SCOTTISH PAINTINGS 5TH DECEMBER 2019 EDINBURGH
Cover: F.C.B. CADELL Lot 140
GEORGE HENRY Lot 48
SCOTTISH PAINTINGS THURSDAY 5TH DECEMBER 2019 AT 6PM Sale Number LT584
Lyon & Turnbull 33 Broughton Place EDINBURGH EH1 3RR
VIEWING Sunday, 1st December 12 noon - 4pm Monday, 2nd December 10am - 5pm Tuesday, 3rd December 10am - 5pm Wednesday, 4th December 10am - 5pm Day of Sale from 9am - 2pm
CONTACT
Catalogue £15
EDINBURGH +44 (0) 131 557 8844 LONDON +44 (0) 207 930 9115 info@lyonandturnbull.com
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BUYER'S GUIDE This sale is subject to our Standard conditions of Sale (available at the back of every catalogue and on our website).
BUYER’S PREMIUM & OTHER CHARGES The buyer shall pay the hammer price together with a premium, at the following rate, thereon. 25% up to £300,000/20% 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). 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
REGISTRATION
CATALOGUE DESCRIPTIONS
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All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. If potential buyers are unable to inspect lots in person (public viewing times listed in every catalogue), our specialists will be happy to prepare condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.
1 – Government issued photo ID (Passport/Driving licence) 2 – Proof of address (utility bill/bank statement). We may, at our option, also ask you to provide a bank reference and/ or deposit. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website). BIDDING & PAYMENT For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue. REMOVAL OF PURCHASES Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser.
IMPORT/EXPORT Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot. ENDANGERED SPECIES Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside the EU. For more information visit http: // www.defra.gov. uk/ahvla-en/ imports-exports/cites
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MEET THE SPECIALISTS At Lyon & Turnbull we want to make buying at auction as easy and enjoyable as possible. Our specialist team are on hand to assist you, whether you are looking for something in particular for your home or collection, require more detailed information about the history or current condition of a lot, or just want to find out more about the auction process.
Nick Curnow Head of Sale nick.curnow@lyonandturnbull.com
Carly Shearer Specialist carly.shearer@lyonandturnbull.com
Lauren Colavita Junior Specialist lauren.colavita@lyonandturnbull.com
AUCTION VENUE
Lyon & Turnbull, 33 Broughton Place York Place Tram Stop Waverley Station, Princes Street
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1 GEORGE HOUSTON R.S.A, R.S.W., R.G.I (SCOTTISH 1869-1947) WINTER SUNSHINE Signed, oil on canvas 71cm x 91cm (28in x 36in)
£2,000-3,000
2 JOSEPH MILNE (SCOTTISH 1857-1911) FISHING BOATS IN HARBOUR Signed, oil on canvas 51cm x 76cm (20in x 30in)
£1,000-1,500
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3 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) SHORE NEAR INVERKIP Signed, oil on canvas 51cm x 61cm (20in x 24in)
£2,000-3,000
4 JOHN HAMILTON GLASS (SCOTTISH FL.1890-1925) OLD MILL ON THE TYNE, HADDINGTON Signed and dated 1889, signed, inscribed and dated 1889 verso, oil on canvas 61cm x 91cm (24in x 36in)
£800-1,200
5 EUGENE DEKKERT (SCOTTISH 1899-1940) HARBOUR SCENE Signed, oil on canvas 46cm x 51cm (18in x 20in)
£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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6 JOHN CAMPBELL MITCHELL R.S.A. (SCOTTISH 1862-1922) WAVES BREAKING ON A DESERTED COASTLINE Signed, oil on canvas 46cm x 76cm (18in x 30in)
£800-1,200
7§ WILLIAM MILLER FRAZER R.S.A. (SCOTTISH 1864-1961) EVENING ON THE ARRAN COAST Signed, oil on board 25.5cm x 36cm (10in x 14in)
£800-1,200
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8 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) WESTERING SUN, RIVER CLYDE Signed, oil on board 51cm x 61cm (20in x 24in)
£3,000-5,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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9 JOSEPH HENDERSON R.S.W. (SCOTTISH 1832-1908) GATHERING KELP Signed, oil on canvas 66cm x 86.5cm (26in x 34in)
£2,000-3,000
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10§ WILLIAM MILLER FRAZER R.S.A. (SCOTTISH 1864-1961) CATTLE GRAZING IN A WOODED RIVER LANDSCAPE Signed, oil on canvas 71cm x 91cm (28in x 36in)
£1,500-2,000
11 GEORGE HOUSTON R.S.A, R.S.W., R.G.I (SCOTTISH 1869-1947) BRIG O’DOON Signed, oil on canvas 71cm x 91cm (28in x 36in)
£2,000-3,000
12 CHARLES MARTIN HARDIE R.S.A. (SCOTTISH 1858-1916) EDINBURGH CASTLE Signed, oil on canvas 41cm x 51cm (16in x 20in)
£800-1,200
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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13 SIR DAVID MURRAY R.A., H.R.S.A., P.R.I., R.S.W. (SCOTTISH 1849-1933) THROUGH THE WATER MEADOW Signed and dated ‘90, watercolour 58cm x 89cm (22.75in x 35in)
£800-1,200
14§ STANLEY CURSITER C.B.E., R.S.A., R.S.W (SCOTTISH 1887-1976) HOY SOUND AND GRAEMSAY Signed, watercolour 27cm x 38cm (10.5in x 15in)
£1,000-1,500
15§ JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) A HARVEST LANDSCAPE Signed, watercolour 23.5cm x 34cm (9.25in x 13.25in)
£1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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16§ STANLEY CURSITER C.B.E., R.S.A., R.S.W (SCOTTISH 1887-1976) CROFTS, ORKNEY Signed, watercolour 24cm x 34cm (9.5in x 13.5in)
£1,000-1,500
17 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) IN THE HIGHLANDS Signed, watercolour 44.5cm x 71cm (17.5in x 28in) Provenance: Thos. Agnew & Sons, Ltd. London, Drawing Exhibition, Feb 1933, no. 7644
£2,000-3,000
18§ WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) THE HARBOUR DOUARNENEZ Signed, mixed media 38cm x 55cm (15in x 21.5in)
£800-1,200
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19 PATRICK NASMYTH (SCOTTISH 1787-1831) FIGURES ON A WOODED PATH Signed and dated 1828, oil on panel 47cm x 62cm (18.5in x 24.5in)
£2,000-3,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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20 WALTER GEIKIE R.S.A. (SCOTTISH 1795-1837) EDINBURGH AND LOCHEND LOCH Signed, oil on canvas 63.5cm x 88cm (25in x 34.5in)
£2,000-3,000
21 ALEXANDER CARSE (SCOTTISH C.1770-1843) THE TRAVELLING CLOTHIER Signed with initials and dated 1818, oil on canvas 59cm x 76cm (23.25in x 30in)
£1,500-2,000
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22 SIR JOSEPH NOEL PATON R.S.A. (1821-1901) THE SONG OF SILENUS Signed with a monogram and dated 1848-58, oil on canvas 19cm x 37cm (7.5in x 14.5in)
£3,000-5,000
23 WILLIAM SHIELS R.S.A. (SCOTTISH 1785-1857) CHEVIOT RAM Oil on canvas 76cm x 102cm (30in x 40in)
£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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24 WILLIAM CLARK (SCOTTISH 1803–1883) THE FINISHING GUN Signed, oil on canvas 28cm x 38cm (11in x 15in) Literature: A.S. Davidson, Marine Art and the Clyde, 2001, illus. p.75
£2,000-3,000
25 ALEXANDER NASMYTH (SCOTTISH 1758-1840) FIGURES IN A WOODED ITALIAN LANDSCAPE Oil on canvas 61cm x 79cm (24in x 31in)
£2,000-3,000
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SAM BOUGH CAPTURING COASTAL LIFE
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26 SAM BOUGH R.S.A, R.S.W. (SCOTTISH 1822-1878) UNLOADING THE CATCH, NEWHAVEN, 1859 Signed and dated 1859, oil on canvas 67cm x 100cm (26.25in x 39.25in)
£15,000-20,000
It is unsurprising that an artist such as Sam Bough was drawn to the dramatic visuals of day-to-day life working on the coast. In general, fishermen live in a world of their own, with dramatically different routines and customs than those living even just a little inland, governed by the needs and superstitions of life and livelihood being forever at the mercy of ever-changing weather. In the fishing village of Newhaven in the late 19th century, this was particularly true, despite its close proximity to Edinburgh, it was extremely distinctive, particularly in the striped attire of the Newhaven fishwives. Such was the variation, that the village which landed herring, oysters and contributed to the whaling industry, was the subject of much early photography by innovators David Octavius Hill and Robert Adamson. For Bough, these striking differentials must have appealed, but ultimately he was drawn to all coastal villages as an intersection between water and land - a hub of busy industry and scene of dramatic and changeable weather conditions.
By the late 1850s, Bough was settled in Scotland and had moved east to Edinburgh, hoping to make his mark in the country’s capital city. At this point, artistically, he was reaping the rewards of many years working and sketching outside, most particularly amongst the ships and shores of the Clyde, Forth and the Fife coast. Largely self-taught as an artist, he had trained his eye sketching from nature across the countryside of the north of England, before working in set painting in Manchester and Glasgow, continually creating his own paintings out with these hours, eventually building enough success to move to painting full-time. Prolific and successful, in 1859 he submitted seven paintings to the Manchester Institute and a further ten to the Royal Scottish Academy. With a relaxed approach to life, one story tells of him submitting ten canvases to an exhibition, nine fully realised and one completely blank. When questioned over the blank canvas, he indicated that the exhibition was not for another two weeks, so he had plenty of time to work it up! The two scenes presented here are vibrant and full of bustling activity. Bough is confident in his artistic powers, successfully balancing a busy and dramatic foreground with distant, identifiable landscape and leaving plenty of room for expansive skies. He displays his particular talent for the depiction of clouds – his ability to translate their mutability, lightness and patterning into paint. In each, we get the sense of a true snapshot - just a second later everything will change - the positioning of boats and figures, the moments of movement and conversation, a new slice of weather drawing in.
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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27 SAM BOUGH R.S.A, R.S.W. (SCOTTISH 1822-1878) INCOMING STORM, NEWHAVEN HARBOUR Signed, oil on canvas 56.5cm x 85.5cm (22.5in x 32.75in)
£10,000-15,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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28 SAM BOUGH R.S.A, R.S.W. (SCOTTISH 1822-1878) ITALIAN LANDSCAPE WITH FIGURES BY RUINS Signed and dated 1861, oil on canvas 61cm x 91cm (24in x 36in)
£7,000-10,000
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29 SAM BOUGH R.S.A, R.S.W. (SCOTTISH 1822-1878) TRONGATE, GLASGOW Signed, pencil and watercolour 20cm x 15.5cm (6in x 8in) and another by the same hand, ‘Stockwell Bridge’ (2)
£1,000-1,500
30 SAM BOUGH R.S.A, R.S.W. (SCOTTISH 1822-1878) UNLOADING THE WRECK Inscribed on an old trade label verso, watercolour 25.5cm x 36cm (10in x 14in)
£800-1,200
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31§ CHARLES OPPENHEIMER R.S.A., R.S.W (1876-1961) THE HARBOUR AT KIPPFORD Signed, oil on canvas laid down 79cm x 122cm (31in x 48in)
£5,000-8,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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32 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) SLEEP, BABY, SLEEP Signed, oil on canvas 46cm x 61cm (18in x 24in)
£2,000-3,000
33 HUGH CAMERON R.S.A., R.S.W., R.O.I. (SCOTTISH 1835-1918) RUSTIC JOY Signed and dated 1886, oil on canvas 52cm x 85cm (20.5in x 33.5in) Exhibited: Royal Scottish Academy 1887, no.202
£1,500-2,000
34 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) SAD NEWS Signed, oil on canvas 35cm x 50cm (14in x 20in) Provenance: Fine Art Society, Edinburgh- October 1977
£2,000-3,000
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35 JOSEPH FARQUHARSON R.A. (SCOTTISH 1846-1935) EVENING GLOW Signed, oil on canvas 91cm x 71cm (36in x 28in)
£10,000-15,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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PETER GRAHAM Peter Graham was a Scottish artist renowned for his landscape works, which were magnificent in both scale and execution. He had a remarkable ability to capture the transient character of nature and the romance of the Scottish Highlands in his grand paintings. In a review of the Royal Scottish Academy’s Exhibition of 1860, one critic remarked that Graham’s paintings ‘are a very luxury to the eye; the colour is so fresh and true, the mosses are so soft and velvety, the lichens are so grey-green. You smell the fir-trees when you stand before the first, the joy of summer-tide seems to slide into the sense when you look at the second’ “Iconoclast” Reviewed, Maulstick, 1860, p.6. Graham began his artistic career at the Trustees’ Academy in Edinburgh, training under Robert Scott Lauder and initially concentrating on figure subjects. However, a holiday to Deeside in 1859 inspired him to turn his attention to landscape paintings.
36 PETER GRAHAM R.A., H.R.S.A (SCOTTISH 1836-1921) A MOUNTAIN ROAD Signed and dated 1881, oil on canvas 136cm x 184cm (53.5in x 72.5in)
£10,000-15,000
Graham’s work was heavily influenced by the evocative poetry of Sir Walter Scott, as well as the dramatic landscape paintings of Horatio McCulloch. When he moved to London, he began to paint on a grand scale, emphasising the awe-inspiring magnificence of the Scottish scenery. These large paintings particularly appealed to an urban-based audience, and Graham continued to gain popularity across the UK. Reflecting on Graham’s training and success, James L. Caw wrote, ‘His earlier pictures revealed him as an acute observer of Nature, as a careful student of atmospheric effect and natural form’ “Scottish Painting: Past and Present”James L. Caw, 1908, p.255). Graham was well received at the Royal Scottish Academy, where he started exhibiting in 1855, and made a name for himself in England, becoming an Associate of the Royal Academy in London in 1877. He was then elected a full Royal Academician at the end of 1881, and a Senior Royal Academician in 1919.
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37 PETER GRAHAM R.A., H.R.S.A (SCOTTISH 1836-1921) TO VALLEY PASTURES Signed and dated 1900, oil on canvas 165.5cm x 138cm (65in x 54.5in) Provenance: Arthur Tooth & Sons, London
£5,000-8,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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38 DAVID FARQUHARSON A.R.A., A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1840-1907) THE FOOT OF BEN LOMOND Signed and dated ‘87, inscribed on old label verso, oil on canvas 41cm x 61cm (16in x 24in)
£2,000-3,000
39 JAMES DOCHARTY A.R.S.A (SCOTTISH 1829-1878) CARRICK CASTLE, LOCH GOIL Signed, oil on canvas 41cm x 61cm (16in x 24in)
£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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40 WILLIAM STEWART MACGEORGE R.S.A (SCOTTISH 1861-1931) THE TREASURE-HUNT Signed, oil on canvas 61cm x 76cm (24in x 30in)
£5,000-7,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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41 DAVID GAULD R.S.A. (SCOTTISH 1865-1936) TWO CALVES BY A WATER BUTT Signed, oil on canvas 51cm x 76cm (20in x 30in)
£2,000-3,000
42 JOHN ROBERTSON REID R.I., R.B.S., R.O.I. (1851-1926) MENDING THE NETS, ARDRISHAIG Signed, signed and inscribed verso, oil on canvas 41cm x 76cm (16in x 30in)
£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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43 EDWARD ARTHUR WALTON R.S.A., P.R.S.W., H.R.W.S. (SCOTTISH 1860-1922) MOORLAND LANDSCAPE Signed and dated 1879, oil on canvas 51cm x 76cm (20in x 30in) Provenance: Sir Robert Bellinger G.B.E
£4,000-6,000
44 DAVID GAULD R.S.A (SCOTTISH 1865-1936) CALVES IN A SUMMER LANDSCAPE Signed, oil on canvas 51cm x 76cm (20in x 30in)
£3,000-5,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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45 EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) GATHERING FIREWOOD Signed with initials and dated ‘90, oil on canvas 30.5cm x 23cm (12in x 9in) Provenance: Bought 25 July 1983, Lot 220, Phillips London; A gift from the artist to his M.D. Dr. Robson.
£2,000-3,000
46§ DAVID FORRESTER WILSON R.S.A. (1873-1950) SUNDAY BEST Signed and dated ‘08, oil on canvas 128cm x 97cm (50in x 38in)
£3,000-5,000
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47 WILLIAM PRATT (SCOTTISH 1854-1936) STUDY OF A HEAD Signed and dated 1893, oil on canvas 36cm x 25.5cm (14in x 10in)
£2,000-3,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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48 GEORGE HENRY R.A., R.S.A., R.S.W. (SCOTTISH 1858-1943) GIRL WITH STRAW HAT Signed and dated 1891, oil on canvas 51cm x 46cm (20in x 18in) Note: A painting entitled Girl with Straw Hat was exhibited at the Royal Scottish Academy 1893, no.99
£10,000-15,000
GEORGE HENRY GIRL WITH STRAW HAT A prominent member of the Glasgow Boys, George Henry is remembered for his stylistic form of portraiture. In the late 1880s, Henry was experimenting with decorative effects, moving towards a symbolist intensity of colour and pattern. This is shown in Girl with Straw Hat by the use of very few, dramatic colours - notably the splashes of blue through the leaves. The use of sunlight, shade and heavy, uniform brushwork for the figure and foliage are a very distinctive characteristic. In contrast, the intricate brushwork on the bonnet, evoking straw, is an effective juxtaposition with the simplicity of the fresh, white broad brush of the muslin shawl. It is interesting to see Henry’s use of light and shade on the subject’s face. The onlooker is left questioning the facial features of the sitter. Girl with Straw Hat is a rare and fine example of George Henry’s work painted at the height of his artistic career.
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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NORAH NEILSON GRAY SISTERS WITH KITTEN One of the first woman artists who sought out and established a commercially successful career, Glasgow Girl Norah Neilson Gray was best known for her stylised portraits. Carefully composed, the individuality and bold colour in her portraits brought Gray recognition from art critics and spectators in the flourishing Glasgow art circles of the time. She painted many portraits of well-known Glasgow figures and their families and was well known in Glasgow as excelling in child portraiture.
Sisters with Kitten brings the essence of Gray’s portraiture together with bold colours, flowers and strong contrasts. She has the full attention of the cherub-like children who sit in a wooded scene amongst flowers that blend seamlessly into a bright yellow background. The background light shining on the sitter’s head simulates sunset and creates a halo effect, drawing one’s attention to the expression of the child in the yellow dress tightly clutching the kitten in her arms. A wonderfully talented portraitist, Sisters with Kitten epitomises Gray’s superb handling of paint and use of bold colour.
49 NORAH NEILSON GRAY R.S.W. (SCOTTISH 1882-1931) SISTERS WITH A KITTEN Signed, oil on canvas 51cm x 41cm (20in x 16in)
£4,000-6,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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50 PATRICK DOWNIE R.S.W (SCOTTISH 1871-1945) EMPIRE EXHIBITION, 1901 Signed and dated 1901, watercolour 28cm x 38cm (11in x 15in)
£1,000-1,500
51 ROBERT MCGOWN COVENTRY A.R.S.A., R.S.A (SCOTTISH 1855-1914) PROMENADE Signed, watercolour 20cm x 25.5cm (8in x 10in)
£800-1,200
52 ROBERT MCGOWN COVENTRY A.R.S.A., R.S.A (SCOTTISH 1855-1914) INDUSTRIAL HALL, GLASGOW INTERNATIONAL EXHIBITION, 1901 Signed, watercolour 20cm x 25.5cm (8in x 10in)
£800-1,200
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53 ROBERT MCGOWN COVENTRY A.R.S.A., R.S.A (SCOTTISH 1855-1914) INDUSTRIAL HALL, GLASGOW INTERNATIONAL EXHIBITION, 1901 Signed, oil on panel 31cm x 36cm (12in x 16in)
£3,000-5,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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54 WILLIAM STEWART MACGEORGE R.S.A (SCOTTISH 1861-1931) DAYDREAMING Signed, oil on canvas 51cm x 71cm (20in x 28in)
£2,000-3,000
55 WILLIAM MARSHALL BROWN R.S.A., R.S.W. (SCOTTISH 1863-1936) MUSSEL GATHERERS Signed, oil on canvas 41cm x 61cm (16in x 24in)
£2,000-3,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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56 JOSEPH HENDERSON R.S.W. (SCOTTISH 1832-1908) UNDER THE SANDHILLS Signed, oil on canvas 61cm x 91cm (24in x 36in)
£3,000-5,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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57 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) THE WESTERN SUN, RIVER CLYDE Signed, oil on board 51cm x 61cm (20in x 24in)
£3,000-5,000
58 EUGENE DEKKERT (SCOTTISH FL.1899-1940) THE HARBOUR ANSTRUTHER Signed, oil on canvas 76cm x 51cm (30in x 20in)
£1,000-1,500
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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59 WILLIAM STEWART MACGEORGE R.S.A (SCOTTISH 1861-1931) GATHERING FIREWOOD Signed, oil on canvas 51cm x 61cm (20in x 24in)
£3,000-5,000
60 DAVID FULTON R.S.W. (SCOTTISH 1848-1930) GATHERING FIREWOOD Signed, oil on canvas 51cm x 41cm (20in x 16in)
£1,000-1,500
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61 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) YOUNG FISHERS Signed, oil on board 24cm x 31cm (9.5in x 12in)
£6,000-8,000
62 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) THE PET CANARY Signed, oil on canvas 36cm x 25.5cm (14in x 10in)
£4,000-6,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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63 JOHN BURR R.B.A., R.O.I., A.R.W.S. (SCOTTISH 1831-1893) THE POOR HELPING THE POOR Signed and dated 1860, oil on canvas 30.5cm x 46cm (12in x 18in)
£2,000-3,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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64 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) WASH DAY Signed, oil on canvas 36cm x 25.5cm (14in x 10in)
£4,000-6,000
65 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) BY THE WINDOW Signed, oil on board 46cm x 36cm (18in x 14in)
£2,000-3,000
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66 GEORGE EDWARD HERING (BRITISH 1805-1879) BRODICK BAY, ISLE OF ARRAN Signed, oil on canvas 36cm x 104cm (14in x 41in)
£1,000-1,500
67 HENRY GARLAND (BRITISH 1854-1890) HIGHLAND DROVE RESTING, ARGYLLSHIRE Signed, signed and inscribed verso, oil on canvas 76cm x 127cm (30in x 50in)
£3,000-5,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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68 WILLIAM PAGE ATKINSON WELLS (SCOTTISH 1872-1923) THE STONE BARN, COLBY, ISLE OF MAN Signed, oil on canvas 64cm x 76cm (25in x 30in) Provenance: Ewan Mundy Fine Art Ltd, Glasgow, 1996
£3,000-5,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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69 ARCHIBALD THORBURN (SCOTTISH 1860-1935) A NESTING GOOSE Signed, watercolour on blue paper 24cm x 33cm (9.5in x 13in) Provenance: From the Collection of Francis Cowan, 1932
£1,000-1,500
70 EDWIN JOHN ALEXANDER R.S.A., R.S.W., R.W.S. (SCOTTISH 1870-1926) MALLARD’S DRAKE Signed and dated 1905, watercolour on buff paper 43cm x 61cm (17in x 24in)
£500-700
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71 JOSEPH FARQUHARSON R.A. (SCOTTISH 1846-1935) IN THE WARMTH OF SUMMER DAYS Signed, oil on canvas 46cm x 61cm (18in x 24in) Provenance: There is a Thos. Agnew & Son label verso.
£8,000-12,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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72§ STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) FIGURES ON A COUNTRY ROAD, ORKNEY Signed and dated 1914, watercolour 53cm x 74cm (21in x 29in)
£2,000-3,000
73§ STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) MILITARY HOSPITAL, ABBEVILLE Signed and dated 1916, watercolour 15cm x 23cm (6in x 9in) Note: A letter from Stanley Cursiter to the niece of the original owner refers to the circumstances surrounding the watercolour ‘....our friendship goes back a long way - until the early years of the War when she served as a V.A.D. in a tent hospital in France, where I was a patient, with nothing more romantic than an attack of bronchitis’
£800-1,200
74 WILLIAM SIMPSON R.I., R.G.S. (SCOTTISH 1823-1899) FIGURES BY THE TOLLBOOTH, GLASGOW Pen and ink and watercolour 21.5cm x 31.5cm (8.5in x 12.5in)
£800-1,200
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75 ARTHUR MELVILLE A.R.S.A., R.S.W., A.R.S (SCOTTISH 1855-1904) NORTH AISLE OF ST.MAGNUS CATHEDRAL, KIRKWALL Signed, inscribed and dated ‘To my friend Dr. Clouston, 4 March 1885’, watercolour 48cm x 33cm (19in x 13in) Provenance: Fine Art Society 1995 Literature: Agnes Mackay, Arthur Melville 1951, p.150, item no.404. Note: Acquired 8.2.90 in exchange for Arthur Melville’s ‘The Mosque of Cordova’
£3,000-5,000
76 PATRICK WILLIAM ADAM R.S.A (SCOTTISH 1854-1929) SAN ZACCARIA, VENICE Signed, oil on canvas 83cm x 43cm (32.5in x 17in)
£1,000-1,500
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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77 WILLIAM STRANG R.A., R.P.E. (SCOTTISH 1859-1921) LAUGHING MAN - SELF PORTRAIT Signed and dated 1911, oil on canvas 61cm x 51cm (24in x 20in)
£1,000-1,500
78 STUART PARK (SCOTTISH 1862-1933) A STILL LIFE OF WHITE LILIES Signed, oil on canvas 61cm x 51cm (24in x 20in)
£1,500-2,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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79 GEORGE HENRY R.A., R.S.A., R.S.W. (SCOTTISH 1858-1943) THE LOCKET Signed, oil on canvas 102cm x 81.5cm (40in x 32in) Provenance: With Thomas Agnew and Sons, Manchester, Liverpool and London K.McAndrew by 1907 Exhibited: Irish International Exhibition, Dublin 1907
£15,000-20,000
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80 ARTHUR MELVILLE A.R.S.A., R.S.W., A.R.S (SCOTTISH 1855-1904) A BOY IN SPAIN Inscribed and titled on label verso, oil on panel 32cm x 42cm (12in x 16.5in) Exhibited: The Fine Art Society, Edinburgh, Arthur Melville, 2013, where lent by the present owner.
£6,000-8,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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81 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) AROS, ISLE OF MULL Signed, signed and inscribed with title on stretcher verso, oil on canvas 36cm x 43cm (14in x 17in)
£2,000-3,000
82§ WILLIAM MILLER FRAZER R.S.A. (SCOTTISH 1864-1961) COLTISHALL, NORFOLK Signed, oil on board 25.5cm x 36cm (10in x 14in)
£500-800
83 EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) A GLIMPSE OF KIRKCUDBRIGHT Signed with initials and dated ‘82, oil on canvas 20.5cm x 31cm (8in x 12in) Provenance: The artist’s mother, The artist’s sister, Dr. MacMyn, Kirkcudbright. Exhibited: Fine Art Society, Edinburgh and London Literature: Scottish Art Review, Vol XI, No.3
£1,000-2,000
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84 EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) JAPANESE GIRL Signed and dated 1922, oil on panel 33cm x 23cm (13in x 9in)
£5,000-7,000
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85 EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) GIRLS IN A WOOD Signed and dated 1919, oil on canvas 66cm x 101cm (26cm x 40in)
£12,000-18,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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86§ CECILE WALTON (SCOTTISH 1891-1956) LITTLE SPHINX Signed, oil on board 51cm x 46cm (20in x 18in)
£2,000-3,000
87§ CECILE WALTON (SCOTTISH 1891-1956) RIVER IN THE HILLS, GALLOWAY Signed, oil on board 46cm x 51cm (18in x 20in) Exhibited: Scottish Gallery, Cecile Walton Exhibition 1951, no.4
£800-1,200
88§ CECILE WALTON (SCOTTISH 1891-1956) THE KELPIE Inscribed on a contemporary label verso, oil on board 51cm x 46cm (20in x 18in)
£600-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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89 PATRICK WILLIAM ADAM R.S.A. (SCOTTISH 1854-1929) A STILL LIFE OF FRUIT AND OBJECTS ON A TABLE-TOP Signed and dated 1919, oil on canvas 83cm x 66cm (32.5in x 26in)
£2,000-3,000
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90 WILLIAM CROZIER A.R.S.A. (SCOTTISH 1897-1930) FARM BUILDINGS SOUTH OF FRANCE Signed, oil on canvas 46cm x 61cm (18in x 24in)
£1,500-2,000
91§ ARCHIBALD STANDISH HARTRICK O.B.E., R.W.S. (SCOTTISH 1864-1950) THE YOUNG CRICKETER Signed, pen and ink and watercolour 42cm x 29cm (16.5in x 11.5in) and a companion a pair ‘The young rugby player’ (2)
£800-1,200
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92 WILLIAM STEWART MACGEORGE R.S.A. (SCOTTISH 1861-1931) VIEW FROM SKIBO CASTLE Signed, oil on canvas 84cm x 122cm (33in x 48in)
£4,000-6,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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93 STUART PARK (SCOTTISH 1862-1933) A STILL LIFE OF APPLES AND GINGER JAR Signed, oil on canvas 31cm x 38cm (12in x 15in)
£2,000-3,000
94§ ROBERT EADIE R.S.W. (SCOTTISH 1877-1954) BROOMIELAW Signed, oil on canvas, unframed 76cm x 102cm (30in x 40in)
£1,000-1,500
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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95§ JOHN MCGHIE (SCOTTISH 1867-1952) THE DAY’S CATCH Signed, oil on canvas 36cm x 46cm (14in x 18in)
£3,000-5,000
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96§ JOHN MACLAUCHLAN MILNE R.S.A (SCOTTISH 1886-1957)
JOHN MACLAUCHLAN MILNE
Born in Fife in 1885, John Maclauchlan Milne, was the son of the traditional landscape artist, Joseph Milne. Mentored by his father, whose work was notable for its strong, bright tones, Maclauchlan Milne was inspired by the colours and the light that he encountered during his travels in Europe. He began painting landscapes of the Belgium and French countryside which were shown in Dundee in 1919. Spending a vast majority of his time between 1919 – 1932 visiting France, Paris proved to be hugely influential in Maclauchlan Milne’s artistic career. He fell in love with Paris and immersed himself in the bohemian world of Paris café culture, much like that of his Scottish predecessors, Samuel John Peploe and John Duncan Fergusson.
CAFE SCENE, PARIS Signed, oil on board 25.5cm x 36cm (10in x 14in)
£30,000-40,000
The three Parisian scenes included here, Café Scene, Boats on the Seine and Promenade can clearly be seen to show the influences of these highly respected artists. Café Scene shows a bustling café with fashionable Parisian clientele. With one or two brush strokes Maclauchlan Milne is able to create the starched white collar of the gentleman at lunch and the parasol of the fashionably promenading lady. The further scenes continue to illustrate the everyday Parisian life. Boats on the Seine shows the loading or unloading of goods by two figures on the river. The Tuileries Gardens depicted in Promenade is a scene that Maclauchlan Milne has illustrated numerous times, each example capturing a different time of day and group of figures.
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An internationally recognised artist, he exhibited in New York, at the Royal Scottish Academy and the Glasgow Institute. Maclauchlan Milne was elected to the Royal Scottish Academy in 1937 and continued to show there until his death in 1957.
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97§ JOHN MACLAUCHLAN MILNE R.S.A (SCOTTISH 1886-1957) BOATS ON THE SEINE, PARIS Signed, oil on board 25.5cm x 36cm (10in x 14 in)
£20,000-30,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
69
98ยง JOHN MACLAUCHLAN MILNE R.S.A (SCOTTISH 1886-1957) PROMENADE - PARIS Signed, oil on board 25.5cm x 36cm (10in x 14in)
ยฃ20,000-30,000
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99 EDWIN JOHN ALEXANDER R.S.A., R.S.W., R.W.S. (SCOTTISH 1870-1926) BUTTERFLY AND THISTLEDOWN Signed with a monogram and dated 1901, watercolour 20.5cm x 15.5cm (8in x 6in)
£1,000-1,500
100 STUART PARK (SCOTTISH 1862-1933) WHITE ROSES Signed, oil on canvas 46cm x 41cm (18in x 16in)
£1,500-2,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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101 JAMES PATERSON R.S.W., R.S.A., R.W.S. (SCOTTISH 1854-1932) ISLE OF SKYE Signed, inscribed and dated 1912, watercolour 51cm x 36cm (20in x 14in)
£1,500-2,000
102 EDWIN JOHN ALEXANDER R.S.A., R.S.W., R.W.S. (SCOTTISH 1870-1926) FORGET-ME-NOT Signed with a monogram ,watercolour on brown paper 32cm x 16.5cm (12.5in x 6.5in) and another by the same hand ‘Lady’s Smock’ (2) Provenance: Spink and The Tryon Gallery for ‘Foget-me-not’
£1,000-1,500
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103§ ROBERT COLQUHOUN (SCOTTISH 1914-1962) PORTRAIT STUDY OF A MAN Signed, pencil on brown paper 28cm x 21.5cm (11in x 8.5in)
£800-1,200
104§ WILLIAM MCCANCE (SCOTTISH 1894-1970) FEMALE NUDE Signed and dated 1930, black chalk and pencil 49cm x 30cm (19.25in x 11.75in) Exhibited: Dundee City Art Gallery, William McCance no.45 Scottish National Gallery of Modern Art, William McCance, 1990
£800-1,200
105 JOSEPH CRAWHALL R.S.W. (SCOTTISH 1861-1913) AUNTIE BEE IN HER RASHELFE COAT Inscribed, pen and ink 17.5cm x 10.5cm (7in x 4.25in) Provenance: Miss E. C. Challoner, niece of the artist.
£600-900 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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106 JAMES PRYDE (SCOTTISH 1866-1941) SKETCH FOR ‘THE DERELICT’ Watercolour 17cm x 14.5cm (6.75in x 5.75in) Provenance: Goupil Gallery J.Leger & Son, London January 1941 Exhibited: Scottish National Gallery of Modern Art, James Pryde 1992, no.76
£2,000-3,000
107 ARTHUR MELVILLE A.R.S.A., R.S.W., A.R.S. (SCOTTISH 1858-1904) STUDY FOR THE OLD COVENANTER Watercolour 80cm x 55cm (31.5in x 21.5in) Provenance: Fine Art Society, November 1980
£2,000-3,000
108§ JAMES COWIE R.S.A., L.L.D. (SCOTTISH 1886-1956) STILL LIFE IN INDUSTRIAL LANDSCAPE Signed, pencil and watercolour 26.5cm x 23cm (10.5in x 9in) Provenance: The artist’s family Exhibited: Arts Council - Scottish Committee, James Cowie Memorial Exhibition 1957, no.49
£800-1,200
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109 JOHN MCKIRDY DUNCAN (SCOTTISH 1866-1945) BRIDGE OVER THE RIVER Signed, oil on board 38cm x 46cm (15in x 18in)
£1,000-1,500
110 HELEN S. JOHNSTON (SCOTTISH 1916-1930) THE PARASOL Signed and dated 1923, oil on canvas 81cm x 91cm (32in x 36in)
£2,000-3,000
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111 DAVID GAULD R.S.A (SCOTTISH 1865-1936) BELOW THE RAMPART OF STIRLING CASTLE Signed, oil on canvas 71cm x 91cm (28in x 36in)
£4,000-6,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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112 JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) DOLCE FAR NIENTE Signed and dated ‘95, watercolour 18cm x 25cm (7in x 9.75in)
£1,500-2,000
113 BEATRICE HOW (SCOTTISH 1867-1932) HYDRANGEAS Signed, oil on canvas 46cm x 38cm (18in x 15in) Provenance: Lucien Lefebvre-Foinet, Paris
£800-1,200
114§ WILLIAM CROSBIE R.S.A. (SCOTTISH 1915-1999) TANG Signed and dated LXXXVI, oil on board 28cm x 29cm (11in x 11.5in)
£500-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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115§ ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D (SCOTTISH 1917-1999) STILL LIFE WITH SHELL Signed, oil on canvas 46cm x 61cm (18in x 24in) Exhibited: The Scottish Gallery June 1973,no.13
£4,000-6,000
116§ DAME ELIZABETH VIOLET BLACKADDER C.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT. (SCOTTISH B.1931) STILL LIFE FRUIT AND FISH Signed and dated 1985, watercolour 25.5cm x 53cm (10in x 21in) Provenance: Mercury Gallery, Edinburgh 1986
£2,000-3,000
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117§
118§
JOAN EARDLEY R.S.A (SCOTTISH 1921-1963)
JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)
BOY WITH BROWN HAIR
GIRL WITH PINK CHEEKS
Pastel
Stamped with the inventory number, pastel
13cm x 10cm (5in x 4in)
17.5cm x 11cm (7in x 4.25in)
Exhibited: Aitken Dott & Son, Festival Exhibition 1964, no.91
Provenance: King St. Gallery, Knutsford The Scottish Gallery, Edinburgh, Stock no. 675 The Macaulay Gallery, Stenton 1987
£4,000-6,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
£5,000-7,000
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119§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) TOWNHEAD CORNER Pastel 10cm x 12.5cm (4in x 5in) Exhibited: The Scottish Gallery, Edinburgh, Joan Eardley Paintings and Drawings 1996, no.26, Estate no ED842
£3,000-5,000
120§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) FISHING BOATS, ARBROATH HARBOUR Signed, oil on canvas laid down 30.5cm x 35.5cm (12in x 14in) Exhibited: Scottish Gallery, Edinburgh, Christmas Exhibition 1968
£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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121§ SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916-1992) NUDE Signed and dated ‘54, oil on canvas 67cm x 39.5cm (26.5in x 15.5in)
£2,000-3,000
122 SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916-1992) TWO PIGEONS Signed and dated ‘53, oil on board 34.5cm x 42cm (13.5in x 16.5in) Exhibited: Scottish Gallery 1954, no.37
£1,500-2,000
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123§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) BLACK COCKEREL AND BLACK KING Signed and dated ‘68, signed, inscribed and dated verso, oil on canvas 71cm x 91cm (28in x 36in) Provenance: Panter & Hall, London
£3,000-5,000
124§ MARY ARMOUR R.S.A., R.S.W. (SCOTTISH 1902-2000) THE RED CACTUS Signed and dated ‘68, oil on canvas 61cm x 51cm (24in x 20in) Exhibited: The Scottish Gallery, Edinburgh, New Acquisitions Exhibition 2007
£1,500-2,500
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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125§ JAMES MORRISON R.S.A.,R.S.W.,L.L.D (SCOTTISH 1932-) STORM CLOUDS OVER THE LOCH Signed and dated 28.XI.1996, oil on board 81cm x 180cm (32in x 70in)
£3,000-5,000
126§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) PATH THROUGH THE FIELDS Signed, pastel 48cm x 64cm (19in x 25in)
£1,500-2,000
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127§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) NEAR DRUMNADROCHIT Signed, oil on board 31cm x 36cm (12in x 14in)
£2,000-3,000
128§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) PLOUGH AND STUBBLE, EAST LOTHIAN Signed, signed and inscribed verso, oil on board 15cm x 20cm (6in x 8in) Exhibited: The Scottish Gallery, Festival Exhibition 1959, no.34
£1,000-1,500
129§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) ARDWELL BAY Signed, oil on board 25cm x 29cm (9.75in x 11.5in) Exhibited: Scottish Gallery, Christmas Exhibition 1965
£1,000-1,500
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130§ WILLIAM MCCANCE (SCOTTISH 1894-1970) TIMBERSCOMBE Signed, inscribed and dated 1928, oil on board 25.5cm x 34cm (10in x 13.5in) Exhibited: Dundee City Art Gallery, William McCance, no.23
£1,500-2,000
131§ WILLIAM MCCANCE (SCOTTISH 1894-1970) FRUIT COMPOSITION Inscribed verso, oil on board 27cm x 35cm (10.5in x 13.75in)
£2,000-3,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
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132§ JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) BOULEVARD MONTPARNASSE Signed, inscribed and dated 1907, oil on board 27cm x 33cm (10.5in x 13in) Note: The painting also has a Fergusson Clouston Street label on the reverse with the title.
£70,000-100,000
JOHN DUNCAN FERGUSSON BOULEVARD MONTPARNASSE During the early 1900s, Paris was the epicentre of the art world - a melting pot for the avant-garde artists, writers and poets of the day. Enchanted by the culture and life of the city, John Duncan relocated to Paris in 1907. He established a studio in Montparnasse and immediately immersed himself in the café society for which the city was renown. Dividing his time between Paris and London, Fergusson was highly influenced by the French modern movements of the early 20th century. He thrived in the artistic setting of Paris, befriending acclaimed artists such as Picasso, Matisse and Andre Dunoyer de Segonzac. Quoted in Elizabeth Cumming ‘s Introduction to The Colourists and France, Dunoyer de Segonzac praised Fergusson’s work as using, ‘stunning fresh colours allied to rich, sumptuous matiere’. He spoke of his friend as ‘a great and wholly independent artist’ whose painting would stand the test of time. Remembered as perhaps the most innovative of the Scottish Colourists, Fergusson maintained a flourishing career throughout the early 20th century. From 1907 to 1912, Fergusson was a regular exhibitor at the Salon d’Automne showing alongside Marquet, Chabaud, Friesz and Matisse.
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Closerie de Lilas café, Boulevard Montparnasse, Paris, circa 1900
Boulevard Montparnasse dates from Fergusson’s first year in Paris and already hints at the influence of his French contemporaries. The bold palette and dynamic impasto heralds an interest in the Fauves, whilst the high tonality conveys Fergusson’ s view in ‘trying for truth, for reality, through light’. This vibrant view of Montparnasse is the perfect synthesis of his time in France. Fergusson conveys the new order of a bustling metropolitan life with bravura and panache.
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133§ JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) ROYAN, C.1910 Charcoal 11.5cm x 11.5cm (4.5in x 4.5in) Provenance: Graeme Mundy Gallery Ltd., Glasgow
£1,500-2,000
134 SAMUEL JOHN PEPLOE R.S.A (SCOTTISH 1871-1935) GIRL WITH VEIL Signed, sanguine 19cm x 19cm (7.5in x 7.5in) Provenance: Margaret Peploe, Denis Peploe and thence by descent Exhibited: The Scottish Gallery,January 2007
£1,000-1,500
135§ WILLIAM CROSBIE R.S.A. (SCOTTISH 1915-1999) STILL LIFE Signed and dated LXXXIV, watercolour 48cm x 36cm (19in x 14in)
£500-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
S.J. PEPLOE STILL LIFE OF ROSES & PEAR
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136 SAMUEL JOHN PEPLOE R.S.A (SCOTTISH 1871-1935) STILL LIFE OF ROSES AND PEAR Signed, oil on canvas 49.5cm x 40cm (19.5in x 15.75in) Provenance: Duncan Miller Fine Arts, London
£150,000-200,000
SAMUEL JOHN PEPLOE STILL LIFE OF ROSES & PEAR Samuel John Peploe remains particularly celebrated for his beautifully executed still-life paintings. An elegant example of Peploe’s mastery of colour and composition, Still Life of Roses and Pear is a quintessentially Colourist painting. It was towards the end of his life, in 1929, over 35 years after he first started his artistic training, that Peploe claimed, ‘There is so much in mere objects, flowers, leaves, jugs, what not - colours, forms, relation - I can never see mystery coming to an end’. This acknowledgment of the joy and inspiration he found in this genre as an artist, applies just as equally to our enjoyment of the works as viewers. The props, objects and subjects repeat, yet the delight continues in the skill and variety of his creations and interpretations of these masterfully composed pieces.
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In Still Life of Roses and Pear, Peploe demonstrates his talent for strong colour and superb composition. The painting has a freshness and vivacity, from the chalky white of the crumpled tablecloth to the jagged two-tone lines he uses to outline key components of the composition. The roses are framed in complementary blues, allowing the pink petals to coruscate against the white background. The gentle but powerful, bold tones of the red and green striped material behind the central vase and flowers add lift to the whole painting. This is the eldest and most commercially successful of the Scottish Colourists in his element. An assured and confident painting, Still Life of Roses and Pear displays the handling and painterly freedom that made Peploe’s name, brought success and built a reputation that endures in the Scottish art market to this day.
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137 SAMUEL JOHN PEPLOE R.S.A., (SCOTTISH 1871-1935) THE BLACK HAT Signed, oil on canvas 51cm x 41cm (20in x 16in) Provenance: A gift to his friend George Hutchison and thence by descent
ÂŁ20,000-30,000
SAMUEL JOHN PEPLOE THE BLACK HAT Scottish Colourist Samuel John Peploe is best known for his colourful and elegant still-lifes, but like all true artists, he turned his brush to all different subjects: in The Black Hat, he creates an intriguing and enigmatic portrait. The subject is unknown, though it has been suggested that she resembles Poppy Low, an artist’s model popular in Edinburgh in the 1920s, and particularly favoured and recognisable from the portraiture of Stanley Cursiter.
As in all successful portraits, Peploe distils something of the personality of the sitter, a slightly moody atmosphere, as well as capturing a charming portrayal of her appearance. There is also something further present, an artistic experimentation, as he plays with the palette; harmonising across the coral background with scraped out areas revealing bare canvas; while the soft, pale blue of her blouse contrasts with the dark shades of her distinctly 1920s hat and bobbed hair. The hints of rosy pink in her cheeks are highlighted with a decisive slash of vivid green to her cheek, and a gentler variation of the same pigment is deployed more softly in the areas of shadow in her jaw and neckline. A creative, colourful cacophony when viewed close-up, yet still a sensitive and harmonious portrait.
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138 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) CATHEDRAL ROCK, IONA - THE STORM Signed, signed and inscribed verso, oil on board 36cm x 43cm (14in x 17in) Provenance: Alex Reid & Lefèvre Ltd, London
£40,000-60,000
F.C.B. CADELL STORM & CROFTS F.C.B. Cadell had a long-standing love affair with the west-coast isle of Iona and spent many a long Scottish summer painting there alongside fellow Scottish Colourist S.J. Peploe. Together they traversed and transmuted vision into paint across every spot and angle of this artist’s haven. Rich in religious, historical and spiritual significance, Iona had attracted pilgrims for centuries, though not previously of this purely artistic persuasion. It is a celebrated beauty spot with white sands, turquoise seas and rugged rocky terrain. A unique west coast wildness prevails, with a sense of open space and gorgeous, sparkling light, truly an artist’s paradise.
Cadell captured the topography and landmarks, the light and the colours as accurately as possible, with surprisingly little artistic licence; he was so accurate that individual rocks can still be matched to photographs of present day Iona. His amazing accuracy allows us to identify this unusual scene of an approaching storm, as taking place over Cathedral Rock at the north end of the island. In a departure from his usual depictions of the coastline of the island under glorious sunshine, the drama of the approaching weather matches the drama and ruggedness of the rocky coastline and the strength and intensity of crashing Atlantic waves. Still fresh and joyful, the storm brings an unexpected brooding quality to the painting.
In Crofts, Iona the gorgeous, west coast light returns and in its depiction, Cadell is unfettered and free in his painting. Light, bright and breezy, this is an altogether different approach that shows a light touch in the brushstrokes, as they softly slant and layer over each other, particularly noticeable in the differing colour and softly crosshatched texture of the dry stone wall in the foreground. An Iona aficionado, Cadell could find and celebrate beauty and colour in every nook of this small island. These differing scenes of Iona show Cadell for the true Scottish artist that he was, able to see, respond to and celebrate the true beauty of this small island, no matter which view he focused on, or what weather conditions he experienced.
95
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
96
139
140
FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W (SCOTTISH 1883-1937)
FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W (SCOTTISH 1883-1937)
CROFTS, IONA
IONA ABBEY, INTERIOR
Signed, oil on board
Signed, oil on canvas
35.5cm x 43cm (14in x 17in)
77cm x 51cm (30.25in x 20in)
£30,000-50,000
Provenance: With British National Oil Corporation until 1994 when acquired by the current owner
£40,000-60,000
Transporting the viewer to the stone covered interior of Iona Abbey through his realistic portrayal of light, shadow and texture, Francis Campbell Boileau Cadell’s Iona Abbey is a strikingly life-like composition. Using a palette of purples, blues and greens, Cadell communicates the cool interior. Light pours through and illuminates the Abbey windows, casting shadows and drawing attention to the detailed structure of the building. Cadell celebrates the place with his variety of colour, texture and light. Founded by St Columba, the Abbey is a key landmark on the island, and a structure that signifies the important religious history of the place. The isle of Iona, and the Abbey, have been a major centre of Christian worship since the arrival of St Columba and his companions in 563 AD. The site of religious pilgrimage, Iona is recognised by people around the world as a special, sacred place. The distinctive beauty of the island, the ever-changing weather, cerulean seas and distinctive light was the perfect subject for simple, lyrical landscapes. Cadell first visited Iona in 1912 and, captivated by its wonderful atmosphere, he was to return nearly every summer for the rest of his life. The beauty of the island provided zv with some twenty years of inspiration. Surprisingly true to life, Cadell creates a visual feast in Iona Abbey, a celebration of both spiritual and artistic pilgrimage of this important Scottish location.
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
97
98
141 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) STILL LIFE WITH MARIGOLDS Signed, oil on board
GEORGE LESLIE HUNTER
46cm x 41cm (18in x 16in)
‘Everyone must choose his own way, and mine will be the way of colour’ were the words of artist George Leslie Hunter (1877 – 1931), reflecting upon his own unique practice.
George Leslie Hunter’s important contribution to the development of modernism and contemporary Scottish culture cannot be understated. His subject matter was diverse and experimental, always looking outwards and learning from his contemporaries; resulting in an impressive oeuvre which teaches us not just about Scottish life at the beginning of the twentieth century, but also of the intellectual and cultural interchange of artists across Europe.
The 1920s were a particularly prolific period for Hunter as he began taking trips across Europe from 1922. He exhibited at the Galerie Barbazanges in Paris in 1924 with Peploe, Cadell and Fergusson and again with the same group at the Leicester Galleries in London 1925. He focused for much of his life on landscapes and still life, working in a range of mediums. His still life’s of fruit are particularly distinctive, such as his 1925 painting Still Life with Fruit and Pink Rose. Hunter’s typical impasto technique adds a luxuriously textured surface to the composition and visualises the inspiration he found in Matisse and the free, energetic work of the French Fauves. In his Still Life with Marigolds, we again note his vibrant palette and strong brushstrokes, demonstrating a bold and experimental new attitude that he took away from his continental counterparts.
Hunter also painted numerous landscapes, especially of Scotland and France. His landscapes, such as Street Scene, Largo, and Beached Boats, Lower Largo, offer us fascinating insight into the Scottish Colourist’s French influences by contemporary artists such as Monet and Cezanne. The warming colours of the buildings in Street Scene, Largo juxtaposed against the cooler tones of the sky are reminiscent of Cezanne’s new colour theory, in which he used the natural properties of warm and cool colours to advance and recede and create a sense of depth. Beached Boats, Lower Largo also explores Hunter’s fascination with the effects of light and colour theory, with the sharp contrast of the warmly coloured boat in the foreground against the sombre, muted cool tones of the surrounding water and sky that produces an atmospheric feeling of the cool weather.
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
£40,000-60,000
99
100
142 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) STREET SCENE, LARGO Signed, oil on canvas 51cm x 61cm (20in x 24in)
£20,000-30,000
While his fellow Colourists found inspiration on the west coast, Hunter, the most temperamental member of the group, was intrigued by the radically different climate and topography of the east coast. The Fife coast offering a softer, gentler and altogether milder Scottish experience. An old fishing village, conveniently serviced by the railway to allow an influx of tourists, Lower Largo features repeatedly in Hunter’s work. Captivated as he was by its harbour and boats, in this painting he turns his attention to a quiet street to create a charming scene. Like the Scottish weather, Hunter could be erratic and, as a result, the quality of his work can be variable. However, just as there is nothing quite like a beautiful Scottish summer’s day, when Hunter is on form, all the elements come together to great effect, as we see here. In this work, he employs accurate perspective and lovely colour to create this calm and peaceful scene; we are ready to step in and stroll down this endearing street, enjoying a Scottish summer day-out at the seaside, under crisp blue skies and fluffy candy-floss clouds.
101
143 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) BEACHED BOATS, LOWER LARGO Signed, oil on panel 20.5cm x 28cm (8in x 11in)
£6,000-8,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
102
144 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) STILL LIFE WITH FRUIT AND PINK ROSE Signed, oil on board 68cm x 51cm (26.75in x 20in)
£60,000-80,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
104
ANNE REDPATH Celebrated as one of the most important figures in 20th century Scottish painting, Anne Redpath became one of Edinburgh College of Art’s most highly-commended students. After receiving a travelling scholarship in 1919, Redpath embarked on an extended period of study in Brussels, Bruges, Antwerp and Paris, where her work took on varied influences such as Rogier van der Weyden, Duccio and Ambrogio Lorenzetti. Redpath’s focus on early Italian art was not uncommon amongst her peers and her interest extended even further to Etruscan work. This interest is evident in her brushwork, especially throughout her earlier career, resembling that of fresco, albeit in oil. In October 1920, Redpath married architect James Beattie Michie and moved to France where she continued to paint, though much of her life became devoted to raising her three sons: Alastair, Lindsay and David. Painted during her time in France, Windmills at the Pas de Calais is a fine example of one of Redpath’s favourite subjects. The scene is bright, fresh and sunny; an Impressionist influence can be seen in her application of colour and texture. Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
In contrast, Mediterranean Village is an example of Redpath’s later work. Deliberate splashes and scratches of white paint renders the scene more abstract, but no less beautiful. In In a Church, St. Pauls, her brushwork becomes intricate, layered and focused in its application to reveal a symphony of detail, with Redpath utilising visible texture to emphasise the surface of the building itself. Redpath’s still life paintings are equally as exquisite; Still Life of Three Tomatoes utilises a flatter surface, exploring the dimensional aspect of her subjects, not with brushwork, but with colour. Dried Flowers, on the other hand, does both; here Redpath leans into a more abstract technique. From Windmills at the Pas de Calais to Dried Flowers, the variation, talent and vibrancy of Redpath’s work is well demonstrated by the pieces included in this auction. Redpath evolved beyond her influences to become an artist vital to the 20th century Scottish artistic tradition, and her work continues to be held in the highest esteem.
105
145§ ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) STILL LIFE - THREE TOMATOES Signed, oil on board 30.5cm x 34.5cm (12in x 13.5in) Provenance: Mercury Gallery, Edinburgh 1986
£6,000-9,000
146§ ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., R.O.I., R.B.A. (SCOTTISH 1895-1965) IN A CHURCH, ST. PAUL Signed, oil on canvas 51cm x 61cm (20in x 24in) Provenance: The Lefevre Gallery, London Portland Gallery, London Exhibited: Portland Gallery, Anne Redpath, 2013, no.7
£10,000-15,000
106
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147§ ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A (SCOTTISH 1895-1965) WINDMILLS AT THE PAS DE CALAIS Inscribed by both Redpath and James Michie and dated 1926, oil on board 54cm x 38cm (21in x 15in) Provenance: Arthur and Christianne Beesley a gift from Anne Redpath and James Michie on the occasion of their wedding
£10,000-15,000
Note: Anne Redpath and her husband James lived in St-Omer in Northern France from 1921-1925 and very few paintings from this period remain. In 1925, Anne Redpath’s husband Jim was offered a position as private architect to an American millionaire Thompson, who had a villa at St. Jean, Cap Ferrat. The 1926 date on this painting and the inscriptions of both husband and wife indicate that the painting was especially inscribed for their friend’s wedding. Literature: A letter from David Michie confirming the authenticity of this painting accompanies the lot. In addition, a letter from Christianne to David Michie on the death of his mother refers to the wedding gift and to other paintings by Redpath that they owned together, with references to a sketchbook by Redpath they had found, which they returned to David Michie. The letter will also accompany the lot.
148§ ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A (SCOTTISH 1895-1965) DRIED FLOWERS Signed, oil on canvas 86cm x 122cm (34in x 48in) Exhibited: Portland Gallery, London, Anne Redpath, 2013, no.8
£20,000-30,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
108
109
149§ ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A (SCOTTISH 1895-1965) MEDITERRANEAN VILLAGE Signed, oil on board 51cm x 38cm (20in x 15in)
£15,000-20,000
150§ ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A (SCOTTISH 1895-1965) DISH OF FRUIT Signed, oil on board 74cm x 42.5cm (29in x 16.75in) Exhibited: Six Scottish Painters, Arts Council (Scottish Committee), Nottingham University, 1959
£10,000-15,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
110
151§ SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916-1992) GOODBYE Oil on canvas 76cm x 76cm (30in x 30in) Exhibited: The Scottish Gallery, Festival Exhibition 1965
£5,000-7,000
152§ SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916-1992) MEN OBSERVED 111 Dated 1981 on label verso, watercolour 68.5cm x 102cm (27in x 40in)
£3,000-5,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
111
153§ SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I. (SCOTTISH 1916-1992) BYZANTINE INTERIOR VI Signed and inscribed verso, oil on board 29cm x 56cm (11.5in x 22in) Provenance: Open Eye Gallery, Edinburgh
£3,000-5,000
154§ SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916-1992) HUMANKIND XII Signed on the reverse, oil on canvas 46cm x 46cm (18in x 18in) Note: This painting dates from 1971
£2,000-3,000
112
155§ JOHN BYRNE (SCOTTISH B.1940) UPTOWN - DOWNTOWN Signed, oil on board 34.5cm x 25.5cm (13.5in x 10in)
£5,000-7,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
113
156§ JOHN BYRNE (SCOTTISH B.1940) THE SLAB BOYS Signed, inscribed and dated ‘94, pen and ink and watercolour 46cm x 61cm (18in x 24in)
£5,000-7,000
157§ ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A (SCOTTISH 1895-1965) STILL LIFE WITH FIGUREEN Signed, black and white watercolour 35.5cm x 48cm (14in x 19in)
£1,000-1,500
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158§ DONALD BAIN (SCOTTISH 1904-1979) STEEPLECHASE Signed, signed, inscribed and dated 1964 verso, oil on board 17cm x 35cm (6.25in x 14in)
£800-1,200
159§ WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (SCOTTISH 1915-1997) UNTITLED Signed and dated ‘78, mixed media 68cm x 48cm (26.75in x 19in)
£800-1,200
160§ MILLIE FROOD (SCOTTISH 1900-1988) PIERRE LAVALLE Signed with initials, oil on board 48.5cm x 62cm (19in x 24.25in) Provenance: The artist’s studio
£500-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
115
161ยง JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) FRESH FIGS AND FRUIT Signed, oil on canvas 76cm x 63cm (30in x 25in)
ยฃ3,000-5,000
116
162§ GLEN SCOULLER (SCOTTISH B.1950) BLUE STILL LIFE Signed, oil on board 20cm x 23cm (8in x 9in)
£600-900
163§ GLEN SCOULLER (SCOTTISH B.1950) LANTERN AND FRUIT BOWL Signed, oil on board 15cm x 16.5cm (6in x 6.5in)
£600-900
117
164§ GLEN SCOULLER (SCOTTISH B.1950) PROMENADE L’APRÈS-MIDI, LA GAUDE Signed, oil on canvas 91cm x 102cm (36in x 40in)
£3,000-5,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
118
165§ JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) CROFTS AT PORTUAIRCK, ARDNAMURCHAN Signed, oil on canvas 56cm x 61cm (22in x 24in)
£2,000-3,000
Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2
119
166§ GLEN SCOULLER (SCOTTISH B.1950) VALLEY LANDSCAPE, CYPRUS Signed, oil on board 23cm x 25.5cm (9in x 10in)
£600-900
167§ ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1999) SPARKLING SEA, LE CROISIC Signed and dated ‘78, oil on canvas 31cm x 36cm (12in x 14in) Exhibited: Compass Gallery, Glasgow, Christmas Show 1979, no.158
£6,000-8,000
END OF SALE
CONTEMPORARY & POST-WAR ART AUCTION WEDNESDAY 15 JANUARY 2020 IN EDINBURGH
GAVIN TURK (BRITISH 1967-) HOLY EGG (BLUE), 2015 Acrylic on canvas, oval 114.5cm x 82cm (41.25in x 32.25in)
£30,000-50,000
To enquire please contact CARLY SHEARER carly.shearer@lyonandturnbull.com +44 (0) 131 557 8844
THE SKI SALE
MARTIN PEIKERT (1901-1975) CHAMPERY lithograph in colours 102 x 64cm
£5,000-7,000
AUCTION WEDNESDAY 15 JANUARY 2020 IN EDINBURGH
AUCTION WEDNESDAY 29 JANUARY 2020 AT 10AM IN EDINBURGH
Featuring furniture, paintings and works of art. To enquire please contact: Furniture & Works of Art - Douglas Girton douglas.girton@lyonandturnbull.com Paintings - Nick Curnow nick.curnow@lyonandturnbull.com +44 (0) 131 557 8844
RUBENS SANTORO (ITALIAN 1859-1942) STREET IN TUNIS Signed, oil on panel 17cm x 13cm (6.75in x 5.25in) and another a pair ‘Girl with a water jug’ (2)
£2,500-3,500
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GUIDE TO BIDDING & PAYMENT REGISTRATION
HOW TO BID
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
BY PHONE
following documents in order to facilitate registration: 1 – Government issued photo ID (Passport/Driving licence) 2 – Proof of address (utility bill/bank statement). We may, at our option, also ask you to provide a bank reference and/or deposit. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale. BIDDING At the Sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. Please ensure that the auctioneer repeats your bidder number correctly when confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer’s attention immediately. All lots will be invoiced to the name and address given on your registration form, which is non-transferable.
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
PAYMENT Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received. Payment may be made by the following methods: BANK TRANSFER
must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk.
Account details are included on any invoices we issue or upon request from our accounts department.
IN WRITING
Please use our online payment service (provided by Cardstream/Credorax).
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.
You will find a link to this service in any email invoice issued or you can visit the payments section of our website.
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.
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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 per annum.
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CONDITIONS OF SALE FOR BUYERS (UK) These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used. 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. In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate. “You”, “Your” means the Buyer. Lyon & Turnbull Ltd. acts as agent for the Seller.
A. BEFORE THE SALE 1. DESCRIPTIONS OF LOTS
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. All dimensions and weights are approximate only. 2. O UR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS
We do not provide any guarantee in relation to the nature of a Lot apart from our authenticity warranty contained in paragraph E.2 and to the
19.2
extent provided below. (a) 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. (b) 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. (c) 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. 3. WITHDRAWAL
Lyon & Turnbull may, at its discretion, withdraw any Lot at any time prior to or during the sale of the Lot. Lyon & Turnbull has no liability to You for any decision to withdraw. 4. JEWELLERY, CLOCKS & OTHER ITEMS
(a) Jewellery: (i) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to enhance their look, through methods such as heating and oiling. These methods are accepted practice but may make the gemstone less strong and/or require special care in future. (ii) All types of gemstones may have been improved by some method. You may request a gemmological report for any Lot which does not have a report if the request is made to us at least three weeks before the date of the sale and You pay the fee for the report in advance of receiving said report. (iii) We do not obtain a gemmological
report for every gemstone sold in our sales. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports may be described in the Sale Particulars. Reports will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report. (iv) For jewellery sales, all Estimates are based on the information in any gemmological report or, if no gemmological report is available, You should assume that the gemstones may have been treated or enhanced. (b) 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. Clocks may be sold without pendulums, weights or keys. (c) 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.
(d) 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. (e) 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. (f) 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.
B. REGISTERING TO BID 1. NEW BIDDERS
(a) If this is Your first time bidding at Lyon & Turnbull or You are a returning Bidder who has not bought anything from us within the last two years You must register at least 48 hours before an auction to give us enough time to process and approve Your registration. We may, at our discretion, decline to permit You to register as a Bidder. You will be asked for the following: (i) Individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of Your current address (for example, a current utility bill or bank statement) (ii) Corporate clients: Your Certificate of Incorporation or equivalent document(s) showing Your name and registered address together with documentary proof of directors and beneficial owners, and; (iii) Trusts, partnerships, offshore companies and other business structures please contact us directly in advance to discuss requirements. (b) We may also ask You to provide a financial reference and/or a deposit to allow You to bid. For help, please contact our Finance Department on +44(0)131 557 8844.
125 2. RETURNING BIDDERS
We may at our discretion ask You for current identification as described in paragraph B.1.(a) above, a finance reference or a deposit as a condition of allowing You to bid. If You have not bought anything from us in the last two years, or if You want to spend more than on previous occasions, please contact our Finance Department on +44(0)131 557 8844. 3. FAILURE TO PROVIDE THE RIGHT DOCUMENTS
If in our opinion You do not satisfy our Bidder identification and registration procedures including, but not limited to, completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register You to bid, and if You make a successful bid, we may cancel the contract between You and the Seller. 4. BIDDING ON BEHALF OF ANOTHER PERSON
(a) As an authorised Bidder: If You are bidding on behalf of another person, that person will need to complete the registration requirements above before You can bid, and supply a signed letter authorising You to bid for him/ her. (b) As agent for an undisclosed principal: If You are bidding as an agent for an undisclosed principle (the ultimate Buyer(s)) You accept personal liability to pay the Purchase Price and all other sums due, unless it has been agreed in writing with us before commencement of the auction that the Bidder is acting as an agent on behalf of a named third party acceptable to us and we will seek payment from the named third party. 5. BIDDING IN PERSON
If You wish to bid in the saleroom You must register for a numbered bidding paddle before You begin bidding. Please ensure You bring photo identification with You to allow us to verify Your registration. 6. BIDDING SERVICES
The bidding services described below are a free service offered as a convenience to our clients and we are not responsible for any error (human or otherwise), omission or breakdown in providing these services. (a) Phone bids Your request for this service must be made no later than 12 hours prior to the auction. We will accept bids by telephone for Lots only if our staff are available to take the bids. If You need to bid in a language other than English You should arrange this Well before the auction. We do not accept liability for failure to do so or for errors and omissions in connections. (b) Internet Bids For certain auctions we will accept bids over the internet. For more information please visit our Website. 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. (c) Written 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. Bids must be expressed in the currency of the saleroom. The Auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the Reserve. If You make a written bid on a Lot which does not have a Reserve and there is no higher bid than Yours, we will bid on Your behalf at around 50% of thz e lower Estimate or, if lower, the amount of Your bid.
6. CURRENCY CONVERTER
C. DURING THE SALE
8. RELEVANT LEGISLATION
1. ADMISSION TO OUR AUCTIONS
You agree that when bidding in any of our sales that You will strictly comply with all relevant legislation including local laws and regulations in force at the time of the sale for the relevant saleroom location.
We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. We may refuse admission at any time before, during or after the auction. 2. RESERVES
Unless indicated by an 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. 3. AUCTIONEER’S DISCRETION
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. The Auctioneer may move the bidding backwards of forwards in any way he or she may decide or change the order of the Lots. The Auctioneer may also; refuse any bid, withdraw any Lot, divide any Lot or combine any two or more Lots, reopen or continuing bidding even after the hammer has fallen. 4. BIDDING
The Auctioneer accepts bids from: (a) Bidders in the saleroom; (b) Telephone Bidders, and internet Bidders through Lyon & Turnbull Live or any other online bidding platform we have chosen to list on and; (c) Written bids (also known as absentee bids or commission bids) left with us by a Bidder before the auction. 5. BIDDING INCREMENTS
Bidding increments shall be at the Auctioneer’s sole discretion.
The saleroom video screens and bidding platforms may show bids in some other major currencies as Well as sterling. Any conversion is for guidance only and we cannot be bound be any rate of exchange used. We are not responsible for any error (human or otherwise) omission or breakdown in providing these services. 7. SUCCESSFUL BIDS
Unless the Auctioneer decides to use their discretion as set out above, when the Auctioneer’s hammer falls, we have accepted the last bid. This means a contract for sale has been formed between the Seller and the successful Bidder. We will issue an invoice only to the registered Bidder who made the successful bid. While we send out invoices by post/or email after the auction, we do not accept responsibility for telling You whether or not Your bid was successful. If You have bid by written bid, You should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of our bid to avoid having to pay unnecessary storage charges.
D. THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY
(c) 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 outwit the European Union and do not fall within the reduced rate category outlined above. 3. A RTIST’S RESALE ROYALTY (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.
E. WARRANTIES
1. THE PURCHASE PRICE
1. SELLER’S WARRANTIES
For each Lot purchased a Buyer’s Premium of 25% of the Hammer Price of each Lot up to and including £300,000, plus 20% from £300,001 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.
For each Lot, the Seller gives a warranty that the Seller; (a) Is the owner of the Lot or a joint owner of the Lot acting with the permission of the other co-owners, or if the Sellers is not the owner of or a joint owner of the Lot, has the permission of the owner to sell the Lot, or the right to do so in law, and; (b) Had the right to transfer ownership of the Lot to the Buyer without any restrictions or claims by anyone else. If either other above warranties are incorrect, the Seller shall not have to pay more than the Purchase Price (as defined in the glossary) paid by You to us. The Seller will not be responsible to You for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expense. The Seller gives no warranty in relation to any Lot other than as set out above and, as far as the Seller is allowed by law, all warranties from the Seller to You, and all obligations upon the Seller which may be added to this agreement by law, are excluded.
2. 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. (a) 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. (b) 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 outwit the European Union. This reduced rate is applicable to Antique items.
2. 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
126 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 we, in our reasonable opinion, deem that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the Lot the Hammer Price and applicable Buyer’s Premium paid for the Lot by the original purchaser. This Guarantee does not apply if: (a) 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 (b) 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 (c) 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: (a) 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 (b) 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 & 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. 3. YOUR WARRANTIES
(a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes. (b) Where You are bidding on behalf of another person You warrant that: (i) You have conducted appropriate customer due diligence on the ultimate Buyer(s) of the Lot(s) in accordance with all relevant anti-money laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so; (ii) The arrangements between You and the ultimate Buyer(s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and; (iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer(s) are under investigation or have been charged with or convicted of money-laundering, terrorist activities, or other crimes.
F. PAYMENT 1. MAKING PAYMENT
(a) Within 7 days of a Lot being sold You will 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. Please note that we do not accept cash payments over £5,000 per Buyer per year. (b) Any payments by You to us can 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. (c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name. (d) 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. The risk in and the responsibility for the Lot will transfer to You from whichever is the earlier of the following: (i) When You collect the Lot; or
(ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise with You in writing. (e) 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. (f) No purchase can be claimed or removed until it has been paid for. (g) 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. 2. IN THE EVENT OF NON-PAYMENT
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(s) (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 of 5% a year above the Bank of Scotland base rate from time to time 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. You will be deemed to have granted such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any way we think appropriate. We will use
the proceeds of the sale against any amounts You owe us and we will pay any amount left from that sale to You. If there is a shortfall, You must pay us the balance; and (i) Take any other action we see necessary or appropriate.
G. COLLECTION & STORAGE (1) 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. Information on collection is set out in the Catalogue and our Website (2) Unless agreed otherwise, You must collect purchased Lots within seven days from the auction. Please note the Lots will only be released upon full payment being received. (3) If You do not collect any Lot within seven days following the auction we can, at our discretion; (i) Charge You storage costs at the rates set out on our Website. (ii) Move the Lot to another location or an affiliate or third party and charge You transport and administration costs for doing so and You will be subject to the third party storage terms and pay for their fees and costs. (iii) Sell the Lot in any way we think reasonable.
H. TRANSPORT & SHIPPING 1. TRANSPORT AND SHIPPING
We will include transport and shipping information with each invoice sent to You as well as displayed on our Website. You must make all transport and shipping arrangements. 2. EXPORT OF GOODS
Buyers intending to export goods should ascertain; (a) Whether an export licence is required; and (b) Whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the Buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the Lot. 3. CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION
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.
I. OUR LIABILITY TO YOU (a) We give no warranty in relation to any statement made, or information give, by us, our representatives or employees about any Lot other than
127 as set out in the authenticity warranty and as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are exclude. The Seller’s warranties contained in paragraph E.1 are their own and we do not have a liability in relation to those warranties. (b) (i) We are not responsible to You for any reason whether for breaking this agreement or any other matter relating to Your purchase of, or bid for, any Lot other than in the event of fraud or fraudulent misrepresentation by us other than as expressly set out in these conditions of sale; or (ii) We do not give any representation, warranty or guarantee or assume any liability for a kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance, except as required by local law, any warranty of any kind is excluded by this paragraph. (c) in particular, please be aware that our written and telephone bidding services, Lyon & Turnbull Live, Condition Reports, currency converter and saleroom video screens are free services and we are not responsible for any error (human or otherwise) omission or breakdown in these services. (d) We have no responsibility to any person other than a Buyer in connection with the purchase of any Lot (e) If in spite of the terms of this paragraph we are found to be liable to You for any reason, we shall not have to pay more than the Purchase Price paid by You to us. We will not be responsible for any reason for loss of profits, business, loss of opportunity or value, expected savings or interest, costs damages or expenses.
J. OTHER TERMS 1. OUR ABILITY TO CANCEL
In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if; (i) Any of our warranties are not correct, as set out in paragraph E3, (ii) We reasonably believe that completing the transaction is or may be unlawful; or (iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage our reputation. 2. RECORDINGS
We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law if You do not wish to be videotaped, You may make arrangements to bit by telephone or a written bid or bid on Lyon & Turnbull Live instead. Unless
we agree otherwise in writing, You may not videotape or record proceedings at any auction. 3. COPYRIGHT
We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission. We do not offer any guarantee that You will gain any copyright or other reproductions to the Lot. 4. ENFORCING THIS AGREEMENT
If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force. 5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES
You may not grant a security over or transfer Your rights of responsibilities under these terms on the contract of sale with the Buyer unless we have given our written permission. This agreement will be binding on Your successors or estate and anyone who takes over Your rights and responsibilities. 6. REPORTING ON WWW.LYONANDTURNBULL.COM
Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www.lyonandturnbull. com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website. 7. 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. 8. 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 premises, 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. 9. DATA PROTECTION
Where we obtain any personal information about You, we shall use it in accordance with the terms of
our Privacy Policy (subject to any additional specific consent(s) You may have given at the time Your information was disclosed). A copy of our Privacy Policy can be found on our Website www.lyonandturnbull.com or requested from Client Services, 33 Broughton Place, Edinburgh, EH1 3RR or by email from data enquiries@ lyonandturnbull.com. 10. 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. 11. 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.
K. DEFINITIONS & GLOSSARY The following words and phrases used have (unless the context otherwise requires) the meaning to given to them below. The go Glossary is to assist You to understand words and phrases which have a specific legal meaning which You may not be familiar with. 1. DEFINITIONS
“Auctioneer” Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate; “Bidder” a person who has completed a Bidding Form “Bidding Form” our Bidding Registration Form our Absentee Bidding Form or our Telephone Bidding Form. “Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to by the words “You” and “Your” “Buyer’s Premium” the sum calculated on the Hammer Price at the rates stated in Catalogue. “Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website “Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on behalf of the Seller. “Estimate” a statement of our opinion of the range within the hammer is likely
to fall. “Hammer Price” the level of bidding reached (at or above any Reserve) when the Auctioneer brings down the hammer; “High Cumulative Value of Lot” several Lots with a total lower Estimate value of £30,000 or above; “High Value Lot” a Lot with a lower Estimate of £30,000 or above; “Lot” each Item offered for sale by Lyon & Turnbull; “Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses; “Reserve” the lowest price below which an item cannot be sold whether at auction or by private treaty; “Sale” the auction sale at which a Lot is to be offered for sale by us. “Seller” the person who offers the Lot for Sale. We act as agent for the Seller. “Total Amount Due” 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; “VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom. “Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com 2. GLOSSARY
The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings: “Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to “Knocked Down” when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale. “Lien” a right for the person who has possession of the Lot to retain possession of it. “Risk” the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value. “Title” the legal and equitable right to the ownership of a Lot.
19.2
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ARTIST INDEX Adam, Patrick William 76, 89 Alexander, Edwin John 70, 99, 102 Bain, Donald 158 Bough, Sam 28, 29, 30 Burr, John 63 Byrne, John 155, 156 Cadell, Francis Campbell Boileau 139, 140 Cameron, Sir David Young 17, 81 Clark of Greenock, William 24 Colquhoun, Robert 103 Coventry, Robert McGown 51, 52, 53 Cowie, James 108 Crosbie, William 114, 135 Crozier, William 90 Cursiter, Stanley 14, 16, 72, 73 Dekkert, Eugene 5, 58 Docharty, James 39 Downie, Patrick 50 Duncan, John Mckirdy 109 Eadie, Robert 94 Eardley, Joan 117, 120 Farquharson, Joseph 71 Fergusson, John Duncan 132, 133 Frazer, William Miller 7, 82 Frood, Millie 160 Fulton, David 60 Garland, Henry 67
Gauld, David 41, 44, 111 Gear, William 159 Graham, Peter 36, 37 Henry, George 48, 79 Herald, James Watterston 112 Hering, George Edward 66 Hornel, Edward Atkinson 45, 83, 84, 85 Houston, George 1, 11 How, Beatrice 113 Hunter, George Leslie 141, 143, 144 Hutchison, Robert Gemmell 32, 34, 61, 62, 64 Johnston, Helen S. 110 Kay, James 8, 57 MacGeorge, William Stewart 40, 54, 59 Mactaggart, Sir William 126, 127, 128, 129 McCance, William 104, 130, 131 McGhie, John 95 Melville, Arthur 75, 80, 107 Milne, John MacLauchlan 15, 96, 97, 98 Milne, Joseph 2 Mitchell, John Campbell 6
Morrison, James 125 Morrocco, Alberto 115 Nasmyth, Alexander 25 Nasmyth, Patrick 19 Neilson-Gray, Norah 49 Oppenheimer, Charles 31 Park, Stuart 78, 93, 100 Paterson, James 101 Paton, Sir Joseph Noel 22 Peploe, Samuel John 134, 136 Philipson, Sir Robin 122, 151, 152, 154 Pratt, William 47 Pryde, James 106 Redpath, Anne 145, 147, 148, 149, 150, 157 Reid, John Robertson 42 Shiels, William 23 Simpson , William 74 Strang, William 77 Thorburn, Archibald 69 Walton, Cecile 86, 87, 88 Wells, William Page Atkinson 68 Wilson, David Forrester 46 Wilson, William 18
GLOSSARY OF CATALOGUING TERMS 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
Signed… / Dated… / Inscribed… / In our opinion the work has been signed/ dated/inscribed by the artist
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
Bears Signature… / Date… / Inscription… / In our opinion the signature/date/inscription appears to be by a hand other than that of the artist
CHARLES OPPENHEIMER Lot 31
LO NDO N | E D IN BURGH | GLA S GO W LYON AN DTUR N BULL .C OM