Contemporary & Post War Art | 13th August 2015

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LYON & TURNBULL AUCTIONEERS EDINBURGH CONTEMPORARY & POST-WAR ART

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

13TH AUGUST, 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, 13th August, 2015 33 Broughton Place Edinburgh EH1 3RR

Contemporary & Post-War Art

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Contemporary & Post-War Art Thursday, 13th August, 2015 at 11am Sale Number LT442

Viewing Times Sunday, 9th August 12 noon - 4pm Monday, 10th August 10am - 5pm Tuesday, 11th August 10am - 5pm Wednesday, 12th August 10am - 5pm Morning of sale strictly by appointment only

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 85 (detail)

Inside Front Cover Lot 88 (detail)

Inside Back Cover Lot 82 (detail)

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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

Catalogue descriptions

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:

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.

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.

Import/Export

Removal of Purchases

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.

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.

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

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.

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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.

Charlotte Riordan

Nick Curnow

Carly Shearer

Carly Shearer

charlotte.riordan@lyonandturnbull.com

nick.curnow@lyonandturnbull.com

carly.shearer@lyonandturnbull.com

carly.shearer@lyonandturnbull.com

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1§ HC834/16 DANNY FERGUSON (SCOTTISH 1925-1993) SEA EDGE Signed, signed and inscribed with title verso, oil on board 59cm x 59cm (23.25in x 23.25in)

£500-700

2§ HC664/1 JOHN LOWRIE MORRISON O.B.E. (SCOTTISH b. 1948) MOON OVER THE SOUND Signed, oil on canvas 29cm x 29cm (11.5in x 11.5in)

£800-1,200

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3§ HC834/4 GLEN SCOULLER (SCOTTISH b. 1950) SUMMER HILL Signed, oil on board 24cm x 28cm (9.5in x 11in)

£400-600

4§ HB847/1 JOHN HOUSTON O.B.E., R.S.A., R.S.W., R.G.I. (SCOTTISH 1930-2008) FIGURES BY THE SEA, EVENING (DIEPPE) Signed and dated ‘79, inscribed with title verso, gouache on paper 11cm x 16.5cm (4.5in x 6.5in)

£600-800

5§ HC834/3 TOM HUTCHESON (SCOTTISH b. 1922) GARELOCH Signed, signed and inscribed verso, mixed media 28cm x 26.5cm (11in x 10.5in)

£500-700

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6§ HB848/2 HARRY HOLLAND (SCOTTISH b. 1941) WHIMSY, 1995 Signed, oil on panel 44cm x 38.5cm (17.25in x 15.25in)

£600-800

7§ HB848/1 HARRY HOLLAND (SCOTTISH b. 1941) STANDING FIGURE, 1996 Signed, pastel on paper 59cm x 32cm (23.25in x 12.5in)

£300-500

8§ HB848/5 HARRY HOLLAND (BRITISH b. 1941) STATUE 11, 1993 Signed with initials and numbered 11, oil on board 48cm x 35cm (19in x 13.75in)

£400-600

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9§ HC751/1 SOPHIE RYDER (BRITISH b. 1963) THE MINOTAUR AND THE HARE, SITTING Signed and dated ‘92, acrylic and collage 115cm x 84cm (41.25in x 33in)

£3,000-5,000

10§§ HC709/2 SIR WILLIAM MACTAGGART P.R.S.A., R.S.W. (SCOTTISH 1903-1981) STILL LIFE IN A WINDOW Signed, ink and pastel on paper 62cm x 49cm (24.5in x 19.25in)

£1,000-1,500

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PAT DOUTHWAITE “She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art.”

A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work.

11§ HB845/5 PAT DOUTHWAITE (SCOTTISH 1939-2002) ANIMAL Signed and dated 2001, inscribed with title, mixed media on paper with irregular edge 41cm x 84cm (16in x 33in)

£300-500

This demanding, uncompromising commitment and allencompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines.

Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure.

This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution.

Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the

form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours.

Douthwaite’s ever-present wanderlust quickly took over, and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert

Colquhoun, Robert MacBryde and Crozier himself.

In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage.

Following her death, her popularity continues to increase as more and more people are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality.

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12§ HB845/1 PAT DOUTHWAITE (SCOTTISH 1939-2002) FEMALE HEAD Signed and dated ‘87, red chalk on paper 84cm x 59.5cm (33in x 23in)

£400-600

13§ HC660/1 PAT DOUTHWAITE (SCOTTISH 1939-2002) GHOST OF A FLEA Signed and dated ‘78, chalk 63cm x 48.5cm (24.75in x 19.25in)

£500-700 14§ HB845/8 PAT DOUTHWAITE (SCOTTISH 1939-2002) FLOWERY STOCKINGS Mixed media on paper 84cm x 59cm (33in x 29.25in)

£500-700

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15§ HC834/6 TOM MCKENDRICK (SCOTTISH b. 1948) STILL LIFE WITH MIRROR Oil on canvas 92cm x 102cm (36in x 40in)

£600-800

16§ HC707/11 DUNCAN SHANKS R.S.A., R.S.W., R.G.I. (SCOTTISH b. 1937) CULTER BURN Signed, signed and inscribed with title verso and variously dated ‘77, ‘88, ‘90 at each point the picture was reworked, oil on canvas 124.5cm x 124.5cm (49in x 49in)

£2,500-3,500

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17§ HC611/1 VICTOR PASMORE C.H., C.B.E. (BRITISH 1908-1998) UNTITLED 11 Signed with monogram and dated '91 in pencil to margin, numbered 21/30, screenprint 60cm x 76cm (23.5in x 30in) (including margins)

£1,000-1,500

18§ HC611/6 VICTOR PASMORE C.H., C.B.E. (BRITISH 1908-1998) LINEAR MOTIF IN ONE MOVEMENT - 1974 A/P, signed with monogram, intaglio print on paper 48cm x 48.5cm (19in x 19.25in) (including margins)

£400-600

19§ HC611/2 VICTOR PASMORE C.H., C.B.E. (BRITISH 1908-1998) DESERT SAND Signed with initials and dated ‘92 in pencil to margin, numbered 16/90, etching 21cm x 28cm (8.25in x 11in) (plate size)

£400-600

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20§ HB268/7 JOHN BRATBY R.A. (BRITISH 1928-1992) JOB’S WIFE Signed and inscribed with title, charcoal 60cm x 32cm (23.5in x 12.5in)

£1,000-1,500

21§ HA78/2 ROBERT COLQUHOUN (SCOTTISH 1914-1962) UNTITLED Signed in pencil to margin, monotype 52cm x 40cm (20.5in x 15.75in) Provenance: Given by the artist to Barbara Rowland; and thence by descent to the present owner

£800-1,200

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22§ HC834/9 JENNIFER IRVINE (SCOTTISH CONTEMPORARY) LILLIES AND TULIPS Signed and dated ‘98, acrylic on canvas 59cm x 94cm (23.25in x 37in)

£500-700

23§ HC834/18 NORMAN KIRKHAM R.G.I. (SCOTTISH b. 1936) DIM SUM, C.1990 Signed, inscribed with title to frame verso, oil on canvas 49cm x 60cm (19.25in x 23.5in)

£400-600

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25§ HB848/17 MARTIN KANE (SCOTTISH CONTEMPORARY) CANARY WHARF, 1992 Signed with initials, pastel on paper

24§ HB848/15 MARTIN KANE (SCOTTISH CONTEMPORARY) THE WATCHER, 1993 Signed with initials, pastel on paper 76cm x 56cm (30in x 22in)

£300-500

26§ HB848/13 LOUISE BUTLER ADAMS (CONTMPORARY BRITISH) HOSTEL Signed and inscribed and dated ‘February ‘98’ verso, oil on board 30.5cm x 99cm (12in x 39in)

£300-500

76cm x 56cm (30in x 22in)

£300-500

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27§ HB864/2 DAVID MCLEOD MARTIN R.S.W., R.G.I. (SCOTTISH b. 1922) STRIPED MUG AND MACKEREL Signed, oil on canvas 61cm x 61cm (23.5in x 23.5in)

£2,000-3,000

28§ HB864/3 DAVID MCLEOD MARTIN R.S.W., R.G.I. (SCOTTISH b. 1922) MUSICIANS’ TABLE Signed, oil on canvas 76cm x 76cm (30in x 30in)

£2,500-3,500

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ALEXANDER MOFFAT Alexander Moffat O.B.E., R.S.A. has long held a significant position in Scotland’s artistic landscape.

In his early days as an artist, alongside fellow Edinburgh College of Art student John Bellany, the pair famously flouted the restrictive exhibition selection processes of the R.S.A. by anarchically hanging their own shows on public railings in the streets of central Edinburgh, to the delight of the general public.

Later his career evolved to encompass poetry, philosophy and criticism; ‘Arts of Resistance: Poets, Portraits and Landscapes of Modern Scotland’ and its sequel published in 2014 ‘Arts of Independence’ being among his most acclaimed publications. His teaching career is noted for the impact he made on the students of the Glasgow School of Art in the 1980s where, under his influence, a new generation of artists including Peter Howson, Ken Currie, Adrian Wiszniewski and Steven Campbell renewed a focus on figuration in art. His works can be viewed in numerous galleries and public spaces including The Scottish National Portrait Gallery, The Scottish National Gallery of Modern Art, Arts Council of Great Britain and in The Yale Centre of British Art.

L&T: It must be strange for you to see this work again after such a long period. Do you remember painting it?

AM: Yes, it was from the first of our exhibitions on public railings. It took place on Castle Terrace in 1963 and we had applied for a street trader’s license to occupy the site. I was still a student at the time. This was a series I had worked on; there were perhaps six works in total, this being the largest.

L&T: When did you last see the work?

AM: It sold during the exhibition, for £40 as I recall! I haven’t seen it since and had no idea where it ended up.

L&T: I’m happy to say it found a good home: it belonged to the Director of the Newlyn School of Art in Cornwall for many years.

AM: Funnily enough, another of the works from the series has a home in the Edinburgh College of Art. I still own one myself but I’m not aware of the location of the other three.

L&T: What’s happening here in the painting? There are obvious references to Fernand Leger in style and there is a sort of surreal, carnival atmosphere.

AM: It’s titled ‘The Picnic’. The tall figure in the centre in the dark suit is a self-portrait – I appear in all the works in the series. The figure I’m holding was my girlfriend at the time.

She actually had an orange skirt and braces like that – it seemed to lend itself well to the simplified forms I was working with.

L&T: It must bring back some good memories…

Excited to hear that a painting he had not seen since 1963 had re-surfaced, Moffat was keen to come in and be reacquainted. Following our subsequent conversation, he has been kind enough to let us transcribe some of his reminiscences for you here.

Moffat with the series in 1963.

AM: It does! I remember that we had a little card table on the pavement with a small piggybank sat on top to take any donations the public might have wanted to give.

There was an immaculately dressed gentleman who walked past us daily. He’d walk straight by, never engaging with us, but would without fail - place a folded up £5 note in our piggybank as he passed. It was only towards the end of the exhibition that we realised it was Sir Alec Guinness on his way to rehearsals at the Lyceum Theatre!

We would like to thank Alexander Moffat for providing the photographic illustration shown here.

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29§ HC573/1 ALEXANDER MOFFAT O.B.E., R.S.A. (SCOTTISH b. 1943) THE PICNIC Signed and dated ‘63, signed and dated verso, oil on two conjoined boards 183cm x 244cm (72in x 96in)

£3,000-5,000

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30§ HB15/2 JACK KNOX R.S.A., R.G.I. (SCOTTISH 1936-2015) BURNING THE HEATHER Signed, signed and inscribed and dated 1988 verso, pastel and watercolour 28cm x 38cm (11in x 14.75in)

£250-350

31§ HC813/1 JACK KNOX R.S.A., R.G.W., R.G.I. (SCOTTISH 1936-2015) CAFÉ, HOTDOG AND BEER Signed, pastel on paper 26.5cm x 33.5cm (10.5in x 13.25in)

£300-500

32§ HC681/3 JACK KNOX R.S.A., R.G.I. (SCOTTISH 1936-2015) GANNETS Signed, signed and inscribed with title and dated ‘90 verso, pastel 25.5cm x 33cm (10in x 13in) Provenance: The Fleming-Wyfold Foundation (645)

£300-500

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33§ HC727/2 DAVID MCLURE R.S.A., R.S.W. (SCOTTISH 1926-1998) FLOWERS, FRUIT AND VEGETABLES, MALTA Signed, signed and inscribed with title verso, oil on canvasboard 44.5cm x 55cm (17.5in x 21.75in)

£1,000-1,500

34§ HC727/3 DAVID MCLEOD MARTIN R.S.W., R.G.I. (SCOTTISH b. 1922) STILL LIFE WITH BLUE JUG AND LILIES Signed, signed and dated 2000 verso, oil on board 74cm x 89cm (29.25in x 35in)

£2,000-3,000

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35§ HC831/1 JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) FISHERWOMAN Signed, oil on canvas 75cm x 59cm (29.5in x 23.25in) £2,500-3,500

36§ FH287/2 JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) RED SEA Signed, inscribed ‘washed in the blood of the lamb,’ oil on canvas 122cm x 122cm (48in x 48in)

£3,000-5,000

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37§ HC558/1 PETER MCLAREN (SCOTTISH b. 1964) SUNSET: FIGURE IN A HOT LANDSCAPE Signed and dated ‘89, inscribed with title verso, oil on board 122.5cm x 122.5cm (48.25in x 48.25in)

£4,000-6,000

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38§ HB676/1 SUITE OF 10 PRINTS CREATED ON BEHALF OF THE CHILD PSYCHOTHERAPY TRUST THURSDAY’S CHILD Ed. 21/60, each work signed and numbered 21/60 in pencil to margin, featuring various printed techniques including screenprint, etching and lithography by: June Redfern, Paul Furneaux, Elizabeth Blackadder, Elaine Shemilt, John Houston, Margaret Hunter, Ian Howard, Barbara Rae, Pat Douthwaite and Elspeth Lamb, all unframed and encased in original box 28cm x 48cm (11in x 19in) including margins. Image size varies

£1,000-1,500

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39§ HB650/63 ANDA PATERSON (SCOTTISH b. 1935) FLIGHT INTO EGYPT Signed and dated ‘66, mixed media on board 118cm x 121cm (46.5in x 47.5in)

£500-800

40§ HB671/8 JOHN ELWYN (WELSH 1916-1997) AFTER THE RAIN, PEMBROKESHIRE Signed, oil on canvas 39.5cm x 49.5cm (15.in x 19.5in)

£3,000-5,000

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41§ HB848/7 COLIN KENT R.I. (BRITISH b. 1934) ARCHES Signed, mixed media on paper 32cm x 27cm (12.5in x 10.5in)

£150-250

42§ HB847/2 JOHN HOUSTON O.B.E., R.S.A., R.S.W., R.G.I. (SCOTTISH 1930-2008) MAN AND WOMAN, 1966 Signed, gouache 16.5cm x 11.5cm (6.5in x 4.5in)

£500-700

43§ HB848/6 FIONA ROBERTSON (BRITISH CONTEMPORARY) HEAD 11 - 1997/8 Charcoal 46cm x 35cm (18in x 13.75in)

£150-250

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44 HD556/1 KEVIN SINNOT (WELSH b. 1947) LAMENT 1987, oil on linen 124cm x 168cm (48.75in x 66in)

£2,000-3,000

Since he first understood the power of art, Kevin Sinnott has made constant efforts to paint to the very best of his ability. He doesn’t consider himself to have grown up in an artistic household, instead he imagines his interest in drawing and painting stems from his time spent in youth clubs in South Wales, where art and music classes were available and creativity encouraged.

He continued his training more formally at the Colleges of Art and Design in Cardiff and Gloucestershire, before

spending time studying at the Royal College of Art in London. Following his education, he remained in London throughout the 1970s and 1980s to build his successful career, exhibiting regularly in high-profile galleries, both locally and internationally. He ultimately returned to South Wales in 1995, a move which he now feels to have been hugely beneficial artistically, as he continues to draw boundless inspiration from his surroundings.

focused on human relationships and he claims ‘For most of my career I have invented the content of my pictures, sometimes relying on my knowledge of past and present art. I would conjure up some figures and perhaps place them in an imaginary, albeit stereotypical, landscape.’ Often working on a large-scale, as in the example here, Sinnott’s distinctive textural brushwork brings these large canvases alive, lending his figures a dynamic presence.

Sinnott’s work is primarily

Kevin Sinnott’s work is

collected worldwide and he is represented in many important public collections, including the Metropolitan Museum of Art, New York, the Ashmolean Museum, Oxford and the Whitworth Art Gallery, Manchester. Running Away with the Hairdresser, one of his large and typically dynamic paintings, is one of the National Museum and Galleries of Wales’ most popular acquisitions.

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45§ HB843/3 VICTORIA CROWE O.B.E., R.S.A., R.S.W. (SCOTTISH b. 1946) BUS DRIVER, AREZZO Signed and inscribed with title in pencil to margin, numbered 4/25, silkscreen intaglio print 21cm x 26.5cm (8.25in x 10.5in)

and a further unframed print ‘Young Jackdaw’ by the same artist (2) £400-600

46§ HB843/4 VICTORIA CROWE O.B.E., R.S.A., R.S.W. (SCOTTISH b. 1946) DRAWN FROM NATURE: OUZO DRINKING BUTTERFLY AND WASPS Signed, inscribed with title and numbered 10/30 in pencil to margin, silkscreen ingalio print 29cm x 38cm (11.5in x 15in)

and a further ‘Young Jackdaw’ by the same artist, unframed (2) £500-700

47§ HB843/2 VICTORIA CROWE O.B.E., R.S.A., R.S.W. (SCOTTISH b. 1946) ENCOUNTER - SINOPIA Signed and inscribed with title in pencil to margin, numbered 8/10, silkscreen print 27cm x 32cm (10.5in x 12.5in) (including margins)

£200-300

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48§ HB664/1 ETHEL WALKER (SCOTTISH b. 1941) STILL LIFE WITH PINK POPPIES AND BLUE AND WHITE CHINA Signed, gouache 55cm x 59cm (21.75in x 23.25in)

£1,000-1,500

49§ HC834/10 ETHEL WALKER (SCOTTISH b. 1941) ORIENTAL POPPIES, 1994 Signed, mixed media 79cm x 86cm (31in x 34in)

£2,000-3,000

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OSCAR MARZAROLI COLLECTION Oscar Marzaroli has long been celebrated for his famous photographic record of Glasgow’s Gorbals area. His iconic images depict the area as it was before the slums and their accompanying communities were cleared by city developers in the early 1960s.

Lyon & Turnbull are pleased to present a selection of items directly from Marzaroli’s own family collection, each of which tells a story of the city and the friendships which the photographer held so dear.

Beyond his Gorbals series and work as a film camera man,

50§ HC015/2 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) PLOUGHED FIELD AT SUNSET Oil on board 11cm x 33cm (4.25in x 13in) Provenance: The estate of Oscar Marzaroli

£5,000-7,000

Marzaroli is remembered as the man who gave us a glimpse into the life and practises of enigmatic artist Joan Eardley. Marzaroli was allowed frequent access to her studio where she and fellow friend and artist Angus Neil would work, painting the local children in the poverty stricken area of Townhead.

Like the photographer, Eardley was moved by the lives of these children and the changing face of the city, also striving to capture and record their way of life as progress rolled across the east end.

The work shown here, one of Eardley’s Catterline subjects

as opposed to a cityscape, was a gift to Marzaroli.

Angus Neil had been Eardley’s close friend since their time spent studying at Hospitalfield in Arbroath.

They worked closely, sharing the same subject matter, tonal qualities and spontaneous, deliberately coarse technique. Their work, therefore, bears striking similarities. 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 in the Royal Scottish Academy and the Royal Glasgow Institute. His life was sadly blighted by poor mental health and examples of his work remain rare to market. Marzaroli clearly knew and supported Neil in his career, owning several good examples of his work, offered here.

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51§ HC015/3 ANGUS NEIL (SCOTTISH 1924-1992) LITTLE GIRL NO. 5 Pastel 25.5cm x 19.5cm (10in x 7.75in) Provenance: The estate of Oscar Marzaroli

£800-1,200

52§ HC015/1 ANGUS NEIL (SCOTTISH 1924-1992) BUILDING AND LAMPOST Pastel 21.5cm x 27cm (8.5in x 10.5in) Provenance: The estate of Oscar Marzaroli

£500-700 53§ HC015/5 ANGUS NEIL (SCOTTISH 1924-1992) MARIE CLARE AND GRAN Bears exhibition label verso, pastel 23.5cm x 21cm (9.25in x 8.25in) Provenance: The estate of Oscar Marzaroli Exhibited: Aberdeen Art Gallery & Museums, exhib. no. 29

£300-500

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54§ HC015/9 WILLIAM SENIOR (SCOTTISH b. 1927) PORTRAIT OF A LADY WITH DARK HAIR Signed and dated 1953 verso, oil on board 73cm x 41cm (28.75in x 16.25in) Provenance: The estate of Oscar Marzaroli Note: William Senior was a member of the New Scottish Group of artists in Glasgow, united by left-leaning political interests and a continental artistic influence. With Tom MacDonald and Bet Low he set up The Clyde Group.

£400-600

55§ HC015/6 ANGUS NEIL (SCOTTISH 1924-1992) ROSES, 1960 Signed, bears exhibition label verso, oil on board 45cm x 38.5cm (17.75in x 15.25in) Provenance: The estate of Oscar Marzaroli Exhibited: Aberdeen Art Gallery & Museums, exhib. no. 7

£600-800

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56§ HC015/8 ANGUS NEIL (SCOTTISH 1924-1992) 3 BOYS ON A WALL, NO. 18 Oil on canvas 25.5cm x 45cm (10in x 17.75in) Provenance: The estate of Oscar Marzaroli

£700-900

57§ HC015/4 ANGUS NEIL (SCOTTISH 1924-1992) CHILDREN AND DOG NO. 7 Pastel 22cm x 27cm (8.75in x 10.5in) Provenance: The estate of Oscar Marzaroli

£600-800

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58§ HC015/7 ATTRIBUTED TO JOHN TAYLOR (SCOTTISH b. 1936) SCOTTISH SEASCAPE Gouache 29cm x 39cm (11.5in 15.5in) Provenance: The estate of Oscar Marzaroli

£300-500

OTHER PROPERTIES 59§ HB735/2 NAEL HANNA (IRAQUI/SCOTTISH b. 1959) GRAZING SHEEP, ANGUS Signed, oil on canvas-board 25cm x 81cm (10in x 31.75in)

£500-700

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60§ HC669/1 WILL MCLEAN M.B.E., R.S.A., R.S.W. (SCOTTISH b. 1941) VENICE Signed, inscribed with title and dated ‘67, gouache 27cm x 28cm (10.5in x 11in)

£400-600

61§ HC669/3 IAN MCKENZIE SMITH O.B.E., R.S.A., P.R.S.W. (SCOTTISH b. 1935) ILE FLOTTANTE Watercolour on handmade paper 33cm x 34cm (13in x 13.5in)

£400-600

62§ HC669/5 MARTIN CHURCHILL (SCOTTISH b. 1954) BUILDING UNDER SCAFFOLDING Signed on stretcher veso, oil on canvas 88cm x 88cm (34.5in x 34.5in)

£400-600

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63§ HB856/12 WILLIAM GEAR R.A., F.R.S.A. (SCOTTISH 1915-1997) UNTITLED Signed and dated ‘50 in pencil, numbered 4/25, colour lithograph, unframed 48.5cm x 33cm (19.25in x 13in)

£200-300

64§ HC628/2 CERI RICHARDS C.B.E. (WELSH 1903-1971) LA CATHEDRALE ENGLOUTIE III Signed and dated ‘59 in pencil to margin, numbered 22/50, colour lithograph, printed by the Curwen Press from The Hammerklavier Suite with Variations 51cm x 68cm (20in x 26.75in) (including margins)

£400-600

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65§ HC628/3 CERI RICHARDS (WELSH 1903-1973) CE QU’A VU LE VENT D’OUEST Signed and inscribed with title and dated ‘59 in pencil to margin, numbered 30/50, colour lithograph, printed by the Curwen Press from The Hammerklavier Suite with Variations 70cm x 51cm (27.5in x 20in)

£400-600

66§ HB845/9 WILLIAM JOHNSTONE O.B.E. (SCOTTISH 1897-1981) UNTITLED - ABSTRACT Ink and wash 58cm x 77cm (22.75in x 30.25in)

£300-500

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JOSEF HERMAN ‘a walking monument of human labour’ Throughout his career, Herman remained committed to his conviction that art and morality should never be separated and that subject matter was of utmost importance. In the working men and women of the world - Scottish and Suffolk fishermen, Burgundian peasants, Israeli planters, Italian roadworkers, and German harvesters – he found subjects that embodied, for him, a profound and universal human archetype. The appeal of these subjects developed from his background as the son of a cobbler, depicting

67§ HB856/8 JOSEF HERMAN O.B.E. (POLISH 1911-2000) THE MINERS Signed and numbered 21/75 in pencil to margin, colour lithograph 47cm x 67cm (18.5in x 26.5in) (image size)

£400-600

the hard-working characters around him, and was strengthened in response to the need to re-establish human dignity in the aftermath of the horrors of the Second World War. The mood of his works is introspective, as surprisingly his workers are never shown working. Instead these ‘monolithic’ figures are depicted in calm, quiet moments of reflection.

Herman was born and trained in Warsaw, where he exhibited and organised the ‘The Phrygian Bonnet,’ a leftwing artistic movement, dedicated to painting Polish workers. The political situation in his home country

soon necessitated a move abroad; first to Brussels in 1938 and then Glasgow in 1940. He was part of a generation of eastern European Jewish artists who emigrated to escape persecution and find work and freedom abroad. While in Glasgow, he impacted Scottish art, when he met and inspired a young Joan Eardley.

His lack of complicated detail and focus on robust contrasts of light and dark appealed to Joan, while the two artists also shared an affinity in their choice of subjects – workers, artisans and people who worked with their hands.

His strongest, and lasting, association is with

Ystradgynlais in Wales, a small mining village that he first visited on holiday in 1944, and ended up living in until 1955. Herman described his decision, “I stayed here because I found all I required.

I arrived here a stranger for a fortnight; the fortnight became 11 years.” He became a big part of the local community and often depicted the local miners, works for which he is still remembered. His reputation as a miners’ painter was confirmed in 1951 when he received a commission to paint the mural, ‘Miners for the Pavilion of Minerals for Festival of Britain.’

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68§ HB621/10 JOSEF HERMAN O.B.E. (POLISH 1911-2000) FIGURE STUDY - FROM THE SCOTTISH FISHERFOLK SERIES Ink and wash 23cm x 18cm (9in x 7in) Exhibited: Cyril Gerber Fine Art, Glasgow, 1996

£500-700

69§ HB621/11 JOSEF HERMAN O.B.E. (POLISH 1911-2000) SCOTTISH FISHERMEN Ink and wash 17.5cm x 22cm (7in x 8.5in) Exhibited: Cyril Gerber Fine Art, Glasgow, 1996

£500-700

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70§ HC645/1 JOSEF HERMAN O.B.E. (POLISH 1911-2000) STANDING MOTHER AND CHILD Signed in pencil to margin, numbered 61/150, colour lithograph, unframed 61cm x 51cm (24in x 20in) (including margins)

£150-250

71§ HB856/10 JOSEF HERMAN O.B.E. (POLISH 1911-2000) RED SUN Signed in pencil to margin, numbered 93/100, colour lithograph, unframed 51cm x 63.5cm (20in x 25in) (including margins)

and three further prints by the same hand (4) £600-800

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72§ HC613/1 JACK KNOX R.S.A., R.G.I. (SCOTTISH 1936-2015) YOUTH WITH BIRD Signed and dated ‘61, signed and inscribed with title old artist’s label verso, oil on board 205cm x 73cm (80.5in x 28.75in) Exhibited: Scottish Arts Council, 1961

£600-900

73§ HC707/8 JOHN BYRNE (SCOTTISH b. 1940) STILL LIFE WITH GUITAR Indistinctly inscribed top right edge, watercolour 17cm x 12cm (6.75in x 4.75in)

£800-1,000

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74§ HB860/1 JOSEPH BEUYS (GERMAN 1921-1986) HONEY IS FLOWING, 1974 Signed, silkscreen on pvc, from a limited edition, pub.

Staeck 10.5cm x 15cm (4.25in x 6in)

£800-1,200

75§ HC653/13 PAUL NEAGU (ROMANIAN 1948-2004) ANTHROPOCOSMOS Signed, inscribed with title and dated ‘81 in pencil, numbered 17/75, handcoloured screenprint 75cm x 55cm (29.5in x 21.5in)

£800-1,200

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76§ HC653/20 PAUL NEAGU (ROMANIAN 1938-2004) STUDY FOR HYPHEN Signed, inscribed and dated 1984, pastel on paper 43cm x 60.5cm (17in x 2in)

£2,000-3,000

77§ HC653/21 PAUL NEAGU (ROMANIAN 1938-2004) DOUBLE HYPHEN Inscribed with title and dated 1984, pastel on paper 42cm x 60cm (16.5in x 23.75in)

£2,000-3,000

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78§ HC380/1 ALAN DAVIE C.B.E., H.R.S.A. (SCOTTISH 1920-2014) MAGIC PICTURE NO.1 Signed and dated ‘77 in pencil to margin, numbered 450/500, colour lithograph 56cm x 77cm (22in x 30.25in)

£400-600

79§ HC380/3 ALAN DAVIE C.B.E., H.R.S.A. (SCOTTISH 1920-2014) CELTIC DREAMBOAT II, 1965 Signed in pencil to margin, numbered 12/75 colour lithograph 57cm x 80cm (22.5in x 31.5in)

£400-600

80§ HC380/2 ALAN DAVIE C.B.E., H.R.S.A. (SCOTTISH 1920-2014) RUNE READER II Signed and dated 2001 in pencil to margin, numbered 8/30, screenprint 80cm x 88cm (31.5in x 34.5in)

£300-500

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81 HA77/1 ANDY WARHOL (AMERICAN 1928-1987) MARILYN INVITATION - 1981 Signed with black marker, silkscreen printed in colours on wove paper, printed by Castelli Graphics Announcement for ‘Andy Warhol: A Print Retrospective 1963-1981’, pub. Castelli Graphics, New York, printed

by Colour Editions, Inc., unframed 30.5cm x 30.5cm (12in x 12in)

£4,000-6,000

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82§ HC819/3 WILLIAM GEAR R.A., F.R.S.A. (SCOTTISH 1915-1997) DIAMOND MOTIF Inscribed with title canvas verso, inscribed ‘London Group, 1968’ stretcher verso, oil on canvas 120cm x 90cm (47in x 35.5in) Exhibited: The Scottish Art Council, 1969

£4,000-6,000

William Gear was a key figure in Post-War British art, and one of the few to make a strong impression overseas, through his commitment to developments in abstraction and involvement with avantgarde groups in Europe.

The selection of works featured here are typical of his distinctive and recognisable style; dominated by heavy black lines interspersed with areas of bold colour. Although committed to abstract paintings, he felt some affinity with nature and also suggested that his obsessive commitment to structure in painting could be traced back to the industrial setting of his childhood, growing up a coalminer’s son in Methil, Fife.

Although very much in line with Post-War developments in painting and abstraction on the Continent, some British audiences found his work more challenging. When his large canvas, Autumn Landscape won a Festival of Britain Purchase Prize, there was a public outcry, culminating in letters sent to the House of Commons.

A public outcry did not mean Gear was not critically

recognised and appreciated.

His work was featured in the Venice Biennale in 1954, while in 1995, Gear was elected to the Royal Academy. In 1997, just weeks before his death, he received an award in

Germany to recognise his work for ‘democratic art and artistic freedom,’ a statement that truly encapsulates the guiding principles of his approach and career.

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83§ HC819/7 WILLIAM GEAR R.A., F.R.S.A. (SCOTTISH 1915-1997) DARK RODS, 1970 Signed and dated ‘70, mixed media on paper 58cm x 45cm (23in x 17.75in)

£800-1,200

84§ HC819/8 WILLIAM GEAR R.A., F.R.S.A. (SCOTTISH 1915-1997) BOAT FORM, 1970 Signed and dated ‘70, mixed media on paper 49cm x 64cm (19.25in x 25in)

£1,000-1,500

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85§ HC708/1 SIR EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) MAQUETTE FOR GREAT ORMOND STREET, 001 - 1993 Signed and numbered 001, impressed with maker’s mark ‘Morris Singer,’ bronze with a wooden base 29cm x 23cm (11.5in x 9in), including base

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

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

Instead, a small number were made in bronze with a rich brown patina. As was often the artist’s want, many of the

casts - including this piece were gifted directly to friends and supporters. Paolozzi was a temperamental character and his relationship with galleries and dealers was generally short-lived, resulting in many of his works finding owners via this slightly unorthodox fashion.

The work is typical of Paolozzi’s distinctive aesthetic

which marries the artistic with the mechanistic, the primitive with the futuristic and evokes a sense of the surreal that treads the line between the sinister and the absurd.

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

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

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86§ HB602/4 SIR EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) ZATBLAK GREYS Signed and dated 1974 in pencil to margin, numbered 52/100, printed and published

by Kelpra Studios, London, screenprint 68cm x 35cm (26.75in x 13.75in)

£300-500

87 HC720/1 KEVIN APPEL (AMERICAN b. 1967) BLOSSOM, 2007 Signed, inscribed with title and dated verso, oil, enamel and acrylic on canvas over panel 120cm x 89cm (47.25in x 35in)

£1,500-2,500

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88§ HC719/1 ANTHONY BENJAMIN (BRITISH 1932-2002) PICCOLOMINI Signed and inscribed with title and dated ‘January ‘62’ verso, oil on canvas 130cm x 141cm (51in x 55.5in)

£6,000-8,000

Anthony Benjamin was, alongside his contemporaries Peter Lanyon, Patrick Heron and Sir Terry Frost, a key figure in the so–called “Middle Generation” of the famous St Ives School. Like original group members Barbara Hepworth and Ben Nicholson, their work explored the possibilities of abstraction, drawing influence from the surrounding Cornish countryside. Unlike their predecessors however, they were quick and keen to adapt to the techniques and formal

approaches of American Abstract Expressionism. The aesthetic was looser, more expansive, both brighter and softer-edged. Before long their work was appreciated across the Atlantic in New York.

had moved to London the year this work was created and, perhaps unsurprisingly, it vibrates with the energy of the city at that point in time; simultaneously emanating a laid-back cool and a throbbing wildness.

The work featured here for sale is a scarce early 1960s example. It was painted four years after his first one-man show in 1958 at the Newlyn Society of Artists and after his return from an Italian-based art scholarship in 1960. He

Benjamin went on to have an important and well-received show at the ICA in 1966 and his stock was high in the eyes of gallerists, critics and the public. His name does not have the resonance in the British canon of art that it

perhaps deserves. This was a result of his decision to move to North America between 1967 and 1972. Though he let the dust settle on his career in London, he held several eminent positions as professor of fine art in various institutions during the period, including University of Calgary; York University, Toronto; Hayward State College, California, and Ontario College of Art.

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89 HB268/2 HENRY VALENTINE MILLER (AMERICAN 1891-1980) UNTITLED Signed and dated 10/47, ink and watercolour on paper 28cm x 38.5cm (11in x 15.25in)

£800-1,200

90§ HC637/1 HIDEO FURUTA (JAPANESE/SCOTTISH 1949-2007) UNTITLED STUDY Mixed media on paper, unframed 119.5cm x 79cm (47in x 31in) and a further study by the artist (2) Note: Hideo Furuta was born in 1949 in Hiroshima, Japan and studied Art at Tokyo Visual Arts College from 1969-71, as well as Art, Mathematics and Physics, European Art History and Comparative

91§ HB602/3 WILLIAM GEAR R.A., F.R.S.A. (SCOTTISH 1915-1997) BOATS AND BUILDINGS Signed and dated 2/47 in plate, signed and numbered 1/200 in pencil to margin, colour lithograph 50cm x 71cm (19.75in x 28in)

£250-350

Philosophy of Art and Aesthetics at the University of Hiroshima. Following these studies he worked as a stonemason at the Ishizaki Quarry, Kurahashi Island. Furuta came to Wales in 1985 and then to Creetown in Dumfries & Galloway 1991 where he lived unti his death in 2007.

His sculpture has been commissioned and exhibited widely in the UK and from 199294 he was the Henry Moore Fellow in Sculpture at the University of Northumbria.

£300-500

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KELPRA STUDIOS In 1957, commercial screenprinter Chris Prater and his wife Rose set up their own business in a tiny space in Kentish Town: Kelpra Studios. Within the period of a decade they had introduced a mind-boggling array of Britain’s greatest artists to the medium of screenprinting.

Like the Wizard of Oz orchestrating proceedings from behind his curtain, Prater collaborated with them all to the highest degree, succeeding - virtually singlehandedly as it is now recognised - in elevating the

medium to an accepted art form within the eyes of even our most traditional institutions.

Early converts included Eduardo Paolozzi and Richard Hamilton, the latter instigating the Institute of Contemporary Arts (ICA) sponsorship and exhibition of a portfolio of prints in 1964.

The 24 artists who were introduced to screenprinting as a result included Gillian Ayres, Patrick Caulfield, Peter Blake, Bernard Cohen, Robyn Denny, David Hockney, Howard Hodgkin, Allen Jones,

MICHAEL HALE Hale could perhaps be considered something of a ‘lost’ figure within this movement. He was, nonetheless, a pioneering screenprinter and indeed worked as a master printing technician at Kelpra Studios for a time, before going on to teach at the Leicester College of Art where his meticulous approach influenced a new generation of artists working in the medium which, by the early 60s, had exploded in popularity.

92§ HC653/17 MICHAEL HALE (BRITISH b. 1932) INTERVAL 2 Signed, dated ‘81and inscribed with title in pencil to margin, artist’s proof, screenprint 62cm x 49cm (24.5in x 19.25in)

and a further print by the same artist (2) £400-600

R. J. Kitaj, Victor Pasmore, Peter Phillips, Bridget Riley and William Turnbull. These artists (and many more besides, including John Piper who became a long term acolyte), continued to collaborate with Prater and incorporated screenprinting fully into their oeuvre, producing works equally as important, acclaimed and collectable as their paintings.

In 1980 the Praters gifted their collection of printer’s proofs (a copy of every print they had ever worked on) to Tate, securing their legacy for

the enjoyment of the public and ensuring that this fascinating and important chapter in the history of British art would not be forgotten.

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93§ HC653/18 MICHAEL HALE (BRITISH b. 1932) TARRANTELLA Signed, inscribed with title and dated ‘81 in pencil to margin, numbered 21/50, screenprint 54.5cm x 40cm (21.5in x 15.75in)

and a further print by the same artist (2) £400-600

PETER STROUD Stroud, a member of the ‘Situation’ group, was another artist strongly associated with the Kelpra Studios. Born 23 May 1921 in Ealing, Middlesex, Stroud was a professional soldier during WW2 and prisoner of war in Italy and Germany between 1941– 5. After his return home he studied for a teacher’s diploma at London University, attending the Central and Hammersmith Schools of Art part time. Otherwise, however, he was largely self-taught. He had his first one-man exhibition at the I.C.A. in 1960 and was represented by Marlborough Galleries throughout the 1960s.

94§ HC653/16 PETER STROUD (BRITISH b. 1921-2012) UNTITLED Signed and dated ‘71 in pencil to margin, numbered 5/15, screenprint 70cm x 85cm (27.5in x 33.5in)

and another by the same hand, a pair (2) £400-600

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GORDON HOUSE Welsh-born graphic artist Gordon House could legitimately be named the instigator of the screenprint revolution in the UK. He was the figure who first approached Prater and produced what could be described as the first fine art print in the UK, encouraging his friends in the London art scene to follow.

House is one of those artists who wielded a significant amount of behind-the-scenes influence in terms of setting aesthetic trends, exploring new media and engendering a network of collaboration within the artistic community; in his case Swinging Sixties London. He worked, for example, on some of the

most famous record covers of the decade – designing the Beatles’ ‘White Album’ and the back of ‘Sergeant Pepper’, while his good friend Peter Blake tackled the front. His impact and legacy as a designer is perhaps best described in the words of his friend Bernard Cohen: “(House) had a vision of what the environment of art (catalogues, private view cards, exhibition posters, even galleries) could look like. At the start of the 1960s, galleries and museums lacked any kind of coherent approach to matters of communication and presentation. They were without house styles, and seemed to change graphics with every exhibition. The art world was

filled with stylistic debris, just as London was still covered with the debris of the Second World War. Gordon’s graphics helped clear away the debris of the galleries, and contributed to a new spirit that in turn helped rebuild London. A new generation of dealers quickly recognised the freshness of his designing.”

In light of his wide-ranging influence it seems something of an aberration that he is not a household name.

‘Situation’ Situation was an exhibition held in the Royal Society of British Artists in 1960 and is heralded as the key abstract exhibition of that decade. It

95§ HC653/22 GORDON HOUSE (WELSH 1932-2004) ARC C Signed and inscribed with title and dated ‘71 in pencil to margin, ed. of 75, screenprint 88.5cm x 45cm (35in x 17.5in)

£300-500

96§ HC653/23 GORDON HOUSE (WELSH 1932-2004) TRIANGLE B Signed and inscribed with title and dated ‘71 in pencil to margin, numbered 1/75, screenprint 88.5cm x 45cm (35in x 17.5in)

£300-500

provided a platform for those artists adopting the new “hard-edged” form of painting and printing, including Robyn Denny, William Turnbull and John Hoyland among others.

The catalogue was designed

by Gordon House.

Though the popularity of this aesthetic would not survive the 1970s and their prints are extremely good value today, their crisp, minimal simplicity has begun to once again appeal to collectors.

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97§ HC653/2 ROBYN DENNY (BRITISH 1930-2014) DREAM Signed and dated ‘72 in pencil, numbered 61/100, screenprint 100cm x 151cm (39.5in x 59.5in)

£600-800 Denny, a key force behind the “Swinging Sixties London” visual aesthetic, had his first solo exhibition in London in 1957, and in 1960 helped to organise and take part in “Situation” at the RBA Galleries. Tremendously successful throughout the 1960s he showed all round the world, in cities including Milan, Stuttgart, Cologne, New York and Zurich. In 1966 he represented Britain at the Venice Biennale, and in 1973

became the youngest artist to be awarded a retrospective by the Tate. Though he established himself successfully as a practicing artist, Denny also taught parttime at Hammersmith School of Art, the Slade and Bath Academy of Art, Corsham. He is now remembered as an “elder-statesman” of British abstraction.

“Hard-Edged” Abstraction and the screenprint The expression “hard-edged” painting was first used in 1959 to describe a form of abstraction adopted by many artists on the West Coast of America. These artists were

reacting against the more painterly, gestural forms favoured by Abstract Expressionism. Their approach was rooted in the urban, the impersonal and even the mechanical – taking a cue from Russian Constructivism. The same trend developed across the Atlantic in the UK, with a core group of artists consciously departing ideologically and stylistically from the St Ives School of abstraction. “Op Art” and indeed much of the visual imagery of “Pop Art” could be viewed as an extension of this.

Screenprinting, it was found, was perfectly suited to the deliberate flatness, sharp

edges and monochromatic forms of the “hard-edged” aesthetic. Though the technology had been around for a long time, it didn’t migrate into the art world until the late 1950s, instigated by the likes of Andy Warhol. It also enabled artists to (cheaply) produce high quality images on a larger scale than the traditional printing plate had previous allowed.

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98§ HB278/14 CALUM COLVIN (SCOTTISH b. 1961) A CAUCUS RACE Signed and numbered 4/50 in pencil to margin, etching & photopolymer gravure 48cm x 57cm (19in x 22.5in) (including margins)

£400-600

99§ HC653/2 ROBERT HENDERSON BLYTH R.S.A., R.S.W. (SCOTTISH 1919-1970) PARIS WINDOW - 1958 Signed and numbered 66/75 in pencil to margin, colour lithograph 55cm x 37.5cm (21.5in x 14.75in) £300-500

100§ HB278/7 PHILIP BRAHAM (SCOTTISH b. 1959) AUGUSTOWSKA Signed, inscribed with title and numbered 315 in pencil to margin, photopolymer 34cm x 44cm (13.25in x 17.25in) (including margins)

£150-250

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101§ HB848/3 CRAWFURD ADAMSON (SCOTTISH b. 1953) SEATED MAN Signed, oil on canvas 39cm x 35cm (15.25in x 13.75in)

£300-500

102§ HB848/16 CRAWFURD ADAMSON (SCOTTISH b. 1953) RECLINING FIGURE Signed, 1991, oil on canvas 76cm x 91.5cm (30in x 36in)

£500-700

103§ HB848/4 CRAWFURD ADAMSON (SCOTTISH b. 1953) STANDING MAN Signed, oil on canvas 39cm x 35cm (15.25in x 13.75in)

£300-500

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104§ FH357/1 JACK KNOX R.S.A. (SCOTTISH 1936-2015) CAFÉ TABLE Signed, oil on canvas 121cm x 152cm (47.5in x 59.75in)

£600-800

105§ HA554/11 STEVEN CAMPBELL (SCOTTISH 1952-2007) FIGURE IN THE WOODS Oil on wallpaper fragment 46cm x 48cm (18in x 19in)

£1,000-1,500

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106ยง HC707/10 JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) VENUS OF EYEMOUTH, 1990 Signed and dated, signed verso, oil on canvas, unframed 152.5cm x 173cm (60in x 68in)

ยฃ4,000-6,000

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107§ HC665/1 COLIN THOMS (SCOTTISH 1912-1997) COASTAL VIEW IN THE WEST OF SCOTLAND Signed, oil on board 42cm x 52cm (16.5in x 20.5in)

£600-800

108§ HC660/3 MARTIN RAYNER (SCOTTISH 1947-2004) HORSE AND SNAKE Oil on board, hand-painted frame 62cm x 87cm (24.5in x 34.25in)

£300-500

109§ HC669/2 WILL MCLEAN M.B.E., R.S.A, R.S.W. (SCOTTISH b. 1941) FISHERMEN AND COLEFISH Signed and dated ‘74, signed and dated and inscribed with title artist’s label verso, gouache 16.5cm x 18cm (6.5in x 7in)

£300-500

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110§ HB843/1 VICTORIA CROWE O.B.E., R.S.A., R.S.W. (SCOTTISH b. 1946) NEW YEAR PORTENT Signed, oil and goldleaf on board 51cm x 54cm (20in x 21.25in)

£3,000-5,000

111§ HC757/1 DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926-1998) SUMMER SOLSTICE Oil on canvas 121cm x 124.5cm (47.5in x 49in) £3,000-5,000

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112§ HB650/22 STEFAN KÜRTEN (GERMAN CONTEMPORARY) INNOCENT WHEN YOU DREAM Signed, inscribed and dated 2004, oil on canvas 120cm x 150cm (47.25in x 59in)

£2,000-3,000

113§ HB568/2 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) THE FOREST POOL Signed, watercolour 56cm x 90cm (22in x 35.5in) Exhibited: Royal Scottish Society of Painters in Watercolour

£2,000-3,000

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114ยง HC759/1 ANNE REDPATH O.B.E., A.R.A., R.S.A., R.W.A. (SCOTTISH 1895-1965) BLUE FLOWERS Signed, watercolour 57cm x 77cm (22.5in x 30.5in)

ยฃ3,000-5,000

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115§ HB843/5 VICTORIA CROWE O.B.E., R.S.A., R.S.W. (SCOTTISH b. 1946) DRAWN FROM NATURE: VIOLET AND BOG PALUSTRIS Signed and inscribed with title in pencil to margin, numbered 11/30, silkscreen intaglio print 21.5cm x 26cm (8.25in x 10.25in)

and a further unframed print, ‘Tree Hibiscus’, by the same hand (2) £400-600

116§ HB278/15 VICTORIA CROWE R.S.A., R.S.W. (SCOTTISH b. 1945) THE HEALING HERB, VIOLA Signed and inscribed with title, numbered 27/50, screenprint 77cm x 56cm (30.25in x 22in)

£200-300

117§ HB843/6 VICTORIA CROWE O.B.E., R.S.A., R.S.W. (SCOTTISH b. 1956) DRAWN FROM NATURE: IRIDESCENT BEETLES Signed and inscribed with title in pencil to margin, numbered 2/30, silkscreen intaglio print 21cm x 26cm (8.25in x 10.25in)

and a further unframed print ‘Jackdaw’ by the same artist (2) £400-600

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118 HC709/1 SIR ROBIN PHILPSON R.A., P.R.S.A., R.S.W., R.G.I. (SCOTTISH 1916-1992) FIGHTING BULLS Signed, gouache 20cm x 42cm (8in x 16.5in) Exhibited: ‘Collector’s Choice Exhibition’, December 1962, The Stone Gallery, Newcastle

£1,500-2,500

119§ HC727/1 SIR WILLIAM GEORGE GILLIES C.B.E., R.A., R.S.A., P.R.S.W. (SCOTTISH 1898-1973) UPLAND FIELD NEAR SOUTHWICK Signed, inscribed with title artist’s label verso, watercolour 28cm x 38cm (11in x 15in)

£1,200-1,800

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120§ HB848/8 HARRY HOLLAND (SCOTTISH b. 1941) LYING FIGURE Signed, pastel 37cm x 32cm (14.5in x 12.5in)

£200-300

121§ HB848/11 ROBERT FAWCETT (BRITISH b. 1966) NUDE Gouache on board 16.5cm x 6.5cm (6.5in x 2.5in)

£150-250

122§ HB848/10 CLIVE MCCARTNEY (SCOTTISH b. 1960) GRAN CAFÉ CENTRAL Signed, acrylic on board 21.5cm x 29cm (8.5in x 11.5in)

£300-500

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123§ HC653/6 JOCK MCFADYEN (SCOTTISH b. 1950) TREVOR Signed and inscribed with title in pencil to margin, numbered 4/15, colour lithograph 75cm x 56cm (29.5in x 22in)

£300-500

124§ HC653/9 PETER HOWSON (SCOTTISH b. 1958) BOB Signed, inscribed with title and dated ‘87 in pencil to margin, numbered 16/30, etching 36cm x 29cm (14in x 11.5in) (including margins)

£500-700

125§ HC653/10 KEN CURRIE (SCOTTISH b. 1960) HEAD STUDY (AFTER VELAZQUEZ) Printer’s proof, signed, dated 2005 and inscribed with title, etching 28cm x 21cm (11in x 8.25in) (including margins)

£300-500

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126§ HC653/8 DAVID MACH (SCOTTISH b. 1956) UNTITLED (VOLCANIC CROWD), 2000 Artist’s proof, signed in pencil to margin, lithograph 49cm x 64cm (19.25in x 25.25in)

£200-300

127§ HC653/7 JOCK MCFADYEN (SCOTTISH b. 1950) SPAZO Signed and inscribed with title in pencil to margin, numbered 3/15, colour lithograph 75cm x 56cm (29.5in x 22in) (including margins)

£300-500

128§ HC611/5 DAVID MACH (SCOTTISH b. 1956) PRINCESS Signed and inscribed with title in pencil to margin, numbered 54/100, screenprint 55cm x 75cm (21.5in x 29.5in) (including margins)

£300-500

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129§ HB278/24 CRAIG MULHOLLAND (SCOTTISH b. 1969) HEAD STUDY Signed with initial, mixed media on paper 10.5cm x 10cm (4.25in x 4in)

£250-350

130§ HB602/1 TOM WILSON (SCOTTISH b. 1954) THE LITTLE VELAZQUEZ Signed, inscribed with title verso, watercolour 23cm x 15cm (9in x 6in)

£200-300

131§ HC24/1 DOUGLAS THOMSON (SCOTTISH b. 1955) THE WRITER Signed and dated ‘99, signed and inscribed with title and dated verso, oil on canvas 68cm x 52cm (26.75in x 20.5in)

£300-500

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132ยง 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)

ยฃ4,000-6,000

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133§ HC707/2 PETER MCLAREN (SCOTTISH b. 1964) CODONA Mixed media on paper 35cm x 52cm (13.75in x 20.5in)

£600-800

134§ HC660/2 JO BROCKLEHURST (BRITISH 1935-2006) BLAME IT ON ME: PUNK STUDY Signed and dated ‘81, watercolour and pastel 84cm x 59cm (33in x 23.25in)

£400-600

135§ HC707/3 PETER MCLAREN (SCOTTISH b. 1964) FAIRGROUND Signed, mixed media on paper 34cm x 42cm (13.5in x 16.5in)

£500-700

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136§ HC653/5 ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I. (SCOTTISH b. 1931) ROMAN WALL Signed and dated ‘63 in pencil margin, numbered 44/50, screenprint 55cm x 72cm (21.5in x 28.25in)

£500-700

137§ HC665/2 DIANE CALVERT (BRITISH CONTEMPORARY) TOWNHOUSES FROM THE GARDENS Signed with initials, oil on board 44.5cm x 39.5cm (17.5in x 15.5in)

£400-600

138§ HC665/3 JEAN ESTEVE-SILLY (FRENCH 1912-1978) SEINE LANDSCAPE Signed, oil on board 18cm x 26cm (7in x 10.25in) Provenance: Bears label verso, ‘The Robert A. Lillie Collection’, cat. no. 178

£600-800

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139§ HC690/2 IAN FLEMING R.S.A., R.S.W. (SCOTTISH 1906-1994) HAAR Signed and dated 1938 verso, oil on board 74cm x 59cm (29in x 23.25in)

£400-600

140§ HC614/1 ARCHIE FORREST (SCOTTISH b. 1950) RED CHAPEL Signed, oil on canvas 84cm x 66cm (33in x 26in)

£1,000-1,500

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141§ HB644/4 DAME ELIZABETH BLACKADDER R.A., R.S.A., R.S.W., R.G.I. (SCOTTISH b. 1931) PRAYER RUG AND FLOWERS Signed and dated 1972, watercolour 104cm x 69cm (41in x 27.25in) Exhibited: The Mercury Gallery, Cork Street, London

£2,000-3,000

142§ HB650/46 LESLEY BANKS (SCOTTISH b. 1962) CANADIAN THOUGHTS Signed and dated ‘94, oil on canvas 34cm x 29cm (13.5in x 11.5in)

£400-600

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143 HC810/1 DONALD MANSON (SCOTTISH CONTEMPORARY) SEPTEMBER SONG Signed, oil on canvas 50cm x 100cm (19.75in x 39.25in)

£400-600

144 HC810/2 DONALD MANSON (SCOTTISH CONTEMPORARY) FLOWERS & APPLES Signed, oil on canvas 60cm x 50cm (23.5in x 19.75in)

£300-500

145 HC810/3 DONALD MANSON (SCOTTISH CONTEMPORARY) BRAMBLES BY THE NORTH SEA Signed, oil on canvas 23cm x 30cm (9in x 12in)

£200-300

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146§ HC670/1 DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926-1998) MOON BY DAY Signed, signed and inscribed with title and dated ‘92 verso, oil and collage on board 58cm x 36cm (23in x 14.25in)

£1,000-1,500

147§ DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926-1998) SUMMER SOLSTICE Oil on canvas 121cm x 124.5cm (47.5in x 49in) £3,000-5,000

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148§ HC669/6 WILLIAM BAILLIE C.B.E., P.R.S.A., P.R.S.W. (SCOTTISH 1923-2011) PINK INTERIOR AND BOUQUET Signed verso, watercolour and inks 63cm x 53cm (24.75in x 20.75in)

£500-700

149§ HC681/1 DAME ELIZABETH BLACKADDER R.A., R.S.A., R.S.W., R.G.I. (SCOTTISH b. 1931) PARROTS Signed in pencil to margin and numbered 47/50, etching 22.5cm x 30cm (8.75in x 11.5in)

£300-500

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150 HC671/2 PETER MCLAREN (SCOTTISH b. 1964) STILL LIFE WITH POPPIES AND ORANGES Signed and inscribed with title and dated 2013 verso, oil on board 120cm x 115cm (47.25in x 45.25in)

ÂŁ6,000-8,000

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151 HC671/1 PETER MCLAREN (SCOTTISH b. 1964) STILL LIFE WITH POPPIES Signed, inscribed with title and dated 2013 verso, oil on board 122cm x 91cm (48in x 35.75in)

ÂŁ5,000-7,000

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152§ HC611/3 ADRIAN WISZNIEWSKI A.R.S.A. (SCOTTISH b. 1958) SOMEWHERE IN AFRICA Signed in pencil to margin, printer’s proof, screenprint 75cm x 56cm (29.5in x 22in)

£300-500

153§ HC611/4 ADRIAN WISZNIEWSKI A.R.S.A. (SCOTTISH b. 1958) LITTLE PITCAIRN Signed and inscribed with title in pencil to margin, printer’s proof, screenprint 74cm x 55cm (29in x 21.5in) (including margins)

£300-500

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154§ HC611/9 BARBARA RAE C.B.E., R.A., R.S.A. (SCOTTISH b. 1943) FAST CASTLE Signed, titled and numbered 15/60 in pencil to margin, etching on textured paper 44cm x 55.5cm (17.25in x 21.75in)

£200-300

155§ HC611/10 STUART DUFFIN R.S.A. (SCOTTISH b. 1959) STREET OF PROPHETS Signed and numbered 15/60 in pencil to margin, etching 44cm x 56cm (17.25in x 22in)

£250-350

156§ HC611/8 JOHN BYRNE (SCOTTISH b. 1940) J’ACCUSE Signed, titled and numbered 15/60 in pencil to margin, lithograph 56cm x 44cm (22in x 17.25in)

£300-500

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157§ HB278/16 ALAN DAVIE C.B.E., H.R.S.A. (SCOTTISH 1920-2014) ENERGY IS DELIGHT Signed and dated 2001 in pencil to margin, numbered 33/75, screenprint 75cm x 63cm (29.5in x 24.75in) (including margins)

£400-600

158§ HC707/1 ALAN DAVIE C.B.E., H.R.S.A. (SCOTTISH 1920-2014) WITHIN MEMORY Signed and dated '04, gouache 65cm x 56cm (25.5in x 22in) Exhibited: The Open Eye Gallery, Edinburgh

£3,500-5,500

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159§ HB278/21 CALLUM INNES (SCOTTISH b. 1962) UNTITLED Indistinctly inscribed and dated ‘04 in pencil to margin, photopolymer intaglio etching 47.5cm x 43.5cm (18.75in x 17.25in)

£800-1,200

160§ HC628/4 DAVID HOCKNEY O.M., C.H., R.A. (BRITISH b. 1937) FRENCH SHOP Signed and dated ‘71 in pencil to margin, numbered 255/500, etching 56cm x 46cm (22in x 18in)

£2,500-3,500

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161ยง HB650/76 JACK KNOX R.S.A., R.S.W., R.G.I. (SCOTTISH 1936-2015) STILL-LIFE WITH LOBSTER Signed, oil on canvas 49cm x 74.5cm (19.25in x 29.5in)

ยฃ2,000-3,000

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162§ HB650/77 MELIK OHANIAN (FRENCH CONTEMPORARY) SELECTED RECORDINGS #084 Lambda print mounted on aluminium 124cm x 200cm (48.75in x 78.75in)

£1,000-1,500

Melik Ohanian is a French contemporary artist of Armenian origin. Born in France in 1969, he now lives and works in Paris and New York. His artworks have been exhibited internationally, including solo shows at Palais de Tokyo in Paris, South London Gallery in London, De Appel in Amsterdam, Matucana 100 in Santiago de Chile and the Utah Museum of Contemporary Art. He has also taken part in a large

number of high-profile group exhibitions, including biennials in Sao Paolo, Berlin, Sydney, Moscow and Lyon.

Recently, his work has featured at Art Basel in both Basel and Miami Beach as well as the 52nd and 56th editions of the Venice Biennale.

Drawing on research, and scientific and philosophical methodologies, he has developed a body of work that uses a wide range of

mediums, including film, photography and installation.

The majority of his work is interested in the concept of time and the idea of territories, both physical and conceptual.

Selected Recordings #084 is part of Ohanian’s ‘Selected Recordings’ series; an unlimited series of photographs that he started in 2000. Each print is unique and carries only an identifying number, no title. There is also

neither a geographical nor a time reference to situate the images. This lends each work a mysterious and surreal atmosphere, leaving the viewer to situate the works themselves, unencumbered by factual information.

Ohanian’s wish is that, upon agreement, photographs from the series can be exchanged between owners, both individual and institutional.

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163§ HC834/7 ERNEST BURNETT HOOD (SCOTTISH 1932-1988) EAST COAST SUNRISE Signed, gouache 56cm x 101cm (22in x 43.5in)

£500-700

164§ HC748/1 MATTHEW DRAPER (SCOTTISH b. 1973) EDINBURGH AT NIGHT Signed and dated 2002, pastel 39cm x 54cm (15.5in x 21.25in)

£800-1,200

165§ HC834/19 DAVID MCLEOD MARTIN R.S.W, R.G.I. (SCOTTISH b. 1922) HILLSIDE LANDSCAPE Signed and dated ‘78, watercolour and gouache 54cm x 73cm (21.25in x 28.75in)

£500-700

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166§ HC707/6 CRAIG BROWN (BRITISH CONTEMPORARY) UNTITLED Signed, mixed media and collage on paper 42cm x 60cm (16.5in x 23.5in)

£500-700

167§ HC834/24 DANNY FERGUSON (SCOTTISH 1925-1993) STORMY SUNSET Signed, oil on canvasboard 90cm x 90cm (35.5in x 35.5in)

£600-800

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168 HC707/5 ALEXANDER CALDER (AMERICAN 1898-1976) TANK TRAPS Signed in pencil, numbered 73/95, colour lithograph 73cm x 109cm (28.75in x 43in)

£1,000-1,500

Born in Pennsylvania in 1898, Alexander Calder was an American sculptor famed for the creation of the first mobiles and is viewed as one of the most celebrated sculptors of the 20th century.

Initially graduating with an engineering degree from the Stevens Institute of Technology in Hoboken, New Jersey in 1919 Calder undoubtedly had a passion

for creating movable objects.

However, he later made the decision to move to New York to pursue his career as an artist by studying painting at the Art Students League from 1923-6. Subsequently, Calder tried his hand at many jobs including steam boat stoker, draftsman and map-colourist, and illustrator for the National Police Gazette, which led to his interest in the circus and inspired his popular moving figures and toys that made up Cirque Calder.

Calder spent a substantial amount of time in Paris where he befriended Abstract artists Joan Miró and Piet Mondrian who had a great

influence in the permanent shift from figuration to abstraction and the incorporation of kinetic elements into Calder’s sculptural works. Using his knowledge as an engineer, Calder’s Mobiles were perfectly weighted and balanced whilst appearing to be randomly arranged. The prints which Calder produced from the 1930s reflect his sculptures and his penchant for abstract forms. The use of thin lines to define figures in his earlier works came to outline geometric shapes.

Such prints often reflect Calder’s protest to the Vietnam War and this can be

seen in his poster prints of the late 1960s.

By introducing the element of movement into his pieces Calder redefined sculpture.

He also created static sculptures (known as Stabiles) as well as paintings, stage sets, jewellery and costume, showing his versatility as an artist. Calder died in New York in 1976 at the age of 78. This was the same year in which he was awarded the Presidential Medal of Freedom as well as the Bicentennial Artist Award from the Whitney Museum of American Art, New York.

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169§ HC380/5 JOHN MCLEAN (SCOTTISH b. 1939) THE MOUNTJOY SUITE Signed with initials and dated ‘95 in pencil, numbered 3/40 screenprint, unframed 75.5cm x 56cm (29.75in x 22in)

and three further prints by the artist (4) £600-800

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170§ HC653/15 BRUCE MCLEAN (SCOTTISH b. 1944) UNTITLED (GOLD SPLASH) Signed and dated ‘88 in pencil to margin, numbered 23/100, screenprint 99cm x 69.5cm (39in x 27.5in)

£400-600

171§ HC653/14 BRUCE MCLEAN (SCOTTISH b. 1944) UNTITLED Signed in pencil to margin, numbered 79/80, screenprint 99cm x 70cm (39in x 27.5in)

and a further print by the same hand (2) £600-800

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172 HC653/12 SERGEI ESSAIAN (RUSSIAN 1939-2007) FIGURES WITHIN DOORWAYS Signed and dated ‘78, gouache and watercolour, in an arched mount 27cm x 45cm (10.5in x 17.17in) Provenance: Originally gifted by the artist and thence to the current vendor

£800-1,000

173§ HC707/9 HENRY MOORE O.M., C.H., F.B.A., R.B.S. (BRITISH 1898-1986) SCULPTURAL OBJECTS Signed and dated ‘49 in plate, colour lithograph, from an edition of 3000, printed by W S Cowell Ltd., published by School Prints 49.5cm x 76cm (19.5in x 30in)

£400-600

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174§ HB671/16 MICHAEL DAWSON (SCOTTISH CONTEMPORARY) KING MONKEY, 2001 Signed with initials, mixed media on paper 73cm x 53cm (28.75in x 20.75in)

£300-500

175§ HC684/1 IAIN ROBERTSON (SCOTTISH b. 1955) CALEDONIAN BEAT Signed and inscribed with title and dated 1996 verso, oil on canvas 76cm x 38cm (30in x 15in)

£400-600

176§ HC669/7 JOHN MCLEAN (SCOTTISH b. 1939) MOON GYTE Signed and dated 2000, acrylic on paper 75cm x 56cm (29.5in x 22in)

£500-700

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177§ HC653/1 BRUCE MCLEAN (SCOTTISH b. 1944) VERTICAL DUSK Signed and numbered 31/60, hand-finished screenprint 153cm x 115.5cm (60.25in x 45.5in)

£1,600-1,800

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178§ HB848/12 HUGH BYARS (SCOTTISH b. 1957) HEAD 19 Signed and dated ‘92, oil on canvas 19cm x 19cm (7.5in x 7.5in)

£250-350

179§ HC707/4 PETER HOWSON (SCOTTISH b. 1958) TIMELESS MARCH - (STUDY) 1992 Signed and inscribed with title stretcher verso, bears ‘Flowers Gallery’ label verso, oil on canvas, unframed 61cm x 92cm (24in x 36.25in) Exhibited: Flowers East, 1992

£2,000-3,000

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180§ HB856/9 GIOVANNI GIANNINI (CZECH b. 1930) BOX OF 28 ETCHINGS From various folios including 'Erotic Dreams'; Illustrations for Edgar Allan Poe; ''Histoires Extraordinaire', all signed and numbered in pencil to margin, plate size varies £200-300

181§ HC648/1 IAN FLEMING R.S.A, R.S.W. (SCOTTISH 1906-1994) COMMENT Signed and inscribed with title in pencil to margin, etching 18.5cm x 26cm (7.25in x 10.25in) (including margins)

£300-500 182§ HC653/11 JOHN BELLANY O.B.E., R.S., H.R.S.A. (SCOTTISH 1942-2013) DEATH KNELL FOR JOHN KNOX Signed in pencil to margin, numbered 10/50, etching 45.5cm x 38cm (18in x 15in) (including margins)

£300-500

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183§ HC653/19 IAN HAMILTON FINLAY C.B.E. (SCOTTISH 1925-2006) DRYAD - IN WAFFEN SS WINTER CAMOUFLAGE SMOCK Produced with Roger Bunn 1980-81, signed on base, ed. of 2, glazed pottery slip moulding; two further pairs of Dyads, modelled respectively in Autumn and Summer smocks, were also made.

20cm x 16cm (8in x 6.25in)

£800-1,200

For Finlay, the Dryad was intended to embody different aspects of European culture, classical and modern. Born in 1925 and having served in the British Army from 1942, Finlay witnessed the war at first hand and later came to reflect on its meaning in cultural terms.

The Dryad and many of his contemporaneous works explore and blend the visual languages of the classical world and those thrown up respectively by the French Revolution and the Third Reich. In these works, executed across a wide range of media, the modern is invariably painted or draped across the classical as a visual metaphor for the temporal precedence of the classical, and for the way it preconfigures the modern.

There are more subtle nuances to the design of the Dryad; the figure itself is naturalistic, buxom, with a hint of sensuality, draped in a revealing military smock, while the head with its elaborate hair-do are formed to classical Greek statuary.

Once again, Finlay draws a comparison between classical and modern.

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184§ HC653/4 IAN HAMILTON FINLAY C.B.E. (SCOTTISH 1925-2006) POEM/PRINT NO.11 Made with John Furnival, printed by Wild Hawthorn Press April 1969, screenprint 50cm x 70cm (19.75in x 27.5in)

£400-600

185§ HC681/2 IAN HAMILTON FINLAY C.B.E. (SCOTTISH 1925-2006) THE HARBOUR AT GRAVELINES - ‘IN FAMILIAR MOTTLE CAMOUFLAGE’ With Gary Hincks pub. Wild Hawthorn Press, screenprint 42cm x 49cm (16.5in x 19.25in)

£200-300

186§ HC653/3 IAN HAMILTON FINLAY C.B.E. (SCOTTISH 1925-2006) POEM/PRINT NO.14 Made with John Furnival, printed by Wild Hawthorn Press April 1970, screenprint 50cm x 70cm (19.75in x 27.5in)

£400-600

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96 Lyon & Turnbull

187§ HB848/14 CRAWFURD ADAMSON (SCOTTISH CONTEMPORARY) DRAWING 1 Signed, charcoal and pastel 54cm x 35cm (21.25in x 13.75in)

£200-300

188§ HD513/8 IAN HAMILTON FINLAY C.B.E. (SCOTTISH 1925-2006) CONCILIUM ARTIUM DELENDUM EST Screenprint 32cm x 45cm (12.5in x 17.75in) Note: This editioned work was created to be pasted around the Scottish Arts Council during the notorious ‘Battle of Little Sparta’

£150-250 189§ HD513/7 IAN HAMILTON FINLAY C.B.E. (SCOTTISH 1925-2006) AFTER BERNINI Ian Hamitlon Finlay and Gary Hincks, pub. Wild Hawthorn Press, screenprint 70cm x 45cm (27.5in x 17.75in)

£100-150

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190ยง HC822/1 JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) PORT SETON, 2002 Signed, oil on canvas 91.5cm x 122cm (36in x 48in)

ยฃ4,000-6,000

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98 Lyon & Turnbull

191§ HB982/1 DAVID EVANS R.S.A., R.S.W. (WELSH/SCOTTISH b. 1942) THE PEAR Signed verso, oil on board 21cm x 16cm (8.25in x 6.25in)

£300-500

192§ HB864/1 DAVID MCLEOD MARTIN R.S.W., R.G.I. (SCOTTISH b. 1922) THE OIL LAMP Signed, oil on canvas 76cm x 76cm (30in x 30in)

£2,000-3,000

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193§ HC675/1 JAMES MORRISON R.S.A., R.S.W. (SCOTTISH b. 1932) CHINESE Signed and dated 1968, inscribed with title verso, mixed media on paper 40cm x 85cm (15.75in x 33.5in)

£1,000-1,500

194§ 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)

£1,000-1,500

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100 Lyon & Turnbull

195ยง HC537/3 ALEXANDER GOUDIE R.P. (SCOTTISH 1933-2004) STILL LIFE WITH PEARS AND GRAPES, C.1960 Signed, bears an oil sketch of a landscape verso, oil on canvas 48.5cm x 63cm (19in x 24.75in) Exhibited: Archeus Gallery

ยฃ3,000-5,000

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196ยง HA80/3 CRAIGIE AITCHISON C.B.E., R.A., R.S.A. (SCOTTISH 1926-2009) BLUE BIRD Stitched signature verso, numbered 5/25, wool carpet 208cm x 279cm (82in x 110in)

ยฃ3,000-5,000

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102 Lyon & Turnbull

197§ HC30/1 GLEN SCOULLER (SCOTTISH b. 1950) RED DOOR, SEILLANS Signed and dated ‘01, oil on canvas 49cm x 74cm (19.25in x 29in)

£600-800

198§ HC826/1 CRAIGIE AITCHISON C.B.E., R.A., R.S.A. (SCOTTISH 1926-2009) STILL LIFE ON VERMILLION Signed and numbered 60/85, screenprint, unframed 55cm x 45.5cm (21.75in x 18in)

£400-600

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199§ HC831/3 LEON MORROCCO A.R.S.A. (SCOTTISH b. 1942) ROOFTOP VIEW WITH LOVERS Oil on canvas 96.5cm x 101.5cm (38in x 40in) £5,000-7,000

200§ HC831/2 LEON MORROCCO A.R.S.A. (SCOTTISH b. 1942) BATHERS Signed and dated '98, oil on board 69cm x 74cm (27in x 29in) £4,000-6,000

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104 Lyon & Turnbull

201§ HC380/4 JOHN MCLEAN (SCOTTISH b. 1939) UNTITLED Signed with initials and dated ‘09, signed and dated verso, acrylic on card 21cm x 23.5cm (8.25in x 9.25in)

£150-200

202§ HB278/23 JOHN MCLEAN (SCOTTISH b. 1939) SOUTH BRIDGE Signed and dated 2003 in pencil to margin, numbered 68/75, colour lithograph 60cm x 70cm (23.5in x 27.5in)

£300-500 END OF SALE

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Index Adams, L.B., 26 Adamson, C., 101, 102, 103, 187 Aitchison, C., 196, 198 Appel, K., 87 Baillie, W., 148 Banks, L., 142 Bellany, J., 35, 36, 106, 182, 190 Benjamin, A., 88 Beuys, J., 74 Blackadder, E., 136, 141, 149 Braham, P., 100 Bratby, J., 20 Brocklehurst, J., 134 Brown, C., 166 Byars, H., 178 Byrne, J., 73, 156 Calder, A., 168 Calvert, D., 137 Campbell, S., 105 Child Psychotherapy Trust (various artists), 38 Churchill, M., 62 Colquhoun, R., 21 Colvin, C., 98 Conroy, S., 132 Crowe, V., 45, 46, 47, 110, 115, 116, 117 Currie, K., 125 Davie, A., 78, 79, 80, 157, 158 Dawson, M., 174 Denny, R., 97, 99 Douthwaite, P., 11-14 Draper, M., 164 Duffin, S., 155 Eardley, J., 50

Elwyn, J., 40 Essaian, S., 172 Esteve-Silly, J., 138 Evans, D., 191 Fawcett, R., 121 Ferguson, D., 1, 167 Finlay, I.H., 183-186, 188, 189 Fleming, I., 139, 181 Forrest, A., 140 Furuta, H, 90 Gear, W., 63, 82, 83, 84, 91 Giannini, G., 180 Gillies, Sir W., 119 Goudie, A., 195 Hale, M., 92, 93 Hanna, N., 59 Herman, J., 67-71 Hockney, D., 160 Holland, H., 6, 7, 8, 120 Hood, E.B., 163 House, G., 95, 96 Houston, J., 4, 42 Howson, P., 124, 179 Hutcheson, T., 5 Innes, C., 159 Irvine, J., 22

Manson, D., 143, 144, 145 Martin, D.M., 27, 28, 34, 165, 192 McCartney, C., 122 McClure, D., 111, 146, 147 McFadyen, J., 123, 127 McKendrick, T., 15 McLaren, P., 37, 133, 135, 150, 151, 158 McLean, B., 170, 171, 177 McLean, J., 169, 176, 201, 202 McLean, W., 60, 109 McLure, D., 33 Michie, D., 194 Miller, H.V., 89 Moffat, A., 29 Moore, H., 173 Morrison, J., 193 Morrison, J.L., 2 Morrocco, L., 199, 200 Mulholland, C., 129 Neagu, P., 75, 76, 77 Neil, A., 51, 52, 53, 55, 56, 57 Ohanian, M., 162 Paolozzi, Sir E., 85, 86 Pasmore, V., 17, 18, 19 Paterson, A., 39 Philipson, Sir R., 113, 118

Johnstone, W., 66 Kane, M., 24, 25 Kent, C., 41 Kirkham, N., 23 Knox, J., 30, 31, 32, 72, 104, 161 Kurten, S., 112 Mach, D., 126, 128 Mactaggart, Sir W., 10

Rae, B, 154 Rayner, M, 108 Redpath, A., 114 Richards, C., 64, 65 Robertson, F., 43 Robertson, I., 175 Ryder, S., 9 Scouller, G., 3, 197

Senior, W., 54 Shanks, D, 16 Sinnot, K., 44 Smith, I.M., 61 Stroud, P., 94 Taylor, J., attributed to, 58 Thoms, C., 107 Thomson, D., 131 Walker, Dame E, 48, 49 Warhol, A., 81 Wilson, T., 130 Wiszniewski, A., 152, 153

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Glossary of Cataloguing Terms The following expressions with their accompanying explanations are used by Lyon & Turnbull as standard cataloguing practice. Our use of these expressions does not take account of the condition of the lot or the extent of any restoration.

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

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

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

Studio of ... / Workshop of ...

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

In our opinion a work of the period of the artist and showing his influence.

Follower of ...

In our opinion a work executed in the artist’s style but not necessarily by a pupil.

Manner of ...

In our opinion a work executed in the artist’s style but of a later date After ...

In our opinion a copy (of any date) of a work of the artist.

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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A festival celebrating the art of precious metals 10th-13th September 2015: 10am-6pm 33 Broughton Place, Edinburgh EH1 3RR For the first time this September, the Incorporation of Goldsmiths and Lyon & Turnbull will host Elements, a four-day festival celebrating the art of precious metals. ‘Elements’ will bring together over forty contemporary jewellers and silversmiths from across the UK and an exclusive exhibition of some of Scotland’s greatest collections of contemporary silver.

For more information contact Ruth Davis ruth.davis@lyonandturnbull.com 0131 557 8844

Sharleen Spiteri’s teapot and cups, made by Sarah Hutchinson.

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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.

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).

(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.

8. UNSOLD ITEMS

(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

(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.

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.

(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.

5. STANDARD SELLER FEES AND CHARGES (Subject to VAT)

9. LOT WITHDRAWAL

(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

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).

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.

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

15. GENERAL

17. DATA PROTECTION

(a) We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

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.

(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.

(a) The same Conditions of Sale (Sellers) shall apply to sales by private treaty.

(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.

(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.

(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.

(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.

(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.

13. SALE BY PRIVATE TREATY

(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.

(f) The contract between the parties may be varied by the parties by agreement and in writing.

14. THIRD PARTY LIABILITY

16. AGENCY

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

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.

If you would like further information on Lyon & Turnbull policies on personal data, or to make corrections to your information, please contact us on +44 (0)131 557 8844.

18. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Seller agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

BUYERS The Auctioneer carries on business with bidders, Buyers and all those present in the auction room prior to, or in connection with, a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein..

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.

(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

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.

(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.

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.

(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.

(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.

(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.

(f) The contract between the parties may be varied by the parties by agreement and in writing.

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.

(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.

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

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 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

Furniture & Larger Items

Arrangements for Sold Lots

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

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

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

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

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.

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 CONTEMPORARY & POST-WAR ART

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

13TH AUGUST, 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, 13th August, 2015 33 Broughton Place Edinburgh EH1 3RR

Contemporary & Post-War Art