Scottish Paintings & Sculpture | Auction 16 June 2022

SCOTTISH PAINTINGS & SCULPTURE 16TH JUNE 2022 LIVE ONLINE EDINBURGH

SCOTTISH PAINTINGS & SCULPTURE THURSDAY 16 JUNE 2022 LOTS 1-82 AT 2PM & LOTS 83-161 AT 6PM

Sale Number LT692

Lyon & Turnbull 33 Broughton Place EDINBURGH EH1 3RR

VIEWING Sunday 12th June 12noon - 4pm Monday 13th June 10am - 5pm Tuesday 14th June 10am - 5pm Wednesday 15th June 10am - 5pm Day of Sale by appointment

Front Cover Lot 105 [detail] Inside Front Cover Lot 18 [detail]

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

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‡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.

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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.

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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.

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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.

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

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

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

Alice Strang Senior Specialist alice.strang@lyonandturnbull.com

Charlotte Riordan Senior Specialist charlotte.riordan@lyonandturnbull.com

Carly Shearer Specialist carly.shearer@lyonandturnbull.com

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

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JAMES WHITELAW HAMILTON R.S.A., R.S.W. (SCOTTISH 1860-1932)

EUGEN DEKKERT (SCOTTISH 1899-1940)

KIRKCUDBRIGHT HARBOUR

ON THE QUAYSIDE

Signed, oil on panel

Signed, oil on canvas

25.5cm x 33cm (10in x 13in)

28cm x 46cm (11in x 18in)

£1,000-1,500

£800-1,200

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3 WILLIAM MOUNCEY (SCOTTISH 1852-1901) KIRKCUDBRIGHT HARBOUR Signed, oil on canvas 43cm x 61cm (17in x 24in)

£1,000-1,500

4 DAVID FARQUHARSON A.R.A., A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1840-1907) ON THE SEINE, ROUEN Signed, oil on board 15cm x 23cm (6in x 9in)

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

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5 GEORGE HOUSTON R.S.A, R.S.W., R.G.I. (SCOTTISH 1869-1947) COTTAGES BY A STREAM Signed, oil on canvas 71cm x 91cm (28in x 36in)

£1,500-2,000

6 ALEXANDER FRASER JNR R.S.A., R.S.W. (BRITISH 1828-1899) AMONG THE BURNHAM BEECHES SPRING-TIME Signed and inscribed verso, oil on canvas 30.5cm x 43cm (12in x 16.5in)

£600-900

7 DAVID GAULD R.S.A. (SCOTTISH 1865-1936) CALVES BY THE SEA Signed, oil on canvas 51cm x 76cm (20in x 30in)

£2,000-3,000

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

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8 EDWARD ARTHUR WALTON R.S.A., R.S.W., R.W.S. (SCOTTISH 1860-1922) ELEGANT YOUNG LADY SEATED ON A CHAISE LONGUE Signed, oil on board, oval 61cm x 46cm (24in x 18in)

£4,000-6,000

9 JOHN PHILIP (SCOTTISH 1817-1867) PORTRAIT OF A YOUNG WOMAN Signed and dated 1844, oil on canvas, oval 61cm x 51cm (24in x 20in)

£800-1,200

10 STUART PARK (SCOTTISH 1862-1933) STILL LIFE OF RED AND YELLOW ROSES Signed, oil on canvas, oval 76cm x 61cm (30in x 24in)

£1,000-1,500

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

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11 SIR WILLIAM FETTES DOUGLAS P.R.S.A. (SCOTTISH 1822-1891) GIRL EMBROIDERING Oil on canvas laid down on panel 31cm x 18cm (12in x 7in) Provenance: Robert Carfrae Esq Exhibited: Royal Scottish Academy, Edinburgh, 1892, no.160

£2,000-3,000

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12 CHARLOTTE NASMYTH (SCOTTISH 1804-1884) VIEW NEAR MINSTER, KENT SHOWING ST. MARY THE VIRGIN CHURCH Signed and dated 1841, oil on canvas 69cm x 89cm (27in x 35in) Exhibited: Royal Academy, London, 1841, no.226

£4,000-6,000

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

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13 SAM BOUGH R.S.A, R.S.W. (SCOTTISH 1822-1878) A MILL ON THE IRWELL Signed and dated 1869, oil on board 36cm x 43cm (14in x 17in) Provanance: Property from the Estate of the Late Lord David Douglas-Hamilton

£1,000-1,500

14 SIR WILLIAM QUILLER ORCHARDSON R.A., H.R.S.A. (SCOTTISH 1832-1910) A COTTAGE INTERIOR Signed with initials, oil on canvas 34cm x 51cm (13.25in x 20in)

£800-1,200

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15 JOHN ROBERTSON REID R.I., R.B.S., R.O.I. (SCOTTISH 1851-1926) FISHING FROM THE QUAYSIDE Signed and dated ‘97, signed and inscribed with artist’s address verso, oil on canvas 76cm x 63.5cm (30in x 25in)

£1,000-1,500

16 WILLIAM BEATTIE-BROWN R.S.A. (SCOTTISH 1831-1909) AUTUMN EVENING IN A HIGHLAND GLEN, MEIGDALE, SUTHERLAND Signed and dated 1884, signed and inscribed on verso, oil on canvas 97cm x 71cm (38in x 28in)

£2,000-3,000

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17 ALEXANDER FRASER JNR R.S.A., R.S.W. (BRITISH 1828-1899) FARM COTTAGES, PERTHSHIRE Signed, oil on canvas 71cm x 91cm (28in x 36in)

£2,000-3,000

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

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18 ARCHIBALD THORBURN (SCOTTISH 1860-1935) A COVEY OF GROUSE AMONGST THE BRACKEN Signed and dated 1934, watercolour and gouache 27cm x 37cm (10.5in x 14.5in)

£15,000-20,000

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

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19 ARCHIBALD THORBURN (SCOTTISH 1860-1935) PTARMIGAN AND DEER ON A HILLSIDE Signed and dated 1931, watercolour and bodycolour 27cm x 37cm (10.5cm x 14.5in)

£15,000-20,000

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20 § VINCENT BALFOUR-BROWNE (BRITISH 1880-1963) THERE’S NO DECEIVING HER Signed with initials and dated 1959, watercolour and a companion, a pair, ‘Kill the hummel’ (2) 28cm x 41cm (11in x 16in)

£1,000-1,500

21 EDWIN JOHN ALEXANDER R.S.A., R.S.W., R.W.S. (SCOTTISH 1870-1926) CHAMELEON Signed and dated 1901, watercolour on buff paper 25.5cm x 46cm (10in x 14in)

£600-800

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

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22 JOSEPH MILNE (SCOTTISH 1857-1911) HIGH STREET, WESTER ABERDOUR Signed, oil on board and a companion, a pair, ‘Entrance to Aberdour Castle’ (2) 23cm x 30.5cm (9in x 12in)

£800-1,200

23 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) IONA ABBEY, DUSK Signed, pencil and watercolour 33cm x 46cm (13in x 18in) Exhibited: Walker Art Gallery, Liverpool, Autumn Exhibition, 1909 Literature: Bill Smith, D. Y. Cameron: The Vision of the Hills, Edinburgh, 1992, p.133

£500-800

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24 ALEXANDER KELLOCK BROWN R.S.A., R.S.W., R.I. (SCOTTISH 1849-1922) A SPRING DAY Signed with initials, oil on canvas 86cm x 111cm (33.75in x 43.5in)

£1,000-1,500

25 JOSEPH HENDERSON R.S.W. (SCOTTISH 1832-1908) THE OLD COTTAGE, KYLES OF BUTE Signed and dated 1879, inscribed with title on label verso, oil on canvas 46cm x 76cm (18in x 30in)

£800-1,200

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

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26 JAMES DOCHARTY A.R.S.A. (SCOTTISH 1829-1878) NILE VILLAGE Authenticated by the artist’s trustees with label verso, oil on canvas 15cm x 38cm (6in x 15in) Exhibited: The Fine Art Society Ltd, London, Travellers - Beyond the Grand Tour, 1980

£1,000-1,500

27 CHARLES HODGE MACKIE R.S.A., R.S.W., P.S.S.A. (SCOTTISH 1862-1920) CROSSING THE FORD Signed and dated 1888, oil on canvas 51cm x 91cm (20in x 36in) A related, smaller painting is in a private collection. It was part of a consignment of work which Mackie sent to his brother in Melbourne, Australia in 1893, hoping to garner some sales.

We are grateful to Pat Clark, author of ‘People, Places & Piazzas: The Life & Art of Charles H. Mackie’, Sansom & Company, Bristol, 2016, for her assistance in researching this work.

£800-1,200

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28 ATTRIBUTED TO HENRY GIBSON DUGUID A PANORAMIC VIEW OF EDINBURGH FROM THE BRAID HILLS Oil on panel 31cm x 41cm (12in x 16in)

£800-1,200

29 JAMES CAMPBELL NOBLE R.S.A. (SCOTTISH 1846-1913) SUNSET AT COLINTON Signed, oil on board 34cm x 49.5cm (13.25in x 19.5in)

£500-800

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30 CIRCLE OF DAVID WILKIE JOHN KNOX PREACHING BEFORE THE LORDS OF THE CONGREGATION Oil on canvas 32cm x 43cm (12.5in x 17in) This sketch would appear to be based on the prime examples of Wilkie’s work in the Tate collection and Petworth House. It is likely that the artist of our painting would have had firsthand knowledge of Wilkie’s original.

£1,500-2,000

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

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31 JAMES PATERSON R.S.W., R.S.A., R.W.S. (SCOTTISH 1854-1932) SUMMER PASTURES Signed, inscribed and dated ‘Moniaive 1890’, oil on canvas 25.5cm x 46cm (10in x 18in)

£1,500-2,000

A significant figure in the Glasgow Boys movement, James Paterson

Paterson once said that landscape painters should not ‘flirt with

continues to be celebrated for his restrained yet decorative scenes,

a new neighbour each remaining summer,’ and in many ways he

particularly of his beloved Moniaive and its surrounding terrain.

followed his own guidance, returning repeatedly to Moniaive

This selected group of paintings reflect Paterson’s enduring love of

and its surrounding landscape. He first discovered the charming

landscapes and his painterly elegance across mediums.

Dumfriesshire village in 1879 and moved there following his

Paterson was raised within a well-to-do Glasgow family with a deep appreciation for the arts, thus he was supported in his endeavour to leave the family manufacturing business to pursue watercolour lessons at the Glasgow School of Art. His education continued with five years spent in Paris, working in the studio of Jean-Paul Laurens and spending summers travelling across Europe and making visits back home. While in Scotland he travelled to locations along the east coast to paint with fellow artist and friend, William York Macgregor.

When Paterson returned home from Paris in 1882, this friendship continued and he spent time working in Macgregor’s studio on Bath Street. This studio became a centre-point for artists in the city, where discussions took place and Macgregor organised life drawing classes; the two men’s friendship is now considered a keystone in the evolution of the wider Glasgow Boys movement.

marriage in 1884. ‘Summer Pastures’ is quintessential Paterson, restrained yet decorative. He accurately captures the landscape, but the composition remains beautifully considered and balanced; elegance conveyed in the simplicity of his handling. His other view of Moniaive, ‘The Turn of the Stream’ sees Paterson at work in the medium he is better known for, watercolour. He skilfully uses this notoriously tricky medium to accentuate the calm aura of the gently meandering stream. As is often the case with artists, Paterson was drawn to travel for inspiration. In the view of Cove, the sense of depth is beautifully expressed and we can see the strength of his compositional vision, with the trees framing the unfolding view to the water. The distinctive aspects of Paterson’s watercolour technique are apparent; the wet washes of colour, overlayered with blotting to create the effect of tree foliage, while flecks of pigment added in the foreground gesture to the texture of the grasses.

Paterson travelled further afield at different times of his life; during his artistic training in Paris and then later in his life, from 1900 and

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even more so after the death of his wife in 1910. By this point he was living in Edinburgh, so possibly felt compelled at times to escape the urban environment and his responsibilities at the Royal Scottish Academy. The continent also allowed for the exploration of a different palette, the heat adding a sandier tone to his range, the lighter washes of colour a step away from the jewelled blues and greens he uncovered across in Scotland.

Shades of blue and green recur throughout Paterson’s oeuvre, the juxtaposition of the two tones often adding depth to his depictions of Scotland’s landscape. In ‘Buddha, Box, Bottles,’ we see them presented in a different way. It is a still-life composition executed in oil, yet the two colours continue to offer a richness as they do in his landscapes. The composition is relatively pared back but the effect is luxurious, with the jewel tones of the featured objects, both treasured and exotic and glistening with reflections, set against the simplicity of a monochromatic background, heightened with the textured line of detail along the tablecloth.

This selected group of paintings are a real treat to behold and reveal the truth of Paterson as an artist, a considered and elegant painter, at home and abroad.

32 JAMES PATERSON R.S.W., R.S.A., R.W.S. (SCOTTISH 1854-1932) COVE Signed, inscribed and dated 1886, watercolour 51cm x 33cm (20in x 13in)

£1,500-2,000

33 JAMES PATERSON R.S.W., R.S.A., R.W.S. (SCOTTISH 1854-1932) THE TURN OF THE STREAM, MONIAIVE Signed, inscribed and dated ‘Moniaive 1886’, watercolour 51.5cm x 34cm (20.25in x 13.5in)

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

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34 JAMES PATERSON R.S.W., R.S.A., R.W.S. (SCOTTISH 1854-1932) MEDITERRANEAN HARBOUR Signed and dated 1921, watercolour 25.5cm x 29cm (10in x 11.5in)

£600-800

35 JAMES PATERSON R.S.W., R.S.A., R.W.S. (SCOTTISH 1854-1932) THE HARBOUR, AJACCIO, CORSICA Signed, watercolour 26cm x 37cm (10.25in x 14.5in) Exhibited: The Fine Art Society Ltd, London and Edinburgh, January 1976 Provenance: Mrs Ann Laidlaw, the daughter of Robert Gemmell Hutchison

£600-900

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36 JAMES PATERSON R.S.W., R.S.A., R.W.S. (SCOTTISH 1854-1932) BUDDHA, BOX, BOTTLES Signed, signed, inscribed and dated 1920 verso, oil on canvas 54cm x 41cm (21.25in x 16in)

£2,000-3,000

37 § WILLIAM SOMMERVILLE SHANKS R.S.A., R.S.W. (SCOTTISH 1864-1951) STILL LIFE WITH CHINESE VASE Signed, oil on canvas 61cm x 51cm (24in x 20in)

£1,500-2,000

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

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38 COLIN HUNTER A.R.A., R.I., R.S.W., R.E. (SCOTTISH 1841-1904) UNLOADING THE CATCH Signed and dated 1888, oil on canvas 51cm x 91cm (20in x 36in)

£3,000-5,000

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39 WILLIAM ALFRED GIBSON (SCOTTISH 1866-1931) ON THE AYRSHIRE COAST, KILDONAN Signed, oil on board 23cm x 28cm (9in x 11in)

£500-800

40 WILLIAM ALFRED GIBSON (SCOTTISH 1866-1931) CANAL SCENE, WINTER Signed, oil on canvas 51cm x 61cm (20in x 24in)

£800-1,200

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

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41 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) ON THE BEACH, CARNOUSTIE Signed, watercolour 51cm x 61cm (20in x 24in)

£1,000-1,500

42 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) THE KITTEN’S MILK Signed and inscribed, pastel 51cm x 69cm (20in x 27in)

£1,000-1,500

43 ROBERT MCGREGOR R.S.A. (SCOTTISH 1847-1922) MENDING THE CRADLE Signed, oil on panel 14cm x 20cm (5.5in x 8in)

£800-1,200

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44 EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933)

BY THE LAKESIDE Signed and dated 1917, oil on canvas laid down on board 61cm x 51cm (24in x 20in)

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

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45 § CHARLES OPPENHEIMER R.S.A., R.S.W. (BRITISH 1876-1961) THE HEAD OF LAKE LUCERNE Signed, watercolour 21.5cm x 28cm (8.5in x 11in)

£800-1,200

46 JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) HOUSES OF PARLIAMENT FROM THE RIVER Signed, watercolour 20cm x 27cm (8in x 10.5in) Provenance: Ewan Mundy Fine Art, Glasgow

£1,500-2,500

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

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47 § JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) COULSTON ROAD NEAR NEWTYLE Signed, watercolour 54cm x 76cm (21in x 30in) Exhibited: Royal Scottish Academy, Edinburgh, 1988, no.392

£1,000-1,500

48 WILLIAM ALFRED GIBSON (SCOTTISH 1866-1931) ON THE DUNES, KATWIJK, HOLLAND Signed, inscribed and dated ‘To Jean S Alison 11th March 1929’, pen and ink and watercolour, unframed, and nine others by the same hand within an autograph book embossed J.S.A. [Jean S Alison], various sizes 11cm x 11.5cm (4.25in x 4.5in)

£600-800

This lot also includes three letters from W.A. Gibson to Jean Alison in which he refers to the autograph book which he is giving to her prior to her departure for college.

The additional watercolours, all of which are signed, inscribed and dated, are: On the Hampshire Coast; A Wee Bit Glimpse O’Bonnie Scotland; Southbourne Sands; Further Out in Deeper Waters; The Strand at Katwijk; Bunnies BreakfastTime; Ben Bharren Arran, and Gorse and Kilbrannon Sound.

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49 ANDREW ALLAN (SCOTTISH 1863-1940) THISTLEDOWN AND GOLDFINCHES Signed, oil on canvas 41cm x 61cm (16in x 24in)

£2,000-3,000

50 STUART PARK (SCOTTISH 1862-1933) WHITE ORCHID Signed, oil on canvas 38cm x 25.5cm (15in x 10in)

£1,000-1,500

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51 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) THE GOLD CHAIN Signed, oil on canvas 82cm x 72cm (32.25in x 28.25in)

£2,000-3,000

52 STUART PARK (SCOTTISH 1862-1933) MARÉCHAL NIEL ROSES Signed, oil on canvas 30.5cm x 38cm (12in x 15in) Provenance: Ewan Mundy Fine Art, Glasgow

£800-1,200

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

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53 WILLIAM ALFRED GIBSON (SCOTTISH 1866-1931) A WOODED RIVER LANDSCAPE WITH FIGURE IN A PUNT Signed, oil on canvas 51cm x 61cm (20in x 24in)

£1,000-1,500

54 WILLIAM STEWART MACGEORGE R.S.A. (SCOTTISH 1861-1931) FISHING FOR MINNOWS NEAR LOCHENBRECK Signed, oil on board 28cm x 38cm (11in x 15in)

£1,000-1,500

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55 GEORGE HOUSTON R.S.A, R.S.W., R.G.I. (SCOTTISH 1869-1947) SUMMER SKIES Signed, oil on canvas 46cm x 61cm (18in x 24in)

£1,000-1,500

56 § STANLEY CURSITER C.B.E., R.S.A., R.S.A. (SCOTTISH 1887-1976) COTTAGE IN THE DUNES Signed and dated 1916, oil on board 21.5cm x 21.5cm (8.5in x 8.5in)

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

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57 § SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) JOSEPHINE POSING Signed, watercolour 33cm x 49cm (13in x 19.25in) Provenance: The Fine Art Society Ltd, London, October 1934

£5,000-7,000

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58 § SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) ON THE JETTY Signed, watercolour 51cm x 66cm (20in x 26in)

£5,000-7,000

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

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59 § SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) ROCKS AND FORTRESSES, ST. MALO Signed, signed, inscribed and dated 1939 verso, watercolour 24cm x 33cm (9.5in x 13in) Exhibited: Royal Academy of Arts, London, 1940

£3,000-5,000

60 § SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) THE INSIDE POOL Signed, watercolour 49cm x 69cm (19.25in x 27in)

£4,000-6,000

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61 § DAVID MACBETH SUTHERLAND R.S.A. (SCOTTISH 1883-1974) LAIDE, WESTER ROSS Signed, inscribed with title on verso, oil on board 41cm x 51cm (16in x 20in)

£800-1,200

62 HELEN STIRLING JOHNSTON (SCOTTISH 1888-1931) THE HARBOUR, KIRKCUDBRIGHT Signed, oil on canvas 63.5cm x 76cm (25in x 30in) This painting shows the view looking southwest over the River Dee from Kirkcudbright Harbour, including Shore House on the left.

We are grateful to Fiona Lee of Kirkcudbright Art Tours for her help in researching this work.

£2,000-3,000

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

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63 § ALEXANDER MILLIGAN GALT (SCOTTISH 1913-2000) THE EVENING GLEAMS, SNOW ABOVE HAMLET OF COVE, CLYDE ESTUARY Signed, inscribed and dated 1975 to stretcher verso, oil on canvas 61cm x 75cm (24in x 30in)

£800-1,200

64 § MARY NICOL NEILL ARMOUR R.S.A., R.S.W. (SCOTTISH 1902-2000) WINTER LANDSCAPE Signed and dated 1942, oil on canvas 43cm x 56cm (17in x 22in)

£600-900

65 § JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) MAGDALEN GREEN WITH THE TAY BRIDGE BEHIND Signed, watercolour 76cm x 55cm (30in x 22.5in)

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

A version of this view features in James McIntosh Patrick’s celebrated The Tay Bridge from my Studio Window of 1948, which was purchased by what is now known as The McManus: Dundee’s Art Gallery and Museum in 1962 (accession number 18-1962). Both works show the view from the artist’s home in Dundee, showing Magdalen Green, the Tay estuary and its railway bridge.

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66 JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) THROUGH THE TREES Signed with initials, pastel 20cm x 25cm (8in x 9.75in)

£1,000-1,500

67 § JOHN BULLOCH SOUTER (SCOTTISH 1890-1972) MARGUERITES Signed, inscribed and dated verso ‘Aberdeen 1961’, oil on board 71cm x 43.5cm (28in x 14in)

£800-1,200

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

68 § JOHN MARSHALL (SCOTTISH 1888-1952) WOMAN AND BOY Signed and dated 1946 on the integral base, Caen stone 37cm high (14.5in) Exhibited: Royal Scottish Academy, Edinburgh, 1946, no.63, titled ‘Woman and Boy’ We are grateful to Robin Rodger, Documentation Officer, Royal Scottish Academy and Fiona Pearson for their assistance in researching this work.

£600-800

John (Jock) Marshall was born in Edinburgh and trained at Edinburgh College of Art. As an architectural carver he worked with many leading sculptors and architects including Phyllis Mary Bone on the Scottish National War Memorial, Charles d’Orville Pilkington Jackson on Lothian House, Edinburgh and Robert Lorimer on the refurbishment of Dunrobin Castle, Golspie. He was responsible for the carving of many well-known architectural features in the Scottish capital, including the Scotsman masthead on the north façade of the newspaper’s former headquarters on North Bridge. (see biography and index entries in Ray McKenzie, Public Sculpture of Edinburgh, Volume 1, The Old Town and South Edinburgh, Liverpool University Press, 2018).

From 24 Dean Path Buildings, Edinburgh, Marshall exhibited seventeen works at the Royal Scottish Academy between 1929 and 1948, made in materials including Caen, Hoptonwood and Portland stone, as well as Istrian marble and plaster.

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69 § COWAN DOBSON R.B.A. (SCOTTISH 1893-1980) THE FUR COLLAR Signed, oil on canvas 76cm x 63.5cm (30in x 25in)

£1,000-1,500

70 § MARY NICOL NEILL ARMOUR R.S.A., R.S.W. (SCOTTISH 1902-2000) STILL LIFE WITH BROWN JUG, 1967 Signed, oil on board 73.5cm x 49cm (29in x 19.25in)

£800-1,200

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

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71 § JOHN CUNNINGHAM (SCOTTISH 1927-2000) STILL LIFE OF FRUIT AND FLOWERS Signed, oil on canvas 81.5cm x 71cm x (32in x 28in)

£2,000-3,000

72 WALTER GRAHAM GRIEVE R.S.A., R.S.W. (SCOTTISH 1872-1937) STILL LIFE OF ROSES Signed, oil on canvas 61cm x 51cm (24in x 20in)

£600-800

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73 § MARY NICOL NEILL ARMOUR R.S.A., R.S.W. (SCOTTISH 1902-2000) STILL LIFE WITH TULIPS Signed and dated 1976, oil on canvas 61cm x 51cm (24in x 20in)

£2,000-2,500

74 § ARCHIE FORREST R.G.I. (SCOTTISH 1950-) BLACK TABLE WITH PINKS Signed, oil on canvas 56cm x 41cm (22in x 16in) Exhibited: Portland Gallery, Art London, 2005, no.12

£2,000-3,000

75 § JAMES FULLARTON (SCOTTISH 1946-) THE MARINA Signed, oil on canvas 75cm x 101cm (29.5in x 39.75in)

£2,000-3,000

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

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76 § SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916-1992) WINDOW SEQUENCE, BLUE Signed, pen and ink and watercolour 41cm x 79cm (16in x 31in) Provenance: Roland Browse and Delbanco, London From the collection of the late Dr Angus Gibson, to be sold to support the University of Edinburgh Art Collection Exhibited: The Scottish Arts Council, Robin Philipson, 1962

£1,200-1,800

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77 § 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) STILL LIFE FORMS, RED Signed, oil on canvas 51cm x 61cm (20in x 24in) Provenance: From the collection of the late Dr Angus Gibson, to be sold to support the University of Edinburgh Art Collection

£2,000-3,000

78 § MARY NICOL NEILL ARMOUR R.S.A., R.S.W. (SCOTTISH 1902-2000) STILL LIFE WITH PURPLE CLEMATIS Signed and dated 1978, oil on canvas 51cm x 61cm (20in x 24in)

£1,500-2,000

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

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79 SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., P.R.S.W., R.A. (SCOTTISH 1898-1973) STOOKS, TEMPLE Signed, oil on canvas 43cm x 59cm (17in x 23.25in) Provenance: From the collection of the late Dr Angus Gibson, to be sold to support the University of Edinburgh Art Collection Exhibited: The Scottish Gallery, Edinburgh, W. G. Gillies, 1970

£2,000-3,000

80 § SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., P.R.S.W., R.A. (SCOTTISH 1898-1973) GARDENSTOWN Signed, pen and ink and watercolour 25.5cm x 35.5cm (10in x 14in)

£800-1,200 Having enjoyed working en plein air in Gardenstown on the Aberdeenshire coast several times between the wars, Gillies returned there in 1950 and 1951. This work can be seen to illustrate Joanna Soden and Victoria Keller’s description of the village ‘where the houses rise in step fashion up the sides of the cliffs to the high, open grassland above. At one end, above the roof-lines, the buttressed four-square kirk of the Church of Scotland makes a striking landmark.’ (Joanna Soden and Victoria Keller, William Gillies, Canongate, Edinburgh, 1998, p. 108).

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81 SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., P.R.S.W., R.A. (SCOTTISH 1898-1973) STILL LIFE WITH MELON Signed, signed on the stretcher verso, oil on canvas 25.5cm x 51cm (10in x 20in) Provenance: From the collection of the late Dr Angus Gibson, to be sold to support the University of Edinburgh Art Collection Exhibited: Compass Gallery, Glasgow, Sir William Gillies - One Man Exhibition, 1970

It is thought that this painting dates from the early 1950s. It is one of at least ten works which feature the same ‘brown poppy-jug’ as identified by the artist’s biographer Andrew McPherson.

We are grateful to Andrew McPherson for his assistance in researching this work.

£2,000-3,000

82 § 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) HUMANKIND: CURTAIN DRAWN Signed verso, inscribed and dated 1973 on artist’s label verso, oil and gold leaf on leather 20.5cm x 30cm (8in x 11.75in)

£800-1,200

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

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

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SCOTTISH PAINTINGS & SCULPTURE EVENING SALE FROM 6PM

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

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83 GEORGE HOUSTON R.S.A, R.S.W., R.G.I. (SCOTTISH 1869-1947) ON THE RIVER BANK Signed, oil on canvas 71cm x 91cm (28in x 36in)

£2,000-3,000

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

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84 JOSEPH HENDERSON R.S.W. (SCOTTISH 1832-1908) WAITING FOR THE FLEET Signed, oil on canvas 30cm x 46cm (12in x 18in)

£1,500-2,000

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85 JOHN REID MURRAY (SCOTTISH 1861-1906) A BUSY FARMYARD SCENE Signed, oil on canvas 51cm x 76cm (20in x 30in)

£2,000-3,000

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86 WILLIAM STEWART MACGEORGE R.S.A. (SCOTTISH 1861-1931) A MOORLAND LOCH, GALLOWAY Signed, inscribed verso, oil on canvas 51cm x 61cm (20in x 24in)

£2,000-3,000

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

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87 EDMUND THORNTON CRAWFORD R.S.A. (SCOTTISH 1806-1885) VIEW FROM LEITH ROADS OF THE REGATTA OF THE ROYAL EASTERN YACHT CLUB ON SATURDAY, JULY 16TH, 1836, WHEN LORD JOHN SCOTT’S YACHT, THE LUFRA, GAINED THE CUP Signed and dated 1836, oil on canvas 46cm x 83cm (18in x 32.5in) Exhibited: Royal Academy, Edinburgh, 1837, no.81

£4,000-6,000

The Royal Eastern Yacht Club is the oldest of the East Coast clubs. It was founded in 1835 on December 31st, when an influential committee was convened to consider the expediency of holding a regatta in the following year, under the auspices of a club to be called the Eastern Regatta Club. The Lord Provost of Edinburgh, the Provosts of Leith, Musselburgh and Dunbar and about two dozen of the leading county gentlemen interested in sport, formed themselves into an interim committee for the purpose. The Duke of Buccleuch was elected Commodore and the Earl of Caithness Vice-

Commodore of the club. The support accorded to the committee was such as to encourage them to form a permanent club, and the scheme was so heartily taken up that within a few months the Eastern Yacht Club was formed. On June 30th 1836, the Lords of the Admiralty granted a warrant authorizing the fleet to wear the blue ensign of His Majesty’s Navy and the royal patronage of the club was bestowed by H. M. William IV. In that year, the first Commodore of the Royal Eastern Yacht Club was His Grace the fifth Duke of Buccleuch.

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88 ALEXANDER NASMYTH (SCOTTISH 1758-1840) DRUMTOCHTY CASTLE ON LUTHER WATER Oil on canvas 63.5cm x 91cm (25in x 36in) Literature: Peter Johnson and Ernle Money, The Nasmyth Family of Painters, Leigh-on-Sea, 1977, pl.19 J.C.B. Cooksey, Alexander Nasmyth 1785-1840: A Man of the Scottish Renaissance, 1991, reference Q29, IIII, p. 107 Drumtochty Castle was built by Gillespie Graham and possibly John Smith of Aberdeen at a cost of £30,000 for Nasmyth’s early patron, the banker George Drummond. It was inhabited by 1813. Cooksey dates the painting to c.1816-20 (op.cit.).

£3,000-5,000

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

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Though born in Carlisle in 1822, the self-taught Bough is predominantly associated

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with Scotland, having based much of his career there developing his precise, skilful

SAM BOUGH R.S.A, R.S.W. (SCOTTISH 1822-1878)

technique under the influence of masters of the Scottish landscape genre, Alexander Fraser and Horatio McCulloch. Bough was also heavily impressed by the art of J. M. W. Turner, and one feels this shared interest in light and atmospherics keenly in the wonderful example offered here for sale, ‘Winton House, East Lothian – A Frosty Morning’.

WINTON HOUSE EAST LOTHIAN A FROSTY MORNING Signed and dated 1872, oil on canvas

A winter scene is rather unusual for Bough, whose name perhaps more readily

98cm x 122cm (38.5in x 48in)

conjures images of bustling seaports at dusk, or tree dappled country lanes in strong

£10,000-15,000

summer sunlight. Yet, winter appears to suit his meticulous paintbrush immensely.

Each blade of frost-bitten grass, the texture of the silvered bark of the fallen logs, and the frozen rutted path is exquisitely delineated. His depiction of the scene walks an extraordinarily adept line between romance and realism and, while it remains a gentle rather than overt representation of the hardships of rural life in the depths of winter, it cannot be accused of being a saccharine interpretation. The sunset filtering through the trees instead reminds us that the temperature will shortly plunge, our figures making haste to collect their last sticks of firewood before they lose the light. The scene also recalls his famous views of Cadzow Forest, in which his wonderful facility for the portrayal of trees and woodland foliage made for some of the best regarded works of his oeuvre.

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

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90 CHARLES HODGE MACKIE R.S.A., R.S.W., P.S.S.A. (SCOTTISH 1862-1920) STUDYING TINTORETTO IN THE DUCAL PALACE Signed, inscribed verso, oil on panel 53cm x 65cm (20.75in x 25.5in) Exhibited: Royal Scottish Academy, Edinburgh, 1920, no. 47 This work was created as a result of Mackie’s painting trips to Venice before 1914. He exhibited it in the Royal Scottish Academy’s Annual Exhibition of 1920, shortly before his death. In their first review of the exhibition, The Scotman’s art critic singled Mackie out for praise, writing that his ‘Venetian and Spanish night scenes are marked by rich colour and accomplished artistry’ going on to describe the present painting as a ‘finely handled study of an apartment in the Doge’s Palace, with its superb decorations by Tintoretto.’ The paper’s fourth notice about the show declared of Mackie that ‘with him design is not so much imposed upon an observed effect as a process which, taking up that effect, accentuates it by stressing the light and shade, by controlling it, and by emphasizing the main colour harmony by regulating the quantities and, if need be by enriching them by contrast, discord or extension of the scale in a selected direction. This is seen very felicitously in the Spanish night scene...and more obviously, although still very happily in Studying Tintoretto in the Ducal Palace.’

We are grateful to Pat Clark, author of ‘People, Places & Piazzas: The Life & Art of Charles H. Mackie’, Sansom & Company, Bristol, 2016, for her assistance in researching this work.

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

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91 JOHN HENRY LORIMER R.S.A., R.S.W., R.W.S., R.P. (1856-1936) SWEET ROSES Signed and dated 1888, oil on canvas 38cm x 28cm (15in x 11in) Provenance: New Gallery, London, 1888 from where acquired by a London collector The Fine Art Society Ltd, London, October 1965 from where acquired by a Dumfriesshire collector Exhibited: New Gallery, London, 1888, no.249 Walker Art Gallery, Liverpool, 1888, no.996 Literature: Anon, ‘J. H. Lorimer’, The Art Journal, 1895, illustrated in black and white p. 4N May Fenoulhet, John Henry Lorimer, Scottish Artist 1856-1936, A Critical Biography, unpublished thesis, Edinburgh University, 1990, p. 58.

£2,000-3,000

Dr Antonia Laurence Allen has explained that after this painting was exhibited at the Walker Art Gallery in Liverpool, it was sent for etching so that it could be illustrated in The Art Journal in 1895. In her Edinburgh University unpublished thesis about the artist, May Fenoulhet quotes from a letter of 26 December 1888 written by the work’s recent purchaser: ‘I only hope that this etching may prove worthy to rank beside the little Picture, which is full of charming beauties, altho’ the subject is so very simple a one that few artists would have thought of its selection, or known how to have rendered it so gracefully.’ (Fenoulhet, op.cit.).

Laurence Allen has also suggested that the sitters may be Lorimer’s older sister Hannah and one of the daughters of his younger sister Janet Alice Chalmers.

We are grateful to Dr Antonia Laurence Allen, Regional Curator, National Trust for Scotland and Charlotte Lorimer, contributing authors to ed. Elizabeth Cumming, Reflections: The Light and Life of John Henry Lorimer, Sansom & Company, Bristol, 2021, for their assistance in researching this work.

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

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

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92 WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) GIRLS BATHING AT THE DOUNE, MACHRIHANISH Signed, oil on canvas 81cm x 122cm (32in x 48in) Exhibited: National Gallery of Scotland, William McTaggart, no.114 This painting relates to a smaller oil on panel exhibited at the same time, no.113

£20,000-30,000

Occasionally an artist becomes inextricably linked to a specific

what Constable described as “the chiaroscuro of nature”; formality

location; a place or scene they are compelled to capture and examine

subordinated to his intuitive grasp of light and texture. This stylistic

anew time and again, whose genius loci inspires the purest distillation

leap would reverberate influentially down the next generations of

of their abilities. Machrihanish beach on the wild, westerly tip of the

Scottish artists. McTaggart was heralded as having pushed forward

Mull of Kintyre was such a place for William McTaggart.

against artistic tradition in a manner many thought only Continental

McTaggart is noted for having developed an incredibly forward-

artists capable of at this point in history.

thinking informality to his brushwork which in turn had monumental

Lyon & Turnbull are delighted to offer ‘Girls Bathing at the Doune,

effects on his approach to landscape, belying his Victorian context

Machrihanish’ to market; a significant work in both scale and

and all its associated staid conventions. The constraints of technical

compositional complexity, marrying some of McTaggart’s key and

draughstmanship were all but abandoned by the artist in favour of

most significant tropes. The location of Machrihanish was, as we

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

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93 WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) CARNOUSTIE Signed and dated ‘09, oil on canvas 31cm x 46.5cm (12.2in x 18.3in) Provenance: Rev. J.C. and Mrs Watt Literature: James L.Caw, William McTaggart, 1917, p.246 where Caw suggests a date of 1893

£8,000-12,000

have seen, of great personal significance to the artist having been

three children appear consciously highlighted here, frolicking on the

born and raised nearby. It was the locus of his most successful work.

foreshore. Meanwhile, the sketchily rendered figure of their mother

He was famed for his ability to capture the quality of light and the

or guardian is visible only after a second sweep of the eye; her dark

freshness of a sea breeze. As Professor Duncan Macmillan notes

clothing causing her to recede into the deeper tones of the cliff wall;

in his book ‘Scottish Art: 1460-1990’ (Mainstream Publishing,

her relative obscurity emphasising the children’s ethereality. For

Edinburgh, 1990), children were also a frequent and symbolic feature

Macmillan, in their wispy suggestiveness McTaggart’s figures are

of McTaggart’s work. As Macmillan sees it, they are the (intentionally

both “constantly present and constantly subordinate (to nature) in his

cherubic) personifications of nature and its seasons, their innocence

paintings”.

a conduit through which we the viewers are encouraged to revel in the raw purity of the elements. This does perhaps explain why the

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94 WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) SHRIMPING, MACHRIHANISH Signed and dated 1878, watercolour 36cm x 51cm (14in x 20in) Provenance: D.M.Jackson Esq J & R Edmiston, 14 February 1957, Lot 43 to Fairweather (the receipt accompanies this lot) Literature: James L. Caw, William McTaggart: A Biography and an Appreciation, Glasgow, 1917, p.243

£2,000-3,000

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

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95 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) THE AULD CREEL Signed, signed and inscribed on a label verso, oil on board 36cm x 25.5cm (14in x 10in) Exhibited: The Royal Glasgow Institute of the Fine Arts, no.2

£4,000-6,000

96 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) WHITING BAY Signed, oil on panel 32cm x 24.5cm (12.5in x 9.75in) Provenance: The Fine Art Society Ltd, London, March 1963, no.2741

£4,000-6,000

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97

98

HUGH CAMERON R.S.A., R.S.W., R.O.I. (SCOTTISH 1835-1918)

HUGH CAMERON R.S.A., R.S.W., R.O.I. (SCOTTISH 1835-1918)

BREAKFAST-TIME WITH GRANDPA

SUMMER FROLICS

Signed, oil on canvas

Signed and dated 1887, oil on canvas

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

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

£1,000-1,500

£2,000-3,000

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99 GEORGE HOUSTON R.S.A, R.S.W., R.G.I. (SCOTTISH 1869-1947) THE HERALDS OF SPRING Signed, oil on canvas 101.5cm x 127cm (40in x 50in) Literature: Euan Robson, George Houston: Nature’s Limner, Atelier Books, Edinburgh, 1997, p.31, pl.14 Robson dates this painting to 1912 (op.cit.).

£3,000-5,000

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

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100 ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905) THE LACE BONNET Oil on panel 34cm x 25.5cm (13.5in x 10in)

£1,000-1,500

101 WILLIAM PRATT (SCOTTISH 1854-1936) THE NEW HAT Signed and dated 1901, oil on canvas 56cm x 36.5cm (22in x 14in) Provenance: The artist’s family and by descent

£700-1,000

102 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) MILK FOR BREAKFAST Signed, oil on canvas 38cm x 30.5cm (15in x 12in)

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

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

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103 JOHN MCKIRDY DUNCAN (SCOTTISH 1866-1945) ERISKAY Signed, oil on board 36cm x 44.25cm (14.25in x 17.5in)

£800-1,200

104 ERNEST STEPHEN LUMSDEN R.S.A., R.E. (BRITISH 1883-1948) JUST A FUNNEL AND A MAST Signed, inscribed and dated ‘Bay of Biscay 1912’ verso, oil on board 24cm x 32cm (9.5in x 12.5in)

£1,500-2,000

105 HARRINGTON MANN R.P., R.E. (SCOTTISH 1864-1937) STUDY OF CATHLEEN MANN Signed, oil on canvasboard 41cm x 30.5cm (16in x 12in) Mann’s daughter Cathleen was born in Newcastle in 1896. She was taught by her father, his friend the artist Ethel Walker and trained at the Slade School of Fine Art in London. Cathleen became an established artist in her own right and was elected to the Royal Society of Portrait Painters and the Royal Institute of Oil Painters. Following her 1926 marriage to Francis Archibald Kelhead Douglas, the eleventh Marquess of Queesberry, she became unwillingly known as the ‘Painting Peeress’ (see ed. Alice Strang, Modern Scottish Women: Painters and Sculptors 1885-1965, National Galleries of Scotland, Edinburgh, 2015, exh. cat., p. 76).

£4,000-6,000

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106 § CHARLES OPPENHEIMER R.S.A., R.S.W. (BRITISH 1876-1961) IN THE EVENING LIGHT Signed, oil on canvas 63.5cm x 76cm (25in x 30in) For a very similar but larger composition see My Garden at Twilight, property of the National Trust for Scotland, Broughton House, Kirkcudbright.

£15,000-20,000

Charles Oppenheimer is regarded as a quintessentially Scottish

By the time that Oppenheimer settled there, Kirkcudbright had long

artist, although he was born in Oldham and did not settle north of

been a centre of artistic activity. Artists had been drawn there since

the border until 1908.

the 1880s, and by 1900 the little town was attracting artists from

Oppenheimer trained under Walter Crane at Manchester School of Art, as well as in Italy. He was instinctively drawn to Scotland,

Glasgow and Edinburgh including E.A. Walton, A.S. Hartrick, James Lawton Wingate, David Gauld and D.Y. Cameron.

although more to the lowlands and the pastoral landscapes of

Oppenheimer moved there in 1908, and, having served with the

Kirkcudbrightshire, than to the rugged Highlands. Famously his

Royal Artillery during the Great War, returned to Kirkcudbright

paintings often depict the same view at different times of year. He

at its close, finding many new friends. Among them were the book

was a keen fisherman and had a talent for capturing the fall of light

illustrator Jessie M. King and her husband, E.A. Taylor who, having

on water. He painted landscapes and townscapes, and also designed

lived in Kirkcudbright before the war, had returned there in 1915.

a number of iconic posters for British Rail. Oppenheimer was elected

From 1929 the crime writer Dorothy L. Sayers and her husband also

RSW in 1912, ARSA in 1927 and RSA in 1934.

rented a studio in The High Street, next door to Oppenheimer, and

The picture offered here is a view of Oppenheimer’s house at 14

became good friends.

High Street, Kirkcudbright, where he lived between 1908 and

Oppenheimer painted several similar views of his home at number

1931. He rented the house from E.A. Hornel, who lived next door

14. One now hangs in Oldham Art Gallery and another in Broughton

in Broughton House (now in the care of the National Trust for

House itself. While the Broughton picture shows the house at

Scotland).

twilight with the evening sun reflecting off the windows, that in Oldham shows the same scene on a bright, sunny day in which the whitewashed walls seem to belong more to the Midi than to Kirkcudbright.

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107

108

EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933)

EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933)

BY A WOODLAND POOL

GATHERING WILD FLOWERS

Signed and indistinctly dated 1929, oil on canvas

Signed and dated 1917, oil on canvas

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

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

£6,000-8,000

£8,000-12,000

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

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109 WILLIAM STEWART MACGEORGE R.S.A. (SCOTTISH 1861-1931) BLUE HAZE OF THE HYACINTH Signed, oil on canvas 71cm x 91cm (28in x 36in)

produced some sombre works such as Rotterdam Windmill and Amsterdam Harbour (both in Haddington Council buildings). Upon his return from Belgium in 1885, MacGeorge enrolled at the Royal Scottish Academy Life School, where his prolific student career continued to flourish, bringing him the Keith Prize in 1887.

Born in Castle Douglas in 1861, William Stewart MacGeorge began his artistic training at an early age, demonstrating an exceptional talent. He even became a prototype for a caricaturist character of Samuel R. Crockett’s The Raiders - the author was MacGeorge’s boyhood friend. In 1880 MacGeorge entered Edinburgh School of Art, where among his classmates were George Denholm, Thomas B. Blacklock and Edward A. Hornel, with whom MacGeorge established a firm and artistically-significant friendship. During his years at the Edinburgh School MacGeorge won a number of artistic prizes, including a Queen’s Prize in the National competition, and at the early age of twenty he had his first work hung in the Royal Scottish Academy (A Lovers’ Walk, 1881).

It is believed that MacGeorge’s predilection for gloomy colours - possibly the Hague School influence - was challenged by Edward Hornel, who encouraged MacGeorge to soften his tone, thus making his paintings brighter, his brushstrokes more richly imparted, and his painting style considerably more decorative. However, MacGeorge always maintained a substantial level of individuality in his artistic approach, particularly in his pursuit of truth to natural forms. His most prominent works transmit naturalistic atmosphere enhanced by vigorous brushwork and bright spots of colour. Although MacGeorge’s choice of subjects was extremely diverse, his signature setting is a woodland scene with children playing among the flowers. The present work, The Blue Haze of the Hyacinth, belongs to a large series of works depicting utopian idylls. Here the artist portrays three young ladies resting in a meadow filled with azure bursts of wild hyacinth. An example of MacGeorge’s colouristic approach, the work presents a vivid impression of a bright summer day, as well as the artist’s signature impasto brushwork.

In 1883 MacGeorge relocated to Antwerp together with William Walls and Edward Hornel, where the young artists enrolled at the Royal Academy of Fine Arts - one of the oldest art academies in Europe, which at that time held an international reputation. There, for two years, MacGeorge was a student of Charles Verlat, from whom he acquired a strong basis of realism and academic training. His colour palette was also affected by contemporary Dutch and Flemish naturalist painting. During his time at the Academy MacGeorge

In the mid-1880s MacGeorge began spending summer months in Kirkcudbright artists’ colony, where he resided in a studio near the old quarry on Tongland Road. Kirkcudbrightshire Fine Art Association was established in 1886, and local exhibitions were held each year. MacGeorge produced some of his most outstanding landscapes while in Kirkcudbright, including Kirkcudbright, depicting salmon fishers at dusk, now in the Edinburgh City Art Centre.

Provenance: Carnegie Dunfermline Trust

£10,000-15,000

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

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110 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) THE BALLOONS Signed, watercolour heightened with bodycolour 38cm x 51cm (15in x 20in) Exhibited: Royal Society of Painters in Watercolours (see label verso)

£3,000-5,000

111 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) GLEN LYON Signed and inscribed twice, pencil and watercolour 17cm x 25cm (6.75in x 9.75in)

£500-800

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112 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) BRIDGE ACROSS THE RIVER Signed, oil on canvas 68.5cm x 94cm (27in x 37in)

£4,000-6,000

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113 ARTHUR MELVILLE A.R.S.A., R.S.W., A.R.S. (SCOTTISH 1855-1904) A STILL LIFE OF ROSES ON A LEDGE Signed, oil on canvas 25.5cm x 36cm (10in x 14in)

£6,000-8,000

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

114 ARTHUR MELVILLE A.R.S.A., R.S.W., A.R.S. (SCOTTISH 1855-1904) REEDS, DUDDINGSTON LOCH, WINTER Signed, watercolour 51cm x 66cm (20in x 26in) Duddingston Loch was a constant source of inspiration for Melville, and as Kenneth McConkey points out in his 2015 National Galleries of Scotland exhibition catalogue, Melville’s obituary in the Haddington Advertiser recorded that as a student at the R.S.A. Schools ‘the reeds at Duddingston were a favourite sketching ground of his, and to gratify this taste he had to get up at five o’clock in the morning, so much work did he do during the day.’

It is interesting to compare this work with ‘Skating on Duddingston Loch’ exhibited in National Galleries of Scotland, Arthur Melville: Adventures in Colour, 2015, no.31

£2,000-3,000

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115 ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905) ON THE QUAYSIDE Oil on panel 23cm x 30.5cm (9in x 12in)

£3,000-5,000

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116 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) EVENING IN BADENOCH Signed, signed, inscribed and dated 1941 on the stretcher verso, oil on canvas 30.5cm x 56cm (12in x 22in)

£3,000-5,000

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117 ANCELL STRONACH (SCOTTISH 1901-1981) WHERE SINKS THE VOICE OF MUSIC INTO SILENCE Signed and dated 1924, oil on canvas 127cm x 102cm (50in x 40in) Provenance: Purchased from the Fine Art Society

by John W.D. Thomson in 1980 and thence by descent Exhibited: The Royal Glasgow Institute of Fine Arts, 1924 The Fine Art Society, Glasgow, Ten Years of The Fine Art Society in Glasgow, 1989

£30,000-50,000

Ancell Stronach is generally an unfamiliar name, even to Scottish Art

the Pre-Raphaelites, though his commitment to mural painting and

enthusiasts, but in his day he was a significant figure in the Scottish

stained glass design also shines through in this significant work. His

art scene. Born in Dundee, he trained at the Glasgow School of Art,

chosen style and subject reflects the wider Celtic Revival movement

winning many awards and a travelling scholarship. Following his

prevalent in Scotland’s arts scene at the time, which is also visible

studies he worked professionally as an artist, designing stained glass,

in the work of contemporaneous artists such as John Duncan and

painting murals, decorating churches and establishing a reputation

Phoebe Anna Traquair. The Celtic Revivalists and Pre-Raphaelites

as a portrait artist. Alongside his own painting he also taught, rising

were concerned with looking to a distant past for inspiration and

to the position of Professor of Mural Painting at Glasgow School

Stronach strives for that here. The melding of historic and modern

of Art. He was elected a member of the Royal Scottish Academy

lends the painting an essential timelessness in its beauty.

(R.S.A.). in 1934, and exhibited internationally at the R.S.A., Royal Academy, Paris Salon and in exhibitions in Canada, New Zealand and America; all the markers of a significant and accomplished career.

At the outbreak of war in 1939, Stronach felt his opportunities as an artist were greatly reduced by the extenuating circumstances and took the opportunity to change direction, pursuing a long-standing

Where Sinks the Voice of Music Into Silence is bold and decorative,

interest in animals and the circus. He married a professional acrobat

with the vibrant colour and ecclesiastical details that were the

and they toured together with his show, entitled ‘Ancell and his

signature of his painting at this time. Stronach pulls detail, poetry

40 Painted Pigeons.’ He did not engage with the art world for the

and inspiration together masterfully in this work, with areas of rich,

remainder of his life, though it is believed he continued to paint

flat colour interspersed with delicate patterning and design. Close

for personal pleasure. It is for this reason that his name remains

attention reveals a wealth of considered detail, such as the tendrils

relatively unknown, and the appearance of his works on the market

of the male figure’s beard, the curling waves at the bottom-left

is rare; ultimately his professional painting career only lasted for a

corner and the snow-topped hills in the distance. The composition is

very limited period, despite his talent and success.

accomplished: the delicate angelic wings are centred in the canvas, with the figures placed in a ‘V’ around them, maintaining balance and visual interest as every inch of canvas is utilised. The result is a richly rewarding viewing experience.

Where Sinks the Voice of Music into Silence was first exhibited at the Royal Glasgow Institute of Fine Arts in 1924. More recently it was purchased by the current vendor’s late husband at the Fine Art Society in 1980. The vendor remembers the dramatic moment of

Stronach’s poetic title does little to reveal the meaning or moment

seeing this work for the first time, and the immediate decision to

that this work depicts, but it nevertheless further evokes the

purchase. In the forty years since, it has hung in just two locations,

atmosphere that the painting itself conveys. The feeling is symbolic

his architectural practice in the West End of Glasgow and their home

and meaningful with a sense of mysticism, creativity and spirituality.

in Stirlingshire. A rare opportunity now presents itself for this rich,

Artistically, Stronach was inspired by early Italian fresco painters and

dramatic and decorative work to find a new home.

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

89

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

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118 §

119 §

DAVID DONALDSON R.S.A., R.P., L.L.D. (SCOTTISH 1936-1996) THE ARTIST’S DAUGHTER CAROLINE

DOROTHY JOHNSTONE A.R.S.A (SCOTTISH 1892-1980)

Signed, oil on canvas

THE BLACK HAT

102cm x 91cm (40in x 36in)

Signed and dated 1913, oil on canvas

Provenance: The Estate of John Thomson, Glasgow

67cm x 75cm (26.25in x 29.5in)

Exhibited: Talbot Rice Gallery, Edinburgh & Glasgow School of Art, David Donaldson: 80th Birthday Exhibition, 1996

£6,000-8,000

Donaldson was appointed Her Majesty the Queen’s Painter and Limner in Scotland in 1977.

£4,000-6,000

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This is a rare and significant work by Dorothy Johnstone. Having been one of the first students at the newly-established Edinburgh College of Art (ECA), Johnstone began exhibiting at the Royal Scottish Academy (RSA) in 1912, followed by the Royal Glasgow Institute in 1913 and at the Royal Academy of Arts in London in 1915. She focussed on figure painting, often on a sizeable scale and with sitters presented against a muted, plain background.

In recognition of her readily-achieved professional standing and due to the mobilisation of male staff following the outbreak of World War One, Johnstone began teaching at ECA in 1914. The studio facilities she enjoyed there, plus the stimulus provided by her students meant that her work developed apace. She spent most summers between 1915 and 1924 in Kirkcudbright, often staying in one of Jessie M. King’s cottages, and became a key figure in the town’s art circles.

Meanwhile, in 1919 Johnstone joined the re-convened exhibiting society, the Edinburgh Group, whose members included Cecile Walton, Eric Robertson and David Macbeth Sutherland. A joint exhibition with Walton in 1924 led to the artists being described as ‘two brilliant daughters of Scotland’ (Jessica Walker Stephens, ‘Cecile Walton and Dorothy Johnstone’, The Studio, Vol. 79, 1924, p. 80 quoted in ed. Alice Strang, Modern Scottish Women: Painters and Sculptors 1885-1965, National Galleries of Scotland, Edinburgh, 2015, p. 60).

However, Johnstone’s wedding to her ECA colleague Sutherland that year meant she had to resign her from her job, as the ‘Marriage Bar’ legislation prevented married women from holding full-time teaching positions.

With the birth of her children and her husband’s appointment as Head of Gray’s School of Art in Aberdeen, Johnstone’s career lost momentum. She continued to paint as domestic responsibilites permitted and was elected an Associate Member of the RSA in 1962. Her death in 1980 was marked by a Memorial Exhibition mounted at Aberdeen Art Gallery in 1983.

92

Eric Harald Macbeth Robertson first became involved with

Robertson was a prolific writer of letters and diaries. Early notes

Edinburgh’s artistic circles while in the early years of an architecture

reveal a particular concern with landscape painting, and he strove to

degree. After his studies were interrupted due to illness, he

cultivate a palette that would evoke a fresh quality of light without

transferred to a painting course at the Royal Institute, and later

succumbing to banality of colour. He sought inspiration throughout

attended Edinburgh College of Art. He earned a reputation as

Scotland, and found Barra, Eriskay and Iona particularly stimulating.

a student of prodigious talent, though some deemed his work

In 1916 Robertson joined the Friends’ Ambulance Unit, and would

controversial: for instance, his drawing of a nude woman was

remain in France until the end of the War. Cecile Walton posted him

removed from a student exhibition at The Scottish Gallery for fear of

copies of the Vorticist journal Blast, and these influenced Robertson’s

being ‘immoral’. By 1913 he was exhibiting with an artists collective

wartime and post-war output. Even while stationed in France

known as the Edinburgh Group. Another leading member was the

he painted whenever he could, generally producing modernist

artist Cecile Walton, whom Robertson would later marry.

landscapes. While Robertson’s depiction of the Grampian mountains

Robertston attended salons hosted by the symbolist painter John Duncan, where he mingled with artists and academics. Duncan had

is representational, the use of simplified form and heightened tone lends the piece a distinctly modern quality.

a profound influence on Robertson’s painting, as did Celtic lore,

In 1919 Robertson returned to Edinburgh and the Edinburgh Group

medievalism and the work of the Pre-Raphaelite Brotherhood. This

re-convened. A 1920 exhibition at the New Gallery on Shandwick

is evident in the whimsical figures forming a procession in Queen

Place was received to great acclaim; a review in The National Outlook

Guinevere Entering the Court of King Arthur. The animated composition

observed that ‘we have found the creative impulse at work… Half

and rich detail may also be indebted to Robertson’s visits to Italy,

of Edinburgh goes to Shandwick Place secretly desiring to be

where he encountered early Renaissance murals and altarpieces,

righteously shocked, and the other half goes feeling deliciously

and recalled being enamoured with the work of Fra Angelico and

uncertain it may be disappointed by not finding anything sufficiently

Botticelli.

shocking.’ In 1923 Robertson re-married and moved to Liverpool, where his artistic output dwindled. In 1943 he died of tuberculosis.

Today, he is remembered for his accomplished figural compositions and modernist-inflected landscapes.

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120

121

ERIC HARALD MACBETH ROBERTSON (SCOTTISH 1887-1941)

ERIC HARALD MACBETH ROBERTSON (SCOTTISH 1887-1941)

QUEEN GUINEVERE ENTERING THE COURT OF KING ARTHUR

BEN LAWERS

Watercolour

Indistinctly signed, oil on canvas

30.5cm x 73cm (12in x 28.75cm

61cm x 76cm (24in x 30in)

Provenance: Acquired from the artist by his niece and thence by descent to the present owner

Provenance: Acquired from the artist by his niece and thence by descent to the present owner

£1,500-2,000

£3,000-5,000

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

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

BY THE LOCH Inscribed and dated verso ‘To Ellen and Kristoffer with love from Fanny and Willie September 1951’, oil on board 51cm x 61cm (20in x 24in)

£2,000-3,000

123 § JAMES COWIE R.S.A., L.L.D. (SCOTTISH 1886-1956) A MILL Signed, inscribed with title on the backboard, pastel 33cm x 42cm (13in x 16.5in) Provenance: J. R. Anderson, Arbroath Cowie exhibited a work entitled ‘A Mill’ as no. 467 at the Royal Scottish Academy, Edinburgh in 1945.

£500-800

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

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124 § JAMES COWIE R.S.A., L.L.D. (SCOTTISH 1886-1956) COMPOSITION (STUDY) Signed, mixed media 41cm x 40cm (15.75in x 16in)

£2,000-3,000

This work is very closely related to Cowie’s Composition of 1947 (oil on wood, 46.3 x 45.5cm) which was presented to the National Galleries of Scotland (NGS) by the artist Sir William Oliphant Hutchison in 1970 (accession number GMA 1167).

Both works date from Cowie’s time as Warden of Hospitalfield House, Arbroath between 1937 and 1947. He is renowned for his painstaking working method and could spend up to a week assembling still-life objects before beginning to draw or paint them. As is the case with the present work, he often made multiple detailed studies, in materials including pastel, gouache and chalk. He considered some of them to be complete, independent works of art and would frame and exhibit them in their own right.

The artist and critic Cordelia Oliver has described the NGS Composition thus: ‘The culmination of the metaphysical stilllifes is a painting called, simply, Composition….In it illusion and

reality, as with the apple that appears and reappears amid the interlocking planes of glass and the layers, in depth, of concrete objects and printed images, are so blurred and intermingled that to unravel one from the other is impossible. The rear view of the statuette on the left (it may be a small medieval Madonna)… is here balanced by a new, vaguely disturbing Pan-presence, a figure modelled by Cowie himself in some self-hardening plastic material…Cowie’s figure is modelled with a soft, but muscular and highly charged plasticity, which is echoed in the dissolving voluptuous forms of Cranach’s Diana and Ingres’s Grande Odalisque. Several layers farther into the complex space a print of a peasant ploughman (after Millet) and beyond that a hint of those narrow filaments of sandy road together speak for the perennial link with…the countryside… a love of which James Cowie never disguised.’ (Cordelia Oliver, Modern Scottish Painters: James Cowie, Edinburgh University Press, 1980, p. 54).

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125 WILLIAM CROZIER A.R.S.A. (SCOTTISH 1897-1930) BORMES Signed, inscribed on the backboard, oil on board 36cm x 46cm (14in x 18in)

£2,000-3,000

126 WILLIAM CROZIER A.R.S.A. (SCOTTISH 1897-1930) A CHURCH IN FLORENCE Signed, watercolour on buff paper 34.5cm x 27cm (13.5in x 10.5in)

£500-800

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127 § SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) FLOWERS AND GOBLET Signed and dated ‘54, signed and inscribed on a label verso, oil on board 51cm x 61cm (20in x 24in)

£3,000-5,000

98

Edward Drummond Young (18761946), John Maclauchlan Milne, undated photograph | Courtesy National Galleries of Scotland.

John Maclauchlan Milne

As Alice Strang has explained:

was born in Buckhaven,

‘Like his friend Samuel John

the son and nephew of

Peploe, Maclauchlan Milne

the artists Joseph Milne

was greatly inspired by the

and William Watt Milne

French Post-Impressionist

respectively. In 1938 he

painter Paul Cézanne and this,

declared ‘I cannot look

combined with his experience

back on a time when I

of France, brought about a

was not familiar with the

dramatic change in his work

smell of oil paint and the

after the war…[which]…gave

paraphernalia of a studio.’

way to brightly coloured,

(Artist’s Statement,

boldly painted French

Contemporary Scottish

landscape scenes. These earn

Painting, The Gallery, St

him the right to be called a

Andrews, August 1938,

‘Scottish Colourist’ and indeed

cited in The Life and Works

he painted alongside Peploe

of John Maclauchlan Milne,

and F. C. B. Cadell in France

Portland Gallery, London,

and described George Leslie

2010, exh. cat., p. 92). It is thought that Milne received his training

Hunter as a good friend.’ (Alice Strang, Consider the Lilies: Scottish

from his father, before a period spent in Canada. Whilst there he

Painting 1910-1980, Dundee, 2007, exh. cat., p. 88).

described himself as an artist, but spent time working as a cowboy in order to earn a living.

The importance of Maclauchlan Milne’s work was recognised during his lifetime and was included in many solo and group exhibitions

On his return to the UK, Milne married and settled in Dundee. In

including in Glasgow, London, America and Canada. Acquisitions

1912 he exhibited at the Royal Scottish Academy and the Royal

were made for public collections including The McManus: Dundee’s

Glasgow Institute for the first time; he was to do so regularly for

Art Gallery and Museum, Kelvingrove Art Gallery and Museum and

the rest of his career, leading to his election as a full member of the

by the French state for the Musée du Luxembourg. In addition, his

former in 1937 and the mounting of Memorial Displays by both

work was sought after by Scotland’s leading collectors, including

institutions in 1958, following his death the previous year.

William Boyd, Matthew Justice, Alexander Keiller and John

During World War One, Maclauchlan Milne served with the Royal

Tattersall.

Flying Corps, including in France and Belgium. Following de-

During the 1930s, Maclauchlan Milne focused on the Scottish

mobilisation in 1919, he served as President of Dundee Art Society

landscape, especially that of the west Highlands. During World

before a spell living in Paris. Indeed, from this point on until 1932

War Two he moved to Arran, married for the second time and

he spent significant amounts of time in France, in the capital as

was provided with bountiful subject matter by the island. A solo

well as the Midi, with St Tropez finding particular favour as a place

exhibition of Maclauchlan Milne’s work was mounted at The

to work. Other leading Scottish artists of the inter-war period

McManus in 1985 and the first monograph about him was published

were also drawn to the French Mediterranean, including Charles

by M. N. Millar in 2022.

Rennie Mackintosh, James McIntosh Patrick, Anne Redpath and all four artists known as ‘the Scottish Colourists’, F. C. B. Cadell, J. D. Fergusson, G. L. Hunter and S. J. Peploe.

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

99

128 § JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) THE QUARRY AT TORRIDON Signed and dated ‘23, oil on canvas 63.5cm x 76cm (25in x 30in) Provenance: Sotheby’s, Gleneagles, 29 August 1995, lot 1002 Literature: M. N. Millar, The Missing Colourist: The Search for John Maclauchlan Milne RSA, privately published, Glasgow, 2022, p. 77 (listed)

£20,000-30,000

This painting comes from a series of works created as a result of a trip Maclauchlan Milne made to Torridon in the north-west Highlands in 1922 or early 1923. Two others were shown at the Royal Scottish Academy’s annual exhibition of 1923, where they were singled out for praise by the artist E. A. Taylor, who detected in them an interest in the work of Paul Cézanne. (E. A. Taylor, The Studio, Vol. 86, December 1923, no. 369, pp. 342-343 quoted in M. N. Millar, op.cit., p. 77).

In addition to the quarry dramatically rendered in the present painting, Maclauchlan Milne was also drawn to subjects in the area including the mountains Beinn Alligin and Sgurr Ruadh. The artist’s biographer, Maurice Millar, has pointed out that several Torridon works were included in Maclauchlan Milne’s solo exhibition, held at Alexander Reid’s gallery, La Société des Beaux Arts, in Glagsow in 1924. (ibid., p. 78).

The boldness of technique, form and composition of The Quarry, Torridon, as well as the brightness of the light illuminating the scene, link this work to Maclauchlan Milne’s French work of the decade. He was to re-kindle his interest in the Scottish Highlands in the 1930s, culminating in the Arran landscapes of the concluding period of his career.

We are grateful to Alan Lawson, curator of the forthcoming Maclauchlan Milne exhibition at Roseangle Gallery, Dundee (25 June-23 July 2022) and to Maurice Millar, the artist’s biographer (op.cit.), for their assistance in researching this painting.

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129 § JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) HAYSTACKS IN A FIELD Signed, oil on canvas 41cm x 46cm (16in x 18in)

£10,000-15,000

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

101

130 § JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) HAYSTACKS WITH RESTING FIGURES, c.1920 Signed, oil on canvas 25.5cm x 35.5cm (10in x 14in) Exhibited: Dundee Museums and Art Galleries, John Maclauchlan Milne - A Centenary Exhibition, 1985, no.6 This work was dated to circa 1920 in the 1985 John Maclauchlan Milne exhibition mounted by Dundee Museums and Art Galleries.

We are grateful to Maurice Millar for his assistance in researching this painting.

£1,500-2,000

102

FERGUS AND MEG: A CREATIVE PARTNERSHIP J. D. Fergusson (known as ‘Fergus’) and Margaret Morris (known as ‘Meg’) met in Paris in 1913. Fergusson had moved there from Edinburgh six years earlier and had become firmly entrenched in avant-garde art circles, including that of the Rhythm group. Morris had formed her first touring company, Margaret Morris and her Dancing Children, in 1910 and had come to the French capital with her dance troupe. Their resultant personal and professional relationship lasted until Fergusson’s death in 1961.

Morris, her pupils and the human body in motion according to the ‘Margaret Morris Movement’ system she devised,

Madame Yevonde (1893-1975), J. D. Fergusson and Margaret Morris, 1940s | Courtesy The Fergusson Gallery, Perth & Kinross Council

inspired many of Fergusson’s most celebrated works. In turn, Fergusson designed costumes and sets for her productions and taught art to her students, which was an important part of the

have children in order to concentrate on their creative endeavours.

curriculum of her celebrated Summer Schools, which took place for

Following Fergusson’s death, Morris inherited his estate and

some forty years from 1917. Through the membership and activities

established the J. D. Fergusson Art Foundation. Its primary purpose

of the Margaret Morris Club, which she ran alongside her dance

was to secure the artist’s legacy through a memorial gallery with

school and theatre in Chelsea, Fergusson came into contact with

a permanent collection of his work. This was achieved, sadly after

London’s leading cultural figures during World War One and the

Morris’s death in 1980, by the Foundation Trustees when they

1920s. Their relationship endured his return to Paris in 1929 and it

donated the collection and accompanying archive to Perth & Kinross

was not until the outbreak of World War Two that the couple first

Council in 1991. The following year, The Fergusson Gallery opened

lived together, on arrival in Glasgow in 1939.

in a converted waterworks in the heart of Perth.

Fergusson and Morris were co-founders of the New Art Club and

In 2020, Morris’s collection of fine art, costumes and archival

New Scottish Group in the city in 1940 and 1942 respectively,

material was presented to the gallery by the International

which did much to encourage democratic exhibiting and debating

Association of Margaret Morris Movement, making it the centre of

opportunities until 1956. The couple never married and did not

excellence for the study of Fergus and Meg’s lives and career.

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131 § MARGARET MORRIS (SCOTTISH 1891-1980) FLOSSIE JOLLEY Oil on canvas 39.5cm x 27cm (15.5in x 10.5in)

£3,000-5,000

Flossie Jolley was one of the original members of Margaret Morris’s

for praise in reviews of Morris’s productions, including that of The Pall

‘Dancing Children’, in the dance pioneer’s first touring company. A

Mall Gazette of 27 November 1912, which exclaimed: ‘Miss Margaret

pencil sketch by Morris of Jolley and her fellow student Kathleen

Morris and her dancing children are giving at the Kingsway Theatre...a

Dillon, in a production entitled ‘The Orpheus’ which was performed

series of eight classic dances...very much liked was the dance of the

at The Savoy, London in 1911, is in the collection of The Fergusson

‘Two Winds’ by Miss Kathleen Dillon and Miss Flossie Jolley - gentle

Gallery, Perth (accession number MM407). The two young dancers

zephyrs blowing across the stage in veils of blue and grey.’

also appear in a photograph of 1912 which can be found in Morris’s memoir, My Galsworthy Story (Peter Owen, London, 1968, plate 3b).

We are grateful to Richard Emerson, author of ‘Rhythm and Colour: Hélène Vanel, Loïs Hutton and Margaret Morris’, Golden Hare, Edinburgh, 2019

Jolley remained with Morris until at least 1918, taking on

and Amy Fairley, Collections Officer (Art), Culture Perth and Kinross, for

choreography and teaching responsibilities. She was often singled out

their assistance in researching this work.

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

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132 § MARGARET MORRIS (SCOTTISH 1891-1980) PRINCE IGOR Pencil on buff paper 24cm x 19cm (9.5in x 7.5in) Provenance: Cyril Gerber Fine Art, Glasgow This drawing depicts sketches of figures from the Festival Ballet’s production of Prince Igor held at the Alhambra Theatre, Glasgow, in 1951.

£500-800

133 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) SAILOR, PORTSMOUTH DOCK, 1918 Conté 16cm x 20cm (6.25in x 8in) In 1918 Fergusson spent six months working in Portsmouth after receiving permission from the Admiralty to ‘gather impressions for painting a picture’ (letter from Commodore Sir Douglas Brownrigg to J. D Fergusson of 9 July 1918, Imperial War Museum Archive, file ref. 216/6, no. 27). This work is one of the resultant sketches and drawings which informed a series of paintings he made on return to his studio in London (see Alice Strang, ‘Go to Portsmouth to gather impressions for painting a picture’: The World War One Work for the Admiralty of J. D. Fergusson (1874-1961)’, The British Art Journal, Vol XVI, No.3, Winter 2015/16, pp. 98-102).

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

105

134 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) NUDE Signed, conté 30cm x 23.5cm (12in x 9.5in) Provenance: Acquired from the artist by his partner Margaret Morris and given by her to the present owner in 1966

£1,500-2,500

135 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) NUDE STUDY Sanguine 25.5cm x 19cm (10in x 7.5in)

£2,000-3,000

106

F. C. B. Cadell outside Cnoc cùil Phàil, Iona, 1932.

Courtesy National Library of Scotland, Edinburgh

F. C. B. CADELL & IONA Francis Campbell Boileau Cadell (1883-1937) was the youngest of the four artists known as the ‘Scottish Colourists’, along with J. D. Fergusson, G. L. Hunter and S. J. Peploe. He was born in Edinburgh and trained at the Académie Julian in Paris and at the Academie der Bildenden Künste in Munich.

Often working on easily transportable boards measuring 15 by 18 inches, Cadell came to adopt a technique used by his friend John Duncan, of using an absorbent white ground. As a result, many of his Iona paintings carry the carefully inscribed legend on their reverse

Cadell visited the Hebridean island of Iona for the first time in 1912.

of ‘Absorbent Ground Never Varnish.’ Peploe was to follow suit when

Such was the inspiration which he found in its light, natural beauty

Cadell introduced him to the island in 1920, resulting in his own

and expansive views, that he returned there regularly until at least

repeated summer visits for the rest of his life

1933. His trips could last from three to five months over the spring and summer, when weather conditions were at their best. Initially he stayed at the St Columba Hotel, but later he rented various cottages, most frequently Cnoc cùil Phàil, which had views over the Sound of Iona to neighbouring Mull.

The congeniality of working conditions on the island is revealed by the many joyous images Cadell created there. He preferred to work outdoors, responding directly to his surroundings. He was happy to be watched during the creative process and became a well-known figure in the community, nicknamed ‘Himself’.

One of Iona’s distinctive features is its beaches of white sand, which sparkles underneath the soft Hebridean light and through which varied rock formations emerge. This can be seen to particularly beautiful effect in the North End, to which Cadell was repeatedly drawn. In addition, he depicted other beaches and sandy coves, including at Port Bhan, views across and beyond the island, such as to Ben More on Mull and architectural features like the Abbey and

As well as painting en plein air on Iona, Cadell also made sketches and watercolours whilst there. These enabled him to capture moments of island life and fleeting sights which combine acute observation with an immediacy of technique, realised on an intimate scale.

As Jessica Christian and Charles Stiller have pointed out: ‘He worked very quickly to capture the essence of a scene and could finish a watercolour in as little as twenty minutes, some of these rapid, vibrant sketches being especially effective.’ (Jessica Christian and Charles Stiller, Iona Portrayed: The Island through Artist’s Eyes 17601960, The New Iona Press, Inverness, 2001, p. 59).

Executed with swift, confident brushstrokes, his technique made the most of the texture and colour of the paper support, sometimes deliberately leaving areas bare as contributions to the overall palette and image. Cadell’s prowess in this medium was recognised by his election to the Royal Society of Scottish Painters in Watercolour in 1935.

Village. He took pleasure in the rhythms of daily life, portraying the

Iona played a key role in Cadell’s career. It provided more than

islanders at work on crofts, visitors relaxing in idyllic circumstances

twenty years’ worth of enjoyment, professional inspiration and vital

and boats under sail and at the jetty.

income from the sale of the work he made there.

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136

137

FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937)

FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937)

A PASSING YACHT

IONA LOOKING TOWARDS MULL

Signed, pencil and watercolour

Signed, watercolour

18cm x 25.5cm (7in x 10in)

12.5cm x 17.5cm (5in x 7in)

£5,000-7,000

£5,000-7,000

108

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

109

138 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) IONA, EAST BAY - THE LITTLE ISLAND AND MULL Signed, signed, titled and inscribed verso, oil on board 38cm x 45cm (15in x 17.75in) Provenance: Given by the artist to Miss Jessie Service and thence by descent Sotheby’s Gleneagles, 5 September 2001, lot 1385, from where acquired by the present owner

£40,000-60,000

This idyllic sun-lit scene shows a view of the White Strand at the north-east of Iona, which was one of the artist’s favourite places to work. Looking north, we can see Cows Rock, the Strait of Storm between Iona and the small island of Eilean Annraidh and beyond to Mull.

Cadell revels in the textures and weathering of the exposed and seaweed-strewn rocks in the foreground, which emerge from the pure white sand for which Iona is celebrated. The eye is led along the curve of the bay and across the sea in which Cadell captures tones of turquoise and emerald depending on the depth of the water.

His preferred high horizon is crowned by a sky which hints at the fast-changing Hebridean weather, about which Philip MacLeod Coupe has explained: ‘The low-lying terrain of Iona is often bathed in bright sunshine when the weather is stormy over the high mountains of Mull...In these conditions the colour of the sea is generated by sunlight reflected from the white sandy base of the shallow waters of the Sound and is independent of the dark sky. This effect is surprising and very beautiful.’

(Philip MacLeod Coupe, Paintings of Iona: Cadell and Peploe, privately published, Malvern, 2014, p.79).

Cadell gave this painting to Miss Jessie Service, a sister of his great patron, the ship-owner George W. Service, who summered with his family on Iona. The men met during Cadell’s first visit to the island in 1912, with Service eventually acquiring some 150 of his works and donning ‘his tartan dress jacket for the big night when he had his annual buying spree’ (as related by Jessica Christian and Charles Stiller, Iona Portrayed: The Island through Artists’ Eyes 1760-1960, The New Iona Press, Inverness p. 62).

Jessie herself came to purchase paintings by Cadell and appears in his ‘Register of Pictures’, which he maintained between 1907 and 1930 to record works which he sold or gave away. The entries numbered 49 to 51 in October 1924 are described as ‘3 Oils 18” x 15” Iona (£25 each) £75 Miss Jessie G. Service, 11 Kensington Gate, Kelvinside, Glasgow’ (the register is on loan to the National Galleries of Scotland from a private collection).

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

110

139 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) THE STEADING, c.1927 Signed, oil on board 37.5cm x 45cm (14.75in x 17.75in) Provenance: Aitken Dott & Son Ltd, Edinburgh Christie’s London, 16 March 1925, lot 123, sold for three guineas to ‘Middleton’ Christie’s Scotland, 7 December 1989, lot 466 The Fine Art Society, London from whom acquired by the present owner in 2001 Exhibited: The Fine Art Society, London, The Scottish Colourists: Cadell, Fergusson, Hunter, Peploe, 19 June-21 July 2000, no. 4 (repr. col.)

£30,000-50,000

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

In contrast to his Edinburgh-based studio practice, Cadell also enjoyed working outdoors in locations around Scotland and France. The steading in this work is thought to be in the village of Auchnacraig on the east coast of Mull, which Cadell visited for the first time in 1927 on the way to Iona. The village and its surroundings appear in a series of at least four extant paintings (see Tom Hewlett and Duncan Macmillan, F. C. B. Cadell: The Life and Works of a Scottish Colourist 1883-1937, Lund Humphries, Farnham, 2011, p. 94). Duncan Macmillan has identified an engagement with the work of Paul Cézanne in Cadell’s Auchnacraig tree landscapes, praising their ‘free handling and also an interest in light that over-rides local colour’ (op.cit., p. 181).

This painting is viewed from a distance and through trees in an ambitious composition in which Cadell revels in the effects of sunshine and shadow across stonework and grass. Layers of paint, applied with visible, varying brushstrokes, build up sophisticated colour and tone combinations, as well as rhythmic surface texture. Dabs of yellow are particularly effective in conveying flower heads in the foreground, whilst Cadell’s enjoyment of applying and manipulating his creamy paint is clear. The result successfully communicates the strength and warmth of light and the beauty of the sun-dappled scene depicted.

111

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

112

140 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937)

This work formerly belonged to the artist Mrs Euphemia Ritchie, wife of the metal worker and jewellery designer Alexander Ritchie. Their

WHITE SANDS, NORTH END, IONA

shop, Iona Celtic Art, was in the grounds of Iona’s Nunnery and the

Signed, watercolour

couple were the only resident artists on the island during the first half

16.5cm x 24cm (6.5in x 9in)

of the twentieth-century (see Jessica Christian and Charles Stiller,

Provenance: Mrs Euphemia Ritchie, Iona

Iona Portrayed: The Island through Artists’ Eyes 1760-1960, The New

£5,000-8,000

Iona Press, Inverness, 2001, p. 53). They became good friends with Cadell, who occasionally stayed with them in their house, Shuna, in the village. Mrs Ritchie appears in Cadell’s ‘Register of Pictures 1917-30’ from 1914 until 1926 as both a purchaser and recipient of his work, the former recorded in black ink and the latter in red (the register in on loan to the National Galleries of Scotland from a private collection).

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

113

141

142

FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937)

FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937)

ON THE SHORE, IONA (THE SOUND OF IONA), c.1922

Watercolour

Signed lower right, watercolour and pencil

17cm x 27cm (6.75in x 10.5in)

17cm x 24cm (6.75in x 9.5in)

Provenance: Purchased from the artist by Mrs Margaret Brownlee, Edinburgh

Provenance: Duncan R. Miller Fine Arts, London, from whom acquired by the present owner in 2001

The Fine Art Society Ltd, Edinburgh and London, 1977

£8,000-12,000

MULL FROM IONA

Thomas R. Callan, Ayr, 20 November 2010, lot 197 from where acquired by the present owner

£4,000-6,000

114

George Leslie Hunter by an unknown photographer, undated. Courtesy National Galleries of Scotland

approach and make a fair guess that his heroes, Chardin and Manet competed with the Dutch in his early essays in still-life painting.’ (T. J. Honeyman, Introducing Leslie Hunter, Faber and Faber, London, 1937, pp.56-57).

Moreover, Hunter would have been familiar with the collections of Glasgow’s Art Gallery and University; the former’s two paintings by the Dutch artist Willem Kalf (1619-93) and the latter’s three works by the French painter Jean-Baptiste Chardin (1699-1779) have been singled out as sources of pre-war inspiration by Bill Smith and Jill Marriner (see Bill Smith and Jill Marriner, Hunter Revisited: The Life and Art of Leslie Hunter, Atelier Books, Edinburgh, 2012, pp.54-55).

At some point after 1910, Hunter was introduced to the Glasgow-based dealer, Alexander Reid. This proved to be a turning-point in Hunter’s professional progress and was followed by his first solo exhibition, held in Reid’s gallery, La Société des Beaux-Arts, in 1913. 17 works were sold and the art critic of the Glasgow Herald described Hunter as ‘a vigorous and confident painter with a fine sense of colour’ (as quoted by Smith and Marriner, op.cit., p. 54).

A second exhibition was held three years later. This George Leslie Hunter was the most independent of the four ‘Scottish Colourists’, who also included F. C. B. Cadell, J. D. Fergusson and S. J. Peploe. He was born in Rothesay on the Isle of Bute and emigrated to California in 1892. He was self-taught and began his career in San Francisco, earning his living as an illustrator whilst establishing himself within the Californian art world. Much of his early work was destroyed in the region’s earthquake of 1906,

prompted a review which highlighted ‘three or four examples of still life that are superlatively strong...they show a mastery of form and colour that takes one back to the triumphs of the Dutchmen.’ (Anon, ‘Review of the Exhibition of Alex. Reid [sic], Glasgow’, Bailie, March 1916, Vol. 88, p. 7 quoted in Philip Long and Elizabeth Cumming, The Scottish Colourists 1900-1930, Mainstreaming Publishing, London, 2000, p. 23).

shortly before its inclusion in what would have been his first solo

Still Life of Apples and Tankard is a dignified still life in which Hunter

exhibition.

reveals an assured use of oil paint and colour to realise light

Later that year Hunter moved to Glasgow, where his mother and other relatives had settled. The city was to remain the base from which a peripatetic lifestyle was led, until his death there in 1931.

Whilst his exact movements are impossible to establish, it is known

and shade, form and reflection. Whilst paying homage to past masters, bravura touches such as the brushstrokes of cream and red in the tankard’s stem reveal a confidence which matches the accomplishment of the image as a whole.

that he spent time in London and Paris, for example, before World

The somewhat later The Blue Tablecloth [or Still Life with Tasselled Fan]

War One.

is a highly sophisticated painting. Hunter contrasts light and dark,

Still Life of Apples and Tankard and The Blue Tablecloth [or Still Life with Tasselled Fan] are fine examples of Hunter’s work from the first phase of his career as an artist of distinction and recognition.

European travels provided access to a catholic range of art in public and private galleries, in addition to what he saw in America. His biographer T. J. Honeyman cites ‘very indifferent reproductions’ in an early scrapbook, from which ‘one can surmise the line of his

uses bright colour to provide structure and rhythm and leads the viewer’s eye right to the surface of the canvas by way of the fan’s tassel, which dangles alongside the napkin over the table. A richness of paint application can be seen throughout, whilst passages such as the severely fore-shortened glass and the rendering of the flower heads show why Hunter’s work of the period immediately found favour with collectors.

115

143 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) THE BLUE TABLECLOTH (STILL LIFE WITH TASSELLED FAN), c.1917 Signed, oil on canvas 53.5cm x 43cm (21in x 17in) Provenance: T. & R. Annan & Sons Ltd, Glasgow

£20,000-30,000

116

144 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) STILL LIFE OF APPLES AND TANKARD Signed and indistinctly dated, oil on board 23cm x 38cm (9in x 15in) Provenance: William McNair, Troon

£20,000-30,000

This painting formerly belonged to the solicitor William McNair, who was one of Hunter’s most important patrons, along with his business partners William McInnes and Ion Harrison at the Glasgow shipping company of Gow, Harrison & Co. As Bill Smith and Jill Marriner have related: ‘Often Hunter would arrive at the Company’s offices, bringing with him sketchbooks and all manner of other things to show to and discuss with his friends.’ (Bill Smith and Jill Marriner, Hunter Revisited: The Life and Art of Leslie Hunter, Atelier Books, Edinburgh, 2012, p. 73). McNair sat for Hunter on at least two occasions, as seen in the portraits now in the collections of Kelvingrove Art Gallery and Museum and the Hunterian Art Gallery, University of Glasgow.

117

145 § ROBERT HENDERSON BLYTH R.S.A., R.S.W. (SCOTTISH 1919-1970) THE ROAD TO FOCHABERS Signed, oil on board 56cm x 98cm (22in x 33.5in)

£2,000-3,000

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

118

JOAN EADLEY & GLASGOW Joan Eardley moved to Bearsden, on the outskirts of Glasgow in

Eardley became a regular sight in the streets of Townhead, sketching

1940, when she was nineteen-years old. She studied at the Glasgow

buildings, people and scenes of daily life in chalks and pastels,

School of Art over a period of eight years in the 1940s and retained a

which she then worked up into paintings in the studio. Her images

base in the city for the rest of her life. Her first studio after returning

of the local children are particularly celebrated, some of whom

from post-graduate travels was at 21 Cochrane Street, near George

affectionately recall her kindness towards them, including the

Square, which she rented from 1949. Three years later, she moved

provision of snacks whilst they sat for her.

to 204 St James Road in the nearby Townhead district. The area, of mixed residential and light industrial use, was overcrowded and dilapidated. However, Eardley was drawn to its vibrancy and close-

The city of Glasgow provided not only subject matter but also supported Eardley’s professional standing: she received her first solo

knit community.

exhibition at her alma mater in 1949, whilst the first of her paintings

In 1959 she explained: ‘I like the friendliness of the back streets.

1951, which was acquired the year after its creation by Kelvingrove

Life is at its most uninhibited here. Dilapidation is often more

Art Gallery and Museum (accession number 2963). So much

interesting to a painter as is anything that has been used and lived

development took place in Glasgow during Eardley’s lifetime and has

with – whether it be an ivy-covered cottage, a broken farm-cart or

continued apace since her death in 1963 that, in turn, her depictions

an old tenement.’(as quoted in Patrick Elliott and Anne Galastro, Joan

of its architecture and residents have become an important record of

Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh,

its history.

2016, p.14).

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

to enter a public collection was Catterline Coastguard Cottages of

Left: Eardley in her studio at 204 St James Road, Townhead, Glasgow with chalk sketches of children c.1950s. Photo: Audrey Walker. Joan Eardley Archive, Scottish National Gallery of Modern Art, Edinburgh. Courtesy of National Galleries of Scotland. © Jane Walker

146 § JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) STUDY OF A YOUNG GIRL Pastel on conjoined sheets of paper 46cm x 25.5cm (18in x 10in) Provenance: H.E.Kelly Exhibited: Compass Gallery, Glasgow, Christmas Exhibition, 1980, no.81 This drawing is recorded as ED815 in the artist’s estate inventory.

£6,000-8,000

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147 § JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) A GLASGOW TENEMENT Oil on board 38cm x 28cm (15in x 11in) Provenance: Aitken Dott & Son Ltd, The Scottish Gallery, Edinburgh

£8,000-12,000

148 § SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) SUNSET AT SEA Signed, oil on board 61cm x 76cm (24in x 30in)

£4,000-6,000

149 § MARY NICOL NEILL ARMOUR R.S.A., R.S.W. (SCOTTISH 1902-2000) CARRADALE FROM ARRAN Signed and dated 1981, oil on canvas 35cm x 76cm (25in x 30in) Exhibited: Royal Scottish Academy, Edinburgh, 1982, no.102

£1,000-1,500

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

122

ANNE REDPATH: A LOVE OF PAINT The year 1952 marked a turning-point in Anne Redpath’s career: she had her first solo exhibition in London, at The Lefevre Gallery, became the first female painter to be elected a full member of the Royal Scottish Academy and moved to 7 London Street in Edinburgh’s New Town, which remained her home for the rest of her life.

During this period, foreign travel emerged as an important source

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

of creative stimulus. In 1948, Redpath went abroad for the first time since returning to Scotland in 1934 after fourteen years spent in France. An extensive tour of Spain in 1951, a trip to Corsica in 1954 and a visit to the Canary Islands in 1959 were highlights of the decade. They inspired many works which were shown in frequent group and solo exhibitions in Scotland and England.

In 1955 Redpath suffered a coronary thrombosis and temporarily lost the use of her right arm. Undaunted, she learnt to paint with her left and, once recovered, thereafter used both interchangeably.

A second thrombosis four years later brought a re-newed vigour to her work, which continued to focus on the genres of the still life, landscape and interior. She developed a new relationship with oil paint, often applied in generous quantities with a palette knife and enjoyed as much for its materiality as for its colour. The resultant images introduced a level of abstraction previously unseen in her practice, which – whilst remaining figurative – pulsed with an energy beyond representation. In 1960, Redpath was elected an Associate

George Bruce explained the importance of Redpath’s late work, writing: ‘At the age of sixty-seven she had the freshness of a girl looking with delight on something she had never seen before, the craftsmanship of the long years of unceasing practice and selfcriticism and a personal style which could take account in a single painting of the complex reality that presented itself for her brush to realise in paint. But, one immediately says, how simple to look at and how rich that enjoyment, how easy to be absorbed into the delightful world of her last years’ painting!’ (George Bruce, Modern Scottish Painters: Anne Redpath, Edinburgh University Press, 1974, p. 63).

member of the Royal Academy of Arts in London, the first woman to

Redpath’s death in Edinburgh in 1965 was marked by a memorial

achieve that rank since 1944 and the first Scots woman ever to be

exhibition mounted by the Royal Scottish Academy, which went on

so honoured.

to tour throughout the country of her birth.

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150 §

In 1961, the Scottish poet George Bruce visited Redpath at her home in Edinburgh in order to

ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965)

interview her for the BBC. He recalled: ‘When filming began, one of her milking stools, which

WHITE CYCLAMEN Signed, oil on board 51cm x 61cm (20in x 24in) Provenance: Duncan Miller Fine Arts, London

£12,000-18,000

she had just painted as a gift to one of her grandchildren, stood, by chance or intention, beside a cyclamen in a pot – the one a simple artefact made to last, brightly coloured with a flowing design painted by herself, the other a pale delicate flowering cyclamen, the white flowers changing to deepening tones at their centres. Both and all were Anne Redpath.’ (George Bruce, Modern Scottish Painters: Anne Redpath, Edinburgh University Press, 1974, p. 61.).

The present painting is related to another of the same title, dated to 1962, which was purchased by Aberdeen Art Gallery in 1964 (accession number ABDAG003027).

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

124

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

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151 § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) CORSICAN VILLAGE Signed, oil on board 51cm x 61cm (20in x 24in)

£12,000-18,000

Redpath visited Corsica in 1954. She stayed in Bastia, in the north-east of the Mediterranean island, with her Edinburgh friend Donald Duff. It has been suggested that the village depicted in this confident, mature work might be Tralonca or Soveria.

Redpath had long been drawn to houses and other architectural elements huddled together in a wider landscape setting. However, this subject came to the fore during the 1950s in works inspired by trips including to Spain and France.

In this vigorously painted

work, Redpath uses a palette based on earthy tones, layering and mixing colours across the surface of the board support. The implied geometry of the buildings gives way to expressive passages which contain hints of geographical features whilst being highly expressive.

Redpath explained in 1961: ‘I think that I have always been interested in the textural quality of paint and painting and I think what I have got out of different countries like the Canary Islands, Corsica, Brittany and Portugal is something structural. So you see I haven’t gone really away from depicting the object although it has a kind of abstraction…I would go to Corsica and paint houses on a hill-side. I would exaggerate the buttress quality of the building…instead of having it at right angles to the earth I would exaggerate the fact that the base of it was broader than the top of it, then therefore it looked as if it was growing out of the hill. So that while I am interested in the structural shapes of the picture, I am also interested in the structure of the objects themselves. And therefore they are really more convincing than they were before.’ (as quoted by Philip Long, Anne Redpath 1895-1965, National Galleries of Scotland, Edinburgh, exh. cat., 1996, p. 26).

We would like to thank Professor Francis Beretti of the University of Corsica for his help in researching this painting.

152 § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) BELL TOWER, PORTUGAL Charcoal and watercolour 38cm x 27cm (15in x 10.5in) Provenance: Mercury Gallery Ltd, Edinburgh, May 1986

£800-1,200

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

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153 § ALEXANDER GOUDIE (SCOTTISH 1933-2004) LAMPLIGHT Signed, oil on canvas 116cm x 110cm (45.5in x 43.25in) Exhibited: The Glasgow Art Club

£5,000-7,000

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

127

154 § 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) THE CARDINALS Signed and inscribed verso, oil on board 48.5cm x 59cm (19in x 23.25in)

£3,000-5,000

155 § 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) THE WIRE II Signed, watercolour 76cm x 76cm (30in x 30in) Exhibited: The Scottish Gallery, Edinburgh, Festival Exhibition, 1965

£2,000-3,000

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156 § JOHN CUNNINGHAM (SCOTTISH 1927-2000) DERRYNANE, CO. KERRY Signed, inscribed and dated 1969 on a label verso, oil on canvas 76cm x 86.5cm (30in x 34in)

£4,000-6,000

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

129

157 § 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) FIGHTING COCKS Signed, oil on board 16cm x 21.5cm (625in x 8.5in) Provenance: From the collection of the late Dr Angus Gibson, to be sold to support the University of Edinburgh Art Collection Exhibited: The Scottish Gallery, Edinburgh, Festival Exhibition, 1955 The Scottish Arts Council, Robin Philipson, no.4 Scottish National Gallery of Modern Art, Robin Philipson 1916-1992, 1999, no.17 This painting dates from c.1954.

£1,000-1,500

158 § WILLIAM JOHNSTONE O.B.E. (BRITISH 1897-1981) UNTITLED Indistinctly signed and dated, oil on canvas 20.7cm x 22.5cm (8.25in x 8.75in) Provenance: Given by the artist to the current owner’s mother

£1,500-2,000

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

£3,000-5,000

131

160 § JAMES MORRISON R.S.A., R.S.W., L.L.D. (SCOTTISH 1932-2020) MONTROSE BASIN Signed and dated, oil on board 78cm x 103cm (30.75in x 40.5in)

£3,000-5,000

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

161 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) THE MARINER Signed, oil on canvas 122cm x 91cm (48in x 36in)

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

133

INDEX OF ARTISTS Alexander, Edwin John

21

Forrest, Archie

74

Fraser Jnr, Alexander

6, 17

Fullarton, James

75

Galt, Alexander Milligan

63

Armour, Mary Nicol Neill 64, 70, 73, 78, 149

Gauld, David

7

Beattie-Brown, William

16

Gibson, William Alfred 39, 40, 48, 53

Bellany, John

161

Blyth, Robert Henderson

145

Bough, Sam

13, 89

Brough, Robert

100, 115

Cadell, Francis Campbell Boileau 136, 137, 138, 139, 140, 141, 142 Cameron, Hugh

97, 98

Cameron, Sir David Young 23, 51, 111, 112, 116

Milne, Joseph

22

Morris, Margaret

131, 132

Morrison, James

160

Mouncey, William

3

Murray, John Reid

85

Gillies, Sir William George

79, 80, 81

Nasmyth, Alexander

88

Goudie, Alexander

153

Nasmyth, Charlotte

12

Grieve, Walter Graham

72

Noble, James Campbell

29

Hamilton, James Whitelaw

1

Oppenheimer, Charles

45, 106

Henderson, Joseph

25, 84

Orchardson, Sir William Quiller

14

Herald, James Watterston

46, 66

Park, Stuart

10, 50, 52

Hornel, Edward Atkinson

44, 107, 108

Houston, George

5, 55, 83, 99

Paterson, James 31, 32, 33, 34, 35, 36

Hunter, Colin

38

Hunter, George Leslie

143, 144

Cowie, James

123, 124

Crawford , Edmund Thornton

87

Crozier, William

125, 126

Cunningham, John

71, 156

Cursiter, Stanley

56

Dekkert, Eugen

2

Dobson, Cowan

69

Docharty, James

26

Donaldson, David

118

Duncan, John Mckirdy

103

Eardley, Joan

146, 147

Farquharson, David

4

MacTaggart, Sir William 122, 127, 148

Fergusson, John Duncan

133, 134

Mann, Harrington

105

Fettes Douglas, Sir William

11

McGregor, Robert

43

McTaggart, William

92, 93, 94

Melville, Arthur

113, 114

Hutchison, Robert Gemmell 41, 42, 95, 96, 102, 110

Flint, Sir William Russell 57, 58, 59, 60

Milne, John Maclauchlan 128, 129, 130

Patrick, James Mcintosh

47, 65

Peploe, Samuel John

135

Philip, John

9

Philipson, Sir Robin 76, 77, 82, 154, 155, 157

Johnston, Helen Stirling

62

Johnstone, Dorothy

119

Johnstone, William

158, 159

Kellock Brown, Alexander

24

Redpath, Anne 150, 151, 152

Lorimer, John Henry

91

Reid, John Robertson

Lumsden, Ernest Stephen

104

Robertson, Eric Harald Macbeth 120, 121

Macbeth Sutherland, David

61

Sommerville Shanks, William

37

Mackie, Charles Hodge

27, 90

Souter, John Bulloch

67

Stewart MacGeorge, William

54, 86, 109

Stronach, Ancell

117

Thorburn, Archibald

18, 19

Walton, Edward Arthur

8

Pratt, William

101

15

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

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

AUCTION 10 AUGUST 2022 OPEN FOR CONSIGNMENTS

JOHN BYRNE R.S.A. (SCOTTISH 1940-) FIGURE WITH DOLL £3,000-5,000

For more information please contact 0131 557 8844 Charlotte Riordan | Contemporary & Post-War Art charlotte.riordan@lyonandturnbull.com Carly Shearer | Prints & Multiples carly.shearer@lyonandturnbull.com

MODERN & POST-WAR ART, DESIGN & STUDIO CERAMICS AUCTION 28 OCTOBER 2022 OPEN FOR CONSIGNMENTS EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) SCULPTOR’S CHAIR, 1987 beech, birch plywood, and found objects; together with the maquette model £8,000-12,000

For more information please contact Philip Smith | 0207 930 9115 philip.smith@lyonandturnbull.com

136

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. (iv) For jewellery sales, all Estimates are based on the information in any gemmological report or, if no gemmological report is available, You should assume that the gemstones may have been treated or enhanced. (b) Clocks & Watches: All Lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/newer parts. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Buyers should also be aware that we cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted.

These watches cannot be shipped to the USA and only imported personally.

Clocks may be sold without pendulums, weights or keys. (c) Alcohol: may only be sold to persons aged of 18 years and over. By registering to bid, You affirm that You are at least that age. All collections must be signed for by a person over the age of 18. We Reserve the right to ask for ID from the person collecting. Buyers of alcohol must make appropriate allowances for natural variations of ullages, conditions of corks and wine. We can provide no guarantees as to how the alcohol may have been stored. There is always a risk of cork failure and allowance by the Buyer must be made.

Alcohol is sold “as is” and quality of the alcohol is entirely at the risk of the Buyer and no warranties are given. (d) Books-Collation: If on collation any named item in the sale Catalogue proves defective, in text or illustration the Buyer may reject the Lot provided he returns it within 21 days of the sale stating the defect in writing. This, however, shall not apply in the case

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

B. REGISTERING TO BID 1. NEW BIDDERS (a) If this is Your first time bidding at Lyon & Turnbull or You are a returning Bidder who has not bought anything from us within the last two years You must register at least 48 hours before an auction to give us enough time to process and approve Your registration.

We may, at our discretion, decline to permit You to register as a Bidder. You will be asked for the following: (i) Individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of Your current address (for example, a current utility bill or bank statement) (ii) Corporate clients: Your Certificate of Incorporation or equivalent document(s) showing Your name and registered address together with documentary proof of directors and beneficial owners, and; (iii) Trusts, partnerships, offshore companies and other business structures please contact us directly in advance to discuss requirements. (b) We may also ask You to provide a financial reference and/or a deposit to allow You to bid. For help, please contact our Finance Department on +44(0)131 557 8844.

2. RETURNING BIDDERS We may at our discretion ask You for current identification as described in paragraph B.1.(a) above, a finance reference or a deposit as a condition of allowing You to bid. If You have not bought anything from us in the last two years, or if You want to spend more than on previous occasions, please contact our Finance Department on +44(0)131 557 8844.

137 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.

C. DURING THE SALE

otherwise) omission or breakdown in providing these services.

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.

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

2. RESERVES Unless indicated by an insert symbol (∆), all Lots in this Catalogue are offered subject to a Reserve. A Reserve is the confidential Hammer Price established between us and the Seller. The Reserve is generally set at a percentage of the low Estimate and will not exceed the low Estimate for the Lot. 3. AUCTIONEER’S DISCRETION The maker of the highest bid accepted by the Auctioneer conducting the sale shall be the Buyer and any dispute shall be settled at the Auctioneer’s absolute discretion. The Auctioneer may move the bidding backwards of forwards in any way he or she may decide or change the order of the Lots.

The Auctioneer may also; refuse any bid, withdraw any Lot, divide any Lot or combine any two or more Lots, reopen or continuing bidding even after the hammer has fallen.

4. BIDDING The Auctioneer accepts bids from: (a) Bidders in the saleroom; (b) Telephone Bidders, and internet Bidders through Lyon & Turnbull Live or any other online bidding platform we have chosen to list on and; (c) Written bids (also known as absentee bids or commission bids) left with us by a Bidder before the auction.

5. BIDDING INCREMENTS Bidding increments shall be at the Auctioneer’s sole discretion.

6. CURRENCY CONVERTER The saleroom video screens and bidding platforms may show bids in some other major currencies as Well as sterling. Any conversion is for guidance only and we cannot be bound be any rate of exchange used. We are not responsible for any error (human or

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. 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 Catalogue other than that appearing

138 in the Bold or Capitalised heading and subject to the exclusions below.

In the event we, in our reasonable opinion, deem that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the Lot the Hammer Price and applicable Buyer’s Premium paid for the Lot by the original purchaser.

This Guarantee does not apply if: (a) The Catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the Catalogue description indicated that there was a conflict of such opinions; or (b) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in our reasonable opinion) to have caused damage to the Lot or likely to have caused loss of value to the Lot; or (c) There has been no material loss in value of the Lot from its value had it been in accordance with its description in the Bold or Capitalised type heading.

This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the Lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the Lot must: (a) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the Lot number, date of the auction at which it was purchased and the reasons for such dispute; and (b) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale.

We have discretion to waive any of the above requirements. We may require the original purchaser of the Lot to obtain, at the original purchaser of Lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of the Lot. We shall not be bound by any reports produced by the original purchaser of the Lot, and Reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original Purchase Price paid (the successful Hammer Price, plus the Buyer’s Premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller shall not be liable for any incidental or

consequential damages incurred or claimed, including without limitation, loss of profits or interest.

3. YOUR WARRANTIES (a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes. (b) Where You are bidding on behalf of another person You warrant that: (i) You have conducted appropriate customer due diligence on the ultimate Buyer(s) of the Lot(s) in accordance with all relevant anti-money laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so; (ii) The arrangements between You and the ultimate Buyer(s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and; (iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer(s) are under investigation or have been charged with or convicted of money-laundering, terrorist activities, or other crimes.

F. PAYMENT 1. MAKING PAYMENT (a) Within 7 days of a Lot being sold You will pay to us the Total Amount Due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. Please note that we do not accept cash payments over £5,000 per Buyer per year. (b) Any payments by You to us can be applied by us towards any sums owing

by You to us howsoever incurred and without agreement by You or Your agent, whether express or implied. (c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name. (d) The ownership of any Lots purchased shall not pass to You until You have made payment in full to us of the Total Amount Due. The risk in and the responsibility for the Lot will transfer to You from whichever is the earlier of the following: (i) When You collect the Lot; or (ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise with You in writing. (e) You shall at Your own risk and expense take away any Lots that You have

purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any cheque used for payment whichever is later. We can provide You with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us. (f) No purchase can be claimed or removed until it has been paid for. (g) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time.

2. IN THE EVENT OF NON-PAYMENT If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the Sellers and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (a) To proceed against You for damages for breach of contract; (b) To rescind the contract for sale of that Lot and/or any other Lots sold by us to You; (c) To resell the Lot(s) (by auction or private treaty) in which case You shall be responsible for any resulting deficiency in the Total Amount Due (after crediting any part payment and adding any resale costs). (d) To remove, store and insure the Lot in the case of storage, either at our premises or elsewhere and to recover from You all costs incurred in respect thereof; (e) To charge interest at a rate of 5% a year above the Bank of Scotland base rate from time to time on all sums outstanding for more than 7 working days after the sale; (f) To retain that or any other Lot sold to You until You pay the Total Amount Due; (g) To reject or ignore bids from You or Your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) To apply any proceeds of sale of other Lots due or which become due to You towards the settlement of the Total Amount Due by You and to exercise a lien over any of Your property in our possession for any purpose until the debt due is satisfied. You will be deemed to have granted such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any way we think appropriate. We will use the proceeds of the sale against any amounts You owe us and we will pay any amount left from that sale to You. If there is a shortfall, You must pay us the balance; and (i) Take any other action we see necessary or appropriate.

G. COLLECTION & STORAGE (1) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. Information on collection is set out in the Catalogue and our Website (2) Unless agreed otherwise, You must collect purchased Lots within seven days from the auction. Please note the Lots will only be released upon full payment being received.

(3) If You do not collect any Lot within seven days following the auction we can, at our discretion; (i) Charge You storage costs at the rates set out on our Website. (ii) Move the Lot to another location or an affiliate or third party and charge You transport and administration costs for doing so and You will be subject to the third party storage terms and pay for their fees and costs. (iii) Sell the Lot in any way we think reasonable.

H. TRANSPORT & SHIPPING 1. TRANSPORT AND SHIPPING We will include transport and shipping information with each invoice sent to You as well as displayed on our Website. You must make all transport and shipping arrangements.

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

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

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

2. RECORDINGS We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law if You do not wish to be videotaped, You may make arrangements to bit by telephone or a written

bid or bid on Lyon & Turnbull Live instead. Unless we agree otherwise in writing, You may not videotape or record proceedings at any auction.

3. COPYRIGHT We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission. We do not offer any guarantee that You will gain any copyright or other reproductions to the Lot. 4. ENFORCING THIS AGREEMENT If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force.

5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES You may not grant a security over or transfer Your rights of responsibilities under these terms on the contract of sale with the Buyer unless we have given our written permission. This agreement will be binding on Your successors or estate and anyone who takes over Your rights and responsibilities.

6. REPORTING ON WWW.LYONANDTURNBULL.COM Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www.lyonandturnbull. com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website.

7. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers. (c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private treaty sale, if a Lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale.

8. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the premises, safety and security arrangements.

Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.

9. DATA PROTECTION Where we obtain any personal information about You, we shall use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) You may have given at the time Your information was disclosed). A copy of our Privacy Policy can be found on our Website www.lyonandturnbull.com or requested from Client Services, 33 Broughton Place, Edinburgh, EH1 3RR or by email from data enquiries@lyonandturnbull.com.

10. FORCE MAJEURE We shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract.

11. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

K. DEFINITIONS & GLOSSARY The following words and phrases used have (unless the context otherwise requires) the meaning to given to them below. The go Glossary is to assist You to understand words and phrases which have a specific legal meaning which You may not be familiar with.

1. DEFINITIONS “Auctioneer” Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate; “Bidder” a person who has completed a Bidding Form “Bidding Form” our Bidding Registration Form our Absentee Bidding Form or our Telephone Bidding Form.

“Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to by the words “You” and “Your” “Buyer’s Premium” the sum calculated on the Hammer Price at the rates stated in Catalogue.

“Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website “Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on behalf of the Seller.

“Estimate” a statement of our opinion of the range within the hammer is likely to fall.

“Hammer Price” the level of bidding reached (at or above any Reserve) when the Auctioneer brings down the hammer; “High Cumulative Value of Lot” several Lots with a total lower Estimate value of £30,000 or above; “High Value Lot” a Lot with a lower Estimate of £30,000 or above; “Lot” each Item offered for sale by Lyon & Turnbull; “Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses; “Reserve” the lowest price below which an item cannot be sold whether at auction or by private treaty; “Sale” the auction sale at which a Lot is to be offered for sale by us.

“Seller” the person who offers the Lot for Sale. We act as agent for the Seller.

“Total Amount Due” the Hammer Price in respect of the Lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions; “VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom.

“Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com 2. GLOSSARY The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings: “Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to “Knocked Down” when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale.

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

“Risk” the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value.

“Title” the legal and equitable right to the ownership of a Lot.

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140

GUIDE TO BIDDING & PAYMENT REGISTRATION

BIDDING OUTSIDE THE SALEROOM

PAYMENT

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:

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 148 [detail]

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