Contemporary & Post-War Art | Prints & Multiples | Auction 06 April 2022 by Lyon & Turnbull

6TH APRIL 2022 EDINBURGH LIVE ONLINE

WEDNESDAY 06 APRIL 2022 CONTEMPORARY & POST-WAR ART AT 10AM PRINTS & MULTIPLES AT 2PM

Sale Number LT687

Lyon & Turnbull 33 Broughton Place EDINBURGH EH1 3RR

VIEWING Friday 1st April 10am-4pm Sunday 3rd April 12 noon - 4pm Monday 4th April 10am-4pm Tuesday 5th April 10am-4pm

Front Cover Lot 217 [detail] Inside Front Cover Lot 138 [detail]

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

BUYER'S GUIDE

This sale is subject to our Standard conditions of Sale (available at the back of every catalogue and on our website). If you have not bought before we will be delighted to help you.

BUYER’S PREMIUM

REGISTRATION

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

All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, or on our website. Please note that first-time bidders, and those returning after an extended period, will be asked to supply the following documents in order to facilitate registration:

25% up to £500,000 / 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 All collections will be by appointment only (this applies to both carriers and personal collections). To make an appointment call 0131 557 8844 or email info@lyonandturnbull.com. 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.

Preceding Page Left Lot 43 [detail] Preceding Page Right Lot 117 [detail]

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.

Charlotte Riordan Head of Contemporary & Post-War Art charlotte.riordan@lyonandturnbull.com

Carly Shearer Head of Prints & Multiples carly.shearer@lyonandturnbull.com

Chantal de Prez Junior Specialist & Sale Administrator chantal.deprez@lyonandturnbull.com

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

1§ HELEN M. TURNER (SCOTTISH 1937-) SANDBANKS, MOUTH OF THE DOON Signed lower left, oil on canvas 65cm x 74cm (25.5in x 29in)

£500-700

2§ MARDI BARRIE R.S.W (SCOTTISH 1931-2004) SEA MIST RISING Acrylic on board 28.5cm x 33.5cm (11.25in x 13.25in) Exhibited: The Scottish Gallery, Edinburgh

£400-600

3§ JOHN LOWRIE MORRISON (JOLOMO) O.B.E. (SCOTTISH 1948-) THE GIGHA FERRY ARRIVING AT THE SLIPWAY, 2006 Signed lower right, inscribed with title and dated verso, oil on canvas 23cm x 23cm (9in x 9in)

£1,000-1,500

4§ NAEL HANNA (IRAQI-SCOTTISH 1959-) EAST HAVEN Signed lower right, oil on canvas 76cm x 122cm (30in x 48in)

£2,000-4,000

5§ JAMES MORRISON R.S.A., R.S.W., L.L.D. (SCOTTISH 1932-2020) MONTROSE BASIN LOOKING WEST, 1984 Mixed media 39cm x 48cm (15.25in x 19in)

£1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

6§ ALEXANDRA GARDNER (SCOTTISH 1946-) STILL LIFE WITH BLACK BOTTLES AND LEMONS Signed upper left, oil on canvas 50cm x 50cm (19.5in x 19.5in)

£600-800

7§ ETHEL WALKER (SCOTTISH 1941-) LITTLE STILL LIFE Signed lower right, oil on board 21.5cm x 21.5cm (8.5in x 8.5in) Exhibited: Tolquhon Gallery, Ellon, Aberdeenshire

£700-900

8§ ALEXANDRA GARDNER (SCOTTISH 1946-) GAMBLING MEN Signed upper right, oil on canvas board 38cm x 38cm (15in x 15in)

£700-900

9§ WILLIAM CROSBIE R.S.A. (SCOTTISH 1915-1999) STILL LIFE WITH BOWL OF LEMONS Signed and dated LXVII lower left, oil on board 59cm x 49cm (23.25in x 19.25in)

£1,500-2,500

10 § NORMAN KIRKHAM R.G.I. (SCOTTISH 1936-2021) TANG HORSE Signed lower right, oil on canvas 60cm x 70cm (23.5in x 27.5in)

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

11 § SHEILA MACNAB MACMILLAN (SCOTTISH 1928-2018) UNTITLED (LANDSCAPE) Oil on canvas board 29cm x 38cm (11.5in x 15in)

£400-600

12 § SHEILA MACNAB MACMILLAN (SCOTTISH 1928-2018) LANDSCAPE Oil on board 43cm x 43cm (17in x 17in)

£300-500

13 § PERPETUA M. POPE (SCOTTISH 1916-2013) UNTITLED (SUMMER LANDSCAPE) Signed lower right, oil on canvas 36cm x 46cm (14in x 18in)

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

14 § JAMES FULLARTON (SCOTTISH 1946-) CATTLE NEAR THE SEA Signed lower right, oil on canvas 74cm x 84cm (29in x 33in)

£2,500-3,500

15 § JAMES FULLARTON (SCOTTISH 1946-) STONEHAVEN HARBOUR Signed lower left, oil on canvas 61cm x 66cm (24in x 26in)

£2,000-3,000

16 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) VIRGINIA BLACK, 1989 Signed upper left, signed and inscribed with title and dated verso, oil on canvas 150cm x 120cm (59in x 47in)

£3,000-5,000

17 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) CRAMOND Signed lower right, oil on canvas 122cm x 91cm (48in x 35.75in), unframed

£3,000-5,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

18 § ABIGAIL MCLELLAN (SCOTTISH 1969-2009) SEATED FIGURE, 1997 Signed and inscribed with title and dated verso, oil on canvas 79cm x 73cm (31in x 28.75in)

£400-600

19 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) UNTITLED (MASKED FIGURE OF HELEN AND SERPENT) Signed lower left, watercolour 57cm x 38cm (22.5in x 15in) Exhibited: Beaux Arts, Bath

£2,000-3,000

20 § NEIL MACPHERSON R.S.A., R.S.W, R.G.I. (SCOTTISH 1954-) THE THANKSGIVING Signed lower right, oil on canvas board 24cm x 29cm (9.5in x 11.5in) Exhibited: Compass Gallery, Glasgow, 2005

£500-700

21 § PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) SCREAMING (WITH GREEN AND PINK HEADDRESS) Pastel 68cm x 48cm (26.75in x 19in), unframed

£1,200-1,800

22 § PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) SKULL HEAD FIGURE Pastel on brown paper 63.5cm x 48cm (25in x 19in), unframed

£800-1,200

23 § PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) CROSS-HATCHED FACE Indistinctly inscribed lower right, pastel on brown paper 64cm x 49cm (25in x 19.25in), unframed

£1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

24 § 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 College of Art and Design, Dundee and the Royal College of Art, London. As well as this rigorous artistic training, time spent working on the factory floor and in industrial yards would exert a significant influence in the direction of his artistic output, which was generally realised on an extremely large-scale utilising repeats of ordinary everyday objects. In an interview with the Royal Academy, Mach recalled that ‘in the 1980s I was creating massive installations made up of thousands of magazines. At one show, a guy came up to me and said he had always wanted to buy my work but never could because it was too big;’ on reflection, ‘that was an epiphany for me.’ From then on Mach has worked across scales, still generating ambitious largescale commissions but also much smaller, more accessible pieces like the Matchhead series.

The sculpture Head is a multi-coloured, patterned skull made up of coloured, unstruck matchsticks, probably sourced from Japan. The ordinariness of the component objects, in this case the matchsticks, but often also wire coat hangers, magazine pages, tyres or bricks belies the laborious nature of turning them into the artworks and the visual extravagance of the end result of Mach’s work. Head is visually arresting, a classical skull transformed into a richly-coloured and patterned piece of modernity. The uniformity and repetition of the matchsticks and the symmetry and coherence generated is particularly compelling, with a real tactility, yet the threat of combustion is always present. A skull invokes notions of death and this entire structure is made of items designed to spark flames, but it is simultaneously steeped in humour 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 4

25 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) OPUS G.1975: MAGIC FOUNTAIN, ICE COOL, 1987 Signed and dated ‘87 upper left, gouache 42cm x 30cm (16.5in x 11.75in), unframed Provenance: Gimpel Fils, London

£1,500-2,000

26 JIMOH BURAIMOH (NIGERIAN 1943-) “LONELYNESS” Signed lower right, signed and inscribed with title verso, oil and beads on board 36cm x 61cm (14in x 24in)

£600-800

27 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) OPUS G. 1688: SPIRIT CHASER NO.2, 1980 Signed and dated upper right, gouache 30cm x 42cm (11.75in x 16.5in), unframed Provenance: Gimpel Fils, London

£1,000-1,500

28 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) OPUS O.1953: STRUVE, 2008 Signed and inscribed with title and dated verso, oil on canvas 130cm x 101.5cm (48in x 40in) Provenance: Gimpel Fils, London

£5,000-7,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

29 § 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) DOG Signed verso, oil and collage on board 74cm x 74cm (29in x 29in ) Exhibited: Royal Academy Exhibition, 1990. Note: In a letter received from Sir Robin Philipson, dated August 1990, soon after current owner’s purchase of ‘Dog’ from the Royal Academy Summer exhibition, 1990, Philipson shared an intriguing insight to his masterful technique employed for this painting as well as informing us that ‘Dog’ is one of a group of three painted ‘over the last two years’, one of which was in his ownership while the other was in private collection, Edinburgh. Philipson spoke of the joy of the matiére of paint, grappling with the heavy impasto substance, the density of colour and tone.

£2,000-3,000

30 § 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) COCKFIGHT, 1988 Signed and dated verso, inscribed with title artist’s label verso, oil on board 74cm x 74cm (29in x 29in) Provenance: Gifted by the artist to the present owner

£4,000-6,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

31 § PETER THOMSON R.G.I. (SCOTTISH B.1962-) BLUE IN GREEN, 2009 Signed and dated lower right, oil and acrylic on panel 59cm x 119cm (23.25in x 43in)

£600-800

32 § PETER THOMSON R.G.I. (SCOTTISH B.1962-) THE FLAUTIST Signed with initials lower left, acrylic 11.5cm x 19cm (4.5in x 7.5in) Exhibited: Compass Gallery, Glasgow, 2005

£300-500

33 § PETER THOMSON R.G.I. (SCOTTISH B.1962-) METROPOLIS Signed centre of upper edge, oil on panel 19.5cm x 23.5cm (7.75in x 9.25in)

£400-600

34 § SOPHIE RYDER (BRITISH 1963-) MAQUETTE FOR ‘CURLED UP’, 2006 Signed and dated 2006 to underside, plaster 5.5cm x 4cm x 2cm (2.25in x 1.5in x 0.75in) Provenance: Gifted by the artist c. 2010; thence by descent to the current vendor.

35 § CLAIRE NORRINGTON (BRITISH CONTEMPORARY)

Note: This work appears to be a maquette of / related to the monumental work ‘Curled Up’, created by Ryder in 2004. Ryder went on to produce a miniature edition of ‘Curled Up’, cast in bronze in a run of 100.

£600-800

HARE Signed with initials and numbered 2/12 verso, bronze 33.5cm x 13cm x 14cm (13.25in x 5in x 5.5in)

£1,000-1,500

36 § CLAIRE NORRINGTON (BRITISH CONTEMPORARY) ROLLING HORSE Signed and numbered 3/9 verso, bronze 19cm x 50cm 20cm (7.5in x 19.75in x 8in)

£1,500-2,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

37 § PAUL NEAGU (ROMANIAN/BRITISH 1938-2004) NOW HYPHEN, 1989 Signed and inscirbed with title and dated lower right, mixed media on paper 55cm x 74cm (21.5in x 29in)

£800-1,200

38 § PAUL NEAGU (ROMANIAN/BRITISH 1938-2004) COLLECTOR CONTAINER : ASYMMETRIC - UNEQUAL - UNEVEN, 1970 Signed and dated lower right and upper right, mixed media on paper 34cm x 26cm (13.5in x 10.25in)

£600-800

39 § PETER HOWSON O.B.E. (SCOTTISH 1958-) BREXIT INTO THE ABYSS, 2017 Signed and dated lower right, pastel 46cm x 60cm (18in x 23.5in)

£1,500-2,000

40 § PETER HOWSON O.B.E. (SCOTTISH 1958-) WAR IN EUROPE, 2017 Signed and dated lower right, mixed media on paper 22cm x 29.5cm (8.5in x 11.5in) Exhibited: ’Spiritus Mundi’, The Roger Bilcliffe Gallery, Glasgow, 2017

£600-900

41 § PETER HOWSON O.B.E. (SCOTTISH 1958-) STEAM AND POWER Signed lower right, monotype with overpaint by the artist 53cm x 62cm (21in x 24.5in)

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

42 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) UNTITLED (CASTEL LAGOPESOLE), 1958 Collage 14.5cm x 19.5cm (5.75in x 7.75in) Provenance: The artist’s 1958 sketchbook

£3,000-5,000

EDUARDO PAOLOZZI’S collages are today recognised as having anticipated the concerns of Pop Art and its obsession with mass media, technology and found imagery. He is regarded as the UK’s own important precursor and conceptual link to the seismic 20th century art movement. Collage has been of great importance to the practise of many of the 20th century artistic greats; with examples including the groundbreaking Dadaist imagery of Kurt Schwitters, Picasso’s early Cubist works, and the output of Surrealists including Max Ernst. Fascinatingly, Paolozzi’s collage practice began during his boyhood years in Edinburgh; his collections of cigarette cards and comics ending up pasted in scrapbooks. Indeed, it is his passion for this activity that is said to have inspired his resolve to become a professional artist. Scrapbooking remained an integral lynchpin of his practice which he maintained throughout his studies at The Slade (1946-47), as well as during his years in Paris between 1947 and ’49. It was here that he produced his famous images taken from the magazines of American ex-servicemen featuring advertisements, cartoons and machine parts, combining them to form witty and bizarre tableaus. In 1952, the decade from which our collage dates, Paolozzi gave a seminal presentation of popular culture at the ICA in London which featured pages of his collage work, creating an exhibition as groundbreaking as it was iconoclastic. The magpie-like practice of collage found its way into all areas of his work, from the cut and paste layer-building involved in his screenprinting process (a technique very deliberately appropriated from the advertising industry and elevated by Paolozzi into artform), to the methodologies behind the designs for his famous public murals, notably Tottenham Court Road’s mosaic masterpiece. Even his sculptures in plaster and bronze were formed by the maverick process of assembling component parts taken from casts of mundane, everyday objects. We see then, that as well as being totally fundamental to his art practice, Paolozzi’s work in collage is arguably the most important and exciting aspect of his wide-ranging and non-conformist output.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

43 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) BRONZE RELIEF, C.1974 Bronze 42cm x 22cm x 8cm (16.5in x 8.75in x 7in) Note: This work is likely to date from c.1974. It was in this year that he created the large bronze panel entitled Kreuzberg in the National Gallery Collection, Edinburgh. The piece also appears to have connections to Paolozzi’s famous reliefs for Cleish Castle in Kinross. We are grateful to Judith Collins for her kind assistance in cataloguing this work.

£4,000-6,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

44 § WILLIAM JOHNSTONE O.B.E. (BRITISH 1897-1981) UNTITLED (INK) Indistinctly initialled lower right, ink 55cm x 76cm (21.5in x 30in)

£600-800

45 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) UNTITLED (SKETCH) Pencil 7.5cm x 12.5cm (3in x 5in), unframed Provenance: The artist’s family

£600-800

46 § WILLIAM JOHNSTONE O.B.E. (BRITISH 1897-1981) UNTITLED Signed with initials lower right, ink 76cm x 56cm (30in x 26in)

£500-700

47 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) UNTITLED (DESIGN) Pencil 23cm x 13.5cm (9in x 5.5in), unframed Provenance: The artist’s family

£600-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

48 § KEITH GRANT (BRITISH 1930-) TWO STARS, BALLYMORE, SLIGO, 1975 Signed and dated 5/75 lower right, inscribed with title and ‘Stretch towards the moonless midnight of the trees’, oil on card 25cm x 26cm (9.75in x 10.25in) Note: From the Ben Bulben series.

£600-800

49 § RICHARD KENTON WEBB (BRITISH 1959-) THESE BURDENED SOULS, 1989 Mixed media 25cm x 33.5cm (9.75in x 13.25in) Exhibited: Benjamin Rhodes Gallery, London

£400-600

50 § MICHAEL PORTER (BRITISH 1948-) THE LOCK, 1986 Signed and inscribed with title and dated lower right, mixed media 18cm x 22cm (7in x 8.5in) Provenance: Gifted by the artist to the present owner.

£400-600

51 § BET LOW A.R.S.A., R.S.W., R.G.I. (SCOTTISH 1924-2007) UNTITLED (MOONRISE) Signed lower right, gouache 36cm x 25.5cm (4in x 10in)

£600-800

52 § SIMON EDMONDSON (BRITISH 1955-)

53 § PHILIP REEVES R.S.A., R.S.W., A.R.C.A., R.G.I. (SCOTTISH 1931-2017) UNTITLED (ABSTRACT) Signed lower left, collage 25cm x 24cm (9.75in x 9.5in) Exhibited: Compass Gallery, Glasgow

£500-700

STUDY FOR “CREVICE” AND “STOIC’S PROGRESS II”, 1990 Signed verso, oil on canvas 48cm x 27cm (19in x 10.5in) Exhibited: Nicola Jacobs Gallery, London

£600-800

54 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) DIPTYCH DRAWING OF WILLIAM GEAR AND CHARLOTTE, 1983 Signed and dated ‘83 and inscribed ‘William Gear, Artist & Friend’ and ‘Lovely Charlotte’, pencil 66cm x 113cm (26in x 44.5in) Provenance: From the Collection of William Gear

£600-800

55 § STANLEY WILLIAM HAYTER C.B.E. (BRITISH 1901-1988) UNTITLED - 1970 Signed and dated ‘70, pencil and yellow ink 21cm x 9cm (8.25in x 3.5in)

£400-600

56 § STEPHEN CONROY (SCOTTISH 1964-) LOOKING OVER LEFT SHOULDER, 2002 Signed and inscribed with title and dated 18/4/2002, pencil on acetate 50cm x 31cm (19.75in x 12in)

£800-1,200

57 § STEPHEN CONROY (SCOTTISH 1964-) THE WHEEL, 2002 Signed and inscribed with title and dated verso, oil on board 91.5cm x 91.5cm (36in x 36in)

£8,000-12,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

58 § PETER HOWSON O.B.E. (SCOTTISH 1958-) MALKIE, 1992 Signed lower left, oil on canvas 60cm x 45cm (23.5in x 17.75in) Provenance: Flowers Gallery, London Exhibited: ’Peter Howson: A Retrospective’, No. 557, Glasgow Museums and Art Galleries, 1993

£2,000-3,000

59 § PETER HOWSON O.B.E. (SCOTTISH 1958-) FACE OF BRITAIN III, 1991 Signed stretcher verso, oil on canvas 213.5cm x 153cm (84in x 60in), unframed Exhibited: Flowers East, London

£12,000-18,000

PETER HOWSON In the late 80s and early 90s, Howson embarked on a thematic exploration of what his biographer Robert Heller describes as his ‘Patriots’: the fascists, the football hooligans, the bully boys of the UK... “People who use brute force for brute ends”. It would go on to become the facet of his work for which he is arguably best known. ‘Face of Britain III’, dates to 1991, and is a significant iteration of this theme. This monumental and muscular ‘Game Boy’ raises his fist in a gesture pitched somewhere between a neo-Nazi salute and the celebratory stance of a football fan or roused member of a street mob. He sports the typical uniform of baseball cap and too-tight t-shirt, a nod of ridicule on Howson’s part, but with sinister “wrist gauntlets that furl out into a threatening combination of football scarf and leather strap”. The figure’s face is contorted into a mask of “swinish hate”, as Heller puts it. What Howson sought to achieve through these works was an exorcism of his own violent side, but most of all they are a social study of “the universal theme of man’s inhumanity to man”, an interrogation of the darkness that drives man and the masses, and to hold a mirror up to one of the darker ‘Faces of Britain’ that we would perhaps rather not acknowledge. Howson’s experience at the hands of such figures had “an ineradicable impact on (his) psyche”.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

60 § JOHN HOUSTON R.S.A., R.S.W., S.S.A. (SCOTTISH 1930-2008) FLOWERS AT SUNSET, 1959 Signed and dated lower right, watercolour 54cm x 74cm (21.25in x 29in) Exhibited: Royal Scottish Society of Painters in Watercolour

£1,500-2,000

61 § ETHEL WALKER (SCOTTISH 1941-) FLOWERS WITH DECANTER AND WINE GLASSES Signed lower right, oil on board 32cm x 34cm (12.5in x 13.5in)

£600-800

62 § MARDI BARRIE R.S.W (SCOTTISH 1931-2004 NIGHT JAR Oil on canvas 62cm x 75cm (24.5in x 29.5in) Exhibited: Bruton Galleries

£600-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

63 § GORDON K. MITCHELL R.S.W., R.S.A., R.G.I. (SCOTTISH 1952-) AGE OLD QUESTION Signed lower right, oil on canvas 66cm x 101.5cm (26in x 40in)

£4,000-6,000

64 § DENIS PEPLOE R.S.A. (SCOTTISH 1914-1993) THE WHITE CLOTH Signed lower left, inscribed with title artist’s label verso, oil on canvas 71cm x 60cm (28in x 23.5in)

£4,000-6,000

65 § BARBARA BALMER R.S.A., R.S.W., R.G.I. (SCOTTISH 1929-2017) PALE NUDE, 1980 Signed and dated 1980,’inscribed with title to artist’s label verso, oil on board 46cm x 56cm (18in x 22in)

£400-600

66 § TOM ALLAN (SCOTTISH 1946-) ON THE RED CARPET, 2010 Marble 80cm x 24.5cm x 38cm (31.5in x 9.5in x 15in) (including plinth)

£800-1,200

67 § BARBARA BALMER R.S.A., R.S.W., R.G.I. (SCOTTISH 1929-2017) BALLET SLIPPERS Signed lower right, gouache 26cm x 39cm (10.25in x 15.25in)

£300-500

68 § JOHN LOWRIE MORRISON (JOLOMO) O.B.E. (SCOTTISH 1948-) AUTUMN LIGHT, AROS, ISLE OF MULL, 2009 Signed lower right, inscribed with title and dated verso, oil on canvas 38cm x 38cm (15in x 15in)

£2,000-3,000

69 § JOHN HOUSTON R.S.A., R.S.W., S.S.A. (SCOTTISH 1930-2008) BASS ROCK AFTER THE RAIN, 1992 Signed and dated lower right, watercolour 15cm x 18cm (6in x 7in) Exhibited: ’John Houston: New Paintings, 1993’, The Scottish Gallery, Edinburgh

£600-800

70 § DAVID MICHIE O.B.E., R.S.A., R.G.I., F.R.S.A (SCOTTISH 1928-2015) COWS BY THE LEADERWATER, 1981 Signed lower right, oil on canvas board 19cm x 23.5cm (7.5in x 9.25in) Exhibited: Mercury Gallery, London

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

71 § NORMAN KIRKHAM R.G.I. (SCOTTISH 1936-2021) UNTITLED (STILL LIFE IN A SUMMER LANDSCAPE) Signed centre of right hand edge, oil on canvas 105cm x 74cm (41.25in x 29in)

£800-1,200

72 § NORMAN KIRKHAM R.G.I. (SCOTTISH 1936-2021) STILL LIFE OVER THE CITY Signed lower right, inscribed with title verso, oil on canvas 90cm x 69cm (35.5in x 27in) Provenance: The artist’s studio

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

73 § GLEN SCOULLER R.S.W., R.G.I. (SCOTTISH 1950-) TABLE TOP STILL LIFE WITH BIRD CAGE Signed lower right, oil on canvas 74cm x 97cm (29in x 38in)

£2,000-3,000

74 § GLEN SCOULLER R.S.W., R.G.I. (SCOTTISH 1950-) SUNLIT BUILDINGS, OMODOS Signed lower right, oil on canvas 54cm x 70cm (21.25in x 27.5in)

£1,000-1,500

75 § JAMES DOWNIE ROBERTSON M.B.E., R.S.A., R.S.W., R.G.I. (SCOTTISH 1931-2010) SCOTTISH LANDSCAPE Signed lower right, mixed media 23cm x 26cm (9in x 10.25in)

£300-500

76 § JAMES DOWNIE ROBERTSON M.B.E., R.S.A., R.S.W., R.G.I. (SCOTTISH 1931-2010) DUNES Signed, mixed media 53cm x 63cm (20.75in x 24.75in)

£700-900

77 § DAVID DONALDSON R.S.A., R.P., L.L.D. (SCOTTISH 1916-1996) MOUNTAIN TENT Signed centre of lower edge, pastel 23.5cm x 23.5cm (9.25in x 9.25in) Exhibited: The Scottish Gallery, Edinburgh

£300-500

78 § DUNCAN SHANKS R.S.A., R.S.W., R.G.I. (SCOTTISH 1937-) PINK AFTERNOON Signed lower left, oil on canvas 71cm x 127cm (28in x 50in) Exhibited: Royal Scottish Academy Exhibition

£2,500-3,500

79 § NAEL HANNA (IRAQI-SCOTTISH 1959-) AUTUMN FIELDS, ANGUS Signed lower left, oil on canvas board 43cm x 65cm (17in x 25.5in)

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

80 § JAMES MORRISON R.S.A., R.S.W., L.L.D. (SCOTTISH 1932-2020) BOLSHAN, MONTROSE, 1991 Signed and dated 12.V.1991, mixed media on board 36cm x 106cm (14in x 41.75in)

£2,000-4,000

81 § JAMES MORRISON R.S.A., R.S.W., L.L.D. (SCOTTISH 1932-2020) BELHAVEN TERRACE, 1977 Signed and dated lower right, sealed gesso on board 37.5cm x 30cm (14.75in x 11.75in) Exhibited: The Compass Gallery, Glasgow, 1977

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

82 § IAN FLEMING R.S.A., R.S.W., R.G.I., L.L.D. (SCOTTISH 1906-1990) SLEET FALLING, SHETLAND Signed lower right, inscribed with title verso, oil on canvas board 74cm x 59cm (29in x 23.25in)

£2,000-3,000

83 § BARBARA RAE C.B.E., R.A., R.S.A., R.E. (SCOTTISH 1943-) MOOR FARM, WINTER, LAMMERMUIR, 1998 Signed lower right, mixed media 50cm x 59cm (19.5in x 23.25in)

£2,000-3,000

84 § JACK VETTRIANO O.B.E. (SCOTTISH 1951-) THE MAESTRO Signed lower right, oil on canvas board 50cm x 37cm (19.75in x 14.5in) Exhibited: The Solstice Gallery, Edinburgh, 9 November - 1 December 1990, with a gallery label verso.

£8,000-12,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

85 § CHRIS BUSHE R.S.W. (SCOTTISH 1958-) LAST OF THE SUN Oil on board 68cm x 60cm (26.75in x 23.5in)

£500-700

86 § FRANCES MACDONALD R.G.I. (SCOTTISH 1945-) SURF’S UP, TIREE Signed, oil on canvas 30cm x 30cm (11.75in x 11.75in) Exhibited: Frances Macdonald - New Paintings, The Scottish Gallery, Edinburgh, 2010

£800-1,200

87 § FRANCES MACDONALD R.G.I. (SCOTTISH 1945-) WHEAT FIELDS AND LAVENDER, PROVENCE Signed lower right, oil on canvas 30cm x 30cm (12in x 12in) Exhibited: Portland Gallery, London, 2009

£600-800

88 § LEON MORROCCO R.S.A., R.G.I. (SCOTTISH 1942-) EAST COAST, SEAWALL, 1993 Signed and dated upper right, oil on board 20cm x 54cm (8in x 21.25in) Exhibited: Open Eye Gallery, Edinburgh

£2,000-3,000

89 § LEON MORROCCO R.S.A., R.G.I. (SCOTTISH 1942-) PASSING THE LITTLE CHURCH, LIPARI, 1999 Signed and dated upper left, oil on board 23.5cm x 19cm (9.25in x 7.5in) Exhibited: Open Eye Gallery, Edinburgh

£1,200-1,800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

90 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) EASTERN WOMAN Signed upper right, oil on canvas 76cm x 61cm (30in x 24in), unframed

£3,000-5,000

91 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) ABERDEEN FISHERMAN, C.1971 Signed upper right, oil on canvas 161cm x 99cm (63.25in x 39in) Provenance: Phillips Edinurgh, 2000; Rendezvous Gallery, Aberdeen; where purchased by the present owner.

£10,000-15,000

JOHN BELLANY produced this fantastic example of work in 1971, arguably his strongest decade of output, and this is a museum-quality example from the period. Sandy Moffatt, the Scottish artist and educator, was a fellow student and subsequent close lifelong friend of Bellany’s. He reminisced about the picture for us:

In this work, a lone figure of a thin old man gazes off into the middle distance, a short whiskey glass nursed in one hand, and a thin walking cane over the crook of his arm. Surreally, a large fish lies dead and glassy-eyed on the table top. Anecdotally titled ‘Aberdeen Fisherman’, the gentleman in fact cuts something of an elegant figure, with erect bearing and crossed legs, and clothed in a beret and long

“If I recall correctly, John came up from London for summer

black coat. Interestingly, the same figure recurs in the

breaks….visiting his old haunts in Rose Street and re-charging

1972 work ‘Two Drinkers’, which is a more expansive

his batteries.

composition featuring a pub interior and a second seated

Leaving his angst-ridden London work behind him he produced these gentler ‘realist’ paintings of solitary old codgers…. He would let his imagination run riot and would invent individual life stories for his characters… old sailors who had sailed the seven seas, old soldiers who had seen action in numerous wars… and so on.”

companion; a woman eating a poke of chips. We are grateful to Alexander Moffat for his assistance in cataloguing this work.

92 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) THE LIGHTHOUSE Signed verso, oil on canvas 170cm x 170cm (67in x 67in) Exhibited: Gracefield Arts Centre, Dumfries

£4,000-6,000

93 § DUNCAN SHANKS R.S.A., R.S.W., R.G.I. (SCOTTISH 1937-) UNTITLED (MOONLIT LANDSCAPE), 1970 Signed and dated verso, oil on canvas with collaged elements 101cm x 100cm (39.25in x 39.75in)

£3,000-5,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

94 § JOHN HOUSTON R.S.A., R.S.W., S.S.A. (SCOTTISH 1930-2008) SUNFLOWERS, 1965-66 Signed and dated 1966 lower right, signed and inscribed with title and dated 1965-66 stretcher verso, oil on canvas 101cm x 75cm (39.75in x 29.5in)

£4,000-6,000

95 § JAMES FULLARTON (SCOTTISH 1946-) THE REGATTA Signed lower left, oil on canvas 76cm x 102cm (30in x 40in)

£3,000-5,000

96 § WILLIAM CROSBIE R.S.A. (SCOTTISH 1915-1999) BOATS IN HARBOUR Signed upper left, oil on canvas 50cm x 60cm (20in x 24in) Provenance: Collection of Roy and Mairi Rankin

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

97 § JOHN CUNNINGHAM (SCOTTISH 1927-2000) ROSES, 1989 Signed lower right, oil on canvas board 29cm x 25cm (11.5in x 9.75in)

£1,000-1,500

98 § ROBERT KELSEY (SCOTTISH 1949-) STILL LIFE WITH CHERRIES Signed lower left, signed and inscribed with title stretcher verso, acrylic on canvas 30cm x 31cm (11.75in x 1.25in)

£400-600

99 § NORMAN KIRKHAM R.G.I. (SCOTTISH 1936-2021) JAPANESE TEAPOT, PEARS & GRAPES Signed upper left, oil on canvas 40cm x 51cm (15.75in x 20in)

£800-1,200

100 § WILLIAM JAMES LAIDLAW BAILLIE C.B.E., P.R.S.A., R.S.W., R.G.I., H.R.A (SCOTTISH 1923-2011) TIBETAN FIGURE Signed lower left, oil on canvas 44.5cm x 30cm (17.5in x 11.75in)

£300-500

101 § JOHN CUNNINGHAM (SCOTTISH 1927-2000) JUG OF ROSES, 1992 Signed lower right, watercolour 21.75cm x 20.75cm (8.5in x 8.25in)

£500-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

102 § MARGARET BALLANTYNE S.A.A.C. (SCOTTISH 1936-) LILIES AND FRUIT Signed lower left, oil on canvas 40cm x 40cm (15.75in x 15.75in)

£500-700

103 § JEAN MARTIN R.S.W. (SCOTTISH CONTEMPORARY) SANTA MARIA DELLA SALUTE, 1999 Signed lower right, inscribed with title and dated label verso, mixed media 47cm x 31cm (18.5in x 12in)

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

104 § ALASDAIR GRAY (SCOTTISH 1934-2019) SUSAN BOYD LOOKING DOWN Biro 38cm x 34cm (15in x 13.5in), unframed, and a further unframed work by the artist ‘Seated Man’, (2)

£400-600

105 § ALASDAIR GRAY (SCOTTISH 1934-2019) STUDY OF A SUSAN BOYD With a further sketch of a woman’s head verso, biro 52cm x 65cm (20.5in x 25.5in), unframed

£500-700

106 § ALASDAIR GRAY (SCOTTISH 1934-2019) FEMALE HEAD STUDY Inscribed ‘A Merry 1975 Katy, from Alasdair and Inge’, ink 21cm x 24.5cm (8.25in x 9.75in), unframed, and a further unframed work by the artist, again a female head study (2)

£400-600

107 § PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) UNTITLED (HEADLESS FIGURE), 1979 Signed and dated upper left, pastel on brown paper 75cm x 55cm (29.5in x 21.5in), unframed

£1,000-1,500

108 § PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) UNTITLED (GREEN SHOUTING WOMAN) Pastel 60cm x 46cm (23.5in x 18in)

£800-1,200

109 § PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) UNTITLED Pastel 53cm x 40cm (21in x 15.75in)

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

110 § JOHN BRATBY (BRITISH 1928-1992) UNTITLED (FOR ‘THE HORSE’S MOUTH’, 1958) Oil on board 180cm x 240cm (71in x 94.5in) Provenance: Acquired directly from the artist; purchased privately by present owner

£6,000-9,000

“He lends his talent to the tradition of English artists, from William Blake to Stanley Spencer, who wanted to connect the visionary with the vulgar” - Criterion Bratby was the brilliant, if problematic, breakout star of the socalled ‘Kitchen Sink’ or “New Realist” artistic genre; a movement born out of the grey rubble and grinding drabness of post-war Britain which encompassed painting, film and literature. Whilst studying at the prestigious Royal College of Art in the early 1950s, his teacher Carel Weight described him as the most talented student he had ever had. Fame came swiftly and explosively to Bratby (buoyed by the public’s fascination with rumours of his unconventional and bohemian personal life), and soon after graduation he became a regular exhibitor at the Royal Academy as well as the recipient of one-man exhibitions with Beaux Arts Gallery, London. In 1956 he represented Britain at the Venice Biennale. In 1958, the same year the artist shared the British Guggenheim Award with Ben Nicholson, Bratby was commissioned to produce large scale paintings for the film The Horse’s Mouth based on Joyce Cary’s novel. Alec Guinness played Gully Jimson, an eccentric figurative painter, with Guinness taking direct inspiration for the role from Bratby, who he observed at work in his studio. Guinness went on to win Best Actor at the Venice International Film Festival for his role.

The present work is part of a group of paintings associated with the film and the following solo exhibition which was held in New York at The French Gallery on 987 Madison Avenue; Bratby’s first in New York. It bears close similarities with the piece ‘The Greenhouse’, sold in Christie’s in 2020. It is on the large scale typical of this period, and features the artist’s trademark lurid colour palette, heavy impasto and focus on the textures and patterns of the urban and architectural environment; from the red terracotta floor tiles to the bricking of the terrace walls, which take compositional precedence over mother, child and dog seen receding into the left of the painting. It is perhaps no wonder he attracted the attention of a film producer, as his work has a strikingly cinematic, almost fisheye lens panoramic perspective. Despite remaining a prolific painter (attracting the great and the good to his studio in their droves), and later also a writer, this first decade of his career arguably remains the zenith of his achievements, and it is with great pleasure that Lyon & Turnbull present this scarce example of the period to market. “In conclusion I would say that I do not love people. In fact I may lean to misanthropy, though people fascinate me. And I’ve devoted most of my Painting Life to them. After all they are what life is about.” – John Bratby.

111 § JACK KNOX R.S.A., R.S.W., R.G.I. (SCOTTISH 1936-2015) SAUSAGES Signed lower right, pencil 17cm x 13.5cm (6.75in x 5.25in) Exhibited: Open Eye Gallery, Edinburgh

£300-500

112 § ROBERT RAE (SCOTTISH 1946-) HOMAGE TO HIERONYMUS BOSCH Embossed with initials to base, bronze 21.5cm x 5cm x 5cm (8.5in x 2in x 2in)

£300-500

113 § ALEC STEWART (BRITISH CONTEMPORARY) STONE FIGURE Sandstone 17cm x 8.5cm x 12cm (7in x 3.25in x 4.75in)

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

114 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) OPUS G.1958: CONVERSATION NO.2, 1986 Signed and dated lower left, gouache 60cm x 73cm (23.5in x 28.75in), unframed Provenance: Gimpel Fils, London

£1,000-1,500

115 § SIR TERRY FROST R.A. (BRITISH 1915-2003) TWO NUDES - 1996 Signed and dated lower right, acrylic on paper 31.5cm x 56.5cm (12.3in x 22.25in) Provenance: Wiseman Originals Ltd, London; Private Collection, London.

£1,200-1,800

116 § ROY OXLADE (BRITISH 1929-2014) UNTITLED (ABSTRACT STILL LIFE) Mixed media 55cm x 75cm (21.5in x 29.5in) Provenance: Purchased directly from the artist in 1993

£600-800

117 ROBERT NATKIN (AMERICAN 1930-2010) UNTITLED (ABSTRACT), C.1950S Oil on canvas 100cm x 85cm (39.5in x 33.5in) Provenance: Purchased by the present owner from Robert Henry Adams Fine Art, Chicago Art Fair, Navy Pier, Chicago, USA 1990 Exhibited: Robert Henry Adams Fine Art, Chicago

£4,000-6,000

ROBERT NATKIN was born into a dysfunctional, impoverished Chicago family in 1930. The cinema and theatre proved a welcome distraction which the young Natkin would enjoy up to six times a week, often with his father, a rag-dealer (and, as he enjoyed recalling, a failed tap dancer). An encounter with a book of Paul Klee’s paintings in 1947 proved pivotal for Natkin, who found the vibrant evocations of the subconscious revelatory. Against his parents’ protestations, he resolved to become an artist.

Robert Natkin studied at the Art Institute of Chicago between 1948 and 1952, where he was afforded access to their collection of Post-Impressionist paintings. In the early 1950s Natkin moved to New York to commence a successful and varied exhibiting career, and immerse himself in the contemporary art scene, which at the time was preoccupied with Abstract Expressionism. Natkin recalled that he was first exposed to the style when reading Life magazine’s 1949 spread on Jackson Pollock, which asked readers ‘Is he the greatest living painter in the United States?’; Natkin

Klee’s influence is evident in the rhythmic, structural forms

professed to never having warmed to Pollock’s work, instead

of ‘Untitled (Abstract)’, which is understood to date to

preferring Willem de Kooning, but above all remaining

the 1950s. Natkin stated that during this period he was

committed to European abstraction.

influenced by the artificial lighting of theatre sets and Technicolour musicals, by turns dramatic and lurid, that had illuminated so much of his childhood. In this early work, intermingled pigments are pushed across the canvas, eliciting broad passages of moody, earthier tones, which are punctuated by flashes of pure cerulean, vermillion and tangerine. The bold linear mark-making anticipates the vertical planes that would dominate Natkin’s output throughout the 1960s, dubbed the ‘Apollo series’. Yet while his ‘Apollo’ paintings contrasted adjoining bands of solid colour to catalyse what he termed a ‘visual vibrato’, his earlier abstracts demonstrate an inquisitive and playful approach to his palette, as if he were testing his ability to manipulate colour and light.

His most celebrated commission came in 1992, when he was invited to create a mural for the lobby of 1211 Avenue of the Americas, New York. Situated on the corner of the Rockefeller Centre, the vast composition is visible from the street, and has become a beloved local landmark. By this point Natkin was in his 60s and living with his family in Connecticut, but in the summer of 1991 he relocated to New York to work on the mural full-time upon an elevated scaffold. Natkin was commissioned to fill a space measuring twenty by forty-two feet, and preparatory studies therefore proved integral to the successful fulfilment of the commission; he was adamant that his composition should retain its emotional intensity and integrity when transcribed from the smaller studies to the towering lobby wall. By this point his palette was lighter, and his forms softer and more luscious, influenced by a particularly fruitful stay in England in 1974. ‘Study for “1211 – Mural”’ provides an intriguing insight into the developing composition, and evidences a concern for textural mark-making and architectural form.

Robert Natkin died in Connecticut in 2010, and is remembered as an important name in the development of American abstraction. He is well-represented in important national collections, including the Metropolitan Museum of Art, the Museum of Modern Art, the Solomon R. Guggenheim Museum, and the Centre Pompidou.

118 ROBERT NATKIN (AMERICAN 1930-2010) STUDY FOR “1211 - MURAL”, 1992 Signed and inscribed with title and dated lower edge, acrylic on board 29cm x 59cm (11.5in x 23.25in) Provenance: Gifted by the artist to the present owner

£1,000-1,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

119 § STEPHEN GODDARD (BRITISH 1959-) HEAD OF NAN Mixed media on board 145cm x 132cm (57in x 52in)

£5,000-7,000

120 § STEPHEN GODDARD (BRITISH 1959-) LARGE SINCLAIR, 2009 Mixed media on board 163cm x 117cm (64in x 46in)

£5,000-7,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

121 § JAMES LUMSDEN (SCOTTISH 1964-) LIQUID LIGHT II, 2008 Signed and inscribed with title and dated verso, acrylic on canvas 100cm x 76cm (39.5in x 30in), unframed Exhibited: Sarah Myerscough Fine Art, London

£600-800

122 § MARTIN BOYCE (SCOTTISH 1967-) BLUE MASK STAND (FOR C) - 2007 Painted steel sculpture 55cm x 38cm x 25cm (21.5in x 15in x 9.75in)

£700-1,000

123 § WILHELMINA BARNS-GRAHAM C.B.E. (SCOTTISH 1912-2004) CONFRONTATION III, 2002 Acrylic on paper 20cm x 20cm (8in x 8in) Provenance: Bears ‘Wilhemina Barns-Graham Trust’ label verso

£1,000-1,500

DALZIEL + SCULLION Scottish born and based artists Matthew Dalziel and Louise Scullion have been working collaboratively since 1993 and now run an Environmental Art Practice from the University of Dundee. They have exhibited internationally, and received high-profile commissions as part of the British Art Show and Venice Biennale. In their own words, Dalziel + Scullion’s artistic practice is interested in ‘new artistic languages around the subject of ecology,’ and their work ‘strives to visualise aspects of our shared environments from alternative perspectives and to re-establish and re-evaluate our engagement with the non-human species we live alongside.’ They use a range of media to stimulate this engagement, across photography, sound, sculpture and video, and both bringing aspects of nature into the gallery/studio and placing their works in the context of the natural world. In the offered artwork, Dalziel + Scullion bring a beautifully detailed photograph of a specific landscape element into the realm of contemporary art, by presenting it as large-scale lightboxes. This inherent juxtaposition of natural and synthetic is a distortion of our expectation of experiencing landscape, and immediately

124 §

This alteration of our perception of nature is extended through

DALZIEL + SCULLION (SCOTTISH CONTEMPORARY) PAVEMENT, 2004

the focus of the photographic lens; narrowing our gaze down to

Photographic transparency on lightbox

small-scale specifics. The viewer experiences an awesome sense

125cm x 161cm x 17cm (49in x 63.5in x 7in)

of the magnitude of the land, its depth, history and endurance, but

Exhibited: Houldsworth Gallery, London

this is revealed in a specificity of focus, rather than the dramatic,

£1,500-2,000

offers a new perspective for thinking about the natural world.

panoramic landscapes that are often associated with human awe in the face of natural beauty and magnitude. Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

125

BOB YAN (YAN BO / 闫博) (CHINESE 1970-) TOY

Signed and dated lower right, oil on canvas 91cm x 72cm (35.75in x 28.25in) Exhibited: ’A Day in the Life II’, Zee Stone Gallery, Hong Kong, 1996. This work was selected to feature on the cover of the catalogue brochure.

£1,000-1,500

126 Bob Yan, or Bo Yan as is his given name, was born into an artistic family in Beijing in 1970. His father an artist and his

BOB YAN (YAN BO / 闫博) (CHINESE 1970-) AFTERNOON, 1990

Signed and dated lower right, oil on canvas

mother an art tutor. He studied at Tianjin Academy of Fine

64.5cm x 52cm (25.25in x 20.5in)

Arts in Tianjin (1996) and The Central Academy of Fine Arts

Exhibited: ‘A Day In The Life I’, Zee Stone Gallery, Hong Kong, 1993

in Beijing (2002) respectively. He currently lives in Beijing.

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

CALLUM INNES

Lyon & Turnbull are delighted to offer Callum Innes’ ‘Exposed

Callum Innes is recognised as one of the UK’s foremost

Painting, Paynes Grey / Cobalt’ for sale. Not only does this

contemporary painters as supported by his highly regarded

work date from that pivotal year of recognition for the

international reputation. A graduate of Gray’s School of

artist, 1995, it is from his famed ‘Exposed Paintings’ series,

Art, Aberdeen, and the Edinburgh College of Art, his work

a body of work which cemented his reputation and remains

earned high regard from an early stage in his career. In

the lynchpin of his oeuvre. His Exposed Paintings exemplify

1992, the artist was the recipient of two major exhibitions

what has been described as Innes’ “painting and un-painting”

in significant public institutions: the ICA, London, and the

technique. The works embody balance and tension: between

Scottish National Gallery of Modern Art, Edinburgh. In 1995

the application and subtraction of materials, between

Innes was shortlisted for the Turner Prize and Jerwood

simplicity and complexity, between meticulous technique and

Painting Prize. In 1998 he won the prestigious NatWest Art

serendipitous outcomes.

Prize and in 2002 was awarded the Jerwood Painting Prize

Painted in the typical large format that characterises this series (apparently selected as it is the span of the artist’s arm), it features a block of pure highly saturated blue, the striations of Innes’ gestural brushwork visible upon scrutiny. The year 1995 saw the artist meditate on the minimalistic juxtaposition of just two tonal fields, in this case Paynes Grey and Cobalt Blue, meeting in a feathery, bleeding intersection. Though graphic, indeed almost stark, nothing is ever quite what it first seems with a work by Innes. “Everything that pertains to be minimal of course is not,” he once commented. “The way the eye works, it goes to the painted area, then the white, then the feathering. Something simple becomes complex.”

and the Artisti Invitati Al Premio Internazionale. Innes has had numerous solo shows around the world, and his work is held in major collections including Tate, London, and the Guggenheim, New York.

127 § CALLUM INNES (SCOTTISH 1962-) EXPOSED PAINTING, 2004 Signed and dated stretcher verso, oil on canvas 122.5cm x 117cm (48in x 42in) Exhibited: Ingleby Gallery, Edinburgh

£6,000-8,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

128 § CALLUM INNES (SCOTTISH 1962-) EXPOSED PAINTING, PAYNES GREY / COBALT, 1995 Signed and dated ‘95 stretcher verso, further inscribed ‘To Jimmy, Happy Birthday, 17.02.00, Love Callum’ to stretcher verso, oil on canvas 175cm x 165cm (69in x 65in) Exhibited: Frith Street Gallery, London, 1995

£12,000-18,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

WEDNESDAY 06 APRIL 2022 AT 2PM

129 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) JESUS COLOUR BY NUMBERS, FROM GENERAL DYNAMIC F.U.N. - 1965-70 Off-set lithograph, 1/350, signed and numbered; and another, ‘An Empire of Silly Statistics . . . A Fake War for Public Relations, from General Dynamic F.U.N.- 1965-70,’ Off-set lithograph, 1/350, signed and numbered in pencil to margin, published by Editions Alecto, London and printed by Richard Davis, London (2) each 37.5cm x 25cm (14.75in x 9.75in)

£600-800

130 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) INSIDE DOWN UNDER . . . WHAT ARE THE BUILDING BLOCKS OF STRUCTURALISM, FROM GENERAL DYNAMIC F.U.N. - 1965-70 Off-set lithograph, 1/350, signed and numbered in pencil to margin; and another ‘Will Man Desert the Dog for the Dolphin? from General Dynamic F.U.N. - 1965-70,’ Off-set lithograph, 22/350, signed and numbered in pencil to margin, published by Editions Alecto, London and printed by Richard Davis, London (2) each 37.5cm x 25cm (14.75in x 9.75in)

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

131 § SONIA DELAUNAY (FRENCH 1885-1979) POETRY OF WORDS, POETRY OF COLOURS - 1961 Pochoir print, 18/50, numbered in pencil the sheet 65cm x 50cm (25.5in x 19.75in)

£800-1,200

132 § IAN HAMILTON FINLAY (SCOTTISH 1925-2006) SEA POPPY TWO - 1965 Screenprint, published by Wild Hawthorn Press image size 33.5cm x 30.5cm (13.25in x 12in)

£400-600

133 JONAS WOOD (AMERICAN 1977-) VOTE - 2018 Screenprint, 202/300, signed, dated and numbered in pencil the sheet 40cm x 25cm (15.75in x 9.75in)

£800-1,200

134 NICOLAS PARTY (SWISS 1980-) UNTITLED - 2017 Wool blanket, from the limited edition, produced in collaboration with House of Voltaire 225cm x 130cm (88.5in x 51in), unframed

£1,000-1,500

135 § JULIAN OPIE (BRITISH 1958-) ‘BEACH HEAD 8’ AND ‘BEACH HEAD 9’ - 2017 Pair of laser-cut multiples (2) each 35cm x 29.5cm (13.75in x 11.5in)

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

136 § CRAIGIE AITCHISON C.B.E., R.A.., R.S.A. (SCOTTISH 1926-2009) CRUCIFIXION - 2000 Screenprint, 44/75, signed, dated and numbered in pencil verso, published by Advanced Graphics, London the sheet 76cm x 63cm (30in x 24.75in)

£1,500-2,000

137 § HENRY MOORE O.M., C.H (BRITISH 1898-1986) RECLINING FIGURE - 1967

138 § KEN KIFF (BRITISH 1935-2001) MAN AND FISH Woodcut, 1/35, signed, titled and numbered in pencil to margin

Lithograph, 38/65, signed and dated in plate, signed, dated and numbered in pencil 30cm x 30cm (11.75in x 11.75in)

£1,000-1,500

the sheet 86cm x 65.5cm (33.75in x 25.7in) Provenance: Marlborough Fine Art, c.1993

£600-800

139 § SIR TERRY FROST R.A. (BRITISH 1915-2003) SMALL YELLOW TIMBERAINE Screenprint, 60/60, signed and numbered in pencil to margin, published by Multigraphic, Venezia, with their blindstamp the sheet 40cm x 50cm (15.75in x 19.75in), unframed

£700-1,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

140 § ROBERT ADAMS (BRITISH 1917-1984) WHITEPRINT - 1971 Embossing, 13/25, signed, dated and numbered in pencil to margin the sheet 39cm x 59cm (15.25in x 23.25in), unframed

£300-500

141 JEAN-MICHEL ALBEROLA (ALGERIAN 1953-) PRESENTATION DU TOREADOR ALEATORE -1985 Off-set lithograph, 1/11 + 1, numbered and annotated in black ink 44cm x 25.5cm (17.25in x 10in)

£300-500

142 § ANDRÉ MARCHAND (FRENCH 1907-1997) MARS - 1945 Lithograph, 8/28, signed, titled, numbered and dated in pencil the sheet 25cm x 30cm (9.75in x 11.75in), unframed

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

143 § CHRIS ORR M.B.E, R.A. (BRITISH 1943-) BONES - 1989 Etching and lithography, 28/35, signed, dated, titled and numbered in pencil the sheet 55.5cm x 72cm (21.75in x 28.25in)

£300-500

144 § DAME ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH 1931-2021) VENICE Etching, 8/50, signed and numbered in pencil to margin, published by Glasgow Print Studio, with their blindstamp the sheet 37.5cm x 37.5cm (14.75in x 14.75in)

£300-500

145 § CHRISTOPHER LE BRUN (BRITISH 1951-) UNTITLED Etching 22cm x 32cm (8.5in x 12.5in)

£300-500

146 § MARY FEDDEN O.B.E., R.A., R.W.A. (BRITISH 1915-2012) THE ORANGE MUG - 1996 Lithograph, 510/550, signed and numbered in pencil to margin, published by Bow Art, with their blindstamp the sheet 32cm x 40.5cm (12.5in x 16in), unframed

£300-500

147 § MARY FEDDEN O.B.E., R.A., R.W.A. (BRITISH 1915-2012) RED SUNSET - 1991 Lithograph, 365/500, signed and numbered in pencil to margin, published by Bow Art, with their blindstamp the sheet 35.5cm x 49.5cm (14in x 19.5in), unframed

£300-500

148 § MARY FEDDEN O.B.E., R.A., R.W.A. (BRITISH 1915-2012) CAT ON A CORNISH BEACH - 1991 Lithograph, 425/500, signed and numbered in pencil to margin, published by Bow Art, with their blindstamp the sheet 35cm x 49.5cm (13.75in x 19.5in), unframed

£300-500

149 § BARBARA RAE C.B.E., R.A., R.S.A., R.E. (SCOTTISH 1943-) ZIA LONGHORNS - 2000 Screenprint, 93/150, signed and numbered in pencil, published by The Graal press, with their blindstamp the sheet 29cm x 37cm (11.5in x 14.5in)

£400-600

150 § BARBARA RAE C.B.E., R.A., R.S.A., R.E. (SCOTTISH 1943-) VENUS AND JARDINIERE Coloured etching, 14/15, signed, titled and numbered in pencil to margin the sheet 54cm x 60.5cm (21.25in x 23.75in), unframed

£400-600

151 § BARBARA RAE C.B.E., R.A., R.S.A., R.E. (SCOTTISH 1943-) TUSCAN DOOR Coloured etching, 7/15, signed, titled and numbered in pencil to margin the sheet 59cm x 50.5cm (23.25in x 19.75in), unframed

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

152 § SALVADOR DALI (SPANISH 1904-1989) SIMON, FROM ‘TWELVE TRIBES OF ISRAEL’ - 1973 Etching with stencil in colours, 78/195, signed and numbered in pencil to margin image size 50cm x 36cm (19.5in x 14.25in)

£800-1,200

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

SALVADOR DALI (SPANISH 1904-1989)

Etching and aquatint, 26/60, signed and numbered in pencil to margin, published by Glasgow Print Studio, with their blindstamp

REUBEN, FROM ‘TWELVE TRIBES OF ISRAEL’ - 1973

the sheet 59.5cm x 36cm (23.5in x 14.25in)

Etching with colour stencil, 125/195, signed and numbered in pencil to margin

£300-500

154 §

image size 50cm x 36cm (19.5in x 14.25in)

£700-900 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

155 § SALVADOR DALI (SPANISH 1904-1989) KING DAVID, FROM ‘OUR HISTORICAL HERITAGE’ - 1975 Etching with stencil colouring, 93/400, signed and numbered in pencil to margin the sheet 66cm x 50cm (26in x 19.75in)

£400-600

156 § SALVADOR DALI (SPANISH 1904-1989) ISSACHER, FROM ‘TWELVE TRIBES OF ISRAEL’ - 1973 Etching with stencil colouring, IX/XXXV, signed and numbered in pencil to margin image size 50cm x 36cm (19.5in x 14.25in)

£500-700

157 § SALVADOR DALI (SPANISH 1904-1989) PURGATORY CANTO 11, FROM DIVINE COMEDIE Lithograph, and another ‘Purgatory Canto 14,’ Lithograph (2) each sheet 33cm x 26.5cm (13in x 10.5in), unfamed

£500-700

158 R.B. KITAJ (AMERICAN 1932-2007) SOME DO NOT (B) - 1975 Lithograph, 29/75, signed and numbered in pencil the sheet 52cm x 73cm (20.5in x 28.75in), unframed

£600-800

159 § JOCK MCFADYEN (SCOTTISH 1950-) CRAMOND 2 - 1992 Etching, 1/30, signed, titled, numbered and dated in pencil to margin plate size 27.5cm x 23.5cm (10.75in x 9.25in)

£300-500

160 NAN GOLDIN (AMERICAN 1953-) COUPLE ON THE BLUE BEACH Photographic print, ed. 300, signed in ink, with accompanying record ‘Memory Lost/Sirens’ (2) the sheet 30cm x 30cm (11.75in x 11.75in), unframed

£300-500

161 § SIR ANTHONY GORMLEY O.B.E. (BRITISH 1950-) SNOWFALL - 2002 Off-set lithograph, 127/200, signed, numbered and dated in ink the sheet 69.5cm x 99.5cm (27.5in x 39.25in) Provenance: Roman Black Gallery, London

£800-1,200

162 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) DEATH KNELL FOR JOHN KNOX Etching, 15/75, signed and numbered in pencil to margin image size 47cm x 49cm (18.5in x 19.25in) Provenance: Berkeley Square Gallery, London

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

163 JYOTI BHATT (INDIAN 1934-) LOST PUNDIT NO. 2 - 1968 Lithograph, A.P., signed, dated, titled and editioned in pencil; and another, ‘Woman with Flower - 1962,’ Intaglio print, Artist’s Proof, signed, dated, titled and inscribed ‘Napoli’ in pencil to margin (2) image size 51cm x 36cm (20in x 14.25in) and 51cm x 31cm (20in x 12.25in)

£600-800

164 JYOTI BHATT (INDIAN 1934-) DONA CON COVALLO (NAPOLI) - 1962/64 Intaglio and relief print, Artist’s Proof, signed, titled and dated in pencil to margin; and another ‘Double Self-Portrait, 1965, N.Y.’, Intaglio print, Artist’s Proof, signed, titled, editioned and dated in pencil to margin (2) image size 52cm x 57cm (20.5in x 22.5in) and 68cm x 53cm (26.75in x 22.75in)

£600-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

165 § AFTER PABLO PICASSO (SPANISH 1881-1973) THREE SCENES FROM ‘LINOGRAVURES’ - 1962 Three lithographs after linocuts, published by Cercle d’Art each sheet 32cm x 38.5cm (12.5in x 15.25in), unframed

£500-700

166 § ALASDAIR GRAY (SCOTTISH 1934-2019) INSIDE THE BOX OF BONE . . . Screenprint, 20/60, signed and numbered in ink to margin image size 59cm x 29.5cm (23.25in x 11.75in)

£400-600

167 § VANESSA BELL (BRITISH 1879-1961) THE SCHOOLROOM Lithograph, published by Contemporary Lithographs Ltd., London 45.5cm x 61cm (18in x 24in)

£700-900

168 § PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) BIRD Lithograph with hand-colouring, 2/20, signed and numbered in pencil, published by Peacock Visual Art, with their blindstamp the sheet 76cm x 56.5cm (30in x 22.25in), unframed

£400-600

169 § MARY FEDDEN O.B.E., R.A., R.W.A. (BRITISH 1915-2012) STILL LIFE WITH CAT AND FISH Lithograph, 78/100, signed and numbered in pencil to margin, published by Curwen, with their blindstamp the sheet 20.5cm x 26cm (8in x 10.25in), unframed

£300-500

170 § JOHN PIPER C.H. (BRITISH 1903-1992) CAPESTHORNE - 1977 Screenprint, 42/75, signed and numbered in pencil to margin image size 63.5cm x 101cm (25in x 39.75in)

£700-1,000

171 § JULIAN TREVELYAN (BRITISH 1910-1988) BOLTON Etching with aquatint, 10/30, signed, titled and numbered in pencil to margin; and another ‘Bolton, High Level,’ Etching with aquatint, 2/30, signed, titled and numbered in pencil to margin (2) image size 43cm x 55.5cm (17in x 21.75in) and 35.5cm x 47.5cm (14in x 18.75in)

£600-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

100

172 § DAVID SHRIGLEY O.B.E. (BRITISH 1968-) UNTITLED (THE WORLD) - 2019 Screenprint, 5/125, initialled, numbered and dated in pencil verso the sheet 75cm x 56cm (29.5in x 22in), unframed

£2,000-3,000

173 § SIR TERRY FROST R.A. (BRITISH 1915-2003) RED AND BLACK SQUEEZE (KEMP 213) - 2001 Screenprint with collage, 59/120, signed and numbered in pencil, published by Multigraphic, Venezia, with their blindstamp the sheet 36cm x 58cm (14.25in x 22.75in), unframed

£800-1,200

101

174 § DAVID SHRIGLEY O.B.E. (BRITISH 1968-) WHITE ELEPHANT - 2021 Linocut, 90/100, signed with initials, dated and numbered in pencil to margin the sheet 57cm x 44cm (22.5in x 17.25in), unframed

£1,200-1,500

175 § WILHELMINA BARNS-GRAHAM C.B.E. (SCOTTISH 1912-2004) RED, FROM MILLENIUM SERIES - 2000 Screenprint, 36/100, signed, numbered and dated in pencil the sheet 22cm x 28cm (8.75in x 11in)

£600-800

176 § BARBARA RAE C.B.E., R.A., R.S.A., R.E. (SCOTTISH 1943-) MULL FERRY Screenprint, 9/40, signed, titled and numbered in pencil 70cm x 89cm (27.5in x 35in)

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

102

177 § RACHEL MACLEAN (SCOTTISH 1987-) ST. GEORGE AND THE MONSTER - 2013 Archival pigmented digital print, 3/10, signed, numbered and inscribed in pencil verso the sheet 92cm x 61cm (36.25in x 24in), unframed

£1,500-2,000

A rising star in Scottish Contemporary Art, Rachel Maclean

may be enticed by the visuals, the themes of her videos as

studied at Edinburgh College of Art, where she first started

they unfolded would not necessarily be appropriate.

to experiment with green-screen technology. Her work has evolved and expanded in scope but her underlying themes continue; the sourcing of imagery from fairy tales, cartoons and popular culture and using them to explore the darker, dystopian side of our contemporary culture. The work is seductive and unsettling, the saccharine sweet aesthetic initially masking the deeper, darker tone of her work. At her 2021 mini-retrospective at Jupiter Artland, her works were accompanied by a ‘Parental Warning,’ that although children

In 2014 her work focussed on the interweaving of national history, identity and politics in the run up to the hotly contested and highly emotive Scottish Independence Referendum. Now based in Glasgow, Maclean has exhibited her work internationally, representing Scotland at the Venice Biennale in 2017 and most recently had a significant exhibition at Jupiter Artland, the privately-owned sculpture park outside Edinburgh, to celebrate the opening of her first permanent installation there.

103

178 § RACHEL MACLEAN (SCOTTISH 1987-) THE BAPTISM OF CLYDE - 2013 Archival pigmented digital print, 6/10, signed and numbered in pencil to margin, inscribed in pencil verso, published by Edinburgh Printmakers, with their blindstamp the sheet 95.5cm x 61cm (37.5in x 24in), unframed

£1,500-2,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

104

179 § PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) WOMAN WITH BIRD VASE Lithograph with hand-colouring, 9/20, signed and numbered in pencil, published by Peacock Visual Arts, with their blindstamp the sheet 76cm x 56.5cm (30in x 22.25in), unframed

£400-600

180 § DAVID SHRIGLEY O.B.E. (BRITISH 1968-) FOUR POSTERS (PEOPLE EXPECT SO MUCH FROM ME, LIFE IS VERY GOOD, I DID NOT ASK TO BE A BIRD, TRUTH) - 2016-2021 Off-set lithographic posters, from the open edition (4) each 80cm x 60cm (31.5in x 23.5in), unframed

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

105

181 RICHARD PRINCE (AMERICAN 1949-) INSTAGRAM NEW PORTRAITS: QUEEN ELIZABETH II - 2015 Off-set lithograph the sheet 59cm x 42cm (23.25in x 16.5in), unframed

£1,000-1,500

182 § AFTER RENE MAGRITTE (FRENCH 1898-1967) LA GRANDE FAMILLE Lithograph, 246/300, signed in plate, numbered in pencil to margin and stamped ‘Magritte Succession,’ and another ‘La Grande Guerre,’ Lithograph, 246/300, signed in plate, numbered in pencil to margin and stamped ‘Magritte Succession’ (2) the sheet 44cm x 30cm (17.25in x 11.75in), unframed

£500-700

106

183 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) PORTRAIT OF HUGH MACDIARMID Etching, signed in pencil image size 24cm x 19cm (9.5in x 7.5in)

£300-500

184 § DAVID MACH H.R.S.A., R.A. (SCOTTISH 1956-) STRIKING LIKENESS (DESIGN FOR CANONGATE) Lithograph, 20/100, signed, numbered and inscribed ‘R.L.S.’ in pencil to margin image size 40.5cm x 30.5cm (16in x 12in) Note: This print was one of a series commissioned by Canongate publishers to be used as book cover designs for their Pocket Classics series in 2001. This image by Mach was used as the cover for ‘Strange Case of Dr Jekyll and Mr Hyde’ by Robert Louis Stevenson.

£300-500

185 § JOHN BYRNE R.S.A. (SCOTTISH 1940-) YOUNG SMOKER - OLD JOKER Mezzotint, A/P, signed, editioned and titled in pencil to margin the sheet 19cm x 23cm (7.5in x 9in) Provenance: Open Eye Gallery, Edinburgh

£400-600

107

186 § DAVID SHRIGLEY O.B.E. (BRITISH 1968-) LIGHT SHOWER - 2017 Linocut, 82/100, signed with initials, dated and numbered in pencil the sheet 75.5cm x 55.5cm (29.75in x 22in), unframed

£1,500-2,000

187 § GRAYSON PERRY C.B.E., R.A. (BRITISH 1960-) ’100% ART’ PLATE - 2020 Ceramic plate, developed for the Holburne Museum, in collaboration with Kit Grover, to celebrate the exhibition ‘The Pre-Therapy Years’ 21cm diameter (8.5in)

£300-500

188 § JOHN MACKECHNIE R.S.A. (SCOTTISH CONTEMPORARY) FRENCH CONNECTION - 1999 Screenprint, 40/50, signed, titled and numbered in pencil to margin the sheet 52cm x 71cm (20.5in x 28in)

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

108

189 § DAVID SHRIGLEY O.B.E. (BRITISH 1968-) VEGETABLE SERIES (IF YOU DON’T LIKE TOMATOES, THE MOMENT HAS ARRIVED, YOU WIN THIS MUSHROOM, WHEN LIFE GIVES YOU A LEMON) - 2021 Off-set lithographic posters, from the open edition (4) each 80cm x 60cm (31.5in x 23.5in), unframed

£400-600

190 JENNY HOLZER (AMERICAN 1950-) TRUISMS (SET OF FIVE) Screenprint on wooden postcard each 10cm x 15cm (4in x 6in)

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

109

191 § AFTER DAVID HOCKNEY O.M., C.H., R.A. (BRITISH 1937-) TWO APPLES & ONE LEMON & FOUR FLOWERS - 1997 Off-set lithograph on newsprint, signed in plate, published by The Independent the sheet 37cm x 58cm (14.5in x 22.75in), unframed

£300-500

192 YOSHITOMO NARA (JAPANESE 1959-) MARCHING ON A BUTTERBUR LEAF - 2019 Off-set lithograph, ed. 1000, published by Dallas Contemporary the sheet 61cm x 45.5cm (24in x 17.5in), unframed

£500-700

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

110

193 § DAVID SHRIGLEY O.B.E. (BRITISH 1968-) ANIMALS SERIES Off-set lithographic posters (4) each 80cm x 60cm (31.5in x 23.5in), unframed

£800-1,200

194 § IAN HAMILTON FINLAY (SCOTTISH 1925-2006) STAR/STEER - 1968 Screenprint, from the edition of around 400, printed at Girdwood, Edinburgh and published by the Wild Hawthorn Press the sheet 57cm x 44cm (22.5in x 17.25in), unframed

£400-600

111

195 § DAVID HOCKNEY O.M., C.H., R.A. (BRITISH 1937-) OLYMPISCHE SPIELE MÜNCHEN, 1972 (BAGGOTT 34) Lithograph, signed and dated 1970 in plate, printed by Matthieu, Zurich, published by Edition Olympia 1972 GmbH, Munich the sheet 102cm x 64cm (40in x 25.25in), unframed

£800-1,200

196 § PABLO PICASSO (SPANISH 1881-1973) LA COMÉDIE HUMAINE, 30.1.54 I Colour lithograph image size 24cm x 31.5cm (9.5in x 12.5in)

£300-500

197 § PABLO PICASSO (SPANISH 1881-1973) LA COMÉDIE HUMAINE, 29.1.54 V Colour lithograph image size 24cm x 32cm (9.5in x 12.5in)

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

112

198 § WILLIE RODGER A.R.S.A., R.G.I. (SCOTTISH 1930-2018) MARY QUEEN OF SCOTS - 1975 Screenprint, 61/100, signed, dated, titled and numbered in ink to margin; and another ‘Lady Macbeth - 1975,’ Screenprint, 45/100, signed, dated, titled and numbered in ink to margin (2) image size 29cm x 18cm (11.5in x 7in), each

£300-500

Scottish printmaker Willie Rodger designed the award-winning Scottish Historical Playing Cards in 1974 for Angus Ogilvy of the Stirling Gallery. The original designs were cut in lino, his favoured printmaking medium, before bring printed as screenprints in an edition of 100 in 1975. The full set comprises 12 portraits depicting important figures in Scottish history, with two jokers: John Knox and Adam Smith.

199 § WILLIE RODGER A.R.S.A., R.G.I. (SCOTTISH 1930-2018) BONNIE PRINCE CHARLIE - 1975 Screenprint, 41/100, signed, dated, titled and numbered in ink to margin; and another ‘Balmoral Gathering - 1984,’ Linocut on woodgrain paper, 6/10, signed, dated, titled and numbered in ink to margin 29cm x 18cm (11.5in x 7in) and 15cm x 26.5cm (6in x 10.5in)

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

113

200 § TRACEY EMIN C.B.E., R.A. (BRITISH 1963-) I PROMISE TO LOVE YOU - 2014 Off-set lithograph on silk finish paper, from the edition of 500, signed and dated in silver ink, in original ‘Emin International’ poster tube with label the sheet 70cm x 50cm (27.5in x 19.75in), unframed

£600-800

201 § DAMIEN HIRST (BRITISH 1965-) AND THEN THERE WERE FOUR, A FAMOUS MUSKETEER - 2002 Onion and dart in presentation box, ed. 2000, signed in black ink to inner box lid, released in collaboration with BBC FOUR the box 26.5cm x 10.5cm x 10.5cm (10.5in x 4in x 4in)

£400-600

202 YAYOI KUSAMA (JAPANESE 1929-) PUMPKINS (YELLOW/BLACK AND RED/WHITE) The set of two cast resin multiples, 2016, each stamped with the artist’s name on the underside, in original boxes (2) each 10cm x 8cm x 8cm (4in x 3in x 3in)

£800-1,200

203 YAYOI KUSAMA (JAPANESE 1929-) RED PUMPKIN NAOSHIMA Cast resin multiple, 2019, with the artist’s stamped signature and title on the underside, from an open edition, published by Benesse Holdings, Inc., Naoshima, in the original box 9.5cm x 14cm x 14cm (3.75in x 5.5in x 5.5in)

£800-1,200

114

204 § TRACEY EMIN C.B.E., R.A. (BRITISH 1963-) CLOSED - 2013 Etching, 150/200, signed, titled, numbered and dated in pencil to margin the sheet 36cm x 38cm (14.25in x 15in), unframed

£1,000-1,500

205 § JOHN HOUSTON R.S.A., R.S.W., S.S.A. (SCOTTISH 1930-2008) NIGHT SKY OVER THE BASS ROCK Lithograph, 21/100, signed, titled and numbered in pencil to margin the sheet 31.5cm x 45.5cm (12.5in x 18in)

£300-500

206 § TRACEY EMIN C.B.E., R.A. (BRITISH 1963-) BBC FOUR HANDKERCHIEF - 2002 Screenprint on linen handkerchief, signed and dated in plate, accompanied by original event invite card 54cm x 54cm (21.25in x 21.25in), unframed

£400-600

207 § SIR PETER BLAKE C.B.E., R.A. (BRITISH 1932-) P.S. I LOVE YOU (THE BEATLES) - 2004 Screenprint with diamond dust, II/XV, signed, titled and numbered in gold ink the sheet 74.5cm x 57cm (29.25in x 22.5in)

£600-800

115

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

£3,000-5,000

209 § STANLEY WILLIAM HAYTER C.B.E. (BRITISH 1901-1988) UNTITLED Colour etching, 1/6, signed and numbered in pencil to margin the sheet 37.5cm x 28cm (14.75in x 11in), unframed

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

116

210 § VICTOR PASMORE C.B.E., C.H. (BRITISH 1908-1998) BLUE FANTASY II - 1986 Screenprint, 69/70, signed with initials, dated and numbered in pencil to margin, published by Marlborough Fine Art, London, printed by Kelpra Studios, London, with their blindstamp the sheet 88cm x 103cm (34.5in x 40.5in)

£1,000-1,500

VICTOR PASMORE didn’t move towards his signature abstract style until 1947, in a move the art historian Herbert Read described as ‘the most revolutionary event in post-war British art.’ In 1966 Pasmore re-located to Malta and it was in this same year that he began experimenting extensively with printmaking, starting with the 2RC printshop in Rome. From then on, printmaking became a significant part of his artistic practice and he worked with many important print studios, including Kelpra Studio and Curwen Press. With time, and this significant move to both warmer climes and into printmaking, Pasmore’s work softened and his hardedged geometric forms gave way to more curving shapes and the wandering lines and areas of deep colour that we can see in this selection of work. The resulting images are characterised by a simplicity and fluidity that evokes a strong sense of balance, even peacefulness. This sense is magnified by his chosen titles, which imbue the pieces with a mystical quality.

117

211 § VICTOR PASMORE C.B.E., C.H. (BRITISH 1908-1998) BLUE DEVELOPMENT - 1974 Etching and screenprint, A/P, signed in plate, signed with initials, dated and numbered in pencil to margin the sheet 72cm x 61cm (28.25in x 24in)

£700-900

212 § VICTOR PASMORE C.B.E., C.H. (BRITISH 1908-1998 MILKY WAY - 1986 Screenprint, 44/70, signed with initials, dated and numbered in pencil to margin, published by Marlborough Graphics, printed by Kelpra Studios, with their blindstamp the sheet 75cm x 94cm (29.5in x 37in)

£600-800

118

213 § LYNN CHADWICK C.B.E., R.A. (BRITISH 1914-2003) TWO SITTING FIGURES ON STRIPES - 1972 Lithograph, 17/100, signed, dated and numbered in pencil, printed by Erker-Presse, St. Gallen, Switzerland, with their blindstamp 55cm x 75cm (21.5in x 29.5in)

£500-700

214 § LEON GISCHIA (FRENCH 1903-1991) LA PLAGE - 1954 Lithograph, 78/200, signed and numbered in pencil to margin; and another ‘La Plage - 1954,’ 79/200, signed and numbered in pencil to margin (2) each 25cm x 32.5cm (9.75in x 12.75in), unframed Note: These were produced as the catalogue cover for an exhibition at Galerie De France, Paris - 3 June to 4 July, 1954. The lithograph is the front of a folded card catalogue, with exhibition details printed overleaf.

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

119

215 ROY LICHTENSTEIN (AMERICAN 1923-1997) GO FOR BAROQUE Off-set lithograph on gloss paper, signed in pencil, published by The Solomon R. Guggenheim Foundation image size 52.5cm x 82.5cm (20.75in x 32.5in), unframed

£1,000-1,500

216 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) 707: CARY GRANT AS A MALE WAR BRIDE - 1965-70 Screenprint, stamped verso; and another from the ‘General Dynamic F.U.N.’ portfolio, ‘719: Animals as Aliens,’ Screenprint, stamped verso (2) each sheet 38cm x 25.5cm (15in x 10in), unframed

£400-600

120

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

121

“If you want to convey fact, this can only ever be done through a form of distortion. You must distort to transform what is called appearance into image.” – FRANCIS BACON

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

122

217 § FRANCIS BACON (BRITISH 1909-1992) TRIPTYCH - 1983 Set of three lithographs on wove, 96/180, each signed and numbered in pencil to margin, printed by Atelier Lelong, Paris (3) each sheet 86.5cm x 60.5cm (34in x 23.75in) Literature: B. Sabatier, Francis Bacon: Complete Graphic Work Catalogue Raisonne, Paris 2012, no. 17. Provenance: Caroline Wiseman, London; Private Collection.

£15,000-20,000

Francis Bacon is one of the most

An adamant atheist, Bacon was

Bacon discovered and developed his

significant figures in 20 Century

nevertheless pre-occupied by

particular artistic preoccupations

British Art. He evolved his own

specific religious imagery in his work,

relatively early in his career. By

distinctive visual approach which

returning to the intensity, violence

1983, he had refined his approach to

distorted the figure, offering a visceral

and suffering of the Crucifixion

become more nuanced, so we see the

violence and discomfort to his imagery.

event. He also repeatedly worked in a

three figures, each featured within

His own reputation as a self-taught

series of three panels, the traditional

an individual panel, unfolding here,

artist, openly gay in a largely hostile

triptych form, as we can see here.

their bodies dramatically abbreviated,

society, comfortable moving between

Triptych – 1983 encompasses many

with the tops of each head cut off so

the different strata of society and with

of Bacon’s preoccupations and dates

the viewers’ attention is focussed on

extreme highs and lows in his personal

from a significant period in his career,

the muscularity and movement of

life fed the narrative and intrigue

when he was an established artist,

the torso and limbs. Placed against

around his artwork.

highly regarded and with an array of

a searing orange background, the

international exhibitions behind him. In

impact is strikingly visceral. These

1985, TATE held a major retrospective

figures embody both strength and

of his work, with the statement

vulnerability, the dichotomy inherent

celebrating our ‘greatest living painter.’

to our bodies and our minds. The

result is essentially Bacon and almost timeless. We are delighted to be offering this significant lithographic work, from the edition of 180, with each panel signed and numbered, at this moment where attention is being re-directed to his work with the Royal Academy’s fivestar rated exhibition, ‘Francis Bacon: Man and Beast’ on display in London until the 17th April. Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

123

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

124

MOONSTRIPS EMPIRE NEWS 218 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) MOONSTRIPS EMPIRE NEWS - VOLUME 1, 1967 The portfolio of 100 prints, 233/500, eight of which are screenprints signed and numbered in pencil, the frontispiece signed and inscribed ‘For Malcolm & Iris . . December 1983’ in pencil, most of the remaining sheets stamped on the reverse ‘ea No. 489,’ published by Editions Alecto, London and printed by Kelpra Studios, London, in original formed acrylic box fabricated by Herault Studios each sheet 38cm x 25.5cm (15in x 10in), unframed

£2,000-3,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

125

219 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) HIGH LIFE, FROM MOONSTRIPS EMPIRE NEWS - 1967 Screenprint, Artist’s Proof, signed and inscribed; and another, ‘The Silken World of Michelangelo, from Moonstrips Empire News - 1967,’ Screenprint, 86/500, signed and numbered in pencil, each published by Editions Alecto, London and printed by Kelpra Studios, London (2) each 37.5cm x 25cm (14.75in x 9.75in)

£600-800

220 ANDY WARHOL (AMERICAN 1928-1987) AND KEITH HARING (AMERICAN 1958-1990) MONTREUX JAZZ FESTIVAL - 1986 Screenprint the sheet 100cm x 70cm (39.25in x 27.5in), unframed

£400-600

126

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

£300-500

222 KEITH HARING (AMERICAN 1958-1990) MONTREUX JAZZ POSTER (GREEN) - 1983 Screenprint

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

£300-500

the sheet 100cm x 70cm (39.5in x 27.5in), unframed

£300-500

127

224 KAWS (AMERICAN 1974-) DISSECTED COMPANION (BLACK) - 2006 Painted cast vinyl multiple, from the open edition, stamped to base, produced by Medicom Toy China, with original box 35.5cm x 15.5cm x 9cm (14in x 6in x 3.5in)

£500-700

225 § AFTER EDWARD BAWDEN C.B.E., R.A. (BRITISH 1903-1989) THREE SCENES: 26. WHEN SIR BRIAN SAW . . .; 28. AND FORWITH SIR TRISTAM . . ; 44. SIR LANCELOT WAS AS WILD MAD . . -1980-81/2005 Linocuts, 30/50, stamped and numbered verso ‘Edward Bawden, Printed by Richad Bawden - 2005’ (3) each sheet 28cm x 36cm (11in x 14.25in), unframed

£500-700

226 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) LOTS OF PICTURES - LOTS OF FUN - 1971 Lithograph, 733/1100, signed, dated and numbered in pencil to margin the sheet 76cm x 56cm (30in x 22in), unframed

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

128

227 § AGNETHA SJÖGREN (SWEDISH/BRITISH CONTEMPORARY ) MODESTY BLAISE Lithograph, 25/25, signed, numbered and titled in pencil to margin image size 58.5cm x 58.5cm (23in x 23in)

£300-500

228 JENNY HOLZER (AMERICAN 1950-) TRUISMS (SET OF FIVE) Screenprint on wooden postcards each 10cm x 15cm (4in x 6in), unframed

£400-600

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

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

129

230 § BANKSY (BRITISH 1974-) VISIT HISTORIC PALESTINE Poster print, with ‘The Walled Off Hotel’ embossed stamp and the ‘The Walled Off Hotel’ pink ink stamp verso, accompanied by stamped ‘The Walled Off Hotel’ invoice the sheet 59.5cm x 42cm (23.5in x 16.5in), unframed

£300-500

231 § BANKSY (BRITISH 1974-) DI-FACED TENNER Off-set lithograph 7.5cm x 14.5cm (3in x 5.75in)

£300-500

232 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) HOMAGE TO MICHELANGELO - 1974 Lithograph, A.P., signed, dated and editioned in pencil to margin the sheet 65cm x 50cm (25.5in x 19.75in) Provenance: The Deloitte Art Collection.

£300-500

130

233 § 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) COMPOTE OF FRUIT Lithograph, signed in ink 26.5cm x 34cm (10.5in x 13.5in)

£300-500

234 § 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) KING Lithograph, 4/25, signed, titled and numbered in pencil to margin image size 58cm x 43.5cm (22.75in x 17in)

£300-500

235 § DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926-1998) RED MUSIC STUDIO -1982 Lithograph, 8/17, signed, titled, dated and numbered in pencil to margin 22.5cm x 29.5cm (8.75in x 11.5in)

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

131

236

PETER HOWSON O.B.E. (SCOTTISH 1958-) SALOME AND THE CHICKEN EATERS - 1985 Screenprint, 14/22, signed, titled, dated and numbered in pencil to margin the sheet 65.5cm x 56.5cm (25.75in x 22.25in) Provenance: Glasgow Print Studio

£400-600

237 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) 700: TRANSPARENT CREATURES HUNTING NEW VICTIMS - 1965-70 Screenprint, stamped verso; and another from the ‘General Dynamic F.U.N.’ portfolio, ‘Astute Sizing Up Perfume Trends,’ Screenprint, stamped verso each sheet 38cm x 25.5cm (15in x 10in), unframed

£400-600

132

238 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) WOMAN OF THE NORTH SEA - 2002 The limited edition portfolio set containing six etchings by John Bellany accompanied by poems written by George Bruce in response to Bellany’s images, 14/ 50, each print signed in pencil to margin and numbered in pencil verso, frontispiece numbered and signed by both artist and poet, the folio presented in it’s original case which is inscribed ‘EP JB FOLIO 14’ in pencil on the inside cover, published by Edinburgh Printmakers, the etchings bear their blindstamp each sheet 68cm x 55cm (26.75in x 21.5in), unframed

£1,500-2,000

239 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) PORTRAIT OF SIR WALTER SCOTT Lithograph, 33/100, signed and numbered in pencil to margin image size 40.5cm x 30cm (16in x 11.75in) Note: This print was one of a series commissioned by Canongate publishers to be used as book cover designs for their Pocket Classics series in 2001. This image by Bellany was the cover for ‘Two Stories’ by Sir Walter Scott.

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

133

240 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) SWEET PROMISE - 1986 Etching, 6/50, signed, dated and numbered in pencil to margin the sheet 65cm x 50cm (25.5in x 19.75in), unframed

£500-700

241 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) THE WANDERER 5: THE WALKING STICK - 1998 Screenprint, 12/20, signed and numbered in pencil to margin, published by Gresham Studio Ltd. the sheet 75cm x 56cm (29.5in x 22in) Provenance: De Lacey Fine Art, Liverpool

£400-600

242 §

243 § DAVID HOCKNEY O.M., C.H., R.A. (BRITISH 1937-) LITTLE BOODGE - 1993 Off-set lithograph, published by 1853 Gallery, Salts Mill, Saltaire, Yorkshire the sheet 28cm x 42cm (11in x 16.5in), unframed

£300-500

DAME ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH 1931-2021) AMALIA SLEEPING - 2003 Etching, 31/80, signed and numbered in pencil to margin, published by Glasgow Print Studio, with their blindstamp the sheet 50cm x 54cm (19.75in x 21.25in), unframed

£400-600

244 § PABLO PICASSO (SPANISH 1881-1973) MINOTAURE, UNE COUPE À LA MAIN, ET JEUNE FEMME - 1933 Etching on Montval laid paper with Picasso watermark, ed. 260, signed in pencil to margin, from the Vollard suite, published by A. Vollard, Paris plate size 19cm x 26.5cm (7.5in x 10.5in), the sheet 34cm x 44cm (13.5in x 17.25in), unframed Note: The Vollard Suite of one hundred etchings was a significant artistic undertaking. Commissioned by the art dealer Ambrose Vollard, Picasso worked on the series over a period of seven years, from the initial commission in 1930 until 1937, though it then took the printer a further two years to complete the full printing. The suite reveals Picasso’s most significant personal preoccupations over this period of his life, as wider turmoil was unfolding across Europe.

£5,000-7,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

135

INDEX OF ARTISTS

FLEMING, IAN

MICHIE, DAVID

FROST, SIR TERRY

115, 139, 173

MITCHELL, GORDON K.

FULLARTON, JAMES

14, 15, 95

MOORE, HENRY

137

GARDNER, ALEXANDRA

6, 8

MORRISON, JAMES

5, 80, 81

ADAMS, ROBERT

140

GISCHIA , LEON

214

MORROCCO, LEON

88, 89

AITCHISON, CRAIGIE

136

GODDARD, STEPHEN

119, 120

NARA, YOSHITOMO

192

ALBEROLA , JEAN-MICHEL

141

GOLDIN, NAN

160

NATKIN, ROBERT

117, 118

ALLAN, TOM

GORMLEY, SIR ANTHONY

161

NEAGU, PAUL

37, 38

BACON, FRANCIS

217

GRANT, KEITH

NORRINGTON, CLAIRE

35, 36

GRAY, ALASDAIR

104, 105, 106, 166

OPIE, JULIAN

135

BAILLIE, WILLIAM JAMES LAIDLAW

100

BALLANTYNE, MARGARET

102

HANNA, NAEL

4, 79

ORR , CHRIS

143

BALMER , BARBARA

65, 67

HARING, KEITH

221, 222, 223

OXLADE, ROY

116

BANKSY

229, 230, 231

HAYTER , STANLEY WILLIAM 56, 209 HIRST, DAMIEN

201

BARRIE, MARDI

2, 62

HOCKNEY, DAVID

191, 195, 243

BAWDEN, EDWARD

225

HOLZER, JENNY

190, 228

BELL, VANESSA

167

HOUSTON, JOHN

60, 69, 94, 205

BARNS-GRAHAM, WILHELMINA

123, 175

BELLANY, JOHN 16, 17, 18, 54, 90, 91, 92, 162, 183, 238, 239, 240, 241 BHATT, JYOTI

163, 164

BLACKADDER, DAME ELIZABETH 144, 153, 242 BLAKE, SIR PETER

207

BOYCE, MARTIN

122

BRATBY, JOHN

110

BURAIMOH, JIMOH

BUSHE, CHRIS

BYRNE, JOHN

185

CHADWICK, LYNN

213

CONROY, STEPHEN

55, 57

CROSBIE, WILLIAM

9, 96

CUNNINGHAM, JOHN

97, 101

HOWSON, PETER 39, 40, 41, 58, 59, 236 INNES, CALLUM

127, 128

JOHNSTONE, WILLIAM

44, 46

KAWS

224

KELSEY, ROBERT

KENTON WEBB, RICHARD

KIRKHAM, NORMAN

10, 71, 72, 99

KITAJ, R.B.

158

KNOX, JACK

111

KUSAMA, YAYOI

202, 203

LICHTENSTEIN , ROY

215

LOW, BET

DALI, SALVADOR 152, 154, 155, 156, 157

121

MACDONALD, FRANCES

86, 87

MACH, DAVID

24, 184 177, 178

PARTY , NICOLAS

134

PASMORE, VICTOR

210, 211, 212

PEPLOE, DENIS

PERRY, GRAYSON

187

PHILIPSON, SIR ROBIN

29, 30, 233, 234

PICASSO, PABLO

165, 196, 197, 244

PIPER, JOHN

170

POPE, PERPETUA M.

PORTER, MICHAEL

PRINCE, RICHARD

181

RAE, BARBARA 83, 149, 150, 151, 176 RAE, ROBERT

112

REEVES, PHILIP

ROBERTSON, JAMES DOWNIE

LOWRIE MORRISON (JOLOMO), JOHN 3, 68 LUMSDEN, JAMES

PAOLOZZI, EDUARDO 42, 43, 45, 47, 129, 130, 216, 218, 219, 226, 232, 237

RODGER, WILLIE

198, 199

RYDER, SOPHIE

SCOULLER, GLEN

73, 74

SHANKS, DUNCAN

78, 93

75, 76

SHRIGLEY, DAVID 172, 174, 180, 186, 189, 193

DALZIEL + SCULLION

124

MACLEAN , RACHEL

DAVIE, ALAN

25, 27, 28, 114

MACMILLAN, SHEILA MACNAB

SJÖGREN , AGNETHA

227

DELAUNAY, SONIA

131

MACPHERSON, NEIL

STEWART, ALEC

113

DONALDSON, DAVID

MAGRITTE, RENE

182

THOMSON, PETER

31, 32, 33

MARCHAND , ANDRÉ

142

TREVELYAN , JULIAN

171

MARTIN, AGNES

208

TURNER, HELEN M.

MARTIN, JEAN

103

VETTRIANO, JACK

MCCLURE, DAVID

235

WALKER, ETHEL

7, 61

MCFADYEN, JOCK

159

WOOD, JONAS

MCLELLAN, ABIGAIL

DOUTHWAITE, PATRICIA 21, 22, 23, 107, 108, 109, 168, 179 EDMONDSON, SIMON

EMIN, TRACEY

200, 204, 206

FEDDEN, MARY

146, 147, 148, 169

FINLAY, IAN HAMILTON

132, 194

11, 12

YAN (YAN BO / 闫博), BOB

133 125, 126

GLOSSARY OF CATALOGUING TERMS The following expressions with their accompanying explanations are used by Lyon & Turnbull as standard cataloguing practice. Our use of these expressions does not take account of the condition of the lot or the extent of any restoration. Buyers are recommended to to inspect the property themselves. Written condition reports are usually available on request. Dimensions are given height before width.

Names or Recognised Designation of an Artist without any Qualification In our opinion a work by the artist Attributed to… In our opinion probably a work by the artist in whole or in part Studio of… / Workshop of… In our opinion a work executed in the studio or workshop of the artist, possibly under their supervision

Circle of… In our opinion work of the period of the artist and showing their influence

Signed… / Dated… / Inscribed… / In our opinion the work has been signed/dated/inscribed by the artist

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

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

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

FORM THROUGH TIME

AUCTION 08 JUNE 2022 LIVE ONLINE | OPEN FOR CONSIGNMENTS

Form Through Time is a journey through world history and culture, bringing together Fine Ancient Art, Tribal Art & Natural History into a curated whole. These works offer a glimpse onto the distant peoples who created them, and reveal how the art of the remote past stimulated many of the great twentieth century artists, with a tangible connection to our modern day.

FINE KUSURA IDOL ANATOLIA, EARLY BRONZE AGE, C. 2700 – 2100 B.C.

£4,000-6,000

For more information please contact Alex Tweedy | 0131 557 8844 alex.tweedy@lyonandturnbull.com

MODERN & POSTWAR BRITISH ART & DESIGN AUCTION 29 APRIL 2022 THE MALL GALLERIES, LONDON WILLIAM TURNBULL (BRITISH 1922-2012)

For more information please contact

FIGURE, 1984

Philip Smith | 020 7930 9115

£25,000-30,000

philip.smith@lyonandturnbull.com

PAIR OF ‘MULTIMO’ LOUNGE CHAIRS & SOFA, DESIGNED 1969

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

AUCTION 20 APRIL 2022 | EDINBURGH

CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY ‘PERUVIAN’ VESSEL, CIRCA 1880 £3,000-5000

For more information please contact John Mackie | 0131 557 8844 john.mackie@lyonandturnbull.com

SCOTTISH PAINTINGS & SCULPTURE

FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) IONA, EAST BAY – THE LITTLE ISLAND AND MULL

£40,000-60,000

AUCTION 16 JUNE 2022 | LIVE ONLINE | OPEN FOR CONSIGNMENTS

For more information please contact NIck Curnow | 0131 557 8844 nick.curnow@lyonandturnbull.com

140

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. OUR 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.

22.1

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

reports from internationally accepted gemmological laboratories, such reports may be described in the Sale Particulars. Reports will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report.

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.

(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.

(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) 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

(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.

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.

141 3. FAILURE TO PROVIDE THE RIGHT DOCUMENTS If in our opinion You do not satisfy our Bidder identification and registration procedures including, but not limited to, completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register You to bid, and if You make a successful bid, we may cancel the contract between You and the Seller. 4. BIDDING ON BEHALF OF ANOTHER PERSON (a) As an authorised Bidder: If You are bidding on behalf of another person, that person will need to complete the registration requirements above before You can bid, and supply a signed letter authorising You to bid for him/ her. (b) As agent for an undisclosed principal: If You are bidding as an agent for an undisclosed principle (the ultimate Buyer(s)) You accept personal liability to pay the Purchase Price and all other sums due, unless it has been agreed in writing with us before commencement of the auction that the Bidder is acting as an agent on behalf of a named third party acceptable to us and we will seek payment from the named third party. 5. BIDDING IN PERSON If You wish to bid in the saleroom You must register for a numbered bidding paddle before You begin bidding. Please ensure You bring photo identification with You to allow us to verify Your registration. 6. BIDDING SERVICES The bidding services described below are a free service offered as a convenience to our clients and we are not responsible for any error (human or otherwise), omission or breakdown in providing these services. (a) Phone bids Your request for this service must be made no later than 12 hours prior to the auction. We will accept bids by telephone for Lots only if our staff are available to take the bids. If You need to bid in a language other than English You should arrange this Well before the auction. We do not accept liability for failure to do so or for errors and omissions in connections. (b) Internet Bids For certain auctions we will accept bids over the internet. For more information please visit our Website. We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding. (c) Written Bids While prospective Buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected

and satisfied themselves as to its condition we shall, if so instructed, clearly and in writing execute bids on their behalf. Neither the Auctioneer nor our employees nor agents shall be responsible for any failure to do so. Where two or more commission bids at the same level are recorded we Reserve the right in our absolute discretion to prefer the first bid so made. Bids must be expressed in the currency of the saleroom. The Auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the Reserve. If You make a written bid on a Lot which does not have a Reserve and there is no higher bid than Yours, we will bid on Your behalf at around 50% of the lower Estimate or, if lower, the amount of Your bid.

responsible for any error (human or otherwise) omission or breakdown in providing these services.

C. DURING THE SALE

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.

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.

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.

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.

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

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

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 £500,000, plus 20% from £500,001 thereafter. VAT at the appropriate rate is charged on the Buyer’s Premium. No VAT is payable on the Hammer Price or premium for printed books or unframed maps bought at auction. Live online bidding may be subject to an additional premium (level dependent on the live bidding service provider chosen). This additional premium is subject to VAT at the appropriate rate as above. 2. VALUE ADDED TAX Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by Buyers of relevant Lots. (a) Lots affixed with (†): Value Added Tax on the Hammer Price is imposed by law on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the European Union and is not operating under a Margin Scheme. (b) Lots affixed with (*): A reduced rate of Value Added Tax on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outwit the European Union. This reduced rate is applicable to Antique items. (c) Lots affixed with [Ω]: Standard rate of Value Added Tax on the Hammer Price and premium is payable. This applies to items that have been imported from outwit the European Union and do not fall within the reduced rate category outlined above.

3. ARTIST’S RESALE ROYALTY (DROIT DE SUITE) This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the Hammer Price and in addition to the Buyer’s Premium. It will not apply to works where the Hammer Price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the Auctioneer. Resale royalties are not subject to VAT. Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale. More information on Droit de Suite is available at www.dacs. org.uk. E. WARRANTIES 1. SELLER’S WARRANTIES For each Lot, the Seller gives a warranty that the Seller; (a) Is the owner of the Lot or a joint owner of the Lot acting with the permission of the other co-owners, or if the Sellers is not the owner of or a joint owner of the Lot, has the permission of the owner to sell the Lot, or the right to do so in law, and; (b) Had the right to transfer ownership of the Lot to the Buyer without any restrictions or claims by anyone else. If either other above warranties are incorrect, the Seller shall not have to pay more than the Purchase Price (as defined in the glossary) paid by You to us. The Seller will not be responsible to You for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expense. The Seller gives no warranty in relation to any Lot other than as set out above and, as far as the Seller is allowed by law, all warranties from the Seller to You, and all obligations upon the Seller which may be added to this agreement by law, are excluded. 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

142 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

law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest. 3. YOUR WARRANTIES (a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes. (b) Where You are bidding on behalf of another person You warrant that:

(b) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in our reasonable opinion) to have caused damage to the Lot or likely to have caused loss of value to the Lot; or

(i) You have conducted appropriate customer due diligence on the ultimate Buyer(s) of the Lot(s) in accordance with all relevant anti-money laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so;

(c) There has been no material loss in value of the Lot from its value had it been in accordance with its description in the Bold or Capitalised type heading.

(ii) The arrangements between You and the ultimate Buyer(s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and;

This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the Lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the Lot must:

(iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer(s) are under investigation or have been charged with or convicted of money-laundering, terrorist activities, or other crimes.

(a) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the Lot number, date of the auction at which it was purchased and the reasons for such dispute; and (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

F. PAYMENT 1. MAKING PAYMENT (a) Within 7 days of a Lot being sold You will pay to us the Total Amount Due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. Please note that we do not accept cash payments over £5,000 per Buyer per year. (b) Any payments by You to us can be applied by us towards any sums owing by You to us howsoever incurred and without agreement by You or Your agent, whether express or implied. (c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name. (d) The ownership of any Lots purchased shall not pass to You until You have made payment in full to us of the Total Amount Due. The risk in and the responsibility for the Lot will transfer to You from whichever is the earlier of the following: (i) When You collect the Lot; or (ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise

with You in writing. (e) You shall at Your own risk and expense take away any Lots that You have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any cheque used for payment whichever is later. We can provide You with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us. (f) No purchase can be claimed or removed until it has been paid for. (g) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. 2. IN THE EVENT OF NON-PAYMENT If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the Sellers and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies:

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.

(a) To proceed against You for damages for breach of contract;

(iii) Sell the Lot in any way we think reasonable.

(b) To rescind the contract for sale of that Lot and/or any other Lots sold by us to You;

H. TRANSPORT & SHIPPING

(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

1. TRANSPORT AND SHIPPING We will include transport and shipping information with each invoice sent to You as well as displayed on our Website. You must make all transport and shipping arrangements. 2. EXPORT OF GOODS Buyers intending to export goods should ascertain; (a) Whether an export licence is required; and (b) Whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the Buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the Lot. 3. CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http://www. defra.gov.uk/ahvla-en/imports-exports/ cites We accept no liability for any Lots which may be subject to CITES but have not be identified as such.

143 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 arrange-

ments 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.

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:

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;

“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

“Bidder” a person who has completed a Bidding Form

“Lien” a right for the person who has possession of the Lot to retain possession of it.

“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”

“Knocked Down” when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale.

“Risk” the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value. “Title” the legal and equitable right to the ownership of a Lot.

“Buyer’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

22.1

144

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 177 [detail]

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