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LYON & TURNBULL AUCTIONEERS EDINBURGH
email. info@lyonandturnbull.com www.lyonandturnbull.com
182 Bath Street, Glasgow G2 4HG Tel +44 (0)141 333 1992 Fax +44 (0)141 332 8240
78 Pall Mall, London SW1Y 5ES Tel +44 (0)20 7930 9115 Fax +44 (0)20 7930 7274
BRITISH & EUROPEAN PAINTINGS 27TH NOVEMBER 2014
33 Broughton Place, Edinburgh EH1 3RR Tel +44 (0)131 557 8844 Fax +44 (0)131 557 8668
British & European Paintings Thursday, 27th November, 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
T
York Place Tram Station
Lyon & Turnbull saleroom
Local Deliveries A&S Pert Removals. Tel. +44 (0)7876 343520. Thistle Removals Tel: +44 (0)7836 774712 Email: thistleremovals@hotmail.co.uk New Leaf Removals Tel: +44 (0)7999 926261 Email: info@newleafremovals.co.uk 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 Aardvark Art Services Ltd Birks Farm, Ballam Road Lytham, Lancashire FY8 4NL Tel: +44 (0)1253 794673 Fax: +44 (0)1253 730580 Email: info@aardvarkartservices.com
Arrangements for Sold Lots All bought items will be held free of charge at Broughton Place until the Friday following the sale. Thereafter lots will be removed to store in Edinburgh and a charge incurred. Administration fee: £20 + VAT Storage charges per lot per day are: Large Items £5 inc. insurance + VAT Small Items £2.50 inc. insurance + VAT Catering Refreshments will be available at the saleroom on view days and day of sale.
© Lyon and Turnbull Ltd. 2014. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted by any form or by any means without the prior written permission of Lyon and Turnbull Ltd.
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British & European Paintings Thursday, 27th November, 2014 at 11am Sale Number LT422
Viewing Sunday, 23rd November 12 noon - 4pm Monday, 24th November 10am - 5pm Tuesday, 25th November 10am - 5pm Wednesday, 26th November 10am - 5pm Morning of sale strictly by appointment only
Specialists Nick Curnow nick.curnow@lyonandturnbull.com Emily Johnston emily.johnston@lyonandturnbull.com Charlotte Riordan charlotte.riordan@lyonandturnbull.com
Catalogue: £10 BUYER’S PREMIUM 25% up to £25,000 20% thereafter. VAT will be charged on the premium at the rate imposed by law. †20% VAT chargeable on the lot itself *5% import VAT on the lot §Droit de Suite (artist’s resale rights) applies (see our Terms and Conditions of Sale and Information for Buyers).
ENQUIRIES AND COMMISSION BIDS Lyon and Turnbull Ltd. 33 Broughton Place Edinburgh EH1 3RR Tel. 0131 557 8844 Fax. 0131 557 8668 email. info@lyonandturnbull.com www.lyonandturnbull.com
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LY O N & T U R N B U L L
British & European Paintings
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. Import/Export Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarize themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot.
CITES Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside the EU. For more information visit http://www.defra.gov.uk/ahvla-en/ imports-exports/cites/ 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 Creborax). 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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1 HA882/1 HENRY MOWBRAY HOWARD (19TH/20TH CENTURY AMERICAN) BATEAUX DE PÈCHE EN RADE A CANCALE Signed, inscribed and dated ‘Paris 1897’, oil on canvas 56cm x 81cm (22in x 32in) Exhibited: Paris Salon 1898, no.1046
£1,000-1,500
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2 HA926/6 ARCHIBALD DAVID REID A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1844-1908) PICNIC ABOVE STONEHAVEN Signed, oil on panel 27cm x 37cm (10.5in x 14.5in)
£600-800
3 FE191/555 JOHN CRAWFORD WINTOUR A.R.S.A. (SCOTTISH 1825-1882) THE LINKS O’FORTH FROM BLAIRLOGIE CASTLE Signed with a monogram and dated 1856, oil on canvas 31cm x 46cm (12in x 18in) Exhibited: Royal Scottish Academy 1856, no.84
£1,000-1,500
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4§ HA700/1 JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) CASTLE MILL, ROSSIE PRIORY Signed, watercolour 53.5cm x 74cm (21.5in x 29.25in) Exhibited: Fine Art Society Ltd, Glasgow, 1987
£2,000-3,000
5 FE191/557 SAM BOUGH R.S.A. (SCOTTISH 1822-1878) NEAR LOCH LOMOND Signed and dated 1874, watercolour 34cm x 49cm (13.5in x 19.25in)
£700-1,000
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6 HA945/1 ROBERT MCGOWN COVENTRY A.R.S.A., R.S.W. (SCOTTISH 1855-1941) WOODCUTTERS BY THE LOCH Signed, oil on canvas 61cm x 91cm (24in x 36in)
£1,500-2,000
7 HB24/1 JOSEPH MORRIS HENDERSON R.S.A. (SCOTTISH 1864-1936) JEAN MCALPINE’S INN, ABERFELDY Signed, oil on canvas 46cm x 61cm (18in x 24in)
£800-1,200
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8 HA3/1 WILLIAM ALFRED GIBSON (SCOTTISH 1866-1933) A RIVER LANDSCAPE WITH GOATHERD Signed, oil on canvas 76cm x 101.5cm (30in x 40in)
£2,000-3,000
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9 HA124/1 LOUIS BOSWORTH HURT (SCOTTISH 1856-1929) LLYN LLYDAW, SNOWDON Signed, oil on board 34cm x 48cm (13.5in x 18.75in) Exhibited: Derby Corporation Art Gallery
£1,000-1,500
10 HA710/1 LOUIS BOSWORTH HURT (SCOTTISH 1856-1929) GLEN SANNOX Signed, oil on board 15cm x 23cm (6in x 9in)
£1,000-1,500
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11 HA710/23 JAMES FAED JNR (SCOTTISH 1856-1920) BEN A’ANN FROM LOCH KATRINE Signed, inscribed on a contemporary label verso, oil on canvas 36cm x 31cm (14in x 12in)
£1,000-1,500
12§ HA92/1 JOHN MURRAY THOMSON R.S.A., R.S.W., P.S.S.A. (SCOTTISH 1885-1974) THE WHITE DRAKE Signed, oil on canvas 51cm x 76cm (20in x 30in)
£600-800
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13 FH251/1 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) THE SWING Signed, oil on canvas 29cm x 45cm (11.5in x 17.75in)
£800-1,200
14§ HA5/3 GEORGE HOUSTON R.S.A., R.S.W., R.I. (SCOTTISH 1869-1947) DEPARTING SNOW Signed, oil on canvas 46cm x 61cm (18in x 24in)
£1,000-1,500
15 FG412/10 ATTRIBUTED TO WILLIAM MCTAGGART CRAB FISHERS, ARRAN Inscribed verso, oil on canvas 28cm x 38cm (11in x 15in)
£800-1,200
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16 HA710/15 COLIN HUNTER A.R.A., R.I., R.S.W. (SCOTTISH 1841-1904) FISHING BOATS OFF THE COAST OF CORNWALL Signed and dated ‘84, inscribed on a contemporary label verso, oil on canvas 56cm x 101.5cm (22in x 40in) Exhibited: Royal Academy 1884
£3,000-5,000
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17 FF549/11 VILHELM MELBYE (DANISH 1824-1882) UNLOADING THE BARGE Signed and dated 1856, oil on canvas 76cm x 122cm (30in x 48in) Provenance: Ben Loyal Estate, Sutherland, formerly owned by Count Adam W. Knuth of Knuthenborg (Denmark)
ÂŁ4,000-6,000
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Selected Paintings from Denston Hall Suffolk
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Settled in the broad open countryside of West Suffolk, Denston Hall is a fine Grade II listed house built in the early 18th century incorporating parts of an earlier house dating back to the 16th century, with mature gardens and moat. The Hall has an interesting history. In 1564, Henry Cheyney made over the manor of Denston to William Burd without licence to alienate from the Crown. William Burd died in 1591, and by 1602 the estate had passed to his son, but was seized by the Crown, for debt and leased to Sir John Robinson. In 1617 it was bought by William Robinson, in whose family it stayed until the early part of the 19th century. The front part of the Hall is early 18th century red brick while the 16th century earlier parts of the house to the rear have Tudor arch windows and doorways. The interior has a circular hall with public rooms to the left and right of it, circa 1770, with plaster ceilings with Adam style ornamentation. The current owners furnished the house in an elegant but relaxed, traditional country house style with period furniture, paintings and works of art, in keeping with the nature of the Hall and its history.
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18 HA800/131 GEORGE LAMBERT (BRITISH 1710-1765) CLASSICAL LANDSCAPE WITH FIGURES Signed and dated 1747, oil on canvas 87cm x 101cm (34.25in x 39.75in)
£4,000-6,000
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19 HA800/129 GEORGE SMITH OF CHICHESTER (BRITISH 1714-1776) A CLASSICAL RIVER LANDSCAPE WITH FISHERMEN AND NETS Oil on canvas 63cm x 107cm (25in x 42in)
£3,000-5,000
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20 HA800/139 CIRCLE OF PIETER BOEL (FLEMISH 1622-1674) STUDY OF WILD FOWL Oil on canvas 125cm x 175cm (49in x 69in)
£4,000-6,000
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21 HA800/140 GERRIT JOHAN VAN LEEUWEN (DUTCH 1756-1825) STILL LIFE WITH URN AND CLASSICAL RUINS Signed and dated 1802, oil on canvas 106cm x 91cm (41.75in x 36in)
£10,000-15,000
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22 HA800/136 CIRCLE OF SIMONE DEL TINTORE (ITALIAN 1630-1708) STILL LIFE WITH PEACHES, GRAPES AND MELONS Oil on canvas 102cm x 72cm (40in x 28.25in)
£5,000-8,000
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23 HA800/137 CIRCLE OF FRANCIS BARLOW (BRITISH 1626-1702) SPANIEL PUTTING UP DUCK Oil on canvas 88cm x 150cm (34.5in x 59in)
£4,000-6,000
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24 HA800/130 NICHOLAS HENRY JOSEPH DE FASSIN (BELGIAN 1728-1811) ITALIANATE LANDSCAPE WITH TRAVELLERS AND ANIMALS ON A WOODED PATH Oil on canvas 73cm x 94.5cm (28.75in x 37.5in)
£3,000-5,000
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25 HA800/133 ATTRIBUTED TO ADRIAEN VAN OOLEN (DUTCH 1631-1694) WILD FOWL WITH LANDSCAPE AND FIGURES Oil on canvas 110cm x 134cm (43.25in x 52.75in)
£8,000-12,000
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26 HA800/138 CIRCLE OF ABRAHAM BRUEGHEL AND MICHELANGELO CERQUOZZI BOY PICKING GRAPES WITH AN ARRAY OF FRUIT Oil on canvas 130cm x 99cm (51in x 39in)
£6,000-9,000
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27 HA800/134 NICHOLAS POCOCK (BRITISH 1740-1821) FRIGATE ENTERING PORTSMOUTH HARBOUR Watercolour 25.5cm x 38cm (10in x 15in)
£600-900
28 HA800/141 FOLLOWER OF FRANCIS NICHOLSON RIVER LANDSCAPE WITH WATERFALL AND CASTLE Watercolour 66cm x 99cm (26in x 39in)
£500-700
29 HA800/135 FOLLOWER OF ANTOINE SCHRANZ (MALTESE 1769-1839) MAN O’ WAR OFF THE COAST Watercolour 38cm x 55cm (15in x 21.5in)
£800-1,200
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30§ HA800/154 PETRUS THEODORUS ‘PIET’ VAN WIJNGAERDT (DUTCH 1873-1964) STILL LIFE OF ROSES Indistinctly signed, and verso, oil on canvas 41cm x 27cm (16in x 10.5in)
£400-600
31 HA800/132 BARON HENDRIK JAN AUGUSTYN LEYS (BELGIAN 1815-1869) KITCHEN INTERIOR Signed and dated 1849, oil on panel 38cm x 31cm (15in x 12in)
£500-700
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Various Properties CHARLES-LOUIS CLERISSEAU Clérisseau was a French artist and architect, and a key figure in the development of the Neo-classical style during the 18th century. He trained as an architect in Paris before studying at the French Academy in Rome. It was in Rome, surrounded by crumbling ruins and under the tutelage of Giovanni Paolo Panini, that he developed a passion for the antique. This passion would ultimately shape both his architectural and artistic practices. Clérisseau’s influence was extensive. He acted as mentor and drawing instructor for young artists and architects, filtering his taste for the antique down to the next generation. He also worked with key figures internationally, creating a series of never-realised overthe-top designs for the Russian Empress Catherine II and working with Thomas Jefferson to produce designs for the Virginia State Capitol. Most famously, Clérisseau was a key influence on the architect Robert Adam. Adam was travelling, looking for a style that would allow him to distinguish himself from other young British architects.
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Clérisseau was the key, with Adam proclaiming, he ‘drew delightfully in the free manner I wanted’ and had ‘the utmost knowledge of Architecture of Perspective, & of Designing and Colouring I ever saw.’ They worked together on a volume, Ruins of the Palace of the Emperor Diocletian at Spalato (1764) and though uncredited many of the engravings are now thought to be by Clérisseau. Clérisseau also painted atmospheric watercolour and gouache paintings of his favoured antique ruins. These lovely paintings found commercial success; they were regularly purchased as cultural souvenirs by young English gentlemen on their Grand Tour. The offered pair of signed and dated gouaches are typical examples of these popular paintings. These charming studies feature fantasy architectural structures, bathed in light and shadow, overgrown with foliage and populated with figures and animals; all techniques that serve to highlight the majesty and magnitude of the crumbling structures.
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32 HA330/3 CHARLES-LOUIS CLERISSEAU (FRENCH 1722-1820) FIGURES AND ANIMALS IN A CAPRICCIO OF CLASSICAL RUINS Signed and dated 1764, gouache 59cm x 46cm (23.5in x 18in)
and a companion a pair (2) Provenance: It is believed these watercolours were acquired from the XVII Century French Château Grémonville
£15,000-20,000
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33 HB39/3 MANNER OF JOHN HAYLS HALF LENGTH PORTRAIT OF A YOUNG MAN, SAID TO BE SIR GEORGE WALTON, SEATED WITH A WRITING BOX Oil on canvas 76cm x 63.5cm (30in x 25in)
£2,000-3,000
34 HA819/2 MANNER OF JEREMIAH DAVIDSON HALF LENGTH PORTRAIT OF A YOUNG MAN IN IVORY FROCK COAT WITH LACE JABOT AND CUFFS Oil on canvas 91cm x 71cm (36in x 28in) Note: The portrait is believed to depict William Henderson of Westerton
£800-1,200
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35 HA543/1 CIRCLE OF SIR PETER LELY THREE QUARTER LENGTH PORTRAIT OF NELL GWYNNE IN A LANDSCAPE Oil on canvas 127cm x 101.5cm (50in x 40in)
£6,000-8,000
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36 SV254/23 FOLLOWER OF PIERRE MIGNARD HALF LENGTH PORTRAIT OF A LADY SAID TO BE MADAME DE MONTESPAN Oil on canvas, oval 71cm x 56cm (28in x 18in) Provenance: George John Danvers Butler, later Lord Lanesborough of Swithland Hall, Leicestershire
£800-1,200
37 HA596/2 ATTRIBUTED TO ONORIO MARINARI (ITALIAN 1627-1715) ST. CATHERINE Oil on canvas, oval 79cm x 63cm (31in x 25in)
£2,000-3,000
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38 SV93A/58 SIR JOHN HOPPNER R.A. (BRITISH 1758-1810) HALF LENGTH PORTRAIT OF MISS MARY PALMER, AFTERWARDS THE MARCHIONESS OF THOMOND Inscribed verso and with several contemporary labels, oil on canvas 76cm x 63cm (30in x 25in) Exhibited: Royal Academy, Winter Exhibition 1906
£4,000-6,000
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39 HA414/2 MANNER OF FRANCESCO ALBANI HERCULES RECLINING Inscribed ‘Annibal Carracci’ verso, oil on copper 26cm x 36cm (10.25in x 14.25in)
£2,000-3,000
40 HA414/1 CIRCLE OF FEDE GALIZIA STILL LIFE OF PEACHES AND SONGBIRD Oil on panel 45cm x 56cm (17.75in x 21.5in)
£2,000-3,000
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41 HA330/1 JURIAEN VAN STREECK (DUTCH 1632-1687) A STILL LIFE OF LEMONS, PEACHES AND GRAPES IN A NICHE WITH SWAGS Signed, oil on panel 39cm x 49.5cm (15.25in x 19.5in) Provenance: The Brod Gallery, St. James’s London
£10,000-15,000
Juriaen van Streeck excelled at still life painting, as proven by this example. ‘A Still Life of Lemons, Peaches and Grapes in a niche with swags’ is a masterful study of contrasts: from the dark, shadowy recess of the alcove to the light, bright highlights on the central lemons and the glistening sparkle of the golden threaded tassels. In The Great Theatre of Netherlandish Painters and Paintresses (De Groote Schouburgh der Nederlantsche Konstschilders en
Schilderessen), published in 1718-21, Arnold Houbraken undertook an ambitious arthistorical study, compiling a dictionary of more than 600 Dutch artists from the 17th century, with short biographies and his assessment of their artistic output. Regarding van Streeck, he wrote ‘He chose as his subjects all sorts of still life . . . which he composed with such good judgement, that one [object] balanced out another very well. He observed his light and browns admirably well,
and had a bold brush [‘stout penceel’], letting the power of his brushwork to measure itself against nature.’ His talent was also acknowledged commercially, with buyers including highprofile Amsterdam citizens including Nicolaes Bambeeck, a wealthy wool merchant whose portrait was painted by Rembrandt, and the Reynst family, two brothers who were successful merchants, members of the town council and art collectors.
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42 SV410/1 HENDRICK MEYER THE YOUNGER (DUTCH 1737-1793) A BUSY DUTCH TOWNSCAPE WITH FIGURES SKATING ON A FROZEN CANAL BY MOONLIGHT Signed and dated 1790, pen and ink and gouache on paper laid down on canvas 43cm x 61cm (17in x 24in) Note: Hendrik Meyer the Younger was known for his prolific output as an artist and the meticulous attention to detail of his work. He trained at the Drawing Academy in Amsterdam, before settling in Haarlem and setting up a commercial workshop, creating decorative wall paintings for interiors. He belonged to the artist’s guild and eventually became Director of the Haarlem Drawing Academy. He travelled to England around 1774, and returned to pursue his career there in his later life.
In ‘A Busy Dutch Townscape with figures skating on a frozen canal by moonlight,’ Meyer’s amazing attention to detail is apparent, down to the silver criss-crossing marks left by the skaters on the ice. Meyer finished works like these to be sold, and paintings with seasonal themes and activities were especially popular. They were inspired by 17thcentury traditions, by artists such as Pieter Bruegel the Elder. The key buildings: the church, bridge and windmill are individually identifiable as landmarks in the town he made his home, Haarlem. Though it appears that in this instance, Meyer has rotated their locations to create an ideal composition.
£6,000-8,000
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43 HA866/1 ATTRIBUTED TO DANIEL TURNER WESTMINSTER BRIDGE Oil on canvas 41cm x 51cm (16in x 20in)
£1,000-1,500
43A HA825/5 CHRISTOFFEL ALBERTUS VOS (DUTCH 1813-1877) SKATERS ON A FROZEN LAKE Signed and indistinctly dated, oil on canvas 33cm x 41cm (13in x 16in)
£1,000-1,500
44 HA866/2 ATTRIBUTED TO HERMAN VAN SWANEVELT AN ITALIANATE LANDSCAPE WITH FIGURES ON A PATH Oil on canvas 34cm x 41cm (13.5in x 16in)
£1,000-1,500
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45 SV254/24 KLAES MOLENAER (DUTCH 1630-1676) A VILLAGE KERMESSE Signed and dated 1672, oil on panel 74cm x 107cm (29in x 42in) Provenance: George John Danvers Butler, later Lord Lanesborough of Swithland Hall, Leicestershire
ÂŁ4,000-6,000
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46 HA596/4 FOLLOWER OF PAOLO ANESI (ITALIAN 1700-1761) AN ITALIAN TOWN WITH BRIDGE OVER A RIVER Oil on canvas 48cm x 82cm (19in x 32.25in)
£600-900
47 HA998/1 MANNER OF JEAN ANTOINE WATTEAU FÊTE CHAMPÊTRE Oil on canvas 63cm x 76cm (25in x 30in)
£2,000-3,000
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48 HA596/1 CIRCLE OF GIOVANNI PAOLO PANINI (ITALIAN 1692-1765) A VIEW OF THE ROMAN FORUM Oil on canvas 71cm x 132cm (28in x 52in) Provenance: Bears contemporary label verso stating that the painting was purchased at Birkwood Castle sale, 1921
ÂŁ5,000-8,000
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49 HA695/1 SIR WILLIAM ALLAN P.R.S.A. (SCOTTISH 1782-1850) PORTRAIT OF THE ARTIST JOHN HARDEN Indistinctly signed bottom left, oil on panel 28.5cm x 21.5cm (11.25in x 8.5in)
£800-1,200
51 SV93A/50 CIRCLE OF SIR JOHN HOPPNER R.A. (1758-1810) HALF LENGTH PORTRAIT OF A YOUNG WOMAN Oil on canvas 75cm x 63cm (30in x 25in)
£1,000-1,500
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50 HA953/19 ATTRIBUTED TO GIUSEPPI CHIARI STUDY OF A NYMPH SURPRISED BY A SATYR Oil on panel, shaped top 40cm x 22cm (15.75in x 8.75in)
£2,000-3,000
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52 HA941/3 FOLLOWER OF MATTHEUS VAN HELMONT VENUS AT THE FORGE OF VULCAN OR ‘AN ALEGORY OF FIRE’ Oil on canvas 71.5cm x 98cm (28.25in x 38.5in)
£5,000-7,000
53 FH485/5 MANNER OF LOUIS DE CAULLERY THE SIEGE OF TROY Oil on panel 36cm x 59cm (14in x 23.25in) Provenance: The Miller Collection
£1,000-2,000
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PAUL SANDBY At first glance, the overall impression of Sandby’s Welsh landscape is of classicism and tranquillity. Closer examination reveals that the scene is alive with Sandby’s typically unique vision of activity and industry. In the foreground a milkmaid rests with her child under a great oak, to the right a shepherd drives sheep down a steep path. Two men peer over a cliff observing a horseman, possibly a redcoat officer on the heels of a coach and horses. The river winds past a
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castle and beyond the bend in the river, in the far distance, a puff of steam suggests a train hurtling along. Sandby visited Wales three times; firstly in 1770 when he stayed at Wynnstay, the estate of the great art collector Sir Watkin Williams-Wynn, returning the following year for a six week tour of North Wales with Williams-Wynn (and an entourage of nine servants). In 1773 he toured South Wales with Joseph Banks and the naturalist Daniel Solander.
Sandby was admired for the fidelity of his landscape painting but they can be admired equally as genre paintings. Deeply patriotic, Sandby’s landscapes present the worthy British people, nourished by nature and often protected by a soldier or sailor (he himself was chief drawing master at the Royal Military Academy and viewed the military as guardians of the realm). The paintings produced for patrons were largely executed in watercolour. Sandby used
bodycolour or gouache, as is the case here, when a painting was intended for public exhibition. The colours of gouache are deeper and stronger than watercolour. Contrasts are bolder, ensuring these works would stand out at the Royal Academy exhibitions.
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54 HA640/8 PAUL SANDBY R.A. (BRITISH 1725-1809) VIEW IN WALES Gouache 46cm x 61cm (18in x 24in) Provenance: W. Angerstein Esq Mrs Norman D.M.Eccles M.P P & D Colnaghi & Co Ltd, London Late Lyndsay Bradfer-Lawrence
55 HA640/9 PAUL SANDBY R.A. (BRITISH 1725-1809) FIGURES ON A PATH ABOVE A RIVER VALLEY Gouache 46cm x 61cm (18in x 24in) Provenance: Late Lyndsay Bradfer-Lawrence
£4,000-6,000
Exhibited: Arts Council of Great Britain, Paul Sandby no.37
£5,000-7,000
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EDWARD LEAR A national bicentenary celebration and selection of recent exhibitions at the Royal Society, National Galleries of Scotland and Ashmolean Museum have brought attention back to the role in which Edward Lear defined himself; as artist. His nonsense poetry and limericks have ensured his enduring appeal and recognition but in his lifetime, he earned his living drawing and painting. Lear commenced painting under the instruction of his elder sister and surrogate mother, Ann. By age sixteen he was using these skills to earn a living, firstly by painting decorations on
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ladies’ fans and documenting medical afflictions before becoming a serious ornithological draftsman for the Zoological Society and Lord Derby. This detailed and intricate work resulted in the deterioration of his already poor eyesight and as a less intricate alternative, he turned to topographical sketching. He created truthful and lyrical watercolour depictions of landscapes to capture the scenes, with plans to work up in oil and print later. In his lifetime, these sketches were considered preparatory works and inferior to any fully realised paintings. Now, however, their beauty and
evidence of the artist’s eye, talent and intentions are recognised and highly prized. In August 1836, Lear’s Patron, Lord Derby, suggested he visit the Lake District. Despite an extremely rainy start to the trip, Lear had an enjoyable and productive time, walking and painting for up to twelve hours a day. He wrote to his colleague, John Gould, ‘Really it is impossible to tell you how, & how enormously, I have enjoyed the whole Autumn. The counties of Cumberland and Westmd are superb indeed, & tho’ the weather has been miserable, yet I have contrived to walk pretty well over the whole ground, & to sketch a good
deal beside. I hope too, I have improved somewhat.’ On Lear’s return from the Lake District, Lord Derby generously funded a trip to Rome. As a result, Lear never worked up his Lake District sketches, instead offering them as gifts to friends throughout his life. The landscapes of the continent pleased Lear and the warm climate improved the epilepsy, asthma and bronchitis that had plagued him all his life. For the rest of his life Lear spent the majority of his time on the continent; travelling extensively and sketching prolifically.
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57 HA640/11 EDWARD LEAR (BRITISH 1812-1888) PATTERDALE Inscribed and dated ‘14th Oct. 1836’, black chalk 18cm x 26cm (7in x 10.25in) Provenance: Late Lyndsay Bradfer-Lawrence
56 HA640/10 EDWARD LEAR (BRITISH 1812-1888) WASTDALE, KIRKFELL THE GREAT Inscribed and dated ‘14th Sept. 1836’, black chalk and watercolour
£1,500-2,500
18cm x 26cm (7in x 10.25in) Provenance: P & D Colnaghi & Co. Ltd, London Late Lyndsay Bradfer-Lawrence
£3,000-5,000
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58 HA41/16 JAMES ORROCK (BRITISH 1829-1913) EDINBURGH FROM BURNS’ MONUMENT Signed, inscribed and dated 1892, watercolour and a companion a pair (2) £600-800
59 HA871/1 SCHOOL OF GREUZE CHILDREN WITH RABBITS Watercolour 37cm x 48cm (14.5in x 19in)
£600-800
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60 FH599/1 MAX BEERBOHM (BRITISH 1872-1956) THE HAPPY FATHER-IN LAW Signed, inscribed and dated ‘Mr Chaplin (to Lord Castlereagh): “You and I, my boy, we belong to the Old School”, 1913’, pencil and watercolour 39cm x 27cm (15.5in x 10.75in) Exhibited: The Leicester Galleries, London, Max Beerbohm, 1921, no.51 bt. Hon. Wm. Joliffe The Piccadilly Gallery, London Literature: Hart-Davis, Max Beerbohm, 1972, p.44, no.297 Note: Lord Castlereagh, later the 7th Marquess of Londonderry (1878-1949) married Edith, the daughter of Henry Chaplin M.P. (1840-1923) later the first Viscount Chaplin (1916) in 1899.
£1,000-1,500
61 HA640/14 WILLIAM SAMUEL HOWITT (BRITISH c. 1765-1822) THE GANGES BREAKING ITS BANKS WITH FIGURES SPEARING FISH Signed, pen and ink and watercolour 29cm x 43cm (11.5in x 17in) Provenance: Late Lyndsay Bradfer-Lawrence
£1,000-1,500
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62§ HA640/2 BASIL EDE (BRITISH b. 1931) JACKDAW Signed, watercolour 43cm x 34cm (17in x 13.5in) Provenance: The Tryon Gallery Ltd, London Late Lyndsay Bradfer-Lawrence
£400-600
64§ HA640/4 BASIL EDE (BRITISH b. 1931) LITTLE OWL Signed, watercolour 39.5cm x 31cm (15.5in x 12in) Provenance: The Tryon Gallery Ltd, London Late Lyndsay Bradfer-Lawrence
£400-600
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63§ HA640/3 BASIL EDE (BRITISH b. 1931) REED-BUNTING AT NEST Signed, watercolour 50cm x 28cm (19.75in x 11in) Provenance: The Tryon Gallery Ltd, London Late Lyndsay Bradfer-Lawrence
£300-500
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65 HA868/2 ARCHIBALD THORBURN (SCOTTISH 1860-1935) CREAM-COLOURED COURSER AND PRATINCOLE Signed and dated 1925, pencil, watercolour and bodycolour 20cm x 29cm (8in x 11.5in)
ÂŁ6,000-9,000
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66 HA867/1 ARCHIBALD THORBURN (SCOTTISH 1860-1935) ROSEATE TERNS Signed and dated 1926, pencil, watercolour and bodycolour 28cm x 19.5cm (11in x 7.75in)
ÂŁ7,000-10,000
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67 HA868/1 ARCHIBALD THORBURN (SCOTTISH 1860-1935) MALLARD RISING Signed and dated 1933, pencil, watercolour and bodycolour 26cm x 16cm (10.25in x 6.25in)
ÂŁ3,000-5,000
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68 HA640/1 THOMAS SIDNEY COOPER R.A. (BRITISH 1803-1902) STUDY OF A FARMER Signed and dated ‘34, oil on paper 23.5cm x 19cm (9.25in x 7.5in)
and three other figural studies by the same hand (4) Provenance: Late Lyndsay Bradfer-Lawrence
£1,200-1,800
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69 HA853/1 JAMES GILES R.S.A. (SCOTTISH 1801-1870) PORTRAIT OF TWO SISTERS Signed and indistinctly dated, oil on canvas 91cm x 71cm (36in x 28in)
ÂŁ2,000-3,000
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70 HA931/1 ALEXANDER FRASER SNR A.R.S.A. (SCOTTISH 1785-1965) THE YOUNG BUGLER Oil on panel 91cm x 66cm (36in x 26in)
£3,000-5,000
71 HA791/4 WILLIAM KIDD H.R.S.A. (SCOTTISH 1796-1863) DAMSEL IN DISTRESS Signed and dated 1835, oil on panel 41cm x 31cm (16in x 12in)
£1,500-2,000
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72 SV254/93 ATTRIBUTED TO JOHN FREDERICK HERRING SENIOR A REST BY THE WAY Oil on panel, arched top 61cm x 46cm (24in x 18in) Provenance: George John Danvers Butler, later Lord Lanesborough of Swithland Hall, Leicestershire
ÂŁ1,800-2,500
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73 HA737/3 WILLIAM JAMES MULLER (BRITISH 1812-1845) THE ROCK OF SCILLA FROM THE STRAITS OF MESSINA Signed and inscribed verso, oil on panel 25.5cm x 35.5cm (10in x 14in)
£800-1,200
74 HA737/5 CLARKSON STANFIELD R.A. (BRITISH 1793-1867) SHIPPING OFF DUMBARTON ROCK Signed, oil on panel 41cm x 51cm (16in x 20in)
£1,500-2,000
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75 HA996/3 JULIUS LANGE (GERMAN 1817-1878) AN ALPINE LANDSCAPE WITH HAYMAKERS Signed, inscribed ‘München’ and dated 1865, oil on canvas 83cm x 113cm (32.75in x 40.5in)
£2,000-3,000
75A FH559/2 WILLIAM CALLCOTT KNELL (BRITISH 1830-1876) SHIPPING IN A HEAVY SWELL OFF TYNEMOUTH Signed and dated 1857 on the stretcher, oil on canvas 68.5cm x 98.5cm (27in x 38.75in)
£1,500-2,000
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76 HA358/4 ATTRIBUTED TO EDWARD JOHN COBBETT (BRITISH 1815-1899) THE PENNY WHISTLE Oil on canvas 91cm x 131cm (36in x 51.5in)
£1,000-2,000
77 HA710/17 ROBERT MCGREGOR R.S.A. (SCOTTISH 1847-1922) HARVESTING NEEPS Signed and dated 1882, oil on canvas 46cm x 92cm (18in x 36.25in)
£1,500-2,000
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78§ HA747/1 JOHN MCGHIE (SCOTTISH 1867-1952) AT THE WATER’S EDGE Signed, oil on canvas 71cm x 91cm (28in x 36in)
£4,000-6,000
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79 HA710/14 ALEXANDER YOUNG (SCOTTISH 1865-1923) FISH MARKET, FIFE Signed, oil on canvas 41cm x 68.5cm (16in x 27in)
£1,000-1,500
80 HA5/5 JAMES WHITELAW HAMILTON R.S.A., R.S.W. (SCOTTISH 1860-1932) EYEMOUTH HARBOUR Signed, oil on canvas 26.5cm x 34.5cm (10.5in x 13.5in)
£600-800
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81§ HA354/2 PATRICK DOWNIE R.S.W. (SCOTTISH 1871-1945) OFF THE AYRSHIRE COAST Signed, watercolour 33cm x 43.5cm (13in x 17in)
£600-900
82 HA737/4 CLARKSON STANFIELD R.A. (BRITISH 1793-1867) SCHOONER IN A SQUALL Signed, oil on panel 25.5cm x 41cm (10in x 16in) Provenance: Rutland Gallery, London
£800-1,200
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83 HA710/16 JAMES CAMPBELL NOBLE R.S.A. (SCOTTISH 1846-1913) MONADHLEATH HILLS, AUTUMN Signed, oil on canvas 51cm x 61cm (20in x 24in)
£1,200-1,800
84 FE191/556 JOHN CRAWFORD WINTOUR A.R.S.A. (SCOTTISH 1825-1882) THE GOSSIPS Signed and dated 1846, oil on canvas 46cm x 61cm (18in x 24in)
£1,000-1,500
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85 HA5/1 WILLIAM ALFRED GIBSON (SCOTTISH 1866-1931) GORSE AND WOODED COPPICE Signed, oil on canvas 51cm x 61cm (20in x 24in)
£800-1,200
86 HA710/18 CHARLES EDWARD JOHNSON R.I., R.O.I. (BRITISH 1832-1913) A HIGHLAND CLACHAN Signed, signed and inscribed verso, oil on canvas 80cm x 102cm (31.5in x 40in)
£2,000-3,000
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87 HA710/19 CHARLES SELLAR R.S.W. (SCOTTISH 1856-1926) THE YOUNG FISHERGIRL Signed, oil on canvas 91cm x 61cm (36in x 24in)
£2,000-3,000
88 HA710/9 ROBERT HERDMAN R.S.A., R.S.W. (SCOTTISH 1829-1888) ON THE TERRACE - A STUDY Signed with a monogram and dated ‘21 Sept ‘85’, oil on panel 32cm x 20.5cm (12.5in x 8in)
£1,500-2,000
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89 HA161/1 ERNEST WALBOURN (BRITISH 1872-1927) NO ROOM FOR YOU Signed, oil on canvas 51cm x 76cm (20in x 30in)
ÂŁ1,500-2,000
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90 HA330/7 JOSEPH BOUVIER (BRITISH 19TH CENTURY) MARIE-ANTOINETTE AT THE PETIT TRIANON Signed, oil on canvas 28cm x 38cm (11in x 15in)
£800-1,200
91 HA66/1 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) GOSSIP Signed, oil on canvas 31cm x 46cm (12in x 18in)
£3,000-5,000
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92 HA693/6 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) ON THE RIVERBANK Signed, oil on canvas 30.5cm x 46cm (12in x 18in)
£2,000-3,000
93 HA5/2 JAMES WHITELAW HAMILTON R.S.A., R.S.W. (SCOTTISH 1860-1932) HARBOUR SCENE, BERWICK ON TWEED Signed, oil on canvas 41cm x 51cm (16in x 20in)
£1,000-1,500
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94 HA710/11 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) TENDING BABY Signed, oil on canvas 43cm x 35.5cm (17in x 14in)
£1,000-1,500
95 HA710/12 JAMES CASSIE R.S.A., R.S.W. (SCOTTISH 1819-1879) FISHERMAN’S TALES Signed and dated 1869, oil on panel 30.5cm x 25.5cm (12in x 10in)
£1,000-1,500
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96ยง FH559/1 JESSIE MCGEEHAN (SCOTTISH 1872-1961) A DUTCH WASHING DAY Signed, oil on canvas 82cm x 109cm (32.25in x 43in) Exhibited: Royal Scottish Academy 1914, no.305
ยฃ8,000-12,000
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ARTHUR RACKHAM Arthur Rackham was the leading figure of what is now referred to as the ‘Golden Age of Illustration’ which encompassed the first two decades of the twentieth century in Edwardian Britain. This was a period which saw great strides made in the quality of printing technology, not to mention more widespread literacy among the nation’s population. Nonetheless, the Victorian obsession with fairy tales maintained a nostalgic foothold as the age of industrialisation continued to accelerate. Vellum-bound, limited edition books of stories by the likes of Hans Christian Anderson, The Brothers Grimm, Edgar Allan Poe and Aesop’s Fables were in strong demand as the ideal Christmas gift – these
reminders of a more innocent time, a treasured possession in many people’s homes. In the early 1890s, Rackham trained at the Lambeth School of Art while simultaneously grafting at the Pall Mall Budget as an illustrative journalist. These long years spent as a ‘hack’ to make ends meet served him well in the development of a unique style which would go on to capture the imagination of the public, particularly during his career’s peak c.1908-1911. Though the onset of war and the dawn of the 1920s saw the popularity of fantasy fall away, Rackham’s work withstood the test of time. Regarded by many, both then and now, to have eclipsed his peers, critics account his popularity to the clever way in which he
97 SV333/305 ARTHUR RACKHAM (BRITISH 1867-1939) CORDELIA Signed and dated 1909, pen and ink and watercolour 19cm x 12cm (7.5in x 4.75in) Provenance: Property of the Estate of the late Lady Mary Stewart Exhibited: Leicester Galleries, London, Arthur Rackham 1909, no.84 John Howell, California February 14 1972.
£3,000-5,000
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bridged the darkness at the core of the fairy tales with a suitably ethereal gentleness of touch. His nymphs are both sensuous and chaste, his famously anthropomorphic trees simultaneously threatening and humorous, and all the while neatly sidestepping the overly saccharine. Rackham’s characteristically sinuous line and his delicate touch with
colour were perfectly suited to the tales he depicted and he filled his scenes with clever detail, the kind of which children (and youthful adults!) would spend hours insatiably pouring over. Note: A selection of illustrated books by Arthur Rackham will be included in our forthcoming book sale on 28th January, 2015.
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98 HA640/16 ARTHUR RACKHAM (BRITISH 1867-1939) ALADDIN AND THE LAMP Signed, pen and ink 27cm x 18cm (10.5in x 7in) Provenance: Late Lyndsay Bradfer-Lawrence
£600-800
99 SV333/304 ARTHUR RACKHAM (BRITISH 1867-1939) THE PRINCESS AND THE DRAGON Signed, dated 1900 and numbered 67, pen and ink 21cm x 15cm (8.25in x 6in) Provenance: Property of the Estate of the late Lady Mary Stewart Note: This is an original illustration for The Four Clever Brothers from Grimm’s Fairy Tales
£3,000-5,000
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100 HA640/12 ARTHUR RACKHAM (BRITISH 1867-1939) BEFORE THE BALL Signed, pen and ink and wash 16cm x 20.5cm (6in x 8in) Provenance: Late Lyndsay Bradfer-Lawrence
£800-1,200
101§ HA159/1 MICHELE CASCELLA (ITALIAN 1898-1989) ITALIAN FACADE Signed and dated 1930, pen and ink and watercolour 58cm x 80cm (22.75in x 31.5in)
£1,000-1,500
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Selected Paintings from The Western Club Glasgow
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The Western Club was founded as the Badger Club in 1825 by Major Monteith and today exists as the successful amalgamation of the Junior Club, the New Club, and the Kelvin Club, as well as becoming the adopted home of the RNVR Club (Scotland). As membership grew the club moved venue on several occasions and has been in its current home, 32 Royal Exchange Square, since 1965. Among many notable members of The Western Club was Leonard Gow. As a successful ship owner who was a strong patron to the arts in Glasgow, he left legacies to the Hunterian Museum, Glasgow University and many other institutions around the city. The fantastic painting ‘Winter Sunrise’ by William McTaggart featured in this sale was bequeathed by Gow to The Western Club in 1936. The Western Club remains at the Royal Exchange Square premises and is host to many events throughout the year. For more information please contact Douglas Gifford, Club Secretary or visit www.thewesternclub.co.uk
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102 SV0135/12 GEORGE MORLAND (BRITISH 1763-1804) BEACHING A BOAT Signed, oil on canvas 46cm x 61cm (18in x 24in)
and a pair by the same hand (2) ÂŁ6,000-8,000
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The Lanarkshire and Renfrewshire Hunt has a long and prestigious history, the earliest mention on record dating back to 1771 when the Glasgow Hunt and the Roberton Hunt amalgamated. Originally the hunt covered a wide territory across Lanarkshire, Renfrewshire and part of Ayrshire. Over the years this has been reduced to Renfrewshire alone with large areas of Lanarkshire having been given over to the quarrying of minerals. The town of Houston has been the
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location of the season’s opening meet since around 1850 and the hunt’s hounds have been kept at kennels there for over 150 years. During the hunt’s history there have been many illustrious Masters of the Hunt, including the “wealthy and eccentric sportsman” Lord Kelburn (later Earl of Glasgow) who was known for his colourful character and kindness towards his animals, Lord Inverclyde and Brigadier J. W. H. Gow.
The painting offered here for sale by the Glaswegian artist Thomas Robertson features one of the Hunt’s most important Masters, Sir David Carrick Buchanan (18491893). According to Ralph Greaves’ short history of the hunt published in the 1950s, over the course of 43 seasons Carrick established the Lanarkshire and Renfrewshire hunt “on those firm and prosperous lines which it has since been run”. A popular landowner with a large estate over which the hunt would
ride, Buchanan was an exceptional horseman and took a keen interest in the breeding of the hound pack, his knowledge of the subject ensuring the creation of a “first-rate” and indeed prizewinning pack of hounds. He was succeeded by Lord Eglinton in 1866. Many of the same families originally associated with the hunt still participate and to this day there remains a long and happy relationship between the hunt and land owners.
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104 SV0135/24 THOMAS ROBERTSON (SCOTTISH fl. 1861-d. 1866) THE FIELD OF THE LANARKSHIRE AND RENFREWSHIRE HUNT Signed and dated 1859, oil on canvas 91.5cm x 165cm (35in x 65in)
£10,000-15,000 103 SV0135/23 JOHN MITCHELL (BRITISH 19TH CENTURY) THE LANARKSHIRE AND RENFREWSHIRE HUNT Signed and dated 1825, oil on canvas 91.5cm x 127cm (36in x 50in)
£10,000-15,000
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105 SV0135/18 CLARKSON STANFIELD R.A. (1793-1867) SHIPPING AT LOW TIDE Signed and dated ‘57, oil on canvas 76cm x 122cm (30in x 48in)
£10,000-15,000
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106ยง SV0135/28 JOHANN HENDRICK VAN MASTENBROECK (DUTCH 1875-1945) A DUTCH WATERWAY Signed and dated 1909, oil on canvas 63.5cm x 91.5cm (25in x 36in)
ยฃ6,000-8,000
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107 SV0135/14 WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) WINTER SUNRISE Signed and dated 1894, oil on canvas 89cm x 137cm (35in x 54in) Provenance: Christie’s July 1914 bt. Mr Hay Boyd Roberts, Townend of Symington Exhibited: Messrs Aitken & Dott, Glasgow, Edinburgh and Dundee, 32 Paintings by Wm. McTaggart R.S.A., 1901, no.10 Mr A.Reid, Glasgow, Pictures and Drawings by Wm. McTaggart R.S.A., 1906 Literature: James L Caw, William McTaggart 1917, pp.131,161, 266
Note: The ‘Scottish Impressionist,’ William McTaggart, is known for his idiosyncratic and atmospheric paintings of the sea and storms, featuring scenes from both coasts of Scotland. ‘Winter Sunrise’ is rare in his oeuvre for its depiction of a snowy, wintery scene. McTaggart’s distinctive swirling textural brushwork is evident, as is his favoured populating of landscapes with a small grouping of young children in the foreground. His mastery in the representation of nature and weather effects is evident in the beautiful tones that imbue the whole artwork with the soft, warm light of a crisp winter’s morning.
£60,000-80,000
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108§ SV0135/25 DAME ETHEL WALKER R.A. (BRITISH 1861-1951) STILL LIFE OF MIXED FLOWERS Signed, oil on canvas 61cm x 51cm (24in x 20in)
£4,000-6,000
109§ SV0135/26 DOROTHEA SHARP (BRITISH 1874-1955) A STILL LIFE OF MIXED FLOWERS Signed, oil on board 51cm x 40.5cm (20in x 16in)
£3,000-5,000
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110ยง SV0135/2 JOHN G. BOYD R.P., R.G.I. (SCOTTISH 1940-2001) BIRTHDAY CAKE Signed, oil on canvas 89cm x 99cm (35in x 39in)
ยฃ4,000-6,000
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111 SV0135/6 BERNARD DE HOOG (DUTCH 1867-1943) MATERNAL CARES Signed, oil on canvas 61cm x 56cm (24in x 22in)
£3,000-5,000
112 SV0135/8 JOHN GRAHAM-GILBERT R.S.A. (SCOTTISH 1794-1866) A MARKET GIRL Signed and dated 1844, oil on canvas 96.5cm x 76cm (38in x 30in)
£2,000-3,000
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JOHANN CORNELIS FREDERIK SCHERREWITZ Johan Scherrewitz travelled extensively through Holland, painting farming and rural landscapes with great sensitivity and realism. His emphasis on man’s bond with earth and animals closely associated Scherrewitz with both the French Barbizon and the Hague schools of art. The coastal landscape at Scheveningen in the Hague perhaps inspired his very best works. Scherrewitz excelled in depicting scenes of traditional fishing life and the coastal community working on the beaches and among the dunes along the North Sea coastline. Scherrewitz was not the first artist to be attracted to the
long sandy beach and wild scenery at Scheveningen. A few years earlier, Jozef Israëls and David Artz began the tradition and later Van Gogh would paint plein air on the beach. Born in Amsterdam in 1868, Scherrewitz descended from an artistic family, his French mother was related to the painter Antoine Renou (17311806). He initially studied under the landscape painter, Johan Diderik Cornelis Veltens (1814-1894) and later at the studio of George Jan
Hendrik Poggenbeek (18531903). He was a member of St. Luke’s Academy in Amsterdam and the ‘Arti et Amicitiae’. Scherrewitz’s reputation spread beyond the shores of his native Holland. He exhibited at the Royal Academy in London in 1907, in Liverpool in 1909 and at The Royal Scottish Academy in 1916. Scotland was particularly receptive to the work of the Hague School. The long-standing economic
and social ties between Scotland and the Netherlands were underpinned by cultural and religious affinities. Scottish artists such as William McTaggart had been attracted to paint Scottish coastal life after seeing examples of paintings by David Artz among others. Scherrewitz’s atmospheric landscapes were therefore particularly resonant with Scottish artists and many of his paintings were acquired by British collectors.
113§ SV0135/5 JOHANN CORNELIS FREDERIK SCHERREWITZ (DUTCH 1868-1951) UNLOADING ON THE SHORE SCHVENINGEN Signed, oil on canvas 91.5cm x 81.5cm (36in x 32in)
£7,000-10,000
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114ยง SV0135/19 JOHANN CORNELIS FREDERIK SCHERREWITZ (DUTCH 1868-1951) TENDING THE FLOCK Signed, oil on canvas 61cm x 112cm (24in x 44in)
ยฃ3,000-5,000
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115ยง SV0135/20 JOHANN CORNELIS FREDERIK SCHERREWITZ (DUTCH 1868-1951) A DUTCH MEADOW Signed, oil on canvas 81cm x 101.5cm (32in x 40in)
ยฃ3,000-5,000
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116ยง SV0135/22 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) MULL AND BEN MORE FROM IONA Signed, oil on canvas 71cm x 101.5cm (28in x 40in)
ยฃ8,000-12,000
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117§ HA770/2 GEORGE HOUSTON R.S.A., R.S.W., R.I. (SCOTTISH 1869-1947) PICNIC IN THE WOODS Signed, mixed media 31cm x 46cm (12in x 18in)
£800-1,200
118 HA770/3 ALEXANDER YOUNG (SCOTTISH 1865-1923) THE DAY’S CATCH Signed and dated 1908, oil on canvas 41cm x 51cm (16in x 20in)
£1,000-1,500
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119§ HB53/1 STANHOPE FORBES (BRITISH 1857-1947) SAVED FROM THE FLAMES Signed and dated 1989, oil on canvas 100cm x 69cm (39.5in x 27in) Provenance: From a private collection within a Scottish country house. Note: This is a fully worked up study for a detail of the huge mural which Forbes contributed to the 'Great Fire' project in 1899 for the Royal Exchange building. The following quotation from a contemporaneous issue of the New York Times (February 18th, 1899) describes the mural and contextualises the painting offered here: 'The decoration of the walls of the Royal Exchange, London, is fast making progress, and the huge mural painting by Mr Stanhope Forbes, A.R.A., of "The Great Fire of London." has been put in it's place. Mr. Forbes's picture was painted at Newlyn, but it was brought to
120 HA598/17 ROBERT BURNS A.R.S.A. (SCOTTISH 1869-1941) THE MIRROR Signed, inscribed and dated 1901 verso, oil on canvas 61cm x 51cm (24in x 20in)
£2,000-3,000
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London, and was shown recently at a studio. Mr. Forbes had found his subject on the banks of the Thames, which was, according to Evelyn's account of the fire, "covered with goods floating, all the barges and boats laden with what some had time and courage to save." The picture shows an ancient river-wall, with the burning city in the background and middle distance, and in the foreground a motley crowd of houseless Londoners carrying their children and their household treasures down to the boats. Smoke and sparks sweep across the twilight sky, and the glare if the burning houses reddens the river from bank to bank. The new picture for the decoration of the Royal Exchange has been presented by the Sun Insurance Company, an institution which, fortunately for its proprietors, did not come into existence until more than half a century after the great fire.'
£5,000-7,000
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121 FH48/1 SIR JAMES GUTHRIE P.R.S.A., H.R.A., R.S.W., L.L.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
ÂŁ12,000-18,000
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122 HA640/15 SIR ALFRED MUNNINGS P.R.A., R.W.S. (BRITISH 1878-1959) PORTRAIT OF MRS JAMES HILL Signed and dated 1900, oil on canvas 61cm x 51cm (24in x 20in) Provenance: Late Lyndsay Bradfer-Lawrence Exhibited: Russell Cotes Art Gallery, Bournemouth, Sir Alfred Munnings, 1955 no.38 Note: Munnings was twenty-two years old when he painted this portrait of his aunt at the turn of the century. The previous year he had shown at the Royal Academy for the first time. His Aunt Polly played an important role in the artist’s early life. He regularly stayed with her at Mulbarton near Norwich and it was there that he painted his first equestrian portrait (it was also there that he lost the sight in his right eye in an accident in 1898). Munnings loved the local scenery and in 1903 he rented rooms at nearby Church Farm in Swainsthorpe which was owned by his aunt and only partially occupied by an elderly couple. During this period Munnings developed his confident and expressive style, combining detail with loose brush strokes.
ÂŁ4,000-6,000
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123 HA151/1 JAMES PATERSON P.R.S.W., R.S.A., R.W.S. (SCOTTISH 1854-1932) AN AUTUMN RIVER LANDSCAPE Signed, inscribed and dated ‘Moniaive 1882’, watercolour 52cm x 34.5cm (20.5in x 13.5in)
£800-1,200
124 HA710/4 PATRICK WILLIAM ADAM R.S.A. (SCOTTISH 1854-1929) THE OVAL BEDROOM, SMEATON HEPBURN Signed, oil on canvas 69.5cm x 50cm (27.5in x 19.75in) Exhibited: Royal Scottish Academy 1912, no.115
£3,000-5,000
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125 HA925/1 PETRUS VAN SCHENDEL (BELGIAN 1806-1870) A QUIET NIGHTCAP Signed with initials and dated 1832, oil on canvas 41cm x 35cm (16in x 13.75in)
ÂŁ5,000-7,000
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126 HA284/4 GRIGORY GLUCKMANN (RUSSIAN 1898-1973) ‘NUQUE’ Signed with incised signature, inscribed on a contemporary label verso, oil on panel 32cm x 26.5cm (12.5in x 10.5in)
£6,000-8,000 Gluckmann is known for his paintings of women, mainly nudes, and ballet dancers. He was never interested in their faces, preferring a focus on their form, with elegant depictions of intimate glances over shoulders and down backs. The ‘nuque,’ nape of the neck, was a particular favourite which he painted on multiple occasions. In the offered painting, the golden sepia tones add to the elegant effect of the figure’s graceful neck and hair, with only a hint of her facial features in the tiny hint of an eyelash. The textured brushwork in the lace of her clothing highlights the contrasting smoothness and delicacy of her skin and hair, and both reveal the technical expertise with which Gluckmann painted each contrasting texture. Born in Belarus in 1898, he commenced his studies at the Academy of Fine Arts in Moscow in 1920 but revolution forced a move to Berlin, then Paris, and a year in Italy by 1924. His year in Italy allowed Gluckmann to focus on studying the Renaissance masters, especially the technique of using layered
colour glazes to create rich, deep tones. In October of 1924, he held his first solo exhibition in Paris and his success began, with positive critical reviews, sales and further exhibitions across Europe. Looking to develop his professional career, he settled in Paris. However, by 1941 he was on the move again, to the south of France and then the U.S.A., to escape the invading German Army in the Second World War. He worked in a studio in New
York and exhibited on both U.S. coasts before settling permanently in California. He was close friends with the world-renowned violinist Jascha Heifetz, who also became the largest collector of his work. His European training left Gluckmann with a reverence for the techniques of the Old Masters. The oil on panel technique utilised here was his preferred method of working, a skill he learned in Moscow and developed in Italy. It was a very time-
intensive technique; each layer had to dry completely over a period of a couple of days before work could start on the next layer. However, it allowed the painting to be imbued with a warmth and depth that has become his trademark. The subject matter and painting style, though distinctively Gluckmann, have a timeless quality.
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127 HB19/1 MAX SCHÖDL (AUSTRIAN 1834-1921) A STILL LIFE OF OBJECTS ON A TABLETOP Signed, oil on panel 18cm x 14cm (7in x 5.5in)
and a companion a pair (2) £2,000-3,000
128 HA998/2 ATTRIBUTED TO JEAN CAROLUS THE BETROTHAL Oil on panel 56cm x 44cm (22in x 17.25in)
£800-1,200
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129 HA791/2 LOUISE RAYNER (BRITISH 1829-1924) HIGH STREET, EDINBURGH Signed, watercolour 34cm x 24cm (13.25in x 9.5in)
£5,000-7,000
130 HB19/2 ETTORE SIMONETTI (ITALIAN 1857-1909) THE CARPET VENDOR Signed and inscribed, ‘Roma’, watercolour 54cm x 37cm (21.25in x 14.5in)
£5,000-7,000
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131§ HA257/1 STANLEY CURSITER C.B.E., R.S.A., R.S.W (SCOTTISH 1887-1976) A FARM IN ORKNEY, ODNESS, STRONSAY Signed, oil on board 30.5cm x 41cm (12in x 16in)
£3,000-5,000
132 HA202/1 CONSTANCE PHILLOTT (BRITISH 1842-1931) RIVER AT DUSK Signed with monogram, gouache and watercolour 20cm x 31cm (8in x 12.25in)
£1,000-1,500
133§ HA166/1 SPENCE SMITH R.S.A. (SCOTTISH 1880-1951) FARMYARD NEAR ÉTAPLES Signed, oil on board 51cm x 61cm (20in x 24in)
£1,500-2,000
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134 HA335/1 NORA HEYSEN (AUSTRALIAN 1911-2004) A STILL LIFE OF SPRING FLOWERS Signed and dated 1929, oil on canvas 41cm x 51cm (16in x 20in)
£5,000-8,000
135 HA786/1 WILLIAM STEWART MACGEORGE R.S.A. (SCOTTISH 1861-1931) VIEW OF ANTWERP CATHEDRAL FROM THE SCHELDT Signed, oil on canvas 26cm x 36cm (10.25in x 14.25in)
£700-900
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SIR WILLIAM RUSSELL FLINT Sir William Russell Flint was highly regarded both professionally and commercially. He held full membership of the Royal Academy from 1933, led a twenty-year tenure as President of the Royal Watercolour Society, was awarded a knighthood for services to the art in 1947 and granted an exclusive solo show in the Royal Academy’s Diploma Galleries in 1962. Commercially he sold extremely well, with his artworks appearing in public and private collections worldwide, and his images disseminating into public consciousness through a range of limited edition print runs, released both during his lifetime and posthumously.
pursue illustration, finding success with commissions from the Illustrated London News. Following military service in the First World War, his success meant he was able to pursue painting fulltime, allowing the freedom and flexibility to travel regularly in Europe. Flint is best known for his watercolour paintings of sensuous nudes and he depicted many noted beauties of his day including Vivien Leigh, Elizabeth Webb and Moira Shearer. However, it was not until he was aged 71 in 1953, that he met the embodiment of his ideal of beauty in Cecilia Green. A trained dancer, who turned to modelling after a bout of
tuberculosis ended her professional dancing career, Cecilia had the strength to hold dynamic poses for long periods of time. This proved a useful skill when working with Flint, an artist notoriously demanding of his models. The tricky pose depicted here reveals the elegance of her sun-kissed limbs, while the composition allows Flint to demonstrate his mastery of the watercolour medium in the depiction of various textures: smooth skin, sparkling crystal and crushed satin. Note: A handwritten note verso from Sir William Russell Flint, dated July 20 + 23, 1965, ‘Cecilia, very sunbronzed after 4 weeks in Majorca with the flower glass she brought me from Venice.’
Born and raised in Portobello, he trained extensively as a lithographer in Edinburgh from the age of fourteen before moving to London to 136§ HA737/1 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) CECILIA’S CRYSTAL VASE Signed, signed inscribed and dated verso ‘July 20 and 23, 1965’, and on the backboard, watercolour 24cm x 37.5cm (9.5in x 14.75in) Provenance: Frost & Reed Ltd, London and Bristol 1964 MacConnal Mason & Son Ltd, London
£20,000-30,000
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137ยง HA737/6 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) THE LISPING GODDESS The Lisping Goddess, 24 of 25 copies bound in full morocco by Sangorski & Sutcliffe and signed by the author/artist on the verso of title, from an edition limited to 275 copies, plates and illustrations by Russell Flint, some colour, original blue pictorial morocco, gilt, Sangorski & Sutcliffe, marbled board slip-case, folio, Stanbrook Abbey Press, Worcester, 1968 ยฃ2,000-3,000
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138ยง HA791/8 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) SUMMER SANDS Signed, watercolour 32cm x 54.5cm (12.5in x 21.5in)
ยฃ6,000-8,000
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139ยง HA791/6 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) BARBARA AMONGST THE RUINS Signed, watercolour 48cm x 66cm (19in x 26in)
ยฃ7,000-10,000
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140§ HA146/6A GERALD LESLIE BROCKHURST (BRITISH 1890-1978) HEAD AND SHOULDER PORTRAIT OF A YOUNG WOMAN Signed and dated 1934, inscribed Jillian Sands on the backboard, sanguine 38cm x 30.5cm (15in x 12in)
£1,000-1,500
141§ HA693/2 SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) THE JAILOR Signed and dated 1909, watercolour 21cm x 17cm (8.25in x 6.75in)
£1,500-2,000
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142 HA791/9 ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928) LOCH AWE AT SUNSET Signed, oil on canvas 51cm x 76cm (20in x 30in)
£7,000-10,000
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143 HA791/10 ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928) A HIGHLAND RIVER VALLEY AT SUNSET Signed, oil on canvas 51cm x 76cm (20in x 30in)
£7,000-10,000
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144§ HA640/13 PATRICK HENNESSY R.H.A. (IRISH 1915-1980) EBB TIDE, ETRETAT Signed, oil on canvas 38cm x 55cm (15in x 21.5in) Provenance: Late Lyndsay Bradfer-Lawrence
£2,000-3,000
145 HA849/1 MANNER OF EUGENE BOUDIN A BUSY HARBOUR SCENE Bears signature, oil on panel 24cm x 33cm (9.5in x 13in)
£1,000-1,500
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146ยง HA710/6 JOHAN CORNELIS FREDERIK SCHERREWITZ (DUTCH 1868-1951) ON THE SHORE Signed, oil on panel 54cm x 49cm (21.25in x 19.25in)
ยฃ3,000-5,000
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147 HA710/10 JAMES CAMPBELL NOBLE R.S.A. (SCOTTISH 1846-1913) DARTMOUTH Signed, oil on canvas 51cm x 31cm (20in x 12in)
£1,200-1,800
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148 HA736/1 LOUIS BOSWORTH HURT (BRITISH 1856-1929) ON THE RIVER GARIE, KINLOCHEWE Signed and dated 1888, inscribed on a label verso, oil on canvas 61cm x 91cm (24in x 36in)
ÂŁ10,000-15,000
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149§ SV143/100 CONSTANT ARTZ (DUTCH 1870-1951) DUCKS AND DUCKLINGS BY A RIVERBANK Signed, watercolour 35.5cm x 53.5cm (14in x 21in)
£600-800
150§ SV143/100A CONSTANT ARTZ (DUTCH 1870-1951) DUCKS AND DUCKLINGS ON A RIVERBANK Signed, watercolour 40cm x 53.5cm (15.75in x 21in)
£600-800
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151§ HA640/7 SIR FRANK BRANGWYN R.A. (BRITISH 1867-1956) ST. MARTIN’S BRIDGE, TOLEDO Signed, pencil and watercolour 50cm x 60cm (19.75in x 23.5in) Provenance: Fine Art Society, London, Sir Frank Brangwyn, 1948, no.29 Late Lyndsay Bradfer-Lawrence
£1,500-2,500
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152 SV408/36 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) BLOSSOM TIME Signed, oil on canvas 23cm x 15cm (9in x 6in)
£2,000-3,000
153 HA401/1 DAVID FARQUHARSON A.R.A., A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1840-1907) A SUMMER DAY IN DALBEATTIE Signed and dated 1878, signed, inscribed and dated verso, oil on canvas 38cm x 30.5cm (15in x 12in)
£3,000-5,000
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154 HA658/6 STUART PARK (SCOTTISH 1862-1933) A STILL LIFE OF DAFFODILS Signed, oil on canvas 51cm x 61cm (20in x 24in)
£800-1,200
155 HA774/1 DAVID FORRESTER WILSON R.S.A. (SCOTTISH 1873-1950) PORTRAIT OF ISA DAWSON Signed and dated 1924, oil on canvas 49cm x 60cm (19.25in x 23.5in)
£1,000-1,500
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156§ HA640/5 DAME LAURA KNIGHT R.A., R.W.S. (BRITISH 1877-1970) PLOUGH IN THE CHERRY ORCHARD Signed and dated 1940, oil on canvas 51cm x 61cm (20in x 24in) Provenance: Late Lyndsay Bradfer-Lawrence
£8,000-12,000
In 1939, as war broke out, Harold and Laura Knight retreated to the Malvern Hills on the Herefordshire and Worcestershire border in order to avoid the London bombings. Knight was an official war artist and in September the War Artists’ Advisory Committee invited her to create a poster for the Women’s Land Army. Knight set the scene at the farm of her friends, the Averills. She hired two Suffolk Punch horses and a plough and painted three Land Army Girls ploughing a cherry orchard. Her original design for the poster was rejected for placing too much emphasis on the horses: ‘the emphasis
is...so little on the girl that the message which we wish to convey would not really get to the public.’ Knight adjusted the composition to include just one woman, emphasising the arduous work which was essential for food production during the war. Knight used the composition again for her 1940 Royal Academy entry, January 1940 (exhibition no. 268, see Royal Academy Illustrated, London, 1940, p. 37). Her work for the War Office was a great success and her final, and perhaps most important commission, was to represent the Nuremburg War Trials in 1946.
Study for January 1940
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157§ HA358/7 DAVID JONES C.H. (WELSH 1895-1974) THE GARDEN Signed and dated ‘32, pencil and watercolour 48.5cm x 59.5cm (19in x 23.5in) Provenance: The Redfern Gallery Ltd, London Lord Clwyd, 1958
£4,000-6,000 David Jones is now regarded as one of the most significant Modernist writers of his generation. He served with the Royal Welch Fusiliers on the Frontline between 19151918 and his magnum opus, ‘In Parenthesis’, regarded by peers including T. S. Eliot and W. H. Auden as a masterpiece, is now recognised as one of the most important texts inspired by the First World War. Jones, however, primarily regarded himself as an artist. Having studied at Camberwell Art School and the Westminster School of Art, he became an active participant in exhibition societies, including the Seven and Five group alongside the likes of Ben and Winifred Nicholson, Ivon Hitchens and Frances Hodgkins. Jones was stimulated by the desire to create a modern language (visual and literary) that assimilated his interest in Welsh mythology and his exploration of the tension between his Catholic faith and an increasingly secular world.
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He struggled with the “loss of signification” in art and felt that his peers were turning to abstraction and its “nowness” as a result. Despite this trend Jones remained largely figurative in technique and often chose relatively domestic subject matter, though his work still evokes a gentle poetry and sense of deeper meaning. The work offered here for sale dates from 1932, a significant year in many ways for Jones. By August he had finished his first draft of In Parenthesis and was in the midst of one of the most markedly creative periods of his career. The watercolours
from these early years of the 1930s are regarded by many, including Jones himself, as the best work he produced though sadly this period of immense productivity culminated in a nervous breakdown. At this time Jones was spending a lot of time painting in rural and suburban locations including his parents’ home in Brockley, Kent. He would often describe views from the window of his single roomcum-studio; the gentle, mundane charm of the surrounding gardens, houses and fields nonetheless cleverly composed. The
chosen medium of watercolour was, as ever, a symbolic decision on Jones’ part, being fluid, mutable and evocative of a long English tradition from contemporaries including Bawden, through Blake and reaching back to medieval illuminations.
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158§ FG412/4 WILLIAM CROSBIE R.S.A. (SCOTTISH 1915-1999) I BUILD ME A SHIP Signed, inscribed and dated LXXXVIII, watercolour 39cm x 57cm (15.5in x 22.5in) Exhibited: Aitken Dott & Son, William Crosbie Retrospective 1980, no.106
£600-800
159 SV388/33 ROBERT POLEHILL BEVAN (BRITISH 1865-1925) COTTAGES BY A WOODED LANE Signed with the Trustee’s stamp beneath mount, charcoal and watercolour 22cm x 27cm (8.5in x 10.5in)
£800-1,200
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160§ HA737/2 CHARLES MCCALL (BRITISH 1907-1989) THE RED CARPET Signed and dated ‘68, oil on board 31cm x 25.5cm (12in x 10in) Provenance: Cork Street Gallery, London Sir James Bowker
£600-800
161§ SV388/39 JACOB KRAMER (BRITISH 1892-1962) MADONNA AND CHILD Inscribed on label verso, oil on canvas 162§ SV388/37 JACOB KRAMER (BRITISH 1892-1962) HEAD OF A WOMAN Signed, oil on canvas 76cm x 51cm (30in x 20in)
£600-800
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76cm x 63cm (30in x 25in)
£1,500-2,000
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163ยง SV51/1 DAME ELISABETH FRINK D.B.E., R.A. (BRITISH 1930-1993) MAQUETTE FOR MANCHESTER AIRPORT / STUDY FOR STANDARD Inscribed in the cast, bronze 29.5cm (11.6in) high
ยฃ3,000-4,000
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Ivon Hitchens was born into an artistic family and studied at St John’s Wood School of Art and the Royal Academy where Clausen and Sargeant were among his teachers. Along with contemporaries Ben Nicholson, John Piper and Barbara Hepworth, he joined the Seven and Five Society and the London Group in the 1920s, both of which declared a firm position away from the artistic mainstream of the time. Hitchens had a quiet demeanour but maintained close contact with his contemporaries, holidaying with the Nicholsons, Barbara Hepworth and John Skeaping and exhibiting with Victor Pasmore and Ceri Richards. It was in the mid to late 1930s that Hitchens evolved his own personal style of what has
come to be called ‘figurative abstraction’. The example offered for sale here dates to 1932 and is therefore representative of the important period where he began to move away from the more conventional still lives he produced in the 1920s and assimilate it with his experiments in reductive abstraction. Inspired by the still lives of Georges Braque from the 1920s as well as the formal and tonal explorations made by his peers Ben and Winifred Nicholson, Hitchens uses a palette of silvery, subdued hues to create a field of flattened forms and block colours.
the majority of twentieth century artists, to Cezanne’s insistence on conveying the underlying structure of his motif. The compositional elements in this still life take on a general structural role, and Hitchens, not unlike Cezanne, blurs the lines between still life and landscape, the area on the upper right perhaps acting here as a cipher for sky or grass. The result is coherent despite its abstraction, its complexity belied by its hugely decorative appeal.
However, the biggest influence felt in Hitchens’ work is that of Cezanne. His approach to painting is enormously indebted, as with
164§ HA358/6 IVON HITCHENS (BRITISH 1893-1979) STILL LIFE Signed and dated ‘32, oil on canvas 61cm x 51cm (24in x 20in) Note: The frame bears a Leicester Galleries label and Ivon Hitchen’s address label, 169 Adelaide Rd verso
£20,000-30,000
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165§ HA149/2 SIR WILLIAM MACTAGGART P.P.R.S.A., R.A., R.S.W., F.R.S.E. (SCOTTISH 1903-1981) STILL LIFE IN A GREEN VASE Signed, charcoal and watercolour 28cm x 20.5cm (11in x 8in) Provenance: Christies, Artist’s Studio Sale 1982, ref.319
£1,000-1,500
166§ HA149/1 SIR WILLIAM MACTAGGART P.P.R.S.A., R.A., R.S.W., F.R.S.E. (SCOTTISH 1903-1981) STILL LIFE ON A GREEN TABLECLOTH Signed, charcoal and watercolour 28cm x 20.5cm (11in x 8in)
£1,000-1,500
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167ยง HA933/1 SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916-1992) COMPOTIER DE FRUITS Oil on board, inscribed and dated 1980 on a label verso 30.5cm x 30.5cm (12in x 12in) Exhibited: Edinburgh College of Art, Robin Philipson Retrospective 1989, no.128
ยฃ2,000-3,000 END OF SALE
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Glossary of Cataloguing Terms The following expressions with their accompanying explanations are used by Lyon & Turnbull as standard cataloguing practice. Our use of these expressions does not take account of the condition of the lot or the extent of any restoration. Buyers are recommended to inspect the property themselves. Written condition reports are usually available on request.
Name(s) or Recognised Designation of an Artist without any Qualification In our opinion a work by the artist Attributed to... In our opinion probably a work by the artist in whole or in part. Studio of ... / Workshop of ... In our opinion a work executed in the studio or workshop of the artist, possible under his supervision Circle of ... In our opinion a work of the period of the artist and showing his influence. Follower of ... In our opinion a work executed in the 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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Index Adam, P.W., 124 Albani, F., manner of, 39 Allan, Sir W., 49 Anesi, P., follower of, 46 Artz, C., 149, 150 Barlow, F., circle of, 23 Beerbohm, M., 60 Bevan, R.P., 159 Boel, P., circle of, 20 Boudin, 145 Bough, S., 5 Bouvier, J., 90 Boyd, J.G., 110 Brangwyn, Sir F., 151 Brockhurst, G.L., 140 Brueghel, C., circle of, 26 Burns, R., 120 Carolus, J., attributed to, 128, 129 Cascella, M., 101 Cassie, J., 95 Cerquozzi, M., circle of, 26 Chiari, G., attributed to, 50 ClĂŠrisseau, C-L., 32 Cobbett, E., attributed to, 76 Cooper, T.S., 68 Crosbie, w., 158 Cunningham, J., 116 Cursiter, S., 131 Davidson, J., manner of, 34 de Breanski, A. Snr., 142, 143 de Caullery, L., manner of, 53 de Fassin, N.H.J., 24 de Hoog, B., 111 del Tintore, S., circle of, 22 Downie, P., 81 Ede, B, 62, 63, 64
Faed, J. Jnr., 11 Farquharson, D., 153 Flint, Sir W.R., 136-139, 141 Forbes, S., 119 Fraser, A.F. Snr., 70 Frink, Dame E., 163 Galizia, F., circle of, 40 Gibson, W.A., 8, 85 Giles, J., 69 Gluckmann, G., 126 Graham-Gilbert, J., 112 Greuze, school of, 59 Guthrie, Sir J., 121 Hamilton, J.W., 80, 93 Hayls, J, manner of, 33 Henerson, J.M., 7 Hennessy, P., 144 Herdman, R., 88 Herring, J.F. Snr., attributed to, 72 Heysen, N., 134 Hitchens, I., 164 Hoppner, Sir J., 38 Hoppner, Sir J., circle of, 51 Houston, G., 14, 117 Howard, H.M., 1 Howitt, W.S., 61 Hunter, C., 16 Hurt, L.B., 9, 10, 148 Hutchison, R.G., 91, 94, 152 Johnson, C.E., 86 Jones, D., 157 Kay, J., 13, 92 Kidd, W., 71 Knell, W.C., 75A Knight, Dame L., 156 Kramer, J., 161, 162
Lambert, G., 18 Lange, J., 75 Lear, E., 56, 57 Lely, Sir P., circle of, 35 Leys, Baron J.A., 31 Macgeorge, W.S.,1 35 Mactaggart, Sir W., 165, 166 Marinari, O., attributed to, 37 McCall, C., 160 McGeehan, J., 96 McGhie, J., 78 McGown, R., 6 McGregor, R., 77 McTaggart, W., 107 McTaggart, W., attributed to, 15 Melbye, V., 17 Meyer, H., the Younger, 42 Mignard, P., follower of, 36 Mitchell, J., 103 Molenaer, K., 45 Morland, G., 102 Muller, W.J., 73 Munnings, Sir A., 122 Nicholson, F., follower of, 28 Noble, J.E., 83, 147 Orrock, J., 58 Panini, G.P., circle of, 48 Park, S., 154 Paterson, J., 123 Patrick, J.M., 4 Philipson, Sir R., 167 Phillott, C., 132 Pocock, N., 27
Rackman, A., 97-100 Rayner, L., 129 Reid, A,D., 2 Robertson, T., 104 Sandby, P., 54, 55 Scherrewirz, J.C.F., 113, 114, 115, 146 SchĂśdl, M., 127 Schranz, A., follower of, 29 Sellar, C., 87 Sharp, D., 109 Simonetti, E., 130 Smith, G., of Chichester, 19 Smith, S., 133 Stanfield, C., 74, 82, 105 Thomson, J.M., 12 Thorburn, A., 65, 66, 67 Turner, D., attributed to, 43 van Helmont, M., follower of, 52 van Leeuwen, G.J., 21 van Mastenbroeck, J.H., 106 van Oolen, A., attributed to, 25 van Schendel, P., 125 van Streeck, J., 41 van Swanevelt, H., attributed to, 44 van Wungaerdt, P.T. 'Piet', 30 Vos, C.A., 43A Walbourn, E, 89 Walker, Dame E., 108 Watteau, J.A., manner of, 47 Wilson, D.F.,155 Wintour, J.C., 3, 84 Young, A., 79, 118
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Thursday, 11th December, 2014 33 Broughton Place, Edinburgh
ENQUIRIES Nick Curnow Tel: +44 (0)131 557 8844 nick.curnow@lyonandturnbull.com
Charlotte Riordan Tel: +44 (0)131 557 8844 charlotte.riordan@lyonandturnbull.com
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Opposite: FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) IONA JUNE Signed, signed and inscribed verso, oil on panel 37cm x 45cm (14.5in x 17.75in) Note: This is a view looking towards Loch Na Keal,
£30,000-50,000
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Above: GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) A STILL LIFE WITH FRUIT AND FLOWERS ON A WHITE CLOTH Signed, oil on board 51cm x 69cm (20in x 27in)
£40,000-60,000
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Fine Asian Arts Tuesday, 2nd December, 2014 Crosshall Manor, Cambridgeshire
FINE PAIR OF GREY POTTERY HORSES TANG DYNASTY each superbly sculpted as the horses prancing with heads turned to one side (2) 50cm high
Enquiries Lee Young Tel: +44 (0)131 557 8844 lee.young@lyonandturnbull.com
Sara Pierdominici Tel: +44 (0)131 557 8844 sara@lyonandturnbull.com
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Select Jewellery & Watches Wednesday, 10th December, 2014 33 Broughton Place, Edinburgh
IWC- International Watch Co. Ltd. Schaffhausen Le Grande Complication Circa 1992, Edition No. 11/50 Dial diameter: 42mm
ÂŁ60,000-80,000
VIEWING Glasgow & London Viewing dates and times to be confirmed Please contact department for details Edinburgh Sunday, 7th December 12 noon - 4pm Monday, 8th and Tuesday 9th December 10am - 5pm Morning of Sale from 9am
Enquiries Trevor Kyle Tel: +44 (0)131 557 8844 thk@lyonandturnbull.com Ruth Davis Tel: +44 (0)131 557 8844 ruth.davis@lyonandturnbull.com
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Fine Furniture & Works of Art Wednesday, 14th January, 2015 33 Broughton Place, Edinburgh HENRY BONE R.A. (BRITISH 1755-1834) ROBERT DUDLEY, EARL OF LEICESTER enamel on copper, signed 20.5cm x 17cm (8in x 6.75in) Provenance: George John Danvers Butler, later Lord Lanesborough of Swithland Hall, Leicestershire
£5,000-7,000
HENRY BONE R.A. (BRITISH 1755-1834) ELIZABETH CAREY, DAUGHTER OF LORD HUNSDON, AFTERWARDS LADY BERKELEY enamel on copper 18cm x 14cm (7in x 5.5in) Provenance: George John Danvers Butler, later Lord Lanesborough of Swithland Hall, Leicestershire
£4,000-6,000
ENQUIRIES Douglas Girton Tel: +44 (0)131 557 8844 douglas.girton@lyonandturnbull.com
Theodora Burrell Tel: +44 (0)131 557 8844 theo.burrell@lyonandturnbull.com
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Books, Manuscripts, Maps & Photographs Wednesday, 28th January, 2015 33 Broughton Place, Edinburgh
The Golden Age of Illustration A fine collection of limited edition works illustrated by Arthur Rackham, Edmund Dulac and Kay Nielsen from The Estate of the late Lady Mary Stewart
VIEWING Sunday, 25th January 12 noon - 4pm Monday, 26th January 10am - 5pm Tuesday 27th January 10am - 5pm Morning of Sale from 9am
ENQUIRIES Simon Vickers simon.vickers@lyonandturnbull.com Tel: +44 (0)131 557 8844 Cathy Marsden Tel: +44 (0)131 557 8844 cathy.marsden@lyonandturnbull.com
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CONDITIONS OF SALE SELLERS 1. DEFINITIONS In these Conditions of Sale (Sellers): “Auctioneer” means Lyon & Turnbull Ltd or its authorised auctioneer, as appropriate; “Buyer“ is the person who makes the highest possible bid or offer accepted by the auctioneer, and/or such person’s principal where bidding as agent; “Buyer‘s Premium” is the commission payable by the Buyer on the Hammer Price at the rates set out in the Sale Catalogue Guide to Prospective Buyers and an amount in respect of applicable VAT; “Hammer Price” is the highest bid accepted by the auctioneer by the fall of the hammer or in the case of a postauction sale, the agreed sale price; “Item” means each and every item consigned for sale following express written agreement between Lyon & Turnbull and the Seller; “Lot“ means each Item offered for sale by Lyon & Turnbull; “Lower Estimate” means the low estimate provided by Lyon & Turnbull to the Seller in relation to each Item, or in relation to any Item which Lyon & Turnbull holds on behalf of the Seller; “Lyon & Turnbull” means the company which has its registered office at 33 Broughton Place, Edinburgh, EHI 3RR registered in Scotland No. 191166 “Net Sale Proceeds” are the Hammer Price, less commissions and other charges, of the Lot sold, to the extent received by Lyon & Turnbull in cleared funds; “Proposed Sale” means the intended sale through which the items will be sold on “Purchase Price” is the Hammer Price and applicable Buyer‘s Premium; “Reserve” means the lowest price below which an item cannot be sold; “Upper Estimate” means the high estimate provided by Lyon & Turnbull to the Seller in relation to each Item, or in relation to any Item which Lyon & Turnbull holds on behalf of the Seller; “Terms of consignment” means the stipulated terms and rates of commission on which the Auctioneer accepts instructions from Sellers or their agents; “You”, “Your” means the seller “Us”, “Our”, “We” etc refers to Lyon & Turnbull Ltd The singular includes the plural and vice versa as appropriate. 2. WARRANTY OF TITLE AND AVAILABILITY The Seller warrants:(a) that you are the true owner of the property consigned or are properly authorised by the true owner to consign it for sale and are able to transfer good and marketable title to the property free from any third party claims. (b) that all requirements have been complied with, legal or otherwise, relating to any export or import of the property consigned, all duties and taxes in respect of the export or import of the lot have (unless agreed in writing
with us) been paid and, so far as you and any principal for whom they are acting in relation to the lot are aware, all third parties have complied with such requirements in the past. (c) that you have provided Lyon & Turnbull with any and all information concerning the item’s provenance or any concerns expressed by third parties concerning its ownership, condition, authenticity, attribution, and export or import history; and (d) Unless the Seller advises Lyon & Turnbull in writing to the contrary on delivery of the item to Lyon & Turnbull, there are no restrictions on Lyon & Turnbull rights to reproduce photographs or other images of the item in connection with the sale or any other marketing which will be done in accordance with good taste and decency. 3. PREPARATION FOR SALE (a) Lyon & Turnbull shall decide the way in which a lot may be included in the sale, how any lot is described and illustrated in the catalogue or any report, and the marketing, promotion, date, place and conduct of the sale. (b) Lyon & Turnbull will instruct, consult with, and rely on, any outside experts or restorers, agents or other third parties, and carry out such other due diligence, inquiries, research or tests in relation to the property or its provenance, either before the Proposed Sale as it may deem appropriate in its reasonable discretion. (c) Any oral or written estimate or evaluation or report provided by Lyon & Turnbull is a genuinely held opinion only. It may not be relied on as a prediction of the selling price or value of the Item, and may in Lyon & Turnbull’s absolute discretion be revised from time to time.
(3) Illustrations: The cost of any illustrations will be borne by the Seller , unless agreed otherwise prior. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue. 6. RESERVES (a) You are entitled to place, prior to the auction, a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve. (b) Firm reserves may be no greater than lower pre-sale estimate level. (c) A reserve once set cannot be changed except with our agreement. (d) You may not bid or instruct or permit any other person to bid on your behalf on your own property. If the Seller breaches this prohibition, Lyon & Turnbull may treat the Seller as bound as Seller and as Buyer but without the benefit of Lyon & Turnbull Authenticity Guarantee or the reserve, and/or pursue other remedies. (e) We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. 7. LOSS & DAMAGE WARRANTY (a) Subject to condition 7(c) below Lyon & Turnbull will assume liability for loss or damage to an item, commencing at the time that item is taken into physical control and possession by Lyon & Turnbull and ceasing on the earliest date of; (i) when risk passes to the Buyer of the lot following its sale;
(d) The Seller acknowledges that attribution of Items is a matter of opinion and not of fact, and is dependent upon (amongst other things) information provided by the Seller, the condition of the property, the degree of research, examination or testing that is possible or practical in the circumstances, and the status of generally accepted expert opinion at the time of cataloguing
(ii) for unsold lots, when the lot is released to the Seller, or, within 3 months of the sale;or
4. TERMS OF SALE
(c) If any loss or damage should occur to the lot during the period identified in paragraphs (a) above, Lyon & Turnbull’s liability to compensate the Seller in respect of that loss shall be restricted to a maximum of the upper estimate, or actual loss incurred, whichever is lower. This compensation will be subject to a deduction of a 1.5% loss & warranty fee (subject to VAT).
The Seller acknowledges that lots are sold subject to these Conditions and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot. 5. STANDARD SELLER FEES AND CHARGES (Subject to VAT) (1) Commission: 15% 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: min charge £30. Online Listing: £10 per lot. (2) Transport: Items for sale must be consigned to the sale room by any stated deadline and at your expense. We may be able to assist you with this process. When organised on the Seller’s behalf the provision of transport will be contracted to third parties. Fees for transport will be deducted at the initial settlement.
(iii) 6 months from the date of delivery to Lyon & Turnbull for items still in the possession of Lyon & Turnbull but not consigned for sale (unless part of a long-term storage agreement). (b) Lyon & Turnbull shall charge a loss and damage warranty fee of 1.5% of the hammer price, plus VAT.
8. UNSOLD ITEMS (1) If an item is unsold it may, with your consent, be re-offered at a future sale. Where in our opinion an item is not suitable for a future sale we may either request (a) you collect such items from the saleroom promptly on being so informed. We shall be entitled to charge you for storage costs, charges shall be made at a reasonable daily rate; or (b) suggest that the item be transferred to a secondary saleroom for sale without reserve. All transferred lots will be sold for the best price on the day, this may not bear
any reflection on the item’s original estimate. Lyon & Turnbull are not liable for any items (whether it be selling price or loss & damage) when transferred. (2) Aftersales: We reserve the right to accept an after-auction offer on a lot on behalf of the seller, at the agreed reserve price or above, for up to 48 hours after the original auction. In which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these Conditions apply. 9. LOT WITHDRAWAL If a Seller wishes to withdraw a lot organised 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 ancillary charges 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 ancillary charges incurred (such as photography), all subject to VAT at the current rate. (c) Lyon & Turnbull may withdraw a lot from the proposed sale without any liability if: (i) Lyon & Turnbull reasonably believes that there is any doubt as to the lot‘s authenticity or attribution; or (ii) it reasonably doubts the accuracy of any of the Seller’s warranties; or (iii) the Seller breaches any provisions of the Conditions of Sale in any material respect; or (iv) the lot suffers from loss or damage so that it is not in the state in which it was when Lyon & Turnbull took delivery of it. (d) if an item is withdrawn from sale under Condition 9(c) (i), or (iv), the Seller shall not be charged a withdrawal fee and the item shall be returned to the Seller or dealt with pursuant to Clause 8, as the Seller decides. 10. AUTHORITY TO DEDUCT COMMISSION AND EXPENSES AND RETAIN PREMIUM AND INTEREST. The Seller authorises us to deduct commission at the stated rate, and all expenses incurred for your account from the hammer price, and consents to our right to retain beneficially the premium paid by the Buyer in accordance with these Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. 11. NON-PAYMENT BY THE BUYER (a) Lyon & Turnbull will, where it considers appropriate, take reasonable steps to investigate the ability of bidders to pay for lots and will use reasonable endeavours, in consultation with the Seller, to enforce payment of the Hammer Price by any Buyer. (b) Lyon & Turnbull, in consultation with the Seller, will decide whether to pursue any of the remedies available to it, including those set out in Condition 10 of the Condition of Sale (Buyers) including the right to cancel the sale and return the property to the Seller. 14/5
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Lyon & Turnbull will inform the Seller of any action which it contemplates taking against the Buyer.
these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers.
(c) lf the Seller elects to take action against any Buyer on its own behalf Lyon & Turnbull will provide the Seller with such assistance as may be reasonably necessary to pursue that action.
(c) Lyon & Turnbull undertakes to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids.
(d) The Seller hereby agrees to inform Lyon & Turnbull of any action which it chooses to take against the Buyer to enforce payment of the amount due to the Seller. (e) In the event that a Buyer fails to pay for a lot in accordance with the Conditions of Sale for Buyers, that lot will be treated in the same way as an unsold or collected lot. 12. SETTLEMENT PAYMENTS Subject to full payment by the Buyer, payment of the net proceeds of sale due to you will be made over to you 28 working days following a sale. Provided we have received cleared funds. Payment will be made by cheque or BACS (if requested). 13. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Sellers) shall apply to sales by private treaty. (b) Private treaty sales made under
(d) For the purposes of a private treaty sale, if a lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale. 14. 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.
have been received by the addressee 48 hours after posting.
only and disclaims any responsibility for default by Sellers or Buyers.
(c) Notices to Lyon & Turnbull should be in writing and addressed to Nick Curnow at 33 Broughton Place, Edinburgh EH1 3RR, quoting the reference number specified at the beginning of the sale catalogue.
17. DATA PROTECTION
(d) Should any provision of these Conditions of Sale be held unenforceable for any reason, the remaining provisions shall remain in full force and effect. (e) These Conditions of Sale are not assignable by either party without the other’s prior written consent, but are binding on the seller’s successor and representatives. No act, omission or delay by Lyon & Turnbull shall be deemed a waiver or release of any of its rights. (f) The contract between the parties may be varied by the parties by agreement and in writing.
15. GENERAL
16. AGENCY
(a) We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.
Lyon & Turnbull acts as agent solely for and in the interests of the Seller. We do not act for Buyers in this role and does not give advice to Buyers. When Lyon & Turnbull make a statement about a lot it is doing so on behalf of the Seller of the lot.
(b) Any notice to any Buyer, Seller, bidder or viewer may be given by email, or if not available then first class mail, in which case it shall be deemed to
The Auctioneer normally acts as agent
In connection with the management and operation of our business and the marketing and supply of Lyon & Turnbull’s services, or as required by law, we may ask the Seller to provide personal information about themselves or obtain information about the Seller from third parties (e.g. credit information). Lyon & Turnbull will not give out personal information except as may be required by law. If you would like further information on Lyon & Turnbull policies on personal data, or to make corrections to your information, please contact us on +44 (0)131 557 8844. 18. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Seller agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.
BUYERS The Auctioneer 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.
behalf of the Seller of the lot.
1. DEFINITIONS
(a) Bidders are required to register their particulars before bidding and to satisfy any security and credit references or arrangements before entering the auction room to view or bid;
In these Conditions of Sale (Buyers): “Auctioneer” means Lyon & Turnbull Ltd or its authorised auctioneer, as appropriate; “Hammer price” means the level of bidding reached (at or above any reserve) when the Auctioneer brings down the hammer; “Lot” means each Item offered for sale by Lyon & Turnbull; “Purchase Price” is theh ammer Price and applicable Buyer‘s Premium; “Reserve” means the lowest price below which an item cannot be sold; “Total amount due” means the hammer price in respect of the lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions; “You”, “Your” means the Buyer “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd The singular includes the plural and vice versa as appropriate. 2. AGENCY Lyon & Turnbull acts as agent solely for and in the interests of the Seller. We do not act for Buyers in this role and does not give advice to Buyers. When Lyon & Turnbull make a statement about a lot it is doing so on
The Auctioneer normally acts as agent only and disclaims any responsibility for default by Sellers or Buyers. 3. BIDDING PROCEDURES AND THE BUYER
we will use reasonable efforts to contact them to enable them to participate in bidding by telephone. We do not accept liability for failure to do so or for errors and omissions in connections. (h) Online Bidding: We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding.
(b) The maker of the highest bid accepted by the Auctioneer conducting the sale shall be the Buyer and any dispute shall be settled at the Auctioneer’s absolute discretion.
4. INCREMENTS
(c) Once made, no bid may be withdrawn.
For each lot purchased a Buyer‘s Premium of 25% is payable on the first £25,000 of the hammer price, 20% thereafter. VAT at the appropriate rate is charged on the Buyer‘s Premium. No VAT is payable on the hammer price or premium for printed books or unframed maps bought at auction.
(d) Our right to bid on behalf of Sellers is expressly reserved up to the amount of any reserve. (e) The right to refuse any bid is also reserved. (f) 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 nor our employees nor 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. (g) Telephone Bids: If a prospective Buyer makes arrangements with us prior to the commencement of the sale
Bidding increments shall be at the Auctioneer’s sole discretion. 5. THE PURCHASE PRICE
Live online bidding is subject to an additional 3% premium (charged by the live bidding service provider Invaluable). This additional premium is subject to VAT at the appropriate rate as above. 6. VALUE ADDED TAX 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. (1) Lots affixed with (†): Value Added Tax on the hammer price is imposed by law on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the European Union and is not
operating under a Margin Scheme. (2) Lots affixed with (*): A reduced rate of Value Added Tax on the hammer price of 5% is payable. This indicates that a lot has been imported from outwith the European Union. This reduced rate is applicable to Antique items. (3) Lots affixed with [Ω]: Standard rate of Value Added Tax on the hammer price and premium is payable. This applies to items that have been imported from outwith the European Union and do not fall within the reduced rate category outlined above. 7. 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 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.
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More information on Droit de Suite is available at www.dacs.org.uk. 8. PAYMENT (1) Within 7 days of a lot being sold you will: (a) Pay to us the total amount due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. We do not accept American Express. (b) Please note there is a surcharge of 2% when using credit cards. (c) Please note that under The Money Laundering Regulations 2007 we cannot accept cash payments over ¤15,000 (euros). (2) Any payments by you to us may be applied by us towards any sums owing by you to us howsoever incurred and without agreement by you or your agent, whether express or implied. 9. 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 7 working days following the day of the auction or upon the clearance of any cheque used for payment whichever is later. We can provide you with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us. (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 sale room and the potential storage charges for lots not collected by the appropriate time. (5) Export of goods: Buyers intending to export goods should ascertain (a) whether an export licence is required and (b) whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the lot. 10. 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 Sellers 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 contract for 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).
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(d) to remove, store and insure the lot in the case of storage, either at our premises or elsewhere and to recover from you all costs incurred in respect thereof; (e) to charge interest at a rate not exceeding 1.5% per month above the current base rate on all sums outstanding for more than 7 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 which become due to you towards the settlement of the total amount due by you and to exercise a lien over any of your property in our possession for any purpose until the debt due is satisfied. 11. DESCRIPTIONS AND CONDITION (1) whilst 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 only accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer or our employees or agents accept liability for the correctness of such opinions and no warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are given. (2) Condition reports: Condition reports are provided on our website or upon request. The absence of a report does not imply that a lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavor to respond to all requests although we offer no guarantee. Any statement in relation to the lot is merely an expression of opinion of the Seller or Lyon & Turnbull and should not be relied upon as an inducement to bid on the lot. Lots are available for inspection prior to the sale and you are strongly advised to examine any lot in which you are interested prior to the sale. Our condition reports are not prepared by professional conservators, restorers or engineers. (3) Estimates: Estimates are placed on each lot to help Buyers gauge the sums involved for the purchase of a particular lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change are for guidance only and should not be relied upon. (4) Catalogue Alterations: Lot descriptions and estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the catalogue alteration sheet, made available prior to the sale. (5) Electrical Goods: are sold as
“works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. (6) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations (items manufactured prior to 1950 are exempt from any regulations). Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. (7) 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 appearing in the catalogue. These notices and terms will also form part of our terms and conditions of sales. 12. BOOKS, CLOCKS & WATCHES (1) Books-Collation: If on collation any NAMED item in the sale catalogue proves defective, in text or illustration the Buyer may reject the lot provided he returns it within 21 days of the sale stating the defect in writing. This, however, shall not apply in the case of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings NOR in respect of damage to bindings, stains, foxing, marginal worm holes or other defects not affecting the completeness of the text NOR in respect of Defects mentioned in the catalogue, or at the time of sale, NOR in respect of lots sold for less than £300. (2) Clocks & Watches: All lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply that the lot is in good condition and without defects, repairs or restorations. Most clocks and watches have been repaired in the course of their normal lifetime and may now incorporate parts not original to them. Furthermore, Lyon & Turnbull makes no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, bidders should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Bidders should also be aware that Lyon & Turnbull cannot guarantee a watch will remain waterproof if the back is removed. Bidders should be aware that the importation of watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches may not be shipped to the USA and can only be imported personally. 13. CITES
agreed charges for Sellers and Buyers. (c) Lyon & Turnbull undertakes to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private treaty sale, if a lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale. 15. 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, safety and security arrangements. Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, or at, a sale. 16. GENERAL (a) We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. (b) Any notice to any Buyer, Seller, bidder or viewer may be given by email if not available then first class mail in which case it shall be deemed to have been received by the addressee 48 hours after posting. (c) Notices to Lyon & Turnbull should be in writing and addressed to Nick Curnow at 33 Broughton Place, Edinburgh EH1 3RR, quoting the reference number specified at the beginning of the sale catalogue. (d) Should any provision of these Conditions of Sale be held unenforceable for any reason, the remaining provisions shall remain in full force and effect. (e) These Conditions of Sale are not assignable by either party without the other’s prior written consent. No act, omission or delay by Lyon & Turnbull shall be deemed a waiver or release of any of its rights. (f) The contract between the parties may be varied by the parties by agreement and in writing. 17. DATA PROTECTION In connection with the management and operation of our business and the marketing and supply of Lyon & Turnbull’s services, or as required by law, we may ask the Buyer to provide personal information about themselves or obtain information about the Buyer from third parties (e.g. credit information). Lyon & Turnbull will not give out personal information except as may be required by law. If you would like further information on Lyon & Turnbull policies on personal data, or to make corrections to your information, please contact us on +44 (0)131 557 8844.
Please be aware that all lots marked with the symbol Y are subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http://www.defra.gov.uk/ahvlaen/imports-exports/cites/
18. LAW AND JURISDICTION
14. SALE BY PRIVATE TREATY
(b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.
(a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our
(a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law
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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
T
York Place Tram Station
Lyon & Turnbull saleroom
Local Deliveries A&S Pert Removals. Tel. +44 (0)7876 343520. Thistle Removals Tel: +44 (0)7836 774712 Email: thistleremovals@hotmail.co.uk New Leaf Removals Tel: +44 (0)7999 926261 Email: info@newleafremovals.co.uk 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 Aardvark Art Services Ltd Birks Farm, Ballam Road Lytham, Lancashire FY8 4NL Tel: +44 (0)1253 794673 Fax: +44 (0)1253 730580 Email: info@aardvarkartservices.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
email. info@lyonandturnbull.com www.lyonandturnbull.com
182 Bath Street, Glasgow G2 4HG Tel +44 (0)141 333 1992 Fax +44 (0)141 332 8240
78 Pall Mall, London SW1Y 5ES Tel +44 (0)20 7930 9115 Fax +44 (0)20 7930 7274
BRITISH & EUROPEAN PAINTINGS 27TH NOVEMBER 2014
33 Broughton Place, Edinburgh EH1 3RR Tel +44 (0)131 557 8844 Fax +44 (0)131 557 8668
British & European Paintings Thursday, 27th November, 2014 33 Broughton Place Edinburgh EH1 3RR