Scottish Paintings & Sculpture ft. S.J. Peploe at 150 by Lyon & Turnbull

SCOTTISH PAINTINGS & SCULPTURE 9TH DECEMBER 2021 LIVE ONLINE EDINBURGH

SCOTTISH PAINTINGS & SCULPTURE FEATURING S.J. PEPLOE AT 150

THURSDAY 09 DECEMBER 2021 LOTS 1-106 AT 2PM & LOTS 107-193 AT 6PM

Sale Number LT668

Lyon & Turnbull 33 Broughton Place EDINBURGH EH1 3RR

VIEWING Friday 3rd December 10am - 5pm. Sunday 5th December 12 noon - 4pm. Monday 6th until Wednesday 8th December 10am - 5pm. Day of Sale by appointment.

Front Cover Lot 152 [detail] Inside Front Cover Lot 145 [detail]

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

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This sale is subject to our Standard conditions of Sale (available at the back of every catalogue and on our website).

BUYER’S PREMIUM

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The buyer shall pay the hammer price together with a premium, at the following rate, thereon.

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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

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

†V AT at the standard rate payable on the hammer price

2 – Proof of address (utility bill/bank statement).

‡R educed rate of 5% import VAT payable on the hammer price ΩS tandard rate of import VAT on the hammer price Lots affixed with ‡ or [Ω] symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2. 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

We may, at our option, also ask you to provide a bank reference and/ or deposit. (Particularly for bidding on lots marked by the high value lot symbol ) 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. See Collections & Storage section for more info specific to this particular auction. CATALOGUE DESCRIPTIONS 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. 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.

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 Great Britain. For more information visit http://www. defra.gov.uk/ahvla-en/imports-exports/ cites COLLECTION OF PURCHASED LOTS Due to social distancing requirements, all collections will be by appointment only (this applies to both carriers and personal collections). To make an appointment call 0131 557 8844 or book online at www.lyonandturnbull. com/appointment-bookings. Please ensure payment has been made prior to collection. This can be done by bank transfer, and debit/credit card online (powered by Opayo) - details will be shown on your invoice. Please note we are unable to take payments over the phone.

MEET THE SPECIALISTS At Lyon & Turnbull we want to make buying at auction as easy and enjoyable as possible. Our specialist team are on hand to assist you, whether you are looking for something in particular for your home or collection, require more detailed information about the history or current condition of a lot, or just want to find out more about the auction process.

Nick Curnow Head of Sale nick.curnow@lyonandturnbull.com

Alice Strang Senior Specialist alice.strang@lyonandturnbull.com

Charlotte Riordan Senior Specialist charlotte.riordan@lyonandturnbull.com

Carly Shearer Specialist carly.shearer@lyonandturnbull.com

Chantal de Prez Junior Specialist chantal.deprez@lyonandturnbull.com

FRANK HENRY MASON R.B.A., R.I. (BRITISH 1876-1965)

ROBERT NOBLE R.S.A., P.S.S.A. (SCOTTISH 1857-1917)

ST. ANDREWS HARBOUR

BOYS FISHING NEAR ACREDALES, HADDINGTON

Signed, oil on board

41cm x 51cm (16in x 20in)

36cm x 56cm (14in x 22in)

£800-1,200

£600-800

3 DAVID GAULD R.S.A. (SCOTTISH 1865-1936) BY A FRENCH WATERMILL Signed, oil on canvas 61cm x 76cm (24in x 30in)

£2,000-3,000

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

4 JOSEPH MORRIS HENDERSON R.S.A. (SCOTTISH 1864-1936) PICNIC BY THE SEA Signed, oil on canvas 25.5cm x 35.5cm (10in x 14in)

£600-800

5 WILLIAM KENNEDY (SCOTTISH 1859-1918) THE FARMYARD Signed, oil on canvas 51cm x 61cm (20in x 24in) Provenance: The Fine Art Society Ltd, 1981, no.8823

£1,000-1,500

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

6 JOHN GUTHRIE SPENCE SMITH R.S.A. (SCOTTISH 1880-1951) SUMMER SKIES Signed, oil on board 63.5cm x 76cm (25in x 30in)

£1,000-1,500

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

7 WILLIAM ALFRED GIBSON (SCOTTISH 1866-1931) THE ROCKY SHORE Signed, oil on canvas 51cm x 61cm (20in x 24in)

£700-1,000

8 WILLIAM MOUNCEY (SCOTTISH 1852-1901) FIGURE BY A WOODLAND STREAM Signed, oil on canvas 31cm x 41cm (12in x 16in) Exhibited: The Fine Art Society, London September 1969

£600-800

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

9 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) DRYING THE NETS Signed, oil on canvas 63.5cm x 76cm (25in x 30in)

£2,000-3,000

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

JOHN FLEMING (SCOTTISH 1792-1845)

JAMES HALL CRANSTON (SCOTTISH 1821-1907)

NEWARK CASTLE, PORT GLASGOW

THE FERRY OF THE LOAF

Signed and dated 1830, oil on panel

Signed and dated 1905, inscribed on old label verso, oil on canvas

54cm x 80cm (21in x 31.5in)

61cm x 91cm (24in x 36in)

£1,500-2,500

Note: The painting depicts the River Tay near Seggiedur.

£800-1,200

12 ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928) ‘BANKS AND BRAES O’BONNIE DOON’ Signed, oil on canvas 51cm x 76cm (20in x 30in)

£2,000-3,000

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

CHARLES MARTIN HARDIE R.S.A. (SCOTTISH 1858-1916)

WILLIAM STEWART WATSON (SCOTTISH 1800-1870)

AFTER THE ‘45, A JACOBITE PRISONER IN AN ENGLISH VILLAGE

THE WOUNDED JACOBITE

Signed and dated 1893, oil on canvas

Signed and indistinctly dated, oil on panel

41cm x 68cm (16in x 26.75in)

57cm x 81cm (22.5in x 31.75in)

£1,500-2,000

£1,500-2,500

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

15 RICHARD ANSDELL R.A. (BRITISH 1815-1885) AND STUDIO WASHER GIRL Signed, oil on canvas 76cm x 61cm (30in x 24in)

£3,000-5,000

BARCLAY HENRY (BRITISH FL.1891-1946)

ROBERT WATSON (BRITISH 1865-1916)

CROFT BY THE LOCH

HIGHLAND CATTLE WATERING ON A HILLSIDE

Signed and dated 1914, oil on canvas

Signed and dated 1902, oil on canvas

41cm x 61cm (16in x 24in)

51cm x 76cm (20in x 30in)

£600-800

£2,000-3,000

18 HENRY GARLAND (BRITISH 1854-1890) CROSSING THE FORD Signed, oil on canvas 63.5cm x 120cm (25in x 47.25in)

£2,000-3,000

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

CIRCLE OF ALEXANDER NASMYTH

THOMAS FENWICK (FL.1835-D.1849)

FIGURES IN AN ITALIANATE LANDSCAPE

A HIGHLAND LOCH WITH DEPARTING ROWING BOAT

Oil on canvas

Signed, oil on canvas

61cm x 81cm (24in x 31.75in)

68cm x 96cm (26.75in x 37.75in)

£1,000-1,500

£800-1,200

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

21 CHARLES JAMES LAUDER R.S.W. (SCOTTISH 1840-1920) A BUSY HARBOUR SCENE Signed, oil on canvas 76cm x 46cm (30in x 18in)

£600-800

22 JAMES CAMPBELL NOBLE R.S.A. (SCOTTISH 1846-1913) THE TOY BOAT Signed and dated 1876, oil on canvas 76cm x 63.5cm (30in x 25in)

£600-800

23 ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928) THE RIVER LODDON NEAR WARGRAVE Signed, signed and inscribed verso, oil on canvas 61cm x 91cm (24in x 36in)

£1,500-2,000

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

GEORGE OGILVY REID R.S.A. (SCOTTISH 1851-1928)

GEORGE OGILVY REID R.S.A (SCOTTISH 1851-1928)

IN TIME OF WAR

A SOLDIER’S STORY

Signed, oil on board

30.5cm x 41cm (12in x 16in)

£600-800

JOHN MACWHIRTER R.A., H.R.S.A., R.I., R.E. (SCOTTISH 1839-1911)

JOHN ROBERTSON REID R.I., R.B.S., R.O.I. (SCOTTISH 1851-1926)

A MOONLIT TRYST

A CORNISH FISHING VILLAGE

Signed with a monogram, oil on canvas

Signed and dated 1898, signed and dated ‘April 1898’ verso, oil on canvas

36cm x 61cm (14in x 24in)

25.5cm x 36cm (10in x 14in)

£800-1,200

JOHN MCGHIE (SCOTTISH 1867-1952) WATCHING FOR THE FLEET Signed, oil on canvas 51cm x 61cm (20in x 24in)

£1,500-2,000

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

29 ARCHIBALD THORBURN (SCOTTISH 1860-1935) BRENT GOOSE AND COMMON SHELD DUCK Signed and dated 1925, watercolour 20.5cm x 28cm (8in x 11in) Literature: Archibald Thorburn, British Birds Vol 111, plate 102 original illustration

£4,000-6,000

Archibald Thorburn returned to the Highlands of Scotland to study and record the native wildlife throughout his life. His preferred spot was the Forest of Gaick in Invernesshire, a dramatic and ever-changing habitat populated by diverse creatures. From warbler to eagle, Thorburn’s evocative watercolours are replete with technical prowess and keenly-observed detail, while also conveying something of his subject’s temperament. It is these qualities that distinguish Thorburn as one of the great ornithological painters. Archibald Thorburn was born in 1869 in Lasswade near Edinburgh. His father Robert Thorburn was a leading miniaturist who worked for Queen Victoria. The young Archibald trained under his father, who emphasised the importance of anatomical study and attention-to-detail. Following his father’s death in 1885, Thorburn travelled to London to study at St John’s Wood School of Art, seeking counsel from the celebrated illustrator of natural history Joseph Wolf. A most important career development came in 1887, when Thorburn was commissioned to paint over 250 watercolours for the ornithologist Lord Lilford’s Coloured Figures of the Birds of the British Isles. Following this, Thorburn enjoyed continued success. He regularly exhibited at the Royal Academy, and Edward VII and George V numbered amongst the collectors of his work. In 1899 he was elected Vice-President of the Royal Society for the Protection of Birds, designing the Society’s Christmas cards until his death in 1935. In 1902 Thorburn moved to Hascombe, Surrey, where he lived with his wife Constance. He refused to adopt electric lighting, preferring to paint in natural light or using lamps and candles to illuminate his work. In 1930 it was reported that ‘as a painter he relies solely on natural light, working long hours indeed in the summer months but much shorter ones during the brief days of winter. Just occasionally he resorts to the use of his oil lamps, especially if drawing mice in the dimness of his garden shed.’ For the rest of his life Thorburn journeyed to the Highlands to sketch and make notes, before returning to his Surrey studio to complete his compositions.

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

30 ARCHIBALD THORBURN (SCOTTISH 1860-1935) BEAN GOOSE AND PINK-FOOTED GOOSE Signed and dated 1925, watercolour 20.5cm x 28cm (8in x 11in) Literature: Archibald Thorburn, British Birds Vol 111, plate 100 original illustration

£4,000-6,000

31 ARCHIBALD THORBURN (SCOTTISH 1860-1935) PIN-TAIL Signed and dated 1900, watercolour 22cm x 28cm (8.5in x 11in)

£2,500-4,000

ARCHIBALD THORBURN (SCOTTISH 1860-1935)

GREY AND RED-NECKED PHALAROPES

MALLARDS BY A POND IN WINTER

Signed and dated 1925, watercolour

Signed and dated 1890, watercolour on buff paper

20cm x 29cm (8in x 11.5in)

35.5cm x 47cm (14in x 18.5in)

Provenance: The Tryon Galleries, London, ‘Archibald Thorburn Jubilee Exhibition,’ 2009

£4,000-6,000

£3,000-5,000

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

34 ARCHIBALD THORBURN (SCOTTISH 1860-1935) FIELD MOUSE AND BLOSSOM Signed and dated 1932, watercolour 18.5cm x 27.5cm (7.25in x 10.75in)

£3,000-5,000

GEORGE EDWARD LODGE (BRITISH 1860-1954) BLACK-TAILED GODWIT Signed, watercolour and gouache on blue paper 28cm x 21.5cm (11in x 8.5in) Literature: Bannerman, Birds of the British Isles an original plate

£400-600

GEORGE EDWARD LODGE (BRITISH 1860-1954) AVOCET IN MARSHLAND Signed, watercolour and gouache on blue paper 28cm x 21.5cm (11in x 8.5in)

£400-600

GEORGE EDWARD LODGE (BRITISH 1860-1954)

PARTRIDGE IN STUBBLE

WOODCOCK IN UNDERGROWTH

Signed, watercolour and gouache on buff paper

Signed twice, watercolour and gouache on buff paper

28cm x 43cm (11in x 17in)

£800-1,200

£600-800

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

FRANK WATSON WOOD (BRITISH 1862-1953) ARMOURED CRUISERS ON THE HIGH SEAS Signed and dated 1908, watercolour 43cm x 76cm (17in x 30in) Note; The watercolour probably depicts the 1st and 2nd Cruiser Squadrons of the Atlantic and Channel fleets

£1,500-2,500

FRANK WATSON WOOD (BRITISH 1862-1953) H.M.S. DEFIANCE Signed and indistinctly dated, watercolour 20.5cm x 58cm (8in x 22.75in)

£500-700

41 ANDREW WILSON (SCOTTISH 1780-1848) ON THE CLYDE Pen and ink and watercolour 33cm x 50cm (13in x 19.75in) Provenance: Ruskin Gallery, Stratford-on-Avon

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

MCNEIL ROBERT MCLEAY (SCOTTISH 1802-1878)

DAVID FARQUHARSON A.R.A., A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1840-1907)

DUNSTAFFNAGE CASTLE

GLEN FALLOCH

Signed and dated 1877, oil on canvas

Signed and dated 1905, oil on canvas

46cm x 63.5cm (18in x 25in)

41cm x 61cm (16in x 24in)

£1,500-2,500

Provenance: The McEwan Gallery, Ballater

£1,000-1,500

44 JOSEPH MILNE (SCOTTISH 1857-1911) A SUNNY AFTERNOON FERRYDEN Signed, oil on board 23cm x 28cm (9in x 11in)

£800-1,200

45 DAVID FARQUHARSON A.R.A., A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1840-1907) ON THE QUAYSIDE, DIEPPE Signed and inscribed, oil on board 25.5cm x 46cm (10in x 18in)

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

46 ATTRIBUTED TO HARRINGTON MANN THE RED DRESS Oil on board 46cm x 38cm (18in x 15in)

£800-1,200

47 ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905) HEAD OF A GIRL Signed with initials, pastel on canvas 68.5cm x 51cm (27in x 20in)

£1,500-2,000

48 JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) STREET SCENE AT DUSK Watercolour, and with another image verso ‘Night Horsemen’, signed 25.5cm x 22cm (10in x 8.5in)

£800-1,200

49 JAMES PATERSON R.S.W., R.S.A., R.W.S. (SCOTTISH 1854-1932) SEATED AT THE ROADSIDE Signed and inscribed ‘Moniaive’, watercolour 50.25cm x 31cm (19.75in x 12.25in)

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

SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969)

A VIEW OF THE ISLANDS

CYNISCA AND AESCHINES

Signed, watercolour

Signed and dated MCMXIII, watercolour

33cm x 50cm (13in x 19.5in)

28cm x 23cm (11in x 9in)

£5,000-7,000

Exhibited: Royal Society of Painters in Watercolour, 1963 - No.1

£1,500-2,000

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

SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969)

VENICE

JULIA AMID THE SANDS

Signed, signed and inscribed on the backboard, watercolour

Signed, watercolour

51cm x 66cm (20in x 26in)

£7,000-9,000

Provenance: Frost and Reed, London, D.15002

£4,000-6,000

49cm x 66cm (19in x 26in)

SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) THE DAUGHTER OF THE HOUSE, LA GAYE Signed, signed and inscribed on the backboard, watercolour 51cm x 69cm (20in x 17in)

£5,000-7,000

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

SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) SUMMER SANDS Signed, signed and inscribed on the backboard, watercolour 33cm x 55cm (13in x 21.5in)

£5,000-7,000

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

56 GEORGE BLACKIE STICKS (BRITISH 1843-1938) A MOUNTAIN GORGE, SUNSET Signed and dated 1874, signed, dated and indistinctly inscribed verso, oil on canvas 46cm x 36cm (18in x 14in)

£600-800

57 SAMUEL FULTON (SCOTTISH 1855-1941) THE BEST OF FRIENDS Signed, oil on canvas 51cm x 41cm (20in x 16in)

£1,000-1,500

58 GEORGE HOUSTON R.S.A, R.S.W., R.G.I. (SCOTTISH 1869-1947) GORSE WITH DISTANT LOCH Signed, oil on canvas 71cm x 91cm (28in x 36in)

£3,000-5,000

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

59 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) THE KITTEN’S BREAKFAST Signed, oil on canvas 25.5cm x 36cm (10in x 14in)

£2,000-3,000

60 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) SEWING-TIME Signed, oil on canvas 61cm x 46cm (24in x 18in)

£1,500-2,000

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

61 TOM SCOTT R.S.A. (SCOTTISH 1854–1927) LOOKING TOWARDS RUBERSLAW NEAR HAWICK Signed and dated 1918, watercolour 25.5cm x 36cm (10in x 14in)

£500-700

62 SAM BOUGH R.S.A, R.S.W. (SCOTTISH 1822-1878) A WOODED RIVER LANDSCAPE WITH DISTANT CHURCH Signed and dated 1868, watercolour 28cm x 38cm (11in x 15in)

£2,000-3,000

63 WILLIAM MARSHALL BROWN R.S.A., R.S.W. (SCOTTISH 1863-1936) THE MORNING CATCH Signed, inscribed on a label verso, watercolour 25.5cm x 36cm (10in x 14in)

£1,200-1,800

64 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) BROOMIELAW Signed, watercolour 30.5cm x 44cm (12in x 17in)

£500-700

65 JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) DOLCE FA NIENTE Signed and dated ‘95, watercolour 18.5cm x 25cm (7.25in x 9.75in)

£1,500-2,000

66 ARCHIBALD DAVID REID A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1844-1908) NEAR LOSSIEMOUTH Inscribed on a contemporary label verso, oil on panel 28cm x 38cm (11in x 15in)

£500-700

67 JOHN STEWART MACLAREN (SCOTTISH 1860-1930) PALMA, MALLORCA Signed and dated ‘95, signed and inscribed on contemporary label verso, oil on board 18cm x 25.5cm (7in x 10in)

£800-1,200

68 ALEXANDER ROCHE R.S.A. (SCOTTISH 1861-1921) REFLECTIONS MARTIQUES Signed, oil on board 38cm x 43cm (15in x 17in) Provenance: The Collection of the late R.L. MacDonald

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

69 MYLES BIRKET FOSTER R.W.S. (BRITISH 1825-1899) COTTAGE NEAR BANNAVIE Signed with a monogram, watercolour 18cm x 28cm (7in x 11in)

£600-800

70 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) A DESERTED HIGHLAND LOCH Signed, pencil and watercolour 46cm x 71cm (18in x 28in) Provenance: Tho. Agnew & Sons, London, no.7644

£700-1,000

71 JAMES RIDDEL A.R.S.A.,R.S.W. (SCOTTISH 1857-1928) HARVEST-TIME Signed, oil on canvas 102cm x 91cm (40in x 36in)

£800-1,200

DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926-1998) FLOWERS IN MY WINDOW, MILLPORT Signed and dated 12.11.55, pen and ink and watercolour 56cm x 42cm (22in x 16.5in) Provenance: From the collection of the late Dr. Angus Gibson, to be sold to support the University of Edinburgh Art Collection

£700-1,000

73 JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) UNDER THE CHERRY BLOSSOMS Signed, watercolour 30.5cm x 21cm (12in x 8.25in)

£1,000-1,500

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

£500-700

ROBERT HENDERSON BLYTH R.S.A., R.S.W. (SCOTTISH 1919-1970) STILL LIFE WITH POTTED PLANT Signed, oil on canvas 76cm x 63.5cm (30in x 25in)

£1,500-2,000

76 STUART PARK (SCOTTISH 1862-1933) STILL LIFE OF GERANIUMS Signed, oil on canvas 51cm x 61cm (20in x 24in)

£800-1,200

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

77 JAMES PATERSON R.S.W., R.S.A., R.W.S. (SCOTTISH 1854-1932) STILL LIFE WITH BLACK BOTTLES Oil on canvas 38cm x 46cm (15in x 18in) Provenance: Vincent Kosman Fine Art, Edinburgh Viola Paterson, the artist’s niece and thence to his grand daughter Note: A letter from Anne Paterson Wallace, Chairman of the James Paterson Museum confirms the attribution to Paterson and comments that Paterson was in the habit of overpainting and altering some of his early work and that in this instance she is ‘fairly certain the backgound ‘painting out’ was meant by JP’

£1,500-2,000

JOHN CUNNINGHAM (SCOTTISH 1927-2000) STILL LIFE OF CARNATIONS Signed, oil on canvasboard 41cm x 41cm (16in x 16in)

£800-1,200

BEATRICE M. L. HUNTINGTON (SCOTTISH 1889-1988) STILL LIFE Signed and dated 1944, oil on canvas 43cm x 55cm (17in x 21.5in) Provenance: The Syson Foundation

£600-800

BEATRICE M. L. HUNTINGTON (SCOTTISH 1889-1988) THE FLORAL HAT Signed, oil on canvas 54cm x 43cm (21in x 17in) Provenance: The Syson Foundation

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

SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., P.R.S.W., R.A. (SCOTTISH 1898-1973) STILL LIFE WITH SOLOMON’S SEAL ON BLUE GROUND Signed, pencil and watercolour 81.5cm x 66.5cm (32in x 26.5in) Exhibited: Scottish Arts Council. W. G. Gillies The Scottish Gallery, Festival Exhibition 1963, no.27

£3,000-5,000

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) POLPERRO Watercolour and gouache 37.5cm x 55.5cm (14.75in x 21.75in) Provenance: From the collection of the late Dr. Angus Gibson, to be sold to support the University of Edinburgh Art Collection Exhibited: Scottish National Gallery Of Modern Art, Edinburgh, Robin Philipson 1916-1992, 1999, no.10, repr. col. pl.4 Note: This watercolour dates from c.1952. Philipson and his wife, the artist Brenda Mark, holidayed in Cornwall in 1952. As Philip Long has explained ‘Both artists painted watercolours of Polperro, perhaps by way of a tribute to [Oskar] Kokoschka, who lived there for a year in the late 1930s...Their post-Cubist handling of the subject demonstrates the training both...had received at Edinburgh College of Art.’ (Philip Long, Robin Phliipson 1916-1992, Edinburgh 1999, p.13.’ Dr Gibson lent this work to the Philipson exhibition mounted by the Scottish National Gallery of Modern Art in 1999.

£600-800

83 DAVID W. GUNN (SCOTTISH FL.1924-29) HARBOUR SCENE, ST. MONANCE Inscribed with title on artist’s label verso, oil on board 41cm x 51cm (16in x 20in)

£1,000-1,500

84 STUART PARK (SCOTTISH 1862-1933) FELINE FROLICS Signed with a monogram and dated 1887, watercolour 29cm x 45cm (11.5in x 17.75in)

£500-700

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

WILLIAM MACDONALD (SCOTTISH 1883-1960) EVENING MARSEILLES Inscribed verso and with labels, oil on board 38cm x 28cm (15in x 11in) Provenance: The Syson Foundation

£600-800

86 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) A STREET IN PARIS Signed, watercolour

WILLIAM MACDONALD (SCOTTISH 1883-1960) HILLTOP CHURCH, SPAIN Signed, oil on canvas 55cm x 46cm (21.5cm x 18in) Provenance: The Syson Foundation

£600-800

28.25cm x 21.25cm (11in x 8in) Provenance: Aitken Dott & Son, Edinburgh

£2,000-3,000

DENIS PEPLOE R.S.A. (SCOTTISH 1914-1993) HILLSIDE IN PROVENCE Oil on canvas 63.5cm x 76cm (25in x 30in) Provenance: The artist’s family Note: This painting is a copy after Paul Cézanne

£3,000-5,000

SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., P.R.S.W., R.A. (SCOTTISH 1898-1973) YARROW WATER Signed, inscribed and dated 12-8-48, pen and ink and watercolour 39cm x 56.5cm (15.25in x 22.25in)

£1,200-1,800

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

SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) ROCKY COASTLINE Signed, oil on board 51cm x 61cm (20in x 24in)

£2,000-3,000

ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1999) COUNTRY LANE, ANTICOLI Signed and dated ‘56, oil on board 51cm x 71cm (20in x 28in)

£4,000-6,000

SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) ROAD TO BRAEHEADS Signed twice, oil on canvas 41cm x 51cm (16in x 20in) Provenance: From the collection of the late Dr. Angus Gibson, to be sold to support the University of Edinburgh Art Collection

£1,500-2,000

WILLIAM MACDONALD (SCOTTISH 1883-1960) CANADIAN HOUSE Signed, oil on canvas 63.5cm x 76cm (25in x 30in) Provenance: The Syson Foundation

£600-800

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

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)

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

SPANISH ALTAR

WINTER, CAVERHILL

Mixed media

Signed and dated 1955, pencil and watercolour

43cm x 30.5cm (17in x 12in)

56cm x 74cm (22in x 29in)

Provenance: Compass Gallery, Glasgow

£2,000-3,000

Note: From the collection of the late Dr. Angus Gibson, to be sold to support the University of Edinburgh Art Collection Having won two travel awards whilst a student and living in France for fourteen years before World War Two, Redpath resumed regular travelling in Europe from the late 1940s. She spent an extended period of time in Spain in the Spring of 1951, which provided subject matter for her work over several years. Redpath was drawn to the rich and ornate decoration of Catholic churches, particularly of their interiors. This can be seen in the present work, which is an attractive view through to an intimate altar setting and was probably executed on the spot.

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

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) SAINT HOSPICE, CAP FERRAT Signed ‘Anne Redpath Michie’, pencil and watercolour 25.5cm x 35.5cm (10in x 14in) Note: Redpath moved with her husband, the architect James Beattie Michie and their three sons, to St-JeanCap-Ferrat in 1929, where they lived for five years. Her pleasure in their beautiful surroundings is clear in this delicate work on paper, which reveals her skilled draughtsmanship.

£1,000-1,500

GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) BOATS, LARGO BAY

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

Signed, pen and ink and coloured chalk

EVENING, ARNISTON

33cm x 39.5cm (13in x 15.5in)

Signed, watercolour

Provenance: David Messum Fine Art, London

33cm x 51cm (13in x 20in)

The Collection of the late R.L. MacDonald

£1,000-1,500

£1,500-2,500

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

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) SUMMER BLOSSOM AND HAT Watercolour 18.5cm x 14cm (7.25in x 5.5in) Provenance: Christie’s Edinburgh, 26 October 2000, lot 193

£1,500-2,000

100

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) FIGURE AND TEAPOT Pencil drawing 21.5cm x 18cm (8.5in x 7in) Provenance: Acquired from the artist by his partner, Margaret Morris Christie’s, Edinburgh 1 November 2001, lot 107 Private Collection

£1,200-1,800

101

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) STILL LIFE With added annotation c.1911, drawing on buff paper 18cm x 12cm (7in x 4.75in) Provenance: Cyril Gerber Fine Art, Glasgow Note: This work is closely related to Fergusson’s The Blue Lamp painting of 1910, in the collection of Museums & Galleries Edinburgh. It formerly belonged to the Scottish artist Nigel McIsaac, who was friends with Fergusson and his partner, the dance pioneer Margaret Morris and whose own work is represented in the National Galleries of Scotland.

£1,000-1,500

102

WILLIAM MCCANCE (SCOTTISH 1894-1970) STILL LIFE WITH JUG AND FRUIT Signed and dated ‘26, pencil on buff paper 15cm x 12.5cm (6in x 5in) Exhibited: Cyril Gerber Fine Art, Glasgow, William McCance, September 1989 Provenance: From the collection of the late Dr. Angus Gibson, to be sold to support the University of Edinburgh Art Collection Note: McCance was a major proponent of the modern movement during the inter-war period. He lived in London during the 1920s with his wife, the artist Agnes Miller Parker. They became involved with the English avant-garde art world whilst maintaining links with Scotland. Their assimilation of Surrealism and Cubism was unusual amongst their Scottish contemporaries and can be seen in this rare, complex and fully-realised drawing. Such works led Hugh MacDiarmid to describe the couple in 1925 as ‘unquestionably the most promising phenomena of contemporary Scotland in regard to art’ (quoted in Alice Strang, A New Era: Scottish Modern Art 1900-1950, Edinburgh 2017, p.10).

£400-600

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

103

JOHN HOUSTON R.S.A., R.S.W., S.S.A. (SCOTTISH 1930-2008) BIRDS BY THE LAKE Signed and dated 1969, oil on canvas 41cm x 101cm (16in x 40in) Provenance: The Scottish Gallery, Festival Exhibition 1970, no.27

£2,000-3,000

104

DAVID DONALDSON R.S.A., R.P., L.L.D. (SCOTTISH 1936-1996) STILL LIFE WITH YELLOW PEAR Oil on canvas 51cm x 51cm (20in x 20in) Exhibited: Roger Bilcliffe Gallery, Glasgow

£2,000-3,000

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

105

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) SMALL CORNER CUPBOARD Inscribed and dated 1957 on contemporary label verso, oil on canvas 61cm x 41cm (24in x 16in) Provenance: From the collection of the late Dr. Angus Gibson, to be sold to support the University of Edinburgh Art Collection

£2,000-3,000

106

JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) UNTITLED (THE WEDDING PRESENT), 1991 Signed, oil on canvas 122cm x 91cm (48in x 36in)

£8,000-12,000

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

Right Lot 184 [detail]

SCOTTISH PAINTINGS & SCULPTURE FEATURING S.J. PEPLOE AT 150 EVENING SALE FROM 6PM

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

107 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) LAUNCH OF THE LUSITANIA Signed, oil on board 25.5cm x 36cm (10in x 14in)

£1,500-2,000

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

108

109

ALEXANDER ROCHE R.S.A. (SCOTTISH 1861-1921)

JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942)

SUMMER-TIME ON THE RIVER

UNLOADING THE CATCH, SCHEVENGEN

Signed, oil on canvas

50cm x 71cm (19.75in x 28in)

63.5cm x 76cm (25in x 30in)

£2,000-3,000

Exhibited: Royal Glasgow Institute (see label verso) Ian MacNicol, Glasgow

£2,000-3,000

110 ROBERT MCGOWN COVENTRY A.R.S.A., R.S.A. (SCOTTISH 1855-1914) UNLOADING THE CATCH Signed, mixed media 38cm x 56cm (15in x 22in)

£1,000-1,500

111

CHARLES OPPENHEIMER R.S.A., R.S.W. (BRITISH 1876-1961) MONTREUIL-SUR-MER Signed, watercolour 49.5cm x 39cm (19.5in x 15.5in) Provenance: The Collection of the late R.L. MacDonald

£2,000-3,000

112

JOHN MCGHIE (SCOTTISH 1867-1952) THE LATEST NEWS Signed, oil on canvas 71cm x 91cm (28in x 36in)

£3,000-5,000

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

113 JOHN GUTHRIE SPENCE SMITH R.S.A. (SCOTTISH 1880-1951) SAND DUNES, CAMIER Signed, inscribed on artist’s label verso, oil on board 71cm x 91cm (28in x 36in) Exhibited: Royal Scottish Academy 1923, no.293

£2,000-3,000

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114 GEORGE HOUSTON R.S.A, R.S.W., R.G.I. (SCOTTISH 1869-1947) WINTER LANDSCAPE Signed, oil on canvas 71cm x 91cm (28in x 36in)

£3,000-5,000

115 REV. JOHN THOMSON OF DUDDINGSTON H.R.S. (SCOTTISH 1778-1840) CRICHTON CASTLE Oil on canvas 70cm x 104cm (27.5in x 41in) Provenance: The Bacon Collection, Norfolk, where the painting was attributed to J. M. W. Turner Drambuie Collection, Lyon & Turnbull, Edinburgh 26 January 2006, lot 52, £23,000 (hammer)

£10,000-15,000

The well-worn description of Thomson as an ‘amateur’ is perhaps misleading when it is realised that he was one of Alexander Nasmyth’s most gifted pupils, and later became a friend and sketching partner of J. M. W. Turner. Certainly he continued to practice as minister of the Parish of Duddingston, near Edinburgh, throughout his life, but it was painting that brought him greater celebrity (and certainly more income than his stipend provided). His technique was at times wayward, but at his best, he painted landscape with a fluidity and sense of light unmatched by any of his contemporaries. His work has a greater immediacy than that of Nasmyth and, arguably, a more Scottish quality, with its use of surprisingly dense impasto and heavily worked passages to evoke harsh weather conditions. This impressive landscape was probably completed around 1818 when Thomson and Turner were commissioned to produce a series of engravings for Sir Walter Scott’s Provincial Antiquities of Scotland. Both artists also painted a number of oils during this period and there is something certainly ‘Turneresque’ about this painting (for many years it was actually - improbably - attributed to Turner). The sketching figure in the foreground may even be the great artist himself. Crichton Castle occupies a dramatic outlook high over the River Tyne. It first appears in records in around 1400, and was later home to James, the 4th Earl of Bothwell, third husband of Mary Queen of Scots. After the 5th Earl of Bothwell Francis Stewart was accused of witchcraft, the castle fell into disrepair. Thomson’s palette is unusually light and he has largely foregone the ochres and sepias that characterise much of his work. A mistaken belief that the much-admired Claude Lorrain favoured such colours (which were in fact the effect largely of discoloured varnishes) influenced several generations of British landscape painters. For once Thomson appears to have discarded his ‘Claude glass’ (used to view the landscape in suitably gloomy shades) and has painted a sky of piercing and intense blue, creating an effect that is both Italianate and highly Scottish.

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116 ALEXANDER NASMYTH (SCOTTISH 1758-1840) THE MILLER’S LINN, INVERARY Signed and dated 1807, oil on canvas 56cm x 86.5cm (22in x 34in)

£6,000-8,000

Alexander Nasmyth is remembered as the father of Scottish landscape painting. This delightful Inverary scene depicts industry and leisure: while figures on both banks enjoy an afternoon of fishing, the mill’s puffing chimney indicates work taking place within. The landscape is rendered with characteristic meticulousness, while retaining an atmosphere of romance and charm, demonstrating Nasmyth’s mastery of the genre. Alexander Nasmyth was born in Edinburgh in 1758, and would go on to become a key figure of the Edinburgh cultural Renaissance at the start of the nineteenth century. Initially apprenticed as a heraldic painter to a coachbuilder, his talent was identified by Allan Ramsay, who employed Nasmyth at his London studio. Here, he honed his painting technique working on minor areas of Ramsay’s compositions, while gaining an invaluable insight into the business of studio commissions. In 1778 Nasmyth returned to Edinburgh, and soon became an in-demand portrait painter. He travelled to Italy in 1782 to further study painting, a venture made possible by a loan from the banker Patrick Miller of Dalswinton. Miller would remain Nasmyth’s patron throughout his career, and as an expression of gratitude Nasmyth named his first son Patrick, who himself would go on to be a significant Scottish artist. Patrick Nasmyth also painted the Miller’s Lynn, Inverary in 1818.

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Alexander Nasmyth remained in Italy for two years, travelling around the country and developing his skills as a painter of landscapes. Upon his return to Scotland he developed a close friendship with Robert Burns, and the pair would often enjoy long walks together across central and southern Scotland. Nasmyth’s famous portrait of Burns now hangs in the Scottish National Portrait Gallery. From 1792 Nasmyth concentrated on landscape painting in the Dutch style. Architectural structures often feature in his scenes, owing to his enduring interest in building and engineering. Many of his designs for members of the Scottish nobility were realised, including the Dean Bridge in Edinburgh and a temple covering St. Bernard’s Well by the Water of Leith. By 1815 his reputation was such that he was invited to submit a proposal for the expansion of Edinburgh’s New Town. Nasmyth’s influence on Scottish landscape painting cannot be understated. He established a painting school at his home on York Place, Edinburgh, teaching pupils including Sir David Wilkie, David Roberts and Clarkson Stanfield. He insisted that his followers draw with their subject before them, rather than working from existing drawings or paintings. Wilkie would later describe Nasmyth as ‘the founder of landscape painting in Scotland [who] by his taste and talents took the lead for many years in the patriotic aim of enriching his native land with the representations of her romantic scenery’.

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117 WILLIAM BONNAR R.S.A (SCOTTISH 1800-1853) THE MASK Signed and indistinctly dated, oil on panel 36cm x 43.5cm (14in x 17in) Note: A painting of this title by Bonnar was exhibited at the Royal Scottish Academy 1830, no.105

£1,500-2,500

118 ALEXANDER FRASER SENIOR (SCOTTISH 1786-1865) FIRESIDE COURTSHIP Signed and dated 1845, oil on canvas 30cm x 36cm (12in x 14in)

£1,000-1,500

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

119 THOMAS FAED R.A., R.S.A. (SCOTTISH 1826-1900) WHERE’S MY GOOD LITTLE GIRL Signed and dated 1881, oil on canvas 53.5cm x 74cm (21in x 29in) Exhibited: Probably the painting exhibited at the Royal Academy 1881

£6,000-8,000

Where is My Good Little Girl? was highly regarded by critics of the day: “Mr. T. Faed’s two pictures (Nos. 187, 542) are both pretty. Where is My Good Little Girl? Is the best. It is, as this artist so often gives us, the interior of a Scottish cottage, with mother and baby seated; she is turning to a little girl in disgrace (who is covering her face with her pinafore), and trying to coax her out of her wilfulness.” - The Scotsman “The most compelling of Mr. Faed’s two works is Where is My Good Little Girl? (187) wherein he has realised in his usual felicitous manner a homely pastoral of rustic child life. A humble matron is seated nursing her infant, while a little three year old, whose back is to the spectator, stands apart by the casement in the sulks.” - News of the World “Where is My Good Little Girl? By Mr. Thomas Faed, R.A., is in this artist’s best manner; a young and good looking-mother seated in her cottage is turning towards a little girl who is standing with her face in her pinafore, and evidently indulging in a ‘display of temper.’ The mother’s inquiry gives us the title of the picture, which has been painted with exquisite are and skill; the scheme of colour is agreeable, and the pains bestowed upon the smallest accessory is evidenced by the young lady in her ‘tantrums’.”

120 ALLAN RAMSAY (SCOTTISH 1713-1784) THREE QUARTER LENGTH PORTRAIT OF ANN LEIGHTON Oil on canvas 127cm x 102cm (50in x 40in) Provenance: Lord Harlech, Glyn Cywarch Exhibited: Manchester, Private Collections, 1960, no.112 Literature: Alastair Smart, Allan Ramsay 1999, p.147, ill. fig.436 p.330

£10,000-15,000

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121 JOHN RITCHIE (SCOTTISH FL.1849-65) THE CONTESTED ELECTION Signed with initials, oil on canvas 74cm x 122cm (29in x 48in) Exhibited: Birmingham Society of Artists 1867

£10,000-15,000 John Ritchie’s group compositions are particularly accomplished. While the painting depicts a hustings in 1750, the scene is replete with biting commentary upon contemporary Victorian politics and society, and likely references the fierce debate that preceded the 1867 Reform Act. A series of figures placed from right to left across the composition demonstrate political engagement across diverse social groups, but also serve to illustrate their profound economic disparity and disenfranchisement: first, the children playing in a basket in the dirt, their parents perhaps in attendance either at the hustings or the nearby tavern; next, the soldier whose wounded leg means he must be wheeled to the hustings; then the well-heeled men who climb upon a cart to gain a better view; and finally, the aristocratic woman attended by her coachmen, who observes the action from the safety of her elegant carriage. Below the speaker leading the hustings, a man holds a scarecrow aloft in mockery. The mass of the crowd lends the composition an epic scope, but the discrete interactions between Ritchie’s figures also reveal pathos, satire and compassion. His compositions are rich with detail, and always reward closer inspection. Ritchie was an accomplished genre painter best-known for his depictions of contemporary Victorian life. He was particularly inspired by William Powell Frith’s panoramic paintings with animated crowd scenes. Ritchie exhibited at the Royal Academy, the Royal Society of British Artists and the British Institution. This particular painting was shown at the Birmingham Society of Artists exhibition in 1867. He is best known for his companion paintings of London A Winter’s Day in St, James’ Park and A Summer Day in Hyde Park, exhibited at the Liverpool Academy in 1858. Despite Ritchie’s formidable talent, very little is known about his life.

122

Andrew Wilton has suggested that this work may have been part of a now partially

JOSEPH MALLORD WILLIAM TURNER R.A. (BRITISH 1775-1851)

dispersed Smaller Fonthill Sketchbook which was in use between 1799-1802. The size of

EDINBURGH FROM CALTON HILL

British Museum (TB XLVIII, 1-7). This drawing was, therefore, made during Turner’s tour

Pencil on paper, watermarked J. WHATMAN 1794

of the North of England and Scotland in 1800 and 1801. A. J. Findberg (The Complete

26.5cm x 41cm (10.5in x 16in) Provenance: Christie’s, 4th November 1975, lot 13

the page and watermark are consistent with other examples from the sketchbook in the

Inventory of the Drawings of the Turner Bequest, 1909, Vol.1, pp.123-4) lists various drawings, not in the British Museum, which he supposed to have come from the The Little Fonthill Sketchbook. Among them is a drawing, entitled Edinburgh from Duddingstone, in

Sotheby’s 26th March 2004, lot 107

the National Gallery of Ireland (Vaughan Bequest. no.2410)

Literature: Andrew Wilton, The Life and Works of J.M.W. Turner, 1979, p.339, no.348

The present drawing was used as a preparatory study for a finished watercolour of the

£5,000-7,000

same subject exhibited at the Royal Academy in 1804 (TB:LX-H)

Edinburgh from Calton Hill, 2021

123

The Paton family kept a home in Arran, and the island proved an enduring source of

WALLER HUGH PATON R.S.A., R.S.W. (SCOTTISH 1828-1895)

inspiration for Waller Hugh throughout his life. He is renowned for his mastery of sunsets,

AUTUMN EVENING - ISLE OF ARRAN

the warm glow on the rocks and haystacks in the foreground to the distant violet hills

Signed with a monogram and dated 1867, inscribed verso, arched top, oil on canvas

beyond, every component is realised with truth and subtlety, convincingly evoking an early

66cm x 137.5cm (26in x 54in)

£6,000-8,000

and this coastal scene bathed in golden-pink light is a particularly strong example. From

Autumnal evening. The scene’s delicate transience may be connected to the influence of PreRaphaelitism, but also to Paton’s preference for developing the entirety of his composition outdoors, at the time a pioneering practice in Scotland. Beside the cottage beyond the trees, two figures watch the changing sky. By composing the scene as though observed from the coastal path, Paton also invites the viewer to pause and contemplate the beauty of the landscape. Waller Hugh Paton was born in Wooers-Alley, Dunfermline. His family was artistic: his father was a damask designer, and his siblings Sir Joseph Noel Paton and Amelia Robertson Hill were both artists. From 1948, Waller Hugh Paton trained with the accomplished landscape and genre painter John Adam Houston, learning the importance of rigorous observation and the principles of perspective. John Ruskin was a family friend, and in 1853 Paton is likely to have attended the artist and critic’s Edinburgh lectures on the principles of Pre-Raphaelitism. In March of 1879, the Art Journal wrote that Waller Hugh Paton’s landscapes possessed ‘as little of the human as must be, as much of the divine as may... although entirely faithful in feature to the locale, [his work] is handled with such delicate grace, and is so redolent of the sweet sanctity of perfect peace, that we seem to gaze rather on a fairy region than on any this world can offer’.

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

124 SIR GEORGE HARVEY P.R.S.A. (SCOTTISH 1806-1876) THE MOUNTAIN MIRROR Signed and dated 1863, oil on panel 81cm x 122cm (32in x 48in) Exhibited: Scottish National Exhibition 1908, no.1 Note: There is a handwritten note from Harvey himself outlining how to care for the painting. As a student of painting, George Harvey so distinguished himself that at the age of twenty he was invited to become an associate of the Royal Scottish Academy. His genre paintings showing scenes of daily Scottish life proved popular, and usually conveyed a moralising or religious sentiment. Later in life, Harvey focused on landscape painting. He became a full member of the Royal Scottish Academy in 1829, and was elected president in 1864.

£4,000-6,000

125 LOUIS BOSWORTH HURT (SCOTTISH 1856-1929) MIST AND MORNING SUNSHINE Signed and dated 1905, oil on canvas 82cm x 102cm (32.25in x 40in) Provenance: McEwan Gallery, Ballater

£8,000-12,000

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

126 ARCHIBALD THORBURN (SCOTTISH 1860-1935) SNIPE AT THE WATER’S EDGE Signed and dated 1911, watercolour on buff paper 28cm x 18.5cm (11in x 7.25in) Provenance: A. Baird Carter, London Christie’s, London, 26 May 2000, lot 94

£8,000-12,000

127 ARCHIBALD THORBURN (SCOTTISH 1860-1935) THE WARBLERS Signed and dated 1913, inscribed Pl.7 and with the names of the individual birds, watercolour on grey/blue paper 54.5cm x 40cm (21.5in x 15.75in) Provenance: Rowles Fine Art, Powys, 1997 and thence by descent Literature: A. Thorburn, British Birds, London, 1915-16, pl.7

£7,000-10,000

128 ARCHIBALD THORBURN (SCOTTISH 1860-1935) WHITE-TAILED EAGLE Signed and dated 1925, watercolour 28cm x 20.5cm (11in x 8in) Literature: Archibald Thorburn, British Birds Vol.11 plate 79 original illustration

£4,000-6,000

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

129 JAMES CASSIE R.S.A., R.S.W. (SCOTTISH 1819-1879) HOLY ISLE, ARRAN, MOONLIGHT Signed with a monogram and dated 1879, inscribed with title on contemporary label verso, oil on canvas 68.5cm x 124.5cm (27in x 49in)

£2,000-3,000

130 ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928) DURHAM CATHEDRAL Signed, signed and inscribed verso, oil on canvas 101.5cm x 152.5cm (40in x 60in)

£4,000-6,000

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

131 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) OLD STREET, ROUEN Signed, oil on canvas 89cm x 71cm (35in x 28in) Provenance: Duncan Miller Fine Arts, London

£6,000-8,000

132 ROBERT MCGOWN COVENTRY A.R.S.A., R.S.A (SCOTTISH 1855-1914) GATHERING WOOD Signed, oil on canvas 51cm x 61cm (20in x 24in)

£2,000-3,000

133 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) THE YOUNG COOK Signed, pastel 28cm x 18cm (11in x 7in)

£2,000-3,000

134 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) LULLABY Signed, oil on canvas 61cm x 46cm (24in x 18in) Exhibited: British Association Exhibition 1939

£7,000-9,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

135 WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) GROUP PORTRAIT OF THE CHILDREN OF COL. R. W. FRASER, PORTOBELLO Oil on canvas 71cm x 91cm (28in x 36in) Exhibited: Royal Scottish Academy 1861, no.572 Literature: James Caw, William McTaggart 1917, p.225

£6,000-8,000

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136 JOSEPH CRAWHALL R.S.W (SCOTTISH 1861-1913) DONKEYS Oil on canvas 51cm x 46cm (20in x 18in) Provenance: D.W.T. Cargill Esq Exhibited: Glasgow Art Gallery, A Century of Scottish Art Literature: Vivien Hamilton, Joseph Crawhall 1990 p.167

£6,000-8,000

137 SIR JAMES GUTHRIE P.R.S.A., R.S.W., H.R.A., N.E.A.C. (1859-1930) THREE QUARTER LENGTH PORTRAIT OF MISS ISABELLA GARDINER SEATED AT THE PIANO Signed dated 1899, oil on canvas 146cm x 101.5cm (57.5in x 40in) Literature: Sir James L.Caw, Sir James Guthrie, 1932, p.220, Ill.XVI

£5,000-7,000

Robert Brough’s talent and approach was beautifully summarised by his great friend and mentor, John Singer Sargent: ‘. . . the grace, the fluidity, the lightness of touch that are so delightful in Brough; that very rare quality of surface that seems to make the actual paint a precious substance.’ That is exactly what we can see in ‘Girl by the Fireside,’ a sumptuous, elegant piece of painting where the fluid and dextrous handling of the paint is a great joy in and of itself. The subject is an elegant lady wrapped still in her richly trimmed winter coat relaxing into a chair, her legs outstretched in front of the smouldering embers of the fire. This seems to be a peaceful, almost indulgent moment of relaxation yet her head tilt and direct gaze asserts her presence and acknowledges the position of artist and viewer. Brough suggest all these details with a sparsity of paint but a fluidity of brushwork, dashing across the canvas, the application thin but the effect luxurious. Brough was a precocious talent, exposed to art from an early age by neighbours including Sir George Reid. He commenced his training in the local city of Aberdeen, with an apprenticeship to a lithographer and evening classes at the newly opened Gray’s

School of Art but moved down to Edinburgh to attend the Royal Scottish Academy Life School. By the end of his first year he was awarded three significant prizes, the most accomplished student of the year. Brough completed further training in Paris, enrolling at the Acadamie Julien in Paris with his great friend, the Scottish Colourist S.J. Peploe, before travelling on in search of Sisley at Moret-surSeine and then Gauguin at Pont Aven in Brittany. By 1897, and the age of twenty-five, he was working in London alongside Sargent. Brough’s life was tragically cut short at the age of thirty-two when he suffered significant burns as the result of a train accident, Sargent hurried to be by his side at the end.

138 ROBERT BROUGH R.A., A.R.S.A (SCOTTISH 1872-1905) GIRL BY THE FIRESIDE Signed, oil on canvas 30.5cm x 41cm (12in x 16in) Exhibited: Aberdeen Art Gallery & Museums, Robert Brough, 1995, no.65

£8,000-12,000

The entirety of his artistic career lasted just sixteen years and in the period following his death, artistic fashions moved quite quickly away from the elegant portraiture that artists like Brough and Sargent had favoured. This may explain why an artist so lauded in his day is relatively little known now. Yet to engage with his paintings transports us back to the perception of him in life, as a formidably talented painter, confident, elegant and dashing, each work a true pleasure to behold.

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139

140

WILLIAM STEWART MCGEORGE R.S.A. (SCOTTISH 1861-1931)

CHARLES HODGE MACKIE R.S.A., R.S.W., P.S.S.A. (SCOTTISH 1862-1920)

THE LAKE SHORE KIRKCUDBRIGHT

CA’ D’ORO, VENICE

Signed, inscribed with title on contemporary label verso, oil on canvas

Signed, inscribed with title verso, oil on panel

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

Note: A painting with this title was exhibited at the R.S.A. 1915, no.102

Exhibited: A painting with the same title was exhibited at the Royal Scottish Academy 1915, no.275

The work of Charles Hodge Mackie was recently celebrated in a major exhibition at the City Art Centre, Edinburgh. It revealed the importance of Venice to him as a rich source of subject matter, as seen in Ca d’Oro, Venice. Curator Dr. Helen Scott wrote that his time in the city ‘resulted in a compelling group of oil paintings, watercolours and woodcuts, which capture the city at its most atmospheric.’

£6,000-8,000

73cm x 61cm (28.75in x 24in)

This can be seen in the present work. A bridge, glimpses of gondolas and boats with unfurled sails dominate the foreground and right-hand side of the composition. They give way to a delicately realised expanse of the Grand Canal, in which Mackie has skilfully captured the effect of light and reflections on its surface. In the background the finely-wrought façade of the magnificent titular palace is seen, under a mixture of shadow and sunshine. It is possible that Ca d’Oro, Venice is the untraced painting mentioned in Pat Clark’s 2016 monograph about Mackie. She wrote ‘It is disappointing to say that Mackie’s painting of one of the most magnificent buildings in Venice, shown at the Royal Scottish Academy in 1915, has not been traced. The subject was the Ca’ d’Oro or House of Gold....He exhibited the painting again at the Royal Glasgow Institute in 1916, asking a mere £63, but there is no record of sale. it was also shown at the Royal Academy in London the next year. It must have found an appreciative buyer since it was loaned to the 1921 Memorial Exhibition by ‘Sir P. Jeffrey Mackie Barr’...Perhaps it will surface again.’ (Pat Clark, Peploe, Places and Piazzas: The Life and Art of Charles H. Mackie, Bristol 2016, p. 116).

£5,000-7,000

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141

142

WILLIAM CROZIER A.R.S.A. (SCOTTISH 1897-1930) A FRENCH SUNLIT MARKET

PATRICK WILLIAM ADAM R.S.A. (SCOTTISH 1854-1929)

Signed, oil on canvas

STUDIO GLEAMS

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

Inscribed on the artist’s label verso, oil on canvas

Provenance: The Collection of the late R.L. MacDonald Note: Crozier’s death at the age of thirty-three meant that his career was short and his oeuvre is small. A French Sunlit Market is a rare example of the work with which he nevertheless established a reputation as a key member of the Edinburgh School. This group of artists included William Gillies and William MacTaggart amongst others and rose to prominence during the inter-war period. They met as students at Edinburgh College of Art (ECA) with Crozier eventually sharing a studio with MacTaggart.

61cm x 46cm (24in x 18in)

£2,000-3,000

Following studies under André Lhote in Paris, Crozier and MacTaggart spent several winters together in France during the 1920s. The present work is thought to have been inspired by one such trip. Its lowtoned palette and geometrical simplication of form, particularly obvious in architectural terms, shows Crozier’s sensitive handling of light and colour, as well as an awareness of Cubism. Crozier died following a fall in his studio. His ECA contemporary, Harold Harvey Wood, later recalled ‘Scottish painting suffered a very severe loss in the premature death of Wiliam Crozier, who, quite apart from his considerable gifts as a painter, represented a kind of oasis in the illiterate and philistine deserts of the Scottish studios’ (as quoted in Ann Simpson, William Crozier 1893-1930, Edinburgh 1995, p.8).

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

100

143 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) IN THE HIGHLANDS Signed, oil on canvas 28cm x 41cm (11in x 16in)

£3,000-5,000

101

144

STANLEY CURSITER C.B.E., R.S.A., R.S.A. (SCOTTISH 1887-1976) THE CLIFFS, YESNABY Signed and dated 1953, oil on canvas 51cm x 76cm (20in x 30in) Provenance: The Collection of the late R.L. MacDonald

£7,000-10,000

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102

145 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) FISHING BOATS, LARGO Signed, oil on board 23cm x 36cm (9in x 14in) Exhibited: Glasgow, Royal Glasgow Institute of the Fine Arts, 1943 Note: Hunter was born on the Isle of Bute and emigrated to America with his family in 1892. He established himself as an artist in San Francisco before moving to Glasgow in 1906. The city remained the base to which he returned throughout a peripatetic life which included significant amounts of time spent in France. Hunter had his first solo exhibition at Alexander Reid’s gallery, La Société des Beaux-Arts in Glasgow in 1913, with the business supporting him for the rest of his career. By 1918, Hunter was in touch with S. J. Peploe and their work was shown with that of F. C. B. Cadell in The Leicester Galleries, London five years later. They were joined by J. D. Fergusson for a group exhibition at the Galerie Barbazanges, Paris in 1924, for another at The Leicester Galleries the following year and with the addition of Telfer Bear and R. O. Dunlop at the Galeries Georges Petit in the French capital in 1931, shortly before Hunter’s death, aged fifty-four. Between 1919 and 1926, Hunter spent part of each spring and summer in Fife in eastern Scotland, which is bordered by the Firth of Tay, the Firth of Forth and the North Sea. As Bill Smith and Jill Marriner have written ‘He came upon an important source of inspiration through his fortuitous discovery of Fife and the possibilities inherent in its colourful landscape and rural architecture...it opened up a whole new realm of possibilities for Hunter. Subsequently he would go to Fife in any season. It was there that he made the break to paint en plein air. The artistic ground he gained as a result marked an important turning point in his development in terms of modern colour.’ (Bill Smith and Jill Marriner, Hunter Revisited: The Life and Art of Leslie Hunter, Edinburgh 2012, p. 79) ‘Largo’ comes from the Gaelic word meaning hillside and is the name of a region in the East Neuk of Fife. It consists of the villages of Upper and Lower Largo and Lundin Links. It was in this area that Hunter painted the present work. Given its intimate scale it was probably made on the spot in direct response to the view before him, of modest fishing boats moored at Lower Largo harbour. The scene is captured in confident brushstrokes, highlights of bright colour and harmonious tones of pale blue and green. A sense of movement in the sea and the vessels atop it is communicated. The eye is led out to the horizon, past rocks which break the surface of the sea and the modest, summarily-described figures gathered on the harbour wall on a fresh, sunny day.

£15,000-25,000

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146 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) CAFE, SOUTH OF FRANCE Signed, pen and ink and coloured chalk on buff paper 37cm x 32cm (14.5in x 12.5in)

£1,500-2,500

Between 1927 and 1929 Hunter spent extensive periods working in the south of France, particularly in Provence. He captured the climate and life-style in lively works such as the present examples. They show his exceptional skills as a draughtsman, with his deft scene-setting and fluid depiction of trees and architecture. Structure is provided by inked lines, emotion and warmth by the use of coloured chalk, dominated by a verdant green. In 1928, Hunter described Provence as ‘the best part of Europe with sunshine every day, fruit, flowers, fine colours and everything the heart could desire.’ (letter from Hunter to Matthew Justice quoted in Bill Smith and Jill Marriner, Hunter Revisited: The Life and Art of Leslie Hunter, Edinburgh 2012, p. 136, footnote 13, p. 191).

147 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) STREET IN ANTIBES Signed, pen and ink and coloured chalk 30cm x 37.5cm (11.75in x 14.75in) Provenance: The Fine Art Society Ltd, Edinburgh, 1976, no.13494 The Collection of the late R.L. MacDonald

£1,500-2,500

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104

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

105

148 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) ST.COLUMBA’S BAY, IONA Signed, oil on canvas 51cm x 76cm (20in x 30in) Provenance: The Collection of the late R.L. MacDonald

£80,000-120,000

F. C. B. Cadell is as renowned for his depictions of the Hebridean island of Iona, as he is for his stylish still-lifes and images of Edinburgh’s New Town interiors and inhabitants. Indeed, the importance of his Iona paintings was recognised by a room dedicated to them in the major retrospective of his work held at the Scottish National Gallery of Modern Art in 2011 and they were the subject of a chapter in the accompanying publication (‘Warmed by the sun, blown by the wind’: Cadell and Iona’ in Alice Strang, F. C. B. Cadell, Edinburgh 2011). Following the success of Cadell’s breakthrough trip to Venice in 1910 and his subsequent solo exhibition at The Scottish Gallery, Cadell further cemented his professional standing by becoming a co-founder of the Society of Eight in 1912. His fellow members in this exhibiting group included John Duncan, James Paterson and Sir John Lavery. Cadell’s work was represented in their first exhibition, mounted in the West End of Edinburgh that year, and in all of their subsequent shows until his death in 1937.

It was in 1912 and at this propitious point in his career that Cadell visited Iona for the first time. The island had found growing favour with artists since the mid-nineteenth century, not least with Cadell’s Society of Eight colleagues Duncan and Paterson. He may also have been encouraged to travel there by his friend Ivar Campbell, the nephew of the 9th Duke of Argyll, who owned the island. Iona’s attractions are many and varied and had an immediate impact on Cadell. As Alice Strang has written ‘the ever-changing light conditions on Iona, the effect of sunshine on the shallow water along the beaches of dazzling white sand, the intensity and range of colour of the surrounding sea, sky and land, the complexity of its rock formations and wide range of views within and beyond the island, inspired Cadell time after time’ (op.cit., p. 19). Cadell was to spend almost every subsequent summer there until about 1933, apart from during War service. He was happy for people to watch him at work and was affectionately known as ‘Himself’ in the community. In 1920, Cadell introduced Peploe to the island and he too returned for regular visits thereafter.

In contrast to his studio-based practice in Edinbugh, whilst on Iona Cadell favoured working outdoors. St Columba’s Bay, Iona encapsulates his joyful response to the beauty of his natural surroundings. Legend has it that it was to here, the most southern bay on the island, that St Columba arrived from Ireland in 563AD to establish Christianity in Scotland. It provides views to the Black Island, Islay and Jura. In the present work, Cadell captures the very edge of the machair, before an expanse of sand is intruded upon by weathered outcrops of rock. The movement and varying colours of the sea as it flows in the bay and beyond, is depicted underneath a cloud-scudded sky; the whole is lit by glorious sunshine. Cadell’s Iona works proved popular and sold well, not least in the Society of Eight exhibitions. Examples are held in numerous public collections, including those of the National Galleries of Scotland, Aberdeen Art Gallery & Museum, the Hunterian Art Gallery, University of Glasgow and The McManus: Dundee’s Art Gallery & Museum.

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107

149 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) THE GIUDECCA AND REDENTORE, VENICE Signed and dated ‘10, inscribed on the backboard verso, oil on board 37cm x 44.5cm (14.5in x 17.5in) Provenance: Acquired from the Artist by Sir Patrick Ford and thence by descent when purchased by the current owner

£50,000-70,000 The Giudecca and Redentore, Venice comes from a beautiful series of works which marked Cadell’s emergence as one of the most important Scottish artists of the twentieth-century. Cadell trained at the Académie Julian in Paris and at the Akademie der Bildenden Künste in Munich. He had his first solo exhibition in Edinburgh in 1908, which garnered twenty-five sales including to his school friend and future politician Patrick Ford. The following year, Cadell established a studio in George Street, in the heart of Edinburgh’s New Town. In 1910, Cadell received a cheque from Ford ‘to go to Venice and paint. He to choose equivalent in

pictures on return £150’ (as recorded by the artist in his Register of Pictures and quoted in Alice Strang, F. C. B. Cadell, Edinburgh 2011, p. 17). It is no wonder that Cadell was attracted to Venice. Its romanticised reputation as an artistic mecca had been cemented in the nineteenth-century, with Lord Byron’s dramatic poetry and J. M. W. Turner’s evocative representations inspiring a generation of artists, each keen to depict the city’s unique vistas. Despite the explosion of tourist activity, Venice never became passé among artists. Manet and Whistler were drawn there, excited by the challenge of creating their own interpretations of lauded Venetian motifs. Though Monet resisted visiting until 1908, he too was stimulated by the beautiful architecture and mercurial light of the Lagoon and produced a series of atmospheric paintings which received wide critical approval upon their exhibition. The bright Mediterranean light shimmering off the canals had a marked effect on Cadell’s palette, into which he introduced a much more vibrant colour range. Though it is highly unlikely that he saw Monet’s Venetian cityscapes at first hand, the tonal similarities of their work inspired by the city is striking; both artists punctuating the whites and creams of the sun-drenched architecture with pinks, purples and turquoises. Cadell’s technique became looser and more expressive than ever before. Bold, loaded brushstrokes were layered

to convey the rippling surface of the waterways and fleeting impressions of passers-by. He revelled in the beautiful scenes by which he found himself surrounded and painted views as varied as that of a bustling St Mark’s Square to quieter, more contemplative corners of the city and its inhabitants. The present work depicts one of Venice’s most celebrated views. Against a backdrop of a vividlyrealised sky, Cadell describes the distinctive outline of the Redentore, the Church of the Most Holy Redeemer and its architectural neighbours. He conveys reflected light with swift, delicate lilac flicks of his paint brush. As we lower our eyes and let them drift across the rippling waves of the Giudecca Canal, we meet the thoughtful figures at the water’s edge. The surface of the painting is enlivened with rhythmic, distinct brushstrokes, with paint quickly applied ‘wet on wet’, giving a sense of the speed and confidence with which Cadell worked. The results of Cadell’s successful and productive trip were exhibited at The Scottish Gallery in Edinburgh in 1912 and proved to be a watershed in his burgeoning career. Ford selected six from the series for his collection, including The Giudecca and Redentore, Venice, which remained in his family for generations. Three further Venetian paintings were presented in Ford’s honour to the National Galleries of Scotland in 2014.

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150

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) STUDY NO.6 Signed and inscribed verso, oil on board 61cm x 51cm (24in x 20in)

£80,000-120,000

Study No. 6 comes from an extraordinary series of female nudes which Fergusson painted in Paris during the period c.1910-13. They have been described as ‘the most original paintings in British art of the period...which reached their triumphant conclusion in Les Eus’ [Hunterian Art Gallery, University of Glasgow], considered by many to be Fergusson’s masterpiece (Alice Strang et al, J. D. Fergusson, Edinburgh 2013, p.18). After sporadic training in Paris during the 1890s, Fergusson had established a studio in Edinburgh by 1902. By this point he had become friends with S.J. Peploe, with whom he painted en plein air during summers spent in France. In 1905, Fergusson had his first solo exhibition, at the Baillie Gallery in London. In the meantime, he became increasingly interested in developments in contemporary art in the French capital, partnered by growing frustration with the conservatism of the Scottish art world. An inheritance received on the death of his father and the start of a relationship with the American painter Anne Estelle Rice led to Fergusson’s decision to move to Paris in 1907. His work changed quickly and dramatically as he not only experienced at first hand the latest paintings by cutting-edge artists including the Fauves, such as Henri Matisse and André Derain, but he also digested and responded to their advances. Gone was the Edwardian sophistication of his Edinburgh work, to be replaced by vivid colours and a daring flattening and outlining of form. Such was the originality of his new paintings that in 1912 Fergusson was elected a member of the progressive Salon d’Automne in recognition of his contribution to the modern movement.

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Fergusson persuaded Peploe to join him in Paris in 1910, They spent two vital years together, at the heart of the celebrated Rhythmist group of AngloAmerican artists. Fergusson became Art Editor of their journal Rhythm, whilst an exhibition at the Stafford Gallery in London in 1912 showcased their work. Fergusson described Paris as ‘simply a place of freedom’ and later recalled ‘we were a very happy group....no wonder S. J. [sic] said these were some of the greatest nights of his life. They were the greatest nights in anyone’s life.’ It was during this key period in Fergusson’s career that he painted Study No.6. Having previously portrayed friends and partners, Fergusson employed professional models whom he depicted as anonymous nudes. Indeed, in the present work, the sitter’s eyes are obscured as she presents a mask-like face to the viewer. Fergusson created a dauntless vision of womanhood based on powerful sensuality, as amply illustrated by Study No. 6. It is a remarkably confident image, with similiarities to the work of Kees van Dongen and German Expressionism. Voluptuous form is paired with rigorous simplification, a rich palette, bold delineation and strong patterning. Other works in the nude series include Rhythm (University of Stirling), At My Studio Window, The Fergusson Gallery, Perth and Torse de Femme in Kelvingrove Museum & Art Gallery, Glasgow.

109

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110

151

JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) EILEAN DONAN CASTLE Signed, oil on canvas 63.5cm x 76cm (25in x 30in)

£10,000-15,000

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111

S.J. PEPLOE AT 150 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

112

Samuel John Peploe (1871-1935), Selfportrait, c.1900. Given to the National Gallery of Scotland by John Thorburn in 1947; transferred 1956. Image courtesy National Galleries of Scotland.

S.J. PEPLOE AT 150 2021 is the 150th anniversary of the birth of S. J. Peploe (1871-1935), one of the most important Scottish artists of the 20th century. He was the eldest and most successful of the four artists known as the ‘Scottish Colourists’, along with F. C. B. Cadell, J. D. Fergusson and G. L. Hunter. Peploe was born in Edinburgh. He trained at the Académie Julian in Paris and at the Royal Scottish Academy Life School in the Scottish capital. His first solo exhibition was held in 1903 and having made

On his return to Edinburgh, Peploe established a reputation as a

his name in Scotland, he joined Fergusson in Paris in 1910. This led to

painter of still lifes par excellence. Indeed, he declared ‘There is so

two years spent at the very heart of the development of modern art.

much in mere objects, flowers, leaves, jugs, what not – colours,

Fergusson later recalled ‘Peploe and I went everywhere together. I

forms, relation – I can never see mystery coming to an end’. He is also

took him to see Picasso and he was very much impressed…I was very

renowned for his landscape paintings, made en plein air during trips

happy, for I felt that at last he was in a suitable milieu.’

to France and throughout Scotland. A sensitive and direct response to his natural surroundings, amidst varying weather and light conditions, inspired some of his most significant creations. Peploe’s work was exhibited regularly in Edinburgh, Glasgow and London, in group exhibitions in Paris and in 1928 he had a solo show in New York. This international standing was officially recognised on his election as a full member of the Royal Scottish Academy in 1927. Peploe briefly joined the staff of Edinburgh College of Art in 1933, with the college’s Principal recalling that ‘his influence was admirable, his standards high, his criticism acute’. Following his death in 1935, Peploe was described in The Times as ‘one of the most interesting and inspiring of Scottish painters…one of the few whose works were highly esteemed not only in Scotland, but in England and abroad.’ His work is held in numerous public collections in the UK and beyond. Samuel John Peploe in his studio at 7 Devon Place, Edinburgh, c.1904. National Library of Scotland Acc.9787/45. Image courtesy National Library of Scotland

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114

152

Peploe painted Olive Trees, Cassis during a key period spent working beside fellow Scottish

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

Colourist J. D. Fergusson in the titular French port during the summer of 1913. Having

OLIVE TREES, CASSIS

himself in the world of avant-garde French art and Mediterranean sunshine. The brilliance

Signed, oil on panel

of colour in this painting, its hard-edged form - realised in blunt brushstrokes - and the bold

31.5cm x 41cm (12.5in x 16in)

positioning of the foremost tree, reveal an understanding of and experimentation with the

Provenance: Baillie Gallery, London 1914, no.6

work of Fauve and Rhythmist artists who made their names in pre-war Paris.

The Fine Art Society Ltd, Edinburgh, August 1976, no.7159 The Collection of the late R.L. MacDonald

£60,000-80,000

moved back to Edinburgh from Paris the year before, the trip allowed Peploe to re-immerse

Olive Trees, Cassis was included in Peploe’s solo exhibition at the Baillie Gallery in London in 1914, which cemented his reputation as one of the leading British artists of his generation. The accompanying press coverage declared him to be a ‘Post-Impressionist’ with The Studio’s critic describing him as ‘an artist whose head is stronger than the theories he has embraced...he gets the best out of them, gaining from what licence for freedom of line and abandonment to colour he may require, but preserving always evidence of contact with life... retaining vitality and the power to convince.’ (‘Studio-talk’, The Studio, vol. 61, 1914, p. 232)

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

115

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

116

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

117

153 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) COMRIE, PERTHSHIRE Signed, inscribed and dated 1916 verso, oil on panel 33cm x 41cm (13in x 16in) Provenance: Ian MacNicol, Glasgow The Collection of the late R.L. MacDonald Note: Peploe often visited his sister Anne and her husband, Dr Frederick Porter, in Comrie, Perthshire. He enjoyed painting the village and in this work of 1916 his subject is Comrie Parish Church. Viewed looking towards the north-east, its steeple emerges from trees and reaches into a richly described cloudy sky. Peploe used a similar geometric simplification of architecture and natural environment, realised with a gentle palette, in his contemporary depictions of Kirkcudbright.

£40,000-60,000

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118

154 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) ROSES AND FRUIT Signed, oil on canvas 56cm x 51cm (22in x 20in) Provenance: Acquired from Alexander Reid, La Société des Beaux-Arts, Glasgow in 1924 by Ion R. Harrison Exhibited: Samuel John Peploe, La Société des Beaux-Arts, Glasgow, 1924 Empire Exhibition, Bellahouston Park, Glasgow 1938, no.28 Pictures from a Private Collection: Peploe, Fergusson, Hunter, Cadell, McLellan Galleries, Glasgow, 1951 Three Scottish Colourists, Scottish Arts Council Gallery, Glasgow 1970 and tour, no. 71 Literature: Ion R. Harrison, ‘As I Remember Them’ in T. J. Honeyman, Three Scottish Colourists: Peploe, Cadell, Hunter, London 1950, p. 119, repr. col. pl. VI. Guy Peploe, S. J. Peploe, Farnham 2012, p. 137, repr. col. fig. 144. Note: Roses and Fruit is being sold to support various charities.

£300,000-500,000

Roses and Fruit is a superlative painting by Peploe. It not only shows

This ambitious and confidently realised work features many of

the artist at the very height of his powers but was also part of one of

Peploe’s most treasured still-life objects, from fruit compotier to

the most important collections of the work of the Scottish Colourists

gold-rimmed tea-cup and be-ribboned black fan. Each element

ever assembled.

is carefully placed in relation to the others, creating a sense of

Having explored the visual possibilities of the tulip in the immediate post-World War One period, roses emerged as Peploe’s favoured flower in the early 1920s. They became the subject of the most celebrated paintings of his career. The interplay of light and colour amidst their layered heads, as well as the formal contrast with their strongly defined leaves proved endlessly inspirational. On a practical level, roses maintained their shape long enough to satisfy Peploe’s painstaking working methods. In his still lifes of the decade, Peploe brought to bear all the experience he had gained in the genre as an emerging artist in Edinburgh before the war, his experimentation in pre-war Paris and the development of his practice during the conflict. Peploe’s exploration of the work of artists from Edouard Manet, to Vincent van Gogh and Paul Cézanne were brought to a triumphant and original conclusion in this period, as revealed in Roses and Fruit.

balance and allowing a seamless visual journey from drapery in the background to plate in the foreground. The cropping of, for example, the aspidistra leaf which enters from the left, is a clever device suggesting the space beyond the canvas, into which the viewer is invited to join the artist. The complex and triumphant realisation of the roses, their stems in water and the view through the vases are passages of extraordinary skill. A gentle palette is combined with bright colour, especially in the fruit, to provide rhythm and structure. It was with works such as Roses and Fruit that Peploe rose to international prominence in the 1920s and on which his enduring reputation as one of Scotland’s most important artists is based. In 1915, Peploe had his first solo exhibition at Alexander Reid’s gallery, La Société des Beaux-Arts, in Glasgow. Thus began a long and productive relationship with the business, which expanded to London, involving regular exhibitions throughout the rest of Peploe’s life. As a result, many art lovers were introduced to Peploe’s work, not least the Glasgow ship-owner Ion R. Harrison. He purchased Roses and Fruit from Alexander Reid when it was included in a solo exhibition in the city in 1924. It was one of the first two paintings by the Scottish Colourists which he acquired before going on to become one of their most significant patrons.

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Peploe’s exhibition at La Société des Beaux-Arts, Glasgow, 1924, from where Ion Harrison purchased Roses and Fruit. Reproduced in the Glasgow Bulletin, 4 April 1924.

In 1950 Harrison recalled: ‘In was in 1921 or 1922 that I first became

Harrison not only went on to acquire many of Peploe’s most

interested in the work of the...Scottish Colourists. The first exhibition

important paintings, but was also able to develop a friendship with

of Peploe’s which I saw was in Alex. Reid & Lefevre’s, West George

the notoriously private artist. He explained: ‘It was through Cadell

Street, Glasgow. Mr Peploe at that time had an Exhibition of Flower

that I first met Peploe and it was when Cadell was starting to paint

Pictures...I had never seen anything in art similar to these pictures...

a portrait of my wife that Peploe joined us at Croft House for a

The first pictures I bought of the...Colourists were from a Peploe

weekend. This was a very great privilege for us, for Peploe did not

exhibition at Reid’s which was held in March 1924. One was the

care for visiting people unless he knew them very well. It was a very

beautiful Pink Rose Picture [sic - he is referring to the present work,

happy weekend indeed and Peploe was pleased to see his pictures

which is titled Roses and Fruit under its reproduction in the book]

hanging together in their surroundings...I held him in great esteem

and the other the smaller storm seascape painted at the North End,

and regard him as a very great artist.’ (ibid, p.123).

Iona. I recollect the thrill it gave me to hang my first two Peploes.’ (Harrison, op.cit, p. 119)

Indeed, over time the walls of the Harrison family home, Croft House in Helensburgh, were hung with masterpieces not only by Peploe, but also by Cadell, J. D. Fergusson and G.L. Hunter. Such was the eventual importance of the Harrison Collection that it was exhibited at the McLellan Galleries in Glasgow in 1951.

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122

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

123

155 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) STILL LIFE WITH BOOKS Oil on canvas 23cm x 30.5cm (9in x 12in) Provenance: The Scottish Gallery, Aitken Dott & Son, Edinburgh The Fine Art Society, London 1968 Spink & Son, London, K2 5771 Note: This work comes from a series of still lifes which date from the period in which Peploe established his reputation as one of Scotland’s leading painters. After success at the Royal Scottish Academy and Royal Glasgow Institute annual exhibitions, he had his first solo exhibition in Edinburgh in 1903. Still Life with Books contains all the qualities with which Peploe made his name: a sensuous use of oil paint, a structural use of bright colour amidst a muted palette and a harmonious arrangement of objects which suggest a sophisticated life-style. Other works in the series are held in Kelvingrove Art Gallery & Museum, Glasgow, The Fleming Collection, London and Aberdeen Art Gallery.

£40,000-60,000

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156 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) THE STATUETTE Signed, oil on canvas 61cm x 51cm (24in x 20in) Exhibited: Edinburgh, Royal Scottish Academy, S. J. Peploe, F. C. B. Cadell and Leslie Hunter: Festival Exhibition, 1949 Provenance: The Collection of the late R.L. MacDonald

£150,000-200,000

A highly successful phase in Peploe’s career began with his move to

This painting reveals the care with which Peploe arranged his props,

a new studio at 54 Shandwick Place, Edinburgh in 1917, the end of

from drapery in the background to open book in the foreground.

World War One and the development of a close working relationship

As his niece, Margery Porter, recalled ‘The studio was a large one,

with his fellow Scottish Colourist, F.C.B. Cadell, once the latter was

round which I would prowl entranced, after strict warnings not to

demobilised. The Statuette is a fine example of the assured still lifes

disturb the still-life group which would almost inevitably be covering

which Peploe created thereafter, which were regularly exhibited

the table. My uncle would arrange and re-arrange these groups for

throughout the 1920s and which proved to have immediate and

perhaps three days before he was satisfied that the balance and

enduring popularity.

construction were perfect, then he would paint them quite rapidly.’ One of Peploe’s favourite still-life objects, the titular cast of a torso of Venus, is key to the success of The Statuette’s composition. His pleasure in colour and reflections, as well as his mastery of rhythm and structure, are clear. This work was included in the Festival Exhibition of work by Peploe and his fellow Scottish Colourists F.C.B. Cadell and G.L. Hunter, held at the Royal Scottish Academy, Edinburgh in 1949.

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126

157 JOHN MAXWELL R.S.A. (SCOTTISH 1905-1962) FLOWER PIECE Signed and dated 1946, pen and ink and watercolour 47cm x 32cm (18.5in x 12.5in) Exhibited: Scottish National Gallery of Modern Art, John Maxwell 1998 Provenance: From the collection of the late Dr. Angus Gibson, to be sold to support the University of Edinburgh Art Collection

£1,500-2,000

158

IAN FLEMING R.S.A., R.S.W., R.G.I., L.L.D. (SCOTTISH 1906-1990) INVERCULLEN Signed, signed and inscribed verso, oil on board 79cm x 66cm (31in x 26in)

£2,000-3,000

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159 SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., P.R.S.W., R.A. (SCOTTISH 1898-1973) STILL LIFE WITH FRUIT DISH Signed, oil on canvas 51cm x 76cm (20in x 30in)

£5,000-7,000

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

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160

161

SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981)

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)

VENETIAN FACADE

Signed, oil on canvas

Signed and dated ‘59, oil on board

91cm x 61cm (36in x 24in)

38cm x 56cm (15in x 22in)

Exhibited: Browse and Darby, London, Philipson Exhibition 1993, no.3

Exhibited: The Stone Gallery, Newcastle Upon Tyne, 1962,

Roger Bilcliffe, Glasgow

where purchased by the present owners. Note: This work is accompanied by the National Galleries of Scotland ‘William MacTaggart’ exhibition catalogue, 1998

£2,000-3,000

CATHEDRAL

Note: This painting dates from 1957 Philipson’s images of cathedrals are amongst the most celebrated of his works. This major theme in his oeuvre is thought to have been inspired by holidays in France. He explained ‘what impressed me about cathedrals like Rouen and Amiens was the powerful window tracery seen from outside and the sense of ascending.’ (as quoted in Philip Long, Robin Philipson 1916-1992, Edinburgh 1999, p.15). Cathedral is one of the earliest paintings exploring this key subject matter. Elizabeth Cumming has written that the cathedral series ‘opened up a new way of working and painting. Although familiar with, and indeed to an extent inspired by, Monet’s celebrated studies of Rouen cathedral, Robin wanted to cut his own cloth and find new meaning and expression for a traditional subject. Initial studies of the formal architecture of French cathedrals, and especially Gothic window tracery viewed from the exterior, gave way gradually to an interest in the glass itself. Interiors were at least as dynamic and he produced a number of rose window paintings which were entrancing works.’ (Elizabeth Cumming, Robin Philipson, Bristol 2018, p. 44). Examples of Robinson’s cathedral paintings are held in multiple public collections, including those of the National Galleries of Scotland, Glasgow Life (Glasgow Museums) and the Government Art Collection.

£4,000-6,000

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162

ROBERT HENDERSON BLYTH R.S.A., R.S.W. (SCOTTISH 1919-1970) MELROSE LANDSCAPE Signed, oil on board 38cm x 46cm (15in x 18in) Provenance: From the collection of the late Dr. Angus Gibson, to be sold to support the University of Edinburgh Art Collection

£2,000-3,000

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163 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) PRELUDE TO A COCK FIGHT Signed and dated on the canvas return verso ‘1978’79’, oil on canvas 46cm x 102cm (18in x 40in)

£4,000-6,000

Imagery of cockfights emerged in Philipson’s work after witnessing

Elizabeth Cumming has explained that ‘having fixed on his subject

them during War service in Burma. He was encouraged to explore

of cockfights, Robin researched it in considerable detail...he visited

the expressive and emotional power of the theme by his Edinburgh

a local poultry research unit where he could study the movements

College of Art colleague, Robert Henderson Blyth. As Philip Long has

and colour of cockerels, finding their actions mesmerising’ (Elizabeth

pointed out ‘the constant juxtaposition of light and dark and male and

Cumming, Robin Philipson, Bristol 2018, p.37). Prelude to a Cockfight

female would prove to be of enduring importance in Philipson’s work’

is a powerful and mature work on the theme, based on a palette of

(Philip Long, Robin Philipson 1916-1992, Edinburgh 1999, p.14).

strident reds and realised within a striking horizontal format. Set at a point of high tension, the birds are poised, just beyond contact with each other, before their conflict begins.

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132

Denis Straughan, Anne Redpath at 7 London Street, Edinburgh, photograph, c.1961. Royal Scottish Academy of Art & Architecture (David Michie Bequest, Anne Redpath Archive, 2015). Image courtesy Royal Scottish Academy of Art & Architecture

Anne Redpath is widely recognised as the doyenne of post-World War Two Scottish painting. She was born in Galashiels and trained concurrently at Edinburgh College of Art and Moray House College of Education. Redpath’s exhibiting career began in 1919 when she showed with the Edinburgh Group, before her marriage to the architect James Beattie the following year. The couple lived in France between 1920 and 1934, where their three sons were born. Redpath later declared ‘Young women often come up to me and say ‘I’m going to be like you and give up everything for painting’ – but that’s not how I see it at all. I could never have sacrificed my family to my painting and I don’t think anyone else should either. We lived in France…[for] fifteen years and I put everything I had into house and furniture and dresses and good food and people. All that’s the same as painting really, and the experience went back into art when I began painting again.’ In 1934 Redpath returned to Scotland with her children and resumed painting in earnest. Her career developed apace during the 1940s. She became renowned for her joyously coloured still-lifes which revealed not only her pleasure in objects and the decoration of her home, but also her technical prowess in the handling of oil paint. A move from Hawick to Edinburgh in 1949 secured her place within the Scottish art world professionally and personally, as she became a popular hostess in her eventual New Town apartment. Regular foreign travel provided stimulating subject matter, resulting not least in interiors and landscapes which were admired in frequent solo and group exhibitions in Scotland, England and beyond. Redpath’s achievements were many and varied. For example, she was the first female painter to be elected a full member of the Royal Scottish Academy and was the first Scottish woman to be elected an Associate member of the Royal Academy of Arts in London. Her dedication to her practice was such that she learnt to paint with her left-hand whilst recovering from a coronary thrombosis. Redpath’s death in Edinburgh in 1965 was marked by a memorial exhibition organised by the Arts Council of Great Britain, which toured throughout Scotland.

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164

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) WHITE CYCLAMEN Signed, oil on board 35.5cm x 29cm (14in x 11.5in)

£15,000-20,000

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

134

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

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165

In a review of the 1948 Royal Academy annual exhibition, the art critic of The Sunday Times declared

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)

‘Anne Redpath’s still lifes stand out like patches of blue sky on a grey day’ (as quoted in Patrick Bourne,

STILL LIFE - TULIPS AND LILIES

The titular flowers spread from a cluster at the jug’s neck in the centre of the composition, towards the

Signed, oil on board

edges of the canvas. Redpath’s pleasure in combining the ‘bright and quiet colours’ which she loved is

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

clear in the realisation of the flower heads. High points of red and yellow are contrasted with the subtle

£60,000-80,000

tonal blending of white, blue and grey. The image is anchored by the jug set upon a doily. The former

Anne Redpath 1895-1965, Edinburgh 2004, p.46). Such is the case with Still Life Tulips and Lilies. It is infused with the joie de vivre and technical dexterity which made her a master of the genre.

may be Italian faience or tin glazed pottery and was the kind of object which Redpath liked to collect, particularly whilst travelling in Europe. In a sophisticated manipulation of viewpoint, we are able to look down on this part of the composition, at the same time as straight towards the flower arrangement. The whole is set before a lively textured background on which the still life elements appear almost to float. Redpath’s pleasure in using oil paint is clear in these passages, applied in layered expanses by way of generous and gestural brushstrokes. The result is an assured image of beauty and balance. Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

136

166

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 ON A PATTERNED TABLECLOTH Signed, oil on board 56cm x 46cm (22in x 18in)

£60,000-80,000

Still Life on a Patterned Tablecloth is a tour de

The present work captures that pleasure

Redpath’s technique ranges from the

force example of the still lifes set within a

of living in beautiful surroundings. It is

richly-realised petals, to delicate dots and

domestic setting for which Redpath is most

presented in receding layers, from flower

firm outlining. High definition gives way

celebrated. She made great efforts with the

heads to tablecloth and suggested back

to expressive mark-making, whilst bright

decoration of her home, which provided

wall. Multiple viewpoints are combined

colour is contrasted with muted tones to

a rich source of subject matter. Terence

with the same skill that the still life

provide structure, particularly in the yellow

Mullaly of the Daily Telegraph described her

elements are placed, in order to create an

of the lemon at the lower centre. This is

Edinburgh New Town apartment where

unsymmetrical yet balanced composition.

highly-sophisticated picture-making in

‘colour and exuberance abounded; from the

A firm three-dimensionality, such as in the

the guise of an everyday scene. It shows

pottery cat to the putto supporting a table,

jug and teacup, is seen beside the decorative

how Redpath extended the belle peinture

it was gay and bright....Her studio ...was a

flatness of the tablecloth and the patterned

tradition within Scottish art, infused with

veritable kaleidoscope of colour. But so, too,

rug glimpsed at the lower edge.

her knowledge of the work of French

was the kitchen, a room at once joyous and

modern masters including Henri Matisse

utilitarian.’ (quoted in Patrick Bourne, Anne

and Edouard Vuillard. It is also highly

Redpath 1895-1965, Edinburgh 2004, p.70).

personal, as Redpath explained in 1961: ‘I feel that all the things that I have, that I live amongst, have both memories and experiences and are a part of my painting.’

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

137

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

138

167

‘I like painting the good things in life, things I like and enjoy.’

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 by an Open Window’ is quintessentially Alberto Morrocco. Despite spending his life in birthplace of Scotland, his Italian roots shone

STILL LIFE WITH POT PLANT

through in his painting. Here he combines his love of still life with another

Signed, oil on board

favoured subject, Mediterranean landscape. The vibrant, eclectic still-life

41cm x 51cm (16in x 20in)

arrangement on the tabletop is housed in a shady room that we see unfold

£6,000-8,000

through open shutters to the hot, bright sunshine beyond. Our attention is captured and drawn centrally outwards, until the last moment when we finally spot the black cat peering back at us in the bottom right corner. Morrocco was joyful and exuberant in all aspects of his life and work, while continuing to take the business of painting and teaching very seriously. One story tells of his teaching staff at Duncan of Jordanstone College of Art all being invited into one of the college rooms to find a large buffet spread awaiting them, as Morrocco requested they join him in celebrating Leonardo

168

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

Da Vinci’s birthday. Artistically, he believed strongly in preparatory drawing and structured composition as the basis on which to joyfully explore bright, vibrant, saturated colour. In still life’s the arrangement, often selected from the treasure trove of objects he had amassed at home, allowed for a

STILL LIFE BY AN OPEN WINDOW

freedom to explore relationships of shape, form and colour within a formal

Signed and dated ‘87, oil on canvas

framework. In viewing this work, we are transported to a joyful, sunny

127cm x 101.5cm (50in x 40in)

place, full of the joys of a life well-lived and we can take the same pleasure in

£20,000-30,000

contemplating the work as the artist obviously took in creating it.

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

140

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

170

Signed, oil on canvas 36cm x 56cm (14in x 22in)

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

Provenance: Robert A Lillie Collection, no.312

COTTAGES, TEMPLE

From the collection of the late Dr. Angus Gibson, to be sold to support the University of Edinburgh Art Collection

Signed, pen and ink and watercolour

£2,000-3,000

41cm x 63.5cm (16in x 25in)

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171

JOHN HOUSTON R.S.A., R.S.W., S.S.A. (SCOTTISH 1930-2008) FIELDS AND FLOWERS Signed and dated 1961, oil on canvas 41cm x 51cm (16in x 20in) Exhibited: The Scottish Gallery, Edinburgh, Festival Exhibition 1962 no.27 Provenance: From the collection of the late Dr. Angus Gibson, to be sold to support the University of Edinburgh Art Collection

£1,500-2,000

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

142

The centenary of the birth of Joan Eardley (1921-63) has been celebrated throughout 2021. Born in Sussex to a Scottish mother, Eardley trained in Scotland and lived there for her adult life; as a result she is claimed as one of the leading Scottish artists of the twentieth-century. Eardley studied at the Glasgow School of Art and at Hospitalfield College of Art, Arbroath. She rented her first studio in Townhead, Glasgow in 1952. The area, of mixed residential and light industrial use, was overcrowded and dilapidated. However, she was drawn to its vibrancy and closeknit community. She was a regular sight in the streets, sketching buildings, people and scenes

Joan Eardley sketching in her studio at 204 St James Road, Glasgow c.1960. Joan Eardley Archive, Scottish National Gallery of Modern Art, Edinburgh. Photograph by Audrey Walker. Courtesy National Galleries of Scotland © Jane Walker.

of daily life in chalks and pastels, which she then worked up into paintings in the studio. In 1952 Eardley visited the fishing village of Catterline, on the north-east coast of Scotland, for the first time. It became a new stimulus where she could depict the immensities of nature in the open air, painting and sketching ‘on the spot’ in all seasons and weathers. She bought a cottage there in 1955, divided her time between Catterline and Glasgow and became an affectionately regarded member of the village community. Eardley’s work was included in regular group exhibitions and was purchased for public collections throughout her career, beginning with an acquisition for Glasgow Art Gallery and Museum in 1952. Solo exhibitions in London and Edinburgh were met with increasing enthusiasm, concluding with her triumphant presentation at Roland, Browse & Delbanco in the English capital in 1963. This was also the year of her election to the Royal Scottish Academy and was followed shortly afterwards by her death, due to cancer, aged forty-two. At the opening of the resultant memorial exhibition, Eardley’s former tutor Hugh Adam Crawford

172 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) THE RED DRESS Pastel 24cm x 16.5cm (9.5in x 6.5in)

than most and said things that could only be said in paint…[she] established herself…as one of the

Provenance: A gift from Patricia Black to the current owner’s grandfather, Joan Eardley’s first cousin

most distinguished painters of this century.’

£8,000-12,000

declared ‘her chief virtue to me lay in the fact that she understood the language of painting better

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Eardley is renowned for her portrayal of children, particularly those who lived in the Townhead district of Glasgow, where she had a studio from 1952. In a taped interview of the early 1960s, Eardley explained ‘Some children I don’t like...most of them I get on with...some interest me much more as characters...these ones I encourage...they come up and say “will you paint me?” There are always knocks at the door - the ones I want - I try to get them to stand still - it’s not possible to get a child to stay still...I watch them moving about and do the best I can...They just let out all their life and energy...and I just watch them and I do try and think about them in painterly terms...all the bits of red and bits of colour.’ (Tape recording in the Joan Eardley Archive, Scottish National Gallery of Modern Art, Edinburgh GMA A09)

In The Red Dress, Eardley has captured her sitter in a brief moment of repose and reflection. Viewed in profile, the girl’s facial features are realised in the most detailed passage of the work. Her hair is sketched in with broad strokes of pastel, whilst the dress of the title is suggested in raw areas of bright red which hint at underlying form. The speed with which the image was created is clear in its directness and gestural technique, before the model was once more on the move.

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173

JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) CANAL BANK Signed, oil on board 9cm x 20cm (5in x 8in) Provenance: T & R Annan, Glasgow

£8,000-12,000

A letter attached to the verso from William Buchanan, Exhibitions Officer, Arts Council of Great Britain, Scottish Committee states that Mr Annan had sent the following note concerning the painting: ‘Miss Anderson’s picture, along with another, was bought by me direct from the artist for cash on the 16th April 1948. The transaction took place in the Glasgow School of Art: and I was led to understand that it was her first sale’. There is a further inscription on the backboard from J. Anderson stating that: ‘The artist told me in this house that this picture was her first sale and that she had not known where it had gone’

Eardley studied at the Glasgow School of Art (GSA) during various periods between 1940 and 1948. Amongst her teachers were Hugh Adam Crawford, J. (Jessie) Alix Dick and George Houston. In 1943 she won the Sir James Guthrie prize for her diploma self-portrait, now in the collection of the National Galleries of Scotland. Following time spent in London and at Hospitalfield College of Art, Arbroath, Eardley undertook post-diploma studies at GSA and was awarded a travelling scholarship. This, combined with one from the Royal Scottish Academy, made possible an extended stay in France and Italy from 1948 to 1949. On her return, Eardley established herself in a studio in Glasgow and staged a solo exhibition at her alma mater. Canal Bank dates from this exciting period as Eardley emerged as an artist of tremendous promise, which she was to fulfill over the following fourteen years which remained of her life. Created on an intimate scale and in the horizontal format favoured in her early Catterline works, a clear graphic structure is realised in thick paint; Eardley’s enjoyment of her medium and the view before her are palpable.

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145

174

JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) HAYSTACK AND FARM GATE, DUSK Oil on board 18cm x 30.5cm (7in x 12in)

£15,000-20,000

Eardley had a solo exhibition at the Gaumont Cinema in Aberdeen in 1951. It was organised by the cinema’s manager, Reg Miller and local art teacher Annette Soper. It was thanks to the latter that soon afterwards Eardley visited the nearby fishing village of Catterline for the first time, which was to have a tremendous impact on her life and work. She returned in 1952 and rented a cottage there from about 1954. Haystack and Farm Gate, Dusk is an intimate yet powerful work. It was probably painted in the hinterlands of Catterline but may have been made near Eardley’s friend Audrey Walker’s cottage in Caverslee in the Scottish Borders. Eardley found endless inspiration in the cycle of day into night, the seasons and the agricultural calendar as experienced in the countryside and captured in her work, which she executed en plein air. In this instance a view over a field to a haystack - or possibly the gable end of a house - caught her attention. The bottom right passage is suggestive of grazing sheep. The low horizon allows the foreboding sky equal presence in the composition. It was painted with vigour on board, which is left bare in some areas, increasing its sense of spontaneity. Certain passages verge on the abstract, whilst the surface is sensuous, with the result that a modest scene is transformed into a compelling image.

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147

175 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) DARK FIELD AND SUN Watercolour and gouache 53.5cm x 38cm (21in x 15in) Exhibited: The Arts Council of Great Britain Scottish Committee, Joan Eardley Memorial Exhibtion 1964, no.119 Note: This work is recorded as ED1448 in the Joan Eardley Archive

Just as she did in Glasgow, Eardley worked voraciously whilst in Catterline. As seen in Dark Field and Sun, she created dynamic, direct responses to her natural surroundings. Executed in watercolour and gouache, particular attention is paid to the seed heads in the foreground, which gives way via mid-ground vegetation to a speedily-executed summary of the sky above. According to Patrick Elliott, some of Eardley’s works on paper were concieved as finished pictures, others as more experimental preparatory studies, whilst both types were integral to her creative process (see Patrick Elliott, Joan Eardley: Land and Sea - A Life in Catterline, Edinburgh 2021, pp.91-92). After a period of ill-health

towards the end of her life, Eardley explained ‘I found myself so much in need of drawings, to let me feel some contact with my subjects and my work when I was unable to get around last winter - that I swore I would not sell any for a long time, once I had managed to do some more.’ (quoted by Patrick Elliott, op.cit., p. 92). Following her death in 1963, Dark Field and Sun was included in the memorial exhibition organised by the Scottish committee of the Arts Council of Great Britian. It opened at Kelvingrove Museum and Art Gallery in Glasgow in 1964 and toured to the Royal Scottish Academy in Edinburgh.

£12,000-18,000

176

JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) THE SWEE Pen and ink and watercolour 19cm x 17cm (7.5in x 6.75in)

£2,000-3,000

Provenance: From the collection of the late Dr. Angus Gibson, to be sold to support the University of Edinburgh Art Collection Exhibited: The Scottish Gallery, Edinburgh, Christmas Exhibition 1968, no.92 Cyril Gerber Fine Art, Glasgow

Note: With the Studio Inventory No. ED1322 The title of this work derives from the name of a pivot for suspending a pot over a fire. Eardley painted a number of interiors of modest domestic settings, which offer a glimpse into midcentury Scottish life. The hearth and its fire was the focal point of most homes, the source of warmth and where cooking was conducted. Eardley’s detailed image is neither sentimental nor patronising as she found beauty in the everyday. Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

148

177

JOHN CUNNINGHAM (SCOTTISH 1927-2000)

178

A STILL LIFE OF FREESIAS

DAME ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH 1931-2021)

Signed, oil on canvas

HELICONIA AND GINGER

41cm x 31cm (16in x 12in)

Signed, inscribed and dated 1997/98, pencil and watercolour

Provenance: The Macaulay Gallery, Spring Exhibition 1985, no.7

£2,000-3,000

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

76cm x 57.5cm (30in x 22.5in)

£5,000-7,000

149

150

179

DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926-1998) LOBSTER POTS AND NETS Signed, signed, inscribed and dated 1968 on the reverse, oil on canvas 51cm x 76cm (20in x 30in) Provenance: From the collection of the late Dr. Angus Gibson, to be sold to support the University of Edinburgh Art Collection

£2,000-3,000

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

151

180

DUNCAN SHANKS R.S.A., R.S.W., R.G.I. (SCOTTISH 1937-) WINTER LIGHT Signed, mixed media on paper 68cm x 91cm (26.75in x 36in) Provenance: From the collection of the late Dr. Angus Gibson, to be sold to support the University of Edinburgh Art Collection

£2,000-3,000

152

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

153

181

GERALD LAING (BRITISH 1936-2011) FOUNTAIN - GIRL ON CLAMSHELL, WET HAIR, 1987 1/10, bronze 127cm x 66cm x 46cm (50in x 26in x 18in) Provenance: Purchased directly from the artist Exhibited: Gerald Laing: Sculpture at Chisenbury Priory, Chisenbury Priory, 2002 Literature: Gerald Laing: Sculpture at Chisenbury Priory exhibition catalogue, 2002, p.3 (titled Woman with Wet Hair) Note: Artist’s catalogue raisonné no. 476. This work is the one illustrated in the catalogue raisonné. It was conceived in Laing’s New York studio in 1987.

£20,000-30,000

The 20th century produced a number of significant British sculptors.

As well as the life-changing undertaking that was the restoration

A common course charted across many of these careers was the

of Kinkell, Laing spoke of his “epiphany” in 1973 while looking at

departure from or outright rejection of the traditional. In many

Charles Sargeant Jagger’s great First World War Artillery Memorial

cases the figure, if it remained discernible at all, was typically

at Hyde Park Corner: “As a result of this experience I changed my

heavily abstracted. Broadly speaking, the classical tradition became

entire method of working”. He had found his new visual language.

an increasingly inactive reference point, unless that point was to consciously subvert it. What makes Gerald Laing so fascinating is the fact that he chose to gravitate back towards sculpture’s formal roots, completely against the grain of his peers and indeed the general trajectory of Modern art. Originally heavily involved at ground zero of the UK and America’s Pop Art scene, Laing made an extraordinary pivot away from the radically minimalist and abstracted forms of his early career and, from the 1970s onwards, saw out his remaining decades as a master figurative sculptor in the classical manner.

This move away from the hegemony and narrow definitions of ‘the avant-garde’, a radical action in itself, had been a huge risk. Gradually, however, his career went from strength to strength and the commissions - public and private - rolled in, with no project seemingly too ambitious in scale or design. The work offered here for sale was conceived in 1987 and cast in the New York studio Laing maintained alongside Kinkell. An edition of only 10, the piece is conceived as a garden statue and water fountain. The elegant figure of a young woman, redolent in style of the French 19th century greats like Maillol and Rodin, throws her head gently

It is recorded that he underwent this transformation at the end of

backwards while a stream of water pours through her hair. Though

the 1960s. Apparently disillusioned with the art scene, he returned

visually it seems to possess the domestic intimacy of a Degas bather,

to Britain from the States in 1969 and headed northwards, acquiring

she is standing not in a basin but a clam shell like a Renaissance

the ruins of the medieval Kinkell Castle in the Black Isle, Scotland.

goddess. Laing’s work is full of these pleasing art historical reference

Over the course of three years he meticulously restored the castle

points, evidencing a scholarly understanding and appreciation of the

using local craftsmen and traditional techniques. By the end of the

evolution of figurative sculpture.

1970s he had a large-scale foundry in full operation on the estate. Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

154

182

JOHN BYRNE R.S.A. (SCOTTISH 1940-) SELF PORTRAIT AGAINST THE LIGHT Signed, mixed media 43cm x 30.5cm (17in x 12in)

£1,200-1,800

183

WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (SCOTTISH 1915-1997) SCULPTURAL FORM Signed and dated ‘38, mixed media on buff paper 25.5cm x 36cm (10in x 14in) Provenance: From the collection of the late Dr. Angus Gibson, to be sold to support the University of Edinburgh Art Collection

£600-800

155

184

WILLIAM JOHNSTONE O.B.E. (SCOTTISH 1897-1981) COMPOSITION Oil on board 51cm x 76cm (20in x 30in) Provenance: From the collection of the late Dr. Angus Gibson, to be sold to support the University of Edinburgh Art Collection

£4,000-6,000

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

156

185

ALEXANDER GOUDIE (SCOTTISH 1933-2004) RECLINING NUDE Signed, oil on canvas 76cm x 112cm (30in x 42in)

£3,000-5,000

157

186

JACK VETTRIANO O.B.E. (SCOTTISH 1951-) A MUTUAL UNDERSTANDING - A STUDY Signed, oil on canvas 41cm x 51cm (16in x 20in) Exhibited: Portland Gallery, London as part of Vettriano’s fourth solo exhibition ‘Chimes at Midnight’ October 1994

£20,000-30,000

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

158

187

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) WINDOW SEQUENCE / INTERIOR Oil on board 20cm x 25.5cm (8in x 10in) Exhibited: Compass Gallery, Glasgow, Robin Philipson, 1971, no.18 Provenance: From the collection of the late Dr. Angus Gibson, to be sold to support the University of Edinburgh Art Collection

£1,200-1,800

159

188

WILLIAM JOHNSTONE O.B.E. (SCOTTISH 1897-1981) COMPOSITION Indistinctly signed on the backboard, oil on board 46cm x 73cm (18in x 28.75in)

£6,000-8,000

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

160

189

JOHN BYRNE R.S.A. (SCOTTISH 1940-) XAVIER ON THE BEACH Signed twice, inscribed and dated 2012, oil on board 20cm x 61cm (8in x 24in)

£3,000-5,000

190

JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) FIGURES IN AN INTERIOR Signed, pencil and watercolour 74cm x 55cm (29in x 21.5in)

£1,500-2,000

161

191

JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) FISHERMAN’S WINDOW Signed, signed and inscribed verso, oil on canvas, unframed 152.5cm x 152.5cm (60in x 60in)

£7,000-10,000

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

162

192

DAVID MACH H.R.S.A., R.A. (SCOTTISH B.1956-) HEAD Signed and dated ‘98 on label below chin, matchsticks on a metal base 16cm x 18cm x 11cm (6.25in x 7in x 4.25in)

£2,000-3,000

David Mach was born in Fife and studied at Duncan of Jordanstone

The sculpture Head is a multi-coloured, patterned skull made up of

College of Art and Design in Dundee and the Royal College of Art,

coloured, unstruck matchsticks, probably sourced from Japan. The

London. As well as this rigorous artistic training, time spent working

ordinariness of the component objects, in this case the matchsticks,

on the factory floor and in industrial yards would also exert a

but often also wire coat hangers, magazine pages, tyres or bricks

significant influence in the direction of his artistic work; generally

belies the laborious nature of turning them into the artworks and the

working on an extremely large-scale and often with repeats of

visual extravagance of the end result of Mach’s work. Head is visually

ordinary everyday objects. In an interview with the Royal Academy,

arresting, a classical skull transformed into a richly coloured and

Mach describes ‘In the 1980s I was creating massive installations

patterned piece of modernity. The uniformity and repetition of the

made up of thousands of magazines. At one show, a guy came up

matchsticks, the symmetry and coherence generated is particularly

to me and said he had always wanted to buy my work but never

satisfying and compelling, with a real tactility, yet the threat of

could because it was too big;’ on reflection ‘that was an epiphany for

combustion is always present. A skull invokes notions of death and

me.’ From then on Mach has worked across scales; still generating

this entire structure is made of items designed to spark flames and

ambitious large-scale commissions but also much smaller, more

fire the fuel of destruction but it is simultaneously steeped in humour

accessible pieces, like the Matchhead series.

and fun. How could a sculpture made entirely of brightly coloured matchsticks take itself too seriously?

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

163

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

164

193

JACK VETTRIANO O.B.E. (SCOTTISH 1951-) SELF PORTRAIT WITH CARNATION Signed, oil on canvas 61cm x 51cm (24in x 20in) Exhibited: Corrymella Scott Gallery, Jack Vettriano - A Date with Fate, 1995, no.10

£10,000-15,000

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

165

INDEX OF ARTISTS

Gauld, David

McGhie, John

28, 112

Gear, William

183

McGown Coventry, Robert

110, 132

Gibson, William Alfred

Mcleay, Mcneil Robert

McTaggart, William

135

Milne, John Maclauchlan

151

Adam, Patrick William

142

Alexander, Edwin John

Gillies, Sir William George 81, 89, 95, 98, 159, 169, 170

Ansdell, Richard

Goudie, Alexander

185

Milne, Joseph

Bellany, John 106, 190, 191

Gunn, David W.

Morrocco, Alberto

91, 168

Blackadder, Dame Elizabeth 178

Guthrie, Sir James

137

Mouncey, William

Blyth, Robert Henderson

75, 162

Hardie, Charles Martin

Nasmyth, Alexander

116

Bonnar, William

117

Harvey, Sir George

124

Noble, James Campbell

Bough, Sam

Henderson, Joseph Morris

Noble, Robert

Breanski Senior, Alfred De

12, 23, 130

Henry, Barclay

Ogilvy Reid, George

24, 25

Brough, Robert

47, 138

Herald, James Watterston

48, 65, 73

Oppenheimer, Charles

111

Brown, William Marshall

Houston, George

58, 114

Park, Stuart

76, 84

Byrne, John

182, 189

Houston, John

103, 171

Paterson, James

49, 77

Paton, Waller Hugh

123

Peploe, Denis

Cadell, Francis Campbell Boileau 86, 148, 149 Cameron, Sir David Young

70, 143

Cassie, James

129

Crawhall, Joseph

136

Crozier, William

141

Cunningham, John

78, 177

Cursiter, Stanley

144

Donaldson, David

Farquharson, David

Huntington, Beatrice M. L.

79, 80

Hurt, Louis Bosworth

125

Hutchison, Robert Gemmell 59, 60, 133, 134 Johnstone, William

184, 188

Kay, James 9, 64, 107, 109, 131

104

Eardley, Joan 172, 173, 174, 175, 176 Faed, Thomas

Hunter, George Leslie 97, 145, 146, 147

119 43, 45

Fergusson, John Duncan 99, 100, 101, 150

Peploe, Samuel John 152, 153, 154, 155, 156 Philipson, Sir Robin 82, 105, 161, 163, 187 Ramsay, Allan

120

Kennedy, William

Redpath, Anne 94, 96, 164, 165, 166, 167

Laing, Gerald

181

Reid, Archibald David

Lauder, Charles James

Reid, John Robertson

Lodge, George Edward 35, 36, 37, 38

Ritchie, John

121

Macdonald, William

85, 87, 93

Roche, Alexander

68, 108

Mach, David

192

Shanks , Duncan

180

Smith, John Guthrie Spence

6, 113 56

Fleming, Ian

158

Mackie, Charles Hodge

140

Fleming, John

MacTaggart, Sir William

90, 92, 160

Flint, Sir William Russell 50, 51, 52, 53, 54, 55

MacWhirter, John

Sticks, George Blackie

Mason, Frank Henry

Thomson Of Duddingston, Rev. John 115

Foster, Myles Birket

Maxwell, John

157

Fraser The Elder, Alexander

118

McCance, William

102

Fulton, Samuel

McClure, David

72, 179

Thorburn, Archibald 29, 30, 31, 32, 33, 34, 126, 127, 128

Garland, Henry

McGeorge, William Stewart

139

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

Vettriano, Jack

186, 193

Watson, Robert

Wood, Frank Watson

39, 40

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

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

166

ROLEX: A RARE SUBMARINER WRIST WATCH £12,000-16,000

JEWELLERY, WATCHES & SILVER 07 & 08 DECEMBER 2021 | EDINBURGH RUTH DAVIS | 0131 557 8844 ruth.davis@lyonandturnbull.com Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

CONTEMPORARY & POST-WAR ART 19 JANUARY 2022 | EDINBURGH CHARLOTTE RIORDAN | 0131 557 8844 charlotte.riordan@lyonandturnbull.com

STEVEN CAMPBELL (SCOTTISH 1953-2007) £10,000-15,000

DAMIEN HIRST (BRITISH 1965-) £8,000-12,000

PRINTS & MULTIPLES 19 JANUARY 2022 | EDINBURGH CARLY SHEARER | 0131 557 8844 carly.shearer@lyonandturnbull.com

GIROLAMO GIANNI (ITALIAN 1837-1895) £6,000-8,000

16 FEBRUARY 2022 | EDINBURGH NICK CURNOW | 0131 557 8844 nick.curnow@lyonandturnbull.com

PIERRE PAULIN (FRENCH 1927-2009) FOR ARTIFORT PAIR OF ‘MULTIMO’ LOUNGE CHAIRS & SOFA, DESIGNED 1969

Sold for £50,000 (inc. fees) October 2021

DAME BARBARA HEPWORTH D.B.E. (BRITISH 1903-1975) FIGURE AND MIRROR, 1948

Sold for £471,000 (inc. fees) October 2021

MODERN & POST-WAR ART, DESIGN & STUDIO CERAMICS

29 APRIL 2022 | LONDON PHILIP SMITH | 0207 930 9115 philip.smith@lyonandturnbull.com

172

CONDITIONS OF SALE FOR BUYERS (UK) These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used. Special terms may be used in Catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms, etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the Catalogue. These notices and terms will also form part of our terms and conditions of sales. In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate. “You”, “Your” means the Buyer. Lyon & Turnbull Ltd. acts as agent for the Seller.

A. BEFORE THE SALE 1. DESCRIPTIONS OF LOTS Whilst we seek to describe Lots accurately, it may be impractical for us to carry out exhaustive due diligence on each Lot. Prospective Buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a Lot. Prospective Buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age,Provenance, condition or Estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and only accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the Auctioneer or our employees or agents accept liability for the correctness of such opinions and no warranties, whether relating to description, condition or quality of Lots, express, implied or statutory, are given. Please note that photographs/images provided may not be fully representative of the condition of the Lot and should not be relied upon as indicative of the overall condition of the Lot. All dimensions and weights are approximate only. 2. O UR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS We do not provide any guarantee in relation to the nature of a Lot apart from our authenticity warranty contained in paragraph E.2 and to the extent provided below. (a) Condition Reports: Condition Reports are provided on our Website

21.2

or upon request. The absence of a report does not imply that a Lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavour to respond to all requests although we offer no guarantee. Any statement in relation to the Lot is merely an expression of opinion of the Seller or us and should not be relied upon as an inducement to bid on the Lot. Lots are available for inspection prior to the sale and You are strongly advised to examine any Lot in which You are interested prior to the sale. Our Condition Reports are not prepared by professional conservators, restorers or engineers. Our Condition Report does not form any contract between us and the Buyer. The Condition Reports do not affect the Buyer’s obligations in any way. (b) Estimates: Estimates are placed on each Lot to help Buyers gauge the sums involved for the purchase of a particular Lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon. (c) Catalogue Alterations: Lot descriptions and Estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the Catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred. 3. WITHDRAWAL Lyon & Turnbull may, at its discretion, withdraw any Lot at any time prior to or during the sale of the Lot. Lyon & Turnbull has no liability to You for any decision to withdraw. 4. JEWELLERY, CLOCKS & OTHER ITEMS (a) Jewellery: (i) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to enhance their look, through methods such as heating and oiling. These methods are accepted practice but may make the gemstone less strong and/or require special care in future. (ii) All types of gemstones may have been improved by some method. You may request a gemmological report for any Lot which does not have a report if the request is made to us at least three weeks before the date of the sale and You pay the fee for the report in advance of receiving said report. (iii) We do not obtain a gemmological report for every gemstone sold in our sales. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports may be described in the Sale Particulars. Reports will describe any

improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report. (iv) For jewellery sales, all Estimates are based on the information in any gemmological report or, if no gemmological report is available, You should assume that the gemstones may have been treated or enhanced. (b) Clocks & Watches: All Lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/newer parts. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Buyers should also be aware that we cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches cannot be shipped to the USA and only imported personally. Clocks may be sold without pendulums, weights or keys. (c) Alcohol: may only be sold to persons aged of 18 years and over. By registering to bid, You affirm that You are at least that age. All collections must be signed for by a person over the age of 18. We Reserve the right to ask for ID from the person collecting. Buyers of alcohol must make appropriate allowances for natural variations of ullages, conditions of corks and wine. We can provide no guarantees as to how the alcohol may have been stored. There is always a risk of cork failure and allowance by the Buyer must be made. Alcohol is sold “as is” and quality of the alcohol is entirely at the risk of the Buyer and no warranties are given. (d) Books-Collation: If on collation any named item in the sale Catalogue proves defective, in text or illustration the Buyer may reject the Lot provided he returns it within 21 days of the sale stating the defect in writing. This, however, shall not apply in the case of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings nor in respect of damage to bindings, stains, foxing, marginal worm holes or other defects

not affecting the completeness of the text nor in respect of Defects mentioned in the Catalogue, or at the time of sale, nor in respect of Lots sold for less than £300. (e) Electrical Goods: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. (f) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations (items manufactured prior to 1950 are exempt from any regulations). Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. We provide no guarantee as to the originality of any wood/material contained within the item.

B. REGISTERING TO BID 1. NEW BIDDERS (a) If this is Your first time bidding at Lyon & Turnbull or You are a returning Bidder who has not bought anything from us within the last two years You must register at least 48 hours before an auction to give us enough time to process and approve Your registration. We may, at our discretion, decline to permit You to register as a Bidder. You will be asked for the following: (i) Individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of Your current address (for example, a current utility bill or bank statement) (ii) Corporate clients: Your Certificate of Incorporation or equivalent document(s) showing Your name and registered address together with documentary proof of directors and beneficial owners, and; (iii) Trusts, partnerships, offshore companies and other business structures please contact us directly in advance to discuss requirements. (b) We may also ask You to provide a financial reference and/or a deposit to allow You to bid. For help, please contact our Finance Department on +44(0)131 557 8844. 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. F AILURE 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

173 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 the 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. Please see D.2(e) for the conditions to be fulfilled before the VAT charged on the Hammer Price may be cancelled or refunded upon exporting from the UK. (a) Lots affixed with (†): Value Added Tax on the Hammer Price and Buyer’s Premium 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 UK and is not operating under a Margin Scheme. (b) Lots affixed with (‡): A reduced rate of Import Value Added Tax on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outwit the UK. (c) Lots affixed with [Ω]: Standard rate of 20% of Import Value Added Tax on the Hammer Price and premium is payable. This applies to items that have been imported from outwit the UK and do not fall within the reduced rate category. (d) Lots affixed with [Ω] or ‡ when these lots are released to buyers in the UK, the buyer will become the importer and must pay us Lyon & Turnbull Ltd. the import VAT at the rates noted above on the hammer price. The buyer should also note that the appropriate rate will be that in force on the date of our release and not that in force at the date of auction or payment. (e) Export from the UK: For lots

offered under the VAT Margin Scheme and lots with [Ω] or ‡ symbols attached; you may be eligible to have a VAT refund in certain circumstances if the lot is exported. Should you show us proof of export within three months of collection a VAT refund may be arranged. No VAT amounts will be refunded where the total refund is under £100. Bank/transfer charges relating to any refund will be borne by the buyer and will not be reimbursed. Please also note that all customs formalities of the destination country are the responsibility of the buyer. 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

174 by law, are excluded. 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 (b) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in our reasonable opinion) to have caused damage to the Lot or likely to have caused loss of value to the Lot; or (c) There has been no material loss in value of the Lot from its value had it been in accordance with its description in the Bold or Capitalised type heading. This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the Lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the Lot must: (a) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the Lot number, date of the auction at which it was purchased and the reasons for such dispute; and (b) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale. We have discretion to waive any of the above requirements. We may require the original purchaser of the Lot to obtain, at the original purchaser of Lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of the Lot. We shall not be

bound by any reports produced by the original purchaser of the Lot, and Reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original Purchase Price paid (the successful Hammer Price, plus the Buyer’s Premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest. 3. YOUR WARRANTIES (a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes. (b) Where You are bidding on behalf of another person You warrant that: (i) You have conducted appropriate customer due diligence on the ultimate Buyer(s) of the Lot(s) in accordance with all relevant anti-money laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so; (ii) The arrangements between You and the ultimate Buyer(s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and; (iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer(s) are under investigation or have been charged with or convicted of money-laundering, terrorist activities, or other crimes.

F. PAYMENT 1. MAKING PAYMENT (a) Within 7 days of a Lot being sold You will pay to us the Total Amount Due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. Please note that we do not accept cash payments over £5,000 per Buyer per year. (b) Any payments by You to us can be applied by us towards any sums owing by You to us howsoever incurred and without agreement by You or Your agent, whether express or implied. (c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name. (d) The ownership of any Lots purchased shall not pass to You until You have made payment in full to us of the Total Amount Due. The risk in

and the responsibility for the Lot will transfer to You from whichever is the earlier of the following: (i) When You collect the Lot; or (ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise with You in writing. (e) You shall at Your own risk and expense take away any Lots that You have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any cheque used for payment whichever is later. We can provide You with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us. (f) No purchase can be claimed or removed until it has been paid for. (g) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. (h) If you agree to our pack and send service (if applicable) payment of shipping fees must be made prior to us posting. Any shipping fee will be inclusive of VAT. 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 (a) 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. (b) We offer a limited pack and send service using Royal Mail on small jewellery items. When items leave our premises and are in transit via postal service We are not responsible for any damage or loss incurred. We are also not responsible for making any claim regarding loss or damage to items. A tracking reference number will be issued which can be used to raise a claim with the relevant shipping provider. 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.

175 3. CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http:// www.defra.gov.uk/ahvla-en/importsexports/cites We accept no liability for any Lots which may be subject to CITES but have not be identified as such.

I. OUR LIABILITY TO YOU (a) We give no warranty in relation to any statement made, or information give, by us, our representatives or employees about any Lot other than as set out in the authenticity warranty and as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are exclude. The Seller’s warranties contained in paragraph E.1 are their own and we do not have a liability in relation to those warranties. (b) (i) We are not responsible to You for any reason whether for breaking this agreement or any other matter relating to Your purchase of, or bid for, any Lot other than in the event of fraud or fraudulent misrepresentation by us other than as expressly set out in these conditions of sale; or (ii) We do not give any representation, warranty or guarantee or assume any liability for a kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium,Provenance, exhibition history, literature or historical relevance, except as required by local law, any warranty of any kind is excluded by this paragraph. (c) in particular, please be aware that our written and telephone bidding services, Lyon & Turnbull Live, Condition Reports, currency converter and saleroom video screens are free services and we are not responsible for any error (human or otherwise) omission or breakdown in these services. (d) We have no responsibility to any person other than a Buyer in connection with the purchase of any Lot (e) If in spite of the terms of this paragraph we are found to be liable to You for any reason, we shall not have to pay more than the Purchase Price paid by You to us. We will not be responsible for any reason for loss of profits, business, loss of opportunity or value, expected savings or interest, costs damages or expenses.

J. OTHER TERMS 1. OUR ABILITY TO CANCEL In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if; (i) Any of our warranties are not correct, as set out in paragraph E3, (ii) We reasonably believe that completing the transaction is or may be

unlawful; or (iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage our reputation. 2. RECORDINGS We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law if You do not wish to be videotaped, You may make arrangements to bit by telephone or a written bid or bid on Lyon & Turnbull Live instead. Unless we agree otherwise in writing, You may not videotape or record proceedings at any auction. 3. COPYRIGHT We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission. We do not offer any guarantee that You will gain any copyright or other reproductions to the Lot. 4. ENFORCING THIS AGREEMENT If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force. 5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES You may not grant a security over or transfer Your rights of responsibilities under these terms on the contract of sale with the Buyer unless we have given our written permission. This agreement will be binding on Your successors or estate and anyone who takes over Your rights and responsibilities. 6. REPORTING ON WWW.LYONANDTURNBULL.COM Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www.lyonandturnbull. com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website. 7. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers. (c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private treaty sale, if a Lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale.

8. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the premises, safety and security arrangements. Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale. 9. DATA PROTECTION Where we obtain any personal information about You, we shall use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) You may have given at the time Your information was disclosed). A copy of our Privacy Policy can be found on our Website www.lyonandturnbull.com or requested from Client Services, 33 Broughton Place, Edinburgh, EH1 3RR or by email from data enquiries@ lyonandturnbull.com. 10. FORCE MAJEURE We shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract. 11. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

K. DEFINITIONS & GLOSSARY The following words and phrases used have (unless the context otherwise requires) the meaning to given to them below. The go Glossary is to assist You to understand words and phrases which have a specific legal meaning which You may not be familiar with. 1. DEFINITIONS “Auctioneer” Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate; “Bidder” a person who has completed a Bidding Form “Bidding Form” our Bidding Registration Form our Absentee Bidding Form or our Telephone Bidding Form. “Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to by the words

“You” and “Your” “Buyer’s Premium” the sum calculated on the Hammer Price at the rates stated in Catalogue. “Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website “Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on behalf of the Seller. “Estimate” a statement of our opinion of the range within the hammer is likely to fall. “Hammer Price” the level of bidding reached (at or above any Reserve) when the Auctioneer brings down the hammer; “High Cumulative Value of Lot” several Lots with a total lower Estimate value of £30,000 or above; “High Value Lot” a Lot with a lower Estimate of £30,000 or above; “Lot” each Item offered for sale by Lyon & Turnbull; “Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses; “Reserve” the lowest price below which an item cannot be sold whether at auction or by private treaty; “Sale” the auction sale at which a Lot is to be offered for sale by us. “Seller” the person who offers the Lot for Sale. We act as agent for the Seller. “Total Amount Due” the Hammer Price in respect of the Lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions; “VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom. “Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com 2. GLOSSARY The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings: “Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to “Knocked Down” when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale. “Lien” a right for the person who has possession of the Lot to retain possession of it. “Risk” the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value. “Title” the legal and equitable right to the ownership of a Lot.

21.2

176

GUIDE TO BIDDING & PAYMENT REGISTRATION

BIDDING OUTSIDE THE SALEROOM

PAYMENT

BY PHONE

Our accounts teams will continue to be available to process payments and answer queries. We will be able to accept online payments through our website and bank transfer. On-site payment facilities are available by appointment.

1–G overnment issued photo ID (Passport/Driving licence) 2–P roof of address (utility bill/bank statement). We may, at our option, also ask you to provide a bank reference and/or deposit. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale. BIDDING IN THE SALEROOM At the Sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. Please ensure that the auctioneer repeats your bidder number correctly when confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer’s attention immediately. All lots will be invoiced to the name and address given on your registration form, which is non-transferable.

A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk. IN WRITING Bid forms are available at the sale and/ or the back of the catalogue. These should be submitted in person, by post, or by fax as soon as possible prior to the sale and we will bid on your behalf up to the limit indicated. In the event of receiving two identical bids the first one received will take precedence All bids must be received an hour before the sale. This service is provided entirely at the bidder’s risk. ON THE INTERNET

Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received. Payment may be made by the following methods: BANK TRANSFER Account details are included on any invoices we issue or upon request from our accounts department. ONLINE CREDIT OR DEBIT CARD PAYMENTS We no longer accept card payments by phone. Please use our online payment service (provided by Opayo). You will find a link to this service in any email invoice issued or you can visit the payments section of our website. CASH No cash payments will be accepted for this auction. COLLECTION OF PURCHASED LOTS Please refer to page 2 of this catalogue.

- ABSENTEE BIDDING Leave a bid online through our website, call us on 0131 557 8844 or email info@lyonandturnbull.com - BID LIVE ONLINE Bid live online, for free, with Lyon & Turnbull Live. Just click the button from the auction calendar, sale page or any lot page online to register. Inside Back Cover: Lot 140 [detail]

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