Celtic Vision: A Private Collection of Scottish Paintings | Auction 25 Feb 2021

A CELTIC VISION: A PRIVATE COLLECTION OF SCOTTISH PAINTINGS 25TH FEBRUARY 2021 EDINBURGH

A CELTIC VISION: A PRIVATE COLLECTION OF SCOTTISH PAINTINGS THURSDAY 25 FEBRUARY 2021 AT 6PM Sale Number LT623

Lyon & Turnbull 33 Broughton Place EDINBURGH EH1 3RR

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Front Cover Lot 50 [detail] Inside Front Cover Lot 18

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MEET THE SPECIALISTS At Lyon & Turnbull we want to make buying at auction as easy and enjoyable as possible.

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

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1 JAMES WHITELAW HAMILTON R.S.A., R.S.W (SCOTTISH 1860-1932) BURNMOUTH HARBOUR Signed, oil on canvas 43.5cm x 53.5cm (17in x 21in)

£800-1,200

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2§ JOHN MCGHIE (SCOTTISH 1867-1952) WASH DAY Signed, oil on canvas 76cm x 63.5cm (30in x 25in) Provenance: Sotheby’s 18 April 2005, lot 68 (£13,200)

£3,000-5,000

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

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3§ CHARLES OPPENHEIMER R.S.A., R.S.W (SCOTTISH 1876-1961) CHIANINA CATTLE IN A FARMYARD Signed, pencil and watercolour on buff paper 23cm x 34.5cm (9in x 13.5in) Provenance: McGill Duncan Gallery, Kirkcudbright Exhibited: Kirkcudbright Galleries, Charles Oppenheimer 2019, no.35 Note: Euan Robson, author of the recent Oppenheimer monograph, has suggested that this watercolour was painted in Italy in 1913.

£800-1,200

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

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4 JAMES PATERSON R.S.W., R.S.A., R.W.S. (SCOTTISH 1854-1932) PORTRAIT OF J.COOK- 18 INDIA STREET Signed and dated 1918, inscribed ‘To Mrs Cook, 8th May 1919’ on the backboard, coloured chalks on buff paper 43cm x 28cm (14in x 11in) Note: Although better known as a landscape painter and member of the Glasgow Boys, Paterson was an accomplished portraitist. A self portrait is in the National Galleries of Scotland.

£400-600

5§ JAMES MCBEY (SCOTTISH 1883-1959) THE KIMONO Signed and dated 1923, pen and ink and watercolour on buff paper 41cm x 30.5cm (16in x 12in) Provenance: Ewan Mundy Fine Art Ltd Note: It has been suggested that the model for this painting was ‘Tippi’, a favourite of McBey and his fellow artists.

£800-1,200

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6 WILLIAM HANNA CLARKE (SCOTTISH 1882-1924) KIRKCUDBRIGHT FROM NORTH OF CASTLEDYKES POINT Signed and dated 1919, watercolour on buff paper 24cm x 29cm (9.5cm x 11.25in)

£300-500

7§ CHARLES OPPENHEIMER R.S.A., R.S.W (SCOTTISH 1876-1961) WASHING DAY KIRKCUDBRIGHT Pencil and chalk on coloured paper 15cm x 23.5cm (6in x 9.25in) Exhibited: Bourne Fine Art, Galloway Paintings Exhibition 2014 from a sketchbook by Charles Oppenheimer

£300-500

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

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8§ CHARLES OPPENHEIMER R.S.A., R.S.W (SCOTTISH 1876-1961) THE LILY POND Signed, watercolour 31.5cm x 42cm (12.5in x 16.5in) Exhibited: McGill Duncan Gallery, Kirkcudbright Note: This watercolour was originally owned

by Robert Baird, ghillie of the duck pond in the painting at Kirkchrist where Oppenheimer used to shoot. Oppenheimer was so grateful for the use of the area that he painted the picture for Baird. On Baird’s death, his grandson found the painting wrapped up safely under a bed.

£2,000-3,000

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EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933)

ARCHIBALD THORBURN (SCOTTISH 1860-1935)

SWAN LAKE

GOLDFINCHES IN THE SNOW

Signed and dated 1917, oil on canvas

Signed and dated 1901, watercolour

765cm x 63cm (30in x 25in)

53cm x 35.5cm (21in x 14in)

£7,000-10,000

Provenance: Rountree Tryon Galleries, London British Sporting Art, Essex

£6,000-8,000

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

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12 §

ARCHIBALD THORBURN (SCOTTISH 1860-1935) AMERICAN STINT

SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., P.R.S.W., R.A. (SCOTTISH 1898-1973)

Signed, watercolour

THE PATH BY THE BEECHES, HADDINGTON

18.5cm x 24cm (7.25in x 9.5in)

Signed, inscribed and dated 1916, watercolour

Provenance: British Sporting Art, Essex

21.5cm x 27.5cm (8.5in x 10.75in)

Literature: Illustrated Lord Lilford, Coloured Figures of the birds of the British Islands, Vol.5, pl.37

Exhibited: The Scottish Gallery, Modern Masters, 2013, no.23 where illustrated in the catalogue

£1,500-2,000

£500-800

13 § PAUL REID (SCOTTISH B.1975) TREES - LOCH NESS Signed, ink, charcoal and acrylic 39cm x 54cm (15.25in x 21.25in) Exhibited: The Scottish Gallery, Paul Reid - Gods, Heroes and Beasts 2017, no.2

£800-1,200

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

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15 §

ALEXANDER GOUDIE (SCOTTISH 1933-2004) BRETON FANTASY

ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D (SCOTTISH 1917-1999)

Signed, pencil and watercolour

ZATTERE AL PONTE LUNIGO, VENICE

25.5cm x 51cm (10in x 20in)

Signed and inscribed, ink and watercolour

Exhibited: The Fine Art Society, Goudie’s Brittany, 1992

24cm x 35.5cm (9.5in x 14in)

£800-1,200

£600-900

Provenance: Open Eye Gallery, Edinburgh

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

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16 § DENIS PEPLOE R.S.A (SCOTTISH 1914-1993) STILL LIFE WITH BUDDHA

Note: This painting dates from 1947.

Signed, oil on canvas

When Cadell died in 1937, his sister Jean Cadell gave 23 year old Denis Peploe art materials and scrapbooks from his studio. It has been suggested that the painting of a woman’s head on the reverse may be the work of Cadell.

61cm x 46cm (24in x 18in) Exhibited: The Scottish Gallery, Denis Peploe Centenary Exhibition 2014, no.3

£2,000-3,000

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17 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) SELF PORTRAIT Conté drawing 19cm x 12cm (7.5in x 4.75in) Exhibited: Alexander Meddowes, J.D.Fergusson - Unseen Works, 2013/14, no.73.

£1,500-2,000

It would not be an overstatement to say that a sketchbook and pencil were fundamental to Fergusson’s practice. He produced hundreds of drawings, many of which are now housed in museum collections, or treasured on the walls of private homes. Drawing from life, whether it be the patrons of a bustling Parisian café or one of his partner Margaret Morris’ dancers, Fergusson’s sketches demonstrate his vocation to his craft, and frequently capture the joie de vivre which permeates so much of his work. He would later urge his pupils to adopt the practice, explaining: “you are training your eye to see and your hand to respond”.

The selection offered here for sale demonstrates a conscious attempt to represent the various and most notable facets of Fergusson’s works on paper. This well curated group illustrates the evolution from the tight, academic hatching of his early Edinburgh mode, seen here in the beautifully executed ‘Woman in a Large Hat’, to the angular and economic lines of his mature technique which reveal an absorption of Cubist tendencies from his time on the Continent.

His iconic head studies of sensuous and idealised women seem in their simplicity and solidity to relate closely to his sculptural works; most notably his remarkable ‘Eastre: Hymn to the Sun’.

His highly structural landscape ‘Figure Promenading, Harlech’ draws to mind Cézanne’s cleverly receding vistas, combined with a dynamism of movement that shows a close familiarity with the Vorticist movement.

The dashing ‘Self Portrait’ sees Fergusson use himself as model. These studies frequently lean towards caricature; his strong, angular features lending themselves well to being broken down into simplistic shapes for compositional effect.

Perhaps the most significant sketch in this selection, however, is the wonderful ‘Flowers and Fruit’, of 1911. It relates to one of a handful of bold still lives in oil which Fergusson made between 1910 and 1912. It was created for publication, though for unknown reasons was never dispatched to the printers, and was likely originally destined for the journal ‘Rhythm’, of which Fergusson was art-editor.

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18 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) WOMAN IN A LARGE HAT Pencil 27cm x 23cm (10.5in x 9in) Exhibited: Alexander Meddowes, J.D. Fergusson Unseen Works, 2013/14, no.5

£2,000-3,000

19 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) FLOWERS AND FRUIT 1911 Signed verso, inscribed and dated on label verso, pen and ink and wash 12cm x 11cm (4.75in x 4.25in) Exhibited: Alexander Meddowes J.D.Fergusson Drawings, 2014/2015 Note: The label verso which states ‘not to be worked on lineblock....size of letterpress opposite (not half tone) lineblock’ suggests this drawing may have been intended for publication, possibly in Rhythm, the art journal where Fergusson was art editor in Paris from 1911-1913.

£2,000-3,000

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

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20 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) PORTRAIT HEAD Conté drawing 25.5cm x 20.5cm (10in x 8in) Exhibited: The Scottish Gallery, J.D.Fergusson, La Vie Boheme The Unseen Drawings, 2018, no.35

£1,500-2,000

21 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) FIGURES PROMENADING HARLECH Conté drawing 17cm x 12cm (6.5in x 4.75in) Exhibited: Alexander Meddowes, A Tribute to Fergus 2004, no.116 Note: Margaret Morris, Fergusson’s partner, held her summer dance school in Harlech in 1919 and 1921. This drawing probably dates from 1921.

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

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22 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) CHAPEAU CLOCHE Inscribed and dated 1918 verso, conté drawing 20cm x 16cm (8in x 6in) Exhibited: Alexander Meddowes, J.D.Fergusson - Unseen Works, 2013/14, no.91 Note: In Margaret Morris’s book on Fergusson 1974, p.103 she quotes him, ‘When I came from London at the beginning of the First World War in 1914, I met one of Margaret Morris’s best pupils, Kathleen Dillon, a very good looking girl... one day she arrived with a remarkable hat...

Looking at Kathleen I soon saw that the hat was not merely a hat but a continuation of the girl’s character, her mouth, her nostril, the curl of her hair - the whole character like Burn’s love is like a red, red rose’

£1,000-1,500

23 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) PROUD NUDE Dated May ‘37, signed and dated by ‘Margaret Morris Fergusson 1972’ on label verso, conté drawing 33.5cm x 24cm (13.25in x 9.5in) Exhibited: Compass Gallery, Glasgow, J.D.Fergusson - One Man Exhibition, 1972, no.36 The Scottish Gallery, The Scottish Colourists, 2016, no.17

£1,500-2,000

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24 § ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D (SCOTTISH 1917-1999) THREE WOMEN BY THE SEA Signed and dated ‘89, signed and inscribed on artist’s label verso, pastel 24cm x 32cm (9.5in x 12.5in) Exhibited: The Scottish Gallery, Alberto Morrocco: Centenary Exhibition, 2017, no.20

£2,000-3,000

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

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25 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) WOMAN WITH CLOSED EYES Conté drawing 25.5cm x 20cm (10in x 8in) Exhibited: The Scottish Gallery, J.D. Fergusson - La Vie Boheme, no.45

£1,500-2,000

26 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) LE PANIER BLEU Inscribed, watercolour and conté drawing 15.5cm x 10cm (6.25in x 4in) Exhibited: Alexander Meddowes, J.D.Fergusson - Unseen Works, 2013/14, no.118

£1,200-1,800

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ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D (SCOTTISH 1917-1999)

ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D (SCOTTISH 1917-1999)

PICCOLO PIAZZA DE CATTEDRALE, CAMOGLI

THE HARBOUR AT CAMOGLI

Signed, inscribed and dated ‘88, inscribed on a label verso, watercolour

Signed, pencil and watercolour

60cm x 43cm (23.5in x 17in) Provenance: The Scottish Gallery

Provenance: The artist’s estate through the Open Eye Gallery

£2,000-3,000

£3,000-5,000

51cm x 61cm (20in x 24in)

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

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SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935)

SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935)

GIRL IN A PARIS CAFÉ

TRAITEUR, CASSIS

Conté drawing on buff paper

Signed, conté drawing

27cm x 25.5cm (10.5in x 10in)

15cm x 22cm (6in x 8.75in)

Exhibited: The Scottish Gallery, Scottish Colourists Exhibition 2009

Exhibited: The Scottish Gallery, S J Peploe Scotland’s First Modernist 2012, no.19

Provenance: The Artist’s Estate

Provenance: The artist and thence by descent

£1,500-2,000

Note: The drawing dates from 1913

£2,000-3,000

30 SAMUEL JOHN PEPLOE R.S.A (SCOTTISH 1871-1935) ALMOND EYES - PEGGY MACRAE Signed with initials, conté drawing 14cm x 12.5cm (5.5in x 5in) Exhibited: Ewan Mundy Fine Art 2008, no.5072 Provenance: The artist’s family Note: Peggy MacRae was one of Peploe’s most important early models. Stanley Cursiter, who wrote Peploe’s first biography described her as ‘witty, attractive and charming.’

£1,000-1,500

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

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32 § JOHN CUNNINGHAM (SCOTTISH 1927-2000) BOWL OF FRUIT Signed, signed, inscribed and dated on a label verso ‘86, oil on board 25.5cm x 25.5cm (10in x 10in)

£1,000-1,500

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

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33 § MARY NICOL NEILL ARMOUR R.S.A., R.S.W. (SCOTTISH 1902-2000) PEONIES Signed and dated ‘64, oil on board 53cm x 43cm (21in x 17in)

£1,000-1,500

34 § FRANCES MACDONALD R.G.I. (SCOTTISH B.1945) DUNTRUNE CASTLE Signed, oil on canvas 30.5cm x 30.5cm (12in x 12in) Exhibited: The Scottish Gallery, Frances Macdonald By Sea and Land, 2016, no.24

£500-800

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35 § JACK MORROCCO (SCOTTISH B.1953) NUDE IN BLACK STOCKINGS Signed, oil on board 25.5cm x 25.5cm (10in x 10in) Provenance: The Richmond Hill Gallery, Richmond

£1,000-1,500

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

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36 § GRAHAM MCKEAN (SCOTTISH B.1962) NIGHT ON THE TOWN Signed, oil on board 35.5cm x 41cm (14in x 16in)

£400-600

37 § GRAHAM MCKEAN (SCOTTISH B.1962) FAIR Signed, oil on canvas 41cm x 31cm (16in x 12in)

£300-500

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38 ยง ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A (SCOTTISH 1895-1965) STILL LIFE WITH JUG Signed, gouache 30cm x 40cm (12in x 16in) Exhibited: The Scottish Gallery, Anne Redpath - Fifty - A Celebratory Exhibition, 2015, no.23 Provenance: Bought by Ellen Kemp, a friend of the artist in 1958.

ยฃ1,500-2,000

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39 § 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) RAINBOW AND ROSE WINDOW Oil on board 41cm x 41cm (16in x 16in) Exhibited: Duncan R Miller Fine Arts, London The Scottish Gallery, Sir Robin Philipson 2012 Provenance: Professor Sir Kenneth Murray and Lady Noreen Murray

£2,000-3,000

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

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ELIZABETH BLACKADDER Elizabeth Blackadder is well known for her images of cats, flowers and still lifes. To see her as a comfortably predictable painter of the domestic scene, however, would be a fundamental mistake. That would be to miss out on the ground-breaking radicalism and intellectual acuity of an artist who can rightly be viewed as a national treasure.

Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. In 1956, Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. Blackadder’s fascination with travel and appreciation for other cultures would be echoed throughout her artwork.

By 1965, Blackadder moved away from her landscape work of the early 60s and began experimenting with the still life. While taking her cue from Anne Redpath and the Edinburgh School, Blackadder also brought her own unique vision to her still lifes, drawing on sources as diverse as Mughal miniatures and colour-field abstraction.

Over the next few decades, her botanical work became more intense while her still lifes adopted a more flattened appearance with no perspective. The objects in these still lifes were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their own space, often surrounded by a shimmering aura, suggesting an individual presence and character.

Lyon & Turnbull is delighted to offer such a comprehensive collection of Blackadder’s work, including examples of her highly coveted studies of cats, her botanical watercolours, and a selection of fine still lives.

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40 § ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH B.1931) THREE CATS Signed and dated 1992, pastel 46cm x 56cm (18in x 22in) Exhibited: Royal Academy 1992, no.6 Blondes Fine Art, Widford 2015

£5,000-7,000

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

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41 ยง ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH B.1931) ORIENTAL POPPIES Signed and dated 1999, pencil and watercolour 38cm x 38cm (15in x 15in) Provenance: Mercury Gallery London no.4534

ยฃ3,000-5,000

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43 §

ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH B.1931)

ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH B.1931)

AUTUMN LEAVES AND INSECTS

FENNEL AND DRAGON FRUIT

Signed and dated 2008, pencil and watercolour

Signed, mixed media

31cm x 23cm (12in x 9in)

33cm x 48cm (13in x 18in)

Exhibited: The Scottish Gallery, Elizabeth Blackadder - New Paintings 2008, no.38

Exhibited: Browse and Darby, London, Elizabeth Blackadder - Decades, 2015, no.25

£1,500-2,000

The Scottish Gallery, Elizabeth Blackadder Decades, 2016, no.39

£2,000-3,000

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

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44 § ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH B.1931) ’BANANIA’ TIN, MELON AND MARBLE FIG Signed and dated 2003, oil on canvas 30.5cm x 35.5cm (12in x 14in) Exhibited: Whitehouse Gallery, Kirkcudbright 2005

£2,000-3,000

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45 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) COSMIC FORCE IN THE VILLAGE Signed, inscribed and dated ‘86, oil on board 51cm x 41cm (20in x 16in) Provenance: Gimpel Fils, London, Opus O.1094, GF18015 Alan Wheatley Art, London

£2,000-3,000

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

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46 §

47 §

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)

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)

DEFENDERS OF THE REALM ALTARPIECE - PREDELLA PANEL 5

DEFENDERS OF THE REALM ALTARPIECE - PREDELLA PANEL 1

Oil on board

Oil on board

28cm x 38cm (11in x 15in)

28xm x 38cm (11in x 15in)

Provenance: Lyon & Turnbull, August 2005

Provenance: Lyon & Turnbull, 2005

£1,000-1,500

£1,000-1,500

48 § WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (SCOTTISH 1915-1997) DARK AGITATION Signed and dated ‘59, mixed media 30.5cm x 48.5cm (12in x 19in) Provenance: Fosse Gallery

£800-1,200

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

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49 § JOHN HOUSTON R.S.A., R.S.W., S.S.A. (SCOTTISH 1930-2008) CORNFIELDS EAST LOTHIAN II Signed, oil on canvas 25.5cm x 35.5cm (10in x 14in) Provenance: Mercury Gallery, London

£1,000-1,500

A significant figure in the post-war Scottish school, John Houston’s artistic career is inextricably tied to a small group of key preoccupations: Edinburgh College of Art, where he both trained and taught; Elizabeth Blackadder, fellow artist and his wife of over fifty years; and the landscape of East Lothian.

Born and raised in Fife, sport and particularly football was Houston’s main interest as a child.

He enjoyed success, playing at a national level in his youth and into his time at art college until a knee injury prevented further progression.

At this point, he turned his attention fully to his studies, graduating with a post-graduate travelling scholarship in 1953 which allowed for travel to Italy. In 1955, his artistic contemporary, Elizabeth Blackadder was awarded the same scholarship.

Houston joined her for some of her time abroad and they were married on her return to Edinburgh the following year. They both quickly found teaching positions within Edinburgh College of Art and would ultimately have significant teaching careers alongside their professional work as artists: travelling, painting and exhibiting constantly.

In terms of his artistic development, Houston was eclectic and prolific. He enjoyed working on figurative subjects and still-lifes, often on a large scale, but his greatest love was landscape and particularly the coast around East Lothian. He depicted the Bass Rock so obsessively that his Guardian obituary acknowledged it as ‘a personal emblem.’ A wide range of influences, from Turner to American Abstract Expressionism, have imbued Houston’s work with an expressive, atmospheric quality particularly as he moves into abstraction.

Bright bold colour is a trademark and the materiality of the paint always shines through in his finished work.

Within this collection, the three examples of Houston’s painting provide a good cross-section of his pre-occupation with bold colour, expressive brushwork and a strong sense of atmosphere and energy. The inclusion of a substantial collection of works by Elizabeth Blackadder within the same collection makes exact sense: their work is inextricably linked as they travelled to the same inspiring destinations while John remained her biggest supporter as her career soared.

43

50 § JOHN HOUSTON R.S.A., R.S.W., S.S.A. (SCOTTISH 1930-2008) ORIENTAL POPPIES 1 Signed, signed, inscribed and dated on the stretcher 1984, oil on canvas 51cm x 41cm (20in x 16in) Exhibited: Mercury Gallery, London 1986 Dr. Ruth Page until 2015

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

45

51 §

52 §

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

DENIS PEPLOE R.S.A (SCOTTISH 1914-1993)

ROSES

Signed, oil on canvas

Signed, signed, inscribed and dated 1999 on the stretcher verso, oil on canvas

40.5cm x 51cm (16in x 20in)

35.5cm x 25.5cm (14in x 10in) Provenance: The Scottish Gallery, The Artist’s Studio, 2014

KYTHREA, CYPRUS

Exhibited: The Scottish Gallery, Denis Peploe Drawings and Paintings 2010, no.5 Note: This painting dates from 1951

£2,000-3,000

£1,000-1,500

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

46

53 § IAN HUGHES (SCOTTISH 1958-2014) DUTCH GIRL Signed and indistinctly dated, mixed media on canvas 30.5cm x 25.5cm (12in x 10in)

£400-600

54 § ALEXANDER MILLAR (SCOTTISH B.1960) THERE WAS A SOLDIER Signed, pencil 31cm x 20cm (12in x 8in)

£400-600

47

55 § VICTORIA CROWE O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1945) HEAD AND HAND Signed, ink and wash 34cm x 42.5cm (13.25in x 16.75in) Exhibited: The Scottish Gallery, 1993

£1,000-1,500

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

48

56 § BARBARA RAE C.B.E., R.A., R.S.A., R.E. (SCOTTISH B.1943) SINGLE ALMOND, CANAR Signed, mixed media 29.5cm x 33cm (11.5in x 13in) Exhibited: The Scottish Gallery, Barbara Rae - Sierra, 2006, no.27

£1,000-1,500

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

49

57 § LEON MORROCCO A.R.S.A (SCOTTISH B.1942) STILL LIFE WITH VIOLIN Signed and dated ‘03, oil on board 28.5cm x 23.5cm (11.25in x 9.25in) Provenance: Open Eye Gallery, Edinburgh

£1,500-2,000

50

58 § 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) DEFENDERS OF THE REALM ALTARPIECE - PREDELLA PANEL 4 Oil on board 30cm x 30cm (11.75in x 11.75in) Provenance: Lyon & Turnbull, 2005

£1,000-1,500

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

51

59 § PETER HOWSON O.B.E. (SCOTTISH B.1958) SENTINAL Signed, pastel 48cm x 61cm (18in x 24in) Provenance: Peter Howson Studio

PETER HOWSON Peter Howson is arguably one of the finest and certainly one of the most controversial British painters of the late 20th and 21st centuries. Born in London in 1958, he moved with his parents to Scotland aged four and studied at Glasgow School of Art from 1975 - 1977, under Sandy Moffat.

On graduating, he took on various jobs, including nightclub bouncer and supermarket manager before enlisting as a private soldier in the Royal Highland Fusiliers. In 1979, disenchanted with the army, he returned to art school and from 1981 began to show at Edinburgh’s influential 369 Gallery.

What might be said to be Howson’s signature style first emerged in a series of murals made for Feltham Community Association in London in 1982, painted in an urban realist manner.

He quickly developed this into a style highly reminiscent of Max Beckmann, with exaggerated

£2,000-3,000

musculature, sinister characters and voluptuous nudes. He also embraced Beckmann’s subject matter of extreme physical cruelty, depravity and dysfunctional behaviour.

In his early works, Howson concentrated on characterizations of working class men, at the gym, at football matches, in the pub, or merely in a crowd. His artwork became more brutal, displaying increasing levels of violence and voyeuristic sexuality.

In 2000, Howson was treated for long-term alcoholism and drug addiction and that same year, possibly as result of this treatment, famously underwent a conversion to Christianity.

Thereafter, his work began to exhibit a strong religious content. Today, as always enigmatic, shy and unpredictable, he remains one of the most fascinating figures in 20th century British art.

52

60 § PETER HOWSON O.B.E. (SCOTTISH B.1958) TRIAL III Signed and dated 2018, pen and ink and wash 24cm x 23cm (9.5in x 9in) Note: This was created for ‘Devil’s Chorus’ an exhibition held at the Maclaurin Art Gallery in Ayr

£500-800

61 § PETER HOWSON O.B.E. (SCOTTISH B.1958) ST. PETER Signed and dated 2020, mixed media 20cm x 19cm (8in x 7.5in)

£500-800

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

62 ยง PETER HOWSON O.B.E. (SCOTTISH B.1958) SPECIAL RELATIONS Signed, pastel 48cm x 61cm (18in x 24in) Provenance: Peter Howson Studio

ยฃ2,000-3,000

54

63 § LEON MORROCCO A.R.S.A (SCOTTISH B.1942) STILL LIFE WITH SUNFLOWER Signed and dated ‘93, oil on canvas 55cm x 61cm (21.5in x 24in) Provenance: Callaghan Fine Paintings, Shrewsbury

£3,000-5,000

55

64 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) WOMAN WITH LOBSTER Signed, pencil and watercolour 47cm x 27cm (14.5in x 10.5in)

£1,000-1,500

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

56

65 § ALASDAIR GRAY (SCOTTISH 1934-2019) STUDENTS AND MODEL Gouache and black ink 41cm x 52cm (16in x 20.5in) Provenance: Ewan Mundy Fine Art Literature: Alasdair Gray, A Life in Pictures 2010, Ill.p.38 Note: This drawing dates from c.1955

£1,000-1,500

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

57

66 § JOHN BYRNE (SCOTTISH B.1940) TWO BUDDIES Signed, pen and ink and watercolour 32cm x 28cm (12.5in x 11in) Exhibited: The Fine Art Society, London, John Byrne - The Joyful Mysteries, 2012

£3,000-5,000

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

58

67 § DERRICK GUILD R.S.A (SCOTTISH B.1961) BURNT RHINO AFTER OUDRY Signed, acrylic on canvas 36cm x 48cm (14in x 18in) Exhibited: The Scottish Gallery, Derrick Guild - Mother Figures 2015, no.27 Note: Clara the rhinoceros was a female Indian animal who became famous during 17 years of touring Europe in the mid-18th century.

She was painted by Oudry in 1749.

£800-1,200

68 § DERRICK GUILD R.S.A (SCOTTISH B.1961) BURNT CASSOWARY STUDY NO.2 Mixed media on paper 38cm x 27cm (15in x 10.5in) Exhibited: The Scottish Gallery, Derrick Guild Brecht’s Journals 2017, no.20

£600-900

59

69 § JOHN BYRNE (SCOTTISH B.1940) SELF PORTRAIT Signed, mixed media 30.5cm x 20cm (12in x 8in) Provenance: High Street Gallery, Kirkcudbright 2014

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

60

70 ยง ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) TROPICAL HARBON Inscribed, signed and dated 1994 on the backboard verso, oil on board 37.5cm x 31cm (14.5in x 12in) Provenance: Gimpel Fils, Opus O.1300, no.7801

ยฃ1,500-2,000

61

71 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) LOBSTER Signed, watercolour 38cm x 28cm (15in x 11in) Exhibited: High Street Gallery, Kirkcudbright 2013

£800-1,200

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

62

72 § PETER HOWSON O.B.E. (SCOTTISH B.1958) CAUTION I Signed and dated 2019, mixed media 19cm x 18cm (7.5in x 7in)

£500-800

73 § PETER HOWSON O.B.E. (SCOTTISH B.1958) GALLOWGATE GLORY Signed and dated 2018, mixed media 24cm x 20cm (9.5in x 8in)

£500-800

63

74 § WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (SCOTTISH 1915-1997) CAROUSEL Signed and dated ‘80, oil on paper 55cm x 38cm (21.5in x 15in) Provenance: Frederick Charles Art, London

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

64

75 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) LITTLE QUEEN EMMA Signed, inscribed and dated ‘67, gouache 56cm x 76cm (22in x 30in) Provenance: Alan Wheatley Art, London

£3,000-5,000

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

65

INDEX OF ARTISTS Armour, Mary Nicol Neill

33

Macdonald , Frances

34

Bellany , John

64, 71

Mcbey, James

5

Blackadder , Elizabeth

40, 41, 42, 43, 44

Mcghie, John

2

Byrne, John

66, 69

Mckean, Graham

36, 37

Clarke, William Hanna

6

Millar, Alexander

54

Crowe, Victoria

55

Morrocco, Alberto

15, 24, 27, 28

Cunningham, John

32

Morrocco, Jack

35

Davie, Alan

45, 70, 75

Morrocco, Leon

57, 63

Oppenheimer, Charles

3, 7, 8

22, 23, 25, 26

Paterson, James

4

Gear, William

48, 74

Peploe, Denis

16, 52

Gillies, Sir William George

12

Peploe, Samuel John

29, 30, 31

Goudie, Alexander

14

Philipson, Sir Robin

39, 46, 47, 58

Gray, Alasdair

65

Rae, Barbara

56

Guild, Derrick

67, 68

Redpath, Anne

38

Hamilton, James Whitelaw

1

Reid, Paul

13

Hornel, Edward Atkinson

9

Thorburn, Archibald

10, 11

Houston, John

49, 50, 51

Howson, Peter

59, 60, 61, 62, 72, 73

Hughes, Ian

53

Fergusson, John Duncan 17, 18, 20, 21,

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

Follower of…

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

Attributed to…

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

Manner of…

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

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

66

MARK WALLINGER (BRITISH 1959-) GHOST, 2001 £2,000-3,000

CONTEMPORARY & POST-WAR ART ONLINE AUCTION 07 APRIL 2021 AT 11AM | EDINBURGH

67

RARE BOOKS, MANUSCRIPTS, MAPS & PHOTOGRAPHS ONLINE AUCTION 24-25 FEBRUARY 2021 AT 10AM | EDINBURGH

PICASSO, PABLO PICASSO’S SKETCHBOOK A LIMITED EDITION IN FACSIMILE London: Thames and Hudson, 1960.

Folio, one of 250 exact copies of a sketchbook in which Pablo Picasso worked from November 1, 1955, to January 14, 1956. £300-500

68

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