LYON & TURNBULL AUCTIONEERS EDINBURGH SCOTTISH PAINTINGS & SCULPTURE
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8TH DECEMBER 2016
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, 8th December, 2016 33 Broughton Place Edinburgh
Scottish Paintings & Sculpture
Scottish Paintings & Sculpture Thursday, 8th December, 2016 at 6pm Sale Number LT482
Viewing Times Sunday, 4th December 12 noon - 4pm Monday, 5th December 10am - 5pm Tuesday, 6th December 10am - 5pm Wednesday, 7th December 10am - 5pm Thursday, 8th 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 62 (detail)
Inside Front Cover Lot 52 (detail)
Inside Back Cover Lot 67 (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% of the hammer price of each lot up to and including £100,000, plus 20% from £100,001 upwards. VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale). Additional VAT † VAT at the standard rate payable at the standard rate on the hammer price * 5% import VAT payable on the hammer price No VAT is payable on the hammer price or premium for books bought at auction. Droit de Suite § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the buyer on the hammer price and in addition to the buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. More information on Droit de Suite is available at www.dacs.org.uk
Registration All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, by fax or on our website. Please note that all first time bidders at Lyon & Turnbull will be asked to supply the following documents in order to facilitate registration: 1 – Government issued photo ID (Passport/ Driving licence) 2 – Proof of address (utility bill/ bank statement). We may, at our option, also ask you to provide a bank reference and/ or deposit. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website).
Bidding & Payment For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue.
Removal of Purchases Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser.
Catalogue descriptions All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. If potential buyers are unable to inspect lots in person (public viewing times listed in every catalogue), our specialists will be happy to prepare detailed condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.
Import/Export Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot. Endangered Species Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside the EU. For more information visit http://www.defra.gov.uk/ahvla-en/ iimports-exports/cites
Meet the Specialists At Lyon & Turnbull we want to make buying at auction as easy and enjoyable as possible. Our specialist team are on hand to assist you; whether you are looking for something in particular for your home or collection; require more detailed information about the history or current condition of a lot or just want to ďŹ nd out more about the auction process.
Nick Curnow
Charlotte Riordan
Carly Shearer
Iain Gale
nick.curnow@lyonandturnbull.com
charlotte.riordan@lyonandturnbull.com
carly.shearer@lyonandturnbull.com
iain.gale@lyonandturnbull.com
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1 HE81/12 JAMES CAMPBELL NOBLE R.S.A. (SCOTTISH 1846-1913) WINDMILLS ON A RIVER Signed, oil on board 30.5cm x 40.5cm (12in x 16in)
£800-1,200
2 HE465/1 EUGENE DEKKERT (SCOTTISH fl. 1899-1940) HARBOUR, ST. MONANS Signed, inscribed with title on old label verso, oil on canvas 55cm x 78cm (22in x 30.5in)
£1,000-1,500
Scottish Paintings & Sculpture 5
3 HF15/2 [§] GEORGE HOUSTON R.S.A., R.S.W., R.I. (SCOTTISH 1869–1947) DEPARTING SNOWS - A RIVER LANDSCAPE Signed, oil on canvas 71cm x 91cm (28in x 36in)
£1,500-2,000
4 HE754/1 WILLIAM ALFRED GIBSON (SCOTTISH 1866-1931) A DUTCH RIVER LANDSCAPE WITH A FIGURE IN A PUNT Signed, oil on canvas 51cm x 61cm (20in x 24in)
£2,000-3,000
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5 HE81/14 DAVID FARQUHARSON A.R.A., A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1846-1907) A SUMMER’S DAY IN GALLOWAY Signed and dated 1878, signed and inscribed on reverse, oil on canvas 30.5cm x 45.5cm (12in x 18in)
£1,000-1,500
6 HG14/1 THOMAS BROMLEY BLACKLOCK (SCOTTISH 1863–1903) BY THE STREAM Signed, oil on canvas 51cm x 61cm (20in x 24in)
£1,000-1,500
Scottish Paintings & Sculpture 7
7 HG415/1 JAMES WHITELAW HAMILTON R.S.A., R.S.W. (SCOTTISH 1860-1932) VIEW OF A SCOTTISH HARBOUR Signed, oil on canvas 51cm x 61cm (20in x 24in)
£1,000-1,500
8 HE253/1 WILLIAM MOUNCEY (SCOTTISH 1852-1901) MINDING THE FLOCK Signed, oil on canvas 71cm x 91cm (28in x 36in)
£1,000-1,500
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Scottish Paintings & Sculpture 9
9 HG417/1 WILLIAM STEWART MACGEORGE R.S.A. (SCOTTISH 1861-1931) BLUE HAZE OF THE HYACINTH Signed, oil on canvas 71cm x 91cm (28in x 36in) £7,000-10,000
Born in Castle Douglas in 1861, William Stewart MacGeorge began his artistic training at an early age, demonstrating an exceptional talent. He even became a prototype for a caricaturist character of Samuel R. Crockett’s The Raiders – the author was MacGeorge’s boyhood friend. In 1880 MacGeorge entered Edinburgh School of Art, where among his classmates were George Denholm, Thomas B. Blacklock and Edward A. Hornel, with whom MacGeorge established a firm and artistically significant friendship. During his years at the Edinburgh School MacGeorge won a number of artistic prizes, including a Queen’s Prize in the National competition and as early as the age of twenty he had his first work hung in the Royal Scottish Academy (A Lovers’ Walk, 1881). In 1883 MacGeorge relocated to Antwerp together with William Walls and Edward Hornel, where the young artists enrolled at the Academie Royale des Beaux Arts – one of the oldest art academies in Europe, which at that time held an international reputation. There, for two years, MacGeorge was a student of Charles Verlat, from whom he acquired a strong basis of realism and academic training. His colour palette was also affected by contemporary Dutch and Flemish naturalist painting. During his time at the
Academie MacGeorge produced some sombre works such as Rotterdam Windmill and Amsterdam Harbour (both in Haddington Council buildings). Upon his return from Belgium in 1885, MacGeorge enrolled at the R.S.A. Life School, where his prolific student career continued to flourish, bringing him the Keith Prize in 1887. It is believed that MacGeorge’s predilection for gloomy colours – possibly the Hague School influence – was challenged by Edward Hornel, who encouraged MacGeorge to soften his tone, thus making his paintings much brighter, his brushstrokes more richly imparted, and his painting style considerably more decorative. However, MacGeorge always maintained a substantial level of individuality in his artistic approach, in particular, a truth to natural forms. His most prominent works transmit naturalistic atmosphere enhanced by vigorous brushwork and bright spots of colour. Although MacGeorge’s choice of subjects was extremely diverse, his signature setting is a woodland scene with children playing among the flowers. The present work, The Blue Haze of the Hyacinth, belongs to a large series of works depicting utopian idylls. Here the artist portrays three young ladies resting in a meadow filled with azure bursts of wild hyacinth. An example of MacGeorge’s
colouristic approach, the work presents a vivid impression of a bright summer day, as well as the artist’s signature impasto brushwork. In the mid-1880s MacGeorge began spending summer months in Kirkcudbright artists’ colony, where he resided in a studio near the old quarry on Tongland Road. Kirkcudbrightshire Fine Art Association was established in 1886, and local exhibitions were held each year. MacGeorge produced some of his most outstanding landscapes while in Kirkcudbright, including Kirkcudbright, depicting salmon fishers at dusk, now in the Edinburgh City Art Centre. The night scene The Harbour Kirkcudbright offers a good example of MacGeorge’s fascination with darker colours, acquired in his younger years in Antwerp. Soft brushstrokes enhance the romantic feeling of a Scottish summer night, and the work is completed with MacGeorge’s typical spots of contrasting colour, in the luminous windows of the harbour building.
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10 HG417/5 WILLIAM STEWART MACGEORGE R.S.A. (SCOTTISH 1861-1931) THE HARBOUR, KIRKCUDBRIGHT Signed, oil on canvas 56cm x 77cm (22in x 30.5in) £4,000-6,000
Scottish Paintings & Sculpture 11
11 HF710/3 STUART PARK (SCOTTISH 1862-1933) A STILL LIFE OF PINK AND WHITE ROSES Signed, oil on canvas, oval 46cm x 61cm (18in x 24in)
£2,000-3,000
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12 HC266/1 ALEXANDER NASMYTH (SCOTTISH 1758-1840) VIEW OF A HIGHLAND LOCH WITH A CASTLE Signed verso, oil on panel 45cm x 63cm (17.75in x 24.75in)
£2,000-4,000
13 HF513/1 ALEXANDER NASMYTH (SCOTTISH 1758-1840) DUMBARTON ROCK ON THE CLYDE Oil on canvas 66cm x 89cm (26in x 35in)
£4,000-6,000
Scottish Paintings & Sculpture 13
14 HF50/1 PATRICK NASMYTH (SCOTTISH 1787-1831) FIGURES IN A WOODED RIVER LANDSCAPE Signed and dated 1828, oil on panel 46cm x 61cm (18in x 24in)
£4,000-6,000
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15 HE252/23 SIR FRANCIS GRANT P.R.A., R.S.A. (SCOTTISH 1803-1878) A FAMILY PORTRAIT OF MRS GEORGE KINNEAR AND HER DAUGHTER JANET Oil on canvas 127cm x 102cm (50in x 40in) Exhibited: Royal Scottish Academy 1831, no.51
£4,000-6,000
Scottish Paintings & Sculpture 15
16 HF802/3 JAMES ARCHER R.S.A. (SCOTTISH 1824-1904) PORTRAIT OF THEODORE RODEN FOTHERGILL OF LOWBRIDGE HOUSE (1868-85) Signed with initials and dated 1874, oil on canvas 141cm x 110cm (55.5in x 43.5in)
£4,000-6,000
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17 HG402/3 ALEXANDER FRASER A.R.S.A. (SCOTTISH 1786-1865) FIGURES BY A RUIN Signed with initials, inscribed and dated verso 1808, oil on panel 14cm x 17cm (5.5in x 6.75in) Provenance: The Fine Art Society, London and Edinburgh 1976, no.5785
£500-800
18 SV623/16 JAMES WILLIAM GILES (SCOTTISH 1801-1870) GLEN FARQUHAR Signed and dated 1853, oil on board 35cm x 50cm (13.75in x 19.75in)
£500-1,000
Scottish Paintings & Sculpture 17
19 HF699/1 ARTHUR PERIGAL R.S.A., R.S.W. (SCOTTISH 1816-1884) HARVEST-TIME IN THE GROUNDS OF SUNNYSIDE HOUSE Signed with monogram, oil on canvas 76cm x 122cm (30in x 48in)
£4,000-6,000
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Scottish Paintings & Sculpture 19
20 HE81/1 ROBERT MCGREGOR R.S.A. (SCOTTISH 1847-1922) GATHERING MUSSELS Signed and dated 1919, oil on canvas 61cm x 101.5cm (24in x 40in) Exhibited: The Fine Art Society 1977
£6,000-8,000 Robert McGregor is renowned for his pioneering approach in the genre of work scenes of rural life. The genre acquired a dramatic popularity in France, where it was represented by Gustave Courbet and Jules BastienLepage, however it hadn’t reached Britain until the late 1870s. McGregor’s simple pastorals are notable for a unique combination of the French influences on the one hand, and the artist’s loyalty to the old traditions of the Scottish painting on the other. Among his most prominent works are The Knife-Grinder (1878), now in the McManus Museum, Dundee, and Gathering Stones (1879) in the Glasgow Art Gallery and Museum. McGregor had no formal art training until his relocation to Edinburgh, where he later attended the Royal Scottish Academy, yet he is believed to have received some artistic instruction from a Frenchman while still in Yorkshire. Once at the R.S.A., McGregor made rapid progress, getting elected an associate in 1882. He became a full R.S.A.
member seven years later. Although McGregor never worked in a foreign atelier, his style was influenced by continental painters, including Courbet and Millet. Unlike other Scottish painters, the majority of whom remained loyal to a local palette, in his colourist approach McGregor maintained a distinctively French use of the grey scale, with a light effect similar to that seen in black and white photography. Having adopted an artistic approach derived from the works of Courbet, McGregor frequently reduced the foreground of his paintings in order to increase a sense of the bulkiness of the peasants’ figures. A brilliant example of such composition is the present canvas depicting a young woman with a basket. The scene drawn from everyday life is executed in a
warm palette, where thicker strokes of the pastel-blue sky in the top left corner are balanced with the deep-blue colour of the water and the girl’s jacket. McGregor’s use of heavier brushwork is softened by the elaborate lacework of the girl’s headscarf. Gathering Mussels belongs to the eponymous series of works depicting peasants gathering clams in the setting of a distinctively Scottish coastal landscape. This largescale work, executed in 1919, demonstrates the artist’s use of grey tonality to create the effect of sunless weather and gives the painting a diffused silvery glow. Therefore, this later work represents one of the best examples of the artist’s engagement with French painting techniques in the depiction of Scottish countryside settings.
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21 HE81/7 ROBERT MCGREGOR R.S.A. (SCOTTISH 1847-1922) A DUTCH WASHER GIRL Signed, oil on canvas 28cm x 23cm (11in x 9in)
£800-1,200
22 HF50/6 SIR JAMES GUTHRIE P.R.S.A., H.R.A., R.S.W., L.L.D. (SCOTTISH 1859-1930) HEAD OF A SOLDIER Signed and dated ‘89, oil on canvas 19cm x 13cm (7.5in x 5in)
£600-800
Scottish Paintings & Sculpture 21
23 HE660/1 WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) A SUMMER IDYLL - BAY VOYACH Signed and dated 1876-93, oil on canvas 61cm x 91cm (24in x 36in) Provenance: Mrs Archibald Smith Exhibited: Scottish National Exhibition, Edinburgh 1908 Note: A copy of James Caw’s book, William McTaggart, accompanies this lot.
Literature: James L Caw, William McTaggart, 1917, Ill. p.75 ‘a Summer Day, Bay Voyach....one of his most delightful creations - wonderful in the mingled delicacy and brilliance of its high pitched colour, full of quietude touched with gladness and of tranquility that is yet pregnant with life’
£20,000-30,000
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GLASGOW BOY WATERCOLOURS Though the majority of their best known works were executed in oils, one of the most interesting and underexplored threads which connect the Glasgow Boys and their practice is their rare facility with the medium of watercolour. In this sale we are lucky to be able to present fine examples by several of the key protagonists of the group, allowing us the opportunity to explore why watercolour suited the artistic developments they sought to make. It could be argued that the trait which most strongly characterised this loosely interlinked group of young artists was a collective desire to move away from the aesthetic of the presiding and establishment-approved art which dominated the Scottish institutions of the time. Dark, staid oils which favoured historical and sentimental narrative subject matter over realism and naturalism were the order of the day. The Boys dismissively referred to these laboured, traditional painters
24 HE609/2 JAMES PATERSON P.R.S.W., R.S.A., R.W.S. (SCOTTISH 1854-1932) WINTER, MONIAIVE Signed, inscribed and dated ‘Moniaive 1885’, watercolour 34cm x 52cm (13.5in x 20.5in) Note: Paterson painted a number of variations on this subject, notably The last turning, Winter, Moniaive, a large oil also dated 1885 from the Wemyss Honeyman Collection
£4,000-6,000
as The Glue Pots. In retaliation, they left the dimly lit confines of their studios to seek out the purest light they could find in Scotland; whether along coast of East Lothian or in the villages to the west in Dumfriesshire, adopting the plein air techniques of the French Barbizon School whom they all admired. Like the French Realists and Naturalists before them, they sought to elevate rural subject matter and further, to emphasise a focus on technique over narrative. Watercolour is a notoriously tricky medium which demands precision and speed but the Boys found it wellsuited to their aims and skillsets. It was perfect for exploring atmospheric effects and fleeting movement. As well as mastering sophisticated tonal harmonies, most of the Boys were skilled draughtsmen and this is highly apparent in the deceptively technical compositional constructions of their watercolours. This is perhaps most obvious in
William Kennedy’s Oban Harbour which demonstrates a mastery of perspective, in addition to his celebrated handling of chiaroscuro. Paterson also favoured complicated compositions; Winter, Moniaive being a classic example. Paterson had his studio on the banks of the river outside the village and regularly used it as a device to draw our eye into and through his paintings of the area. His work is characterised by a relative coolness of palette, as well as an interest in the decorative possibilities of compositional structure. Walton is famous for the strength of his light and experimental ‘scumbled’ surface effect which conjures a sense of high noon sunlight dappling through foliage. Perhaps more overtly influenced by Japanese art than the two proceeding artists mentioned, Walton also favoured a foreshortened sense of perspective than a sweeping view, as seen here in The Young Fisherman.
Sophisticatedly, blocks of colour and fluidity in the handling of his paint combine to create a sense of recession. William York Mcgregor’s A Sunlit Wooded Landscape further exemplifies this fascination with direct sunlight, and could be said to encapsulate the semiintangible but distinctive quality achieved by the Glasgow Boys: the combination of the realistic and the dream-like. We know that the Boys themselves valued their watercolours highly and as major aspects of their oeuvre – exhibiting them prominently and asking strong prices. While some critics have argued that the Boys’ oils are diminished by the obvious nature of the French influences they adopted, their use of and mastery of watercolour is truly distinct to their movement and remains shamefully underdocumented.
Scottish Paintings & Sculpture 23
25 HE609/1 EDWARD ARTHUR WALTON R.S.A., P.R.S.W., H.R.W.S. (SCOTTISH 1860-1922) THE YOUNG FISHERMAN Signed and dated ‘85, watercolour 36.5cm x 30.5cm (14.5in x 12in)
£6,000-8,000
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26 HF732/3 WILLIAM YORK MCGREGOR R.S.A., R.S.W. (SCOTTISH 1855-1923) A SUNLIT WOODED LANDSCAPE Signed and dated 1890, watercolour 38cm x 47.5cm (15in x 18.75in)
£1,000-1,500
27 HE609/3 WILLIAM KENNEDY (SCOTTISH 1859-1918) OLD PIER, OBAN Signed, inscribed and dated 1885, watercolour 34cm x 51cm (13.5in x 20in)
£1,000-1,500
Scottish Paintings & Sculpture 25
28 HE773/1 ARTHUR MELVILLE A.R.S.A. (SCOTTISH 1855-1904) A STREET SCENE IN TANGIER Pencil and watercolour, inscribed on a label verso 12cm x 16cm (4.75in x 6.25in)
and a companion, similar (2) Provenance: The Sanderson Collection, Talbot House Edinburgh
£2,000-4,000
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29 HE846/1 JAMES PATERSON P.R.S.W., R.S.A., R.W.S. (SCOTTISH 1854-1932) PINEWOOD - COVE Signed and dated 1886-9, watercolour 35.5cm x 53.5cm (14in x 21in)
£1,000-1,500
30 HF732/4 JAMES CASSIE R.S.A., R.S.W. (SCOTTISH 1819-1879) YOUNG FISHERS, LUNAN BAY Signed with monogram and dated 1875, oil on canvas 33cm x 53cm (13in x 20.75in)
£1,500-2,000
Scottish Paintings & Sculpture 27
31 HE682/1 JOSEPH HENDERSON R.S.W. (SCOTTISH 1832-1908) ON THE BEACH Signed, oil on canvas 49.5cm x 59.5cm (19.5in x 23.5in)
£1,500-2,500
32 HF710/5 [§] JOHN MCGHIE (SCOTTISH 1867-1952) THE TOY BOAT Signed, oil on canvas 36cm x 46cm (14in x 18in)
£1,000-1,500
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ROBERT BROUGH Robert Brough is surely one of the most underrated Scottish artists of the late 19th century. Born in Invergordon, he showed talent at an early age and trained at the R.S.A. schools in Edinburgh, where his early work exhibited the influence of the Glasgow Boys and French Realists. A fellow pupil was S.J. Peploe, with whom he struck up a friendship, and, in the summer of 1894, the pair travelled to Paris and enrolled at the Atelier Julian. Though much of Brough’s Parisian work has been lost, what survives evinces the influence of the Impressionists and a pioneering use of light. During the year he spent in France, Brough also visited Brittany and must have been aware of the startling work being produced by Gauguin and others at Pont-Aven, which had caused such a stir in Parisian art circles. Several of his works of this time owe something to the
33 HF732/8 ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872–1905) HARBOUR SCENE Oil on panel 26.5cm x 35.5cm (10.5in x 14in) Exhibited: Aberdeen Art Gallery and Museums, Robert Brough, 1995, no.47
£6,000-8,000
revolutionary doctrine of the Nabis and the principles of Synthetism and position him with Bevan and O’Connor. Returning to Scotland at the end of 1894, Brough continued to study at the R.S.A. and exhibited his portraits to some acclaim. Interestingly though, at the same time his more avantgarde works were finding favour abroad, particularly in Munich and he was also commissioned to work for the periodical The Evergreen, run by Scottish Arts and Crafts pioneer Patrick Geddes. However, economic necessity dictated that Brough should become a professional portrait painter and among his first commissions were a series of portraits of the Crombie family, who became important patrons. Nevertheless, while in his portraits Brough was influenced by Velasquez, in other work he began to experiment with what he called ‘fantasies’, similar in
flavour to Whistler’s nocturnes. In 1901 Brough moved to London, renting one of the Rosetti studios in Flood Street, Chelsea. Here he came under the influence of John Singer Sargent, a neighbour who shared his admiration for Velasquez and, within two years was fully established as a portraitist, both in London and Scotland. Such mercantile families as the Crombies were now joined by new patrons from the Scottish gentry. But despite this success, Brough began to find portraiture tedious and longed for less constraining genres. In April 1904 a trip to North Africa prompted a series of watercolours in the style of Arthur Melville. Brough stayed there with the Cavendish Bentincks, enjoying an aristocratic lifestyle and an account of the journey is related in the journal kept by his fellow traveller, the artist George Percy Jacomb Hood,
With Brush and Pencil. In the Moroccan works Brough abandons portraiture and allows himself to explore subject painting and local scenes. As with Melville, form is sacrificed to light and colour, creating a powerful sense of place and immersing the viewer in the atmosphere of the Moroccan streets. These works are among the most innovative and tantalising of Brough’s oeuvre, which direction he would subsequently have taken, however must remain open to conjecture. Tragically, Brough’s promising career came to an end less than a year later when he was involved in as serious rail crash, while returning to London from a commission in Peebleshire. Badly burnt, he died in hospital the next day at the age of 33, with Sargent at his bedside.
Scottish Paintings & Sculpture 29
34 HF732/5 ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872–1905) MOROCCAN STREET SCENE Pencil and watercolour 51cm x 35.5cm (20in x 14in) Provenance; Bequeathed by the artist to J.R.Greig Exhibited: Aberdeen Art Gallery and Museum, Robert Brough 1995, no.87 Note: Inscribed on the backboard with the artist’s name and belonging to J.R. Greig. This watercolour dates from 1903 and depicts Tangier as from the west with the Riff mountains in the distance.
£2,000-2,500
35 HG402/1 [§] ALEXANDER NISBET PATERSON A.R.S.A., R.S.W. (SCOTTTISH 1862-1947) TENERIFE Signed, watercolour 53cm x 35.5cm (20.75in x 14in) Provenance: Ewan Mundy Fine Art, Glasgow
£1,000-1,500
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36 HF614/33 TOM SCOTT R.S.A. (SCOTTISH 1854–1927) KIRKWALL FROM THE NORTHEAST Signed and dated 1901, watercolour 36cm x 51cm (14in x 20in)
£800-1,200
37 HF782/1 TOM SCOTT R.S.A. (SCOTTISH 1854-1927) ST. MAGNUS CATHEDRAL, KIRKWALL Signed, watercolour 37cm x 53cm (14.5in x 20.75in)
£1,000-1,500
38 HF614/28 TOM SCOTT R.S.A. (SCOTTISH 1854–1927) NEAR STROMNESS, ORKNEY Signed and dated ‘81, watercolour 31.5cm x 47cm (12.5in x 18.5in)
£400-600
Scottish Paintings & Sculpture 31
39 HF614/32 SAM BOUGH R.S.A. (SCOTTISH 1822-1878) KIRKWALL Signed and inscribed, watercolour 25.5cm x 36cm (10in x 14in)
£500-800
40 HF614/40 SAM BOUGH R.S.A. (SCOTTISH 1822-1878) BISHOP’S CASTLE, SCRABSTER Signed and dated ‘63, watercolour 26cm x 36.5cm (10.25in x 14in)
£500-800
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41 HG214/1 DAVID GAULD R.S.A. (SCOTTISH 1865-1936) CALVES IN A FIELD Signed, oil on canvas 46cm x 61cm (18in x 24in) £3,000-5,000
Scottish Paintings & Sculpture 33
42 HF805/1 [ยง] ALEXANDER GRAHAM MUNRO R.S.W. (SCOTTISH 1903-1985) MARTIGUES Signed, oil on canvas 101.5cm x 127cm (40in x 50in)
ยฃ2,000-3,000
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43 HG219/1 EDWARD ATKINSON HORNEL (SCOTTISH 1864–1933) A RARE POSY Signed and dated 1918, oil on canvas board 25.5cm x 36cm (10in x 14in)
£2,000-3,000
44 HG417/2 EDWARD ATKINSON HORNEL (SCOTTISH 1864–1933) BY THE LILY POND Signed and dated 1918, oil on canvas 61cm x 51cm (24in x 20in) £6,000-8,000
Scottish Paintings & Sculpture 35
45 HE81/13 EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) GEISHA Signed and dated 1900, oil on panel 56cm x 23cm (22in x 9in) Provenance: George Davidson, Glasgow
£4,000-6,000
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46 HF558/1 SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., R.O.I., L.L.B. (1856-1941) STUDY OF ESTHER MCLAREN Signed, inscribed and dated ‘To Miss Esther McLaren, Dec 31st 1891’, oil on canvas 46cm x 36cm (18in x 14in)
£12,000-18,000
After the completion of The State Visit of Queen Victoria to the International Exhibition, Glasgow, 1888, for Glasgow Corporation, a two year allconsuming project, John Lavery’s monumental canvas was shipped to London and was collecting favourable reviews in the early summer of 1891 at MacLean’s Galleries in Haymarket. Its 254 related oil sketches, an inventory of the great and good of the west of Scotland, were being claimed by sitters when, at the suggestion of fellow artist, William Patrick White, the painter was invited to Glencarron Lodge, in Ross and Cromarty, the rented summer retreat of John McLaren, former Liberal MP and Lord Advocate for Scotland.1 Here the painter was asked to decorate the Gun Room with landscape and family picnic sketches. From this agreeable interlude the proposal to paint McLaren family portraits emerged and Katherine and Esther, the judge’s two eldest daughters would be his first sitters.2 The news of this commission quickly spread. Fellow ‘Glasgow Boy’, James Guthrie, in an amusing Christmas watercolour showing Esther dancing while Katherine plays the cello, expressed the hope that they would ‘keep steady’ while posing for the struggling painter. Both
young women were musical; Esther casting herself in the role of Carmen in Bizet’s popular opera.3 Clearly, despite the formality of the finished product (fig 1), the McLaren girls were a challenge – as the present lively sketch reveals. Normally works of this type provided source material and helped plan a composition, but this does not appear to be the case in this instance. While unrelated to the double portrait, it nevertheless initiated a relationship that developed apace during the next three years in which Esther not only sat for a full face study (fig 2), but also for a separate full-length, A Lady in Brown, and a much-praised half-length profile portrait, A Lady in Black, shown at the Paris Salon, the Royal Academy, and in the inaugural exhibition at the Carnegie Institute in
Pittsburgh. With this, she had effectively become Lavery’s muse. Sittings took place at the McLaren’s house at 46 Moray Place, Edinburgh, where the present sketch is likely to have been painted. Esther’s shamrock brooch may well have been worn in deference to the painter, and while elsewhere, her hair is tightly pinned, here the auburn tresses are given free rein. Knowing her love of Bizet, the present portrait was always referred to as The Gypsy Girl in the McLaren family.4 Tight definition in the face is indicated in a few swift lines that follow the form, and as she turns, Esther’s pale blue eyes catch the viewer. For the painter, this fleeting moment occasioned a bravura performance, and cemented a friendship that would outlast Judge McLaren’s immediate commission.
Fig 1 John Lavery, Esther and Katherine, Daughters of Lord McLaren, 1891-2, 220cm x 169cm, City Art Centre, Edinburgh
1 Kenneth McConkey, John Lavery, A Painter and his World, 2010 (Atelier Books), p. 59, 219-220. Lord McLaren also sat for his portrait at this time (unlocated), while a smaller, later portrait was painted in 1899 at the time of Esther’s marriage (Scottish National Portrait Gallery). In later years the family rented Samalaman House at Glenuig on the Road to the Isles. 2 Esther Joanna Marie McLaren (c1871-5 -1950) and her elder sister, Katherine (1870-1966) were both painted separately on other occasions by Lavery. Esther married Alan Blackburn Esq in 1899. Their younger sister Ottilie McLaren, a gifted sculptor, was to become a pupil of Rodin at the end of the decade. 3 Sold Bonhams Edinburgh, 15 April 2014. 4 Indeed, following her marriage to Alan Blackburn in 1899 Esther named her baby daughter, Carmen. Sadly the child died in infancy, and after the birth of her son, Peter, the Blackburns moved to British Columbia to run a dairy farm. When her husband died as a result of gas poisoning in the Great War, Esther remained in Canada, only returning to Scotland in the mid-thirties. Brief contact with Lavery was reestablished around this time, before she retired to Rapallo where she died (information kindly supplied by the vendor).
Fig 2 John Lavery, Miss Esther McLaren, c. 1892, 35.6cm x 25.4cm, Private Collection, sold Lyon & Turnbull, 30 May 2013
Scottish Paintings & Sculpture 37
38 Lyon & Turnbull
47 HE118/4 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1855-1936) BOY SAILING HIS BOAT Signed, oil on board 12.5cm x 17.5cm (5in x 7in)
£2,000-3,000
48 HF710/4 WILLIAM WELLS (SCOTTISH 1872-1923) THE GOOSE-GIRL Signed, oil on canvas 41cm x 51cm (16in x 20in)
£1,500-2,000
Scottish Paintings & Sculpture 39
49 HE81/10 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1855-1936) THE YOUNG GARDENER Oil on canvasboard 30.5cm x 40.5cm (12in x 16in) Provenance: Mrs Laidlaw (the artist’s daughter) Exhibited: The Fine Art Society, Edinburgh 1975
£6,000-8,000
40 Lyon & Turnbull
50 HF50/4 ALFRED DE BREANSKI SENIOR (SCOTTISH 1869–1925) THE HEART OF THE TROSSACHS Signed, signed and inscribed verso, oil on canvas 51cm x 38cm (20in x 15in)
and a pair ‘The Brander Pass’ (2) £4,000-6,000
Scottish Paintings & Sculpture 41
51 HF593/1 [ยง] GEORGE HOUSTON R.S.A., R.S.W., R.G.I. (SCOTTISH 1869-1947) THE FERRY, PORT SONACHAN, LOCH AWE Signed, oil on canvas 71cm x 91cm (28in x 36in)
ยฃ2,500-3,500
42 Lyon & Turnbull
52 HE994/1 [§] JAMES MCBEY (SCOTTISH 1883-1959) THE MARKET AT GERONA Signed, indistinctly inscribed and dated 1921, inscribed verso, oil on canvas 46cm x 61cm (18in x 24in)
£4,000-6,000
A largely self-taught artist, who throughout his career focussed on works on paper, particularly etchings, James McBey followed in a longstanding tradition of Scottish artists travelling abroad in search of education, inspiration and subject matter. His first trip was to Amsterdam to view the etchings of Rembrandt, but this was just the beginning of a life of travel that saw him
visit locations across Europe, America and North Africa, including lengthy periods of living abroad, in both America and North Africa. In this charming scene from one of his many travel destinations, McBey captures in oils the hustle and bustle of a busy Spanish market. By dividing the composition into thirds he is able at once to convey the bustling crowds at market stalls, the distinctive
architecture of the town, and the soft blue wash of the Mediterranean sky. His palette and technique in this artwork, the dabs of mint green, sandy cream, peachypink and hints of midnight blue suggest the distinctive local climate and architecture, the heat and light that differed so dramatically from that of his Scottish home.
Scottish Paintings & Sculpture 43
53 HE980/1 [§] SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880–1969) AMAZONS OF ANTIBES Signed, watercolour 67cm x 50cm (26.5in x 19.5in)
£6,000-8,000
44 Lyon & Turnbull
54 HG417/3 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1855-1936) HAPPY DAYS Signed, oil on canvas 51cm x 61cm (20in x 24in) £15,000-20,000
Scottish Paintings & Sculpture 45
55 HF732/6 [§] WILLIAM MERVYN GLASS R.S.A., P.S.S.A. (SCOTTISH 1885-1965) ULVE FROM IONA Signed with initials, signed, inscribed and dated verso ‘Iona list 1938’, oil on board 38cm x 46cm (15in x 18in)
£2,000-3,000
56 HE719/1 [§] WILLIAM MERVYN GLASS R.S.A., P.S.S.A. (SCOTTISH 1885-1965) EARLY EVENING, IONA Signed with initials, signed and inscribed verso, oil on board 32cm x 41cm (12.5in x 16in)
£1,500-2,000
46 Lyon & Turnbull
57 HF732/7 [§] JOHN BULLOCH SOUTER (SCOTTISH 1890-1972) AURELIA Signed, and inscribed verso, oil on board 41cm x 35.5cm (16in x 14in)
£1,000-1,500
58 HG16/1 [§] DAVID DONALDSON R.S.A., R.P., L.L.D. (SCOTTISH 1916-1996) BESS, 1963 Signed, oil on canvas 75cm x 126cm (30in x 50in) Exhibited: Royal Scottish Academy 1965, no.276 Royal Glasgow Institute IBM Gallery, New York, Seven Scottish Painters 1965
£2,500-3,500
Scottish Paintings & Sculpture 47
59 HG403/1 [§] HUGH ADAM CRAWFORD R.S.A. (SCOTTISH 1898-1982) PORTRAIT OF WILLIAM ARMOUR Signed with a monogram, inscribed and dated 1922 on label verso, oil on canvas 63.5cm x 51cm (25in x 20in) Note: Crawford was studying at Glasgow School of Art 1919-1923 under Maurice Greiffenhagen when this portrait was painted. In 1925 he joined the staff at GSA where he was remembered as a highly gifted teacher of such painters as Colquhoun, MacBryde, Merlyn Evans and Eardley. He was Head of Paintings at Glasgow until 1948, Head of Gray’s School of Art, Aberdeen 1948-1954 and Principal of Duncan of Jordanstone College of Art, Dundee 1954-1964. He is represented in a variety of private and public collections throughout Scotland. The sitter William Armour also joined the staff of G.S.A. in 1947 and retired in 1957 as Head of Paintings and Drawings. He was married to the artist Mary Armour.
£3,000-5,000
48 Lyon & Turnbull
60 HE81/3 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1855-1936) A VOLENDAM FISHERGIRL Signed, oil on panel 21cm x 16cm (8.25in x 6.25in) Provenance: Mrs Laidlaw (the artist’s daughter) The Fine Art Society
£1,500-2,000
61 HE81/8 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1855-1936) THE YOUNG GARDENER Signed, oil on board 30.5cm x 20.5cm (12in x 8in) Provenance: Mrs Laidlaw (the artist’s daughter) Exhibited: Fine Art Society, Edinburgh, Robert Gemmell Hutchison 1975
£4,000-6,000
Scottish Paintings & Sculpture 49
62 HE253/3 GEORGE H.B. WRIGHT (SCOTTISH fl. 1936-1940) A HILLTOP CHURCH Signed and dated 1938, oil on canvas 51cm x 61cm (20in x 24in) Provenance: Drambuie Collection, Lyon & Turnbull 2006, lot 139
£5,000-8,000
50 Lyon & Turnbull
63 HF504/2 JAMES WATTERSTON HERALD (SCOTTISH 1859–1914) BEACHED FISHING BOATS Signed, watercolour 28cm x 22cm (11in x 8.75in)
£1,500-2,000
64 HE659/1 [§] WILLIAM MCCANCE (SCOTTISH 1894-1970) WOMAN READING Signed and dated 1925, pastel on brown paper 45.5cm x 35cm (18in x 14in) Exhibited: Scottish National Gallery of Modern Art, William McCance 1990 Provenance: Mrs Margaret McCance
£1,200-1,800
Scottish Paintings & Sculpture 51
65 HC559/6 [§] DENIS PEPLOE R.S.A. (SCOTTISH 1914-1993) BEN DAMH Signed, oil on canvas 63.5cm x 76cm (25in x 30in) Exhibited: The Scottish Gallery, Paintings from the artist’s studio 1984, no.23
£1,500-2,000
66 HF611/13 [§] ANNE REDPATH R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) DESIGN FOR A TAPESTRY Gouache 24cm x 31cm (9.5in x 12in) Note: Bears label verso confirming authenticity from David Michie, the artist’s son
£1,000-1,500
52 Lyon & Turnbull
STANLEY CURSITER Stanley Cursiter was one of the most important figures of British art during the twentieth century. As Director of the National Galleries of Scotland, Cursiter introduced modernism to the country by bringing Roger Fry’s seminal exhibition ‘Manet and the PostImpressionists’ to the capital in 1913, showing works of the Post-Impressionists and the Futurists to the country for the first time. He was also a keen supporter of the development of modern Scottish art and played an instrumental role in the creation of the Scottish National Gallery of Modern Art. Born in Orkney in 1887, Cursiter moved to Edinburgh in 1904 to become an architect. However, drawing and painting was where he
67 HF614/12 [§] STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) CLIFFS, ORKNEY Signed and dated 1931, oil on board 31cm x 41cm (12in x 16in)
£2,000-3,000
excelled and he soon completed his studies at the Edinburgh College of Art. After the First World War, his services in which resulted in him being awarded an O.B.E., Cursiter worked as an artist and completed numerous canvases from his luxurious apartment at 11 Royal Circus in Edinburgh. The portrait shown here from 1922 and titled The Lace Frock, depicts one of the artist’s favourite models, Poppy Low, standing to the left of a chair on which curtains and purple fabric are casually draped. The model’s bobbed haircut portrays her as a modern woman and the ruffles on her lace dress demonstrate the painter’s skill with the fabric. We see similarly fashionable depictions of Poppy Low in Cursiter’s Roberta (Blackburn
Museum and Gallery; 1921) and A Summer Night (Private Collection; 1923). In 1930 Cursiter took on the role of Director of the National Gallery of Scotland and remained in the position until 1948 when he returned to his native Orkney with his wife Phyllis Hourston. In the same year, Cursiter was appointed as the King’s Painter and Limner- a role which he possessed until his death in 1976. Cursiter was immensely proud of his homeland and painted its landscapes with great passion and admiration. The Orcadian landscapes offered here, such as the 1954 canvas An Island Farm, Oddness, Stronsay, demonstrate both his profound emotional attachment to the area and the influence of the French
avant-garde on his work. In particular, this piece displays an appreciation of the work of Cézanne in the use of broken brushstrokes. Cursiter employs Cézanne’s groundbreaking technique to suggest the texture of the rocks in the foreground, which emphasises the warm middleground that recedes into the colder colours surrounding it, and allows Cursiter the opportunity to show his immense artistic talent.
Scottish Paintings & Sculpture 53
68 HF710/1 [ยง] STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) THE LACE FROCK Signed and dated 1922, oil on canvas 49cm x 49cm (19.25in x 19.25in)
ยฃ15,000-20,000
54 Lyon & Turnbull
69 HF614/7 [ยง] STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) THE CLIFFS AT ROUSAY Signed and dated 1954, oil on canvas 71cm x 91cm (28in x 36in) Provenance: Zawadski, Balfour House, Shapinsay Walter Grant, Trumland House, Rousay
ยฃ7,000-10,000
Scottish Paintings & Sculpture 55
70 HF614/16 [§] STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) FINSTOWN, ORKNEY Signed, oil on canvas 51cm x 61cm (20in x 24in)
£3,000-5,000
71 HF614/3 [§] STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) FINSTOWN OLD CHURCH Signed and dated 1949, oil on canvas 51cm x 61cm (20in x 24in) Provenance: The artist’s family Exhibited: Stanley Cursiter Retrospective Exhibition 1979, no.44
£3,000-5,000
56 Lyon & Turnbull
72 HF614/1 [ยง] STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) SKIPPIGEO, BIRSAY Signed, oil on canvas 71cm x 91cm (28in x 36in)
ยฃ7,000-10,000
Scottish Paintings & Sculpture 57
73 HF804/1 [§] STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) AFTERNOON REST Signed and dated 1915, watercolour and bodycolour 25.5cm x 35.5cm (10in x 14in) Exhibited: Duncan Miller Fine Art, London
£3,000-5,000
74 HF614/4 [§] STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) ST JOHN’S HEAD Oil on board 33cm x 38cm (11in x 15in) Provenance: The artist’s family
£2,000-3,000
58 Lyon & Turnbull
75 HF614/2 [ยง] STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) AN ISLAND FARM, ODDNESS, STRONSAY Signed and dated 1954, oil on canvas 71cm x 91cm (28in x 36in) Exhibited: R.S.A. 1954, no.137 Stanley Cursiter Retrospective Exhibition 1979, no.52
ยฃ7,000-10,000
Scottish Paintings & Sculpture 59
76 HD388/23 [§] SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.A., R.S.A., P.R.S.W. (SCOTTISH 1898-1973) PITTENWEEM Signed, oil on canvas 61cm x 91.5cm (24in x 36in) Exhibited: ‘Christmas Exhibition, 1969’, cat. no. 11, Aitken Dott, Edinburgh
£5,000-7,000
60 Lyon & Turnbull
77 HF710/2 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1858-1927) GRAZING CATTLE Signed, pencil and watercolour 16.5cm x 24cm (6.5in x 9.5in)
£5,000-7,000 78 HE749/2 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) ARDIONRA CROFT, IONA Signed, watercolour
79 HE749/1 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) THE NUNNERY, IONA Signed, watercolour
17cm x 25cm (6.75in x 9.75in)
16cm x 24cm (6.25in x 9.5in)
Note: There is a label verso which refers to an exhibition at the Rockefeller Centre
£4,000-6,000
£5,000-7,000
Scottish Paintings & Sculpture 61
62 Lyon & Turnbull
80* HF792/1 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) IONA Signed and dated ‘14, oil on board 38cm x 46cm (15in x 18in) Provenance: Aitken Dott & Son, Edinburgh Duncan Miller Fine Art, London Portland Gallery, London
£20,000-30,000
Scottish Paintings & Sculpture 63
81 HG413/1 [ยง] 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) SPANISH WOMEN Signed, oil on board 51cm x 61cm (20in x 24in) Exhibited: Aitken Dott & Son, Summer Exhibition 1974, no.3374
ยฃ6,000-8,000
64 Lyon & Turnbull
82 HF664/1 [§] JOHN MAXWELL R.S.A. (SCOTTISH 1905-1962) FIGURES WITH AN APPLE Signed and dated 1937, pen and ink and watercolour 50cm x 63cm (19.5in x 25in) Exhibited: Scottish National Gallery of Modern Art, John Maxwell Memorial Exhibition, 1963, no.51
£2,000-3,000 ‘a poet in paint’ (From a personal inscription to Maxwell, from the poet Sydney Goodsir Smith) John Maxwell, and his longstanding friendship with fellow Scottish artist William Gillies, have recently been the focus of an Edinburgh City Art Centre exhibition, exploring both artists’ work and the
similarities and distinctive differences in their approaches. Both were fascinated with European modern art developments, but while comparisons can and have be drawn between Maxwell and artists like Anne Redpath and Gillies, the main difference is, while their works have a basis in the substance of what is in front of them, Maxwell focusses much more on the shapeshifting qualities of the internal world of dreams, fantasy and imagination. As you experience his dreamy works, Maxwell’s fascination with the French Symbolist art of Odile Redon and Marc Chagall becomes apparent.
Watercolour was an important medium for Maxwell, and he used the paint in many ways, often combining it with chalk, gouache or pen and ink. One particular and unusual method that he championed was to use wet paper adhered to glass as the base for a painting. This allowed him more control in the application of washes and areas of colour, maintaining a flat surface on which he could then apply ink. This creates either blurred lines when ink is applied to the still-wet paper, or more control to apply a linear composition over the washes, when applied once the paper is dry.
This approach in particular creates works with a luminosity and freshness, and although allowing more control, still leaves a wide margin for the experimental and accidental. In the work offered here for sale, Figures with an Apple, Maxwell’s distinctive mix of pen and ink and watercolour is used to create a dreamy, poetic image. The subject of a male and female figure holding an apple is relatively straightforward, but as in many of his works, it is Maxwell’s imagination and approach that imbues the work with a mystical and symbolic quality.
Scottish Paintings & Sculpture 65
83 HF664/2 [ยง] 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) A STILL LIFE, A COMPORT OF GRAPES Signed, oil on board 47cm x 39cm (18.5in x 15.25in)
ยฃ12,000-18,000
66 Lyon & Turnbull
84 HF664/4 [§] SIR WILLIAM GEORGE GILLIES C.B.E., R.A., R.S.A., P.P.R.S.W., L.L.D. (SCOTTISH 1898-1973) THE RAINBOW Signed, watercolour 38cm x 38cm (11in x 15in) Exhibited: The Scottish Arts Council, William Gillies Retrospective, no.211
£1,000-1,500
85 HF664/3 [§] SIR WILLIAM GEORGE GILLIES C.B.E., R.A., R.S.A., P.P.R.S.W., L.L.D. (SCOTTISH 1898-1973) A WOODED LANDSCAPE AT DUSK Signed, watercolour 51cm x 63.5cm (20in x 25in)
£2,000-3,000
Scottish Paintings & Sculpture 67
86 HF665/1 [ยง] JAMES MORRISON R.S.A., R.S.W., L.L.D. (SCOTTISH b. 1932) CLEISH CASTLE LOOKING NORTH-EAST Signed and dated 20.X.81, oil on board 91cm x 152cm (36in x 60in)
ยฃ4,000-6,000
68 Lyon & Turnbull
87 HF641/1 [§] ELIZABETH BLACKADDER D.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT. (SCOTTISH b. 1931) CAT STUDY Signed and dated 1982, pencil and watercolour 13.5cm x 17.5cm (5.25in x 7in)
£800-1,200
88 HF611/14 [§] ELIZABETH BLACKADDER D.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT. (SCOTTISH b. 1931) INDIAN STILL LIFE Signed and dated 2002, mixed media 28cm x 36cm (11in x 14in) Provenance: Purchased from the artist (see own label verso).
£1,200-1,800
Scottish Paintings & Sculpture 69
89 HF674/1 [ยง] ANNE REDPATH O.B.E., A.R.A., R.S.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) STREET SCENE IN CASSEL Signed, charcoal and watercolour 34cm x 24cm (13.5in x 9.5in)
ยฃ5,000-7,000
70 Lyon & Turnbull
90 HG43/1 [§] IAN FLEMING R.S.A., R.S.W., R.G.I., L.L.D. (SCOTTISH 1906-1990) CARBOST Signed, inscribed and dated ‘Aug 1955’, pencil and watercolour 33cm x 45cm (13in x 17.5in)
£500-800
91 HE942/1 [§] JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) BOATS Oil on board 17.5cm x 48.5cm (7in x 19.25in) Provenance: Cyril Gerber Fine Art, Glasgow
£6,000-8,000
Scottish Paintings & Sculpture 71
92 HG402/2 [§] SIR WILLIAM GEORGE GILLIES C.B.E., R.A., R.S.A., P.P.R.S.W., L.L.D. (SCOTTISH 1898-1973) FRENCH COAST SCENE Signed, pencil and watercolour 21.5cm x 36cm (8.5in x 14in) Provenance: Robert A. Lillie Collection, no.373
£1,500-2,000
93 HG27/1 [§] DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) MEN WITH NETS Signed and dated ‘52, oil on board 84cm x 113cm (33in x 44.5in) Provenance: Estate of John Compass
£4,000-6,000
72 Lyon & Turnbull
94 HG15/1 [§] SIR WILLIAM GEORGE GILLIES C.B.E., R.A., R.S.A., P.P.R.S.W., L.L.D. (SCOTTISH 1898-1973) ARNISTON PARK Signed, pencil and watercolour 34cm x 51cm (13.5in x 20in)
£800-1,200
95 HF804/2 [§] SIR WILLIAM GEORGE GILLIES C.B.E., R.A., R.S.A., P.P.R.S.W., L.L.D. (SCOTTISH 1899-1973) EARLY WINTER Signed and dated ‘49, watercolour 38cm x 51cm (15in x 20in) Provenance: Alexander Kennedy Collection Exhibited: Aitken Dott & Son, W.G. Gillies December 1949, no.40 Aitken Dott & Son, Recent Acquisitions 1977, no.50
£2,000-3,000
Scottish Paintings & Sculpture 73
96 HD981/1 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) HYDE PARK Signed, crayon 41cm x 56cm (16in x 22in) Provenance: Dr T.J. Honeyman and thence by descent
£4,000-6,000
74 Lyon & Turnbull
97 HE659/3 [ยง] WILLIAM MCCANCE (SCOTTISH 1894-1970) CLOTH MILLS ON THE CHALFORD CANAL Oil on board 25.5cm x 34.5cm (10in x 13.5in) Provenance: Mrs Margaret McCance Exhibited: Ayrshire Arts Festival, Girvan Note: The Stroud Water and Chalford Canal system was an important link into Stroud, the cloth industry centre of the valleys, and featured in a number of paintings from 1928
ยฃ4,000-6,000
Scottish Paintings & Sculpture 75
98 HE659/2 [ยง] WILLIAM MCCANCE (SCOTTISH 1894-1970) TIMBERSCOMBE, SOMERSET Oil on board 31.5cm x 40cm (12.25in x 15.75in) Provenance: Mrs Margaret McCance Exhibited: Reading Museum & Art Gallery 1960, no.23 Dundee City Museum & Art Gallery 1975, no.23 Scottish National Gallery of Modern Art, William McCance 1990 Note: This painting dates from 1928
ยฃ4,000-6,000
76 Lyon & Turnbull
99 HE572/1 [§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) WOMAN ON A BENCH Oil on canvasboard 24cm x 19cm (9.5in x 7.5in) Provenance: Mrs Margaret Morris Fergusson Exhibited: The Arts Council of Great Britain, Scottish Committee, J.D. Fergusson Memorial Exhibition 1961-62, no.66
£50,000-70,000
The charming, vibrant sketch Woman on a Bench encapsulates much of John Duncan Fergusson’s artistic approach and preoccupations; creating a visually powerful and colourful scene, despite its small scale. Women on a Bench follows from Fergusson’s early attempts to hone his observation and painting skills en plein air in Edinburgh, dashing around the city with a specially made paint-box, on which his small panels could double up as both painting surface and paint-box lid. This skillset translated smoothly into the flânerie lifestyle Fergusson was delighted to adopt in the artistic hub of early 20th century Paris; wandering the streets and parks and spending time in the pavement cafés scattered throughout the city. He started to use conté crayons to capture the elegant fashions and interesting figures that he found in the streets in Paris, as here, where the female figures sport the large hats and slim silhouettes that were particularly fashionable at the time. In his French oil sketches, his palette became more vibrant, as seen in the verdant green and azure blue of Women on a Bench. Fergusson was heavily
inspired by the Fauvist movement and their use of shockingly strong, complementary colour pairings. His interpretation of this approach is most visible in his elegant female portraits, but it is also apparent in the contrasting colours used in the lush palette here, the red and burgundy details lifting the green tones. Close
observation reveals a wonderful range of hues, making it clear how he earned his name as a ‘colourist.’ Fergusson’s increased confidence is clear in Woman on a Bench; in the fluidity of the handling and boldness in leaving areas of the canvas bare, offering a delightful contrast between the regular, rough texture and sandy linen
colour of the visible canvas and the fluent application of bright toned oil paint. The viewer is at once transported to this moment of observation in the Luxembourg Gardens, and simultaneously viscerally aware that this is an artist’s production, and his particular vision of such a moment.
Scottish Paintings & Sculpture 77
100 HF721/1 GEORGE LESLIE HUNTER (SCOTTISH 1879-1931) THE GREEN VASE Oil on board, inscribed on label verso 59cm x 46cm (23.25in x 18in) Provenance: Christie’s, Edinburgh, 1 November 2001, lot 95, where purchased by the present owner.
£20,000-30,000
78 Lyon & Turnbull
101 HG417/11 [ยง] SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916-1992) THRENODY MEETING Inscribed and dated 1969/70 on a label verso, oil on canvas 100cm x 100cm (39.5in x 39.5in) Exhibited: Aitken Dott & Son, Festival Exhibition 1970, no.11 Scottish Arts Council, Edinburgh Top 30 1975, no.48 Cyngor Celfyddydau Cymru, Edinburgh Top 30 1975, no.48 Edinburgh College of Art, Robin Philipson Retrospective 1989, no.69
ยฃ8,000-12,000
Scottish Paintings & Sculpture 79
102 HE742/1 [ยง] JACK VETTRIANO (SCOTTISH b. 1951) THE DRAMA GROUP Signed, oil on canvas 61cm x 51cm (24in x 20in)
ยฃ5,000-7,000
80 Lyon & Turnbull
103 HG36/1 [§] STEPHEN CONROY (SCOTTISH b. 1964) SWIMMER Signed and dated ‘06 on the stretcher verso, oil on canvas 75cm x 51cm (30in x 20in)
£5,000-7,000
Scottish Paintings & Sculpture 81
104 HG36/2 [§] STEPHEN CONROY (SCOTTISH b. 1964) NIGHT SWIMMER Signed and dated 2006 on the stretcher verso, oil on canvas 51cm x 41cm (20in x 16in)
£3,000-5,000
105 HG47/1 [§] KEN CURRIE (SCOTTISH b. 1960) IDIOT BOY Signed, inscribed and dated 25/5/98 verso, oil and photographic silkscreen print on canvas 100cm x 78cm (39.5in x 30.75in) £3,000-5,000 END OF SALE
82 Lyon & Turnbull
Index Archer, J., 16 Blackadder, E., 87, 88 Blacklock, T.B., 6 Bough, S., 39, 40 Brough, R., 33, 34 Cadell, F.C.B., 77-80 Cassie, J., 30 Conroy, S., 103, 104 Crawford, H.A. 59 Cursiter, S., 67-75 Currie, K., 105
Gillies, Sir W.G., 76, 92, 94, 95 Glass, W.M., 55, 56 Grant, Sir F., 15 Guthrie, Sir J. 22 Hamilton, J.W., 7 Henderson, J., 31 Herald, J.W., 63 Hornel, E.A., 43, 44, 45 Houston, G., 3, 51 Hunter, G.L., 96, 100 Hutchison, R.G., 47, 49, 54, 60, 61
de Breanski, A. Snr., 50 Dekkert, E., 2 Donaldson, D. 58
Kennedy, W., 27
Eardley, J. 81
MacGeorge, W.S., 9, 10 Maxwell, J., 82 McBey, J., 52 McCance, W., 64, 97, 98 McClure D., 93 McGhie, J., 32 McGregor, R., 20, 21 McGregor, W.Y., 26 McTaggart, W., 23 Melville, A., 28 Morrison, J., 86
Farquharson, D., 5 Fergusson, J.D., 99 Fleming, I., 80 Flint, Sir W.R., 53 Fraser, A., 17 Gauld, D., 41 Gibson, W.A., 4 Giles, J.W., 18
Mouncey, W., 8 Munro, A.G., 42 Nasmyth, P., 14 Nasymth, A., 12, 13 Noble, J.C., 1 Park, S., 11 Paterson, A.N., 35 Paterson, J., 24, 29 Peploe, D., 65 Perigal, A., 18 Philipson, Sir R., 101 Redpath, A., 66, 81, 83, 84, 85, 90
Lavery, Sir J., 46 Scott, T., 36, 37, 38 Souter, J.B., 57 Vettriano, J., 102 Walton, E.A., 25 Wells, W., 48 Wright, G.H.B., 62
Glossary The following expressions with their accompanying explanations are used by Lyon & Turnbull as standard cataloguing practice. Our use of these expressions does not take account of the condition of the lot or the extent of any restoration.
Name(s) or Recognised Designation of an Artist without any Qualification In our opinion a work by the artist
Buyers are recommended to inspect the property themselves. Written condition reports are usually available on request.
Studio of ... / Workshop of ... In our opinion a work executed in the studio or workshop of the artist, possible under his supervision
Attributed to... In our opinion probably a work by the artist in whole or in part.
Circle of ... In our opinion a work of the period of the artist and showing his influence. Follower of ... In our opinion a work executed in the artist’s style but not necessarily by a pupil. Manner of ... In our opinion a work executed in the artist’s style but of a later date After ... In our opinion a copy (of any date) of a work of the artist.
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.
Fine Furniture & Works of Art to include the Jan Bethge Collection of Russian Paintings Wednesday, 25th January, 2017 ALEXANDER BORISOVICH SEREBRIAKOFF (1907-1995) VIEW OF THE PLACE DE LA CONCORDE FROM THE AMERICAN EMBASSY Signed, inscribed and dated 1960, watercolour 49cm x 61cm (19.25in x 24in)
£4,000-6,000
ALEXANDER BORISOVICH SEREBRIAKOFF (1907-1995) GREEN SALON OF THE DUKE AND DUCHESS OF WINDSOR Signed, dated 1945 and inscribed ‘Paris 24 Bd Suchet’, watercolour 41.5cm x 50.5cm (16.25in x 20in)
£3,000-5,000
Enquiries Nick Curnow +44 (0131) 557 8844 nick.curnow@lyonandturnbull.com
33 Broughton Place, Edinburgh EH1 3RR l +44 (0)131 557 8844 l www.lyonandturnbull.com
Select Jewellery & Watches 6pm, Tuesday, 6th December, 2016 The Lighthouse, Mitchell Lane, Glasgow
Viewing London La Galleria November 15th and 16th 10.00 to 16.00 For viewing in Edinburgh and Glasgow please contact the department on 0131 557 8844 for details.
Enquiries Ruth Davis +44 (0)131 557 8844 ruth.davis@lyonandturnbull.com Trevor Kyle +44 (0)131 557 8844 trevor.kyle@lyonandturnbull.com
www.lyonandturnbull.com
Panerai Radiomir A gentleman's 18ct rose gold wrist watch ÂŁ3,000-5,000
Conditions of Sale SELLERS 1. DEFINITIONS
3. PREPARATION FOR SALE
In these Conditions of Sale (Sellers):
(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.
“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
(b) Lyon & Turnbull will instruct, consult with, and rely on, any outside experts or restorers, agents or other third parties, and carry out such other due diligence, inquiries, research or tests in relation to the property or its provenance, either before the Proposed Sale as it may deem appropriate in its reasonable discretion. (c) Any oral or written estimate or evaluation or report provided by Lyon & Turnbull is a genuinely held opinion only. It may not be relied on as a prediction of the selling price or value of the Item, and may in Lyon & Turnbull’s absolute discretion be revised at any time. (d) The Seller acknowledges that attribution of Items is a matter of opinion and not of fact, and is dependent upon (amongst other things) information provided by the Seller, the condition of the property, the degree of research, examination or testing that is possible or practical in the circumstances, and the status of generally accepted expert opinion at the time of cataloguing 4. TERMS OF SALE
“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;
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.
“Proposed Sale” means the intended sale through which the items will be sold on
5. STANDARD SELLER FEES AND CHARGES (Subject to VAT)
“Purchase Price” is the Hammer Price and applicable Buyer‘s Premium;
(1) Commission: 15% is charged on the selling price of each lot, (subject to a minimum charge of £45). Loss and damage warranty: 1.5% on value of lots sold. Photography: min charge £30. Online Listing: £10 per lot.
“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. The Seller means you are the owner of the lot or, if you are not the owner of the lot (whether or not you have notified us that you are acting as an agent for a principal), you are duly authorised by the owner of the lot to sell it. “Without reserve” where there is no minimum price at which a lot may be sold (whether at auction or by private treaty). “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.
(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. The lot will be sold without reserve unless a reserve has been agreed. (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 hammer price been the reserve. 7. LOSS & DAMAGE WARRANTY (a) Subject to condition 7(c) below Lyon & Turnbull will assume liability for loss or damage to an item, commencing at the time that item is taken into physical control and possession by Lyon & Turnbull and ceasing on the earliest date of; (i) when risk passes to the Buyer of the lot following its sale; (ii) for unsold lots, when the lot is released to the Seller, or, within 3 months of the sale;or (iii) 6 months from the date of delivery to Lyon &
Turnbull for items still in the possession of Lyon & Turnbull but not consigned for sale (unless part of a long-term storage agreement). (b) Lyon & Turnbull shall charge a loss and damage warranty fee of 1.5% of the hammer price, plus VAT. (c) If any loss or damage should occur to the lot during the period identified in paragraphs (a) above, Lyon & Turnbull’s liability to compensate the Seller in respect of that loss shall be restricted to a maximum of the upper estimate, or actual loss incurred, whichever is lower. This compensation will be subject to a deduction of a 1.5% loss & warranty fee (subject to VAT). 8. UNSOLD ITEMS (1) If an item is unsold it may, with your consent, be reoffered at a future sale. Where in our opinion an item is not suitable for a future sale we may either request (a) you collect such items from the saleroom promptly on being so informed. We shall be entitled to charge you for storage costs, charges shall be made at a reasonable daily rate;or (b) suggest that the item be transferred to a secondary saleroom for sale without reserve. All transferred lots will be sold for the best price on the day, this may not bear any reflection on the item’s original estimate. Lyon & Turnbull are not liable for any items (whether it be selling price or loss & damage) when transferred. (2) Aftersales: We reserve the right to accept an afterauction offer on a lot on behalf of the seller, at the agreed reserve price or above, for up to 48 hours after the original auction. In which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these Conditions apply. 9. LOT WITHDRAWAL If a Seller wishes to withdraw a lot organised for sale, a withdrawal fee will apply; (a) if withdrawn over 28 working days prior to the sale, this will be charged at 10% of the mid estimate along with any ancillary charges incurred (such as photography), all subject to VAT at the current rate. (b) if withdrawn within 28 working days of the sale, this will be charged at 20% of the mid estimate along with any ancillary charges incurred (such as photography), all subject to VAT at the current rate. (c) Lyon & Turnbull may withdraw a lot from the proposed sale without any liability if: (i) Lyon & Turnbull reasonably believes that there is any doubt as to the lot‘s authenticity or attribution; or (ii) it reasonably doubts the accuracy of any of the Seller’s warranties; or (iii) the Seller breaches any provisions of the Conditions of Sale in any material respect; or (iv) the lot suffers from loss or damage so that it is not in the state in which it was when Lyon & Turnbull took delivery of it. (d) if an item is withdrawn from sale under Condition 9(c) (i), or (iv), the Seller shall not be charged a withdrawal fee and the item shall be returned to the Seller or dealt with pursuant to Clause 8, as the Seller decides. 10. AUTHORITY TO DEDUCT COMMISSION AND EXPENSES AND RETAIN PREMIUM AND INTEREST. The Seller authorises us to deduct commission at the stated rate, and all expenses incurred for your account from the hammer price, and consents to our right to retain beneficially the premium paid by the Buyer in accordance with these Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. 11. NON-PAYMENT BY THE BUYER (a) Lyon & Turnbull will, where it considers appropriate, take reasonable steps to investigate the ability of bidders to pay for lots and will use reasonable endeavours, in consultation with the Seller, to enforce payment of the Hammer Price by any Buyer. (b) Lyon & Turnbull, in consultation with the Seller, will decide whether to pursue any of the remedies available to it, including those set out in Condition 10 of the Condition of Sale (Buyers) including the right to cancel the sale and return the property to the Seller. Lyon & Turnbull will inform the Seller of any action which it contemplates taking against the Buyer.
(c) lf the Seller elects to take action against any Buyer on its own behalf Lyon & Turnbull will provide the Seller with such assistance as may be reasonably necessary to pursue that action. (d) The Seller hereby agrees to inform Lyon & Turnbull of any action which it chooses to take against the Buyer 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).
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 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.
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.
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.
The Auctioneer normally acts as agent only and disclaims any responsibility for default by Sellers or Buyers.
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;
(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
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.
“You”, “Your” means the Buyer
Bidding increments shall be at the Auctioneer's sole discretion.
“Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd
5. THE PURCHASE PRICE
(1) Within 7 days of a lot being sold you will:
The singular includes the plural and vice versa as appropriate.
For each lot purchased a Buyer's Premium of 25% of the hammer price is payable on each lot up to and including £100,000, plus 20% from £100,001 upwards. 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.
(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.
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.
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
8. PAYMENT
(b) Please note there is a surcharge of 2% when using credit cards. (c) Please note that we cannot accept cash payments over £5,000. (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.
(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.
10. REMEDIES FOR NON·PAYMENT OR FAILURE TO COLLECT PURCHASES
(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.
(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:
(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.
(a) to proceed against you for damages for breach of contract;
(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.
(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.
12. BOOKS, CLOCKS & WATCHES, DIAMONDS & GEMSTONES (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. (3) Diamonds & Gemstones: Please note that diamonds and gemstones cannot be accurately graded and measured when mounted in jewellery. Unless it is stated in the catalogue and condition report that the item is accompanied by an independent report by a named gemmological laboratory, the information provided about the colour, clarity and size of a gemstone is the opinion of our department jewellery specialists. Please note in the event that Lyon and Turnbull has been given or has obtained certificates for any lot in the sale, Lyon and Turnbull nor the Seller accepts any liability for contradictions or differing certificates obtained by Buyers on any lots post sale. Diamonds and gemstones are not unmounted by the department, therefore any information provided in this instance is an approximate understanding of the quality of the gemstone under these limitations. Without an independent report the department are generally unable to give an opinion on any potential treatments a gem material has been subjected to. Many gemstones and diamonds have been subjected to a variety of treatments to enhance their appearance and unless stated buyers should presume gemstones/diamonds have been exposed to some sort of treatment. 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/ imports-
exports/cites/ Lyon & Turnbull accepts no liability for any lots which may be subject to CITES but have not be identified as such. 14. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers. (c) Lyon & Turnbull undertakes to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private treaty sale, if a lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale. 15. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation, safety and security arrangements. Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale. 16. GENERAL (a) We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. (b) Any notice to any Buyer, Seller, bidder or viewer may be given by email if not available then first class mail in which case it shall be deemed to have been received by the addressee 48 hours after posting. (c) Notices to Lyon & Turnbull should be in writing and addressed to Gavin Strang at 33 Broughton Place, Edinburgh EH1 3RR, quoting the reference number specified at the beginning of the sale catalogue. (d) Should any provision of these Conditions of Sale be held unenforceable for any reason, the remaining provisions shall remain in full force and effect. (e) These Conditions of Sale are not assignable by either party without the other's prior written consent. No act, omission or delay by Lyon & Turnbull shall be deemed a waiver or release of any of its rights. (f) The contract between the parties may be varied by the parties by agreement and in writing. 17. DATA PROTECTION In connection with the management and operation of our business and the marketing and supply of Lyon & Turnbull's services, or as required by law, we may ask the Buyer to provide personal information about themselves or obtain information about the Buyer from third parties (e.g. credit information). Lyon & Turnbull will not give out personal information except as may be required by law. If you would like further information on Lyon & Turnbull policies on personal data, or to make corrections to your information, please contact us on +44 (0)131 557 8844.. The Buyer hereby agrees to the release by Lyon & Turnbull of the Buyer’s name and contact details to the seller or the seller’s solicitor in the event of any dispute between Lyon & Turnbull and the Buyer and/or Lyon & Turnbull and the Seller. Lyon & Turnbull will give prior written notice of the release of any such details to the Seller of the Seller’s solicitor. 18. FORCE MA JEURE Lyon & Turnbull shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract. 19. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law. (b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.
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 £5,000.
© Lyon & Turnbull Ltd. 2016. 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.
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
8TH DECEMBER 2016
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, 8th December, 2016 33 Broughton Place Edinburgh
Scottish Paintings & Sculpture