Contemporary & Post-War Art | 17th August 2017 | 11am

LYON & TURNBULL AUCTIONEERS EDINBURGH

182 Bath Street, Glasgow G2 4HG Tel. +44 (0)141 333 1992 Fax. +44 (0)141 332 8240

22 Connaught Street, London W2 2AF Tel. +44 (0)207 930 9115

CONTEMPORARY & POST-WAR ART 17TH AUGUST 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

Thursday, 17th August, 2017 33 Broughton Place Edinburgh

Contemporary & Post-War Art

Contemporary & Post-War Art Thursday, 17th August, 2017 at 11am Sale Number LT500

Viewing Times Sunday, 13th August 12–4pm Monday, 14th August 10am–5pm Tuesday, 15th August 10am–5pm Wednesday, 16th August 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 70 and 72-74 (detail) Inside Front Cover Lot 142 (detail) Inside Back Cover Lot 162 (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

All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, by fax or on our website. Please note that all first time bidders at Lyon & Turnbull will be asked to supply the following documents in order to facilitate registration:

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

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

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

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

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

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

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

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

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 is 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

How to Find Us in Edinburgh

Lyon & Turnbull Saleroom

Parking P Multi-storey car parking is available at Greenside Place, a five minute walk from the saleroom York Place Tram Stop Waverley Station

Contemporary & Post-War Art 5 1 [§] BET LOW A.R.S.A., R.S.W. (SCOTTISH 1924‑2007) WINDSWEPT BEACH Signed, watercolour

25cm x 35cm (9.75in x 13.75in)

£600‑800

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

Signed, watercolour

23.5cm x 29cm (9.25in x 11.5in)

£600‑800

3 [§] JOSEF HERMAN O.B.E. (POLISH/BRITISH 1911‑2000) TWO FIGURES Ink and watercolour

19cm x 24cm (7.5in x 9.5in)

£700‑1,000

6 Lyon & Turnbull 4 [§] CAROLINE MCNAIRN (SCOTTISH 1955‑2010) WOMAN IN A DREAMSCAPE Signed and dated ‘90, pastel

152cm x 102cm (60in x 40in)

£800‑1,200

5 [§] CAROLINE MCNAIRN (SCOTTISH 1955‑2010) MAN IN A DREAMSCAPE

Pastel

152cm x 102cm (60in x 40in)

£800‑1,200 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 7 6 [§] ELIZABETH BLACKADDER D.B.E., R.A., R.S.A., R.S.W., R.G.I. (SCOTTISH B.1931) THE LOBSTER

Signed in pencil to margin, H/C, etching

52cm x 61cm (20.5in x 24in)

£500‑700

7 [§] DOROTHY STIRLING (SCOTTISH B.1939) LITTLE HARBOUR

Oil on board

11cm x 26cm (4.25in x 10.25in) Exhibited: ‘Dorothy Stirling: Land of Mountain and Flood’, Compass Gallery, March, 1994

£200‑300

8 [§] ELIZABETH BLACKADDER D.B.E., R.A., R.S.A., R.S.W., R.G.I. (SCOTTISH B.1931) BOAT AT LOW TIDE

Signed in pencil to margin, P/P, etching

48cm x 63cm (19in x 24.75in) including margin

£500‑700

8 Lyon & Turnbull 9 [§] JACK KNOX (SCOTTISH 1936‑2015) STILL LIFE WITH FRUIT DISH AND JUG

Signed ‘John Knox’ (as per his early works), oil on board

51.5cm x 59.5cm (20.25in x 23.5in)

£600‑800

10 [§] DAVID MCLEOD MARTIN R.S.W. (SCOTTISH B.1922) SUNSET LANDSCAPE

Signed and dated 1970, oil on board

46cm x 62cm (18in x 24.5in)

£400‑600

11 [§] DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926‑1998) STILL LIFE WITH MORTADELLA Signed and dated ‘56, gouache

46cm x 59cm (18in x 23.25in)

£400‑600 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 9

12 [§] NAEL HANNA (IRAQI/SCOTTISH B.1959) LOST SHEEP, WEST COAST Signed, oil on board

72cm x 101cm (28.25in x 39.75in)

£2,000‑3,000

13 [§] NAEL HANNA (IRAQI/SCOTTISH B.1959) STORMY SEA Signed, oil on board

46cm x 69cm (18in x 27in)

£800‑1,200

10 Lyon & Turnbull

14 [§] GORDON MITCHELL R.S.A., R.S.W., R.G.I. (SCOTTISH B.1952) THE HOUR OF THE MASQUE Signed and inscribed with title stretcher verso, oil on canvas

101cm x 112cm (39.75in x 44in)

£4,000‑6,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 11 15 [§] ALBERTO MORROCCO O.B.E., R.S.A., R.S.W. (SCOTTISH 1917‑1998) MA SEWING

Signed and inscribed with title, pastel

60cm x 76cm (23.5in x 30in)

£4,000‑6,000

16 [§] LEON MORROCCO R.S.A. (SCOTTISH B.1942) FACE AND STILL LIFE AT A WINDOW Signed, mixed media on hand made paper

52cm x 76cm (20in x 30in)

£2,000‑3,000

12 Lyon & Turnbull 17 [§] DAVID MICHIE O.B.E., R.S.A., R.G.I. (SCOTTISH 1928‑2015) DECKCHAIR LOUNGING Signed, oil on canvas

44cm x 70cm (17.25in x 27.5in)

£600‑800

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

Signed and inscribed with title and dated ‘92 in pencil to margin, A/P, lithograph

50cm x 67cm (19.75in x 26.5in) including margin

£300‑500

19 [§] DAVID MICHIE O.B.E., R.S.A., R.G.I. (SCOTTISH 1928‑2015) BEACH BROLLYS

Signed, signed verso, oil on board

27cm x 29cm (10.5in x 11.5in)

£300‑500 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 13 20 [§] JOHN LOWRIE MORRISON O.B.E. (SCOTTISH B.1948) SANNA BAY, LOOKING TO RHUM Signed, signed and inscribed with title and dated 1997 verso, oil on board

76cm x 74cm (30in x 29in)

£3,000‑5,000

21 [§] JOHN LOWRIE MORRISON O.B.E. (SCOTTISH B.1948) TOBERMORY EVENING

Signed and dated 2001, inscribed with title verso, oil on canvas

75cm x 75cm (29.5in x 29.5in)

£3,000‑5,000

14 Lyon & Turnbull

22 [§] WILL MACLEAN M.B.E., R.S.A., R.S.W. (SCOTTISH B.1941) INTERIOR, WESTER ROSS

Signed lower left ‘W J Maclean 1980’ and signed, inscribed and dated on the reverse ‘W MACLEAN A.R.S.A./CONSTRUCTION 1980/“INTERIOR/ WESTER ROSS”/SCHOOLHOUSE/GATESIDE/FIFE, carved and painted wood box construction

140cm x 56cm x 56cm (55in x 22in x 22in) Provenance: John Phillips, Perthshire Exhibited: Kirkcaldy, Scottish Arts Council Will Maclean – Constructions and Drawings, Kirkcaldy Museum and Art Gallery, 21 January – 4 March 1984, no. 21, illustrated on front cover (detail), London, Leinster Fine Art, Will Maclean and Barbara Rae 16 November – 22 December 1984, no. 1 Literature: Macmillan, D. The Art of Will Maclean Symbols of Survival, Mainstream Publishing, Edinburgh, 2002, pp. 39, 143, illust. Plate 25.

£3,000‑5,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 15 23 [§] ALAN WATSON (SCOTTISH B.1957) THE FISHERMAN

Signed and dated ‘86, graphite

82cm x 97cm (32.25in x 38.25in)

£300‑500

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

Signed and numbered 31/45 in pencil to margin, etching

49cm x 42cm (19.25in x 16.5in) including margin

£200‑300

25 [§] ALAN WATSON (SCOTTISH B.1957) CASTING THE NETS

Signed and dated ‘86, graphite

82cm x 97cm (32.25in x 38.25in)

£300‑500

16 Lyon & Turnbull

26 [§] JAMES MORRISON R.S.A., R.S.W. (SCOTTISH B.1932) LE PETIT OBIOU FROM THE EAST Signed and dated ‘23.VIII.80’, oil on board

56cm x 87cm (22in x 34.25in)

£2,000‑3,000

27 [§] JOHN G. BOYD R.G.I. (SCOTTISH 1940‑2001) MACHPELAH’S CAVE Signed, oil on canvas

119cm x 121cm (47in x 47.5in) Exhibited: The Royal Scottish Academy, Edinburgh

£2,000‑3,000 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 17 28 [§] JAMES S. DAVIS R.S.W. (SCOTTISH B.1944)

BY THE LOCH Signed, gouache

55cm x 73cm (21.75in x 28.75in)

£600‑800

29 [§] JAMES FULLARTON (SCOTTISH B.1946) THE BLUEBELL WOODS

Signed, oil on canvas

49cm x 90cm (19.25in x 35.5in)

£1,500‑2,000

30 [§] JAMES S. DAVIS R.S.W. (SCOTTISH B.1944) SUNSET STRATUS CLOUDS

Signed, oil on canvas

89cm x 120cm (35in x 47in)

£500‑700

18 Lyon & Turnbull 31 [§] NORMAN KIRKHAM R.G.I. (SCOTTISH B.1936) AT THE DRESSING TABLE Signed, oil on canvas

156cm x 132cm (61.5in x 52in)

£800‑1,200

32 [§] JAMES S. DAVIS R.S.W. (SCOTTISH B.1944) STILL LIFE WITH RED POPPIES Signed, oil on canvasboard

49cm x 49cm (19.25in x 19.25in)

£400‑600 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 19 33 [§] PETER MCLAREN (SCOTTISH B.1964) FAST CAR Oil on board

101cm x 101cm (39.75in x 39.75in)

£3,000‑5,000

34 [§] PETER MCLAREN (SCOTTISH B.1964) TULIPS AND POPPIES II

Signed and inscribed with title and dated ‘05 verso, oil on board

90cm x 76cm (35.5in x 30in)

£3,000‑5,000

20 Lyon & Turnbull 35 [§] BARBARA RAE C.B.E., R.A., R.S.A. (SCOTTISH B.1943) THREE FIGURES CROSSING MOORLAND

Signed and dated ‘80, gouache and watercolour

20cm x 20cm (8in x 8in)

£300‑500

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

Signed and inscribed with title in pencil to margin, numbered 26/30, watercolour

49cm x 60cm (19.25in x 23.5in)

£400‑600

37 [§] BARBARA RAE C.B.E., R.A., R.S.A. (SCOTTISH B.1943) WINTER WALLED GARDEN

Signed and dated ‘80, gouache

53cm x 75cm (21in x 29.5in)

£800‑1,200 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 21

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

76cm x 60cm (30in x 23.5in)

£3,000‑5,000

22 Lyon & Turnbull 39 [§] WILLIAM JOHNSTONE O.B.E. (SCOTTISH 1897‑1981) STUDY OF A MALE NUDE pen and ink

52cm x 38cm (20.5in x 15in)

£300‑500

40 [§] WILLIAM JOHNSTONE O.B.E. (SCOTTISH 1897‑1981) CALLIGRAPHIC DRAWING II

Signed with initials, ink on paper

78cm x 57cm (30.75in x 22.5in) and another by the same hand, unframed (2)

£600‑800

41 [§] WILLIAM JOHNSTONE O.B.E. (SCOTTISH 1897‑1981) CALLIGRAPHIC INK DRAWING I Signed with initials, ink on paper

78cmx 57cm (30.75in x 22.5in) and another by the same hand, unframed (2)

£600‑800 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 23 42 [§] HENRY MOORE O.M., C.H., F.B.A. (BRITISH 1898‑1986) TWO WOMEN BATHING CHILD I – 1975 S/P, signed in pencil to margin, lithograph

40cm x 46cm (15.75in x 18in)

£1,500‑2,000

43 [§] PAULA REGO D.B.E. (BRITISH/PORTUGUESE B.1935) THE FEARFULNESS OF THE NIGHT

From the ‘Jane Eyre’ series, signed in pencil, lithograph, published by Curwen Studios, 2002

73cm x 54cm (28.75in x 21.25in)

£1,000‑1,500

44 [§] EDWARD BAWDEN C.B.E., R.A. (BRITISH 1903‑1989) BILLINGSGATE FISH MARKET

Numbered 23/255 in pencil, lithograph (after an original linocut)

58cm x 70cm (22.75in x 27.5in) unframed

£300‑500

24 Lyon & Turnbull

45 [§] KURT SCHWITTERS (GERMAN 1887‑1948) PORTRAIT OF PETER WOODCOCK Signed with initials and indistinctly dated ‘46, oil on board

48cm x 36cm (19in x 14in) Provenance: Commissioned directly from the artist by the sitters.

£1,000‑2,000

Kurt Schwitters is today considered one of the most influential artists of the 20th century. Experimenting in all mediums and artistic styles in painting, poetry, collage and sculpture, he contributed significantly to European Dadaism, Constructivism and even created his own movement called Merz. A nonsense word, Merz, referred to assemblages he made by combining found objects and materials he collected, including rubbish, into collages and large projects.

Schwitters was forced to flee Germany in 1937 after his art was classed as ‘forbidden art’ and exhibited in the Nazi’s Degenerate Art Exhibition in 1935. Only a few years later, having moved to Norway, Schwitters fled again, boarding the last ship leaving Scandinavia: an icebreaker heading for Britain in 1940. Upon his arrival in Leith, he was detained as an enemy alien and interned in Edinburgh and York before being stationed on the Isle of Man. Schwitters continued to work prolifically after leaving Germany. His work moved away from abstraction in the war years, and he instead painted naturalistic portraits of his fellow inmates as gifts and means of making a living. This trend in his work continued after his release and once he settled in Ambleside, in the Lake District, in 1945. Although he continued to produce volumes of Merz assemblages, they remained ignored and poorly received by the rural community. Schwitters instead gained local recognition and commissions through his representational works of the Cumbrian landscape, still-lifes and portraits.

Schwitters attributed equal value to his traditional works as he did his abstract compositions, considering them an essential step in his creative process as, ‘no man can create from his fantasy alone. Sooner or later it will run dry on him, only by the constant study of nature will he be able to replenish it and keep it fresh.’ These representational works uncover the importance of nature in Schwitters’ works and tell of his friends and contacts in the Lake District. The portraits of the Woodcock family are a fine example of Schwitters painting portraits as tokens of friendship.

Peter Woodcock, aged 11 when he sat for his portrait, recalls how Schwitters visited him while he went to school in Ambleside and took him for tea, ‘They were very poor but very happy people… Kurt was very impressive … Like a Time Lord to me, long coat and flowing hair.’ His portrait was painted during his stay in school half-term at the Rothay Hotel, Grasmere, in 1945, and his parent’s portraits painted a year later, in Blackpool.

In these later portraits from 1945-6, Schwitters captures the reality of the ordinary, hardworking people of the Lake District. Observing his subjects expertly, he creates impressionistic portraits, pared back to only the necessary.

His visibly thick brushstrokes, impasto and highlights of bold colour together produce a distinctive effect. Referring to himself as a ‘recording device of the highest sensitivity’, these works exhibit a warmth that is exclusive to Schwitters’ British output.

All three portraits have been authenticated by The Kurt Schwitters Archive, Hanover, Germany, and feature in the artist’s catalogue raisonné.

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 25 46 [§] KURT SCHWITTERS (GERMAN 1887‑1948) PORTRAIT OF CHRISTINE WOODCOCK Signed with initials and dated ‘46, oil on board

61cm x 46cm (24in x 18in) Provenance: Commissioned directly from the artist by the sitters.

£1,000‑2,000

47 [§] KURT SCHWITTERS (GERMAN 1887‑1948) PORTRAIT OF GEORGE WOODCOCK

Signed with initials and indistinctly dated ‘46, oil on board

54cm x 45cm (21.25in x 17.7in) Provenance: Commissioned directly from the artist by the sitters.

£1,000‑2,000

26 Lyon & Turnbull 48 [§] ALBERTO MORROCCO O.B.E., R.S.A., R.S.W. (SCOTTISH 1917‑1998) CIRCUS RIDER Signed and dated ‘73, watercolour, pen and ink

48.5cm x 33cm (19in x 13in)

£3,000‑5,000

49 [§] LEON MORROCCO R.S.A. (SCOTTISH B.1942) STILL LIFE WITH LEMON Signed and dated ‘06, pastel

21cm x 14cm (8.25in x 5.5in)

£500‑700 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 27 50 [§] ALBERTO MORROCCO O.B.E., R.S.A., R.S.W. (SCOTTISH 1917‑1998) MELON VENDOR

Signed and dated ‘87, oil on board

23.5cm x 25cm (9.25in x 9.75in)

£4,000‑6,000

51 [§] LEON MORROCCO R.S.A. (SCOTTISH B.1942) WATERFRONT BAR, PROCIDA Signed, inscribed with title and dated ‘Oct’ ‘96’, gouache

34cm x 35cm (13.5in x 13.75in)

£700‑900

28 Lyon & Turnbull 52 [§] DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926‑1998) HOUSES ON THE FRONT, MILLPORT – 1955

Signed and dated ‘57, gouache

55cm x 74cm (21.5in x 29in)

£500‑700

53 [§] DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926‑1998) STORES & HOUSES, BAGHERIA, SICILY

Signed and dated ‘57, gouache

45cm x 61cm (17.75in x 24in)

£500‑700

54 [§] SANDY MURPHY R.S.W., R.G.I. (SCOTTISH B.1956) EVENING – MOONLIGHT Signed, mixed media

52cm x 62cm (24.5in x 20.5in)

£500‑700 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 29 55 [§] JACK MORROCCO (SCOTTISH B.1953) NUDE RECLINING IN AN ARMCHAIR (WITH MANDOLIN)

Signed and dated 2001, oil on canvas

66cm x 81cm (26in x 32in)

£2,000‑3,000

56 [§] DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926‑1998) NUDE FIGURE WITH FLOWERS

Signed and dated ‘63, signed and inscribed with title and dated verso, oil on canvas

61cm x 74cm (24in x 29in)

£2,000‑3,000

30 Lyon & Turnbull 57 [§] JAMES FULLARTON (SCOTTISH B.1946) STILL LIFE WITH PINKS Signed, oil on canvas

59cm x 64cm (23.25in x 25.25in)

£2,000‑3,000

58 [§] JAMES FULLARTON (SCOTTISH B.1946) STILL LIFE WITH BLACK TABLE TOP

Signed, oil on canvas

104cm x 122cm (41in x 48in)

£3,000‑5,000 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 31

59 [§] 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

£4,000‑6,000

32 Lyon & Turnbull 60 [§] PETER HOWSON O.B.E. (SCOTTISH B.1958) THE FOURTH KING

Signed and dated 2010, mixed media on paper

30cm x 22.5cm (11.75in x 9in) Exhibited: The Scottish Gallery, Edinburgh, 2011

£600‑800

61 [§] PETER HOWSON O.B.E. (SCOTTISH B.1958) HEAD STUDY Signed, pastel

27cm x 19cm (10.5in x 7.5in)

£500‑700 62 [§] PETER HOWSON O.B.E. (SCOTTISH B.1958) BUCKLE Signed, pastel

20cm x 14cm (8in x 5.5in)

£600‑800 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 33

63 [§] ALEXANDER GOUDIE R.P. (SCOTTISH 1933‑2004) SAFE HOME TAM Signed, oil on board

121cm x 150cm (47.5in x 59in)

£6,000‑8,000

64 [§] PETER HOWSON O.B.E. (SCOTTISH B.1958) THE DOUBLE NATURE OF BURNS Signed and dated ‘09, charcoal

29cm x 34cm (11.5in x 13.5in)

£1,000‑1,500

34 Lyon & Turnbull 65 [§] ETHEL WALKER (SCOTTISH B.1941) WILLOW PATTERN

Signed, 1996, oil on board

65cm x 70cm (25.5.in x 27in)

£1,000‑1,500

66 [§] ETHEL WALKER (SCOTTISH B.1941) WHITE CLOTH, 1996 Signed, oil on board

94cm x 87cm (35.5in x 36.5in)

£3,000‑5,000 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 35 67 [§] PERPETUA POPE (SCOTTISH 1916‑2013) DAISIES Signed, oil on board

29cm x 39cm (11.5in x 15.25in)

£400‑600

68 [§] PERPETUA POPE (SCOTTISH 1916‑2013) MEADOW WITH DISTANT HILLS Signed, oil on board

55cm x 45cm (21.5in x 17.75in)

£500‑700

69 [§] DAVID ABERCROMBIE DONALDSON R.S.A., R.P. (SCOTTISH 1916‑1996) PINK SKY

Signed, pastel

17cm x 25cm (6.25in x 10in)

£500‑700

36 Lyon & Turnbull

Sir Eduardo Paolozzi

Contemporary & Post-War Art 37

70 [§] SIR EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924‑2005) HEAD (LARGE) Plaster maquette

39cm x 25cm x 23cm (15.25in x 9.75in x 9in) Provenance: Gifted to the current owner by the artist

£2,000‑3,000

38 Lyon & Turnbull

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 39 71 [§] SIR EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924‑2005) STUDY FOR TOTTENHAM COURT ROAD UNDERGROUND STATION MOSAICS Signed and dated 1982 in pencil, collage on layout paper mounted on paper board

79cm x 110cm (31in x 43.25in) Note: This works is the definitive flat design for Central Line Platform Exhibited: Flowers East, London

£20,000‑30,000

Paolozzi began to make the quasi-cubist sculptures which were to figure among his signature works, in the 1970s. The plaster sculptures now offered for sale fit loosely into this aspect of his work, although dating from the 1990s. Paolozzi was particularly keen that plaster should achieve a higher status than had previously been the case and his works in the medium were often not cast in any other material. They were cast from a variety of sources, some being taken from the ‘ready-mades’ in his studio, while others were made to the artist’s original, sometimes existing designs.

The Crocodile was among a number of small animal sculptures made specifically for the Arche Noah, (Noah’s Ark), exhibition staged in Munich in 1990. In contrast heads were a constant in Paolozzi’s work, from the 1950s onwards, and the large Cubist Head fits within a series made from the late 1980s into the 1990s. The smaller Computer Head, while less obviously totemic, is clearly a comment upon the effects of technology upon our humanity. Perhaps the most personal of the plaster works here is the Leg, which relates directly to those of Paolozzi’s sculpture Daedalus, his body constructed from fragments on a Frankenstinian model. In Greek myth, Daedalus was the builder of the Cretan labyrinth and Paolozzi seems to have seen him as a kindred spirit and probably considered the work a self-portrait.

Paolozzi enjoyed a long-running association with Germany and in particular with Munich, where he also had a studio, and it was here that he developed the concept of the Tottenham Court Road Station mosaics. The mosaics were commissioned in 1979 by London Transport and are designed to link the interconnecting spaces of the station, featuring strongly on the Northern and Central line platforms. Completed in 1986, the glass mosaics cover some 950 square metres. Having suffered over the years, they were painstakingly restored in 2015 and, while 95% were retained in place, the remainder were removed and given to Edinburgh College of Art where Paolozzi was a visiting professor and where he had himself studied in the 1940s.

In his designs for the mosaics, a key example of which, the definitive flat design for the Central Line platform, is now offered for sale, Paolozzi draws on his knowledge and understanding of popular culture and iconic symbolism.

Not least because the concept of their creation united his abiding interest in the culture of mechanisation and his empathy with the station’s historic context and its geographical location. Having taught at the nearby Central School of Art in the Fifties, Paolozzi had retained a broad, deep-rooted and not least affectionate understanding of the local area and its diverse communities.

Tottenham Court Road sits at the epicentre of one of the most culturally diverse and historically significant areas of the capital, between Fitzrovia, Bloomsbury and Soho.

These streets were the haunt of such writers as Tom Paine, Vanessa Bell, Virginia Wolf, Dylan Thomas, and George Orwell, and artists including Constable, Augustus John, Colquhoun and Macbryde, Francis Bacon (a friend of Paolozzi’s), and others too numerous to mention. Here too was the centre of London’s jazz community and its buzzing hub of Denmark Street and musicians from Britten and Bechet to Pink Floyd. Thus on the left of this work we find saxophones and musical notes. Cameras and electrical circuits mirror the technical stores of Tottenham Court Road and Fitzrovia, while stylized Egyptian and Assyrian motifs reference the nearby British Museum. A soaring butterfly or moth is an allusion to Paolozzi’s recollections of the decoration of a long-vanished Turkish Baths. At the same time, the motifs are constantly self-referential, with powerful and iconic imagery from his past work – tribal masks, spacecraft and robots. Cogs and film reels jostle with what could be pinball machines or jukeboxes in an exuberant evocation of the life of this unique locale.

Using collage in a sense to mimic the painstaking method of the eventual mosaic construction, the artist summons up in a single piece of work the essential meaning of this extraordinary and vitally important commission. It is not perhaps going too far to say that it can be seen as an encapsulation of everything that made Paolozzi one of the greatest British artists of the 20th century.

40 Lyon & Turnbull 72 [§] SIR EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924‑2005) CROCODILE

Plaster maquette

7.5cm x 21cm x 8cm (3in x 8.25in x 3.25in) Provenance: Gifted to the current owner by the artist

£500‑700

73 [§] SIR EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924‑2005) CUBIST HEAD Plaster maquette

10cm x 8cm x 6cm (4in x 3.25in x 2.5in) Provenance: Gifted to the current owner by the artist

£400‑600

75 [§] SIR EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924‑2005) LEG Plaster maquette

74 [§] SIR EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924‑2005) ’STAR WARS’ CONFECTION

28cm x 16cm x 8cm (11in x 6.25in x 3.25in) Provenance: Gifted to the current owner by the artist

£500‑700

Plaster relief maquette

36cm x 13cm (14in x 5in) Provenance: Gifted to the current owner by the artist

£400‑600

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 41 76 [§] WILLIAM CROSBIE R.S.A. (SCOTTISH 1915‑1999) MUSE GYRATES

Signed and inscribed with Chinese characters, signed and inscribed with title and dated ‘XCIV’ verso, this work also features a portrait of the artist verso, watercolour, pen and ink

28cm x 19cm (11in x 7.5in)

£1,000‑1,500

77 [§] JONATHAN CLARKE (BRITISH B.1961) INTERLOCKING SCULPTURE Consisting of three interlocking pieces, each piece embossed with initials and ‘911’ on base, sand cast aluminium

Each piece approx. 22cm 21cm (8.75in x 8.25in)

£400‑600

78 [§] EDWARD GAGE P.S.S.A., R.S.W. (SCOTTISH 1925‑2000) ICARUS AT KOULOURA Signed and dated ‘78, watercolour

34cm x 24cm (13.5in x 9.5in)

£200‑300

42 Lyon & Turnbull 79 [§] 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.

£1,000‑1,500

80 RAY DONLEY (AMERICAN B.1950) PORTRAIT, 1620 Signed and dated ‘03, oil on canvas

58cm x 58cm (22.75in x 22.75in)

£800‑1,200 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 43

81 § JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942‑2013) HOMAGE TO DAVID B – II Signed, oil on canvas

152.5cm x 120cm (60in x 47.5in) Note: This work is a version of ‘Homage to David B’ in the possession of Tate, London. It was presented to Tate in 2003 upon the death of Dr David Brown, curator of the Tate Gallery between 1974-84.

John Bellany was a respected and sought after portrait painter. The work shown here is a version of ‘Homage to David B’, an important painting held in the collection of Tate, London, painted in 2002. The ‘David B’ in question is David Brown, former curator at the Tate from 1974-84. Before this, Brown had worked as assistant to the director at the Scottish National Gallery of Modern Art in Edinburgh where he had begun an enduring relationship with Bellany, endeavouring to create a supportive platform for Scottish artists south of the border. These works were created in his memory.

£8,000-12,000

44 Lyon & Turnbull 82 [§] JACK MORROCCO (SCOTTISH B.1953) SILVER BACHELOR TEAPOT Signed, oil on canvas

26cm x 35cm (10in x 13.75in)

£1,000‑1,500

83 [§] JACK MORROCCO (SCOTTISH B.1953) ODALISQUE AND DOVE Acrylic on board

31cm x 30cm (12.25in x 12in)

£300‑500

84 [§] JACK MORROCCO (SCOTTISH B.1953) TWO TOUCANS

Signed, oil on canvas

61cm x 61cm (24in x 24in)

£1,200‑1,800 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 45 85 SHONA BARR (SCOTTISH B.1965) AYRSHIRE BEACH Signed, oil on canvas

117cm x 117cm (46in x 46in)

£1,000‑1,500

86 SHONA BARR (SCOTTISH B.1965) LILIES & ROSES Signed, oil on canvas

122cm x 91.5cm (48in x 36in)

£800‑1,200

46 Lyon & Turnbull 87 [§] SANDY MURPHY R.S.W., R.G.I. (SCOTTISH B.1957) PATCHWORK QUILT

Signed, mixed media

61cm x 101cm (39.75in x 24in)

£700‑900

88 [§] ALEXANDRA GARDNER (SCOTTISH B.1945) STILL LIFE WITH MIRROR Signed, oil on canvas

55cm x 62cm (21.5in x 24.5in)

£400‑600

89 [§] DAVID MCLEOD MARTIN R.S.W. (SCOTTISH B.1922) STILL LIFE WITH SUNFLOWERS Signed and dated ‘99, oil on board

79cm x 50cm (31in x 19.75in)

£800‑1,200 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 47

90 JULES GEORGE (BRITISH B.1969) FEATHERED BONNETS

Signed and dated 2016 verso, oil on linen

50cm x 70cm (19.75in x 27.5in) Note: Jules George was born in London in 1969. He studied fine art and illustration at Winchester School of Art, Staffordshire University and Edinburgh College of Art, where he was awarded the Andrew Grant Bequest. In 2010 George visited Afghanistan, officially sanctioned and sponsored by the Ministry of Defence.

He has exhibited widely, with notable solo exhibition venues including the City Arts Centre, Edinburgh 2005, Peter Pears Gallery, Aldeburgh 2008, the National Museum of the Royal Navy, Portsmouth 2014‑15. His latest exhibition ‘Pipes & Drums’ was shown at the Open Eye Gallery, Edinburgh in September 2016, following his work as official artist in residence at the Royal Edinburgh Military Tattoo 2015. The painting ‘Feathered Bonnets’ is from this body of works and features pipers of the Black Watch, 3rd Battalion Royal Regiment of Scotland.

£1,000‑1,500

91 [§] DOROTHY BLACK (SCOTTISH CONTEMPORARY) A CATCH Signed, pastel

86cm x 59cm (23.25in x 23.25in)

£300‑500

48 Lyon & Turnbull 92 JENNY MATTHEWS (SCOTTISH B.1973) FLIGHT OF THE BUTTERFLIES Signed, watercolour

83cm x 113cm (32.75in x 44.5in)

£1,000‑1,500

93 [§] ELIZABETH BLACKADDER D.B.E., R.A., R.S.A., R.S.W., R.G.I. (SCOTTISH B.1931) VEULES LES ROSES Signed and inscribed with title and dated 1981, watercolour

58cm x 79cm (22.75in x 31in)

£2,000‑3,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 49

94 [§] ELIZABETH BLACKADDER D.B.E., R.A., R.S.A., R.S.W., R.G.I. (SCOTTISH B.1931) MOSQUE INTERIOR Signed and dated 1967, oil on canvas

92cm x 92cm (36.25in x 36.25in)

£5,000‑7,000

50 Lyon & Turnbull

95 [§] ETHEL WALKER (SCOTTISH B.1941) STILL LIFE OF ROSES AND IVY

Signed, oil on board

50cm x 77cm (19.75in x 30.25in)

£2,000‑3,000

96 [§] ETHEL WALKER (SCOTTISH B.1941) STILL LIFE WITH DAISIES Signed, oil on canvasboard

48cm x 40cm (19in x 15.75in)

£1,000‑1,500 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 51 97 [§] WILLIAM LITTLEJOHN R.S.A., R.S.W. (SCOTTISH 1929‑2006) STILL LIFE, YELLOW RUG

Signed with initials, oil on canvas

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

£1,000‑1,500

98 [§] ROBERT HENDERSON BLYTH R.S.A., R.S.W. (SCOTTISH 1919‑1970) THE FIELD BORDER Ink and wash

28cm x 47.5cm (11in x 18.75in)

£600‑800

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

Signed, oil on canvas

60cm x 90cm (23.5in x 35.5in)

£1,200‑1,800

52 Lyon & Turnbull 100 [§] JOHN HOUSTON O.B.E., R.S.A., R.S.W., R.G.I. (SCOTTISH 1930‑2008) SUNSET OVER THE SEA

Signed and inscribed with title in pencil to margin, numbered 57/65, screenprint

57cm x 77cm (22.5in x 30.25in) including margin

£300‑500

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

Signed and inscribed with title in pencil, numbered 26/30, etching

49cm x 60cm (19.25in x 23.5in)

£300‑500

102 [§] DAVID MCLEOD MARTIN R.S.W., R.G.I. (SCOTTISH B.1922) THE DARK HILL

Signed, oil on board

26.5cm x 36.5cm (10.25in x 14.25in)

£400‑600 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 53 103 [§] JOHN G. BOYD R.G.I. (SCOTTISH 1940‑2001) STILL LIFE WITH FENNEL Signed, oil on board

57cm x 44cm (22.5in x 17.25in)

£3,000‑5,000

104 [§] DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926‑1998) FLOWERS AND FISH

Signed and inscribed with title verso, oil on board

60cm x 49cm (23.5in x 19.25in)

£1,500‑2,000

54 Lyon & Turnbull 105 DONALD MANSON (SCOTTISH B.1948) FLOWERS AND APPLES BY THE RIVER Signed, acrylic on canvas

40cm x 40cm (17.75in x 15.75in)

£250‑350

106 DONALD MANSON (SCOTTISH B.1948) VIOLIN, FLOWERS AND FRUIT

Signed, acrylic on canvas

76cm x 76cm (30in x 30in)

£400‑600

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

Signed, no. 4/40, screenprint

69cm x 89cm (27in x 35in)

£400‑600 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 55 108 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942‑2013) STILL LIFE WITH BASKET AND CHECKED CLOTH Signed, oil on canvas

120cm x 90cm (42.25in x 35.5in)

£3,000‑5,000

109 [§] JOHN BELLANY O.B.E., R.A., H.R.S.A. (SCOTTISH 1942‑2013) PORTRAIT OF THE ARTIST’S WIFE, HELEN Signed and inscribed ‘Helen’ and dated ‘85, watercolour and charcoal

56cm x 38cm (22in x 15in)

£1,200‑1,800

56 Lyon & Turnbull

110 [§] PAT DOUTHWAITE (SCOTTISH 1939‑2002) FEMALE HEAD

111 [§] PAT DOUTHWAITE (SCOTTISH 1939‑2002) MALE HEAD

Pastel

Pastel

58cm x 58cm (23in x 23in)

58cm x 58cm (23in x 23in)

£700‑900

£700‑900

112 [§] PAT DOUTHWAITE (SCOTTISH 1939‑2002) SKETCHBOOK

A wirebound sketchbook inscribed on cover ‘Indian Sketchbook 5’, featuring 19 pages with sketches in pastel

20cm x 22cm (8in x 8.75in) also featured in this lot are two black and white photographs of the artist and exhibition cards from the Richard Demarco Gallery

£1,000‑1,500

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 57 113 [§] PAT DOUTHWAITE (SCOTTISH 1939‑2002) NUDE WITH RED STOCKINGS Signed and dated 1971, oil on canvas

122cm x 122cm (48in x 48in) Exhibited: The Richard Demarco Gallery, Edinburgh

£7,000‑10,000

Pat Douthwaite, born in Glasgow in 1934, learnt mime, movement and dance from Margaret Morris from the age of 13. During this time she also received art classes from J D Fergusson, Morris’ partner who recognised her artistic potential and encouraged her to become an artist. Practising outwith academic tuition or institutional influence, Douthwaite developed a distinctive painting style; knowingly primitive and with a unique mastery of line. Her child-like figures, inspired by her sons’ pictures, are reminiscent of Jean Dubuffet’s ‘art brut’ or outsider art.

But, though she fits the description of an outsider artist, Douthwaite’s work should not be misread as naïve.

From her early subjects of the dandies and grotesques of the urban landscape, her work became increasingly focused on the female experience and life’s torments. Referred to as a modern ‘peintre maudit,’ Douthwaite projected her emotions onto reimagined female characters in covert self‑portraits expressing her isolation, anxieties and frustrations. However these dark themes and subjects are juxtaposed with a vibrant palette of colours, child-like lines and often humour, successfully capturing the absurdity of the human experience.

The bright orange, green and red in the Nude in Red Stockings, 1971, are a perfect example, the joyful palette contrasting with the disturbing potential subject matter of the Charles Manson murder Trials of 1970-1. The nude figure is believed to represent one of Charles Manson’s ‘girls,’ accomplices in the murders and who, during the trial, shaved their heads and carved ‘X’ on their foreheads.

Douthwaite became fascinated by these events; the unsettling beauty of the women’s insanity and extreme devotion to Manson. Following the trial attentively and collecting press clippings, she made it the subject of her Edinburgh exhibition ‘Charles Manson Trial and American Woman Bandits,’ in 1972-3. In the text accompanying the catalogue, she explains her works are all against Manson and although she is anti-violence, they are ‘not protestpictures – but entirely imaginary portraits about misdirected power.’ This beautiful yet haunting image offers an intensely personal insight into Douthwaite’s art and a rare commentary on current events.

58 Lyon & Turnbull

114 [§] MOYNA FLANNIGAN (SCOTTISH B.1963) THE BLIND HOUSE (SERIES OF 8 PRINTS) All signed and inscirbed with title in pencil to margin, and numbered

£500‑700

115 [§] MICHAEL LEONARD (BRITISH B.1933) TRANSPOSITION: JENNIFER BRAASCH

Signed and inscribed ‘à Londres, 1983’, monogrammed, pencil

33.5cm x 26.5cm (13.25in x 10.5in)

£800‑1,200

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 59 116 [§] IAN COOK R.S.W. (SCOTTISH CONTEMPORARY) WOMAN II Signed, acrylic on paper

82cm x 58cm (32.25in x 22.75in)

£300‑500

117 [§] IAN COOK R.S.W. (SCOTTISH CONTEMPORARY) MALE TORSO I

Signed, acrylic on paper

82cm x 58cm (32.25in x 22.75in)

£300‑500

118 [§] KATE DOWNIE R.S.A. (SCOTTISH B.1958) CARAVAN WINDOW

Signed in pencil, monotype in lithographic ink on Japanese paper

30cm x 40cm (12in x 15.75in)

£250‑350

60 Lyon & Turnbull 119 [§] KAREL APPEL (DUTCH 1921‑2006) COMPOSITION (GREEN HEAD)

Signed and dated ‘75 in pencil, no.

68/99, E.A. Carborundum etching and woodcut in colours

70cm x 48cm (27.5in x 8.75in) including margin

£500‑700

120 [§] MARINO MARINI (ITALIAN 1901‑1980) CERAMICA I, 1955

Signed in pencil, artist’s proof, lithograph

65cm x 48cm (25.5in x 19in)

£800‑1,000

121 [§] KAREL APPEL (DUTCH 1921‑2006) COMPOSITION (RED HEAD)

Signed and dated ‘75 in pencil, no.

68/99, E.A. Carborundum etching and woodcut in colours

70cm x 48cm (27.5in x 8.75in) including margin

£500‑700 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 61

122 [§] LYNN CHADWICK C.B.E., R.A. (BRITISH 1914‑2003) UNTITLED Signed and dated ‘79, pen and ink

39.5cm x 30cm (15.5in x 12in) Provenance: Gifted by the artist to the previous owner

£3,000‑5,000

62 Lyon & Turnbull 123 [§] DAVID HOCKNEY (BRITISH B.1937) FOR JOHN CONSTABLE

Signed and dated ‘76 in pencil to margin, numbered 4/100, softground etching

28cm x 34cm (11in x 13.5in) (plate size)

£1,000‑1,500

124 [§] MARC CHAGALL (RUSSIAN/FRENCH 1887‑1985) RACHEL’S TOMB; FROM ‘THE BIBLE’ SERIES, 1956 Signed in plate, etching

33cm x 43cm (13in x 17in) including margins

£1,000‑1,500

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 63 125 AFTER BEN NICHOLSON O.M. (BRITISH 1894‑1982) WHITE RELIEF, 1935

White hardwood multiple, produced by the West End Engraving Company Limited, London, published by The Tate Gallery, London

25cm x 40cm (9.75in x 15.75in)

£500‑700

126 [§] RAOUL DUFY (FRENCH 1877‑1953) BAIGNEUSE

Signed in plate, etching and aquatint

22cm x 31cm (8.75in x 12.25in) (plate size) Note: Una Johnson suggests that this etching was commissioned by Vollard for a porfolio of original etchings by Dufy, Matisse, Rouault and others. It was never editioned, and only a limited number of impressions were printed. See Una Johnson’s Museum of Modern Art exhibition catalogue, Ambroise Vollard Editeur.

£400‑600

127 [§] BRYAN ORGAN (BRITISH B.1935) STUDY FOR FALCON

Signed and dated ‘April 1966’, pastel

46cm x 37cm (24in x 18in)

£400‑600

64 Lyon & Turnbull

128 ROBERT KELLY (AMERICAN B.1956) VAJIRA XI

Signed and inscribed with title and dated 1984, collage with paint/mixed media

127cm x 107cm (50in x 42in) Exhibited:

Victoria Munroe Gallery, New York

£3,000‑5,000

Robert Kelly was born in Santa Fe, New Mexico and studied at Harvard. He has exhibited internationally since 1983, and his work is included in public and private collections worldwide, including the Whitney Museum of American Art.

There is a formal rigour, and technical precision to the work but this is softened by the artist’s subtle use of texture and colour; the layering and seeping of handmade paper fibres, and varying effects of the different viscosities of paint.

Kelly often describes his works, made using collaged paper and paint, as a ‘palimpsest.’ The word is used to describe a manuscript on which the current writings have been scribed over earlier text, which has been scrubbed out. It was originally a form of recycling, or reusing, of expensive parchment. In Kelly’s artistic practice, he creates this effect by layering up, and collaging paper elements, often collected from his extensive travels, into graphic shapes, over the top of which he applies various types of paint. Meanings and histories are shared, layered, revealed and hidden.

Kelly describes the making process as meditative, but this could describe viewing too, an overall harmony, with an underlying complexity of layers and meaning that require concentration. The title may be a reference to Vajira, a nun from the Buddhist tradition, who offers an explanation of the soul through the simile of the being as chariot, adding a further spiritual dimension to the work.

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 65 129 [§] PAUL NEAGU (ROMANIAN 1938‑2004) MAN MADE MAN

Signed, inscribed with title and dated 1989 in pencil, numbered 20/75, handcoloured screenprint, unframed

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

£800‑1,200

130 [§] 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

66 Lyon & Turnbull

131 [§] ADRIAN WISZNIEWSKI R.S.A (SCOTTISH B.1958) MARLON BRANDO’S PRIVATE ISLAND Double‑sided flag

230cm x 152cm (90.5in x 60in) Note: This banner was produced as part of the Newleafland flags commissioned by Cleveland Arts, Middlesborough. John Cairns in his assessment suggests that ‘With imagery that combines complexity with accessibility and forms that provide function with an outrageous sense of decoration.....the distinction between art produced within the context of a gallery space and that which exists in the public domain is increasingly less clear, not only can the visual arts assist aesthetically with urban design but the built environment can provide an inspiration and audience unavailable within the confines of a gallery space’

£500‑700

132 [§] ADRIAN WISZNIEWSKI R.S.A (SCOTTISH B.1958) LITTLE PITCAIRN Double‑sided flag

230cm x 152cm (90.5in x 60in)

£500‑700 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 67 133 [§] PETER HOWSON O.B.E. (SCOTTISH B.1958) MUSLIM GIRL, 1994 Signed, felt tip pen on paper

20.5cm x 14.5cm (8in x 5.75in) Exhibited: Flowers East, London

£500‑700

134 [§] ADRIAN WISZNIEWSKI A.R.S.A. (SCOTTISH B.1958) FOUR FACES

Signed and numbered 6/25 in pencil to margin, etching and aquatint

65cm x 18cm (25.5in x 7in) including margins

£200‑300

135 [§] PETER HOWSON O.B.E. (SCOTTISH B.1958) VITEZ, 1994

Signed, pencil

29.5cm x 21cm (11.5in x 8.25in) Exhibited:

Flowers East, London

£400‑600

68 Lyon & Turnbull 136 [§] STEVEN WHITEHEAD (BRITISH CONTEMPORARY) NARNI

Signed and dated 2005 verso, oil on canvas

46.5cm x 25.5cm (16in x 10in)

£700‑900

137 [§] GERARD M. BURNS (SCOTTISH B.1961) AT LUNCH Signed, oil on canvas

60cm x 50cm (23.5in x 19.75in)

£1,000‑1,500 138 [§] ANGUS MCEWAN R.S.W., R.W.S., R.G.I. (SCOTTISH B. 1963) THE BLAZING SUN OF JEMAA EL‑FNAA

Signed, watercolour and bodycolour

27cm x 17cm (10.5in x 6.75in)

£400‑600 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 69

139 [§] STEVEN WHITEHEAD (BRITISH CONTEMPORARY) CAMBRIAN PANORAMA

Signed and inscribed with title verso, dated c.1999, oil on canvas

60cm x 152cm (23.5in x 59.75in)

£3,000‑5,000

140 [§] STEVEN WHITEHEAD (BRITISH CONTEMPORARY) L’ENCHANTRESSE 2003, oil on canvas

46cm x 64cm (18in x 25.25in)

£1,200‑1,800

70 Lyon & Turnbull

The John Brazenall Collection

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 71

John Brazenall was born in 1956 and graduated from the Edinburgh College of Art with a BA(Hons) in Sculpture in 1979.

John then completed an MFA at the State University of New York in 1981 at Buffalo. He has worked as a commercial fine art bronze founder since then. From 1981 to 1990 John worked with Julian Schnabel and other collaborations include Richard Tuttle, Louise Bourgeois and George Segal.

John received the 1987 RSA Young Sculptor of the Year Award and in 1992 the Ireland Alloys Award.

Since returning to Scotland in 1990 John has continued to make his own artwork, has lectured at the ECA and has collaborated with other Scottish artists, mainly Ian Hamilton Finlay.

The works featured in this sale represent the memories of a fascinating career working alongside some of the 20th century’s greatest artists. More than mementoes, many of these pieces are unique artworks; survivors of a casting process that often destroys the artist’s original designs.

141 RICHARD TUTTLE (AMERICAN B.1941) MAQUETTE

Aluminium foil, a maquette for 13 works cast in aluminium, one of which with indentation for candle (as here) cast in silver

10cm x 29cm x 5cm (4in x 11.5in x 2in) including woodend plinth Provenance: The Collection of John Brazenall

£3,000‑5,000

Richard Tuttle is an important American artist, and his work is considered part of the post-minimalist tradition.

He has had a long and varied career, though his works are difficult to classify. He works across a wide range of media, often in a space that could be considered between painting and sculpture, and with a particular focus on the modest and subtle. Viewers have struggled to get a grip on his art, though it has been widely championed.

In 1975, following the opening of Tuttle’s exhibition at the Whitney Museum of American Art, the art critic Hilton Kramer wrote a scathing review, claiming here ‘less is unmistakeably less.’ It cost the curator Marcia Tucker her job, as she stood by her decision to stage the exhibit.

She described the intention of the works; ‘to discover or explore something which is unknown in order to find out for yourself what it is about.’

Here, Maquette is presented within an artworld convention, raised on a plinth, under protective and distancing glass, which indicates to us that we are to take it seriously. It is even raised on a stepped wooden base, raising it higher as though some kind of offering, yet the sculpture’s surface is that of straightforward crumpled foil. It is designed to hold a candle, in many traditions a weighty responsibility, yet the flame has been allowed to burn down to the surface of the sculpture, the black, sooty surface recalling a forgotten flame, or hastily extinguished cigarette. Maquette is both strong and delicate, has a three-dimensional weight and presence yet seems made of simple lines, can recall basic building materials, or a powerful, destructive weapon. It is difficult to grasp fully, but encourages close looking and serious contemplation; any meanings or references are layered, subtle and ephemeral and can vary by viewer, location, mood, moment.

72 Lyon & Turnbull

How did your relationship with Schnabel come about?

It was around 1983/4 and I was working at the Johnston Atelier in New Jersey. Julian was one of our big contracts and I was in charge, initially, of the metalwork/fabrication of the pieces, the assembling and making the works ‘read’ as a whole. I was able to complete tasks like this at speed, which was popular with artists and their galleries and backers, and of course my company because it saved them money. I was known there as ‘The Flying Scotsman’ as a result!

Can you tell me a little about what you understand to be Schnabel’s aims for his sculptural works of this period?

At this point, Julian was beginning to “come off the canvas” a little bit. Moving towards sculpture was a logical extension of his plate paintings. There was a two year build up to the big Pace Gallery show. I recall $4,000,000 had been put up in casting fees by his backers…

What did Schnabel’s process involve?

Julian really liked coming down to the foundry and observing our end of the process. He was only a young guy then but already a big star and I think he enjoyed the waves parting for him when he came down to see us all in the foundries! Money was no object and he was playful and had great energy. He had what I’d call a ‘magpie lust’ and was really developing his visual vocabulary; finding objects in junk shops and imagining them scaled up. Julian was an avid reader of philosophy, classics, poetry; a very erudite guy, even though he tried to hide it!

To work together successfully you presumably have to have compatible artistic sensibilities. What do you, as fabricator and fellow artist, feel you brought to the process?

I like to think of the first time I ‘finished’ a work of his as an act of controlled vandalism – which fortunately he really liked!

He wanted to find out who the gnome behind the scenes was, finishing his work in a way he liked so much. We got to know each other and became friendly. I helped him find a more painterly vocabulary in his sculpture. He’d let me have free rein to patinate his work, as my own approach and work resonated with his. The drip effect married his paintings and sculptural work, and I knew how to find and make the right kind of mark that would have this effect. It elevated the objects, making them look like found or discovered artefacts. It suited what Julian was trying to articulate in his sculpture. This was in the air at the time – I found parallels of my own work in the ‘New Primitivism’ of German artists like Georg Baselitz and Anselm Keifer.

142 JULIAN SCHNABEL (AMERICAN B.1951) JACQUELINE (TORSO)

Plasticine over plaster, over internal wire frame

107cm x 56cm x 20cm (42in x 22in x 8in) Provenance: The Collection of John Brazenall Note: This is one of the few examples of sculpture that the artist worked on by hand, at the Johnson Atelier, New Jersey, USA. A small edition of six bronze casts were taken, and sold at an exhibition at Pace Gallery, New York in 1990: ‘Julian Schnabel: Sculpture 1987–1990’, The Pace Gallery, 142 Greene Street, New York, May 1–June 29, 1990. (Catalogue; text by Rene Ricard)

Do you find the relationship between artist and fabricator an easy one, or inherently challenging?

No, it really wasn’t challenging in this case. He gave me a lot of artistic freedom to finish his work, which in turn afforded him the luxury of not having to be present in the foundry all the time. I kind of view myself as a “surrogate parent” of the work. I had to be satisfied with how it looked, was cast, patinated. It had to look alive and I didn’t like it to show too much process. This was a shared ideal and why our relationship worked so well.

The way I looked at it, Julian was the composer and conductor of the orchestra, and I was a solo-ist who was brought in to make my unique contribution, which helped make up the work as a whole.

£20,000‑30,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 73

As an artist yourself, do you feel that your time with Schnabel influenced your work in any way?

Oh yes. Seeing the way Julian edited things; it was almost like he had a template – did an addition give a work more power or diminish it? And he liked my work; he thought I was a good painter. Working on his sculptures allowed me to explore this side of my practise and directly pushed it forward. He allowed me to step into his world.

We were developing in tandem really – me as a painter and him as a sculptor. Perhaps that’s why the relationship worked so well and the work was so satisfactory. I saw that time as collaborative in the truest sense of the word though, knowing him, I’m sure he would never use that word!

The works here are among the only examples on which Schnabel worked directly by hand. What can you tell us about the specific meaning behind these pieces?

I would say that this work depicts his first wife, Jacqueline Beaurang. He was signing the initials ‘JB’ on a number of sculptures and paintings from this period. Being so well versed in ancient history and classical art and so on, I think the notion of making a bust of someone important in his life was a logical thing to do. That’s certainly what I see in it – something more Cycladic. It’s not neo-classical, it’s more primitive.

This might be controversial to say but I also think there was a gentle touching on or examination of misogynistic thoughts involved in some of his motifs – the detachable, ‘decapitated’ nature of the figure’s head in this particular work.. the blanked out eyes in his Blind Girl Surf Club series (which incidentally probably relates to a very emotional, angry, drawing I made during my divorce around the same time. He liked it so much he kept hold of it.)

How was the exhibition at Pace Gallery, NYC received at the time?

Well! He had a bit of a nemesis in the journalist Roberta Smith at the time, but even she gave it a fairly rave review. She particularly enjoyed the sculptures’ “painterly passages” which, as you can imagine, was nice for me to hear! Each work was cast six times and I believe most if not all sold. He was big news.

The majority of his sculptural works remain tucked away in private hands and are scarce to market. What do you think marks these maquettes out as being of special interest to collectors?

Well that’s easy – they are totally unique. They’re as unique as brushstrokes on a canvas. His finger marks are still there in the plasticine – and throughout the casting process they’ve been handled with sufficient skill as to retain the artist’s mark making. It’s rare too. He was a pragmatist about things being destroyed by way of achieving the fully cast product. I think he’d find these fascinating himself – survivors. And they’re just great objects; a great motif of his: the heroine; Jaqueline. As a motif this image manifested as a lot of things in his work.

Do you have an opinion on what it is about Schnabel’s work that makes him the success that he is?

He has an extraordinary touch – he is a wonderful draughtsman and painter. Under all the sensationalism! And few can work on the scale he can and retain the kind of fluency he does. He just has an all-round tremendous artistic sensibility and exquisite taste. In many ways he paved the way for the likes of Koons and Basquiat. Oh, and he throws a good party!

143 JULIAN SCHNABEL (AMERICAN B.1951) MAQUETTE FOR ‘HEAD ON A STUMP’ Plaster maquette from which a cast edition of six bronzes was taken

53cm x 17cm (20.75in x 6.75in) Provenance: The Collection of John Brazenall Note: This is one of the few examples of sculpture that the artist worked on by hand, at the Johnson Atelier, New Jersey, USA. A small edition of four bronze casts were taken, and sold at an exhibition at Pace Gallery, New York in 1990: ‘Julian Schnabel: Sculpture 1987–1990’, The Pace Gallery, 142 Greene Street, New York, May 1–June 29, 1990. (Catalogue; text by Rene Ricard). Edition 2/4 in bronze was sold for £34,500 at Sothebys in 1999.

£6,000‑8,000

74 Lyon & Turnbull 144 [§] ALAN JOHNSTON (SCOTTISH CONTEMPORARY) ABSTRACT

Scaled down from a larger wooden work, no. 1/2 cast in bronze

29cm x 14cm x 8cm (11.5in x 5.5in x 3.25in) Provenance: The Collection of John Brazenall

£1,000‑1,500

145 [§] IAN HAMILTON FINLAY (SCOTTISH 1925‑2006) TWO HORIZONS

2 x cotton reels (one blue, one grey), in original cardboard packaging printed by Wild Hawthorn Press stating ‘Two Horizons, Ian Hamilton Finlay, Christmas 1998, Wild Hawthorn Press’

4cm x 10cm x 3.5cm (1.5in x 4in x 1.25in) (box dimensions) Provenance: The Collection of John Brazenall Note: Gifted to the current owner by the artist.

£400‑600

146 [§] IAN HAMILTON FINLAY (SCOTTISH 1925‑2006) SIMON PETER

Pewter, in original packaging

2cm x 4.5cm x 1.5cm (0.75in x 1.75in x 0.5in) Provenance: The Collection of John Brazenall Note: Gifted to the current owner by the artist. Lot accompanied by typed note inscribed: “Net Markers of the Disciples: Net markers, traditionally made of wood or cork, were used to establish ownership of nets. They would be carved with the fisherman’s intials (sometimes a monogram) or later, as boats and their crews grew larger, with the Fishing Numbers of the fisherman’s boat. SP, Simon Peter; A, Andrew; JN, John; JS, James. Hence, Net Markers of the Disciples. Christmas 1999, Little Sparta”

£600‑800 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 75 147 [§] ARCHIE WEBB (SCOTTISH 1963‑2005) WARRISTON CREMATORIUM Oil on canvasboard

114cm x 173cm (41in x 68in) Provenance: The Collection of John Brazenall

£800‑1,200

Note: Extracted from the artist’s obituary in the Scotsman: ”Archie’s style of working was influenced by the Munich Seven, a group of German expressionist painters who were also German punks around 1979.

Punk was a huge influence at every level, and Archie always said the most important night of his life was 7 May, 1977, when, aged 14, he saw the Clash on their White Riot tour.

Archie’s paintings are mainly figurative, with a bold use of thickly applied oil paint. Many, with subject matter of cars, animals and art history, had an overt social or political comment, while other paintings were more escapist or fantastical.

Archie’s shows were always an event whether he was exhibiting in Edinburgh, London or Glasgow, and he received critical acclaim for his sculptures as well as his painting.

His work was often humorous and irreverent, poking fun at the establishment. It was always full of life and humanity. Archie followed a path that was totally his own. He was always ahead of his time as a student, and works from early student days fit absolutely into his later work.

Other late works of note include Warriston Crematorium and a large blue composition of Brighton Pier. These paintings add to a vast body of work that has yet to be properly assessed.”

148 [§] ARCHIE WEBB (SCOTTISH 1963‑2005) LUCY SHOPLIFTING Oil on canvasboard

101cm x 100cm (39.75in x 39.25in) Provenance: The Collection of John Brazenall

£400‑600

76 Lyon & Turnbull 149 [§] OSCAR MARZAROLI (ITALIAN/SCOTTISH 1933-1988) GLASGOW SKYLINE Black and white photographic print

30cm x 29.5cm (11.75in x 11.5in)

£600-800

150 [§] MARTIN PARR (BRITISH B.1952) FIRE BEATING, WALSHAW MOOR Indistinctly signed, dated 1977 and inscribed with title, gelatin silver print

28cm x 18cm (11in x 7in)

£500‑700

151 [§] ANYA GALLACCIO (BRITISH B.1963) BLACK ICE

Signed and dated 2002 verso, numbered 9/30, photomechanical etching

60cm x 83cm (23.5in x 32.5in) Note: Gallaccio is part of a generation of artists known as the Young British Artists who studied at Goldsmiths College in London between 1985 and 1988. She exhibited alongside members of this group in Damien Hirst’s landmark exhibition Freeze in London’s Dockyards in 1988, and is now well known for her installation works that feature flowers, sugar, chocolate and other perishable materials. Gallaccio made Black Ice in the same year that she was commissioned to create an installation for Tate Britain’s Duveen Galleries.

£300‑500 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 77

152 [§] CRAIG MACKAY (SCOTTISH B.1960) STRUIE HILLS I, EASTER ROSS

Signed and inscribed with title to margin, numbered 2/10, photographic print

40cm x 39cm (15.75in x 15.25in) and another by the artist, ‘Struie Hills II’, a pair (2)

£400‑600

153 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942‑2013) ’EYEMOUTH DISASTER’ – SUITE OF SIX PRINTS

Signed and numbered 30/50 in pencil to margin, lithograph

each print 74cm x 54cm (29in x 21.25in) including margins, all are unframed

£1,200‑1,800

78 Lyon & Turnbull

Terry Frost was one of a major group of British artists who made their name in the late 1950s and early 1960s, creating a unique variety of home-grown abstraction. His paintings evolved to exude colour and light and to communicate the sheer pleasure of existence, what he himself described as ‘a state of delight in front of nature’.

It was hardly surprising that this should have been so. Frost was simply happy to be alive. Taken prisoner on Crete during World War he discovered his ability to paint while in a German POW camp, encouraged by fellow prisoner, the painter Adrian Heath.

After the war he enrolled at Camberwell but, uninspired by the hard-line regime of William Coldstream, dropped out on the suggestion of Victor Pasmore and moved to St Ives in Cornwall where a colony of artists was forming around Ben Nicholson and Barbara Hepworth, for whom he worked for a short time as an assistant.

Although he began as a figurative painter, Frost gradually moved towards abstraction, inspired in particular by the Tate’s seminal 1956 exhibition of post war American Abstract Expressionism.

During the 1950s, alongside Patrick Heron, Bryan Wynter and Roger Hilton, Frost established himself in Cornwall, displaying the influence of such artists as Robert Motherwell with his use of truncated geometric abstract forms.

Like Alan Davie he also began to develop a language of symbols: using chevrons, crescents, lozenges, triangles and in particular spirals, to great effect. By the early 1970s Frost had created his signature style, experimenting with complimentary colours and powerful abstract forms.

Having taught extensively in the north of England, his work being influenced by the barrenness of the landscape, Frost returned with his family to the south and from 1974 lived at Newlyn. He continued however to travel extensively, in particular around the Mediterranean, whose bright sunlight and bold colours were a strong influence on his later work.

Combining this with his consistent and well-defined language of symbol and form, Frost built a highly personal and unmistakeable style of abstraction which was at once hugely exuberant and celebratory. The painting on offer here, created between 1986 and 1990 is a classic example of his mature work, and the culmination of a lifetime’s understanding of the visual and psychological impact of pure abstraction.

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 79

154 [§] SIR TERRY FROST R.A. (BRITISH 1915‑2003) SUN RIDE Signed verso and dated 1986‑90, oil on canvas

151cm x 126cm (59.5in x 49.5in)

£20,000‑30,000

80 Lyon & Turnbull

155 [§] OLIVIA LOMENECH‑GILL (BRITISH B.1974) EXILE NOTE I (PROCESSION WITH TRACTOR ETC) Signed, handcoloured etching with collage

29cm x 83cm (11.5in x 32.5in)

£1,200‑1,800

156 [§] DAVID BREUER‑WEIL (BRITISH B.1965) CONTEXT

Signed and inscribed with title verso and dated ‘November 2016, New York’, acrylic on canvas

66cm x 86cm (26in x 33.75in)

£3,000‑5,000

157 [§] DAVID BREUER‑WEIL (BRITISH B.1965) UNTITLED Signed and dated 2016, acrylic on canvas

21cm x 66cm (8.25in x 26in)

£1,000‑1,500

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 81 158 [§] GLEN ONWIN (BRITISH B.1947) STATIC

Signed and inscribed with title and dated 1998 verso, copper sulphate and gold on canvas

21.5cm x 15cm (8.5in x 6in) Exhibited: Ingleby Gallery, Edinburgh

£250‑350

159 [§] PHILIP REEVES P.P.R.S.W., R.S.A., R.E. (SCOTTISH 1931‑2017) CHANIA: POST MERIDIAN

Signed and inscribed with title in pencil to margin, numbered 6/10, lithograph

49cm x 62cm (19.25in x 24.5in) and another by the same artist ‘Autumn Shore’ (2)

£250‑350

82 Lyon & Turnbull

160 [§] TRACEY EMIN C.B.E., R.A. (BRITISH B.1963) ROSETTE WITH LITTLE BIRD Signed and dated 2005, handstitched cotton, ribbon and felt assemblage

37cm x 22cm (14.5in x 8.75in)

£8,000‑12,000

One of the most infamous artists of the generation of ‘Brit art’ artists, christened YBAs, who emerged onto the London art scene in the early 1990s, Tracey Emin, best known for her ‘tent’ and ‘bed’, has gone on to become a leading figure in the British art establishment.

In August 2006, Emin was selected as Britain’s representative in the British Pavilion at the Venice Biennale for 2007. The first major retrospective of her work was held at the Gallery of Modern Art in Edinburgh in August 2008 and included My Bed and a monumental, room-sized installation entitled Exorcism of the Last Painting I Ever Made dating from 1996. It also featured her appliquéd blankets, paintings, sculptures, films, neon works, drawings and multiples, and travelled to the Centro de Arte Contemporáneo in Malaga and

the Kunstmuseum in Bern. In December 2011 Emin was appointed Professor of Drawing at the Royal Academy; drawing has always played a major part in her practice.

Fabric, particularly in the form of appliqué, has been a constant feature of her art. For her, the material itself retains an emotional significance related to its original function and history. The work on offer here unites these two key aspects of Emin’s oeuvre. It is closely related to a limited edition of 200 appliqué pieces entitled International Woman produced by the artist in 2004, but differs in that it is a unique piece. Also, instead of the Longchamp logo it carries a delicately executed drawing of a bird in red crayon along with the artist’s signature. The bird motif appears close to those prevalent in Emin’s celebrated pen and ink drawings, dating from 1999. The work is also similar in style to a piece entitled An Angel for my Daughter, a unique patchwork work which was made in 2004 and sold at auction in 2006.

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 83

161 [§] BRIAN GRIFFITHS (BRITISH B.1968) THE CLOWN SITUATION (RED WITH BAG)

2013, unique, ceramic, sand, glue, expanding foam

49cm (9.25in) (hanging length)

£600‑800

162 [§] FANNY LAM CHRISTIE (CHINESE/SCOTTISH CONTEMPORARY) FLUX 9 spheres, smoked‑fired clay

45cm (17.75in) diameter each (9) Exhibited: Visual Arts Scotland, Edinburgh, 2005 Note: Fanny Lam Christie is a sculptor and visual artist, born in Hong Kong. She is a graduate of Edinburgh College of Art. Her studio is in Perthshire, Scotland.

Christie’s work explores our relationship with nature. Ecological and sustainability interests are among her recurring themes. Her art practice includes public art, sculpture, site‑specific installations and painting. She uses a wide range of materials in her work including bronze, aluminium, clay, wood, glass, slate and water.

Christie’s artworks can be found in public collections in Scotland and in private collections in UK, USA, Canada, Spain, Ireland and Hong Kong.

£800‑1,200

84 Lyon & Turnbull 163 [§] GERALD LAING (BRITISH 1936‑2011) ANNA KARINA

Signed and inscribed to the present owner and dated October 2004, artist’s proof 1965‑2004, screenprint

99.8cm x 65.8cm (39.3in x 26in)

£1,500‑2,500

164 [§] ROSEMARY HOGARTH (SCOTTISH B.1983) THE GIRLIES

Signed and inscribed with title and dated ‘07 verso, oil on canvas

153cm x 144cm (60in x 56.5in)

£800‑1,200

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 85 165 [§] PHYLLIDA BARLOW C.B.E., R.A. (BRITISH B.1944) INDIVIDUAL CHAIR

2006, from an edition of 13 variants, paint and timber

approx. 115cm x 53cm 44cm (45.25in x 21in x 17.25in)

£3,000‑5,000

Phyllida Barlow has had a long and productive career, following her studies at Chelsea College of Art and the Slade School of Fine Art in the 1960s. She continued to make and exhibit artwork alongside raising a family, and a teaching career that saw her become Professor of Fine Art and Director of Undergraduate studies at the Slade. During this time she rarely sold work, and many of her creations no longer exist as she regularly recycled works for materials, or simply left them at the exhibition site.

She rose to public prominence and more commercial success after her exhibition at Serpentine in 2010, after which she gained representation from Hauser & Wirth.

Barlow became a Royal Academician in 2011, was awarded a CBE in 2015 and created a high-profile installation for the Duveen Galleries at Tate Britain, DOCK, in 2014. She is currently exhibiting in the British Pavilion at Venice Biennale.

In this work, Barlow takes the recognisable structure of a folding chair, with a flat base and back, and reconfigures it. By keeping the chair’s structure between open and shut, usable and stored, it becomes precarious; we are aware we would tumble over if we tried to use it for its intended purpose and it becomes unclear whether it is in the process of opening or closing, folding or unfolding. This is common in Barlow’s work, where she often creates installation’s that expand into a space or room, ultimately redefining it. She does so using cheap, builder’s materials such as plywood and cement, rather than the hallowed sculptor’s bronze or marble. In Individual Chair, the simple structure has added texture, through the rough edges of the wood, and areas of hastily applied cement, while the very application of the paint draws attention to its materiality, offering a visceral sense of the process of making; it drips, gloops and congeals, and continues to look as though it would be tacky to touch, as if the artist has only just finished making it in her studio.

86 Lyon & Turnbull 166 [§] WILLIAM GEAR R.A., F.R.S.A. (SCOTTISH 1915‑1997) RED FEATURE

Signed and dated ‘57, oil and coloured ink on paper

60cm x 40cm (23.5in x 15.75in) Exhibited: Redfern Gallery, London

£2,000‑3,000

167 [§] SIR TERRY FROST R.A. (BRITISH 1915‑2003) GREEN & BLACK Q

Signed and numbered 49/125 in pencil to margin, screenprint

60cm x 40cm (23.5in x 15.75in)

£600‑800

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 87

168 [§] JOHN HOYLAND R.A. (BRITISH 1934‑2011) 49 SPRINGS – 10.03.84 Acrylic on canvas

254cm x 244cm (100in x 96in)

£18,000‑25,000

“Paintings are there to be experienced, they are events. They are also to be meditated on and to be enjoyed by the senses; to be felt through the eye.”

John Hoyland is one of Britain’s leading abstract painters, and was dedicated to a non-figurative approach over a career spanning six decades. American Abstract Expression was a key influence in the 1950s and 60s, and by the close of his art-school training in 1960 he was converted enough to hang an entire show of abstract paintings. They were removed by order of the President of the Royal Academy, and he had to be awarded his diploma on the basis of his previous, figurative work instead. But Hoyland had found his approach, feeling that non-figurative imagery had ‘the potential for the most advanced depth of feeling and meaning.’

Hoyland had his first museum exhibition at the Whitechapel in 1967, and the Serpentine staged a key retrospective in 1979-80. He was elected a Royal Academician in 1991, and following his death, Damien Hirst opened his Newport Gallery with an exhibition of his work, citing him as a key influence and artistic hero.

Despite his long-standing commitment to non-figurative painting, Hoyland’s approach does develop and change over the course of his career, moving towards a more spontaneous, free-form approach. In the offered work, he has focussed on a composition of simple shapes, circles within circles, and a straightforward triangle, but there is a vitality to the application, and almost a tension to the composition – the shapes are only just fitting together in harmony, and he has begun to paint with more richness and freedom. Colour is always a powerful force in his work, and his paintings maintain a powerful energy, the intensity only increased by their large-scale.

88 Lyon & Turnbull 169 [§] WILLIAM CROSBIE R.S.A. (SCOTTISH 1915‑1999) THE CAMP – CONTINENTAL LANDSCAPE WITH FIGURES BY A BRIDGE Signed, oil on board

67cm x 86cm (26.5in x 34in)

£800‑1,200

170 [§] VALERIE FRASER R.S.W. (SCOTTISH B.1933) NORTH BERWICK Signed, oil on board

15.5cm x 23.5cm (6in x 9.25in)

£300‑500

171 [§] ROBERT INNES (SCOTTISH CONTEMPORARY) CHARNAY

Signed and inscribed with title verso, oil on board

90cm x 121cm (35.5in x 47.5in)

£800‑1,200 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 89 172 [§] ALBERTO MORROCCO O.B.E., R.S.A., R.S.W. (SCOTTISH 1917‑1998) PLOUGHING Signed, watercolour and bodycolour on paper

47cm x 66cm (18.5in x 26in)

£1,000‑1,500

173 [§] MARY FEDDEN O.B.E., R.A. (BRITISH 1915‑2012) OPPEDE LE VIEUX

Signed in pencil to margin, numbered 60/150, offset lithograph

37cm x 45cm (14.5in x 17.75in)

£400‑600

174 [§] MARY FEDDEN O.B.E., R.A. (BRITISH 1915‑2012) FOURTEEN Signed in pencil to margin and numbered 49/50, blindstamped, lithograph

25.5cm x 30cm (10in x 12in) and another smaller signed lithograph by the same artist, both unframed (2)

£500‑700

90 Lyon & Turnbull 175 [§] 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

£1,200‑1,800

176 [§] 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)

£300‑500

177 [§] CLAIRE MCGEE (BRITISH CONTEMPORARY) THE STAIRCASE Signed, oil on canvas

283cm x 192cm (111in x 75.5in)

£1,000‑1,500 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 91 178 [§] ALAN KING (SCOTTISH B.1946) THE DISAPPEARING BALL

Signed and dated ‘99, oil on canvasboard

18cm x 18cm (7in x 7in)

£300‑500

179 [§] ALEXANDER GOUDIE (SCOTTISH 1933‑2004) BRETON WOMAN AND COWS Signed, pencil on tracing paper

34cm x 51cm (13.5in x 20in)

£300‑500

180 [§] ALEXANDRA GARDNER (SCOTTISH B.1945) BLACK FEATHERS Signed, oil on board

20cm x 20cm (8in x 8in)

£400‑600

92 Lyon & Turnbull 181 [§] BARBARA RAE C.B.E., R.A., R.S.A. (SCOTTISH B.1943) WINTER PLATEAU

Signed and dated ‘88, and inscribed with title in pencil to margin, numbered 18/30, lithograph

50cm x 67cm (19.75in x 26.5in) including margin

£300‑500

182 [§] ADRIAN WISZNIEWSKI A.R.S.A. (SCOTTISH B.1958) TWELVE FLAGS

Portfolio of 12 screenprints, each signed and inscribed with title and numbered 27/40 in pencil to margin, in blue fabric bound box with gold lettering (series title and artist’s name) and lined with Velin Arches Blanc paper

all 75cm x 57cm (29.5in x 22.5in) (12)

£2000-3000

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

Signed and dated ‘84, A/P V/X, screenprint and collage

57cm x 76cm (22.5in x 30in)

£700‑900 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 93 184 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942‑2013) IAN BOTHAM

Signed and inscribed ‘Ian Botham’ and dated 1985 in plate, signed and dated in pencil to margin, numbered 6/100, etching

50cm x 66cm (19.75in x 26in) including margin, unframed

£150‑250

185 [§] JAMES MORRISON R.S.A., R.S.W. (SCOTTISH B.1932) ABSTRACT

Signed and dated ‘64, gouache

12cm x 49cm (4.75in x 19.25in)

£500‑700

186 [§] JOHN GARDINER CRAWFORD R.S.W. (SCOTTISH B.1941) LIMEKILN SEWALL

Signed and dated ‘79, watercolour

34cm x 54cm (13.5in x 21.25in)

£400‑600

94 Lyon & Turnbull 187 [§] JOAN MIRÓ (SPANISH 1893‑1983) UN FORT ABRAC

Signed and inscribed ‘Per Josef Maria “Pocholo”... un fort abrac’, and dated 13/XI ‘73, ballpoint pen

24cm x 19cm (9.5in x 7.5in) Note: This work is accompanied by a certificate of authenticity from ADOM, the official body for the authentication of work by Miro.

This work depicts the Tió de Nadal, a character in Catalonian mythology associated with Christmas time; a ‘Christmas Log’ who sits in the fireplace.

Beginning with the Feast of the Immaculate Conception (December 8), one gives the tió a little bit to “eat” every night and usually covers him with a blanket so that he will not be cold. The story goes that in the days preceding Christmas, children must take good care of the log, keeping it warm and feeding it, so that it will ‘defecate’ presents on Christmas Day. To make it defecate, one beats the tió with sticks, while singing various songs of Tió de Nadal.

Miro created this work as a humorous Christmas card to his friend who bears the nickname ‘Pocholo’, a colloquialism meaning ‘nice’ or ‘cute’. He signs off the card offering ‘un fort abrac’, or ‘a big hug’.

£5,000‑7,000

188 [§] SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I. (SCOTTISH 1916‑1992) ALLEGORY Watercolour

90cm x 107cm (35.5in x 42in)

£3,000‑5,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 95

189 [§] SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I. (SCOTTISH 1916‑1992) NAVE Signed, watercolour

137cm x 50cm (54in x 19.75in)

£4,000‑6,000

96 Lyon & Turnbull 190 ALASDAIR GRAY (SCOTTISH B.1934) MRS LESLIE NURSE

Signed and inscribed with sitter’s name and dated ‘circa 1964’, pen and ink on wallpaper

29cm x 21.5cm (11.5in x 8.5in) unframed

£800‑1,200

191 ALASDAIR GRAY (SCOTTISH B.1934) BLOKE (NUDE)

Signed and inscribed ‘Bloke met in Doublet pub around 1963 or 4 who wanted to be sketched bare, hoping – nae, believing this would be a sexual encounter, and upset & ashamed to find that for me, a married man with infant son in the house, it was not’, pencil, pen and ink

56cm x 38cm (22in x 15in)

£700‑900

192 ALASDAIR GRAY (SCOTTISH B.1934) PETE BROWN, POET AND MUSICIAN

Signed and inscribed with title and dated ‘circa 1965’, pen, ink and acrylic

44cm x 53cm (17.25in x 21in) unframed

£1,000‑1,500 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 97 193 [§] JOHN BYRNE (SCOTTISH B.1940) SNOUT – A WALL

Inscribed with title, biro

20cm x 14cm (8in x 5.5in) Exhibited: Scottish Gallery, Edinburgh, March 1993

£400‑600

194 [§] JOHN BYRNE (SCOTTISH B.1940) LE CHAT

Signed ‘Patrick’, oil on canvas

50cm x 40cm (19.75in x 15.75in)

£1,500‑2,000

195 [§] JOHN BYRNE (SCOTTISH B.1940) ALL THE WORLD’S A STAGE Signed in pencil to margin and numbered 72/100, screenprint

61cm x 58cm (24in x 22.75in) including margins Note: A limited edition print to commemorate the unveiling of the mural Byrne produced for the dome in the King’s Theatre, Edinburgh, 2014

£300‑500

98 Lyon & Turnbull 196 [§] GERALD LAING (BRITISH 1936‑2011) FARQUHAR IN HIS COWBOY HAT

Embossed under brim of hat with artist’s CR 297, numbered 1/10, stamped with initals ‘GL’ and dated 1974, bronze, cast at Kinkell

19cm x 20cm x 28cm (7.5in x 8in x 11in) Note: “Worked on small sculpture of Farquhar in what he calls his ‘Cowboy Hat’ – actually a deerstalker, the type without flaps, originally owned by his mother but now completely taken over.” ’Diary entry for December 28th 1973’, Gerald Laing, unpublished manuscript, 1973 Provenance: Collection of Andrew McIntosh Patrick Exhibited: Gerald Laing: Sculpture 1968–1999, The Fine Art Society, London, 1999 Literature: Gerald Laing: Sculpture 1968–1999, exhibition catalogue, The Fine Art Society, 1999

£3,000‑5,000

197 [§] DAVID BOWIE (BRITISH 1947‑2016) D HEAD LXIII

Signed and dated ‘97 verso, acrylic and computer collage on canvas

24cm x 19cm (9.5in x 7.5in)

£3,000‑5,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Contemporary & Post-War Art 99 198 [§] DAVID BOWIE (BRITISH 1947‑2016) ANCESTOR II

SIgned and dated ‘98 in pencil to margin, numbered 21/175, photolithograph

57cm x 46cm (22.5in x 18in) Note: This is a print after an original painting in which Bowie explores thoughts on the “white ancestor” story, gleaned from his trip to South Africa. The artist wrote: “In 1995 Iman and I took our first trip to South Africa. One of the prevailing stories handed down is that when the first tribes saw the white man they presumed they were being visited by their ancestors, as in their mythology the ancestors appear as a ghost‑like white form.”

£1,200‑1,800

199 [§] DAVID BOWIE (BRITISH 1947‑2016) SELF PORTRAIT Signed and dated ‘98 (twice) in pencil to margin, photolithograph

40.5cm x 33cm (16in x 13in)

£1,000‑1,500

200 [§] DAVID BOWIE (BRITISH 1947‑2016) CHILD IN BERLIN Signed and numbered 81/450 in pencil to margin, serigraph print

69cm x 64cm (27.25in x 25.25in) Note: This print is after an original painting by Bowie of the foot of the stairs of the ground floor of the Berlin apartment he shared with Iggy Pop. On the third floor of their apartment block was a dentist’s surgery. The painting is of a boy standing on the ground floor looking up towards the third.

He is about to have a tooth pulled.

£1,500‑2,500

END OF SALE

Index A Appel, K., 119, 121 B Barlow, P., 165 Barr, S., 85, 86 Bawden, E., 44 Bellany, J., 24, 38, 81, 108, 109, 153, 184 Black, D., 91 Blackadder, E., 6, 8, 93, 94 Blyth, R.H., 98 Bowie, D., 197, 198, 199, 200 Boyd, J.G., 27, 103 Breuer-Weil, D., 156, 157 Burns, G.M., 137 Byrne, J., 193, 194, 195 C Chadwick, L., 122 Chagall, M., 124 Christie, F.L., 162 Clarke, J., 77 Cook, I., 116, 117 Crawford, J.G., 186 Crosbie, W., 76, 169 D Davis, J.S., 28, 30, 32 Donaldson, D.A., 69 Donley, R., 80 Douthwaite, P., 110, 111, 112, 113 Downie, K., 118 Dufy, R., 126 E Emin, T., 160 F Fedden, M., 173, 174 Finlay, I.H., 145, 146 Flannigan, M., 114 Flockhart, H., 79 Fraser, V., 170 Frost, Sir T., 154, 167 Fullarton, J., 29, 57, 58 G Gage, E., 78 Gallaccio, A., 151 Gardner, A., 88, 180 Gear, W., 166 George, J., 90 Goudie, A., 63, 179 Gray, A., 190, 191, 192 Griffiths, B., 161

H Hanna, N., 12, 13 Herman, J., 3 Hockney, D., 123 Hogarth, R., 164 Houston, J., 36, 100, 101 Howson, P., 60, 61, 62, 64, 133, 135 Hoyland, J., 168 I Innes, R., 171 J Johnston, A., 144 Johnstone, W., 39, 40, 41 K Kelly, R., 128 King, A., 178 Kirkham, N., 31 Knox, J., 9 L Laing, G., 163, 196 Leonard, M., 115 Littlejohn, W., 97, 99 Lomenech-Gill, O., 155 Low, B., 1, 2 M Mackay, C., 152 Maclean, W., 22 Manson, D., 105, 106 Marini, M., 120 Martin, D.M., 10, 89, 102 Marzaroli, O., 149 Matthews, J., 92 McClaren, P., 33, 34 McClure, D., 11, 52, 53, 56, 104 McEwan, A., 138 McGee, C., 177 McNairn, C., 4, 5 Michie, D., 17, 19 Mirรณ, J., 187 Mitchell, G., 14 Moore, H., 42 Morrison, J., 26, 185 Morrison., J.L., 20, 21 Morrocco, A., 15, 48, 50, 172 Morrocco, J., 55, 82, 83, 84 Morrocco, L., 16, 49, 51 Mulholland, C., 175, 176 Murphy, S., 54, 87

N Neagu, P., 129, 130 Nicholson, B., after, 125 O Onwin, G., 158 Organ, B., 127 P Paolozzi, Sir E., 70, 71, 72, 73, 74, 75 Parr, M., 150 Philipson, Sir R., 59, 188, 189 Pope, P., 67, 68 R Rae, B., 18, 35, 37, 107, 181, 183 Reeves, P., 159 Rego, P., 43 S Schnabel, J., 142, 143 Schwitters, K., 45, 46, 47 Stirling, D., 7 T Tuttle, R., 141 W Walker, E., 65, 66, 95, 96 Watson, A., 23, 25 Webb, A., 147, 148 Whitehead, S., 136, 139, 140 Wiszniewski, A., 131, 132, 134, 182

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.

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Locations

Contemporary and Modern British Art Consigning now for sale in January 2018

WINIFRED NICHOLSON (BRITISH 1893-1981) AWAKE

Signed, titled and dated 1973 verso, oil on canvas

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

Select auction entries are invited Charlotte Riordan +44 (0)131 557 8844 charlotte.riordan@lyonandturnbull.com Nick Curnow +44 (0)131 557 8844 nick.curnow@lyonandturnbull.com

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

Scottish Silver & Applied Arts including a Private Collection of Jacobite Glass Wednesday, 16th August, 2017

Enquiries Colin Fraser +44 (0)131 557 8844 colin.fraser@lyonandturnbull.com John Mackie +44 (0)131 557 8844 john.mackie@lyonandturnbull.com

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

T h e PaTr ic ia and Joh n r o ch e collec T ion Auction 18 September 2017

DAME ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I. (scottish b.1931) PURPLE IRISES Signed and dated 1994 bottom right. Watercolor and pencil on paper.

22 3/58 x 31 1/2 in. (detail) $8,000-12,000

Dunham Townend | +1267.414.1221 dtownend@freemansauction.com

www.freemansauction.com

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“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, EH1 3RR registered in Scotland No. 191166 “Forgery” is an imitation intended by the maker or any other person to deceive as to (but not limited to); authorship, attribution, origin, authenticity, style, date, age, period, provenance, and/or culture, at the sale date had a value materially less than it would have had if the lot had not been such an imitation, and which is not stated to be such an imitation in any description of the lot. A lot will not be a forgery by way of any damage, restoration, and or modification work, (including repainting or over painting) on the lot, where that damage, restoration or modification work, does not substantially affect the identity of the lot as one conforming to the description of the lot.

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13. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Sellers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers. (c) Lyon & Turnbull undertakes to inform the Seller of any offers it receives in relation to an item prior to

any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private treaty sale, if a lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale.

14. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

15. GENERAL (a) We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. (b) Any notice to any Buyer, Seller, bidder or viewer may be given by email, or if not available then first class mail, in which case it shall be deemed to have been received by the addressee 48 hours after posting. (c) Notices to Lyon & Turnbull should be in writing and addressed to the Managing Director at 33 Broughton Place, Edinburgh EH1 3RR, quoting the reference number specified at the beginning of the sale catalogue.

(d) Should any provision of these Conditions of Sale be held unenforceable for any reason, the remaining provisions shall remain in full force and effect. (e) These Conditions of Sale are not assignable by either party without the other’s prior written consent, but are binding on the seller’s successor and representatives.

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

16. RECISSION OF SALES Lyon & Turnbull may rescind the sale where it reasonably believes that the lot falls within the terms as defined by Lyon & Turnbull’s Authenticity Guarantee (see Buyer’s conditions), in this event Lyon & Turnbull shall send the Seller notice of such rescission. The Seller agrees to return to Lyon & Turnbull the Net Sale Proceeds received from the sale of such lot with any additional expenses incurred by Lyon & Turnbull. Lyon & Turnbull will return the property to the Seller upon receipt of the Net Sale Proceeds and Expenses, unless prevented in doing so by reasons outwith Lyon & Turnbull’s control.

17. AGENCY Lyon & Turnbull acts as agent solely for and in the interests of the Seller. We do not act for Buyers in this

role and does not give advice to Buyers. When Lyon & Turnbull make a statement about a lot it is doing so on behalf of the Seller of the lot. The Auctioneer normally acts as agent only and disclaims any responsibility for default by Sellers or Buyers.

18. 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.

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 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.

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

1. DEFINITIONS In these Conditions of Sale (Buyers): “Auctioneer” means Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or its authorised auctioneer, as appropriate; “Hammer price” means the level of bidding reached (at or above any reserve) when the Auctioneer brings down the hammer; “Lot” means each Item offered for sale by Lyon & Turnbull; “Purchase Price” is the Hammer Price and applicable Buyer’s Premium; “Reserve” means the lowest price below which an item cannot be sold; “Total amount due” means the hammer price in respect of the lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions; “You”, “Your” means the Buyer “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd The singular includes the plural and vice versa as appropriate.

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

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

3. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security and credit references or arrangements before entering the auction room to view or bid; (b) High Value Lots and High Cumulative Value of Lots: If you wish to bid on any High Value Lot (a lot with a lower estimate of £30,000 or above) or if you are bidding on several lots with a total lower estimate value of £30,000 or above, you are invited to complete the High Value Lot pre-registration. After you have successfully registered as a bidder with Lyon and Turnbull, you should complete the High Value Lot pre-registration before the date of sale by contacting the Office Manager or on the date of sale at the registration area. Unless otherwise agreed by us, you will be permitted to bid for High Value Lots only if Lyon and Turnbull has confirmed your payment of deposit and your completion of the High Value Lot preregistration before the sale. The Deposit required will be 10% of the lower estimate. Upon pre-registration, you should pay the deposit or such other sum as determined

by Lyon and Turnbull dependant on circumstances, by way of bank transfer or credit card(s) acceptable to Lyon and Turnbull. Please note that Lyon and Turnbull does not accept payment from third parties and this also applies to agents.

If you are not successful in any bid and do not owe Lyon and Turnbull any debt, the deposit will be refunded to you by way of wire transfer or such other methods as

determined by Lyon and Turnbull. Please make sure that you provide your bank details in the pre-registration form. The exchange rate provided to us by the bank on the date of exchange is final. We will arrange to refund the deposit to you within seven days after the date of sale, however we do not guarantee when you will receive the payment due to the variance in time for banks to process fund transfers.

Upon successful pre-registration, you will be given a numbered High Value Lot paddle for identification purposes. The auctioneer will usually only accept bids made with the High Value Lot paddle or by its High Value Lot registered bidder. This applies to saleroom, telephone and absentee bids.

Lyon and Turnbull has the right to change the High Value Lot pre-registration procedures and requirements from time to time without notice. (c) 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. (d) Once made, no bid may be withdrawn. (e) Our right to bid on behalf of Sellers is expressly reserved up to the amount of any reserve. (f) The right to refuse any bid is also reserved. (g) 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. (h) Telephone Bids: If a prospective Buyer makes arrangements with us prior to the commencement of the sale we will use reasonable efforts to contact them to enable them to participate in bidding by telephone.

We do not accept liability for failure to do so or for errors and omissions in connections. (h) Online Bidding: We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding.

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

5. THE PURCHASE PRICE For each lot purchased a Buyer’s Premium of 25% of the hammer price of each lot up to and including £100,000, plus 20% from £100,001 thereafter. VAT at the appropriate rate is charged on the Buyer’s Premium.

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

Live online bidding is subject to an additional 3% premium (charged by the live bidding service provider Invaluable). This additional premium is subject to VAT at the appropriate rate as above.

6. VALUE ADDED TAX Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by Buyers of relevant lots.

(1) Lots affixed with (†): Value Added Tax on the hammer

price is imposed by law on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the European Union and is not operating under a Margin Scheme.

(2) Lots affixed with (*): A reduced rate of Value Added Tax on the hammer price of 5% is payable. This indicates that a lot has been imported from outwith the European Union. This reduced rate is applicable to Antique items.

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

7. DROIT de SUITE This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006.

We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the hammer price and in addition to the Buyer’s premium.

It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the auctioneer. Resale royalties are not subject to VAT. Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale. More information on Droit de Suite is available at www.dacs.org.uk.

8. PAYMENT (1) Within 7 days of a lot being sold you will: (a) Pay to us the total amount due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. (b) Please note there is a surcharge of 2% when using credit cards. (c) Please note that we do not accept cash payments over £5,000.

(2) Any payments by you to us may be applied by us towards any sums owing by you to us howsoever incurred and without agreement by you or your agent, whether express or implied.

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

(2) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any cheque used for payment whichever is later. We can provide you with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us.

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

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

for lots not collected by the appropriate time.

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

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.

(3) Estimates: Estimates are placed on each lot to help Buyers gauge the sums involved for the purchase of a particular lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon.

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

(5) Electrical Goods: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use

of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given.

(6) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations (items manufactured prior to 1950 are exempt from any regulations). Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. Lyon & Turnbull provide no guarantee as to the originality of any wood/material contained within the item.

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

12. BOOKS, CLOCKS & WATCHES (1) Books-Collation: If on collation any NAMED item in the sale catalogue proves defective, in text or illustration the Buyer may reject the lot provided he returns it within 21 days of the sale stating the defect in writing.

This, however, shall not apply in the case of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings NOR in respect of damage to bindings, stains, foxing, marginal worm holes or other defects not affecting the completeness of the text NOR in respect of Defects mentioned in the catalogue, or at the time of sale, NOR in respect of lots sold for less than £300.

(2) Clocks & Watches: All lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/ newer parts. Furthermore, Lyon & Turnbull makes no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Buyers should also be aware that Lyon & Turnbull cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches cannot be shipped to the USA and only imported personally.

13. CITES Please be aware that all lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http://www.defra.gov.uk/ahvla-en/imports-exports/cites Lyon & Turnbull accepts no liability for any lots which may be subject to CITES but have not be identified as such.

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

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

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

16. GENERAL (a) We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. (b) Any notice to any Buyer, Seller, bidder or viewer may be given by email if not available then first class mail in which case it shall be deemed to have been received by the addressee 48 hours after posting. (c) Notices to Lyon & Turnbull should be in writing and addressed to the Managing Director 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. AUTHENTICITY GUARANTEE Lyon & Turnbull guarantees that the authorship, period, or origin (collectively, “Authorship”) of each lot in this catalogue is as stated in the BOLD or CAPITALISED type heading in the catalogue description of the lot, as amended by oral or written salesroom notes or announcements. Lyon & Turnbull makes no warranties whatsoever, whether express or implied, with respect to any material in the catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below.

In the event Lyon &Turnbull in its reasonable opinion deems that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the lot the hammer price and applicable Buyer’s Premium paid for the lot by the original purchaser.

This Guarantee does not apply if: (i) the catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the catalogue description indicated that there was a conflict of such opinions; or (ii) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in Lyon &Turnbull’s reasonable opinion) to have caused damage to the lot or likely to have caused loss of value to the lot; or (iii) there has been no material loss in value of the lot from its value had it been in accordance with its description in the Bold or Capitalised type heading.

This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the lot must: (i) notify Lyon & Turnbull in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the lot number, date of the auction at which it was purchased and the reasons for such dispute; and (ii) return the Lot to Lyon & Turnbull’s registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale.

Lyon & Turnbull has discretion to waive any of the above requirements. Lyon & Turnbull may require the original purchaser of the lot to obtain, at the original purchaser of lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to Lyon & Turnbull and the original purchaser of the lot. Lyon & Turnbull shall not be bound by any reports produced by the original purchaser of the lot, and reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original purchase price paid (the successful hammer price, plus the buyer’s premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest.

18. 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 0131 557 8844.

19. 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.

20. 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.

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

22 Connaught Street, London W2 2AF Tel. +44 (0)207 930 9115

CONTEMPORARY & POST-WAR ART 17TH AUGUST 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

Thursday, 17th August, 2017 33 Broughton Place Edinburgh

Contemporary & Post-War Art