Contemporary & Post-War Art inc The Ski Sale | Auction 15th January

CONTEMPORARY & POST-WAR ART INCLUDING THE SKI SALE 15TH JANUARY 2020 EDINBURGH

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Cover: TADAO CERN Lot 177

Inside cover: GAVIN TURK Lot 179

BANKSY Lot 34

ALFREDO HÄBERLI Lot 194

CONTEMPORARY & POST-WAR ART WEDNESDAY 15 JANUARY 2020 AT 11AM Sale Number LT585

Lyon & Turnbull 33 Broughton Place EDINBURGH EH1 3RR

VIEWING Sunday, 12th January 12 noon - 4pm Monday, 13th January 10am - 5pm Tuesday, 14th January 10am - 5pm Morning of Sale by appointment only

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

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

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

If potential buyers are unable to inspect lots in person (public viewing times listed in every catalogue), our specialists will be happy to prepare condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.

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.

Carly Shearer Head of Sale

Nick Curnow Specialist

Lauren Colavita Junior Specialist

Juliette Behr Administrator

carly.shearer@lyonandturnbull.com

nick.curnow@lyonandturnbull.com

lauren.colavita@lyonandturnbull.com

juliette.behr@lyonandturnbull.com

AUCTION VENUE

Lyon & Turnbull, 33 Broughton Place York Place Tram Stop Waverley Station, Princes Street

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1§ DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926-1998) BIRDS AND FLOWERS FOR ST. VALENTINE’S DAY, 1993 Signed, signed, dated and inscribed to backboard, oil and collage on canvasboard 28.5cm x 38.5cm (11.25in x 15.25in) Provenance: The Scottish Gallery

£1,000-1,500

2§ LIZZIE RICHES (BRITISH CONTEMPORARY) ARCHITECTURAL FRAGMENT Signed, oil on board 39.5cm x 49.5cm (15.5in x 19.5in)

£300-500

3§ MARJ BOND R.S.W (SCOTTISH CONTEMPORARY) MEDICINE MAN OF ANJUNA Signed and dated ‘88, oil on board 41.5cm x 58cm (16.25in x 22.75in)

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

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4§ LEON MORROCCO A.R.S.A (SCOTTISH B.1942) HARBOUR WITH WALL AND YELLOW BOAT Signed and dated ‘93, oil on board 23cm x 47cm (9in x 18.5in) Provenance: The Open Eye Gallery, Edinburgh

£1,000-1,500

5 PETER TODD MITCHELL (AMERICAN B.1929) CORRIDA Signed and dated ‘55, oil on canvas 24.5cm x 20cm (9.75in x 7.75in) Provenance: Peter Winkworth Exhibited:The Hanover Gallery, London and Abbott & Holder, London.

£600-800

6§ JOHNNY FRIEDLAENDER (FRENCH-GERMAN 1912-1992) GRAND HERBIER Etching and aquatint, 1969, signed in pencil and numbered 77/95 102cm x 74cm (40.25in x 29.25in) Provenance: Kunsthandlung W. Welker; The Open Eye Gallery, Edinburgh

£300-500

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7§ ALFRED WOLMARK (BRITISH 1877-1961) A TABLE STILL-LIFE Signed, oil on canvas 57.5cm x 80cm (22.75in x 31.5in) Provenance: From the Estate of the Late William (Billy) Skelly (1931-2019)

£2,000-3,000

8§ ALFRED WOLMARK (BRITISH 1877-1961) FLOWERS Signed and dated 1938, oil on board 35cm x 27.5cm (13.75in x 10.75in) Provenance: From the Estate of the Late William (Billy) Skelly (1931-2019)

£800-1,200

9§ WILLIAM SENIOR (BRITISH FL.1940-60) PORTRAIT OF A LADY Signed and dated 1953 verso, oil on board 73cm x 41cm (28.75in x 16.25in)

£600-800

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10 § GEOFFREY SQUIRE A.R.S.A., R.S.W., R.G.I (SCOTTISH B.1923) COMPOSITION Signed, oil on canvas 102cm x 102cm (40in x 40in)

£2,000-3,000

11 § GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980) VARIANT SWAN-LIKE FORM Lithograph, 1971, signed and numbered XXX/L in pencil 75cm x 54cm (29.5in x 21.25in)

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

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12 § JOHN BELLANY C.B.E., R.A (SCOTTISH 1942-2013) SCARLETT Signed, oil on canvas 75cm x 60cm (29.5in x 23.5in)

£3,000-5,000

13 § JOHN HOUSTON R.S.A., R.S.W., S.S.A (SCOTTISH 1930-2008) BIRDS AND GARDEN Signed and dated 1949, watercolour 23cm x 17cm (9in x 6.75in)

£500-700

14 § DAVID MCLEOD MARTIN R.S.W., R.G.I., S.S.A (SCOTTISH 1922-2018) THE RED GATE Signed, oil on canvas 35cm x 35cm (13.75in x 13.75in)

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

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15 § GORDON K. MITCHELL R.S.W., R.S.A., R.G.I. (SCOTTISH B. 1952) THE RAINBOW Signed, oil on canvas 98cm x 150cm (38.5in x 59in) Exhibited: Roger Billcliffe Gallery, Glasgow

£2,500-3,000

16 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) ENIGMATIC FISHWOMAN II Signed, watercolour 36.5cm x 27cm (14.25in x 10.5in) Provenance: The Open Eye Gallery, Edinburgh

£800-1,200

17 § JUNE REDFERN (SCOTTISH B.1951) DRAWING FOR ‘HOW SHE MET HERSELF’ - 1985 Signed and dated, pastel and charcoal 56cm x 76cm (22in x 30in)

£300-500

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18 § JAMES HAWKINS (SCOTTISH B.1954) BEINN EIGGHE - 1997 Signed, inscribed verso, acrylic on canvas 116.5cm x 144.5cm (46in x 57in)

£2,000-3,000

19 § ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH B.1931) SCREECHING PEACOCK Signed, pencil and watercolour 12.5cm x 16.5cm (5in x 6.5in) Provenance: The Artist’s Studio; The Scottish Gallery Exhibited: ’Elizabeth Blackadder - New Paintings,’ Scottish Gallery, Edinburgh, 5 August - 3 September 2011

£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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20 § HENRY MOORE O.M., C.H (BRITISH 1898-1986) MOTHER AND CHILD XVII, FROM MOTHER AND CHILD Etching and aquatint with roulette, 52/65, signed in plate, signed, numbered and inscribed ‘Pl XVII’ in pencil to margin 51cm x 43cm (20in x 16.75in), full sheet

£800-1,200

21 ANDY WARHOL (AMERICAN 1928-1987), AFTER SELF-PORTRAIT (WALLPAPER), 1978 Screenprint 171cm x 73.5cm (67.25in x 29in)

£700-900

22 § MICHAEL ROTHENSTEIN (BRITISH 1908-1993) FROM ‘SUN AND MOONS’ Woodcut, ed. 75, signed in pencil to margin 67cm x 52.5cm (26.5in x 20.75in) and two further unframed prints by the same artist (3)

£500-700

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23 § PABLO PICASSO (SPANISH 1881-1973) PAPIERS COLLES Lithograph, signed and dated in plate 54cm x 41.5cm (21.25in x 16.25in), image size, and another from the same series (2)

£500-800

24 LENNART ASCHENBRENNER (SWEDISH B.1943) I-L-O Signed and dated ‘90, inscribed verso, oil & tempera on canvas 116cm x 89cm (45.75in x 35in) Exhibited: Galeria Manuel Ojeda

£400-700

25 § ROBERT COLQUHOUN (SCOTTISH 1914-1962) MAN WITH AN OWL Lithograph, signed in pencil 62cm x 41.5cm (24.5in x 16.25in)

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

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26 § JOHN BYRNE (SCOTTISH B.1940) THE COUNT (FULL-LENGTH), ‘THE MARRIAGE OF FIGARO’ Inscribed, pencil drawing 28cm x 20.25cm (11in x 8in) Provenance: William Hardie, Glasgow

£1,500-2,500

27 § JOHN BYRNE (SCOTTISH B.1940) DON BASILIO, ‘THE MARRIAGE OF FIGARO’ Inscribed, pencil, ink and watercolour 26cm x 19cm (10.25in x 7.5in) Provenance: William Hardie, Glasgow

£2,000-3,000

28 § JOHN BYRNE (SCOTTISH B.1940) MARCELLINA, ‘THE MARRIAGE OF FIGARO’ Pencil drawing 28cm x 20.5cm (11in x 8in) Provenance: William Hardie, Glasgow

£1,500-2,500

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29 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (BRITISH 1924-2005) LEONARDO, 1974 AND NINE HEADS, 1997 A/P and 35/40 respectively, each signed, dated and numbered in pencil to margin, screenprint, unframed 60cm x 42.5cm (23.6in x 16.75in) and 56cm x 41cm (22in x 16.25in) respectively (2)

£400-600

30 § ROBERT COLQUHOUN (SCOTTISH 1914-1962) THE TRINKET SELLER Lithograph, signed in ink to margin, also signed in plate 40cm x 30cm (15.75in x 11.75in)

£400-700

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

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31 § BRUCE MCLEAN (SCOTTISH B.1944) ONE SAUCISSON D’OR AND TWENTY FIVE SAUCISSON D’ARGENT AWARDS Screenprint, 197/350, commissioned by Momart, c. 2000, signed and numbered in pencil 79.5cm x 60cm (31.25in x 23.5in)

£500-700

32 § BANKSY (BRITISH B.1974) WALLED OFF HOTEL Digital print and concrete relief 22cm x 22cm (8.5in x 8.5in) Note: The relief element is an original piece of the separation wall that divides Israel and Palestine, which is sprayed with graffiti. The Walled Off Hotel is an independent leisure facility set up by Banksy, it overlooks the separation wall. The work is accompanied by original invoice.

£800-1,200

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33 § SIR HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017) UNTITLED, 2010 Screenprint, 2/75, signed, dated and numbered in pencil to margin 35cm x 24cm (13.75in x 9.5in) Note: This series of prints was gifted by the artist to The Art Fund ‘Brushstrokes’ series, it was distributed to key donors to the fund.

£2,000-3,000

34 § BANKSY (BRITISH B.1974) GANGSTA RAT Screenprint, 2004, numbered 181/350 in pencil, published by Pictures on Walls, London, with their blindstamp 49.5cm x 34.5cm (19.5in x 13.5in)

£8,000-12,000

35 § CORNELIA PARKER O.B.E., R.A. (BRITISH B.1956) STOLEN THUNDER III (RED SPOT) Digital pigment print, from an edition of 100 83cm x 84cm (32.5in x 33in)

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

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36 § JOHN LOWRIE MORRISON (JOLOMO) O.B.E. (SCOTTISH B.1948) HARVEST FIELD, IONA Signed and dated 2001, signed and inscribed, oil on canvas 89cm x 89cm (35in x 35in)

£3,000-5,000

37 § ARCHIE FORREST R.G.I. (SCOTTISH B. 1950) GLASGOW BOWL AND WILD POPPIES - 1996 Signed, oil on canvas 59cm x 74cm (23.25in x 29in) Exhibited: Portland Gallery, December 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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38 § JOHN BELLANY C.B.E., R.A (SCOTTISH 1942-2013) A TUSCAN HILL TOWN AT SUNSET Signed, oil on canvas 121.5cm x 121.5cm (47.75in x 47.75in)

£5,000-7,000

39 § MARY GALLAGHER (SCOTTISH B.1953) PEONIES, TULIPS AND APPLES Signed, pastel 58cm x 82.5cm (22.75in x 32.5in)

£500-700

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40 § ARCHIE FORREST R.G.I. (SCOTTISH B. 1950) COASTLINE, MALLORCA - 1997 Signed, oil on canvas 60cm x 75.5cm (23.5in x 29.75in) Exhibited: Portland Gallery, December 1997

£2,500-3,500

41 § JOHN HOUSTON R.S.A., R.S.W., S.S.A (SCOTTISH 1930-2008) SEATED WOMEN, KYOTO - 1987 Signed, signed, titled and dated verso, oil on board 18cm x 25cm (7in x 9.75in) Provenance: Mercury Gallery, Edinburgh - purchased 26th November 1987

£800-1,200

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42 § ARCHIE FORREST R.G.I. (SCOTTISH B.1950) WHITE CHAIR WITH SHOPPING Signed, inscribed on artist’s label verso, oil on linen canvas 65cm x 70cm (25.5in x 27.5in)

£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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43 § WILL MACLEAN M.B.E., R.S.A., R.S.W. (SCOTTISH B.1941) FIRE FIGURE Signed, titled and dated ‘85 to base, mixed media 48.5cm (19in) high, including base Note: This sculpture is sold with the accompanying Claus Runkel Fine Art catalogue, Will Maclean: Sculpture & Box Constructions 1974-1987.

£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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44 ยง JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) SEA PEOPLE - 1980 Signed, inscribed and dated verso, oil on canvas 172cm x 151cm (67.75in x 59.5in) Provenance: Ex. Sam Farber Collection USA, Purchased from The Rosa Esman Gallery, New York, USA.

ยฃ10,000-15,000

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45 § KEN CURRIE (SCOTTISH B. 1960) WORDS OF POWER Charcoal 147cm x 95cm (58in x 37.5in)

£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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46 MOHANNAD ORABI (SYRIAN B. 1977) UNTITLED, FROM ‘FAMILY PORTRAIT’ SERIES - 2015 Signed and dated, signed and inscribed verso, mixed media on canvas 120cm x 120cm (47.25in x 47.25in) Note: Please note this work is sold with accompanying certificate of authenticity from Ayyam Gallery.

£3,000-5,000

47 SAFWAN DAHOUL (SYRIAN B, 1961) REVE - 2014 Archival print on cotton paper, 4/25, signed, inscribed, numbered and dated in pencil to margin 109cm x 120cm (43in x 47.25in), image size Note: This work is sold with accompanying certificate of authenticity from the Ayyam Gallery.

£3,000-5,000

48 AFSHIN PIRHASHEMI (IRANIAN B.1974) DYNASTY, 2013 Archival print on cotton paper, 7/10, signed, dated, numbered and inscribed in pencil 81cm x 115cm (31.75in x 45.45in), image size Note: This work is sold with accompanying certificate of authenticity from the Ayyam Gallery.

£1,000-1,500

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49 § PAT DOUTHWAITE (SCOTTISH 1939-2002) CREATURE Signed and dated ‘79, charcoal and pastel on blue paper 62cm x 47.5cm (24.5in x 18.75in) Provenance: Purchased Open Eye Gallery, February 1983

£400-600

50 § PAT DOUTHWAITE (SCOTTISH 1939-2002) KABUKI ACTOR Signed and dated ‘90, inscribed verso, charcoal 56cm x 70cm (22in x 27.5in)

£500-700

51 § CRAIGIE AITCHISON C.B.E., R.A., R.S.A. (SCOTTISH 1926-2009) GET WELL SOON Screenprint, 62/150, signed and dated 1969, unframed 80cm x 45.5cm (31.5in x 18in)

£300-500

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52 § PABLO PICASSO (SPANISH 1881-1973) PORTRAIT OF PAUL ELUARD Lithograph, signed and numbered 81/100 in pencil to margin, also signed in plate 27.5cm x 18cm (10.75in x 7.25in)

£1,000-1,500

53 § PABLO PICASSO (SPANISH 1881-1973) DESIGN FOR SERGE LIFAR Lithograph, c.1960, from the edition of 100 24.5cm x 18cm (9.75in x 7in)

£500-700

54 § PABLO PICASSO (SPANISH 1881-1973) LE CIRQUE: FEMME AU CHEVAL Lithograph, signed and dated 21.4.60 in plate 52cm x 65cm (20.5in x 25.5in) Provenance: Purchased from the Redfern Gallery, December 1963

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

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55 § JOHN LOWRIE MORRISON (JOLOMO) O.B.E. (SCOTTISH B. 1948) PORT WEMYSS, ISLAY Signed and dated 2001, signed and inscribed verso with studio stamp, oil on canvas 41cm x 41cm (16in x 16in)

£1,500-2,000

56 § PETER KING (SCOTTISH B. 1953) AUTUMN, CLYDE VALLEY Signed, oil on canvas 48cm x 48cm (19in x 19in)

£400-600

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57 § JOHN LOWRIE MORRISON (JOLOMO) O.B.E. (SCOTTISH B. 1948) WINTER IN DUICH, ISLE OF ISLAY - 2006 Signed, signed, inscribed, dated and stamped verso, oil on canvas 61cm x 61cm (24in x 24in)

£2,000-3,000

58 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) FROM GENERATION UNTO GENERATION, HIGHLAND FAMILY Signed, pencil and watercolour 54cm x 36cm (21.25in x 14.25in) Provenance: Open Eye Gallery, Edinburgh

£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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59 § JANKEL ADLER (POLISH 1895-1949) PORTRAIT - SMILING WOMAN Signed and dated 1940, indian ink on buff paper 48cm x 41cm (19in x 16in) Exhibited: Compass Gallery, Glasgow, 1990 Provenance: Gimpel Fils, London

£700-900

60 § JANKEL ADLER (POLISH 1895-1949) COACHMAN IN TOP HAT Signed, dated ‘41 and inscribed ‘To the Gimpel’s with love Jankel,’ indian ink on buff paper 53cm x 42cm (20.75in x 16.5in) Provenance: Gimpel Fils, London

£700-900

61 § ANDRE DERAIN (FRENCH 1880-1954) MODELE ASSIS Lithograph, numbered 66/200 in pencil 48.5cm x 50.5cm (19in x 19.75in) Provenance: Purchased from Redfern Gallery, December 1963.

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

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62 § GEORGES BRAQUE (FRENCH 1882-1963) TABLE DE CUISINE Lithograph, signed and dated ‘42 in plate 86cm x 48cm (33.75in x 18.75in) Provenance: Purchased Redfern Gallery, December 1963

£300-500

63 § ARISTIDE MAILLOL (FRENCH 1861-1944) FEMME AGENOUILLÉE SUR LE GENOU GAUCHE, LE CONDE SUR LE GENOU DROIT Etching, 1927, monogrammed in pencil to margin 21cm x 27cm (8.25in x 10.5in)

£300-500

64 § VICTORIA CROWE O.B.E., F.R.S.E., R.S.A., R.S.W. (SCOTTISH B.1945) SNOW PINE Intaglio, chine colle and wax print, 1/25, signed, inscribed and numbered in pencil to margin 17.5cm x 14cm (6.75in x 5.5in) Exhibited: ‘Victoria Crowe - Works on Paper - Landscapes from Italy and Scotland’, The Scottish Gallery, Edinburgh, 3-29 July 2006.

£200-300

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65 § HELEN M. TURNER (SCOTTISH B.1937) SILVER SEA, ARRAN Signed, oil on canvas 64cm x 75cm (25.25in x 29.5in)

£500-700

66 § HENRY KONDRACKI (SCOTTISH B.1953) SAFE CROSSING, 2005 Signed, watercolour 43cm x 49cm (17in x 19.25in) Exhibited: ‘The Human Condition’ - Christmas Exhibition, The Scottish Gallery, Edinburgh, 3-24 December 2005.

£500-700

67 § KIRSTY WITHER (SCOTTISH B.1968) MACMILLAN PLACE Signed and dated ‘95, oil on board 19.5cm x 19.5cm (7.75in x 7.75in) Provenance: The Gatehouse Gallery, Glasgow, 1995

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

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68 § DAVID MICHIE R.S.A., R.G.I., F.R.S.A (SCOTTISH 1928-2015) A WOMAN SMOKING Signed, oil on canvas 39cm x 34cm (15.5in x 13.5in)

£700-900

69 § DAVID MICHIE R.S.A., R.G.I., F.R.S.A (SCOTTISH 1928-2015) SWIMMING POOL, LAPAD, DUBROVNIK Signed, oil on board 28cm x 30cm (11in x 11.75in) Exhibited: ‘Summer Exhibition,’ The Scottish Gallery, Edinburgh - July 1996

£500-700

70 § TIFFANY GROVES (BRITISH B.1975) CANDY - 2001 Signed and inscribed verso, acrylic on canvas 60cm x 60cm (23.5in x 23.5in)

£300-500

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THE WILLIE RODGER ART TRUST

71 § EDWARD BAWDEN C.B.E., R.A. (BRITISH 1903-1989) COVENT GARDEN FLOWER MARKET Linocut, 32/75, signed, inscribed and numbered in pencil to margin, with Willie Rodger Art Trust stamp, unframed 58.5cm x 78.5cm (23in x 31in)

£1,200-1,800

Willie Rodger studied at Glasgow School of Art from 1948-52, and was a school art teacher until 1987 when he resigned to concentrate on his career as an artist.

Rodger worked in a variety of media in a career which saw him design 11 stained glass windows (working collaboratively with John K Clark), a Scottish Post Office Aerogramme, a set of postage stamps for Scottish Devolution, the award-winning Scottish Historical Playing Cards (for the late Angus Ogilvy of The Stirling Gallery), book jackets and record sleeves, letterheads, logos and alphabets.

A gifted draughtsman, his drawing ability was already recognised whilst a student, and he always had a small sketchbook and a pen to hand. Having been dissuaded from painting whilst at Art School, he took it up several decades later after the late Angus McAuley of the Stenton Gallery prompted him to try his hand, and offered him a solo exhibition by way of encouragement.

It was as a relief printmaker, working most usually in lino and wood, that Rodger established himself. His status as one of Scotland’s pre-eminent printmakers was recognised by his peers in 1989 when he became the first person elected an Associate of the Royal Scottish Academy in the category of Printmaker.

During his long life he built a small collection of works by fellow artists. These included artists whom he knew personally; others, like Bawden, whom he regarded as personal heroes, and others for whom he was the source of inspiration. His acquisitions reflected places he knew, or addressed gardening and music, pastimes which filled his time away from family and art. Above all he knew what he liked, and acquired to reflect this, either by gift or exchange, or from exhibitions, dealers, or auction sales.

Lyon & Turnbull are delighted to offer a small group of works from his private collection within this auction.

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72 § EDWARD BAWDEN C.B.E., R.A. (BRITISH 1903-1989) SMITHFIELD MARKET Linocut, 18/75, signed, numbered and titled in pencil to margin, with Willie Rodger Art Trust stamp, unframed 56cm x 76cm (22in x 30in)

£700-1,000

73 § EDWARD BAWDEN C.B.E. R.A. (BRITISH 1903-1989) THE ROCKET Linocut, 16/25, signed and titled in pencil, with Willie Rodger Art Trust stamp, unframed 46cm x 38cm (18in x 15in)

£200-300

74 § EDWARD BAWDEN C.B.E., R.A. (BRITISH 1903-1989) COVENT GARDEN FRUIT MARKET Linocut, 14/75, signed, numbered and inscribed in pencil to margin, with Willie Rodger Art Trust stamp, unframed 56cm x 76cm (22in 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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75 § KERSTIN HEYMANN (GERMAN CONTEMPORARY) AGAINST ALL ODDS Etching and aquatint, 3/10, signed, dated ‘99 and inscribed in pencil to margin 77cm x 96cm (30.25in x 37.75in)

£250-350

76 § DAVID MCLEOD MARTIN R.S.W., R.G.I., S.S.A (SCOTTISH 1922-2018) HILLSIDE, BEYOND CUPAR Signed, oil on board 14.5cm x 21cm (5.75in x 8.25in)

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

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77 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) THREE MARI Signed and dated ‘03 verso, oil on board 30cm x 25cm (11.75in x 9.75in) Provenance: Open Eye Gallery, Edinburgh; The Willie Rodger Art Trust

£3,000-5,000

40

78 § IAN CHEYNE (SCOTTISH 1895-1955) MOUNTAIN BURN Colour woodcut, signed in ink to margin 30cm x 33.5cm (11.75in x 13.25in) and another by the same hand ‘Arran Landscape’ (2) Provenance: The Open Eye Gallery Edinburgh (Mountain Burn), The Willie Rodger Art Trust.

£400-600

79 SEIKO KAWACHI (JAPANESE B.1948) UNTITLED Etching and aquatint, 1980, 24/30, signed, dated, inscribed and numbered in pencil to margin 66cm x 96cm (26in x 37.75in), full sheet

£300-500

41

80 § JAMES MCNAUGHT R.S.W., R.G.I. (SCOTTISH B.1948) ARRIVAL VENICE, MIST Signed and dated 2009, watercolour and gouache 10cm x 24cm (4in x 9.5in) Provenance: Open Eye Gallery, Edinburgh; The Willie Rodger Art Trust

£300-500

81 § CARLO ROSSI R.S.W., R.S.I. (SCOTTISH B.1921) VILLAGE BY MOONLIGHT Signed and dated ‘65, oil on board 25cm x 45.5cm (9.75in x 18in)

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

42

82 § DOMINIC WILLSDON (BRITISH CONTEMPORARY) I MISS THE LIGHT NORTHERN RAIN, I MISS THE SEASONS Etching and aquatint, 4th state, signed and inscribed 14.1.92 in pencil to margin 81cm x 60.5cm (31.75in x 23.75in)

£250-350

83 § S. MCKAY (SCOTTISH CONTEMPORARY) THE NECKLACE Signed and indistinctly inscribed, pastel and charcoal 44cm x 63cm (17.25in x 24.75in)

£300-500

END OF COLLECTION Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

43

84 § WILLIE RODGER A.R.S.A., R.G.I (SCOTTISH 1930-2018) LOW TIDE, EYEMOUTH Signed and dated ‘88, charcoal 53cm x 72cm (22.75in x 28.25in) Provenance: The Open Eye Gallery, Edinburgh

£400-600

85 § WILLIE RODGER A.R.S.A., R.G.I (SCOTTISH 1930-2018) BOAT REPAIRS, ST ABBS Signed with initials and indistinctly dated ‘?3, artist’s label verso, charcoal on cream paper 30.5cm x 26cm (12in x 10.25in)

£300-500

86 § JOHN BELLANY C.B.E., R.A (SCOTTISH 1942-2013) HOMAGE TO TONY UNDERHILL Etching, 10/50, signed, numbered and inscribed ‘For William Gear’ in pencil to margin 54cm x 40cm (21.25in x 15.75in)

£200-300

44

87 § SOPHIE RYDER (BRITISH B.1963) MINOTAUR WITH HARE BY MOONLIGHT Signed and dated ‘96, mixed media and collage 120cm x 120cm (47.25in x 47.25in)

£2,000-3,000

88 § BET LOW A.R.S.A., R.S.W., R.G.I. (SCOTTISH 1924-2007) SEASCAPE Signed, watercolour and gouache 60cm x 48cm (23.5in x 19in)

£1,000-1,500

45

89 § JOHN BYRNE (SCOTTISH B.1940) TWILIGHT HUNTER Signed, oil on board 75cm x 63cm (29.5in x 24.75in)

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

46

90 § ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1965) 1030 Monotype, 1/1, signed, titled, dated 1997 and numbered in pencil to margin 75.5cm x 56cm (29.75in x 22in) Provenance: Flowers East

£800-1,200

ALISON WATT Rising to prominence in 1987 as a student at the Glasgow School of Art, after winning a commission to paint HM Queen Elizabeth, The Queen Mother, Alison Watt together with her compatriot Jenny Saville led the way in British figurative painting in the 1990s with a focussed, precise and intensely observed style in sharp contrast to the YBA movement.

During the 1990s the focus of Watt’s painting was highly realistic posed female forms. The offered work, a self-portrait of the artist, dates from the mid-1990s (probably 1995) when Watt was making a series of paintings entitled ‘Body Parts’. Working intensely with both life models and her own body, she focussed on producing composite images which led to subtle distortions of form.

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

Taking as its focus an intimate section of her own midriff, and a hand placed delicately, if somewhat awkwardly, over her abdomen this is a sensitive and sensuous portrait capturing the delicacy of skin, a softness that is immediately recognisable as Watt’s signature in painting. The subtle colour palette, chalky whites and delicate pinks, together with the exclusion of a head makes this a study of flesh, an intimate aperture into a private world that both invites the viewer in, whilst keeping the voyeur at a distance, and is faintly reminiscent of the work of Lucien Freud.

The present work is significant in representing Watt’s interplay between figuration and abstraction and came at a defining point in her career. Referencing her earlier more representational style and focus on the figurative nude, whilst the contours of the flesh and delicate handling of paint foretells her move to softly folding fabrics and form that would become the focus of her work in subsequent years, including her highly influential exhibition Shift at the National Gallery of Scotland in 2000.

47

91 ยง ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1965) BODY PARTS: SELF-PORTRAIT Oil on canvas 51cm x 51cm (20in x 20in) Provenance: Cyril Gerber Fine Art, Private Collection.

ยฃ7,000-10,000

48

92 § ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1965) HEAD II Monoprint, 1/1, signed, dated ‘95 and numbered in pencil to margin 58cm x 51cm (22.75in x 20in) Provenance: Flowers East

£800-1,200

93 § IAN HAMILTON FINLAY (SCOTTISH 1925-2006) LAND/SEA (COLLABORATION WITH HERBERT ROSENTHAL) Screenprint, printed at Girdwood and published by the Wild Hawthorn Press in an edition of about 400 37cm x 51cm (14.5in x 20in)

£300-500

49

94 § ANDY GOLDSWORTHY O.B.E. (BRITISH B.1956) STARTED CLIMBING 1987, chromogenic print 50cm x 50cm (19.75in x 19.75in) and another ‘Stones, scratched white’ (2)

£600-800

95 § ANDY GOLDSWORTHY O.B.E. (BRITISH B.1956) STARTED CLIMBING THE MOUNTAIN . . .

1987, colour photograph, with printed title and artwork details 48cm x 39.5cm (19in x 15.5in) and another ‘Stones, scratched white’ (2)

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

50

96 § 20TH CENTURY BRITISH SCHOOL WALDORF HOTEL Silver gelatin print, a later re-print, signed with initials S.L. (?) and numbered 1/50 19.5cm x 27cm (7.75in x 10.5in) and four further scenes of London, each signed and numbered (5)

£500-700

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

51

97 § LENI RIEFENSTAHL (GERMAN 1902-2003) OLYMPIA, 1938 - DIVING Silver gelatin print of still image from Leni Riefenstahl’s 1938 film ‘Olympia,’ hand-numbered 230 to print, signed in pencil to mount paper 8.5cm x 6cm (3.25in x 2.5in), image size

£1,500-2,500

52

98 § BET LOW A.R.S.A., R.S.W., R.G.I. (SCOTTISH 1924-2007) THE SEA AT SNELSETTER, HOY, ORKNEY Signed, watercolour 35cm x 49.5cm (13.75in x 19.5in) and another work by the same hand ‘Girl in a ‘Pixie’ and Scarf’ (2)

£600-900

99 § JOHN HAMMOND (20TH CENTURY BRITISH) LATE AFTERNOON, LAVENDER FIELD Signed, acrylic on board 60cm x 60.5cm (23.5in x 23.75in) Exhibited: Montpellier Gallery, Stratford-upon-Avon, 59/00

£600-800

100 § SYLVIA WISHART (SCOTTISH 1936-2008) EVENING WINDOW WITH BRACKEN Signed and dated ‘69, inscribed verso, oil on board 95cm x 74cm (37.5in x 29.25in) Exhibited: Royal Scottish Academy, 1970

£700-900 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

53

101 § BARBARA BALMER A.R.S.A., R.S.W., R.G.I (SCOTTISH B.1929) FLOWERS POSING Signed, inscribed verso, oil on board 74.5cm x 90cm (29.25in x 35.5in)

£700-900

102 § DAVID MICHIE R.S.A., R.G.I., F.R.S.A (SCOTTISH 1928-2015) BALCONIES IN A STREET, LISBON C.1961 Signed, oil on board 49cm x 59cm (19.25in x 23.25in) Provenance: The Scottish Gallery

£800-1,200

103 § SERENA ROWE (SCOTTISH CONTEMPORARY) TEAPOT AND TWO DUCK EGGS Signed, signed and inscribed verso, oil on board 40cm x 45cm (15.75in x 17.75in) Provenance: Panter & Hall, London

£500-700

54

104 § DAVID MCLEOD MARTIN R.S.W., R.G.I., S.S.A (SCOTTISH 1922-2018) RED LANDSCAPE, PERTHSHIRE Signed, inscribed to artist’s label verso, oil on canvas 62cm x 76.5cm (24.5in x 30in)

£400-700

105 § CLIVE MCCARTNEY (BRITISH B.1960) TOWARDS THE SPANISH STEPS, ROME - 1996 Signed, inscribed verso, acrylic on board 28cm x 41cm (11in x 16.25in) Provenance: The Graham Gallery, Tunbridge Wells.

£300-500

106 § CLIVE MCCARTNEY (BRITISH B.1960) FRENCH CAFE, PARIS Signed, inscribed to frame verso, oil on board 28.5cm x 40cm (11.25in x 15.75in) Provenance: Purchased from the artist through Graham Gallery, Tunbridge Wells.

£300-500

55

107 § JOHN CUNNINGHAM (SCOTTISH 1927-2000) STILL-LIFE WITH GLASS JUG AND APPLES Signed, oil on canvas 50cm x 50cm (19.75in x 19.75in)

£800-1,200

108 § MADELEINE STRINDBERG (GERMAN B.1955) HOLLOW FORM Signed verso, oil on canvas 92cm x 76cm (36.25in x 30in)

£500-800

109 § ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH B.1931) BLACK CAT Lithograph, signed and numbered 6/75 in pencil to margin 44cm x 60cm (17.25in x 23.5in) Provenance: Mercury Gallery

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

56

110 § DAVID MCLEOD MARTIN R.S.W., R.G.I., S.S.A (SCOTTISH 1922-2018) PERTHSHIRE HILLSIDE Signed, inscribed to artist’s label verso, oil on canvas 50cm x 60cm (19.75in x 23.5in)

£400-700

111 § 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) A CORSICAN VILLAGE Lithograph, signed in plate 24cm x 33cm (9.5in x 13in)

£300-500

112 § MARC CHAGALL (RUSSIAN/FRENCH 1887-1985) QUAI AUX FLEURS Lithograph, signed in plate 36.5cm x 27.5cm (14.5in x 10.75in) Provenance: Purchased from Redfern Gallery, December 1963

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

57

113 § DAVID MICHIE R.S.A., R.G.I., F.R.S.A (SCOTTISH 1928-2015) GARDEN WITH PEACOCK, 1970-75 Oil on canvas 90cm x 125.5cm (35.5in x 49.5in)

£1,000-1,500

114 § WILLIAM CROSBIE R.S.A. (SCOTTISH 1915-1999) STILL-LIFE: JUG WITH TULIPS - 1986 Signed and dated, pencil and watercolour 54cm x 38cm (21.25in x 15in) Provenance: Ewan Mundy Fine Art

£800-1,200

115 § IVON HITCHENS (BRITISH 1893-1979) EARLY MORNING Off-set lithograph, 14/375, signed and numbered in pencil to margin 64cm x 52cm (25.5in x 20.5in)

£400-600

58

116 § JOHN GARDINER CRAWFORD (SCOTTISH B.1941) JACKSON’S PLACE Signed, inscribed and dated 2000-03 to artist’s label verso, watercolour 36cm x 54cm (14.25in x 21.25in)

£500-700

117 § ROBERT MACLAURIN (SCOTTISH B.1961) DESERT LANDSCAPE - 2000 Signed and dated, oil on canvas 191cm x 245cm (75.25in x 96.5in)

£1,500-2,000

59

118 § JOHN BELLANY C.B.E., R.A (SCOTTISH 1942-2013) BOATS IN HARBOUR Signed, oil on canvas 90cm x 121cm (35.5in x 47.5in)

£5,000-7,000

119 § SIR WILLIAM GEORGE GILLIES C.B.E., R.A., R.S.A., P.R.S.W., L.L.D. (SCOTTISH 1898-1973) AUTUMNAL WOODED LANDSCAPE Signed and dated ‘25, pencil and watercolour 25.5cm x 36cm (10in x 14in)

£500-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

60

120 § GEOFF UGLOW (BRITISH B.1978) CITYSCAPE OF GLASGOW Oil on canvas 45cm x 90cm (17.75in x 35.5in)

£1,000-1,500

121 § PETER DOIG (SCOTTISH B.1959) MILKY WAY Digital print, signed in print, numbered 31/100 in pencil to margin 25.5cm x 34cm (10in x 13.5in)

£600-800

122 EDVARD MUNCH (NORWEGIAN 1863-1944), AFTER THE PRETENDERS: THE LAST HOUR Lithographic reproduction after the original woodcut, bears signature 37.5cm x 52cm (14.75in x 20.5in), image size Note: This print is accompanied by the book ‘E. Munch’ by Frederick B. Deknatel.

Literature: Gerd Woll, Edvard Munch: The Complete Graphic Works, 2001. Appendix IV - Facsimiles, Reproductions, Afters and Fakes, pg. 459.

11. The Last Hour, 1923 Lithographic reproduction after Munch’s woodcut Published in the album ‘Living Art (Twenty Facsimile Reproductions after Paintings, Drawings and Engravings and ten photographs after sculptures by Contemporary Artists).’ Printed at Ganymed Press, Berlin, 1923, numbered edition of 400.

£300-500

61

123 § MARKEY ROBINSON (IRISH 1918-1999) MOUNTAINS OF MOURNE Signed, oil on canvas 29cm x 44.5cm (11.5in x 17.5in)

£1,500-2,500

124 § PETER HOWSON O.B.E. (SCOTTISH B.1958) HOPE AND GLORY - 2005 Signed, inscribed with title to frame verso, pastel 45.5cm x 60cm (18in x 23.5in)

£800-1,200

125 § CRAWFURD ADAMSON (SCOTTISH B.1953) SIESTA Signed, charcoal and pastel 88cm x 119cm (34.5in x 47in)

£400-600

62

126 § DAVID WARRILOW (SCOTTISH B.1956) STILL LIFE WITH MELON Inscribed and dated 1988/89 verso, oil on board 27cm x 34.5cm (10.75in x 13.5in) Provenance: From the Estate of the Late William (Billy) Skelly (1931-2019)

£500-800

127 § KEN CURRIE (SCOTTISH B.1960) UNTITLED, PORTRAIT Etching and aquatint, 1/1, 2006, signed, dated and numbered in pencil to margin 59cm x 50.5cm (23.25in x 20in), full sheet

£600-800

128 § JOHN B. MARTIN (BRITISH CONTEMPORARY) KILLIAN AND THE WOODWORM MAN Bronze sculpture 47cm (18.5in) high Note: This sculpture represents an interpretation of the David and Goliath story with hero and villain reversed, so Killian, the small aggressive antagonist defeats Woodworm man, a gentle giant.

£700-900 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

63

129 § ROBERTO GONZALEZ FERNANDEZ (SPANISH B.1948) COLUMN Signed, dated 1999 and numbered 2/25, bronze and accompanying base (2) 36cm (14in) high, including base Provenance: Edinburgh Printmakers

£500-700

130 § BENNO SCHOTZ R.S.A., L.L.D. (ESTONIAN/SCOTTISH 1891-1984) THE LOVERS, DANCING Signed and dated 1977 to base, bronze sculpture on dark wood plinth 37cm (14.5in) high, not including base

£700-900

131 § JOHN HENRY WHITE (SCOTTISH 20TH CENTURY) UNTITLED GARDEN DESIGN Steel sculpture 71cm (28in) high Note: John Henry White was commissioned by British Steel to make a sculpture for Kilbirnie, the vendor was impressed with the piece when seen at the unveiling on 8th June 1974, and decided to commission a work from the artist, for their personal garden. It was made in 1974, from Gartcosh steel, and has remained in the family until now.

£600-800

64

132 § STEPHEN MANGAN (SCOTTISH B.1964) SHADOWS Signed and dated ‘96, oil on canvas 74cm x 76cm (29in x 30in)

£1,000-1,500

133 § NAEL HANNA (IRAQUI/ SCOTTISH B.1959) ROAD TO STONEHAVEN Signed, oil on canvas 29cm x 39cm (11.5in x 15.25in)

£700-900 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

65

134 § NAEL HANNA (IRAQUI/ SCOTTISH B.1959) FISHING BOATS Signed, oil on board 29cm x 59cm (11.5in x 23..25in)

£800-1,200

135 § DAVID SCHOFIELD (SCOTTISH B.1972) THE MEETING Signed and indistinctly dated, oil on board 41.5cm x 29cm (16.25in x 11.5in) Provenance: The Open Eye Gallery, Edinburgh

£400-600

136 § DAVID SCHOFIELD (SCOTTISH B.1972) THE GRAND NIGHT OUT Signed with initials, oil on board 42cm x 29cm (16.5in x 11.5in) Provenance: The Open Eye Gallery, Edinburgh

£400-600

66

137 § MARY FEDDEN O.B.E., R.A., R.W.A. (BRITISH 1915-2012) A WOODED LANDSCAPE Signed and dated 1963, oil on board 29.5cm x 39.5cm (11.5in x 15.5in) Provenance: From the Estate of the Late William (Billy) Skelly (1931-2019)

£2,000-3,000

138 § MILLIE FROOD (SCOTTISH 1900-1988) CARNIVAL - 1960 Signed with initials, signed, dated and inscribed verso, oil on canvas 49.5cm x 102cm (19.5in x 40.25in) Provenance: From the Estate of the Late William (Billy) Skelly (1931-2019)

£500-700

139 § JACK KNOX R.S.A., R.S.W., R.G.I (SCOTTISH 1936-2015) THE PASSAGE OF TWO SQUARES Signed, oil on canvas 75cm x 151cm (29.5in x 59.5in) Exhibited: The Royal Scottish Academy, 1965

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

67

140 § CLAIRE NORRINGTON (BRITISH CONTEMPORARY) SITTING HARE Signed with initials and numbered 7/12, bronze 41cm (16.25in) high Note: This sculpture is accompanied by catalogue from Brian Sinfield Gallery, featuring the artwork.

£1,000-1,500

141 § CLAIRE NORRINGTON (BRITISH CONTEMPORARY) BARN OWL Signed with initials and numbered 1/9, bronze 79cm (31in) high Note: This sculpture is accompanied by catalogue from Brian Sinfield Gallery, featuring the artwork.

£1,000-1,500

142 § RICHARD KAMM (AMERICAN/ITALIAN 1928-2019) MOZART Signed and dated 1956, bronze 30cm (11.75in) high Provenance: From the estate of the late Giancarlo Menotti.

£700-900

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

68

143 § LEON MORROCCO A.R.S.A (SCOTTISH B.1942) ROMOLO’S BALCONY, TUSCANY Signed and dated ‘96, oil on board 43cm x 44cm (17in x 17.25in)

£1,500-2,500

144 § VICTORIA CROWE O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1945) STARRY GATE, PELOPONNESE Signed, inscribed to backboard, watercolour 17cm x 12.5cm (6.75in x 5in) Provenance: Purchased Mercury Gallery, Edinburgh - November 1987

£400-600

145 § 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) EQUESTRIAN KNIGHTS 1969 Signed, watercolour 51cm x 68cm (20in x 26.75in) Provenance: Aitken Dott & Son

£1,500-2,000

69

146 JAMES MORRISON R.S.A., R.S.W., L.L.D. (SCOTTISH B.1932) TUNDRA, CORNWALLIS ISLAND - 1990 Signed and dated, oil on board 49.5cm x 76cm (19.5in x 30in) Provenance: The Artist’s Studio, Private Collection Exhibited: ‘James Morrison Paintings from the Canadian Arctic,’ The Scottish Gallery Edinburgh, May 1991

£2,000-3,000

147 § ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH B.1931) CHURCH IN BRITTANY -1963 Signed in pencil, ink and wash 49.5cm x 68.5cm (19.5in x 27in)

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

70

148 CLAUS CARSTENSEN (DANISH B.1957) PAINTING (FUCKED UP), 1993 Signed and inscribed verso, oil & tempera on canvas 120cm x 100cm (47.25in x 39.25in) Provenance: Gimpel Fils Exhibited: Moderna Museet, Stockholm

£600-1,000

149 § JOHN BYRNE (SCOTTISH B.1940) MEMPHIS Signed, oil on board 34.5cm x 25.5cm (13.5in x 10in)

£5,000-7,000

150 § JOE TILSON (BRITISH B.1928) X - MALCOM X, FROM ‘FRAGMENTS OF AN ONEIRIC ALPHABET’ Screenprint, 20/25, printed by Kelpra London, 1969-70 78cm x 103cm (30.75in x 40.5in) Provenance: The Open Eye Gallery, Edinburgh

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

71

72

151 § PETER HOWSON O.B.E. (SCOTTISH B.1958) BETRAYAL Signed and dated 2003, charcoal and coloured pastel on brown paper 39cm x 29cm (15.5in x 11.5in)

£700-900

152 § PETER HOWSON O.B.E. (SCOTTISH B.1958) PORTRAIT - 2006 Signed and dated, coloured ink and watercolour 24cm x 20cm (9.5in x 8in)

£300-500

153 § FRANK MCFADDEN (SCOTTISH B.1972) GESTURE (FACE AND HANDS) Signed, charcoal and pastel 61cm x 46.5cm (24in x 18.25in)

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

73

154 § WILLIAM MCCANCE (SCOTTISH 1894-1970) DIKS RAC - 1961 Signed and dated, oil on board 60cm x 45cm (23.5in x 17.75in)

£3,000-5,000

155 § MILLIE FROOD (SCOTTISH 1900-1988) SYNCOPATING SQUARE, C. 1960 Mixed media and collage 75cm x 54cm (29.5in x 21.25in) Provenance: From the Estate of the Late William (Billy) Skelly (1931-2019)

£400-600

156 § WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (SCOTTISH 1915-1997) UNTITLED Signed and dated ‘59, mixed media 79cm x 57cm (31in x 22.5in) Provenance: Purchased from the Boathouse Gallery, Walton, 1950, thence by descent.

£500-800

74

157 § WILHELMINA BARNS-GRAHAM C.B.E. (SCOTTISH 1912-2004) WIND DANCE NO.2 Signed and dated 2003, acrylic on paper 19.5cm x 24cm (7.25in x 9.5in) Provenance: Art First, London

£1,500-2,000

158 § WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (SCOTTISH 1915-1997) UNTITLED Signed and dated ‘66, oil pastel 56cm x 70cm (22in x 27.5in)

£500-800

159 § WILHELMINA BARNS-GRAHAM C.B.E. (SCOTTISH 1912-2004) UNTITLED, APRIL 1991 Screenprint, 53/70, signed and dated ‘April 1991’ in pencil 56.5cm x 76cm (22.25in x 30in) Provenance: Acquired directly from the artist

£800-1,200

75

160 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) LITTLE SCRIBE NO. 2, OPUS 479, DEC. 1968 Signed, inscribed and dated verso, oil on wood 42cm x 51cm (16.5in x 20in) Provenance: Gimpel Fils, London

£4,000-6,000

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

76

161 § BARBARA RAE R.A., R.S.A., R.S.W. (SCOTTISH B.1943) SUNDAY, MECINA FONDALES Signed and inscribed, mixed media 51.5cm x 70cm (20.25in x 27.5in) Provenance: The Scottish Gallery, Edinburgh

£3,000-5,000

162 § JAMES MORRISON R.S.A., R.S.W., L.L.D. (SCOTTISH B.1932) ST CYRUS Signed and dated 1971, ink and watercolour 36.5cm x 107cm (14.25in x 42in)

£700-900

163 JAMIE BOYD (AUSTRALIAN B.1948) RIVER LANDSCAPE Signed, oil on board 26.5cm x 37.5cm (10.38in x 14.75in)

£700-1,000

77

164 § JOHN BELLANY C.B.E., R.A (SCOTTISH 1942-2013) THE BASS ROCK Signed, oil on canvas 90cm x 121cm (35.5in x 47.5in)

£5,000-7,000

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

78

165 § BEN WILSON (B. 1963) AND ELEY KISHIMOTO ADULT ‘FLASH’ CHAIRFIX, DESIGNED 2009 printed compressed cardboard 45cm wide, 76cm high, 54cm deep Note: Chairfix is a build-it-yourself chair which comes as a single sheet, cut out with pop out pieces to construct the chair yourself. Creative directors for Paris based fashion house Cacharel between 2008 and 2009, Mark Eley and Wakako Kishimoto have collaborated with Ben’ Wilson on this chair by contributing their ‘Flash’ print decoration.

£100-200

A PRIVATE COLLECTION OF CONTEMPORARY ART & PHOTOGRAPHY A collection reflects the collector: their visual eye, specific interests and tastes, even their humour and preferred colour – but most importantly their over-arching vision and exactly what they like.

It is an intensely revealing insight into the collector’s personality and taste. Exploring a collection is therefore a joyful experience, as by engaging with each individual work, we discover more about the collection as a whole and how all the different items within it interact and imbue each other with meaning.

This interesting and considered collection of contemporary art and photography, was purchased for a traditional Amsterdam canal house, but then seamlessly transitioned to a new location, a contemporarily re-modelled Georgian flat in Edinburgh’s West End. As the collector moves again and life changes, the time has come for the collection to be dispersed, to new homes and enthusiasts.

Joyfully put together, by someone with a keen and considered eye, the artworks were purchased from contemporary galleries across the world. Wide-ranging but coherent, there is a strong section of photography within the collection from striking visual feasts in monochromatic silver gelatin by Machial Botman and Miyako Ischiuchi, to depictions of musical and Hollywood idols – Bowie, Bono and two iconic views of Marilyn Monroe by Lawrence Schiller.

The sleek, visual strength of these works is complemented by the black leather and chrome furniture from B&B Italia and Alias, a cool and fitting combination.

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

The true focal point of the collection is Gavin Turk’s striking Holy Egg (Blue), 2015 – a bold splash of colour in a fun yet iconic piece, visually striking but with many deeper meanings and interpretations. Around this constellate a selection of strong graphic work, both works on paper and artist’s prints, from Lichtenstein’s immediately recognisable cartoon strip lithographic triptych to less well-known names such as Tadao Cern’s humorous take on beach-goers, Comfort Zone. The collector’s particular interest in the conceptual is also well-reflected, from the Flash chair fix, a printed cardboard chair that was sold as one flat, perforated sheet, to be built by the buyer – a nod to contemporary spending habits in places like Ikea, but also an engagement with the notion of production – who is the maker here, the artist or the buyer, to Guy LeClef’s re-working of cardboard, newspaper and magazines into visually engaging works – ecologically-engaged art for our time.

A great collection should be full of personality, interest and variety yet somehow still convey a coherence and an overall vision and meaning. In this striking collection of contemporary art and photography, this has been gracefully achieved and in its sale comes an opportunity to acquire a piece for yourself, either an established icon or a entirely new discovery.

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

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166 LAWRENCE SCHILLER (AMERICAN B.1936) PRINT A, MARILYN: ROLL II, FRAME 12, MAY 1962 Signed and numbered 55/125, from limited edition of Marilyn & Me, photograph 26.5cm x 39.5cm (10.5in x 15.5in)

£2,000-3,000

167 JOHN R. ROWLANDS (AMERICAN CONTEMPORARY) DAVID BOWIE: THE ARCHER Signed to margin by Bowie and Rowlands, 89/100, pub. 2013 (1976), archival giclee print 32.5cm x 43.5cm (12.75in x 17in) Provenance: St. Paul’s Gallery, Birmingham

£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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168 § MACHIEL BOTMAN (DUTCH B.1955) HOMECOMING, 1994 Signed, inscribed, dated and numbered 9/10 verso, silver gelatin print 53.5cm x 39cm (21in x 15.25in), image size Provenance: Michael Hoppen Gallery, London

£2,000-3,000

169 MIYAKO ISCHIUCHI (JAPANESE B.1947) YOKOSUKA STORY #63 2/25, silver gelatin print 45.5cm x 56cm (18in x 22in) Provenance: Yuki-Sis Gallery, Tokyo This artwork is sold with an accompanying Certificate of Work, dated 2015, and affixed verso.

£2,000-3,000

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170 LAWRENCE SCHILLER (AMERICAN B.1936) MARILYN (ROLL 2, FRAME 23), 1962-2007 Signed and numbered 20/35, photograph 120cm x 150cm (47.25in x 59in) Provenance: Tagliatella Galleries, Paris.

This work is sold with an accompanying certificate of authenticity issued by the gallery.

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

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171 DAISUKE TSUCHIGAHATA (JAPANESE CONTEMPORARY) BOUNDARY, ‘THE END OF THE STAR’ - 2015 Signed and dated verso, Yuki-Sis gallery label verso, mixed media (stocking, string, pigment, chalk) on Japanese paper laid on board 35cm x 25cm (13.75in x 9.75in) Provenance: Yuki-Sis Gallery, Tokyo This artwork is sold with accompanying certificate from the gallery.

£500-700

172 EMILIANO FERNANDEZ DE RODRIGO (ARGENTINIAN B.1980) THE WINDOW, KOLN, GERMANY - 2013 No. 3, from an edition of 10 + 1 A.P., photograph 22cm x 22cm (8.5in x 8.5in) Note: This artwork is accompanied by a certificate of authenticity from the artist.

£300-500

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

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173 ยง BJARNE MELGAARD (NORWEGIAN B. 1967) OHNE TITEL, 2007 Signed, gallery label verso, charcoal and pastel on paper 41cm x 33cm (16in x 13in) Provenance: Galerie Krinzinger, Vienna This artwork is sold with accompanying certificate from the gallery.

ยฃ2,000-3,000

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174 § LUCEBERT (DUTCH 1924-1994) KLEINE STRATEEG Lithograph, 23/40, signed and dated ‘82 36.5cm x 23.5cm (image size), and another signed print, etching and aquatint, by K. Koog (2) Provenance: ING Art Collection

£500-700

175 AMY GREEN (AMERICAN B.1970) UNTITLED - 2008 Signed and dated to stretcher verso, urethane and acrylic paint on canvas 20.5cm x 20.5cm (8in x 8in)

£300-500

176 RAYMOND PETTIBON (AMERICAN B.1957) WE ARE DRAWN . . . , 1992 Signed, numbered 62/80 and dated ‘92 in pencil to margin, etching and aquatint 64.5cm x 39.5cm (25.5in x 19.5in) Provenance: Galerie Krinzinger, Vienna.

This artwork is sold with accompanying certificate from the gallery.

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

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177 § TADAO CERN (LITHUANIAN B.1983) COMFORT ZONE, IMAGE NO. 1 Signed, dated 2013 and numbered 2/50 in pencil to margin, giclee photographic print 50cm x 36.5cm (19.75in x 14.5in) and another print from the same series ‘Comfort Zone, Image No.8’ (2) Provenance: Purchased directly from the artist.

Artist’s signed certificate of authenticity affixed verso.

£500-700

178 JOSH FAUGHT (AMERICAN B.1979) UNTITLED - 2009 Woven fabric 20cm x 12cm (8in x 4.75in) Provenance: Lisa Cooley, New York This artwork is accompanied by a Certificate of Authenticity from the the gallery.

£400-600

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179 § GAVIN TURK (BRITISH B.1967) HOLY EGG (BLUE), 2015 Acrylic on canvas, oval 114.5cm x 82cm (41.25in x 32.25in) Provenance: Galerie Krinzinger, Vienna.

This work is sold with accompanying certificate from the gallery.

£30,000-50,000

GAVIN TURK Gavin Turk is a contemporary British Surrealist, whose art deals with issues of authorship, authenticity and identity. He explores the institutions of art, our contemporary value systems and our power structures through portraits of anti-heroes and art-historical icons.

He is also known for his installations and sculpture, many of which playfully employ recycled rubbish and common objects in their composition.

Turk studied at Chelsea School of Art and then the Royal College of Art until 1991, where he was noticed by Charles Saatchi and included in several YBA exhibitions. His work has since been collected and exhibited by major museums and galleries worldwide.

In May 2019, Turk was involved with ‘Gavin Turk – Portrait of an Egg’, a special exhibition held in association with Photo London at Somerset House. Using his large sculpture of a bronze egg as inspiration, he encouraged the public to contribute an original photograph inspired by an egg.

Turk has continually returned to the form of the egg throughout his career. The shape and concept of an egg is a heavily charged archetype, containing ideas of beginning and end, the alpha and omega, the inside and the outside. Turk explores these concepts in his work Holy Egg (Blue), an egg-shaped painting that is dramatically perforated to reveal Gavin Turk’s initials subtly cast by the holes.

The violent punctures on the surface serve to reveal the empty space behind the canvas whilst remitting the painting to a threedimensional object, yet also alluding to Jesus Christ’s stigmata.

An appropriation of Lucio Fontana’s Fine di Dio from his series ‘The End of God’ (1963-4), Holy Egg (Blue) is also an example of Turk’s engagement with recognisable elements from art history.

Fontana similarly punctured his egg-shaped canvas in, what he called, a ‘radical gesture that broke the space of the picture’.

He claimed that the constellation of holes ‘signify the infinite, something inconceivable, the end of the figurative representation, the beginning of nothing’. As Turk has drawn a single fine line that circumscribes egg, so too did Fontana, thus rendering the work wholly self-contained.

Part of a series, Holy Egg (Blue) explores the relationship and dichotomy between art and religion through the religious symbolism associated with the egg, all while alluding to the canon of art history.

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

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180 ROY LICHTENSTEIN (AMERICAN 1923-1997) AS I OPENED FIRE (TRIPTYCH), 1991 Three off-set lithographs 63cm x 52cm (24.75in x 20.5in)(3)

£500-700

181 § STEFANO BOSIS (ITALIAN CONTEMPORARY) BLUE AND GREEN Oil on wood 19.5cm x 19.5cm (7.75in x 7.75in) and a watercolour by Elena Tamburnini (2)

£500-700

182 § MAURICE WYCKAERT (BELGIAN 1923-1996) UNTITLED Signed and numbered 11/100 in pencil to margin, colour lithograph 19cm x 23cm (7.5in x 9in) and another, a pair (2)

£300-500

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183 § PIERRE ALECHINSKY (BELGIAN B.1927) UNTITLED Lithograph, 86/99, signed and numbered in pencil to margin 66cm x 51cm (26in x 20in)

£300-500

184 § ROBERTO MATTA (CHILEAN/ITALIAN 1911-2002) ESSAI Etching and aquatint, signed and inscribed in pencil to margin 61cm x 44cm (24in x 17.25in)

£400-600

185 § ELIZA KOPEC (DUTCH CONTEMPORARY) INFANTE MARGARET’S DIFFICULT CHOICE Mixed print (etching, aquatint, woodcut), 1993, 6/20, signed, numbered, titled and dated in pencil to margin 82cm x 52cm (32.25in x 20.5in) and another, a signed etching and aquatint by Leyender Kuss (2) Provenance: ING Art Collection

£300-500

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186 § ANGELIKA KRINZINGER (AUSTRIAN B.1969) AMBRAS #27, 2014 Signed, dated and numbered 1/3 verso, Galerie Krinzinger label verso, pigment print on Canson paper on aluminium 25cm x 35cm (9.75in x 13.75in) Provenance: Galerie Krinzinger, Vienna.

This artwork is sold with accompanying certificate from the gallery.

£700-900

187 § ANNEMARIE PETRI (DUTCH CONTEMPORARY) INTERVIEW MET SPIEGEL Colour intaglio print, signed, dated and numbered 9/15 in pencil to margin 33cm x 18cm (13in x 11in) Provenance: ING Art Collection

£300-500

188 TERENCE BENNETT (20TH CENTURY ABORIGINAL) SNAKE AND GOANNA Inscribed verso, acrylic on canvas 75cm x 50cm (29.5in x 19.75in) Provenance: Warlayirti Aboriginal Corporation.

This artwork is sold with accompanying paperwork from the corporation.

£200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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189 § GUY LECLEF (BELGIAN CONTEMPORARY) PAPERWORLD: WERK 1 Signed and dated ‘06 verso, artist’s name etched into acrylic box frame bottom right edge, woven collaged paper in acrylic box frame 81cm x 81cm (31.75in x 31.75in) Provenance: Purchased directly from the artist in 2007.

£800-1,200

190 § GUY LECLEF (BELGIAN CONTEMPORARY) PAPERWORLD: WERK 2 Signed and dated ‘06 verso, artist’s name etched into box frame bottom right corner, collaged paper and cardboard in acrylic box frame 151cm x 106cm (59.5in x 41.75in) Provenance: Purchased directly from the artist in 2007.

£1,500-2,000

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191 BRANTLEY GUTIERREZ (AMERICAN CONTEMPORARY) U2 360° LIVE AT SOLDIER FIELD Photolithograph, 55/500, numbered in pencil to margin, with U2 Certificate of Authenticity affixed verso 66cm x 83cm (26in x 32.75in) and another, ‘U2 at Olympic Studios’ by Kevin Davies (2)

£600-800

192 § ALFREDO HÄBERLI (B. 1964) FOR ALIAS TT3 AND TT1 SOFA AND OTTOMAN leather upholstery with cast aluminium frame sofa: 189cm wide, 74cm high, 63.5cm deep, ottoman: 71cm wide, 38cm high, 63cm deep (2)

£800-1,200

193 JEFFREY BERNETT (B. 1964) FOR B&B ITALIA SET OF SIX METROPOLITAN CHAIRS leather upholstery with aluminium base, stamped mark to leather B&B ITALIA 48cm wide, 78cm high, 54cm deep (6)

END OF COLLECTION

£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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194 § VICTORIA MORTON (SCOTTISH B.1971) THE SHOWER Signed, inscribed and dated 2002 verso, oil on canvas 180cm x 204.5cm (71in x 80.5in)

£1,000-2,000

195 KHALID TAKRITI (SYRIAN B.1964) THE KISS - 2009 Archival print on cotton paper, 2/25, signed and numbered in pencil to margin, unframed 80cm x 80cm (31.5in x 31.5in), image size

196§ DEREK BOSHIER (BRITISH B.1937) SEX WAR SEX CARS SEX Off-set lithograph, unframed 58cm x 44.5cm (22.75in x 17.5in)

£200-300

Note: This work is sold with accompanying certificate of authenticity from the Ayyam Gallery, and publication on the artist.

£700-900

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197 § ADAM BALL (BRITISH CONTEMPORARY) REFLECTION 3, 2001 Signed and dated to canvas overlap, oil and acrylic on canvas 101cm x 131cm (39.75in x 51.5in)

£2,000-3,000

198 § GEORGES BRAQUE (FRENCH 1882-1963) DEUX PROFILES Lithograph 34cm x 23cm (13.5in x 9in) Provenance: Purchased from Redfern Gallery, December 1963

£250-350

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

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199 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) SEA PORTRAIT Signed, pencil and watercolour 38cm x 27cm (15in x 10.5in)

£1,000-1,500

200 § JENNIFER MCRAE R.S.A. (SCOTTISH B.1959) BOY IN STRIPED T-SHIRT Signed and dated ‘02, watercolour 19cm x 14.5cm (7.5in x 5.75in)

£300-500

201 § IAN HAMILTON FINLAY (SCOTTISH 1925-2006) BICENTENARY TRICOLOUR, 1989 Lithograph, with Gary Hincks, published by Wild Hawthorn Press and three other unframed print works by the artist - Ulysses Was Here; Sailors! Revolutionaries! Learn from your Boldness! and Evening Will Come poster for Fruitmarket Gallery exhibition, unframed 40.5cm x 52cm (16in x 20.5in) (4)

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

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202 § WILHELMINA BARNS-GRAHAM C.B.E. (SCOTTISH 1912-2004) VISION IN TIME V Screenprint, 6/25, numbered in pencil, The Barns-Graham Charitable Trust label verso 76cm x 57cm (30in x 22.5in)

£600-800

203 § LOUISE ANNAND M.B.E. (SCOTTISH 1915-2012) BOY THINKING Signed and dated 1945, oil on board 30cm x 29.5cm (11.75in x 11.5in) Exhibited: William Hardie, Independent Painting in Glasgow, 1940-55 - May 1990

£300-500

204 § IAN HAMILTON FINLAY (SCOTTISH 1925-2006) SEA POPPY TWO Screenprint, 1965, published

by Wild Hawthorn Press 35cm x 32cm (13.75in x 12.5in)

£500-700

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205 § BET LOW A.R.S.A., R.S.W., R.G.I. (SCOTTISH 1924-2007) VIEW FROM HOY, ORKNEY ISLES Signed, titled to label verso, watercolour 15.5cm x 15cm (6.25in x 6in)

£300-500

206 JAMIE BOYD (AUSTRALIAN B.1948) RIVER LANDSCAPE Signed, oil on board 28cm x 21cm (11in x 8.25in)

£300-500

207 § BARRY MCGLASHAN (SCOTTISH CONTEMPORARY) SILVER BEECH DRIVE - 2001 Signed, titled and dated to backboard, oil on canvas 43cm x 43cm (17in x 17in)

£300-500

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208 § JAMES MORRISON R.S.A., R.S.W., L.L.D. (SCOTTISH B.1932) TOWARDS TAYOCK I Signed and dated ‘M. iii. 1990,’ oil on board 50cm x 71.5cm (19.75in x 28.25in) Exhibited: ‘Angus and Assynt,’ The Scottish Gallery, October 1990

£2,000-3,000

209 § NORMAN ACKROYD R.A. (BRITISH B.1938) CHATEAU PALMER FROM CHATEAU MARGAUY, 1986 Etching, artist’s proof, signed, inscribed and dated ‘86 in pencil to margin 14cm x 17.5cm (5.5in x 7in)

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

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210 § PABLO PICASSO (SPANISH 1881-1973) LA COLOMBE EN PLEIN VOL Lithograph, signed in plate 40.5cm x 54.5cm (16in x 21.5in) Provenance: Purchased Redfern Gallery, December 1963

£300-500

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

£300-500

212 § GEOFFREY CLARKE R.A. (BRITISH 1924-2014) M90 ROUNDEL, CIRCA 1981/2 Stamped lead disc, produced for Christmas cards 6.7cm diameter (2.65in diameter) Note: This work is a multiple, included among Clarke’s medals in the published catalogue raisonne, p.290

£200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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213 § JOHN BELLANY C.B.E., R.A (SCOTTISH 1942-2013) DIVA Signed, pencil and watercolour 36.5cm x 26cm (14.25in x 10.25in) Provenance: Open Eye Gallery, Edinburgh

£600-800

214 § PABLO PICASSO (SPANISH 1881-1973) LES ABEILLES Lithograph, inscribed H.C. in pencil, signed and dated in plate 48.5cm x 39cm (19in x 15.5in) Provenance: Purchased from the Redfern Gallery, December 1963

£300-500

215 § IAN HAMILTON FINLAY (SCOTTISH 1925-2006) SEASHELLS Screenprint, published by Wild Hawthorn Press, signed and numbered 64/350 in ink to verso of sleeve, and four further screenprints by the same artist - Interior/Interieur: Homage to Vuillard; Homage to Malevich; Gourd and A Full Rigged Ship, in the manner of Fuseli, each signed and numbered to the sleeve, all unframed (5) 27cm x 30.5cm (10.5in x 12in)

£500-700

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216 § SIR STANLEY SPENCER R.A. (BRITISH 1891-1959) MARRIAGE AT CANA Lithograph on blue paper, inscribed and numbered 15/75, from the posthumous edition of 75, printed by Henry Trivik 53.5cm x 45.5cm (21in x 17.75in)

£600-800

217 § JOYCE CAIRNS P.R.S.A., R.S.A., R.S.A., M.A. (R.C.A.) (SCOTTISH B.1947) TWO FIGURES Mixed media 41.5cm x 29cm (16.25in x 11.5in)

£400-600

218 § JOYCE CAIRNS P.R.S.A., R.S.A., R.S.W., M.A. (R.C.A.) (SCOTTISH B. 1947) CAT HEAD Titled on artist’s label verso, watercolour 19cm x 14cm (7.5in x 5.5in)

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

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219 § WILLIAM MCCANCE (SCOTTISH 1894-1970) NUDE BACK Signed with initials and dated 1930, charcoal 50cm x 29.5cm (19.75in x 11.5in)

£800-1,200

220 § KENNETH DINGWALL (BRITISH B.1938) GREY HIDING RED Signed, dated 1976 and inscribed, acrylic on canvas 51cm x 63.5cm (20in x 25in) Exhibited: Graeme Murray Gallery, ‘Kenneth Dingwall: Paintings, June 1977’ Note: This work is sold with accompanying catalogue ‘Kenneth Dingwall, Paintings, drawings and constructions,’ Scottish Arts Council, 1977.

£700-900

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221 § WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (SCOTTISH 1915-1997) BLACK ELEMENT, MAY 1964 Signed and dated, ink and watercolour 55cm x 66cm (21.75in x 26in) Exhibited: Karl and Faber, Munich, 1988-9

£700-900

222 § DANIEL COUET (FRENCH CONTEMPORARY) NAISSANCE, 2001 Inscribed, signed and inscribed verso, oil on canvas 85cm x 101cm (33.5in x 39.5in) and another by the same hand ‘Lotus Expressifs’ (2)

£500-700

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223 § JOHN MCLEAN (SCOTTISH 1939-2019) UNTITLED Oil on canvas 152cm x 127.5cm (59.75in x 50.25in)

£1,000-1,500

224 § WILLIAM CROSBIE R.S.A. (SCOTTISH 1915-1999) SONATA Signed, watercolour 34cm x 50.5cm (13.5in x 19.75in)

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

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225 § JOYCE CAIRNS P.R.S.A., R.S.A., R.S.W., M.A. (R.C.A.) (SCOTTISH B.1947) CALL TO THE LIFE-BOAT - 1986 Oil pastel on card 50cm x 64cm (19.75in x 25.25in)

£600-800

226 § KEN CURRIE (SCOTTISH B.1960) VIGIL Etching, 2005, signed, dated, titled and numbered 20/30 in pencil to margin 26.5cm x 37.5cm (10.5in x 14.75in)

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

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227 § JEAN COCTEAU (FRENCH 1889-1963) UNTITLED Embossed print, signed in print, unframed 32cm x 24cm (12.5in x 9.5in)

£500-700

228 § ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH B.1931) TWO CATS Etching, signed and numbered 12/40 in pencil to margin 30cm x 33cm (11.75in x 13in), full sheet

£400-600

229 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) THE SCOTTISH BESTIARY SERIES: ‘WILD CAT’, ‘GROUSE’ AND ‘EAGLE’ Etchings, each with accompanying sheet of poetry, unframed 56.5cm x 38cm (22.25in x 15in), full sheet (6)

£300-500

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230 § DAVID HOCKNEY (BRITISH B.1937) PAPER POOLS Signed and dated ‘80 and numbered 453/1000 in pencil, published by Tyler Graphics, Ltd., Mount Kisco, New York, bears blindstamp, on Arches Cover paper, lithograph; Together with ‘Paper Pools’, the accompanying book, signed by the artist in red ink and stamp numbered 453 on the justification, with blue canvas covers and original slipcase 26.5cm x 23cm (10.5in x 9in) (2)

£15,000-20,000

DAVID HOCKNEY - PAPER POOLS Think of David Hockney, and immediately picture the sunshinesoaked, boldly-hued scenes of California homes and swimming pools that he is widely known for. After formative years spent in comparatively dreary Yorkshire, Hockney was immediately captivated by the bold colours and widespread luxury of Los Angeles. Private swimming pools were an extravagance in the U.K., but in the City of Angels, Hockney found them everywhere: he had discovered a subject.

In the resulting series, Paper Pools, Hockney creatively addresses a formal, and paradoxical problem: how to depict the elusive, ever-changing qualities of a body of water, in a flat, stationary, two-dimensional form. There is something conceptually satisfying in such a water-heavy process being used to attempt this. In these works, colour does not sit, it is fused, completely integrated into the medium. Water is the same; light and movement are subsumed into it, and thus its appearance and qualities change.

Paper Pools is a book chronicling a very specific moment in Hockney’s creative process, a short period in 1978 when on route to California from England, he made a de-tour to Tyler Graphics studios in upstate New York, to visit friend and previous collaborator Kenneth Tyler. Here he was introduced to a new medium, the paper pulp process. This involved dyeing wet pulped rags, which were then applied in various ways to recently-created and still wet paper, until they were finally fully pressed and dried; there were opportunities for the artist to manipulate the application of colour at all stages. The result was a cross between paper-making, print-making and painting. Hockney found learning this new technique and its specific restrictions, creatively freeing.

He realised the process could be very conducive to variations on a theme, and the swimming pool and the effects of different lights and movements on the water was captivating him once again - as he swam in and looked at Tyler’s outdoor pool each day.

The beautiful book fully illustrates this process, with a reflective text written by Hockney and accompanied by various illustrations - reference polariods he took of the swimming pool in different lights, line drawings capturing the physical process, reproductions of each work in the series as well as some in-process photographs; of the works still at the wet pulp stage before they were pressed.

There is a vivid sense of the finished product, but also of the process that went into it: physical effort, litres of water, eclectic equipment, artistic imagination and a strong feeling of camaraderie.

To celebrate the publication of the work, Hockney produced a six-colour, hand-drawn lithograph, which he signed and numbered.

It revives his favoured subject, boldly depicting the swimming pool and diving board in strong colours. The gently rippling water is depicted with surface watery, wavy marks, overlaying the deeper, overlapping shadows - there is depth and movement, as Hockney manipulates different effects of lithographic mark-making.

Paper Pools is a celebration of the artistic innovation and imagination of a very particular moment in Hockney’s career, but also an encapsulation of some of the key themes and subjects of his wider oeuvre.

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

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231 § DAVID HOCKNEY (BRITISH B. 1937) OLYMPISCHE SPIELE MUNCHEN, 1972 (BAGGOTT 34) Lithograph, printed by Matthieu, Zurich, published by Edition Olympia 1972 GmbH, Munich, unframed 115cm x 64cm (40in x 20.25in)

£700-1,000

232 § DAVID HOCKNEY (BRITISH B.1937) FIESTA ‘88 (BAGGOTT 178) Offset lithograph, unframed 63cm x 42.5cm (24.75in x 16.75in)

£200-300

233 § TRACEY EMIN (BRITISH B.1963) LOVE IS A STRANGE THING - 2000 Off-set lithograph, 209/250, signed and dated 2000, numbered in pencil verso, unframed 70cm x 53.5cm (27.5in x 21in) Provenance: White Cube, London

£400-600

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234 AGNES MARTIN (CANADIAN/AMERICAN 1912-2004) PAINTINGS & DRAWINGS 1974-1990 (SUITE OF 10) The complete set of 10 lithographs printed in colours, 1991, from the edition of 2500, on vellum transparency paper, printed by Lecturis, Eindhoven and published by Nemela & Lenzen GmbH, Monchengladbach and Stedelijk Museum, Amsterdam, housed within the original grey card portfolio 29.8cm x 29.8cm (11.75in x 11.75in) each (10) Note: This set was published to celebrate the artist’s 1991 retrospective at the Stedelijk Museum in Amsterdam.

£2,500-3,500

235 § DAVID HOCKNEY (BRITISH B.1937) ’LITTLE BOODGE’ POSTER Offset lithograph, published by 1853 Gallery, Salts Mill, Saltaire, Yorkshire, unframed 28cm x 42cm (11in x 16.5in)

£200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

114

236 KEITH HARING (AMERICAN 1958-1990) MONTREUX JAZZ POSTERS (SET OF THREE)

237 KEITH HARING (AMERICAN 1958-1990)

Screenprints, unframed

POSTER FOR UNTITLED (PLAYING BALL), 1988

100cm x 70cm (39.25in x 27.5in) full sheet, each (3)

Offset lithograph, published by teNeues, unframed

£1,000-1,500

80cm x 60cm (31.5in x 23.5in)

£400-600

238 KEITH HARING (AMERICAN 1958-1990) A POSTER FOR UNTITLED (BEST BUDDIES), 1987 Screenprint, published by teNeues, unframed 80cm x 60cm (31.5in x 23.5in)

£500-700

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239 § SIR HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017) ROAD TO RIO - 2016 Screenprint, 124/350, signed with initials, numbered and dated in pencil 75.5cm x 59.5cm (29.75in x 23.5in)

£2,000-3,000

240 § JULIAN OPIE (BRITISH B.1958) WOMAN TAKING OFF MAN’S SHIRT (CRISTEA P.244) Screenprint, 2003, from an unknown edition size, published

by K21 Kunstammlung Nordrhein-Westfalen, unframed 100cm x 60cm (39.25in x 23.5in)

£300-500

END OF CONTEMPORARY & POST-WAR ART SALE Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

117

THE SKI SALE WEDNESDAY 15 JANUARY 2020 Sale Number LT585

Lyon & Turnbull 33 Broughton Place EDINBURGH EH1 3RR

VIEWING Sunday, 12th January 12 noon - 4pm Monday, 13th January 10am - 5pm Tuesday, 14th January 10am - 5pm Morning of Sale by appointment only

CONTACT EDINBURGH +44 (0) 131 557 8844 LONDON +44 (0) 207 930 9115 info@lyonandturnbull.com

TOMKINSON CHURCHER provide independent art advisory services, curate auctions and conduct valuations for private individuals, museums, corporate and institutional collections.

They are recognized for their expertise in Vintage Posters and, as former directors at Christie’s, have over 35 years combined experience within the international art market.

Nicolette Tomkinson Vintage Poster Consultant

Sophie Churcher Vintage Poster Consultant

nicolette.tomkinson@lyonandturnbull.com

sophie.churcher@lyonandturnbull.com

118

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

119

THE ZAHND COLLECTION The Zahnd collection contains important Swiss and European posters from the 1920s to the 1960s, which have remained in the possession of one family for 100 years The collection is owned by Roland and Marie-Louise (Malou) Zahnd, who inherited a large part of it from Marie-Louise’s father, Louis Nicollier, a graphic designer who worked in Switzerland and Belgium during the 20s, 30s and 40s. Nicollier’s network of lithographic printers throughout Switzerland gave him access to a wide array of posters. He was thus able to build up a collection direct from the lithographers and artists themselves, showcasing iconic symbols of Swiss Alpine culture.

Marie-Louise and Roland have since moved to the South of France where Roland continues his artistic work, now creating sculptures and paintings that punctuate their Provencal home. The collection has been stored in their house since the time of acquisition and having been protected from the light is in exceptional condition. Part of the collection (which is not for sale) was given to Malou and Roland’s children and grandchildren, keeping the legacy of their ancestor’s extraordinary careers alive.

His daughter, Marie-Louise and her husband, Roland Zahnd, were able to grow and develop the collection during their careers as graphic designers at some of the major agencies in Switzerland. Their contribution includes formidable mid-century posters with huge graphic impact, further telling the story of graphic design and the expansion of Swiss alpine tourism.

INTERVIEW WITH MARIE-LOUISE AND ROLAND ZAHND: What is your favourite poster ?

Roland - Probably the “Champery” poster which compares the female body to the curves of a ski slope.

I find this a beautiful metaphor.

This poster has followed me throughout my career since it was displayed in my office at Zahnd SA. Malou - It is very difficult for me to pick my favourite - it is my father’s legacy and I like them all. Now, as a graphist, I look at posters for their advertising value and impact.

From that angle The Roger Gallet lipstick poster is a very powerful one.

What is your favourite poster created by another artist?

Roland - I also particularly like the Roger Gallet poster created

by Fritz Buhler. This posters is aesthetically impactful. It is simple yet has an exquisite composition with only a glove, a mouth and a lipstick. It trully is a beautiful poster which also has

an emotional value for me since it was created by my mentor – Fritz Buhler - who had a considerable influence on my own work.

Why sell the collection now?

Malou & Roland: We have already distributed a large part of the collection to our children and grandchildren who each had the opportunity to choose 2 posters of their choice.

Louis’ collection is alive and well in our family. For example, one of our biggest posters is displayed in our grand-daughter’s apartment in London. Yet we cannot display them all, there are too many. We cannot honour them properly. So we hope that Louis’ legacy can be appreciated beyond France, Switzerland or Belgium. It’s a bit of history of post-war Europe, the democratization of tourism and the internationalization of the Swiss Alpine culture.

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241

243

241 ALEX WALTER DIGGELMANN (1902-1987) INTERLAKEN Lithograph, 1946, condition A-; not backed 102cm x 64cm (40in x 25in) Provenance: From the Zahnd Collection

£500-700

242 ALEX WALTER DIGGELMANN (1902-1987) SCHYNIGE PLATTE INTERLAKEN Lithograph, 1932, condition A; not backed, together with ‘Interlaken’ by Koller (2) 102cm x 64cm (40in x 25in) Provenance: From the Zahnd Collection

£500-700

243 PIERRE MONNERAT KANDERSTEG Lithograph, 1948, condition A; not backed 103cm x 64cm (40.5in x 25in) Provenance: From the Zahnd Collection

£300-500 242

121

244

245

244 ERNST RINDERSPACHER (1879-1949) SILS ENGADIN Lithograph, 1944, condition A; not backed 102cm x 64cm (40in x 25in) Provenance: From the Zahnd Collection

£400-600

245 ANONYMOUS SAAS-FEE Lithograph, condition A; not backed 102cm x 64cm (40in x 25in) Provenance: From the Zahnd Collection

£800-1,200

246 A. OE BEX (VAUD), BAINS, SALINS Lithograph, condition A; not backed 100cm x 64cm (39.5in x 25in) Provenance: From the Zahnd Collection

£200-300 246 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

122

247

249

247 FRANCO BARBERIS (1905-1992) KLOSTERS Lithograph, c.1949, condition A-; not backed 102cm x 64cm (40in x 25in) Provenance: From the Zahnd Collection

£400-600

248 ALEX STOCKER (1926-1951) KLOSTERS Lithograph, 1950, condition A; not backed 102cm x 64cm (40in x 25in) Provenance: From the Zahnd Collection

£300-500

249 ALEX WALTER DIGGELMANN (1902-1987) KLOSTERS Lithograph, 1933, condition A; not backed 102cm x 64cm (40in x 25in)

£800-1,200 248

123

250

251

250 MARTIN PEIKERT (1901-1975) CHAMPÉRY Lithograph, 1955, condition A; not backed 100cm x 65cm (39.5in x 25.5in) Provenance: From the Zahnd Collection

£5,000-7,000

251 MARTIN PEIKERT (1901-1975) VILLARS Lithograph, condition A; not backed 100cm x 65cm (39.5in x 25.5in) Provenance: From the Zahnd Collection

£2,000-3,000

252 MARTIN PEIKERT (1901-1975) SCHWEIZ. SKIRENNEN UNTERWASSER Lithograph, 1939, condition A; not backed 100cm x 70cm (39.5in x 27.5in)

£5,000-7,000 252 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

124

253

254

255

256

125

257

258

253

256

WERNER WEISKÖNIG (1907–1982)

AUGUSTO GIACOMETTI (1877-1947)

DAVOS

GRISONS-SUISSE

Offset lithograph, 1936, condition A; not backed

Lithograph 1924, condition A-; not backed

102cm x 64cm (40in x 25in)

90cm x 128cm (50.5x 35.5in)

£1,500-2,000

Provenance: From the Zahnd Collection

£800-1,200

254

257

ALOIS CARIGIET (1902-1985)

FRANCOIS GOS (1880-1942)

GRISONS ENGADINE

HOTELS SEILER, ZERMATT

Lithograph, 1937, condition A-; not backed

Lithograph, 1932, condition B+/A-; backed on linen

102cm x 64cm (40in x 25in)

127cm x 90cm (50in x 35.5in)

Provenance: From the Zahnd Collection

£2,000-3,000

£300-500

255

258

KERN & BOSSARD

FRANCOIS GOS (1880-1942)

DAVOS

ZERMATT

Lithograph, 1949, A-; not backed

Lithograph, 1904, condition A-; backed on linen

102cm x 64cm (39.5in x 25.5in)

95cm x 70cm (41in x 27.5in)

Provenance: From the Zahnd Collection

£2,000-3,000

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

126

259

260

261

262

127

263

264

259

262

ANONYMOUS

HUGO LAUBI (1888-1959)

FLIMS

AROSA

Lithograph, condition A; not backed

Lithograph, 1938, condition A; backed on japan

100cm x 70cm (39.5in x 27.5in)

102cm x 64cm (40in x 25in)

Provenance: From the Zahnd Collection

£1,500-2,000

£400-600

260

263

ALOIS CARIGIET (1902-1985)

ERICH HERMES (1881–1971)

AROSA

WINTER IN DER SCHWEIZ

Lithograph, 1938, condition A; not backed, together with ‘Arosa’ by Rutz (2)

Lithograph, c.1938, condition A; not backed

102cm x 64cm (40in x 25in)

Provenance: From the Zahnd Collection

Provenance: From the Zahnd Collection

£3,000-5,000

99cm x 63cm (39in x 24.5in)

£300-500

261

264

JOHANNES HANDSCHIN (1899-1948)

MARTIN PEIKERT (1901-1975)

FLIMS

GSTAAD

Lithograph, c.1935, condition A-; not backed

Lithograph, 1946, condition A-; not backed

100cm x 70cm (39.5in x 27.5in)

100cm x 65cm (39.5in x 25.5in)

Provenance: From the Zahnd Collection

Provenance: From the Zahnd Collection

£700-900

£3,000-5,000

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

128

265

266

267

268

269

270

271

272

273

129

274

265

268

271

DANIELE BUZZI (1890-1974)

DANIELE BUZZI (1890-1974)

DANIELE BUZZI (1890-1974)

TICINO

LUGANO

LOCARNO

Lithograph, 1943, condition A-; not backed, together with ‘Ascona’ by Anderegg (2)

Lithograph, 1945, condition A-; not backed

Lithograph, 1944, condition A-; not backed

102cm x 64cm (40in x 25in)

100cm x 65cm (39.5in x 25.5in)

102cm x 65cm (40in x 25.5in)

Provenance: From the Zahnd Collection

Provenance: From the Zahnd Collection

Provenance: From the Zahnd Collection

£300-500

£200-300

266

269

272

OTTO BAUMBERGER (1889-1961)

ETIENNE CLARC

MARGUERITE STEINLEN (1893–1982)

SPIEZ

THUN

LAUSANNE OUCHY

Lithograph, 1938, condition B+; not backed

Lithograph, condition A; not backed

Lithograph, 1938, condition A; not backed

100cm x 65cm (39.5in x 25.5in)

99cm x 70cm (39in x 27.5in)

100cm x 65cm (39.5in x 25.5in)

Provenance: From the Zahnd Collection

Provenance: From the Zahnd Collection

Provenance: From the Zahnd Collection

£200-300

£200-300

£300-500

267

270

273

MARTIN PEIKERT (1901-1975)

ARMIN BIEBER (1892–1970)

A. WILLI

GRAUBÜNDEN

LÖTSCHBERG

LENZERHEIDE

Lithograph, c.1930, condition A-; not backed

Lithograph, 1939, condition A; not backed

Offset lithograph, condition A; not backed

90cm x 128cm (50.5in x 35.5 in)

102cm x 64cm (40in x 25in)

102cm x 64cm (40in x 25in)

Provenance: From the Zahnd Collection

Provenance: From the Zahnd Collection

Provenance: From the Zahnd Collection

£200-300

£200-300

£300-500

£200-300

274 WILHELM FRIEDRICH BURGER (1882-1964) JUNGFRAUBAHN Lithograph, 1914, condition B; backed on linen 92cm x 124cm (36in x 49in)

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

130

275

277

276

278

131

279

280

275

278

FRANCO BARBERIS (1905-1992)

MARTIN PEIKERT (1901-1975)

ST MORITZ (SKIRENNEN)

PONTRESINA

Lithograph, 1948, condition A; not backed 102cm x 64cm (40in x 25in)

Lithograph, 1946, condition A; not backed, together with another ‘Pontresina’ poster by Peikert (2)

£600-800

100cm x 65cm (39.5in x 25.5in) Provenance: From the Zahnd Collection

£200-300

276

279

MARTIN PEIKERT (1901-1975)

HANS THONI (1906-1980)

PONTRESINA

JUNGFRAU JOCH

Lithograph, condition A; not backed

Lithograph, c.1930, condition A-; not backed

100cm x 65cm (39.5in x 25.5in)

98cm x 68cm (38.5in x 27in)

Provenance: From the Zahnd Collection

Provenance: From the Zahnd Collection

£300-500

£300-500

277

280

HUGO LAUBI (1888-1959)

EMIL CARDINAUX (1877-1936)

ST MORITZ

L’HIVER EN SUISSE

Lithograph, 1952, condition A; not backed

Lithograph, 1921, condition B+; backed on linen

102cm x 64cm (40in x 25in)

92cm x 64cm (36in x 25.5in)

£700-900

£7,000-9,000

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

132

281

283

281 HERBERT LEUPIN (1916-1999) GRINDELWALD Lithograph, 1946, condition A-; not backed 102cm x 64cm (40in x 25in) Provenance: From the Zahnd Collection

£200-300

282 HANS LOOSER (1897–1984) TOGGENBURG Lithograph, 1932 condition A-; not backed 127cm x 90cm (50in x 35.5in)

£1,000-1,500

283 HUGO LAUBI (1888-1959) ZWEISIMMEN, BERNER OBERLAND Lithograph, 1945, condition A; not backed 100cm x 65cm (39.5in x 25.5in) Provenance: From the Zahnd Collection

£200-300 282 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

133

284

285

284 ALFRED WIDMER OSTSCHWEIZ. SKIRENNEN ST. GALLEN Lithograph, 1939 condition A; not backed 102cm x 64cm (40in x 25in)

£1,000-1,500

285 OTTO BAUMBERGER (1889-1961) FIRN ICE CREAM Lithograph, 1925, condition B+; backed on japan, framed 127cm x 90cm (50in x 35.5in)

£2,500-3,500

286 ANONYMOUS CHOCOLATS, LINDT & SPRUNGLI Offset lithograph, condition A-; not backed, together with four other chocolate advertising posters (5) 61cm x 45cm (24in x 17.5in) Provenance: From the Zahnd Collection

£300-500 286

134

287

288

287

290

EDWARD MCNIGHT KAUFFER (1890-1954)

JULES GLASER

ENO’S “FRUIT SALT”

BINACA

Lithograph, 1924, condition B+; not backed, together with one other ‘Eno’s’ poster (2)

Lithograph, 1947, condition A-; not backed

76cm x 50cm (30in x 20in)

Provenance: From the Zahnd Collection

Provenance: From the Zahnd Collection

£200-300

128cm x 90cm (50.5in x 35.5in)

£600-800

288

291

EDWARD MCNIGHT KAUFFER (1890-1954)

FRITZ BUHLER (1909–1963)

ENO’S “FRUIT SALT”

ROGER & GALLET

Lithograph, 1924, condition A-; not backed

Lithograph, 1941, condition A-; not backed

76cm x 50cm (30in x 20in)

128cm x 90cm (50.5in x 35.5in)

Provenance: From the Zahnd Collection

Provenance: From the Zahnd Collection

£600-800

£800-1,200

289

292

HERBERT LEUPIN (1916-1999)

HERBERT LEUPIN (1916-1999)

DIE WELTWOCHE

TELEPHONIEREN

Lithograph, 1949, condition A-; not backed

Lithograph, 1941, condition A-; not backed

128cm x 90cm (50.5x 35.5in)

128cm x 90cm (50.5in x 35.5in)

Provenance: From the Zahnd Collection

Provenance: From the Zahnd Collection

£300-500

£400-600

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

135

289

291

290

292

136

293

294

295

296

137

297

298

299

293

296

299

DICK BRUNA (1927-2017)

RICX

GEORGES S DORIVAL (1879-1968)

MIFFY

SCHAUB RADIO

VERS LE MONT-BLANC

Lithograph, 1963, condition A; not backed

Lithograph, 1932, condition A-; not backed

61cm x 39cm (24in x 15.5in)

74cm x 54cm (29in x 21.5in)

Lithograph, 1928, condition A; backed on linen

£600-800

Provenance: From the Zahnd Collection

104cm x 75cm (41in x 29in)

£200-300

£1,800-2,200

294

297

ROLAND ZAHND

GEORGES S DORIVAL (1879-1968)

MONTRES ET BIJOUX, LE DIAMANT GENEVE

VERS LE MONT-BLANC

Silkscreen, 1960, condition B+/A-; not backed, together with ‘Votez Liberal’ and ‘Loterie Romand’ by Zahnd (3)

Lithograph, 1928, condition A; backed on linen

128cm x 90cm (50.5in x 30.5in)

£1,800-2,200

104cm x 75cm (41in x 29in)

Provenance: From the Zahnd Collection

£300-500

295

298

ROLAND ZAHND

GEORGES S DORIVAL (1879-1968)

ALFA ROMEO RALLYE

VERS LE MONT-BLANC

Silkscreen, 1961, condition A; not backed 70cm x 50cm (27.5in x 19.5in)

Lithograph, 1928, condition A; backed on linen

Provenance: From the Zahnd Collection

104cm x 75cm (41in x 29.5in)

£200-300

£1,800-2,200

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

138

300

302

300 ANONYMOUS LA PLAGNE Lithograph, c.1970, condition A; backed on linen 70cm x 49cm (27.5in x 19.5in)

£500-700

301 ANONYMOUS LE MONT-BLANC, CHAMONIX Lithograph, 1913, condition A-; backed on linen 106cm x 78cm (42in x 30.5in)

£700-900

302 M CARABIN (PHOTO) VAL D’ISERE Offset lithograph, 1954, condition A-; backed on linen 60cm x 39cm (24in x 15.5in)

£300-500

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

139

303

304

303 H CHAUFFARD LE MARKSTEIN Lithograph, c.1930, condition A-; backed on linen, framed 99cm x 61cm (39in x 24in)

£1,200-1,800

304 RENE MICHAUD MÉGÈVE Lithograph, 1933, condition A; backed on linen 98cm x 62cm (38.5in x 24.5in)

£3,000-5,000

305 ED KEELEY CHAMONIX Lithograph, condition A-; backed on linen, framed 100cm x 62cm (39.5in x 24.5in)

£2,000-3,000

305

140

306

307

HAZZA

ATELIER BINDER

MACUGNAGA

WINTER IN AUSTRIA

Lithograph, 1933, condition B+; backed on linen

Lithograph, condition A-; backed on linen

99cm x 70cm (39in x 27.5 in)

94cm x 70cm (37in x 24.5in)

£500-700

£1,500-2,000

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

141

308

309

MARIO BONILAURI (1911-1988)

FRANZ LENHART (1898-1992)

VII OLYMPISCHE WINTER SPIELE, CORTINA D’AMPEZZO

ITALIE

Lithograph, 1956, condition B+, backed on linen 100cm x 69cm (39in x 27in)

Lithograph in colours, condition B+; backed on japan, framed 99cm x 61cm (39in x 24in)

£3,000-5,000

£2,000-3,000

END OF SALE

142

CONTEMPORARY & POST-WAR ART AUCTION 16 APRIL 2020 AT 11AM IN EDINBURGH

Entries invited until Thursday 05 March.

To enquire please contact Carly Shearer carly.shearer@lyonandturnbull.com +44 (0) 131 557 8844

GUY GLADWELL (BRITISH 1946-2014) £800-1,200

143

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.

CREDIT OR DEBIT CARDS Payment can be made by Visa Debit, Maestro, Mastercard or Visa Credit cards.

ONLINE CARD PAYMENTS We no longer accept card payments by phone.

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.

144

CONDITIONS OF SALE

19.2

FOR BUYERS (UK)

extent provided below.

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.

(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.

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

(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.

145 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.

C. DURING THE SALE 1. ADMISSION TO OUR AUCTIONS

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.

6. CURRENCY CONVERTER

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.

8. RELEVANT LEGISLATION

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.

D. THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY 1. THE PURCHASE PRICE

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.

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. (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. SELLER’S WARRANTIES

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.

146 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 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

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:

(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

(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;

(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.

(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;

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:

(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.

(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

F. PAYMENT

(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

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

147 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 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.

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.

“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

19.2

148

ARTIST INDEX Ackroyd, Norman 209

Clark, Geoffrey 212

Adamson, Crawfurd 125

Cocteau, Jean 227

Adler, Jankel 59, 60

Colquhoun, Robert 25, 30

Aitchison, Craigie 51

Couet, Daniel 222

Alechinsky, Pierre 183

Crosbie, William 114, 224

Annand , Louise 203

Crowe, Victoria 64, 144

Aschenbrenner, Lennart

Cunningham, John 107

24

Currie, Ken 45, 127, 226

Ball, Adam 197

Dahoul , Safwan 47

Balmer, Barbara 101

Davie, Alan 77, 160

Barns-Graham,

Derain, Andre 61

Wilhelmina

Dingwall, Kenneth 220

157, 159,

202

Doig, Peter 121

Bawden, Edward 71, 72,

Douthwaite, Patricia

73, 74

49, 50

Bellany, John 12, 16, 38,

Emin, Tracey 233

44, 58, 86, 118, 164, 199,

Faught, Josh 178

213, 229

Fedden, Mary 137

Bennett, Terence 188

Fernandez De Rodrigo,

Blackadder, Elizabeth 19,

Emiliano 172

109, 147, 228

Finlay, Ian Hamilton 93,

Bond, Marj 3

201, 204, 215

Boshier, Derek 195

Forrest, Archie 40, 42

Bosis, Stefano 181

Friedlaender, Johnny 6

Botman, Machiel 168

Frood, Millie 138, 155

Boyd, Jamie 163, 206

Gallagher, Mary 39

Braque, Georges 62, 198

Gardiner Crawford, John

Byrne, John 26, 27, 28,

116

89, 149

Gear, William 156, 158,

Cairns, Joyce 217, 218,

221

225

Gillies, Sir William George

Carstensen, Claus 148

119

Cern, Tadao 177

Gladwell, Guy 0, 0

Chagall, Marc 112

Goldsworthy, Andy 94, 95

Cheyne, Ian 78

Gonzalez Fernandez, Roberto 129

Green, Amy 175

Mccance, William 154,

Redfern, June 17

Gutierrez, Brantley 191

219

Redpath, Anne 111

Hammond, John 99

Mccartney, Clive 105,

Riches, Lizzie 2

Hanna, Nael 133, 134

106

Riefenstahl, Leni 97

Haring, Keith 236, 237,

Mcclure, David 1

Robinson, Markey 123

238

Mcfadden, Frank 153

Rodger, Willie 84, 85

Hawkins, James 18

Mcglashan, Barry 207

Rossi, Carlo 81

Heymann, Kerstin 75

Mcknight Kauffer, Edward

Rothenstein, Michael 22

Hitchens, Ivon 115

287, 288

Rowlands, John R. 167

Hockney, David 230, 231,

Mclean, Bruce 31

Ryder, Sophie 87

232, 235

Mclean, John 223

Schiller, Lawrence 166,

Hodgkin, Sir Howard 33,

Mcnaught, James 80

170

239

Mcrae, Jennifer 200

Schofield, David 135, 136

Houston, John 13, 41

Melgaard, Bjarne 173

Schotz, Benno 130

Howson, Peter 124, 151,

Michie, David 68, 69,

Senior, William 9

152

102, 113

Spencer, Sir Stanley 216

Ischiuchi, Miyako 169

Mitchell, Gordon K. 15

Squire, Geoffrey 10

Kamm, Richard 142

Mitchell, Peter Todd 5

Strindberg, Madeleine

Kawachi, Seiko 79

Moore, Henry 20

108

King, Peter 56

Morrison, James 146,

Sutherland, Graham 11

Knox, Jack 139

162, 208

Takriti , Khalid 196

Kondracki, Henry 66

Morrocco, Leon 4, 143

Thöni, Hans 279

Kopec, Eliza 185

Morton, Victoria 0, 194

Tilson, Joe 150

Krinzinger, Angelika 186

Munch , Edvard 122

Tsuchigahata, Daisuke

Leclef, Guy 189, 190

Norrington, Claire 140,

171

Lichtenstein, Roy 180

141

Turk, Gavin 179

Low, Bet 88, 98, 205

Opie , Julian 240

Turner, Helen M. 65

Lowrie Morrison (Jolomo),

Orabi, Mohannad 46

Uglow, Geoff 120

John 36, 55, 57

Paolozzi, Eduardo 29, 211

Warhol, Andy 0, 21

Lucebert 174

Parker, Cornelia 35

Warrilow, David 126

Maclaurin, Robert 117

Peikert, Martin 267

Watt, Alison 90, 91, 92

Maclean, Will 43

Petri, Annemarie 187

White, John Henry 131

Maillol, Aristide 63

Pettibon, Raymond 176

Willsdon, Dominic 82

Martin, Agnes 234

Philipson, Sir Robin 145

Wishart, Sylvia 100

Martin, David Mcleod 14,

Picasso, Pablo 23, 52, 53,

Wither, Kirsty 67

76, 104, 110

54, 210, 214

Wolmark, Alfred 7, 8

Martin, John B. 128

Pirhashemi, Afshin 48

Wyckaert, Maurice 182

Matta, Roberto 184

Rae, Barbara 161

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 Attributed to…

In our opinion probably a work by the artist in whole or in part Studio of… / Workshop of…

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

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

Follower of…

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

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

Manner of…

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

CHARLES OPPENHEIMER Lot 31

LO NDO N | E D IN BURGH | GLA S GO W LYON AN DTUR N BULL .C OM