Scottish Paintings & Sculpture by Lyon & Turnbull

Thursday, 6th June 2019 33 Broughton Place Edinburgh

Scottish Paintings & Sculpture

Scottish Paintings & Sculpture Thursday, 6th June, 2019 at 6pm Sale Number LT561

Viewing Sunday, 2nd June 12 noon - 4pm Monday, 3rd June 10am - 5pm Tuesday, 4th June 10am - 5pm Wednesday, 5th June 10am - 5pm Day of sale 9am - 1pm

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

Catalogue: ÂŁ15

Front Cover Lot 85 (detail)

Inside Front Cover Lot 110 (detail)

Inside Back Cover Lot 25 (detail)

2 Lyon & Turnbull

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Registration

Catalogue descriptions

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 at the back of this catalogue).

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

Additional VAT † VAT at the standard rate payable 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

1–G overnment issued photo ID (Passport/ Driving licence) 2–P roof 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

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Scottish Paintings & Sculpture 3

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.

Nick Curnow

Carly Shearer

Charlotte Riordan

Head of Department

Specialist

nick.curnow@lyonandturnbull.com

carly.shearer@lyonandturnbull.com

charlotte.riordan@lyonandturnbull.com

Philip Smith

Rohan McCulloch

Specialist

philip.smith@lyonandturnbull.com

rohan.mcculloch@lyonandturnbull.com

4 Lyon & Turnbull

1 [§] WILLIAM MILLER FRAZER R.S.A. (SCOTTISH 1864-1961) UNLOADING THE CATCH Signed, oil on canvas 41cm x 61cm (16in x 24in)

£1,800-2,500

2 WILLIAM ALFRED GIBSON (SCOTTISH 1866-1931) A DUTCH WATERWAY Signed, oil on canvas 41cm x 51cm (16in x 20in)

£1,000-1,500

3 HARRY SPENCE R.B.A. (SCOTTISH 1860-1928) BRIDGES ON THE SEINE Signed and dated 1892, oil on canvas 33cm x 41cm (13in x 16in)

£1,000-1,500

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

Scottish Paintings & Sculpture

4 WILLIAM KENNEDY (SCOTTISH 1859-1918) HAY CART, A NORMANDY VILLAGE Signed, oil on canvas 41cm x 61cm (16in x 24in)

£1,500-2,000

5 ARCHIBALD KAY R.S.A., R.S.W. (SCOTTISH 1860-1935) HAYMAKING Signed and inscribed, oil on canvas 63cm x 111cm (25in x 43.5in)

£2,000-3,000

6 GEORGE HOUSTON R.S.A., R.S.W., R.I. (SCOTTISH 1869-1947) GLEN DOE Signed, oil on canvas 46cm x 61cm (18in x 24in)

£1,000-1,500

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7 DUNCAN CAMERON (SCOTTISH 1837-1916) HARVESTING NEAR DUMYAT, OCHIL HILLS Signed, oil on canvas 51cm x 76cm (20in x 30in)

£1,000-1,500

8 [§] DUNCAN MACGREGOR WHYTE (SCOTTISH 1866-1953) WAVES BREAKING, SUNSET Signed, oil on canvas 31cm x 46cm (12in x 18in)

£1,000-1,500

9 GEORGE HOUSTON R.S.A., R.S.W., R.I. (SCOTTISH 1869-1947) BY THE EDGE OF THE LOCH, AUTUMN Signed, oil on canvas 71cm x 91cm (28in x 36in)

£800-1,200

Scottish Paintings & Sculpture

10 JAMES KAY R.S.W., R.S.A. (SCOTTISH 1858-1942) PLACE DE LA MADELEINE Signed, oil on card 48cm x 58cm (19in x 22.75in)

£2,500-3,500

11 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) AUTUMN - SCOTTISH HIGHLANDS Signed, oil on board 30.5cm x 46cm (12in x 18in)

£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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12 WILLIAM GOUW FERGUSON (SCOTTISH 1632/33- AFTER 1695) A STILL LIFE OF DEAD GAME AND SONGBIRDS Signed and dated 1690, oil on canvas 124.5cm x 104cm (49in x 41in)

£6,000-8,000

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

Scottish Paintings & Sculpture

13 ALLAN RAMSAY (SCOTTISH 1713-1784)

Provenance: Kenneth Sanderson, Christie’s 1945 (as Miss Macintosh)

HALF LENGTH PORTRAIT OF A LADY SAID TO BE MISS MACKINTOSH Oil on canvas, feigned oval

L.C.Wallach

91cm x 71cm (36in x 28in)

£6,000-8,000

Literature: Alastair Smart, Allan Ramsay 1999, p.152, ill.no.6 Note: Smart dates this painting to c1735/6

Scottish Paintings & Sculpture

14 ALEXANDER NASMYTH (SCOTTISH 1758-1840) VIEW OF EDINBURGH FROM BLACKFORD HILL Oil on canvas 71cm x 91cm (28in x 36in) Provenance: Col. D.Anderson, Colinsburgh Christie’s Glasgow, April 1982, lot.167 Literature: J.C.B.Cooksey, Alexander Nasmyth 1758-1840, 1991, p.88, ill. 30, ‘Unpublished papers of 1806 in the Collection of Col. D.Anderson of Colinsburgh list this painting as Edinburgh from Blackford Hill’ Note: This painting was previously on loan to and displayed at the National Galleries of Scotland

£15,000-20,000

Alexander Nasmyth was described by his artist colleague, Sir David Wilkie, as ‘the founder of the landscape painting school of Scotland,’ due to both his commitment to the genre and the legacy of his teaching. In fact, his training and career was split across both landscape and portraiture, beginning with his early tutelage under James Cumming and Alexander Runcimann within the Norie tradition of decorative landscape painting, followed by a period in the studio of the renowned portraitist Allan Ramsay. Nasmyth then established his own successful portrait practice and developed a particular niche painting conversation pieces, often family groups in front of their residence and grounds, a combination of the two aspects of his training and talent and also an acknowledgment of his further personal interest in architecture. Two years in Italy allowed him to further develop his landscape approach, often including an architectural element, as seen in the crumbling arch within the Italian scene offered here. In this, Nasmyth’s meticulous depiction of the details reveals the delicate beauty of the vignette; it is expertly framed within his distinctively patterned leaves with a distant landscape unfolding beyond, a method of layering and framing that he repeats regularly and successfully in much of his work. Yet he only turned fully to landscape in Edinburgh around 1792 as portrait commissions began to reduce, possibly due to his increasingly severe political views being incompatible with those of his potential subjects.

A key figure of the Edinburgh cultural Renaissance at the start of the nineteenth century, Lyon & Turnbull are delighted to be offering two further lots of work by Nasmyth within the Scottish Paintings & Sculpture auction. The pair of oval paintings offered pre-date his change away from portrait commissions, and are his earliest dated landscape paintings. They remain unusual, and possibly unique pieces within his oeuvre, small scale and executed in oil on copper; a medium known for its capacity to exhibit both delicacy and luminosity. Nasmyth’s technique remains delicate and considered, with a lovely handling of light in both scenes. View of Edinburgh from Blackford Hill is a particularly Scottish view, capturing the rugged and distinctive topography that characterises the capital city, and the stretch of water and landmass of Fife that unfolds further North. Nasmyth’s talent for balance and perspective across a composition is revealed as these different landscape layers unfold from the countryside setting where we stand and view. With a prestigious provenance, having recently been on loan to and exhibited at the National Galleries of Scotland, this is a true slice of Scotland.

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

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15 ALEXANDER NASMYTH (SCOTTISH 1758-1840) A BRIDGE WITH EDINBURGH CASTLE IN THE DISTANCE Indistinctly inscribed and dated on the backboard ‘taken by Mr Nasmyth Senior for John Cockburn Ross Esq, 1788’, oil on metal, circular 16.5cm (6.5in) diam and a companion a pair ‘A homestead near Edinburgh’(2) Provenance: John Cockburn Ross Esq The Nightingale Family and thence by descent J.D.Robertson Esq and thence by descent

£10,000-15,000

Scottish Paintings & Sculpture

16 ALEXANDER NASMYTH (SCOTTISH 1758-1840) A RUINED BRIDGE OVER A RIVER, ITALY Oil on canvas 46cm x 61cm (18in x 24in) Literature: A painting of the same subject but with figures is illustrated in J.C.B.Cooksey, Alexander Nasmyth 17581840, published in 1991, p.28 ill.125

£2,000-3,000

17 HUGH (GRECIAN) WILLIAM WILLIAMS (SCOTTISH 1773-1829) PARKLAND AT MINTO HOUSE Signed and dated 1809, pen and ink and wash 37cm x 44cm (14.5in x 17.25in) and a companion a pair also ‘Minto’ (2)

£800-1,200

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

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18 JAMES ECKFORD LAUDER R.S.A. (SCOTTISH 1811-1869) THE JEWEL CASKET Signed and inscribed verso, oil on board 48cm x 34.5cm (19in x 13.5in)

£2,000-3,000

19 JOHN MYLES R.S.A (SCOTTISH FL.1858-1873) PORTRAIT OF AN EDINBURGH CITY OFFICIAL Signed, oil on board 46cm x 38cm (18in x 15in)

£800-1,200

Scottish Paintings & Sculpture

20 JAMES ECKFORD LAUDER R.S.A. (SCOTTISH 1811-1869) PORTRAIT OF JEANIE DEANS Signed and dated 1855-6, oil on canvas, arched top 42cm x 31cm (16.5in x 12.25in)

£1,000-1,500

21 WILLIAM KIDD H.R.S.A. (SCOTTISH 1796-1863) THE ROAD TO RECOVERY Indistinctly signed, oil on panel 51cm x 41cm (20in x 16in)

£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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Scottish Paintings & Sculpture

22 SIR WILLIAM QUILLER ORCHARDSON R.A., H.R.S.A. (SCOTTISH 1832-1910) PRINCE CHARLES EDWARD AND THE CATHERANS Signed verso, oil on canvas 85.5cm x 126.5cm (33.75in x 49.75in) Exhibited: Royal Scottish Academy 1852, no.291

£10,000-15,000

Orchardson is recognised as one of the finest Scottish artists of the Victorian period. A generation taught by Robert Scott Lauder; his peers, with whom he remained close for most of his life, included William McTaggart, Hugh Cameron, Robert Herdman, and John Pettie, the latter of whom moved to London with Orchardson in the 1860s where they went on to share a studio.

and praises the narrative subtlety and psychological sensitivity of Orchardson’s work at length: “of all nineteenth-century painters after Wilkie he comes closest to the great novelists of his time. The reason is that like Wilkie he was a master in the observation of the minute nuances of behaviour which betray a person’s feelings and state of mind.”

Though Orchardson found success south of the Border, his career was born into one of the most active and buoyant periods the Scottish

The art of the ‘High Victorian’ period was indeed a time of nostalgia and Romanticism in art; steeped in historical and literary references.

art scene has ever experienced. Art and its practitioners were thriving, with over 1000 exhibits in the Royal Scottish Academy each year. Orchardson’s new work, exceedingly popular at the time, was always keenly anticipated by the viewing public.

The Jacobite Rebellion was inevitably a fertile source of inspiration. Initially stimulated by the publication of Sir Walter Scott’s ‘Waverley’ in 1814, the author went on to facilitate the visit of Kind George IV to Scotland several years later, birthing a new era of popularity for Scottish history and tradition and even the advent of new traditions, such as the creation of clan tartans. ‘Prince Charles Edward and the Catherans’ depicts Charles Edward Stuart and a band of supporters, or ‘caterans’ (Highland soldiers) who look fresh from battle; likely their crushing defeat at Culloden. The scene is reminiscent of the famous episode from the Bonnie Prince Charlie legend in which he seeks shelter in ‘Cluny’s Cave’ after the battle, hiding from the English forces sweeping the Highlands in search of his supporters. As the tale goes, Cluny MacPherson, Chief of Clan Chattan, was hiding inside. It is said that the Prince asked for Cluny’s plaid because it was thicker than his own, however Cluny refused to give it up but offered to share and the pair slept under the same plaid.

‘Prince Charles Edward and the Catherans’ was one such painting, exhibited at the RSA in 1852. It was executed early on in his burgeoning career, prior to his move to London around a decade later. It represents a period of Orchardson’s work before the influence of the Pre-Raphaelites and Millais had permeated his practice. Rather, it owes a much keener debt to Sir David Wilkie; the gloomy interior illuminated by the glow of candle light; the conspiratorial huddle of figures; a moment poised on the precipice of action. In this fascinating example of his work we can see why the artist would become so famed for his ‘costume-interiors’. Art historian Duncan Macmillan, in his comprehensive and influential overview ‘Scottish Art: 14601990’, spends much time drawing a parallel between the two artists,

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

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23 HUGH ALLAN (SCOTTISH 1862-1909) THE MILL-LADE, GLEN FARG NEAR ABERNETHY Signed and dated 1887, inscribed verso, oil on canvas 76cm x 122cm (30in x 48in)

£1,500-2,500

24 ALEXANDER CARSE (SCOTTISH C.1770-1843) EAST LOTHIAN FISHERWOMEN Signed, oil on board 56cm x 76cm (22in x 30in)

£3,000-5,000

Scottish Paintings & Sculpture

25 EDMUND THORNTON CRAWFORD R.S.A. (SCOTTISH 1806-1885) THE PORT OF LEITH Signed and dated 1856, oil on canvas 94cm x 89cm (37in x 34in)

£8,000-12,000

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

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26 WILLIAM ALFRED GIBSON (SCOTTISH 1866-1931) HOMEWARD BOUND Signed, oil on canvas 31cm x 56cm (12in x 22in)

£1,000-1,500

27 JAMES WEBB R.A. (BRITISH 1825-1895) OFF THE BASS ROCK Signed, oil on canvas 21cm x 31cm (8.25in x 12.25in)

£600-800

28 JAMES DOCHARTY A.R.S.A. (SCOTTISH 1829-1878) HOME FROM THE FIELDS Signed and dated 1875, oil on canvas 44cm x 66cm (17.25in x 26in)

£600-900 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Scottish Paintings & Sculpture

29 ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928) HIGHLAND CATTLE ON A MOUNTAIN PATH Signed, oil on canvas 41cm x 61cm (16in x 24in) Provenance: Ian MacNicol, Glasgow

£2,000-3,000

30 GEORGE BLACKIE STICKS (BRITISH 1843-1938) GRAMPIAN HILLS STORM CLEARING OFF Signed and dated 1879, signed, inscribed and dated verso, oil on canvas 61cm x 91cm (24in x 36in)

£1,500-2,000

31 CHARLES HODGE MACKIE R.S.A., R.S.W., P.S.S.A. (SCOTTISH 1862-1920) WATERMILL, AUTUMN Signed with monogram, oil on canvas 31cm x 41cm (12in x 16in)

£800-1,200

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32 HARRINGTON MANN R.P., R.E. (SCOTTISH 1864-1937) HOME FROM THE FIELDS Signed, oil on canvas 33cm x 25.5cm (13in x 10in)

£5,000-7,000

33 WILLIAM PRATT (SCOTTISH B.1855) FIREFLY Signed and dated 1902, oil on canvas 41cm x 31cm (16in x 12in)

£700-1,000

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

Scottish Paintings & Sculpture

34 ERSKINE NICOL R.S.A., A.R.A. (SCOTTISH 1825-1905) THE CHILDREN’S FAIRING Signed and dated 1870, oil on canvas 88cm x 73cm (34.75in x 28.75in) Note: Bears contemporary label verso which reads ‘Lent by Trustees of the Lady Lever Art Gallery, Port Sunlight’

£12,000-15,000

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35 JOHN ROBERTSON REID R.I., R.B.A., R.G.I. (SCOTTISH 1851-1926) GATHERING FIREWOOD Signed and dated ‘79, oil on canvas 61cm x 46cm (24in x 18in)

£4,000-6,000

36 DAVID FARQUHARSON A.R.A., AR.S.A., R.S.W., R.O.I. (SCOTTISH 1840-1907) WINTER, GLEN LYON Signed and dated 1880, inscribed verso, oil on canvas 36cm x 28cm (14in x 11in)

£1,500-2,000

Scottish Paintings & Sculpture

37 GOURLAY STEELL R.S.A. (SCOTTISH 1819-1894) PEPPER Signed and indistinctly dated 187-, oil on canvas, arched top 56cm x 76cm (22in x 30in)

£6,000-8,000

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

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38 JAMES GILES R.S.A. (SCOTTISH 1801-1870) LOCHNAGAR LOOKING UP GLEN GELDER Oil on canvas 91cm x 117cm (36in x 46in) Exhibited: Royal Scottish Academy 1842, no.61

£2,000-3,000

39 WILLIAM WATSON (SCOTTISH 1831-1921) EVENING ON THE HILLS, LOCH TAY, PERTHSHIRE Signed and dated 1919, inscribed verso, oil on canvas 62cm x 93cm (24in x 36.5in)

£2,000-3,000

40 LOUIS BOSWORTH HURT (BRITISH 1856-1929) MOORLAND AT CLACHAIG, GLENCOE Signed and dated 1899, oil on canvas 61cm x 102cm (24in x 40in)

£4,000-6,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Scottish Paintings & Sculpture

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41 EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) RING A RING O’ROSES Signed and dated 1909, oil on canvas 76cm x 101cm (30in x 40in)

£20,000-30,000

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

Scottish Paintings & Sculpture

42 EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) ON THE BANKS OF THE IRRAWADDY Signed and dated 1922, oil on canvas 61cm x 51cm (24in x 20in)

£4,000-6,000

43 ALFRED DE BREANSKI JUNIOR (BRITISH 1877-1945) THE HERBACEOUS BORDER Signed, signed and inscribed verso, oil on canvas 59cm x 38.5cm (23.25in x 15.25in)

£800-1,200

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44 [§] JESSIE MCGEEHAN (SCOTTISH 1874-1961) A BUSY FRENCH MARKET Signed, oil on canvas 61cm x 51cm (24in x 20in)

£2,000-3,000

45 FLORA MACDONALD REID (SCOTTISH FL.1879-D.1938) THE VEGETABLE MARKET Signed and dated ‘93, oil on canvas 36cm x 25.5cm (14in x 10in)

£1,200-1,800

Scottish Paintings & Sculpture

46 [§] FRANCIS PATRICK MARTIN (SCOTTISH 1883-1966) THE THREE GRACES Signed, oil on canvas 127cm x 101cm (50in x 40in)

£4,000-6,000

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

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47 ALEXANDER YOUNG (SCOTTISH 1865-1923) ST. MONANCE HARBOUR Signed and dated 1902, oil on canvas 64cm x 127cm (25.25in x 50in)

£2,000-3,000

48 JAMES HARDY JNR (SCOTTISH 1832-1889) THE DAY’S BAG Signed and dated ‘77, oil on panel 25.5cm x 38cm (10in x 15in)

£2,000-3,000

Scottish Paintings & Sculpture

49 ROBERT WEIR ALLAN R.S.A., R.W.S., R.S.W. (SCOTTISH 1852-1942) ARRIVING FROM THE HERRING FISHING, MONTROSE Signed, oil on canvas 87cm x 122cm (34.25in x 48in)

£4,000-6,000

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

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Scottish Paintings & Sculpture

50 ROBERT PAYTON REID A.R.S.A. (SCOTTISH 1859-1945) GATHERING POPPIES Signed, oil on canvas 127.5cm x 91.5cm (50in x 36in)

£4,000-6,000

51 JOHN MACWHIRTER R.A., H.R.S.A., R.I., R.E. (SCOTTISH 1839-1911) LOCH KATRINE Signed with a monogram, oil on canvas 89cm x 132cm (35in x 52in)

£3,000-5,000

52 PATRICK WILLIAM ADAM R.S.A. (SCOTTISH 1854-1929) PARIS Signed, inscribed and dated 1895, oil on board 21cm x 27cm (8.25in x 10.5in)

£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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53 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) SHRIMPING Signed, oil on canvas 46cm x 61cm (18in x 24in) Provenance: M.Newman Ltd., London

£10,000-15,000

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

Scottish Paintings & Sculpture

54 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) THE FLOWER MARKET - DIEPPE Signed, oil on canvas 51cm x 61cm (20in x 24in)

Â£4,000-6,000

38 Lyon & Turnbull

55 WILLIAM DARLING MCKAY R.S.A. (SCOTTISH 1844-1924) HOME FROM CHURCH Signed with initials, oil on canvas 31cm x 41cm (12in x 16in)

£1,000-1,500

56 DAVID GAULD R.S.A. (SCOTTISH 1865-1936) DUNLOP, WINTER Signed, oil on canvas 41cm x 51cm (16in x 20in)

£1,500-2,500

57 JOSEPH FARQUHARSON R.A. (SCOTTISH 1846-1935) CATTLE IN THE MIST Signed, oil on canvas 51cm x 76cm (20in x 30in)

£3,000-5,000

Scottish Paintings & Sculpture

58 EDWARD ARTHUR WALTON R.S.A., P.R.S.W., H.R.W.S. (SCOTTISH 1860-1922) SUMMER REFLECTIONS Signed, oil on canvas 51cm x 61cm (20in x 24in)

£3,000-5,000

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

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59 ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905) ROWING BOATS BY A HARBOUR QUAY, CONCARNEAU Oil on panel, also painted verso ‘Fishermen on the quay’ 26.5cm x 35cm (10.5in x 13.75in)

£7,000-10,000

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

Robert Brough’s art is often overshadowed by the trauma and tragedy of his untimely death; after suffering horrific burns in a train collision outside of Sheffield. A great friend and protégé of Singer Sargent, the older artist rushed to be with his friend in his final days and following his death curated a memorial exhibition in celebration of the young artist’s talent. Brough’s life was cut short during a steep upward career trajectory, he was very much a rising art star; working alongside Sargent and having recently been made an associate of the Royal Scottish Academy. Brough displayed a talent for both art and music from a young age, and was greatly encouraged by the family’s neighbour, the painter Sir George Reid. With this support Brough found an apprenticeship as a lithographer in Aberdeen and used his earnings to fund trainings at Gray’s School of Art in the city, before applying to the R.S.A. Schools in Edinburgh in 1891. By the end of his first year, he had been awarded three prestigious prizes, thus beginning a notable career. Brough completed further training in Paris, enrolling at the Acadamie Julien in Paris with Scottish Colourist S.J. Peploe, before travelling on in search of Sisley at Moret-sur-Seine and then Gauguin at Pont Aven in Brittany. By 1894 he had returned to his native Aberdeen and his steady progress was being closely monitored by the local press, ‘When only three-and-twenty years of age Mr. Brough created some sensation and scored an undoubted triumph with two pictures shown at the Grafton Exhibition of the Society of Portrait Painters. His reputation already extended far beyond the confines of his native land. He had important pictures in Munich, Moscow, and in other leading Continental Galleries’ (1895 Aberdeen Daily Journal). Then by 1897, and the age of 25, he was in London working on society portraits alongside Sargent. A Scottish artist, with a particular European flair, Brough’s modern French training combined with a range of influences and inspirations from Raeburn to Velazquez to create a sophisticated and flamboyant approach. Close engagement with the selection of offered works by this intriguing artist reveal his true talent and dexterity; his lightness of touch and sophistication across mediums particularly apparent. Rowing Boats by a Harbour Quay, Concarneau atmospherically evokes the Brittany coast and the quick, deft brushwork is handled with a charming lightness. An unfinished working sketch still visible verso reveals the artist’s working practice. In Rowing Boats, and Figures on the Harbour Wall, Brittany, Brough beautifully balances the compositions and utilises the unique qualities of the differing mediums. Within the offered group a particular preoccupation with ripples and reflections is visible, elegantly captured by the artist in a variety of media, from directly applied waving lines of pastel pigment to a patterning of daubs of fluid watercolour. Overall it is his dexterity with pastel that is a true delight to witness, with his lightness of touch allowing him to delineate the patterning of architecture and greenery in South of Concarneau, the colourful, graphic topography rising elegantly out of the buff paper surface, and the sparseness of a Parisian winter in Bulb Planting in the Tuileries Gardens, Paris, the effortful gestures of the workers clear in their brief outlines and the elegance of the city visible in the grey and white distance. Brough’s talent and approach was beautifully summarised by his friend and mentor, Sargent: ‘. . . the grace, the fluidity, the lightness of touch that are so delightful in Brough; that very rare quality of surface that seems to make the actual paint a precious substance.’

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60 ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905) FIGURES ON THE HARBOUR WALL, BRITTANY Signed, watercolour 38cm x 56cm (15in x 22in)

£4,000-6,000

61 ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905) CONCARNEAU FERRYMAN 1894 Signed with a monogram, pastel 40cm x 55cm (15.75in x 21.75in)

£4,000-6,000

Scottish Paintings & Sculpture

62 ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905) SOUTH OF CONCARNEAU Signed, pastel on buff paper 24cm x 31cm (9.5in x 12.25in)

£1,500-2,000

63 ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905) BULB PLANTING IN THE TUILERIES GARDENS, PARIS Signed with a monogram, pastel 23.5cm x 32cm (9.25in x 12.5in)

£1,200-1,500

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

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64 DERWENT WOOD (BRITISH 1871-1925) BUST PORTRAIT OF ROBERT BROUGH Signed, inscribed and dated 1904 in the cast, bronze 23cm (9in) high

Â£3,000-5,000

Scottish Paintings & Sculpture

65 [§] JAMES COWIE R.S.A., L.L.D. (SCOTTISH 1886-1956) STUDIO INTERIOR Signed, oil on canvas 71cm x 91cm (24in x 36in) Exhibited: Art Exhibition Bureau, Albermarle St London, ‘Aspects of Contemporary Scottish Painting’ Note: This painting dates from 1946/7

£10,000-15,000

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

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66 EDWIN ALEXANDER R.S.A., R.S.W., R.W.S. (SCOTTISH 1870-1926) COCKSFOOT GRASS Signed with a monogram and dated 1903, watercolour on buff paper 27cm x 15cm (10.5in x 6in)

£800-1,200

67 [§] CHARLES OPPENHEIMER R.S.A., R.S.W. (SCOTTISH 1876-1961) VENICE Signed and dated 1912, watercolour 28cm x 20.5cm (11in x 8in)

£2,000-3,000

68 [§] SIR MUIRHEAD BONE H.R.S.A., H.R.W.S., H.A.R.I.B.A., H.R.E., L.L.B., D.LITT. (SCOTTISH 1876-1953) AN OLD PALACE, ROME Signed, watercolour and bodycolour 30.5cm x 20.5cm (12in x 8in)

£500-800

Scottish Paintings & Sculpture

69 [§] WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) GONDOLAS Pen and ink and watercolour 40.5cm x 61cm (16in x 24in)

£1,500-2,000

70 JOHN KEPPIE R.S.A., J.P. (SCOTTISH 1862-1945) THE BULL FIGHT Signed, watercolour 27cm x 38cm (10.5in x 15in)

£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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71 JOHN KEPPIE R.S.A., J.P. (SCOTTISH 1862-1945) SEGOVIA COURTYARD Signed, inscribed and dated 1912, watercolour 38cm x 27cm (15in x 10.5in)

£500-800

72 JAMES CADENHEAD R.S.A., R.S.W. (SCOTTISH 1858-1927) THE MANTELPIECE Signed with a monogram, watercolour 35cm x 24cm (13.75in x 9.5in)

£600-800

73 TOM SCOTT R.S.A (SCOTTISH 1854-1927) THE ETTRICK VALLEY NEAR SELKIRK Signed and dated 1915, grisaille 36cm x 41cm (14in x 16in)

£700-1,000

Scottish Paintings & Sculpture

74 [§] CHARLES OPPENHEIMER R.S.A., R.S.W. (SCOTTISH 1876-1961) KIRKCUDBRIGHT HARBOUR Signed, oil on canvas 51cm x 76cm (20in x 30in)

£4,000-6,000

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

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The artistic link between Scotland and France in the early decades of the 20th century was strong and, in many ways, remarkable. Famously, the Scottish Colourists Fergusson, Peploe, Cadell and Hunter forged a path in Paris ahead of many of their English counterparts, quickly absorbing and reacting to the work of their heroes of the Post-Impressionist school. Milne was the son of traditional landscape artist Joseph Milne and, though his very early work is indebted to his father’s influence, he soon turned his attention to developments on the Continent. Though a generation younger than his fellow compatriots in France, Maclauchlan Milne followed exuberantly in their tradition; earning himself the moniker of “The Fifth Colourist”.

A Dundee newspaper reported: ‘It is difficult keeping pace with Mr. Maclauchlan Milne. A year ago he was painting Scottish fields with the soft sunlight and mellow atmosphere. Then Paris seized him, and he gave us canvases splashed with vivid colour, radiating gaiety and the joy of life. Now he has drunk “a beaker full of the warm South” and has brought back from the azure shore pictures that palpitate with hot sunlight and dazzle with their audacious colour.’ His ties with Scotland remained strong, and ultimately he was to settle on the Isle of Arran, making his home near Corrie harbour. The effect of the brilliant French light never deserted Milne, and his depictions of Arran are virtually always of idyllically bright days, featuring white-washed cottages, wind-ruffled blossom trees and turquoise bays. Milne’s form by this period is often experimentally free and unfettered; the foliage and proportions of the house almost swirling with movement and expression, alluding, perhaps, to the work of one of his greatest influences, Vincent Van Gogh.

Scottish Paintings & Sculpture

75 [§] JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) THE HARBOUR AT CORRIE, ARRAN Signed, oil on canvas 51cm x 61cm (20in x 24in)

£15,000-20,000

76 [§] JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) SUMMER’S DAY, CORRIE Signed, oil on board 38cm x 46cm (15in x 18in)

£12,000-18,000

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

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77 [§] JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) COTTAGES, HIGH CORRIE Oil on board 46cm x 53.5cm (18in x 21in)

£12,000-18,000

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

Scottish Paintings & Sculpture

78 [§] JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) BRIDGE OVER THE TORRENT Signed and dated ‘33, oil on canvas 51cm x 61cm (20in x 24in)

£8,000-12,000

A passionate love affair between two exceptionally talented and promising young artists has the potential to go to two extremes: it could be a promising partnership, full of happiness and support, and the creation of beautiful work by both parties or all that passion and ambition might instead create a toxic atmosphere of jealousy and resentment, tearing a couple apart and distracting them from their work. In the case of Eric Robertson and Cecile Walton, their relationship and marriage was to continuously move between these two extremes. At times, their marriage was happy and stable and allowed both of them to dedicate time and energy to their work, with the support of someone else who understood an artist’s unique trials and tribulations. At other times, the distance created by war and Eric’s lack of interest in maintaining conventional relationships created strain, while sometimes jealousy over individual artistic success crept in. As you might expect from a passionate, artistic relationship there was some scandal associated with the pair, especially by conservative Edinburgh society standards. Cecile Walton was the daughter of established Glasgow Boy artist, E.A. Walton who was extremely invested in his daughter’s artistic talent and developing career, while Eric Robertson was a talented art student who wished to follow his romantic ideals and act freely. Their attraction was viewed with suspicion by her family, who viewed Robertson as a philanderer (one engagement had already ended, as he had openly started a relationship with another woman), as well as an inappropriate artist (his work had previously been removed from public exhibitions, over concerns about decency). They quickly sent Cecile off travelling, but a year apart did not affect her feelings and she re-established the relationship on her return and subsequently married Robertson and had their first son. Robertson held very romantic, idealistic views of how he wished to behave that were mostly incompatible with a conventional marriage. As a result, throughout their relationship they seemed to find themselves involved in love triangles, most prominently with fellow Edinburgh artist Dorothy Johnstone, a very close friend of Cecile’s who Eric developed a relationship with, creating an ‘inseparable triangle’ for a period before he became engaged to Cecile. At this time, while travelling in Scotland, he wrote to Cecile describing how he ‘wrote the names Cecile, Dorothy and Eric on a card with a circle round them and laid it in the centre of the top of the Cairn.’ Though later, while Eric was in service at the war front, Cecile herself became interested in principles of free love and feelings for the man who was publicising these views at the time. She sent letters to Eric outlining how she thought they would continue their marriage in line with her new perspective, though this does not seem to have followed through

on his return. We can only imagine that these additional relationships and complications were widely known and discussed within Edinburgh social and artistic circles, particularly as art also imitated life, and on more than occasion the artists and their relationships featured, rather thinly disguised, in works of contemporary fiction. It is difficult to say how accurate these fictions are, but they do indicate that this was a widely known, and scandalous set of circumstances. Throughout their tempestuous relationships, husband and wife continued to paint each other, as well as their friends and family. This striking and elegant portrait of Cecile by Robertson dates from a happy time in their lives and marriage, a holiday they spent in a cottage in Crianlarich across the May and June of 1920. The cottage had the charming feature of this small waterfall leading to a pool located just behind it, where the couple took every opportunity to bathe in the nude. The painting is inspired by these visits and this idyllic Scottish holiday, that took place just a few short years before the marriage ultimately ended. In these early years of the 1920s when Eric had returned from war, their second child was born and both were working passionately and effectively, in part, due to the inspiration and success they had both found in working to establish the Edinburgh Group and its exhibitions. Cecile at Crianlarich has a timeless quality, though her distinctive bobbed haircut and jaunty beret do add a specifically 1920s charm.

Scottish Paintings & Sculpture

79 ERIC ROBERTSON (SCOTTISH 1887-1941) CECILE (WALTON) AT CRIANLARICH Oil on canvas 91cm x 105cm (36in x 41.5in) Provenance: Collection of the artist’s daughter Exhibited: Bourne Fine Art, Edinburgh, Eric Robertson 1998

£10,000-15,000

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

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80 [§] FRANK WATSON WOOD (SCOTTISH 1862-1953) BERWICK ON TWEED Signed, inscribed and dated 1928, watercolour 25.5cm x 74cm (10in x 29in)

£800-1,200

81 ROBERT WALKER MACBETH R.A., R.I., R.P.E., R.W.S. (SCOTTISH 1848-1910) RETURN OF A WHALER Signed with initials, watercolour 33cm x 53cm (13in x 20.75in)

£700-1,000

82 [§] FRANK WATSON WOOD (SCOTTISH 1862-1953) THE BATTLE OF JUTLAND Signed and dated 1917, watercolour 44cm x 97cm (17.25in x 38.25in) Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

£2,000-3,000

Scottish Paintings & Sculpture

83 [§] STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) KIRKWALL Signed and dated 1914, watercolour 24cm x 26cm (9.5in x 10.25in)

£2,000-3,000

84 [§] SIR MUIRHEAD BONE H.R.S.A., H.R.W.S., H.A.R.I.B.A., H.R.E., L.L.B., D.LITT. (SCOTTISH 1876-1953) RONDA Signed and inscribed, watercolour 24cm x 33cm (9.5in x 13in)

£500-800

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Success came relatively early for James McIntosh Patrick. A Dundonian by birth, his passion for his native county of Angus was reflected in his many depictions of the area; his colourful, traditional approach to the landscape genre earning him great favour among the art-appreciating Scottish public. As with many artists of the period, the Second World War was to impact significantly on his style and his pre and post-war output are easily distinguishable. His war time activities took him close to front line action and McIntosh Patrick, who had previously found working from the studio suited his fastidious approach, took to sketching on the spot. His brushwork would loosen as a result and he would from then on choose to work en plein air. His style, though still retaining its trademark attention to detail, becomes more painterly and impressionistic from then on.

McIntosh Patrick frequently favoured a cultivated landscape to a wilderness. In the examples shown here, his interest in man’s relationship with the land is highly evident as is the pervading sense that he was seeking to capture and idealise a transitory moment in the history of our landscape. His work is also a straight forward celebration of a corner of the world with which he was clearly intimately familiar and of which he was extremely fond, and collectors specifically enjoy the ‘truth’ of his interpretations of the arable east coast landscape. Today James McIntosh Patrick’s work can be found in collections as far flung as the Carnegie Institute in Pittsburgh, U.S.A. and the Museum of Sydney, Australia. As might be expected given the stature of his reputation on his home soil, his work features in many public collections across Scotland, including the Scottish National Gallery of Modern Art in Edinburgh.

Scottish Paintings & Sculpture

85 [§] JAMES MCINTOSH PATRICK R.S.A., R.O.I., R.G.I. (SCOTTISH 1907-1998) THE ROAD FROM MILLHILL, ANGUS Signed, oil on canvas 63cm x 76cm (25in x 30in) Exhibited: Royal Scottish Academy 1961, no.336

£4,000-6,000

86 [§] JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) DRONLEY BRIDGE, PERTHSHIRE Signed, oil on canvas 25.5cm x 36cm (10in x 14in) Provenance: Fine Art Society Ltd, London 1957

£3,000-5,000

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

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87 [§] JAMES MCINTOSH PATRICK R.S.A., R.O.I., R.G.I. (SCOTTISH 1907-1998) STRATHMORE FROM NORTH BALLO Signed, oil on canvas 76cm x 91cm (30in x 36in) Exhibited: Royal Scottish Academy 1975, no.186

£8,000-12,000

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

Scottish Paintings & Sculpture

88 [§] JAMES MCINTOSH PATRICK R.S.A., R.O.I., R.G.I. (SCOTTISH 1907-1998) JUNE LANDSCAPE, FOWLIS Signed, oil on canvas 51cm x 61cm (20in x 24in) Exhibited: Royal Scottish Academy 1960, no.74

£4,000-6,000

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

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89 [§] JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) BENVIE, CARSE OF GOWRIE Signed, oil on canvas 56cm x 76cm (22in x 30in)

£6,000-8,000

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

Scottish Paintings & Sculpture

90 [§] ANNE REDPATH O.B.E., R.S.A., A.R.A., R.O.I., R.B.A., L.L.D. (SCOTTISH 1895-1965) A SPANISH HOUSE Chalk and gouache 28cm x 38cm (11in x 15in)

£2,500-3,500

91 [§] ANNE REDPATH O.B.E., A.R.A., R.O.I., R.B.A., L.L.D. (SCOTTISH 1895-1965) COTTAGES AT CLACHANISH, SKYE Signed, pencil and watercolour 35.5cm x 48cm (14in x 19in) Provenance: The artist’s family and thence by descent Exhibited: Portland Gallery, London, Anne Redpath 2008, no.61

£5,000-8,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

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92 [§] JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) GLASGOW TENEMENT Oil on board

Provenance: Aitken Dott & Son, Edinburgh

19cm x 56cm (7.5in x 22in)

Exhibited: Aitken Dott & Son, Edinburgh, Christmas Exhibition 1967, no.47

£20,000-30,000

Private Collection

Joan Eardley is recognised as one of the great talents of 20th century Scottish art, capturing the essence of some distinctly Scottish places; from the energy and community of a quickly disappearing urban way of life in the east end of Glasgow, to the drama and brutality of varying weather effects on the small fishing village of Catterline. Lyon & Turnbull are delighted to be offering a collection of fine works by this uniquely expressive, and enduringly popular artist within this auction. The works cover a range of Eardley’s key techniques and talents and present a wonderful opportunity to engage with the strength and variety of her work, from bold, thickly applied oil paintings to charming and evocative pastels. The Tod Lighthouse, Catterline, offers a spectacular view of Eardley’s beloved home on the north east coast of Scotland, just south of Aberdeen. The wide-angled view takes in the lighthouse to the right, and runs across the offing, below which Eardley’s exuberant, expressive brushstrokes convey the tumultuous, crashing energy of the waves. The primal power of the sea is expressed, and we are drawn into the materiality of her paint, as we are drawn to the enduring eternal rhythms of the sea. A similarly vibrant, dynamic painterly approach is visible in A Harvest Landscape, Catterline, where Eardley turns her energetic brushwork and dripped paint inland to the rich, warm colour and texture of this abundant season. As an exciting extra, this work features a small, signed still-life study verso, in an unusually cheery pink palette. A further four of these artworks take us to the east end of Glasgow, Eardley’s other home, and an area that greatly inspired her artistic work. Most famously she worked on a series of sketches of the local children, encouraging them to sit for her in exchange for sweets and comics. Predominantly worked in pastel, here we have an oil sketch of a girl in which the deft brushwork reveals the artist’s talent as well as

her enduring affection for her subject. In the other offered East End works, Eardley focuses on the structures inhabited by her sitters, boldly capturing the slanting lines and everyday details of this way of life in both pastel and oil. Eardley’s colour choices enliven the details amongst the bold dark lines and sections of dense pigment in A Glasgow Tenement, delineating windows in citron and orange and lines of drying laundry in a pale blue-grey. The vibrant colour and energetic brushwork of Glasgow Tenement reveals the beauty Eardley found in this ordinary street, and the specific vitality she saw in the area. This was a way of life that was quickly disappearing, as we can see in Tenement from Wasteground, where the buildings rise beyond the abandoned area we view them from; the building we see will soon go the same way. The communities here live side by side with emptiness and dirt, and Eardley communicates these rough edges but also the joy and connection that she experiences there. In Pensive Young Man, Eardley captures an altogether quieter scene – a moment of internal reflection. Its peace and gentleness is reflected in her choice of perspective, looking over the shoulder of the subject, and the soft muted tones, which she handles with sophistication and ease. In all these works, a reverence and beauty arises out of an image that at first glance may seem messy or chaotic. In essence, this is Eardley’s distinct skill in art; she was always led by the dynamism and essence of her subjects – the squinty, sloping lines of Glasgow streets and tenement walls, the awe-inspiring drama of the Catterline coast or an individual lost within their own thoughts - her techniques are selected under their influence. These disparate and often temperamental Scottish subjects are beautifully and sensitively captured so we are drawn in as she reveals the beauty and drama of the everyday across Scotland – from dramatic coastal weather, through the vibrancy of childhood to laundry and the ordinary business of living.

Scottish Paintings & Sculpture

93 [§] JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) TENEMENT FROM WASTEGROUND Pastel 9cm x 12cm (3.5in x 4.75in)

£3,000-5,000

94 [§] JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) A GLASGOW TENEMENT Pastel 25cm x 20cm (9.75in x 8in) Note: This work was a gift to a previous owner’s husband from Joan Eardley’s mother on the occasion of his 50th wedding anniverary

£6,000-8,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

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95 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) A HARVEST LANDSCAPE, CATTERLINE Signed verso, oil on canvas 30.5cm x 25.5cm (12in x 10in)

£8,000-12,000

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

Scottish Paintings & Sculpture

96 [§] JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) THE TOD LIGHTHOUSE, CATTERLINE Oil on board 46cm x 76cm (18in x 30in) Exhibited: 369 Gallery, Joan Eardley Exhibition, July 1989, no.2

£20,000-30,000

97 [§] JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) BREAKING WAVES CATTERLINE Oil on board, numbered EE164 verso 23cm x 59cm (9in x 23.25in) Provenance: Cyril Gerber and thence by descent

£8,000-10,000

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98 [§] JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) HEAD OF A GIRL Oil on board 39cm x 31cm (15.25in x 12.25in)

£6,000-8,000

Provenance: This and two other paintings by Joan Eardley were acquired by the current vendor’s husband when Eardley’s flat was demolished. At that time the attribution to Eardley was confirmed by The Scottish Gallery and subsequent insurance valuations endorse this. Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Scottish Paintings & Sculpture

99 [§] JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) PENSIVE YOUNG MAN Pastel 16cm x 13cm (6.25in x 5.25in) Provenance: Roland Browse and Delbanco, London

£3,000-5,000

100 [§] JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) NORTH-EAST COTTAGE Pastel 10cm x 14cm (4in x 5.5in) Provenance: Compass Gallery, Glasgow

£1,000-1,500

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101 [§] ALEXANDER GOUDIE (SCOTTISH 1922-2004) PALETTE AND PAINT BRUSHES ON A TABLE Signed, oil on canvas 101.5cm x 101.5cm (40in x 40in)

£4,000-6,000

102 [§] ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998) STILL LIFE WITH SUN FLOWERS Signed and dated ‘78, oil on canvas 71cm x 56cm (28in x 22in)

£15,000-20,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Scottish Paintings & Sculpture

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103 [ยง] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) EASTRE (HYMN TO THE SUN) Bronze, inscribed with initials, dated 1991 and numbered 5/10 40cm (15.75in) high

ยฃ30,000-50,000

Note: Fergusson carved the original in plaster in 1927, but kept it under his bed for three years before he found someone who could pay for it to be cast. It is believed only one lifetime cast was made, which is held in the collection of Aberdeen Art Gallery. A posthumous edition of 6 was cast in 1971 and a second posthumous edition of 10 in 1991, celebrating the Fergusson Gallery project, which opened in 1992. This bust is from the 1991 casting.

Scottish Paintings & Sculpture

In Eastre we see Fergusson bringing together three important strains of early twentieth Century art: Paganism, Primitivism and Modernism. ‘Eastre’ is the Saxon Goddess of Spring and of the rising sun. An enthusiasm for Paganism amongst artists and musicians such as Stravinsky had emerged in the early twentieth century. Fergusson was particularly fascinated by Celtic culture and the observance of harmony and unity in nature and the concept of the female form as a symbol of fecundity, renewal and rhythm. In the South of France during the 1920s, the natural environment and bright sunlight resonated with both Fergusson and his partner, the dancer Margaret Morris, who was herself also involved in a ballet performance entitled Hymn to the Sun. The full lips of Eastre and the repeating curves forming the chest, neck and head convey her organic nature. Together with the revival of Paganism came an interest in non-Western ‘Primitive’ art which was widespread from about 1907. Fergusson sketched Cambodian and Indian sculpture in the Trocadéro Museum in Paris. The strong features and bold stare of masks made a particularly powerful impression on artists of the time. Here the deeply sculpted eye sockets of Eastre recall African and Oceanic wood carvings. Two years prior to creating Eastre, Fergusson had embarked on a motoring trip around the highlands. His landscapes from this journey convey the Vorticist movement’s love of speed, as well as elements of Cubism in the way that the landscape is broken up into segments. Here, hints of Vorticism and an Art Deco sensibility are found in the polished finish and the bold lines running along the cheek bones, chin and eyebrows which create a dynamic composition. The warm tone of the bronze is evocative of strong sunshine, and a sense of the luxurious. Eastre represents the perfect homage to both primal nature and a celebration of modern style and energy. It is arguably the most significant sculptural work by a Scottish artist of the 20th Century; its scarcity further enhancing its iconic status.

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

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104 [§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) STATUETTE AMONGST BLOSSOMS Oil on board 24cm x 17cm (9.5in x 7.5in) Provenance: Given by the artist and Margaret Morris to their friend Eleanor M Elder and thence by descent Note: Eleanor Elder was a fellow dancer of Margaret who chaperoned her during the early days of her relationship with Fergusson and became one of her closest friends.

£20,000-30,000

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

76 Lyon & Turnbull

105 [§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) THE YACHTS, BOURNE END pencil and watercolour, inscribed on a contemporary label to backboard ‘For Mrs Catto in friendship from Margaret Peploe’ 20.5cm x 25.5cm (8in x 10in) Note: This painting was consigned through John Milne Auctioneers of Aberdeen.

£6,000-8,000

106 [§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) STILL LIFE WITH FLOWERS Charcoal 18cm x 12cm (7in x 4.75in)

£800-1,200

Scottish Paintings & Sculpture

107 [§] ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998) STILL LIFE WITH SUNFLOWER Signed and dated ‘73, oil on canvas 61cm x 117cm (24in x 46in)

£10,000-15,000

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

78 Lyon & Turnbull

108 [§] ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998) TUNISIAN GIRL ON A COUCH Signed and dated ‘86, oil on board 34cm x 51cm (13.5in x 20in) Exhibited: The Scottish Gallery, ‘New Paintings’ Festival Exhibition 1987, no.58

£6,000-9,000

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

Scottish Paintings & Sculpture

109 [§] DAVID MICHIE O.B.E., R.S.A., R.G.I. (SCOTTISH 1928-2015) BUILDINGS AT WEST CROSSCAUSEWAY Signed, oil on canvas 102cm x 127cm (40in x 50in)

£2,000-3,000

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

110 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) A STREET IN PARIS Signed, inscribed and dated 1911 on a contemporary label to backboard ‘For Mrs Catto a good friend and neighbour from Margaret Peploe,’ oil on board 22cm x 26.5cm (8.5in x 10.5in) Note: This painting was consigned through John Milne Auctioneers of Aberdeen.

£40,000-60,000

S.J. Peploe creates a Parisian poem in paint. Exuberant in execution, the brushwork deft and energetic yet the palette restrained and soft in tone; with typical sophistication, Peploe captures the elegance and inspiration of this artistic city on just a small board. Although he is generally referred to as a ‘Scottish Colourist,’ and his choice of colour palette is always a joy to behold, thinking of him in this way can restrict the enjoyment of the other aspects of his artistic approach, especially in a work such as A Street in Paris. The colour choice is charming: deeps swathes of white sweep across the composition, the sky and details delineated in soft blue, green and grey and gently uplifted with just hints of a darker rusty red and deeper, richer blue. The slightly chalky finish to the white areas is an approach Peploe continued to use to startling affect later in his career when he became captivated with the white sands and turquoise seas of the Scottish isle of Iona. Yet in 1911, when Paris was still his artists’ haven, he uses it to convey the soft northern light and urban elegance he found in the city. Taking the opportunity to look beyond colour, it is his brushwork that energises the scene, indicating everything from the

direction of the street to the outlines of the trees, this vitality balancing out the subtlety of his palette. Everything feels quick, light and inspired; the northern light and urban sensibility of the city expertly captured captured, striking a deep contrast to the bright, hot sunshine which would inspire him as he travelled further south. The Scottish Colourists were united by their passion for both France and French painting, seeking out its artistic freedom and all the inspiration it had to offer. In particular, Peploe had a long-lasting love affair with the city and its artistic circles, rejecting more traditional art training in Edinburgh to study at its ateliers and academies and mingle with its artists early in his life. He returned later, following his marriage to Margaret, to live and work alongside his good friend and fellow Scottish Colourist, John Duncan Fergusson, in the period from which this work dates. He found the city a font of inspiration, particularly as a man and artist eternally preoccupied with style and dedicated to elegance; the promenading figures illustrated here are a true testament to this. Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

Scottish Paintings & Sculpture

82 Lyon & Turnbull

111 [§] SIR WILLIAM MACTAGGART P.P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) AUTUMN LANDSCAPE Signed, oil on board 46cm x 61cm (18in x 24in)

£1,500-2,000

112 [§] SIR WILLIAM MACTAGGART P.P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) SANDS AND SHORE, CORNWALL Stamped with the studio stamp and numbered no.12 verso, oil on board 30.5cm x 35cm (12in x 13.75in)

£1,500-2,000

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

Scottish Paintings & Sculpture

113 FRANCIS CAMPBELL BOILEAU CADELL R.S.A. (SCOTTISH 1873-1935) UPLANDS OF IONA Signed, oil on board 35.5cm x 44cm (13.5in x 17.5in)

Â£20,000-30,000

84 Lyon & Turnbull

114 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) UNLOADING THE CATCH Signed, sepia oil on board 91cm x 122cm (36in x 48in) Note: This painting was commissioned by the current owner prior to Bellany’s departure for the Royal College of Art in London in 1965.

£8,000-12,000

115 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) PORTRAIT WITH ARROW HEAD Signed, oil on canvas, unframed 122cm x 91cm (48in x 36in)

£4,000-6,000

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

Scottish Paintings & Sculpture

86 Lyon & Turnbull

116 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) TIME WILL TELL Signed, oil on canvas, unframed 173cm x 152.5cm (68in x 60in) Exhibited: Beaux-Arts Gallery, Bath and London 1997

£7,000-10,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2

END OF SALE

Scottish Paintings & Sculpture

Guide to Bidding & Payment REGISTRATION

HOW TO BID

PAYMENT

By phone

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:

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

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.

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.

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

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 provided 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 is also available - access through our website, or download the live bidding app L&T Live. This service is offered for no additional fee.

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). 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 & 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 are limited to £5,000.

19.1

88 Lyon & Turnbull

CONTEMPORARY & POST-WAR ART Charlotte Riordan | 0131 557 8844 charlotte.riordan@lyonandturnbull.com

AUCTION 15 AUGUST 2019 IN EDINBURGH AT 11AM

BOYLE FAMILY painted fibreglass 41 x 41cm (16.1 x 16.1 in)

Â£3,000-5,000

MODERN ART, SCULPTURE, DESIGN & CONTEMPORARY CERAMICS AUCTION 14 NOVEMBER 2019 IN LONDON AT 10AM

Philip Smith | 0207 930 9115 philip.smith@lyonandturnbull.com

RAY PARKER (AMERICAN, 1922-1990) UNTITLED, 1960 signed and dated, oil on canvas 171.2 x 162.6cm (67.4in x 64in)

Sold for Â£71,250 March 2019

Conditions of Sale CONDITIONS OF SALE FOR BUYERS (UK) 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 and 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; “High Cumulative Value of Lot” means several lots with a total lower estimate value of £30,000 or above; “High Value Lot” means a lot with a lower estimate of £30,000 or above; “Lot” means each Item offered for sale by Lyon and 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 and Turnbull Ltd, The singular includes the plural and vice versa as appropriate. 2. AGENCY We act as agent solely for and in the interests of the Seller. We do not act for Buyers in this role and do not give advice to Buyers. When we 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. We reserve the right to ask buyers for identification to prevent fraud, underage purchases and/or any other legal or legitimate purpose. (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 us, 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 we have confirmed your payment of deposit and your completion of the High Value Lot pre-registration 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 us dependant on circumstances, by way of bank transfer or credit card(s) acceptable to us. Please note that we do not accept payment from third parties and this also applies to agents. If you are not successful in any bid and do not owe us any debt, the deposit will be refunded to you by way of wire transfer or such other methods as determined by us. 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. We have 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) Our right to bid on behalf of Sellers is expressly reserved up to the amount of any reserve. (e) The right to refuse any bid is also reserved. (f) Commission Bids: While prospective Buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we shall, if so instructed, clearly and in writing execute bids on their behalf. Neither the Auctioneer nor our employees nor agents shall be responsible for any failure to do so. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made. (g) Telephone Bids: If a prospective Buyer makes arrangements with us prior to the commencement of the sale we will use reasonable efforts

to contact them to enable them to participate in bidding by telephone. We do not accept liability for failure to do so or for errors and omissions in connections. (h) Online Bidding: We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding. 4. INCREMENTS Bidding increments shall be at the Auctioneer’s sole discretion. 5. THE PURCHASE PRICE For each lot purchased a Buyer’s Premium of 25% 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 may be subject to an additional premium (level dependent on the live bidding service provider chosen). This additional premium is subject to VAT at the appropriate rate as above. 6. RESERVES Unless indicated by a insert symbol (∆ ), all lots in this catalogue are offered subject to a reserve. A reserve is the confidential hammer price established between us and the seller. The reserve is generally set at a percentage of the low estimate and will not exceed the low estimate for the lot. 7. 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. 8. 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. 9. 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 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. 10. 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

Five Centuries 91

making full payment for the lot. 11. 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. 12. 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 endeavour 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 us 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 us and the Buyer. The condition reports do not affect the Buyer’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. We provide no guarantee as to the originality of any wood/material contained within the item. (7) Alcohol: may only be sold to persons aged of 18 years and over. By registering to bid, you affirm that you are at least that age. All collections must be signed for by a person over the age of 18. We reserve the right to ask for ID from the person collecting. Buyers of alcohol must make appropriate allowances for

natural variations of ullages, conditions of corks and wine. We can provide no guarantees as to how the alcohol may have been stored. There is always a risk of cork failure and allowance by the buyer must be made. Alcohol is sold “as is” and quality of the alcohol is entirely at the risk of the Buyer and no warranties are given. (8) 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. 13. 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, we make 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 we 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. 14. 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/importsexports/cites We accept no liability for any lots which may be subject to CITES but have not be identified as such.

15. 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) We undertake 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. 16. 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. 17. 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 us 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 us 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. 18. AUTHENTICITY GUARANTEE We guarantee 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 saleroom notes or announcements. We make 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 and Turnbull in its reasonable opinion deems that

92 Lyon & Turnbull

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 our 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 us 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 our 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. We have discretion to waive any of the above requirements. We 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 us and the original purchaser of the lot. We 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 and 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. 19. DATA PROTECTION In connection with the management and operation of our business and the marketing and supply of our 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). We will not give out personal information except as may be required by law. If you would like further information on our policies on personal data, or to make corrections to your information, please contact us on 0131 557 8844. 20. FORCE MAJEURE We 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. 21. 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.

CONDITIONS OF SALE FOR SELLERS (UK) 1. DEFINITIONS In these Conditions of Sale (Sellers): “Auctioneer” means Lyon and Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or its authorised auctioneer, as appropriate; “Buyer” is the person who makes the highest possible bid or offer accepted by the auctioneer, and/or such person’s principal where bidding as agent; “Buyer’s Premium” is the commission payable by the Buyer on the Hammer Price at the rates set out in the Sale Catalogue Guide to Prospective Buyers and an amount in respect of applicable VAT; “Hammer Price” is the highest bid accepted by the auctioneer by the fall of the hammer or in the case of a postauction sale, the agreed sale price; “Item” means each and every item consigned for sale following express written agreement between Lyon and Turnbull and the Seller;

“Lot” means each Item offered for sale by Lyon and Turnbull; “Lower Estimate” means the low estimate provided by Lyon and Turnbull to the Seller in relation to each Item, or in relation to any Item which Lyon and Turnbull holds on behalf of the Seller; “Lyon and Turnbull” means the company which has its registered office at 33 Broughton Place, Edinburgh, EHI 3RR registered in Scotland No. 191166 “Net Sale Proceeds” are the Hammer Price, less commissions and other charges, of the Lot sold, to the extent received by Lyon and Turnbull in cleared funds; “Proposed Sale” means the intended sale through which the items will be sold on; “Purchase Price” is the Hammer Price and applicable Buyer’s Premium; “Reserve” means the lowest price below which an item cannot be sold; “Terms of consignment” means the stipulated terms and rates of commission on which the Auctioneer accepts instructions from Sellers or their agents; “Upper Estimate” means the high estimate provided by Lyon and Turnbull to the Seller in relation to each Item, or in relation to any Item which Lyon and Turnbull holds on behalf of the Seller; “Without reserve” where there is no minimum price at which a lot may be sold (whether at auction or private treaty); “You”, “Your” means the seller. The Seller means you are the owner of the lot or, if you are not the owner of the lot (whether or not you have notified us that you are acting as an agent for a principal), you are duly authorised by the owner of the lot to sell it. “Us”, “Our”, “We” etc refers to Lyon and Turnbull Ltd The singular includes the plural and vice versa as appropriate. 2. W ARRANTY OF TITLE AND AVAILABILITY The Seller warrants: (a) that you are the true owner of the property consigned or are properly authorised by the true owner to consign it for sale and are able to transfer good and marketable title to the property free from any third party claims. (b) that all requirements have been complied with, legal or otherwise, relating to any export or import of the property consigned, all duties and taxes in respect of the export or import of the lot have (unless agreed in writing with us) been paid and, so far as you and any principal for whom they are acting in relation to the lot are aware, all third parties have complied with such requirements in the past. (c) that you have provided us with any and all information concerning the item’s provenance or any concerns expressed by third parties concerning

its ownership, condition, authenticity, attribution, and export or import history; and (d) Unless the Seller advises us in writing to the contrary on delivery of the item to us, there are no restrictions on our rights to reproduce photographs or other images of the item in connection with the sale or any other marketing which will be done in accordance with good taste and decency. If any of (a) (b) (c) and (d) above are incorrect, you will reimburse us and/or the Buyer in full for all claims, costs or expenses incurred by us or the Buyer as a result, whether arising in relation to the Lots or the sale proceeds. 3. PREPARATION FOR SALE (a) We shall decide the way in which a lot may be included in the sale, how any lot is described and illustrated in the catalogue or any report, and the marketing, promotion, date, place and conduct of the sale. (b) We will instruct, consult with, and rely on, any outside experts or restorers, agents or other third parties, and carry out such other due diligence, inquiries, research or tests in relation to the property or its provenance, either before the Proposed Sale as it may deem appropriate in its reasonable discretion. (c) Any oral or written estimate or evaluation or report provided by us is a genuinely held opinion only. It may not be relied on as a prediction of the selling price or value of the Item, and may in our absolute discretion be revised at any time. (d) The Seller acknowledges that attribution of Items is a matter of opinion and not of fact, and is dependent upon (amongst other things) information provided by the Seller, the condition of the property, the degree of research, examination or testing that is possible or practical in the circumstances, and the status of generally accepted expert opinion at the time of cataloguing. 4. TERMS OF SALE The Seller acknowledges that lots are sold subject to these Conditions and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot. 5. S TANDARD SELLER FEES AND CHARGES (Subject to VAT) (1) Commission: 15% is charged on the selling price of each lot, (subject to a minimum charge of £45). Loss and damage warranty: 1.5% on value of lots sold. Photography: min charge £30. Online Listing: £10 per lot. (2) Transport: Items for sale must be consigned to the sale room by any stated deadline and at your expense. We may be able to assist you with this process. When organised on the Seller’s behalf the provision of transport will be contracted to third parties. Fees for transport will be deducted at settlement.

Five Centuries 93

(3) Illustrations: The cost of any illustrations will be borne by the Seller , unless agreed otherwise prior. The copyright in respect of such illustrations shall be the property of us, as is the text of the catalogue. (4) Storage: Of the Lots after the sale, where applicable. 6. RESERVES (a) The lots will be sold subject to the Reserve. If the Reserve is not mutually agreed between us and confirmed by you in writing before the sale, the Reserve will be fixed by us in our sole discretion on the basis of our reasonable opinion as to the probable level of bids for the lot. (b) Firm reserves may be no greater than lower pre-sale estimate level. (c) A reserve once set cannot be changed except with our agreement. (d) You may not bid or instruct or permit any other person to bid on your behalf on your own property. If the Seller breaches this prohibition, We may treat the Seller as bound as Seller and as Buyer but without the benefit of our Authenticity Guarantee or the reserve, and/or pursue other remedies. 7. LOSS & DAMAGE WARRANTY (a) Subject to condition 7(c) below we will assume liability for loss or damage to an item, commencing at the time that item is taken into physical control and possession by us and ceasing on the earliest date of; (i) when risk passes to the Buyer of the lot following its sale; (ii) for unsold lots, when the lot is released to the Seller, or, within 3 months of the sale;or (iii) 6 months from the date of delivery to us for items still in the possession of us but not consigned for sale (unless part of a long-term storage agreement). (b) We shall charge a loss and damage warranty fee of 1.5% of the hammer price, plus VAT. (c) If any loss or damage should occur to the lot during the period identified in paragraphs (a) above, our liability to compensate the Seller in respect of that loss shall be restricted to a maximum of the upper estimate, or actual loss incurred, whichever is lower. This compensation will be subject to a deduction of a 1.5% loss & warranty fee (subject to VAT). 8. UNSOLD ITEMS (1) If any or all of the lots are unsold and are not re-consigned to us for sale, or are not included in a sale, or are withdrawn from sale for any reason, they must be collected from us within one month. After the date of the sale, or one month after we send you a notice requiring you to collect them (whichever occurs first). If any such lots remain uncollected at the end of such period we shall arrange storage at your expense, which may involve a third party. If such lots are not collected within 90 days after the date of the sale or the date of notice

they may be disposed of as we see fit, which may involve their sale by public auction on such terms as we consider appropriate, including those relating to estimates and reserved, we shall account to you for the proceeds of sale, deducting all amounts due to us. (2) Aftersales: We reserve the right to accept an after-auction offer on a lot on behalf of the seller, at the agreed reserve price or above, for up to 48 hours after the original auction. In which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these Conditions apply. 9. LOT WITHDRAWAL If a Seller wishes to withdraw a lot organised for sale, a withdrawal fee will apply; (a) if withdrawn over 28 working days prior to the sale, this will be charged at 10% of the mid estimate along with any ancillary charges incurred (such as photography), all subject to VAT at the current rate. (b) if withdrawn within 28 working days of the sale, this will be charged at 20% of the mid estimate along with any ancillary charges incurred (such as photography), all subject to VAT at the current rate. (c) We may withdraw a lot from the proposed sale without any liability if: (i) We reasonably believes that there is any doubt as to the lot’s authenticity, attribution, or provenance; or (ii) it reasonably doubts the accuracy of any of the Seller’s warranties; or (iii) the Seller breaches any provisions of the Conditions of Sale in any material respect; or (iv) the lot suffers from loss or damage so that it is not in the state in which it was when we took delivery of it. (d) if an item is withdrawn from sale under Condition 9(c) (i), or (iv), the Seller shall not be charged a withdrawal fee and the item shall be returned to the Seller or dealt with pursuant to Clause 8, as the Seller decides. 10. AUTHORITY TO DEDUCT COMMISSION AND EXPENSES AND RETAIN PREMIUM AND INTEREST The Seller authorises us to deduct commission at the stated rate, and all expenses incurred for your account from the hammer price, and consents to our right to retain beneficially the premium paid by the Buyer in accordance with these Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. 11. NON-PAYMENT BY THE BUYER (a) We will, where it considers appropriate, take reasonable steps to investigate the ability of bidders to pay for lots and will use reasonable endeavours, in consultation with the Seller, to enforce payment of the Hammer Price by any Buyer. (b) We, in consultation with the Seller, will decide whether to pursue any of

the remedies available to it, including those set out in Condition 10 of the Condition of Sale (Buyers) including the right to cancel the sale and return the property to the Seller. We will inform the Seller of any action which it contemplates taking against the Buyer. (c) lf the Seller elects to take action against any Buyer on its own behalf we will provide the Seller with such assistance as may be reasonably necessary to pursue that action. (d) The Seller hereby agrees to inform us of any action which it chooses to take against the Buyer to enforce payment of the amount due to the Seller. (e) In the event that a Buyer fails to pay for a lot in accordance with the Conditions of Sale for Buyers, that lot will be treated in the same way as an unsold or collected lot. 12. SETTLEMENT PAYMENTS Subject to full payment by the Buyer, payment of the net proceeds of sale due to you will be made over to you 28 working days following a sale. Provided we have received cleared funds. Payment will be made by cheque or BACS (if requested). 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) We undertake 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 or similarly for the safety of the property of persons visiting prior to, during or after 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 us 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 us 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 We may rescind the sale where it reasonably believes that the lot falls within the terms as defined by our Authenticity Guarantee (see Buyer’s conditions), in this event we shall send the Seller notice of such rescission. The Seller agrees to return to us the Net Sale Proceeds received from the sale of such lot with any additional expenses incurred by us. We will return the property to the Seller upon receipt of the Net Sale Proceeds and Expenses, unless prevented in doing so by reasons outwith our control. The Buyer must satisfy us that the Buyer is entitled to exercise a remedy under the authenticity guarantee within five years of the date of the auction. 17. AGENCY Lyon and 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 we 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 our 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). We will not give out personal information except as may be required by law. If you would like further information on Lyon and Turnbull policies on personal data, or to make corrections to your information, please contact us on 0131 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. 18.6

AN IMPORTANT QUEEN ANNE PUNCH BOWL COLIN MCKENZIE, EDINBURGH 1707 Â£20,000-30,000

THE STORRAR COVERLET A RARE 18TH CENTURY TWO COLOUR WOOL DOUBLE CLOTH COVERLET Estimate on Request

SCOTTISH SILVER & APPLIED ARTS John Mackie | Furniture & Works of Art 0131 557 8844 | john.mackie@lyonandturnbull.com Colin Fraser | Scottish Silver & Jacobite Memorabilia 0131 557 8844 | colin.fraser@lyonandturnbull.com

AUCTION 14 AUGUST 2019 IN EDINBURGH AT 11AM

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96 Lyon & Turnbull

Index ADAM, P.W. ALEXANDER, E. ALLAN, H. ALLAN, R.W.

52 66 23 49

GAULD, D. GIBSON, W. A. GILES, J. GOUDIE, A.

56 2, 26 38 101

NASMYTH, A. NICOL, E. OPPENHEIMER, C. ORCHARDSON, SIR W.Q.

14-16 34 67, 74 22

BELLANY, J. BONE, SIR M. BREANSKI, A. DE, JUNIOR BREANSKI, A. DE, SENIOR BROUGH, R.

114-116 68, 84 43 29 59-63

HARDY J., JUNIOR. HORNEL, E.A. HOUSTON, G. HURT, L. B. HUTCHISON, R.G.

48 41, 42 6, 9 40 53

PATRICK, J.M PEPLOE, S.J. PRATT, W.

85-89 110 33

CADELL, F.C.B. CADENHEAD, J. CAMERON, D. COWIE, J. CARSE, A. CRAWFORD, E.T. CURSITER, S.

113 72 7 65 24 25 83

KAY, A. KAY, J. KENNEDY, W. KEPPIE, J. KIDD, W.

5 10, 11, 54 4 70, 71 21

RAMSAY, A. REDPATH, A. REID, F. M. REID, J.R. REID, R.P. ROBERTSON, E.

13 90, 91 45 35 50 79

LAUDER, J.E.

18, 20

DOCHARTY, J.

28 92-100

FARQUHARSON, D. FARQUHARSON, J. FERGUSON, W.G. FERGUSSON, J.D. FRAZER, W.M

36 57 12 103-106 1

81 31 111, 112 51 32 46 44 55 109 75-78 102, 107, 108 19

73 3 37 30

EARDLEY, J.

MACBETH, R.W. MACKIE, C.H. MACTAGGART, SIR W. MACWHIRTER, J. MANN, H. MARTIN, F.P. MCGEEHAN, J. MCKAY, W.D. MICHIE, D. MILNE, J.M. MORROCCO, A. MYLES, J.

SCOTT, T. SPENCE, H. STEELL, G. STICKS, G.B.

WALTON, E.A. 58 WATSON, W. 39 WEBB, J. 27 WHYTE, D.M. 8 WILLIAMS, H., (GRECIAN) W. 17 WILSON, W. 69 WOOD, D. 64 WOOD, F.W. 80, 82 YOUNG, A.

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 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

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

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

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