Scottish Paintings & Sculpture | 4th June 2015 18:00

4 june Scottish Paintings Cover:L&T MASTER COVER

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LYON & TURNBULL AUCTIONEERS EDINBURGH SCOTTISH PAINTINGS & SCULPTURE

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)141 7930 7274

4TH JUNE, 2015

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

Thursday, 4th June, 2015 33 Broughton Place Edinburgh EH1 3RR

Scottish Paintings & Sculpture

4 june Scottish Paintings Cover:L&T MASTER COVER

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Scottish Paintings & Sculpture Thursday, 4th June, 2015 at 6pm Sale Number LT438

Viewing Times

Sunday, 31st May 12 noon - 4pm Monday, 1st June 10am - 5pm Tuesday, 2nd June 10am - 5pm Wednesday, 3rd June 10am - 5pm Thursday, 4th June 10am - 1pm

Enquiries

Lyon & Turnbull Ltd. 33 Broughton Place Edinburgh EH1 3RR Tel. 0131 557 8844 Fax. 0131 557 8668 Email. info@lyonandturnbull.com www.lyonandturnbull.com

Catalogue: ÂŁ15

Front Cover Lot 53 (detail)

Inside Front Cover Lot 22 (detail)

Inside Back Cover Lot 72 (detail)

Buyer’s Guide

This sale is subject to our standard Conditions of Sale (available at the back of every catalogue and on our website).

If you have not bought at auction before we will be delighted to advise you.

Buyer’s Premium & Other Charges

The buyer shall pay the hammer price together with a premium, at the following rate, thereon.

25% up to £50,000 / 20% thereafter.

VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale).

Additional VAT † VAT at the standard rate payable at the standard rate on the hammer price

* 5% import VAT payable on the hammer price

No VAT is payable on the hammer price or premium for books bought at auction.

Droit de Suite § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, 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.

More information on Droit de Suite is available at www.dacs.org.uk

Registration

All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, by fax or on our website. 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).

We may, at our option, also ask you to provide a bank reference and/ or deposit.

By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website).

Bidding & Payment

For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue.

Removal of Purchases

Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. Further information on Collection & Shipment, including professional packers and shippers known to us, can be found at the back of the catalogue or on our website.

Catalogue descriptions

All item descriptions, dimensions and estimates are provided for guidance only.

It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. If potential buyers are unable to inspect lots in person (public viewing times listed in every catalogue), our specialists will be happy to prepare detailed condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.

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 familiarise 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.

Endangered Species 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

Meet the Specialists

At Lyon & Turnbull we want to make buying at auction as easy and enjoyable as possible. Our specialist team are on hand to assist you; whether you are looking for something in particular for your home or collection; require more detailed information about the history or current condition of a lot or just want to ďŹ nd out more about the auction process.

Nick Curnow

nick.curnow@lyonandturnbull.com

Charlotte Riordan

charlotte.riordan@lyonandturnbull.com

Carly Shearer

carly.shearer@lyonandturnbull.com

Carly Shearer

carly.shearer@lyonandturnbull.com

How to Find Us in Edinburgh

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Lyon & Turnbull Saleroom

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

4 Lyon & Turnbull

1 HA920/2 GEORGE WATSON P.R.S.A. (SCOTTISH 1767-1837) FULL LENGTH PORTRAIT OF ROBERT GRANT R.N. BESIDE A ROWING BOAT Oil on canvas 170cm x 140cm (67in x 55in)

£12,000-18,000

Scottish Paintings & Sculpture 5 2 HA920/3 COLVIN SMITH R.S.A. (SCOTTISH 1795-1875) FULL LENGTH PORTRAIT OF GEORGE PATRICK SKENE OF PITLOUR WITH HIS SON AND GUNDOG Oil on canvas 236cm x 142cm (93in x 56in) Provenance:

The family and thence by descent to 2004 Private Collection

Literature: The portrait is listed in the Scottish National Portrait Gallery’s typescript of Colvin Smith’s sitter book for 1838.

£6,000-8,000

6 Lyon & Turnbull 3 HB685/1 SIR HENRY RAEBURN R.A. (SCOTTISH 1756-1823) HALF LENGTH PORTRAIT OF JOHN JEFFREY OF ALLERBECK (1768-1822) Oil on canvas 91cm x 71cm (36in x 28in)

Note: A hand written note verso confirms that the portrait was painted by Sir Henry Raeburn in 1812 as ‘distinctly remembered’ by his daughter Mrs Elizabeth Cunningham

Exhibited: Bourne Fine Art, Four Hundred Years of Scottish Portraits 2001, Ill.p.26

£15,000-20,000

A hand-written note on the reverse of this frame, written by the daughter of the sitter, states that the portrait was painted by Sir Henry Raeburn in 1812 in his York Place studio.

Raeburn was based in Edinburgh for the majority of his life. In 1778 he married a wealthy widow of independent means, whose dowry allowed him to dedicate himself entirely to painting. The couple combined two estates in Stockbridge and were instrumental in building to allow access to the New Town of Edinburgh. Raeburn was very much involved within the community, so much so that he allowed other artists the use of his studio.

In 1784 he travelled to London where he met Sir Joshua Reynolds, a key exponent of Renaissance art and the Old Masters. On Reynolds’ advice, Raeburn spent the following two years studying in Italy. In Raeburn’s youth he had been apprenticed to the goldsmith James Gilliland, which reinforces his link and appreciation of the great

masters, as Donatello and Cellini had also begun their artistic careers as goldsmiths.

From his time in Italy, Raeburn was able to build on his skills and cement his own style. Acknowledged as the founder of the Scottish School of Painting, Raeburn’s painting focuses on the individual. As can be seen in this portrait, Raeburn concentrates light on the head and the hands. He is therefore able to create a

lifelike image which the early photographers of the nineteenth century were beginning to develop techniques to get this result instantaneously.

The sitter in this portrait is John Jeffrey of Allerberck, an esquire who highlights the emergence of the middle classes. By commissioning a portrait of himself, Jeffrey was able to portray an image of his career within society. It is for this reason that Raeburn

was to have such a prolific career; painting over 700 portraits. This portrait would have been painted while Raeburn was 56.

By 1815 Raeburn had been elected a member of the Royal Academy in London and in 1822 was knighted by George IV and given the post of King’s Limner in Scotland.

The culmination of these events helped to galvanise the foundation of the Royal Scottish Academy in 1826.

Scottish Paintings & Sculpture 7 4 HB527/1 ALLAN RAMSAY (SCOTTISH 1713-1784) HALF LENGTH PORTRAIT OF LADY GRIZELL PRESTONGRANGE Signed and dated 1749, inscribed ‘Mrs Grant of Prestongrange / Died June 30th aged 84’ and ‘Decr.1749 Aetat 41’, oil on canvas, feigned oval

75cm x 62cm (29.5in x 24.5in)

Provenance: By family descent through Sir George Suttie to Sir George Grant-Suttie 7th Bt.; Sotheby’s 1948 (102) Bt. Doig Wilson & Wheatley, Edinburgh William Watt; Dowell’s, Edinburgh 1963, Bt. Gordon & Gordon

Literature: Alastair Smart, Allan Ramsay 1999, p.169, Ill.no. 319

£10,000-15,000

A renowned portraitist, Ramsay was well esteemed within the Enlightenment culture.

It was said that his education invited him further into the elite circles. His father, also named Allan Ramsay, was a poet and benefited from several forms of patronage.

This enabled the younger Ramsay to complete his Grand Tour.

In 1736 he travelled to the continent and the French Academy in Rome, under Francesco Imperiali, and under Francesco Solimena in Naples for two years. The skills acquired were sought after on his return to the extent that he established a successful studio and became court painter to George III, as soon as he returned to London.

Working primarily as a portrait artist, Ramsay was also an author and

antiquarian and was involved in the newly founded Society for the Encouragement of Art Manufacturers and Commerce in 1757. This involvement in Enlightenment Britain was helped furthermore by his personal connections. In March 1752 he eloped with Margaret Lindsey the daughter of Sir Alexander and Lady Lindsay of Evelick. Although her father would never accept the marriage, her connections within society introduced

Ramsay with families of both Scotland and England.

The subject in this painting is Lady Prestongrange, the wife of Lord Grant. He initially trained as an advocate, and in 1737 was appointed SolicitorGeneral for Scotland and was the Member of Parliament for the Elgin Burghs.

Ramsay also painted Lord Grant, emphasising the heart of the cultural and intellectual world that Edinburgh’s early Enlightenment elite inhabited.

Ramsay’s portraits were often of people known well to him, as such they are painted as if in conversation.

Just as Lady Prestongrange was an important subject to paint, securing Ramsay as the portrait artist was just as much a coup. Ramsay produced around 600 portraits in 30 years.

8 Lyon & Turnbull

5 HB889/2 JOHN BURNET H.R.S.A. (SCOTTISH 1784-1868) A DUTCH RIVER LANDSCAPE WITH SLEEPING COWHERD Signed and dated 1817, oil on panel 41.5cm x 69cm (16.25in x 27.25in)

£1,500-2,000

Scottish Paintings & Sculpture 9

6 HC578/1 ALEXANDER CARSE (SCOTTISH c. 1770-1843) A WEDDING TO BE Inscribed and dated 1821 on a label verso, oil on panel 23cm x 36.5cm (9in x 14.75in)

£3,000-5,000 Alexander Carse is known for his scenes of Scottish life and his most recognised paintings include a large canvas of George IV’s visit to Leith in 1822 and three early paintings of football matches, thought to be some of the earliest pictorial records of the game.

Born in East Lothian, Carse learned his trade at the Trustees Drawing Academy of Edinburgh in 1801 where he spent much of this time

studying Dutch painting, which influenced his later representations of interiors.

He was also taught by David Allan, who had a great influence on Carse’s early style. His talent was recognised quickly with a well-respected Scottish antiquarian describing him as the best painter of village scenes in 1808.

Taking this recognition to heart, Carse moved to London in 1812 and was to

spend almost the next decade working to establish himself as a serious competitor to David Wilkie. Such was the competition between the artists that, in 1819, they even went as far as to paint the same scene, both copying David Allen’s ‘Penny Wedding.’

Although both paintings were considered good enough to be exhibited, ultimately, it was Wilkie who sold his version to the Prince Regent. Despite Carse’s talent and attempts to

develop a style similar to Wilkie and thus achieve commercial success in London, his business proved unsustainable and he was forced to move back to Scotland. He ultimately died in poverty in 1843, though his talent is still acknowledged with a wide selection of his paintings remaining on display in the public collections of Scottish cities.

10 Lyon & Turnbull

7* HB881/1 ROBERT SALMON (SCOTTISH/AMERICAN c. 1775-1840) EYLES OF BUTE, LOOKING NORTH Signed verso and inscribed “No.617/ Painted by Robert Salmon/1828”, oil on artist’s board 40.5cm x 58.5cm (16in x 23in)

Note: Originally named Robert Saloman and known as a maritime painter of ships on the Firth of Clyde, the artist came to America in 1828, at which point he changed his name to Salmon. It is likely he sold this and other paintings at auction in Boston to raise money on his arrival. The artist’s account books state “No 617/ 2 days, 24 by 17, Eyles (sic) of Bute looking north/ sold auction in Boston to Painter 71/2 dolls”.

£7,000-10,000

Scottish Paintings & Sculpture 11

8 SV547/15 SIR EDWIN HENRY LANDSEER R.A. (SCOTTISH 1802-1873) STUDIES OF A DEERHOUND AND A RETRIEVER Pen and ink 7.5cm x 16.5cm (3in x 6.5in) Provenance: Martyn Gregory, London

£800-1,200

9 SV547/16 SIR DAVID WILKIE R.A. (SCOTTISH 1785-1841) STUDY FOR CHELSEA PENSIONERS 1822 Pen and ink

7cm x 9cm (2.75in x 3.5in)

£500-800

12 Lyon & Turnbull

10 HC578/2 ALEXANDER CARSE (SCOTTISH c. 1770-1843) THE RECRUITING PARTY, OR, THE KING’S SHILLING Oil on canvas 43cm x 66cm (17in x 26in)

£5,000-7,000

Scottish Paintings & Sculpture 13

11 HB650/15 JOHN HENRY LORIMER R.S.A., R.S.W., R.W.S., R.P. (SCOTTISH 1856-1936) PATRICK, SON OF SIR DAVID CHALMERS, AND HIS DOG Signed and dated 1886, oil on canvas 127cm x 102cm (50in x 40in)

£15,000-20,000

14 Lyon & Turnbull 12 HB528/3 ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928) BEN LOMOND Signed, signed and inscribed verso, oil on canvas 31cm x 36cm (12in x 14in)

£3,000-5,000

13 HB858/3 RICHARD ANSDELL R.A. (BRITISH 1815-1885) STUDY OF A HIGHLAND COW Oil on paper 21cm x 30cm (8.25in x 11.75in)

Note: Bears hand-written label verso ‘By R Ansdell RA Bought at Christies by R Woodhouse, March 19th 1886’. This has since been confirmed by one of Ansdell’s surviving family members as having been the date of the artist’s studio sale.

£2,000-3,000

Scottish Paintings & Sculpture 15

14* HA75/1 WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) GLENRAMSKILL NEAR CAMPBELLTOWN Signed and dated 1880, watercolour 35.5cm x 52cm (14in x 20.5in)

Literature: James L. Caw, William McTaggart 1917 pp.246-247.

Note: There are several watercolours of Glenramskill listed, this is possibly ‘Harvest-time, Glenramskill’.

£4,000-6,000

16 Lyon & Turnbull

15§ HB604/1 JOHN MCGHIE (SCOTTISH 1867-1952) HOME WITH THE CATCH Signed, oil on canvas

62.5 x 75cm (24.5 x 29.5in)

£4,000-6,000

John McGhie is one of many Scottish artists whose life and work are associated with a particular place, in his case, the picturesque coastal village of Pittenweem.

McGhie settled in the village around 1904, early in his married life, following art training at Glasgow School of Art, the Royal Academy schools and a spell in Paris, studying and socialising with the many other dynamic young artists in the city.

Despite this range of cosmopolitan training and experiences, it was in the

more rural Pittenweem that McGhie’s thorough training fatefully coincided with a subject that inspired him; the landscapes, light and inhabitants of this Scottish fishing village. Talent and subject consolidated in McGhie’s paintings of the village, ultimately creating the style and pictures for which he became known.

In these paintings, McGhie concentrated on the effects of coastal light and weather conditions on the landscape and the people who lived and worked there. McGhie was

particularly entranced by the fisherfolk of the village, loving to paint them; waiting by the shore for their men, holding baskets full of fish, as depicted in ‘Home With the Catch.’ He had a strong affection for, and affinity with, all the people of the village, recognising their remarkable beauty and dedication. He was reportedly very popular with inhabitants, paying generously for locals’ modelling services in both coins and chocolate.

Scottish Paintings & Sculpture 17

16 HB528/2 JOSEPH HENDERSON R.S.W. (SCOTTISH 1832-1908)

BY THE SEA Signed, oil on canvas 71cm x 112cm (28in x 44in)

£4,000-6,000

18 Lyon & Turnbull

17 HB28/1 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) HALLOWE’EN Signed, oil on canvas 76cm x 102cm (30in x 40in)

£12,000-18,000

Scottish Paintings & Sculpture 19

18 HA4/3 STUART PARK (SCOTTISH 1862-1933) A STILL LIFE OF PINK ROSES Signed, oil on canvas 41cm x 66cm (16in x 26in)

£2,000-3,000

20 Lyon & Turnbull

19 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) LULLABY Signed, oil on canvas

63.5cm x 46cm (25in x 18in)

Exhibited: British Association Exhibition 1939

£6,000-8,000

Scottish Paintings & Sculpture 21 20 SV547/103 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) ON THE ZUYDER ZEE Signed, oil on panel 25.5cm x 18cm (10in x 7in)

£3,000-5,000

21 SV547/36 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) CARNOUSTIE SHORE Signed, oil on canvas 46cm x 61cm (18in x 24in)

£4,000-6,000

22 Lyon & Turnbull EDWARD ATKINSON HORNEL

We are delighted to offer this extensive selection of paintings by Edward Atkinson Hornel. Although painted over nearly a twenty-year period, they are united in their striking, decorative style with flattened perspective and textured, decorative surfaces.

Hornel had developed a signature style and remained committed to it throughout his long and successful career; the lush greenery and pretty flowers, harmonious colour palettes and posing of pretty, rosy-cheeked girls within fecund forests and beside lily-scattered ponds are now immediately recognisable.

Hornel was born in Australia, to Scottish parents, before being raised in Kirkcudbright from the age of two. His artistic training consisted of three years at art school in Edinburgh, followed by two years of further study in Antwerp. Hornel’s artistic trajectory and development was launched in 1885 when he met the artist George Henry. Henry was one of the leaders of the group of painters known as the

Glasgow Boys; a loose association of Scottish artists whose paintings were inspired by contemporary French painting and Japanese prints. Henry quickly introduced Hornel into the Glasgow Boys circle and the two artists were soon painting out-of-doors and side-by-side in Galloway and Kirkcudbright.

The Hornel-Henry friendship and creative alliance encouraged both artists to develop a more decorative aesthetic with flat perspectives and rich colour, moving slightly away from the naturalism and realism normally associated with the work of the Glasgow Boys.

Hornel started to develop these highly stylised and decorative paintings of young girls in verdant landscapes that have become instantly recognisable and in his lifetime, and beyond, have brought him widespread popularity and commercial success.

22 HA621/1 EDWARD ATKINSON HORNEL (SCOTTISH 1864–1933)

BY THE LILY POND Signed and dated 1900, oil on canvas 127cm x 91cm (50in x 36in)

£50,000-70,000

Scottish Paintings & Sculpture 23

24 Lyon & Turnbull 23 SV484/15 EDWARD ATKINSON HORNEL (SCOTTISH 1864–1933) A QUIET NOOK Signed and dated 1912, oil on canvas laid down 54cm x 21cm (21.25in x 8.25in)

Provenance: Pearson and Westergaard

£4,000-6,000

Scottish Paintings & Sculpture 25 24 HB673/1 EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) GIRL WITH PEACOCK FEATHER Signed and dated 1917, oil on canvas 61cm x 51cm (24in x 20in)

£7,000-9,000

26 Lyon & Turnbull 25 SV484/14 EDWARD ATKINSON HORNEL (SCOTTISH 1864–1933) THREE GIRLS PICKING SNOW DROPS Signed and dated 1902, oil on canvas

49cm x 38.5cm (19.25in x 15.25in)

£8,000-12,000

Scottish Paintings & Sculpture 27

26 HB673/5 EDWARD ATKINSON HORNEL (SCOTTISH 1864–1933) THE BIRD’S NEST Signed and dated 1918, oil on canvas 51cm x 61cm (20in x 24in)

£8,000-12,000

28 Lyon & Turnbull 27 HB425/1 EDWARD ATKINSON HORNEL (SCOTTISH 1864–1933) SNOWDROPS, BRIGHOUSE BAY Signed and dated 1910, oil on canvas 93cm x 72cm (35.5in x 28.25in)

£8,000-12,000

28 HB303/1 GEORGE HENRY R.A., R.S.A., R.S.W. (SCOTTISH 1858-1943) ROUND THE MULBERRY BUSH Signed and dated 1890, oil on canvas 63.5cm x 76cm (25in x 30in)

Exhibited: Glasgow Art Gallery, A Century of Art In Glasgow Provenance: John Keppie Esq

£10,000-15,000

Scottish Paintings & Sculpture 29

GEORGE HENRY was one of the more enigmatic members of the group of painters now known as ‘The Glasgow Boys.’

The Boys were a loosely associated group of Scottish artists whose artistic vision was inspired by contemporary French painting and Japanese prints, and who used realism and naturalism to move away from Victorian sentimentality in their painting. They are now recognised as having revolutionised Scottish painting, yet in their lifetime, they were met with mixed critical comments.

Born in Ayrshire and trained at Glasgow School of Art,

Henry became one of the leading figures of the Glasgow School. Throughout the 1880s he worked alongside various members of the group including James Guthrie, Edward Walton, Joseph Crawhall and Arthur Melville, painting out-of-doors at both Brig O’ Turk in the Trossachs and Eyemouth near Cockburnspath. Henry met the artist Edward Atkinson Hornel in 1885 and they quickly formed a strong friendship; Henry introduced Hornel into the Glasgow Boys circle and the two artists were soon painting out-of-doors and side-by-side in Galloway

and Kirkcudbright.

The Hornel-Henry friendship and creative alliance encouraged both artists to develop a more decorative aesthetic with flat perspectives and rich colour, moving slightly away from the naturalism and realism of the Glasgow Boys. This development can be clearly seen in Henry’s striking and decorative painting, ‘Round the Mulberry Bush’ of 1890.

This stylish and sophisticated work is very rare, as after 1900 Henry seemed to reduce his time spent on creative experimentation and settled into painting more

conventional portraits and landscapes with figures.

Although less creatively daring, later paintings such as ‘Reverie’ demonstrate the skill and elegance that Henry maintained throughout his career. The composition is carefully balanced across the picture surface, the sitters’ elegant posture and dark clothing is symphonious with the intricate decoration of the figurine. Henry even utilises the unusual placement of his distinctive signature to contribute to a harmonious visual.

30 Lyon & Turnbull 29 HB684/1 GEORGE HENRY R.A., R.S.A., R.S.W. (SCOTTISH 1858-1943) REVERIE Signed, oil on canvas 76cm x 63cm (30in x 25in)

£6,000-8,000

Scottish Paintings & Sculpture 31 30 HB527/2 WILLIAM STRANG R.A., R.P.E. (SCOTTISH 1859-1921) ON HER BEST BEAHAVIOUR Signed and dated 1916, oil on canvas 76cm x 61cm (30in x 24in)

£4,000-6,000

32 Lyon & Turnbull EDWIN JOHN ALEXANDER Edwin John Alexander was particularly known for his sympathetic and decorative paintings of animals, and more particularly, his watercolour depictions of birds, of which we are delighted to offer a selection for sale. Alexander honed his skills studying the birds that he kept in his garden and visited in the zoo and often preferred to work on more unusual surface textures, including sugar paper, rough cardboard and linen.

Born in Edinburgh, Edwin was

31 HB278/3 EDWIN JOHN ALEXANDER R.S.A., R.S.W., R.W.S. (SCOTTISH 1870-1926) THE WHITE COCKATOO Signed and dated 1905, watercolour and gouache 51cm x 34.5cm (20in x 13.5in)

£4,000-6,000

the eldest son of the artist Robert Alexander, R.S.A. (1840-1923), who guided much of his son’s early artistic training. In fact, a trip organised by his father was to have a profound impact on Alexander’s artistic development. In 1887-8, father and son visited Tangier, along with the young Joseph Crawhall. Ultimately, Crawhall’s work was to have a strong influence on Alexander’s technique throughout his career, while this was also the trip where

the artist fell in love with the desert, painting many watercolours of the landscape, locals and indigenous animals and plants.

Alexander undertook pieces of formal training in Edinburgh and Paris before heading out to live in Egypt for many years, living a minimal lifestyle and learning to speak fluent Arabic. He developed his own style at this point, painting the vast expanses of desert, rather than more typical views and

exquisitely capturing the experience of Egypt’s heat and light. In 1904, Alexander married and permanently settled in Scotland, continuing to paint birds and animals as well as the occasional Scottish landscape. After the outbreak of war, he taught at the Edinburgh College of Art but a stroke in 1917 severely reduced his ability to paint and the last years of his life were marred by ill-health.

Scottish Paintings & Sculpture 33 32 HB278/1 EDWIN JOHN ALEXANDER R.S.A., R.S.W., R.W.S. (SCOTTISH 1870-1926) COLLAR DOVE Signed with initials and dated 1901, watercolour on buff paper 13.5cm x 13cm (5.25in x 5in)

£600-800

33 HB278/4 EDWIN JOHN ALEXANDER R.S.A., R.S.W., R.W.S. (SCOTTISH 1870-1926) THE YOUNG ROOK Signed and dated 1902, watercolour on buff paper

27cm x 42cm (10.5in x 16.5in)

£400-600

34 Lyon & Turnbull 34 HB278/2 EDWIN JOHN ALEXANDER R.S.A., R.S.W., R.W.S. (SCOTTISH 1870-1926) DOVES AND APPLE BLOSSOM Signed and dated ‘97, watercolour on silk 44.5cm x 37cm (17.5in x 14.5in)

£2,500-4,000

Scottish Paintings & Sculpture 35

35 HA4/1 JOSEPH CRAWHALL R.S.W. (SCOTTISH 1861-1913) SHEEP IN A MEADOW Signed and dated 1887, watercolour

20cm x 26cm (8.25in x 10.25in) Provenance: Ewan Mundy Fine Art, Glasgow

Literature: Vivien Hamilton, Joseph Crawhall 1990, ill. no. 38

ÂŁ6,000-8,000

36 Lyon & Turnbull KATHERINE CAMERON A childhood friend described Katherine Cameron as pretty and vivacious, in both appearance and personality; this is also an accurate description of her artworks.

Cameron worked within the medium of watercolour all her life and her great love was for flower painting, although she also experimented with folklore subjects, book illustrations and etching.

Cameron received her artistic training at Glasgow School of

36§ HB278/12 KATHERINE CAMERON R.S.W., R.E. (SCOTTTISH 1874–1965) A STILL LIFE OF ROSES Signed and dated 1895, watercolour

54cm x 38cm (21in x 15in)

Literature: Bill Smith, D.Y. Cameron - The Vision of the Hills 1992, Ill.Pl.44

£3,000-5,000

Art and then in Paris at the Academie Colarossi.

Alongside her brother, the artist D.Y. Cameron, Katherine was very involved in the Scottish art scene throughout her life. She exhibited at the R.G.I. for the first time in 1891, and in the following 74 years she submitted to all but three of the institution’s annual exhibitions. In 1893 she was also elected a member of The Glasgow Society of Lady Artists, a dynamic group and one of

the first art clubs for women in Britain.

Paintings, such as ‘A Still Life of Roses,’ painted when the artist was just twenty years old, demonstrate her maturity and sophistication as a painter. This precocious talent was recognised with her election as member of the R.S.W., aged just twenty-two.

Though committed to flower painting all her life, her approach changed from the early works with rich colour depicting large bouquets to a

more delicate style, inspired by fellow Scottish artists Joseph Crawhall and Edwin Alexander, of single stems with bees and butterflies, including ‘Snowdrops and Bee.’ Her landscape style also developed; from the linear style of ‘Achnacree Moss and Ben Cruachan’ in the 1920s and 1930s to a richer, more expressive approach.

Scottish Paintings & Sculpture 37 37§ HB278/13 KATHERINE CAMERON R.S.W., R.E. (SCOTTTISH 1874–1965) SNOWDROPS AND BEE Signed with initials, inscribed and dated on the reverse ‘March Ash Wednesday No.IV’, watercolour 18cm x 18cm (7in x 7in)

Literature: Bill Smith, D.Y. Cameron - The Vision of the Hills 1992, Ill.Pl.89

£800-1,200

38§ HB278/11 KATHERINE CAMERON R.S.W., R.E. (SCOTTTISH 1874–1965) ACHNACREE MOSS AND BEN CRUACHAN Signed, inscribed and dated on the reverse ‘Nov. 1920’, pen and ink and watercolour 26.5cm x 40.5cm (10.5in x 16in)

Literature: Bill Smith, D.Y. Cameron - The Vision of the Hills 1992, Ill.Pl.96

£500-800

38 Lyon & Turnbull

39 HB567/1 ARCHIBALD THORBURN (SCOTTISH 1860-1935) KINGFISHER Hand painted ceramic figure, signed with initials, painted mark to base ‘W.F. Embleton, 70 Jermyn St. London, copyright’ 13.5cm (5.5in) height

£2,000-3,000

40 HB894/1 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) THE CANARY Signed, oil on board 17cm x 11cm (6.75in x 4.5in)

£2,000-3,000

Scottish Paintings & Sculpture 39 41 SV484/38 ARTHUR MELVILLE (SCOTTISH 1858-1904) MALTA Signed and inscribed, watercolour heightened with bodycolour on buff paper

35.5cm x 50.5cm (14in x 19.75in)

and with the biography of Arthur Melville by Agnes E Mackay 1951 with an inscription to current vendors from Ian MacNicol Feb. 1973 (2) Provenance: Ian MacNicol Fine Art

£4,000-6,000

42§ HB278/6 SIR MUIRHEAD BONE H.R.S.A., H.R.W.S., H.A.R.I.B.A., H.R.E., L.L.B., D.LITT. (SCOTTISH 1876-1953) VILLAGE STREET, NIGHT Signed, pastel and charcoal on grey paper 22cm x 21cm (8.5in x 8.25in)

£600-900

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43 HB278/26 JAMES PATERSON P.R.S.W., R.S.A., R.W.S. (SCOTTISH 1854-1932) POOL IN CRAIGDARROCH GLEN (THE SHEEP DIP POOL) Signed, inscribed and dated ‘Moniaive 1887’, watercolour 36cm x 45cm (14in x 17.5in) Provenance: Lady Worlledge Mrs P. Watson

Exhibited: Belgrave Gallery London, The Paterson Family 1977 (ex. Catalogue) Lillie Art Gallery, Milngavie, James Paterson 1983, no.12

£2,000-3,000

Scottish Paintings & Sculpture 41 44 HB894/2 BEATRICE HOW (SCOTTISH 1867-1932) MATERNITÉ Signed, oil on canvas

71cm x 58cm (28in x 23in)

£2,000-3,000

Scottish Paintings & Sculpture 43 45 HB650/67 JOSEPH FARQUHARSON R.A. (SCOTTISH 1846-1935) GLOWED WITH TINTS OF EVENING’S HOUR Signed and dated 1911, oil on canvas

102cm x 152.5cm (40in x 60in)

£70,000-100,000

The hill, the yale, the tree, the tower, Glow’d with the tints of evening’s hour, The beech was silver sheen, The wind breathed soft as lover’s sigh, And, oft renew’d, seem’d oft to die With breathless pause between.

- Sir Walter Scott, The Lord of the Isles, XIII:15-20

Although he trained in Paris and exhibited in London, Joseph Farquharson was deeply tied to the Scottish countryside and his Finzean estate, as the source for the title of this painting illustrates.

He was born in 1847 in Edinburgh, and began his artistic education at the Trustees’ Academy, and at the life classes of the Royal Scottish Academy, where he first exhibited at the age of just fifteen. This work is perhaps prophetic of his mature interest in the natural world, and the snow-laden landscape scenes for which he would later become famed. His precocious talent might also have hinted at his future development into a painter whose ‘extraordinary virtuosity’ would be admired by fellow artist Walter Sickert.1

The young Farquharson was much influenced by landscape painter Peter Graham, however the four winters from 1880 that he spent under the tutelage of Carolus-Duran in his Parisian atelier proved to be a turning point in his development as an artist. The French academic painter discouraged his pupils from using under drawings, instead urging them to shape the forms of

their work directly on the canvas in paint. Indeed, in Farquharson’s work, such as this painting, we observe his masterful - and traditional painterly technique, which Sickert believed led to the contemporary viewer’s ‘slight sense of playing truant from Bloomsbury’. Whilst in Paris Farquharson would also have had the opportunity to experience first-hand the works of the Barbizon School and the Impressionists, famed for their work en plein air and, indeed, in 1881 he exhibited the snowscape Paysage - effet d’hiver at the Salon. Returning to Scotland, however, he ingeniously adapted the methods of his continental counterparts to the harsher northern climate by building a number of heated painting huts throughout the Finzean estate. Safe in their relative warmth, Farquharson could observe the effects of a dying day’s light on snow and trees from behind a large glass window, sometimes waiting weeks in order to capture a fleeting atmospheric condition on canvas.

Farquharson became famed for his snow scenes (leading to the epithet ‘frozen-mutton Farquharson’), exhibiting at least one each year in the Royal Academy from 1894 to

1925, excepting 1914, the year of his marriage. This work, exhibited at the Royal Academy in 1911, displays those qualities most loved in ‘The Painting Laird’s’ work; his faithful capture of the distant rose glow of an evening sun across a winter landscape, the scene filled with a quiet stillness, broken only by the beat of a crow’s wing through chill winter air. In this world, nature rules supreme; man’s only trace his weary tracks beaten through snow and mingled with those of the sheep he has led on to warmer pastures, the cottages around the stream’s bend bowed beneath their frosty blanket, yet hinting at warmth and companionship beside the hearth. Indeed, such works were so admired that crowds would eagerly gather around them at the Royal Academy shows, delighting in each subtle variation on familiar themes, while prints after his paintings proved infinitely popular.

1 Irwin, Francina. 1985. Joseph Farquharson of Finzean, Waverley Press, Aberdeen, pg. 5.

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46 HB217/10 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) FLOWER MARKET, PARIS Signed, oil on card 41cm x 51cm (16in x 20in)

£4,000-6,000

Scottish Paintings & Sculpture 45

47ยง HB372/34 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) ON THE WEST COAST Signed, oil on canvas

43cm x 53.5cm (17in x 21in)

ยฃ2,000-3,000

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48§ HA79/1 JAMES MCBEY (SCOTTISH 1883-1959) ST. MONANCE Signed and dated ‘3 September 1929’, oil on canvas

48.5cm x 63.5cm (25in x 19in)

£5,000-7,000

Scottish Paintings & Sculpture 47

49§ HA79/2 JAMES MCBEY (SCOTTISH 1883-1959) PITTENWEEM Signed and dated ‘2 September 1929’, oil on canvas

63.5cm x 48.5cm (25in x 19in)

£2,500-3,500

48 Lyon & Turnbull 50§ HB339/1 SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., P.P.R.S.W., R.A. (SCOTTISH 1898-1973) ROSEBERRY Signed, pencil and watercolour 25.5cm x 25cm (10in x 9.75in)

£1,500-2,000

51§ SV547/5 ROBERT HENDERSON BLYTH R.S.A., R.S.W. (SCOTTISH 1919-1970) ABERNETHY Signed, pen and ink and watercolour 25cm x 32cm (9.75in x 12.5in) Exhibited: Aitken Dott & Son, 1972, no.74

£600-900

Scottish Paintings & Sculpture 49 52ยง HB278/20 SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., P.P.R.S.W., R.A. (SCOTTISH 1898-1973) ON THE RIVER TYNE Signed, pen and ink and watercolour 63.5cm x 48cm (25in x 19in) Exhibited:

Aitken Dott & Son Edinburgh, Festival Exhibition 1963 no.2 W.G. Gillies Exhibition 1989, no.47

ยฃ3,000-5,000

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53§ HB528/1 ADAM BRUCE THOMSON O.B.E., R.S.A., P.P.R.S.W., H.R.S.W. (SCOTTISH 1885–1976) THE OLD DEAN BRIDGE Signed, oil on canvas 76cm x 91cm (30in x 36in)

£3,000-5,000

Scottish Paintings & Sculpture 51

54§ HC578/4 STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) CASSIS Signed and dated 1920, watercolour

58cm x 81cm (22.75in x 31.75in)

Note: Cursiter also painted a smaller watercolour version of this composition, showing the same scene but in dusky evening light. This smaller version is in the collection of Stromness Community Council.

£15,000-20,000

Stanley Cursiter was one of the most high profile figures in the Scottish arts scene of the 20th century, in both his role as artist and as Keeper and then Director of the National Galleries of Scotland, from 1919 to 1948.

He was an innovator in everything he approached, starting from his time spent in the army where he developed new and faster methods for processing aerial photographs, earning himself two mentions in dispatches and a military O.B.E. In artistic terms he is credited with

introducing PostImpressionism and Futurism to Scotland, championing the cause to have a Scottish National Gallery of Modern Art and is considered one of the finest Scottish portrait painters of the twentieth century.

Born in Kirkwall, Orkney, Cursiter then moved to Edinburgh and studied at Edinburgh College of Art. In 1920 he spent time in the South of France, creating elegant watercolour depictions of the area’s landscape and architecture in

works that share an affinity with the Scottish Colourists.

Throughout his life, he painted expressive watercolours of particular areas of Scotland with personal associations including East Lothian, Shetland and Orkney. Cursiter was also known for his elegant portraits and scenes of girls in interiors, lovely examples of which still hang in the institution he dedicated much of his life to, the National Galleries of Scotland.

52 Lyon & Turnbull 55 HA79/4 ALEXANDER ROCHE R.S.A. (SCOTTISH 1861-1921)

BY THE STREAM Signed, oil on board 38cm x 46cm (15in x 18in)

£1,000-1,500

56§ HC578/3 STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) HAROLDSWICK, UNST Signed with a monogram, inscribed and dated 1909 on a label verso, oil on board 24cm x 33cm (9.5in x 13in)

Literature: Illustrated in Pamela Beasant 'Stanley Cursiter: A Life of the Artist' 2007, pg. 15.

£2,500-4,000

Scottish Paintings & Sculpture 53

57ยง HB857/1 JOHN DUNCAN R.S.A., R.S.W. (SCOTTISH 1866-1945) THE CHALLENGE Oil on canvas with tempera

51cm x 61cm (20in x 24in)

Note: There are two other versions of this painting. One is in the City of Glasgow collection (Kelvingrove Art Gallery & Museum): it is called Force and Reason and was painted in 1939. The other is in the City of

Edinburgh collection and is called The Challenge and was painted in 1934. It was exhibited at the Society of Eight in 1934. This lot is the same size as the Edinburgh piece while the Glasgow piece is larger.

Literature: John Kemplay, The Paintings of John Duncan - A Scottish symbolist, 1994, p.93 with full page illustration

ยฃ8,000-12,000

54 Lyon & Turnbull 58§ HB650/71 EDUARDO PAOLOZZI C.B.E., R.A. (SCOTTISH 1924-2005) LES MERVEILLES Plaster relief 42cm x 54cm (16.5in x 21.25in)

£600-800

59§ HB283/1 ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., R.O.I., R.B.A. (SCOTTISH 1895-1965) STILL LIFE WITH FLOWERS Signed, watercolour 24.5cm x 30.5cm (9.75in x 13.75in)

£1,000-1,500

Scottish Paintings & Sculpture 55 60§ SV547/1 ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., R.O.I., R.B.A. (SCOTTISH 1895-1965) MEDITERRANEAN ROOF TOPS Signed, pencil and watercolour 26cm x 20cm (10.25in x 8in)

£1,000-1,500

61§ HA78/158 ROBERT COLQUHOUN (SCOTTISH 1914-1962) HEAD Signed and dated 1959, mixed media 49cm x 35cm (19.25in x 13.75in) Provenance: A gift from the artist to Barbara Rowland and thence by descent

£1,500-2,000

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62ยง HB895/1 JAMES MACINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) OVERLOOKING ST. ANDREWS BAY Signed, oil on canvas 71cm x 91cm (28in x 36in)

Note: The view is from a hilltop looking down over Kirktonbarms Farm near Tayport.

Provenance: The painting was commissioned in 1972, as a 60th birthday gift for the then owner of the farm, and thence by descent.

ยฃ10,000-15,000

Scottish Paintings & Sculpture 57

63§ HB675/3 KEITH HENDERSON O.B.E., R.S.W., R.W.S., R.O.I. (SCOTTISH 1883-1982) FAMAGUSTA, CYPRUS Signed, oil on board

37cm x 92cm (14.5in x 36.25in)

Note: Born in Aberdeenshire, Keith Henderson’s childhood was divided between Scotland and his schooling in London. As a young man he studied at the Slade School of Art and the Académie de la Grande Chaumière in Paris. Perhaps best known for his work as a book illustrator and poster designer for London Transport and the Empire Marketing Board, he was in fact also the first artist - alongside Paul Nash to be officially commissioned as a full-time salaried artist to the Air Ministry by the War Artists’ Advisory Committee, WAAC.

64 HB854/1 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) PORTRAIT OF A LADY Signed, signed and titled verso, oil on canvas 61cm x 51cm (24in x 20in) Provenance: R.H. Morton Esq

£5,000-8,000

The work offered here for sale pertains to his year spent painting on Cyprus for the Empire Marketing Board. His graphic style filters across into his oil technique, using flat, simplified shapes and pure colours.

Upon his return to the U.K. Henderson held a solo show of paintings of Cyprus at the Beaux Arts Gallery in London.

£2,000-3,000

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65 SV547/66 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) BEACH ON THE WEST COAST Signed, watercolour 14cm x 33cm (5.5in x 9in)

£4,000-6,000

Scottish Paintings & Sculpture 59

66 HA671/54 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) IONA ABBEY RUINS FROM THE NORTH Signed, pencil and watercolour 18cm x 25.5cm (7in x 10in)

Literature: Philip Coupe, Paintings of Iona, Cadell and Peploe 2014, p.36 for an oil painting by Cadell taken from almost the exact point of view.

ÂŁ4,000-6,000

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Scottish Paintings & Sculpture 61 67 HC570/1 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) CATHEDRAL ROCK, IONA Signed, oil on board

38cm x 46cm (15in x 18in)

Provenance: Fine Art Society, Glasgow, November 1981, no.9457

£60,000-80,000

The term ‘The Scottish Colourists’ is now used to refer, exclusively, to the artists J.D. Fergusson, F.C.B. Cadell, G.L. Hunter and S.J. Peploe.

Each artist was greatly inspired by French PostImpressionist painting and all four shared a common commitment to the use of colour and the free handling of paint. They were also united by a passion for travel.

Peploe’s deep admiration for contemporary French painting drew him to France, travelling regularly on painting trips and living for a time in Paris. Yet it was his friendship with fellow Scottish Colourist F.C.B. Cadell, that first drew Peploe to Iona; a place that was to become very important to the artist for the rest of his life.

He visited for the first time in 1920 and travelled throughout the picturesque island, eventually deciding that he felt the North End offered the best vistas; a preference which remained as he painted viewpoints from the North End almost exclusively during the rest of his Iona visits. The picturesque, panoramic views, gorgeous West Coast light and constantly changing weather and tidal conditions of Iona drew both Cadell and Peploe back summer after summer from then on.

Although Peploe’s free handling of paint and liberal, expressive brushstrokes may suggest that he was creating a rough impression of Iona’s rocky coastline, in fact,

paintings such as ‘Cathedral Rock’, demonstrate how truly topographically accurate and faithful his depictions were, with locations consistently able to be identified from life in the present day. Cathedral Rock itself is a well-known Iona landmark, situated on the headland that makes up the extreme northeast corner of Iona and a subject that both Peploe and Cadell depicted on a number of occasions, often, as here, with the chalky texture and high horizon lines that characterised their Iona scenes.

62 Lyon & Turnbull 68 HA621/2 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) STILL LIFE WITH ROSES Signed, oil on canvas 46cm x 41cm (18in x 16in)

Provenance: Aitken Dott & Son, Peploe Exhibition 1947, no.34

£80,000-120,000

Peploe’s mature painting, from the late 1920s until his death in 1935, shows the culmination of his disciplined exploration into the potential of still life as a subject.

Simple objects, carefully positioned, offered Peploe the opportunity to perfect composition, tonal balance and painterly brushstrokes.

“There is so much in mere objects, flowers, leaves, jugs, what not – colours, forms, relation – I can never see mystery coming to an end”, Peploe wrote in 1929.

After the First World War, Peploe had studied the work of Paul Cézanne intensely. In the early 1920s he combined Cézanne’s structural painting with Henri Matisse’s bold palette of primary colours. By the late 1920s Peploe returns with more subtlety to the muted colours of Cézanne in paintings that are cooler in palette, weightier in form and focused on tonal harmony, with loose brushwork and splashes of warm colour, enlivening the overall effect.

Here, the pink and yellow roses are in full sonorous bloom. The neutral background allows the pure delicate colour of the petals to stand out, despite their softness. The painting has a tactile feeling. The fabrics on the table and in the

background are crumpled.

This is echoed in the fullblown roses and even the cup and saucer are softly outlined.

The paintings from this period have a fresh purity which links them to Peploe’s landscapes and seascapes from Iona. In August of 1920, F.C.B. Cadell persuaded Peploe, his great friend, to join him on a painting trip to the Island of Iona in the Hebrides. It became the first of many visits. Peploe, like Cadell, was captivated by the cool colours, the white, grey, blue, turquoise and pink found in the sea, sky, sand and rocks viewed from the shores of the island. These colours become predominant in the late still life painting.

The shifting weather in the Hebrides forced a brisk style of painting and the techniques Peploe employed on Iona assisted him towards a simplification of still life painting. During this time Peploe also adopted the practice of working on an unprimed surface. The absorbent gesso ground requires rapid painting and results in a chalky finish, which captures natural light so effectively.

The soft fleeting brushwork of the late works suggests an impulsiveness, however, this

was never characteristic of Peploe’s method of painting still life. He would painstakingly position and reposition the objects before settling on a composition. The great mastery of these works is that they do not feel overly organised and static. They have calm, quiet energy which celebrates the process of painting.

By the 1930s Peploe was acknowledged as a leading contemporary artist. He was again selected for the Venice Biennale in 1930. The Tate Gallery, Manchester Art Gallery and Aberdeen Art Gallery all acquired his works.

He exhibited in Edinburgh, London and Paris and the French government acquired a second painting. Although Peploe produced many stunning portraits, landscapes and figurative subjects, the still life genre afforded him a lifetime of possibilities and today he is recognised as the most important still life painter in Britain in the twentieth century.

Scottish Paintings & Sculpture 63

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69 HC576/1 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) STILL LIFE WITH VIOLIN Signed, oil on canvas 31cm x 48cm (12.25in x 19in)

£40,000-60,000

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Scottish Paintings & Sculpture 65 70§ HC577/2 ROBERT HENDERSON BLYTH R.S.A., R.S.W. (SCOTTISH 1919-1970) PARIS WINDOW Signed, oil on board 75cm x 57cm (29.5in x 22.5in)

Exhibited: Aberdeen Art Gallery and Museum, R. Henderson Blyth Memorial Exhibition 1972, no.19

£8,000-12,000

Works by the artist Robert Henderson Blyth seldom come up at auction, particularly not on this scale of execution. Born in the Glasgow area in 1919, he studied at the Glasgow School of Art. As was the case with so many artists, writers and poets of his generation, World War 2 then occupied the next few years of his life, proving a formative experience both personally and artistically.

Whilst serving in the Royal Army Medical Corps, Blyth continued to paint and sketch. Inspired by (or perhaps more appropriately, horrified by) his surroundings in the heavily blitzed city of Hamburg, he produced some of his most notable paintings.

This included ‘The Image of Man’, 1947 which was acquired by the War Artists’ Advisory Committee.

Upon his return to Scotland, Blyth found teaching posts at the Edinburgh College of Art, Hospitalfield in Arbroath and ultimately Grays School of Art in Aberdeen where he taught until his relatively early death in 1970. He often took to the East Coast to paint alongside his friend William Gillies, the two sharing various stylistic approaches including a selective sparseness to their description of the surrounding landscape.

Fundamentally, Blyth’s style has much in common with England’s Neo-Romanticists including Paul Nash, John Minton and The Two Roberts; while the work offered here for sale echoes the tonal and architectural qualities of John Piper.

In this work, we are invited to gaze through a Parisian

window at night, the inky blue sky silhouetting the ironwork balcony and picking out the detail of the translucent lace drapes. A somewhat strange, still and contemplative composition, the viewer might even imagine themselves a protagonist in one of the great inter-war novels by Hemingway or Isherwood.

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Scottish Paintings & Sculpture 67 71§ HB983/1 JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) THE TUILERIES GARDENS, PARIS Signed and dated 1920, oil on canvas 51cm x 61cm (20in x 24in)

£25,000-35,000

On arriving in Paris, the capital of avant-garde painting circa 1920, John Maclauchlan Milne’s art decisively broke with the largely pastoral paintings that had characterised his pre-war style (a traditional style largely influenced by his father, also an artist, who is presumed to have taught the young Milne to paint). Milne rented a studio on Rue des QuatreVents, near the Luxembourg Gardens on the Left Bank.

From there he explored the famous sights including the Tuileries Gardens, Montmartre, Place de la Concorde, Notre Dame and the banks of the Seine. Most of the paintings from this period are on small panels, which could easily be transported around the city together with his paint box, palette and brushes. These

plein-air paintings are executed with rapid brushstrokes although larger paintings such as the present work may have been painted from sketches in the studio.

Many of his Parisian oils are brimming with the hustle and bustle of the metropolis, with figures dashing across sunlit squares, motor cars on narrow streets, boats loading and crowds gathering for concerts. This painting of a fountain in Le Jardin des Tuileries has a much more peaceful atmosphere. The fashionable couple recall the elegance of 1920’s pleasure gardens. The pale pink of the lady’s dress picks up the colours of the blossoms in the foreground. The trees, flowers and fountain create an overall decorative pattern.

Between 1921 and 1923 Milne exhibited five Parisian scenes

at the Royal Glasgow Institute.

Milne continued to travel between France and Scotland during this period and held an exhibition of Paris panels at his studio at 132 Nethergate, Dundee in 1922.

The exhibition was very well received.

Although it was Paris that brought Milne‘s paintings to life, his time in the city was brief. By late 1922 Milne had discovered the village of Lavardin near Tours where he rented a studio for a period before moving further south to Provence, continuing to follow in the footsteps of his older Scottish Colourist peers.

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72§ HC577/1 ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., R.O.I., R.B.A. (SCOTTISH 1895-1965) STILL LIFE WITH ORANGES Signed, oil on board 51cm x 61cm (20in x 24in)

£30,000-40,000

‘Something of a legend’. With these words Sir William MacTaggart described Anne Redpath, an artist awarded the OBE, President of the Scottish Society of Women Artists and the first female Academician of the Royal Scottish Academy.

Despite the desires of her father, who wanted his

daughter to attend the university, Redpath graduated from Edinburgh College of Art in 1919, which led to travels to Brussels, Bruges, Paris and Italy.

On return from her trips, Redpath was engaged to James Michie and married him in 1920. Soon afterwards, the young couple moved to France, where they would reside until 1934 when, due to economical issues, she decided to return to Hawick.

Her return to Scotland would

result in her complete dedication to painting, initially focusing on the study of still life and landscape, and later concentrating on domestic interior themes. This period is characterized by the Fauves influence of Matisse on the use of colour and the representation of household items such as furniture, rugs and vases of flowers.

The 50s would be prosperous years for Redpath. This is the time when she became a well know artist within the Scottish

art world. These years were also characterised by her numerous travels throughout Europe, especially around the Mediterranean coast, which would leave a deep mark on her pictorial style. From then on her urban landscapes would be distinguished by the attention to the detail of the decorative arts of the buildings depicted and her brushwork would gradually became more vigorous and expressive, responding to the Abstract Expressionism style.

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Scottish Paintings & Sculpture 69 73ยง SV547/153 JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) THE MOUND, EDINBURGH Oil on board 12.5cm x 10cm (5in x 4in)

Provenance: Margaret Morris Fergusson Aitken Dott & Son, Recent Acquisitions Exhibition 1977, no.43

ยฃ8,000-12,000

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74ยง JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) A STREET IN CASSIS Charcoal and watercolour

23cm x 29cm (9in x 11.5in) Provenance: Margaret Morris Fergusson

Exhibited: Glasgow University Print Room Exhibition 1961, no.12 Fine Art Society, Glasgow, Fergusson Exhibition July 1982

ยฃ8,000-12,000

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Scottish Paintings & Sculpture 71

75§ JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) NEAR THORENC Signed and dated Oct 7.53 verso and on a label to stretcher, oil on canvas 54.5cm x 65cm (21.5in x 25.5in)

£30,000-50,000

Although committed to Scotland and, at heart, a Scottish artist, J.D. Fergusson’s second, creative home was always France. He was drawn to the culture there as well as French society’s openness to new ideas and creative debates, while he remained inspired by its artists throughout his life. He found France both a relaxing and

stimulating place to be, and it was a country he both lived in and visited regularly throughout his professional life.

In the offered artwork, Fergusson successfully captures the heat and light of the South of France. The lush, verdant green tones are highlighted and complemented by an

undercoat of strong pinks and oranges, with a hint of this pink filtering throughout the composition, especially in the clouds above the distinctive high horizon line. This clever use of the complementary tones of green and pink, inspired by the Fauvist movement, adds a lightness and vivacity to the composition.

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72 Lyon & Turnbull 76 HC570/3 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) STILL LIFE: BOOKS AND A PEAR AND TULIPS IN A VASE Signed, oil on canvas 68.5cm x 56cm (27in x 22in) Provenance: Mrs J. MacFarlane Dr. T.J. Honeyman J.I.C. Wilson Esq

Exhibited: Feragil Galleries, New York, Hunter 1929 Bradford Art Gallery 1936, no.147 RSA Festival Exhibition 1949, no.90 Glasgow Art Gallery, Scottish Painting 1961, no.191 Scottish Arts Council Touring Exhibition, Three Scottish Colourists, 1970 no.48 Literature: New York Times 5/5/29 illustrated

£80,000-120,000

By the 1920s Hunter’s work began to exhibit the signs of his absorption of a new style: French Modernism. The Dutch inspired dark backdrops and densely arranged objects gave way to light panelling and colourful draperies; his still lives gaining a more spontaneous and incidental appearance. The brushwork followed suit, becoming broader and heavier in impasto and texture. Though it might be read as a loosening up of technique, Hunter was in fact as meticulous as ever in the adoption of his new approach, keenly emulating the carefully structured play of colour and form developed

by Cézanne.

The example offered here for sale probably dates to the late 1920s. An unusual majolica vase holds a spray of colourful tulips and a single pear comes to rest at an angle on the leather top desk.

A sparser composition than many Hunter undertook, the approach is sophisticated and

the effect extremely modern.

Hunter occasionally outlined his objects in a thick black line, a technique employed by the French artist Auguste Chabaud, and also emulated at points by Hunter’s fellow Colourists Fergusson and Peploe. The effect is to encourage his cleverly juxtaposed colours to sing and, again, accentuate a sense of crisp modernity.

Hunter’s troubled personality could sometimes spill onto his canvases, bringing with it chaotic elements. This work, however, is Hunter at his best: assured, clever and confident.

This painting was immediately popular as an exhibition piece - a testament to the effectiveness of the overall scheme. It was featured in Hunter’s solo show at the Ferargil Galleries, New York, in 1929. The American press took very favourably to his show and his still lives including this work which was illustrated in the exhibition catalogue - were singled out for particular praise, The New York Times critic remarking, “…Mr Hunter’s strongest point is his colour, which is gay and attractive, attaining a luscious brilliancy in some of his handsome decorative still lives.”

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74 Lyon & Turnbull 77 HC570/2 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) STILL LIFE WITH MELON Signed, oil on canvas 56cm x 46cm (22in x 18in)

Provenance: Fine Art Society , July 1982, no.10052

£50,000-70,000

The genre of still life was, from Hunter’s earliest days as an artist, a significant and important aspect of his oeuvre. The development of his technique in this area fascinatingly charts the arc of his interest in European art, from the Dutch tradition through to French Modernism.

The work shown here is likely to be a pre-WW1 composition, evidenced by its elegant Edwardian overtones. The velvety black backdrop, sumptuously displayed fruits and delicate glassware immediately recall the Dutch still lives of 17th century artist Willem Kalf. So too does the optical effect of presenting some objects – the rumpled linen cloth and fringed fan here – spilling over the edge of the table top as if into the

viewer’s realm. Hunter may have initially absorbed these Dutch tendencies via his admiration of French artist Edouard Manet.

Interestingly, S. J. Peploe also worked in a notably Dutch manner at a similar point in his career. Though the pair would not have been aware of each other at this stage, their journey towards the adoption of French Modernist practice followed a remarkably similar trajectory.

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76 Lyon & Turnbull 78§ HC591/1 DAVID MICHIE R.S.A., R.G.I., F.R.S.A., O.B.E. (SCOTTISH b. 1928) EDGE OF THE BEACH WITH PARAGLIDER Signed, oil on canvas 69cm x 80cm (27.25in x 31.5in)

£2,000-3,000

79§ HC590/1 JAMES MORRISON R.S.A., R.S.W., L.L.D. (SCOTTISH b. 1932) ANGUS LANDSCAPE Signed and dated 25.2.93, oil on board 76cm x 101.5cm (30in x 40in)

£3,000-5,000

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Scottish Paintings & Sculpture 77 80§ HB740/1 SPENCE SMITH R.S.A. (SCOTTISH 1880-1951) SOUND OF IONA Signed, signed and inscribed verso, oil on board

51cm x 61cm (20in x 24in)

£2,000-3,000

81§ SV547/90 SIR WILLIAM MACTAGGART P.P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) AFTER RAIN Signed, oil on board 25.5cm x 36cm (10in x 14in) Provenance: Aitken Dott & Son, Christmas Exhibition 1964

£3,000-5,000

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78 Lyon & Turnbull JOAN EARDLEY Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing, along with the old buildings, and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children, writing: “… they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always

82§ HB432/1 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) STACKS AT SUNSET Signed verso, oil on board

11.5cm x 33.5cm (4.5in x 13.25in)

Exhibited: Aitken Dott & Son, Edinburgh, Joan Eardley Exhibition 29th May to 10th June 1961, no.50

£5,000-7,000

want to paint.”

Eardley had an attic studio in Townhead at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting.

It was here that the majority of her famous depictions of the local street children were painted. Eardley had a particularly strong relationship with the Samson family whose twelve children of various ages all sat for her at one point or another. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and

they recur as recognisable characters in her drawings.

Children were not her only subjects, however, and she was also drawn to older sitters; her studies empathetic, respectful and evocative of a sense of pathos. The small work offered here for sale of a black-clad, black-haired lady working with fabric at a table bears similarities to studies she made during her travels in Italy and France, having won the Carnegie scholarship from the Royal Scottish Academy in 1948 and may indeed date from this period.

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Scottish Paintings & Sculpture 79 83§ SV547/53 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) THE OLD AGE PENSIONER Pastel 13.5cm x 10cm (5.25in x 4in) Provenance: Aitken Dott & Son, Christmas Exhibition 1968, no100, ED317

£2,000-3,000

84§ HB278/17 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) BOY IN BLUE BLAZER Pastel

26cm x 14cm (10.25in x 5.5in)

Provenance: Cyril Gerber Fine Art, Glasgow.

Studio Inventory Number ED665

£5,000-7,000

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80 Lyon & Turnbull

85§ HB931/1 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) THE TWELVE APOSTLES Signed, pen and ink, pastel and watercolour

44cm x 73cm (17.5cm x 28.75in) Provenance: A.F. Armstrong, Glasgow

£8,000-12,000

86§ SV547/55 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) GLASGOW TENEMENT Pastel

Provenance: Aitken Dott & Son, Christmas Exhibition 1968, no.91, ED466

£4,000-6,000

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Scottish Paintings & Sculpture 81 87ยง SV547/177 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) BOY IN A BLUE SHIRT Pastel

54.5cm x 30.5cm (21.5in x 12in) Provenance: Aitken Dott & Son, Christmas Exhibition 1967, no.57, ED687

ยฃ10,000-15,000

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82 Lyon & Turnbull 88§ HB931/2 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) WOMAN SEATED AT A TABLE Pen and ink and pastel 9.5cm x 12.5cm (3.75in x 5in) Provenance: Compass Gallery, 1975, ED308

£1,000-1,500

89§ HB278/18 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) CRAGGY HILLSIDE WITH COTTAGE, COMRIE Ink and watercolour

21cm x 29cm (8.25in x 11.5in) Provenance: The artist’s studio ED no.1417

Exhibited: The Scottish Gallery, Edinburgh, Joan Eardley June 1988 no.42

£1,500-2,000

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Scottish Paintings & Sculpture 83 90§ HB931/3 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) A VIEW OF EARDLEY’S TOWNHEAD STUDIO Pastel

14.5cm x 13cm (5.75in x 5.25in)

£2,000-3,000

91§ HB278/19 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) THE HORSE-DRAWN COAL CART Pastel on two joined pages 9.5cm x 20cm (3.75in x 8in)

Provenance: Roland, Browse and Delbanco, London Fine Art Society Ltd, London 1988

Exhibited: The Scottish Gallery, Joan Eardley 1988, no.35

£2,000-3,000

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84 Lyon & Turnbull 92ยง HB889/3 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) SMALL GIRL IN PINK Mixed media

16cm x 12cm (6.25in x 4.75in)

ยฃ5,000-7,000

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Scottish Paintings & Sculpture 85 93*§ HB442/1 ANGUS NEIL (SCOTTISH 1924-1992) BOY READING Signed, oil on canvas

76cm x 51xm (30in x 20in)

Note: The model for this painting would appear to be Andrew Samson who frequently was the subject of works

by Joan Eardley

£3,000-5,000

Angus Neil was born in 1924 in Kilbarchan, Renfrewshire, and grew up in Arbroath.

Originally a joiner, he served as a wireless operator in a Churchill tank during the war before going on to enrol at Hospitalfield School of Art under James Cowie in 1947 where he met and befriended the artist Joan Eardley. Neil had developed mental health issues after the war and, though neither he nor Eardley were by any means easy company (Eardley herself suffered with depression and was said to be a difficult character), they soon struck up a close friendship. Eardley described their time there in a letter to her family: “precipices are everywhere… I’m in a bit of a state up and down and Angus is a bit mental anyway… And Mr and Mrs Cowie suspect everybody of everything that’s immoral and each other – It’s really very funny – I wouldn’t have missed it”. Their friendship would endure when they moved to Glasgow where both then attended the Glasgow School of Arts as part-time students.

Eardley occasionally made Neil the subject of her paintings and the two worked closely. Unsurprisingly then, their work is very similar stylistically. Working in the same subdued tones, Neil

also took the young children from the surrounding tenements as his subjects and his biographer, Henry Guy, has posited the theory that some of Neil’s works may in fact have been mistaken for Eardley’s over the years.

The two maintained their devoted, if tempestuous, friendship for the entirety of Eardley’s short life, painting

together in Glasgow and Catterline until her tragically early death. Neil continued to exhibit works throughout the 1950s and ‘60s, including at the Royal Scottish Academy and the Royal Glasgow Institute. From the mid ‘60s, he sadly spent periods in psychiatric care in Sunnyside Hospital, Arbroath, which limited his artistic output.

Angus Neil died in 1992 and

relatively few of his artworks are known to survive today, making this work a scarce example. That it is demonstrative of Neil’s skill as an artist and referential of his close relationship with Eardley makes it all the more fascinating a picture.

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86 Lyon & Turnbull SIR ROBIN PHILIPSON ‘You must keep your own identity. You must never lose sight of your own vision, however grand or modest it might be’.1

The advice that the Scottish artist Sir Robin Philipson gave to his friend and student John Bellany at Edinburgh College of Art is more than anywhere else reflected in his own work.

Born in Lancashire as Robert Philipson, the artist moved at a young age to Scotland where he studied at Edinburgh College of Art. In 1973 he was elected President of the Royal Society of Arts and between 1960-82 he was Head of the School of Drawing and painting at Edinburgh College of Art. Philipson’s visionary subjects and uncompromising style convey the very ‘identity’ of his paintings that render his oeuvre so recognisable.

Whereas his early work was mainly committed to landscapes and still lives, in later years his topics became more unusual. In the 1950s and 60s Philipson painted predominantly animals, mainly horses and birds and, after a trip to South Africa in 1975, also zebras.

But the Scottish artist not only focused on nature.

Human environment and

94§ SV547/176 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) FIGURES ON A BEACH 1967 Signed, watercolour

19.5cm x 22.5cm (7.75in x 8.75in)

Provenance: Aitken Dott & Son, Philipson Exhibition 1968, no.29

£800-1,200

related themes including cathedral interiors, crucifixions, kings and scenes of his army experience, became key topics of the late period.

Philipson’s figures appear (mostly) as female nudes with very reduced bodies and faces. In the first decades of the 20th century, the motif of a faceless figure became protagonist in many works of Dadaist or Surrealist artists.

This was meant as a critique against modern society that would turn the human being into an anonymous and emotionless creature. But Philipson’s figures should not be mistaken as a result of this artistic upturn. His figures have no similarities to machines. Instead, they have the ability to communicate, to show emotions and also eroticism, they are therefore throughout human, which is also emphasised by the title

of his famous ‘Humankind’ (1973). With this series Philipson has created a counter-model to the common vocabulary to express ‘man’s predicament’.

The composition of ‘Humankind’ includes the zebras and architectural forms from earlier paintings in collage like arrangements, which in their complexity evoke a similar atmosphere to a long lost memory.

The expressionistic style of Philipson’s paintings was influenced by John Maxwell and William Gillies from the belle-peinture school of Edinburgh and became, in later years, increasingly more abstract. The long and thick brushstrokes and the impasto, just like Oskar Kokoschka, remain an important feature throughout his work.

Unlike most artists at the time, Philipson rejected

synthetic pigments. He formulated his own colours by consulting treatises from the renaissance and experimenting with unusual materials. The painting ‘Figures at a Table’ from 1987 shows the rare case in which he embedded gold leaves to represent dishes which provide the painting with a very particular plasticity.

Once again, Philipson did not lose sight of his ‘own vision’ that is implemented in his style, topics and materials which provide his work with this unique ‘identity’. His work exercised a great influence on the Scottish art scene and he received many honours, amongst others his knighthood in 1976.

1 John Bellany in the foreword of W. Gordon Smith’s Biography of Sir Robin Philipson, from 1995.

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Scottish Paintings & Sculpture 87 95§ HB568/1 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) HUMANKIND Watercolour 102cm x 102cm (40in x 40in)

£4,000-6,000

96§ HB644/1 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) THE GEOMETRIC FENCE Signed and dated 1989 on the backboard 61cm x 61cm (24in x 24in)

Provenance: Browse & Darby London 1989

£3,000-5,000

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97§ HB644/3 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) TURKEYS AT FARM APPROACH Signed and dated ‘52, oil on canvas 71cm x 81.5cm (28in x 32in) Exhibited: Artisan’s Gallery

£2,000-3,000

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Scottish Paintings & Sculpture 89

98ยง HB644/2 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) FIGURES AT A TABLE Signed and dated 1987, oil on canvas 71cm x 80cm (28in x 32in)

ยฃ5,000-7,000

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90 Lyon & Turnbull 99§ HB889/1 PENELOPE BEATON A.R.S.A., R.S.W. (SCOTTTISH 1886–1963) FLOWERS IN A LUSTRE JUG Signed, oil on board 76cm x 61cm (30in x 24in)

£2,000-3,000

100§ HB221/1 JOHN HOUSTON O.B.E., R.S.A., R.S.W., R.G.I. (SCOTTISH 1930-2008) FLOWERS AND MOON Signed and dated 1960, oil on canvas 41cm x 36cm (16in x 14in)

£2,000-3,000

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Scottish Paintings & Sculpture 91

101§ HB997/1 ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998) STILL LIFE WITH JAR OF FLOWERS AND WATERMELON Signed and dated ‘96, oil on canvas 71cm x 71cm (28in x 28in)

£15,000-20,000

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102ยง HB983/2 ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998) THE RIVER TAY AND TAY BRIDGE FROM NEWPORT Signed, oil on canvas 46cm x 56cm (18in x 22in)

ยฃ5,000-7,000

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Scottish Paintings & Sculpture 93 103§ HB650/51 VICTORIA CROWE O.B.E., D.H.C., F.R.S.E., R.S.A., R.S.W. (BRITISH b. 1945) ITALIAN PORTRAIT WITH ARTICHOKE Signed, oil on board 59cm x 64cm (23.25in x 25.25in)

£3,000-5,000

104§ HC524/1 STEPHEN CONROY (SCOTTISH b. 1964) PAISLEY BOY Signed, inscribed and dated 1988 on backboard, oil on board

52cm x 41.5cm (20.5in x 16.25in)

£4,000-6,000

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94 Lyon & Turnbull 105§ HA80/2 CRAIGIE AITCHISON R.A. (SCOTTISH 1926-2009) BEDLINGTON IN RED Carpet

183cm x 147.5cm (72in x 58in) Note: This is from an edition of 20 and dates from 2012

£3,000-5,000

106§ HB894/ALBERT ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998) HEAD OF A CLOWN Signed, inscribed verso, oil on board 22cm x 14cm (8.75in x 5.5in)

£3,000-5,000

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Scottish Paintings & Sculpture 95

107ยง HA80/1 ALAN DAVIE R.A. (SCOTTISH 1920-2014) FLAG WALK Carpet

208cm x 279cm (82in x 110in) Note: This is from an edition of 21 and dates from 1974

ยฃ3,000-5,000

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96 Lyon & Turnbull 108§ HB896/1 JOHN BELLANY O.B.E., R.A., H.R.S.A. (SCOTTISH 1942–2013) THE VOYAGE, 1974 Oil on canvas 188cm x 193.5cm (74in x 76in)

Provenance: The Collection of Susan Kasen Summer and Robert D. Summer, New York Private collection, Scotland

Exhibited: ‘An American Passion: The Susan Kasen Summer and Richard D. Summer Collection of Contemporary British Paintings’, McLellan Galleries, Glasgow, 1995 (illustrated p.21 of accompanying exhibition catalogue).

£10,000-15,000

Often discussed as a leading proponent of 20th century British Expressionism, John Bellany was one of the first artists of the post-war period to look past the French school of influence towards Germany for inspiration; rejecting the fashion for abstraction in favour of figuration. Like the work of his major influence Max Beckmann, Bellany chose to explore the human experience and, more particularly, our struggles.

Though always grounded in personal narrative – he was much inspired by his Calvinist upbringing and ancestral heritage in the fishing villages of East Lothian, Scotland – 96his subjects are cloaked by surrealism and defy easy

interpretation. Strange figures and creatures, both recognisable and disturbing hybrids, recur often in his work but we are provided with no key to unlock the hidden messages within his paintings. Their strangeness and imposing scale are designed to fascinate and intimidate the viewer and his adoption of a bold, almost primary colour palette in the early 1970s further enhanced this peculiar and distinctive visual language.

This monumental work from early in his career features many of these elements from the grimacing stingray to the eerie void of ocean. A redbearded face – Bellany himself? – appears in the

window of a striped beach hut. Sticking totemically out of the sand is a cricket bat; a reference, perhaps, to the artist’s friendship with Ian Botham who occasionally appeared as a character in his work. The painting was held in the collection of Susan Kasen Summer and Robert D. Summer, high profile American art collectors who famously built up a strong body of works by the leading Scottish artists of the 1980s and 90s: Wisniewski, Howson, Campbell and their contemporaries taking up where Bellany and Alexander Moffatt had left off.

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98 Lyon & Turnbull

Index Aitchison, C., 105 Alexander, E.J., 31-34 Ansdell, R., 13 Beaton, P., 99 Bellany, J., 108 Blyth, R.H., 51, 70 Bone, Sir M., 42 Burnet, J., 5 Cadell, F.C.B., 64, 65, 66 Cameron, K., 36, 37, 38 Cameron, Sir D.Y., 47 Carse, A., 6, 10 Colquhoun, R., 61 Conroy, S., 104 Crawhall, J., 35 Crowe, V., 103 Cursiter, S., 54, 56 Davie, A., 107 de Breanski, A. Snr., 12 Duncan, J., 57

Eardley, J., 82-92 Farquharson, J., 45 Fergusson, J.D., 73, 74, 75 Gillies, Sir W.G., 50, 52 Henderson, J., 16 Henderson, K., 63 Henry, G., 28, 29 Hornel, E.A., 22-27 Houston, J., 100 How, B., 44 Hunter, G.L., 76, 77 Hutchison, R.G., 17, 19, 20, 21, 40 Kay, J., 46 Landseer, Sir E.H., 8 Lorimer, J.H., 11 McBey, J., 48, 49 McGhie, J., 15

McTaggart, Sir W., 81 McTaggart, W., 14 Melville, A., 41 Milne, J.M., 71 Morrison, J., 79 Morrocco, A., 101, 102, 106

Thomson, A.B., 53 Thorburn, A., 39 Watson, G., 1 Wilkie, Sir D., 9

Neil, A., 93 Paolozzi, E., 58 Park, S., 18 Paterson, J., 43 Patrick, J.M., 62 Peploe, S.J., 67, 68, 69 Philipson, Sir R., 94-98 Raeburn, Sir H., 3 Ramsay, A., 4 Redpath, A., 59, 60, 72 Salmon, R., 7 Smith, C., 2 Smith, S., 80 Strang, W., 30

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.

Signed ... / Dated ... / Inscribed ... / In our opinion the work has been signed/dated/inscribed by the artist.

Bears Signature ... / Date ... / Inscription ... / In our opinion the signature/date/inscription appears to be by a hand other than that of the artist.

Dimensions are given height before width.

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Select Jewellery & Watches Wednesday, 3rd June, 2015

HB906/1 GIRARD PERREGAUX - A gentleman’s 18ct rose gold cased wrist watch

Ref 2596, two piece case, ‘Vintage’ style, cream dial, subsidiary seconds dial, date aperture, gold dauphine hands, 28 jewel automatic movement, leather strap, gold buckle, with boxes and booklet Dial: 34mm x 47mm £3,000-5,000

Enquiries Trevor Kyle +44 (0)131 557 8844 trevor.kyle@lyonandturnbull.com Ruth Davis +44 (0)131 557 8844 ruth.davis@lyonandturnbull.com

33 Broughton Place, Edinburgh EH1 3RR l +44 (0)131 557 8844 l www.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 post-auction 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.

(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 4. TERMS OF SALE

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.

(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;

(ii) for unsold lots, when the lot is released to the Seller, or, within 3 months of the sale;or (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.

(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).

8. UNSOLD ITEMS

(1) If an item is unsold it may, with your consent, be reoffered 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 afterauction 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. Lyon & Turnbull will inform the Seller of any action which it contemplates taking against the Buyer. (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. (d) The Seller hereby agrees to inform Lyon & Turnbull of any action which it chooses to take against the Buyer

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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 these Conditions are deemed to be sales by auction and subject to our 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.

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

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..

1. DEFINITIONS

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 the Hammer 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 behalf of the Seller of the lot.

The Auctioneer normally acts as agent only and disclaims any responsibility for default by Sellers or Buyers.

3. BIDDING PROCEDURES AND THE BUYER

(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;

(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.

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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.

15. 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, or 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, 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.

16. 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 behalf of the Seller of the lot.

(c) Once made, no bid may be withdrawn.

(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 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.

4. INCREMENTS

Bidding increments shall be at the Auctioneer's sole discretion.

5. THE PURCHASE PRICE

For each lot purchased a Buyer's Premium of 25% is payable on the first £50,000 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.

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

The Auctioneer normally acts as agent only and disclaims any responsibility for default by Sellers or Buyers.

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 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.

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. 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

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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).

(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.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. Please note that photographs/images provided may not be fully representative of the condition of the lot and should not be relied upon as indicative of the overall condition of the lot.

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(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. Our condition report does not form any contract between Lyon & Turnbull and the Buyer. The Condition Reports do not affect the Seller’s obligations in any way.

(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 and 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. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred.

(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 current safety regulation. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. Lyon & Turnbull provide no guarantee as to the originality of any wood/material contained within the item.

(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 the lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/newer parts. 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, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Buyers should also be aware that Lyon & Turnbull cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches cannot be shipped to the USA and only imported personally.

13. CITES

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/ahvla-en/ importsexports/cites/

Lyon & Turnbull accepts no liability for any lots which may be subject to CITES but have not be identified as such.

14. SALE BY PRIVATE TREATY

(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 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, during or after 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..

The Buyer hereby agrees to the release by Lyon & Turnbull of the Buyer’s name and contact details to the seller or the seller’s solicitor in the event of any dispute between Lyon & Turnbull and the Buyer and/or Lyon & Turnbull and the Seller. Lyon & Turnbull will give prior written notice of the release of any such details to the Seller of the Seller’s solicitor.

18. FORCE MA JEURE

Lyon & Turnbull shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract.

19. 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 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.

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Guide to Bidding & Payment Registration

All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, by fax or on our website. 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).

We may, at our option, also ask you to provide a bank reference and/ or deposit.

By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale.

Bidding

At the Sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you.

Please ensure that the auctioneer repeats your bidder 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 non-transferable.

By phone A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. 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 endeavor to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk.

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 is entirely at the bidder’s risk.

On the internet A fully-illustrated catalogue is available on our website.

Registered bidders may leave absentee bids through the website and will receive email confirmation of their bid.

Live online bidding (powered by Invaluable) is also available, accessible either through our website or at www.invaluable.com. Please note that an additional 3% premium is charged by Invaluable for this live online service.

Payment

Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received. Payment may be made by the following methods: Bank Transfer Account details are included on any invoices we issue or upon request from our accounts department.

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 Card Payments We no longer accept card payments by phone. Please use our online payment service (provided by Cardstream/Credorax. You will find a link to this service in any email invoice issued 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.

Cash Cash payments can be made at the accounts desk during or after a sale.

Cash payments limited to €15,000 (euros).

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Collection & Shipping Transport & Couriers

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

Local Deliveries

A&S Pert Removals Tel. +44 (0)7876 343520.

New Leaf Removals Tel: +44 (0)7999 926261 info@newleafremovals.co.uk

Thistle Removals Tel: +44 (0)7836 774712 thistleremovals@hotmail.co.uk

Smaller Items & Pictures

Mailboxes Etc 44/46 Morningside Road Edinburgh EH10 4BF Tel: +44 (0)131 556 6226 Fax: +44 (0)131 652 3673 edinburgh@mbescotland.com

Book online at www.mbe.co.uk/the_auction_room

Furniture & Larger Items

Constantine Fine Art Logistics Constantine House North Caldeen Road Coatbridge North Lanarkshire ML5 4EF Tel: +44(0)1236 750055 Fax: +44(0)1236 750077 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 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 info@aardvarkartservices.com

© Lyon & Turnbull Ltd. 2015. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted by any form or by any means without the prior written permission of Lyon & Turnbull Ltd.

Arrangements for Sold Lots

All bought items will be held free of charge for 7 days following the sale..

Thereafter lots will be removed to storage 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

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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LYON & TURNBULL AUCTIONEERS EDINBURGH SCOTTISH PAINTINGS & SCULPTURE

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)141 7930 7274

4TH JUNE, 2015

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

Thursday, 4th June, 2015 33 Broughton Place Edinburgh EH1 3RR

Scottish Paintings & Sculpture