenced by his French friend to an extent visible in his art.

However, his style undoubtedly has a likeness to that of some Continental

painters especially in the fullness and justness of tones of rural realism. Among his favourite subjects were Scottish rural scenes of every day life caught in sunless weather that immersed everything in a diffused grey light. The resulting realistic effect reminds one much of the lyrical atmosphere that can be found in landscapes by Bastien-Lepage and Millet, as well as the Hague School.

Later in his career, McGregor was used to spending many holidays along the northern coast of French Brittany,

where he became interested in fishers and beach motifs.

Children strolling along the beach, fishermen preparing their boats and women quietly mending nets were well suited to his taste. Simple and sincere, these scenes are rich in pathos and poetic nobility.

The Children of the Beach is a good example of this second phase of his painting career.

Its grey tones, the robustness of form and the handling of figures inspired the early works of the Glasgow School.

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ARCHIBALD THORBURN All three of the present works

by Archibald Thorburn have been held in a private collection since they were purchased by an important Thorburn collector between 1927 and 1931.

Archibald Thorburn began life as a sportsman, regularly invited to Sandringham, both to shoot and paint. He later gave up the sport, turning his full attention to his art and to wildlife conservation. In 1927, the year that the present two watercolours were painted, he was elected Vice President of the RSPB in recognition of his services on behalf of bird preservation.

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From 1902 Thorburn was based in Hascombe, Surrey, surrounded by some of the most beautiful woodland in England, however Thorburn never lost his love for his homeland and returned each year to the Highlands of Scotland to paint red deer, grouse and ptarmigan which were used as the basis for highly finished oils and watercolours back in the studio.

Thorburn produced at least two bronze sculptures, one of a snipe, the other an eagle but this is the only known ceramic by the artist. The

name and address on the base of the ceramic is that of the artist’s print publishers, W. F. Embleton. Between 1927 and 1930 Thorburn executed a number of brightly coloured watercolours featuring kingfishers, a bird that is often found along the River Wey in Surrey.

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21 FH315/1 ARCHIBALD THORBURN (SCOTTISH 1860-1935) COCK AND HEN PHEASANT IN UNDERGROWTH Signed and dated 1927, watercolour 37cm x 56cm (14.5in x 22in) Provenance: Richard Haworth, Blackburn, 1927 purchased for £68 Private collection and thence by descent

£20,000-30,000

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22 FH315/2 ARCHIBALD THORBURN (SCOTTISH 1860-1935) IN THE GLEN, BLACKCOCK Signed and dated 1927, watercolour 37cm x 56cm (14.5in x 22in) Provenance: Richard Haworth, Blackburn, 1927 purchased for £68 Private collection and thence by descent

£20,000-30,000

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23 FH315/3 ARCHIBALD THORBURN (SCOTTISH 1860-1935) KINGFISHER Hand painted ceramic figure, signed with initials, painted mark to base ‘W.F. Embleton, 70 Jermyn St. London, copyright’ 13.5cm (5.5in) height Provenance: Richard Haworth, Blackburn, 1931 purchased for £2.15/Private collection and thence by descent Note: This is believed to be the only example of ceramic sculpture attributed to Thorburn

£2,000-3,000

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24 FH336/2 ALFRED DE BREANSKI SNR. (BRITISH 1852-1928) A BREAK IN THE CLOUDS, BEN LEDI Signed and dated 1885, oil on canvas 76cm x 127cm (30in x 50in)

£8,000-12,000

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25 FF239/1 EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) GATHERING WILD FLOWERS, BRIGHOUSE BAY Signed and dated 1927, oil on canvas 76cm x 91cm (30in x 36in)

£10,000-15,000

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26 FH48/1 SIR JAMES GUTHRIE P.R.S.A., H.R.A., R.S.W., LL.D. (SCOTTISH 1859-1930) PORTRAIT OF MARY MARTIN IN A RIDING HABIT Signed and indistinctly dated, oil on canvas 150cm x 89.5cm (59in x 35.25in) Provenance: Mrs Burnett-Stuart Literature: Sir James Guthrie, Sir James L. Caw, 1932, pp.85, 221

£20,000-30,000

Miss Mary Martin was the daughter of Guthrie’s great friend and patron, Edward Martin. The portrait was part of a series of Edward Martin’s family and friends painted between 1894 and 1900.

Several of these portraits were painted at John Singer Sargent’s Tite Street studio in London which Sargent lent to Guthrie over several weeks during 1894-1896. The final portrait of the series, that of Edward Martin himself, was cut short by the sudden death of the sitter in 1900. The death of his friend and supporter prompted Guthrie’s return to Edinburgh.

As well as a great patron of the arts, Martin was an ardent hunting enthusiast, and Miss Mary, like her father, is portrayed in riding habit, perhaps at the country residence, Brackley Lodge in Northamptonshire. Miss Mary is ready to ride, her hat in place and her coat buttoned up to the neck but her soft smile and the relaxed pose of her hand holding her gloves and crop suggests that the sitter is entirely at ease.

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Sir James Caw describes the portraits of the Martin children at some length ‘Master Ned standing looking at one, half-shyly, and Miss Jessie, seated with dangling legs on a big square stool ...

Miss Jeanie ... standing swinging a hat in her hand ...

These children are not pawns in an abstruse, if fascinating,

artistic game - the response of the painter has been to them; they have stimulated the conception, and have given it spontaneity and deeper and more moving life... Few portraits of children, at once so significant and so beautiful, have ever been painted’.

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27 FH540/1 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) GATHERING BAIT Signed, oil on board 46cm x 25.5cm (18in x 10in)

£15,000-20,000

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28 FH540/2 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) WADING Signed, oil on board 46cm x 25.5cm (18in x 10in)

£15,000-20,000

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29 FG934/1 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) ON A SNOW COVERED QUAY Signed, oil on canvas 71cm x 91cm (28in x 36in)

£10,000-15,000

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30 FH336/4 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) SLEEP BABY SLEEP Signed, oil on canvas 46cm x 61cm (18in x 24in)

£8,000-12,000

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31 FF922/14 CHARLES HODGE MACKIE R.S.A., R.S.W. (SCOTTISH 1862-1920) THE RETURN OF THE FLOCK TO THE FOLD Signed, oil on canvas 152.5cm x 152.5cm (60in x 60in) Exhibited: City of Nottingham Castle Museum and Art Gallery, no. 53

£8,000-12,000

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Charles Mackie is perhaps most known for his brilliant and colourful views of Venice in a conventional impressionist style. Few are aware that, while his contemporaries looked at French Realism as a model to follow, from the very beginning Mackie found his inspiration in the Symbolist painters of the Pont-Aven School and Gauguin in particular. In the first part of his career he produced works that are now considered by many to be some of the most avant-garde British art of the time. The work presented here was painted before the end of the 19th century and shows perfectly how profoundly the postimpressionist Nabis influence had been on the Scottish artist.

were Edward Atkinson Hornel and Patrick Geddes, for whom he decorated several buildings in the city, including the murals for his apartments in Ramsay Gardens. It was in the late 1880s, while on his honeymoon to Paris, that Mackie met and became good friend with Paul Gauguin – Mackie was one of the very first British artists to be introduced to the French painter. From Paris he then travelled to Brittany where he spent some time with the other Pont-Aven artists Maurice Denis and Paul Sérusier, and with the associated Nabis painters Pierre Bonnard and Édouard Vuillard. These encounters were to have a long and drastic effect on the rest of his painting career.

Born in Aldershot, Surrey, Charles Mackie was brought up in Edinburgh where he attended the Royal Scottish Academy School. Soon after he graduated he opened a studio in town and started working as a painter.

Amongst his closest friends

Already inclined towards a decorative style absorbed from the Celtic Revival tendencies taking place in Scotland, Charles Mackie was deeply fascinated by the Pont-Aven/Nabis idea of an art that would integrate daily life. According to the Nabis,

such art was the expression of the artist’s own synthesis of nature and contained metaphors and symbols that only he knew. Mackie fully adopted this lesson and started painting in a style highly charged with symbolic elements. In this painting, the perspective and shading are almost absent, the structure of the composition is mainly expressed through bold patches of pure colours in the earthy tones of browns and reds and the forms are separated by dark contours as in the works by Gauguin.

Overall the feeling is that of a representation which does not want to be faithful to nature; rather, it conveys the artist’s memory and feelings of the subject. All these elements made Mackie’s work very close to the PontAven School and show his rather unconventional position within the Scottish art of the time.

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32 FH336/3 EDWARD ARTHUR WALTON R.S.A., P.R.S.W., H.R.W.S. (SCOTTISH 1860-1922) THE RENDEZ-VOUS (LANDSCAPE) Signed and inscribed on stretcher verso, oil on canvas 106cm x 80cm (42in x 32in) Exhibited: Exposition Internationale des Beaux Arts, Dresden 1901

£10,000-15,000

Although very popular in his time as a portrait painter, Edward Arthur Walton was first and foremost a landscape artist. A leading member of the Glasgow Boys, he was a great admirer of the en plein air painting which he had the chance to approach while training at the Düsseldorf Academy. Like for most of his fellow friends at Glasgow School of Art, his models were the French realist painters Millet and Bastien-Lepage. From them Walton derived his interest towards rural subjects and the use of subdued, restrained colours. A great friend of James Guthrie and Joseph Crawhall, he spent many of his early days painting with his colleagues in the Tossachs and at Cockburnspath, where he developed his remarkable skills as a landscape painter and a watercolourist.

With its vertical impression, The Rendez-Vous presents many elements of a typical Walton landscape. The slender trees lean across the composition occupying half of

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the canvas. Underneath, over a low horizon, two figures on horses are resting by a lake.

Painted around 1900, The Rendez-Vous belongs to a later phase in which Walton abandoned the earthy tones of his early Glasgow works and adopted a more impressionistic style. The paint is still applied with the characteristic square brushstrokes of the Glasgow Boys. However, the colours are brighter and the soft touches are used to capture the effect created by the heat and light of the day.

In 1902 a black and white print from this painting was published by the Studio Magazine, a fine art and decorative magazine that promoted the work of established and emerging artists. Walton’s particular way to arrange his landscapes have had an early influence upon the work of the young Sir William Oliphant Hutchison (18891970), who in 1918 had married Walton’s youngest daughter Margery. In particular, there is a painting

by Hutchison dated 1914, in which an imposing oak tree leans across the canvas in the very same way as in The Rendez-Vous. Underneath, in this image, not two horses but Walton himself is peacefully immersed in the landscape atmosphere.

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33 FH254/1 BESSIE MACNICOL (SCOTTISH 1869-1904) IN THE PARK Signed, oil on panel 16.5cm x 11.5cm (6.5in x 4.5in)

£3,000-5,000

34 FG966/3 EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) GATHERING FIREWOOD Signed with initials and dated ‘90, oil on canvas laid down 31cm x 23cm (12in x 9in)

£3,000-5,000

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35 FG795/1 PATRICK WILLIAM ADAM R.S.A. (SCOTTISH 1854-1929) THE YELLOW BED Signed and dated 1917, oil on canvas 103cm x 82cm (40.5in x 32.25in) Exhibited: Royal Scottish Academy 1918, no.400

ÂŁ2,000-3,000

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36§* FG995/1 FRA HENRY NEWBERY R.W.A., A.R.C.A. (SCOTTISH 1855-1946) DAYDREAMING Signed, oil on canvas 108cm x 76cm (42.5in x 30in)

£15,000-20,000

As the enlightened Director of the Glasgow School of Art, Francis Henry (Fra) Newbery was the linchpin in the emergence of a distinct ‘Glasgow Style’ between 1880-1920. The art, architecture and crafts created under Newbery’s three-decade-long leadership became internationally acclaimed and the iconic work produced by his many protégées is testament to his legacy. Glasgow city would almost certainly look very different today if it were not for Fra Newbery giving the, then unknown, Charles Rennie Mackintosh the most important commission of his career; to design the new building for the Glasgow School of Art. As well as an art educationalist, Fra Newbery was a talented painter himself and in this enchanting portrait he demonstrates his close association to the group of artists known as the ‘Glasgow Boys’ as well as his response to the Arts and Crafts movement in England.

The Glasgow Boys saw childhood as an ideal, particularly the rustic childhood found in rural or fishing communities. ‘The Boys’ painted children herding cows, gathering apples, walking to school or playing, almost always in quiet,

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contemplative repose. In this tradition, Newbery intended the painting to feel dreamy and restful. The Royal Scottish Academy holds a sister canvas portraying the same model, clad in the same green dress and ribbons seated in an interior entitled Day Dreams. It is likely that Newbery would have seen Edward Arthur Walton’s A Daydream, 1885 (Scottish National Gallery) when it was exhibited at the Glasgow Institute in 1887. The relaxed posture of the girl, and her innocence, is balanced against the strength of her gaze. In that gaze we see that childhood will soon give way to maturity.

Most of the childhood paintings by the Glasgow Boys were set outdoors, but here, Newbery has brought the outdoors in, with a vase of wild flowers and garland on the table. The desire to connect humanity with nature was also an essential concern of the Arts and Crafts movement. Newbery’s wife, Jessie, also taught at the Glasgow School of Art and was a leading embroiderer, designer and artist in her own right. Aware of the work of William Morris and the Rational Dress movement, she designed clothes that were both beautiful and practical. The green dress in

this painting appears to be decorated with the ‘Glasgow Style’ rose and may be one of Jessie Newbery’s own creations (their two daughters wore dresses designed by Jessie). Fra Newbery’s depiction of the dress which is visually linked through colour and pattern to the garland is an example of the ‘tout ensemble’ technique advocated by the arts and crafts movement, where clothes and furnishings were designed to be one ‘harmonious artistic whole’.

The boat glimpsed through the window panes picks up the green from the dress and wild flowers, taking the eye beyond the cosy domestic interior to the outdoors, where the complex network of ship’s rigging - and its reminder of physical work and industry - is contrasted with the dreamy interior. It is not known where this painting was executed, but from 1890 Newbery spent many of his summers in a holiday cottage in Walberswick, Suffolk, often in the company of other Scottish artists, particularly Walton and Mackintosh.

Newbery also produced a number of scenes of Bridport Harbour after retiring to Corfe Castle in 1919.

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37 WILLIAM MARSHALL BROWN R.S.A., R.S.W. (SCOTTISH 1863-1936) WILD ROSES Signed and dated 1907, oil on canvas 91cm x 122cm (36in x 48in) Exhibited: Royal Scottish Academy 1908, no.353 Scottish National Exhibition 1911

ÂŁ20,000-30,000

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38 DAVID GAULD R.S.A. (SCOTTISH 1865-1936) GIRL AMONGST LEAVES Oil on canvas 67.5cm x 54.5cm (26.5in x 21.5in)

£8,000-12,000

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39 FH46/1 SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., R.O.I., L.L.B. (1856-1941) THE BEACH Signed, signed and inscribed verso, oil on canvas 63cm x 76cm (25in x 30in)

ÂŁ30,000-50,000

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Apart from portraits, seascapes form the most important sub-section of John Lavery’s work. His earliest coastal scenes date from the 1880s when he visited relatives in Larne, twenty miles from Belfast, the city of his birth. In 1890 he painted yacht racing at Hunter’s Quay on the Clyde, before fascination with the sea took hold during three extended sojourns in Tangier between 1891 and 1893. It lay dormant however until the early years of the twentieth century when he purchased the house named Dar-el-Midfah, on Mount Washington, one of the hilltops to the south west of the city. [1] Here he overlooked the Straits of Gibraltar and whether working from the heights, or down on the shore, he was able to study the subtle transitions of colour, from opal and azure to deep

Fig. 1 Hazel, John, Alice, Eileen and Hadeshia in Tangier, c.1910, photograph, the author

ultramarine, that describe the ever-changing surface of this narrow stretch of sea where two oceans meet. Other seascapes would be painted at St Jean de Luz, Beaulieu, North Berwick and the Bay of Tunis, but none were pursued with the same consistency as those painted from the North African coast.

By 1907, Lavery’s daughter by his first marriage, Eileen, was accompanying him on annual winter visits to Dar-el-Midfah, and along with models and friends, they were quickly integrated into the expatriate community. Even then the city had a reputation for eccentrics, being, despite the imperial ambitions of Kaiser Wilhelm II, a contested international ‘protectorate’.

After 1909, when he married the beautiful American widow, Hazel Trudeau, these winter expeditions included his new wife and her precocious five-year-old daughter, Alice. For the child, the house on the hilltop symbolised a world of adventure and she swiftly found a playmate in a local girl named Hadeshia [2] (fig. 1).

Led by her older stepsister, Alice and Hadeshia would explore the rock pools on the secluded beach beneath Mount Washington. These three figures appear in the present canvas, with Hadeshia on the right, as in the small related oil

Fig. 2

sketch entitled Sea Urchins (fig. 2). [3] At Tangier, Lavery had his choice of beaches. To the west of the Medina lies the long stretch of sand where, in the early nineties, before the construction of the modern port, travellers would disembark from liners moored in the bay. This is seen in a large canvas entitled A Summer’s Day, Tangier (fig. 3), which shows Hazel in her long yellow tropical jacket, seated under a purple parasol, with the tiny figures of Alice and Hadeshia at the water’s edge. At her feet, looking towards the children and a nearby herdsman with his flock, is Eileen, wearing the same pink ‘milkmaid’ bonnet as in the present canvas. [4] These pictures were all the byproduct of child minding.

Lavery was however, most familiar with the secluded beach that lay at the foot of Mount Washington. From this small bay, bordered by rocky outcrops, one could see the

coast of Spain on a clear day.

When warm breezes blew through the Straits, it was a setting ‘so light’, according to RB Cunninghame Grahame, ‘that the tall hills above Tarifa on the Spanish coast, looked near and stood out stark as if cut out of wood and painted, as in a theatre’. [5] Here the children played and Hazel exercised the little terrier that the family adopted on these visits. Close comparison between Evening, The Coast of Spain from Tangier (fig. 4) and the present work, shows the same rock configurations to the left of the composition.

[6] What did Lavery bring to these occasions? He was inevitably conscious of the great Western European Romantic tradition of Turner, Caspar-David Friedrich and Gustave Courbet that places the human figure in front of the sea and addresses the immensity of space. This motif was brought to him through the work of James McNeill Whistler who on one

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[6] Evening, The Coast of Spain from Tangier (sold Christie’s, 12 May 2006) has been painted slightly further back from the water’s edge.

See also The New Moon, Moonrise, 1909-10 (sold Bonhams, 29 May 2013), Tangier Bay, Rain 1910, (Ulster Museum, Belfast), A Rough Sea, c. 1907 (Paisley Museum and Art Gallery) and Tangier Bay, 1910 (Carnegie Institute, Pittsburgh).

Fig. 3

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occasion in 1865, reputedly painted Courbet standing on the beach at Trouville, in a sequence of beach scenes with which Lavery was familiar (fig. 5).[7] He met the American painter for the first time in 1886 and the two became close associates when, in 1898, the International Society of Sculptors, Painters and Gravers was launched.[8] In 1903, the painter was a pallbearer at the American artist’s funeral and two years later, was one of the organisers of the large Whistler memorial exhibition staged in London, Paris and Boston.[9]

pale green shallows and out into the distant depths.

Clouds, in The Beach, hug the Spanish coast. On other days and times, if he looked carefully in this direction he would see the plume of steam from the funnel of the little packet boat as it left Cadiz.

But for the present, there were no such incidents merely three little girls picking their steps across the seaweed on a warm day in spring.

Lavery strongly admired the fluidity of Whistler’s handling and the extreme subtlety of his palette. His pictures were first and foremost ‘harmonies’ and ‘arrangements’. In painting the Straits, bands of colour would be swept on to the canvas marking transitions from the warm ochres of seawashed sand, through the

[4] Although entitled A Summer’s Day, Tangier, (sold Sotheby’s, 21 May 1998) this work was painted in early spring. The Laverys never actually visited North Africa in the height of summer. Eileen also wears her pink bonnet in After Breakfast, Tangier, 1910 (unlocated), a work that also contains Alice and her now familiar straw sunhat.

[1] Kenneth McConkey, John Lavery, A Painter and his World, 2010 (Atelier Books), pp. 95-6.

[7] Courbet is reputedly the figure in Harmony in Blue and Silver, Trouville, 1865 (Isabella Stewart Gardner Museum, Boston), see Andrew McLaren Young et al, The Paintings of James McNeill Whistler, vol 1, 1980 (Yale University Press), pp. 37-8.

[8] McConkey, 2010, pp. 34-6, 68-74.

Whistler’s Blue and Silver, Trouville, 1865, (Fig 5, Freer Gallery of Art, Washington DC) was for instance shown at the ISSPG in 1899.

[9] Whistler’s Sea and Rain, 1865 (Museum of Art, University of Michigan, Ann Arbor) was for instance shown at the Memorial Exhibition in 1905 in London.

We are grateful to Kenneth McConkey for his assistance in cataloguing this lot.

Fig. 4

[2] Mrs Alice Gwynn, in conversation with the author in 1983.

[3] Sea Urchins was sold Christie’s, 8 May 2008.

[5] RB Cunninghame Graham, ‘Introduction’, Cabinet Pictures by John Lavery, 1904 (exhibition catalogue, Leicester Galleries, London), p. 10.

Fig. 5

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40 FG426/3 FRANCIS CAMPBELL BOILEAU CADELL R.S.A, R.S.W. (SCOTTISH 1883-1937) TOMMY & JACK Signed, pen and ink and watercolour 33.5cm x 26cm (13.25in x 10.25in)

£6,000-8,000

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41§ FG432/2 JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) STANDING NUDE Dated 14.8.57, pencil and watercolour 16cm x 10cm (6.25in x 4in)

£1,500-2,500

42§ FH217/1 JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) SEATED NUDE Charcoal, dated ‘9 May ‘36’ 24.5cm x 19cm (9.5in x 7.5in)

£1,000-1,500

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43 FF966/2 CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928) GARDEN BOUQUET Gouache and pencil 29.8cm x 26cm (11.75in x 10.25in) Provenance: Purchased at the Mackintosh Memorial Exhibition, 1933 by Mrs D. Turnbull J & R Edmiston, Glasgow, 24 February 1977, lot 58 The Fine Art Society, London Private Collection The Taffner Collection, Lyon and Turnbull 7th September 2012, lot 110 The collection of the late John Sloss Exhibited: Glasgow, McLellan Galleries ‘ Charles Rennie Mackintosh’ Margaret Macdonald Mackintosh, Memorial Exhibition’, May 1933, no.83 Glasgow, The Fine Art Society,’The Memorial Exhibition: A Reconstruction’ 1983, no.83 Edinburgh, Royal Scottish Academy, Mackintosh Watercolours’, 8th August - 5th October 1986, no.30 Literature: Bilcliffe, Roger ‘Mackintosh Watercolours’, London 1978, p.39, Catalogue 162

£10,000-15,000

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44§ FH217/2 JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) MOTHER AND CHILD Charcoal 19cm x 11cm (7.5in x 4.5in)

£1,000-1,500

45§ FH217/3 JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) CAFÉ STUDY, PARIS Charcoal 20.5cm x 11.5cm (8in x 4.5in)

£1,000-1,500

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46ยง FF966/1 JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) MADEMOISELLE CASSAVETES Signed and dated verso 1938, oil on board 40cm x 32cm (15.75in x 12.5in) Provenance: The Scottish Gallery, Edinburgh Cyril Gerber Fine Art, Glasgow The Taffner Collection, Lyon and Turnbull, 7th September 2012 Collection of the late John Sloss

ยฃ20,000-30,000

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J. D. FERGUSSON SCULPTURE In Eastre we see Fergusson bringing together three important strains of early twentieth Century art: Paganism, Primitivism and Vorticism.

‘Eastre’ is the Saxon Goddess of Spring and of the rising sun. An enthusiasm for Paganism amongst artists and musicians such as Stravinsky had emerged in the early twentieth century.

Fergusson was particularly fascinated by Celtic culture and the observance of harmony and unity in nature and the concept of the female form as a symbol of fecundity, renewal and rhythm. In the South of France during the 1920s, the natural environment and bright sunlight resonated with both Fergusson and his partner, the dancer Margaret Morris, who was herself also involved in a ballet performance entitled ‘Hymn to the Sun‘. The full lips of Eastre and the repeating curves forming the chest, neck and head convey her organic nature.

Together with the revival of Paganism came an interest in non-Western ‘Primitive’ art which was widespread from about 1907. Fergusson sketched Cambodian and Indian sculpture in the Trocadéro Museum in Paris.

He also admired the work of

Brancusi who was perhaps the most important sculptor using tribal art as a source.

The strong features and bold stare of masks made a particularly powerful impression on artists of the time. Here the deeply sculpted eye sockets of Eastre recall African and Oceanic wood carvings.

Two years prior to creating Eastre, Fergusson had embarked on a motoring trip around the highlands. His landscapes from this journey convey the Vorticist love of speed, as well as elements of Cubism, in the way that the landscape is broken up into segments. Here, hints of Vorticism are found in the polished finish and the bold lines running along the cheek bones, chin and eyebrows which create a dynamic composition. Eastre is both a homage to primal nature and a celebration of modern style and energy.

47§ FG432/1 ESSAY JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) EASTRE (HYMN TO THE SUN) Bronze 40cm (15.75in) high Note: Fergusson carved the original in plaster in 1921, but kept it under his bed for three years before he found someone who could pay for it to be cast in 1924. It is believed only one lifetime cast was made, which is held in the collection of Aberdeen Art Gallery.

A posthumous edition of 6 was cast in 1971 and a second posthumous edition of 10 in 1991, celebrating the Fergusson Gallery project, which opened in 1992. This bust is from the 1991 casting.

£12,000-18,000

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48§ FF749/1 JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) EFFULGENCE Bronze 22cm (8.75in) high

£7,000-10,000

49§ FH536/1 JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) TORSE DE FEMME Bronze 14.5cm (5.75in) high without base Note: This unique bronze cast was produced by Bill Hepworth of the Alyth Art Foundry in 1994 from Fergusson's original 1918 plaster maquette in the Fergusson Gallery Collection. It was cast, under the direction of the Fergusson Estate, in order to produce the scaled up finished version situated outside the entrance to the Fergusson Gallery in Perth. The truncated figure, arching backwards emphasises the lifegiving female form, much like early sculptures of Demeter or Venus.

£2,000-3,000

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50ยง FG138/1 JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) AT THE DINNER TABLE Inscribed on a label verso, oil on panel 18cm x 23.5cm (7in x 9.5in) Provenance: Purchased by FKB Murdoch from Margaret Morris c.1977 Exhibited: Baillie Gallery, London, Some Modern Painters, 1908 (no.39) The Arts Council of Great Britain, Scottish Committee, J.D. Fergusson Memorial Exhibition 1961/62, no.19

ยฃ20,000-30,000

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51§ FF897/2 ANNE REDPATH O.B.E., R.S.A., A.R.A., R.O.I., R.B.A., LL.D. (SCOTTISH 1895-1965) VENETIAN VASE Signed, pencil and watercolour 39cm x 29cm (15.25in x 11.5in) Exhibited: Scottish Gallery, Edinburgh, Anne Redpath 1965, no.8

£1,500-2,000

52§ FG948/1 ANNE REDPATH O.B.E., R.S.A., A.R.A., R.O.I., R.B.A., LL.D. (SCOTTISH 1895-1965) COTTAGES, SKYE Signed, watercolour and gouache 31cm x 38cm (12in x 15in)

£5,000-8,000

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53§ FF897/1 ANNE REDPATH O.B.E., R.S.A., A.R.A., R.O.I., R.B.A., LL.D. (SCOTTISH 1895-1965) STUDIES OF BRETON WOMEN’S HATS Signed, gouache 24.5cm x 38cm (9.75in x 15in)

£2,000-3,000

54§ FF242/1 SIR WILLIAM GEORGE GILLIES C.B.E., R.A., R.S.A., R.S.W., D.LITT. (SCOTTISH 1898-1973) FIGURES ON THE COAST Signed and dated 13/5/55 under the mount, pencil and watercolour 17.5cm x 21cm (7in x 8in)

£2,000-3,000

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55ยง FH228/1 WILLIAM CROSBIE R.S.A. (SCOTTISH 1915-1999) MACHINATIONS OF THE STUDIO Signed, inscribed and dated 1940, gouache 55cm x 37cm (21.5in x 14.5in)

ยฃ2,000-3,000

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56 FF924/5 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) ST. MONANS Signed, watercolour 56cm x 46cm (22in x 18in)

£7,000-9,000

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57 GEORGE LESLIE HUNTER (SCOTTISH 1879-1931) STILL LIFE WITH FRUIT AND FLOWERS Signed, oil on board 42cm x 37cm (16.5in x 14.5in)

£40,000-60,000

Stylistically this work dates to the mid-1920s, a period which saw Hunter move away from the darker, Dutch-inspired still lives which characterised his work of the previous decade. In 1922 the artist had enjoyed an instructive trip to Europe which cemented the importance of colour to his practise. “I found the Louvre interesting as ever… the Cezanne still-lifes YES!” he wrote in the early stages of his travels, meanwhile finding the British exhibits at the Venice International Exhibition “like skimmed milk as far as colour goes”.

Precarious mental health blighted Hunter for much of his adult life and his excursion abroad ended in a nervous breakdown which forced his return from Italy.

Nonetheless the 1920s saw bouts of exuberance and great productivity. Although his earlier output had attracted the support of influential gallerist Alexander Reid, many critics and collectors had struggled with

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his work up to this point.

Now, his adoption of a brighter palette and stylised, boldly delineated compositional structure resonated with the spirit of the day. Finally Hunter began to be associated closely with his fellow Colourists S. J. Peploe and J. D. Fergusson and his piece at the 1924 Royal Scottish Academy exhibition was described as “an outstanding exhibit” by a Parisian art critic. They praised a “consciousness of material and the feeling of volume” within his composition, a statement which also holds true of the folds of rumpled cloth and ripe rotundness of the fruit in the beautiful example offered here for sale.

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58 FF926/1 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) IONA NORTH END AND BEN MORE, MULL Signed, inscribed with title to backboard, oil on panel 36cm x 43cm (14in x 17in) Provenance: Ian MacNicol, Glasgow

£30,000-50,000

Warmed by the sun, blown by the wind I sat Upon the hilltop looking at the sound.

Down in the church beneath, the people sat On chairs and laughed and frowned.

No chairs for me when I can lie And air myself upon the heather And watch the fat bees buzzing by And smell the small of summer weather Let them bow down to God unfound For me the sound that stretches round For me the flowers scented ground Upon the hilltop, looking at the sound.

No church for me to worship in Confined by walls of dank dark stone For rather I can worship Him When I am out in his fair world

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Cadell visited Iona almost every summer from 1912 for the next two decades. The local community treated Bunty (as he was known) as one of their own and he felt an enormous affinity with the island as is demonstrated by ‘One Sunday in Iona‘, his poem from 1913. From the poem it is clear that Cadell felt that Iona was sacred and therapeutic, a sentiment Peploe shared in a letter to Bunty: ‘after the war I’ll go to the Hebrides and recover some of the virtues I have lost.’

This painting shows the view from the north edge of the island, looking east across the Sound to Mull. The mountain peaking over the top of the headland in the distance is Ben More.

The rapidly changing weather on the West Coast presented a challenge to the artist which, in fact, worked to his advantage. Cadell was technically brilliant and

almost never produced preliminary sketches. On Iona he was able to paint directly onto the panel in the open air, immediately grasping the perspective, light, shadows and colour of the scene before him. This immediacy lends his works a sublime freshness; one can almost smell the sea air, hear the waves and feel the sand underfoot.

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59 FH332/1 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) STILL LIFE WITH ROSES AND ORANGES Signed, oil on canvas 51cm x 41cm (20in x 16in) Exhibited: Scottish National Gallery of Modern Art, S.J. Peploe - A commemorative exhibition. 1985, no.91

£200,000-300,000

Much of the success of Still Life with Roses and Oranges comes from the drama in the colour scheme with the vivid hot orange of the fruit being the single warm tone in an otherwise entirely cool palette. The overall effect is a still life that is at once peaceful and vivacious. A very similar composition, ‘Still Life with Roses‘, featuring the same objects, fabrics, fruit and flowers is held in Aberdeen Art Gallery but the oranges are far less dominant in the Aberdeen painting and the overall colouring is not as light or bright, creating a very different mood.

The combination of white, blue and orange here is especially reminiscent of Cézanne’s still life paintings.

However, whereas Cézanne’s fruit tends to spill over a valley of folded cloth, Peploe’s 1920s still lifes are structurally tight with strong lines running through the composition creating a crisp

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edge; very much in keeping with the Art Deco taste of the period.

Cadell and Peploe often shared the props that featured in their still life paintings and the violet and green fabric, acting here as a tablecloth, is found draped on the back of a red chair in Cadell’s painting The Vase of Water (circa 1923, Private Collection). Peploe’s dedication to still life and his pursuit of every possibility offered by the subject, resulted in many of the most enduring still life compositions of the twentieth century, earning him the accolade of the ‘greatest still life painter in British history’ (Jackie Wullschlager, 2012).

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60§ FH92/1 SIR WILLIAM GEORGE GILLIES C.B.E., R.A., R.S.A., R.S.W., D.LITT. (SCOTTISH 1898-1973) TOXSIDE Signed, dated 1955 on label verso, oil on canvas 46cm x 51cm (18in x 20in)

£3,000-5,000

61§ SV103/4 ELIZABETH BLACKADDER D.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT. (SCOTTISH b. 1931) STEAMER AND PINK SKY Signed and dated 1972, oil on canvas 41cm x 38cm (16in x 15in) Exhibited: Aitken Dott, June 1972

£1,000-1,500

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62ยง FF967/1 EARL HAIG O.B.E., R.S.A. (SCOTTISH 1918-2009) BULLFIGHTERS Signed with a monogram, oil on canvas 61cm x 91cm (24in x 36in) Exhibited: Scottish Gallery 1952

ยฃ2,000-3,000

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63ยง FH103/6 ANNE REDPATH O.B.E., R.S.A., A.R.A., R.O.I., R.B.A., LL.D. (SCOTTISH 1895-1965) TREES AT GIFFORD Signed, watercolour 37cm x 53cm (14.5in x 20.75in)

ยฃ4,000-6,000

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64ยง FG991/1 SIR WILLIAM MACTAGGART P.P.R.S.A., R.A., R.S.W. (SCOTTISH 1903-1981) CANNES FROM THE BEAU LIEU Signed, signed, inscribed and dated 1924 verso, oil on board 31cm x 41cm (12in x 16in)

ยฃ3,000-5,000

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65ยง FH355/1 JAMES MORRISON R.S.A., R.S.W., L.L.D. (SCOTTISH b. 1932) AN ANGUS LANDSCAPE Signed and dated 1979, oil on board 76cm x 112cm (30in x 44in)

ยฃ2,000-3,000

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66§ FF922/12 JOHN HOUSTON O.B.E., R.S.A. (SCOTTISH 1930-2008) STORMY SEA, NORTH BERWICK Signed, signed and inscribed and dated 1972/73 verso, oil on canvas 91cm x 102cm (36in x 40in) Exhibited: Scottish Arts Council, ‘Edinburgh Top 30’, no. 20

£3,000-5,000

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67§ FF809/2 WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (SCOTTISH 1915-1997) JULY ‘65 Signed, inscribed and dated verso, oil on canvas 122cm x 81.5cm (48in x 32in) Exhibited: Arts Council of Great Britain, Edinburgh, Paintings of Alan Davie and William Gear 1966, no.47

£5,000-7,000

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68§ FH373/1 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) BOY’S HEAD STUDY Signed, oil on panel 28cm x 18.5cm (11in x 7.25in)

£8,000-12,000

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69ยง FH359/1 DENIS PEPLOE R.S.A. (SCOTTISH 1914-1993) BEGONIAS Signed, oil on canvas 63cm x 76cm (25in x 30in)

ยฃ3,000-5,000

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70§ SV103/10 ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998) SCOPA Signed and dated ‘78, oil on panel 51cm x 61cm (20in x 16in)

£8,000-12,000

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71§ FH155/1 ALISON WATT (SCOTTISH b. 1965) ALABASTER Signed and dated 1998 verso, oil on canvas 152.5cm x 183cm (60in x 72in) Provenance: Ingleby Gallery, 1998: Private Collection, Edinburgh Exhibited: Shift, Scottish National Gallery of Modern Art, 2000 Literature: Shift: new works by Alison Watt, SNGMA, 2000

£15,000-20,000

It is impossible to think about Alison Watt without picturing images of white heavy cloths in sensuous folds in ways that seem almost threedimensional. Alabaster is an exquisitely perfect example of Watt’s distinctive signature style. The swathes of white fabric fall in carefully constructed layers and become the dominating energy of this large composition.

The importance of Alabaster comes from the fact that, painted in 1998, it is one of the very first pictures that saw a turning point in Watt’s painting career. Until that moment her long life interest in the figurative subject had been expressed through dryly painted figures and selfportraits in bright decorative interiors, often adopting mysterious poses. Then progressively the drapes enveloping her personages became part of the narrative in a manner that is much inspired by the 19th century painter Jean Auguste Dominique Ingres. Fascinated by the French artist’s sumptuous materials, Watt started looking at fabric as a more sensuous and powerful way to represent the human figure. The series Fold

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presented at the Fruitmarket Gallery in 1997 marked a first step towards this transition, although the figurative subject was not yet fully abandoned.

In Alabaster, however, the human figure does not appear at all. In its place, painted folds occupy the entire canvas. The painting carries such a significant value that it was included in Watt’s major exhibition Shift at the Scottish Gallery of Modern Art in 2000 that celebrated the artist’s ‘shift’ towards abstraction.

Not a single subject appears in these canvases, and yet it would be partly incorrect to talk about abstraction when describing Watt’s work. If anything, the physical presence is stronger then ever. The elegantly draped heavy folds certainly seem to hide something, someone, perhaps the naked female figure of the early works. The viewer has a glimpse of her through the sensuous movement of shadows and dark spots, through the ‘fulls’ and voids and the erotic allusions of the alabasterskin tone. Watt’s large canvas

seduces the viewer into a journey of discovery of the enigma behind the curtain, but more importantly of one’s own senses and emotions that such presence/absence activates.

In the past decades Alison Watt has become one of Scotland’s most distinguished contemporary artists. Her recognition goes back as far as 1987 when she was commissioned for a portrait of the Queen Mother. Her work has been widely exhibited in Great Britain and abroad, in museums as well as other venues such as the overwhelming Still, in Old Saint Paul’s church in Edinburgh, 2004.

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72ยง FH325/1 STEPHEN CONROY (SCOTTISH b. 1964) STUDY FOR SELF PORTRAIT 1 Signed and dated 2005 verso, oil on board 76cm x 66cm (30in x 26in) Note: This is a study for the finished work Self Portrait 1 now in Kelvingrove Art Gallery and Museum, Glasgow

ยฃ3,000-5,000

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73§ FH104/1 SIR EDUARDO PAOLOZZI R.A., H.R.S.A. (SCOTTISH 1924-2005) MAQUETTE FOR GREAT ORMOND STREET Bronze, signed, inscribed and numbered 20 29cm (11.5in) high Note: This scupture was produced to raise money for Great Ormond Street Hospital in 1993 and was cast by the Singer Foundry

galleries and dealers was generally short-lived, resulting in many of his works finding owners via this slightly unorthodox fashion.

The work is typical of Paolozzi’s distinctive aesthetic which marries the artistic with the mechanistic, the primitive with the futuristic and evokes

a sense of the surreal that treads the line between the sinister and the absurd.

The Leith born and Slade School educated Paolozzi moved to Paris in the late 1940s where he met artists including Brancusi, Braque, Giacometti and Leger, as well as members of the Dadaism

movement. Though Paolozzi was clearly influenced by these important figures, his own style evolved to push the boundaries of collage, Pop imagery and the incorporation of ‘found’ objects, elements of which are embodied in the work offered here for sale.

£10,000-15,000 This work is known as a maquette for Great Ormond Street, the famous London children’s hospital. Paolozzi executed many public commissions throughout his career, notable examples including the mosaics at Tottenham Court Road underground station, a sculpture of Sir Isaac Newton in the piazza of the British Library and a large bronze entitled The Head of Invention outside the Design Museum, London, to which this piece bears the closest relationship.

Created in 1993, four years after The Head of Invention in ‘89, it was intended for a much larger run of casts which was never completed.

Instead, a small number were made in bronze with a rich brown patina. As was often the artist’s want, many of the casts - including this piece - were gifted directly to friends and supporters.

Paolozzi was a temperamental character and his relationship with

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74§ FH544/1 JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) THE OLD ASTRONOMER Signed, signed and inscribed verso, oil on board 183cm x 122cm (72in x 48in) Exhibited: Shrewsbury School, London Artists Exhibition, 1967, no.86

£10,000-15,000

John Bellany’s later work is synonymous with bold colour and symbolic motifs associated with his Calvinist upbringing and ancestral heritage within the fishing villages of East Lothian, from poetically named boats to sinister seagulls. As this work from 1967 shows, his distinctive and idiosyncratic style was developed early on, as was his complex language of symbolism. What changed, however, was the tone which was darker and denser both visually and metaphorically in the first decade of his career.

The Old Astronomer was painted just two years after his graduation from the Royal College of Art where he had been selected to study on a scholarship after finishing his under-graduate degree at Edinburgh College of Art. Recognition had come early due to his remarkable talent and his staunch refusal to chase the current avantgarde of the time. At Edinburgh, he and fellow artist Sandy Moffat and the poet Alan Bold bridled under the prevailing tendency of Scottish art to reference the formalism of the French schools. Encouraged by the emerging ‘Celtic Renaissance’ led by Hugh McDiarmid, Bellany and his friends looked instead towards the Old Master traditions of Northern Europe.

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A particularly significant event was a trip made by the trio to Eastern Germany in 1967 where they gained access to the studios of innovative socialist realist artists including Willi Sitte and Werner Tubke, also visiting Buchenwald concentration camp – an experience that darkened Bellany’s outlook on the human experience thereafter. He returned affirmed in his attraction to monumentality of scale and the ennoblement of the suffering of the everyday man.

Bellany would also discover artists like Max Beckmann, Fernand Leger and Edvard Munch at this stage, the influence of whom further shaped his expressive - if often surreal - realism.

Rejecting the lack of humanity within abstraction Bellany sought to return, as Beckmann once described it, “human sympathy and understanding” to art.

This work is painted on a dramatic scale and with its snowy backdrop bears a resemblance to one of Bellany’s greatest works, Fishermen in the Snow of 1965.The pyramidal composition of the figures is high in religious connotations.

The Old Astronomer, a character who does not appear to re-emerge in any further works by the artist,

sits benignly puffing on a pipe like some kind of saint or Solomon. With eyes closed, he occupies a higher plane to those other figures of more hardened and sinister mien around him. Single figures huddle somewhat furtively in the upper corners of the work, stick-like and quite deliberately Lowry-ish, denoting them as workers.

Whether our Astronomer is a benevolent old seer or a comment on the ivory tower disconnection that can befall the academic classes is left for us to ponder.

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INDEX Adam, P.W., 35 Bellany, J., 74 Blackadder, E., 61 Bough, S., 2, 16 Brown, W.M., 5, 37 Cadell, F.C.B., 40, 58 Conroy, S., 72 Crosbie, W., 55 de Breanski, A. Snr., 24 Eardley, J., 68 Fergusson, J.E., 41, 42, 44-50 Gauld, D., 38 Gear, W., 67 Gillies, Sir G., 54, 60 Guthrie, Sir J., 26

Houston, G., 1, 14 Houston, J., 66 Hunter, G.L., 56, 57 Hutchison, R.G., 18, 27, 28, 30

Patrick, J.M., 3 Peploe, D., 69 Peploe, S.J., 59

Kay, J., 29 Knox, J., 11

Raeburn, Sir H., 10 Ramsay, A., 7, 8, 9 Redpath, A., 51, 52, 53, 63

Lavery, Sir J., 39

Serres, D., attributed to, 12

Mackie, C.H., 31 Mackintosh, C.R., 43 Macnicol, B., 33 MacTaggart, Sir W., 64 McGhie, J., 6 McGregor, R., 20 McKay, W.D., 15 McTaggart, W., 13 Morrison, J., 65 Morrocco, A., 70

Thorburn, A., 21, 22, 23 Walton, C., 19 Walton, E.A., 32 Watt, A., 71

Newbery, F., 36 Haig, E., 62 Hill, D.O., 17 Hornel, E.A., 25, 34

Paolozzi, Sir E., 73 Paton, W.H., 4

PICTURE 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.

Name(s) or Recognised Designation of an Artist without any Qualification In our opinion a work by the artist

Buyers are recommended to inspect the property themselves. Written condition reports are usually available on request.

Studio of ... / Workshop of ...

In our opinion a work executed in the studio or workshop of the artist, possible under his supervision

Attributed to...

In our opinion probably a work by the artist in whole or in part.

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 artist’s style but not necessarily by a pupil.

Manner of ...

In our opinion a work executed in the artist’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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Select Jewellery & Watches Wednesday, May 21st, 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

Viewing times Sunday, 18th May, 12 noon - 4pm Monday, 19th May, 10am - 7pm Tuesday, 20th May, 10am - 5pm Morning of sale from 9am

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

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European Art & Old Masters This rare collection of world famous American and European Auction 06/17/14 MONTAGUE DAWSON painters from Corot and Boudin to Benson and Hassam has (british 1890-1973) been in private hands and unseen for nearly 100 years.

"THE CLIPPER - WHITE SWALLOW" Exhibition opens Friday, June 13 at 10am

David Weiss 267.414.1214 dweiss@freemansauction.com Alasdair Nichol 267.414.1211 anichol@freemansauction.com Andrew Huber 267.414.1210 ahuber@freemansauction.com

Signed 'Montague Dawson' bottom left; titled verso, oil on canvas BAPTISTE CAMILLE COROT Alasdair Nichol 267.414.1211 24 x 36 in. JEAN (61 x 91.4cm) (french 1796-1875) anichol@freemansauction.com $40,000-60,000 (ÂŁ24,000-36,000) "GARDEN GATE" Signed 'Corot' bottom left, with partial label verso oil on canvas 13 x 18 or 1/4call in. 267.414.1256 (33 x 46.4cm) Visit our website to purchase a$60,000-80,000 catalogue.az (detail)

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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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.

19 (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

NO

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

Date Received by:

Time:

Photo ID:

Proof of address:

Date:

Bidder No: Bank ref/deposit:

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Board of Directors

Specialist Departments

Chairman Sir Angus Grossart

Pictures, Watercolours and Prints Nick Curnow Charlotte Riordan Emily Johnston (London)

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

Furniture, Clocks and Works of Art Douglas Girton Lee Young Sara Pierdominici

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

Asian Works of Art Lee Young Anna Westin (consultant) Sara Pierdominici

Interiors Theo Burrell Charlotte Riordan David Fiddes

Rugs and Carpets Gavin Strang

Business Development

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

Ian Peter MacDonald Lindsey Michie James McNaught John Sibbald John Thomson Tessa Thomson Lady Middleton

Decorative Arts and Design John Mackie

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

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

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

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

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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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LYON & TURNBULL AUCTIONEERS EDINBURGH

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

22ND MAY 2014

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

SCOTTISH PAINTINGS & SCULPTURE

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

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