Contemporary & Post-War Art | Prints & Multiples | Auction 10 August 2022

10TH AUGUST 2022 EDINBURGH LIVE ONLINE

WEDNESDAY 10 AUGUST 2022 CONTEMPORARY & POST-WAR ART AT 10AM PRINTS & MULTIPLES AT 3PM

Sale Number LT706

Lyon & Turnbull 33 Broughton Place EDINBURGH EH1 3RR VIEWING Friday 5th August 10am-4pm Sunday 7th August 12 noon - 4pm Monday 8th August 10am-4pm Tuesday 9th August 10am-4pm Morning of the sale by appointment

Front Cover Lot 238 [detail] Inside Front Cover Lot 168 [detail]

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

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BUYER'S GUIDE

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

If you have not bought before we will be delighted to help you.

BUYER’S PREMIUM

REGISTRATION

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

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

26% up to £20,000 25% from £20,001 to £500,000 20% thereafter.

VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale at the back of this catalogue).

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

No VAT is payable on the hammer price or premium for books bought at auction.

DROIT DE SUITE § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the buyer on the hammer price and in addition to the buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale.

More information on Droit de Suite is available at www.dacs.org.uk

1 – Government issued photo ID (Passport/Driving licence) 2 – Proof of address (utility bill/bank statement).

We may, at our option, also ask you to provide a bank reference and/ or deposit. (Particularly for bidding on lots marked by the high value lot symbol ) By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website).

BIDDING & PAYMENT For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue.

REMOVAL OF PURCHASES Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. See Collections & Storage section for more info specific to this particular auction.

CATALOGUE DESCRIPTIONS All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction.

Our specialists will be happy to prepare condition reports and additional images.

These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.

IMPORT/EXPORT Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell.

Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot.

ENDANGERED SPECIES Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside Great Britain.

For more information visit http://www. defra.gov.uk/ahvla-en/imports-exports/ cites COLLECTION OF PURCHASED LOTS All collections will be by appointment only (this applies to both carriers and personal collections). To make an appointment call 0131 557 8844 or email info@lyonandturnbull.com.

Please ensure payment has been made prior to collection. This can be done by bank transfer, and debit/credit card online (powered by Opayo) - details will be shown on your invoice.

Please note we are unable to take payments over the phone.

Preceding Page Left Lot 50 [detail]

Preceding Page Right Lot 30

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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.

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

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

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

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

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1§ JOHN BYRNE R.S.A. (SCOTTISH 1940-) UNDERWOOD LANE I, 2009 Signed lower centre, mixed media on scraper board 29cm x 18cm (11.5in x 7in) Provenance: Lemon Street Gallery, Truro

£2,000-3,000

2§ DAVID EVANS R.S.A., R.S.W., A.R.C.A (SCOTTISH 1942-) A FLIGHT PAST THE TOWERS Signed lower left, acrylic on board 90cm x 66cm (35.5in x 26in)

£1,000-1,500

3§ ALEXANDRA GARDNER (SCOTTISH 1946-) BOBLOVSKY BLUES, 2005 Signed upper left, signed and inscribed with title and dated verso, oil on canvas 76cm x 101.5cm (30in x 40in) Exhibited: The Scottish Gallery, Edinburgh, 2005

£2,000-3,000

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

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4§ JOHN BYRNE R.S.A. (SCOTTISH 1940-) FIGURE WITH DOLL Signed ‘Patrick’ centre right, mixed media on paper 21cm x 13cm (8.25in x 5in)

£3,000-5,000

5§ JOHN BYRNE R.S.A. (SCOTTISH 1940-) SELF PORTRAIT, DRAWING, 2007 Signed lower right, charcoal 31cm x 23cm (12.25in x 9in) Provenance: Lemon Street Gallery, Truro

£1,200-1,800

6§ JOHN BYRNE R.S.A. (SCOTTISH 1940-) FEEGIE Signed lower centre, watercolour, ink and pencil 12cm x 25cm (4.75in x 9.75in) Provenance: The Fine Art Society, London

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

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7§ EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) UNTITLED (MASKED HEAD) Plaster mounted on wooden stand 50cm x 20cm x 20cm (19.75in x 8in x 8in), including stand Provenance: Purchased from the Paolozzi Foundation c. 2006

£500-700

8§ DAVID MACH H.R.S.A., R.A. (SCOTTISH 1956-) FOX MATCH HEAD Matches (partially burned), assembled on a purpose made black metal and perspex stand 51cm x 43cm x 31cm (20in x 17in x 12in), including stand

£1,500-2,500

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9§ CHARLES MACQUEEN R.S.W., R.G.I. (SCOTTISH 1940-) WINTER, VENICE Signed lower right, oil and mixed media on board 31cm x 39cm (12.25in x 15.25in)

£800-1,200

10 § † ANN WEGMULLER R.S.W., R.W.S. (SCOTTISH 1941-) NIGHT LANDING Signed lower right, gouache 37cm x 27cm (14.5in x 10.5in)

£300-500

11 § CLAIRE HARRIGAN R.S.W. (SCOTTISH 1964-) LOBSTER BOAT Signed lower left, mixed media on paper 28cm x 37cm (11in x 14.5in)

£500-700

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12 § DONALD MCINTYRE (BRITISH 1923-2009) STILL LIFE ON A RED TABLE Signed lower right, oil on board 48cm x 61.5cm (19in x 24in)

£2,000-3,000

13 § † GORDON BRYCE R.S.A., R.S.W (SCOTTISH 1943-) KITCHEN TABLE Signed lower right, oil on paper laid on board 50cm x 64cm (19.75in x 25.25in)

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

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14 § PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) UNTITLED (HAT AND SUNGLASSES), 1977 Signed and dated lower left, chalk 71cm x 52cm (28in x 20.5in)

£500-700

15 § PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) UNTITLED (NUDE WITH EARRINGS), 1992 Signed and dated lower right, chalk 74.5cm x 51cm (29.5in x 20in)

£300-500

16 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) (UNTITLED) PORTRAIT OF A WOMAN Signed upper left, ink wash 36.5cm x 27cm (14.25in x 10.5in)

£700-1,000

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17 § † JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) THE MORNING TIPPLE Signed and inscribed with title lower edge, further inscribed ‘To Reg and Patricia, Love John’ upper right, pencil and watercolour 37cm x 29cm (14.5in x 11.5in)

£1,200-1,800

18 § † JENNIFER MCRAE R.S.A. (SCOTTISH 1959-) HELENA, 1999 Signed and dated lower left, mixed media on canvas 97cm x 63cm (38in x 24.75in)

£1,000-1,500

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

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19 § JOHN HOUSTON R.S.A., R.S.W., S.S.A. (SCOTTISH 1930-2008) SUNSET, DIEPPE II Signed lower right, oil on canvas 22cm x 34cm (8.5in x 13.5in)

£800-1,200

20 § JOHN HOUSTON R.S.A., R.S.W., S.S.A. (SCOTTISH 1930-2008) STILL LIFE, ANSTRUTHER, 1953 Signed and dated lower right, oil on board 30cm x 41cm (11.75in x 16in) Provenance: Private Collection, Ayrshire Exhibited: Royal Scottish Academy, Annual Exhibition, 1954, no. 269

£1,500-2,000

21 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) ”THE ALICE” Signed lower right, oil on canvas 90cm x 120cm (35.5in x 47.25in)

£4,000-6,000

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

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The following paintings by

As a result, a selection

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Alan Davie, David McClure

of works are being

and Denis Peploe have

de-accessioned and the

been consigned by Art in

proceeds will be used to

ALAN DAVIE C.B.E., R.A., H.R.S.A. (SCOTTISH 1920-2014)

Healthcare, in order to

ensure that the collection

raise funds to support its

remains relevant, provides

Signed and inscribed with date and title verso, oil on canvas

charitable aims. For over

maximum benefit to as

75cm x 95.5cm (29.5in x 37.5in)

thirty years, the Scottish

many people as it can

£6,000-8,000

charity has displayed works

reach physically and

MAGIC CASKET, 1996

from its holdings of modern and contemporary art in health

digitally and continues to

and social care settings, to create welcoming and stimulating

support emerging Scottish artists.

environments for patients, visitors and staff. The coronavirus (COVID-19) pandemic provided an opportunity to review the collection so that it can be cared for and shared as effectively as possible.

Alan Davie’s Magic Casket of 1996 is a mature example of the artist’s work. His unique vocabulary of signs and symbols, combined with the implications of the title, invite the viewer to form a narrative based on personal interpretation.

Davie is the subject of an exhibition which runs at Dovecot, Edinburgh until 24 September 2022.

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

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23 § DENIS PEPLOE R.S.A. (SCOTTISH 1914-1993) LOCH KISHORN Signed lower right, oil on canvas 50cm x 61cm (19.75in x 24in)

£2,000-3,000

24 § DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926-1998) BOATS AT ST. PAUL’S BAY, MALTA, 1991 Signed lower left, inscribed with title verso, oil on canvas board 50cm x 34cm (19.5in x 13.25in) Exhibited: The Scottish Gallery, Edinburgh

£2,000-3,000

Denis Peploe’s Loch Kishorn of 1962 is an emotional response to the dramatic landscape of the north-west highlands of Scotland. Peploe rendered the majesty of the scene before him in short, heavily loaded brushstrokes which capture the tumultuous and changing nature of the weather in the region.

David McClure’s Boats at St Paul’s Bay, Malta of 1991 is a joyful late work which he painted the year after being elected a member of the Royal Glasgow Institute of the Fine Arts. The vibrant holiday image is full of colour emboldened by warm sunshine, as the eye is led from the boats in the foreground to the topmost window of the buildings beyond.

To find out more about Art in Healthcare please visit www.artinhealthcare.org.uk

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25 § JENNIFER MCRAE R.S.A. (SCOTTISH 1959-) THE LITTLE LIFE HAT, 1994 Signed with initials and dated lower left, oil and gold paint on board 16cm x 9cm (6.25in x 3.5in) Exhibited: The Open Eye Gallery, Edinburgh

£700-1,000

26 § JENNIFER MCRAE R.S.A. (SCOTTISH 1959-) MIXED MESSAGES II, 1995 Signed, dated and inscribed with title to lower border, oil on paper 20cm x 27cm (8in x 10.5in) Exhibited: The Open Eye Gallery, Edinburgh

£500-700

27 § JENNIFER MCRAE R.S.A. (SCOTTISH 1959-) UNTITLED (HEAD), 1994 Signed and dated lower left, mixed media on paper 25cm x 15.5cm (9.75in x 6in) Exhibited: The Open Eye Gallery, Edinburgh

£600-800

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28 § † STEPHEN GODDARD (BRITISH 1959-) VAN GOGH Signed with initials lower left, inscribed ‘Vincent’ along lower right hand edge, oil on board 78cm x 52cm (30.75in x 20.5in)

£2,000-3,000

29 § † STEPHEN GODDARD (BRITISH 1959-) MONET, 2007 Mixed media on board 33cm x 27cm (13in x 10.5in) Exhibited: The Fine Art Society, London, 2007

£1,000-1,500

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

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30 § STEPHEN GODDARD (BRITISH 1959-) ERIC Oil and mixed media on board 118cm x 91cm (46.5in x 35.75in)

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

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31 § DAVID EVANS R.S.A., R.S.W., A.R.C.A (SCOTTISH 1942-) NEW LIGHT Oil on canvas 153cm x 185cm (60in x 72.75in)

£1,200-1,800

32 § CRAIG MULHOLLAND (SCOTTISH 1969-) JETTY, 1992 Signed with initials lower right, oil and acrylic on board 66cm x 66cm (26in x 26in) Exhibited: Compass Gallery, Glasgow, 1993

£800-1,200

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33 § PETER HOWSON O.B.E. (SCOTTISH 1958-) UNTITLED (MAN IN CITY STREET AT DUSK) Signed lower right, pastel 28cm x 21cm (11in x 8.25in)

£600-800

34 § PETER HOWSON O.B.E. (SCOTTISH 1958-) FACES - BOSNIAN WAR SERIES, 1993 Signed and dated lower left, graphite and pastel 39cm x 25.5cm (15.25in x 10in)

£700-900

35 § NEIL MACPHERSON R.S.A., R.S.W, R.G.I. (SCOTTISH 1954-) THE PURPLE DAWN Signed lower right, acrylic on paper 40cm x 58cm (15.75in x 22.75in) Exhibited: The Compass Gallery, Glasgow, 1993

£400-600

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36 § PETER THOMSON R.G.I. (SCOTTISH 1962-) BOATMAN, 2012 Signed and dated lower right, oil on board 24cm x 30cm (9.5in x 12.75in)

£500-700

37 § HEATHER NEVAY R.G.I. (SCOTTISH 1965-) A FORK IN THE ROAD, 2000 Signed lower right, acrylic on board 39cm x 29cm (15.25in x 11.5in) Exhibited: The Portal Gallery, London

£1,000-1,500

38 § PETER THOMSON R.G.I. (SCOTTISH 1962-) BLUE AND GOLD, 2014 Signed and dated lower right, oil on panel 40cm x 51cm (15.75in x 20in)

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

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39 § KENNY HUNTER (BRITISH 1962-) WHAT IS HISTORY? (OSAMA BIN LADEN & MONICA LEWINSKY), 1998 A pair of portrait busts, each incised with initials and numbered 16/100 to underside, cast resin 27cm x 13.5cm x 14cm (10.5in x 5.25in x 5.5in) Note: On What is History? the artist commented that it was his ‘response to the collapse of the grand narratives and absolute belief systems represented by the traditional historical bust.’

£400-600

Born and raised in Edinburgh, Kenny Hunter first studied sculpture at the Glasgow School of Art from 1983-1987, followed by a stint studying classical sculpture at the British School in Athens.

Hunter typically combines the art historical canon with popular culture in his work. His sculpture is heavily influenced by the bright colours and smooth, flawless finish of plastic toys.

He has been commissioned for several major public art projects including Citizen Firefighter, 2001, outside Glasgow’s Central Station, Youth with Split Apple, 2005 for Kings College, Aberdeen and iGoat, 2010 in Spitalfields, London. He has also exhibited extensively both in Britain and abroad, and is represented by Galerie Scheffel in Germany and Connersmith in the USA.

40 § JULIEN MARINETTI (FRENCH 1967-) PANDA Signed to panda’s right leg, bronze with acrylic and lacquer 40cm x 30cm x 31cm (15.75in x 11.75in x 12.25in)

£3,000-5,000

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

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41 § TRACEY EMIN C.B.E., R.A. (BRITISH 1963-) UNTITLED (THIS IS THE KIND OF LINE) C.2007, ink drawing with handwritten note and envelope, framed together, with note reading, ‘Dear Paul, This is the kind of line. It is made by ink, it is powdery NOT watery. I hope this helps, Tracey x.’

12cm x 17cm (4.75in x 6.25in), sheet with drawing only

£1,200-1,800

42 § POLLY MORGAN (BRITISH 1980-) STILL BIRTH (RED), 2010 Edition of 150, taxidermy chick in a glass display dome 51cm x 24cm (20in x 9.5in) (inclusive of dome)

£1,200-1,800

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43 § HENRIK SIMONSEN (DANISH 1974-) ROC’COCO GOLD, 2008 Oil and acrylic on canvas 100cm x 100cm (39.5in x 39.5in)

£600-800

44 CAMILLE ROSE GARCIA (AMERICAN 1975-) IT WILL PASS AWAY LIKE A SLOW PARADE, I’M LEAVING BUT I DON’T KNOW HOW SOON Signed with initials and titled in pencil, mixed media 37cm x 43.5cm (14.5in x 17in)

£300-500

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

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45 § DAN BALDWIN (BRITISH 1972-) DEAD INNOCENT, 2008 Signed and dated stretcher verso, mixed media on canvas 142cm x 142cm (55.75in x 55.75in)

£3,000-5,000

46 § DAN BALDWIN (BRITISH 1972-) DEATH IN THE GARDEN Inscribed with title verso, mixed media collaged elements on canvas 90cm x 90.5cm (35.5inx 35.5in)

£2,000-3,000

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47 § ANTONY MICALLEF (BRITISH 1975-) SUCK LOVE Inscribed with title, indistinctly signed verso, mixed media on canvas 160cm x 170cm (63in x 67in), unframed

£5,000-7,000

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48 § DAVID ROLAND (FRENCH 1976-) CAROLINE Indistinctly inscribed lower right, mixed media on glass 130cm x 130cm (51.25in x 51.25in)

£600-800

49 ABIEZER AGUDELO (COLUMBIAN 1964-) SERES SÓLIDOS DE ENSOÑACIÓN Y EXOTISMO, 2008 Signed and dated lower right, oil on yellow canvas 92cm x 146cm (36.5in x 57.5in), unframed

£800-1,200

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

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50 § DAVID MACH H.R.S.A., R.A. (SCOTTISH 1956-) HORIZONTAL CONTROL Collage mounted on wooden board 92cm x 91cm (36.25in x 35.75in) Exhibited: The Scottish Arts Council, Edinburgh

£2,000-3,000

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

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51 § DALZIEL + SCULLION (SCOTTISH CONTEMPORARY) PAVEMENT, 2004 Photographic transparency on lightbox 125cm x 161cm x 17cm (49in x 63.5in x 7in) Exhibited: Houldsworth Gallery, London .

£600-800

52 § IAIN ROBERTSON (BRITISH 1955-) MOONGLOW, 2015 Signed and inscribed with title and dated verso, oil on canvas 90cm x 90cm (35.5in x 35.5in)

£500-700

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53 § PHILIP REEVES R.S.A., R.S.W., A.R.C.A., R.G.I. (SCOTTISH 1931-2017) LANDSCAPE FLIGHT Signed lower right, oil and collage 42cm x 47cm (16.5in x 18.5in)

£500-700

54 § WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (SCOTTISH 1915-1997) UNTITLED ABSTRACT, 1987 Signed and dated lower right, oil on paper 50cm x 35cm (19.75in x 13.75in)

£500-700

55 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (SCOTTISH 1920-2014) OPUS G. 2337: MEDITATIONS ON A BABYLONIAN WORLD MAP NO. 3, 1998 Signed and dated upper left, gouache on paper 33cm x 38cm (13in x 15in)

£1,200-1,800

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56 § ANTON ROOSKENS (DUTCH 1906-1976) UNTITLED (BIRD), 1971 Signed and dated lower right, gouache and acrylic on paper 58cm x 48cm (22.75in x 19in)

£2,000-3,000

57 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (SCOTTISH 1920-2014) SERPENT IN LOVE, NO. 2, 1968 Gouache and watercolour on two conjoined pieces of paper 41cm x 103cm (16in x 40.5in)

£3,000-5,000

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

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58 § THOMAS DELLERT-DELACROIX (SWEDISH 1953-) ANDY IN BUSINESSLAND, 1987 Signed and dated lower right, inscribed with title upper right and ‘Last American Soup, Supper’ lower left, signed, dated and inscribed verso, collaged elements on canvas 55cm x 38cm (21.5in x 15in), unframed Note: Inscribed in Swedish verso: ‘Som Minne av Andy Warhol och den Amerikanska Popkonsten - Vilken Javla Soppa’, which translates roughly as, ‘In Memory of Andy Warhol and American Pop Art - What a fucking soup’

£500-700

59 § BOB AND ROBERTA SMITH O.B.E., R.A. (BRITISH 1963-) UNTITLED (WHY AM I HERE?), 2011 Signed and dated lower right and inscribed ‘at the ICA’, newspaper collaged elements and felt tip on painted MDF board 40cm x 30cm (15.75in x 11.75in), unframed Provenance: Purchased directly from the artist, a unique art work created whilst in residence at ICA. The MDF board is from a deconstructed Studio at the ICA which was undergoing redevelopment.

£700-1,000

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

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60 CAMOMILE HIXON (AMERICAN 1970-) SPECTRAL OCEAN SEVENS, (TRIPTYCH), 2012 Signed with inital lower right, signed and inscribed with title and dated verso, acrylic and glitter on canvas (3) each 71cm x 56cm (28in x 22in)

£800-1,200

61 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) (UNTITLED) HEAD Inscribed ‘E.P.’ in felt pen verso, cast plaster moulding 14cm x 12cm x 8cm (5.5in x 4.75in x 3in)

£500-700

62 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) UNTITLED (FOOT) Inscribed with artist’s name to underside of base, cast plaster moulding 12.5cm x 20cm x 9cm (5in x 8in x 3.5in)

£400-600

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63 § PETER MCLAREN (SCOTTISH 1964-) MATISSE WOMAN IN A CAR Signed and inscribed with title verso, oil on paper 57cm x 88cm (22.5in x 34.5in)

£2,000-3,000

64 § JENNIFER MCRAE R.S.A. (SCOTTISH 1959-) NATALIA, 1992 Signed and dated lower left, mixed media and collage on handmade paper 21cm x 18cm (8.25in x 7in) Exhibited: The Open Eye Gallery, Edinburgh

£500-700

65 § PAUL NEAGU (ROMANIAN/BRITISH 1938-2004) HUMAN FOOT SHADOW, 1973 Signed, inscribed with title and dated ‘73 lower left, further inscribed ‘Human Foot, 35 cells, GENERATIVE ART GROUP’, mixed media on paper 39cm x 27cm (15.25in x 10.5in) Provenance: Gifted by the artist to Silvia Radu and Vasile Gorduz, Romanian artists and close friends of Neagu (work bears inscription from Neagu to the pair verso); Gifted by Silvia Radu to the present owner

£700-900

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66 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (SCOTTISH 1920-2014) OPUS O. 1796: MIMI SPIRIT (SECOND VERSION), 2005 Inscribed with title lower edge, signed and dated 2005 and inscribed with title verso, oil on canvas 122cm x 152.4cm (48in x 60in)

£5,000-7,000

Few British artists of the 20th century are

He met and was admired by the great

comprehension”. Davie’s esotericism and

quite as intriguing as Alan Davie. Low key

collector Peggy Guggenheim in Venice in the

eccentricity earned him the reputation as

and independent, Davie operated outwith

late 1940s and was close to members of the

something of a “shaman”, a fitting title for an

the art world ‘scene’ until his death in 2014

American Abstract Expressionist movement

artist who sought to live his entire life as an

which means that, despite his popularity

including Jackson Pollock.

exploration of the magic that underpins art,

amongst critics and collectors, he isn’t the household name he perhaps deserves to be. Hopefully this is set to alter; it is with happy serendipity that this sale coincides with a major exhibition of his work at Dovecot Studios, Edinburgh, celebrating the centenary of his birth.

Taking reference points from a vast area

music and philosophy.

of art history - Celtic, Buddhist, African,

The artist has had retrospectives at the

Hindi and Modernist to name but a few - he

Barbican, London, Tate St Ives and Tate

created a language of emblems and symbols

Britain. He was appointed CBE in 1972 and

with the aim of capturing the “mysterious

elected a senior Royal Academician in 2012.

and spiritual forces normally beyond our

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

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67 ROBERT NATKIN (AMERICAN 1930-2010) INTIMATE LIGHTING SERIES, 1973 Signed lower right, acrylic on canvas 165cm x 132cm (65in x 52in) Provenance: Gimpel Fils, London

£5,000-7,000

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

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68 § WILLIAM JOHNSTONE O.B.E. (BRITISH 1897-1981) UNTITLED Signed with monogram in red lower left, ink and wash 74cm x 54cm (29in x 21.25in) Provenance: William Johnstone Studio Sale

£400-600

69 § WILLIAM JOHNSTONE O.B.E. (BRITISH 1897-1981) UNTITLED Signed with monogram in red ink lower right, ink and wash 75cm x 55cm (29.5in x 21.5in) Provenance: William Johnstone Studio Sale

£400-600

70 § WILLIAM JOHNSTONE O.B.E. (BRITISH 1897-1981) GARDEN Ink on paper 26.5cm x 37.5cm (10.5in x 14.75in) Exhibited: The Open Eye Gallery, Edinburgh

£400-600

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

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71 § ALEXANDER GOUDIE (SCOTTISH 1933-2004) STILL LIFE WITH BOTTLES AND OPEN DRAWER Signed lower right, oil on canvas 80cm x 80cm (31.5in x 31.5in)

£3,000-5,000

72 § SERENA ROWE (SCOTTISH CONTEMPORARY) LAMB CHOPS Signed lower right, oil on board 17cm x 35.75cm (6.75in x 14in)

£400-600

73 § ALISON DUNLOP (CANADIAN/SCOTTISH 1958-) A FEW MORE GOOD EGGS Signed lower left, oil on canvas 51cm x 61cm (20in x 24in)

£400-600

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74 § DAVID CARR (1915-1968) TWO WOMEN WITH FISH, EGG AND BOTTLE, C.1946 Signed lower right, oil on canvas 76cm x 63.5cm (30in x 25in) Exhibited: The Mayor Gallery, London

£1,500-2,500

David Carr is a fascinating though somewhat overlooked

Art Gallery in 1953 and in a show at Southampton City

figure in 20th century British art.

Art Gallery a few years later, it was not until a major

Born into a wealthy London family, Carr had to actively defy his father’s wishes that he continue within the family business, instead breaking free to pursue his art career. He studied in Byam Shaw School in the late 1930s, and then pivotally at Cedric Morris’s East Anglian School of Painting and Drawing where fellow students included the likes of Lucien Freud.

Although Carr was a prominent figure in the Norfolk Contemporary Art Society and was included by Bryan Robertson in a survey of British painting at Whitechapel

retrospective of his work at the Mayor Gallery in 1987 that his true stature was appreciated in London. The exhibition tied in with the publication of a monograph David Carr, the Discovery of an Artist by Bryan Robertson & Ronald Alley.

In 1997 his work was shown alongside that of his friend Prunella Clough at Austin/Desmond Fine Art. He is also remembered for having been a staunch supporter and collector of the works of his friend’s and peer group, including Colquhoun and MacBryde, and other members of the Soho art set.

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

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75 § ALASDAIR GRAY (SCOTTISH 1934-2019) PORTRAIT OF MARLENE KITTS Inscribed ‘Marlene Kitts drawn in London c.1970 by Alasdair Gray’ lower left, ink, wash and felt tip on buff paper 36cm x 34cm (14in x 13.5in)

£600-800

76 § PETER MAX (GERMAN 1937-) UNTITLED (HEAD), 1991 Signed and dated upper right, mixed media on paper 25cm x 20cm (9.75in x 8in), and a further head study by the same hand (2)

£500-700

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

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77 § GARY HUME (BRITISH 1962-) LONDON PLANE LEAVES Signed lower right, Indian ink on paper 20cm x 12cm (8in x 4.75in) Exhibited: The Whitechapel Gallery, London, 1999

£400-600

78 § MAURICE SUMRAY (BRITISH 1920-2004) THE BLUE HOBBY HORSE, 1980 Pencil on paper 27cm x 18cm (10.5in x 7in) Provenance: Gillian Jason Gallery, London Note: It is noted verso that this work is draft two for the oil of the same title.

£300-500

79 KALPATHI GANPATHI SUBRAMANYAN (INDIAN 1924-2016) UNTITLED (TWO FIGURES) Felt tip on paper 37.5cm x 30.5cm (14.75in x 12in)

£400-600

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80 § PETER HOWSON O.B.E. (SCOTTISH 1958-) GAME BOYS Signed lower right, pastel 46cm x 60cm (18in x 23.5in)

£1,500-2,500

81 § PETER HOWSON O.B.E. (SCOTTISH 1958-) CORSAR, 1988 Signed lower right, oil on canvas 29cm x 22cm (11.5in x 8.5in) Exhibited: Flowers East, London

£1,000-1,500

82 § †

83 §

CRAIG MULHOLLAND (SCOTTISH 1969-)

PETER MCLAREN (SCOTTISH 1964-)

PROCURESS, 2001

HOMAGE TO VELAZQUEZ, STILL LIFE WITH POPPIES

Oil on canvas 61cm x 51cm (24in x 20in) Exhibited: Duncan Miller Fine Arts, London, 2001

£500-700

Signed and inscribed with title verso, oil on board 167cm x 121cm (65.75in x 47.5in)

£4,000-6,000

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84 § JOHN HOUSTON R.S.A., R.S.W., S.S.A. (SCOTTISH 1930-2008) BEACH EVENING, 1966-67 Signed lower right, inscribed with title and dated frame verso, oil on canvas 62cm x 74cm (24.5in x 29in)

£3,000-5,000

85 § JOHN HOUSTON R.S.A., R.S.W., S.S.A. (SCOTTISH 1930-2008) HARVEST FIELDS SUNSET Signed lower right, oil on board 22cm x 28.5cm (8.5in x 11.25in)

£1,500-2,000

86 § DAME ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH 1931-2021) THREE FIGURES IN A DARK LANDSCAPE, 1966 Signed and dated in pencil lower right, oil and pastel on board 24cm x 34cm (9.5in x 13.5in) Provenance: Aitken Dott, ’E. V. Blackadder Exhibition,’ Edinburgh, Nov. 1966, cat. no. 31

£800-1,200

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87 § IAN FLEMING R.S.A., R.S.W., R.G.I., L.L.D. (SCOTTISH 1906-1990) WINDOW ON THE SEA, 1984 Signed lower left, signed and inscribed with title and dated verso, oil on canvas 76cm x 51cm (30in x 20in)

£2,000-3,000

88 § JACK FIRTH R.S.W (SCOTTISH 1917-2010) HOMAGE TO BEN Signed lower left, oil on canvas 50cm x 60cm (19.75in x 23.5in)

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

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89 § DENIS WIRTH-MILLER (BRITISH 1915-2010) ESSEX LANDSCAPE, WINTER, 1968 Signed and inscribed with title and dated stretcher verso, oil on canvas 75cm x 89cm (29.5in x 35in)

£800-1,200

90 § DENIS WIRTH-MILLER (BRITISH 1915-2010) UNTITLED (WINTER LANDSCAPE) Signed verso (three times), oil on canvas 76cm x 91cm (30in x 35.75in)

£800-1,200

Denis Wirth-Miller’s profile as an artist deserves to be higher. His skill, innovation and the circles in which he moved all signal to his, at one time, significant position within the twentieth century British art scene.

His close yet purportedly extremely tempestuous relationship with Francis Bacon is largely blamed for overshadowing his on-going legacy.

They enjoyed a deep friendship and indeed are thought to have collaborated together on a number of canvases in the 1950s.

Wirth-Miller and his partner Dickie Chopping (cover illustrator of Ian Fleming’s world famous Bond series) were embedded within the notorious art sets of Fitzrovia and Soho during the war and post war years, their friendship circle including Colquhoun, MacBryde, Minton, Spencer, Craxton, Vaughan and of course Bacon. Many of these relationships were developed whilst Wirth-Miller studied at the East Anglian School of Painting and Drawing under Cedric Morris. He would continue to live in Wivenhoe for the rest of his life. During his career Wirth-Miller exhibited at Lefevre, Redfern and Beaux Arts Galleries.

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91 § WILLIAM JOHNSTONE O.B.E. (BRITISH 1897-1981) UNTITLED (ABSTRACT) Signed with initials lower right, ink on paper 76cm x 56cm (30in x 22in)

£600-800

92 § WILLIAM JOHNSTONE O.B.E. (BRITISH 1897-1981) UNTITLED (ABSTRACT WITH CIRCLES) Signed faintly with initials in red pen lower right, ink on paper 76cm x 56cm (30in x 22in)

£500-700

93 § ALEXANDER MACKENZIE (BRITISH 1923-2002) UNTITLED (ABSTRACT), 1963 Signed lower right and dated lower left, charcoal 35cm x 47cm (13.75in x 18.5in)

£500-700

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

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94 § JAMES MORRISON R.S.A., R.S.W., L.L.D. (SCOTTISH 1932-2020) UNTITLED (ANGUS LANDSCAPE TRIPTYCH), 1978

95 §

Each signed and dated lower right, oil on board, the piece consists of three oils framed individually with the central work being slightly larger than the outer two components

FREDERICK GORE C.B.E., R.A. (BRITISH 1913-2009)

Central oil: 17cm x 22cm (6.75in x 8.75in), Outer oils: 14cm x 15cm (5.5in x 6in)

Signed lower right, oil on canvas

£2,000-3,000

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

BALES OF STRAW NEAR BONNEAUX 75cm x 94cm (29.5in x 37in)

£4,000-6,000

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96 § DUNCAN SHANKS R.S.A., R.S.W., R.G.I. (SCOTTISH 1937-) THE DARKSOME BURN Signed lower right, acrylic on paper mounted on board 56cm x 69cm (22in x 27in)

£2,000-3,000

97 § DAVID MARTIN (SCOTTISH 1975-) A DERELICT COTTAGE, ACHILL Signed lower right, oil on board 53cm x 66.5cm (21in x 26in) Exhibited: Society of Scottish Artists, Edinburgh, c.1960

£500-800

98 § JOHN CUNNINGHAM (SCOTTISH 1927-2000) KILMAURS, AYRSHIRE, 1990 Signed lower right, oil on canvas 54cm x 60cm (21.25in x 23.5in)

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

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99 DANIEL LEFCOURT (AMERICAN 1975-) GRAPHITE PAINTING (REVERSED AND ENHANCED), 2014 Signed and dated verso, graphite and resin on machined fiberboard panel 157cm x 116cm (61.75in x 45.5in) Provenance: Campoli Presti, London Note: Daniel Lefcourt lives and works in New York. His work forms part of the collection of the Whitney Museum of American Art, New York, and MOCA Museum of Contemporary Art, Los Angeles.

£4,000-6,000

100 SAM FALLS (AMERICAN 1980-) UNTITLED - TOPANGA 2 2012 Terrycloth & Fabric Dye 152.5cm x 88cm (59.75in x 34.5in)

£600-800

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

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101 § MARKUS VATER (GERMAN 1970-) NATURA, 2002 Signed and dated verso, acrylic on canvas 220cm x 300cm (86.5in x 118in), unframed

£2,000-3,000

102 § MARKUS VATER (GERMAN 1970-) FUSSE (FEET), 2001 Signed and dated verso, acrylic on canvas 165cm x 270cm (65in x 106in), unframed

£1,000-1,500

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103 § RACHEL FEINSTEIN (AMERICAN 1971-) YESTERDAY, 2000 Wood & enamel Back piece - 244cm x 244cm x 3.8cm Frontpiece - 183cm x 152cm x 3.8cm Provenance: Marianne Boesky Gallery, New York

£3,000-5,000

The much-feted New York artist Rachel Feinstein

Further major exhibitions have followed. In 2000, the same

aptly defines her work as ‘Rococo with an underside’.

year the work offered here for sale, Yesterday, was produced,

Predominantly working in sculpture and installation,

Feinstein exhibited works in Pastoral Pop at the Whitney

Feinstein’s is a world of fairy tale and fantasy, though she

Museum at Philip Morris and at The Americans exhibition at

never takes her eyes off the fact that these stories were

the Barbican Centre in London. In 2019 the Jewish Museum,

ultimately mired in the darker impulses found in the recesses

New York, hosted her major exhibition Maiden, Mother, Crone.

of the human psyche. This is achieved through an interplay between opposing forces; ‘romance and pornography, elegance and kitsch, and the marvellous and the banal’, as her biography in Gagosian has it.

Feinstein achieved her first big break in 1994 when she was included in several group shows in New York, including Let the Artist Live! at Exit Art, where she notoriously presented a large gingerbread house modelled after Sleeping Beauty’s castle in which she slept throughout the exhibition.

Feinstein, who is married to the renowned artist John Currin, has also long been interconnected with the world of high fashion; her artwork inspiring a range by Marc Jacobs in 2004. In 2019 she was tasked with transforming the gardens of Chatsworth House, England in collaboration with Gucci.

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

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Known as Les Enfants Terribles of the British art scene, brothers Dinos and Jake Chapman were initially employed as assistants to Gilbert and George before finding themselves catapulted to fame as pivotal figures within the infamous Young British Artist group of the 1990s. Along with Tracey Emin and Damien Hirst, they were among the most high-profile figures of the movement, certainly doing their part to contribute to its controversial reputation. Working across a range of media, but perhaps most particularly sculpture and installation, their 104 §

art is consciously playful, subversive and full of contradictions.

JAKE AND DINOS CHAPMAN (BRITISH CONTEMPORARY)

At its root they explore and interrogate contemporary issues,

EIGHT POUNDER (INVERSE ALCHEMY), 2000

shock, including puerile humour, sexual obscenity, and graphic

Signed and numbered 3/10 to base, lead, with a wood & perspex purpose-built plinth 4.5cm (height) x 11.5cm (diameter) (1.75in x 4.5in)(not including plinth)

however this is achieved through mechanisms designed to violence. In Eight Pounder, we find a quintessential example of one of their grotesqueries. This work illustrates their magpielike theft of imagery with subject matter drawn from mass media and consumerist culture, which they then elevate only

Provenance: Private collection.

to skewer through the lens of Pop Art’s knowing post-modern

£1,500-2,000

irony, as well as the absurdity of Dadaism.

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

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105 § GAVIN TURK (BRITISH 1967-) POP ART ROADKILL, 2004 Embossed ‘GT04’, crushed Diet Coke can 14cm x 9cm (5.5in x 7.5in) Provenance: The Art Car Boot Fair, 2004, Brick Lane, London

£500-700

106 § SARAH LUCAS (BRITISH 1962-) BEER CAN PENIS, 1999 Embossed with initials, dated ‘99 and numbered 13/20 to base, bronze 15cm x 12cm x 6cm (6in x 4.75in x 2.5in) Provenance: Private Collection

£3,000-5,000

107 § KATE BRINKWORTH (BRITISH 1977-) COKE ZERO, 2017 Signed and inscribed with title and dated verso, oil on board 120cm x 84cm (33in x 47in)

£2,500-3,500

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

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108 § JACK VETTRIANO O.B.E. (SCOTTISH 1951-) BUSTED FLUSH Signed lower left, oil on canvas 61cm x 51cm (24in x 20in) Exhibited: The Edinburgh Gallery

£30,000-50,000

From the beginning, Jack Vettriano’s paintings have evoked

The irresistibility of Vettriano’s journey from Scottish coal-

a distinctive and fully-realised world, and his work is

miner to globally-successful artist is undeniable. In 2014

therefore instantly recognisable. Dimly-lit Deco-style bars,

his biggest-ever retrospective at Kelvingrove broke the

bedrooms and restaurants are haunted by figures clad in

museum’s attendance record, and the appetite for Vettriano

elegant dresses and well-cut suits reminiscent of the 1930s.

remains strong as ever. He famously often paints himself into

‘It’s a perfect world I would like to have lived in’ Vettriano

his own compositions, either immersed within his glamorous

has commented. Yet his paintings go beyond nostalgic odes

nocturnes or in his studio amidst his canvases, as with the

to a bygone era; they are also expressions of the artist’s

striking 2001 example Artist in Studio (Lot 170). Vettriano has

worldview, so replete with longing and loneliness that they

expressed that ‘I don’t really want two people there. Because

often read like stills from a film noir. Much of Vettriano’s

I am self-taught and not used to working with other people,

work explores the complex dynamics at play throughout

I prefer just me and the model to be in the picture. Any more

the rituals of courtship and seduction, exemplified by Busted

than that and I just feel a sort of tension.’

Flush’ It is arguably his talent as a narrative painter that makes the vignettes he conjures so compelling.

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

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

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109 § JACK VETTRIANO O.B.E. (SCOTTISH 1951-) TO HAVE AND TO HOLD Signed lower right, oil on canvas board 50cm x 38cm (19.5in x 15in) Provenance: The Atholl Gallery, Dunkeld, 1990

£8,000-12,000

110 § ISAAC KAHN (LITHUANIAN 1950-) COMPOSITION Incised with signature and numbered 8/9, bronze sculpture on black granite base 74cm x 22cm x 22cm (29in x 8.5in x 8.5in) (including base)

£800-1,200

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

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111 § JACK VETTRIANO O.B.E. (SCOTTISH 1951-) UNTITLED (THREE MEN IN AN INTERIOR) Signed lower right, oil on canvas 59cm x 49cm (23.25in x 19.25in) Provenance: The Atholl Gallery, Dunkeld, 1990

£10,000-15,000

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112 § DAME ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH 1931-2021) STILL LIFE WITH PAGODA, 1997 Signed and dated lower right, watercolour and mixed media 23cm x 23cm (9in x 9in) Exhibited: ‘The Christmas Exhibition, 1997’, The Scottish Gallery, Edinburgh, cat. no. 8.

£1,000-1,500

113 § DAVID MICHIE O.B.E., R.S.A., R.G.I., F.R.S.A (SCOTTISH 1928-2015) TURNIPS ON A TRAY, BIARRITZ MARKET, FRANCE, 2001 Oil on canvas 38.75cm x 33cm (15.25in x 13in)

£400-600

114 § DAVID MICHIE O.B.E., R.S.A., R.G.I., F.R.S.A (SCOTTISH 1928-2015) PLAYING BOULES AT ST. JEAN, CAP FERRAT, 2008 Signed lower left, oil on canvas 34cm x 44cm (13.5in x 17in)

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

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115 §

116 §

DAVID MICHIE O.B.E., R.S.A., R.G.I., F.R.S.A (SCOTTISH 1928-2015)

DAVID MICHIE O.B.E., R.S.A., R.G.I., F.R.S.A (SCOTTISH 1928-2015)

A GARDEN IN LISBON, 1961

PIGEONS AT WAVERLEY MARKET, 1972

Signed lower right, oil on board

Signed and dated lower right, oil on canvas

69cm x 91cm (27in x 35.75in)

79.5cm x 126cm (31.25in x 49.75in)

£1,000-1,500

£800-1,200

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117 § JAMES HAWKINS (SCOTTISH 1954-) LOCH ASSYNT, 1984 Signed and dated lower left, acrylic and enamel on card 17cm x 28cm (6.75in x 11in)

£300-500

118 § ALASTAIR MICHIE R.W.A., F.R.B.S. (SCOTTISH 1921-2008) UNTITLED (BULRUSHES) Signed and indistinctly dated lower right, gouache, ink and pencil on board 40cm x 40cm (15.75in x 15.75in)

£300-500

119 § JAMES DOWNIE ROBERTSON M.B.E., R.S.A., R.S.W., R.G.I. (SCOTTISH 1931-2010) NIGHT SEA, 1964 Signed and dated upper left, gouache 50cm x 72cm (19.75in x 28.25in)

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

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120 § ETHEL WALKER (SCOTTISH 1941-) CANDLESTICKS AND ROSES Signed lower right, oil on board 55cm x 72cm (21.5in x 28.25in)

£2,000-3,000

121 § DONALD MANSON (SCOTTISH 1948-) STILL LIFE WITH A COMET AND HARVEST MOON Signed lower right, oil on board 76cm x 76cm (30in x 30in)

£600-800

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122 § CLAIRE NORRINGTON (BRITISH CONTEMPORARY) GALLOPING HORSE Inscribed with initials and numbered 2/9 to underside of base, bronze 37cm x 36cm x 12cm (14.5in x 14in x 4.75in)

£1,000-1,500

123 § CLAIRE NORRINGTON (BRITISH CONTEMPORARY) SPRINGING DEER Inscribed with monogram and numbered 1/9 to base, bronze 40.5cm x 37cm x 14cm (16in x 14.5in x 5.5in)

£1,000-1,500

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

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124 § CATRIONA CAMPBELL (SCOTTISH 1940-) WINNER’S ENCLOSURE Signed lower right, oil on board 28.5cm x 28.5cm (11.25in x 11.25in)

£500-700

125 § DONALD MANSON (SCOTTISH 1948-) STILTON CHEESE AND SOMERSET CIDER Signed lower right, oil on canvas 90cm x 90cm (35.5in x 35.5in)

£700-1,000

126 § † ROBERT SAWYERS (BRITISH 1923-2002) HAT STALL, MONTEGO BAY, CUBA Signed with initials lower left, signed and inscribed with title verso, oil on board 64cm x 88cm (25.25in x 34.5in) Provenance: Rendezvous Gallery, Aberdeen

£300-500

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127 § JAMES DOWNIE ROBERTSON M.B.E., R.S.A., R.S.W., R.G.I. (SCOTTISH 1931-2010) UNTITLED (ABSTRACT STILL LIFE OF FRUIT), 1984 Signed and dated upper right, gouache and mixed media 21cm x 22cm (8.25in x 8.5in)

£300-500

128 § JAMES DOWNIE ROBERTSON M.B.E., R.S.A., R.S.W., R.G.I. (SCOTTISH 1931-2010) UNTITLED (FLORAL ABSTRACT), 1992 Signed lower right, gouache 16cm x 19.5cm (6.25in x .75in)

£300-500

129 § DAVID DONALDSON R.S.A., R.P., L.L.D. (SCOTTISH 1916-1996) BREAKFAST Signed lower left, oil on canvas 28.5cm x 23.5cm (11in x 9.25in) Exhibited: ’Some Time in France: Recent Paintings by David Donaldson’, The Fine Art Society, Edinburgh, 1990

£600-800

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130 § FRANCES MACDONALD R.G.I. (SCOTTISH 1945-) BREEZY DAY, WHITE STRAND OF THE MONKS Signed lower right, oil on canvas 76cm x 102cm (30in x 40in) Exhibited: Portland Gallery, London, 2020

£3,000-5,000

131 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) THE BASS ROCK Signed lower right, oil on canvas 90cm x 120.5cm (35.5in x 47.5in)

£3,000-5,000

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

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132 § CAROLINE MCNAIRN (SCOTTISH 1955-2010) UNTITLED (STREET SCENE) Signed lower right, pastel 50cm x 68.5cm (19.5in x 27in)

£400-600

133 § CAROLINE MCNAIRN (SCOTTISH 1955-2010) UNTITLED (FANTASY CITYSCAPE) Signed lower right, pastel and collage on black paper 25cm x 38cm (9.75in x 15in)

£400-600

134 LAO LIANBEN (FILIPINO 1948-) UNTITLED, 1978 Signed and dated lower left, ink and wash 14cm x 14cm (5.5in x 5.5in)

£800-1,200

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135 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) CELTIC MAIDEN (WOMAN AND BEACON), 1995 Signed upper right, oil on canvas 76cm x 60cm (30in x 23.5in) Provenance: Beaux Arts, London

£3,000-5,000

136 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) WOMAN OF THE DORNOCH FIRTH Signed lower right and inscribed with title, watercolour and pencil 75cm x 53cm (9.5in x 20.75in)

£2,000-3,000

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

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137 § ALEXANDER GOUDIE (SCOTTISH 1933-2004) HEAD STUDY, C. 1968 Oil on canvas 27cm x 18.5cm (10.5in x 7.25in) Provenance: Gifted directly by the artist to one of his students. It was a demonstration in the art school studio and was painted using the artist’s fingers.

£300-500

138 § ALEXANDER GOUDIE (SCOTTISH 1933-2004) NUDE STUDY, C. 1968 Oil on canvas 24cm x 18.5cm (9.5in x 7.25in) Provenance: Gifted directly by the artist to one of his students.

It was a demonstration in the art school studio.

£400-600

139 § JOHN CUNNINGHAM (SCOTTISH 1927-2000) ADAM AND EVE (OIL SKETCH) Signed, oil on board 26cm x 41cm (10.25in x 16in)

£500-700

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140 § JOHN HOUSTON R.S.A., R.S.W., S.S.A. (SCOTTISH 1930-2008) STILL LIFE WITH ROSES Signed lower right, oil on canvas 64cm x 77cm (25in x 30.25in)

£2,000-3,000

141 § JOHN HOUSTON R.S.A., R.S.W., S.S.A. (SCOTTISH 1930-2008) UNTITLED (ABSTRACT SUMMER LANDSCAPE) Signed lower left, oil on board 62cm x 74cm (24.5in x 29in)

£1,500-2,000

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

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142 § JOHN CUNNINGHAM (SCOTTISH 1927-2000) MICHELLE ON THE TERRACE, FRANCE Signed lower right, oil on canvas 50cm x 55cm (19.75in x 21.5in)

£700-1,000

143 § 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) STRAWBERRIES, 1983 Signed on the backboard verso, inscribed with title and dated artist’s label verso, pastel 23cm x 28cm (9in x 11in)

£500-700

144 § JOAN GILLESPIE (SCOTTISH 1954-) IN THE SHADE Signed upper left, oil on board 35cm x 47cm (13.75in x 18.5in)

£500-700

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145 § JACK MORROCCO (SCOTTISH 1953-) NUDE IN THE SHADE, PROVENCE Signed upper left, oil on canvas 61cm x 61cm (24in x 24in)

£4,000-6,000

146 § JOHN CUNNINGHAM (SCOTTISH 1927-2000) MICHELLE KNITTING IN THE GARDEN, SPAIN, 1958 Signed lower left, inscribed with title and dated verso, oil on board 30cm x 39.5cm (11.75in x 15.5in)

£400-600

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

76

147 § JAMES MORRISON R.S.A., R.S.W., L.L.D. (SCOTTISH 1932-2020) COURTYARD, PSINTHOS, RHODES, 1986 Signed and dated lower left, ink and chalk 39cm x 49cm (15.25in x 19.25in) Provenance: The Richard Demarco Gallery, Edinburgh

£600-800

148 § DRUMMOND MAYO R.S.W. (SCOTTISH 1929-) HILLTOP VILLAGE Acrylic on paper 52cm x 47cm (20.5in x 18.5in)

£300-500

149 § KENNETH WEBB F.R.S.A. (BRITISH 1927-) FOREST OF DEAN, NEAR SPEECH HOUSE Signed lower left, oil on canvas 41cm x 50cm (16in x 19.5in)

£800-1,200

77

150 § JAMES MORRISON R.S.A., R.S.W., L.L.D. (SCOTTISH 1932-2020) BALGOVE, 2010 Signed and dated ‘19. XI. 2010’ lower right, oil on board 34.5cm x 106.5cm (13.5in x 42in) Exhibited: ’James Morrison: Decades’, The Scottish Gallery, Edinburgh, 2017

£2,500-3,500

151 § SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., P.R.S.W., R.A. (SCOTTISH 1898-1973) MOUNT LOTHIAN Signed lower right, signed and inscribed with title to artist’s label verso, mixed media on paper 25.5.cm x 36cm (10in x 14in) Provenance: The Stone Gallery, Newcastle, 1961

£1,000-1,500

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

78

152 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (SCOTTISH 1920-2014) OPUS O. 1393: SORCERER’S BAG, 1998 Oil on wooden panel 48cm x 62cm (19in x 24.5in)

£2,000-3,000

153 § JAMES HULL (BRITISH 1921-1990) ABSTRACT, 1987 Signed and dated upper right, watercolour 53.5cm x 75cm (21in x 29.5in)

£700-1,000

154 § EOGHANN MACCOLL (SCOTTISH 1970-) NORTHERN SKIES - INNIS TILE, 2006 Signed and dated verso, oil and mixed media on canvas 110cm x 110cm (43.25in x 43.25in), unframed

£500-700

79

155 § BARBARA RAE C.B.E., R.A., R.S.A., R.E. (SCOTTISH 1943-) THE GARDNER’S SHED, LA VIRGINIA, 1995 Signed lower left, oil and mixed media on board 80cm x 100cm (31.5in x 39.25in)

£4,000-6,000

156 § BARBARA RAE C.B.E., R.A., R.S.A., R.E. (SCOTTISH 1943-) BALLYCASTLE, GREY SEA Signed lower right, mixed media on paper 64cm x 56cm (25in x 22in) Exhibited: Adam Galleries, Bath

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

80

157 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) UNTITLED SKETCHBOOK DESIGN Pencil 28cm x 22cm (11in x 8.5in), unframed Provenance: The artist’s family

£600-800

158 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (SCOTTISH 1920-2014) FIRST PERSON HABUERIM, 2011 Signed and dated in pencil lower left, oil and felt tip on paper 16cm x 13cm (6.25in x 5in) Exhibited: Gimpel Fils, London

£300-500

159 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) UNTITLED SKETCHBOOK DRAWING Pencil 29cm x 21cm (11in x 8.5in), unframed Provenance: The artist’s family

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

81

160 § FRASER TAYLOR (SCOTTISH 1960-) OBJECTS OF ATTENTION, 1991 Signed and dated in pencil to lower left, oil on paper 77cm x 112cm (30.25in x 44in) Provenance: Jill George Gallery, London

£600-800

161 § FRASER TAYLOR (SCOTTISH 1960-) UNTITLED, 1993 Signed and dated lower right, mixed media on paper 41cm x 56cm (16in x 22in)

£400-600

162 § FRASER TAYLOR (SCOTTISH 1960-) TWO FIGURES III, 1985 Signed and dated in pencil lower right, acrylic and charcoal on paper 84cm x 56cm (33in x 22in)

£500-700

82

163 § ARCHIE FORREST R.G.I. (SCOTTISH 1950-) RESTAURANT FRONT, CALVI Signed lower right, signed verso, oil on canvas 70cm x 74cm (27.5in x 29in)

£2,000-3,000

164 § GLEN SCOULLER R.S.W., R.G.I. (SCOTTISH 1950-) STILL LIFE WITH HEN AND CORMORANT Signed lower right, oil on canvas 74cm x 73cm (29in x 28.75in)

£1,000-1,500

165 § GLEN SCOULLER R.S.W., R.G.I. (SCOTTISH 1950-) BOATS AT ANCHOR, PORT GALLICE Signed lower right, oil on canvas 59cm x 104cm (23in x 41in)

£1,200-1,800

83

166 § JOHN CUNNINGHAM (SCOTTISH 1927-2000) RAISED BEACHES, COLONSAY Signed lower right, inscribed with title and signed to artist’s label verso, oil on canvas 39cm x 75cm (15.25in x 29.5in)

£3,000-5,000

167 § JOHN CUNNINGHAM (SCOTTISH 1927-2000) RHUM, EIGG, MUCK AND SKYE FROM GRIGADALE BAY, ARDNAMURCHAN, 1979 Signed lower right, inscribed with title and dated to artist’s label verso, oil on canvas 29cm x 60cm (11.5in x 23.5in)

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

84

‘I became an artist when I became a lobster’.

Philip Colbert

The Death of Marat and

168

the Birth of The Lobster

PHILIP COLBERT (SCOTTISH 1979-)

was the centrepiece of Colbert’s eponymous exhibition in 2021

THE DEATH OF MARAT AND THE BIRTH OF THE LOBSTER Signed, oil on canvas

Lyon & Turnbull are proud to present to auction The Death

which marked the

180cm x 240.5cm (70.75in x 94in)

of Marat and the Birth of The Lobster, a major painting by

re-opening of the

£20,000-30,000

the leading contemporary British artist Philip Colbert.

Wardlaw Museum after

All proceeds from the sale will support a scholarship

its redevelopment.

programme at the University of St Andrews, offering

Prior to establishing himself as a highly successful visual

financial support to students on its new Museum and

artist, Colbert graduated from St. Andrews in Philosophy.

Heritage Studies part time course.

During his studies he also undertook classes in Art History,

Colbert has taken up the legacy of Pop Art with such commitment and relish that he has been referred to as “The Godson of Andy Warhol”. To Colbert, Pop’s lexicon is

and it was here that the artist encountered David’s famous painting The Death of Marat, sparking several important connections for the artist.

an egalitarian and highly effective vehicle for distilling and

Jean-Paul Marat, the famous French revolutionary, also

conveying universal symbols with immediacy. It is also an

graduated from St Andrews, receiving a medical degree

excellent conduit for satire, which Colbert recognises as the

in 1775. When the French Revolution began in 1789,

most universally effective

he led a political group

method of communicating

called the Jacobins, who

ideas that, in his words,

wanted to depose the

“shake the cage”. His take on

monarchy and form a

Pop is nevertheless hugely

republic. Charlotte Corday

original and feels fresh

was also a revolutionary

and accessible. His highly

but sought political ends

saturated, airbrushed finish

with less slaughter. She

eliminates any trace of the

despised Marat for executing

artist’s hand in favour of an

thousands of people. In 1793

aesthetic that cleverly makes

she murdered him in his bath.

us second guess whether it

David, a friend of Marat’s,

is digitally generated. His

created his famous painting

work is also replete with art

the same year.

historical reference points, inverting and toying with his audience’s perception of Pop’s throwaway or disposable imagery.

In this work we find not a dead Marat, but a relaxed lobster scrolling through his smart phone in the bath. The lobster wears pyjamas patterned with fried eggs, yet another

Colbert is also frequently described as a ‘Neo-Surrealist’

symbol of Colbert’s, who used to make his own clothing.

and The Lobster, his muse and alter-ego, is inherently

Colbert is drawn visually to the egg as a wonderfully pared

steeped in the legacy of Salvador Dali, a forebear who also

back, almost modernist form (a “mini-Mondrian”, as the

found himself drawn to the alien and absurd qualities of

artist would have it), but also as an historic symbol of life and

this extraordinary creature. As ever with Colbert however,

re-birth.

the meaning is many layered. His adoption of the lobster speaks also to a fascination with its earlier symbolism within Dutch still life as a metaphor for mortality. Lobsters have been known to live for hundreds of years, and Colbert seeks to harness the lobster’s history as a cipher for humanity’s wrestle with our transience in this world.

This work can be described as a distillation of formative experiences and themes that shaped Colbert’s artistic development, the trigger points of his extraordinarily imaginative creative world. Combined with it having been central to a major exhibition and now sold as an altruistic endeavour, it would not be an exaggeration to describe this as an important painting in the artist’s oeuvre, and a rare and exciting opportunity for collectors of his work.

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

86

169 § ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH 1965-) CLARION (DIPTYCH) Oil on canvas (2) each 61cm x 61cm (24in x 24in)

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

87

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

88

170 § JACK VETTRIANO O.B.E. (SCOTTISH 1951-) ARTIST IN THE STUDIO, 2001 Signed lower right, oil on canvas 76cm x 61cm (30in x 24in) Provenance: The Portland Gallery, London

£30,000-50,000

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

89

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

90

171 § NEIL MACPHERSON R.S.A., R.S.W, R.G.I. (SCOTTISH 1954-) THE SONG OF SPRING Signed lower right, oil on canvas 79cm x 78cm (31in x 30.75in) Exhibited: The Royal Scottish Academy Annual Exhibition, 2015

£3,000-5,000

172 § † BARBARA BALMER R.S.A., R.S.W., R.G.I. (SCOTTISH 1929-2017) UNTITLED (BLINDFOLD) Signed lower left, watercolour 90cm x 73cm (35.5in x 28.75in)

£500-700

91

173 § PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) UNTITLED (HEAD WITH GREEN TEETH) Pastel 65.5cm x 49cm (25.75in x 19.25in), unframed

£800-1,200

174 § PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) UNTITLED (FIGURE WITH LONG FINGERS) Pastel on brown paper 63cm x 45cm (24.75in x 17.75in)

£800-1,200

175 § PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) UNTITLED (PURPLE HEAD) Pastel 62cm x 44cm (24.5in x 17.25in), unframed

£700-1,000

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

92

176 § JOHN EVERARD KINGSLEY (BRITISH 1956-) DENTELLES DE MONTMIRAIL Signed lower right, oil on canvas 81cm x 85cm (31.75in x 33.5in)

£1,000-1,500

177 § JOHN CUNNINGHAM (SCOTTISH 1927-2000) SEASCAPE, WEST COAST Signed lower right, oil on canvas 39.5cm x 60cm (15.5in x 23.5in)

£1,500-2,000

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

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

93

179 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (SCOTTISH 1920-2014) OPUS O. 1979 POETAS MEMOIR, 2008 Signed and dated and inscribed with title verso, oil on board 37cm x 31.5cm (14.5in x 12.5in), unframed Exhibited: Gimpel Fils, London

£1,500-2,000

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

£2,000-3,000

181 § JOSEPH URIE (SCOTTISH CONTEMPORARY) TRAPPED MAN Oil on board 59cm x 41cm (23.25in x 16in)

£400-600

94

182 BARBARA MCGIVERN (CANADIAN 1945-2019) BLUE JEAN Signed lower right, signed and inscribed with title verso, acrylic and gold leaf on canvas 121cm x 121cm (48in x 48in), unframed

£800-1,200

183 BARBARA MCGIVERN (CANADIAN 1945-2019) LOVE AND A HANDSHAKE Signed and inscribed with title verso, acrylic and gold leaf on canvas 121.5cm x 121.5cm (48in x 48in), unframed

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

95

184 § WILLIE RODGER R.S.A., R.G.I., DUNIV (SCOTTISH 1930-2018)

Willie Rodger studied at Glasgow School of Art from 194852 and was a school art teacher until 1987 when he resigned

BATHSHEBA, 1998

to concentrate on his career as an artist.

Signed and dated lower right, inscribed with title stretcher verso, oil on canvas

Rodger worked in a variety of media in a career which saw

76.5cm x 102cm (30in x 40in)

him design 11 stained glass windows (working collaboratively

Exhibited: Royal Scottish Academy Annual Exhibition, 2012;

with John K. Clark), a Scottish Post Office Aerogramme, a

’Life’s A Beach!’, Open Eye, Edinburgh 2022

set of postage stamps for Scottish Devolution, the award-

£600-800

winning Scottish Historical Playing Cards (for the late Angus Ogilvy of The Stirling Gallery), book jackets and record sleeves, letterheads, logos and alphabets.

A gifted draughtsman, his drawing ability was already recognised whilst a student, and he always had a small sketchbook and a pen to hand. Having been dissuaded from painting whilst at Art School, he took it up several decades later after the late Angus McAuley of the Stenton

It was as a relief printmaker, working most usually in lino and wood, that Rodger established himself. His status as one of Scotland’s pre-eminent printmakers was recognised by his peers in 1989 when he became the first person elected an Associate of the Royal Scottish Academy in the category of Printmaker.

Gallery prompted him to try his hand, and offered him a solo

The works included here show his humour and range across a

exhibition by way of encouragement.

variety of techniques from paint to print and collage.

96

185 § WILLIE RODGER R.S.A., R.G.I., DUNIV (SCOTTISH 1930-2018) THE FLEA SHALL NOT DINE AGAIN, 2004 Signed and dated lower left, signed and inscribed and dated stretcher verso, oil on canvas 100cm x 74cm (39.25in x 2n) Exhibited: Royal Scottish Academy Annual Exhibition, 2014

£500-700

186 § WILLIE RODGER R.S.A., R.G.I., DUNIV (SCOTTISH 1930-2018) GOOD MORNING, MISS TRAVERS, 1993 Signed and dated lower left, oil on canvas 51cm x 51cm (20in x 20in) Exhibited: ’Life’s A Beach!’, Open Eye Gallery, Edinburgh 2022

£400-600

187 § WILLIE RODGER R.S.A., R.G.I., DUNIV (SCOTTISH 1930-2018) COLDINGHAM, 1984 Signed lower left, signed and dated stretcher verso, oil on canvas 76cm x 76cm (30in x 30in)

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

97

188 § WILLIE RODGER R.S.A., R.G.I., DUNIV (SCOTTISH 1930-2018) WOOD SCRAPS - 1981 Signed lower right and titled lower left, collage with printed elements 101cm x 75.5cm (39.75in x 29.75in) Provenance: Willie Rodger Art Trust

£500-700

189 § WILLIE RODGER R.S.A., R.G.I., DUNIV (SCOTTISH 1930-2018) IN MY FATHER’S HOUSE, 2000 Signed and inscribed with title and dated lower right, collaged linocut printed elements on a white ground 136cm x 100cm (53.5in x 39.5in) Exhibited: Royal Scottish Academy Festival Exhibition, 2000

£500-700

190 § WILLIE RODGER R.S.A., R.G.I., DUNIV (SCOTTISH 1930-2018) ’THE ROUND HILL’ - COLDINGHAM SANDS, BERWICKSHIRE - 1973 Woodcut and linocut, 2/25, signed, dated, titled and numbered in pencil 60cm x 105cm (23.5in x 41.25in) Provenance: Willie Rodger Art Trust

£400-600

98

191 § WILLIE RODGER R.S.A., R.G.I., DUNIV (SCOTTISH 1930-2018) ’MARY, QUEEN OF SCOTS’ AND ‘BONNIE PRINCE CHARLIE’ - 1975 Screenprints, 3/100, signed, dated, titled and numered in ink (2) image size 29cm x 18cm (11.5in x 7in), each

£300-500

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

192 § WILLIE RODGER R.S.A., R.G.I., DUNIV (SCOTTISH 1930-2018) ’LADY MACBETH’ AND ‘MACBETH’ - 1975 Screenprints, 3/100, signed, dated, titled and numbered in ink (2) image size 29cm x 18cm (11.5in x 7in), each

£300-500

193 § WILLIE RODGER R.S.A., R.G.I., DUNIV (SCOTTISH 1930-2018) ’ROBERT THE BRUCE’ AND ‘MAID OF NORWAY’ - 1975 Screenprints, 3/100, signed, dated, titled and numbered in ink (2) image size 29cm x 18cm (11.5in x 7in), each

£300-500

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

99

194 § WILLIE RODGER R.S.A., R.G.I., DUNIV (SCOTTISH 1930-2018) ’MALCOLM CANMORE’ AND ‘ALEXANDER II’ - 1975 Screenprints, 3/100, signed, dated, titled and numbered in ink (2) image size 29cm x 18cm (11.5in x 7in), each

£300-500

195 § WILLIE RODGER R.S.A., R.G.I., DUNIV (SCOTTISH 1930-2018) ’KING WILLIAM OF ORANGE’ AND ‘MARY, WIFE OF WM. OF ORANGE’ - 1975 Screenprints, 3/100, signed, dated, titled and numbered in ink (2) image size 29cm x 18cm (11.5in x 7in), each

£300-500

196 § WILLIE RODGER R.S.A., R.G.I., DUNIV (SCOTTISH 1930-2018) ’JAMES VI OF SCOTLAND’ AND ‘CUMBERLAND’ - 1975 Screenprints, 3/100, signed, dated, titled and numbered in ink (2) image size 29cm x 18cm (11.5in x 7in), each

£300-500

197 § WILLIE RODGER R.S.A., R.G.I., DUNIV (SCOTTISH 1930-2018) THE JOKERS: ADAM SMITH AND JOHN KNOX - 1975 Screenprints, 3/100, each signed, dated, titled and numbered in ink (2) image size 22cm x 16cm (8.75in x 6.25in), each

£300-500

101

PRINTS & MULTIPLES 198 § DAMIEN HIRST (BRITISH 1965-) WU ZETIAN, FROM THE EMPRESSES - 2022 Laminated giclée print on aluminium composite panel screenprinted with glitter, 435/2853, numbered and signed in pencil to label verso, published by HENI Editions, HENI catalogue number HN10-1 100cm x 100cm (39.5in x 39.5in)

£4,000-6,000

199 § THE CONNOR BROTHERS (BRITISH 1968-) EVERY SAINT HAS A PAST AND EVERY SINNER HAS A FUTURE - 2021 Giclée print with silkscreen varnish, 33/150, signed, dated and numbered in pencil to margin, accompanied by signed artist’s Certificate of Authenticity, and sold in artist’s frame the sheet 120cm x 74cm (47.25in x 29.25in)

£2,000-3,000

200 NAN GOLDIN (AMERICAN 1953-) SWAN-LIKE EMBRACE - 2001/2021 Colour print, from the timed edition, signed to an information sticker verso 20cm x 13.5cm (8in x 5.25in), unframed

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

102

201 § KAREL APPEL (DUTCH 1921-2006) RED AND BLUE FIGURES - 1977 Lithograph, 40/100, signed, dated and numbered in pencil to margin image size 67cm x 52cm (26.5in x 20.5in)

£500-700

202 § JOHN HOYLAND R.A. (BRITISH 1934-2011) TWO SCREENPRINTS: ‘THUPELO SEAL’ AND ‘KINGS SEAL’ - 1993 Two screenprints with woodblock, 46/90, each signed, titled, dated and numbered in pencil to margin, published by Advanced Graphics, London, with their blindstamp each sheet 112cm x 84.5cm (44in x 33.25in), unframed

£600-800

203 CAMILLE ROSE GARCIA (AMERICAN 1975-) I BELIEVE THAT LOVERS SHOULD BE Giclée print with hand-finishing, 44/100, signed and numbered in gold ink the sheet 25.5cm x 25.5cm (10in x 10in)

£300-500

103

204 205 §

ALEXANDER CALDER (AMERICAN 1898-1976)

SIR TERRY FROST R.A. (BRITISH 1915-2003)

UNTITLED FROM DERRIÈRE LE MIROIR #141 - 1976

UNTITLED (CELEBRATION) - 1989

Lithograph

Screenprint, stamped ‘K.G.’, printed

by Kip Gresham at the Curwen Studio, Chilford, published by the Curwen Press, Chilford

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

£300-500

the sheet 38.5cm x 29cm (15.25in x 11.5in), unframed Provenance: This print commemorates the opening of the new Curwen Chilford Studio at Cambridge on 14th December 1989.

According to Kemp (2010), the unsigned edition was printed as ‘giveaways’ to celebrate Curwen’s [Studio] move to Chilford Hall.

Literature: Kemp, Dominic, Terry Frost Prints: A catalogue raisonné, Lund Humphries, Farnham, 2010, cat. no. 118.

£400-600

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

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

104

207 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) MAGIC CIRCLES - 1989 Screenprint, 8/30, signed, dated and numbered in pencil to margin 157cm x 107.5cm (61.75in x 42.25in), unframed

£300-500

208 § DAVID SHRIGLEY O.B.E. (BRITISH 1968-) FOUR POSTERS (PEOPLE EXPECT SO MUCH FROM ME, LIFE IS VERY GOOD, I DID NOT ASK TO BE A BIRD, TRUTH) - 2016-2021 Off-set lithographic posters, printed by Narayana Press, Denmark, published by Shrig Shop, Copenhagen (4) each 80cm x 60cm (31.5in x 23.5in), unframed

£400-600

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

105

209 § DAME ELISABETH FRINK (BRITISH 1930-1993) ’CALYPSO’ FROM THE ODYESSY - 1974 Lithograph, 24/30, signed, titled and numbered in pencil to margin 56.5cm x 38cm (22.25in x 15in) Provenance: The Waddington Galleries, London.

£500-700

210 § GRAYSON PERRY C.B.E., R.A. (BRITISH 1960-) STAFFORDSHIRE FIGURE, KEYWORKER (DESIGN 1) - 2021 Ceramic figure, with artist’s stamps verso, produced to accompany the ‘Grayson’s Art Club’ exhibition at Bristol Musuem & Art Gallery, sold with accompanying exhibition map 26cm (10.25in) high

£800-1,200

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

£800-1,200

106

212 § STANLEY WILLIAM HAYTER C.B.E. (BRITISH 1901-1988) LE COUPLE - 1952 Color engraving, soft-ground etching and scorper, 2/2, signed, numbered and inscribed ‘son japan’ in pencil the sheet 56.5cm x 41.5cm (22.25in x 16.25in)

£600-800

studio, that became known as Atelier 17, with the aim of creating an environment to celebrate, promote and evolve printmaking through collaboration and experimentation rather than strict techniques and hierarchies. It was a great success, ultimately attracting key artistic figures of the time including Picasso, Giacometti, Miro and Chagall.

Meanwhile, Hayter continued to evolve and innovate his own techniques, particularly ‘simultaneous colour printing’ or ‘viscosity printing,’ the layering of varying viscosities of oil-based inks, using rags, stencils and rollers, onto a single plate. This allowed Hayter to print multiple layers of colour and texture in a single pulling. He was able to be gestural and fluid, and to work with improvisation rather than undertaking a more traditionally rigorous approach.

When war spread across Europe, Hayter moved the successful studio out of Paris to New York. His reputation preceded him and he attracted significant American artists such as Calder, Pollock and Rothko to collaborate. His fluid and spontaneous STANLEY WILLIAM HAYTER is considered one of the most significant printmakers of the 20th century, with associations to the period’s key artistic movements, Surrealism and Abstract Expressionism.

Although born into an artistic family, Hayter originally studied chemistry and geology in London, before being posted to Iran while employed by an oil company. While stationed there he contracted malaria and fell seriously ill. He was sent home to recuperate and during this time the company arranged to hold a small exhibition of his work at their London headquarters, showcasing pieces he had made while abroad. The exhibition was a big success, with the majority of works sold, and it is thought it was this that encouraged him to pursue a career as an artist more seriously. The next year, he moved to Paris to undertake further artistic study at Académie Julian and started working in printmaking. In 1927 he opened a printmaking

213 § STANLEY WILLIAM HAYTER C.B.E. (BRITISH 1901-1988) CHILDREN OF NIOBE - 1954 Lithograph, 58/250, signed, titled, dated and numbered in pencil to margin the sheet 65cm x 50cm (25.5in x 19.75in), unframed

£400-600

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

107

214 § STANLEY WILLIAM HAYTER C.B.E. (BRITISH 1901-1988) PEGASE - 1951 Engraving and soft ground etching with color stencils, 8/50, signed, dated and numbered in pencil to margin the sheet 31.5cm x 44cm (12.5in x 17.25in)

£600-800

215 § STANLEY WILLIAM HAYTER C.B.E. (BRITISH 1901-1988) WARRIORS - 1953 Color engraving, soft-ground etching and scorper, 165/200, signed, dated, titled and numbered in pencil to margin the sheet 57cm x 42.5cm (22.5in x 16.75in)

£700-900

approach gained a lot of traction and began to spread through artistic teaching in America.

Constantly innovating through all different periods of his life, Hayter collaborated with artists to make prints that were sold to raise funds for the republican cause in the Spanish Civil War and then as part of the Second World War effort, he collaborated with British artist and historian Roland Penrose to set up a commercial camouflage business, the Industrial Camouflage Research Unit.

Voraciously prolific, it is thought that Hayter made around 460 prints in his lifetime, working in Paris from 1950 up until his death in 1988. He was widely honoured in his lifetime, being awarded a CBE in the U.K. and the Légion d’honneur in France and since his death the atelier has continued, now under the name Atelier Contrepoint. We are delighted to be offering a small selection of Hayter’s work in print from the early 1950s, a period of lyrical action in his work, which showcase the vibrancy and versatility of the medium in his creative hands.

108

216 KÄTHE KOLLWITZ (GERMAN 1867-1945) GESENKTER FRAUENKOPF (LOWERED WOMEN’S HEAD) Etching and drypoint, with ‘A. V. D. BECKE MUENCHEN 22’ blindstamp to lower right corner plate size 38cm x 31.5cm (15in x 12.5in)

£400-600

217 § PETER HOWSON O.B.E. (SCOTTISH 1958-) UNTITLED FROM ‘A HERO OF THE PEOPLE’ - 1987 Linocut, 26/40, signed and numbered in pencil to margin, published by Paragon Press image size 40.5cm x 30.5cm (16in x 12in)

£300-500

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

109

218 § JOHN BYRNE R.S.A. (SCOTTISH 1940-) UNTITLED (TWO HEADS) Monotype, signed in pencil the sheet 76cm x 56cm (30in x 22.25in)

£700-900

219 § ANTONI CLAVÉ (SPANISH/CATALAN 1913-2005) ROI DES CARTES Lithograph, 91/99, signed and numbered in pencil to margin image size 69cm x 49.5cm (27.25in x 19.5in)

£400-600

110

220 § ADRIAN WISZNIEWSKI (SCOTTISH 1958-) PLOUGHMAN POET - 2013 Etching, P/P, signed and editioned in pencil to margin, published by Glasgow Print Studio, with their blindstamp 67cm x 50cm (26.5in x 19.75in)

£300-500

221 § 222 § ALASDAIR GRAY (SCOTTISH 1934-2019) FROM THE SOUL’S PROPER LONELINESS...

Lithograph, 49/50, signed and numbered in ink to margin, with a personal inscription from the artist to the verso of the frame image size 57.5cm x 28.5cm (22.75in x 11.25in)

£300-500

ALASDAIR GRAY (SCOTTISH 1934-2019) INSIDE THE BOX OF BONE...

Screenprint, 8/50, signed and numbered in pencil to margin, with a personal inscription from the artist to the back of the frame 59.5cm x 29.5cm (23.5in x 11.5in)

£300-500

111

223 § JOHN BYRNE R.S.A. (SCOTTISH 1940-) BOY WITH MOTH Lithograph with handcolouring, P/P, signed ‘Patrick,’ titled and editioned in pencil to margin the sheet 68cm x 81cm (26.75in x 31.75in), unframed

£1,000-1,500

224 § SALVADOR DALI (SPANISH 1904-1989) THREE PHOTOLITHOGRAPHS FROM ‘LES DINERS DE GALA:’ LES MONTRES MOLLES DEMI SOMMEIL, L’ATIVISME DESOXYRIBONUCLEIQUE AND LES DASLICES PETITS MARTYRS - 1971 Three photo-lithographs with etched remarque, 166/195; CII/CLXXXXV; CII/CLXXXXV, each signed and numbered in pencil to margin (3) each 54.5cm x 74cm (21.5in x 29.25in)

£1,000-1,500

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

112

225 § GENIEVE FIGGIS (IRISH 1972-) ADAM & EVE - 2019 Pigment giclée print, 54/150, signed, dated and numbered in pencil to margin the sheet 70cm x 56cm (27.5in x 22.25in), unframed

£2,000-3,000

226 § SALVADOR DALI (SPANISH 1904-1989) JOSEPH FROM THE TWELVE TRIBES OF ISRAEL Etching with stencils in colour, E.A., signed and editioned in pencil to margin plate size 50cm x 36cm (19.75in x 14.25in)

£700-900

227 § MARC CHAGALL (RUSSIAN/FRENCH 1887-1985) VISION DE PARIS Lithograph the sheet 32cm x 24.5cm (12.5in x 9.75in)

£300-500

113

228 § PABLO PICASSO (SPANISH 1881-1973) LE REPOS DU SCULPTEUR IV - 1933 Etching on Montval paper with Picasso watermark, ed. 260, signed in pencil to margin, published by Vollard, Paris 34cm x 44.5cm (13.5in x 17.5in)

£4,000-6,000

229 MAN RAY (AMERICAN 1890-1976) KIKI STANDING - 1971 Etching and aquatint, E.A., signed and editioned in pencil to margin image size 49.5cm x 39.5cm (19.5in x 15.5in) Provenance: Timothy Baum, New York

£500-800

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

114

230 § TRACEY EMIN C.B.E., R.A. (BRITISH 1963-) SIXTEEN - 2013 Giclée print on archival fine art paper, 48/100, signed, dated, titled and numbered in pencil to margin, housed in black box and accompanied by signed and dated copy of the book My Photo Album (2) the sheet 25.5cm x 20cm (10in x 8in), unframed

£1,500-2,000

231 MAN RAY (AMERICAN 1890-1976) DANCER DANGER - 1920/1972 Off-set lithograph, E.A. aside from the edition of 99, signed with initials and dated ‘20 in plate, signed with initials and editioned in pencil to margin image size 47.5cm x 27cm (18.75in x 10.5in)

£600-800

232 § MARTIN PARR C.B.E. (BRITISH 1952-) BLACKPOOL. ENGLAND. 1970.

Digital C-Print on Fuji Crystal Archive Matte paper, signed in ink to a label verso, published by Magnum Photos the sheet 15cm x 15cm (6in x 6in), unframed

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

115

233 § DAVID BAILEY C.B.E. (BRITISH 1938-) BOX OF PIN-UPS - 1965 Thirty-six half-tone prints, with captions and biographical details by Francis Wyndham printed verso, in original card box, published by Weidenfeld & Nicolson (36) each sheet 37cm x 32cm (14.5in x 12.5in), unframed

£3,000-5,000

116

234 § ALBERTO BURRI (ITALIAN 1915-1995) TRITTICO A: 1-3 The set of three lithographs, 27/90, signed and numbered in pencil to margin, published by 2RC Edizioni d’Arte, Rome, with their blindstamp each sheet 35cm x 43cm (13.75in x 17in)

£2,000-3,000

235 § CALLUM INNES (SCOTTISH 1962-) FROM MEMORY - 2006 Etching, 37/60, signed, dated, numbered and inscribed ‘M’ in pencil to margin the sheet 46.5cm x 37.5cm (18.25in x 14.75in)

£400-600

236 ELLSWORTH KELLY (AMERICAN 1923-2015) PURPLE, FROM THE FOURTH CURVE SERIES Lithograph, 44/45, signed and numbered in pencil, published by Gemini G.E.L., Los Angeles, with their blindstamps the sheet 73cm x 56.5cm (28.75in x 22.25in)

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

117

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

119

237 § BANKSY (BRITISH 1974-) WELCOME TO HELL (PINK) - 2004 Screenprint, 21/75, signed, dated and numbered in pencil to margin, published by Pictures on Walls, London, with their blindstamp This work is accompanied by a Certificate of Authenticity issued by Pest Control Office. the sheet 50cm x 35cm (19.75in x 13.75in)

£60,000-80,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

120

238 § BANKSY (BRITISH 1974-) LOVE IS IN THE AIR - 2013 Screenprint, 429/500, numbered in pencil to margin, printed and published by Pictures on Walls, London This work has been authenticated by Pest Control Office and a Certificate of Authenticity is being issued. the sheet 49.5cm x 69.5cm (19.5in x 27.25in)

£50,000-70,000

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

121

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

122

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

123

239 § BANKSY (BRITISH 1974-) FLYING COPPER - 2004 Screenprint, 234/600, signed in print, numbered in pencil to margin This work is accompanied by a Certificate of Authenticity issued by Pest Control Office. the sheet 100cm x 70cm (39.25in x 27.5in)

£20,000-30,000

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

124

240 § PATRICK HERON C.B.E. (BRITISH 1920-1999) SIX IN LIGHT ORANGE WITH RED IN YELLOW - 1970 Screenprint, 42/100, signed, dated and numbered in pencil to margin 70cm x 100cm (27.5in x 39.25in)

£1,000-1,500

241 § VICTOR PASMORE C.B.E., C.H. (BRITISH 1908-1998) THE POOL OF NARCISSUS Etching and aquatint with lithography, 64/100, signed with initials and numbered in pencil, published by 2RC Workshop, Rome, with their blindstamp the sheet 32cm x 56cm (12.5in x 22in), unframed

£500-700

242 § VICTOR PASMORE C.B.E., C.H. (BRITISH 1908-1998) SANS TITULO - 1972 Etching with aquatint, 264/400, signed with initials and numbered in pencil, published by 2RC Workshop, Rome, with their blindstamp, produced as the jacket for the artist’s catalogue raisonné by Bowness and Lambertini the sheet 33cm x 62cm (13in x 24.5in), unframed

£800-1,200

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

125

243 SAM FRANCIS (AMERICAN 1923-1994) UNTITLED - 1994 Lithograph, A/P, aside from the edition of 50, signed and numbered in pencil 58cm (22.75in) diameter

£800-1,200

244 § PABLO PICASSO (SPANISH 1881-1973) JAIME SABARTÉS, ‘A LOS TOROS’ MIT PICASSO - 1961 Oblong 4to, complete with four Picasso lithographs, one in colour, original pictorial cloth boards, with original slipcase, printed by Mourlot, Paris, published by Andre Sauret, Monte Carlo the book 25cm x 32.5cm (9.75in x 12.75in)

£1,500-2,000

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

126

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

£400-600

246 § JULIAN OPIE (BRITISH 1958-) ’BEACH HEAD 8’ - 2017 Laser-cut multiple 35cm x 29.5cm (13.75in x 11.5in)

£200-300

247 § TOBY PATERSON (SCOTTISH 1974-) ST IVES AXONOMETRIC BLUE - 2006 Screenprint, A/P, signed, dated and editioned in pencil the sheet 54cm x 62.5cm (21.25in x 24.5in)

£400-600

248 § TOBY PATERSON (SCOTTISH 1974-) ST IVES AXONOMETRIC BROWN - 2006 Screenprint, 9/50, signed, dated and editioned in pencil, published

by Edinburgh Printmakers, with their blindstamp the sheet 54cm x 62.5cm (21.25in x 24.5in)

£400-600

127

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

£300-500

250 § SALVADOR DALI (SPANISH 1904-1989) LA FEMME AU COUSSIN Etching with hand-colouring on japan paper, LXIII/C, signed and numbered in pencil to margin, with the artist’s blindstamp, published by P. Argillet, printed by Atelier Robbe, Paris plate size 40cm x 31.5cm (15.75in x 12.5in)

£600-800

251 § CAROL RHODES (SCOTTISH 1958-2018) ROADS BUILDINGS (NIGHT) - 2014 Screenprint, 8/22, signed with initials and numbered in pencil to margin, published by Edinburgh Printmakers, with their blindstamp the sheet 55.5cm x 58cm (21.75in x 22.75in), unframed

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

128

252 § GEORGES BRAQUE (FRENCH 1882-1963) CINQ POÉSIES EN HOMMAGE Á GEORGES BRAQUE - 1958 (VALLIER 131) Lithograph on japon nacré paper, XVI/ XXV, aside from the regular edition of 106, signed and numbered in pencil to margin 20cm x 55cm (8in x 21.5in) Provenance: Sotheby’s, London, Old Master, Modern & Contemporary Prints, 20 September 2007, Lot 104; The Private Collection of Mark Gillette.

£2,000-3,000

253 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (SCOTTISH 1920-2014) POWER 3 + 6 - 2003 Etching and chine collé, 2/12, signed, dated, titled and numbered in pencil to margin, published by Edinburgh Printmakers, with their blindstamp the sheet 66cm x 50cm (26in x 19.75in), unframed

£300-500

254 § MERLYN EVANS (WELSH 1910-1973) THE MINERS Etching and aquatint, 9/25, inscribed and dated in pencil to margin ‘For my friend Ifan Thomas - 1946,’ signed and dated in plate plate size 32cm x 40.5cm (12.5in x 16in)

£400-600

129

255 § VICTOR PASMORE C.B.E., C.H. (BRITISH 1908-1998) THE HARMONY OF OPPOSITES - 1986 Etching and aquatint, 12/90, signed with initials, dated and numbered in pencil to margin plate size 98cm x 129cm (38.5in x 50.75in) Provenance: Marlborough Fine Art, London; CCA Galleries, London.

£3,000-5,000

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

130

256 § HENRY MOORE O.M., C.H (BRITISH 1898-1986) TWO FORMS - 1967 Lithograph, 61/65, signed, dated and numbered in pencil image size 22cm x 31cm (8.5in x 12.25in)

£500-700

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

£1,500-2,000

258 § MICHAL MACKU (CZECH 1963-) GELLAGE NO. 51 - 1993 Silver gelatin emulsion lift, ed. 12, signed in pencil, with the artist’s blindstamp 75cm x 64cm (29.5in x 25.25in)

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

131

259 § GRAYSON PERRY C.B.E., R.A. (BRITISH 1960-) ’HOUSE OF LOVE’ SHRINE - 2017 Steel shrine with figures, from the edition of 50, with accompanying signed Serpentine Galleries ‘Certificate of Authenticity’ 60cm x 30cm x 17.5cm (23.5in x 11.75in x 7in)

£3,000-5,000

Note: This limited edition was presented by Grayson Perry on the occasion of the exhibition ‘The Most Popular Art Exhibition Ever!’ at the Serpentine Gallery, 8 June - 10 September 2017.

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

132

260 § IAN HAMILTON FINLAY (SCOTTISH 1925-2006) PENNY BROWNS, A COLLABORATION WITH IAN GARDNER - 1982 Lithograph, published by Wild Hawthorn Press the sheet 30cm x 53cm (11.75in x 22.75in), unframed

£300-500

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

£300-500

262 § MARY FEDDEN O.B.E., R.A., R.W.A. (BRITISH 1915-2012) CAT ON A CORNISH BEACH - 1991 Lithograph, 434/500, signed and numbered in pencil to margin, published by Bow Art, with their blindstamp the sheet 35cm x 49.5cm (15.25in x 19.5in), unframed

£300-500

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

£300-500

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

133

264 HILLA REBAY (AMERICAN 1890-1967) UNTITLED (PORTRAIT) - C.1929-39 Pochoir print, signed in plate image size 45cm x 35.5cm (17.75in x 14in) Provenance: Portico New York

£400-600

265 § SIR PETER BLAKE C.B.E., R.A. (BRITISH 1932-) ’FOR INSTANCE, NOW THERE’S THE KING’S ILLUSTRATOR’ FROM ILLUSTRATIONS TO THROUGH THE LOOKING GLASS - 1970 Screenprint, A/P, signed and editioned in pencil to margin the sheet 65cm x 51cm (25.5in x 20in), unframed

£600-800

266 § IAN HAMILTON FINLAY (SCOTTISH 1925-2006) TWO POSTCARDS: ARCADIA AND ZULU ‘CHIEFTAIN’ Two screeprinted cards: Arcadia, a collaboration with Michael Harvey; Screenprint, published by Wild Hawthorn Press; and ‘Zulu ‘Chieftain,’’ a collaboration with A. Doyle Moore (2) each 10.5cm x 15cm (4.25in x 6in), unframed

£400-600

134

267 NAN GOLDIN (AMERICAN 1953-) LOST HORIZON N.D. - 2021 Digital C-Print on Fuji Crystal Archive Matte paper, from the timed edition, signed in ink to an information sticker verso, published by Magnum Photos the sheet 15cm x 15cm (6in x 6in), unframed

£300-500

268 § IAN HAMILTON FINLAY (SCOTTISH 1925-2006) SEASHELLS (COLLABORATION WITH IAN PROCTOR) - 1971 Screenprint, 91/350, signed and numbered in ink to reverse of paper sleeve 25cm x 22.5cm (9.75in x 9in)

£300-500

269 § ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH 1965-) UNTITLED (DESIGN FOR CANONGATE) Lithograph, 39/100, signed and numbered in pencil to margin the sheet 50cm x 40cm (19.75in x 15.75in) Note: This print was one of a series commissioned by Canongate publishers to be used as book cover designs for their Scottish Classics series in 2001.

This image by Watt was the cover for ‘Selected Stories’ by Muriel Spark.

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

135

270 § JOHN BYRNE R.S.A. (SCOTTISH 1940-) BLOWIN’ WILD Screenprint, P/P, signed, titled and editioned in pencil to margin the sheet 76cm x 56.5cm (30in x 22.25in)

£500-700

271 § SALVADOR DALI (SPANISH 1904-1989) PRUNIER HÂTIF (HASTY PLUM) Lithograph and drypoint, 132/200, signed and numbered in pencil plate size 56cm x 36cm (22in x 14.25in)

£700-900

272 § BARBARA RAE C.B.E., R.A., R.S.A., R.E. (SCOTTISH 1943-) BAD WEATHER LANDING - 1974 Screenprint, 5/23, signed, dated, numbered and titled in pencil to margin image size 40cm x 29.5cm (15.75in x 11.5in)

£300-500

136

273 THOMAS JOSHUA COOPER (AMERICAN 1946-) ’REMEMBERING MY FATHER’S TRIBAL GRANDPARENTS, AUTUMN ON THE LITTLE BLUE,’ THE CHEROKEE NATION SOUTH-EAST OF THE VINITA Silver gelatin print, 2003-4, hand-toned and printed by the artist, signed in pencil to mount; and another ‘’High Noon at the Funnel - The Snake River,’ Pillar Falls Canyon, Twin Falls County, Idaho, USA,’ Silver gelatin print, 2003-4, hand-toned and printed by the artist, signed in pencil to mount (2) each 41.5cm x 57.5cm (16.25in x 22.5in) Provenance: Ingleby Gallery, Edinburgh

£5,000-7,000

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

137

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

138

274 § ALASDAIR GRAY (SCOTTISH 1934-2019) PORTRAIT OF PAUL SAVAS Lithograph, 44/50, signed and numbered in pencil 29cm x 20.5cm (11.5in x 8in)

£300-500

275 § 276 § STEPHEN CONROY (SCOTTISH 1964-) LOOKING OVER LEFT SHOULDER - 2002 Lithograph, 1/2, signed and numbered in pencil to margin, printed by the Curwen Studio, Chilford, published by the Curwen Press, Chilford, with their blindstamp the sheet 55.5cm x 38cm (21.75in x 15in), unframed Note: The original pencil study was sold in these rooms in April 2022, Lot 56.

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

PAULA REGO R.A. (BRITISH/ PORTUGESE 1935-2022) CRYING (JANE EYRE SERIES) - 2001 Lithograph, aside from the edition of 35 +14 AP’s, signed in pencil, printed

by The Curwen Studio, Cambridge, published by the artist and Marlborough Graphics, London the sheet 59.5cm x 43.5cm (23.5in x 17.25in), unframed

£800-1,200

139

277 § PABLO PICASSO (SPANISH 1881-1973) REVERIES D’OPIUM: FUMEUR EN CALOTTE PAPLE FROM SERIE 347 - 1968 Etching, 33/50, signed and numbered in pencil to margin, printed by Aldo and Piero Crommelynck, published by Galerie Louise Leiris, Paris, 1969 plate size 17cm x 20.5cm (6.75in x 8in), the sheet 25cm x 32.5cm (9.75in x 12.75in)

£3,000-5,000

278 § PABLO PICASSO (SPANISH 1881-1973) GROSSE COURTISANE ET VIEUX BEAU FROM SERIE 347 - 1968 Etching, 38/50, signed and numbered in pencil to margin, printed by Aldo and Piero Crommelynck, published

by Galerie Louise Leiris, Paris, 1969 plate size 20.5cm x 15cm (8in x 6in), the sheet 32.5cm x 25cm (12.75in x 9.75in)

£3,000-5,000

140

279 § DAME ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH 1931-2021) PASSION FLOWER Etching with aquatint, 38/50, signed and numbered in pencil to margin, published by Glasgow Print Studio, with their blindstamp the sheet 50cm x 42cm (19.75in x 16.5in)

£400-600

280 § DAME ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH 1931-2021) POPPY STUDY - 2011 Screenprint, P/P, aside from the edition of 80, signed and editioned in pencil, published by Glasow Print Studio, with their blindstamp 59cm x 47.5cm (23.25in x 18.75in)

£400-600

141

281 § DAME ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH 1931-2021) HIBISCUS & CATS - 1985 Etching, 14/50, signed and numbered in pencil to margin the sheet 73cm x 55.5cm (28.75in x 21.75in)

£400-600

282 § SALVADOR DALI (SPANISH 1904-1989)

283 §

FEMME-FLEURS AU PIANO, FROM HIPPIES - 1970

SALVADOR DALI (SPANISH 1904-1989)

Etching with hand-colouring on japan paper, LXIII/C, signed and numbered in pencil to margin, with artist’s signature blindstamp, published by P. Argillet, printed by Atelier Robbe, Paris

REUBEN, FROM ‘TWELVE TRIBES OF ISRAEL’ - 1973

plate size 39.5cm x 31.5cm (15.5in x 12.5in)

£300-500

Etching with colour stencil, 125/195, signed and numbered in pencil to margin image size 50cm x 36cm (19.5in x 14.25in)

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

142

284 § IAIN MACNAB (BRITISH 1890-1967) THE WINE CASK C.1940 Lithograph in colours on tissue thin japan, signed and titled in pencil to margin, published by Warren Johns Ltd., Teddington image size 25.5cm x 40.5cm (10in x 16in)

£1,200-1,800

285 § DAME ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH 1931-2021) JAPANESE GARDEN II - 2005 Etching, Printer’s Proof, aside from the ed. of 50, signed and editioned in pencil to margin, published by the Glasgow Print Studio plate size 37.5cm x 54cm (14.75in x 21.25in)

£400-600

286 § GRAEME TODD (SCOTTISH 1962-2022) HOUSE OF SODAL YE -2004 Screenprint, 14/30, signed, dated, titled and numbered in pencil verso, published by Edinburgh Printmakers, with their blindstamp the sheet 69.5cm x 90cm (27.25in x 35.5in), unframed

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

143

287 § LAURENCE STEPHEN LOWRY (BRITISH 1887-1976) THE MANCHESTER REFERENCE LIBRARY Off-set lithograph, ed. 850, signed in pencil to margin, with Fine Art Trade Guild blindstamps image size 24cm x 35cm (9.5in x 13.75in)

£800-1,200

288 § CHRISTO (BULGARIAN/AMERICAN 1939-2020) WRAPPED STATUES (PROJECT FOR DER GLYPTOTEK IN MUNICH AEGEAN TEMPLE) - 1988 Screenprint with collage, 169/300, signed and numbered in pencil 88cm x 67cm (34.75in x 26.5in) Provenance: Leslie Sacks Fine Art, Los Angeles

£1,500-2,500

144

289 § BANKSY (BRITISH 1974-) THE WALLED-OFF HOTEL BOXSET Digital print and concrete relief, accompanied by original ‘The Walled Off Hotel’ receipt stamped and numbered 3688 and soap and mints from the hotel 22cm x 22cm (8.75in x 8.75in)

£800-1,200

290 § GRAYSON PERRY C.B.E., R.A. (BRITISH 1960-) ’100% ART’ PLATE - 2020 Ceramic plate, developed for the Holburne Museum, in collaboration with Kit Grover, to celebrate the exhibition ‘The Pre-Therapy Years’ 21.75cm diameter (8.5in)

£300-500

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

145

291 § TRACEY EMIN C.B.E., R.A. (BRITISH 1963-) CLOSED - 2013 Etching, 117/200, signed, dated, titled and numbered in pencil to margin the sheet 36cm x 38cm (14.25in x 15in), unframed

£1,000-1,500

292 § DAVID SHRIGLEY O.B.E. (BRITISH 1968-) LEFT FOOT - 2017 Linocut, 95/100, signed with initials, dated and numbered in pencil the sheet 75cm x 56cm (29.5in x 22in), unframed

£1,000-1,500

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

£300-500

146

294 § DAVID SHRIGLEY O.B.E. (BRITISH 1968-) ANIMALS SERIES (SET OF 4) - 2020 Off-set lithographic posters, printed by Narayana Press, Denmark, published by Shrig Shop, Copenhagen (4) each 80cm x 60cm (31.5in x 23.5in), unframed

£800-1,200

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

£400-600

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

147

296 § HUSH (BRITISH 1973-) UNTITLED - 2010 Screenprint, 22/25, signed, dated and numbered in black ink the sheet 75cm x 75cm (29.5in x 29.5in)

£500-700

297 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) FORMICA-FORMIKEL FROM MOONSTRIPS EMPIRE NEWS - 1967 Screenprint, Artist’s Proof, signed and inscribed, published by Editions Alecto, London, printed by Kelpra Studios, London 37.5cm x 25cm (14.75in x 10in)

£300-500

298 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) SECRETS OF THE INTERNAL COMBUSTION ENGINE FROM MOONSTRIPS EMPIRE NEWS - 1967 Screenprint, Artist’s Proof, signed and inscribed in pencil, published by Editions Alecto, London, printed by Kelpra Studios, London 37.5cm x 25cm (14.75in x 10in)

£300-500

148

299 § DAVID SHRIGLEY O.B.E. (BRITISH 1968-) HUMAN BEHAVIOUR (SET OF 4) - 2022 The set of four digital prints on 200g Munken Lynx paper, ed. 250, printed by Narayana Press in Denmark, published by Shrig Shop, Copenhagen (4) each 70cm x 50cm (27.5in x 19.75in)

£800-1,200

300 § VICTORIA CROWE O.B.E., F.R.S.E., R.S.A. (SCOTTISH 1945-) RESILIENT TREE, RISING MOON - 2021 Woodblock, screenprint and lithography, 17/50, signed and numbered in pencil, published by Edinburgh Printmakers, with their blindstamp the sheet 76.5cm x 83cm (30in x 32.75in), unframed

£600-800

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

149

301 § JOHN BYRNE R.S.A. (SCOTTISH 1940-) NOVA SCOTIA - 2016 Screenprint, signed and titled in pencil, published by Glasgow Print Studio the sheet 54cm x 77cm (21.25in x 30.25in), unframed

£500-700

302 § DAVID SHRIGLEY O.B.E. (BRITISH 1968-) ANIMALS & EXISTENTIALISM (SET OF 4) - 2022 The set of four digital prints on 200g Munken Lynx paper, ed. 250, printed by Narayana Press in Denmark, published by Shrig Shop, Copenhagen (4) each 70cm x 50cm (27.5in x 19.75in)

£800-1,200

150

303 § PABLO PICASSO (SPANISH 1881-1973) LA PETITE CORRIDA - 1957 Lithograph, signed and dated in plate 23.11.57 30.5cm x 23.5cm (12in x 9.25in) Provenance: The Redfern Gallery, London - where purchased by the vendor’s family in December 1967.

£300-500

304 § SIR TERRY FROST R.A. (BRITISH 1915-2003) LORCA SUN (KEMP 130) - 1991

305 CLAES OLDENBURG (AMERICAN 1929-) INDIAN HEAD FROM ‘THE PEACE PORTFOLIO’ - 1972 Screenprint, 138/150, signed with initials and numbered in pencil to margin 45.5cm x 35.5cm (18in x 14in)

£400-600

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

Etching with lithography, 3/25, signed, dated and editioned in pencil to margin, printed by Hugh Stoneman and Alan Cox at the Print Centre, London, published by the artist, Newlyn plate size 56cm x 37.5cm (22in x 14.75in)

£600-800

151

306 § KEN KIFF R.A. (BRITISH 1935-2001) WOMAN, WAVE AND FLOWERS - 1991 Woodcut on handmade paper, 1/50, signed and numbered in pencil to margin, published

by Marlborough Graphics, London the sheet 87cm x 66cm (34.25in x 26in) Provenance: Marlborough Graphics, London

£600-800

307 § MICHAEL ROTHENSTEIN R.A. (BRITISH 1908-1993) BUTTERFLY BIRD Woodcut, 2/5, signed and numbered in pencil, with further numbering in pencil to lower margin, 6/50 the sheet 58.5cm x 62.5cm (23in x 24.5in)

£500-700

152

308 § IAN HAMILTON FINLAY (SCOTTISH 1925-2006) 4 COLUMNS, 8 POSTERS FOR THE CISTERCIAN ABBEY OF L’EPAU: SUMMER 1986 (9 WORKS) Set of 8 lithograph prints and title page, published by Wild Hawthorn Press; and another ‘Proposal for a Monument to Jean-Jacques Rousseau,’ a collaboration between Ian Hamilton Finlay and Gary Hincks, Lithograph in original paper sleeve, ed. 250, printed by The Stellar Press, published by Wild Hawthorn Press (10) each 41cm x 62.5cm (16.25in x 24.5in) and 26.5cm x 48.5cm (10.5in x 19in)

£500-700

153

309 § PABLO PICASSO (SPANISH 1881-1973) LA COMEDIE HUMAINE, I.II.54 1 Colour lithograph image size 24cm x 32cm (9.5in x 12.5in), the sheet 26.5cm x 35.5cm (10.5in x 14in)

£300-500

310 § JOE TILSON (BRITISH 1928-) AEIOU - 1970 Screenprint with fabric letter and collage on wood panel, A/P, aside from the edition of 70, signed, dated and inscribed in pencil 70.5cm x 49.5cm (27.75in x 19.5in) Provenance: Waddington Galleries, London

£800-1,200

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

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

154

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

£400-600

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

£400-600

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

£400-600

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

£300-500

155

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

£800-1,200

317 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) MEMORY CORE UNITS FROM MOONSTRIPS EMPIRE NEWS - 1967 Screenprint, Artist’s Proof, signed and inscribed in pencil, published by Editions Alecto, London, printed by Kelpra Studios, London 37.5cm x 25cm (14.75in x 10in)

£300-500

318 § JEAN DUBUFFET (FRENCH 1901-1985) BANQUE DE L’HOURLOUPE - 1967 Complete set of 52 screenprints in colour plus title page housed in custom folio box, 55/350 + 30 AP’s, numbered in box, published by Editions Alecto, London, printed by Kelpra Studios, London each card 25cm x 16cm (9.75cm x 6.25in), unframed

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

156

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

157

319 § DAVID SHRIGLEY O.B.E. (BRITISH 1968-) UNTITLED (I AM LISTENING) - 2020 Screenprint, ed. 125, signed, dated and numbered verso, produced by Counter Studios, Margate the sheet 75cm x 56cm (29.5in x 22in)

£5,000-7,000

320 MARILYN MINTER (AMERICAN 1948-) JUSTICE NOW - 2020 Archival pigment print, 179/300, signed and numbered in black ink the sheet 62cm x 41.5cm (24.5in x 16.25in), unframed

£500-700

321 § ALBERT IRVIN O.B.E., R.A. (BRITISH 1922-2015) DRUID II - 1984 Screenprint, 16/35, signed, dated and numbered in pencil 128cm x 156cm (50.5in x 61in) Provenance: Gimpel Fils, London

£500-700

322 § BOB AND ROBERTA SMITH O.B.E., R.A. (BRITISH 1963-) ART MAKES PEOPLE POWERFUL - 2014 Screenprint, 5/100, signed, dated and numbered in pencil the sheet 59.5cm x 42cm (23.5in x 16,5in), unframed

£300-500

323 § DAN BALDWIN (BRITISH 1972-) FLIRTING WITH DEATH - 2007 Screenprint with hand-finished gold and silver leaf, 18/20, signed and numbered in silver ink 61cm x 61cm (24in x24in) Provenance: Forster Fine Art

£400-600

159

INDEX OF ARTISTS AGUDELO, ABIEZER - - 4 9 APPEL, KAREL - 201 BAILEY, DAVID - 2 33 BALDWIN, DAN - 45, 46, 323 BALMER, BARBARA - 172 BANKSY - 237, 238, 239, 289 BELLANY, JOHN - 16, 17, 21, 131, 135, 136, 180 BLACKADDER, DAME ELIZABETH - 86, 112, 279, 280, 281, 285 BLAKE, SIR PETER - 265 BRAQUE, GEORGES - 252 BRINKWORTH, KATE - 107 BROTHERS, THE CONNOR - 199 BRYCE, GORDON - 13 BURRI, ALBERTO - 234 BYRNE, JOHN - 1, 4, 5, 6, 218, 223, 270, 301 CALDER, ALEXANDER - 2 04 CAMPBELL, CATRIONA - 124 CARR, DAVID - 74 CHAGALL, MARC - 227 CHAPMAN, JAKE AND DINOS - 104 CHRISTO AND JEANNE-CLAUDE - 288 CLAVÉ, ANTONI - 2 19 COLBERT, PHILIP - 168 COOPER, THOMAS JOSHUA - 273 CROWE, VICTORIA - 300 CUNNINGHAM, JOHN - 98, 139, 142, 146, 166, 167, 177 DALI, SALVADOR - 224, 226, 250, 271, 282, 283 DALZIEL + SCULLION - 51 DAVIE, ALAN - 2 2, 55, 57, 152, 158, 179, 253 DAVIE, ALAN - 6 6, 207 DELLERT-DELACROIX, THOMAS - 58 DONALDSON, DAVID - 129 DOUTHWAITE, PATRICIA - 14, 15, 173, 174, 175 DUBUFFET, JEAN - 318 DUNLOP, ALISON - 73 EMIN, TRACEY - 41, 230, 291 EVANS, DAVID - 2 , 31 EVANS, MERLYN - 254 FALLS, SAM - 100 FEDDEN, MARY - 261, 262, 263 FEINSTEIN, RACHEL - 1 03 FIGGIS, GENIEVE - 2 25 FINLAY, IAN HAMILTON - 2 60, 266, 268, 308 FIRTH, JACK - 88 FLEMING, IAN - 87 FORREST, ARCHIE - 163 FRANCIS, SAM - 2 43 FRINK, DAME ELISABETH - 2 09 FROST, SIR TERRY - 304 GARCIA, CAMILLE ROSE - 44, 203 GARDNER, ALEXANDRA - 3

GEAR, WILLIAM - 5 4 GILLESPIE, JOAN - 1 44 GILLIES, SIR WILLIAM GEORGE - 1 51 GODDARD, STEPHEN - 28, 29, 30 GOLDIN, NAN - 2 00, 249, 267 GORE, FREDERICK - 9 5 GOUDIE, ALEXANDER - 7 1, 137, 138 GRAY, ALASDAIR - 7 5, 221, 222, 274 HARING, KEITH - 3 12, 313, 314 HARRIGAN, CLAIRE - 1 1 HAWKINS, JAMES - 117 HAYTER, STANLEY WILLIAM - 2 12, 213, 214, 215 HERON, PATRICK - 240 HIRST, DAMIEN - 1 98 HIXON, CAMOMILE - 6 0 HOCKNEY, DAVID - 2 11, 293 HOLZER, JENNY - 2 45 HOUSTON, JOHN - 1 9, 20, 84, 85, 140, 141 HOWSON, PETER - 3 3, 34, 80, 81, 217 HOYLAND, JOHN - 2 02 HULL, JAMES - 1 53 HUME, GARY - 77 HUNTER, KENNY - 39 HUSH - 296 INNES, CALLUM - 2 35 IRVIN, ALBERT - 3 21 JOHNSTONE, WILLIAM - 6 8, 69, 70, 91, 92 KAHN, ISAAC - 1 10 KELLY, ELLSWORTH - 2 36 KIFF, KEN - 3 06 KINGSLEY, JOHN EVERARD - 1 76 KOLLWITZ, KÄTHE - 2 16 KUSAMA, YAYOI - 2 06, 316 LEFCOURT, DANIEL - 9 9 LIANBEN, LAO - 1 34 LOWRY, LAURENCE STEPHEN - 2 87 LUCAS, SARAH - 106 MACCOLL, EOGHANN - 1 54 MACDONALD, FRANCES - 130, 178 MACH, DAVID - 8 , 50 MACKENZIE, ALEXANDER - 9 3 MACKU, MICHAL - 2 58 MACNAB, IAIN - 284 MACPHERSON, NEIL - 3 5, 171 MACQUEEN, CHARLES - 9

MANSON, DONALD - 121, 125 MARINETTI, JULIEN - 4 0 MARTIN, DAVID MCLEOD - 9 7 MAX, PETER - 7 6 MAYO, DRUMMOND - 1 48 MCCLURE, DAVID - 2 4 MCGIVERN, BARBARA - 1 82, 183 MCINTYRE, DONALD - 1 2 MCLAREN, PETER - 6 3, 83 MCNAIRN, CAROLINE - 1 32, 133 MCRAE, JENNIFER - 1 8, 25, 26, 27, 64

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

MICALLEF, ANTONY - 4 7 MICHIE, ALASTAIR - 1 18 MICHIE, DAVID - 1 13, 114, 115, 116 MINTER, MARILYN - 3 20 MOORE, HENRY - 2 56 MORGAN, POLLY - 4 2 MORRISON, JAMES - 9 4, 147, 150 MORROCCO, JACK - 145 MULHOLLAND, CRAIG - 3 2, 82 NARA, YOSHITOMO - 3 11 NATKIN, ROBERT - 6 7 NEAGU, PAUL - 6 5 NEVAY, HEATHER - 3 7 NORRINGTON, CLAIRE - 1 22, 123 OPIE, JULIAN - 2 46 PAOLOZZI, EDUARDO - 7 , 61, 62, 157, 159, 297, 298, 317 PARR, MARTIN - 232 PASMORE, VICTOR - 2 41, 242, 255 PATERSON, TOBY - 2 47, 248 PEPLOE, DENIS - 2 3 PERRY, GRAYSON - 210, 259, 290 PHILIPSON, SIR ROBIN - 1 43 PICASSO, PABLO - 2 28, 244, 277, 278, 303, 309 RAE, BARBARA - 1 55, 156, 272 RAY, MAN - 229, 231 REBAY, HILLA - 2 64 REEVES, PHILIP - 5 3 RHODES, CAROL - 2 51 ROBERTSON, IAIN - 5 2 ROBERTSON, JAMES DOWNIE - 1 19, 127, 128 RODGER, WILLIE - 1 84, 185, 186, 187, 188, 189, 190, 191, 192, 193, 194, 195, 196, 197 ROLAND, DAVID - 4 8 ROOSKENS, ANTON - 5 6 ROTHENSTEIN, MICHAEL - 3 07 ROWE, SERENA - 7 2 SAWYERS, ROBERT - 1 26 SCOULLER, GLEN - 1 64, 165 SHANKS, DUNCAN - 96 SHRIGLEY, DAVID - 2 08, 257, 292, 294, 295, 299, 302, 319 SIMONSEN, HENRIK - 4 3 SMITH, BOB AND ROBERTA - 5 9 SUBRAMANYAN, KALPATHI GANPATHI - 7 9 SUMRAY, MAURICE - 7 8 TAYLOR, FRASER - 1 60, 161, 162 THOMSON, PETER - 3 6, 38 TILSON, JOE - 3 10 TODD, GRAEME - 2 86 TURK, GAVIN - 1 05 URIE, JOSEPH - 1 81 VATER, MARKUS - 1 01, 102 VETTRIANO, JACK - 1 08, 109, 111, 170 WALKER, ETHEL - 1 20 WATT, ALISON - 1 69, 269 WEBB, KENNETH - 1 49 WEGMULLER, ANN - 1 0 WIRTH-MILLER, DENIS - 8 9, 90 WISZNIEWSKI, ADRIAN - 2 20

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

160

AKIKO HIRAI (JAPANESE 1970-) LARGE MOON JAR, 2017

EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005)

painted artist’s mark, grogged stoneware, rugged and cracked porcelain deposits over layered slips beneath running ash glazes

SCULPTOR’S CHAIR, 1987

£5,000-7,000

£8,000-12,000

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

beech, birch plywood, and found objects; together with the maquette model

161

MODERN & POST-WAR ART, DESIGN & STUDIO CERAMICS AUCTION 28 OCTOBER 2022 OPEN FOR CONSIGNMENTS

For more information please contact Philip Smith | 0207 930 9115 philip.smith@lyonandturnbull.com Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

162

CONDITIONS OF SALE

22.2

FOR BUYERS (UK)

extent provided below.

These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used.

(a) Condition Reports: Condition Reports are provided on our Website or upon request. The absence of a report does not imply that a Lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavour to respond to all requests although we offer no guarantee. Any statement in relation to the Lot is merely an expression of opinion of the Seller or us and should not be relied upon as an inducement to bid on the Lot. Lots are available for inspection prior to the sale and You are strongly advised to examine any Lot in which You are interested prior to the sale.

Our Condition Reports are not prepared by professional conservators, restorers or engineers. Our Condition Report does not form any contract between us and the Buyer. The Condition Reports do not affect the Buyer’s obligations in any way.

Special terms may be used in Catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms, etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the Catalogue.

These notices and terms will also form part of our terms and conditions of sales.

In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate.

“You”, “Your” means the Buyer.

Lyon & Turnbull Ltd. acts as agent for the Seller.

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

2. 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

(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

163 than on previous occasions, please contact our Finance Department on +44(0)131 557 8844.

3. FAILURE TO PROVIDE THE RIGHT DOCUMENTS If in our opinion You do not satisfy our Bidder identification and registration procedures including, but not limited to, completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register You to bid, and if You make a successful bid, we may cancel the contract between You and the Seller.

4. BIDDING ON BEHALF OF ANOTHER PERSON (a) As an authorised Bidder: If You are bidding on behalf of another person, that person will need to complete the registration requirements above before You can bid, and supply a signed letter authorising You to bid for him/ her. (b) As agent for an undisclosed principal: If You are bidding as an agent for an undisclosed principle (the ultimate Buyer(s)) You accept personal liability to pay the Purchase Price and all other sums due, unless it has been agreed in writing with us before commencement of the auction that the Bidder is acting as an agent on behalf of a named third party acceptable to us and we will seek payment from the named third party.

5. BIDDING IN PERSON If You wish to bid in the saleroom You must register for a numbered bidding paddle before You begin bidding. Please ensure You bring photo identification with You to allow us to verify Your registration.

6. BIDDING SERVICES The bidding services described below are a free service offered as a convenience to our clients and we are not responsible for any error (human or otherwise), omission or breakdown in providing these services. (a) Phone bids Your request for this service must be made no later than 12 hours prior to the auction. We will accept bids by telephone for Lots only if our staff are available to take the bids. If You need to bid in a language other than English You should arrange this Well before the auction. We do not accept liability for failure to do so or for errors and omissions in connections. (b) Internet Bids For certain auctions we will accept bids over the internet. For more information please visit our Website.

We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding. (c) Written Bids While prospective Buyers are strongly advised to attend the auction and are

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

C. DURING THE SALE 1. ADMISSION TO OUR AUCTIONS We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. We may refuse admission at any time before, during or after the auction.

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

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

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

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

6. CURRENCY CONVERTER The saleroom video screens and bidding platforms may show bids in some other major currencies as Well as

sterling. Any conversion is for guidance only and we cannot be bound be any rate of exchange used. We are not responsible for any error (human or otherwise) omission or breakdown in providing these services.

7. SUCCESSFUL BIDS Unless the Auctioneer decides to use their discretion as set out above, when the Auctioneer’s hammer falls, we have accepted the last bid. This means a contract for sale has been formed between the Seller and the successful Bidder. We will issue an invoice only to the registered Bidder who made the successful bid. While we send out invoices by post/or email after the auction, we do not accept responsibility for telling You whether or not Your bid was successful. If You have bid by written bid, You should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of our bid to avoid having to pay unnecessary storage charges.

8. RELEVANT LEGISLATION You agree that when bidding in any of our sales that You will strictly comply with all relevant legislation including local laws and regulations in force at the time of the sale for the relevant saleroom location.

D. THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY 1. THE PURCHASE PRICE For each Lot purchased a Buyer’s Premium of 26% of the Hammer Price of each Lot up to and including £20,000, plus 25% from £20,001 to £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

164 amended by oral or written saleroom notes or announcements. We make no warranties whatsoever, whether express or implied, with respect to any material in the Catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below.

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

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

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

We have discretion to waive any of the above requirements. We may require the original purchaser of the Lot to obtain, at the original purchaser of Lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of the Lot. We shall not be bound by any reports produced by the original purchaser of the Lot, and Reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed

that the rescission of a sale and the refund of the original Purchase Price paid (the successful Hammer Price, plus the Buyer’s Premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest.

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

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

by You to us howsoever incurred and without agreement by You or Your agent, whether express or implied. (c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name. (d) The ownership of any Lots purchased shall not pass to You until You have made payment in full to us of the Total Amount Due. The risk in and the responsibility for the Lot will transfer to You from whichever is the

earlier of the following: (i) When You collect the Lot; or (ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise with You in writing. (e) You shall at Your own risk and expense take away any Lots that You have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any cheque used for payment whichever is later. We can provide You with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us. (f) No purchase can be claimed or removed until it has been paid for. (g) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time.

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

You will be deemed to have granted

such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any way we think appropriate. We will use the proceeds of the sale against any amounts You owe us and we will pay any amount left from that sale to You. If there is a shortfall, You must pay us the balance; and (i) Take any other action we see necessary or appropriate.

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

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

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

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

165 have not be identified as such.

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

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

2. RECORDINGS We may videotape and record proceedings at any auction. We

will keep any personal information confidential, except to the extent disclosure is required by law if You do not wish to be videotaped, You may make arrangements to bit by telephone or a written bid or bid on Lyon & Turnbull Live instead. Unless we agree otherwise in writing, You may not videotape or record proceedings at any auction.

3. COPYRIGHT We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission.

We do not offer any guarantee that You will gain any copyright or other reproductions to the Lot. 4. ENFORCING THIS AGREEMENT If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force.

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

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

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

8. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the premises, safety and security arrangements. Accordingly, neither the Auctioneer nor our employees or

agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.

stated in Catalogue.

9. DATA PROTECTION

“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.

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.

“Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website

“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.

K. DEFINITIONS & GLOSSARY

“Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com

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.

2. GLOSSARY The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings:

1. DEFINITIONS

“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

“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

“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.

22.2

166

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 217 [detail]

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