Contemporary & Post-War Art | Auction 16th April by Lyon & Turnbull

16TH APRIL 2020 EDINBURGH

CONTEMPORARY & POST-WAR ART THURSDAY 16 APRIL 2020 AT 11AM Sale Number LT595

Lyon & Turnbull 33 Broughton Place EDINBURGH EH1 3RR

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

Lot 54 [modified]

VIEWING STRICTLY BY APPOINTMENT FROM THURSDAY 09 APRIL

Left:

In order to allow clients the opportunity to view in our saleroom in Edinburgh we are offering viewing by appointment for this auction.

Cover:

Lot 57 [detail]

Catalogue Â£15

Should you wish to make an appointment please call us on 0131 557 8844 or email info@lyonandturnbull.com. We are continually monitoring the situation with regards to public viewing and arrangements may change.

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

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

1§ DAVID MCLEOD MARTIN R.S.W., R.G.I., S.S.A (SCOTTISH B.1922) THE OIL LAMP Signed, oil on canvas 76cm x 76cm (30in x 30in)

£1,000-1,500

2§ ANDA PATERSON R.S.W., R.G.I (SCOTTISH B.1935) TOLEDAN WOMAN Signed and dated ‘73, mixed media on board 29cm x 20.5cm (11.25in x 8in) Exhibited: ‘Christmas Exhibition - 1973,’ The Scottish Gallery, Edinburgh

£300-500

3§ 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) BYZANTINE INTERIOR VI Signed and inscribed verso, oil on board 29cm x 56cm (11.5in x 22in) 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

4§ JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) WOMAN AND BIRD ON THE COAST Signed, pencil and watercolour 74cm x 54cm (29in x 21.25in)

£2,000-3,000

5§ WILLIAM GEAR R.A., R.S.A., R.B.S.A. (SCOTTISH 1915-1997) UNTITLED - 1975 Signed and dated, acrylic on paper 46cm x 58cm (18in x 22.75in)

£800-1,200

6§ PETER MCLAREN (SCOTTISH B.1964) CODONA Mixed media on paper 35cm x 52cm (13.75in x 20.5in)

£600-800

7§ GLEN SCOULLER R.S.W., R.G.I. (SCOTTISH B.1950) PROMENADE L’APRESMIDI, LA GAUDE Signed, oil on canvas 91cm x 102cm (36in x 40in)

£1,500-2,000

8§ BARBARA RAE R.A., R.S.A., R.S.W. (SCOTTISH B.1943) IANO - AUTUMN, 1995 Colour etching, A/P, signed, titled and editioned in pencil to margin 60cm x 80cm (23.5in x 31.5in), full sheet

£300-500

9§ MARY FEDDEN O.B.E., R.A. (BRITISH 1915-2012) OPPEDE LE VIEUX Lithograph, signed in pencil to margin, numbered 61/150, embossed with Curwen Chilford Studio stamp 27cm x 36cm (10.75in x 14.25in)

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

10 § ALEXANDER GOUDIE (SCOTTISH 1933-2004) BRITTANY VIEW Signed, watercolour 62cm x 87cm (24.5in x 34.25in)

£1,500-2,000

11 § DAVID MICHIE R.S.A., R.G.I., F.R.S.A (SCOTTISH 1928-2015) SPRINGTIME LANDSCAPE, IBIZA Signed, oil on canvas 90cm x 125cm (35.5in x 49.25in)

£1,000-1,500

12 § BET LOW A.R.S.A., R.S.W., R.G.I. (SCOTTISH 1924-2007) WINTER LANDSCAPE Signed, watercolour 45cm x 48cm (17.75in x 19in) Exhibited: Royal Scottish Academy Exhibition, 1978

£300-500

13 § GORDON MITCHELL R.S.W., R.S.A., R.G.I. (SCOTTISH B.1952) SIX GO TO MALLORY Signed and dated ‘84, oil on canvas 80cm x 97.5cm (31.5in x 38.5in)

£2,000-3,000

14 § SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916-1992) MEN OBSERVED 111 Dated 1981 on label verso, watercolour 68.5cm x 102cm (27in x 40in)

£1,500-2,000

15 § DAVID HOCKNEY O.M., C.H., R.A. (BRITISH B.1937) OLYMPISCHE SPIELE MUNCHEN, 1972 (BAGGOTT 34) Lithograph, printed by Matthieu, Zurich, published by Edition Olympia 1972 GmbH, Munich, unframed 102cm x 64cm (40in x 25.25in), full sheet

£700-1,000

16 § DAVID TINDLE (BRITISH B.1932) MOTHER AND CHILD - REST AND FEED Signed, titled and dated ‘06 verso, acrylic on board 39cm x 48.5cm (15.25in x 19in)

£1,000-1,500

17 § WILLIAM SCOTT C.B.E., R.A. (BRITISH 1913-1989) BLUE STILL-LIFE - 1975 Lithograph, inscribed and dated in plate 56.5cm x 76cm (22.25in x 30in), image size

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

18 § JOHN LOWRIE MORRISON (JOLOMO) O.B.E. (SCOTTISH B.1948) HARVEST MOON Signed and dated 2000, oil on board 74cm x 74cm (29in x 29in)

£3,000-5,000

19 § JOHN LOWRIE MORRISON (JOLOMO) O.B.E. (SCOTTISH B.1948) WINDY DAY, CRINAN CANAL Signed and dated ‘97, signed and inscribed to backboard, oil on board 29cm x 29cm (11.5in x 11.5in)

£1,000-1,500

20 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) HARBOUR SCENE Signed, oil on canvas 91cm x 121.5cm (35.75in x 47.75in)

£6,000-8,000

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

21 § LAURENCE STEPHEN LOWRY (BRITISH 1887-1976) THE CONTRAPTION Lithograph, from the edition of 750, signed in pencil to margin 34.5cm x 31cm (13.5in x 12.25in)

£1,000-1,500

22 § ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH B.1931) PAPHIOPEDILUM INSIGNE MAUDIAE COLOURATUM Etching and aquatint, A/P, signed and editioned in pencil to margin, titled in plate 60cm x 45.5cm (23.5in x 18in), plate size

£300-500

23 § ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH B.1931) ORCHIDACEAE PAPHIOPEDILUM SANDERIANUM Etching and aquatint, H/C, signed and editioned in pencil to margin, unframed 63.5cm x 51cm (25in x 20in), full sheet

£300-500

24 § ADRIAN HEATH (BRITISH 1920-1992) UNTITLED - 1967 Signed and dated ‘67, mixed media 54.5cm x 74.5cm (21.5in x 29.25in)

£2,000-3,000

25 § HENRY MOORE O.M., C.H (BRITISH 1898-1986) SEATED FIGURE HOLDING A GLASS Lithograph, S/P, from the edition of 50, signed and editioned in pencil to margin, unframed 20cm x 26cm (8in x 10.25in)

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

26 § CHRISTINE BORLAND (SCOTTISH B.1965) THE HISTORY OF PLANTS ACCORDING TO WOMEN, CHILDREN AND STUDENTS Set of 10 etchings, 2002, each signed, dated and numbered in pencil to margin, unframed (10) each 61cm x 47cm (24in x 18.5in), full sheet

£800-1,200

CHRISTINE BORLAND The History of Plants According to Women, Children and Students sequence of etchings comes from a series of hand-coloured woodcuts from the sixteenth century illustrated herbal Significant Notes of The History of Plants, written by Leonard Fuchs. This book is the earliest work on plants which can properly be called scientific and it strongly influenced the course of both medicine and botany.

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

During research at the Glasgow University Library, Christine Borland came across a copy of the work that had been annotated by the Scottish vicar Mark Jameson, the Rector’s Deputy at the university in the 1550’s. Jameson had a special interest in medicinal herbs, and it seems that he planned to establish a Physic Garden near the university. His planting list included those known to affect the female reproductive system, and his notes mark out plants thought at the time to be ‘ecbolic’, meaning they stimulate uterine contractions. The ten plants depicted in these etchings were therefore believed at the time to be dangerous - or useful - with the potential to induce miscarriage.

27 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) UNTITLED OG.4422 - 2013 Signed and dated 2013, watercolour 20cm x 28cm (8in x 11in) Provenance: Gimpel Fils, London

£1,000-1,500

28 § ANDRE BEAUDIN (FRENCH 1895-1979) NUDE WITH YELLOW Colour lithograph, 1961, printed by Mourlot Freres atelier, and published by Editions Verve, unframed and six further lithographs from the same series (7) 29cm x 21.5cm (11.5in x 8.5in), full sheet

£500-700

29 § DAVID DONALDSON R.S.A., R.P., L.L.D (SCOTTISH 1936-1996) BROKEN BRIDGE, BALMAHA Signed, pastel 24cm x 31.5cm (9.5in x 12.5in) Exhibited: ‘David Donaldson Festival Exhibition, 1982,’ The Scottish Gallery, Edinburgh

£400-600

30 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) WOMAN OF THE MEDITERRANEAN SEA Signed, ink and wash 55cm x 47cm (21.75in x 18.5in)

£800-1,200

31 § ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH B.1931) TOBY Etching and aquatint, P/P, signed, titled and editioned in pencil to margin, unframed 50cm x 56.5cm (19.75in x 22.25in), full sheet

£400-600

32 § ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH B.1931) BLACK CAT ON ORANGE BED Etching and aquatint, P/P, signed and editioned in pencil to margin, unframed 50cm x 56cm (19.75in x 22in)

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

33 § COLIN MIDDLETON M.B.E. (IRISH 1910-1983) CARNMONEY - 1948 Signed, inscribed, numbered ‘36’ and dated ‘September 1948’, oil on canvas 25.5cm x 35.5cm (10in x 14in) Provenance: Collection of Dr. Virginia Glenn.

£2,000-3,000

34 § JAMES MORRISON R.S.A., R.S.W., L.L.D. (SCOTTISH B.1932) WOODED LANDSCAPE With artist’s label verso, oil on board 23cm x 71cm (9in x 28in)

£700-1,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

35 § JAMES MORRISON R.S.A., R.S.W. (SCOTTISH B.1932) WINTER SEA Signed and dated 1979, oil on board 78cm x 108cm (30.75in x 42.5in) Provenance: Purchased by Arthur Andersen Insurers from Thackeray Gallery, London, 1979; Sotheby’s Gleneagles, 2003; Private Collection, Scotland

£2,000-3,000

36 § FREDERICK GORE C.B.E., R.A. (BRITISH 1913-2009) WINTER, CLEMENT’S REACH, MEOPHAM, KENT Signed, inscribed on the stretcher verso and dated 1982, oil on canvas 76cm x 102cm (30in x 40in)

£2,000-3,000

37 § SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916-1992) TWO PIGEONS Signed and dated ‘53, oil on board 34.5cm x 42cm (13.5in x 16.5in) Exhibited: Scottish Gallery, 1954, no.37

£600-800

38 § FRED CRAYK (SCOTTISH B.1952) SCHEME - 1992 Signed and dated, with artist’s address label verso, oil on canvas 91.5cm x 106.5cm (36.25in x 42in)

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

39 § DONALD URQUHART (SCOTTISH B.1963) UNTITLED (MEMORIAL) Oil and collage on canvas 198cm x 198cm (78in x 78in)

£800-1,200

40 § DAVID SAWYER (BRITISH B.1961) SNOW ON THE DOWNS, NEAR WARLINGHAM Signed, oil on board 16.5cm x 24cm (6.5in x 9.5in) Provenance: Panter & Hall, London

£400-600

41 § CRAIG MULHOLLAND (SCOTTISH B.1969) STILL-LIFE WITH PEACHES -1993 Signed with initial, oil on board 59cm x 59cm (23.25in x 23.25in) Exhibited: ‘Craig Mulholland - New Paintings,’ 1993, The Scottish Gallery, Edinburgh

£500-700

42 § GUY GLADWELL (BRITISH 1946-2014) STANDING NUDE Signed and dated ‘89, oil on canvas 111cm x 67.5cm (43.75in x 26.5in)

£700-900

43 § IAN MCWHINNIE (SCOTTISH CONTEMPORARY) SIENNA Signed, oil on board 25cm x 20cm (10in x 8in)

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

44 § JOYCE CAIRNS P.R.S.A., R.S.A., R.S.W., M.A. (R.C.A.) (SCOTTISH B.1947) POT OF TEA FOR ONE Mixed media on paper 111cm x 81cm (43.75in x 31.75in)

£600-800

45 § JOE TILSON R.A. (BRITISH B.1928) JAN PALACH - 1969 Screenprint with further print affixed with two large paperclips, 72/200, signed, dated and editioned in pencil, unframed 66cm x 53cm (26in x 20.75in), full sheet

£300-500

46 § BARBARA RAE R.A., R.S.A., R.S.W. (SCOTTISH B.1943) PORTNAHALLY SEA -2002 Monotype, signed and titled in pencil 21.5cm x 27.5cm (8.5in x 10.75in), image size Exhibited: ‘Barbara Rae - an tlarthar - the West,’ The Scottish Gallery, Edinburgh - November 2003.

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

47 § JAMES CUMMING R.S.A., R.S.W. (SCOTTISH 1922-1991) ST. ABB’S FISHERMEN Signed, oil on board 59cm x 59cm (23.25in x 23.25in) Exhibited: ’James Cumming Exhibition’ October 1984, MacAulay Gallery, East Lothian

£1,000-1,500

48 § NORMAN KIRKHAM R.G.I. (SCOTTISH B.1936) STILL LIFE WITH PERSIMMONS Signed, artist’s address label verso, oil on canvas 119cm x 89cm (46.75in x 35in)

£1,000-1,500

49 § GORDON MITCHELL R.S.W., R.S.A., R.G.I. (SCOTTISH B.1952) CYCLES OF THE MOON Signed and dated ‘90, titled verso, oil on canvas 81cm x 102cm (32in x 40.25in) Provenance: Purchased directly from the artist.

£2,000-3,000

50 § JOHN HOUSTON R.S.A., R.S.W., S.S.A (SCOTTISH 1930-2008) THE BLUE DRESS Signed, watercolour 12.5cm x 8.5cm (5in x 3.25in) Exhibited: ‘Cabinet Paintings,’ August 2001, Compass Gallery, Glasgow.

£400-600

51 § JOHN PIPER C.H. (BRITISH 1903-1992) EYE AND CAMERA: GREY AND BLUE - 1972 Screenprint, A/P, signed and editioned in pencil to margin 50.5cm x 69.5cm (20in x 27.25in), image size

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

52 § THE CONNOR BROTHERS (BRITISH B.1968) EVERY SAINT HAS A PAST AND EVERY SINNER HAS A FUTURE - 2020 Screenprint, 40/50, signed, numbered and dated in pencil to margin, unframed 75cm x 50cm (29.5in x 19.75in), full sheet

£600-800

53 § DAVID SHRIGLEY O.B.E. (BRITISH B.1968) LIGHT SHOWER - 2017 Linocut, 5/100, signed with initials, dated and numbered in pencil, unframed 75.5cm x 55.5cm (29.75in x 22in), full sheet

£1,200-1,800

54 § BOB AND ROBERTA SMITH O.B.E., R.A. (BRITISH B.1963) MAKE ART NOT WAR - 2005 Screenprint, no. 77, signed, dated and numbered in red ink, unframed 91cm x 62cm (35.75in x 24.5in), full sheet

£250-350

55 § ALASDAIR GRAY (SCOTTISH 1934-2019) THE BEAST IN THE PIT - 1952 Ink and watercolour 76cm x 51.5cm (30in x 20.25in) Literature: Illustrated in A Life in Pictures, p.32 Provenance: A Private Collection, Glasgow

£2,000-3,000

ALASDAIR GRAY Alasdair Gray was a Scottish writer and artist, described by The Guardian as ‘the father figure of the renaissance in Scottish literature and art which began in the penultimate decade of the 20th century.’ Born in Glasgow in 1934, Gray studied Design and Mural Painting at Glasgow School of Art from 1952-57. In art school, he was given the prompt to create a picture with the subject of ‘washing day with minimum of three figures.’ Initially uninspired by this generic topic, he found his muse in a Glasgow lane shaded by tenement buildings. A courtyard with a high hanging washing line and a half-withered hawthorn tree were to be the foundation for The Beast in the Pit (right). The objects in the drawing- the three figures, three cats, three washing tubs, three close entries- are designed to draw the eye around the nearly symmetrical view. The main lines give an illusion of a traditional perspective but, in actuality, the work has two or three vanishing points, and the figures cast no shadow. At the GSA, Gray was said to have ‘immediately impressed both his teacher and fellow students with fantastic, even visionary, projects’ (The Guardian), and The Beast in the Pit was at the forefront of this. While he eventually achieved recognition for his artistic talents, Gray’s best-known work is his first novel Lanark, published in 1981, which was written over a period of almost 30 years. Now a classic, Lanark has been described as ‘one of the landmarks of 20th-century fiction,’ inspiring the next generation of Scottish authors. Gray also wrote on politics, in support of socialism and Scottish independence, and this theme is similarly reflected in his artwork. While his written works combine elements of realism, fantasy and science fiction, he blended them with a clever use of typography and his own illustrations.

In past interviews, Gray described writing as draining, while painting was ‘an invigorating physical activity that gave him energy’ (p.129, Rodge Glass). Using his recognisable style of strong lines and highimpact graphics, he self-illustrated his books and poems. From the Soul’s Proper Loneliness (lot 59), for example, is one of five prints which both lavishly illustrate and give depth to the text of Gray’s poems. This lot is the original version from 1955, while there is a later collage version from 1965 and a coloured version from 2007. Gray’s The Faust Legend (lot 57) is another work that showcases his witty and bold graphic style. The scene is a chaotic one, which finds its origins in the original painting by Rembrandt, c. 1652, of the same name. In Rembrandt’s work, a scholar is transfixed by an orb of light that holds a secret code. In Gray’s version, all the knowledge of life swirls around this incredibly detailed work, intertwining symbols of death, love and the human experience. Gray has said that the figure of Faust ‘is an idealised version of me, busily introspecting’- (p.70, A Life in Pictures). As the original tracing cloth has been lost, only a few dyeline prints and photocopies of this work exist. However, as The Guardian proclaimed, ‘A peculiarity of Gray’s graphic work is that it sometimes appears at its best in reproduction.’ From 1977-78, Gray worked as Glasgow’s official artist recorder, painting portraits and streetscapes for the People’s Palace Local History Museum. He was constantly inspired by the people and places of Glasgow and often drew his friends and their families, like Portrait of Katey (lot 56). Gray also undertook several mural commissions across the city, including a 40ft mural for the entrance hall of Hillhead subway station in the West end of Glasgow and the mural decoration of Oran Mor, an arts centre on Glasgow’s Byres Road. As Glasgow had a lasting impression on Gray and his artwork, so too did he on Glasgow. Gray is remembered by those who knew him, as well as those who did not, for his ‘benignly nutty professor’ persona, with ‘thick spectacles and haywire hair.’ Over the course of his life, his work has been widely exhibited across Scotland and is currently held by several important international collections.

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

56 § ALASDAIR GRAY (SCOTTISH 1934-2019) PORTRAIT OF KATEY With a personal inscription verso, ink and watercolour 51cm x 63.5cm (20in x 25in) Provenance: A Private Collection, Glasgow

£1,000-1,500

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

57 § ALASDAIR GRAY (SCOTTISH 1934-2019) THE FAUST LEGEND Lithograph 58cm x 58cm (22.75in x 22.75in) Literature: Illustrated in A Life in Pictures, p.70 Provenance: A Private Collection, Glasgow

£500-700

58 § ALASDAIR GRAY (SCOTTISH 1934-2019) THE WISE MAN - 1995 Woodcut, signed and inscribed ‘With Love to Katie,’ signed and dated in print 61cm x 41cm (24in x 16.25in) Provenance: A Private Collection, Glasgow

£400-600

59 § ALASDAIR GRAY (SCOTTISH 1934-2019) FROM THE SOUL’S PROPER LONELINESS LOVE AND AFFECTION SEEM . . . Mixed media on card with sgraffito 24cm x 14.5cm (9.5in x 5.75in) Literature: Illustrated in A Life in Pictures, p.67 Provenance: A Private Collection, Glasgow

£300-500

60 § MARK DEMSTEADER (BRITISH B.1963) ALEX SMALL STUDY Signed with initials, signed and titled to artist’s label verso, oil on canvas laid on board 28.5cm x 23.5cm (11in x 9.25in)

£400-600

61 § STUART MACKENZIE (SCOTTISH B.1959) ARC AND BEACH DEFENCE Signed and dated 1990 verso, oil on board 45cm x 44.5cm (17.75in x 17.5in)

£400-600

62 § STUART MACKENZIE (SCOTTISH B.1959) WINDMILL Signed and dated 1990 verso, oil on board 45cm x 44.5cm (17.75in x 17.5in)

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

63 § STUART MACKENZIE (SCOTTISH B.1959) MAN IN DARKNESS - 1990 Signed and dated to stretcher, titled to label verso, oil on canvas 154cm x 92.5cm (60.5in x 36.5in)

£800-1,200

64 § MARK DEMSTEADER (BRITISH B.1963) ALEX SEATED WITH HEAD TURNING Signed with initial, signed and titled to artist’s label verso, oil on canvas 90.5cm x 90.5cm (35.5in x 35.5in)

£800-1,200

65 § ARCHIE WEBB (SCOTTISH 1963-2005) SEVEN YEAR ITCH Bronze sculpture 72cm x 53cm (28.25in x 20.75in)

£500-700

66 § NICHOLAS MAY (BRITISH B. 1962) UNTITLED, 1989 Signed and inscribed verso, mixed media on canvas 46cm x 91.5cm (18in x 36in)

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

67 § THE CONNOR BROTHERS (BRITISH B.1968) PRIDE IN PREJUDICE BY DONALD TRUMP Hand-painted paperback book with silkscreen print, from the edition of 2, accompanied by signed certificate 18cm x 11cm (7in x 4.25in)

£2,000-3,000

68 § RACHEL WHITEREAD (BRITISH B.1963) HERRINGBONE FLOOR - 2001 Laser-cut relief, 331/450, signed with initials, titled and numbered in pencil to mount 35.5cm x 30cm (13.75in x 11.75in)

£1,500-2,000

69 § BANKSY (BRITISH B.1974) RAT RADAR DIRTY FUNKER (BROWN) Screenprint on record sleeve with vinyl record, unframed 30.5cm x 30.5cm (12in x 12in)

£500-700

70 § DAVID SHRIGLEY O.B.E. (BRITISH B.1968) LANGUAGE - 2014 Linocut, 87/100, signed with initials, numbered and dated in pencil verso, unframed 45cm x 34.5cm (17.75in x 13.5in)

£600-800

71 BARBARA KRUGER (AMERICAN B.1945) UNTITLED (PROJECT FOR DAZED AND CONFUSED) Off-set lithograph, unframed 28cm x 39.5cm (11in x 15.5in)

£500-700

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

72 NAN GOLDIN (AMERICAN B.1953) MISTY AND JIMMY PAULETTE IN A TAXI, NYC - 1991 Cibachrome print, A.P., signed, titled, editioned and dated verso, unframed

NAN GOLDIN

71cm x 101cm (28in x 39.75in)

Nan Goldin is an American photographer best-known for her deeply personal and candid portraiture. Her photographs serve to document herself and those closest to her, particularly the LGBTQ community and associated heroin-addicted subcultures.

different - a third gender that made more sense than either of the other two. I accepted them as they saw themselves; I had no desire to unmask them with my camera.’ (The Other Side, p.5.)

Influenced by the fashion photography of Helmut Newton and Guy Bourdin, Goldin’s earliest photographic works are portraits of close friends glamorously dressed in drag. From the 1970s and throughout the 1980s, while she was living in New York, Goldin continued to socialise with and photograph people of ambiguous gender. She intended her work to be an homage to their beauty and courage; exploring drag and its ability to fulfil the fantasy of reconstructed identities. When Goldin first encountered drag queens in 1972, she quickly became obsessed. She explained: ‘I was eighteen and felt like I was a queen too- they became my whole world. Part of my worship of them involved photographing them. I wanted to pay homage, to show them how beautiful they were. I never saw them as men dressing up as women, but as something entirely

£6,000-8,000

Misty and Jimmy Paulette in a Taxi is part of a large series of colour photographs of glamorous drag queens taken by Goldin in New York, Paris and Berlin in 1991. This picture was taken in a cab as her friends headed uptown to join their float in the New York City Pride March. Misty and Jimmy Paulette stare directly at the camera from the backseat of the taxi. The camera’s flash has illuminated their heavy makeup and shiny clothes. In 2018, Goldin collaborated with the clothing brand Supreme by contributing three of her photographs, Misty and Jimmy Paulette in a Taxi, NYC (1991), Kim in Rhinestones, Paris (1991), and Nan as a Dominatrix, Cambridge, MA (1978) to their spring/summer collection. Today, Goldin’s works are held in collections worldwide, including The Museum of Modern Art, New York, the Tate Modern, London, the Museum of Contemporary Art, Los Angeles, and the Centre Georges Pompidou, Paris.

73 § FRANCOISE MORELLET (FRENCH 1926-2016) UNTITLED (TWO BLACK, TWO WHITE) Set of four screenprints, from ed. of 300, each signed and numbered in pencil with Galerie Denise Rene blindstamp, unframed (4) 80cm x 80cm (31.5in x 31.5in), full sheet

£1,000-1,500

74 § EVA ROTHSCHILD R.A. (IRISH B.1972) SEATED WOMAN Screenprint, 73/250, signed and numbered verso, unframed 50cm x 50cm (19.75in x 19.75in), full sheet

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

75 § MAT COLLISHAW (BRITISH B.1966) IDEAL BOYS, ROBERTO - 1997 3D Lenticular transparency lightbox 61.5cm high x 48cm wide x 9.5cm deep (24.25in x 19in x 7.75in)

£800-1,200

76 § TRACEY EMIN C.B.E., R.A. (BRITISH B.1963) LOVE IS A STRANGE THING - 2000 Off-set lithograph, 210/250, signed and dated 2000, numbered in pencil verso, unframed 70cm x 54cm (27.5in x 21.25in), full sheet

£400-600

77 JESUS RAFAEL SOTO (VENEZUELAN 1923-2005) UNTITLED (MULTI-COLOUR) Screenprint, 30/120, signed and editioned in pencil to margin, with printed paper slip, unframed 69cm x 69cm (27.25in x 27.25in), full sheet

£500-700

78 § PETER MCLAREN (SCOTTISH B.1964) STILL-LIFE WITH VELAZQUEZ BOOK Oil on board 55cm x 47cm (21.5in x 18.5in) Exhibited: ‘Hazel Heughan Memorial Exhibition,’ 1993, The Scottish Gallery, Edinburgh

£1,000-1,500

79 JOHN WALTER WOLSELEY (AUSTRALIAN B.1938) COCKEREL - 1966 Signed, gouache 32.5cm x 45.5cm (12.75in x 18in) Provenance: The vendor was a friend of the artist, and acquired it directly.

£800-1,200

80 JOHN WALTER WOLSELEY (AUSTRALIAN B.1938) UNTITLED C.1965 Etching and aquatint 29cm x 39.5cm (11.5in x 15.5in) Provenance: The vendor was a friend of the artist, and acquired it directly.

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

81 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) STILL-LIFE Signed, oil on canvas 101.5cm x 76cm (40in x 30in)

£3,000-5,000

82 § JOHN LOWRIE MORRISON (JOLOMO) O.B.E. (SCOTTISH B.1948) CHURCH PENNYGHAEL, ISLE OF MULL Signed and dated ‘97, signed and inscribed verso, oil on board 29cm x 29cm (11.5in x 11.5in)

£1,000-1,500

83 § ATTRIBUTED TO KAI FJELL (NORWEGIAN 1907-1989) WOMAN WAITING Signed, gouache 68cm x 53cm (26.75in x 20.75in)

£400-600

84 § IAN HAMILTON FINLAY (SCOTTISH 1925-2006) ZIMMERIT-HAUNTING WOOD NYMPH Screenprint, and another screenprint by the same artist ‘Pastor of Oaks/Shepherd of Stones’ (2) 34.5cm x 89cm (13.5in x 35in)

£500-700

85 § IAN HAMILTON FINLAY (SCOTTISH 1925-2006) FAX, IDLING ITS SAILS Screenprint, and another screenprint by the same artist ‘Poverty, pitted with larks’ (2) 17cm x 89cm (6.75in x 35in)

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

86 § LEON MORROCCO A.R.S.A (SCOTTISH B.1942) GARDENS AND POND FROM THE STUDIO Signed and dated ‘94, with artist’s label verso, oil on canvas 90cm x 95cm (35.5in x 37.5in)

£5,000-7,000

87 § ASHLEY COOK (SCOTTISH CONTEMPORARY) FORGET YOUR TROUBLES - COME ON GET HAPPY Screenprint, P/P, signed, titled and editioned in pencil to margin, unframed and three further screenprints by the same artist: ‘Process or Progress?’, ‘Forces that lurk behind everyday life’ and ‘Life’s Rich Tapestry’ (4) 48cm x 48cm (18.75in x 18.75in)

£500-700

88 DASHA S. KANDINSKY (UKRANIAN B.1985) SIZE MATTERS - 2018 Signed, titled and dated verso, oil on canvas 101.5cm x 76cm (40in x 30in)

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

89 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) MAGIC PICTURE NO.1 Lithograph, 39/500, signed and numbered in pencil to margin 57cm x 77cm (22.5in x 30.25in)

£400-600

90 § JOHN BYRNE (SCOTTISH B.1940) DOWNTOWN Lithograph, P/P, signed, titled and editioned in pencil to margin, unframed 76cm x 56.5cm (30in x 22.25in)

£500-700

91 § RAY RICHARDSON (BRITISH B.1964) BOB’S ROUND - 1996 Screenprint, P/P, from the edition of 95, signed, dated and editioned in pencil to margin, unframed 52cm x 101.5cm (20.5in x 40in), full sheet

£300-500

Note: In 1984, Frank Stella was commissioned to design a set of tapestries, to be woven by the Dovecot Tapestry Studios in Edinburgh, for PepsiCo Inc. headquarters in New York. The set of tapestries were inspired by El Lissitzky’s Had Gadya. The tapestries in this lot are test samples for different colours and patterns for Stella’s designs. The tapestries are accompanied by a catalogue, published to commemorate the entire project.

92 FRANK STELLA (AMERICAN B.1936) VARIOUS COLOUR STUDIES AND DESIGNS Six wool tapestries 67cm x 80cm (26.5in x 31.5in), frame size

Provenance: Dovecot Tapestry Studios, Edinburgh

JOHN HOUSTON R.S.A., R.S.W., S.S.A (SCOTTISH 1930-2008)

£500-700

DESIGN IN BLUES Wool tapestry 56.5cm x 10cm (22.25in x 4in), image size Provenance: Dovecot Tapestry Studios, Edinburgh

£300-500

94 § VICTORIA CROWE O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1945) DESIGN WITH RED FLOWERS Wool tapestry 33cm x 30cm (13in x 11.75in), image size Provenance: Dovecot Tapestry Studios, Edinburgh

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

95 § ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH B.1931) ORCHID Etching, P/P, signed and editioned in pencil to margin 37.5cm x 43cm (14.75in x 17in), plate size

£300-500

96 § BARBARA RAE R.A. ,R.S.A., R.S.W. (SCOTTISH B.1943) LOCH HA BAIRNESS Signed, inscribed and dated ‘80, watercolour and gouache 10cm x 14.5cm (4in x 5.75in) Provenance: Open Eye Gallery, Edinburgh

£300-500

97 § ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH B.1931) YELLOW ORCHIDS Etching and aquatint, P/P, signed and editioned in pencil to margin 73cm x 97cm (28.75in x 38.25in)

£300-500

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

98 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) BIRD THROUGH THE WALL, NO. 8 Signed, inscribed and dated ‘March ‘71’ verso to each canvas, oil on canvas across two panels (2) 152.5cm x 244cm (60in x 96in), total size Provenance: Gimpel & Weitzenhoffer, New York

£15,000-20,000

ALAN DAVIE ‘Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT.’ This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’

This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in The Guardian, ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakably his. Bird Through the Wall, No. 8 is a large-scale artwork that unfolds across two canvas panels, just as the artist’s vision and inspiration did. The striking diptych is quintessentially Davie, with strong colour, graphic symbols that recur from other paintings, including the titular bird, and gestural, energetic and dynamic brushwork, where he patterns the paint, and allows it to splodge and drip. There is a clear power and energy at work here, though an exact meaning is difficult to distil.

99 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) POET CREATING AN EGG, 9293 - JULY ‘64 Signed, dated and inscribed, watercolour 55cm x 75cm (21.75in x 29.5in) Provenance: Gimpel Fils, London

£2,500-3,500

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

100 § MARGARET MELLIS (BRITISH 1914-2009) HOUSE ON SAND - 1974-75 Signed, titled and dated verso, oil on canvas laid on board 63cm x 58cm (24.75in x 22.75in) Provenance: Purchased directly from the artist, by the vendor.

£3,000-5,000

101 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) AZTEC HEAD - 1988 Signed, dated and inscribed ‘For John, Eduardo Paolozzi, 1988’ in pencil, papier-mâché 28.5cm high, 36cm across (11.25in high, 14.12in across)

£600-800

Exhibited: Installation of ‘Lost Magic Kingdoms and Six Paper Moons from Nahuatl’ exhibition at the Museum of Mankind, London, 1985-9.

102 § GEORGES BRAQUE (FRENCH 1882-1963) STILL-LIFE WITH TWO LEMONS AND A PIPE Colour collotype, 18/50, signed and numbered in pencil to margin 33cm x 45.5cm (13in x 18in)

£1,500-2,000

103 RICHARD PRINCE (AMERICAN B.1949) COWBOY (FROM THE ‘COWBOYS AND GIRLFRIENDS’ PORTFOLIO), 1992 Signed with initials verso, from an edition of 26, C-print, unframed

RICHARD PRINCE The New York Times has described the contemporary American artist Richard Prince, as ‘one of the most revered artists of his generation.’ His work has met with huge critical acclaim and popular success but, as with all of the most successful contemporary artists, Prince’s work has courted some controversy. His breakthrough series Cowboys was created using a technique of re-photography; with the artist selecting existing imagery that appealed to him and re-photographing it, sometimes cropping out promotional text or adjusting and cropping the composition before presenting the new photograph in a fine art context. The original series, and ensuing explorations of other distinctly American groups and subcultures, including bikers and their girlfriends, launched Prince’s career. Yet, on occasion, ethical and legal disputes have arisen from photographers who feel their work has been unfairly used and profited upon by the artist. With re-photography, the artist’s eye and his process of selection becomes the aesthetic action and Prince himself has described his process as similar to beach-combing or going into the studio and

Image size: 40cm x 58cm (15.75in x 22.75in), sheet size: 51.5cm x 61cm (20.25in x 24in)

£10,000-15,000

‘bumping into things.’ This sense of sifting through huge volumes of imagery and ideas to select a very specific few is a particular skill and way of working that the artist developed whilst working at Time Life’s cutting service, where he also gained a deep familiarity with advertising imagery. As an artistic practice, Prince started using re-photography in 1977, and at that time then disowned all his previous artistic work. All artistic choices and processes are important, yet it seems especially valid to explore the meanings and suggestions of Prince’s selected imagery, as it is the selection rather than any creation that is his artistic labour. Cowboys was his breakthrough series, and the cowboy, in particular, is a distinctly American view of masculinity. By selecting them as his subject, Prince at once celebrates the fantasy and icon, while also exposing its unreality, particularly as many of his cowboy images are taken from Marlborough advertising campaigns, where the original images were taken by photographers hired by the company to create such fantasy imagery, and often featured posed models rather than real men living this lifestyle. Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

104 § PETER HOWSON O.B.E. (SCOTTISH B.1958) TWO BROTHERS Signed, oil on canvas 91.5cm x 106.5cm (36in x 42in)

£5,000-7,000

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

105 § CRAIGIE AITCHISON C.B.E., R.A., R.S.A. (SCOTTISH 1926-2009) CRUCIFIXION - 2001 Screenprint, 5/75, signed, numbered and dated verso 138cm x 108cm (54.25in x 42.5in)

£2,000-3,000

106 § PETER HOWSON O.B.E. (SCOTTISH B.1958) MAN WITH CHURCH Signed, pastel 59cm x 45cm (23.25in x 17.75in)

£1,500-2,500

107 § MARK DEMSTEADER (BRITISH B.1963) SEATED WOMAN Signed with initials, mixed media 77cm x 107cm (33.5in x 45.5in)

£500-700

108 § BANKSY (BRITISH B.1974) PECKHAM ROCK, POSTCARD Off-set lithograph on shaped wood board, unframed 12cm x 18cm (4.75in x 7in)

£250-350

109 § BANKSY (BRITISH B.1974) DI-FACED TENNER Off-set lithograph, unframed 8cm x 14cm (3in x 5.5in)

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

110 § FRANCIS DAVISON (BRITISH 1919-1984) UNTITLED Mixed media collage 69.5cm x 70cm (27.25in x 27.5in)

£2,000-3,000

111 § VICTORIA CROWE O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1945) FOGGY DAY - 1978 Signed, inscribed and dated to backboard, mixed media 39cm x 48cm (15.25in x 18.75in)

£1,000-1,500

112 § JOAN MIRO (SPANISH 1893-1983) FOR WENDY Signed, inscribed and dated 28.X.80, pencil drawing 26cm x 24cm (10.25in x 9.5in) Provenance: Miro created this work for the vendor, as a favour for one of his artist friends, Baruj Salinas.

£3,000-5,000

113 § PABLO PICASSO (SPANISH 1881-1973) MODÈLE ET GRANDE TÊTE SCULPTÉE - 1933 Etching on Montval paper with Picasso watermark from the Vollard suite, ed. 250, signed in pencil, unframed 44.5cm x 34cm (17.5in x 13.5in), full sheet

£3,000-5,000

114 § PABLO PICASSO (SPANISH 1881-1973) MINOTAURE, UNE COUPE À LA MAIN, ET JEUNE FEMME - 1933 Etching on Montval paper with Vollard watermark from the Vollard suite, ed. 250, signed in pencil to margin, unframed 34cm x 44.5cm (13.5in x 17.5in)

£6,000-8,000

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

115 § HELMUT NEWTON (GERMAN/AUSTRALIAN 1920-2004) SADDLE I, PARIS - 1976 Silver gelatin print, signed, inscribed, titled and dated in pencil verso, with artist’s studio stamps, unframed 51cm x 61cm (20in x 24in)

£25,000-35,000

HELMUT NEWTON Hailed the “King of Kink” by TIMES magazine, the fashion photographer Helmut Newton’s erotically charged works have shocked and polarised audiences since they first appeared in highfashion magazines such as Vogue and Elle, forever subverting the genre of fashion photography. Originally born Helmut Neustädter in Berlin, Newton’s passion for photography began at an early age; at sixteen he decided to abandon his studies at the American School in Berlin in order to undergo an apprenticeship with the photographer Elsie Simon (known as Yva). However, Newton’s photography career was halted by increasing anti-Semitism and the rise of the Nazi party. Due to their Jewish heritage, the Neustädters were forced to flee Germany in 1938. Separated from his family, Newton settled in Singapore before moving to Australia in 1940 where, after serving five years in the army, he was able to gain an Australian citizenship and changed his surname to Newton. It was in Australia that his career as a fashion photographer began to flourish. Newton set up a small studio in Melbourne and by the 1950s he was working for Australian Vogue. It was also in Australia that Newton met his wife June Brunell, an actress and fellow photographer who went by the pseudonym “Alice Springs”. Together they moved to Europe where Newton went on to produce his most acclaimed work for British and French Vogue, as well as various other publications.

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

Saddle I, Paris 1976, created as part of a picture story for Vogue Hommes, is an iconic example of Newton’s work. Characteristically printed in black-and-white, Newton depicts a high fashion model dressed in lingerie, jodhpurs and riding boots, submissively posed on a bed in a hotel room with a saddle on her back. This infamous photograph encapsulates various themes in Newton’s oeuvre including power, desire, voyeurism and fetishism. Women were Newton’s primary subject, whom he preferred to shoot on location as opposed to in the studio. Indeed, Newton is renowned for taking fashion photography outside the studio, stating “a woman does not live in front of white paper”.

116 § JEANNE MASOERO (ITALIAN B.1937) LAYER AND FORM, NO.1 - 1976 Signed and dated to canvas overlap, somerset paper and acrylic paint on canvas 76cm x 61cm (29.75in x 24in) Note: This artwork is accompanied by a letter from the artist, confirming its authenticity.

£800-1,200

117 § JENNY MATTHEWS (SCOTTISH B.1964) PURPLE IRIS - 1999 Signed and dated ‘99 in pencil, watercolour and collage 52.5cm x 24cm (20.75in x 9.5in)

£300-500

118 § IAN HAMILTON FINLAY (SCOTTISH 1925-2006) SOMEONE SOMEWHERE WANTS A CABLE FROM YOU Screenprint, pub. by Wild Hawthorn Press, signed in print by Ian Hamilton Finlay and Jim Nicholson 57cm x 77cm (22.5in x 30.25in), sheet size

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

119 § BET LOW A.R.S.A., R.S.W., R.G.I. (SCOTTISH 1924-2007) NORTHERN SEASCAPE Signed in pencil, watercolour 51.5cm x 49cm (20.25in x 19.25in) Provenance: Compass Gallery, Glasgow

£800-1,200

120 § WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (SCOTTISH 1915-1997) UNTITLED Signed and dated ‘64, mixed media 73cm x 55cm (28.75in x 21.5in)

£500-800

121 § BET LOW A.R.S.A., R.S.W., R.G.I. (SCOTTISH 1924-2007) NORTHERN WATERS III Signed in pencil, signed and inscribed on label verso, mixed media 49.5cm x 37cm (19.5in x 14.5in)

£600-800

122 § JAMES DOWNIE ROBERTSON R.S.A., R.S.W., R.G.I (SCOTTISH 1931-2010) LANDSCAPE Signed and dated ‘71, oil on canvas 106cm x 106cm (41.75in x 41.75in)

£1,000-1,500

123 § DYLAN LISLE (SCOTTISH B.1978) ABSENCE Signed with monogram and dated ‘06, oil on canvas 112cm x 42cm (44in x 16.5in)

£800-1,200

124 § PETER HOWSON O.B.E. (SCOTTISH B.1958) MAN WITH TOWER BLOCK Signed, pastel 27.5cm x 20cm (10.75in x 8in)

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

125 § JOCK MCINNES (SCOTTISH B.1943) PALAZZO WITH BLUE POLES Signed with initials, oil on board 44.5cm x 39.5cm (17.5in x 15.5in) Exhibited: Portland Gallery, London, September 2003, cat. no. 28

£800-1,200

126 § INGE HORUP (DANISH B.1958) THE CHAMPION II - 2013 Signed, signed, titled and dated verso, oil on canvas 201cm x 89cm (79in x 35in)

£600-800

127 § MARDI BARRIE R.S.W (SCOTTISH 1931-2004) PART OF A STREAM Oil on board 34cm x 47cm (13.5in x 18.5in) Exhibited: ‘Christmas Exhibition, 1965,’ Aitken Dott & Son, Edinburgh.

£300-500

128 AUBREY WILLIAMS (GUYANESE 1926-1990) THE CHURCH OF SANTA MARIA DELLA SALUTE, VENICE Signed and dated ‘80, signed, inscribed and dated verso, oil on canvas 45.5cm x 61cm (18in x 24in) Provenance: The vendor knew the artist personally through their work, and they developed a friendship while arranging exhibitions together.

£500-700

129 § PABLO PICASSO (SPANISH 1881-1973) TOROS Y TOREROS 40 Lithograph, 1961, dated in plate, unframed 37cm x 26.5cm (14.5in x 10.5in)

£400-600

130 § WILLIAM LITTLEJOHN R.S.A., R.S.W., R.G.I. (SCOTTISH 1929-2006) FISH AND PLUM - 1993 Signed and dated, watercolour on handmade paper 39cm x 60.5cm (15.25in x 23.75in)

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

131 § KEITH RICHARDSON-JONES (BRITISH 1925-2002) FIVE FOUR Titled on artist’s label verso, acrylic on canvas 91.5cm x 91.5cm (36in x 36in)

£1,000-1,500

132 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) HANDS Eight plaster reliefs 26cm x 21cm (10.25in x 8.25in)

£600-800

133 § KENNY HUNTER (BRITISH B.1962) ’WHAT IS HISTORY’, MONICA LEWINSKY AND OSAMA BIN LADEN - 1998 Numbered 24/100 and incised with initials, cast resin (2) Each 27cm high (10.67in high) Note: On ‘What is History?’ the artist commented that it was his ‘response to the collapse of the grand narratives and absolute belief systems represented by the traditional historical bust.’

£400-600

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

134 § HENRY MOORE O.M., C.H (BRITISH 1898-1986) FEMALE TORSO AND SCULPTURAL IDEAS II Lithograph, 1979, signed and inscribed ‘Curwen Studio Proof’ in pencil to margin, unframed 36.5cm x 48.5cm (14.25in x 19in)

£1,000-1,500

135 § JOHN BYRNE (SCOTTISH B.1940) PENSIVE ANGEL Etching, P/P, signed, titled and editioned in pencil to margin, unframed 58cm x 47.5cm (22.75in x 18.75in)

£300-500

136 § HENRY MOORE O.M., C.H (BRITISH 1898-1986) RECLINING FIGURE ARCHITECTURAL BACKGROUND III Lithograph, 1977, S/P, signed and editioned in pencil to margin, unframed 22.5cm x 38.5cm (9in x 15.25in)

£800-1,200

137 § FRANK SULLY (BRITISH 1898-1992) INTEGRATION Signed, signed and titled verso, oil on canvasboard 66.5cm x 85cm (26.25in x 33.5in)

£2,500-3,500

138 § FRANK SULLY (BRITISH 1898-1992) ABSTRACT STUDY Signed, oil on canvasboard 50.5cm x 68cm (20in x 26.75in)

£1,500-2,500

139 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) MAQUETTE FOR GREAT ORMOND STREET Signed and numbered ‘10, bronze sculpture on a wooden base 28cm high x 23cm wide x 23cm deep (11in x 9in x 9in)

£8,000-12,000

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

140 § ANN ORAM R.S.W (BRITISH B.1956) STILL LIFE WITH FRUIT AND FLOWERS Signed and dated ‘05, watercolour 85cm x 110cm (33.5in x 43.25in)

£700-900

141 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) PORT SETON Signed, pencil and watercolour 27.5cm x 37cm (10.75in x 14.5in)

£600-800

142 § JOHN LOWRIE MORRISON (JOLOMO) O.B.E. (SCOTTISH B.1948) ARCHIE BALDIE’S HOUSE - UNDER THE GRIBUN CLIFFS, MULL - 2013 Signed, signed, titled and dated verso, oil on canvas 38cm x 38cm (15inx 15in)

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

143 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) ROSE OF SHARON Signed, oil on canvas 91.5cm x 91.5cm (36in x 36in)

£4,000-6,000

144 § INGE HORUP (DANISH B.1958) THE CHAMPION I - 2013 Signed, signed, titled and dated verso, oil on canvas 201cm x 89cm (79in x 35in)

£600-800

145 § PETER MCLAREN (SCOTTISH B.1964) FIGURE WITH YELLOW SKY Signed and indistinctly dated, oil on paper 47.5cm x 62cm (18.75in x 24.5in) Provenance: The Scottish Gallery, Edinburgh

£800-1,200

146 § LIL NEILSON (SCOTTISH 1938-1998) COTTAGES ON THE COAST Signed and indistinctly dated, artist’s address label verso, oil on board 38cm x 111.5cm (15in x 44in)

£1,000-1,500

147 § GEORGES ROUAULT (FRENCH 1871-1958) TETE DE JEUNE FILLE (FROM VERVE VOL. II MAGAZINE) - 1939 Lithograph, published by Verve, signed in stone, with another image verso, unframed 35.5cm x 26.5cm (14in x 10.5in), full sheet

£300-500

148 § BET LOW A.R.S.A., R.S.W., R.G.I. (SCOTTISH 1924-2007) ANOTHER PLACE - 1965 Signed, dated to artist’s label verso, oil on board 48cm x 38cm (18.75in x 15in)

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

149 § ETHEL WALKER (SCOTTISH B.1941) HYDRANGEAS Signed, oil on board 80cm x 80cm (31.5in x 31.5in)

£2,000-3,000

150 § ALEXANDER GOUDIE (SCOTTISH 1933-2004) BOATS IN HARBOUR Signed, mixed media 48.5cm x 63.5cm (19in x 25in)

£800-1,200

151 § WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (SCOTTISH 1915-1997) UNTITLED - RED, ORANGE, BLUE Mixed media on paper 38.5cm x 24cm (15.25in x 9.5in)

£800-1,200

152 § JANET PATTERSON (SCOTTISH CONTEMPORARY) CAVE SHADOWS, RED CENTRE Signed with initials and dated ‘88, acrylic 29.5cm x 21cm (11.5in x 8.25in) Exhibited: ‘Six Women Artists,’ 7th-30th November 1988, The Scottish Gallery, Edinburgh

£200-300

153 § JEANNE MASOERO (ITALIAN B. 1937) KABAH - 1989 Signed, inscribed and dated to label verso, ink 15cm x 18.5cm (6in x 7.25in) Note: This work is accompanied by a letter from the artist, confirming its authenticity.

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

154 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) UNTITLED OG.3957 - 2012 Signed and dated, mixed media 18cm x 26cm (7in x 10.25in) Provenance: Gimpel Fils, London

£1,500-2,000

155 § WILHELMINA BARNS-GRAHAM C.B.E. (SCOTTISH 1912-2004) ORANGE AND RED ON PINK - 1960-91 Screenprint, 17/70, signed and numbered in pencil 76cm x 48cm (29.75in x 19in), full sheet Provenance: The Scottish Gallery, Edinburgh

£600-800

156 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) BOAT AT SEA Ceramic plate, signed verso 26cm (10.25in), diameter

£300-500

157 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) CARIB ISLAND NO.2 - 1976 Signed, gouache 56.5cm x 81cm (22.25in x 31.75in) Provenance: Gimpel Fils, London

£2,000-3,000

158 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) THE DESIGN Colour print, with Paolozzi Foundation stamp verso 20.5cm x 22cm (8in x 8.75in)

£400-600

159 § PETER LASZLO PERI (HUNGARIAN/BRITISH 1899-1967) TWO FIGURES Etching and aquatint, 1950, signed and dated in pencil to margin, unframed, and another unframed etching by the same hand (2) 28cm x 42cm (11in x 16.5in), image size

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

160 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) INTERIOR - RESTAURANT Signed, pencil and watercolour 55cm x 74cm (21.75in x 29.25in)

£1,000-1,500

161 § WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (SCOTTISH 1915-1997) COMPOSITION WITH YELLOW - NOVEMBER 1958 Signed and dated, gouache on paper 54cm x 78cm (21.25in x 30.75in)

£600-800

162 § NATALIE DOWER (BRITISH B.1958) UNTITLED - 1982 Signed with initials, masterpost ink on Mulberry paper 49cm x 55cm (19.25in x 21.75in), full sheet Provenance: Jonathan Clark Fine Art

£300-500

163 § TIFFANY GROVES (BRITISH B.1975) TEMPERANCE - 2001 Signed, dated and titled verso, acrylic on canvas 60cm x 60cm (23.5in x 23.5in)

£400-600

164 BRUCE NAUMAN (AMERICAN B.1941) BODY PRESSURE - 1974 Off-set lithograph, unframed 63.5cm x 42cm (25in x 16.5in), full sheet

£300-500

165 § LIL NEILSON (SCOTTISH 1938-1998) BLUE CRUSADER III Screenprint, U/P, 1995, signed, dated, titled and editioned in pencil to margin 29cm x 41.5cm (11.5in x 16.25in), image size

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

166 § ARCHIE FORREST R.G.I. (SCOTTISH B.1950) WINDOW, TELLARO - 2000 Signed, inscribed and dated verso, oil on canvas 89.5cm x 100.5cm (35.25in x 39.5in) Note: Archie Forrest, 12 - 31 May 2000, Portland Gallery catalogue accompanies this lot

£4,000-6,000

167 § ADRIAN RYAN (BRITISH 1920-1988) UNTITLED (BEACH SCENE) Signed, oil on board 14cm x 20.5cm (5.5in x 8in)

£400-600

168 § HANNAH COLLINS (BRITISH B.1956) ANIMATED SOUND PIECE VII: WALKING AND DRAWING (TRACES AND ROMANS) - 1983 Sixty-four polaroids presented together, unique, signed, titled and dated in pencil to margin 72cm x 87cm (28.25in x 34.25in)

£2,000-3,000

169 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) ELEPHANT Signed and numbered 1265/3000, moulded plastic 29cm high x 38cm wide x 14cm deep (11.5in x 15in x 5.5in)

£600-800

170 § VICTOR VASARELY (HUNGARIAN/FRENCH 1906-1997) NOVAE Screenprint, mounted on cardboard, unframed 58cm x 49cm (22.75in x 19.25in), full sheet

£250-350

171 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 (10) 29.8cm x 29.8cm (11.75in x 11.75in) each Note: This set was published to celebrate the artist’s 1991 retrospective at the Stedelijk Museum in Amsterdam.

£2,500-3,500

172 § BANKSY (BRITISH B.1974) WALLED-OFF HOTEL Digital print and concrete relief, accompanied by original invoice numbered ‘2601,’ and a selection of postcards from the hotel and introduction letter to the facility 22cm x 22cm (8.75in x 8.75in) 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. Accompanied by original invoice.

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

173 § SALVADOR DALI (SPANISH 1904-1989) LA NAISSANCE DE VENUS Colour etching, 24/150, signed and numbered in pencil to margin, unframed 76.5cm x 57cm (30in x 22.5in), full sheet

£600-800

174 § GEORGE BARRIS (AMERICAN 1922-2016) MARILYN MONROE ON SANTA MONICA BEACH - JULY 1962 Photograph, later re-print, signed by the photographer 25cm x 20cm (10in x 8in)

£300-500

175 § ELIZABETH BACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH B.1931) ORCHIDACEAE PENDROBIUM ‘FIRE CORAL’ Etching and aquatint, A/P, signed and editioned in pencil to margin, titled in plate 35.5cm x 30cm (14in x 11.75in)

£300-500

176 BERT STERN (AMERICAN 1929-2013) MARILYN WITH BLUE ROSES, FROM THE LAST SITTING - 1962 Digital pigment print, printed later, titled in gold ink, signed and stamped verso, unframed 90cm x 70cm (35.5in x 27.5in)

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

177 § RAY RICHARDSON (BRITISH B.1964) PASTIME PARADISE - 2016 Screenprint, PP, signed, dated and editioned in pencil to margin, unframed and another screenprint by the same artist ‘Dreamtime’ (2) 30cm x 72cm (11.75in x 28.25in)

£300-500

178 § RAY RICHARDSON (BRITISH B.1964) A PLACE YOU CAN’T PLACE - 2016 Screenprint, P.P., signed, dated, titled and editioned in pencil to margin, unframed and two further screenprints by the same artist: ‘Friday Street’ and ‘Mandatomyass’ (3) 30cm x 72cm (11.75in x 28.25in)

£300-500

179 § IAN HAMILTON FINLAY (SCOTTISH 1925-2006) PROPOSAL FOR A SUNDIAL TO BE PLACED ON MARAT’S HOUSE IN PARIS -1988 Lithograph, with Eric Marland 60cm x 42cm (23.5in x 16.5in), sheet size Provenance: Ingleby Gallery, Edinburgh

£300-500

180 § CHRIS ORR M.B.E, R.A. (BRITISH B.1943) SHANGHAI SEEBACKASCOPE DOUBLE VISION 1 Lithograph, 2006, signed, titled, numbered 29/30 and dated in pencil to margin and another ‘SHANGHAI SEEBACKASCOPE DOUBLE VISION 2’ (2) 57cm x 76cm (22.5in x 30in)

£200-300

181 § BENNO SCHOTZ R.S.A., L.L.D. (ESTONIAN/SCOTTISH 1891-1984) ALICE AND THE RED QUEEN - 1975 Signed, handwritten note affixed to base with date and explanation of design, bronze sculpture with gold patina 20cm high x 21cm deep x 8cm wide (8in x 8.25in x 3.25in), excluding base

£700-900

Note: The artist’s note, affixed to the base, reads: Alice and the Red Queen. This composition illustrates an incident in ‘Alice Through the Looking Glass.’ The Red Queen takes Alice’s hand and they begin to run. Alice is running very fast indeed, in fact she is flying thro’ the air. Alice asks the Queen “Why is it that although we run so fast, yet the tree beside which we were standing when we began to run is still with us?” Answers the Queen “Here, my dear, if you want to get somewhere else you have to run twice as fast.” This is the original design which I carried out on a large scale for a school. As a further explanation the Red Queen is the Queen in the game of chess. Benno Scotz Feb. 1975.

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

182 § GUY GLADWELL (BRITISH 1946-2014) NUDE WITH EASEL AND THE ARTIST Signed and dated ‘89, oil on canvas 152cm x 122cm (59.75in x 48in)

£800-1,200

183 § DYLAN LISLE (SCOTTISH B.1978) DANAE Signed with monogram and dated ‘07, oil on canvas 88cm x 63cm (34.75in x 24.75in)

£600-800

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

184 § MARK DEMSTEADER (BRITISH B.1963) WILDERNESS Signed with initials, signed and titled to artist’s label verso, oil on canvas 110.5cm x 110.5cm (43.5in x 43.5in)

£600-900

185 § PETER HOWSON O.B.E. (SCOTTISH B.1958) BETRAYAL Signed and dated 2003, charcoal and coloured pastel on brown paper

186 § PETER HOWSON O.B.E. (SCOTTISH B.1958) LEERING Signed, pastel

39cm x 29cm (15.5in x 11.5in)

27.5cm x 20cm (10.75in x 8in)

£300-500

£600-800

187 § NAEL HANNAH (IRAQI/SCOTTISH B.1959) SCOTTISH SUMMER - 1995 Signed and dated, oil on paper 39cm x 47cm (15.25in x 18.5in)

£400-600

188 § J. R. ARMOUR (BRITISH CONTEMPORARY) ABSTRACT STUDY Signed and dated 1958 verso, oil on canvas 69.5cm x 91cm (27.25in x 35.75in)

£400-600

189 § JEANNE MASOERO (ITALIAN B.1937) FORCE FIELD - 1967/74 Signed and dated to backboard, titled and dated on label verso, pen and ink 37.5cm x 32cm (14.75in x 12.5in) Note: This artwork is accompanied by a letter from the artist, confirming its authenticity.

£300-500

190 § MAX KAUS (GERMAN 1891-1977) ERINNYE (FURY) - 1964 Woodcut on japan paper, 22/25, 2nd state, signed, dated, titled and numbered in pencil to margin, unframed and another ‘Head (Kopf)’ (plate, after p.308) from the periodical Genius. Zeitschrift für werdende und alte Kunst, vol. 2, no. 2 (2) 30.5cm x 22.5cm (12in x 9in)

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

191 KEIICHI TATÉ (JAPANESE CONTEMPORARY) ABSTRACT STUDY Signed, oil on canvas 140cm x 69.5cm (55in x 27.5in)

£1,000-1,500

192 § STEVEN CAMPBELL (SCOTTISH 1953-2007) LOBSTER (FROM THE SCOTTISH BESTIARY PORTFOLIO) Woodcut, P/P, signed and editioned in pencil to margin, unframed 76cm x 56.5cm (30in x 22.25in), full sheet

£200-300

193 KEIICHI TATÉ (JAPANESE CONTEMPORARY) ABSTRACT STUDY Signed and dated ‘62, oil on canvas 72cm x 97cm (28.25in x 38.25in)

£800-1,200

194 § 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

195 ALEXANDER CALDER (AMERICAN 1898-1976) BLACK AND RED Lithograph, 1963, from the special edition of Derrière le Miroir, dedicated to Calder, unframed and two further lithographs from the same publication, including the cover (3) 38cm x 55.5cm (15in x 21.75in), full sheet

£500-700

196 SUNDAY B. MORNING (AMERICAN) CAMPBELL’S SOUP Screenprints, set of 9 with ‘Published by Sunday b. Morning’ and ‘Fill in your own signature’ blue ink stamps verso and one ‘Golden Mushroom’ with ‘Fill in your own signature’ in black ink, unframed (10) 89cm x 58.5cm (35in x 23in), full sheet

£1,000-1,500

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

197 KEITH HARING (AMERICAN 1958-1990) MONTREUX JAZZ POSTER (YELLOW) - 1983 Screenprint, unframed 100cm x 70cm (39.5in x 27.5in), full sheet

£400-600

198 KEITH HARING (AMERICAN 1958-1990) MONTREUX JAZZ POSTER (PINK) - 1983 Screenprint, unframed 100cm x 70cm (39.5in x 27.5in), full sheet

£400-600

199 KEITH HARING (AMERICAN 1958-1990) MONTREUX JAZZ POSTER (GREEN) - 1983 Screenprint, unframed 100cm x 70cm (39.5in x 27.5in), full sheet

£400-600

200 § BRYAN PEARCE (BRITISH 1929-2007) HARBOUR - 1991 60/75, signed, numbered and dated in pencil to margin 19.5cm x 14.5cm (7.67in x 5.75in)

£200-300

201 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) SKETCH WITH GREEN ELEMENTS Pencil and coloured pencil, and another drawing by the same hand, unframed (2) 27.5cm x 18cm (10.75in x 7in)

£600-800

202 § ALBERTO GIACOMETTI (SWISS 1901-1966) SEATED NUDE 2 Lithograph, 1961, from Derrière le Miroir, No 127, dedicated to the artist, unframed and another, similar (2) 38cm x 27.5cm (15in x 10.75in)

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

203 § MOYNA FLANNIGAN (SCOTTISH B.1963) MR. LUCKY Screenprint, P/P I, aside from an edition of 40, signed, titled and editioned in pencil to margin, unframed and a further signed etching by the artist ‘The Blind House 2’ (2) 43cm x 45.5cm (17in x 18in)

£200-300

204 § JAMES HUGONIN (BRITISH B.1950) ODE - FOR BASIL BUNTING, 1986 Four screenprinted images from an edition of 90, H/C/IX, each in a paper folder and accompanied by letterpress text in paper folder and all enclosed in slipcase, each screenprint signed with initials and editioned in pencil verso, letterpress text signed (4) 30.5cm x 25cm (12in x 9.75in)

£300-500

205 § IAN FLEMING R.S.A., R.S.W., R.G.I., L.L.D (SCOTTISH 1906-1990) YOUR PRINTS FROM THE ‘COMMENT’ SERIES Etching and aquatint, 21/25, signed, titled, inscribed and editioned in pencil to margin, unframed 45cm x 61cm (17.75in x 24in)

£300-500

206 § IAN FLEMING R.S.A., R.S.W., R.G.I., L.L.D (SCOTTISH 1906-1990) DREAM OF TIREE - 1992 Etching, A/P, signed, titled, editioned and dated in pencil to margin 39.5cm x 50cm (15.5in x 19.75in), plate size

£400-600

207 § IAN FLEMING R.S.A., R.S.W., R.G.I., L.L.D (SCOTTISH 1906-1990) MEADOW Etching, A/P, signed, titled and editioned in pencil to margin 35cm x 49cm (13.75in x 19.25in), plate size

£400-600

208 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.

£1,000-1,500

209 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) HIGHLAND WEDDING Signed, signed and titled verso, oil on canvas 60cm x 50cm (23.5in x 19.75in)

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

210 § NIKOS KESSANLIS (GREEK 1930-2004) ABSTRACT Signed and dated 1950, oil on board 60cm x 55.5cm (23.75in x 21.75in)

£2,000-3,000

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

211 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) WOMAN AND CAT Signed, pencil and watercolour 76cm x 57cm (30in x 22.5in)

£2,000-3,000

212 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) WOMAN WITH TWO EXOTIC BIRDS Signed twice, pencil and watercolour 56cm x 37cm (22in x 14.5in)

£1,500-2,500

100

101

213 § JULIAN OPIE (BRITISH B.1958) PORTRAIT MINIATURES (SET OF NINE) Including: ‘Long Hair Girl. 2016;’ ‘Dark Glasses Man. 2016;’ ‘Army Cap Girl. 2016;’ ‘Knitted Top Woman. 2016;’ ‘Necklace Man. 2016;’ ‘Two Earrings Girl. 2016;’ ‘Flat Cap Boy. 2016;’ ‘Dark Glasses Woman.2.2016;’ ‘Baseball Cap Boy. 2016,’ framed miniature inkjet portraits with hanging loop, each in presentation box (9) 7.5cm x 7.5cm (3in x 3in) (Long Hair Girl. 2016)

£600-800

214 § HOWARD HODGKIN C.H, C.B.E. (BRITISH 1932-2017) UNTITLED (BRUSHSTROKE) - 2010 Screenprint, 30/75, signed with initials, numbered and dated in pencil to margin, in original oak wood frame selected by the artist 36cm x 25cm (14.25in x 9.75in) 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

215 JONAS WOOD (AMERICAN B.1977) FOR LOUIS VUITTON - MONOGRAM SQUARE - 2019 Silk scarf, signed and dated within design, within original box and accompanied by purchase receipt, unframed 90cm x 90cm (35.5in x 35.5in)

£400-600

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

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103

GUIDE TO BIDDING & PAYMENT REGISTRATION

HOW TO BID

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.

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104

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.

105 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.

106 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

107 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

108

ARTIST INDEX Aitchison, Craigie

105

Banksy Barns-Graham, Wilhelmina Barrie, Mardi Beaudin, Andre Bellany, John Blackadder, Elizabeth Borland, Christine Braque, Georges Brothers, The Connor Byrne, John

69, 108, 109, 172 155 127 28 4, 20, 30, 81, 141, 143, 156, 160, 209, 211, 212 22, 23, 31, 32, 95, 97, 175 26 102 52, 67 90, 135

Cairns, Joyce Calder, Alexander Campbell, Steven

44 195 192

Collieshaw, Matt Collins, Hannah Cook, Ashley Crayk, Fred Crowe, Victoria Cumming, James

75 168 87 38 94, 111 47

Dahoul , Safwan Dali, Salvador Davie, Alan Davison, Francis Demsteader, Mark Donaldson, David Dower, Natalie Drobertson, James

208 173 27, 89, 98, 99, 154, 157 110 60, 64, 107, 184 29 162 122

Emin, Tracey

Finlay, Ian Hamilton Fjell, Kai

84, 85, 118, 179 83

Flannigan, Moyna Fleming, Ian Forrest, Archie

203 205, 206, 207 166

Gear, William Giacometti , Alberto Gladwell, Guy Goldin, Nan Gore , Frederick Goudie, Alexander Gray, Alasdair Groves, Tiffany

5, 120, 151, 161 202 42, 182 72 36 10, 150 55, 56, 57, 58, 59 163

Hannah, Nael Haring, Keith Heath, Adrian Hockney, David Hodgkin, Howard Horup, Inge Houston, John Howson, Peter Hugonin, James Hunter, Kenny

187 197, 198, 199 24 15 214 126, 144 50, 93 104, 106, 124, 185, 186 204 133

Kaus, Max Kessanlis, Nikos Kirkham, Norman Kruger, Barbara

190 210 48 71

Lisle, Dylan Littlejohn, William Hunter Low, Bet Lowrie Morrison (Jolomo), John Lowry, Laurence Stephen

123, 183 130 12, 119, 121, 148 18, 19, 82, 142 21

Mackenzie, Stuart Martin, Agnes Martin, David Mcleod

61, 62, 63 171 1

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

Right: Lot 75

CHARLES OPPENHEIMER Lot 31

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