Modern British & Contemporary Art | 16th August 2018 | 11am

Thursday, 16th August 2018 33 Broughton Place Edinburgh

Modern British & Contemporary Art

Modern British & Contemporary Art 1

Modern British & Contemporary Art Thursday, 16th August, 2018 at 11am Sale Number LT531

Viewing Times Sunday, 12th August 12 noon - 4pm Monday, 13th August 10am - 5pm Tuesday, 14th August 10am - 5pm Wednesday, 15th August 10am - 5pm Morning of sale by appointment only

Enquiries Lyon & Turnbull Ltd. 33 Broughton Place Edinburgh EH1 3RR Tel. 0131 557 8844 Fax. 0131 557 8668 Email. info@lyonandturnbull.com www.lyonandturnbull.com

Catalogue: ÂŁ15

Front Cover Lot 70 (detail)

Inside Front Cover Lot 76 (detail)

Inside Back Cover Lot 178 (detail)

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

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

Buyer’s Premium & Other Charges

Registration

Catalogue descriptions

The buyer shall pay the hammer price together with a premium, at the following rate, thereon.

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.

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 on the hammer price

1 – Government issued photo ID (Passport/ Driving licence)

* 5% import VAT payable on the hammer price

2 – Proof of address (utility bill/ bank statement).

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

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

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Meet the Specialists At Lyon & Turnbull we want to make buying at auction as easy and enjoyable as possible.

Our specialist team are on hand to assist you, whether you are looking for something in particular for your home or collection, require more detailed information about the history or current condition of a lot or just want to find out more about the auction process.

Charlotte Riordan

Nick Curnow

Carly Shearer

Philip Smith

Head of Sale

Head of Department

Specialist

Specialist

charlotte.riordan@lyonandturnbull.com

nick.curnow@lyonandturnbull.com

carly.shearer@lyonandturnbull.com

philip.smith@lyonandturnbull.com

How to Find Us in Edinburgh

Lyon & Turnbull Saleroom

York Place tram stop

Waverley Station, Princes Street

4 Lyon & Turnbull

1 [§] JAMES CUMMING R.S.A., R.S.W. (SCOTTISH 1922-1996) CHANTEUSE FROM NEW ORLEANS, 1987 Signed, acrylic 28cm x 26cm (11in x 10.5in)

£400-600

2 [§] WILLIAM BURNS A.R.S.A., R.S.W. (SCOTTISH 1921-1972) SEAKIRK 2 Signed, oil on board 46cm x 26cm (18in x 10.25in) Exhibited: Aitken Dott, Edinburgh, August 1968

£1,000-1,500

3 [§] JAMES CUMMING R.S.A., R.S.W. (SCOTTISH 1922-1996) UNTITLED IN BROWNS Signed, oil on board 60cm x 42cm (23.5in x 16.5in)

£1,200-1,800 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

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4 [§] WILLIAM JOHNSTONE O.B.E. (SCOTTISH 1897-1981) PORTRAIT OF VICTOR BONHAM-CARTER Signed and dated 1933 verso, oil on canvas 34cm x 24cm ( 13.5in x 9.5in)

£2,000-3,000

5 [§] WILLIAM JOHNSTONE O.B.E. (SCOTTISH 1897-1981) ABSTRACT Signed and inscribed ‘No. 23’ verso, oil on canvas 40cm x 50cm (15.75in x 19.5in)

£2,000-3,000

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6 [§] KEITH VAUGHAN (BRITISH 1912-1977) RIVER LANDSCAPE Ink 12.5cm x 18cm (5in x 7in)

£800-1,200

7 [§] KEITH VAUGHAN (BRITISH 1912-1977) FEMALE FIGURE, 1943 Studio stamp (lower right), pencil on paper 14.5cm x 17.5cm (5.75in x 7in) Provenance: From the Keith Vaughan Sketchbook, 1943; Professor John Ball; Private Collection.

£300-500

8 [§] KEITH VAUGHAN (BRITISH 1912-1977) FIGURE IN ORCHARD, 1943 Studio stamp (lower right), ink and wash 8.5cm x 11.5cm (3.25in x 4.5in) Provenance: From the Keith Vaughan Sketchbook, 1943; Professor John Ball; Private Collection

£400-600

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9 [§] PETER MACDONNELL (BRITISH 20TH CENTURY) MAIN STREEY, FINDOCHTY Signed and dated ‘46, oil on board 39cm x 54cm (15.25in x 21.25in)

£400-600

10 [§] JOHN ALDRIDGE R.A. (BRITISH 1905-1983) ON THE OUTSKIRTS OF URBINO Signed and dated 1959, oil on board 25.5cm x 34.5cm (10in x 13.5in)

£1,000-1,500

11 [§] ANTONIO OSORIO LUQUE (ARGENTINIAN 1913-1979) TRAVELLERS IN A SOUTH AMERICAN LANDSCAPE - C.1950 Signed and indistinctly inscribed and dated, oil on canvas 40cm x 50cm (15.75in x 19.75in)

£500-700 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

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12 [§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970) PORTRAIT OF MAJOR PETER CASSON Signed and inscribed ‘To my dear friend Peter - Laura Knight’, chalk 29cm x 25cm (11.5in x 9.75in) Exhibited: Abbott and Holder, London Note: Major Peter Casson was Deputy Assistant Adjutant - General of the British War Crimes Executive based at the Courthouse, Nuremberg who first met Laura Knight at Nuremberg. He was responsible together with Captain Marsh and Captain Watts-Russell for the care, pass and travel arrangements of the artist whilst performing her commission on the Trials in 1946.

They became firm friends for the rest of her life to such an extent that he shared with four others in the residuary assets of her Estate on her death and Casson read the Lesson at her memorial service.

After the War, Peter Casson became a roving ambassador for the United Nations.

In October 1966 he was appointed Commissioner General to the UN Pavilion at Montreal World Fair. Peter Casson organised the luncheon at Overtons Restaurant 3 St James London in celebration of her 1965 retrospective exhibition.

£800-1,200

13 [§] WILLIAM OTWAY MCCANNELL F.R.S.A., R.B.A. (BRITISH 1883–1969) MICHAEL Signed with initials, mixed media on paper 49cm x 36cm (19.25in x 14.25in) Exhibited: The Modern Art Gallery, London

£300-500

14 [§] HENRY MOORE O.M., C.H. (BRITISH 1898-1986) TWO HEADS - 1981 Signed and inscribed ‘e/a,’ colour lithograph, unframed 40.5cm x 44.5cm (16in x 17.5in)

£500-700 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

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15 [§] WILLIAM SCOTT C.B.E., R.A. (BRITISH 1913-1989) STILL-LIFE WITH LEMON Signed, inscribed ‘s/p’ and dated 1988, colour lithograph, unframed 59cm x 77.5cm (23.5in x 30.5in)

£1,500-2,000

16 [§] HENRY MOORE O.M., C.H., F.B.A. (BRITISH 1898-1986) RECLINING FIGURE, CAVE, 1979 S/P, signed in pencil to margin, lithograph, published by Curwen Press 54cm x 64cm (21.25in x 25.25in) (full sheet)

£800-1,200

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17 [§] WILLIAM JOHNSTONE O.B.E. (SCOTTISH 1897-1981) ABSTRACT COMPOSITION, POND II Signed and dated ‘71 verso, oil on canvas 59cm x 74cm (23.25in x 29in) Provenance: Christie’s, The Studio Sale, 1990, no. 75

£800-1,200

18 [§] WILLIAM JOHNSTONE O.B.E. (SCOTTISH 1897-1981) WILLIAM JOHNSTONE & EDWIN MUIR - FOLIO OF LITHOGRAPHS & POETRY, 1981 Signed by Johnstone and numbered 27/50, featuring 21 lithographs, each signed in pencil, in original folio casing, with original tissue guards 32.5cm x 26cm (12.75in x 10.25in) Note: Johnstone on the folio, “I do not mean my lithographs to have a literal connection with the poems I have chosen by Ewin Muir. I have tried to relate my unconscious and surreal perceptions to those of the poet.

The poems, re-read over many years, contain layered depths of unconscious feeling and tension. The poet never realised that he was a true man of genius; he remained a man of doubt.”

£400-600

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19 [§] GEORGES BRAQUE (FRENCH 1882-1963) TROIS OISEAUX ROUGES Offset lithograph, published by Editions des Nouvelles Images, France 97cm x 66cm (38in x 26in)

£400-600

20 [§] SVEN BERLIN (BRITISH 1911-1999) HORSE FOR STONE Signed and inscribed with title and dated ‘81 in pencil, ink 28cm x 18cm (11in x 7in)

£400-600

21 [§] HENRI MATISSE (FRENCH 1869-1954) VISAGES - 1946 Linocut, from the edition of 250 13cm x 19cm (5in x 7.5in)

£100-200 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

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22 [§] EDWARD BAWDEN C.B.E., R.A. (BRITISH 1903-1989) BILLINGSGATE (FROM SIX LONDON MARKETS) Lithograph after the original linocut, numbered 10/225 in pencil.

Published posthumously by the Curwen Studio, 2009. Unframed.

57cm x 71cm (22.5in x 28in)

£300-500

23 [§] JOHN PIPER (BRITISH 1903-1992) HARLAXTON MANOR Signed and number 25/100 in pencil to margin, 1977, Levinson 271, screenprint 56.5cm x 76.5cm (22.25in x 30in)

£800-1,200

24 [§] SCOTTIE WILSON (SCOTTISH 1889-1972) BUTTERFLY SUMMER - 1927 Signed, gouache and ink on paper 34cm x 26cm (13.5in x 10.25in) Exhibited: Cyril Gerber Fine Art, Glasgow; Mercury Gallery, Edinburgh Note: Scottie (Robert) Wilson was born in Glasgow. He joined the army at the age of sixteen, serving in India and South Africa and also lived in Canada for fifteen years from 1930. A self-taught artist, Wilson began to draw in the 1930s and held his first solo exhibition in Toronto in 1943. On returning to Britain, he became a well-known character on the London art scene. Wilson’s distinctive drawings are decorative and fantastical. His favourite motifs include stylized fish, birds, flowers, trees, self-portraits and totem pole-like symbols. Preferring to use crayon, pen and ink as they allowed him to work quickly, he also experimented with gouache. Wilson’s work was admired by the Surrealists and by Jean Dubuffet and Picasso.

£400-600 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

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25 [§] PAULA REGO D.B.E. (BRITISH/ PORTUGUESE B.1935) JANE AND HELEN Signed, numbered 3/4 and inscribed p.p. in pencil to margin, lithograph 47cm x 68.5ccm (18.5in x 26.75in)

£700-900

26 [§] PAULA REGO D.B.E. (BRITISH/ PORTUGUESE B.1935) THE UNICORN ARTIST - 2008 Signed and numbered 34/50 in pencil to margin, colour lithograph, unframed 84.5cm x 61cm (33.25in x 24in)

£500-700

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27 [§] WILLIAM GEAR R.A., F.R.S.A, R.B.S.A. (SCOTTISH 1915-1997) BIO-FORM, BLACK / YELLOW Signed and dated ‘76, mixed media on paper 41cm x 58cm (16in x 22.75in) Exhibited: ‘Colour and Form: William Gear, 1915-1997’, Royal Birmingham Society of Artists Gallery, Nov 2017

£800-1,200

28 [§] WILLIAM GEAR R.A., F.R.S.A, R.B.S.A. (SCOTTISH 1915-1997) BLACK AND PINK, 1951 Signed and dated ‘51, gouache 42cm x 32cm (16.5in x 12.5in) Exhibited: ‘Colour and Form: William Gear, 1915-1997’, Royal Birmingham Society of Artists Gallery, November 2017

£400-600

29 [§] WILLIAM GEAR R.A., F.R.S.A, R.B.S.A. (SCOTTISH 1915-1997) WILD LANDSCAPE, 1964 Acrylic, ink and pastel on paper 36cm x 57cm (14in x 22.5in)

£600-800 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

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30 [§] SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I. (SCOTTISH 1916-1992) WOMEN OBSERVED 1980, signed verso, oil on canvas 22.5cm x 14.5cm (9in x 5.75in)

£1,200-1,800

31 [§] SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I. (SCOTTISH 1916-1992) WOMEN OBSERVED II 1982, pastel 22.5cm x 27cm (9in x 10.5in)

£800-1,200

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32 [§] SALVADOR DALI (SPANISH 1904-1989) AFTER 50 YEARS OF SURREALISM - 1974 The complete set of 12 etchings with handcolouring, from the English edition, with signed and numbered title page, each within an original paper folder with text by André Parinaud, all contained within original black linen-covered portfolio. Each etching signed and numbered ‘A 56/195.’ each etching 66cm x 50cm (26in x 19.75in)

£5,000-8,000

After 50 Years of Surrealism is a suite of twelve original drypoint etchings hand-coloured with watercolour paint and each contained in a folder with a corresponding text by art critic and writer André Parinaud. Surrealism, literally meaning ‘above reality’ sought to liberate the human mind from rational thought by celebrating the absurd and this portfolio leads the viewer through the memories and dreams of perhaps the most iconic of the movement’s painters: Salvador Dali. The portfolio’s combination of word and image seems a fitting commemoration of Surrealism which began as a literary movement, and is perhaps an homage to André Breton who published The Surrealist Manifesto fifty years earlier in 1924.

The original etchings are each signed by Dali and showcase his renowned mastery of draftsmanship. Dali himself stated that ‘’Drawing is the honesty in art. There is no possibility of cheating. It is either good or bad’’ and the light washes of watercolour applied on top of these etchings leave room to appreciate just how good Dali’s draughtsmanship is. His linear compositions conjure dreamlike Dalinian creatures in such detail they almost appear to be observed from life while also managing to describe the baked plains and mountainous horizons of Dali’s beloved Catalonian landscape sometimes with a single flowing line. Dali’s choice of the medium of print reflect his desire to ‘‘incorporate surrealism into tradition’’ as he combines Surrealist landscapes dominated by iconic motifs such as gigantic shoes and spider legged elephants with the established tradition of etching.

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

This portfolio was completed late into Dali’s artistic career and the symbolically charged scenes use Dali’s own memories as the source material highlighting his lifelong fascination with Sigmund Freud’s Interpretation of Dreams (1899) which identified the unconscious as a fertile site of repressed fantasies and emotions and which the Surrealists saw as a way of accessing the untapped creativity of the mind. The titles of the etchings refer to significant events in Dali’s life, both public and private, giving the portfolio an incredibly intimate feel. Gala’s Godly Back recreates Dali’s first sighting of Gala Éluard, his future wife and muse, on the beach in Cadaquès in 1929. The Great Inquisitor Expels the Saviour depicts a Pope hurling a flaming giraffe from a turret window, a humourous account of Dali’s infamous expulsion from the Surrealist circle in 1934 by Breton who was known as the ‘Pope of Surrealism’ due to his tendency to excommunicate artists from the movement.

The corresponding texts by Parinaud compliment each of the the etchings by analysing their dreamlike iconography and often including insightful biographical anecdotes and quotes from Dali himself about the details of each event. In 1929 Breton stated that ‘’it is perhaps with Dali for the first time the windows of the mind are opened fully wide’’ and in the same way these etchings offer the viewer an insight into Dali’s deeply confessional yet delightfully surreal mind.

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33 [§] SIR EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) CLASSICAL HEAD Plaster 10cm x 11cm x 6cm (6in x 9in x 5in)

£300-500

34 [§] SIR EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) METROPOLIS HEAD & PAOLOZZI HEAD Plaster Metropolis: 8cm x 4.5cm x 5.5cm (3in x 1.75in x 2.25in), Paolozzi head: 8cm x 6cm x 3cm (3.25in x 2.5in x 1.25in) (2)

£400-600

35 [§] SIR EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) SMALL FOOT AND CAMERA Plaster Foot: 10cm x 11cm x 6cm (4in x 4.25in x 2.5in), Camera: 6cm x 9cm x 5cm (2.5in x 3.5in x 2in) (2)

£300-500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

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36 [§] FRANCIS BACON (BRITISH 1909-1992) RUSSIAN RETROSPECTIVE EXHIBITION POSTER DEPICTING: ‘STUDY FOR A PORTRAIT OF JOHN EDWARDS (1988)’ Hand signed, offset lithograph 89.5cm x 57cm (35.25in x 22.5in) Note: This work was printed to advertise the first retrospective exhibition in Russia granted to a living artist since the Russian Revolution and was adopted by the State as a symbol of Glasnost. The exhibition was organized by the British Council in collaboration with Marlborough Fine Art in London. It was held at the Central Union of Artists in Moscow (22nd September to 7th November 1988). The staging of the exhibition was the joint brain-child of Sergei Klokov, a member of the Soviet UNESCO committee and James Birch, who owned a gallery in Soho.

Only 250 posters were printed; and at the end of the show only thirty are believed to have been left unused.

£3,000-5,000

37 [§] IVOR ROBERTS-JONES (BRITISH 1916-1996) METAMORPHIC HEAD Bronze 38cm high

£1,000-1,500

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38 EDVARD MUNCH (NORWEGIAN 1863-1944) NORWEGISCHE LANDSCHAFT Signed in pencil to margin, partial watermark of a crown upper right, etching 13.5cm x 18.5cm (5.25in x 7.25in) (including margins) unframed

£1,000-1,500

39 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) AFTER SUNSET - 1972 Signed, watercolour and gouache 25cm x 36cm (10in x 14in) Exhibited: Compass Gallery, December 1977, Glasgow; The Third Eye Centre, Glasgow

£600-800

40 [§] SIR WILLIAM MACTAGGART P.R.S.A., R.S.W. (SCOTTISH 1903-1981) HARVEST IN THE PENTLANDS Signed, charcoal 21cm x 27cm (8.25in x 10.5in)

£500-700 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

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41 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) A PAIR OF NUNS Studio stamped verso, Indian ink 18cm x 13cm (7in x 5in)

£300-500

42 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) AYRSHIRE FARM - 1954-55 Signed, watercolour and gouache 19cm x 27cm (7.5in x 10.5in) Exhibited: Cyril Gerber, 1990, Glasgow

£600-800

43 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) LANDSCAPE WITH QUARRY, EYAM, DERBYSHIRE Signed, watercolour 38.5cm x 50cm (15in x 19.75in)

£700-900

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44 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) SEASWELL Signed, artist’s label verso, watercolour 34cm x 35cm (13.25in x 14in)

£500-700

45 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) SHADOWS (1960) Signed, studio stamped verso, oil on board 59cm x 74cm (23.25in x 29in)

£1,000-1,500

46 [§] LIL NEILSON (SCOTTISH B.1938) COTTAGES AT CATTERLINE Oil on board 59.5cm x 68cm (23.5in x 26.75in)

£1,000-1,500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

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47 [ยง] WINIFRED NICHOLSON (BRITISH 1893-1981) SEAMUS PIER, ISLE OF EIGG, 1976 Pastel 36cm x 51cm ((14in x 20in) Provenance: Collection of Valerie Thornton and Michael Chase; Purchased from Estate Sale, Michael Chase; Private Collection, London.

ยฃ3,000-5,000

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48 [§] ALASTAIR FLATTELY (SCOTTISH 1922-2009) COLLIESTON Signed, signed and inscribed with title verso, oil on canvas 75cm x 99cm (29.5in x 39in)

£600-800

49 [§] JOHN BRATBY R.A. (BRITISH 1928-1992) PATTI AND HER STICK WINCHESTER BEACH, BREAKWATER Signed and inscribed with title, pastel 21cm x 30cm (8.25in x 11.75in)

£300-500

50 [§] PERPETUA POPE (SCOTTISH 1916-2013) ACHANN, TAYSIDE Signed, oil on canvas 76cm x 60cm (30in x 23.5in)

£400-600 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

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51 [§] SIMON HARLING (BRITISH B.1950) FEDRA Signed and dated ‘93, oil on canvas 41cm x 51cm (16in x 20in)

£400-600

52 [§] ERIC HOLT (BRITISH 1944-1997) EPSOM DOWNS Signed and dated ‘75, tempera on board 67cm x 48cm (26.25in x 19in)

£3,000-5,000

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53 [§] JOHN BRATBY R.A. (BRITISH 1928-1992) WATCHING TV Signed and dated ‘May ‘58’, oil on canvas 203cm x 366cm (80in x 144in)

£8,000-12,000

John Bratby is one of the most notable figures in 20th Century British Art, both artistically and in terms of reputation. He developed an Expressionistic take on Realist painting, a manner that led to the term ‘Kitchen Sink Realism’ being coined. ‘Kitchen Sink’ soon began to be used in reference to literature, theatre and film of the day that also explored the banality of Post-War British life. Bratby had clearly captured something of the 1950s British zeitgeist and his success after leaving the Royal College of Art was swift and remarkable.

The quintessential artistic eccentric, Bratby was known to beg and sleep rough in Hyde Park or the attics of the Royal College of Art. After graduation however, he enjoyed a meteoric rise to public and critical renown. He was a clever self-publicist and happy to provide salacious details of his bohemian lifestyle to a receptive media. In many ways, Bratby was Britain’s first celebrity artist, and played the media game very astutely. The international accolades rolled in and he won the Guggenheim Award for three consecutive years between 1956 and 1958.

Perhaps inevitably, a backlash commenced in the 1960s as Pop Art rose to popularity and Britain no longer wanted to examine itself through the grubby mirror of realism. Bratby remained popular with the buying public, however, and turned his hand to writing semi-autobiographical novels during this decade.

Bratby and the Kitchen Sink School have enjoyed more recent critical re-examinations, including a significant retrospective in the National Portrait Gallery in 1991.

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

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54 [§] ROBYN DENNY (BRITISH 1930-2014) UNTITLED Inscribed in pencil ‘To Chris and Rose, Denny, ‘68,’ screenprint 81cm x 56cm (32in x 22in)

£500-700

55 [§] ALBERT IRVIN O.B.E., R.A. (BRITISH 1922-2015) RUTLAND - 1990 Signed, dated ‘90 and numbered 93/120, screenprint 51.5cm x 73.5cm (20.25in x 29in)

£300-500

56 [§] ALAN DAVIE C.B.E., H.R.S.A. (SCOTTISH 1920-2014) BIRD THROUGH WALL - 1973 Signed, dated ‘73 and numbered 8/90, lithograph, unframed 56.5cm x 77.5cm (22.25in x 30.5in)

£300-500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

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57 SUNDAY B. MORNING CLASSIC MARILYNS Portfolio of 10 colour silkscreens, with certification from Sunday B. Morning, unframed 91cm x 91cm (36in x 36in) (10)

£1,000-1,500

58 [§] JOHN MCLEAN (BRITISH B.1939) BLUEBERRY HILL Signed, inscribed and dated ‘91 verso, oil on canvas 36.5cm x 39cm (14.5in x 15.25in)

£300-500

59 [§] SANDRA BLOW R.A. (BRITISH 1925-2006) CAMBRIDGE - 1990 Signed and numbered 10/100 in pencil, screenprint 55.5cm x 75.5cm (22in x 29.75in)

£400-600

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60 GARY MORGA (SCOTTISH/ITALIAN B.1961) SILS MARIA CABINET, 2010 Unique cabinet of Postmodern design, featuring four cupboards, shelving and one compartment.

Handmade in wheat board and hand painted in acrylic paints and lacquer. The flip top handle far right is handmade in Sterling Silver and Hallmarked at the Assay Office, Edinburgh. It bears the Makers Mark “GM” for Gary Morga registered there since 1977.

The doors are soft-close and all edges are miter.

190cm high x 172cm wide x 40cm depth of base (74.75in x 67.25in x 15.75in)

£3,000-5,000

61 GARY MORGA (SCOTTISH/ITALIAN B.1961) LAISSEZ-FAIRE, 2010 Unique cabinet with three cupboards and three drawers, painted wheat board with printed and hand-painted details 132cm wide x 51cm deep x 142cm high (51.5in x 20in x 55.5in)

£3,000-5,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

32 Lyon & Turnbull

62 [§] DONALD BAIN (SCOTTISH 1904-1979) THREE PALM TREES Signed, signed and dated 1963 and inscribed with title verso, oil on canvas 56cm x 46cm (22in x 18in)

£1,000-1,500

63 [§] NEIL MACPHERSON R.S.A., R.G.I. (SCOTTISH B.1954) THE ROAD TO THE SEA Signed, oil on board 56cm x 66cm (22in x 26in) Exhibited: Compass Gallery, Glasgow, October 1992

£600-800

64 [§] ALAN DAVIE C.B.E., H.R.S.A. (SCOTTISH 1920-2014) MAGIC PICTURES - FESTIVAL EXHIBITION POSTER Signed and dated 42/65 in pencil, lithograph 77cm x 57cm (30.25in x 22.5in) and another numbered 58/65 (2)

£400-600 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Modern British & Contemporary Art 33

65 [§] JOHN HOYLAND R.A. (BRITISH 1934-2011) MIBI Signed, inscribed and dated 22-1183 verso, acrylic on canvas, unframed 61cm x 56cm (24in x 22in)

£4,000-6,000

66 [§] ADRIAN WISZNIEWSKI A.R.S.A. (SCOTTISH B.1958) POWER STRUGGLE Inscribed verso ‘Made by the Edinburgh Tapestry Company Ltd, In collaboration with Adrian Wiszniewski, “Power Struggle”, 2/25, 1992’, hand-tufted rug 152cm x 200cm (59.75in x 78.5in)

£800-1,200

34 Lyon & Turnbull

67 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) FISHERMAN AND BIRD 1999, signed, oil on canvas 122cm x 122cm (48in x 48in)

£5,000-7,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Modern British & Contemporary Art 35

68 [ยง] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) EYEMOUTH REVISITED 2004, signed, oil on canvas 90cm x 120cm (35.5in x 47.25in)

ยฃ4,000-6,000

36 Lyon & Turnbull

69 [§] PAUL NEAGU (ROMANIAN 1938-2004) MAN MADE MAN Two unsigned, hand-coloured screenprints, unframed each 76cm x 56cm (30in x 22in) (2)

£600-800

70 [§] SIR EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) MAN HOLDS THE KEY From the ‘Bunk’ portfolio, 1972, screenprint and lithograph 33.5cm x 22cm (13.25in x 8.5in) Exhibited: Open Eye Gallery, Edinburgh

£250-350

71 [§] SIR EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) EIGHT HANDS ROUND Inscribed, pencil, unframed 21cm x 15cm (8.25in x 6in) and another drawing by the same hand (2)

£500-700

Modern British & Contemporary Art 37

72 [§] ALAN DAVIE C.B.E., H.R.S.A. (SCOTTISH 1920-2014) OPUS 0.337: TRANSFORMATION OF THE WOODEN HORSE, NO. 5, 1960 Signed and dated ‘60 and inscribed with title verso, oil on board 101.5cm x 122cm (40in x 48in) Exhibited: Gimpel Fils, London

£15,000-25,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

38 Lyon & Turnbull

73 [§] CAROLINE MCNAIRN (SCOTTISH 1955-2010) UNTITLED (FIGURE OF A MAN) Signed, chalks 48cm x 35cm (19in x 13.75in)

£400-600

74 [§] IAIN ROBERTSON (BRITISH B.1957) SHELTERING SPACE Signed with initials, charcoal and chalk on paper 48cm x 64cm (19in x 25.25in)

£300-500

75 [§] CAROLINE MCNAIRN (SCOTTISH 1955-2010) UNTITLED (ABSTRACT LANDSCAPE) Signed and dated ‘83, chalk and collage 51cm x 78cm (20in x 30.75in)

£400-600

Modern British & Contemporary Art 39

76 [§] ALAN DAVIE C.B.E., H.R.S.A. (SCOTTISH 1920-2014) SELF-PORTRAIT IN THE FORM OF AN EXCITED FLOCK OF BIRDS - NO.9A, OPUS 66C Signed and dated ‘59, oil on paper laid on canvas 40.5cm x 53cm (16in x 21in) Exhibited: Gimpel Fils, London

£6,000-8,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

40 Lyon & Turnbull

77 ANN ORAM R.S.W. (SCOTTISH B.1956) ROSES AND ROWAN BERRIES ON A BLUE GROUND Signed, mixed media and gouache on board 48cm x 75cm (18in x 29.5in)

£700-900

78 [§] DAME ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I. (SCOTTISH B.1931) IRISES Signed and numbered 14/50 in pencil, lithograph 45cm x 37cm (17.75in x 14.5in)

£300-500

79 DONALD MANSON (SCOTTISH B.1948) MIDNIGHT PLUMS Signed, acrylic on canvas 46cm x 36cm (18in x 14in)

£300-500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Modern British & Contemporary Art 41

80 [§] GORDON BRYCE R.S.A., R.S.W. (SCOTTISH B.1943) KITCHEN TABLE Signed, signed and inscribed verso, oil on board 59cm x 74cm (23.25in x 29.25in)

£1,000-1,500

81 [§] GORDON BRYCE R.S.A., R.S.W. (SCOTTISH B.1943) STILL-LIFE WITH RED PEARS - 1990 Signed, inscribed and dated verso, oil on canvas 76cm x 76cm (30in x 30in)

£2,000-2,500

42 Lyon & Turnbull

82 [§] MARY GALLAGHER (SCOTTISH B.1953) MACKISH MOUNTAIN Signed, signed verso, oil on canvas 80cm x 77cm (31in x 30in)

£600-800

83 [§] DONALD MANSON (SCOTTISH B.1948) RAASAY SOUND Signed, oil on board 39.5cm x 71.5cm (15.5in x 28.25in) Provenance: The Fine Art Society

£400-600

84 [§] MARY GALLAGHER (SCOTTISH B.1953) GOING HOME Signed, oil on canvas 74.5cm x 89cm (29.25in x 35.25in)

£600-800 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Modern British & Contemporary Art 43

85 [§] JOHN LOWRIE MORRISON O.B.E. (SCOTTISH B. 1948) RUM FROM PORTUAIRK, ARDNAMURCHAN Signed and dated ‘99, signed and inscribed with title verso, oil on board 58cm x 58cm (23in x 23in)

£2,000-3,000

86 [§] JOHN LOWRIE MORRISON O.B.E. (SCOTTISH B.1948) EVENING GLOAMING, BUNESSAN, ISLE OF MULL Signed, signed and inscribed with title and dated 2008 verso, oil on canvas 40cm x 39cm (15.75in x 15.5in)

£800-1,200

44 Lyon & Turnbull

87 [§] BARBARA RAE C.B.E., R.A., R.S.A. (SCOTTISH B.1943) OVERBERG Artist’s proof, signed, screenprint 110cm x 146cm (43.25in x 57.5in)

£1,500-2,500

Barbara Rae is one of the most distinguished contemporary artists in Scotland. She attended Edinburgh College of Art from 1961 to 1965 and with a travel scholarship, travelled in France and Spain in 1966. In 1967, she had her first solo exhibit in Edinburgh. She lectured at Aberdeen College of Art from 1972 to 1974 and at Glasgow School of Art from 1975 to 1996.

Her work has won many awards and recognitions including two Major Scottish Arts Council Awards, the Guthrie Medal, and the Royal Scottish Academy Sir William Gillies Travel Award. In 1983, Rae was elected President of the Society of Scottish Artists. She has had a long association with the Royal Academy and has been a member since 1992 and a Royal Academician since 1996. Rae’s work has been exhibited all over the world and is held in many private collections.

Rae’s work is concerned with the passage of time and history. She “distills the presence of mankind,” and often depicts subjects reflective of an area’s history and culture. She spends weeks getting to know the surrounding area and people before beginning her artwork.

Highly regarded for her printmaking skills, Rae is also a skilled colourist. In “Overberg,” she uses more than 30 tones to complete the finished effect. Overberg, an area in South Africa, interested Rae because of its beautiful variety, where wheat fields are bisected by dirt roads, and purple mountains rise around them.

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88 [§] BARBARA RAE C.B.E., R.A., R.S.A. (SCOTTISH B.1943) BLUE HIGH SIERRA Mixed media collage on board 80cm x 107cm (31.5in x 42in) Exhibited: The Scottish Gallery, Edinburgh

£4,000-6,000

89 [§] BARBARA RAE C.B.E., R.A., R.S.A. (SCOTTISH B.1943) ANCESTOR Signed, mixed media 19cm x 19xcm (7.5in x 7.5in)

£1,000-1,500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

46 Lyon & Turnbull

90 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) BOAT AT HARBOUR Signed, watercolour 54cm x 75cm (21.25in x 29.5in)

£1,200-1,800

91 [§] DAVID TONER (SCOTTISH B.1944) NIGHT FISHING, SPAIN Signed, oil on board 11.5cm x 15.5cm (4.75in x 6in) Exhibited: The Scottish Gallery, ‘Recent Paintings’ - one-man exhibition, Nov. 1985, Cat. No. 26

£250-350

92 [§] CHARLES LEVIER (FRENCH 1920-2003) STILL-LIFE: FLOWERS IN A JUG BY THE WINDOW Signed, watercolour 54cm x 86cm (21.25in x 34in)

£300-500

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93 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) ITALIAN LANDSCAPE Signed, oil on canvas 151cm x 151cm (59.5in x 59.5in)

£5,000-7,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

48 Lyon & Turnbull

94 [§] DONALD BAIN (SCOTTISH 1904-1979) LES QUAIS, PARIS Signed, inscribed with title gallery label verso, oil on canvasboard 30cm x 24cm (11.75in x 9.5in)

£800-1,200

95 [§] DAVID TONER (SCOTTISH B.1944) PAXOS WALL - 1985 Signed, oil on canvas 86.5cm x 86cm (34in x 33.75in)

£500-700

96 [§] (AGNES) MABEL MACKINLAY (SCOTTISH 1874-1970) STILL LIFE Signed label verso, oil on canvasboard 49cm x 37cm (11in x 13.5in)

£400-600

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97 [§] 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)

£2,500-3,500

98 [§] WILLIAM LITTLEJOHN R.S.A., R.S.W. (SCOTTISH 1929-2006) SEAWRACK II Signed with initials and dated ‘63, oil on canvas 59cm x 90cm (23.25in x 35.5in)

£1,000-1,500

50 Lyon & Turnbull

99 [§] IRENE LESLEY MAIN (SCOTTISH B.1959) LILIES AND SUNLIGHT Signed and dated 1988, mixed media on board 117cm x 112cm (46in x 44in)

£300-500

100 [§] GILLIAN GOODHEIR (SCOTTISH B.1949) BLUE HYDRANGEAS Signed and dated ‘03, gouache 57cm x 56cm (22.5in x 22.25in)

£400-600

101 [§] JOHN BROWN R.S.W. (SCOTTISH B.1945) OLD MONASTERY - SAINT MARTIN Signed and dated ‘92 verso, oil on canvas 74cm x 90cm (29in x 35.5in)

£1,000-1,500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Modern British & Contemporary Art 51

102 [§] CHRISTINE MACARTHUR R.S.W., R.G.I. (SCOTTISH B.1953) STRAWBERRY STILL-LIFE Signed, pastel 70cm x 74.5cm (27.5in x 29.25in) Provenance: Roger Billcliffe Fine Art

£400-600

103 DONALD MANSON (SCOTTISH B.1948) IRISES WITH A LATE SUMMER LANDSCAPE Signed, acrylic on canvas 100cm x 70cm (39.25in x 27.5in)

£700-900

52 Lyon & Turnbull

104 [§] JAMES MORRISON R.S.A., R.S.W. (SCOTTISH B.1932) WEST HIGHLAND VIEW Signed and 1990, oil on board 30cm x 81cm (12in x 32in)

£4,000-6,000

James Morrison was born in Glasgow in 1932 and attended Glasgow School of Art from 1950 to 1954. This group of four oil paintings, all signed and dated by Morrison, exemplify the panoramic vistas and dramatic skyscapes for which the artist is renowned. In the canon of Scottish art, landscape painting has been a symbol of Scottish identity since the eighteenth century and Morrison follows this tradition by exploring the diversity of his native country, drawing inspiration from the remote ruggedness of the West Coast to the rolling fields around his home in Angus where he settled in 1965. The painting Mountains, Sutherland (1990) depicts a dramatic peak-studded landscape cast in partial shadow by a vast sky filled with billowing clouds. Morrison’s descriptive title reflects the faithful naturalistic representation of the northern county’s sweeping moorlands and dramatic geological formations. These paintings were initially executed en plein air and then later finished in the studio which enabled Morrison to record each distinct season, weather or light.

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

However, to describe Morrison as a realist would be to oversimplify his style. The variety of mark making in Morrison’s works subtly reveal the artist’s hand reflecting the impact of the European and American avant garde who in the 1950s and 1960s were experimenting with a more expressive style of painting. Morrison works back into the painting by wiping away washes of colour to reveal the white gesso ground applied underneath in order to give the clouds their bright appearance and create an illusion of solidity against the opaque blue grey sky.

Morrison’s also evokes the variety of textures in the natural landscape by using directional brushstrokes to suggest the movement of wind through the tufts of long grass in the foreground. These gestural marks add a degree of abstraction into Morrison’s landscapes which enable him to bridge the gap between the tradition of Scottish landscape painting and a contemporary expression of artistic individuality.

Modern British & Contemporary Art 53

105 [§] JAMES MORRISON R.S.A., R.S.W. (SCOTTISH B.1932) MOUNTAINS, SUTHERLAND Signed and dated 1990, oil on board 81cm x 115cm (32in x 45.25in)

£5,000-7,000

106 [§] JAMES MORRISON R.S.A., R.S.W. (SCOTTISH B.1932) ANGUS LANDSCAPE Signed and dated ‘89, oil on board 46cm x 59cm (18in x 23.25in)

£3,000-5,000

54 Lyon & Turnbull

107 [§] CRAWFURD ADAMSON (SCOTTISH B.1953) RE-BIRTH Oil on canvas 110.5cm x 120.5cm (43.5in x 47.5in)

£1,000-1,500

108 [§] MARDI BARRIE R.S.W. (SCOTTISH 1931-2004) EVENING’S DEPTH Signed, oil on board 39cm x 36cm (15.25in x 14in)

£400-600

109 [§] CRAWFURD ADAMSON (SCOTTISH B.1953) PROTEUS AWAITS Signed and dated ‘91, mixed media 68.5cm x 103cm (27in x 40.5in)

£500-700 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Modern British & Contemporary Art 55

110 [§] DAVID BREUER-WEIL (BRITISH B.1965) RUTH Signed, oil on board 120cm x 90cm (47.5in x 35.5in) Provenance: Purchased directly from the artist by the present owner c.1986/7

£2,000-3,000

111 [§] KIRSTY WHITEN (SCOTTISH CONTEMPORARY) TWO FIGURES Acrylic on board, unframed 173cm x 122cm (68in x 48in)

£500-700

56 Lyon & Turnbull

112 [§] PAT DOUTHWAITE (SCOTTISH 1939-2002) AMY JOHNSON DREAMING OF FLYING Signed and dated ‘78, oil on canvas 152.5cm x 152.5cm (60in x 60in)

£7,000-9,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Modern British & Contemporary Art 57

113 [§] PAT DOUTHWAITE (SCOTTISH 1939-2002) PORTRAIT OF ANGELS PUIGBO Signed verso, titled on old type-written label verso, oil on board 122cm x 91cm (48in x 36in)

£3,000-5,000

114 [§] HUGH BYARS (SCOTTISH B.1957) MAN WITH CIGARETTE Signed and dated ‘91, oil on canvas 109cm x 77.5cm (43in x 30.5in)

£500-700

115 [§] PAT DOUTHWAITE (SCOTTISH 1939-2002) BUFFALO BILL Signed and dated ‘97, crayon 20cm x 29cm (8in x 11.5in) Exhibited: St Andrew’s Fine Art

£300-500

58 Lyon & Turnbull

116 [§] IAIN ROBERTSON (BRITISH B.1955) AMETHYST Signed with initials and dated ‘86, signed and inscribed with title verso, acrylic and charcoal on paper 94cm x 109cm (37in x 41in)

£500-700

117 [§] DAVID MICHIE R.S.A., R.G.I., O.B.E. (SCOTTISH 1928-2015) LE GRAND BALLET DE SENEGAL, KING’S THEATRE, 1968 Signed, oil on board 34cm x 44cm (13.5in x 17.25in)

£500-800

118 [§] SHONA BARR (SCOTTISH B.1965) RED GRASS Signed, oil on canvas 49cm x 39cm (19.25in x 15.25in) Exhibited: Gallery 10, London, 1990.

£300-500

Modern British & Contemporary Art 59

119 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) QUEEN OF THE NIGHT Signed, oil on canvas 153cm x 121cm (60.25in x 47.5in)

£5,000-7,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

60 Lyon & Turnbull

120 [§] ABIGAIL MCLELLAN (SCOTTISH 1969–2009) OCTOCORAL Signed and inscribed with title and dated 1999 verso, oil on canvas 117cm x 102cm (46in x 40in)

£1,000-1,500

121 [§] ROY RAY (BRITISH B.1936) GROIDDEN, 1982 Signed, dated and titled in pencil to margin, mixed media and collage 39cm x 31.5cm (15.5in x 12.5in) and a further work by the same artist, ‘Dynas’ (2)

£100-200

Modern British & Contemporary Art 61

122 [§] KEITH RAND R.S.A. (BRITISH 1956-2013) UNTITLED Wood construction on marble base 99cm (39in) high

£2,000-3,000

123 [§] PHILIP REEVES R.S.A., P.R.S.W., R.G.I., R.E. (BRITISH 1931-2017) SEATED FIGURE Painted clay sculpture 36.5cm (14.25in) high

£600-800

62 Lyon & Turnbull

124 [§] IAN MACKENZIE SMITH O.B.E., P.R.S.W., R.S.A. (SCOTTISH B.1935) SATOMI Signed with initials and numbered 60/60 in pencil to margin, screenprint 43cm x 56cm (17in x 22in)

£200-300

125 [§] IAN MACKENZIE SMITH O.B.E., P.R.S.W., R.S.A. (SCOTTISH B.1935) LECHT GATE Mixed media on handmade paper 61cm x 94cm (24in x 37in)

£500-700

126 [§] ALEXANDER GOUDIE R.P. (SCOTTISH 1933-2004) SALOME’S DANCE Charcoal on cardboard 62cm x 39cm (24.5in x 15.5in)

£300-500

Modern British & Contemporary Art 63

127 [§] DUNCAN SHANKS R.S.A., R.S.W. (SCOTTISH B.1937) POPPY AND THORN II Signed, pastel 53cm x 64cm (21in x 25.25in) Exhibited: Scottish Gallery, March 1981, Edinburgh

£1,000-1,500

128 [§] GLEN SCOULLER (SCOTTISH B.1950) STILL LIFE Signed, watercolour 51cm x 72cm (20in x 28.25in)

£500-700

129 [§] JOHN HOUSTON O.B.E., R.S.A., R.S.W., R.G.I. (SCOTTISH 1930-2008) POPPIES Signed, signed and dated 1979 on stretcher verso, oil on canvas 50cm x 39cm (19.75in x 15.25in)

£1,000-1,500

64 Lyon & Turnbull

130 [§] SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I. (SCOTTISH 1916-1992) SECRET GARDEN FIGURES AND ABSTRACT Signed and dated 1989 verso, oil on board 41cm x 51cm (16in x 20in)

£2,500-3,500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Modern British & Contemporary Art 65

131 [ยง] SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I. (SCOTTISH 1916-1992) DOG Signed verso, oil on board 61cm x 91cm (24in x 36in) Exhibited:The Scottish Gallery, Festival Exhibtion 1983, no.18

ยฃ5,000-7,000

66 Lyon & Turnbull

132 [§] JOHN LOWRIE MORRISON O.B.E. (SCOTTISH B.1948) CHERRY TREES ON THE CRINAN CANAL Signed and dated ‘99, signed, dated and inscribed on backboard, oil on board 58.5cm x 58.5cm (23in x 23in)

£2,000-3,000

133 [§] JAMES DOWNIE ROBERTSON (R.S.A., R.S.W. SCOTTISH 1931-2010) LOCH LOMOND WINTER Signed, oil on canvas 45cm x 44cm (17.75in x 17.5in) Exhibited: ‘James D. Robertson: A Retrospective View’, Mackintosh Gallery, Glasgow, 2000

£600-800

134 [§] SHELAGH CAMPBELL (SCOTTISH B.1948) WINTER MOON OVER EIGG Signed and dated ‘12, oil on canvas 58.5cm x 58.5cm (23in x 23in)

£300-500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

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135 [ยง] JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) GRIGADALE BAY, ARDNAMURCHAN Signed, oil on canvas 49cm x 100cm (19.25in x 39.5in)

ยฃ8,000-12,000

68 Lyon & Turnbull

136 [ยง] VICTORIA CROWE O.B.E., R.S.A., R.S.W., A.R.W.S. (SCOTTISH B.1946) FLOWER ESSENCES Signed, signed and inscribed with title verso, oil on board 28cm x 34cm (11in x 13.75in) Exhibited: The Scottish Gallery, Edinburgh, July 2005

ยฃ3,000-5,000

Modern British & Contemporary Art 69

137 [§] ELIZABETH BLACKADDER O.B.E., R.A., R.S.W., R.G.I. (SCOTTISH B.1931) LOBSTER Signed, oil on canvas 28cm x 43cm (11in x 17in) Exhibited: ‘Table/Tableaux - Mixed Exhibition,’ Scottish Gallery, 2-25 April 2007.

£5,000-8,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

70 Lyon & Turnbull

138 [§] CHRISTINE MCARTHUR R.S.W., R.G.I. (SCOTTISH B.1953) ROUND TABLE Signed, oil on canvas 102cm x 116cm (40in x 45.5in) Exhibited: Fine Art Society, December 1990

£1,500-2,500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Modern British & Contemporary Art 71

139 [ยง] NAEL HANNA (IRAQI/SCOTTISH B. 1959) EAST COAST BREAKERS Signed, oil on canvas 75cm x 120cm (29.5in x 47.25in)

ยฃ3,000-5,000

72 Lyon & Turnbull

140 [§] JOHN BROWN R.S.W. (SCOTTISH B.1945) WINTERTIME, GERMANY - 1969 Oil on paper 78cm x 110cm (30.75in x 43.25in)

£700-900

141 [§] MARY STORK (BRITISH 1938-2007) SAI KUNG HEAT, HONG KONG - 1995 Signed and dated 19.10.95, pastel 31cm x 26.5cm (12.25in x 10.5in) Provenance: David Messum, London; Private Collection.

£150-250

142 [§] CRAWFURD ADAMSON (SCOTTISH B.1953) SMALL PARTY GROUP Signed, oil on canvas 37.5cm x 27.5cm (14.75in x 10.75in) Exhibited: The Scottish Gallery, June 1987, Cat. No. 3

£300-500

Modern British & Contemporary Art 73

143 [§] KEN HOWARD O.B.E., R.A. (BRITISH B.1932) LADY IN A BLACK DRESS Signed, oil on canvas 120cm x 59cm (47.25in x 23.25in)

£2,000-3,000

144 [§] TOM MACDONALD (SCOTTISH 1914-1985) LA TOILETTE Signed and inscribed with title and dated 1963 verso, oil on board 55cm x 37cm (21.5in x 14.5in)

£400-600 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

74 Lyon & Turnbull

145 [§] GLEN SCOULLER R.S.W., R.G.I. (SCOTTISH B.1950) TOWARDS NEWMILNS Signed, with further still-life verso, oil on canvas 75cm x 75cm (29.5in x 29.5in) Provenance: The Fine Art Society

£800-1,200

146 [§] MARY GALLAGHER (SCOTTISH B.1953) FRUIT, FLOWERS AND MELON SLICES Signed, oil on canvas 44cm x 44cm (17.75in x 17.75in)

£400-600

Modern British & Contemporary Art 75

147 [§] DONALD MANSON (SCOTTISH B.1948) WINDOW BY THE ORCHARD Signed, acrylic on board 120cm x 120cm (47.25in x 47.25in)

£1,200-1,800

148 [§] ETHEL WALKER (SCOTTISH B.1941) RHODODENDRONS Signed, oil on board 57cm x 59cm (22.5in x 23.25in)

£1,500-2,500

76 Lyon & Turnbull

149 [§] STEVEN CAMPBELL (SCOTTISH 1953-2007) YOUNG CAMPER DISCOVERING GROTTO IN THE GROUND Oil on canvas 284.5cm x 284.5cm (112in x 112in) Provenance: Asher Faure Gallery, Los Angeles; Purchased by Boake and Marian Sells Exhibited: Solo Exhibition, Barbara Toll Fine Arts, New York, 1983; Artificial Paradise, Asher Faure Gallery, Los Angeles, 1986; British Art: The Literate Link, Asher Faure Gallery, Los Angeles, 1988

£10,000-15,000

Steven Campbell was born in Glasgow and originally worked as a maintenance engineer in a steelworks in Cambulsang before attending Glasgow School of Art and becoming one of the leading Scottish figurative painters of his generation.

Campbell worked alongside the artists Ken Currie, Peter Howson and Adrian Wiszniewski, a group which later became known as the ‘New Glasgow Boys’. While their artistic output was not homogenous they all shared an interest in figurative painting during the early 1980s which broke away from the conceptual and minimal trends in Modern art at the turn of the twentieth century.

After graduating from Glasgow School of Art in 1982 Campbell won a Fulbright Scholarship to study at the Pratt Institute in the United States. Campbell worked from a studio in Brooklyn until 1986 and this period was key in establishing his status as an internationally renowned artist whilst raising awareness of Scottish contemporary art on a global scale.

Young Camper Discovering Grotto in The Ground is a major work representative of this period. It appeared in a solo show held at the Barbara Toll Gallery in 1983. Within days of the show, the doyen of the New York art critics, John Russell, fully endorsed the painterly qualities of a young, unknown Scottish artist in his New York Times review. From here it was purchased by significant US contemporary art collectors, Boake and Marian Sells.

Campbell had further solo exhibitions across the world in locations as far reaching as Galerie Pierre Huiber in Geneva (1986) and Marlborough Fine Art in Tokyo (1990). His artwork is influenced by a diverse range of literary fiction from tales by the author P.G. Wodehouse to murder mysteries, resulting in his artworks appearing to be humorous and unsettling. Campbell was also influenced by children’s book illustrations accounting for his use of a rich and vibrant palette which intensified after his U.S. period. Campbell’s surreal compositions cannot be read as a conventional fictional narrative and his imaginary worlds intentionally challenge the viewer with their dreamlike quality leaving his artwork open to multiple interpretations.

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Campbell’s brightly coloured acrylic painting, Rising and Friend, painted in 1994, depicts two figures in blue and red shirts who seem to float weightlessly within an abstract yellow, purple and green matrix. A figure floats inanimately in the background, his arm limply extended, pupils dilated and a shadow cast across his tilted head while the figure in the foreground confronts the viewer face on with a glassy green eyed stare, the hypnotic effect of which is intensified by the closely cropped composition. The tilted perspective is a common feature of Campbell’s compositions and reinforces the perplexity of the narrative as the figures seem to float across the space in a fantasy world which is exempt from the earthly limitations of gravity.

This large-scale ink painting Untitled (Explorers in a Boat), is a piece from the installation On Form and Fiction which was originally exhibited in 1990 at the Third Eye Gallery, Glasgow (now the Centre for Contemporary Art). The other collective remnants of which were part of the major exhibition GENERATION which celebrated 25 years of Contemporary Art in Scotland reflecting the seminal role Campbell played in the success of the movement.

Campbell saw himself as a ‘director, writer and producer’ of these other-worldly scenes and he often repeated the figures in multiple artworks as if they were a cast of actors. The ink painting depicts two figures in a white sailboat struggling to navigate a stormy sea and is typical of the theatrical narratives which Campbell is renowned for.

Campbell’s expressive mark making accentuates the drama of the scene as the tempest engulfs the stark white sail giving the painting a captivating kinetic energy and emphasising the peril of the sailors.

Modern British & Contemporary Art 77

78 Lyon & Turnbull

150 [§] STEVEN CAMPBELL (SCOTTISH 1953-2007) UNTITLED (EXPLORERS IN A BOAT) Watercolour 99cm x 101cm (39in x 40in) Provenance: Gifted by the artist to the current owner Exhibited: Third Eye Centre, Glasgow

£3,000-5,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Modern British & Contemporary Art 79

151 [§] STEVEN CAMPBELL (SCOTTISH 1953-2007) NOUGHTS BUT NO CROSSES Acrylic on paper 50cm x 40cm (19.75in x 15.75in)

£2,000-3,000

152 [§] STEVEN CAMPBELL (SCOTTISH 1953-2007) RISING AND FRIEND Signed and dated ‘Dec’ 1994’ gallery label verso, acrylic on paper 29cm x 20cm (11.5in x 8in) Exhibited: William Hardie Gallery, Glasgow

£800-1,200

80 Lyon & Turnbull

153 [§] PETER HOWSON (SCOTTISH B.1958) ELIA Signed, pastel 30cm x 23cm (11.75in x 9in) Exhibited: Roger Bilcliffe Gallery, Glasgow, September 1995

£800-1,200

154 [§] PETER HOWSON (SCOTTISH B.1958) THE BLACK SQUAD Signed and dated ‘86, pastel 44cm x 30cm (17.25in x 11.75in) Exhibited: William Hardie Gallery, Glasgow

£1,200-1,800

155 [§] ANTHONY SCULLION R.G.I. (SCOTTISH B.1967) WOMAN WEARING A CAP Oil on board 32.5cm x 32.5cm (12.75in x 12.75in)

£300-500

Modern British & Contemporary Art 81

156 [ยง] KEN CURRIE (SCOTTISH B.1960) GALLOWGATE MAN WITH BATTERIES Signed, signed and dated 1987 and inscribed with title verso, conte with pencil and pastel 81cm x 69cm (31.25in x 27in)

ยฃ4,000-6,000

82 Lyon & Turnbull

157 [§] PETER HOWSON (SCOTTISH B.1958) THE STAG From ‘A Scottish Bestiary’ by George Mackay Brown, signed and dated ‘86, from an edition of 50, lithograph 55cm x 36cm (21.5in x 14in) Exhibited: William Hardie Gallery, Glasgow

£400-600

158 [§] ALAN RAMSAY (SCOTTISH CONTEMPORARY) MINOTAUR AND THISTLE Signed board verso, mixed media on paper 47cm x 35cm (18.5in x 13.75in)

£300-500

159 [§] ALAN RAMSAY (SCOTTISH CONTEMPORARY) TAM / BONNY SCOTLAND Signed board verso, mixed media on paper 67cm x 47cm (26.5in x 18.5in)

£300-500

Modern British & Contemporary Art 83

160 [§] DOUGLAS THOMSON (SCOTTISH B. 1958) STRATEGY Signed and titled verso, oil on canvas 122cm x 153cm (48in x 60in)

£600-800

161 [§] DOUGLAS THOMSON (SCOTTISH B. 1958) MINOTAUR Signed, oil on canvas 105.5cm x 90cm (41.5in x 35.5in)

£500-700

84 Lyon & Turnbull

162 [§] DAVID HOSIE (SCOTTISH B.1962) NEW TERRITORY - MAN EXCHANGING THE PAST FOR THE FUTURE Signed, dated ‘90 and inscribed with title verso, oil on canvas 180cm x 150cm (71in x 59in)

£500-700

163 [§] DOROTHY STIRLING (SCOTTISH B.1939) LITTLE RED SAIL Signed, oil on board 20cm x 20cm (8in x 8in)

£300-500

Modern British & Contemporary Art 85

164 RINA STUTZER (SOUTH AFRICAN B.1976) THE PAST IS ANOTHER COUNTRY Signed, inscribed verso, oil on board, unframed 122cm x 122cm (48in x 48in)

£1,000-1,500

165 [§] JENNIFER MCRAE (SCOTTISH B.1959) SERENE THOUGHTS Signed, dated ‘September 1994’, oil on board 24.5cm x 15.5cm (9.5in x 6in)

£500-700 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

86 Lyon & Turnbull

166 JOSEPH SLOAN (IRISH B.1960) FARAWAY WORLD: AN ORKNEY BOYHOOD 24 wood engravings of various edition sizes ranging from 31 to 70, which were illustrations for the book of this title by W. Towrie Cutt. Lot contains a copy of this book and the engravings are presented mounted but unframed in a cloth bound case Prints are in two formats of size: Large - 20cm x 16cm (8in x 6.25in), Small - 11cm x 12.5cm (4.25in x 5in)

£1,000-1,500

167 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) MY DAUGHTER ANYA Signed and inscribed with title, pencil 20cm x 14cm (8in x 5.5in)

£300-500

168 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) SEA SYMBOLS Signed, pencil 20cm x 14cm (8in x 5.5in)

£300-500

Modern British & Contemporary Art 87

168 [§] MARDI BARRIE R.S.W. (SCOTTISH 1931-2004) ABSTRACT LANDSCAPE WITH CASTLE Signed stretcher verso, oil on canvas 74cm x 100cm (29in x 39.5in)

£600-800

170 [§] JOHN BYRNE (SCOTTISH B.1940) FISH Signed, watercolour 23cm x 29cm (9in x 11.5in)

£400-600

171 [§] MARY FEDDEN O.B.E., R.A. (BRITISH 1915-2012) SMALL STILL LIFE S/P, signed in pencil, lithograph 23cm x 25cm (9in x 9.75in) unframed, and another signed lithograph by the same hand ‘Oppede le Vieux’ (2)

£500-700

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

88 Lyon & Turnbull

172 OLIFFE RICHMOND (AUSTRALIAN 1919-1977) THREE STANDING FORMS Signed, dated ‘66 and numbered 2/250, lithograph, unframed 63cm x 50cm (24.75in x 19.75in) and a further signed, unframed lithograph by the same hand, ‘Pilot’ (2)

£150-250

173 [§] KEN CURRIE (SCOTTISH B.1960) COLLATERAL DAMAGE Signed and dated ‘91 and inscribed with title in pencil to margin, numbered 21/40, etching and aquatint 41cm x 29cm (16in x 11.5in) (plate size)

£400-6 00 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Modern British & Contemporary Art 89

174 [§] BRUCE MCLEAN (SCOTTISH B.1944) A NEW FRONT DOOR Signed and dated 1980 in pencil to margin, numbered 12/50, screenprint 101cm x 120cm (39.75in x 47.25in) Note: This print was made for the Bruce McLean exhibition at the Third Eye Centre, Glasgow, from 14th May to 4th June 1980

£400-600

175 [§] MARTIN BOYCE (SCOTTISH B.1967) NO BRILLIANTLY COLOURED BIRDS Signed and dated ‘09 in pencil to margin, numbered 22/40, screenprint, unframed 74cm x 102 cm (29in x 40in) Note: Martin Boyce developed this large scale print as part of his No Reflections installation for the Scottish Pavilion of the 2009 Venice Biennale.

Continuing Boyce’s interest in the ‘collapse of nature and architecture’ and interior and exterior forms, this print references the empty wooden interior of the artist’s bird box sculpture in the vacated Italian Palazzo; the holes in which simultaneously suggest the form of a head or mask.

During the development of this project Boyce drew from a short text he had written with an abandoned zoo in mind: ‘warm dry stone and palm leaves, no elephants, no giraffes, no penguins, no brilliantly coloured birds…’.

This language of an abandoned garden is continued with the text ‘No Brilliantly Coloured Birds’ that tumbles out across the image. The form of the text stems from a central structural motif that forms a core of much of Boyce’s work. This motif is derived from an early black and white photograph of four geometric concrete trees sculpted by Joel and Jan Martel in 1925.

(Text courtesy of Dundee Contemporary Arts)

£400-600

90 Lyon & Turnbull

176 [§] JAMES HUGONIN (BRITISH B.1950) ODE - BASIL BUNTING, 1986 4 screenprinted images from an edition of 75, accompanied by letterpress text in paper folder & slipcase Each work 30cm x 25cm (11.75in x 9.75in) (4)

£400-600

177 [§] GORDON HOUSE (WELSH 1932-2004) QUARTER YELLOW Signed, titled, dated 78/79 and numbered 15/80 in pencil to margin, screenprint 105.5cm x 78cm (41.5in x 30.75in)

£200-300

Modern British & Contemporary Art 91

178 LUCINDA WILKINSON (BRITISH CONTEMPORARY) LARSEN B. ICE SHELF NO. 3, FROM ‘MOSAIC OF ANTARTICA - INTERNATIONAL POLAR YEAR’ [DETAIL] Kiln formed, sand blasted and etched glass panel 58.5cm x 92cm (23in x 36.25in) Note: Lucinda is a graduate of the Wimbledon School Of Art and Glasgow School of Art where she obtained a BA Hons degree in Sculpture, and an MFA in Fine Art. Much of her sculpture is inspired by the landscape; looking at rhythms and dimensions, and the ‘energy’ of the land.

In 2008, whilst representing Scotland during an International Polar Year expedition, she produced ‘Mosaic Of Antarctica’, a series of glass engravings of the Antarctic, documenting climatic environmental changes to the landscape.

Collaborating with scientists, the visual imagery was transcribed from satellite data showing the translucence of melting ice from the region’s ice shelves, glaciers and sea ice. A visual recording of these environmental changes is archived at the British map Library in London.

In her glasswork Wilkinson is committed to producing sculptural artworks which evoke strong environmental messages through beautiful, poignant imagery, which she hopes will serve as a wakeup call for the world.

£1,000-1,500

179 LUCINDA WILKINSON (BRITISH CONTEMPORARY) FROST FLOWERS [DETAIL] Screenprinted glass panel 91.5cm x 61cm (36in x 24in)

£700-900

92 Lyon & Turnbull

180 [§] STEPHEN CONROY (SCOTTISH B.1964) PORTRAIT OF DAVID Signed, pastel 38cm x 24cm (15in x 9.5in)

£500-700

181 [§] EUAN HENG (SCOTTISH B.1945) PORTRAIT OF A REDHEADED WOMAN Signed and indistinctly dated verso, oil on canvas 76cm x 60cm (30in x 23.5in)

£600-800

Modern British & Contemporary Art 93

182 [§] MOYNA FLANNIGAN (SCOTTISH B.1963) NO PLACE LIKE HOME #10 2007, watercolour 40.5cm x 38in (16in x 15in) Exhibited: Sara Meltzer Gallery, New York

£500-700

183 [§] DAVID TINDLE R.A. (BRITISH B. 1932) PORTRAIT OF A CHAIR Artist’s inscription on backboard, egg tempera on board 40cm x 56.5cm (15.75in x 22.25in) Provenance: Piccadilly Gallery, London.

Exhibited: Royal Academy Summer Exhibition.

1979. Catalogue No. 10.

£400-600

184 [§] JESSICA COOPER (BRITISH B.1967) MOMENTS OF MADNESS Signed, dated ‘2005’ and titled verso, acrylic and pencil on canvas 25cm x 25cm (9.75in x 9.75in)

£100-200

94 Lyon & Turnbull

185 [§] ALISON WATT O.B.E. (SCOTTISH B.1965) PLANTERS Signed, Glasgow School of Art label verso, oil on canvas 107cm x 138.5cm (42in x 54.5in) Provenance: Alison Watt’s degree show at the Glasgow School of Art, 1988, where purchased by the current owner

£15,000-20,000

We are delighted to present a degree show work by renowned contemporary Scottish artist, Alison , in this auction. Planters dates from 1987, the year Watt graduated from the Glasgow School of Art, and, in a striking demonstration of her precocious talent, also the same year she won the prestigious John Player Portrait Prize (now the BP Portrait Prize). As a result, she was commissioned to paint the portrait of the Queen Mother, and the charming resulting work entered the collection of the National Gallery in London in 1989. Since her graduation Watt has had a high-profile and illustrious career, with solo exhibitions at the Fruitmarket Gallery, Edinburgh, and the Scottish National Gallery of Modern Art. She was the youngest ever Associate Artist of the National Gallery in London from 2006-2008 and received an O.B.E. in the 2008 New Year Honours.

In the period immediately after her graduation, in the late 1980s and early 1990s, Watt was particularly known for her figurative work, particularly female nudes. At this point, the art world’s attention had been captured by a return to a preoccupation with the figurative through the bold, brash work of the New Glasgow Boys; a loose association of artists trained in the Glasgow School of Art throughout the 1980s, including Peter Howson, Adrian Wiszniewski, Steven Campbell, Ken Currie and Stephen Conroy. Watt was a contemporary of theirs, and was enmeshed in this community and moment, though she was working in a softer palette and with a stronger commitment to classical references.

Planters dates from this period and in one striking, early work, sums up many of Watt’s artistic pre-occupations. The title itself is laden with meaning, referring as it does to both the figures and the central pot, and suggesting themes of new beginnings, growth, fertility, ritual and nourishment. The deep palette of browns, with beautifully toned blues and greens adding depth, shows her commitment to exploring subtle tonalities – as her career has progressed this has remained an ongoing concern as she has moved through periods of working in greys and ultimately a lengthy exploration of white. There is a substance and directness to Planters; both figures, which bear a resemblance to the artist but aren’t quite a self-portrait, look out at us, while the paintings beyond, particularly the one showing an extending road, draw us deeper in. The portrait featured is in fact a self-portrait by Stephen Conroy, fellow art student, New Glasgow Boy and Watt’s boyfriend at the time.

From the outset, Watt’s work has had a quiet power and lashings of symbolism but as her career has progressed she has moved away from figuration and portraiture. In her solo exhibition in 1997, she began introducing fabric as a subject in her work, and by her exhibition in 2000, she had given over to fabric entirely, showing twelve large canvas of swathes of fabric, the figure now only present in its lingering absence, and the suggestive imprints and textures it has left behind.

Watt has continued in this vein for the last 18 years, finding endless inspiration and challenge in this captivating and elusive subject.

The auction of Planters is a wonderful opportunity to see and potentially own a work by this artist from an important moment in her career, where she was just getting started, but her vision and talent was already beautifully established and whole.

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Modern British & Contemporary Art 95

96 Lyon & Turnbull

186 [§] ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1965) STILL Signed verso, oil on card, with accompanying copies of two Alison Watt publications by the Ingleby Gallery, produced in a limited edition of 20 and presented in the set’s original cloth bound box 16cm x 16cm (6.25in x 6.25in)

£800-1,200

187 [§] MANUEL MARÍN (SPANISH 1942–2007) UNTITLED WITH RED AND BLUE (TABLE-TOP MOBILE) Signed with impressed mark to base, polychrome steel mobile sculpture 37cm high x 51cm long (14.5in x 20in)

£2,500-3,500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Modern British & Contemporary Art 97

188 [§] GERALD LAING (BRITISH 1936-2011) BRIGITTE BARDOT (1968) Signed and inscribed ‘B.B. 1968’ in pencil and numbered 127/200, screenprint 58cm x 88cm (22.75in x 34.75in)

£3,000-5,000

189 ROBERT LONGO (AMERICAN B.1953) GUN (.38 SPECIAL) Signed and dated ‘94, edition W/P, 20, monoprint, silkscreen and ink on paper 76cm x 81cm (30in x 32in)

£5,000-7,000

98 Lyon & Turnbull

‘For me taking a picture is a way of touching somebody—it’s a caress. I’m looking with a warm eye, not a cold eye. I’m not analysing what’s going on—I get inspired to take a picture by the beauty and vulnerability of my friends.’

It is difficult to imagine in 2018, when everyone is an amateur photographer, a smart phone with built-in camera feels like an extension of self to most people and Instagram, the image-based social media platform for sharing ‘snapshots’ of your life is rapidly gaining popularity, how radical Nan Goldin’s work was when she first unleashed her vision and aesthetic on the art world in 1973.

The Ballad of Sexual Dependency is the over-arching name for a body of work created by Goldin depicting her social circle and their life through the 1970s and 80s. Created over many years, it was originally presented by the artist as a slideshow set to music, totalling approx. 700 images in a period of around 45 minutes, before being published as a book in 1986. It has more recently been re-presented in its original slideshow format in a selection of art institutions. Both artworks offered in this auction, The Hug and Skinhead with Child, London, 1978 are from this body of photography.

With her captivating and immediate ‘snapshot’ style, Nan Goldin’s photography creates an intersection of autobiographical detail and documentary storytelling, as she honestly captures her friends as they live their lives, creating a body of work that is at once radical, intimate, personal, joyful and moving. Her circle of friends, subsumed as they are in the New York counter-culture of the 1970s and 80s, are shown in their beds, kitchens and living rooms, embracing, dancing, kissing, dressing, undressing and shooting up with a casual immediacy and frankness that can be disconcerting for the viewer.

Yet Goldin was not a casual observer of this lifestyle, and was instead a close friend of all the people depicted, living with them and participating in this hedonistic lifestyle. She called these close friends her family, describing them as ‘bonded not by blood, but by a similar morality, the need to live fully and for the moment.’ She said of her artistic intentions, ‘I know how to make someone look beautiful.

And I’ll never photograph anyone I don’t know. You have to know the person to really be able to photograph them. But I never show pictures of my friends if they don’t want me to. My drawers are full of great photographs that I won’t show because the person asked me not to.’ The sense of the work as confessional and uncompromising, making private acts, spaces and moments public is only strengthened by the artist’s commitment to self-portraits. She is as unflinching an observer of herself as of others, and her gaze is always one of love and connection, rather than interrogation or judgement. By her own admission, her photography is ‘the diary I let people read.’

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Goldin’s style and approach always stemmed from her life and circumstances, from capturing those closest to her, to working with artificial light as that was how she saw and experienced her life at that time, living almost nocturnally in central New York, and utilising slides and getting her prints developed in the chemists as she had no access to a darkroom. In The Hug, we get a real sense of Goldin’s approach, the camera and photographer as observer of an intimate moment, of human affection and connection, yet also with a potentially darker edge of vulnerability and power; it only takes a single male arm to completely encircle the woman’s body. The complexity of human connection and our way of relating to each other is reinforced in the artist’s handwritten inscription, ‘sometimes it hurts, sometimes it doesn’t, you know.’ While Skinhead and Child, London, 1978, demonstrates Goldin’s keen visual eye, capturing this odd juxtaposition of figures with its surprising compositional balance, and nods to the luck and circumstance inherent in the medium of photography, of hundreds of photographs taken, this is one of the images that delivers, the light and patterns giving an strikingly eerie and ghostly effect.

In 2018, Goldin’s striking photographs continue to attract different meanings and foster new connections, as we read and experience them in relation to current events and attitudes. Goldin herself has said, ‘I always thought if I photographed anyone or anything enough, I would never lose the person, I would never lose the memory, I would never lose the place. But the pictures show me how much I’ve lost.’ And we can feel that even more acutely now, as we realise that many of the subjects, the friends and adopted family of the artist, have not survived, they are a generation lost to drugs, AIDS and suicide and although they have been captured in these specific moments, we do not know the entirety of their complicated story.

Modern British & Contemporary Art 99

190 NAN GOLDIN (AMERICAN B.1953) SKINHEAD WITH CHILD, LONDON, 1978 C-print, artist’s proof, signed and inscribed, unframed 45cm x 60cm (17.75in x 23.5in)

£4,000-6,000

191 NAN GOLDIN (AMERICAN B.1953) THE HUG C-print mounted on Sintra foam-board, artist’s proof, signed and inscribed verso ‘Sometime it hurts, sometimes it don’t, you know N.’ 39cm x 59.5cm (15.25in x 23.5in)

£3,000-5,000

100 Lyon & Turnbull

192 NOBUYOSHI ARAKI (JAPANESE B.1940) UNTITLED (BONDAGED WOMAN) C-print mounted on AluDibond, signed verso 77cm x 97.5cm (30.25in x 38.25in)

£3,000-5,000

193 [§] RICHARD PRINCE (AMERICAN B.1949) UNTITLED (GIRLFRIEND) Vintage Ektachrome print, from an edition of 26, initialed verso, unframed 51cm x 61cm (20in x 24in)

£2,000-3,000

Modern British & Contemporary Art 101

INDEX ADAMSON, C., 106, 109, 142

DALI, S., 32

MACARTHUR, C., 102, 138

RAE, B., 87, 88, 89

ALDRIDGE, J., 10

DAVIE, A., 56, 64, 72, 76

MACDONALD, T., 144

RAMSAY, A., 158, 159

ARAKI, N., 192

DENNY, R., 54

MACDONNELL, P., 9

RAND, K., 122

BACON, F., 36

DOUTHWAITE, P., 112, 113, 115

MACPHERSON, N., 63

RAY, R., 121

BAIN,D., 62, 94

DOWNIE ROBERTSON, J., 133

MACKENZIE-SMITH, I., 124, 125

REEVES, P., 123

BARR, S., 118

FEDDEN, M., 171

MACKINLAY, M., 96

REGO, P., 25, 26

BARRIE, M., 108, 169

FLANNIGAN, M., 182

MACTAGGART, W., 40

RICHMOND, O., 172

BAWDEN, E., 22

FLATTELY, A., 48

MAIN, I. L., 99

ROBERT-JONES, I., 37

BELLANY, J., 67, 68, 90, 93, 119,

GALLAGHER, M., 82, 84, 146

MANSON, D., 79, 83, 103, 147

ROBERTSON, I., 74, 116

167, 168

GEAR, W., 27, 28, 29

MARÍN, M., 187

SCOTT, W., 15,

BERLIN, S.,

GOLDIN, N., 190, 191

MATISSE, H., 21

SCOULLER, G., 128, 145

BLACKADDER,DAME E., 78, 137

GOODHEIR, G., 100

MCCANNELL, W., 13

SCULLION, A., 155

BLOW, S., 59

GOUDIE, A., 126

MCLEAN, B., 174

SHANKS, D., 127

BOYCE, M., 175

HANNA, N., 139

MCLEAN, J., 58

SLOAN, J., 166

BOYD, J. G., 97

HARLING, S., 51

MCLELLAN, A., 120

STIRLING, D., 163

BRAQUE, G., 19

HENG, E., 181

MCNAIRN, C., 73, 75

STORK, M., 141

BRATBY, J., 49, 53

HOLT, E., 52

MCRAE, J., 165

STUTZER, R., 164

BROWN, JOHN., 101,140

HOSIE, D., 162

MICHIE, D., 117

TONER, D., 91, 95

BREUER-WEIL, D., 110

HOUSE, G., 177

MOORE, H., 14, 16,

THOMSON, D., 160, 161

BRYCE, G., 80, 81

HOUSTON, J., 129

MORGA, G., 60, 61

TINDLE, D., 183

BURNS, W., 2

HOWARD, K., 143

MORNING, SUNDAY B., 57

VAUGHAN, K., 6, 7, 8

BYARS, D., 114

HOWSON, P., 153, 154, 157

MORRISON, J., 104, 105, 106

WALKER, E., 148

BYRNE, J., 170

HOYLAND, J., 65

MORRISON, J. L., 85, 86, 132

WATT, A., 185, 186

CAMPBELL, SHELAGH., 134

HUGONIN, J., 176

MUNCH, E., 38

WHITEN, K., 111

CAMPBELL, STEVEN., 149, 150,

IRVIN, A., 55

NEAGU, P., 69

WILKINSON, L., 178, 179

151, 152

JOHNSTONE, W., 4, 5, 17, 18

NICHOLSON, W., 47

WILSON, S., 24

CONROY, S., 180

KNIGHT, DAME L., 12

ORAM, A., 77

WISZNIEWSKI, A., 66

COOPER, J., 184

LAING, G., 188

PAOLOZZI, SIR E., 33, 34, 35, 70, 71

CROWE, V., 136

LEVIER, C., 92

PHILIPSON, SIR R., 30, 31, 130, 131

CUMMING, J., 1, 3

LITTLEJOHN, W., 98

PRINCE, R., 193

CUNNINGHAM, J., 135

LONGO, R., 189

PIPER, J., 23

CURRIE, K., 156, 173

LOW, B., 39, 41, 42, 43, 45, 46

POPE, P., 50

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. Dimensions are given height before width.

Names or Recognised Designation of an Artist without any Qualification In our opinion a work by the artist

Circle of…

In our opinion work of the period of the artist and showing their influence

Attributed to…

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

Follower of…

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

Studio of… / Workshop of…

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

Manner of…

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

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

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Lyon & Turnbull Live - a new live bidding system

This new facility allows users to enjoy the convenience and excitement of a live auction from any location, and all without the requirement to pay the additional premiums charged by other live bidding providers.

Register to bid live in an upcoming auction through our website or download the app from the Apple App Store or Google Play to browse and bid from any mobile device.

Features include: •

Quick registration for upcoming auctions

•

Track upcoming lots and receive timely notifications

•

Leave absentee bids for upcoming auctions

•

Bid live using our simple swipe-to-bid interface

•

Watch sales in real time

Modern British & Contemporary Art 103

SONGYE POWER FIGURE NKISI £25,000-30,000

AFRICAN & OCEANIC ART AND ANTIQUITIES AUCTION 27 NOVEMBER IN EDINBURGH OPEN FOR CONSIGNMENTS For a valuation or to discuss selling works in this auction, please contact Alex Tweedy on 0131 557 8844 or email alex.tweedy@lyonandturnbull.com

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Conditions of Sale

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18.4

112 Lyon & Turnbull

Guide to Bidding & Payment Registration

How to Bid

Payment

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:

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 endeavour to undertake such bids to the best of our abilities.

This service is available entirely at our discretion and at the bidder’s risk.

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:

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.

You will find a link to this service in any email invoice issued or you can visit the payments section of our website.

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 nontransferable.

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 is also available: • L&T Live – Access through our website or download the live bidding app L&T Live, service offered for no additional fee.

• Invaluable – Access through invaluable.com. Invaluable charge an additional 5% for their service.

• The-Saleroom – Access through The-Saleroom.com. The-Saleroom charge an additional 3% for their service.

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.

Online Card Payments We no longer accept card payments by phone.

Please use our online payment service (provided by Cardstream/Credorax).

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.

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114 Lyon & Turnbull

33 Broughton Place, Edinburgh EH1 3RR Tel. +44 (0)131 557 8844 Fax. +44 (0)131 557 8668 info@lyonandturnbull.com www.lyonandturnbull.com

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