Contemporary & Post-War Art | 15th March 2017 | 11am

LYON & TURNBULL AUCTIONEERS EDINBURGH

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CONTEMPORARY & POST-WAR ART 15TH MARCH 2017

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

Wednesday, 15th March, 2017 33 Broughton Place Edinburgh

Contemporary & Post-War Art

Contemporary & Post-War Art Wednesday, 15th March, 2017 at 11am Sale Number LT486

Viewing Times Sunday, 12th March 12–4pm Monday, 13th March 10am–5pm Tuesday, 14th March 10am–5pm Morning of the sale from 9am

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: £15

Front Cover Lot 117 (detail) Page 4 Lot 133 (detail) Inside Front Cover Lot 178 (detail) Inside Back Cover Lot 137 (detail)

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

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

Buyer’s Premium & Other Charges The buyer shall pay the hammer price together with a premium, at the following rate, thereon.

25% up to £100,000/20% thereafter.

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

Additional VAT † VAT at the standard rate payable at the standard rate on the hammer price * 5% import VAT payable on the hammer price No VAT is payable on the hammer price or premium for books bought at auction.

Droit de Suite § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the buyer on the hammer price and in addition to the buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale.

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

Registration

Catalogue descriptions

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All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction.

If potential buyers are unable to inspect lots in person (public viewing times listed in every catalogue), our specialists will be happy to prepare detailed condition reports and additional images.

These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.

1 – Government issued photo ID (Passport/ Driving licence) 2 – Proof of address (utility bill/bank statement).

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

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).

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Removal of Purchases Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser.

Import/Export Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell.

Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot.

Endangered Species Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside the EU. For more information visit http://www.defra.gov.uk/ahvla-en/ imports-exports/cites

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

Charlotte Riordan

Nick Curnow

Iain Gale

Carly Shearer

charlotte.riordan@lyonandturnbull.com

iain.gale@lyonandturnbull.com

nick.curnow@lyonandturnbull.com

carly.shearer@lyonandturnbull.com

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Contemporary & Post-War Art 5

1 [§] JACK KNOX R.S.A. (SCOTTISH 1926‑2015)

BEACH TENT (NORTH SEA) Signed ‘John Knox’, titled and dated 1977 verso, oil on canvas 59.5cm x 45cm (23.5in x 17.75in) £500‑700

2 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942‑2013) MY LADY OF THE SEA Signed, watercolour

56cm x 48cm (22in x 19in) £1,000‑1,500

3 [§] JOHN HOUSTON O.B.E., R.S.A., RS.W., R.G.I. (SCOTTISH 1930‑2008) BIRDS AND EVENING SUN Signed, oil on canvas 28cm x 30cm (11in x 12in) £1,000‑1,500

6 Lyon & Turnbull

4 [§] ALEXANDER GOUDIE (SCOTTISH 1933‑2004) THE VILLAGE CHURCH, 1982 Signed, pastel

54cm x 63cm (21.25in x 24.75in) £400‑600

5 [§] LEON MORROCCO R.S.A., R.G.I. (SCOTTISH B.1942) MOTORINI, ROME Signed, mixed media on paper 21cm x 14cm (8.25in x 5.5in) Exhibited: The Open Eye Gallery, Edinburgh £250‑400

6 [§] ARCHIE FORREST (SCOTTISH B.1950) SAINT PAUL DE VENCE Signed, gouache

54cm x 63cm (21.25in x 24.75in) £800‑1,200

Contemporary & Post-War Art 7

7 [§] VALERIE FRASER R.S.W. (SCOTTISH B. 1933)

8 [§] CHARLES SIMPSON (SCOTTISH B.1952)

45cm x 55cm (17.75in x 21.75in)

24cm x 24cm (9.5in x 9.5in)

£300‑500

£250‑350

PARISIAN STREET SCENE Signed, oil on board

IN THE SHADE Signed, oil on board

9 [§] JACQUELINE MACDONALD (SCOTTISH CONTEMPORARY)

10 [§] TONY GILLESPIE (SCOTTISH CONTEMPORARY)

39cm x 39cm (15.25in x 15.25in)

18cm x 24cm (7in x 9.5in)

£200‑300

£250‑350

LAID UP – TAGHAZOUT, MOROCCO Signed with initials, acrylic on canvas

COTE D’AZUR Signed with initials, oil on board

8 Lyon & Turnbull 11 [§] LIZ KNOX (SCOTTISH CONTEMPORARY) STILL LIFE WITH TULIPS Signed, acrylic on canvas

50cm x 34cm (19.75in x 13.5in) £400‑600

12 [§] MICHAEL CLARK (SCOTTISH B.1959) WIGTOWN POPPIES Signed, oil on canvas

72cm x 72cm (28.25in x 28.25in) £400‑600

13 [§] FRANK COLCLOUGH (SCOTTISH CONTEMPORARY)

STILL-LIFE WITH FRUIT AND FLOWERS Signed, oil on canvas 30cm x 25cm (11.75in x 9.75in) £200‑300

Contemporary & Post-War Art 9 14 [§] CHARLES MACQUEEN R.S.W., R.G.I. (SCOTTISH B.1940) SEA EDGE Signed, acrylic on board

101cm x 92cm (39.5in x 36.5in) £1,000‑1,500

15 [§] MARJ BOND R.S.W., R.G.I. (SCOTTISH B.1939) EEL CATCHER Oil on canvas

118cm x 118cm (46.5in x 46.5in) £1,000‑1,500

10 Lyon & Turnbull 16 [§] DAVID MCLEOD MARTIN R.S.W. (SCOTTISH B.1922) BOAT YARD, PORT BANNATYNE Signed, mixed media on paper 54cm x 76cm (21.25in x 30in) £400‑600

17 [§] JAMES MORRISON (SCOTTISH B.1932)

FISHERMEN’S HUTS AT FERRYDEN Oil on canvas 42cm x 52cm (16.5in x 20.5in) £1,200‑1,800

18 [§] NAEL HANNA (SCOTTISH/IRAQUI B.1959) SCOTTISH DAWN Signed, oil on paper

24cm x 30cm (9.5in x 11.75in) £300‑500

Contemporary & Post-War Art 11 19 [§] 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 £2,000‑3,000

20 [§] JOHN HOUSTON O.B.E., R.S.A., R.S.W., R.G.I. (SCOTTISH 1930‑2008)

AT THE COAST, EVENING – 1999 Oil on canvas 28.5cm x 39cm (11.25in x 15.5in) £1,000‑1,500

12 Lyon & Turnbull 21 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942‑2013) PORTRAIT OF AN “OLD BIDDY” Oil on canvas laid on board

73cm x 54cm (28.75in x 21.25in) Provenance: Purchased directly from the artist £5,000‑7,000

J

ohn Bellany was one of the most acclaimed Scottish artists of his generation. He is best known for depicting the lives of fishing communities along the east coast of Scotland as this is where he spent his childhood. In 1960 he began studying at the Edinburgh College of Art and later went on to study at the Royal College of Art, London.

His artwork is almost entirely figural, with many of his portraits being of family members or female figures. Themes of Christianity, mortality and sin are seen throughout his paintings especially during the 1970’s, when the influence of alcohol resulted in a period of self-destruction in Bellany’s life.

Mortality and the flawed nature of humanity are common tropes and this early work from c.1968 is redolent with eerie undertones. Alexander Moffat, the close friend and artistic peer of Bellany, suggests that this particular painting may be based on one of the characters they met drinking in the pubs of Rose

Street, Edinburgh during their student days together. Referring to them as “old biddys”, Bellany loved imagining other people’s lives and enjoyed making up stories to incorporate into his art.

Like most of his portraits produced in the late 1960’s and early 70’s the background is very plain, comprising one flat plane of colour and some shadowing. Many of his elderly figures or “old biddys” wear a simple cloak and, in this case, an elaborate hat, again focussing the viewer’s attention on the sitter’s ageing face.

Bellany’s work is included in major museums and art galleries across the world, including Tate, London, The Museum of Modern Art and the Metropolitan Museum in New York and the National Galleries of Scotland. The late David Bowie, whose art collection caused such a stir when it recently came on the market, was a great supporter and collector of Bellany’s, reportedly once stating his top three painters to be “Tintoretto, Beckmann, Bellany”.

Contemporary & Post-War Art 13 22 [§] LIL NEILSON (SCOTTISH 1938‑1998)

FIFE FISHING VILLAGE – 1970 Oil on board 32cm x 56cm (12.5in x 22in) £800‑1,200

23 [§] LIL NEILSON (SCOTTISH 1938‑1998) STORMY SUNSET Oil on board

19cm x 63cm (7.5in x 24.75in) £800‑1,200

24 [§] LIL NEILSON (SCOTTISH 1938‑1998) FIFE FISHING BOAT Oil on board

28cm x 41cm (11in x 16in) £800‑1,200

14 Lyon & Turnbull

25 [§] DAVID MCCLURE R.S.A., R.S.W., R.G.A. (SCOTTISH 1926‑1998) HORSEMAN ON THE SHORE III Signed and dated ‘75, oil on board 28cm x 35cm (11in x 13.75in) £1,500‑2,000

26 [§] DAVID MCCLURE R.S.A., R.S.W., R.G.A. (SCOTTISH 1926‑1998)

HORSEMAN ON THE SHORE II Signed, signed and inscribed with title verso, oil on board 27cm x 31cm (10.5in x 12.25in) £1,500‑2,000

27 [§] GLEN SCOULLER (SCOTTISH B.1950) COPSE Signed, oil on canvas

89cm x 89cm (35in x 35in) £1,200‑1,800

Contemporary & Post-War Art 15 28 [§] LIZ KNOX (SCOTTISH CONTEMPORARY) DREAMS OF EXOTIC DIFFUSION Signed, oil on linen 91cm x 81cm (36in x 32in) £700‑900

29 [§] NAEL HANNA (IRAQI/SCOTTISH B.1959) POPPIES IN A BLACK VASE Signed, oil on canvas 99cm x 99cm (39in x 39in) £5,000‑7,000

16 Lyon & Turnbull

30 [§] GRAEME WILCOX (SCOTTISH B.1970) LIFEGUARD Oil on board

20cm x 15cm (8in x 6in) £500‑700

31 [§] PETER HOWSON (SCOTTISH B.1958) THE MINERS Signed, pastel

60cm x 46cm (23.5in x 18in) £2,000‑3,000

32 [§] PETER HOWSON (SCOTTISH B.1958) SALVATION Signed, pastel

28cm x 21cm (11in x 8.25in) £500‑700

Contemporary & Post-War Art 17

I

n 1980s and 90s Britain, abstraction and conceptual art dominated the art world, virtually without exception. By the mid-80s, in the world-famous Glasgow School of Art, a movement in reaction began to stir. The key figures – Peter Howson, Ken Currie, Adrian Wiszniewski, Steven Campbell, and later Stephen Conroy and Alison Watt – deliberately and decisively turned their focus towards the rejuvenation of a figurative-based practise.

Critics, collectors and dealers soon sat up and took notice, and the artists swiftly became popular on an international stage; collectively becoming known as The New Glasgow Boys.

Their ongoing influence on Scottish art and effect on the city of Glasgow itself cannot be overstated.

Glasgow had yet to be awarded the Capital of Culture (which was received in 1990) and the

depressed post-industrial cityscape initially provided a basis of inspiration. Though the figure is treated very differently by each artist, all feature a sense of the uncanny or surreal to varying degrees, and arguably explore a sense of darkness which taps in to a longterm undercurrent in Scottish cultural history, detectable from Jekyll and Hyde through Trainspotting and beyond.

Stephen Conroy chose to explore the dramatic impact of isolation and incongruity within his own work. His carefully drawn, painterly figures are often placed against a jolt of flat pure colour in a context-less background. As well as tipping a subtle nod to Francis Bacon, the starkness of the contrast creates a sense of airlessness and intensity. A further esoteric layer is added by the oblique nature of his titles, typified here in The Wheel, 2002.

33 [§] STEPHEN CONROY (SCOTTISH B.1964)

THE WHEEL Signed and inscribed with title and dated 2002 verso, oil on board 89cm x 89cm (35in x 35in) £7,000‑10,000

18 Lyon & Turnbull 34 [§] DERRICK GUILD (SCOTTISH B.1963) BLINDFOLD Pastel

143cm x 78cm (56.25in x 30.75in) £2,000‑3,000

35 [§] KEN CURRIE (SCOTTISH B.1960)

WHITE TERROR II 1992, conté pencil on paper 170cm x 96cm (67in x 37.75in) £3,000‑5,000

Contemporary & Post-War Art 19 36 [§] KEN CURRIE (SCOTTISH B.1960)

FROSTBITE Signed and inscribed with title and dated 1999 verso, oil on canvas, unframed 123cm x 91cm (48.5in x 37.75in) Literature: Tom Normand, ‘Ken Currie: Details of a Journey’, Aldershot, 2002, Lund Humphries, page 109. £3,000‑5,000

K

en Currie graduated from Glasgow School of Art in 1983 and is considered to be one of the most significant figurative painters of his generation. In the late 1990s, Currie began to move away from depicting the social narrative of his earlier career and from the industrialism that had defined the work of the New Glasgow Boys in the 1980s. His interest in the human body, both physical and metaphysical, became increasingly more prevalent. Between 1996 and 2000, these interests were brought into focus with a series of luminous and haunting paintings that surveyed the human body as a whole but also as a series of fragmented parts.

Frostbite, 1999, is an important work from Currie’s oeuvre and is a defining example of this body of work from the late 1990s.

Depicting a pair of frostbitten feet that appear to have been

submerged in water, this painting exemplifies Currie’s interest in the metaphysical space that surrounds the human body, depicting it as an almost ghostly entity.

The paleness of the skin casts an ethereal, luminous glow which contrasts with the deep, mysterious tones that surround the feet. The colour palette can be seen as an exploration of the ambiguous boundary between life and death, a recurring motif for Currie, and is an investigation into the condition of the human body. The compelling composition of the feet in the upper canvas evokes the depth of the water. By stripping away references to location, the central motif is suspended in darkness giving an overall illusion of space, representing a metaphorical void beyond material existence.

20 Lyon & Turnbull

37 [§] HEATHER NEVAY (SCOTTISH B.1965) MR BLUEBEARD’S HOUSE Signed with initials, oil and acrylic on board 21cm x 15cm (8.25in x 6in) Exhibited: The Open Eye Gallery, Edinburgh £600‑800

38 [§] HEATHER NEVAY (SCOTTISH B.1965)

DESERTED HOUSE Signed with initials, signed and dated 2015 verso, oil on board, oval 18.5cm x 14cm (7.25in x 5.5in) £600‑800

39 [§] HENRY FRASER (SCOTTISH CONTEMPORARY) BALLATER SKY Signed and dated ‘05, oil on board 61cm x 61cm (24in x 24in) £400‑600

Contemporary & Post-War Art 21

40 [§] ANNA KING (SCOTTISH B.1984)

FROM THE TRAIN III Signed with initials, inscribed with title and dated 2010 verso, mixed media on board, unframed 36cm x 52cm (14in x 20.5in) £500‑700

41 [§] STEPHEN MANGAN (SCOTTISH B.1964) CITY LIGHTS Signed and dated ‘91, oil on board 36cm x 47cm (14in x 18.5in) £600‑800

42 [§] PETER HOWSON (SCOTTISH B.1958) THE GATHERING – GOLGOTHA Signed, pastel 43cm x 58cm (17in x 23in) £1,000‑1,500

22 Lyon & Turnbull

43 [§] PETER HOWSON (SCOTTISH B.1959)

STUDY FOR EL DORADO Pastel 30cm x 40cm (11.75in x 15.75in) £800‑1,200

P

eter Howson is arguably one of the finest and certainly one of the most controversial British painters of the late 20th and 21st centuries. Born in London in 1958, he moved with his parents to Scotland aged four and studied at Glasgow School of Art from 1975 – 1977, under Sandy Moffat. On graduating, he took on various jobs, including nightclub bouncer and supermarket manager before enlisting as a private soldier in the Royal Highland Fusiliers. In 1979, disenchanted with the army, he returned to art school and from 1981 began to show at Edinburgh’s influential 369 Gallery.

What might be said to be Howson’s signature style first emerged in a series of murals made for Feltham Community Association in London in 1982, painted in an urban realist manner. He quickly developed this into a style highly reminiscent of Max Beckmann, with exaggerated musculature, sinister characters and voluptuous nudes. He also embraced Beckmann’s subject matter of extreme physical cruelty, depravity and dysfunctional behaviour. He was further influenced by the Mexican muralists of the early 20th century including Hidalgo, Rivera and Clemente.

In his early works such as these offered here for sale, Howson concentrated on characterizations of working class men, at the gym, at football matches, in the pub, or merely in a crowd.

The exemplar was his iconic painting The Heroic Dosser (1987, National Galleries of Scotland). Tied up with such subject

matter were his own memories of the brutality of his life as a soldier, together with his having been victimized and bullied at school and the sexual abuse he had suffered as a child.

All of these fed into an art that became ever more brutal. It was almost inevitable, given the honesty, and graphically human monumentality of his work, that In 1992 Howson should have been commissioned by the Imperial War Museum to record the conflict in the former Yugoslavia and a year later been appointed official British war artist for Bosnia. The effect on the artist however, was near catastrophic and he suffered a breakdown. In fact Howson had always lived in a constant state of nervous anxiety. He suffers from Asperger’s syndrome, an autistic condition that manifests itself principally in an unusual memory for detail and an obsessive need for routine.

Throughout the 1980s and 1990s, Howson’s work continued to display increasing levels of violence and voyeuristic sexuality.

In 2000 Howson was treated for long-term alcoholism and drug addiction and that same year, possibly as result of this treatment, famously underwent a conversion to Christianity. Thereafter for a while, his work began to exhibit a strong religious content. Today, as always enigmatic, shy and unpredictable, he remains one of the most fascinating figures in 20th century British art, reflected by high profile patrons including David Bowie, Sylvester Stallone, Jack Nicholson and Madonna, who had apparently hung one of his canvases in her bedroom.

Contemporary & Post-War Art 23

44 [§] PETER HOWSON (SCOTTISH B.1958)

EL DORADO, 1985 Signed, signed and inscribed with title and dated verso, oil on canvas 126cm x 108cm (49.5in x 42.5in) £8,000‑12,000

24 Lyon & Turnbull

45 [§] VALERIE FRASER R.S.W. (SCOTTISH B. 1933)

DECEMBER EVENING, ELIE – 1998 Signed, inscribed with title verso, mixed media 23.5cm x 23.5cm (9.25in x 9.25in) £200‑300

46 [§] CHRIS BUSHE R.S.W. (SCOTTISH B.1958) THE WITCHING HOUR – 2006 Oil on paper

67.5cm x 60cm (26.5in x 23.5in) Provenance: Roger Billcliffe Gallery £600‑800

47 [§] VALERIE FRASER R.S.W. (SCOTTISH B. 1933)

JANUARY EVENING – ELIE Signed, inscribed with title verso, oil on board 24cm x 24cm (9.5in x 9.5in) £200‑300

Contemporary & Post-War Art 25

48 [§] JOHN HOUSTON O.B.E., R.S.A., R.S.W., R.G.I. (SCOTTISH 1930‑2008) SUNSET OVER FIFE, 1995 Signed and inscribed with title in pencil to margin, numbered 34/40, lithograph 74cm x 108cm (29in x 42.5in) £400‑600

49 [§] JOHN GARDINER CRAWFORD R.S.W. (SCOTTISH B.1941) WINDOW ON THE SEA Signed, acrylic on board

74cm x 49cm (29in x 19.25in) £600‑800

50 [§] KEITH HENDERSON O.B.E., R.S.W., R.W.S., R.O.I. (SCOTTISH 1882‑1983) SUNSET AT THE CAMPSITE Signed, oil on canvasboard

35cm x 25.5cm (13.75in x 10in) £500‑800

51 ANA MARIA PACHECO (BRAZILIAN B.1943) UNTITLED (PLUMED FIGURES) Signed and dated ‘92 in pencil, screenprint 50cm x 50cm (19.75in x 19.75in) £250‑350

26 Lyon & Turnbull

52 [§] ANNA KING (SCOTTISH B.1984) THE STUDIO DOOR Mixed media on board, unframed 56cm x 40cm (22in x 15.75in) £500‑700

53 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942‑2013)

UNTITLED From a portfolio of 10 images inspired by ‘The Old Man and the Sea,’ signed and numbered VI/XV in pencil to margin, etching 37cm x 51cm (14.5in x 20in) including margins £250‑350

54 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942‑2013)

55 [§] ANNA KING (SCOTTISH B.1984)

HOMAGE TO TONY UNDERHILL Signed in pencil to margin, artist’s proof, etching

BROKEN ARMCHAIR Signd with initials and dated 2008 verso, mixed media on board

69cm x 52cm (27in x 20.5in)

36cm x 51cm (14in x 20in)

£200‑300

£400‑600

Contemporary & Post-War Art 27

56 [§] JOHN HOUSTON O.B.E., R.S.A., R.S.W., R.G.I. (SCOTTISH 1930‑2008) CORNFIELDS AFTER RAIN Signed, oil on canvas

103cm x 151cm (40.5in x 59in) £4,000‑6,000

57 [§] ROBERT INNES (SCOTTISH CONTEMPORARY)

CHARNAY Signed and inscribed with title verso, oil on board 90cm x 121cm (35.5in x 47.5in) £1,800‑2,500

28 Lyon & Turnbull

58 [§] PAULA REGO D.B.E. (BRITISH/PORTUGUESE B.1935)

JANE AND HELEN Signed, numbered 3/4 and inscribed p.p. in pencil to margin, lithograph 47cm x 68.5ccm (18.5in x 26.75in) £800‑1,200

59 [§] PAULA REGO D.B.E. (BRITISH/PORTUGUESE B.1935)

GIRL READING AT A WINDOW – 2001-2002 Signed in pencil, lithograph 72cm x 81cm (28.5in x 32in) £1,200‑1,800

60 [§] HENRY MOORE O.M., C.H., F.B.A. (BRITISH 1898‑1986)

READING LESSON Signed and numbered 47/50 in pencil to margin, etching 18.5cm x 24cm (7.25in x 9.5in) £400‑600

Contemporary & Post-War Art 29 61 [§] HENRY MOORE O.M., C.H. (BRITISH 1898‑1986)

RECLINING FIGURE ARCH LEG Signed and inscribed ‘Curwen Studio Proof’ in pencil to margin, printed at Curwen Studio, published by Raymond Spencer for the Henry Moore Foundation in an edition of 50, lithograph 32cm x 47cm (12.5in x 18.5in) £2,000‑3,000

62 [§] RICHARD DEACON C.B.E. (WELSH B.1949) FROM TOMORROW Printer’s proof, signed with initials and dated ‘95 in pencil to margin, lithograph 56cm x 81cm (22in x 31.75in) including margins £250‑350

63 [§] CERI RICHARDS (WELSH 1903‑1971)

LANDSCAPE Signed and dated ‘67 in pencil to margin, numbered 23/70, lithograph 68cm x 63cm (26.75in x 24.75in) £500‑700

30 Lyon & Turnbull 64 [§] JACK KNOX R.S.A. (SCOTTISH 1936‑2015)

WILDERNESS – CAPERCAILLIE Signed, signed and inscribed with title and dated ‘87 stretcher verso, oil on canvas 96cm x 108cm (37.75in x 42.5in) £500‑700

65 [§] JACK KNOX R.S.A. (SCOTTISH 1936‑2015) RAIN AT SEA Signed, oil on canvas

143cm x 150cm (56.25in x 59in) £600‑800

Contemporary & Post-War Art 31

66 [§] ADAM BRUCE THOMSON R.S.A., P.R.S.W. (SCOTTISH 1885‑1976) TWEEDSIDE, PEEBLESHIRE Signed, watercolour

62cm x 50cm (24.5in x 19.75in) Exhibited: Royal Scottish Academy, 1971, no. 343 £500‑700

67 [§] DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926‑1998) THE BLACK COCKEREL Signed, oil on board

39.5cm x 55cm (15.5in x 21.5in) Exhibited: The Scottish Gallery, Edinburgh, 1967 £1,500‑2,500

68 [§] DAVID MCLEOD MARTIN R.S.W. (SCOTTISH B.1922)

STILL LIFE OF PANSIES ON A WINDOWSILL Signed, signed and dated ‘85 verso, oil on canvas 60cm x 49cm (23.5in x 19.25in) £1,000‑1,500

32 Lyon & Turnbull 69 [§] SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I. (SCOTTISH 1916‑1992)

STILL LIFE IN THE PRESENCE OF ABSTRACTS Signed and dated 1989/90 verso, oil on board 96cm x 90cm (37.75in x 35.5in) Exhibited: Royal Academy Summer Exhibition, London, 1990, No.6; Portland Gallery, London £6,000‑8,000

70 [§] SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I. (SCOTTISH 1916‑1992) UNTITLED – RED SKYLINE Signed, oil on canvas

51cm x 59cm (20in x 23.5in) £3,000‑5,000

Contemporary & Post-War Art 33 71 [§] JAMES MORRISON R.S.A., R.S.W., L.L.D. (SCOTTISH B.1932) MARCH AND TREES Signed, oil on panel

30cm x 40cm (12in x 16in) £1,000‑1,500

72 [§] JAMES MORRISON R.S.A., R.S.W., L.L.D. (SCOTTISH B.1932) THE FOREST Oil on board

49cm x 150cm (19.25in x 59in) £2,000‑3,000

73 [§] JAMES MORRISON R.S.A., R.S.W., L.L.D. (SCOTTISH B.1930) LOW CLOUD Signed and inscribed ‘1X2006’, oil on board 34cm x 38cm (13.5in x 15in) Exhibited: The Scottish Gallery, Edinburgh, November 2007 £2,000‑3,000

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Elizabeth Blackadder Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure.

Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures.

A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary.

As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an ‘abstract artist’, gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction.

Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes, such as that offered here, adopted a yet more flattened appearance with no perspective whatsoever.

The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character. Similarly, the frequent use of a partial painted frame, in this case on the bottom left of the picture, is a device borrowed from both Mughal and Japanese art, serving to locate the picture in an ambient space within the canvas.

The pink silk kimono pictured here, one from her own collection and often seen in photographs of the artist’s studio, also features in other earlier works. Here, set against an ochre ground more like gold in its intensity and richness, it seems almost venerated, like some early Siennese altarpiece. While from one viewpoint, we might see this as a garment hanging on a wall, from another, in keeping with Blackadder’s practice, it has a sense of floating in space or being suspended above a vertical plane. Depicted life-size, it also emphasises the importance of this particular painting in the artist’s oeuvre as a supreme invocation of the Japanese culture in which she has maintained a lifelong interest.

In this painting, evoked with characteristic eloquence, is the essential spirit of that ancient tradition which had originally reawakened in Blackadder the understanding that every painting she made was not simply an image but a created object, imbued with the unparalleled power of art to unlock memory and become a unique aid to contemplation.

Contemporary & Post-War Art 35

74 [§] ELIZABETH BLACKADDER D.B.E., R.A., R.S.A. (SCOTTISH B.1931) KIMONO Signed and dated 2008, oil on canvas 110.5cm x 110.5cm (43.5in x 43.5in) Exhibited: Elizabeth Blackadder: New Paintings, 2008 – The Scottish Gallery £20,000‑30,000

36 Lyon & Turnbull 75 [§] DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926‑1998)

THE SITTING ROOM, 1973 Signed, oil on canvas 75cm x 100cm (29.5in x 39.5in) £3,000‑5,000

76 [§] JOHN HOUSTON O.B.E., R.S.A., R.S.W., R.G.I., S.S.A. (SCOTTISH 1930‑2008) TEA PARTY, KYOTO – 1988-89 Signed, inscribed with title verso, oil on canvas 39cm x 49cm (15.25in x 19.25in) £2,000‑3,000

Contemporary & Post-War Art 37 77 IRENE HALLIDAY (SCOTTISH B.1931)

SUNFLOWERS, STUDIO WINDOW Signed, gouache 52cm x 69cm (20.5in x 27in) £300‑500

78 [§] JOHN HOUSTON O.B.E., R.S.A., R.S.W., R.G.I., S.S.A. (SCOTTISH 1930‑2008)

CORNFIELD, KILCONQUHAR Signed and indistinctly dated 1961(?), oil on canvasboard 16cm x 51cm (6.5in x 20in) £1,000‑1,500

79 IRENE HALLIDAY (SCOTTISH B.1931)

GREEK ISLAND – SYMI, NIGHT AND DAY Signed, gouache 62cm x 96cm (24.5in x 37.75in) £400‑600

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80 [§] VALERIE FRASER R.S.W. (SCOTTISH B. 1933)

81 [§] VALERIE FRASER R.S.W. (SCOTTISH B.1933)

28.5cm x 28.5cm (11.25in x 11.25in)

24cm x 24cm (9.5in x 9.5in)

£200‑300

£200‑300

STARTING STORM, ELIE – 2005 Signed, inscribed with title verso, oil on board

SUDDEN SEAGULLS – 1996 Signed, oil on board

82 [§] SARAH CARRINGTON (SCOTTISH B.1977)

83 [§] DONALD PROVAN (SCOTTISH B.1964)

40.5cm x 58cm (16in x 22.75in)

16cm x 26cm (6.25in x 10.25in)

Provenance: Roger Billcliffe, Glasgow

Provenance: Roger Billcliffe, Glasgow

£250‑350

£200‑300

RAIN CLOUDS OVER GULLANE BAY – 2001 Signed, inscribed with title verso, mixed media

SUMMER EVENING Signed and dated 2004 verso, oil on panel

Contemporary & Post-War Art 39

84 JENNY MATTHEWS (SCOTTISH B.1964)

TURKS HEAD LILIES Signed, inscribed with title verso, watercolour 53cm x 73cm (21in x 28.75in) £500‑700

85 JENNY MATTHEWS (SCOTTISH B.1964)

MAY IN THE GARDEN Signed, inscribed with title verso, watercolour 53cm x 73cm (21in x 28.75in) £500‑700

86 [§] ETHEL WALKER (SCOTTISH B.1941)

STILL LIFE WITH BLUE AND WHITE CHINA Signed, oil on board 49cm x 59cm (19.25in x 23.25in) £1,000‑1,500

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87 [§] JOHN LOWRIE MORRISON O.B.E. (SCOTTISH B.1948)

FIRST SNOW, PORTUAIRK Signed and dated 2002, signed and dated and inscribed with title verso, oil on canvas 41cm x 41cm (16in x 16in) £1,500‑2,000

88 [§] FRANCES MACDONALD R.G.I. (SCOTTISH B.1945)

FIRST GLIMPSE OF THE SOUND AT THE NORTH END OF IONA Signed, inscribed with title and dated 2014 verso, oil on canvas 39cm x 44cm (15.25in x 17.25in) £600‑800

89 [§] JOHN LOWRIE MORRISON O.B.E. (SCOTTISH B.1948)

EVENING LIGHT, CARSAIG, MULL Signed, signed and inscribed and dated 2005 verso, oil on canvas 30cm x 30cm (12in x 12in) £600‑800

Contemporary & Post-War Art 41 90 [§] JACK MORROCCO (SCOTTISH B. 1953)

SILVER JUG AND RED APPLES Signed and dated 2002, oil on canvas 51cm x 61cm (20in x 24in) £2,000‑4,000

91 [§] JACK MORROCCO (SCOTTISH CONTEMPORARY) SILVER JUG AND PINK ROSES Signed, oil on canvas 56cm x 56cm (22in x 22in) £2,000‑4,000

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92 [§] ALEXANDER GOUDIE R.P. (SCOTTISH 1933‑2004)

RECLINING NUDE ON RED DRAPERY Signed, oil on canvas 83cm x 118cm (32.5in x 46.5in) £4,000‑6,000

93 [§] JOAN RENTON R.S.W. (SCOTTISH B.1935) POPPIES Signed, oil on canvasboard 58cm x 68cm (22.75in x 26.75in) £500‑700

Contemporary & Post-War Art 43 94 [§] GLEN SCOULLER (SCOTTISH B.1950) LOBSTER Signed, watercolour and pencil 51cm x 72cm (20in x 28.5in) £400‑600

95 [§] TONY GILLESPIE (SCOTTISH CONTEMPORARY) PONTE SANT ANGELO Signed with initials, oil on board 25cm x 38cm (9.75in x 15in) £250‑350

96 [§] JACQUELINE MACDONALD (SCOTTISH CONTEMPORARY)

BEACHED BOATS AT THE SHORE Signed with initials, acrylic on canvas 79cm x 99cm (31in x 39in) £500‑700

44 Lyon & Turnbull 97 [§] ALEXANDER GOUDIE R.P. (SCOTTISH 1933‑2004) TOLEDO, C.1957 Signed, oil on panel

29cm x 40cm (11.5in x 15.75in) Provenance: Gifted directly by the artist and thence by descent to the present owner £1,500‑2,500

98 [§] WILLIE RODGER A.R.S.A. (SCOTTISH B.1930) WATCHERS Oil on canvas

74cm x 98cm (29in x 38.5in) £600‑800

99 [§] LEON MORROCCO A.R.S.A (SCOTTISH B.1942) PALM BRANCHES AND LEMONS Signed and dated ‘05, oil on board 60cm x 64cm (23.5in x 25in) £3,000‑4,000

Contemporary & Post-War Art 45 100 [§] ALBERTO MORROCCO O.B.E., R.S.A., R.S.W. (SCOTTISH 1917‑1998)

BIRD SELLER Signed and inscribed with title artist’s label verso, oil on board 28cm x 20cm (11in x 18in) Exhibited: Aitken Dott & Son, Edinburgh, June 1973, cat. no. 51 £5,000‑7,000

101 [§] JACK FIRTH R.S.W. (SCOTTISH 1917‑2010)

ETTRICK WINDOW WITH A LAMP Signed, oil on canvas 60cm x 48cm (23.5in x 19in) £800‑1,200

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102 [§] MARTIN KANE (SCOTTISH CONTEMPORARY) BIRMINGHAM CANAL Signed, 1990, oil on canvas 102cm x 76cm (40in x 30in) £500‑700

103 [§] MARTIN KANE (SCOTTISH CONTEMPORARY) GLASGOW CANAL Signed, 1990, oil on canvas

75cm x 60cm (29.5in x 23.5in) £400‑600

104 [§] DAVID SAWYER R.B.A. (BRITISH B.1961) VIEW ACROSS THE THAMES Signed, oil on board

50cm x 102cm (19.75in x 40in) £1,000‑1,500

Contemporary & Post-War Art 47 105 [§] CRAIG MULHOLLAND (SCOTTISH B.1969)

NUDE WITH KNIFE Signed and dated 1995/6 verso, oil on canvas 244cm x 183cm (96in x 72in) Exhibited: Duncan R. Miller Fine Arts, London £3,000‑5,000

106 [§] CRAIG MULHOLLAND (SCOTTISH B.1969)

NARCISSUS (AFTER POUSSIN) Signed with monogram, inscribed with title and dated 1999 verso, oil on board 25.5cm x 25.5cm (10in x 10in) £600‑800

48 Lyon & Turnbull 107 SAM AINSLEY R.S.A. (BRITISH CONTEMPORARY)

THIS LAND IS YOUR LAND Signed and inscribed with title frame verso and numbered 1/25, screenprint 48cm x 48cm (19in x 19in) £200‑300

Sam Ainsley “It would be too easy, but ultimately insulting, to label Ainsley as a feminist painter…she cares deeply about women’s place in society, anxiously investigates the biological, anatomical, and physiological characteristics of her gender, but goes well beyond these concerns in her attempts to explore ‘through visual metaphor’ the dualities of intellect v passion, male v female, parochial v global. Her unframed flat canvases, cut in shapes as random as pieces of jigsaw, scudding round the room like psychedelic clouds, with her favoured red, a vibrant magical red, as dominant as ever. They are vivid and haunting visual poetry”.

W Gordon Smith – in a review of Ainsleys Kelvingrove exhibition in 1990. he artist, teacher and spokeswoman for the visual arts, Sam Ainsley moved to Scotland in 1976 from Newcastle T to study at the Edinburgh College of Art. From there she

spent 25 years teaching at The Glasgow School of Art (GSA), spending 6 years on the hugely influential Environmental Art programme established by David Harding in 1985. Following this she spent 15 years as head of the visionary Master of Fine Art (MFA) programme, the first of its kind in Scotland, which she co-founded alongside colleagues Roger Palmer and Sandy Moffat in 1991.

During her time at GSA, Ainsley was instrumental in the early careers of some of the most influential contemporary artists of a generation. Included in this prestigious list are Tuner Prize winners; Simon Starling, Richard Wright, Martin Boyce and Duncan Campbell, Turner Prize nominated Christine Boland, Jim Lambie, and David Shrigley in addition artists to Claire Barclay, Rosalind Nashashibi, Michael Fullerton, Ross Sinclair and Roddy Buchanan.

Throughout her career Ainsley has exhibited in and curated independent exhibitions and undertaken residencies in numerous institutions and arts organisations across the

USA, Australasia, Europe and the UK. Exhibition highlights include: ‘Why I choose Red’ at The Third Eye Centre, Glasgow 1987; ‘Mapping the Difference’ I Space Gallery, Chicago 1995 / H.A.U Gallery Athens, 1999; ‘Red Room’ at the VCA Gallery, Melbourne, 2001; ‘After Growth and Form’ with Artist Professor Roger Wilson at the Glasgow Print Studio, Glasgow, 2011.

During Ainsley’s career her work has been collected both privately and publicly in the collections of Leeds City Gallery, The National Museum of Scotland, The Jardine Collection, The Scottish National Gallery of Modern Art, The 20th Century Collection of Women’s Art Cambridge and The Gallery of Modern Art Glasgow.

Highly regarded and much respected throughout Scotland, Sam Ainsley was recently elected to the Royal Scottish Academy in recognition of her contribution to Scottish art and culture.

We look forward to the significant and ongoing contribution that Sam will make to the visual arts in Scotland. It is a privilege to both know and work with Sam and I look forward to exhibiting with her and my fellow Academicians in The Royal Scottish Academy Stuart T Mackenzie R.S.A. – Artist and Colleague.

Lyon & Turnbull are delighted to present works from her private collection in this auction. The pieces here represent the creative practice of an artist whose impact has truly changed the landscape of Contemporary Art in Scotland. Through innovation and steely determination Sam Ainsley has helped build the foundations for future generations of artists to thrive and succeed in Scotland and beyond.

By Sam De Santis With contributions from, Alexander Moffat, Claire Barclay, Martin Boyce, Stuart McKenzie and John Calcutt.

Contemporary & Post-War Art 49 108 SAM AINSLEY R.S.A. (BRITISH CONTEMPORARY)

UNTITLED (HOMAGE TO D’ARCY THOMPSON, 2011) Acrylic and digital print on canvas 102cm x 102cm (40.25in x 40.25in) £1,000‑1,500

Throughout my student years, Sam was a huge source of inspiration to myself and others, her ideas, generosity and enthusiasm were often a catalyst for art projects and collaborations. In particular, she has always championed the creative work of female artists, helping to instil confidence and pursuing gender equality through her work. Her unique insights, memory for details, and story-telling ability, continue to be a gift to all those that know her.

Claire Barclay – Artist (MFA, 1993)

It was the degree of care and commitment that I experienced from Sam being a student both in Environmental Art and on the MFA, that and she remembers everything! I mean we all remember Sam Ainsley… but she remembers all of us, all the conversations in the Vic bar, all the works we made, the craziness on the school trips and all the exhibitions there’s been since… and now she knows all our children and cares about them too.

Martin Boyce – Artist, (MFA, 1997), 2011 Turner Prize winner

109 SAM AINSLEY R.S.A. (BRITISH CONTEMPORARY)

RED NUCLEAR LANDSCAPE Acrylic and digital print on canvas 102cm x 102cm (40.25in x 40.25in) £1,000‑1,500

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110 SAM AINSLEY R.S.A. (BRITISH CONTEMPORARY)

THE FLOWERS AND THE DEAD LIE BURIED TOGETHER Signed and dated 2014 and inscribed with title verso, gouache on black paper 19cm x 19cm (7.5in x 7.5in) £200‑300

111 SAM AINSLEY R.S.A. (BRITISH CONTEMPORARY)

RAPE Signed and dated 2016 and inscribed with title verso, mixed media and collage 19cm x 19cm (7.5in x 7.5in) £200‑300

Generations of young artists who trained at Glasgow School of Art have risen high on the swelling waves of her encouragement and support. She is living proof that both praise and critical caution can be offered in the spirit of generosity. The mark she has left on others is indelible and readily acknowledged by those who have benefitted from her loyalty, support and advocacy.

John Calcutt – Head of the Master of Fine Art Programme(2005-2016)

112 SAM AINSLEY R.S.A. (BRITISH CONTEMPORARY)

SCOTTISH LANDSCAPE Signed and inscribed with title verso, mixed media and collage 37cm x 53cm (14.5in x 21in) £500‑700

Contemporary & Post-War Art 51

113 [§] IAN HAMILTON FINLAY (SCOTTISH 1925‑2006)

ARCADIA – 1973 With George Oliver, screenprint, published by Wild Hawthorn Press 35cm x 43cm (13.75in x 17in) and a further screenprint by Finlay ‘Necktank’ with Michael Harvey (2) £400‑600

114 [§] IAN HAMILTON FINLAY (SCOTTISH 1925‑2006)

INTERIOR/HOMAGE TO VUILLARD With Michael Harvey, includes signed folio, numbered 34/300, screenprint, published by Wild Hawthorn Press 27cm x 27cm (10.5in x 10.5in) and a further screenprint by Finlay ‘Homage to Malevitch’ (2) £300‑500

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115 [§] ALAN DAVIE C.B.E., H.R.S.A. (SCOTTISH 1920‑2014)

TRESOR FONÉ (VARIATION IX) Artist’s proof III/V, signed and dated 2000 in pencil to margin, screenprint, printed by Gresham Studio 67cm x 72cm (26.25in x 28.25in) including margins £400‑600

116 [§] ALAN DAVIE C.B.E., H.R.S.A. (SCOTTISH 1920‑2014) 129619 – BRUSHSTROKE PAINTING Signed and dated ‘96, ink on paper 28cm x 23cm (11in x 9in) Provenance: Gifted by the artist to the current owner £400‑600

117 [§] ALAN DAVIE C.B.E., H.R.S.A. (SCOTTISH 1920‑2014)

FREE WHEELER (VARIATION II) Artist’s proof III/V, signed and dated 2000 in pencil to margin, screenprint, printed by Gresham Studio 75cm x 83cm (29.5in x 32.75in) £400‑600

Contemporary & Post-War Art 53

118 [§] WILLIAM GEAR R.A., F.R.S.A. (SCOTTISH 1915‑1997)

AUTUMN GARDEN Signed and dated ‘83, signed, inscribed and dated verso, oil on canvas 152.5cm x 122cm (60in x 48in) £4,000‑6,000

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119 [§] MARC CHAGALL (RUSSIAN/FRENCH 1887‑1985)

PARADISE Paradise (M. 232) and Paradise (M. 233), from the edition of 6500 unsigned works produced for Verve from ‘Drawings for the Bible’, original colour lithographs Both 30cm x 25.5cm (12in x 10in) (2) £1,000‑1,500

120 [§] JULIAN TREVELYAN R.A. (BRITISH 1910‑1988)

EMMANUEL COLLEGE, CAMBRIDGE, 1959-1962 Signed in pencil to margin, numbered 56/70, lithograph, published Paul Cornwall Jones, unframed 55cm x 37cm (21.5in x 18.5in) £400‑600

Contemporary & Post-War Art 55 121 [§] WILLIAM SCOTT C.B.E., R.A. (SCOTTISH 1913‑1989)

COMPOSITION FROM THIRTY-FIVE ARTISTS, 1982 Signed and dated ‘82 in pencil, numbered 13/50, lithograph on wove paper, published by the Royal College of Art, London, unframed 65cm x 50cm (25.5in x 19.75in) £2,000‑3,000

122 [§] VICTOR PASMORE C.H., C.B.E. (BRITISH 1908‑1998)

POINTS OF CONTACT NO.13 Signed with initials and dated ‘69 in pencil, numbered 16/70, screenprint 51cm x 130cm (20in x 51in) £1,500‑2,000

123 [§] PATRICK HERON (BRITISH 1920‑1999)

UNTITLED Signed and dated ‘70 in pencil, numbered 4/100, screenprint, unframed 70cm x 96cm (7.5in x 37.75in) £1,200‑1,800

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Carlos Mérida Carlos Mérida is one of the most celebrated of Latin-American 20th century artists. Born in Guatemala City, he moved to the country with his parents but returned to the city in 1909 to study at the Instituto de Artes y Artesanias. Although music was his first love, he now resolved on a career as an artist. While a student he began to make contacts among the intelligentsia, including Jaime Sabartés (the biographer of Picasso) and the painter Carlos Valenti. He was helped by Sabartés to organize his first one man show in Guatemala city in 1910.

Mérida travelled to Paris with Valenti in 1910 and while there met members of the artistic community including Picasso, Mondrian and Modigliani and the Latin-American artists Diego Rivera and Angel Zarraga. However, after just four months Valenti shot himself dead. Deeply affected by this tragedy, Mérida temporarily lost interest in his art but was encouraged not to give up by the Mexican muralist Roberto Montenegro.

He remained in France until 1914 and the outbreak of war, at which point he returned to Guatemala and began to engage with its folklore. In 1919 he married a Mexican and moved permanently to Mexico, shortly after the Mexican Revolution and a year before Diego Rivera was to return from Europe.

Mérida’s first exhibition in Mexico was in 1920 at the Escuela Nacional de Bellas Artes. In that same year, he exhibited in the United States at the Hispanic Society of New York and in 1922 participated in both the Independent Artists Exhibition and at the Academia Nacional de Bellas Artes in Guatemala.

Joining an artists’ group, the Renacimiento Mexicano (Mexican Renaissance) he went on that same year to work with Rivera as an assistant at the Bolivar Amphitheatre in Mexico City, and with Rivera, Orozco, and Siqueiros founded the Union of Workers, Technicians, Painters and Sculptors. His first mural as a solo artist was a commission in 1923 to paint the Children’s Library of the Ministry of Public Education with a mural entitled Little Red Riding Hood and the Four Elements.

He then had an important one man show at the Valentin Dudesing Gallery in New York in 1926.

Mérida constantly experimented with techniques and his work can be divided into three periods: a figurative period from 1907 to 1926, a surrealist period from the late 1920s to the mid-1940s and from 1950 until his death, a geometric period.

In 1927 he again visited Paris, staying for two years and while there took on board Surrealist influences, in particular from Klee, Kandinsky and Miro. During this Surrealist period he experimented with abstraction, making him almost unique among Mexican artists. Although influenced by the Europeans, he maintained his belief in an indigenous Latin-American art firmly rooted in the Mayan and Aztec civilizations, along with the colonial period. His later works fused elements from the Mayan world with geometric abstraction and he also integrated into many of his smaller-scale paintings the indigenous Mexican “papel amate” (bark wood paper).

In addition to creating drawings, canvasses and murals, Mérida also worked in education. In 1932, he founded the dance school of the Secretariat of Public Education with Carlos Orozco Romero and ran it for three years. This interest in dance also prompted numerous designs for stage sets and costumes.

In 1942 he went to teach at the North Texas State Teachers College in Denton and over the next 20 years held another 45 shows in the USA and 18 in Mexico, participating in the International Surrealist Exhibition in 1940 in Mexico City.

In the late 1940s, Mérida began to make murals again, notably at the Secretaria de Rucursos Hidraulicos. From 1949 he also began to investigate the integration of different arts and 1950 he again visited Europe specifically to study Venetian mosaic techniques. On his return home he undertook a major project with the celebrated architect Pani for the Benito Juárez housing project (which sadly was destroyed in the 1985 earthquake).

From the 1950s onwards Mérida’s art began to show a Constructivist style, which was demonstrated in murals and mosaics in such projects as those at the Alianza Insurance building in Mexico City (1953), the City Hall of Guatemala City (1956), the Instituto Guatemalteco de Seguridad Social, the Crédito Hipotectario Nacional and at the Bank of Guatemala. In 1957 Mérida won the acquisition prize at the IV Bienal de São Paulo, Brazil and in 1958 received Order of Quetzal from the Guatemalan government. His first retrospective was in 1966, an in 1980 he received the Orden del Aguila Azteca from Mexico.

The Palacio de Bellas Artes held further retrospectives in 1981 and 1992.

124 CARLOS MÉRIDA (GUATEMALAN 1895‑1984)

UNTITLED – YELLOW FIGURES ON A BROWN GROUND Signed and dated 1965, gouache and graphite on amate paper laid on masonite 42.5cm x 33cm (16.75in x 13in) £2,500‑3,500

Contemporary & Post-War Art 57

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125 THOMAS JOSHUA COOPER (AMERICAN B.1946)

ABANDONED CONCRETE FORM gelatin silver print 11cm x 15.5cm (4.25in x 6in) Note: Thomas Joshua Cooper was born in San Francisco, California in 1946. Today he is considered one of the world’s best landscape photographers. His work has been published in eighty-eight international journals; he has held almost one hundred solo exhibitions and been selected to exhibit in seventy-seven international group shows.

As well as these achievements he has taught art and photography at a number of universities’ across the world. In 1982 Cooper was invited by the Glasgow School of Art to lead the new undergraduate photography course. He has stayed in Glasgow ever since and is currently a Professor and Senior Researcher in Fine Art at the Glasgow School of Art. £500‑700

126 [§] VICTORIA MORTON (SCOTTISH B.1971)

UNTITLED (COUPLE) Signed and dated 2005 verso, oil on canvasboard 25cm x 18cm (9.75in x 7in) Exhibited: The Modern Institute, Glasgow Note: Born in Glasgow in 1971, Morton attended the Glasgow School of Art, graduating in 1995 with an MFA in fine painting.

Her abstract paintings are often vibrant in colour using bright tones including yellow, reds, pinks and blues.

Morton’s larger abstract paintings often subtly include human forms such as a pair of hands or an eye.

Morton works both in Glasgow and Fossombrone, Italy drawing inspiration from the two different cultures and landscape. Morton said; “Having a combination of the two works best for me: I like to be involved but then to disappear and work quietly on my own.” Today she continues to exhibit her work in a number of group and solo exhibitions such as ‘Out of the Frame: Scottish Abstraction’, in The McManus: Dundee’s Art Gallery & Museum. £300‑500

Contemporary & Post-War Art 59 127 [§] BRUCE MCLEAN (SCOTTISH B.1944)

UNTITLED Signed and numbered 9/30 in pencil, screenprint 156cm x 106cm (61.5in x 41.75in) £600‑800

128 [§] BRUCE MCLEAN (SCOTTISH B.1944)

ABSTRACT Signed and dated 1984 in pencil, numbered 14/20, screenprint 98cm x 80cm (38.5in x 31.5in) £400‑600

129 ILANA HALPERIN (AMERICAN/SCOTTISH CONTEMPORARY) ICEBERG CITY, 2006 Etching

14cm x 20.25cm (5.5.in x 8in) £100‑150

60 Lyon & Turnbull 130 [§] JIM LAMBIE (SCOTTISH B.1965)

WHOLE LOTTA SHAKIN’ GOIN’ ON Inscribed verso, record cover and gaffer tape 31cm x 31cm (12.25in x 12.25in) Note: Jim Lambie was born in Glasgow in 1964 and continues to live, study and work there.

Lambie has a unique style, often influenced by everyday objects including chairs, clothes, posters and album covers. He then transforms them into new sculptural forms. He is renowned for taking inspiration from rock music and iconic figures.

Lambie’s work is highly visual using bold colours and playful shapes. He does not constrain himself to a certain medium or style and instead experiments with different materials including paint, glitter, mirrors and vinyl tape.

Lambie was nominated for the Turner Prize in 2005, and has held over eighteen solo exhibitions and participated in numerous group exhibitions. £1,500‑2,000

131 [§] DAMIEN HIRST (BRITISH B.1965)

UNTITLED (FROM LONDON, GROUP PORTFOLIO) 1992, screenprint 84cm x 60cm (33in x 23.5in) £1,500‑2,500

Note: The offered work, Untitled, was Damien Hirst’s first ever print. It was made for the landmark portfolio ‘London’, which featured the work of eleven young, emerging artists including Marc Quinn, Rachel Whiteread, Michael Landy and Gavin Turk; artists who had recently exploded onto the contemporary art scene, largely thanks to a series of exhibitions organised by Hirst in London in the late 1980s: Freeze, Gambler and Modern Medicine. The portfolio was conceived as a portable exhibition of this emerging generations’ work and was published by Paragon Press in an edition of sixty-five, plus artist proofs. Copies of the portfolio now belong to many major museums, including Tate, which has edition No. 6.

Hirst’s contribution depicts a set of rocks against a varnished, pink backdrop. The structured layout of the rocks references an organisational grid format, a characteristic method of Hirst’s, which also appears in his series of ‘Spot’ paintings and medicine cabinets. Hirst has claimed that the arrangement reminded him of geography illustrations from school textbooks, indicating an appreciation for science and sense of nostalgia that also permeates his other series.

Contemporary & Post-War Art 61 132 [§] EDUARDO PAOLOZZI K.B.E., A.R.A., H.R.S.A. (SCOTTISH 1924‑2005)

TRIO OF SCREENPRINTS (BLACK) FROM ‘UNDERGROUND DESIGN, FOLIO X’, 1986 Signed and marked E/P and dated ‘85 within each print, embossed screenprint on wove paper, published by Architectural Association, London each 30cm x 30cm (11.75in x 11.75in) £200‑300

133 [§] EDUARDO PAOLOZZI K.B.E., A.R.A., H.R.S.A. (SCOTTISH 1924‑2005)

TRIO OF SCREENPRINTS (WHITE) FROM ‘UNDERGROUND DESIGN, FOLIO X’, 1986 Signed and marked E/P and dated ‘85 within each print, embossed screenprint on wove paper, published by Architectural Association, London each 30cm x 30cm (11.75in x 11.75in) £200‑300

134 [§] PETER GOODFELLOW (SCOTTISH CONTEMPORARY)

135 [§] EDUARDO PAOLOZZI K.B.E., A.R.A., H.R.S.A. (SCOTTISH 1924‑2005)

TWO AGES OF CHINA Signed, watercolour

WHERE REALITY LIES Signed and dated 1982 in pencil, numbered 200/1000, stamped, screenprint, unframed

39cm x 23cm (15.5in x 9in)

69.5cm x 49.5cm (27.25in x 19.5in)

£200‑300

£150‑250

62 Lyon & Turnbull 136 [§] DOUGLAS GORDON (SCOTTISH B.1966)

MONSTER REBORN Number 5 of a limited edition of 11 (with four artist’s proofs), transmounted colour photograph, 1996/1997/2002 84.5cm x 125cm (33.25in x 49.25in) £10,000‑15,000 Note: A certificate of authenticity accompanies this lot

I

n Monster Reborn Douglas Gordon depicts himself twice, once in a straight portrait, and then again in a distorted view, where dressed and staged completely the same, just his face is distorted using sellotape. This creates a striking duality between the presentable, rational man and a monstrous other, held within the same body. Beyond that Monster Reborn is a 2002 re-interpretation of one of Gordon’s previous artworks, 1996’s Monster. In this re-working the artist has reversed the order of the photographs, so now the monstrous self-depiction appears first, on the left-hand side. Raising the question, did the monster come before the man?

Contemporary & Post-War Art 63

Although Monster Reborn is particularly self-referential, mostly Gordon references other cultural phenomenon in his art, the best known being his video installation 24-Hour Psycho, where he slowed down Alfred Hitchcock’s feature film Psycho, until it lasted 24 hours, warping any sense of suspense created by the original. The duality of experience is also a key focus for Gordon, particularly internal conflict between the self and other, and our rational and monstrous traits. It has been argued that this focus is a particularity in the Scottish cultural psyche and can be traced back to literary texts such as The

Private Memoirs and Confessions of a Justified Sinner by James Hogg and The Strange Case of Dr Jekyll and Mr Hyde by Robert Louis Stevenson. In his artistic practice, Gordon is exploring its contemporary relevance, both personally and visually.

Douglas Gordon trained at Glasgow School of Art and the Slade School of Art, before winning the Turner Prize in 1996. He now lives and works in Berlin, Glasgow and New York. Monster Reborn features in the collection of the National Galleries of Scotland.

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137 [§] DAVID BAILEY (BRITISH B.1958)

DAVID BAILEY’S BOX OF PIN UPS, 1965 (36 WORKS) Weidenfield and Nicolson, London, 36 half-tone prints, contained in original card box each print approximately 36.5 x 31.5 cm (14.5 x 12.5in) £2,500‑3,000

Contemporary & Post-War Art 65

138 SUNDAY B. MORNING

CLASSIC MARILYNS Portfolio of 10 colour silkscreen, with certification from Sunday B. Morning, unframed 91cm x 91cm (36in x 36in) £1,000‑1,500

139 SUNDAY B. MORNING

SOUP CANS, SERIES 1 Portfolio of 10 colour silkscreen, with certification from Sunday B. Morning, unframed 89cm x 81.5cm (35in x 32in) £800‑1,200

140 ALEXANDER CALDER (AMERICAN 1898‑1976)

SOLEIL NOIR (BLACK SUN) Signed and numbered 60/125, lithograph, published by Maeght Editions, Paris, unframed 79cm x 58cm (31in x 23in) £500‑700

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141† [§] DALZIEL + SCULLION (SCOTTISH CONTEMPORARY)

ROCK POOL, 2004 1/5, photographic transparency on lightbox 125cm x 161cm x 17cm (49in x 63.5in x 7in) £2000‑3000 Exhibited: Houldsworth Gallery, London

Contemporary & Post-War Art 67

142† [§] DALZIEL + SCULLION (SCOTTISH CONTEMPORARY)

PAVEMENT, 2004 Photographic transparency on lightbox 125cm x 161cm x 17cm (49in x 63.5in x 7in) £2000‑3000 Exhibited: Houldsworth Gallery, London

S

cottish born and based artists, Matthew Dalziel and Louise Scullion, have been working collaboratively since 1993 and now run an Environmental Art Practice from the University of Dundee. They have exhibited internationally, and received high-profile commissions as part of the British Art Show and Venice Biennale.

In their own words, Dalziel + Scullion’s artistic practice is interested in ‘new artistic languages around the subject of ecology,’ and their work ‘strives to visualise aspects of our shared environments from alternative perspectives and to re-establish and re-evaluate our engagement with the nonhuman species we live alongside.’ They use a range of media to stimulate this engagement, across photography, sound, sculpture and video, and both bringing aspects of nature into the gallery/studio and placing their works in the context of the natural world.

In the offered artworks, Dalziel + Scullion bring beautifully detailed photographs of specific landscape elements into the realm of contemporary art, by presenting them as large-scale lightboxes. This inherent juxtaposition of natural and synthetic is a distortion of our expectation of experiencing landscape, and immediately offers a new perspective for thinking about the natural world. This alteration of our perception of nature is extended through the focus of the photographic lens; narrowing our gaze down to small-scale specifics. The viewer experiences an awesome sense of the magnitude of the land, its depth, history and endurance, but this is revealed in a specificity of focus, rather than the dramatic, panoramic landscapes that are often associated with human awe in the face of natural beauty and magnitude.

68 Lyon & Turnbull 143 [§] BET LOW A.R.S.A., R.S.W. (SCOTTISH 1924‑2007) ORKNEY LANDSCAPE Signed, oil on canvasboard

23.5cm x 29cm (9.25in x 11.5in) £1,500‑2,000

144 [§] BET LOW A.R.S.A., R.S.W. (SCOTTISH 1924‑2007)

ABSTRACT C.1960-65, signed, mixed media on paper 60cm x 47cm (23.5in x 18.5in) £300‑500

145 [§] SARAH CARRINGTON (SCOTTISH B.1977)

WINTER RAIN STORM OVER THE FORTH Inscribed with title verso, mixed media on canvas 91cm x 173cm (35.75in x 68in) £500‑700

Contemporary & Post-War Art 69 146 [§] JOHN HOUSTON O.B.E., R.S.A., R.S.W., R.G.I. (SCOTTISH 1930‑2008) BASS ROCK, EVENING Watercolour

11.5cm x 19.5cm (4.5in x 7.75in) Exhibited: Mercury Gallery, October 1984 Provenance: The Douglas Wight Collection £400‑600

147 [§] JOHN HOUSTON O.B.E., R.S.A., R.S.W., R.G.I. (SCOTTISH 1930‑2008)

A WALK BY THE SEA, MORNING Signed, oil on canvas 24cm x 34cm (9.5in x 13.5in) Exhibited: Mercury Gallery, Edinburgh, June 1966 £1,000‑1,500

148 [§] JOHN HOUSTON O.B.E., R.S.A., R.S.W., R.G.I. (SCOTTISH 1930‑2008) RAINBOW, LEWIS Signed and dated 1975, watercolour, unframed

26cm x 30cm (10.25in x 11.75in) £400‑600

70 Lyon & Turnbull 149 [§] HAMISH MACDONALD (SCOTTISH 1935‑2008) CORN FIELD Signed, oil on board

45cm x 57cm (17.75in x 22.5in) £2,000‑3,000

150 [§] ADAM BRUCE THOMPSON R.S.A., P.R.S.W. (SCOTTISH 1885‑1976) DARK WOOD Pastel

151 DONALD MANSON (SCOTTISH B.1948)

26cm x 36cm (10.25in x 14.25in)

SWEET SEPTEMBER APPLES WITH A MAGIC MOON Signed, acrylic on canvas

Exhibited: The Scottish Gallery, Edinburgh

£300‑500

£300‑500

44cm x 34cm (17.25in x 13.5in)

Contemporary & Post-War Art 71

152 DONALD MANSON (SCOTTISH B.1948)

153 [§] CHRISTINE MCARTHUR R.S.W., R.G.I. (SCOTTISH B.1953)

23cm x 30cm (9in x 12in)

34cm x 34cm (13.25in x 13.25in)

£250‑350

Exhibited: ‘Things All Around’ – Christine McArthur, October – November 1994, Roger Billcliffe Gallery

LILIES BY THE HARBOUR Signed, acrylic on canvas

APPLES – 1994 Signed, mixed media on dark paper

Provenance: Roger Billcliffe Gallery, Glasgow £300‑500

154 [§] ALEXANDER GOUDIE (SCOTTISH 1933‑2004)

155 [§] CARLO ROSSI R.S.W., R.G.I. (SCOTTISH B.1921)

18cm x 25cm (7in x 9.75in)

19cm x 23cm (7.5in x 9.25in)

Provenance: ‘Goudie’s Brittany,’ December 1991, The Fine Art Society

Provenance: Roger Billcliffe Gallery, Glasgow

£500‑700

£250‑350

FRUIT BOWL Signed, pencil and watercolour

ABSTRACTION, VARIATION TWO – 2000 Signed, inscribed with title verso, oil on board

72 Lyon & Turnbull 156 [§] WILLIAM LITTLEJOHN R.S.A., R.S.W. (SCOTTISH 1929‑2006)

PLAICE WITH LEMONS Signed and dated 1986, mixed media and collage on paper 60cm x 93cm (23.5in x 36.5in) £400‑600

157 [§] DAVID MCLEOD MARTIN R.S.W., R.G.I., S.S.A. (SCOTTISH B.1922)

COFFEE POT & MANDOLIN – 2004 Signed, acrylic on canvas 48.5cm x 59cm (19in x 23.25in) Provenance: Roger Billcliffe Gallery, Glasgow £1,500‑2,500

158 [§] WILLIAM LITTLEJOHN R.S.A., R.S.W. (SCOTTISH 1929‑2006)

MIRROR AND FISH – BLACK AND ORANGE Signed with initials and dated ‘79, watercolour and mixed media on card 33cm x 54cm (13in x 21in) £250‑350

Contemporary & Post-War Art 73 159 [§] CAROLINE MCNAIRN (SCOTTISH 1955‑2010) MOTHER EARTH Pastel, unframed

152cm x 200cm (59.75in x 78.75in) £800‑1200

160 [§] CHRISTINE MCARTHUR R.S.W., R.G.I. (SCOTTISH B.1953) KITCHEN TABLE Signed, oil on canvas

100cm x 88cm (39.25in x 34.5in) £600‑800

161 [§] MOYNA FLANNIGAN (SCOTTISH B. 1963)

THE NIGHT BEFORE CHRISTMAS Oil on canvas 120cm x 150cm (47.25in x 59in) £800‑1,200

74 Lyon & Turnbull 162 [§] PAUL NEAGU (ROMANIAN 1938‑2004)

MAN MADE MAN Signed, inscribed with title and dated 1989 in pencil, numbered 19/75, handcoloured screenprint, unframed 76cm x 56cm (30in x 22in) £800‑1,200

164 [§] PAUL NEAGU (ROMANIAN 1938‑2004)

163 [§] PAUL NEAGU (ROMANIAN 1938‑2004)

STUDY FOR CENTURY CROSS Signed and dated 1988, bears studio stamp, ink and mixed media on paper, unframed 45cm x 31cm (17.75in x 12.25in) £600‑800

DARK STUDY FOR CENTURY CROSS Signed and dated 1988 in pencil, bears studio stamp, stamped verso, ink and mixed media on paper, unframed 45cm x 21cm (17.75in x 12.15in) £600‑800

Contemporary & Post-War Art 75 165 [§] ED HODGKINSON (BRITISH B.1973) BLUE FIGURE – 1995 Oil on board 151.5cm x 115cm (59.75in x 45.25in) £500‑700

166 [§] PAUL NEAGU (ROMANIAN 1938‑2004) ANTHROPOCOSMOS Unsigned, handcoloured screenprint, unframed

76cm x 56cm (30in x 22in) and a further unsigned screenprint by the same hand ‘Man Made Man’ (2) £600‑800

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167 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1924‑2013) FISHER WOMAN – 2010 Signed, pencil

55cm x 37cm (21.5in x 14.5in) £400‑600

168 [§] ALASDAIR GRAY (SCOTTISH B.1934)

PORTRAIT OF A BESPECTACLED GENTLEMAN Mixed media on paper 47.5cm x 36.5cm (18.75in x 14.25in) and three further studies on paper, unframed (4) £800‑1,200

169 [§] JOHN BRATBY R.A. (BRITISH 1928‑1992) SELF-PORTRAIT Signed and inscribed ‘self-portrait before leaving the studio and coach-house for St Paul’s studio,’ dated 20th June 1977, mixed media on paper 29cm x 19.5cm (11.5in x 7.75in) £500‑700

Contemporary & Post-War Art 77

170 [§] PETER HOWSON (SCOTTISH B.1958) AHAB Signed, pastel

29cm x 22cm (11.5in x 9in) £500‑700

171 [§] PETER HOWSON (SCOTTISH B.1958)

STUDY OF DON GIOVANNI (JUST BEFORE THE END) Signed and dated 2010, ink and pencil 27cm x 18cm (10.5in x 7in) £600‑800

172 [§] PETER HOWSON (SCOTTISH B.1958) MADONNA Signed, pastel

60cm x 46cm (23.5in x 18in) £800‑1,200

78 Lyon & Turnbull 173 [§] ROBERT HENDERSON BLYTH R.S.A., R.S.W. (SCOTTISH 1919‑1970) WHIN ON SPRING HILLSIDE Signed, oil on canvas

72cm x 76cm (28.25in x 30in) Exhibited: The Richard Demarco Gallery, Christmas 1966, Edinburgh £2,000‑3,000

174 [§] BARBARA RAE C.B.E., R.A., R.S.A. (SCOTTISH B.1943)

SHORE AT RAHOY Watercolour and pastel on paper 57cm x 76cm (22.5in x 30in) £2,000‑3,000

Contemporary & Post-War Art 79 175 [§] IAN MCKENZIE SMITH O.B.E., R.S.A., P.R.S.W. (SCOTTISH B.1935) CLYDE (WINTER) Oil on linen

71cm x 81cm (28in x 31.75in) £600‑800

176 [§] JAMES MORRISON R.S.A., R.S.W., L.L.D. (SCOTTISH B.1932)

LANDSCAPE OVER MONTROSE Signed and dated 1968, watercolour 25cm x 41cm (9.75in x 16.25in) £600‑800

177 [§] JAMES D. ROBERTSON R.S.A., R.S.W. (SCOTTISH 1931‑2010) AGAINST THE LIGHT – 1984 Signed, oil on canvas

95cm x 120cm (37.5in x 47in) Exhibited: Christopher Hull Gallery, 1984 James D. Robertson Exhibition, 2000, Glasgow School of Art £1,200‑1,800

80 Lyon & Turnbull 178 KAIS SALMAN (SYRIAN B.1976) LUNATIC PIPER Signed verso, oil on canvas

120cm x 150cm (47.25in x 59in) Note: Born in Syria in 1976, Kais Salman currently lives and works in Beirut. Painting in an abstracted, expressive style in a limited palette, his practise is described as a satirical subversion of “the normalisation of greed, vanity, and ideological extremism that is rapidly defining our era”, with topics including, “terrorism, consumerism, cosmetic surgery, religious fanaticism, imperialism, and the voyeurism of the digital age”.

His paintings are currently housed in private collections throughout the Middle East, North Africa, and Europe. Solo and group exhibitions include the Alexandria Biennale (2014); Ayyam Gallery DIFC, Dubai (2014, 2010); Ayyam Gallery Beirut (2015, 2014, 2012); Ayyam Gallery Al Quoz, Dubai (2014, 2011, 2010); Damascus Museum of Modern Art (2009); The Park Avenue Armory, New York (2008); Carthage Festival for Coast Mediterranean Sea Artists, Tunisia (2005). In May 2010, a work from his Fashion Series appeared on the cover of the Wall Street Journal’s Weekend Edition magazine, a first for an Arab artist. £3,000‑5,000

179 [§] ADRIAN WISZNIEWSKI A.R.S.A. (SCOTTISH B.1958)

POWER STRUGGLE Inscribed verso ‘Made by the Edinburgh Tapestry Company Ltd, In collaboration with Adrian Wiszniewski, “Power Struggle”, 2/25, 1992’, hand-tufted rug 152cm x 200cm (59.75in x 78.5in) £1000‑1500

Contemporary & Post-War Art 81 180 [§] DANNY FERGUSON (SCOTTISH 1925‑1993) SEA EDGE Signed, oil on board

60cm x 59cm (23.5in x 23in) £400‑600

181 [§] JACK KNOX R.S.A., R.G.I., R.S.W. (SCOTTISH 1936‑2015) BIRD (ANDRE L’HOTE ATELIER, 1958) Signed, mixed media 39cm x 56.5cm (15.25in x 22.25in) Exhibited: ‘Jack Knox: Drawings 1956-98,’ September 1998, Compass Gallery £800‑1,200

182 [§] MARDI BARRIE R.S.W. (SCOTTISH 1931‑2004) EVENING’S DEPTH Signed, oil on board

39cm x 36cm (15.25in x 14in) £400‑600

82 Lyon & Turnbull 183 [§] WILLIAM LITTLEJOHN R.S.A., R.S.W. (SCOTTISH 1929‑2006) GOLDEN ABSTRACT Signed and dated ‘05, mixed media and gold leaf

28cm x 73cm (11in x 28.75in) £400‑600

184 [§] DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926‑1998) FIFE VILLAGE Signed, oil on panel

15cm x 41cm (6in x 16in) £400‑600

185 [§] WILLIAM BAILLIE C.B.E., P.P.R.S.A., P.P.R.S.W. (SCOTTISH 1923‑2011) GARDEN ENTRANCE Signed, oil on canvas

74cm x 100cm (29in x 39.25in) £800‑1,200

Contemporary & Post-War Art 83 186 [§] MALCOLM MORLEY (BRITISH B.1931)

DEVONSHIRE COWS, 1982 Signed and numbered 56/65 in pencil to margin, lithograph 116cm x 87cm (45.75in x 34.25in) £400‑600

187 [§] HELEN FLOCKHART (SCOTTISH CONTEMPORARY)

THE ASCENSION OF MARY QUEEN OF SCOTS Signed, oil on canvas framed in an arch-topped slip 117cm x 142cm (46in x 56in) Provenance: The Collection of Donald Khan, USA Exhibited: Rebecca Hossack Gallery, London Notes: Helen Flockhart is one of the most accomplished painters of her generation.

Born in Scotland, she was awarded a BA (Hons) First Class in Painting at the Glasgow School of Art in 1985. Since then she has built a formidable reputation through numerous exhibitions in Britain, Europe and America. Her work is also held in several private, corporate and public collections, including the Gallery of Modern Art, Glasgow, the Scottish Arts Council, Edinburgh City Arts Centre and the Fleming Collection of Scottish Art, London. £2,000‑3,000

84 Lyon & Turnbull 188 [§] SARAH CARRINGTON (SCOTTISH B.1977)

’DUSK OVER MULL’ FROM ARDNAMURCHAN – 2001 Signed, mixed media on board 59.5cm x 84cm (23.5in x 33in) £300‑500

189 [§] ETHEL WALKER (SCOTTISH B.1941) KILBERRY – 2007 Signed, oil on board

29cm x 29cm (11.5in x 11.5in) Provenance: Roger Billcliffe Gallery, Glasgow £800‑1,200

190 [§] JUDITH BRIDGLAND (AUSTRALIAN/SCOTTISH B.1962) CALM SEA, ST IVES Signed, oil on canvas

60cm x 61cm (23.5in x 24in) £1,000‑1,500

Contemporary & Post-War Art 85 191 [§] GLEN SCOULLER (SCOTTISH B.1950)

STILL LIFE WITH DOVE AND LOVEBIRD Signed, pencil and watercolour 83cm x 112cm (32.5in x 44in) £800‑1,200

192 PETER MCLAREN (SCOTTISH B.1964)

HOMAGE TO MATISSE Signed and inscribed with title and dated 2014 verso, oil on board 90cm x 92cm (35.5in x 36in) £4,000‑6,000

86 Lyon & Turnbull 193 [§] MICHAEL DURNING (SCOTTISH B.1970) GRID 1 – 2002 Acrylic on board

24cm x 25cm (9.5in x 9.75in) and another ‘Grid II’ (2) Provenance: Roger Billcliffe Gallery, Glasgow £250‑350

194 [§] CARLO ROSSI R.S.W., R.G.I. (SCOTTISH 1921‑2010)

HILLTOWN, TUSCANY – 1993 Signed, oil on board 13cm x 46cm (5in x 18in) Provenance: Roger Billcliffe Gallery, Glasgow £300‑500

195 [§] CARLO ROSSI R.S.W., R.G.I. (SCOTTISH B.1921) STILL LIFE, SCHERZO Signed and dated ‘84, mixed media 56cm x 46.5cm (21.75in x 18.5in) Provenance: Roger Billcliffe Gallery, Glasgow £500‑700

Contemporary & Post-War Art 87 196 [§] LEON MORROCCO A.R.S.A (SCOTTISH B.1942) FROM THE KITCHEN WINDOW Signed and dated 1992, pastel, conté and gouache 92cm x 57cm (36in x 22.5in) £800‑1,200

197 [§] LEON MORROCCO A.R.S.A. (SCOTTISH B.1942)

FOUR FISHERMEN’S HOUSES, PROCIDA Signed, dated ‘Oct ‘96’ and inscribed with title, oil pastel and mixed media on paper 34.5cm x 56cm (35in x 22in) £400‑600

88 Lyon & Turnbull 198 [§] DUNCAN SHANKS (SCOTTISH B.1937) BIRDS ON TABLE Signed, acrylic on paper 23cm x 23cm (9in x 9in) £400‑600

199 [§] FIONNA CARLISLE (SCOTTISH B.1954) TOPKAPI Acrylic on canvasboard

75cm x 66cm (29.5in x 26in) £400‑600

200 [§] DUNCAN SHANKS R.S.A., R.S.W. (SCOTTISH B.1937) TREES, NOCTURNE Watercolour

46cm x 66cm (18in x 26in) £400‑600

Contemporary & Post-War Art 89

201 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942‑2013) FEALTY, 1992 Signed, oil on canvas

120cm x 91cm (47.25in x 36in) £4,000‑6,000

90 Lyon & Turnbull 202 [§] VICTORIAN CROWE O.B.E., R.S.A., R.S.W. (SCOTTISH B.1946)

ANNOUNCING ANGEL, VOLTERRA Signed, silkscreen print, oil and gold leaf 30cm x 13cm (11.75in x 5.25in) £400‑600

203 [§] JOSEF HERMAN O.B.E. (POLISH/BRITISH 1911‑2000)

5 WORKS FROM THE ‘SONG OF THE MIGRANT BIRD’ ’Our Dreams Shape Reality’; ‘Shapes in the Night’; ‘Within Each Form the Specific Meaning’; ‘Twilight’; ‘In Nature I am Merely a Passerby’, each signed in pencil, lithographs, taken from a folio of 52 works in an edition of 50, published by Curwen £600‑800

Contemporary & Post-War Art 91 204 [§] ALAN DAVIE C.B.E., H.R.S.A. (SCOTTISH 1920‑2014)

FOX WATCH Artist’s proof IV, signed and dated ‘70 in pencil to margin, lithograph 59cm x 78cm (23.25in x 30.75in) £400‑600

205 [§] IAN HAMILTON FINLAY (SCOTTISH 1925‑2006)

SAILING BARGE: RED WING With Ian Gardner, includes signed folio, numbered 36/300, screenprint. published by Wild Hathorn Press 28.5cm x 31cm (11.25in x 12.25in) £300‑500

206 [§] ALAN DAVIE C.B.E., H.R.S.A. (SCOTTISH 1920‑2014) EL TERREMORO 1989, gouache

55cm x 77cm (21.5in x 30.25in) £2,000‑3,000

92 Lyon & Turnbull 207 [§] DAVID BOWIE (BRITISH 1947‑2016)

D HEAD V Signed and dated ‘98 in pencil to margin, no. 113 of a limited edition of 175, photolithograph 34cm x 25cm (13.5in x 9.75in) including margin £800‑1,200

208 [§] DAVID BOWIE (BRITISH 1947‑2016)

STAR Signed and dated ‘98 in pencil to margin and numbered 95/175, photolithograph 43cm x 28cm (17in x 11in) including margin Exhibited: The Gallery, 28 Cork Street, London on 18th – 29th April 1995 £600‑800

209 [§] DAVID BOWIE (BRITISH 1947‑2016)

SELF PORTRAIT Signed and dated ‘98 in pencil, photolithograph 26cm x 21cm (10.25in x 8.25in) Note: The original that this lithograph is after was used for the cover of Bowie’s album ‘1.Outside’ £800‑1,200

Contemporary & Post-War Art 93 210 [§] DAVID BOWIE (BRITISH 1947‑2016)

HEAD OF BRIAN ENO Inscribed ‘E.B., March ‘94, D.B.’, charcoal 66cm x 50cm (26in x 19.75in) Exhibition: The Gallery, 28 Cork Street, London, on 18th – 29th April 1995 £2,000‑3,000

211 [§] DAVID BOWIE (BRITISH 1947‑2016) HEAD OF MIKE GARSON Inscribed ‘M.B., March ‘94, D.B.’, charcoal 76cm x 56cm (30in x 22in) Note: Mike Garson is an American pianist who worked with Bowie Exhibited: The Gallery, 28 Cork Street, London, on 18th – 29th April 1995 £2,000‑3,000

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212 [§] DAVID BOWIE (BRITISH 1947‑2016)

MOONAGE DAYDREAM: THE LIFE AND TIMES OF ZIGGY STARDUST Genesis Publications (2002), No. 297 of a Deluxe limited edition of 350. Signed by David Bowie and Mick Rock, bound in full blue leather, with embossed gold Ziggy lightning bolt. Original Solander box. Includes a deluxe print signed by Mick Rock 38cm x 25cm x 5cm (15in x 10in x 2in) (boxed) £1,500‑2,500

Contemporary & Post-War Art 95

213 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942‑2013) THE DAWN PEARL IN PORT SETON HARBOUR Signed, oil on canvas 90cm x 90cm (35.5in x 35.5in) £5,000‑7,000 Note: This work was purchased by the present owner at a high profile charity auction in 2006 hosted by the Royal Provost of Glasgow in aid of the Hikkaduwa Area Relief Fund, to assist Sri Lankan communities devasted by 2004’s tsunami.

Having been born into and raised in a small fishing community himself, John Bellany was moved to donate this specific painting in solidarity with the fishing villages that were destroyed. At the auction the work raised a significant proportion of the funds required to provide a new community centre for the village of Dodandua, as well as an outdoor theatre named after the artist himself.

END OF SALE

Index A Ainsley, S., 107, 108, 109, 110, 111, 112 B Bailey, D., 137 Baillie, W., 185 Barrie, M., 182 Bellany, J., 2, 21, 53, 54, 167, 201, 213 Blackadder, E., 74 Bond, M., 15 Bowie, D., 207, 208, 209, 210, 211, 212 Bratby, J., 169 Bridgland, J., 190 Bushe, C., 46 C Calder, A., 140 Carlisle, F., 199 Carrington, S., 82, 145, 188 Chagall, M., 119 Clark, M., 12 Colclough, F., 13 Conroy, S., 33 Cooper, T. J., 125 Crawford Gardiner, J., 49 Crowe, V., 202 Currie, K., 35, 36 D Dalziel + Scullion, 141, 142 Davie, A., 115, 116, 117, 204, 206 Deacon, R., 62 Durning, M., 193 F Ferguson, D., 180 Finlay, I. H., 113, 114, 205 Firth, J., 101 Flannigan, M., 161 Flockhart, H., 187 Forrest, A., 6 Fraser, H., 39 Fraser, V., 7, 45, 47, 80, 81 G Gear, W., 118 Gillespie, T., 10, 95 Goodfellow, P., 134 Gordon, D., 136 Goudie, A., 4, 92, 97, 154 Gray, A., 168 Guild, D., 34

H Halliday, I., 77, 79 Halperin, I., 129 Hanna, N., 18, 29 Henderson, K., 50 Henderson Blyth, R., 173 Herman, J., 203 Heron, P., 123 Hirst, D., 131 Hodgkinson, E., 165 Houston, J., 3, 20, 48, 56, 76, 78, 146, 147, 148 Howson, P., 31, 32, 42, 43, 44, 170, 171, 172 I Innes, R., 57 K Kane, M., 102, 103 King, A., 40, 52, 55 Knox, J., 1, 64, 65, 181 Knox, L., 11, 28 L Lambie, J., 130 Littlejohn, W., 156, 158, 183 Low, B., 143, 144 M MacDonald, H., 149 MacDonald, J., 9, 96 MacDonald., F., 88 MacQueen, C., 14 Mangan, S., 41 Manson, D., 151, 152 Matthews, J., 84, 85 McArthur, C., 153, 160 McClure, D., 19, 25, 26, 67, 75, 184 McKenzie Smith, I., 175 McLaren, P., 192 McLean, B., 127, 128 McLeod Martin, D., 16, 68, 157 McNairn, C., 159 MĂŠrida, C., 124 Moore, H., 60, 61 Morley, M., 186 Morning, S. B., 138, 139 Morrison, J., 17, 71, 72, 73 Morrison, J. L., 87, 98, 176 Morrocco, A., 100 Morrocco, J., 90, 91 Morrocco, L., 5, 99, 196, 197 Morton, V., 126 Mulholland, C., 105, 106

N Neagu, P., 162, 163, 164, 166 Neilson, L., 22, 23, 24 Nevay, H., 37, 38 P Pacheco, A. M., 51 Paolozzi, E., 132, 133, 135 Pasmore, V., 122 Philipson, Sir R., 69, 70 Provan, D., 83 R Rae, B., 174 Rego, P., 58, 59 Renton, J., 93 Richards, C., 63 Robertson, J. D., 177 Rodger, W., 98 Rossi, C., 155, 194, 195 S Salman, K., 178 Sawyer, D., 104 Scott, W., 121 Scouller, G., 27, 94, 191 Shanks, D., 198, 200 Simpson, C., 8 T Thompson, A. B., 66, 150 Trevelyan, J., 120 W Walker, E., 86, 189 Wilcox, G., 30 Wisniewski, A., 179

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.

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

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

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

Studio of … / Workshop of …

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

Circle of …

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

Follower of …

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

Manner of …

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

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

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

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

Dimensions are given height before width.

Board of Directors

Specialist Departments

Chairman

Pictures, Watercolours & Prints

Decorative Arts: Design from 1860

Nick Curnow Charlotte Riordan Carly Shearer Iain Gale

John Mackie Theo Burrell

Sir Angus Grossart Vice Chairmen

Paul Roberts Nick Curnow Managing Director

Gavin Strang International Director

Lee Young

Furniture, Clocks & Works of Art

Douglas Girton John Mackie Theo Burrell Hannah Willetts

Directors

Campbell Armour Trevor Kyle John Mackie

European Ceramics & Glass

Douglas Girton John Mackie Theo Burrell Rare Books, Maps, Manuscripts & Photographs

Simon Vickers Cathy Marsden

Asian Works of Art

Lee Young Ling Zhu Danielle Beilby

Arms & Armour

Rugs & Carpets

Business Development

Colin Fraser (consultant) John Batty (consultant)

Finance Director

Mhairi McFadden

Gavin Strang Associate Director

Alex Dove

Jewellery, Silver, Coins & Medals

Trevor Kyle Ruth Davis Kier Mulholland Colin Fraser (consultant)

Paul Roberts Ian Peter MacDonald Campbell Armour James McNaught Iain Gale John Sibbald Charlotte Rostek

Locations 33 Broughton Place Edinburgh EH1 3RR

182 Bath Street Glasgow G2 4HG

78 Pall Mall London SW1Y 5ES

Tel +44 (0)131 557 8844 Fax +44 (0)131 557 8668

Tel +44 (0)141 333 1992 Fax +44 (0)141 332 8240

Tel +44 (0)20 7930 9115 Fax +44 (0)20 7930 7274

Decorative Arts: Design since 1860 Wednesday, 26th April, 2017

SIR GEORGE JAMES FRAMPTON (1860‑1928) PETER PAN Patinated bronze, signed in the bronze with monogram Geo. Frampton and dated 1915, inscribed with an encircled PP Total height 52.5cm £25,000‑35,000

Enquiries John Mackie +44 (0131) 557 8844 john.mackie@lyonandturnbull.com

33 Broughton Place, Edinburgh EH1 3RR l +44 (0)131 557 8844 l www.lyonandturnbull.com

Scottish Paintings & Sculpture Thursday, 8th June, 2017

CHARLES RENNIE MACKINTOSH (SCOTTISH 1868‑1928) THE ROAD THROUGH THE ROCKS, PORT VENDRES Signed, watercolour Provenance: Dr Thomas Howarth, Christie’s, 17th February 1994, lot. 76 £20,000‑30,000

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

We understand We understandthat thatyour yourcollection collection is worth more than the sum of its parts. is worth more than the sum of its parts.

Collections sell better as collections. That belief is at the heart of our approach to auctioneering. Over the course of our long history, we have seen this borne out time and time again: from the contents of grand homes to corporate collections, from contemporary art to Chinese snuff bottles; there is little we have not handled and sold well.

Each collection is unique and often has an emotional connection to the owners who create or inherit them.

Our team work closely with our clients to provide a carefully tailored approach to the sale of their collections.

For more information, or to discuss selling a collection at auction, please contact Gavin Strang on 0131 557 8844 or email gavin.strang@lyonandturnbull.com

Personal, passionate and professional - we deliver outstanding results.

ED LGALSAGSOG W O W www.lyonandturnbull.com www.lyonandturnbull.com E D II N NB BU UR RG GH H l L LOONNDDOONN l G

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; “Net Sale Proceeds” are the Hammer Price, less commissions and other charges, of the Lot sold, to the extent received by Lyon & Turnbull in cleared funds; “Proposed Sale” means the intended sale through which the items will be sold on; “Purchase Price” is the Hammer Price and applicable Buyer‘s Premium; “Reserve” means the lowest price below which an item cannot be sold; “Upper Estimate” means the high estimate provided by Lyon & Turnbull to the Seller in relation to each Item, or in relation to any Item which Lyon & Turnbull holds on behalf of the Seller; “Terms of consignment” means the stipulated terms and rates of commission on which the Auctioneer accepts instructions from Sellers or their agents; “You”, “Your” means the seller. 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.

(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

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 re-offered at a future sale. Where in our opinion an item is not suitable for a future sale we may either request (a) you collect such items from the saleroom promptly on being so informed. We shall be entitled to charge you for storage costs, charges shall be made at a reasonable daily rate;or (b) suggest that the item be transferred to a secondary saleroom for sale without reserve. All transferred lots will be sold for the best price on the day, this may not bear any reflection on the item’s original estimate. Lyon & Turnbull are not liable for any items (whether it be selling price or loss & damage) when transferred.

The Seller acknowledges that lots are sold subject to these Conditions and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot.

(2) Aftersales: We reserve the right to accept an afterauction offer on a lot on behalf of the seller, at the agreed reserve price or above, for up to 48 hours after the original auction. In which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these Conditions apply.

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

9. LOT WITHDRAWAL

(1) Commission: 15% is charged on the selling price of each lot, (subject to a minimum charge of £45).

Loss and damage warranty: 1.5% on value of lots sold.

Photography: min charge £30. Online Listing: £10 per lot.

(2) Transport: Items for sale must be consigned to the sale room by any stated deadline and at your expense.

We may be able to assist you with this process. When organised on the Seller’s behalf the provision of transport will be contracted to third parties. Fees for transport will be deducted at the initial settlement.

(3) Illustrations: The cost of any illustrations will be borne by the Seller , unless agreed otherwise prior.

The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue.

6. RESERVES (a) You are entitled to place, prior to the auction, a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve. 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;

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.

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

(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.

(iii) 6 months from the date of delivery to Lyon & Turnbull for items still in the possession of Lyon &

(c) lf the Seller elects to take action against any Buyer on its own behalf Lyon & Turnbull will provide the Seller

(i) when risk passes to the Buyer of the lot following its sale;

with such assistance as may be reasonably necessary to pursue that action.

14. THIRD PARTY LIABILITY

16. AGENCY

(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.

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.

12. SETTLEMENT PAYMENTS

15. GENERAL

(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.

Subject to full payment by the Buyer, payment of the net proceeds of sale due to you will be made over to you 28 working days following a sale. Provided we have received cleared funds. Payment will be made by cheque or BACS (if requested).

13. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Sellers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers. (c) Lyon & Turnbull undertakes to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private treaty sale, if a lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale.

(a) We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. (b) Any notice to any Buyer, Seller, bidder or viewer may be given by email, or if not available then first class mail, in which case it shall be deemed to have been received by the addressee 48 hours after posting. (c) Notices to Lyon & Turnbull should be in writing and addressed to Nick Curnow at 33 Broughton Place, Edinburgh EH1 3RR, quoting the reference number specified at the beginning of the sale catalogue. (d) Should any provision of these Conditions of Sale be held unenforceable for any reason, the remaining provisions shall remain in full force and effect. (e) These Conditions of Sale are not assignable by either party without the other’s prior written consent, but are binding on the seller’s successor and representatives.

No act, omission or delay by Lyon & Turnbull shall be deemed a waiver or release of any of its rights. (f) The contract between the parties may be varied by the parties by agreement and in writing.

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

17. DATA PROTECTION In connection with the management and operation of our business and the marketing and supply of Lyon & Turnbull’s services, or as required by law, we may ask the Seller to provide personal information about themselves or obtain information about the Seller from third parties (e.g. credit information). Lyon & Turnbull will not give out personal information except as may be required by law.

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

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

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):

(e) The right to refuse any bid is also reserved. (f) Commission Bids: While prospective Buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we shall, if so instructed, clearly and in writing execute bids on their behalf. Neither the Auctioneer nor our employees nor agents shall be responsible for any failure to do so. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made.

(3) Lots affixed with [Ω]: Standard rate of Value Added Tax on the hammer price and premium is payable. This applies to items that have been imported from outwith the European Union and do not fall within the reduced rate category outlined above.

7. DROIT de SUITE

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

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.

5. THE PURCHASE PRICE

8. PAYMENT

For each lot purchased a Buyer’s Premium of 25% is payable on the first £100,000 of the hammer price, 20% thereafter. VAT at the appropriate rate is charged on the Buyer’s Premium. No VAT is payable on the hammer price or premium for printed books or unframed maps bought at auction.

(1) Within 7 days of a lot being sold you will:

(b) Please note there is a surcharge of 2% when using credit cards.

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

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.

3. BIDDING PROCEDURES AND THE BUYER

6. VALUE ADDED TAX

(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.

“Auctioneer” means Lyon & Turnbull Ltd or its authorised auctioneer, as appropriate; “Hammer price” means the level of bidding reached (at or above any reserve) when the Auctioneer brings down the hammer; “Lot” means each Item offered for sale by Lyon & Turnbull; “Purchase Price” is the Hammer Price and applicable Buyer’s Premium; “Reserve” means the lowest price below which an item cannot be sold; “Total amount due” means the hammer price in respect of the lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions; “You”, “Your” means the Buyer “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd The singular includes the plural and vice versa as appropriate.

2. AGENCY Lyon & Turnbull acts as agent solely for and in the interests of the Seller. We do not act for Buyers in this role and does not give advice to Buyers. When Lyon & Turnbull make a statement about a lot it is doing so on behalf of the Seller of the lot.

(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.

(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

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.

(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.

(c) Please note that we cannot accept cash payments over £5,000.

9. TITLE AND COLLECTION OF PURCHASES (1) The ownership of any lots purchased shall not pass to you until you have made payment in full to us of the total amount due.

(2) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any cheque used for payment whichever is later. We can provide you with a list of

shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us.

(3) No purchase can be claimed or removed until it has been paid for.

(4) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for lots not collected by the appropriate time.

(5) Export of goods: Buyers intending to export goods should ascertain (a) whether an export licence is required and (b) whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the lot.

10. REMEDIES FOR NON·PAYMENT OR FAILURE TO COLLECT PURCHASES (1) If any lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the Sellers and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (a) to proceed against you for damages for breach of contract; (b) to rescind the contract for sale of that lot and/or any other lots sold by us to you; (c) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs); (d) to remove, store and insure the lot in the case of storage, either at our premises or elsewhere and to recover from you all costs incurred in respect thereof; (e) to charge interest at a rate not exceeding 1.5% per month above the current base rate on all sums outstanding for more than 7 working days after the sale; (f) to retain that or any other lot sold to you until you pay the total amount due; (g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) to apply any proceeds of sale of other lots due or which become due to you towards the settlement of the total amount due by you and to exercise a lien over any of your property in our possession for any purpose until the debt due is satisfied.

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.

http://www.defra.gov.uk/ahvla-en/imports-exports/cites/

(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.

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

(4) Catalogue Alterations: Lot descriptions and estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred.

(5) Electrical Goods: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given.

(6) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with current safety regulation. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. Lyon & Turnbull provide no guarantee as to the originality of any wood/material contained within the item.

(7) Special terms may be used in catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue. These notices and terms will also form part of our terms and conditions of sales.

12. BOOKS, CLOCKS & WATCHES, 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

14. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers. (c) Lyon & Turnbull undertakes to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private treaty sale, if a lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale.

15. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation, safety and security arrangements.

Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.

16. GENERAL (a) We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. (b) Any notice to any Buyer, Seller, bidder or viewer may be given by email if not available then first class mail in which case it shall be deemed to have been received by the addressee 48 hours after posting. (c) Notices to Lyon & Turnbull should be in writing and addressed to Nick Curnow at 33 Broughton Place, Edinburgh EH1 3RR, quoting the reference number specified at the beginning of the sale catalogue. (d) Should any provision of these Conditions of Sale be held unenforceable for any reason, the remaining provisions shall remain in full force and effect. (e) These Conditions of Sale are not assignable by either party without the other’s prior written consent. No act, omission or delay by Lyon & Turnbull shall be deemed a waiver or release of any of its rights. (f) The contract between the parties may be varied by the parties by agreement and in writing.

17. DATA PROTECTION In connection with the management and operation of our business and the marketing and supply of Lyon & Turnbull’s services, or as required by law, we may ask the Buyer to provide personal information about themselves or obtain information about the Buyer from third parties (e.g. credit information). Lyon & Turnbull will not give out personal information except as may be required by law.

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

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

18. FORCE MAJEURE 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 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.

Payment 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. 2017. 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

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

CONTEMPORARY & POST-WAR ART 15TH MARCH 2017

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

Wednesday, 15th March, 2017 33 Broughton Place Edinburgh

Contemporary & Post-War Art