LYON & TURNBULL AUCTIONEERS EDINBURGH SCOTTISH PAINTINGS & SCULPTURE
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10TH DECEMBER, 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, 10th December, 2015 33 Broughton Place Edinburgh
Scottish Paintings & Sculpture
Scottish Paintings & Sculpture Thursday, 10th December, 2015 at 6pm Sale Number LT450
Viewing Times Sunday, 6th December 12 noon - 4pm Monday, 7th December 10am - 5pm Tuesday, 8th December 10am - 7pm Wednesday, 9th December 10am - 5pm Thursday, 10th December 10am - 1pm
Enquiries Lyon & Turnbull Ltd. 33 Broughton Place Edinburgh EH1 3RR Tel. 0131 557 8844 Fax. 0131 557 8668 Email. info@lyonandturnbull.com www.lyonandturnbull.com
Catalogue: ÂŁ15
Front Cover Lot 80 (detail)
Inside Front Cover Lot 20 (detail)
Inside Back Cover Lot 45 (detail)
Buyer’s Guide This sale is subject to our standard Conditions of Sale (available at the back of every catalogue and on our website). If you have not bought at auction before we will be delighted to advise you.
Buyer’s Premium & Other Charges The buyer shall pay the hammer price together with a premium, at the following rate, thereon. 25% up to £50,000 / 20% thereafter. VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale). Additional VAT † VAT at the standard rate payable at the standard rate on the hammer price * 5% import VAT payable on the hammer price No VAT is payable on the hammer price or premium for books bought at auction. Droit de Suite § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the buyer on the hammer price and in addition to the buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. More information on Droit de Suite is available at www.dacs.org.uk
Registration
Catalogue descriptions
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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.
Meet the Specialists At Lyon & Turnbull we want to make buying at auction as easy and enjoyable as possible. Our specialist team are on hand to assist you; whether you are looking for something in particular for your home or collection; require more detailed information about the history or current condition of a lot or just want to ďŹ nd out more about the auction process.
Nick Curnow
Charlotte Riordan
Carly Shearer
Carly Shearer
nick.curnow@lyonandturnbull.com
charlotte.riordan@lyonandturnbull.com
carly.shearer@lyonandturnbull.com
carly.shearer@lyonandturnbull.com
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1 HD360/23 JAMES PATERSON P.R.S.W., R.S.A., R.W.S. (SCOTTISH 1854-1932) ON THE THAMES AT RICHMOND Signed, inscribed and dated ‘Richmond 1884’, watercolour 35cm x 52cm (13.75in x 20.5in)
£1,500-2,000
2 HC866/19 HARRY SPENCE (BRITISH 1860-1928) THE GLASGOW INTERNATIONAL EXHIBITION 1901 Signed and dated 1901, oil on canvas 49.5cm x 58.5cm (19.5in x 23in)
£1,000-1,500
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3 HC866/18 HARRY SPENCE (BRITISH 1860-1928) THE GLASGOW INTERNATIONAL EXHIBITION 1901 Signed and dated 1901, oil on canvas 55cm x 49cm (21.75in x 19.25in)
£1,000-1,500
4 HD402/1 CHARLES HODGE MACKIE R.S.A., R.S.W., P.S.S.A. (SCOTTISH 1862-1920) THE GEAN TREE OF GARTOCHARN Signed, inscribed verso, oil on panel 24cm x 21.5cm (9.5in x 8.5in)
£600-900
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5 HD360/44 JAMES FAED JUNIOR (SCOTTISH 1856-1920) ON THE ALMOND Signed, oil on canvas 51cm x 76cm (20in x 30in) Note: A smaller preparatory sketch for this picture was sold at Bonhams, Edinburgh 23/8/2003 for £2700
£3,000-5,000
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6 HD360/54 LOUIS BOSWORTH HURT (SCOTTISH 1856-1929) HIGHLAND CATTLE IN A MOUNTAIN GLEN Signed, oil on canvas 51cm x 76cm (20in x 30in)
£3,000-5,000
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7 HC733/1 GEORGE JAMESONE (SCOTTISH c. 1589-1644) HEAD AND SHOULDER PORTRAIT OF MALCOLM III OF SCOTLAND Inscribed twice ‘Milcolumbus Canmore Anno 1057,’ and numbered ‘no. 80’, oil on canvas 66cm x 56cm (26in x 22in)
£20,000-30,000
In 1633, King Charles I travelled to Scotland in person, to be crowned King of Scots in Edinburgh. This occasion merited the organisation of one of the most sumptuous displays of pageantry yet seen in either Scotland or England. Seven arches were to be erected for the king to pass through, especially designed to visually emphasise Charles’ right to rule - and to paint them the city turned to Scotland’s most important artist, George Jamesone. To decorate Charles’ route, Jamesone created a series of historical portraits of over a hundred Scottish kings. None of the portraits could be said to be from life, and some even represented fictitious kings (the historical record then was somewhat inaccurate). But the idea was to show that Charles was the latest in a long line of celebrated Scottish monarchs.
Less than a quarter of the portraits were known to have survived into modern times and today only a handful are known, such as the portraits of Robert the Bruce and William Wallace at the Scottish National Portrait Gallery. A group of 26 - the only known examples - were sold from the collections of the Marquesses of Lothian at Newbattle Abbey in the 1970s, and since then many have lost either their attributions or identifications. This portrait of Malcolm III was recently re-discovered in California, where it was described simply as a Portrait of an unknown 11th Century, European king. Malcolm III (d.1093), was one of Scotland’s most significant medieval kings (and, thanks to his role in Shakespeare’s Macbeth, one of the best known). He lived much of his early life in exile in England,
after Macbeth killed his father, Duncan I in 1040. But by 1057 Malcolm had regained control of all Scotland - and personally slayed Macbeth after the Battle of Lumphanan (though Shakespeare erroneously attributes this act to Macduff). Malcolm’s unusually long reign is known as one of consolidation, periodic raids into England, and a reorientation of Scotland’s political outlook towards Europe, away from Scandinavia. Lyon & Turnbull would like to thank art historian Dr. Bendor Grosvenor for his assistance with the research and writing of this article.
Scottish Paintings & Sculpture 9
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8 HD63/1 ALLAN RAMSAY (SCOTTISH 1713-1784) HALF LENGTH PORTRAIT OF DR. ALEXANDER MONRO Oil on canvas, feigned oval 72cm x 62cm (28.5in x 24.5in) Provenance: By family descent until purchased by the current vendor in 2006 Exhibited: Royal Scottish Museum, Edinburgh and Medicine, Edinburgh 1976, no.147 Literature: Alastair Smart, Allan Ramsay, 1999, no.369b
ÂŁ30,000-50,000
Scottish Paintings & Sculpture 11
9 HD164/1 SIR HENRY RAEBURN R.A. (SCOTTISH 1756-1823) HALF LENGTH PORTRAIT OF DR. JAMES HAMILTON Oil on canvas 76cm x 63cm (30in x 25in)
£4,000-6,000
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10 HD363/2 DAVID GAULD R.S.A. (SCOTTISH 1865-1936) AN OLD ENGLISH MILL Signed, oil on canvas 71cm x 91cm (28in x 36in)
£2,000-3,000
11 HD371/1 JAMES PATERSON P.R.S.W., R.S.A., R.W.S. (SCOTTISH 1854-1932) A WOODLAND STREAM Signed and inscribed ‘Moniaive’, oil on canvas 38cm x 46cm (15in x 18in)
£1,000-2,000
Scottish Paintings & Sculpture 13
12 HD360/56 JAMES RIDDEL A.R.S.A., R.S.W. (SCOTTISH 1857-1928) THE YOUNG GARDENER Signed and dated ‘09, oil on canvas 122cm x 122cm (48in x 48in)
£4,000-6,000
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13 HB822/1 WALLER HUGH PATON R.S.A., R.S.W. (SCOTTISH 1828-1895) SUMMER EVENING, LOCH LONG Signed and dated 1876, oil on canvas, arched top 71cm x 140cm (28in x 55in) Exhibited: Royal Scottish Academy 1876, no.336
£4,000-6,000
14 HB823/2 ROBERT HOUSTON R.S.W. (SCOTTISH 1891-1942) IONA, LIGHT OF THE WEST Signed, oil on canvas 71cm x 91cm (28in x 36in)
£2,000-3,000
Scottish Paintings & Sculpture 15
15 16617/1 JOSEPH FARQUHARSON R.A. (SCOTTISH 1846-1935) THE CHARMED SUNSET LINGERING LONG Signed, oil on canvas 102cm x 152cm (40in x 60in)
£20,000-30,000
The name Joseph Farquharson has become almost synonymous with snow scenes, often featuring flocks of sheep on narrow tracks and showcasing the true beauty of winter in Scotland; ideal images for festive greetings cards. His mastery lay in his ability to richly handle paint and capture light, the glowing reflection on snow a particular speciality, yet snow scenes were not his only
subject or the limit of his talent. The Scottish landscape in all weathers inspired him to paint and capture its majesty, especially his beloved Finzean estate in the North-East, and he remains skilful, evocative and poetic in his depiction of the landscape during the other seasons. Light still captivates his attention as an artist, specifically the light effects of sunrise and sunset as well as nature’s
phenomenon; gathering or passing storms, dense, shadowy forests and rushing, tumbling water. Also consistent across his oeuvre are the often long, and always poetic, names for his paintings. These are often inspired by literature and poetry and are usually indicative of his preoccupation with specific light and scenes, but always with an added evocative, romantic charm.
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16 SV665/8 JOSEPH FARQUHARSON R.A. (SCOTTISH 1846-1935) SOME GLEAMS OF SUNSHINE MID RENEWING STORMS Signed, oil on canvas 105cm x 167cm (41.25in x 65.75in)
£20,000-30,000
Scottish Paintings & Sculpture 17
17 HD360/55 ALEXANDER FRASER JUNIOR R.S.A., R.S.W. (SCOTTISH 1828-1899) EASHING BRIDGE, SURREY Signed, oil on canvas 102cm x 87cm (40in x 34.25in)
£3,000-5,000
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18 HD412/1 WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) UNWILLINGLY TO SCHOOL Signed with a monogram and dated 1864, oil on canvas 37cm x 29cm (14.5in x 11.5in) Exhibited: Royal Scottish Academy 1864, no.444 Aitken Dott & Son, Exhibition of Thirty-six paintings by Wm. McTaggart, R.S.A 1907 Provenance: Mrs James Brechin, Edinburgh Literature: James L Caw, William McTaggart 1917, p.40, “In detail this is one of the most elaborate of his works. Figures, roadway and foliage are all wrought to a wondeful compeleteness of 'finish' and yet the sense of ensemble holds them together and ensures pictorial unity'', also p.227 Note: 'Unwillingly to school' was painted at Meikle Earnock near Hamilton.
£10,000-15,000
Scottish Paintings & Sculpture 19
19 HB826/9 CHARLES MARTIN HARDIE R.S.A. (SCOTTISH 1858-1916) AN UNRECORDED CORONATION - INCHMAHONE (ISLES OF REST) A.D.1548 Signed and dated 1888, oil on canvas 106cm x 155cm (42in x 61in)
£15,000-20,000
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20 SV693/11 SAM BOUGH R.S.A. (SCOTTISH 1822-1878) SHIPPING IN THE POOL OF LONDON Signed and dated 1859, oil on board 47cm x 61cm (18.5in x 24in) Provenance: Charles E Whitelaw, Southpark House, Hillhead (see contemporary label verso)
ÂŁ9,000-12,000
Scottish Paintings & Sculpture 21
21 HB826/2 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) DEPARTURE FROM THE CLYDE, BOUND FOR THE FRONT Signed, signed and inscribed verso, oil on canvas 76cm x 127cm (30in x 50in) Exhibited: Fine Art Society Ltd, 1977
£10,000-15,000
Born on the Isle of Arran, Scottish artist James Kay is arguably best known for his portrayals of the sea and the ships at work on the River Clyde, Glasgow. Working in Glasgow at the same time as the Glasgow Boys rose to prominence, Kay remained on the edges of this group. Unlike his peers, Kay continued to gain great pleasure from painting the busy, gritty streets and shipyards of the ‘real’
Glasgow. Like many other artists at the time, Kay was influenced by the Impressionists, but a great deal of originality can be seen in his paintings. He also equipped with the ability to reflect life and capture atmosphere in his work. The bustling shipyards of the Clyde provided Kay with great inspiration, and as can be seen in “Departure from the Clyde – Bound for the front”, he was able to convey the
drama of industrialisation through the smoke, grime, and water. Kay’s informal style captures the activity and spectacle of the docks – there is a sense of optimism from the tightly grouped figures watching the ships depart, and the unusual composition enhances our sense as a viewer of being in the thick of the action, providing a true reflection of life in Glasgow at the time.
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22 HD363/4 DAVID GAULD R.S.A. (SCOTTISH 1865-1936) FIGURES IN A POLDER LANDSCAPE Signed, oil on canvas 53.5cm x 64cm (21in x 25in)
£2,000-3,000
23§ SV665/3 ARCHIBALD RUSSELL WATSON ALLAN R.S.A. (SCOTTISH 1878-1959) HEAVY HORSES HARROWING Signed, oil on canvas 102cm x 122cm (40in x 48in)
£3,000-5,000
Scottish Paintings & Sculpture 23
24 FG993/7 WILLIAM MARSHALL BROWN R.S.A., R.S.W. (SCOTTISH 1863-1936) WILD ROSES Signed and dated 1907, oil on canvas 91cm x 122cm (36in x 48in) Exhibited: Royal Scottish Academy 1908, no.353 Scottish National Exhibition 1911
ÂŁ12,000-18,000
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25 HC903/1 EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) JAPANESE GIRLS BY AN ORNAMENTAL POND Signed and dated ‘96, oil on canvas laid down 38cm x 30.5cm (15in x 12in)
£10,000-15,000
Scottish Paintings & Sculpture 25
26 HD373/1 EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) GATHERING PRIMROSES Signed and dated 1919, oil on canvas 51cm x 61cm (20in x 24in)
£10,000-15,000
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27 HD391/1 WILLIAM JAMES YULE (SCOTTISH 1867-1900) SPANISH CHILDREN Oil on canvas 53cm x 83cm (25in x 33in) Exhibited: Whitechapel Gallery 1901, no.296 Pyms Gallery London , William James Yule 1983, no. XII, illustrated in colour
£2,000-3,000 This striking portrait of three Spanish children, was probably painted by Yule around the time of his trip to Spain in the early 1890s. The impressionistic brushstrokes capture a sense of the sitters’ spirits and personalities beyond a formal likeness.
Using the richly suggested texture and volume of the sitter’s clothes; the balanced light and shadow of the background and pleasing tonal pinks, red, creams and browns throughout, Yule creates a harmonious, balanced composition. The painting fully reveals what James Caw saw in Yule’s works, the ‘certain shy beauty which gives them a quite distinctive place,’ and is indicative of the way Yule envisaged the world, ‘at once exquisite and synthetic, in its large contours as well as in its delicate nuances.’
Yule died tragically young, just as he was reaching his maturity as a painter, at the age of 33. Many friends and colleagues of his were aware of his talent and lamented the loss to the artistic community of such potential, never to be fully realised. On viewing one of Yule’s paintings, D.S. MacColl wrote in The Spectator, ‘I have seen nothing new that has given me so much pleasure or seemed to me to bear so much promise for the future.’ The artist’s father, as well as friends and colleagues, continued to exhibit and
promote his work after his death. Beyond this there are few records of the details of his life; the remaining paintings are allowed to speak for themselves. He was, however, a prolific sketcher, so there is a fascinating record of his life in Edinburgh captured in that manner; the routes he walked, music hall stars he was entertained by and the masterpieces he studied at the National Galleries of Scotland.
Scottish Paintings & Sculpture 27
28 HC85/1 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) HALF LENGTH PORTRAIT OF G.W. SERVICE ESQ. Signed, inscribed and dated 1933 verso, oil on canvas 102cm x 86cm (40in x 34in) Exhibited: Glasgow Museum and Art Gallery Kelvingrove, Exhibition of Scottish Painting, 1961, no.166
£8,000-12,000
29 HD363/4 DAVID GAULD R.S.A. (SCOTTISH 1865-1936) HEAD OF A GIRL Signed, oil on canvas 41cm x 51cm (16in x 20in)
£2,000-3,000
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30 HD82/1 JOHN QUINTON PRINGLE (SCOTTISH 1864-1925) TENDING THE DUCKS Oil on canvas, inscribed on the stretcher verso ‘I believe this to be a genuine painting by John Quinton Pringle possibly c.1905, James Meldrum’ 26cm x 31cm (10.25in x 12.25in) Provenance: Private Collection The prior owner inherited the painting from his grandfather, who had a stained glass shop in Saltmarket, Glasgow, near Pringle’s own optician workshop. The painting is most likely a gift from the artist, who is known to have been very interested in stained glass.
£40,000-60,000
John Quinton Pringle is among the most fascinating and elusive Scottish painters of the turn of the last century and this is a rare opportunity to see his work at its best at auction. There are no more than a hundred known paintings by him, mainly because he only resolved to paint full time in the last few years of his life, having trained as an optician and electrician and ran his own business for the most part of his career. Fellow student Muirhead Bone remembers him as A genius of a watchmaker from the east end, who did the most fantastic miniatures on ivory and drew ‘the fife’ in a manner of his own’ [1] Pringle was born in a working class home in the East End of Glasgow in 1864 and left school at the age of twelve to train in the workshop of an optician. The young man had a resounding interest in art and was a frequent visitor at morning and evening classes at the Glasgow School of Art,
whilst still working a full day at the workshop between his studies. Fra H. Newberry, Head of the Glasgow School of Art at the time, became a close friend, mentor and patron and like other friends and colleagues was disappointed when Pringle decided to set up his own optician studio in the Saltmarket in Glasgow around the turn of the century, turning away from the opportunity of being a fulltime artist. He continued to paint, working in the back room of the workshop after hours, and today this seems to be one of the main reasons for his independent and breakthrough style. Rather than being a hindrance, his business ensured that Pringle did not depend financially on his art, and therefore was able to experiment much more freely with style and technique than someone whose livelihood depends on his art and therefore can fall prey to painting, at least partly, to the requirement and taste of his clientele. Pringle’s work possesses a quality and freshness unparalleled in other artists working in Glasgow at the time. Almost always on a small scale, perhaps because of Pringle’s interest in precision and miniatures, his canvases shimmer and radiate a potent energy. His technique of square brushstrokes and painterly application of paint is certainly influenced by that of French painter Jules BastienLepage, who exhibited in Scotland at the end of the nineteenth century and
served to introduce the Glasgow boys and Pringle to the work of the Impressionists and ‘Naturalist’ painters such as himself. Pringle’s divisionist technique however, as exemplified in this extraordinary canvas, can also be related very closely to the reaction of many French painters, to the work of Impressionists, in what we now call Post-Impressionism or more specifically NeoImpressionism as in Pringle’s case. Although there is no record of the artist seeing the work of Signac or Seurat, he frequently travelled to London for exhibitions and is likely to have seen the work of Le Sidaner, who showed at the Glasgow Institute each year between 1903 and 1906, and who worked in a Neoimpressionist style at the time. The fact that Pringle’s work should resemble so closely that of the NeoImpressionists, without directly seeing or openly admiring their work is not surprising given his training as an optician. Advances in the field of Optics and several important studies, namely those of Eugene Chevreul, Nicholas Ogden Rood and David Sutter, published in the beginning of the nineteenth century, heavily influenced both the work of the Impressionists and more extremely, that of the NeoImpressionists. Chevreul’s discovery that two colours placed together would have the effect of another colour when seen from a distance is crucial for the development of painting, but whilst many artists would have assimilated these discoveries through the writings of art theorist
Charles Blanc (Grammaire des arts du dessin (1867)), Pringle would have been aware of these ideas and discoveries from his apprenticeship in an optician’s workshop and later, in his own business. The date of our work is not fixed, although James Meldrum, the biographer of Pringle, whose father studied at the Glasgow School of Art with the artist, has dated it c. 1908. A painting which most closely resembles the work offered here is Tollcross, Glasgow, 1908, now in the collection of the Hunterian Art Galley, University of Glasgow and regarded by many as one of Pringle’s finest canvases. In both paintings Pringle uses predominantly creams, red, blue and green, working in small and measured brushstrokes to gradually build up a grid of colour. He frequently mixed his oils with turpentine to thin them and make their application closer to that of watercolour. This approach also ensured that the painting surface takes on an ethereal and shimmering quality. The composition is therefore delicately balanced between representation of the subject matter - girls in a field of flowers - and the subject of painting itself. This becomes even more apparent because of the relatively small size of the canvas. [1] ‘Muirhead Bone writing in ‘Glasgow to London’, Art World, Autumn 1929
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31 HC786/1 ARTHUR MELVILLE A.R.S.A., R.S.W., A.R.S. (SCOTTISH 1855-1904) YOUNG MAN ON A MULE Inscribed on a contemporary label verso, oil on panel 30.5cm x 39.5cm (12in x 15.5in) Literature: Agnes E Mackay, Arthur Melville 1951, p.128 under the label’s title Fine Art Society catalogue, Arthur Melville 2013, ’It is possible that the present model is Miguel Loannelli, a young Spaniard who, dressed in black, posed for Melville during his visit to Saragossa with Frank Brangwyn in 1892. A number of oil
on panel studies were made at this time by both artists as they sailed along the river Ebro on a rented barge - the Santa Maria. For the young Welshman the experience was seminal. See the Scottish ‘colourist’ at work effectively banished the grey tonal Naturalism of his youth forever.’ Exhibited: Royal Institute of Painters in Watercolour, Exhibition of collected works of Arthur Melville R.W.S. 1906, no.32
£8,000-12,000
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32§ HC759/2 CHARLES OPPENHEIMER R.S.A., R.S.W. (SCOTTISH 1875-1961) VERONA Signed and dated 1914, oil on board 41cm x 51cm (16in x 20in) Exhibited: Possibly Royal Scottish Academy 1914, no.332 as ‘From a Verona balcony’
£4,000-6,000
33§ HB826/4 WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) VILLAGE IN THE SOUTH OF FRANCE Signed, pen and ink and watercolour 51cm x 61cm (20in x 24in) Exhibited: Aitken Dott & Son, 20th Century Scottish Paintings 1976
£1,000-1,500
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34 HC999/1 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1930) MOTHER AND CHILD Signed, oil on canvas 61cm x 46cm (24in x 18in) Provenance: Fine Art Society Ltd, Edinburgh 1975, Mrs Laidlaw
£6,000-8,000
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35§ HB826/3 WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) BLUE BOATS Signed, watercolour 53cm x 68.5cm (21in x 27in)
£1,000-1,500
36§ HC69/1 KATE CAMERON R.S.W., R.E. (SCOTTISH 1874-1965) A STILL LIFE OF ROSES Signed, watercolour 33cm x 43cm (13in x 17in)
£1,500-2,500
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37§ HD141/1 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) A STREET IN CAIRO Signed, oil on canvas 76cm x 51cm (30in x 20in)
£10,000-15,000
Sir David Young Cameron or D.Y., as he preferred to be known, is recognised as a talented painter and etcher, specifically of Scottish landscapes and architectural subjects. In fact, he remains the only person to have achieved the distinction of being elected associate of the Royal Academy for both engraving and painting. Throughout his career, D.Y. dedicated himself to what he perceived as his two main roles in life: creating beauty through his own art and promoting beauty through institutions, both artistic and religious.
Scottish landscape tradition but managed to develop a style uniquely his own; of order and balance, clarity and structure with strong lines that create an almost austere beauty. He always sought to convey the spirit and feel of a specific place, and he summarised his romantic vision of Scotland: ‘Romance in history as in the arts was that spell of mystic beauty . . . It did not imply lack of strength but associated itself with very noble, exalted and even austere shapes, veiled perhaps by distance or muted by the faded light and gathering darkness.’
D.Y. turned specifically to pure Scottish landscapes, devoid of figures, around 1907. He found the Scottish landscape powerfully inspiring, but it has also been suggested that his commitment may partly have arisen due to his understanding of his responsibility as a pillar of the Scottish art establishment, following his election as an Associate of the Royal Scottish Academy in 1904.
‘A Street in Cairo,’ reveals another strand of D.Y.’s artistic output and approach, depicting an architectural subject. His talent lay, as is apparent in this work, in his ability to convey the atmosphere created by a
He developed a style that followed in the footsteps of a tradition of Scottish landscape painting, from artists such as Alexander Nasmyth and Horatio McCulloch, as opposed to contemporary developments inspired by French painting, and impressionistic techniques. He respected
particular architectural design or detail; especially strong strips of shadow cast by buildings or the dark shadowy corners a particular architectural arrangement creates in a street. D.Y. and his wife travelled regularly and he found architectural subjects that peaked his interest everywhere he went, particularly cathedrals and street corners. He travelled to Cairo, Egypt in the winter of 1908-9, where he visited the historic sites of the city as well as travelling to see the ruins of Thebes at Luxor. Although there are many prints and watercolours of this trip, a full-scale oil is quite rare. The striking, original frame beautifully complements the composition, and this combined with the rare subject in oil, makes this a truly remarkable piece.
Scottish Paintings & Sculpture 35
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38§ HC903/3 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E (SCOTTISH 1865-1945) LOCH KATRINE Signed, oil on canvas 30.5cm x 63.5cm (12in x 25in)
£3,000-5,000
39§ HC63/1 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) OCTOBER IN RANNOCH Signed with initials, inscribed verso, oil on canvas 25.5cm x 35.5cm (10in x 14in)
£2,000-3,000
Scottish Paintings & Sculpture 37
40 HD363/1 DAVID GAULD R.S.A. (SCOTTISH 1865-1936) STIRLING CASTLE Signed, oil on canvas 71cm x 91cm (28in x 36in)
£3,000-5,000
41§ HC873/1 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) LOCH LINNHE GREY MORNING Signed, signed and inscribed verso, oil on canvas 33cm x 41cm (13in x 16in)
£2,000-3,000
38 Lyon & Turnbull
42§ HB826/5 WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) OLD STREET IN PARIS Signed and dated 1957, pen and ink and watercolour 41cm x 61cm (16in x 24in) Exhibited: Royal Scottish Society of Painters in Watercolours
£1,000-1,500
43§ HD369/1 ERNEST ARCHIBALD TAYLOR (SCOTTISH 1874-1951) COTTAGES BY THE COAST Signed, oil on board 54cm x 64cm (21.5in x 25.25in)
£4,000-6,000
Scottish Paintings & Sculpture 39
44ยง SV0244/19 SIR WILLIAM GEORGE GILLIES C.B.E., R.A., R.S.A., R.S.W., L.L.D. (SCOTTISH 1898-1973) THE MELON Signed, oil on canvas 40cm x 58cm (16in x 22.75in) Provenance: Collection of Roy and Mairi Rankin
ยฃ4,000-6,000
40 Lyon & Turnbull JOHN MACLAUCHLAN MILNE The artistic link between Scotland and France in the early decades of the 20th century was strong and, in many ways, remarkable. Famously, the Scottish Colourists Fergusson, Peploe, Cadell and Hunter forged a path in Paris ahead of many of their English counterparts, quickly absorbing and reacting to the work of their heroes of the PostImpressionist school. Milne was the son of traditional landscape artist Joseph Milne and, though his very early work is indebted to his father’s influence, he soon turned his attention to developments on the Continent. Though a generation younger than his
fellow compatriots in France, Maclauchlan Milne followed exuberantly in their tradition; earning himself the moniker of “The Fifth Colourist”. Milne found his way to stylistic maturity after his studies in Paris post-WW1 led him to meet and marry a Frenchwoman. France became his second home and the couple lived there for much of the year amongst the medieval villages of the Loire Valley, travelling to St Tropez, Provence and Cassis, where he would mingle with fellow British artists, S.J. Peploe, F.C.B. Cadell and Duncan Grant. The work ‘A Village in Provence’ is an excellent example of this French period. His deep commitment
to Cézanne is apparent in the keenly observed, blockish solidity of the village walls; deep green foliage contrasting starkly against the sun-baked chalkiness of the buildings and cloudless sky. His ties with Scotland remained strong, however, and on his visits home he translated Perthshire and the East Coast into his new artistic language. ‘Unloading the Catch’ is one such picture, breaking the harbour down into simple forms and emphasising the decorative compositional possibilities of the scene. An acknowledgment of George Leslie Hunter’s famous interpretations of the Fife coast is also detectable.
Ultimately, however, he was to settle on the Isle of Arran, making his home near Corrie harbour. The effect of the brilliant French light never deserted Milne, and his depictions of Arran are virtually always of idyllically bright days, featuring whitewashed cottages, wind-ruffled blossom trees and turquoise bays. The third painting offered here, ‘Corrie’, is likely to be an early work created shortly after his permanent return from France. Milne’s form is experimentally free and unfettered; the foliage and proportions of the house almost swirling with movement and expression, alluding, perhaps, to the work of one of his greatest influences, Vincent Van Gogh.
Scottish Paintings & Sculpture 41
46§ HD398/1 JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) CORRIE Signed, oil on canvas 51cm x 61cm (20in x 24in)
£15,000-20,000
45§ HD76/1 JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) VILLAGE IN PROVENCE Signed, oil on board 51cm x 53.5cm (20in x 25in)
£20,000-30,000
42 Lyon & Turnbull
47 HC760/1 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) AN ORNAMENTAL BORDER Signed, watercolour 18cm x 26cm (7in x 10in)
£2,000-3,000
48§ HD101/2 JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) UNLOADING THE CATCH Signed, oil on canvas 51cm x 61cm (20in x 24in)
£3,000-5,000
Scottish Paintings & Sculpture 43
49§ HB823/1 JAMES MORRISON R.S.A., R.S.W., L.L.D. (SCOTTISH b. 1932) MARYTON Signed and dated 29.1.1982, oil on board 91cm x 152.5cm (36in x 60in)
£3,000-5,000
50§ SV0244/36 ELIZABETH BLACKADDER D.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT. (SCOTTISH b. 1931) BOAT AND HOUSES, AURAY Signed and dated 1962, oil on canvas 63cm x 75cm (25in x 30in) Provenance: Collection of Roy and Mairi Rankin
£4,000-6,000
44 Lyon & Turnbull
51 SV0244/32 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) STILL LIFE WITH TULIPS ON A BLACK BACKGROUND Signed, oil on canvas 50cm x 51cm (20in x 20in) Provenance: Collection of Roy and Mairi Rankin Exhibited: Scottish National Gallery of Modern Art, Samuel John Peploe 1985, no.78
£80,000-120,000
The years immediately following the First World War were to prove creatively fruitful for Peploe. Money was thin on the ground and he now had a young family to support, so his thoughts inevitably turned to cultivating the relationships between artist, patron, dealer and collector. Had he been suffering from a lack of confidence at the time, this scenario could have led him to compromise himself artistically, but this is something the single-minded Peploe never resorted to, and instead this period saw him confidently continuing to plough an entirely modern furrow. It coincided with his election to membership of the Royal Scottish Academy in 1918; the critical and institutional recognition of his work buoying the artist
further. The result is a small but distinct body of works that are the distillation of his mind-set at the time: confident but controlled, precise but powerful, and as academic as they are experimental in their exploration of materials, composition and tone. The work offered here for sale can be pinned by its technique to this period – c.1919. Peploe had begun using an absorbent gesso ground, forcing his technique to sharpen further still and lending his colours a startling boldness and his compositions an almost faceted angularity. This work is unusual, perhaps almost unique on several scores. The square canvas and the minimalistic simplicity of the composition are refreshing and could almost be described as playful, were the overall effect not so stylised and sophisticated. The inky backdrop which, in some respects, seems to allude to his earlier, Edwardian period, is also the perfect foil for his bright tulips, lending the work a daringly modern, even art deco aesthetic. In view of this, it is perhaps no surprise to learn that Peploe was frequenting the elegant Ainslie Place abode of his friend F.C.B. Cadell at this
point in time. Flowers from a hidden vase off-canvas crane their stems into the frame, a device which Peploe would develop further into increasingly large scale, elaborate compositions. The boldness of these works was not without an element of risk, and indeed did not necessarily prove easy for his dealer Alexander Reid to move on at the time. Nonetheless, their confidence would be rewarded as they caught the attention of key collectors. Major Ion Harrison, completely dazzled by the modernity of this series of still life paintings, made the first of what would be many purchases in support of the artist, later becoming one of the most important patrons of the artist’s career.
Scottish Paintings & Sculpture 45
46 Lyon & Turnbull
52 HC55/1 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) SEATED NUDE Signed, sanguine 33cm x 23cm (13in x 9in) Provenance: The artist’s family Exhibited: The Scottish Galllery, Colourist Drawings, 1989, no.36
£2,000-3,000
53 HC649/4 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) QUAYSIDE, CASSIS Signed, pencil 14cm x 21.5cm (5.5in x 8.5in) Exhibited: Fine Art Society, London August 1971 Aitken Dott, 1947, no.90
£1,500-2,000
Scottish Paintings & Sculpture 47
54 HC989/1 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) SELF PORTRAIT Pencil 27cm x 22cm (10.5in x 8.75in) Provenance: Colin Thoms Esq Exhibited: Aitken Dott & Son, Peploe Exhibition 1947, no.83 Aberdeen Art Gallery, Festival Exhibition 1969
ÂŁ3,000-5,000
48 Lyon & Turnbull
55§ HD224/1 ALEXANDER MATHESON MCLELLAN R.S.W., R.B.A. (SCOTTISH 1872-1957) THE BEACH AT ABERDEEN WITH DISTANT VIEW OF THE CITY Signed, oil on canvas 76cm x 115cm (30in x 45.25in)
£2,000-3,000
56§ HD402/2 MARY ARMOUR R.S.A., R.S.W., R.G.I. (SCOTTISH 1902-2000) BLUE STILL LIFE Signed, oil on canvas 64cm x 76cm (25in x 30in)
£2,000-3,000
Scottish Paintings & Sculpture 49
57§ HC205/1 JOHN CUNNINGHAM R.G.I. (SCOTTISH 1927-1998) MERCHANT CITY - GLASGOW Signed, oil on canvas 66cm x 81cm (26in x 32in)
£4,000-6,000
58§ HD295/2 ADAM BRUCE THOMSON O.B.E., R.S.A., P.R.S.W., H.R.S.W. (SCOTTISH 1885-1976) THE TWEED AT LOWOOD Signed, inscribed with the studio stamp and numbered 22 on the backboard verso, oil on board 71cm x 91cm (28in x 36in) Exhibited: Scottish Gallery, Edinburgh, Centennary Exhibition 1985, no.22
£1,500-2,000
50 Lyon & Turnbull SIR WILLIAM MACTAGGART Sir William MacTaggart is an artist of whom Edinburgh has long and rightly been proud. He was a central figure of the Edinburgh Group, a loose collective of critically and commercially successful artists which included his peers Anne Redpath, Sir William Gillies, William Crozier and Adam Bruce Thompson. Beyond this, MacTaggart also held many key roles within the city’s artistic institutions. Born in Loanhead, Midlothian, he went on to study at the Edinburgh College of Art, later taking up a teaching post there, as well as serving as president of the Society of Scottish Artists between 193336, and ultimately as president of the Royal Scottish Academy in the years 1959-64. A towering figure in the Scottish art scene, his contribution was also recognised out with Scotland
from early on in his career; he was a member of and exhibiter in the Royal Academy, and was knighted in 1962. MacTaggart came from artist stock, successfully proving his own merit and emerging from the long shadow cast by his grandfather, the popular and influential “Scottish Impressionist” William McTaggart. Aside from a looseness and airy freedom of brushwork, their work has little in common, though they both looked towards artistic developments in France when formulating the basis of their own personal style. MacTaggart had, as a young man in 1927, exhibited alongside Colourists S.J. Peploe and F.C.B. Cadell as a contributor to the Society of Eight exhibitions, staged in defiance of the pervading traditionalism of the Academy
exhibitions at the time. Keen acolytes of Cézanne, it was not long before he and his friend William Crozier were following in the footsteps of their fellow Scotsmen and heading to France on painting trips. Though Fauvist tendencies undoubtedly pervade MacTaggart’s work, it would perhaps be more accurate to describe his mature style as Expressionist. In 1937 he had married Fanny Aavatsmark, a Norwegian, and the relationship led to him spending increasing amounts of time in her homeland, where Cézanne’s influence receded somewhat under MacTaggart’s exposure to artists like Edvard Munch. Colour became increasingly important to him, and his compositions took on a dreamlike, unstructured quality. Whether a seascape
or a still life, MacTaggart’s style is both highly distinctive and strangely timeless, his technique placing him in a certain artistic tradition and his unusual, jewel-like palette appealing equally strongly to a contemporary audience.
Scottish Paintings & Sculpture 51
60§ HD189/1 SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) THE LONELY STRAND Signed, oil on canvas 86cm x 112cm (34in x 44in)
59§ SV0244/31 SIR WILLIAM MACTAGGART P.P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) TRIO A STILL LIFE WITH BLUE JUG, VASE AND GREEN CUP Signed and dated ‘58, oil on canvas 41cm x 71cm (16in x 28in) Provenance: Collection of Roy and Mairi Rankin Exhibited: Aitken Dott & Son, Festival Exhibtion 1959, no.17 Commonwealth Institute London, Scottish Painters 1963/64, no.14 Scottish National Gallery of Modern Art, Sir William MacTaggart Retrospective 1968, no.26
£3,000-5,000
£4,000-6,000
52 Lyon & Turnbull
61§ HD16/2 SIR WILLIAM MACTAGGART P.P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) AUTUMN SUNSET Signed, oil on board 18cm x 25.5cm (7in x10in) Exhibited: Aitken Dott & Son, Sir William MacTaggart, Christmas Exhibition 1966, no.52
£2,000-3,000
62§ HD16/3 SIR WILLIAM MACTAGGART P.P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) THE BEECHES Signed, oil on board 18cm x 25.5cm (7in x 10in) Exhibited: Aitken Dott & Son, Sir William MacTaggart, Christmas Exhibition 1966, no.51
£1,500-2,000
Scottish Paintings & Sculpture 53
63ยง HD16/1 SIR WILLIAM MACTAGGART P.P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) OVER TO SOUTRA Signed, oil on board 23cm x 33cm (9in x 13in) Exhibited: Aitken Dott & Son, Sir William MacTaggart, Christmas Exhibition 1966, no.44
ยฃ3,000-5,000
54 Lyon & Turnbull JOAN EARDLEY Widely recognised as one of the most important artists of the 20th Century working in Scotland, Eardley’s work presents a beautiful balance between her vision of the urban and rural aspects of Scottish identity. Eardley’s originality is visible through the two distinct genres of her work – the townscapes and street children of urban Glasgow, and the powerful landscapes and seascapes of Catterline, a fishing village on the north-east coast of Scotland. Paintings, such as ‘Tenements at Evening’, illustrates Eardley’s dedication to capturing what remained of the tenements and backcourts of Glasgow, which were fast-disappearing at the time. She felt that these were representative of Glasgow and recognised the sense of community which had once thrived in these areas.
A complimentary contrast to her representation of urban life in 20th Century Glasgow, Eardley’s expression of nature in Catterline was where she produced some of her finest and most powerful works. She was instantly attracted to the cliff-top village after a visit with a friend and travelled continuously between Glasgow and Catterline, before it became her permanent home, where she was absorbed by the power of the sea. She drew inspiration from the open air, and battled with the elements, often leaving her easel and paints outdoors overnight. “When I’m painting in the North-east, I hardly ever move out of the village. I hardly ever move from one spot. I find the more I know the place, the more I know the particular spot... the more you can get out of it, the more it gives you...”
Eardley’s free, bold brush strokes can be seen in both paintings of her Catterline period present, as can her willingness to capture the raw landscape and mood. Both paintings are enlivened with touches of colour and reveal her impulse to paint, as well as her ability to evoke deep emotions. She honestly captures the beauty as well as the brutality of the north-east coast of Scotland in both paintings present.
64§ SV0244/37 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) TENEMENTS AT EVENING Signed, oil on panel 15cm x 40cm (6in x 16in) Provenance: Collection of Roy and Mairi Rankin Exhibited: Aitken Dott & Son, Festival Exhibition 1958, no.6
£6,000-8,000
Scottish Paintings & Sculpture 55
65ยง HD401/1 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) THE ROCKS Numbered verso EE127, oil on board 106cm x 83.5cm (41.75in x 32.75in) Provenance: Roland, Browse & Delbanco, London Cyril Gerber Fine Art Glasgow where purchased by the current owner in the 1990s
ยฃ20,000-30,000
56 Lyon & Turnbull
66ยง HD401/2 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) FISHING NET DRYING, NO.1 Numbered EE178 on the reverse, oil and collage on board 104cm x 111cm (41in x 43,75in) Provenance: Scottish Gallery, Edinburgh Exhibited: Roland, Browse & Delbanco, London, Christmas Exhibition, Joan Eardley, November/December 1971, no.7
ยฃ40,000-60,000
Scottish Paintings & Sculpture 57
67§ SV0244/8 JOHN HOUSTON O.B.E., R.S.A., R.S.W., R.G.I., S.S.A. (SCOTTISH 1930-2008) BASS ROCK, STILL LIFE Signed, oil on board 23cm x 31cm (9in x 12in) Provenance: Collection of Roy and Mairi Rankin
£1,000-1,500
68§ HD95/1 JOHN HOUSTON O.B.E., R.S.A., R.S.W., R.G.I., S.S.A. (SCOTTISH 1930-2008) NEAR LARGOWARD Signed, oil on canvas 102cm x 122cm (40in x 48in)
£3,000-5,000
58 Lyon & Turnbull SIR ROBIN PHILIPSON Throughout various points in his career Sir Robin Philipson became occupied with the exploration of particular motifs. Two such themes that became synonymous with his oeuvre are demonstrated here; that of cockerels fighting and the cathedral interior, both instantly recognisable as the artist’s work. Just as Picasso had been drawn to the spectacle of the bull fight a few decades earlier, Philipson became fascinated by cock fights while serving in India during the Second World War. He made a point of returning in the early 1950s, deepening his interest, and found continued inspiration in the subject throughout the 1960s. They are viscerally and expressively
rendered to the point of abstraction - a maelstrom of flying feathers and lunging beak and claw. They occupy empty, barren landscapes, lit by a strange sky. The cock fighting series brought the artist renown, and examples can be found in the country’s national collections. At the end of the 1950s, Philipson also began turning his attention to the technical and decorative possibilities of the cathedral interior. He was particularly inspired by his travels abroad: from Venice where the light of the lagoon pours through the ornate rose windows, to the cheerful candle-lit altars of Mexico, and the towering grandeur of France’s gothic architecture. They were a textural delight for his painter’s brush and he
revelled in describing the glimmering mosaics of coloured glass, the richly carved stonework and the gilded woodwork. This fascinatingly divergent subject matter is a testament to the diversity of his talent and goes some way to explaining the broad and enduring nature of his appeal with collectors.
69§ HD246/1 SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I., L.L.D. (SCOTTISH 1916-1992) THRENODY - SLEEP 1970 Signed verso, oil on canvas 25.5cm x 51cm (10in x 20in) Provenance: Lady Dugdale
£3,000-5,000
Scottish Paintings & Sculpture 59
70 SV0244/26 SIR ROBIN PHILIPSON, R.A., P.R.S.A., R.S.W., R.G.I., L.L.D. (SCOTTISH 1916-1992) CATHEDRAL INTERIOR Signed, oil on board 19cm x 25cm (7.5in x 10in) Provenance: Collection of Roy and Mairi Rankin
£2,000-3,000
71§ SV0244/39 SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I., L.L.D. (SCOTTISH 1916-1992) FIGHTING COCKS GREEN Signed, oil on canvas 50cm x 65cm (20in x 25.5in) Provenance: Collection of Roy and Mairi Rankin Exhibited: The Scottish Arts Council, Robin Philipson - Cock Fight/Rose Window 1961
£3,000-5,000
60 Lyon & Turnbull
72§ SV0244/24 SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I., L.L.D. (SCOTTISH 1916-1992) EVE Signed, inscribed and dated 1991 on label verso ‘To Roy with many congratulations and good wishes’, oil on board 12.5cm x 14cm (5in x 5.5in) Provenance: Collection of Roy and Mairi Rankin
£800-1,200
73§ SV0244/12 SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I., L.L.D. (SCOTTISH 1916-1992) COMPANIONS 111 Signed and dated ‘85, inscribed ‘To Roy and Mairi 1986’, pastel on sandpaper 22cm x 28cm (8.5in x 11in) Provenance: Collection of Roy and Mairi Rankin
£800-1,200
Scottish Paintings & Sculpture 61
74§ SV0244/40 SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I., L.L.D. (SCOTTISH 1916-1992) TOWARDS THE NIGHT Signed, watercolour 17cm x 17cm (6.75in x 6.75in) Provenance: Collection of Roy and Mairi Rankin Exhibited: Aitken Dott & Son, Festival Exhibition 1970, no.31 Edinburgh College of Art, Robin Philipson Retrospective, 1989, no.100 as ‘Companions’
£800-1,200
75§ SV0244/15 SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I., L.L.D. (SCOTTISH 1916-1992) WAITING WOMEN Signed and dated ‘70, watercolour 18cm x 18cm (7in x 7in) Exhibited: Aitken Dott & Son, Festival Exhibition 1970, no.32 Provenance: Collection of Roy and Mairi Rankin
£600-900
62 Lyon & Turnbull
76ยง SV0244/38 WILLIAM CROSBIE R.S.A. (SCOTTISH 1915-1999) BOATS IN HARBOUR Signed, oil on canvas 50cm x 60cm (20in x 24in) Provenance: Collection of Roy and Mairi Rankin
ยฃ3,000-5,000
Scottish Paintings & Sculpture 63
77ยง HD102/1 WILLIAM CROSBIE R.S.A. (SCOTTISH 1915-1999) RUTH Signed, oil on canvas 102cm x 127cm (40in x 50in) Exhibited: The Scottish Gallery, William Crosbie Retrospective Exhibition January 1980, no.2 Note: The painting dates from c.1936-7
ยฃ4,000-6,000
64 Lyon & Turnbull
78ยง HD295/1 ADAM BRUCE THOMSON O.B.E., R.S.A., P.R.S.W., H.R.S.W. (SCOTTISH 1885-1976) FLOWERS IN A CHINESE BOWL Signed, inscribed with the studio stamp twice and numbered 10 verso, oil on canvas 91cm x 71cm (36in x 28in) Exhibited: Scottish Gallery, Edinburgh, Centennary Exhibition 1985, no.10
ยฃ3,000-5,000
Scottish Paintings & Sculpture 65
79ยง SV0244/29 ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) HILLSIDE - THE CANARY ISLANDS Signed, oil on board 62cm x 75cm (25in x 30in) Provenance: Collection of Roy and Mairi Rankin Exhibited: The Scottish Arts Council - Scottish Committee, Four Scottish Painters, 1963, no.34
ยฃ12,000-18,000
66 Lyon & Turnbull
ALBERTO MORROCCO This group of works by Alberto Morrocco showcase his talent as a colourist, as well as his ability to structure a painting and build a strong composition. All four paintings offered, though varying in their vibrancy of colour, demonstrate a strong commitment to its bold use, and the importance to Morrocco of complementary colour pairings. They also show his ongoing commitment to flattened form and simplified perspective. The mood of Morrocco’s works is celebratory; he regularly worked from
sketches decades after the fact, allowing his colour to be guided by a sense of mood and memory, rather than nature. The vibrant colour that he developed into as he aged, seems to suggest happy memories and a strongly optimistic outlook, full of delight. Morrocco travelled regularly and was vividly inspired by the birthplace of his parents and ancestors, Italy. Inspiration also came from the work of other painters Bonnard, Picasso and Braque and much earlier Italian artworks, with their emphasis on disciplined drawing and
simplified colour. The inspiration of Picasso is particularly evident in the striking ‘Three Sisters of Lucca,’ in the minimal, almost abstracted, facial features of the three women. This, combined with the bold colour and simplified composition, shows a clear development from the earlier ‘The Spanish Cart;’ a busier composition and more naturalistic approach, with textured surface and less boldness of colour. 80§ SV0244/34 ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998) THE SICILIAN CART Signed, oil on canvas 56cm x 85cm (22in x 33.5in) Provenance: Collection of Roy and Mairi Rankin Literature: Victoria Keller and Clara Young, Alberto Morrocco, 1993, p.37, Pl.31
£10,000-15,000
Scottish Paintings & Sculpture 67
81§ HB826/1 ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998) THREE SISTERS OF LUCCA Signed and dated ‘86, oil on canvas 127cm x 122cm (50in x 48in) Literature: Victoria Keller and Clara Young, Alberto Morrocco 1993, Ill.Pl.78 p.84
£20,000-30,000
68 Lyon & Turnbull
82§ HC904/2 ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998) SIESTA, CIRCEO Signed and dated ‘73, oil on board 51cm x 61cm (20in x 24in) Exhibited: Dundee Art Society, Roseangle Gallery, Alberto Morrocco 1973 , no.2
£8,000-12,000
Scottish Paintings & Sculpture 69
83ยง HC904/1 ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998) STILL LIFE WITH LEMON AND EGGS Signed, oil on canvas 38cm x 30.5cm (15in x 12in)
ยฃ2,000-3,000
70 Lyon & Turnbull
84§ HD237/2 DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) FLURRY OF BIRDS AND FLOWERS Signed, signed, dated ‘93 and inscribed with title verso, oil and collage on board 71cm x 48cm (28in x 19in)
£2,000-3,000
85§ HD237/1 DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) MODEL RESTING Signed, signed, dated 1987 and inscribed with title verso, oil on board 76cm x 82cm (30in x 36.25in)
£4,000-6,000
Scottish Paintings & Sculpture 71
86ยง HC994/1 JACK VETTRIANO (SCOTTISH b. 1951) THE FLIRTATIOUS WOMAN Signed, oil on canvas 61cm x 51cm (24in x 20in) Exhibited: The Edinburgh Gallery, Edinburgh, Tales of Love and other Stories, 1992
ยฃ15,000-20,000
72 Lyon & Turnbull
WILLIAM GEAR A key figure in Post-War British art, William Gear was one of the few British artists in this period to make a strong impression overseas, through his commitment to developments in abstraction and involvement with avantgarde groups in Europe. Throughout his life and career he remained a dedicated artist and passionate champion of art and other artists. Gear headed for Paris in 1947, maintaining a longestablished tradition of Scottish artists working and studying in the French capital. It was during this time that he established his more progressive credentials, when he became involved with CoBrA, a European avantgarde art movement made up
87§ HC819/10 WILLIAM GEAR R.A., F.R.S.A. (SCOTTISH 1915-1997) CROWLINK, 1974 Signed and dated ‘74, mixed media 84cm x 60cm (33in x 23.5in)
£1,000-1,500
of artists united in their pursuit of complete freedom of form, as they searched for new modes of expression to fit with their expectations of life post-war.
Museums and Art Galleries. In later years his collecting has been celebrated, but his vison was ahead of the curve in Britain, where at the time it was ridiculed and criticised.
In 1950, Gear decided to return to England but seemed to fall out of critical favour at this time, and was exhibiting less regularly. Yet he continued to paint and support the arts in other ways; acting as Curator of the Towner Art Gallery, where he influenced the purchasing committee to establish a collection of post-war British Art, and working as Head of the Faculty of Fine Art at the College of Art in Birmingham, while continuing to support local artists through acquisitions made by the Friends of Birmingham
Towards the end of his life, Gear’s critical reputation was reinvigorated when an exhibition of CoBrA work revived interest in the movement, offering a variety of exhibition opportunities for Gear, one of only two British artists’ featured in the retrospective. Gear was also recognised institutionally, with an election to the Royal Academy in 1995. A controversial figure in his lifetime, Gear’s importance as both an artist and passionate champion of the arts has been increasingly recognised
in recent years. An artistic visionary, Gear stayed true to his principles and perspectives despite unpopularity and criticism and it is only now that the true extent of his vision and its contemporary relevance are finally becoming clear.
Scottish Paintings & Sculpture 73
88§ HC819/1 WILLIAM GEAR R.A., F.R.S.A. (SCOTTISH 1915-1997) LANDSCAPE ON YELLOW Signed and dated ‘61, signed, inscribed and dated verso, oil on canvas 122cm x 81cm (48in x 32in)
£5,000-7,000
74 Lyon & Turnbull
89§ HC819/5 WILLIAM GEAR R.A., F.R.S.A. (SCOTTISH 1915-1997) GARDEN GATE Signed and dated ‘83, signed, inscribed and dated verso, oil on canvas 81cm x 51cm (32in x 20in)
£2,000-3,000
90§ HC819/6 WILLIAM GEAR R.A., F.R.S.A. (SCOTTISH 1915-1997) UNTITLED 1959 Signed and dated ‘59, mixed media 66cm x 46cm (26in x 18in)
£1,000-1,500
Scottish Paintings & Sculpture 75
91§ HC819/9 WILLIAM GEAR R.A., F.R.S.A. (SCOTTISH 1915-1997) YELLOW VERTICAL, ‘66 Signed and dated ‘66, mixed media on paper 73.5cm x 52.5cm (28.75in x 20.75in)
£1,000-1,500
92§ HD223/1 EDUARDO PAOLOZZI R.A., H.R.S.A., K.B.E. (SCOTTISH 1924-2005) CAR Plaster, signed and dated 1997 on base 20cm x 8cm x 9cm (8in x 3.25in x 3.5in)
£800-1,200
76 Lyon & Turnbull
93§ HD399/1 JOHN BELLANY H.R.S.A., R.A., C.B.E. (SCOTTISH 1942-2013) PORTRAIT OF BELLANY’S GRANDMOTHER Oil on canvas Provenance: The property of a life-long friend and fellow Edinburgh College of Art Student of John Bellany
£15,000-20,000
Scottish Paintings & Sculpture 77
94 HD362/1 JOHN BYRNE (SCOTTISH b. 1940) WEST OF EIGHTH AVENUE Signed, mixed media on paper 76cm x 56cm (30in x 22in)
£6,000-8,000 END OF SALE
John Byrne, the critically acclaimed artist and playwright, truly believes in the power of art to add richness, joy and delight to everybody’s life. As a result, he is a long-standing supporter of local charity, The Teapot Trust which is dedicated to providing professional art therapy in a
medical environment to children coping with chronic illness. In particular, they focus on supporting children suffering from complex rheumatological diseases, including Lupus. Their art therapists work in medical settings, including clinics, hospital wards, and hospices to support
children coping with the emotional and mental strain that so often accompanies their battle with illness. In an effort to raise funds to continue and expand these projects, Byrne has donated this striking New-York inspired artwork, ‘West of 8th’ to be auctioned on behalf of The Teapot Trust.
78 Lyon & Turnbull
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.
Scottish Paintings & Sculpture 79
Index Armour, M., 56 Bellany, J., 93 Blackadder, E., 50 Bough, S., 20 Brown, W.M., 24 Byrne, J., 94 Cadell, F.C., 28, 47 Cameron, K., 36 Cameron, Sir D.Y., 37, 38, 39, 41 Crosbie, W., 76, 77 Cunningham, J., 57 Eardley, J., 64, 65, 66 Faed, J., Jnr., 5 Farquharson, J., 15, 16 Fraser, A., Jnr., 17 Gauld, D., 10, 22, 29, 40 Gear, W., 87-91 Gillies, Sir W.G., 44 Hardie, C.M., 19 Hornel, E.A., 25, 26 Houston, J., 67, 68
Houston, R., 14 Hurt, L.B., 6 Hutchison, R.G., 34
Ramsay, A., 8 Redpath, A., 79 Riddel, J., 12
Jamesone, G., 7
Spence, H., 2, 3
Kay, J., 21
Taylor, E.A., 43 Thomson, A.B., 58, 78
Mackie, C.H., 4 Mactaggart, Sir W., 59-63 McClure, D., 84, 85 McLellan, A.M., 55 McTaggart, W., 18 Melville, A., 31 Milne, J.M., 45, 46, 48 Morrison, J., 49 Morrocco, A., 80-83 Oppenheimer, C., 32 Paolozzi, E., 92 Paterson, J., 1, 11 Paton, W.H., 13 Peploe, S., 51-54 Philipson, Sir R., 69-75 Pringle, J.Q., 30 Raeburn, Sir H., 9
Vettriano, J., 86 Watson, A.R., 23 Wilson, W., 33, 35, 42 Yule, W.J., 27
Select Jewellery & Watches Wednesday, 9th December, 2015
An impressive early 20th century diamond solitaire ring claw set with a single round brilliant cut diamond, to a plain white metal shank, unmarked; with an accompanying report by International Gemmological Reports, dated 29.10.15, numbered 30303370, stating that the diamond is 14.64cts, VS1 clarity and L/M colour Ring size: Q, diamond weight: 14.64cts ÂŁ120,000-180,000
Enquiries Trevor Kyle +44 (0)131 557 8844 trevor.kyle@lyonandturnbull.com Ruth Davis +44 (0)131 557 8844 ruth.davis@lyonandturnbull.com
33 Broughton Place, Edinburgh EH1 3RR l +44 (0)131 557 8844 l www.lyonandturnbull.com
Contemporary & Post-War Art Wednesday, 16th March, 2016
SEAN SCULLY (IRISH b. 1945) WALL OF LIGHT - DEEP RED Signed, inscribed with title and dated 2.16.05, watercolour 76cm x 56cm (30in x 22in) ÂŁ15,000-20,000
Enquiries Charlotte Riordan +44 (0)131 557 8844 charlotte.riordan@lyonandturnbull.com
33 Broughton Place, Edinburgh EH1 3RR l +44 (0)131 557 8844 l www.lyonandturnbull.com
Board of Directors
Specialist Departments
Chairman Sir Angus Grossart
Pictures, Watercolours & Prints Nick Curnow Charlotte Riordan Emily Johnston (London) Carly Shearer
Vice Chairmen Paul Roberts Nick Curnow
Decorative Arts: Design from 1860 John Mackie Theo Burrell Hannah Willetts European Ceramics & Glass Douglas Girton John Mackie Theo Burrell
International Director Lee Young
Furniture, Clocks & Works of Art Douglas Girton John Mackie Theo Burrell Hannah Willetts
Directors Campbell Armour Trevor Kyle John Mackie Mhairi McFadden
Asian Works of Art Lee Young Ling Zhu Anna Westin (consultant) Danielle Beilby
Associate Director Alex Dove
Rugs & Carpets Gavin Strang
Business Development
Jewellery, Silver, Coins & Medals Trevor Kyle Ruth Davis Kier Mulholland Colin Fraser (consultant)
Paul Roberts Ian Peter MacDonald Lindsey Michie James McNaught Iain Gale John Sibbald John Thomson Tessa Thomson
182 Bath Street Glasgow G2 4HG Tel +44 (0)141 333 1992 Fax +44 (0)141 332 8240
78 Pall Mall London SW1Y 5ES Tel +44 (0)20 7930 9115 Fax +44 (0)20 7930 7274
Managing Director Gavin Strang
Rare Books, Maps, Manuscripts & Photographs Simon Vickers Cathy Marsden Arms & Armour Colin Fraser (consultant) John Batty (consultant)
Locations 33 Broughton Place Edinburgh EH1 3RR Tel +44 (0)131 557 8844 Fax +44 (0)131 557 8668
email: info@lyonandturnbull.com
w ww.l y ona ndt urnbul l . c o m
We understand that your collection is worth more than the sum of its parts.
Collections sell better as collections. That belief is at the heart of our approach to auctioneering. Over the course of our long history, we have seen this borne out time and time again: from the contents of grand homes to corporate collections, from contemporary art to Chinese snuff bottles; there is little we have not handled and sold well.
EDINBURGH
Each collection is unique and often has an emotional connection to the owners who create or inherit them. Our team work closely with our clients to provide a carefully tailored approach to the sale of their collections.
For more information, or to discuss selling a collection at auction, please contact : Paul Roberts | Vice Chairman 0131 557 8844 | paul.roberts@lyonandturnbull.com Gavin Strang | Managing Director 0131 557 8844 | gavin.strang@lyonandturnbull.com
Personal, passionate and professional - we deliver outstanding results.
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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
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
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.
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).
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.
LYON & TURNBULL AUCTIONEERS EDINBURGH SCOTTISH PAINTINGS & SCULPTURE
182 Bath Street, Glasgow G2 4HG Tel. +44 (0)141 333 1992 Fax. +44 (0)141 332 8240
78 Pall Mall, London SW1Y 5ES Tel. +44 (0)20 7930 9115 Fax. +44 (0)141 7930 7274
10TH DECEMBER, 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, 10th December, 2015 33 Broughton Place Edinburgh
Scottish Paintings & Sculpture