Scottish Paintings & Sculpture | Auction 08 December 2022

SCOTTISH PAINTINGS & SCULPTURE

BUYER'S GUIDE

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

BUYER’S PREMIUM

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

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

† VAT at the standard rate payable on the hammer price

‡ Reduced rate of 5% import VAT payable on the hammer price

Ω Standard 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

REGISTRATION

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:

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.

carly.shearer@lyonandturnbull.com

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.

Carly Shearer Specialist

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

Alice Strang Senior Specialist alice.strang@lyonandturnbull.com

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

2

§

ROBERT RUSSELL MACNEE

R.G.I. (SCOTTISH 1880-1952)

FARMYARD SCENE WITH POULTRY

Signed and dated ‘14/’15, oil on canvas 34.5cm x 45cm (13.5in x 17.75in)

£500-800

1 §

ROBERT RUSSELL MACNEE R.G.I. (SCOTTISH 1880-1952)

COUNTRY LANE WITH COTTAGES

Signed and dated ‘15, oil on canvas 34.5cm x 52.25cm (13.5in x 20.5in)

£500-800

3

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

GLEN FALLOCH

Signed and dated 1905, oil on canvas

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

Provenance: The McEwan Gallery, Ballater £1,000-1,500

4

JOSEPH MORRIS HENDERSON R.S.A. (SCOTTISH 1864-1936)

RUINS ABOVE THE LOCH

Signed, oil on canvas 46cm x 61cm (18in x 24in) £500-800

5 §

JOHN MCGHIE (SCOTTISH 1867-1952) SUNSET OVER A DESERTED SANDY BEACH

Signed, oil on canvas 36cm x 46cm (14in x 18in) £1,000-1,500

6

JAMES

FAED (SCOTTISH 1821-1911)

THE

ESTUARY GATEHOUSE OF FLEET

Signed, inscribed with artist’s address on label verso, oil on board, arched top 31cm x 46cm (12in x 18in) £800-1,200

8 SIR JAMES LAWTON WINGATE R.S.A. (SCOTTISH

1846-1924)

NEAR EDZELL

Signed, oil on canvas 41cm x 51cm (16in x 20in)

£1,000-1,500

9

CHARLOTTE NASMYTH (SCOTTISH 1804-1884)

GOING TO EPPING, ESSEX

Signed and dated 1879, signed, inscribed and dated verso, oil on canvas 30.5cm x 41cm (12in x 16in) £1,000-1,500

10

SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945)

THE ROAD TO STIRLING Signed, signed to stretcher verso, oil on canvas 36cm x 49cm (14in x 19in)

£2,000-3,000

11

WILLIAM BRADLEY LAMOND R.B.A. (SCOTTISH 1857-1924)

A WOODED RIVER LANDSCAPE WITH DUCKS

Signed, oil on canvas 36cm x 46cm (14in x 18in)

£500-800

DAVID FULTON

R.S.W. (SCOTTISH 1848-1930)

A BREEZY DAY, CARRADALE SHORE

Signed, oil on canvas

57cm x 83cm (22.5in x 32.5in)

£2,000-3,000

14

JOSEPH MORRIS HENDERSON R.S.A. (SCOTTISH 1864-1936) ABOVE THE FISHING VILLAGE

Signed, oil on canvas 41cm x 61cm (16in x 24in) £500-700

15 §

WILLIAM MILLER FRAZER R.S.A.

(SCOTTISH 1864-1961)

COAL BOAT UNLOADING, BLACKWATERFOOT ARRAN

Signed, oil on board 25.5cm x 35.5cm (10in x 14in) £700-1,000

18 SIR GEORGE PIRIE R.S.A, R.S.W., L.L.D (SCOTTISH 1864-1946)

COSETTE

Signed, signed and inscribed verso, oil on canvas

46cm x 36cm (18in x 14in)

Provenance: Ewan Mundy Fine Art, Glasgow £800-1,200

17

ROBERT WATSON (BRITISH 1865-1916)

SHEEP ON A HILLSIDE

Signed and dated 1887, oil on canvas 25.5cm x 20cm (10in x 8in) £600-800

19

JOHN CRAWFORD WINTOUR

A.R.S.A (SCOTTISH 1825-1882)

THE MINNOW FISHERS

Inscribed on a contemporary label verso, oil on canvas 91cm x 125cm (35.25in x 48.75in)

Exhibited: Royal Scottish Academy, Edinburgh, Annual Exhibition, 1860, no.658 £2,000-3,000

20

ROBERT SANDERSON (SCOTTISH

1848-1908)

A BUSY HARBOUR SCENE

Signed and dated 1889, oil on canvas 91cm x 61cm (36in x 24in)

£800-1,200

21 CHARLES JAMES LAUDER

R.S.W. (SCOTTISH 1840-1920)

SHIPPING ON THE THAMES

Signed and dated ‘80, oil on canvas 51cm x 31cm (20in x 12in)

£800-1,200

23

ARCHIBALD

KAY R.S.A., R.S.W. (SCOTTISH 1860-1935)

HARVEST TIME

Signed, oil on canvas 59cm x 127cm (23in x 42in) £1,500-2,000

24

JOHN HENDERSON (SCOTTISH 1860-1924)

AFTERNOON

Signed, signed and inscribed on a label verso, oil on panel 23cm x 30.5cm (9in x 12in)

£500-700

25

GEORGE HOUSTON R.S.A, R.S.W., R.G.I. (SCOTTISH 1869-1947)

GOAT FELL

Signed, oil on canvas 51cm x 765cm (20in x 30in) £1,500-2,000

26

DUNCAN CAMERON (SCOTTISH 1837-1916)

HARVEST TIME

Signed and dated ‘79, oil on canvas 33cm x 53cm (13in x 21in) £700-1,000

27

ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928)

LODORE

Signed, signed and inscribed verso, oil on canvas 61cm x 91cm (24in x 36in) £5,000-8,000

28

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

THE YOUNG VIOLINIST

Signed and dated ‘89, oil on canvas 46cm x 36cm (18in x 14in)

Provenance: The Fine Art Society, London, no. 6690 £1,000-1,500

29

DAVID FULTON R.S.W. (SCOTTISH 1848-1930)

THE YOUNG GARDENER

Signed, oil on canvas

33cm x 28cm (13in x 11in)

£600-900

ALEXANDER NASMYTH (SCOTTISH 1758-1840) HIGHLAND RIVER WITH AQUEDUCT

Oil on canvas 46cm x 61cm (18in x 24in) £1,200-1,800 31

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

CLOY BURN, ISLE OF ARRAN

Signed and dated 1886, signed and inscribed verso, oil on canvas, and a companion, ‘Summer Moonlight, Glencloy Burn, Arran’, signed and dated 1886, watercolour and body colour (2) 39cm x 59cm (15.25in x 23.25in); 6.5cm x 11cm (2.5in x 4.25in)

Inscription to watercolour label verso reads: ‘Two of this also, one 12 by 10, the other 24 by 16, painted early in ‘86 from a daylight sketch made in ‘74. The larger was exhibited in Aberdeen ‘86, in Glasgow ‘87, sold by Doig for £40 Oct. ‘87. The smaller in Kilmarnock ‘86 and there sold for £16.’ £1,200-1,800

Provenance: Lyon & Turnbull, Edinburgh, Drambuie Collection Part I, 26 January 2006, lot 85 (as ‘Figure on a Highland Loch, Viaduct in the Distance’)

33

HORATIO MCCULLOCH R.S.A. (SCOTTISH 1805-1867)

A ROCKY SHORELINE WITH DISTANT TOWER

Signed, oil on canvas, and a companion, a pair, ‘A Moonlit Shore with Distant Castle’ (2) 36cm x 46cm (14in x 18in) £1,500-2,000

34

JAMES FAED JR (SCOTTISH 1856-1920)

ROUGH SHOOTING IN THE TROSSACHS

Signed and dated 1883, oil on canvas 61cm x 91cm (24in x 36in)

Provenance: Bourne Fine Art, Edinburgh £1,500-2,000

35

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

THE CLOSE OF THE DAY

Signed and dated 1878, signed,inscribed and dated verso, oil on canvas 30.5cm x 46cm (12in x 18in) £1,000-1,500

36 §

WILLIAM OLIPHANT HUTCHISON P.R.S.A., R.P. (SCOTTISH 1889-1970)

STIRLING BRIDGE

Signed and dated 1920, oil on canvas 61cm x 76cm (24in x 30in)

£1,000-1,500

37 § WILLIAM MILLER FRAZER R.S.A. (SCOTTISH 1864-1961)

A

WOODED RIVER LANDSCAPE WITH FIGURE IN PUNT

Signed, oil on canvas 51cm x 61cm (20in x 24in)

£1,000-1,500

38

JOSEPH MORRIS HENDERSON R.S.A. (SCOTTISH 1864-1936)

AUGUST LANDSCAPE

Signed, signed and inscribed on label verso ‘For “Jock’s Box” Fund’, oil on board 18cm x 25.5cm (7in x 10in) £700-1,000

39 §

JESSIE M. MCGEEHAN (SCOTTISH 1872-1961)

HIDE AND SEEK

Signed, oil on canvas, unframed 25.5cm x 30.5cm (10in x 12in) £500-700

41

GEORGE HOUSTON R.S.A, R.S.W., R.G.I. (SCOTTISH 1869-1947)

THE FIRTH OF CLYDE Signed, watercolour 44cm x 59cm (17.25in x 23.25in)

£500-800

42

TOM SCOTT R.S.A. (SCOTTISH 1854-1927)

THE HAUGH IS RINGING WI’ HARDEN’S MEN

Signed and dated 1919, grisaille

25.5cm x 34cm (10in x 13.5in)

Provenance: Mainhill Gallery, Ancrum

This grisaille is the original illustration for William H. Ogilvie’s Whaup O’ The Rede: A Ballad of the Border Raiders, Dalbeattie 1909, Ill. p. 15.

£500-700

THE OLD MILL AT FOWLIS

Signed, signed, inscribed and dated 1986 in the artist’s hand on label verso, watercolour 51cm x 76cm (20in x 30in) £2,000-3,000

James McIntosh Patrick is famed for his finely-observed paintings and etchings of the Angus landscape. A Dundonian by birth, from a young age he displayed a keen interest in art and was encouraged by his architect father to draw and experiment with etching. At the age of seventeen he enrolled at the Glasgow School of Art where, owing to his creative competence, he was admitted directly into the second year of the four-year degree.

It was here, studying under Maurice Grieffenhagen, that Patrick saw his first success, winning several prizes, gaining a post-diploma scholarship and acquiring important contracts for editions of prints. In the following years the etching market declined abruptly, which compelled Patrick to seek employment as a teacher at Dundee College of Art and to diversify into oil and watercolour painting.

Patrick’s career was interrupted in 1940 when he was called for service in the Camouflage Corps. As with many artists of the period, World War Two was to impact significantly on his style: travelling extensively with the military, Patrick had to paint ‘en plein air’ resulting in looser and more painterly and impressionistic mark-making. He nevertheless maintained his trademark attention to detail, and the ensuing style is evident in his landscape pictures from thereon.

After the War Patrick continued to paint the landscape around Dundee. He was elected an Associate member of the Royal Scottish Academy in 1949, and was made a full member eight years later. His influence as a leading landscape artist can still be felt widely, both in Scotland and further afield, and his work is held in collections internationally.

45 §

JAMES MCINTOSH PATRICK

R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998)

KEITHOCK BURN

Signed, signed, inscribed and dated 1989 by the artist on a label verso, watercolour

76cm x 56cm (30in x 22in)

Keithock Burn is beside Keithock Mill near Woodside, Angus. £1,500-2,000

46 §

JAMES MCINTOSH PATRICK

R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998)

ASHLEY BRIDGE

Signed, watercolour

76cm x 66cm (30in x 22in)

£1,500-2,000

47 §

JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1885-1957)

LAMLASH, ARRAN

Signed and dated ‘32, watercolour 26cm x 37cm (10.25in x 14.5in)

£2,000-3,000

48 §

DAVID FORRESTER WILSON R.S.A. (SCOTTISH 1873-1950)

SUN - FORENOON, SANAIG CLIFFS, ISLAY

Signed and dated 1942, oil on board 30cm x 46cm (12in x 18in)

£800-1,200

49

WILLIAM BRADLEY LAMOND R.B.A. (SCOTTISH 1857-1924)

EARLY MORNING

Signed, oil on canvas 36cm x 46cm (14in x 18in) £500-700

50

JAMES DOCHARTY A.R.S.A. (SCOTTISH 1829-1878) BEECH AVENUE, INVERARAY CASTLE

Signed and dated 1875, oil on canvas 30.5cm x 51cm (12in x 21in)

£800-1,200

53

WILLIAM GEORGE GILLIES (SCOTTISH FL.1890-1925)

THE RED CLOAK

Signed, oil on canvas 127cm x 101.5cm (50in x 40in)

This artist, not to be confused with Sir William George Gillies (1898-1973), was a Glasgow-based painter of portraits - often of young women - genre scenes and the occasional landscape. He exhibited at the Royal Scottish Academy and the Royal Glasgow Institute from his address at 58 West Regent Street, the details of which are to be found on the reverse of this work’s frame.

£1,500-2,000

54 §

CHARLES OPPENHEIMER

R.S.A., R.S.W. (BRITISH 1876-1961)

WINTER

Signed and dated 1909, watercolour 49cm x 34cm (19.25in x 13.5in)

£2,000-3,000

55

JAMES PATERSON

R.S.W., R.S.A., R.W.S. (SCOTTISH 1854-1932)

THE NITH OF ELISLAND

Signed and inscribed ‘Moniaive’ verso, oil on canvas

46cm x 36cm (18in x 14in)

Provenance: Ewan Mundy Fine Art, Glagow £2,000-3,000

56

EDWARD

ATKINSON HORNEL (SCOTTISH 1864-1933)

HAIR WASHING

Signed and dated 1923, oil on canvas

66cm x 23cm (22in x 9in) £2,000-3,000

57 §

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

BY THE BATH HOUSE

Signed, watercolour 41cm x 56cm (16in x 22in) £3,000-5,000

58 §

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

NORTH SIDE, LOCH EARN

Signed, watercolour 37cm x 53cm (14in x 21in)

£2,000-3,000

59 §

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

SICILIAN RENDEZVOUS

Signed, signed and inscribed on the backboard, watercolour 26cm x 37cm (10.25in x 14.5in)

£3,000-5,000

61 §

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

NUDE STUDY IN SPANISH DRESS

Signed, sanguine on blue paper 26cm x 18cm (10.25in x 7in)

£600-1,000

60 §

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

AMBROSINE

Signed and dated 10.10.62, signed and inscribed on board verso ‘Drawn with Conté sanguine on XVIII-century French paper’, sanguine 29cm x 21.5cm (11.5in x 8.5in)

Provenance: Frost & Reed Ltd, London, no.D11709

£600-1,000

62 §

CHARLES OPPENHEIMER

R.S.A., R.S.W. (BRITISH 1876-1961)

THE EIGER AND THE MÖNCH

Signed, watercolour

29cm x 22cm (11.5in x 8.5in)

£800-1,200

63

WILLIAM MCTAGGART

R.S.A., R.S.W. (SCOTTISH 1835-1910)

THE PLEASURES OF HOPE

Signed, inscribed and dated 1885, watercolour 38cm x 28cm (15in x 11in)

Provenance: Dowell’s Ltd, Edinburgh, McTaggart Watercolour Sale, Spring 1889, lot 20

Literature: J. L. Caw, William McTaggart RSA: A Biography and an Appreciation, Glasgow 1917, p.258

£2,000-3,000

64

STUART PARK (SCOTTISH 1862-1933)

RED AND WHITE GERANIUMS

Signed, oil on canvas 71cm x 91cm (28in x 36in) £1,500-2,000

65

STUART PARK (SCOTTISH 1862-1933)

STILL LIFE OF PINK ROSES

Signed, oil on canvas 61cm x 51cm (24in x 20in) £700-900

66

FLORA MACDONALD REID (SCOTTISH 1861-1938)

GOOD NEWS FROM THE FRONT

Signed and dated 1919, oil on canvas 25.5cm x 36cm (10in x 14in) £800-1,200

67

THOMAS AUSTEN

BROWN

(BRITISH 1859-1924)

THE HAY BARN

Signed, oil on board 46cm x 38cm (18in x 15in) £800-1,200

68

JAMES PATERSON

R.S.W., R.S.A., R.W.S. (SCOTTISH 1854-1932)

ON THE RIVERBANK

Signed, inscribed and dated ‘Moniaive 1890’, watercolour 13cm x 23cm (5in x 9in) £800-1,200

69

JAMES PATERSON

R.S.W., R.S.A., R.W.S. (SCOTTISH 1854-1932)

HEATHLAND

Signed and dated 1909, indistinctly inscribed verso, oil on panel 13cm x 22cm (5in x 85in) £500-700

70 §

WILLIAM BEATTIE BROWN R.S.A. (SCOTTISH 1831-1909)

HIGHLAND RIVER IN SPATE

Signed, oil on canvas 41cm x 61cm (16in x 24in) £600-800

71

WILLIAM THORNLEY (BRITISH 1857-1898)

TANTALLON CASTLE

Signed and inscribed, oil on panel

20cm x 30.5cm (8in x 12in) £800-1,200

72 §

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

WINTER TREES AT SUNSET

Signed, oil on canvas 28cm x 37cm (11in x 14.5in)

£1,000-1,500

73 §

ROBERT HENDERSON BLYTH R.S.A., R.S.W. (SCOTTISH 1919-1970)

EAST COAST HARBOUR

Signed, pen and ink and watercolour 23.5cm x 30.5cm (9.25in x 12in)

Exhibited: The Scottish Gallery, Edinburgh, The Edinburgh School: Works on Paper, 3 April - 1 May 2010

£800-1,200

74 §

STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976)

ST MONANS

Signed and inscribed, lithograph 17cm x 25.5cm (6.75in x 10in)

£800-1,200

75 §

GEORGE TELFER BEAR (SCOTTISH 1876-1973)

POSTIE’S HOUSE, KIRKCUDBRIGHT

Signed, inscribed on a label verso, oil on board 38cm x 48cm (15in x 19in)

This painting shows the view looking south-west over the River Dee from Kirkcudbright Harbour, including Shore House on the left.

£1,200-1,800

76 § JACK HOGGAN (SCOTTISH 1951-)

A SUMMER BREEZE

Signed, inscribed with title on a label verso, oil on canvas 51cm x 41cm (20in x 16in) £4,000-6,000

77 §

SIR WILLIAM

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

CARTMEL

Signed, oil on canvas 53cm x 83cm (21in x 32.75in)

£2,000-3,000

78 §

SIR WILLIAM

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

TEMPLE

Signed, watercolour 41cm x 53.5cm (16in x 21in)

£1,500-2,000

JOHN G. BOYD

R.P., R.G.I. (SCOTTISH 1940-2001)

KNIFE, LAMP AND PEAR

Signed, oil on canvas 66cm x 76cm (26in x 30in)

Provenance: William Hardie Gallery, Glasgow Bourne Fine Art, Boyd Memorial Exhibition, August 2002 £1,000-1,500 80 §

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)

GIRL APPROACHES II

Watercolour

67.5cm x 67.5cm (26.5in x 26.5in)

Exhibited: The Scottish Gallery, Edinburgh, Festival Exhibition, 1976, no.7

£1,500-2,000

84

ANNE REDPATH

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

STUDY FOR ‘THE CHILDHOOD OF ST. GENEVIEVE’

Watercolour and gouache 53.5cm x 25.5cm (21in x 10in)

Provenance: The artist’s family

Exhibited: The Scottish Gallery, Edinburgh, Anne Redpath: Fifty - A Celebratory Exhibition, 3 July - 1 August 2015, no.2

This watercolour is after a mural by Pierre-Cécile Puvis de Chavannes (1824-98) in the Panthéon, Paris, which he painted between 1874 and 1879. Redpath made this work circa 1919, having seen the mural whilst in the French capital thanks to a travelling scholarship awarded to her by Edinburgh College of Art.

£1,000-1,500

83 §

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

A RIVER LANDSCAPE AT DUSK

Signed, oil on board 18cm x 23cm (7in x 9in)

Provenance: Given by the artist to his patron George Lyall Chiene and thence by descent to the present owner in 1964

£1,500-2,000

86 §

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

SUNSET OVER THE SEA, HARRIS II

Signed and dated 1974, watercolour on Japanese paper

62cm x 97.75cm (24.5in x 38.5in)

£2,000-3,000

87 §

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) CAROUSEL

Signed and dated 1986 to artist’s label verso, pastel 22.5cm x 37.5cm (9in x 14.75in) £800-1,200

88 §

JOHN G. BOYD R.P., R.G.I. (SCOTTISH 1940-2001) SELF-PORTRAIT WITH AVOCADOS

Signed, oil on canvas 91cm x 71cm (36in x 28in)

Provenance: William Hardie Gallery, Glasgow

Exhibited: Bourne Fine Art, Edinburgh, John Boyd (19402001) Memorial Exhibition, 2002 £1,000-1,500

89 §

WILLIAM MCCANCE (SCOTTISH 1894-1970) SIAMESE CAT

Signed with initials and dated ‘34, pencil on buff paper 20cm x 24cm (8in x 9.5in)

Provenance: Cyril Gerber Fine Art, Glasgow £700-900

90 §

JOHN MILLER

R.S.A., P.R.S.W. (SCOTTISH 1911-1975)

GLASGOW FROM MOUNT FLORIDA

Signed, oil on board

48cm x 63.5cm (19in x 25in)

Provenance: Fine Art Society, Edinburgh, 1991, no.564, from whom acquired by the previous owner

Exhibited: Fine Art Society, Edinburgh, Spring Exhibition, 1988, no.129 £1,000-1,500

91 §

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

A WOODED LANDSCAPE

Signed, oil on canvas

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

£1,200-1,800

92 §

GEORGE WRIGHT HALL (SCOTTISH 1895-1974)

TOBY JUG AND FLOWERS

Signed, oil on canvas

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

Provenance: Mrs W. N. Darling

Exhibited: Royal Scottish Academy, Edinburgh, Annual Exhibition, 1950, no. 154

£1,000-1,500

93 §

DAVID MICHIE

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

ARGYLE ARMS, POTTERROW

Signed, oil on board 71cm x 101.5cm (28in x 40in)

Provenance: By direct descent from the artist to the present owner

The now demolished Argyle Arms pub stood at 6468 Bristo Street, Potterrow, Edinburgh. Photographs showing this view, including some taken in 1967 and 1970, can be found in the National Record of the Historic Environment, see www.canmore.org.uk.

£800-1,200

94 §

IAN FLEMING

R.S.A., R.S.W., R.G.I., L.L.D. (SCOTTISH 1906-1990)

WHITE LIGHT - BLUE SUN

Signed, signed, inscribed and dated 1973/74 on the back board, oil on board 76cm x 61cm (30in x 24in)

£1,000-2,000

95 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) BON APPETIT Signed, watercolour 76cm x 56cm (30in x 22in) £1,500-2,000

96 §

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)

MEN OBSERVED

Signed verso, inscribed and dated 1981 on artist’s label verso, oil on board 20cm x 25.5cm (8in x 10in) £2,000-3,000

97 § PETER HOWSON

O.B.E. (SCOTTISH 1958-) FIGHT CITY

Signed and dated 2021, mixed media 28.5cm x 20cm (11.25in x 8in)

Provenance: Acquired from the artist by the current owner £600-800

98 § PETER HOWSON O.B.E. (SCOTTISH 1958-) THE PARDON

Signed and dated 2021, mixed media 20cm x 28.5cm (8in x 11.25in)

Provenance: Acquired from the artist by the present owner £600-800

SCOTTISH PAINTINGS & SCULPTURE

102

PATRICK DOWNIE

R.S.W (SCOTTISH 1871-1945)

SUMMER TIME, FIRTH OF CLYDE

Signed, signed, inscribed and dated on the backboard ‘Largs 1937’, oil on board 61cm x 76cm (24in x 30in) £1,000-1,500

104

GEORGE HOUSTON

R.S.A, R.S.W., R.G.I. (SCOTTISH 1869-1947)

ON THE RIVER BANK

Signed, oil on canvas 71cm x 91cm (28in x 36in)

This view depicts Dunderave Castle, Inveraray, on the shores of Loch Fyne. £1,500-2,000

108

DAVID FARQUHARSON

A.R.A.,

SCOTTISH GYPSIES

Signed, signed and inscribed verso, oil on canvas 38cm x 61cm (15in x 24in)

Provenance: Nigel Stacy-Marks, Perth £2,000-3,000

109

DAVID FARQUHARSON

THE TAY AT NEWBURGH

Signed and dated ‘89, signed with initials and inscribed verso, oil on canvas 30.5cm x 51cm (12in x 20in)

£3,000-5,000

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

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

THE NASMYTH FAMILY

James Nasmyth, James Nasmyth Engineer: An Autobiography, John Murray, London, 1883

Alexander Nasmyth is best-known as ‘the founder of the Scottish landscape tradition’, but his earliest training was as a decorative painter. His talent earned him the attention of Allan Ramsay, a leading portrait artist and court painter to George III. Nasmyth spent four years training in Ramsay’s London studio, and directly afterwards he predominantly produced portraits for the nobility. Commissions waned when word spread about the young artist’s liberal politics, and a two-year period of study in Italy finalised Nasmyth’s move away from portraiture.

Upon his return to Edinburgh in 1784 Nasmyth established himself as an accomplished painter of landscapes. Architectural components recur throughout his compositions, reflecting Nasmyth’s abilities as an engineer and architect; accordingly, he often fulfilled commissions to design and expand the estates of the Scottish nobility.

In the 1790s Nasmyth designed 47 York Place, Edinburgh, for his family. The plan incorporated residential quarters in the top floor apartment and two garret storeys in the roof to accommodate teaching space and a studio. With the opportunity for European travel limited by the Napoleonic Wars, it was an astute time to establish a school of art. Aspiring artists enrolled to witness Nasmyth’s ‘familiar and practical’ lectures accompanied by demonstrations, with the household becoming a thriving hub in Edinburgh’s early nineteenth-century ‘cultural Renaissance’. Notable attendees included David Wilkie, Francis Grant, David Roberts, Clarkson Stansfield, William Allan, Andrew Geddes and the Rev. John Thomson of Duddingston. Nasmyth also taught middle-class women, for whom painting and drawing were important social graces.

Tutelage was supported by Nasmyth’s daughters, who sometimes led sketching tours around familiar Edinburgh vistas including Duddingston Loch, Craigmillar Castle, Roslin, or the Forth estuary.

Raised in a uniquely artistic and intellectual environment, it is of little surprise that the Nasmyth children understood the principles of drawing and painting. It is remarkable, however, that so many possessed natural artistic talent. Of his eleven children at least eight were gifted artists: his six eldest daughters Jane, Barbara, Margaret, Anne, Elizabeth and Charlotte, and his eldest son Patrick and younger son James. James observed that ‘my father’s object was to render each and every one of his children…independent… accordingly, he sedulously kept up the attention of his daughters to fine art. He set on foot drawing classes…managed by his six daughters, superintended by himself.’

The Nasmyth children benefited from intimate access to their father’s paintings and expansive drawings portfolio, including many early copies of Old Masters made at the Trustees Academy in Edinburgh and Allan Ramsay’s studio. It also contained numerous landscape sketches observed from life, overwhelmingly portraying England and Scotland. Only a few European sketches survive, likely made during Nasmyth’s Italian studies, but charmingly these continental landscapes appear to have been pored over by the Nasmyth children, and can be seen to have inspired passages in their mature paintings. They all went on to paint landscapes almost exclusively, with each adopting a personal interpretation of their father’s style.

In 1810 Alexander visited London with his eldest son Patrick (17871831) to view prominent private paintings collections. Patrick elected to remain in London, where he developed a detailed and precise painting style informed by seventeenth-century Dutch landscapes. Such was his commitment to the Dutch Masters, particularly Hobbema and Jacob van Ruisdael, that his obituary referred to him as ‘the English Hobbima’. Patrick continued to portray Scotland, which proved popular with London collectors. He was reported to have constructed a small portable painting tent which enabled him to work even in the most adverse weather conditions, so that he could capture a naturalistic and atmospheric impression of the landscape before him.

Signed and dated works by the Nasmyth daughters appear on the market infrequently, and Anne Gibson Nasmyth’s (1798-1874) paintings are particularly rare: she was less prolific than her sisters, with fewer than twenty works attributed to her. Nevertheless, she

“At all events, we cannot help having a due regard for our forefathers. Our curiosity is stimulated by their immediate or indirect influence upon ourselves.”

David Octavius Hill, Alexander Nasmyth and his Family National Galleries of Scotland: Purchased 1987 (PG 2729A)

is recorded as having exhibited at the Royal Scottish Academy, Royal Society of British Artists, Royal Scottish Academy and British Institution, and her paintings reveal her to be a highly accomplished landscape artist with a predilection for stormy highland scenes. Anne joined her brother Patrick in London in 1829, where she and her sister Elizabeth established a further Nasmyth school of art at 9 Devonshire Street, Portland Place.

The youngest family member was Charlotte Nasmyth (1804-1884). Born and raised amidst the hubbub of York Place, she cultivated a painting style more distinct from that of her siblings on account of its freer, more flamboyant handling of paint and vibrant tonal palette. She was possibly the most prolific of her sisters, and appears to have travelled widely within the UK, with pictures recording landscapes across Scotland, Wales and England. Portraits of Charlotte were painted by William Nicholson (17811844) and Andrew Geddes (1783-1844), and are now in the collections of the National Galleries of Scotland and the British Museum respectively.

110

ALEXANDER NASMYTH (SCOTTISH 1758-1840)

STIRLING CASTLE WITH THE UPPER PART OF THE FORTH Oil on panel

45cm x 61cm (17.75in x 2in)

Provenance: Mrs Alexander Bannerman

Christie’s, London, 25 February 1888, lot 156 to Carritt

Christie’s, 17 June 1983

Spink & Son, London

Literature: J. C. B. Cooksey, Alexander Nasmyth HRSA 1758-1840: A Man of the Scottish Renaissance, Southampton 1991, p.110, Ill. Q44A (as ‘oil on canvas’)

£3,000-5,000

112

CHARLOTTE NASMYTH (SCOTTISH 1804-1884)

PERTH

Inscribed on a contemporary label verso, indistinctly dated 1844, oil on board 28cm x 38cm (11in x 15in) £2,000-3,000

113 PATRICK NASMYTH (SCOTTISH 1787-1831) TRAVELLER BY FARM COTTAGES Oil on panel 45cm x 61cm (17.5in x 24in) Provenance: Major J. P. Compton, Blaysworth Manor, 1969 Christie’s Scotland, British and Continental Paintings and Drawings, 27 June 1991, lot 50 (as ‘A Figure on a Riverside Path with Cottages in an Extensive Landscape’) Spink & Son, London, K2 5635 £1,500-2,000

Provenance: W. H. Patterson, London £2,000-3,000

115

JOHN MILNE DONALD (SCOTTISH 1819-1866) LOADING THE SHIP ON THE JETTY LOOKING TOWARDS KILMUN Signed, oil on canvas 71cm x 91cm (28in x 36in) £2,000-3,000

116

WILLIAM BELL SCOTT H.R.S.A., L.L.D. (SCOTTISH 1811-1890)

THE BARGE OF THE FAIRY MAB

Inscribed with title and address and ‘Government School of Design’ on a contemporary label verso, feigned arched top, oil on canvas 61cm x 51cm (24in x 20in)

Provenance: Careston Castle, Brechin, Angus Exhibited: Royal Scottish Academy, Edinburgh, Annual Exhibition, 1845, no.175 £5,000-8,000

Mercutio in Romeo and Juliet, Act I, scene IV

William Bell Scott was born in Edinburgh in 1811, the son of the engraver Robert Scott (1777-1841) and younger brother of the painter and poet David Scott (1806-1849). He trained in fine art at the Trustees’ Academy, a forerunner of Edinburgh College of Art. In 1837 he moved to London, where he soon developed a connection with a group of painters known as ‘The Clique’ who met to sketch together. ‘The Clique’ was founded by the renowned fairy painter Richard Dadd in the late 1830s, and co-alesced around a rejection of high art and a belief that their work should not conform to academic ideals. Bell Scott formed a friendship with Dadd, and they collaborated on illustrations for Samuel Carter Hall’s ‘Book of British Ballads’ (1842). The group disbanded in 1843 after Dadd was diagnosed insane and institutionalised at Bethlem for killing his father during a psychotic breakdown.

In 1843 Bell Scott was offered the position of Master of the Government School of Design at Newcastle-upon-Tyne, where he would remain for the following twenty years. He nevertheless maintained a relationship with the Pre-Raphaelites in London, and contributed poetry to their journal ‘The Germ’. He was close to William Holman Hunt and, in particular, Dante Gabriel Rossetti, whose family championed his work.

Bell Scott is best-known for his history paintings. In 1854 he was commissioned to paint a series of works depicting the history of Northumberland for Wallington Hall, the Morpeth home of his most valued patron Lady Trevelyan. Five years later he met Alice Boyd of Penkill Castle, Ayrshire, while she studied in Newcastle. The relationship became close, and from the 1860s Scott lived with Alice Boyd and his wife Letitia in a ménage à trois between Scotland and London until the end of his life. Following her brother’s death in 1865 Alice became the owner of Penkill, and Bell Scott spent several years in the 1860s painting the staircase with a series of frescos illustrating James I’s poem ‘The Kings Quair’.

‘The Barge of the Fairy Mab’ was exhibited at the Royal Scottish Academy in 1845, and pre-dates Bell Scott’s Pre-Raphaelite associations. The Fairy Queen Mab is glimpsed through lily petals glowing in the moonlight, being transported on a barge formed from lily pads. Her hair falls in flowing golden tresses and she holds a long red wand, which she directs towards a spider spinning silken threads, as her wide eyes gaze upwards towards the web. The Fairy Queen and several of her attendants are unclothed, with a sensuous allure of form that could not have been freely expressed in a traditional Victorian genre or history painting. The intense jewel-like colour draws the eye towards the heart of the composition, as does the detailed rendering of the elf-like creatures, insects, bugs and leaves. Even the delicate threads of the web are beautifully illuminated. The scene is enclosed within leaves and grasses, through which fairies make their way, with bright star-like torches on their heads, past a swan nestled in the background. There is joy, humour and mischief in the rendering of Fairy Queen Mab and her entourage, and it is a delight to glimpse into this fantasy.

Queen Mab is a mischievous yet benevolent figure. In ‘Romeo and Juliet’ she is referred to as the fairies’ midwife, who delivers sleepers their innermost fancies in the form of dreams. In Victorian Britain a great fashion for fairy painting co-incided with a resurgence of interest in Shakespearean plays such as ‘The Tempest’ and ‘A MidSummer Night’s Dream’, in which fairies feature as characters. The popularity of the fairy genre is seen as a reaction to the societal and environmental changes being wrought by industrialisation and the expansion of the suburbs. Viewers sought escapism from the changing world through mystical, spiritual and fantastical scenes and images of the natural world. The fairy genre is rare in Bell Scott’s oeuvre, yet in ‘The Barge of the Fairy Mab’ he has created a charming example of Victorian fairy painting at its best.

O, then, I see Queen Mab hath been with you. She is the fairies’ midwife, and she comes In shape no bigger than an agate-stone On the fore-finger of an alderman, Drawn with a team of little atomies Athwart men’s noses as they lies asleep; Her wagon-spokes made of long spinners’ legs, The cover of the wings of grasshoppers, The traces of the smallest spider’s web, The collars of the moonshine’s wat’ry beams, Her whip of cricket’s bone; the lash of film…

117

WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910)

WORD FROM THE WEST

Signed and indistinctly dated, oil on panel 38cm x 51cm (15in x 20in)

Provenance: Dowell’s Ltd, Edinburgh 14 March 1885 Ritchie Collection

Exhibited: Royal Scottish Academy, Edinburgh, Annual Exhibition, 1865 Dundee 1873

Literature: J. L. Caw, William McTaggart RSA: A Biography and an Appreciation, Glasgow 1917, pp.41 & 228

£3,000-5,000

118

JOHN PHILIP (SCOTTISH 1817-1867) MEALTIME

Signed with a monogram and dated 1856, inscribed ‘Painted for Mr Carrett, 1 Park Brook, Birmingham’ verso, oil on canvas 69cm x 53cm (27in x 21in)

£4,000-6,000

122

EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933)

BRIGHOUSE BAY

Signed and dated 1917, oil on canvas 76cm x 61cm (30in x 24in)

£6,000-8,000

123

SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) LOCHES, FRANCE

Signed, oil on canvas 51cm x 41cm (20in x 16in)

Provenance: Frost & Reed Ltd, Bristol, no.27424

£3,000-5,000

124

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

PLAYMATES

Signed, oil on canvas

71cm x 81cm (28in x 31.75in)

£7,000-10,000

125

WILLIAM MOUNCEY (SCOTTISH 1852-1901) GALLOWAY PASTORAL

Signed, oil on canvas 88cm x 74cm (34.5in x 29in)

Exhibited: Royal Scottish Academy, Edinburgh, Annual Exhibition, 1889, no.255 £3,000-5,000

SIX SKETCHES FOR

THEIR MAJESTIES’ COURT, BUCKINGHAM PALACE, 1931,

BY SIR JOHN LAVERY

In the summer of 1888, the thirty-two-year-old John Lavery was commissioned to paint the large commemorative canvas representing the State Visit of Queen Victoria to the International Exhibition in Glasgow (Glasgow Museums). The prospect was daunting, and it took two years to complete. The only way of tackling such a monumental task was to work from an ensemble sketch done on the spot, with special sittings arranged for the key performers after the event. The process was refined as it went along, and the 250 attendees were sketched separately on small canvases that were then stamped to indicate their presence in the overall scheme.

The painter was, in some senses, in competition with the camera, and although Lavery was not averse to using photographs, as a former photographer’s assistant he knew their limitations. Even as technical proficiency in the medium was developed and celluloid film began to be used, the commemorative painting should carry a sense of the grandeur of the occasion and the immediacy of the encounter.

This early experience was character forming. In later years Lavery took on similar tasks, reporting on sporting occasions, parliamentary sessions and, at the end of the 1920s, on the crowded gaming rooms in the salles privées of the casino at Monte Carlo. As before, individual players were picked out in sketches and named, before being allocated their places at the tables in the composition.

In May 1931, the seventy-five-year-old artist faced a more difficult challenge when his wife Hazel, and stepdaughter, Alice Trudeau (lot 129), along with their friends, Lady Elsie Duveen and her daughter, Dorothy Rose, aka ‘Dolly’, were summoned to attend court at Buckingham Palace - one of four such presentations of debutantes. Although Sir Joseph Duveen commissioned him to paint the scene, permission had to be sought from His Majesty, King George V. Lavery had of course, painted the King as part of the Royal Family, back in 1913 (National Portrait Gallery) and more recently, in 1929, to celebrate the King’s recovery from illness, had produced an up-to-date portrait sketch to be reproduced and distributed by The Illustrated London News. He then wrote to Sir Derrick Keppel, Master of the Household, on 16 May 1931 saying that he had ‘long contemplated making a picture of a Court presentation’ and asked that he might ‘be able to see the possibility of painting such a Picture before asking Their Majesties permission to make the necessary studies’. His Majesty stipulated that he work ‘unsuspected’ on a small scale, in the gallery overlooking the ballroom surrounded by

the band, and on 20 May, Lavery asked to survey the room between 3-6 o’clock, and then attend from 8 o’clock onwards to sketch the ensemble. He replied to Keppel the following day explaining that he was ‘so tired last night after my effort to solve the problem of how to show Their Majesties through a dense screen of helmets.’ However, as the ensemble sketch for the finished work (Royal Collection Trust) indicates, the setting with the presentation of debutantes was wellmapped, even though the king and queen were effectively screened by Gentlemen-at-Arms in their scarlet uniforms and white-plumed helmets. This vital record of the event was then presented to His Majesty.

Lavery then produced individual and group studies for the identifiable figures in the foreground, completing the larger work, (238.8 x 250.2 cms) for the Royal Academy of 1932. The painting (unlocated), essentially a painting of a ‘beauty pageant’, was, along with Sickert’s Raising of Lazarus (Art Gallery of New South Wales, Sydney), one of the sensations of the Royal Academy in 1932. The Manchester Guardian (20 October 1932, p. 8) for instance wrote that ‘although painted in his 77th year’, Lavery’s achievement was ‘remarkable’, and this large canvas, over seven feet high was better than the Glasgow International picture.

There is no doubt that its impact depended largely upon supporting sketches, 39 of which were offered in an exhibition in May 1932 at P&D Colnaghi, to be sold at 25 or 30 gns each, in aid of the Artists’ Benevolent Fund. The comparison between these and the sketches produced in 1889-90 is instructive. In the earlier works Lavery paints more thinly and draws the figure with tip of a sable brush, while here the handling is more smudgy and expressive – giving the effect of figures in motion, trailing long diaphanous headpieces. The revelation of the artist’s working method produced enthusiastic comments, for, ‘nobody excels him in the direct notation of effect’ –indeed ‘it will be surprising if they are not eagerly bought, for they combine wit and grace in catching a likeness with charming technical qualities (‘Sir John Lavery RA’, Truth, 1 June 1932, p. 862). The Studio likened the picture to ‘one of the religious compositions of Italian painters in its combination of individual portraits and a ceremonial unity, the debutantes fluttering in their white dresses like seraphim’ (Anon, ‘The Court at Buckingham Place painted by Sir John Lavery’, The Studio, vol CIV, November 1932, p. 269).

126

SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941)

LADY VERONICA HORNBY

Signed and stamped, inscribed and dated 1931 verso, oil on canvas board 49cm x 34.5cm (19.25in x 13.5in)

Provenance: Christie’s, London, 19th and 20th Century Paintings and Drawings, 30 October 1964, lot 200

Exhibited: P. & D. Colnaghi & Co., London, Their Majesties’ Court, Buckingham Palace, 1931, Portrait Studies and Other Sketches by Sir John Lavery RA, November 1932, ill. (unpaginated) £1,500-2,000

127

SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941)

LADY VERONICA HORNBY

Signed and stamped, inscribed and dated 1931 verso, oil on canvas board 49cm x 19.5cm (19.25in x 7.75in)

Provenance: Christie’s, London, 19th and 20th Century Paintings and Drawings, 30 October 1964, lot 197

Exhibited: P. & D. Colnaghi & Co., London, Their Majesties’ Court, Buckingham Palace, 1931, Portrait Studies and Other Sketches by Sir John Lavery RA, November 1932 £1,500-2,000

Lady Veronica Brenda Hornby (née HamiltonTemple-Blackwood, 1910-1971) was the daughter of the third Marquess of Dufferin and Ava. A formidable character, in the twenties she practiced her Charleston on the young John Betjeman when he stayed in Clandeboye, the Dufferin’s country home in County Down. Her niece, Caroline, the wife of Lucian Freud, based the character of ‘Aunt Lavinia’ on her in her autobiographical novel, Great Granny Webster (1977). She married Sir Roger Anthony Hornby, a stockbroker, in December 1931 – a wedding marked by the Laverys with a gift of cream-white china that apparently ‘inspired the bride to decide that her bedroom is to be a symphonie de blanc majeur’ (The Sketch, 16 December 1931, p. 461). This was to be the first of Lady Veronica’s four marriages and it ended in divorce in 1940.

128

SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941)

LADY PONSONBY Signed and stamped, inscribed and dated 1931 verso, oil on canvas board

49cm x 29.5cm (19.25in x 11.5in)

Provenance: Christie’s, London, 19th and 20th Century Paintings and Drawings, 30 October 1964, lot 195

Exhibited: P. & D. Colnaghi & Co., London, Their Majesties’ Court, Buckingham Palace, 1931, Portrait Studies and Other Sketches by Sir John Lavery RA, November 1932

£1,500-2,000

Lady Ponsonby (née Dorothea Parry, 1876-1963) married Arthur Ponsonby, Queen Victoria’s secretary, in 1898. Objectors to Britain’s involvement in the Great War, Dorothy Ponsonby and her husband were active in the Union of Democratic Control. During the twenties their daughter, Elizabeth, was prominent among the ‘Bright Young Things’. After a successful diplomatic career under the Labour Government of Ramsay MacDonald, Ponsonby was raised to the peerage in 1930, hence his wife and daughter’s presence in Their Majesties’ Court

129

SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941)

MISS ALICE TRUDEAU

Signed and stamped, inscribed and dated 1931 verso, oil on canvas board 49cm x 14.75cm (19.25in x 5.75in)

Provenance: Christie’s, London, 19th and 20th Century Paintings and Drawings, 30 October 1964, lot 194 (as ‘Miss Alice Tindeau’)

Exhibited: P. & D. Colnaghi & Co., London, Their Majesties’ Court, Buckingham Palace, 1931, Portrait Studies and Other Sketches by Sir John Lavery RA, November 1932 £1,500-2,000

Alice Trudeau (1904-1991) was the daughter of Edward Livingston Trudeau and Hazel Martyn. Her father died before her birth and when her mother married Lavery in July 1909, she became his stepdaughter. Thereafter she featured prominently in Lavery’s paintings as a keen golfer, tennis player and horsewoman. She married John A McEnery (Jack), of Kilkenny, an Irish farmer and horse breeder, in March 1930 in Cannes, against her mother’s wishes. Witnesses to the marriage were Lord and Lady Derby, Sir Stuart and Lady Coats and Sir Alan and Lady Johnstone. Lavery died at her home, Rossenarra House, in January 1941. She remarried in 1963 to Denis Rolleston Gwynn, (1893-1971), the journalist and historian and her later years were spent at Beauparc in Co Meath.

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

MISS ANNABEL MANN

Signed and stamped, inscribed and dated 1931 verso, oil on canvas board

49cm x 17.75cm (19.25in x 7in)

Provenance: Christie’s, London, 19th and 20th Century Paintings and Drawings, 30 October 1964, lot 192 (as ‘Miss Anabel Mann’)

Exhibited: P. & D. Colnaghi & Co., London, Their Majesties’ Court, Buckingham Palace, 1931, Portrait Studies and Other Sketches by Sir John Lavery RA, November 1932 £1,500-2,000

SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941)

One of the three daughters of the Scots portrait-painter, Harrington Mann, and his wife, Florence Sabine-Pasley, the interior designer, known as ‘Dolly Mann’. Annabel as a baby was painted by her father c. 1910 (City Art Centre, Edinburgh), while Annabel and her Toys (Russell-Cotes Art Gallery and Museum, Bournemouth), shows her as an infant in 1912. Other portraits followed, and by the late 1920s Annabel Mann was being photographed in the press as an attendee at fancy dress balls, along with other ‘bright young things’.

131

SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941)

MRS LEO D’ERLANGER

Signed and stamped, inscribed verso, oil on board 49cm x 25cm (19.25in x 9.75in)

Provenance: Christie’s, London, 19th and 20th Century Paintings and Drawings, 30 October 1964, lot 191 Exhibited: P. & D. Colnaghi & Co., London, Their Majesties’ Court, Buckingham Palace, 1931, Portrait Studies and Other Sketches by Sir John Lavery RA, November 1932 £1,500-2,000

Mrs Leo d’Erlanger (née Edwina Prue, 19071994) was a New Yorker, and junior editor of Vanity Fair when she married Baron Leo Frédéric Alfred d’Erlanger, son of the painter and musicologist, Baron Rodolphe François d’Erlanger. In the twenties he joined the family bank run by his uncle, Emile. Both Rodolphe and Emile were friends of the Laverys, the painter having supported their protest against internment as enemy aliens during the Great War. Lavery painted a second sketch of Mrs d’Erlanger at the Court (Sold Bonhams 14 November 2012) and her portrait was also painted by Laszlo in 1937.

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

132

JAMES PATERSON

R.S.W., R.S.A., R.W.S. (SCOTTISH 1854-1932)

DUSK, THE DEAN VILLAGE, EDINBURGH

Signed and dated 1929, signed and inscribed on a label verso, pencil and watercolour 33cm x 42cm (13in x 16.5in)

£2,000-3,000

133 §

KATHARINE CAMERON

R.S.W., R.E. (SCOTTISH 1874-1965)

MARGUERITES

Signed, watercolour 54cm x 46cm (21in x 14in)

£2,000-3,000

135 BESSIE MACNICOL (SCOTTISH 1869-1904)

ELIZABETH

Signed and dated ‘97, oil on canvas 36cm x 30.5cm (14in x 12in)

Provenance: James Connell & Sons, Glasgow Ewan Mundy Fine Art, Glasgow Private Collection, Glasgow

Literature: Ailsa Tanner, Bessie MacNicol: New Woman, privately published 1998, p.29, ill.col.pl.10 £20,000-30,000

Born in Glasgow in 1869, Elizabeth MacNicol, known as Bessie, was one of the few artists within the Glasgow Girls group who excelled at painting during her time at the Glasgow School of Art (1887-1892). With the encouragement of its Director, Fra Newbery, MacNicol painted at his summer schools at Lundin Links, Fife and later travelled to Paris to continue her training at the Academie Colarossi. In 1893, MacNicol exhibited for her first and only time at the Royal Academy of Arts, London. This was also her first year exhibiting at the Royal Glasgow Institute where she would continue to exhibit until her death in 1904.

By 1894, MacNicol had acquired a studio at 175 St Vincent Street in Glasgow. It was around this time that she discovered the artists’ town of Kirkcudbright, where she spent time painting alongside some of the Glasgow Boys. Her only solo show was in 1899 at Stephen Gooden’s Art Rooms in Glasgow, the same year she married medical doctor-turned-artist Alexander Frew. From their home in the West End of Glasgow, MacNicol painted mainly figurative work in her studio, and continued exhibiting in Glasgow, Edinburgh, London and internationally until her early death in childbirth in 1904. Art critics of the time praised MacNicol for her strong and vigorous style of painting, comparing her favourably with her male contemporaries. At her funeral, the all-male Glasgow Art Club members’ tribute praised her as ‘a true artist’.

Elizabeth is a highly attractive oil painting, characteristic of MacNicol’s figurative work in the late 1890s, where women are presented alone amongst foliage or dappled in sunlight beneath a canopy of trees. In this strong portrait composition, an elegant female sitter, reading with head tilted backwards, draws clear influence from Whistler, an artist hugely admired by Glasgow School artists, as well as from the Dutch Old Masters, and the Impressionists who inspired MacNicol during her sojourn in Paris. Elizabeth not only highlights MacNicol’s virtuosity and highly assured brushwork; the composition also reveals a psychological depth in the interplay of elements such as the floral arrangement to the left of the sitter, and the play of light and dark which force our gaze on the sitter and the contemplation of her inner reverie.

MacNicol is well represented in public collections. In her lifetime she exhibited widely in Scotland at the Royal Scottish Academy, the Glasgow Society of Lady Artists, the Royal Glasgow Institute, and the Royal Scottish Society of Painters in Watercolour. Her works have also been exhibited in London, Liverpool, Manchester, throughout Europe and the USA. In his book Scottish Painting Past and Present (London, 1908, p.436), James Caw, Director of the National Galleries of Scotland, recognised MacNicol as ‘probably the most accomplished lady-artist that Scotland has yet produced’.

138

JOSEPH CRAWHALL

R.S.W

A RACE

(SCOTTISH 1861-1913)

MEETING

Signed, watercolour

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

£5,000-7,000

139

HARRINGTON MANN

R.P., R.E. (SCOTTISH 1864-1937)

PORTRAIT

STUDY

Signed and dated 1910, oil on canvas

63.5cm x 51cm (25in x 20in)

£4,000-6,000

141

ERNEST STEPHEN LUMSDEN R.S.A., R.E. (BRITISH 1883-1948)

THE BERWICKSHIRE COAST - ST ABBS

Signed with initials and dated 27.9.32, signed, inscribed and dated ‘St.Abbs Sept 1932’ verso, oil on board 41cm x 51cm (16in x 20in

Provenance: Marjorie Barton, the artist’s daughter £1,000-1,500

140

ERNEST STEPHEN LUMSDEN R.S.A., R.E. (BRITISH 1883-1948)

PANTELLARIA

Inscribed and dated Feb 11, ‘12, oil on board 22.5 x 32cm (9in x 13in)

Provenance: Daniel Shackleton Gallery, Edinburgh Acquired from the above by the present owner c.1974 £600-800

143 §

ROBERT GEMMELL HUTCHISON

R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) AMONGST THE BENTS Signed, oil on board 18cm x 23cm (7in x 9in) £4,000-6,000

JAMES KAY

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

QUIMPERLE, BRITTANY

Signed, oil on board

36cm x 46cm (14in x 18in)

Provenance: Fine Art Society, Edinburgh, 1979, no.7962

Exhibited: The Royal Glasgow Institute of the Fine Arts, Glasgow, Annual Exhibition, 1937, no.74

Fine Art Society, Edinburgh, 100 Scottish Paintings, 1968-69, no. 44

£1,000-1,500

146

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

PROMENADE, KNOKKE

Signed, oil on board 51cm x 61cm (20in x 24in)

Provenance: T & R Annan & Sons Ltd, Glasgow £2,000-3,000

147

ERNEST STEPHEN LUMSDEN R.S.A., R.E. (BRITISH 1883-1948)

BENARES

Signed, inscribed and dated 1915, oil on board 23cm x 33cm (9in x 13in)

Provenance: Daniel Shackleton Gallery, Edinburgh Acquired from the above by the present owner c.1974 £800-1,200

In 1919, Eric Robertson returned to Edinburgh after serving in the Friends’ Ambulance Unit during World War One. He and his wife, the artist Cecile Walton, were founding members of the exhibiting society the Edinburgh Group, which re-formed that year; other members included Dorothy Johnstone, D. M. Sutherland and William Oliphant Hutchison. The Group mounted post-war exhibitions at the New Gallery in Shandwick Place in 1919, 1920 and 1921.

Reviews of the 1920 exhibition praised the Group for its ‘splendid achievement’, whilst Robertson was declared to have ‘genius’, with his portraits and figure studies posessing a ‘rare imaginative quality’1 Moreover, reviews of Robertson’s solo exhibition at The Petit Salon in Edinburgh that Spring praised Robertson’s ‘imaginative designs’ and described his work as being ‘full of subtle provocation’.2 Late that Summer, Robertson and Walton moved to 48 Lauriston Place near

to Edinburgh College of Art, in which they could both have a studio. As their joint biographer John Kemplay has declared: ‘It was at Lauriston Place that they enacted the final setting of their marriage and within three years their brilliant achievements as artists…would end, never to be recaptured.’3

It was during this propitious period that Robertson painted the impressive The Rose Fan of 1920. As noted in the artist’s records,

148

ERIC HARALD MACBETH ROBERTSON (SCOTTISH 1887-1941)

THE ROSE FAN

Signed and dated 1920, oil on canvas 101.5cm x 152.5cm (40 x 60in)

Provenance: By direct descent from the artist to the present owner

Exhibited: Royal Scottish Academy, Edinburgh, 94th Annual Exhibition, 1920

Walker Art Gallery, Liverpool, Autumn Exhibition, 1921 National Portrait Society, Grafton Galleries, London, 11th Annual Exhibition, 1921

Literature: E. A. Taylor, ‘The Royal Scottish Academy’, The Studio: An Illustrated Magazine of Fine and Applied Art, London, vol. LXXX, no. 329, August 1920, p.21, illus. b/w p.22 £10,000-15,000

held in a private archive, the sitter is Miss Maisie Luman and this was Robertson’s fifty-first oil painting. It is a celebration of the beauty and sophistication of young womanhood. The elegant Miss Luman reclines on a chaise longue and turns her head to meet the viewer’s gaze. Restrained sensuality abounds, as her bare skin is striking in comparison with the opulent evening gown she wears, whose skirt layers are masterfully rendered. Indeed, Robertson’s skills as a draughtsman are plain to see, particularly in the passages of fabric not only in his model’s outfit, but also in the realisation of the cushion which provides support, the material on which she sits and that which is hung behind her. Details including the positioning of her fingers on the titular fan and the pattern on this accessory itself, add to the feeling of luxury which pervades the painting.

Robertson sent The Rose Fan to the Royal Scottish Academy in the year it was painted. In his review of the Academy’s Annual Exhibition, the artist, designer and critic E. A. Taylor wrote that the portraits by Robertson on display were ‘distinctly personal… notably his The Rose Fan and Cecile.’ The latter presumably referred to an image of Robertson’s wife. In 1921, The Rose Fan was shown in London, when it was included in the National Portrait Society’s 11th annual exhibition.

Endnotes are available on our website, www.lyonandturnbull.com.

149

ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936)

TOY BOATS

Signed, oil on board 20cm x 30cm (8in x 12in)

Provenance: Fine Art Society, London, 1980, no.8937 £4,000-6,000

ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936)

GATHERING BAIT

Signed, oil on board 25.5cm x 35.5cm (10in x 14in)

Exhibited: Fine Art Society, Glasgow, Two Contemporaries: Sir D. Y. Cameron RA RSA (1865-1945) and R. Gemmell Hutchison RSA (1855-1936), 29 September-3 November 1979, no.37 £4,000-6,000

151 §

JOHN DUNCAN

(SCOTTISH 1874-1961)

FERGUSSON R.B.A.

STABILITY

Signed, inscribed and dated 1916 on the reverse, oil on board 33cm x 25.5cm (13in x 10in)

Provenance: Sotheby’s Gleneagles, Scottish and Sporting Pictures and Sculpture, 2 September 1998, lot 1491

Exhibited: Connell Gallery, London, Painting and Sculpture by J. D. Fergusson, May 1918, no.21 £10,000-15,000

Stability comes from a series of female heads that Fergusson painted in 1916, which includes works as diverse as Joan (Dundee Museums & Galleries, acc.no.25-1956) and Simplicity (Private Collection). From the beginning of his career, Fergusson had been mesmerised by female beauty, most strikingly realised in images of his partner Jean Maconochie in Edinburgh and thereafter of the American artist Anne Estelle Rice in pre-war Paris. After meeting his future wife, the dance pioneer Margaret Morris, in the French capital in 1913, she and her pupils provided a lifelong source of subject matter on the theme of the female form, particularly in motion.

On the outbreak of World War One, Fergusson moved from the Cap d’Antibes to London, where Morris had established a dance school, theatre and social club on the King’s Road in Chelsea. A wide range of creative types were members of the latter, including the artist Percy Wyndham Lewis, the poet and writer Edith Sitwell and the musician Constant Lambert; when Charles Rennie Mackintosh and his wife Margaret Macdonald Mackintosh moved nearby, they were made Honorary Members. Fergusson thus settled into London’s avant-garde set with ease.

Little work by Fergusson survives from the war years, but Stability reveals the impact living in Paris between 1907 and 1913 had on his practice. Whilst there, his work had undergone a dramatic change, from Edwardian sophistication to a cutting-edge technique, palette and aesthetic. He absorbed the contemporary progress made by artists including Henri Matisse and the Fauves, whose new work he saw at first-hand, and turned it into something uniquely his own. Indeed, Fergusson’s contribution to the modern movement was recognised in his election as a sociétaire of the progressive Salon d’Automne in 1909.

Cover of the catalogue for Fergusson’s exhibition at The Connell Gallery, London, 1918. Image courtesy Scottish National Gallery of Modern Art Library (G.FER.18)

The strict profile composition of Stability, the deliberate brushwork used to convey form and shadow, whilst adding rhythm throughout the surface, as well as the sculptural treatment of the sitter’s hair, brought Paris to London. It was one of thirty-two paintings and four sculptures shown in Fergusson’s solo exhibition at The Connell Gallery in the English capital in May 1918. Fergusson’s co-founder of the innovative Rhythm journal, John Middleton Murry, wrote its introduction. Two months later Fergusson was granted permission by the Admiralty ’to go to Portsmouth to gather impressions for painting a picture’.1 The completion of the resultant paintings coincided with the end of the conflict. Fergusson was to live in London for another eleven years before returning to Paris until the outbreak of World War Two.

Unknown Photographer, John Duncan Fergusson with his related sculpture, The Patient Woman of 1920, photographed c. 1930. Collection and courtesy of The Fergusson Gallery, Perth & Kinross Council (1993.769)

152 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

STANDING FEMALE NUDE

Bronze

22cm x 8cm x 7cm (8.675in x 3.125in x 2 75in)

Provenance: Acquired from the artist’s wife, Margaret Morris, via the Fine Art Society, London, by the present owner in 1974

Exhibited: Fine Art Society, London, J. D. Fergusson (1874-1961), 10 September – 4 October 1974, no. 100 (incorrectly catalogued as ‘The Patient Woman’, 1920)

Literature: Alice Strang et al, J. D. Fergusson, National Galleries of Scotland, Edinburgh 2013, another cast reproduced in colour pl.35 £20,000-30,000

Fergusson is the only one of the four artists known as the Scottish Colourists – along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe – to have worked in three dimensions. Indeed, he made sculpture over some 50 years, with his first created in Paris in 1908 and the last thought to date from about 1955. As Alice Strang has explained: ‘Experiments in terracotta in 1909 and clay in 1913, led to direct carving in stone outdoors during World War One. Carving wood and plaster, which he sometimes cast and coloured, followed. Works were cast in brass and bronze as funds permitted.’ (Alice Strang et al, J. D. Fergusson, National Galleries of Scotland, Edinburgh 2013, p. 21). The importance of this aspect of Fergusson’s oeuvre is clear in the inclusion of sculptures in many of his exhibitions between 1912 and 1948.

Standing Female Nude comes from Fergusson’s most productive period of sculpture-making, the years approximately 1918 to 1922, when he was based in London. It dates from circa 1920 and was cast at a later date. Sheila McGregor has linked this period with a parallel development in Margaret Morris Movement, the system of choreography devised by his wife (Sheila McGregor, A Colourist

Abroad: The Art and Life of J. D Fergusson, unpublished manuscript, completed 2000, p.8). Morris and her pupils, whether sitting as models or in motion during lessons, rehearsals and performances, provided a rich source of inspiration for Fergusson.

This work is a powerful depiction of female physicality. It embodies key themes in Fergusson’s sculptural practice: the cropped female form, an interest in non-Western sculpture and a sleek modernism, based on curves and planes with particular attention paid to the breasts, bottom and the base of the spine. It pays testament to the sculptors with whose work Fergusson would have been familiar in pre-war Paris, such as Constantin Brancusi, Alexander Archipenko and Jacob Epstein. Similar concerns were explored in Fergusson’s best-known sculpture, Eástre (Hymn to the Sun) of 1924.

The most significant holding of Fergusson’s sculpture is held at The Fergusson Gallery, Perth, which is the centre of excellence for his and Morris’s work. Other important examples are held in public collections including those of the Tate, Hunterian Art Gallery, Government Art Collection and Kelvingrove Art Gallery and Museum.

153 §

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

PORTRAIT OF A LADY Charcoal and wash 23cm x 19.5cm (9in x 7.75in)

Provenance: Margaret Morris, the artist’s wife, and thence by descent to the current owner £2,000-3,000

154 §

JOHN DUNCAN FERGUSSON

R.B.A. (SCOTTISH 1874-1961)

LADY IN A HAT

Charcoal 20cm x 12cm (8in x 4.75in) £1,200-1,800

155

GEORGE LESLIE HUNTER (SCOTTISH 1877-1931)

OLYMPIAN

Studio stamp verso, crayon on buff paper

56cm x 44cm (26in x 17.25in)

Provenance: Dr T. J. Honeyman

Exhibited: The Scottish Gallery at Galerie Francis Barlier, Paris, The Scottish Colourists in Paris, May 2003

The Court Gallery, West Quantoxhead, Modern Masters, 18 July - 3 September 2017

£2,000-3,000

156

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

AUTUMN EVENING

Signed and dated ‘07, oil on board 46cm x 36cm (18in x 14in) £8,000-12,000

157 §

JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1885-1957)

THE ATLANTIC COAST

Signed, oil on canvas 46cm x 61cm (18in x 24in)

Exhibited: The Fine Art Society, London, March 1964, no.2852 £4,000-6,000

158

GEORGE LESLIE HUNTER (SCOTTISH 1877-1931)

A STILL LIFE OF CHRYSANTHEMUMS

Signed, oil on board

46cm x 41cm (18in x 16in)

£7,000-9,000

159 §

JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1885-1957)

SUNFLOWERS

Signed and dated ‘29, oil on canvas 65cm x 51cm (25.5in x 20in)

Exhibited: Cyril Gerber Fine Art, Glasgow £3,000-5,000

WILLIAM CROZIER A.R.S.A.

(SCOTTISH 1897-1930)

GRIMAUD

Signed, oil on board 44.5cm x 48cm (17.5in x 19in)

Provenance: Purchased from the artist by Sir Godfrey Thomson

For a very similar view by Crozier’s friend Sir William MacTaggart, see Iain Gale, William MacTaggart, Edinburgh 1998, p.26, Ill.2 (‘Grimaud’ of c.1924-28).

£4,000-6,000

In 1916, not long after enrolling at Edinburgh College of Art, William Crozier fell in with a new set. Amongst their number were Anne Redpath, William Gillies and William MacTaggart, a group that would later be known as the Edinburgh School. Due to his untimely death Crozier is generally less well-known than his contemporaries, yet his impact upon the group was profound, and some consider his work as amongst the School’s most original.

Crozier developed a particularly close friendship with MacTaggart, despite an age difference of ten years. Crozier’s structural-analytical approach had a formative influence on MacTaggart’s development as a painter, and from 1923 they shared a studio on Frederick Street, Edinburgh. Both suffered in the cold due to chronic health conditions, and in the winter months they made frequent excursions to the south of France to paint, sometimes visiting the St-Raphaël home of their friends Redpath and and her husband James Michie.

The scenic town of Grimaud is situated in the hills above St Tropez. The precise date of Crozier’s Grimaud oil is unknown, but it is likely to have been realised between 1924 and 1928 when he most frequently accompanied MacTaggart to France. Throughout his career Crozier explored the effects of light and shadow on topography; in this dazzling landscape the sun appears to be high in the sky with little shadow cast at all, and Crozier’s palette, applied with characteristically directional mark-making, therefore comprises of the bright hues of the Mediterranean countryside under the midday sun. MacTaggart also painted a strikingly similar view of Grimaud during the same period (see Iain Gale, William MacTaggart, Edinburgh 1998, pl.2.)

162

SAMUEL JOHN

PEPLOE

R.S.A. (SCOTTISH 1871-1935)

STILL LIFE WITH WHITE JUG AND PEARS

Signed, oil on canvas

18in x 16in (45.7cm x 40.7cm)

Provenance: Sotheby’s Gleneagles, Scottish and Sporting Pictures and Sculpture, 2 September 1998, lot 1479, as ‘Still Life with Pears (The White Jug)’

Portland Gallery, London

Exhibited: London, Portland Gallery, The Scottish Colourists, 14 June-19 July 2002, no.52

London, Portland Gallery in association with The Scottish Gallery, Edinburgh, S. J. Peploe (1871-1935), 7-29 November 2012, no.18, Ill.col.p.29. £80,000-120,000

Still Life with Jug and Pears of c.1925 reveals Peploe’s mastery of the still life genre, which came to maturity in his practice during the 1920s. He summed up his dedication to the theme, even beyond the landscapes and portraits for which he is also celebrated, in 1929, when he declared: ‘there is so much in mere objects, flowers, leaves, jugs, what not – colours, forms, relation – I can never see mystery coming to an end.’1

The still life was the primary focus of the work made in his longestserving studio, at 54 Shandwick Place in Edinburgh’s West End. Peploe moved there in 1917 after it was vacated by his friend, the artist James Paterson and maintained it until a move to nearby Castle Street in 1934. The Director of the National Galleries of Scotland, Stanley Cursiter, described it thus: ‘the room had a large, high and well-placed window. The scheme of decoration was…kept in a very light key and he surrounded himself with brilliant colours.’2

As Roger Billcliffe has explained: ‘Peploe set himself as a target the perfect still-life painting. It had been his first love and his first serious achievements had been in still-life. His temperament made him ideally suited to the task. His calm reasoning and thoughtful manner enabled him to make a careful analysis of the problems which face the still-life painter and he set about resolving them.’3

A sense of this dedication is clear in a description of visiting Peploe in his studio by his niece, Margery Porter: ‘How well I recollect my Mother and myself climbing those steep stairs and arriving panting at the top to ring his bell in fear and trembling lest our climb had been in vain. But usually he would usher us in wearing a white painting coat and a crownless hat…The studio was a large one, round which I would prowl entranced, after strict warnings not to disturb the still-life group which would almost inevitably be covering the table. My uncle would arrange and re-arrange these groups for perhaps three days before he was satisfied that the balance and construction were perfect, then he would paint them quite rapidly.’4

Alongside a cast of cherished objects, including jugs, plates, bowls and various lengths of fabric, Peploe would introduce flowers or fruit to his still lifes according to the season. The apples and pears of Still Life with Jug and Pears would suggest that it is an autumnal painting. This caused some consternation amongst the purveyors of such produce, as explained by Cursiter: ‘When he selected his flowers or fruit from a painter’s point of view he presented a new problem to the Edinburgh florists. They did not always understand when he rejected a lemon for its form or a pear for its colour and he remained unmoved by their protestations of ripeness or flavour.’5

Samuel John Peploe (1871-1935)

Still Life with Jug and Grapes, late 1920s oil on canvas, 40.6 x 45.7.cm

The Courtauld Gallery, London: Purchased with the Assistance of the Art Fund and the Victoria & Albert Museum Purchase Grant Fund 1992 (acc. no. P.1992.XX.1) Photo credit: Courtauld Institute (ref 207371)

Still Life with Jug and Pears contains all the hallmarks of Peploe’s work of the mid-1920s as he developed from the highly-complex and highpitched still lifes of earlier in the decade and progressed towards the more raw and expressive style of the early 1930s. There is an overall feeling of dignity in the arrangement, subtle palette and natural lighting of this painting. The depiction of the pears in the foreground is a masterclass in perspective, whilst the warm tones of the apple to the right provide the colour focal point of the composition.

Peploe’s enduring interest in the work of Paul Cézanne is clear, for example in the strength of form created by defined planes of colour, particularly in the fruit. Deliberately distinct brushstrokes convey shadow and reflection. The arrangement of objects is asymmetrical yet perfectly balanced, presided over by the jug. The edge of the table on which they are presented is aligned to the lower horizontal plane of the canvas, as Peploe skilfully plays with notions of reality and representation. Moreover, the cropping, such as of the dish on the left, suggests the space beyond the table and the frame.

Peploe was to explore these concerns further in works such as the related and slightly later Still Life with Jug and Grapes (The Courtauld, London, acc.no. P.1992.XX.1). In this painting, the same jug has taken centre stage in the foreground, drapery plays a more significant role on the table-top and Peploe has extended the sense of distance by including a covered chair in the background. The poise and classical simplicity of Still Life with Jug and Pears has given way to a less polished vigour.

Still Life with Jug and Pears dates from a particularly propitious period in Peploe’s career. During the 1920s his reputation was cemented in Scotland and spread to London, Paris and New York. He had regular solo exhibitions at The Scottish Gallery in Edinburgh and La Société des Beaux-Arts in Glasgow. When the latter business merged with the Lefèvre Gallery in London in 1926, Peploe’s work was also shown there.

In 1923, paintings by Peploe, Cadell and Hunter were shown at the Leicester Galleries in London and again in 1925, joined by the work of John Duncan Fergusson. The four artists were celebrated in an exhibition at the Galerie Barbazanges, Paris in 1924, from which a painting by Peploe was acquired for the French national collection. In 1927, he was elected a full member of the Royal Scottish Academy and the Tate acquired one of his still lifes, meaning that he was represented in the British national collection. In 1928 a solo exhibition of his work was staged at the C. W. Kraushaar Galleries, New York and a room was dedicated to his work in the newly extended Kirkcaldy Museum and Art Gallery.

Corsan Morton, Curator at Kirkcaldy, summed up Peploe’s achievements of the period in his catalogue foreword: ‘It is in his still lifes, his arrangements of flowers, fruit, utensils and so on, that he has of late years achieved a very definite personal style of great beauty, which places him in a class by himself…He handles with distinction everything he touches.’6

Endnotes are available on our website www.lyonandturnbull.com

164

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

GIRL IN A HAT

Signed, conté on buff paper 26.5cm x 21cm (10.5in x 8.25in)

Provenance: The artist’s family Exhibited: The Scottish Gallery, Edinburgh, The Modern Spirit in Scottish Painting, 1986, no.84 £3,000-5,000

163

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

WOMAN IN A HEADSCARF

Signed, conté on buff paper 18.5cm x 18cm (7.25in x 7in)

Exhibited: The Scottish Gallery at Gallery 27, London, The Scottish Colourists, 2000 £3,000-5,000

GRAHAM MURRAY (SCOTTISH 1907-1987)

LA CAVALCADE - OUCQUES

Inscribed on the stretcher verso, oil on canvas 71cm x 102cm (28in x 40in)

Provenance: Purchased from the artist by Ninian Sanderson in 1979 Purchased from the Estate of Ninan Sanderson by William (Billy) Skelly in 1984

Exhibited: The Royal Glasgow Institute of the Fine Arts, Glasgow, Annaul Exhibition, 1931 Alex. Reid and Lefevre, London, Graham Murray, 1932, no.10 £4,000-6,000

Oucques is a former commune in the Loir-et-Cher department of France, where every March a fancy dress parade is mounted. This work was painted from the artist’s bedroom window at the Hotel Du Bon Labouveau in 1930.

In 1979 Ninian Sanderson purchased La Cavalcade - Ouques from the artist. In a letter dated 27 April 1980 (included as part of this lot) Murray wrote to her: ‘Thanks for your appreciation of my painting, your reaction to it was spontaneous, it now means more to me than had it been because a so called expert had advised you.’

Sanderson was born in Glasgow. He was a major figure in the Scottish motor trade and a sports car racing driver. He is best remembered for winning the 1956 Le Mans 24 Hours race when he partnered Ron Flockhart to beat Stirling Moss and Peter Collins. Sanderson also had a major collection of Scottish art.

ANNE REDPATH AND THE ART OF THE STILL LIFE

Of all the genres of fine art, Redpath is most closely associated with that of the still life. Her love for this theme stretches back to her student days at Edinburgh College of Art, as she recalled:

‘When I was at college I was very fond of still life. People said I wasn’t actually painting what was in front of me, that it was a vision of still life. Those were more impressionistic than I have ever done since, because I was terribly keen on light, high pitched light and shadow, and I used more of an accidental quality than I have ever done since.’1

Indeed, the first work which Redpath exhibited in public was titled Still Life and was displayed at the Royal Scottish Academy (RSA) in 1919. Following her marriage in 1920 and fourteen years spent living in France, Redpath returned to Scotland in 1934. She resumed painting in earnest and emerged as an artist of importance. This was recognised by the first acquisition of one of her works for a public collection, when the RSA purchased the still life The Lace Cloth for £50 in 1944 (acc.no.2006.37).

Admiration for her still lifes soon spread to England; when the Sunday Times art critic Eric Newton reviewed the Royal Academy of Arts (RA) exhibition of 1948, he exclaimed ‘Anne Redpath’s still lifes stand out like patches of blue sky on a grey day.’2 The following year, Redpath moved to Edinburgh where she set about decorating her new home with the objects she loved to collect and which were often the subject matter of her work.

The striking patterned vessel in Marguerites provided one such prop. The bright blue which covers most of its surface is the perfect

Anne Redpath setting up a still life in her studio at 7 London Street, Edinburgh, c.1957. Image collection and courtesy of Royal Scottish Academy of Art & Architecture, Edinburgh

complement to the variously coloured titular flowers which spill out of and over its neck. The arrangement is set upon a square of fabric, itself placed on an enigmatic surface, with hints of the surrounding space provided in the background. Redpath’s relish in the application of paint is clear from the precise detailing of petals, to the broader brushstrokes with which expressive swathes of the support are covered.

Redpath’s professional success continued unabated and on 13 February 1952 she was elected a full member of the RSA, the first female painter to achieve that rank. In the same year she moved to 7 London Street in Edinburgh’s Georgian New Town, which was to be her home for the rest of her life.

Redpath discussed the objects she collected and lived amongst, explaining in 1961:

‘With my awful magpie tendency to collect things I have collected so many objects around me that are paintable. I buy them because I like them…any artist really becomes very aware in a visual way…and therefore you surround yourself with these things which are ready to be painted and ask to be painted. Sometimes for months you’re not really aware of them then suddenly a light changes or you feel different and suddenly you see those things as you would in a picture and you either help their arrangement or it just so happens that an artist almost sub-consciously does arranging all the time.’3

Still Life on a Red Background is a later, majestic work painted on an unusually impressive scale. A selection of objects, from wine glass to bunch of glasses, has been carefully and unsymmetrically arranged. The varying spaces between the elements creates relationships and visual rhythm over the striped surface on which they sit, which is tipped up to the frontal plane. Redpath forgoes classical notions of perspective, form and volume as depth is flattened and an abstract field of colour is formed in the background, with the layering of warm and dramatic tones. A single broad and bravura brushstroke of white dispenses with any illusion beyond the fact of the canvas on which the work is painted. This avant-garde approach was partly the result of Redpath’s engagement with developments in contemporary French art – not least having seen exhibitions of Nicolas de Staël and Tachisme mounted by the Society of Scottish Artists in Edinburgh in 1954 and 1956.

Redpath’s mature career settled into a pattern of regular travel abroad as well as solo and group exhibitions in Edinburgh and elsewhere, accompanied by an ever-growing professional standing. In 1960 she became the first Scottish woman to be elected an Associate of the RA. Her death in Edinburgh in 1965 was marked with multiple memorial exhibitions, including those mounted by the RSA and the Scottish Committee of the Arts Council of Great Britain; still lifes featured prominently in all of them.

Endnotes are available on our website, www.lyonandturnbull.com.

ANNE REDPATH

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

DISH OF FRUIT

Signed, oil on board

44.5cm x 74cm (17.5in x 29in)

Exhibited: Nottingham University, Nottingham, Scottish Committee, Arts Council of Great Britian: Six Scottish Painters, 1959 £10,000-15,000

ALBERTO MORROCCO

R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998) WHITE STILL LIFE WITH POMEGRANATE

Signed and dated ‘80, signed and inscribed on artist’s label verso, oil on board 49.5cm x 60cm (19.5in x 23.5in)

Provenance: Thackeray Gallery, London, 1980 £6,000-8,000

172 §

ANNE REDPATH

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

ROADSIDE COTTAGES, CORSICA Mixed media 28cm x 38cm (11in x 15in)

Exhibited: The Scottish Gallery, Edinburgh, Anne Redpath, 19 November4 December 1965, no.23 £3,000-5,000

173 §

ANNE REDPATH

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

DAISIES IN THE GARDEN I

Signed, watercolour 38cm x 53cm (15in x 21in)

Provenance: Cecil and Mary Gibson, Anstey, Leicestershire £3,000-5,000

Cecil Gibson and Mary Wheatcroft met whilst students at Edinburgh University. After their marriage Cecil established a general medical practice in Anstey, Leicestershire. They became serious collectors of Scottish art and Scottish silver. In 2003 they left a substantial bequest to the Scottish National Gallery of Modern Art, which has so far made possible the acquisition of fifteen works of modern and contemporary art, including by John Bellany, Norah Neilson Gray and Dorothy Johnstone (see www.nationalgalleries.org).

Unknown Photographer

Joan Eardley in her studio, Glasgow, c.1963

National Galleries of Scotland: Scottish National Gallery of Modern Art: Presented by the artist’s sister, Pat Black, in 1987 (GMA A09/1/3/4/2)

Joan Eardley’s reputation as one of the leading British artists of the twentieth century is based on her portrayal of the Townhead district of Glasgow – in particular of its children – and of Catterline, a fishing village on the Scottish north-east coast.

Having trained at Glasgow School of Art (GSA) and Hospitalfield College of Art, Arbroath, Eardley was awarded scholarships by GSA and the Royal Scottish Academy which allowed her to travel in France and Italy. She began to draw and paint children on her return to Glasgow in 1949. Three years later she moved to a studio at 204 St James Road in Townhead in the city centre, which she was to maintain until her premature death in 1963. It was on the second floor, wedge-shaped with large windows and a glazed roof and was described as being ‘filled with pictures, sketches and drawings of the neighbourhood and its occupants.’1

The area, of mixed residential and light industrial use, was overcrowded and dilapidated. However, Eardley was drawn to its vibrancy and closeknit community. She explained ‘I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with.’2 Eardley was able to champion and memorialise the neighbourhood in its post-war guise even as the wide-scale demolition of the Clyde Valley Regional Plan began in the early 1960s.

Eardley became a regular sight in the streets, sketching buildings, people and scenes of daily life in chalks and pastels, which she then worked up into paintings in the studio. She was also rarely without a camera, which provided a way in which to capture, for example, the games, squabbles and other interactions between the local youngsters who spent much of their time outside.

The Yellow Jumper of 1963 is an outstanding example of Eardley’s paintings of the children of Townhead. As Patrick Elliott has pointed out, it was in the mid-1950s that Eardley’s interest in depicting children gathered momentum.3 She explained ‘I have a studio in Glasgow off Parliamentary Road and some of the children living in the district used to watch me at work. I thought it would be a good idea to paint them. There was only one difficulty – if they didn’t sit still I couldn’t paint them.’4

This difficulty was overcome by the willingness of the twelve children of the Samson family - who lived nearby - to model for her. Ann Samson remembered: ‘To get to her studio you went up a spiral stair…She gave us paper to draw and toys to keep us quiet. ”Sit in peace” she’d say as she was drawing us…We used to get 3d off Joan for posing for her and went to Miss Bickett’s to buy sweets…She was really serious…She was never cheeky or angry.’5

Joan Eardley. Children in the Street, Glasgow, c.1955-60, Silver gelatine print, 13.3 x 13.3cm, National Galleries of Scotland: Scottish National Gallery of Modern Art: Presented by the artist’s sister, Pat Black, in 1987 (GMA A09/1/3/2/88)

Two of Ann’s Samson siblings are the sitters in The Yellow Jumper It comes from a celebrated series that Eardley began in the early 1960s, depicting two children positioned in front of a wall. This was often, as can be seen here, the red wall of the scrap-metal business on the ground-floor beneath her studio. The word ‘METAL’ in The Yellow Jumper is a direct quotation from the graffiti-surrounded advertising upon it and was applied using an old set of stencils.

Indeed, The Yellow Jumper contains all the elements which have been described as the key themes in Eardley’s figurative work: ‘The bright…ground…studded with a collage of sweet-paper wrappers, foil from cigarette packets and newspaper scraps. The worn letters of the…shop-fronts has been stencilled on. The oddly patterned clothes speak of the hand-me-down items we see in Eardley’s own photographs and sketches of the children and create an intense visual texture.’6 The flotsam and jetsam of Glasgow street life have been collected and used in the creation of the work and she even pressed into the support, applying literal graffiti to the painting rather than simply depicting it. Film footage of Eardley painting a closely related work shows the speed, energy and physicality with which she worked.7 She often re-used canvases and there is a painting of Glasgow tenements on the reverse of The Yellow Jumper.

The painting’s square format focusses attention on the half-length children, who gazed directly at the artist and now at the viewer. Their ease and intimacy is clear in a pose in which they wrap their arms around each other and press themselves together. Eardley’s use of paint and colour to layer up, for example, facial features and to describe clothing, as well as to re-create the surfaces and atmosphere of the outdoor world, is extraordinary. Her expressiveness borders on the abstract in some passages of this vibrant and masterful image.

The Yellow Jumper is closely related to Two Children, c.1962 and Two Children before Lettered Wall, 1963 (both Private Collection), which were shown in the National Galleries of Scotland 2016 exhibition

Joan Eardley: A Sense of Place, and to Brian and Pat Samson, on longloan to Gracefield Arts Centre, Dumfries from the Walker Family.

We are grateful to Ann Samson and Jan Patience for their help in researching this work.

Endnotes can be viewed on our website.

175 §

JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)

HEAD OF A BOY

Pastel and watercolour on buff paper

24cm x 19cm (9.5in x 7.5in)

Provenance: Estate of the Artist (artist’s studio inventory number ED569)

Collection of J. G. Scott Exhibited: The Scottish Gallery, Edinburgh, Festival Exhibition, 1958

The Scottish Gallery, Edinburgh, Joan Eardley, 1984, no.22

The Scottish Gallery, Edinburgh, Joan Eardley: Paintings and Drawings, 1-24 December 2007

Scottish National Gallery of Modern Art, Edinburgh, Joan Eardley: A Sense of Place, 3 December 2016 - 21 May 2017

£4,000-6,000

176 §

JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)

OLD COBBLER, ASSISI

Charcoal on buff paper, a copy of Eardley’s receipt for the drawing verso 47cm x 35cm (18.5in x 13.75in)

Provenance: E. N. (Ned) Marshall, Glasgow

£3,000-5,000

With a note to backboard ‘Painted Oct. 1948 during travelling scholarship. He was at his doorway and invited Joan in when there was a sudden downpour. She later wrote that she was thrilled and her hand went “wibbly, wobbly”... I asked him if I might draw him and he moved all to his little bench and arranged himself facing me.’

This charcoal was drawn in 1948 in Assisi during Eardley’s travelling scholarship. In a letter home she described how she was watching an old cobbler, busy in his doorway, when a sudden deluge prompted him to invite her inside. Few young women, along in a foreign country and unable to speak the language, would have dared follow him, but Eardley was thrilled with the opportunity. She described how her hand went ‘all wibbly wobbly’ as she drew her model who set himself facing the shy artist ‘which I didn’t particularly want’ (as quoted in Cordelia Oliver, Joan Eardley RSA, Edinburgh 1988).

Eardley drew at least the current lot and a full-length version of the same subject, known as ‘Cobbler at Work’ (see Oliver, op.cit. p. 32, ill.b/w) on this occasion. Old Cobbler, Assisi has all the freshness and vigour of an impromptu life study and its quality was recognised by Edward N. Marshall, to whom Eardley sold it.

Marshall was a major Glasgow collector who owned works by McTaggart, Peploe and Fergusson. He lent two of Eardley’s works to the Memorial Exhibition held to mark her death in 1963.

JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)

ARBROATH HARBOUR

Pen, ink and coloured wash on blue paper 18cm x 46cm (7in x 18in)

Provenance: Robin Hutchison, Edinburgh and thence by descent This work dates from 1947 and Eardley’s time studying under James Cowie at Hospitalfield College of Art, Arbroath. It formerly belonged to Robert (Robin) Edward Hutchison (1922-2013), the son of William Oliphant Hutchison, the grandson of Edward Arthur Walton, the nephew of Cecile Walton and the great-nephew of Joseph Crawhall. He was Keeper of the Scottish National Portrait Gallery from 1953 until 1982.

£6,000-8,000

179 §

JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)

THE PEDLAR’S STAND

Mixed media

16cm x 11cm (6.25in x 4.25in)

Provenance: Estate of the Artist (artist’s studio inventory ED353)

Exhibited: The Scottish Gallery, Edinburgh, Joan Eardley RSA (1921-1963): Paintings, Watercolours, Pastels and Drawings, 4-29 June 1988, no.34

Portland Gallery, London, Joan Eardley, 1-17 May 2013, no.29

£5,000-7,000

180 §

JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)

CHILDREN WITH PRAM

Mixed media

17cm x 16cm (6.75in x 6.25in)

Exhibited: The Scottish Gallery, Edinburgh, Festival Exhibtion, 1964

£5,000-7,000

Other fees apply in addition to the hammer price: see

181 §

ROLLING HILLSIDE

Signed and dated 1961, oil on canvas laid down on board 43cm x 155cm (17in x 61in)

£4,000-6,000

182 §

EARL HAIG O.B.E., A.R.S.A (SCOTTISH 1918-2009)

SCUOLA GRANDE DI SAN MARCO, VENICE, 1980

Signed, oil on canvas 71cm x 91.5cm (28in x 36in)

Provenance: By direct descent from the artist to the present owner

£3,000-5,000

JAMES MORRISON R.S.A., R.S.W., L.L.D. (SCOTTISH 1932-2020)

184 §

ALBERTO MORROCCO

R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998)

ODALISQUE - PORTRAIT OF VERA

Signed and dated ‘78, oil on canvas 76cm x 63.5cm (30in x 25in)

£15,000-20,000

185 §

ALBERTO MORROCCO

R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998)

STILL LIFE WITH CLOWN AND BIRDCAGE

Signed and dated ‘96, oil on canvas

101.5cm x 76cm (40in x 30in)

Exhibited: The Scottish Gallery, Edinburgh, Alberto Morrocco New Paintings, Festival Exhibition, 1996, no.6

£15,000-20,000

186 §

JOHN BELLANY

C.B.E., R.A. (SCOTTISH 1942-2013)

THE PERSECUTED

Signed and inscribed, signed, inscribed and dated 1968 to stretcher verso, oil on board 183cm x 183cm (72in x 72in)

Exhibited: Walker Art Gallery, Liverpool, John Moores Exhibition 7, 1969 Literature: John McEwen, John Bellany, Edinburgh 2013, p.72 £40,000-60,000

The late 1960s were a crucial point in Bellany’s evolution as an artist. Following a degree at Edinburgh College of Art he continued his studies at the Royal College of Art in London, graduating in 1968. More significantly, in the previous year, he had visited East Germany on a cultural scholarship, discovering a range of German artists and attending the site of the Buchenwald concentration camp. Unsurprisingly this had a significant impact on the young artist, and in the ensuing years he produced paintings that helped process the emotional distress he experienced subsequently. Artist and writer Janet McKenzie remembers ‘When I interviewed him in 2010, he recalled that, following the visit to Buchenwald, it took him many years to reconcile the experience of the Holocaust, and he was only able to do so through the creative process, through the visualisation of the sense of the dichotomous – horror and beauty –that constitutes the human condition . . . Bellany’s relentless struggle to make sense of the split between the love found in family bonds, in nature, in the human spirit in many instances, and the abject terror and evil that humans are capable of. These polar opposites drove him on a daily basis.’

In ‘The Persecuted,’ Bellany centres the people that were sent to camps such as Buchenwald: the sick; the disabled; the homeless; political prisoners; those convicted of crimes, to name but a few. Bellany does not baulk at their suffering, choosing instead to portray his subjects as emaciated and huddled together. We can sense the

cold, their discomfort, their hunger but there is also a vitality and vibrancy here, a defiance. The approach is confronting, with the intimidating scale and imposing dark green frame crowding the figures while also compelling our gaze towards them, as they stare directly back at us. Thus, Bellany forbids the viewer to shy away from their grim reality and committed endurance in the face of adversity.

Bellany raises these dispossessed figures to an elevated position normally reserved for those hung on the hallowed walls of galleries or museums. He subverts our expectations, showcasing suffering rather than the dashingly heroic, framing and naming this group so that they cannot be erased or forgotten. The distinctive presentation also suggests Bellany’s acknowledgement of traditional trompe l’oeil framing devices. There is a sense, in the works of this period, of the inspiration Bellany found in the Old Masters, with his interest in classical works informing the committed realism that went against the grain of modern art in 1960s London.

Large-scale paintings like this from the mid-1960s cemented Bellany’s reputation as a contemporary artist of significance. A masterful work from a key moment in the artist’s career, we see this formidable talent utilising his superb artistic abilities to interrogate key matters at the very heart of the human condition: our capacity for good and evil, our suffering and our perseverance, our enduring hope.

‘I believe that it’s imperative that one is really excited and overwhelmed by the things one paints and writes about.’

John Bellany

INDEX OF ARTISTS

Allan, Archibald Russell Watson 22

Armour, Mary Nicol Neill 85, 100, 101

Beattie Brown, William 51, 70

Bell Scott, William 116

Bellany, John 95, 186

Blyth, Robert Henderson 73

Bough, Sam 119

Boyd, John G. 79, 88

Breanski Senior, Alfred De 27, 32, 121, 136

Brown, Thomas Austen 67

Cadell, Francis Campbell Boileau 83, 156

Cameron, Duncan 26

Cameron, Katharine 133

Cameron, Sir David Young 10, 123

Clarke, William Hanna 105

Crawford Wintour, John 19

Crawhall, Joseph 138

Crozier, William 161

Cursiter, Stanley 74, 142

Docharty, James 50

Donald, John Milne 115

Downie, Patrick 102

Eardley, Joan 174, 175, 176, 177, 178, 179, 180

Faed Jr, James 6, 34

Farquharson, David 3, 35, 52, 108, 109

Farquharson, Joseph 13, 137

Fergusson, John Duncan 151, 152, 153, 154

Fleming, Ian 94

Flint, Sir William Russell 57, 58, 59, 60, 61

Frazer, William Miller 15, 37

Fullarton, James 81

Fulton, David 12, 29

Gauld, David 106

Gillies, Sir William George 72, 77, 78, 91

Gillies, William George 53

Haig, Earl 182

Henderson, John 24

Hoggan, Jack 76

Hornel, Edward Atkinson 56, 122

Houston, George 7, 16, 25, 41, 104

Houston, John 86

Howson, Peter 97, 98

Hunter, George Leslie 155, 158

Hutchison, Robert Gemmell 143, 144, 149, 150

Hutchison, William Oliphant 36

Johnstone, William 183

Kay, Archibald 23

Kay, James 145, 146

Lamond, William Bradley 11, 49

Lauder, Charles James 21

Lavery, Sir John 126, 127, 128, 129, 130, 131

Lawson Wingate, Sir James 8

Lumsden, Ernest Stephen 140, 141, 147 Mackie, Charles Hodge 107

MacNee, Robert Russell 1, 2 MacNicol, Bessie 135

MacTaggart, Sir William 99 Mann, Harrington 139 McCance, William 89 McCulloch, Horatio 33 McGeehan, Jessie M. 39 McGhie, John 5, 103 McTaggart, William 63, 117, 120 Michie, David 93

GLOSSARY OF CATALOGUING TERMS

The following expressions with their accompanying explanations are used by Lyon & Turnbull as standard cataloguing practice.

Our use of these expressions does not take account of the condition of the lot or the extent of any restoration.

Buyers are recommended to to inspect the property themselves.

Written condition reports are usually available on request.

Dimensions are given height before width.

Names or Recognised Designation of an Artist without any Qualification

In our opinion a work by the artist

Attributed to…

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

Studio of… / Workshop of…

In our opinion a work executed in the studio or workshop of the artist, possibly under their supervision

Circle of…

Miller, John 90

Milne, John Maclauchlan 47, 157, 159, 160

Morris Henderson, Joseph 4, 14, 38

Morrison, James 181

Morrocco, Alberto 171, 184, 185

Mouncey, William 125

Murray, Graham 165

Nasmyth, Alexander 30, 110

Nasmyth, Anne Gibson 111

Nasmyth, Charlotte 9, 112

Nasmyth, Patrick 113, 114

Oppenheimer, Charles 54, 62 Park, Stuart 64, 65

Paterson, James 55, 68, 69, 132

Paton, Waller Hugh 31

Patrick, James Mcintosh 43, 44, 45, 46

Peploe, Samuel John 162, 163, 164

Philip, John 118

Philipson, Sir Robin 80, 82, 87, 96, 170

Pirie, Sir George 18

Redpath, Anne 84, 166, 167, 168, 169, 172, 173

Reid, Flora Macdonald 66

Robertson, Eric Harald Macbeth 148

Roche, Alexander 28

Sanderson, Robert 20 Scott, Tom 42

Stewart MacGeorge, William 124

Telfer Bear, George 75

Thorburn, Archibald 40

Thornley, William 71 Walton, Edward Arthur 134 Watson, Robert 17

Wilson, David Forrester 48 Wright Hall, George 92

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

Follower of…

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

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

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

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

DAVID HOCKNEY O.M., C.H., R.A. (BRITISH 1937-) IN AN OLD BOOK, 1966 [DETAIL, MODIFIED]

Etching | £5,000-7,000 For

contact Simon Hucker | 0207 930 9115 simon.hucker@lyonandturnbull.com

FOR BUYERS (UK)

These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used. Special terms may be used in Catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms, etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the Catalogue. These notices and terms will also form part of our terms and conditions of sales.

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

“You”, “Your” means the Buyer. Lyon & Turnbull Ltd. acts as agent for the Seller. Lyon & Turnbull Ltd. acts as agent for the Seller. On occasion where Lyon & Turnbull Ltd. own a lot in part or full the property will be identified in the catalogue with the symbol (��) next to its lot number.

A. BEFORE THE SALE

1. DESCRIPTIONS OF LOTS

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

2. OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS

We do not provide any guarantee in relation to the nature of a Lot apart from our authenticity warranty contained in paragraph E.2 and to the extent provided below.

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

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

(b) Estimates: Estimates are placed on each Lot to help Buyers gauge the sums involved for the purchase of a particular Lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon.

(c) Catalogue Alterations: Lot descriptions and Estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the Catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred.

3. WITHDRAWAL

Lyon & Turnbull may, at its discretion, withdraw any Lot at any time prior to or during the sale of the Lot. Lyon & Turnbull has no liability to You for any decision to withdraw.

4. JEWELLERY, CLOCKS & OTHER ITEMS

(a) Jewellery:

(i) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to enhance their look, through methods such as heating and oiling. These methods are accepted practice but may make the gemstone less strong and/or require special care in future.

(ii) All types of gemstones may have been improved by some method. You may request a gemmological report for any Lot which does not have a report

if the request is made to us at least three weeks before the date of the sale and You pay the fee for the report in advance of receiving said report.

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

(iv) For jewellery sales, all Estimates are based on the information in any gemmological report or, if no gemmological report is available, You should assume that the gemstones may have been treated or enhanced.

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

(c) Alcohol: may only be sold to persons aged of 18 years and over. By registering to bid, You affirm that You are at least that age. All collections must be signed for by a person over the age of 18. We Reserve the right to ask for ID from the person collecting. Buyers of alcohol must make appropriate allowances for natural variations of ullages, conditions of corks and wine. We can provide no guarantees as to how the alcohol may have been stored. There is always a risk of cork failure and allowance by the Buyer must be made. Alcohol is sold “as is” and quality of the alcohol is entirely at the risk of the Buyer and no

warranties are given.

(d) Books-Collation: If on collation any named item in the sale Catalogue proves defective, in text or illustration the Buyer may reject the Lot provided he returns it within 21 days of the sale stating the defect in writing. This, however, shall not apply in the case of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings nor in respect of damage to bindings, stains, foxing, marginal worm holes or other defects not affecting the completeness of the text nor in respect of Defects mentioned in the Catalogue, or at the time of sale, nor in respect of Lots sold for less than £300.

(e) Electrical Goods: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given.

(f) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations (items manufactured prior to 1950 are exempt from any regulations). Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. We provide no guarantee as to the originality of any wood/material contained within the item.

B. REGISTERING TO BID

1. NEW BIDDERS

(a) If this is Your first time bidding at Lyon & Turnbull or You are a returning Bidder who has not bought anything from us within the last two years You must register at least 48 hours before an auction to give us enough time to process and approve Your registration. We may, at our discretion, decline to permit You to register as a Bidder. You will be asked for the following:

(i) Individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of Your current address (for example, a current utility bill or bank statement)

(ii) Corporate clients: Your Certificate of Incorporation or equivalent document(s) showing Your name and registered address together with documentary proof of directors and beneficial owners, and;

(iii) Trusts, partnerships, offshore companies and other business structures please contact us directly in advance to discuss requirements.

(b) We may also ask You to provide a financial reference and/or a deposit to allow You to bid. For help, please contact our Finance Department on +44(0)131 557 8844.

2. RETURNING BIDDERS

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

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 AN OTHER 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 RE SALE 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.

AUTHENTICITY GUARANTEE

We guarantee that the authorship, period, or origin (collectively, “Authorship”) of each Lot in this Catalogue is as stated in the BOLD or CAPITALISED type heading in the Catalogue description of the Lot, as amended by oral or written saleroom notes or announcements. We make no warranties whatsoever, whether express or implied, with respect to any material in the Catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below.

In the event we, in our reasonable opinion, deem that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the Lot the Hammer Price and applicable Buyer’s Premium paid for the Lot by the original purchaser. This Guarantee does not apply if: (a) The Catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the Catalogue description indicated that there was a conflict of such opinions; or (b) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in our reasonable opinion) to have caused damage to the Lot or likely to have caused loss of value to the Lot; or (c) There has been no material loss in value of the Lot from its value had it been in accordance with its description in the Bold or Capitalised type heading. This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the Lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the Lot must: (a) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the Lot number, date of the auction at which it was purchased and the reasons for such dispute; and (b) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale.

We have discretion to waive any of the above requirements. We may require the original purchaser of the Lot to obtain, at the original purchaser of Lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of

the Lot. We shall not be bound by any reports produced by the original purchaser of the Lot, and Reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original Purchase Price paid (the successful Hammer Price, plus the Buyer’s Premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest.

3. YOUR WARRANTIES

(a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes.

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

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

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

F. PAYMENT

1. MAKING PAYMENT

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

(b) Any payments by You to us can be applied by us towards any sums owing by You to us howsoever incurred and without agreement by You or Your agent, whether express or implied.

(c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name.

(d) The ownership of any Lots

purchased shall not pass to You until You have made payment in full to us of the Total Amount Due. The risk in and the responsibility for the Lot will transfer to You from whichever is the earlier of the following:

(i) When You collect the Lot; or

(ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise with You in writing.

(e) You shall at Your own risk and expense take away any Lots that You have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any cheque used for payment whichever is later. We can provide You with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us.

(f) No purchase can be claimed or removed until it has been paid for.

(g) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time.

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.

2.

IN THE EVENT OF NON-PAY MENT

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

(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 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.

risk and must note the lay-out of the premises, safety and security arrangements. Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.

9. DATA PROTECTION

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

10. FORCE MAJEURE

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

11. LAW AND JURISDICTION

“You” and “Your”

“Buyer’s Premium” the sum calculated on the Hammer Price at the rates stated in Catalogue.

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

“Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on behalf of the Seller.

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

“Hammer Price” the level of bidding reached (at or above any Reserve) when the Auctioneer brings down the hammer;

“High Cumulative Value of Lot” several Lots with a total lower Estimate value of £30,000 or above;

“High Value Lot” a Lot with a lower Estimate of £30,000 or above;

“Lot” each Item offered for sale by Lyon & Turnbull;

“Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses;

“Reserve” the lowest price below which an item cannot be sold whether at auction or by private treaty;

“Sale” the auction sale at which a Lot is to be offered for sale by us.

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

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

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

K. DEFINITIONS & GLOSSARY

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

1. DEFINITIONS

“Auctioneer” Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate;

“Bidder” a person who has completed a Bidding Form

“Bidding Form” our Bidding Registration Form our Absentee Bidding Form or our Telephone Bidding Form.

“Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to by the words

“Total Amount Due” the Hammer Price in respect of the Lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions;

“VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom.

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

2. GLOSSARY

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

“Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to

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

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

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

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

GUIDE TO BIDDING & PAYMENT

REGISTRATION

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:

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.

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.

BIDDING OUTSIDE THE SALEROOM

BY PHONE

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

-

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.

PAYMENT

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.

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.