Scottish Paintings & Sculpture | Auction 07 December 2023 by Lyon & Turnbull

7TH DECEMBER 2023 LIVE IN EDINBURGH & ONLINE

SCOTTISH PAINTINGS & SCULPTURE THURSDAY 07 DECEMBER 2023 LOTS 1-92 AT 2PM & LOTS 93-171 AT 6PM

Lyon & Turnbull 33 Broughton Place EDINBURGH EH1 3RR

Sale Number LT763

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VIEWING Friday 1st December 11am -5pm Sunday 3rd December 12noon - 4pm Monday 4th December 10am - 5pm Tuesday 5th December 10am - 5pm Wednesday 6th December 10am - 5pm Day of sale from 10am

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

Front Cover Lot 121 Inside Front Cover Lot 71 [detail]

BUYER'S GUIDE

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

BUYER’S PREMIUM

REGISTRATION

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

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

26% up to £20,000 25% from £20,001 to £500,000 20% thereafter. VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale at the back of this catalogue). ADDITIONAL VAT † 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

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.

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MEET THE SPECIALISTS

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

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

Alice Strang Senior Specialist alice.strang@lyonandturnbull.com

Charlotte Riordan Senior Specialist charlotte.riordan@lyonandturnbull.com

Carly Shearer Senior Specialist carly.shearer@lyonandturnbull.com

Chantal de Prez Specialist chantal.deprez@lyonandturnbull.com

Charlotte Cockburn Administrator charlotte.cockburn@lyonandturnbull.co.uk

1 WILLIAM ALFRED GIBSON (SCOTTISH 1866-1931) BEACHED FISHING BOATS Signed, oil on canvas 51cm x 61cm (20in x 24in)

£800-1,200

2 WILLIAM PAGE ATKINSON WELLS (SCOTTISH 1872-1923) VIEW FROM THE BAY, LARGS Signed, oil on board 13cm x 23cm (5in x 9in) Provenance: Ewan Mundy Fine Art, Glasgow Duncan R. Miller Fine Arts, London

£600-800

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

3 PATRICK DOWNIE R.S.W (SCOTTISH 1871-1945) GATHERING WRACK Signed, oil on canvas laid down 71cm x 91cm (28in x 36in)

£600-900

4 PATRICK DOWNIE R.S.W (SCOTTISH 1871-1945) THE GREEN BARQUE OFF TURNBERRY LIGHT Signed and dated 1930, signed and inscribed with title to backboard, watercolour 38cm x 54cm (15inx 21.25in)

£600-800

5§ GERTRUDE MARY COVENTRY (SCOTTISH 1886-1964) ABOVE ST. MONANS Signed, oil on canvas 71cm x 91cm (28in x 36in)

£1,000-1,500

6 JAMES WHITELAW HAMILTON R.S.A., R.S.W. (SCOTTISH 1860-1932) HELENSBURGH Signed, oil on canvas 36cm x 46cm (14in x 18in)

£1,000-1,500

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

7 GEORGE HOUSTON R.S.A, R.S.W., R.G.I. (SCOTTISH 1869-1947) ON THE BANKS OF LOCH FYNE Signed, oil on canvas 71cm x 91cm (28in x 36in) Provenance: Calton Gallery, Edinburgh, Christmas Exhibition, 1996

£1,500-2,000

8 JOSEPH MORRIS HENDERSON R.S.A. (SCOTTISH 1864-1936) A SUMMER LANDSCAPE BY THE STREAM Signed, oil on canvas 46cm x 76cm (18in x 30in) Provenance: Nigel Stacy-Marks Ltd, Perth

£1,000-1,500

9 HUGH CAMERON R.S.A., R.S.W., R.O.I. (SCOTTISH 1835-1918) COLLECTING FIREWOOD Signed and dated 1878, oil on canvas 56cm x 44cm (22in x 17.5in)

£1,000-1,500

10 WILLIAM PRATT (SCOTTISH 1854-1936) FEEDING THE DUCKS Signed, oil on canvas 41cm x 30.5cm (16in x 12in)

£800-1,200

11 ROBERT MCGREGOR R.S.A. (SCOTTISH 1847-1922) MUSSEL GATHERERS Signed, oil on canvas 64cm x 82cm (25.25in x 32.25in)

£2,000-3,000

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

12 §

13 §

ALFRED FONTVILLE DE BREANSKI JNR (BRITISH 1877-1955)

LOCH LEVEN AND THE HILLS OF GLENCOE FROM BALLACHULISH

LOCH SHIEL AND THE HILLS OF GLENFINNAN

Signed, signed and inscribed verso, oil on canvas

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

£1,000-1,500

14 ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928) BEN-AN AT SUNRISE Signed, oil on canvas 51cm x 76cm (20in x 30in) Provenance: Haynes Fine Art, Broadway, cat.no.5598

£2,000-3,000

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

15 WILLIAM WATSON (SCOTTISH 1831-1921) SHEEP GRAZING BY A MOUNTAIN STREAM Signed and dated 1891, oil on canvas 61cm x 91cm (24in x 36in)

£2,000-3,000

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

16 GEORGE BLACKIE STICKS (BRITISH 1843-1938) EVENING, GLEN GOIL Signed and dated 1894, signed, inscribed and dated verso, oil on canvas 46cm x 38cm (18in x 15in)

£1,000-1,500

17 GEORGE BLACKIE STICKS (BRITISH 1843-1938) GLENCOE, NEAR THE BRIDGE OF THREE WATERS Signed, inscribed and dated ‘83 verso, oil on canvas 46cm x 38cm (18in x 15in)

£800-1,200

18 WILLIAM BEATTIE BROWN R.S.A. (SCOTTISH 1831-1909) EVENING IN THE VALLEY OF THE SPEY, INVERNESS-SHIRE Signed and dated 1881, signed and inscribed on the overlap verso, oil on canvas 51cm x 102cm (20in x 40in)

£1,000-1,500

19 JOHN MACWHIRTER R.A., H.R.S.A., R.I., R.E. (SCOTTISH 1839-1911) FISHING BELOW THE FALLS Signed with the monogram, oil on canvas 25.5cm x 36cm (10in x14in)

£800-1,200

20 § GERTRUDE MARY COVENTRY (SCOTTISH 1886-1964) THE HARBOUR, PITTENWEEM Signed, oil on canvas 71cm x 91cm (28in x 36in)

£1,000-1,500

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

21 TOM SCOTT R.S.A. (SCOTTISH 1854-1927) COLLECTING WATER Signed and dated 1914, watercolour 25.5cm x 20cm (10in x 8in)

£600-800

22 TOM SCOTT R.S.A. (SCOTTISH 1854-1927) HOMEWARD BOUND Signed and dated 1919, watercolour 23.5cm x 18.5cm (9.25in x 7.25in)

£600-800

23 TRISTRAM ELLIS (BRITISH 1844-1922) FORTH RAIL BRIDGE FROM ABOVE DALMENY Signed and dated 1881, watercolour 61cm x 122cm (24in x 48in) Provenance: Sir John Fowler (1817-1898), Chief Designer and Engineer of the Forth Bridge and thence by descent Note: The date of the watercolour may seem incorrect as the bridge was completed in 1890. However this drawing was commissioned by Fowler and was drawn from plans before the construction commenced. The watercolour shows the bridge as a creation in shiny steel (it was the first major steel construction in the United Kingdom) whereas it was eventually painted in red oxide, a colour now known as ‘Forth Bridge Red’; the 45 acres of metalwork required half a million litres of paint.

£1,500-2,000

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

24 § CHARLES OPPENHEIMER R.S.A., R.S.W. (BRITISH 1876-1961) A DESERTED HIGHLAND STREAM Signed, watercolour 27cm x 34.5cm (10.5in x 13.5in)

£500-800

25 § † CHARLES OPPENHEIMER R.S.A., R.S.W. (BRITISH 1876-1961) SPEYSIDE, EVENING Signed, watercolour 27cm x 34cm (10.5in x 13.5in) Exhibited: Royal Scottish Society of Painters in Watercolours, Edinburgh

£500-800

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

26 § † CHARLES OPPENHEIMER R.S.A., R.S.W. (BRITISH 1876-1961) FLORENCE FROM THE ARNO Signed, watercolour 28cm x 28cm (11in x 11in)

£600-900

27 § † CHARLES OPPENHEIMER R.S.A., R.S.W. (BRITISH 1876-1961) PASSING SHOWERS, NEWTONMORE Signed, watercolour 26.5cm x 34cm (10.5in x 13.5in) Exhibited: Royal Scottish Society of Painters in Watercolours, London

£500-800

28 GEORGE BLACKIE STICKS (BRITISH 1843-1938) A GLENCOE STREAM Signed and dated 1891, oil on canvas 38cm x 46cm (15in x 18in)

£800-1,200

29 WILLIAM BEATTIE BROWN R.S.A. (SCOTTISH 1831-1909) A MOUNTAIN TORRENT Signed, oil on canvas 56cm x 42cm (22in x 16.5in)

£500-800

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

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

The 1877 Fine Art Exhibition was the second of such big exhibitions held at the Albert Institute in Dundee. They were organised by a committee of local art collectors and enthusiasts. That of 1877 was a particular blockbuster with 1,100 paintings on show – the biggest art exhibition in the United Kingdom apart from at the Royal Academy of Arts in London. It attracted 72,000 visitors in the three months it was on and sales totalled over £6,000.

Exhibited: Albert Institute, Dundee, Fine Art Exhibition, 11 October 1877 - 12 January 1878

We are grateful to Matthew Jarron, author of ‘Independent & Individualist: Art in Dundee 1867-1924’ for his help in researching this work.

A FIELD ROAD Signed and dated 1877, signed, inscribed and dated verso, oil on canvas

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

31 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) WASH DAY Oil on canvasboard 41cm x 31cm (16in x 12in)

£1,500-2,000

32 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) DUTCH BOY WHITTLING Signed, oil on canvas 40.5cm x 30.5cm (16in x 12in) Provenance: Mrs Anne Laidlaw, the Artist’s daughter The Fine Art Society Ltd, London and Edinburgh (17/6375), February 1975

£1,000-1,500

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

33 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) THE GARDENER’S DAUGHTER Signed, oil on canvas 45cm x 30.5cm (17.5in x 12in) Note: A painting of this title featured in the International Exhibition, Kelvingrove Park, Glasgow, May - November 1888, no.525

£1,500-2,000

34 WILLIAM STEWART (SCOTTISH 1823-1906) THIS IS THE WAY THAT GRANNY SPINS Signed with the monogram, signed and inscribed verso, oil on canvas 41cm x 30.5cm (16in x 12in)

£600-800

35 JOSEPH HENDERSON R.S.W. (SCOTTISH 1832-1908) FISHING BOATS IN OPEN SEA Signed, oil on canvas 71cm x 91cm (28in x 36in), unframed

£2,000-3,000

36 WILLIAM BRADLEY LAMOND R.B.A. (SCOTTISH 1857-1924) THE PLOUGHING TEAM Signed, oil on canvas 36cm x 46cm (14in x 18in)

£800-1,200

37 JAMES WHITELAW HAMILTON R.S.A., R.S.W. (SCOTTISH 1860-1932) WESTMORLAND Signed, oil on board 26cm x 34cm (10.25in x 13.5in)

£800-1,200

38 WILLIAM ALFRED GIBSON (SCOTTISH 1866-1931) BY THE CANAL Signed, oil on panel 20cm x 25.5cm (8in x 10in)

£500-800

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

39 ROBERT WATSON (BRITISH 1865-1916) SHEEP GRAZING ON A HILLSIDE Signed and dated 1901, oil on canvas 51cm x 76cm (20in x 30in)

£1,000-1,500

40 LOUIS BOSWORTH HURT (SCOTTISH 1856-1929) HIGHLAND YEARLINGS Signed and dated 1885, oil on canvas 30.5cm x 46cm (12in x 18in)

£600-800

41 GEORGE SMITH R.S.A. (SCOTTISH 1870-1934) THE HAY CART Signed, oil on canvas 71cm x 91cm (28in x 36in)

£1,200-1,800

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

42 ROBERT TONGE (BRITISH 1823-1856) SANNOX BAY Signed and dated 1852, inscribed on contemporary label verso, oil on canvas 30.5cm x 61cm (12in x 24in)

£600-800

43 DAVID FARQUHARSON A.R.A., A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1840-1907) CROSSING THE BRIDGE AT INVERARAY Signed and dated 1881, oil on board 20cm x 30.5cm (8in x 12in)

£1,000-1,500

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

44 WILLIAM BEATTIE BROWN R.S.A. (SCOTTISH 1831-1909) THE MILL RACE ON THE TEITH, PERTHSHIRE Signed and dated 1875, oil on canvas 67cm x 119cm (26.25in x 46.75in) Exhibited: Royal Scottish Academy, Edinburgh, 1875, no.515

£1,000-1,500

45 WILLIAM BEATTIE BROWN R.S.A. (SCOTTISH 1831-1909) A RIVER LANDSCAPE WITH DISTANT TOWN AT DUSK Signed, oil on canvas 51cm x 76cm (20in x 30in)

£1,000-1,500

46 SAM BOUGH R.S.A, R.S.W. (SCOTTISH 1822-1878) A MOUNTAIN STREAM BY MOONLIGHT Signed and dated 1876, oil on canvas 110cm x 146cm (43.25in x 57.5in)

£3,000-5,000

47 DAVID GAULD R.S.A. (SCOTTISH 1865-1936) CALVES BY A WATERBUTT Signed, oil on canvas 76cm x 115cm (30cm x 45.25in)

£1,500-2,500

48 DAVID GAULD R.S.A. (SCOTTISH 1865-1936) CALVES IN A BYRE Signed, oil on canvas 51cm x 76cm (20in x 30in)

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

49 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) BREAKFAST TIME Signed, pastel 41cm x 36cm (16in x 14in)

£2,000-4,000

50 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) THE LITTLE DUTCH GIRL Signed, oil on canvas 35.5cm x 25.5cm (14in x 10in)

£2,000-3,000

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

51 OTTO LEYDE R.S.A., R.S.W. (SCOTTISH 1835-1897) SWEET DREAMS Signed, inscribed and dated ‘Edinburgh ‘61’, oil on panel 33cm x 46cm (13in x 18in)

£1,000-1,500

52 THOMAS FAED R.A., R.S.A. (SCOTTISH 1826-1900) THE MORNING WALK Signed, oil on canvas 60cm x 48cm (23.5in x 19in) Note: A catalogue entry verso states that the painting was purchased at Christies’s, July 1931, lot 7

£1,000-1,500

THOMAS MILES RICHARDSON JUNIOR R.S.A., R.W.S (BRITISH 1813-1890)

LOOKING UP STRATH TAY, BEN-Y-GLO AND BEN-Y-MACHIE IN THE DISTANCE

LOOKING UP GLEN STRAE NEAR LOCH AWE

Signed and dated 1854, signed, inscribed and dated on contemporary label verso, watercolour

Signed and dated 1881, signed, inscribed and dated on a contemporary label verso, watercolour

36cm x 86.5cm (14in x 34in)

33cm x 63.5cm (13in x 25in)

£2,000-3,000

£1,200-1,800

55 § JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) THE LOMONDS FROM DRON Signed, watercolour 46cm x 61cm (18in x 24in) Provenance: The Fine Art Society Ltd, London, Edinburgh and Glasgow, December 1983 (EP2/5)

£1,200-1,800

56 ROBERT MCGREGOR R.S.A. (SCOTTISH 1847-1922) THE HURT FOOT Signed, oil on board 25.5cm x 36cm (10in x 14in)

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

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

58 §

NUDE

JAMES COWIE R.S.A., L.L.D. (SCOTTISH 1886-1956)

Signed and inscribed, lithograph

STUDY OF A SCHOOLGIRL

21.5cm x 15.5cm (8.5in x 6.25in)

Signed, pencil on buff paper

£800-1,200

48cm x 20cm (19in x 8in) Provenance: Forrest McKay, Edinburgh, 1990 Bourne Fine Art, Edinburgh

£1,000-1,500

59 TOM SCOTT R.S.A. (SCOTTISH 1854-1927) AFTER THE SERVICE, ETTRICK KIRK Signed with initials and inscribed, grisaille 15cm x 24cm (6in x 9.5in)

£600-800

60 JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) THE SWAN WALK Signed with initials, chalk and pastel 26cm x 20cm (10.25in x 8in) Exhibited: The Fine Art Society Plc, Edinburgh, Edinburgh Festival Exhibition: James Watterston Herald, August 1988 (16673)

£800-1,200

61 § MARGARET ISOBEL WRIGHT (SCOTTISH 1884-1957) LES PETITES DANSEUSES Signed, signed, dated and titled on artist’s label verso, watercolour 63.5cm x 49.5cm 25in x 19.5in) Provenance: Whittington Fine Art, Old Amersham Note: Margaret Wright was influenced by the artists known as the ‘Glasgow Boys’. Born in Ayr in 1884, she studied at the Glasgow School of Art from 1902 until 1908 and she exhibited at the Royal Glasgow Institute, Royal Scottish Academy and the Paisley Art Institute.

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

62 ROBERT WEIR ALLAN R.S.A., R.S.W., R.W.S. (SCOTTISH 1852-1942) ON THE HARBOUR QUAY Signed, oil on canvas 86cm x 122cm (33.75in x 48in), unframed

£1,200-1,800

63 LOUISE ELLEN PERMAN (SCOTTISH 1854-1921) ROSES AND VIOLETS Signed, oil on canvas 61cm x 51cm (24in x 20in) Exhibited: The New Gallery, Summer Exhibition, 1908 Kelvingrove Park, Glasgow, Scottish Exhibition of National History, Art and Industry, 2 May - 4 November 1911 Royal Glasgow Institute, Glasgow

£800-1,200

64 § WILLIAM MILLER FRAZER R.S.A. (SCOTTISH 1864-1961) IN TWILIGHT, SHEEP GRAZING IN EAST LOTHIAN Signed lower right, oil on canvas 72.5cm x 90.5cm (28.5in x 35.75in)

£1,500-2,000

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

65 EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) THE YOUNG GOATHERD Signed and dated 1914, oil on canvasboard 51cm x 61cm (20in x 24in) Provenance: Ian MacNicol, Glasgow

£5,000-7,000

66 EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) COLLECTING FIREWOOD Signed and dated 1888, oil on canvas 51cm x 41cm (20in x 16in)

£4,000-6,000

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

67 § KATHARINE CAMERON R.S.W., R.E. (SCOTTISH 1874-1965) TROPAEOLUM - THE SCOTTISH FLAMETHROWER Signed, watercolour on off-white paper 49cm x 28cm (19in x 11in) Provenance: Ewan Mundy Fine Art Ltd, Glasgow

£800-1,200

68 EDWIN JOHN ALEXANDER R.S.A., R.S.W., R.W.S. (SCOTTISH 1870-1926) GRASSES Signed with the monogram, watercolour on buff paper 36cm x 17cm (14in x 6.75in)

£800-1,200

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

69 § SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) SILVER RIPPLES Signed, watercolour 32cm x 49cm (12.5in x 19.25in) Provenance: Zwicker’s Gallery, Halifax, Canada

£3,000-5,000

70 JAMES CAMPBELL NOBLE R.S.A. (SCOTTISH 1846-1913) SAFE HAVEN Signed, oil on canvas 51cm x 61cm (20in x 24in)

£800-1,200

71 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) SUNSET ON THE CLYDE Signed, inscribed verso, oil on board 23cm x 33cm (9in x 13in)

£800-1,200

72 GEORGE HENRY R.A., R.S.A., R.S.W. (SCOTTISH 1858-1943) BY THE WAYSIDE, BARR Signed, inscribed and dated 1895, oil on panel 35cm x 24cm (14in x 9.5in)

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

73 §

74 §

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

A ROUGH BEACH, MORVERN

WILD ROSE SHORE

Signed, watercolour

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

37cm x 54cm (14.5in x 21in)

Exhibited: The Fine Art Society Ltd., London, 1922, no.28

£2,000-3,000

£2,500-4,000

75 §

76 §

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

WELLING WATERS

GYPSIES IN A CELLAR

Signed, signed and inscribed to label verso, watercolour

Signed, watercolour

36cm x 51cm (14in x 20in)

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

£2,000-3,000

£3,000-5,000

77 § JAMES BEATTIE MICHIE (SCOTTISH 1891-1960) CAP-FERRAT FROM THE BALCONY Signed, oil on board 61cm x 71cm (24in x 28in)

£1,500-2,000

78 § JAMES BEATTIE MICHIE (SCOTTISH 1891-1960) FROM THE WINDOW, SAINT-JEAN-CAP-FERRAT Signed, oil on board 33cm x 46cm (13in x 18in)

£800-1,200

79 § JAMES BEATTIE MICHIE (SCOTTISH 1891-1960) A VILLAGE STREET, FRANCE Signed, oil on panel 46cm x 61cm (18in x 24in)

£800-1,200

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

80 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) LA VIE EN ROSE VII Watercolour 16cm x 12cm (6.25in x 4.75in) Provenance: St. Andrews Fine Art, St. Andrews

£800-1,200

81 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) BATHERS Watercolour 15cm x 12.5cm (6in x 5in)

£800-1,200

82 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) LA VIE EN ROSE IV (BACKWARD GLANCE) Pencil and watercolour 8cm x 7.5cm (3.25in x 3in) Provenance: St. Andrews Fine Art, St. Andrews

£600-800

83 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) SEATED NUDE Charcoal on an envelope 15cm x 10cm (6in x 4in)

£800-1,200

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84 § JOHN MAXWELL R.S.A. (SCOTTISH 1905-1962) METAMORPHOSIS Signed and dated ‘39, ink wash on buff paper 26.5cm x 33cm (10.5in x 13in) Provenance: Acquired from the Artist by a Private Collector The Scottish Gallery, Edinburgh (D397/168)

£1,000-1,500

85 § MARGARET MORRIS (SCOTTISH 1891-1980) DIVA Charcoal on brown paper 25.5cm x 20cm (10in x 8in) Provenance: Cyril Gerber Fine Art, Glasgow

£600-900

86 § WILLIAM CROSBIE R.S.A. (SCOTTISH 1915-1999) STILL LIFE WITH COFFEE POT Signed, oil on canvas 43.5cm x 57.25cm (17in x 22.5in) Exhibited: The Scottish Gallery, Edinburgh, William Crosbie, March 1948, no.8

£1,000-1,500

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87 § MARY NICOL NEILL ARMOUR R.S.A., R.S.W. (SCOTTISH 1902-2000) SUNSET OVER ARRAN Signed and dated ‘71, oil on canvas 46cm x 61cm (18in x 24in)

£800-1,200

88 § MARY NICOL NEILL ARMOUR R.S.A., R.S.W. (SCOTTISH 1902-2000) FLOWERS WITH DARK RED ROSES Signed and dated 1984, oil on canvas 46cm x 41cm (18in x 16in)

£1,500-2,000

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89 § MARY NICOL NEILL ARMOUR R.S.A., R.S.W. (SCOTTISH 1902-2000) STILL LIFE WITH TRILLIUM Signed and dated 1976, oil on canvas 61cm x 46cm (24in x 18in)

£2,000-3,000

90 § SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., P.R.S.W., R.A. (SCOTTISH 1898-1973) THE ROAD ROUND ROSEBERY Signed, oil on canvas 51cm x 64cm (20in x 25.25in) Provenance: The Scottish Gallery, Edinburgh, 1969, (1762) J. A. Alexander by 1970 Exhibited: Scottish Arts Council, Edinburgh, W. G. Gillies Retrospective Exhibition, 1970, no.47 The Scottish Gallery, William Gillies Centenary Exhibition, 1 June - 1 July 1998, no.60

£1,500-2,000

91 § SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) AUTUMN LANDSCAPE Signed, oil on board 46cm x 61cm (18in x 24in)

£2,000-3,000

92 § SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) NEAR HUMBIE Signed and dated ‘’67’, signed and inscribed ‘£125’ verso, oil on board 41cm x 51cm (16in x 20in)

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

SCOTTISH PAINTINGS & SCULPTURE EVENING SALE BEGINS AT 6PM

93 JAMES CASSIE R.S.A., R.S.W. (SCOTTISH 1819-1879) EARLY MORNING, SOUTH QUEENSFERRY - THE FIRTH OF FORTH Signed with the monogram and dated 1875, oil on canvas 61cm x 110cm (24in x 43in) Exhibited: Royal Scottish Academy, Edinburgh, 1876, no.476 Note: This prospect of the Firth of Forth looking east towards Inchgarvie and North Queensferry predates the Forth Bridge. The view is from the pier and boatman’s cottage at Port Edgar with a steamer, probably the iron paddle tug Nymph, which was the sole vessel on the Queensferry passage across the Firth. Port Edgar has long been used as a crossing point to Rosyth, with a harbour pier built around 1810, roughly in the location of the present east pier and slipway. In the 1860s the South Queensferry Branch of the North British Railway was opened to Port Edgar and the port was used as a crossing point for railway passengers.

£2,000-3,000

94 JOSEPH MILNE (SCOTTISH 1859-1911) BUCKHAVEN HARBOUR Signed, inscribed on stretcher verso, oil on canvas 51cm x 76cm (20in x 30in)

£1,500-2,000

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Joe Milne’s attraction to Buckhaven may have involved his future wife Janet Thompson, whose family lived there. Her late father had been a fisherman in Buckhaven and she worked as a milliner. Janet and Joe married there in October 1884. Their first child was born in Buckhaven in August 1885, and he would grow up to be the artist John Maclauchlan Milne RSA. We are grateful to Maurice Millar, author of ‘The Missing Colourist: In Search of John Maclauchlan Milne RSA’, for his help researching this work.

95 DAVID GAULD R.S.A. (SCOTTISH 1865-1936) A RIVERSIDE VILLAGE IN THE SNOW Signed, oil on canvas 56cm x 69cm (22in x 27in)

£2,000-3,000

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96 PATRICK WILLIAM ADAM R.S.A. (SCOTTISH 1854-1929) HARBOUR LODGE Signed and dated 1925, with the artist’s label verso, oil on canvas 63cm x 66cm (24.75in x 26in)

£2,000-3,000

97 WILLIAM STEWART MACGEORGE R.S.A. (SCOTTISH 1861-1931) BLOSSOM TIME Signed, oil on canvas 51cm x 61cm (20in x 24in)

£4,000-6,000

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98 PETER GRAHAM R.A., H.R.S.A (SCOTTISH 1836-1921) WAVES BREAKING ON A ROCKY COAST Signed and dated 1892, oil on canvas 61cm x 91cm (24in x 36in)

£2,000-3,000

99 ROBERT MCGREGOR R.S.A. (SCOTTISH 1847-1922) MUSSEL GATHERERS Signed, oil on canvas 61cm x 46cm (24inx 18in)

£2,000-3,000

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100 LOUIS BOSWORTH HURT (SCOTTISH 1856-1929) HIGHLAND CATTLE IN A MOUNTAIN GLEN Signed and dated 1900, oil on canvas 91cm x 135cm (36in x 53in)

£7,000-10,000

101 JAMES GILES R.S.A. (SCOTTISH 1801-1870) DEER IN WINDSOR GREAT PARK, WINDSOR CASTLE IN THE DISTANCE Signed and dated 1852, oil on board 34m x 59cm (17in x 23in)

£2,000-3,000

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Alexander Fraser was David Wilkie’s most accomplished protégé, and

102

many of his major genre works bear comparison with those of his

ALEXANDER FRASER SENIOR A.R.S.A. (SCOTTISH 1786-1865)

mentor. Fraser and Wilkie first met in Edinburgh in the early years of the nineteenth century when they were pupils at Edinburgh’s Trustees’ Academy. Wilkie’s phenomenal early success soon led him to move to London, and in 1813 Fraser followed to work as his assistant. Fraser was responsible for many of the minor still-life details in Wilkie’s works, but also produced a substantial oeuvre of his own domestic genre paintings, helping to cater to an exploding demand for traditional

GET UP AND BAR THE DOOR Signed and indistinctly dated, inscribed verso, oil on panel 71cm x 97cm (28in x 38.25in) Provenance: Lyon & Turnbull, Edinburgh, The Drambuie Collection pt. I, 26th January 2006, Lot 83

£8,000-12,000

scenes of Scottish life amongst the London picture-buying public. Get Up and Bar the Door is a superb example of the sort of painting that so appealed to English taste of the time, with its colourful characters, exquisitely rendered detail and, above all, well-told story. The attention to the minutiae of the still-life elements and the beautifully evoked warm glow of light mark this as one of Fraser’s most accomplished and ambitious works. The incident depicted comes from a 1778 poem by David Herd which tells of a feuding husband and wife, neither of whom want to close the door. They then agree ‘The first word whae’er should speak / Should rise and bar the door’. Two so-called ‘gentlemen’ pass by and take advantage of the open door and mute couple and start making free with the food and drink. One then declares: Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

‘Her, man, tak ye my knife, Do ye tak off the auld man’s beard And I’ll kiss the gudewife.’ This, of course, is too much for the husband, who leaps to his feet and shouts at them in anger. Then up and started our gudewife, Gied three steps on the floor; ‘Gudeman, ye’ve spoken the foremost word, Get up and bar the door.’

103 WILLIAM KIDD (SCOTTISH 1790-1863) THE BEADLE Oil on canvas 59cm x 91cm (23in x 36in)

£1,000-1,500

104 WILLIAM DYCE (SCOTTISH 1806-1884) PORTRAIT OF ALEXANDER JARDINE Oil on canvas 121.5cm x 91cm (48in x 36in) Provenance: By descent within the family of the sitter Exhibited: Royal Academy of Arts, London, 1834, no.6 Royal Scottish Academy, Edinburgh,1835, no.99 Aberdeen Art Gallery, Aberdeen, William Dyce and the PreRaphaelite Vision, 9 September - 11 November 2006, p.69 Literature: Marcia Pointon, William Dyce 1806-1884: A Critical Biography, Clarendon Press, Oxord, 1979, p.188, pl.39

£3,000-5,000

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

105 ALLAN RAMSAY (SCOTTISH 1713-1784) HALF-LENGTH PORTRAIT OF GEORGE III IN RED COAT WITH THE STAR AND RIBBON OF THE GARTER Oil on canvas, and a companion, a pair, Queen Charlotte Wearing a Scarlet Dress (2) 76cm x 63.5cm (30in x 25in)

£25,000-35,000

Provenance: Miss K. Jones A. Ackermann & Son, Chicago Malcolm Innes Gallery, Edinburgh 1981 Private Collection, Scotland Exhibited: Musée Masséna, Nice, Les Anglais dans le Comte de Nice, 1934, no. 339 (lent by Jones) Literature: Alastair Smart, Allan Ramsay: A Complete Catalogue of his Paintings, Yale University Press, 1999, pp.90, 121, 86b and 193b

106 ALLAN RAMSAY (SCOTTISH 1713-1784) HALF-LENGTH PORTRAIT OF ANNE, LADY INGLIS Inscribed, feigned oval, oil on canvas 76cm x 63.5cm (30in x 25in) Provenance: J.B. Sutherland sale, Christie’s, 8 February 1929, lot 81 MacNicol, Glasgow c.1960 Private Collection Scotland

ALLAN RAMSAY: PORTRAITIST TO THE KING

Literature: Alistair Smart, Allan Ramsay: A Complete Catalogue of his Paintings, Yale University Press, 1999, p.142, no.289a Note: The prime version of this portrait is in the National Galleries of Scotland, Edinburgh (NG2152).

£8,000-12,000

Allan Ramsay played an instrumental role in establishing a

In around 1761-2 Ramsay recorded working on smaller

national identity for British art. His precise and sensitive

pendant portraits showing King George and Queen Charlotte

portraiture earned him widespread acclaim, aided by his

of Mecklenburg-Strelitz in profile ‘for the coinage’. George

prodigious intellectualism and social flair which ingratiated

is presented in dignified regal splendour: he wears the star

him with an elite stratum of patrons; amongst his friends

and ribbon of the Garter, and tucks his hand into his jacket

he counted David Hume, Adam Smith, Samuel Johnson

causing its golden embroidery to glimmer in the light. Queen

and James Boswell (Dr Johnson reflected that there was

Charlotte is equally refined, draped all in lace with pearls

no man ‘in whose conversation there is more instruction,

affixed at her throat with a cream ribbon. Newly arrived

more information, and more elegance, than in Ramsay’s’).

from Germany, she rests her arm on the second volume of

His ascension to Principal Painter to the King in 1767

David Hume’s 1757 History of Britain, as if an assurance to

promoted him amongst a prestigious cohort which included

her subjects of her preparedness for the British crown. The

Anthony van Dyck, Peter Lely, Joshua Reynolds and Thomas

principal versions of these portraits were commissioned

Lawrence. In this capacity, and under the prolific patronage

by the Earl of Bute at around the time he became Prime

of George III, Ramsay’s royal portraiture established an

Minister, and further versions are rare, with only three listed

iconography that would define the monarch’s reign across

in Alistair Smart’s catalogue of Ramsay’s works.

the world for generations to come.

The portrait of Anne, Lady Inglis dates to earlier in Ramsay’s

The most pivotal commission of his career came from the

career when he made regular visits to his native Edinburgh

3rd Earl of Bute in 1757, who employed Ramsay to execute

to fulfil portrait commissions of eminent society figures. His

a full-length portrait of the Earl’s pupil George, the Prince

talent for articulating his subject’s personality is evident in

of Wales (later King George III). The resulting likeness was

Anne’s twinkling eyes and knowing smile. During his lifetime

deemed so satisfactory that George, in turn, commissioned

Ramsay was particularly celebrated for his talent for painting

a portrait of his teacher. Ramsay thus established a fruitful

women. When comparing his portraiture with that of the

relationship with George, who would prove one of the

young Joshua Reynolds, Horace Walpole observed that the

most enthusiastic patrons of the arts since Charles I. Upon

two painters could...

George’s 1761 Coronation he engaged Ramsay’s services as ‘One of his Majesty’s Painters in Ordinary’, his first charge being to produce a pair of resplendent full-length Coronation portraits of the King and Queen. The Lord Chamberlain’s Office required numerous copies of these paintings to be distributed to Ambassadors and Governors of the Old World and the New, a task that would occupy Ramsay and his studio assistants for the rest of his life.

Scarce be rivals; their manners are so different. [Reynolds] is bold, and has a kind of tempestuous colouring, yet with dignity and grace; [Ramsay] is all delicacy. Mr Reynolds scarcely succeeds with women: Mr Ramsay is formed to paint them.

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107 SIR HENRY RAEBURN R.A. (SCOTTISH 1756-1823) HALF-LENGTH PORTRAIT OF JAMES NEWBIGGING OF WHITEHOUSE Oil on canvas 76cm x 63.5cm (30in x 25in) Note: In his catalogue raisonné David Mackie suggests a date of c.1795.

£6,000-8,000

Provenance: Adam Rolland, Esq., Gask, Scotland, by 1876 to after 1901 Weekes (according to Greig), by 1911 Thomas Agnew & Sons, London Mrs Henry Morgenthau, New York, by 1939 Newhouse Galleries, New York, NY Mr. and Mrs. F. Howard Walsh, Fort Worth, Texas Walsh Family Art Trust Literature: Sir Walter Armstrong, Sir Henry Raeburn: A Study, London, 1901, p.109 Edward Pinnington, Sir Henry Raeburn, W. Scott, London, 1904, p.243 James Greig, Sir Henry Raeburn, R. A.: His Life and Works, with a Catalogue of his Pictures, The Connoisseur (Otto Ltd), London, 1911, p.55 David Mackie, Sir Henry Raeburn Catalogue Raisonné, 6 volumes, unpublished manuscript, vol.III, pp.718-719, no.574

HENRY RAEBURN: A BICENTENARY In celebration of Henry Raeburn’s bicentenary we are delighted

While the soft light of the Mr Newbigging portrait is

to present three characterful portraits, each of which serves

characteristic of Raeburn’s earlier painting, later in his

as a remarkable document of the Golden Age of the Scottish

career he lit his subjects more dramatically, such as we see

Enlightenment and the virtuosity of its best-known artist.

in these portraits of Mr and Mrs Mackenzie. In heightening

Henry Raeburn’s portraiture is intimate. It does not wholly subscribe to the formal Romantic mode widely practiced by his contemporaries, instead presenting its subjects with sensitivity, individuality and warmth. His sitters appear as if mid-gesture, mid-breath, emerging from the shadowy depths of their composition and advancing towards a light source located not far behind the viewer. This effect is achieved with deft, confident strokes of pigment: note, for example, the mark-making used to denote the gentleman sitters’ cravats, almost daring in its abbreviation; this is an artist fully aware of his talent and how best to wield it. James Newbigging of Whitehouse was a solicitor and Writer to the Signet. In the late 1790s he was elected Clerk to Sir Henry Dundas whose political power in Scotland was at the time unsurpassed. Raeburn’s portrayal of Newbigging is tender and full of quiet personality: his sideways look and slightly pursed lips suggest a degree of reservation, the solicitor used to scrutinising others perhaps unused to Raeburn’s own scrutinising gaze. While little is known of Newbigging’s life, a painting of his wife is also listed in David Mackie’s catalogue raisonné, with a note that both portraits passed to their daughter Ann and her husband Adam Rolland of Gask. This portrait should therefore be understood as a private object of familial sentiment, as well as a public-facing record of Newbigging’s prominent standing in Edinburgh society, a dichotomy to which Raeburn’s style feels uniquely suited.

his tonal contrast, Raeburn could shroud landscape or interior settings (in which he had little interest) in shadow, instead directing the viewer’s attention, through glowing illumination, towards his subject’s face and gestures to subtly elucidate mood and expression and enhance the intimate atmosphere. Raeburn was nevertheless an Enlightenment man who held fundamental truth as his objective, and he approached portraiture with commensurate empiricism: throughout his career he insisted that his subjects sat before him so that he could compose their likeness directly onto the canvas, rather than working from preparatory drawings. Raeburn is celebrated today as one of Scotland’s greatest artists, not least for his iconic oil of the ‘Skating Minister’ (Reverend Robert Walker Skating on Duddingston Loch, National Galleries of Scotland, NG 2112). Despite this, his beginnings in life were unassuming. Orphaned at a young age and fostered by his elder brother, the teenaged Raeburn seems to have first turned his hand to portraiture while apprenticed to an Edinburgh jeweller and goldsmith. He first produced miniatures, but within a matter of years he transitioned to oil painting. He worked from Edinburgh throughout his career, and by the end of his life was decorated with accolades, including an appointment as Painter and Limner to King George IV, alongside membership of the Royal Academy, Royal Society of Edinburgh and American Academy of Fine Arts.

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

108 SIR HENRY RAEBURN R.A. (SCOTTISH 1756-1823) HALF-LENGTH PORTRAIT OF MRS WILLIAM MACKENZIE Oil on canvas 76cm x 63.5cm (30in x 25in) Provenance: Mr. and Mrs. F. Howard Walsh, Fort Worth, Texas, 1966 Walsh Family Art Trust Note: David Mackie makes reference to the portrait of William Mackenzie (Lot 109) in his Henry Raeburn catalogue raisonné, having been supplied with a reproduction of the painting by the Newhouse Galleries, New York in 1988. He does not make reference to this portrait of Mrs Mackenzie.

£10,000-15,000

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

109 SIR HENRY RAEBURN R.A. (SCOTTISH 1756-1823) HALF-LENGTH PORTRAIT OF MR WILLIAM MACKENZIE Oil on canvas 76cm x 63.5cm (30in x 25in) Provenance: William Mackenzie, Edinburgh Acquired by descent to Miss E. G. Mackenzie, Pietermaritzburg, South Africa Newhouse Galleries, New York Mr. and Mrs. F. Howard Walsh, Fort Worth, Texas, 1966 Walsh Family Art Trust

£6,000-8,000

Literature: David Mackie, Sir Henry Raeburn Catalogue Raisonné, 6 volumes, unpublished manuscript, vol.III, pp. 642-643, no.505 Exhibited: Durban Art Gallery, Natal, South Africa, “Treasures from Natal Homes”, November 1959 Note: David Mackie makes reference to this portrait of William Mackenzie in his Henry Raeburn catalogue raisonné, having been supplied with a reproduction of the painting by the Newhouse Galleries, New York in 1988, and asserted that it appeared to be a late example of Raeburn’s work. He does not make reference to the portrait of Mrs Mackenzie (Lot 108).

110 THOMAS DUDGEON (SCOTTISH FL.1831-1878) A PANORAMIC VIEW: THE CLYDE, DUMBARTON ROCK IN THE DISTANCE Signed and dated 1865, oil on canvas 97cm x 135cm (38in x 53.25in)

£2,000-3,000

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111 DAVID ROBERTS R.A. (BRITISH 1796-1864) A PANORAMIC VIEW OF EDINBURGH FROM CALTON HILL Signed and dated 1846, watercolour 38cm x 49cm (15in x 19.25in)

£1,500-2,000

112 JAMES PATERSON R.S.A., R.S.W., R.W.S. (SCOTTISH 1854-1932) GLENCAPLE ON THE NITH Signed, inscribed and dated 1892, watercolour 36cm x 53.5cm (14in x 21in)

£2,000-3,000

113 DAVID GAULD R.S.A. (SCOTTISH 1865-1936) A RIVERSIDE TOWN, NORMANDY Signed, oil on canvas 71cm x 91cm (28in x 36in)

£2,000-3,000

114 JAMES PATERSON R.S.A., R.S.W., R.W.S. (SCOTTISH 1854-1932) CORTE, CORSICA Signed, signed and inscribed verso, oil on canvas 63.5cm x 76cm (25in x 30in)

£2,000-3,000

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115 ARTHUR MELVILLE A.R.S.A., R.S.W., A.R.S (SCOTTISH 1855-1904) THE INNKEEPER Signed and inscribed with title verso, oil on canvas 58.5cm x 47cm (23in x 18.5in) Literature: Agnes E. Mackay, Arthur Melville 1855-1904: Scottish Impressionist, F. Lewis Publishers Ltd, Leigh-on-Sea, 1951, p.149, no.390

£3,000-6,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

116 WILLIAM WATSON (SCOTTISH 1831-1921) SHEEP GRAZING ON A ROCKY OUTCROP Signed and dated 1892, oil on canvas 71cm x 101.5cm (28in x 40in)

£2,000-3,000

117 ARTHUR MELVILLE A.R.S.A., R.S.W., A.R.S (SCOTTISH 1855-1904) THE WOUNDED COVENANTER Signed and dated 1885, watercolour 77.5cm x 54.5cm (30.5in x 21.5in) Provenance: The Artist’s Trustees The Fine Art Society Ltd Private Collection Exhibited: The Royal Society of British Artists, London, 1885 Laing Art Gallery, Newcastle, Arthur Melville Memorial Exhibition, 1906, no.4 Nottingham Art Gallery, Arthur Melville Memorial Exhibition, 1907, no.40 Dundee Museums and Art Galleries, Arthur Melville, November 1977 - June 1978, no.13 Literature: Agnes E. Mackay, Arthur Melville 1855-1904: Scottish Impressionist, F. Lewis Publishers, Leigh-on-Sea, 1951, p.147, no.345

£3,000-5,000

118 EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) EASTER EGGS Signed and dated 1901, oil on canvas 76cm x 63.5cm (30in x 25in) Provenance: William Davidson (1861-1945) and thence by descent to the present owner

£15,000-20,000

Easter Eggs is an exquisite work, emerging now from an important private collection for the first time in its history. By 1901, Hornel was an established artist, and an internationally regarded one. By the end of the 1890s he had exhibited in cities as scattered as Barcelona and Philadelphia. Most notable of all, perhaps, was a travelling US exhibition which exposed the work of the Glasgow Boys to American audiences in St Louis, Cincinnati, Chicago and New York. 1899-1902 was a period of evolution in his work, and the moment in which he was able to access a broader appreciation from the buying public. His painting, though still heavily decorative and inventive in terms of structure and paint application, became more naturalistic than the innovative but challenging work of the 1880s and early 1890s. The children depicted have more finely drawn faces and his palette became more muted and rooted in reality. Critics and the public responded to these developments extremely favourably and he began to earn a good living. In Easter Eggs the instantly recognisable broad handing of his characteristically dry pigment in mosaic-like strokes shows an artist in the full, confident stride of his mature style. Hornel utilised technological advancements to support his process, taking multiple staged photographs of children local to his home in Kirkcudbright to aid his compositional arrangements and as a source of reference. This approach enabled him to light his subjects just so, as well as ameliorating the difficulties inherent in trying to pose young children for any length of time in a studio setting. Then, the faces and physical details of his subjects would be rendered in the studio in smooth, precise detail, with the textured elements of the surrounding scene often then completed en plein air. This interesting, phased approach is evident in the different handling of both aspects of the composition. Our eyes, as viewers, take time to range over this richly varied terrain with its intricate frieze of flora in the background Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

and the daringly minimal brushwork of the foreground. The whole effect is at once photographic and dreamlike. 1901 was the year Hornel acquired Broughton House in Kirkcudbright which one can still visit as a museum to this day. It was also the year that he was, upon nomination by his Glasgow Boy peers, elected an Associate of the Royal Scottish Academy. To the anger of the Academy and consternation of his friends, Hornel declined the honour, stating in his letter of response, “I have been very happy as plain Hornel and I mean to remain such as far as these trumpery affairs are concerned.” Hornel, we can glean, was as single-minded in these matters as he was committed to his distinctive artistic vision.

William Davidson (1861–1945) was a Glasgow-based businessman and a great patron of the arts. His collection came to include work by ‘The Four’, namely Charles Rennie Mackintosh, Margaret Macdonald Mackintosh, Frances Macdonald MacNair and James Herbert MacNair and many of the ‘Glasgow Boys’, including George Henry, E. A. Hornel, W. Y. McGregor and E. A. Walton. Davidson was a particular supporter of Charles Rennie Mackintosh and John Quinton Pringle. Many important works from his collection are now in the holdings of the Hunterian Art Gallery, University of Glasgow.

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

119 EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) GEISHAS IN A JAPANESE WATER GARDEN Signed and dated 1921, oil on canvas 63.5cm x 76cm (25in x 30in)

£6,000-8,000

120 § WILLIAM SOMMERVILLE SHANKS R.S.A., R.S.W. (SCOTTISH 1864-1951) AT THE PIANO Signed, oil on canvas 51cm x 61cm (20in x 24in)

£2,000-3,000

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121 WILLIAM STRANG R.A., R.P.E. (SCOTTISH 1859-1921) GIRL WITH FAN Signed and dated 1912, oil on canvas 76cm x 63.5cm (30in x 25in)

£15,000-20,000

William Strang was an artist of many facets. He was both a

Whistler, Strang rarely titled his works under the sitter’s names,

pre-eminent etcher, pivotal in the medium’s revival at the start

rather in the guise of subject paintings. An example of this

of the 20th century, and a popular society portraitist, regularly

is 1913’s The Opera Cloak, which in fact depicts his beloved

commissioned to depict key figures of the day. Strang’s diverse

daughter Nancy, her cloak held by one of her brothers in the left

frame of artistic reference made it hard for critics to place him

of the composition.

canonically. One minute he appeared a Realist, touching on contemporary social issues, the next he seemed more akin to a Symbolist, mining Classical, Biblical and allegorical subjects. He encompassed these multitudes with much skill and integrity, earning himself a respected position in the turn-of-the-century London art world. The portrait offered here illustrates how these seemingly disparate threads manage to interlace within his work to unique and impactful effect: concurrently truthful to its subject, decoratively appealing and enigmatic in atmosphere.

We believe that the highly attractive portrait offered here for sale, Girl with Fan, also potentially depicts Nancy Strang. Dated 1912, it was executed just one year earlier than The Opera Cloak. The sitter shares the same physical characteristics: the assertive jut of the chin, dark brows and pronounced cupid’s bow of the top lip. Strang clearly revelled in the depiction of women. His female sitters are invariably afforded an elegant sensuality and contemplative demeanour. As the artist once remarked to his patron Ashbee, “I’ve tried all my life to do the pretty-pretty but

Strang was born in Dumbarton, Scotland in 1859. The son of

it’s no good…I can’t”. Instead, his likenesses evoke character,

a builder, his working-class roots were an important part of

modernity and intellect.

his identity, including artistically. Much of his oeuvre (notably his etched works) were Socialist in sympathy and alluded to the struggles of the working and impoverished classes. This, combined with his training at the Slade under the French Realist Alphonse Legros, naturally aligned him with the ideologies of the Arts and Crafts movement with whom he also shared a commitment to the rigour of Life Drawing and a reverence for the Old Masters. The prominent designer and architect C. R. Ashbee became a major patron.

Leaning away from the overt, painterly glamour of his peers Sargent and Lavery, Strang’s portraiture was not, as one critic of the day described, “polite”. As we have seen, he was neither categorizable as purely a Traditionalist nor a Modernist; his style referenced broadly from both spheres, resulting in a manner entirely his own. Strang’s focus was on objective truth married subtly with a decorative aspect, producing an effect that was both distinctive and widely admired. He was critically revered for his exceptional, considered compositions and the way he

This focus on draughtsmanship is very much evident in

eschewed anything extraneous in terms of detail or technique.

Strang’s work within the genre of portraiture. He produced

His use of colour too, was praised for being confident and

over 500 portrait sketches in the early 1900s, drawn in black

spare. We see that here with the striking choice of gold, purple,

and red chalk. This choice of materials was a deliberate and

pink and green, linked subtly and balanced precisely, the

characteristic referential nod to an earlier Master; in this

fundamentally discordant hues somehow attaining harmony.

instance Hans Holbein. The technical prowess and incisive ‘truth’ of these sketches proved so popular that Strang was able to make two consecutive trips to New York in 1904 and 1905 to execute drawings of his many American patrons.

William Strang’s work was featured in prominent exhibitions across many of London’s most respected galleries, including the Grosvenor Gallery, Whitechapel Gallery, Agnews and the Fine Art Society. In 1918 he became President of the

Strang also painted many important commissions in oil, notably

International Society of Sculptors, Painters and Gravers and in

those with literary connections including Thomas Hardy, Vita

1921 was elected an Engraver Member of the Royal Academy.

Sackville-West and the poet John Masefield. He exhibited oils

He died suddenly in 1921, shortly after his election as Royal

regularly at the Royal Academy and the International Society,

Academician.

of which he became Vice-President in 1908. In the manner of

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

122

123

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

WILLIAM KAY BLACKLOCK (BRITISH 1870-1924)

A FRESH BREEZE

THE TOY BOAT

Signed, oil on panel

Signed, oil on canvas

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

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

£2,000-3,000

124 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 25.5cm x 30.5cm (10in x 12in)

£4,000-6,000

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

Though his name is inextricably linked with the Kirkcudbright

125 §

School of artists, the half-German, Manchester-born and raised Oppenheimer did not in fact settle in this region until the end of

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

World War One. Overtime he became a respected stalwart of the

ON THE GRAND CANAL, VENICE

Scottish art world and a Royal Scottish Academician. His oeuvre is

Signed, oil on canvas

firmly and famously associated with the depiction of Galloway. Less

76cm x 76cm (30in x 30in)

well known perhaps is the fact that, as his biographer Euan Robson

£8,000-12,000

puts it, “Italy was as much his muse as Galloway”. As a body of work,

Redolent, as the critic would

they are much less frequently

have it, “…[of]…the drowsy felicity

seen outside private collections

which belongs to life in these

comparative to his Scottish

pleasant places.” The water is

subject matter. Lyon & Turnbull

masterful; ripples and reflections

are therefore delighted to

rendered with comprehensive

offer a scarce and significant

realism and skill. The light

Italian painting by the artist, the

and heat of the day glare and

most monumental in scale and

glance off the stone walls whilst

sophistication to be seen on the market for some years.

darkened alcoves and interiors

Oppenheimer’s love affair with

into cleverly described shadow.

Italy was a long and enduring

Oppenheimer, as the Herald

one. In 1896 at the age of 21

critic alluded, did not have a

he won a funded prize to travel

hyperbolic artistic vocabulary.

to Florence and Venice. A deep

This is attested to by the subtle

passion for the country began.

tonalities of the palette here,

He was, in fact, retracing the

which allow Venice to weave its

steps of his father Ludwig

romantic magic simply and on its

Oppenheimer, a diversely

own terms, free from excessive

talented individual who

artistic licence.

reputedly studied mosaic design and manufacture in Venice in the 1860s. It is thought the artist and his wife Connie travelled to Italy on honeymoon in 1903 and continued to do so frequently after the interlude of WW1, visiting throughout the 1920s and 30s. Verona and Venice were his main destinations of choice. This makes great sense: Oppenheimer was a master of depicting water and the play of light and shadow, and Venice especially with its canals and densely arranged architecture would have provided endless compositional inspiration to tempt his

coolly and enticingly recede

Oppenheimer’s artworks were sketched en plein air, indeed sometimes painted outdoors too before finishing in the studio from earlier studies. One certainly senses that immediacy here; the plein air approach almost certainly responsible for rendering this painting so very transportive and truthfully evocative. One such working sketch for this painting is recorded in Robson’s monograph of the artist (Euan Robson, Charles Oppenheimer: From Craftsman to Artist, Atelier Books, Edinburgh, 2012, p.73, pl.s39), a watercolour c.1928,

brush.

held now in a private collection.

In 1913 Oppenheimer exhibited Italian pictures at Doig, Wilson and

The subject, Palazzo Contarini Fasan, is an unusual 15th-century

Wheatley gallery on George Street, Glasgow, as well as at the RSA. It was a significant exhibition and he received numerous positive reviews. The Glasgow Herald’s critic remarked: “Mr Oppenheimer’s work impresses by way of its distinguished draughtsmanship and a refined sense of colour…[The painting]…possesses exhilarating sparkle and there is a subtle restraint in colouring: there are none of those lurid

Venetian gothic structure. It is also known as Casa di Desdemona for its famed associations with Shakespeare’s Othello. Legend has it that Nicola Contarini, a famous heroic leader in the wars against the Turks in the 1500s, once lived in the palazzo. He was said to have had dark skin, subsequently nicknamed “Moor”. Contarini’s wife, Palma Querini, was the inspiration, possibly, for the character of

splashes which give some pictures of Italy the effect of mere garishness.”

Desdemona. Exhausted by the brutal jealousy of her husband, she

These words could quite easily be applied as a descriptor of the later

wrote in his The Seven Lamps of Architecture that the palazzo was “the

painting of c.1928, On the Grand Canal, Venice, that we offer now

most elaborate piece of architecture in Venice.” Little wonder then, that

for sale. Here we have a tranquil depiction of Venice’s most famous

the romanticism of the building’s legendary history and its unusual

waterway, quiet and calm in the afternoon heat, the only sounds

and beautiful façade captured the attention of Oppenheimer, who

evoked being the lap of water against stone.

afforded it a substantially sized stretch of canvas.

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fled the marriage to return to her family. Furthermore, John Ruskin

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

126 BESSIE MACNICOL (SCOTTISH 1869-1904) THE LILAC SUNBONNET Signed, oil on canvas 41cm x 30.5cm (16in x 12in) Provenance: Robert McTear & Co, Glasgow, 31st January 1908, lot 49 Richard Green, London (RH1455) Exhibited: Craibe Angus & Son, Glasgow, Memorial Exhibition, 1905

£15,000-20,000

After her time at Glasgow School of Art, MacNicol trained at the Academie Colarossi in 1892, during which time she was highly influenced by the artists working in Paris and across Europe. The Lilac Sunbonnet painted in 1899 is a superlative figurative work by the artist. The sitter, a fresh faced farm girl dressed in light flowing fabrics, is illuminated by the high sun bringing her into focus. While the work has been posed, MacNicol has managed to convey the spontaneity of the scene as a day’s work is being carried out. Her moment of rest under a branch is bathed in strong, fresh colour. MacNicol is often grouped with The Glasgow Girls, and must be recognised as an accomplished women painter. However, during the 1890s her output was far more aligned with her artist friends, The Glasgow Boys. Notably, David Gauld (1865-1936), who produced a similar series of impressionistic portraits using expressive light and shade to illuminate the sitter. In his book, Scottish Painting Past and Present (1908. pp436), James Caw, Director of the National Galleries of Scotland, recognised MacNicol as ‘probably the most accomplished ladyartist that Scotland has yet produced’.

127 THOMAS MILLIE DOW (SCOTTISH 1848-1919) STILL LIFE OF YELLOW ROSES Signed with the monogram and dated 1887, oil on board 27cm x 17cm (10.5in x 6.75in)

£3,000-5,000

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128 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) THE CAIRNGORMS IN AUTUMN Signed, signed and inscribed verso, oil on canvas 41cm x 71cm (16in x 28in)

£4,000-6,000

129 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) THE WILDS OF ROSS Signed, signed and inscribed on the stretcher verso, oil on canvas 39cm x 49.5cm (15.25in x 19.5in)

£3,000-5,000

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

130

131

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

YOUNG FISHERGIRLS

LEARNING TO READ

Signed, oil on board

Signed, oil on canvas

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

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

£8,000-12,000

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

100

GEORGE LESLIE HUNTER: A SCOTTISH COLOURIST AT HOME & ABROAD George Leslie Hunter, along with his fellow Scottish

expressiveness of technique which earned him the sobriquet

Colourists F. C. B. Cadell, J. D. Fergusson and S. J. Peploe,

of ‘Scottish Colourist’. When paintings of its ilk were shown

enjoyed a studio-based practice enriched by the stimulus

in Alexander Reid’s gallery in Glasgow in 1925, the critic

of regular travel. The group of his works presented here

of the Glasgow Herald declared ‘if his colour schemes are

reveals his mastery of the still life genre, the sensitivity of

sometimes daring they are always harmonious…presenting

his figurative imagery and the inspiration he found in France

the essence of his subject with directness and vigour that is

and Italy.

yet elastic, sprightly and joyous.’ (17 December 1925)

Born in Rothesay on the Isle of Bute, Hunter’s family

Boy with Cockerel and Portrait of Miss Mabel Couper in

emigrated to California when he was a teenager. He began

Evergreen share a fluidity of line by which Hunter’s acute

his career in San Francisco, but the majority of his early work

observational skills capture his subjects, the one a shy

was destroyed in the earthquake which struck the city in

farmboy tending to an animal, the other a glamorous actress

1906, shortly before its inclusion in what would have been

who was then ‘treading the boards’ in Glasgow.

his first solo exhibition.

Hunter is known to have visited Italy in 1922 and 1923. Les

Later that year, Hunter moved to Glasgow, which was to be

Environs de Florence is a rare extant example of the paintings

his mainstay during a peripatetic life until his death in the

he made after visiting the Tuscan city. Such was Hunter’s

city in 1931. Of the other Colourists, Hunter was closest to

satisfaction with the series from which it comes, that he

Peploe, whom he had met by 1918. Five years later, they

showed it with four others in the landmark 1923 Leicester

exhibited with Cadell at the Leicester Galleries, London

Galleries exhibition he shared with Cadell and Peploe.

and the following year, they were joined by Fergusson for exhibitions in Paris and the English capital. They showed together for a final time whilst Hunter was alive, once more in Paris, in 1931.

Après le Bain (The Bathers, Juan-les-Pins) and Le Port de l’Olivette, Cap d’Antibes reveal Hunter’s love of the south of France, where he spent extended periods during the late 1920s. The brilliant light, warm climate and Mediterranean

Peonies in a Blue and White Vase is a sophisticated example of

lifestyle appealed to him personally and professionally. The

the still lifes with which Hunter established his reputation.

former painting was acquired by the Glasgow ship-owner

Self-taught, but a voracious consumer of art in public

Ion Harrison, who created one of the most important

and private galleries visited whilst in America and on the

collections of works by the Scottish Colourists. He became

Continent, his biographer T. J. Honeyman explained ‘one can

friends with the artist, of whom he recalled: ‘Hunter made

surmise the line of his approach and make a fair guess that

no bones about his own capabilities, for he asserted one day

his heroes, Chardin and Manet competed with the Dutch

to my astonishment…that there was no artist living at that

in his early essays in still-life painting.’ (T. J. Honeyman,

time who was painting a well as he was.’ (Ion Harrison, ‘As I

Introducing Leslie Hunter, Faber and Faber, London 1937,

Remember Them’ in T. J. Honeyman, Three Scottish Colourists:

pp.56-57).

Peploe, Cadell, Hunter, Thomas Nelson and Sons Ltd, London,

The later Still Life of Fruit and Flowers in a Blue and White Vase shows how first-hand experience of the latest developments in French painting, particularly the work of Henri Matisse, encouraged Hunter to use a brilliance of colour and

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

1950, p. 126)

102

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103

132 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) APRES LE BAIN (THE BATHERS, JUAN-LES-PINS) Signed, oil on canvas 44cm x 54.5cm (17.5in x 21.5in) Provenance: Alex. Reid & Lefevre, Glasgow Pearson & Westergaard Ltd, Glasgow Ion R. Harrison Esq., Glasgow and by descent to the present owner Note: Dated to 1928 by Bill Smith and Jill Marriner (op.cit.)

£40,000-60,000

Exhibited: Alex. Reid & Lefevre, Three Scottish Painters: S. J. Peploe, Leslie Hunter, F. C. B. Cadell, London, January 1939, no.2 Glasgow Art Gallery, Leslie Hunter, May 1942, no.72 National Gallery of Scotland, Edinburgh, Leslie Hunter 1877-1931, June 1942, no.112 McLellan Galleries, Glasgow, Pictures from a Private Collection, 2- 27 March 1951, no.71 Glasgow Art Gallery and Museum, Glasgow, Scottish Painting, 5 October - 30 November 1961, no.167 Scottish Arts Council Gallery, Glasgow, Three Scottish Colourists: Cadell, Hunter, Peploe, 9 May - 6 June 1970 and tour, no.49

Between 1927 and 1929 Hunter spent extensive periods in the south of France, principally from a base in St-Paul-de-Vence. He worked in various locations, including Antibes, Cassis, Nice, Saint Tropez and Juanles-Pins, as featured in Après le Bain (The Bathers, Juan-les-Pins). Hunter enjoyed the region immensely, writing ‘This is an ideal country to loaf in and I wish I could simply loaf around and enjoy the sunshine and the cooking as most of the people around here do.’ (T. J. Honeyman papers, National Library of Scotland, Edinburgh ACC97872/25/6/3, quoted by Derek Ogston, op.cit., p. 42) Whilst there, Hunter created many works on paper, using pen and ink, coloured chalk and pastel; the present painting is a rare example of a fully-realised south of France oil. In a letter of September 1927 to his dealer, Alexander Reid, Hunter wrote from St-Paul: ‘Of course, my paintings are the main thing. I may stay down here another month or two and thereby take your advice to finish everything before returning…I know the coast now between Monte Carlo and Cassis and have made about a hundred drawings in colour…Have worn a straw hat every day since I landed here.’ (quoted in T. J. Honeyman, op.cit., pp.121-22)

Literature: T. J. Honeyman, Introducing Leslie Hunter, Faber and Faber Ltd, London,1937, p.148, pl.36 (as ‘Juan-les-Pins’) Derek Ogston, Leslie Hunter: Paintings and Drawings of France and Italy, Baillieknowe Publishing, Kelso, 2004, listed p.88 (as ‘The Bathers, Juan-les-Pins (Après le Bain)’) Bill Smith and Jill Marriner, Leslie Hunter Revisited: The Life and Art of Leslie Hunter, Atelier Books, Edinburgh, 2012, p.150, fig.132 (as ‘Après le Bain (The Bathers, Juan-les-Pins)’ and dated 1928)

sun-baked architecture is accompanied and the leisurely lifestyle in which seabathers stroll together through parks. The painting was acquired by the Glasgow ship-owner Ion Harrison, who became one of Hunter’s most important patrons and who amassed one of the most significant collections of his work and that of his fellow Scottish Colourists, Cadell and Peploe. In 1950 Harrison recalled: ‘Leslie Hunter was the first of the three whom I got to know personally. He was already a friend of my two partners, the late Mr William McInnes and Mr William McNair and I must have met Hunter through them when I returned to business after the 1914-18 War, in the Autumn of 1919. He was a frequent visitor to the office when he was in Glasgow.’ (Ion Harrison, ‘As I Remember Them’ in T. J. Honeyman, Three Scottish Colourists, Faber and Faber Ltd, London, 1950, p.121). Harrison continued: ‘Hunter always maintained that he was not painting for today but for fifty years hence and that although his pictures might look garish today in fifty years they would have mellowed and become beautiful in tone. Having lived twenty-five years with several of them I find that Hunter’s prophecy is coming true.’ (op.cit., p.126)

In Après le Bain (The Bathers, Juan-les-Pins), Hunter celebrated the bright Mediterranean sunshine which creates a contrast between dazzling warmth and deep shadow, the verdant trees and shrubbery by which Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

104

In a notebook which he kept during World War One, George Leslie Hunter wrote ‘Everyone must choose his own way and mine will be the way of colour.’ (quoted in T. J. Honeyman, Introducing Leslie Hunter, Faber and Faber Ltd, London, 1937, p.79). His success in achieving this aim is clear in works such as Still Life of Fruit and Flowers in a Blue and White Vase. It is a classic example of the paintings which Hunter made during the 1920s by which he truly emerged as a ‘Scottish Colourist’. Hunter spent prolonged periods of time in Paris before and after the War, where he immersed himself in the work of the Post-Impressionists including Paul Cézanne, Paul Gauguin and Vincent van Gogh, as well as the very latest developments in French painting. Henri Matisse emerged as a particular source of inspiration and the Fauve’s brilliant colour and vigorous brushwork are echoed in the present work. As seen here, during this period Hunter preferred a table-top setting for his still-life compositions, often with fruit placed in the foreground, sometimes upon draped fabric. The tin-glazed albarello vase was one of a cast of favoured ceramics in which flowers of the season were arranged, giving on to the distinctive panelling of the background. 133 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) STILL LIFE OF FRUIT AND FLOWERS IN A BLUE AND WHITE VASE

Altogether Still Life of Fruit and Flowers in a Blue and White Vase brims with the confidence and vibrancy of Hunter’s post-war professional development, which saw the critic of The Times

Signed, oil on panel

describe his work thus: ‘Mr Hunter

46cm x 30.5cm (18in x 12in)

loves paint and the flatness of paint.

£40,000-60,000

He loads it on lusciously…His still lifes are strong and simple in design and gorgeous in colour…He makes the heart glad, like wine.’ (The Times, 6 January 1923)

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

106

Hunter visited Florence in 1922 and 1923. In a letter to his

Hunter’s biographical note in the catalogue was brief:

patron, the Dundee dentist John Tattersall, Hunter wrote

‘George Leslie Hunter was born in Scotland. He studied

excitedly: ‘Florence…is a wonderful city – the city itself

in San Francisco and Paris. He has painted in California

with all its places of interest would take weeks to see and

and in Scotland and has recently been working in Italy. Mr

one could spend months in the galleries, where there are

Hunter is still in the early forties.’ (p.8). He was represented

some truly marvellous things, especially by the great Italians,

by nineteen works, thirteen of which were unspecified still

Florentines and Venetians….Then there are the great frescoes

lifes. Environs de Florence was lent to the Leicester Galleries

in the churches. I can assure you their greatness simply stuns

by Thomas McInnes of Glasgow. He was a younger brother

one.’ (quoted in T. J. Honeyman, Introducing Leslie Hunter,

of Hunter’s great friend, the collector William McInnes,

Faber and Faber

whose bequest

Ltd, London,

to Kelvingrove

1937, p.88).

Museum and Art

A clue to the possible setting of Les Environs de Florence may

Gallery in 1944 included twentythree works by the artist.

be given later in

We are grateful to

the same letter,

James McNaught,

when Hunter

author of ‘The

continues:

McInnes Collection:

‘Settignano is

William McInnes

about 3 ½ miles

(1868-1944) and

from Florence,

his Role as Patron of

so I have been

the Arts in Glasgow

glad to have

during the First Half

intervals of

of the 20th Century’

nature gazing

and to Kirstie

after regarding

Meehan, Archivist,

these marvels

National Galleries

of the mind.

of Scotland, for their

It reminds me

help in researching

very much of

this work.

California here and I feel at home somehow among the olive trees and the orchards…It is all so far removed from what is modern, northern and commercial.’ (op.cit., pp.88-89) Les Environs de Florence was one of five works from the Tuscan trip that were included in the landmark exhibition Paintings by S. J. Peploe, F. C. B. Cadell and Leslie Hunter (working title ‘Three Scottish Artists’) mounted at the Leicester Galleries, London in 1923. This was the first time the work of the three artists was presented together and sowed the seed of the concept of them as a group, soon to be with the addition of J. D. Ferguson, which was to be cultivated over the following years by the Glasgow-based dealer Alexander Reid and his son, A. J. McNeill Reid.

107

134 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) LES ENVIRONS DE FLORENCE Signed, oil on board 46cm x 41cm (18in x 16in) Provenance: Alexander Reid Esq, Glasgow Thomas M. McInnes Esq, Glasgow by 1923

£30,000-50,000

Exhibited: The Leicester Galleries, London, Paintings by S. J. Peploe, F. C. B. Cadell & Leslie Hunter, January 1923, no. 74 (as ‘Landscape (Environs of Florence)’) Glasgow Art Gallery, Leslie Hunter, 1942 National Gallery of Scotland, Edinburgh, Leslie Hunter 1877-1931, June 1942, no.91 Literature: Derek Ogston, Leslie Hunter: Paintings and Drawings of France and Italy, Baillieknowe Publishing, Kelso, 2004, listed p.85.

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

108

135 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) PEONIES IN A BLUE AND WHITE VASE Signed, oil on canvas 61cm x 51cm (24in x 20in) Provenance: The Fine Art Society Plc, London, Edinburgh and Glasgow, October 1987 (11383)

£40,000-60,000

Having lost most of his early work in the San Francisco

The subject matter and composition of Peonies in a Blue

earthquake of 1906, Hunter moved to Glasgow later that

and White Vase, with the titular flowers set in contrast to

year and developed a distinct approach to still life painting

a plain background, reveal Hunter’s interest in the Dutch

that encompassed art history, a sophisticated use of colour

Old Masters that he encountered during extensive visits to

and light and a sense of serenity, all of which can be seen in

the cultural centres of Edinburgh, London and Paris, as well

Peonies in a Blue and White Vase.

as in the public galleries of Glasgow. His rich technique,

Hunter soon became ensconced in Glasgow’s art world, including eventual election to Glasgow Art Club. His first solo exhibition in the city, held at Alexander Reid’s La Société des Beaux-Arts gallery in 1913 proved to be a professional breakthrough, with subsequent shows mounted there attracting not only positive press coverage but also sales. As the critic of The Bailie remarked in a review of his 1916 exhibition: ‘He has three or four examples of still life that are superlatively strong. Such work is bound to live, for they show a mastery of form and colour that takes one back to the triumphs of the Dutchmen.‘ (quoted in T. J. Honeyman, Introducing Leslie Hunter, Faber and Faber Ltd, London, 1937 p. 76).

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working ‘wet on wet’, layering up colours and tones to create form and suggest the play of light on petals and glaze recalls the work of Edouard Manet, whom he is known to have admired. Sophistication is the order of the day, in the asymmetrical arrangement of the flowers and the delicate placing of a single bloom in the foreground, in an image infused with tranquillity. It was with such still lifes that Hunter came to the fore before and during World War One and which were to provide the foundation of his reputation as one of Scotland’s leading artists of the twentiethcentury.

109

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110

136 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) PORTRAIT OF MISS MABEL COUPER IN EVERGREEN Pen and ink and coloured chalk 53.5cm x 33cm (21in x 13in) Provenance: Christie’s Scotland, Four Scottish Colourists, 7 December 1989, lot 348 where purchased by the current owner Literature: Bill Smith and Jill Marriner, Hunter Revisited: The Life and Art of Leslie Hunter, Atelier Books, Edinburgh, 2012, p.171, repr. col. fig.151

£5,000-7,000

Hunter came to know C. B. Cochran when the latter’s production of Evergreen was presented at the King’s Theatre, Glasgow in 1930. Mabel Couper was a member of its cast and this work depicts her in character. As Bill Smith and Jill Marriner have remarked ‘Hunter...worked from publicity photographs, transforming the scene or figure by charging it with vitality in his sketch. This can be seen clearly in his ink sketch of Mabel Couper when compared with the corresponding photograph. Through his bold line and keen sense of pattern, Hunter captures an excitement and theatrical presence which the photograph fails to convey.’ (op.cit., p.172)

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

111

137 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) LE PORT DE L’OLIVETTE, CAP D’ANTIBES Signed, pen and ink and pastel 32cm x 39cm (12.5in x 15.5in)

£5,000-8,000

138 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) BOY WITH COCKEREL Signed, pencil and watercolour 67cm x 54cm (26.5in x 21.25in) Provenance: A. J. McNeill Reid Esq Christie’s Scotland, Four Scottish Colourists, 7 December 1989, lot 347 where purchased by the current owner Literature: T. J. Honeyman, Introducing Leslie Hunter, Faber and Faber Limited, London, 1937, p.61, pl.11 (as ‘Boy and Cock’)

£6,000-8,000

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139 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) CASSIS, LE PORT Signed, oil on panel 44cm x 36cm (17.25in x 14in) Provenance: Acquired in Glasgow between the Wars by the present owner’s father-in-law

£150,000-200,000

Cassis, 1924. Photograph by William Peploe, showing standing from left to right: Cadell, Mrs Penny, Jean Cadell and Captain Penny and seated from left to right: Margaret, Denis and S. J. Peploe. National Library of Scotland, Edinburgh (Acc.9787/42)

Unseen in public since it was acquired by a private collector in

Writing from the Hotel Panorama in Cassis in 1923, Cadell

Glasgow between the wars, Cassis, le Port, by the Scottish Colourist

explained the attractions of the area to his patron George Chiene:

F. C. B. Cadell, captures the vibrancy of one of the south of France’s

‘I find this part of France most interesting to paint. The light is

most beautiful waterfronts in a scene which remains virtually

wonderfully brilliant even fierce – the weather is superb – Basking…

unchanged today.

This place has several points in common with Iona. The colour and

Cassis, le Port dates from the heyday of Cadell’s career, in the early 1920s. Following de-mobilisation after service in World War One, he bought an imposing property, 6 Ainslie Place, in Edinburgh’s Georgian New Town. He decorated and furnished it in great style and it became the setting for and subject of many of

formation of headlands etc and to some extent the sea…instead of, as in Iona, painting against time and trying to get finished before the next squall of rain, I can work as long as I feel disposed on one thing.’ (Letter of 19 March 1923, private collection on loan to the National Galleries of Scotland, Edinburgh, GMA AL/16)

his most celebrated paintings. His work of the period came to be

This sun-drenched image shows the harbour from the north

characterised by cropped compositions, the flat application of paint

side, possibly from the Place de Grand Carnot, looking north-

and the use of increasingly brilliant colours, all of which he explored

east. Revealing his avant-garde credentials, Cadell placed the

with his New Town neighbour, friend and fellow Scottish Colourist

paving on which he stood in the very frontal plane at the lower

S. J. Peploe.

left of the canvas. It gives way to the brightly-coloured boats

Cadell’s studio-based practice was enriched by working out of doors during the summer months, often on the Hebridean island of Iona, but in 1923 and 1924 he travelled to Cassis; on the latter visit he was accompanied by Peploe, his wife Margaret and their sons Willy and Denis. As Alice Strang has explained: ‘By the mid-1920s Cassis had become popular with artists. It was a small seaport, set in front of a ridge of limestone hills topped by a castle, with a picturesque, working harbour, charming side-streets and brilliant light.’ (Alice Strang. F. C. B. Cadell, National Galleries of Scotland, Edinburgh, 2011, p.42).

moored alongside, which lead the eye over the water to the run of harbourside buildings behind which distant hills can be glimpsed. Dappled reflections, the barest suggestion of figures and throughout the brilliant Mediterranean light contribute to an overall sense of holiday bliss.

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Cadell exhibited and sold his paintings of Cassis to great success.

Such is the enduring importance of Cadell’s paintings of Cassis that

His Register of Pictures, in which he recorded sales and gifts of his

they can be found in several public collections, namely The Fleming

work, details ten in 1923, purchased by key patrons including J.

Collection (The White Villa, Cassis, acc.no FWAF/RF124) and

J. Cowan Esq and Miss Jane Rough of Edinburgh, for prices from

Kirkcaldy Galleries (Cassis, acc.no.KIRMG:232); moreover they were

£30 to £50 each (the Register is on long-loan to the National

a significant feature of the Cadell retrospective exhibition mounted

Galleries of Scotland GMA AL/15/6). In 1924, a Cassis oil was

by the National Galleries of Scotland in 2011 (see cat.no.s 43-46).

sold at the Royal Glasgow Institute for £76 and the following year purchases from the Society of Eight exhibition included those by Lord Blanesburgh of London and G. W. Service of Glasgow (for between £8 and £12); in 1926 Cadell staged exhibitions of his work in 6 Ainslie Place, finding buyers for Cassis works in his upstairs neighbour, Arthur Ramage (£20) and Mrs Christina Hague of Edinburgh (£25).

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

We are grateful to Kirstie Meehan, Archivist, National Galleries of Scotland, for her help in researching this painting.

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140 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) CATHEDRAL ROCK LOOKING TOWARDS EILEAN ANNRAIDH Signed, pencil and watercolour 17cm x 24cm (6.75in x 9.5in)

£5,000-7,000

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141 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) VENICE Signed and inscribed ‘Venice’, inscribed on the backboard ‘G. W. Service Esq’ and ‘Venice 1910’, oil on panel 40.5cm x 33cm (16in x 13in) Provenance: The Scottish Gallery, Edinburgh George W. Service Esq, Glasgow

£60,000-80,000

A trip to Venice in 1910, sponsored by his school friend and

Working at speed and with fluency, Cadell applied thick

politician, Sir Patrick Ford, proved to be a turning-point in

brushstrokes to his support, with the zig-zagged reflections

the career of the Scottish Colourist F. C. B. Cadell. As Alice

a passage of particular verve. Terracotta dominates his

Strang has written: ‘Venice’s beauty and grandeur, seen

palette, with areas painted ‘wet on wet’ used as a method

in mirror image in her watery surroundings, prompted an

by which to quickly combine tones in a lively expression of

interest in reflections that became a defining characteristic

form, such as the billowing of the sail fabric and the prows

of Cadell’s work. His technique became much freer and he

of the boats.

adopted a brighter palette. Initial conservative paintings of church interiors gave way to vigorous, rich images of Venice, such as the patrons of Florian’s Café in St Mark’s Square… and views across the lagoon.’ (Alice Strang, F. C. B. Cadell, National Galleries of Scotland, 2010, p.17)

On his return to Edinburgh, Patrick Ford chose six Venetian paintings in return for his support, acquiring others as his patronage of his friend’s career continued; three were presented to the National Galleries of Scotland in his memory in 2014 (acc.no.s GMA 5517-9). Venice works

Venice is one such work, likely to have been painted on

were included in Cadell’s solo exhibition at The Scottish

the spot on its modestly-sized board, which was easy to

Gallery in the capital not long after the trip, as well as

transport when on the hunt for picturesque scenes to

at the New Gallery, Edinburgh in 1913 and in Society of

capture in paint. It bears a label on the reverse from the

Eight exhibitions of 1925 and 1926 (see Cadell’s Register

celebrated artists’ supplies merchant Emillio Aickelin of Via

of Pictures 1909-1930, on loan to the National Galleries

22 Marzo in the city. In this case, Cadell was probably based

of Scotland GMA AL/15/6). Venice formerly belonged to

on the Riva degli Schiavoni, looking south at the boats seen

Cadell’s great collector, the ship-owner George Service. The

at full sail in the Canale di San Marco and over to the Isola

men met during Cadell’s first visit to the Hebridean island of

di San Giorgio Maggiore, with the campanile outlined to the

Iona in 1912, with Service eventually acquiring some 150 of

left thought to be that of the island’s church.

his works. We are grateful to Kirstie Meehan, Archivist, National Galleries of Scotland, for her help in researching this work.

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

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S.J. Peploe’s Roses of circa 1907 is a beautiful, intimate

The intimate scale, plein air paintings helped Peploe develop

painting from a crucial period in his career when he and

a new palette of subtle blue and grey tones, accented by

fellow Scottish Colourist, John Duncan Fergusson were

brilliantly placed flashes of high colour and provided rhythm

working closely together. Following the success of his first

and visual contrast to his compositions. His technique

solo exhibition, held at the Scottish Gallery in Edinburgh in

progressed apace, and he applied his medium with laden,

1903, Peploe moved studio to 32 York Place in the Scottish

spontaneous brushstrokes, which created a sense of energy

capital. Built in 1795, for the great Scottish portraitist Henry

and immediacy. This confidence and Peploe’s mastery of the

Raeburn, this spacious, north-lit studio prompted a new

still life genre is apparent in Roses – a jewel-like composition

confidence in Peploe’s work. He began painting in a lighter

of favourite props. As the artist wrote in 1920: ‘There is

key and employed a looser, freer technique. Professional

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

success followed when the artist began his participation in

colours, forms, relation – I can never see mystery coming to

London exhibitions in 1907. That same year, the Scottish

an end.’ (as quoted in Stanley Cursiter, Peploe: An Intimate

Modern Arts Association purchased Still Life, circa 1906

Memoir of the Artist and his Work, Edinburgh 1947, p. 73).

(Museums & Galleries Edinburgh, No. CAC4/1964) – the first painting acquired for a public collection.

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

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142 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) ROSES Signed, oil on canvasboard 17cm x 24cm (6.75in x 9.5in) Provenance: Alex. Reid & Lefevre Ltd, Glasgow and London Major Blair 1927 Private Collection, Switzerland Exhibited: Alex. Reid & Lefevre Ltd, London, S. J. Peploe, December 1926 The Fine Art Society, London, Ten Paintings by S. J. Peploe, March 2010

£80,000-120,000

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143 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) STILL LIFE WITH TULIPS Signed, oil on canvas 51cm x 51cm (20in x 20in) Provenance: Mr & Mrs John B. Rankin Private Collection Scotland Exhibited: Scottish National Gallery of Modern Art, Edinburgh, S. J. Peploe 1871-1935, 26 June - 8 September 1985, no.78

£200,000-300,000

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

Still Life with Tulips is a remarkable

In an image of striking design, which

(National Galleries of Scotland,

painting by Samuel John Peploe,

remains as arresting now as when

acc.no. GMA 1946) and Still Life

in which he brought to bear the

it was painted, Peploe set up his

(Edinburgh Museums and Galleries,

Edwardian sophistication of the work

still-life arrangement in front of a

acc.no.CAC4/1964), in which Peploe

with which he made his professional

sheer black background. This shows

paid his respects to Dutch Old Masters

name in turn-of-the-century

the silhouettes and bright colours of

such as Frans Hals and to Eduoard

Edinburgh, the lessons he learnt at the

the cloth-covered table, glass vase

Manet. Paintings such as these proved

heart of the Parisian art world before

and tulips to the greatest possible

extremely popular when included

World War One and the progress he

effect. He had used this approach in a

in solo and group exhibitions in

made during the conflict from which

celebrated series of still lifes painted

Edinburgh and London of the period,

he emerged as a Scottish master of

in the early 1900s, such as Coffee and

establishing Peploe as an artist of note

modern art.

Liqueur (Kelvingrove Museum and

and accomplishment.

Art Gallery, acc.no.35.586), Peonies

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Encouraged by his friend and fellow Scottish Colourist, John

closely with his other fellow Scottish Colourist, F. C. B.

Duncan Fergusson, Peploe spent two key years in Paris from

Cadell and the two shared an interest in a style which was

1910 until 1912. He was welcomed into Fergusson’s avant-

to become known as ‘Art Deco’ following the Exposition

garde Anglo-American circle of friends, the Rhythmists, and

international des arts décoratifs et industriels modernes held in

immersed himself in the very latest developments in French

Paris in 1925.

painting, experienced at first hand. Such was the pace of his development that he was elected a sociétaire of the cuttingedge Salon d’Automne in recognition of his contribution to the modern movement. His paintings became bolder in technique, colour and design, their progressive nature quite unlike anything that had been created, or seen, in the Edinburgh art world to which he returned two years later.

At this point, tulips were Peploe’s preferred flower, often bought from stalls on nearby Princes Street. His enjoyment of their strongly-coloured stems, leaves and heads comes to the fore in their balletic presentation here. Their reaching, curving and swooning qualities, in all directions, is played out in the very frontal plane of the image to the right and in an effusion of movement from the vase. The simplified forms

Declared medically unfit for service during World War One,

of the boldly-coloured petals play against the black and

Peploe used the period for continuing experimentation,

white planes in front of which they are positioned.

when canvas and paints could be sourced. Rich colour, spatial compression and a strong structure became the foundation of his still lifes, with furrowed brushstrokes and pronounced outlines coming to the fore. In 1917, he moved studio to 54 Shandwick Place in Edinburgh, where he was to remain until 1934. The following year, his election as an Associate member of the Royal Scottish Academy secured his place within the Scottish art establishment. As Alice Strang has written ‘The still lifes which Peploe painted during the period between approximately 1918 and 1923 are the works for which he is best known…Peploe changed his technique, adopting an absorbent gesso ground and reducing the amount of medium in his paint. He pushed his use of colour to the extreme and obsessively arranged objects – such as blue-and-white Chinese porcelain vases, filled initially with tulips and then usually with roses; fans; books; fruit in a variety of dishes…to create finely balanced compositions.’ (Alice Strang et al, S. J. Peploe, National Galleries of Scotland, Edinburgh, 2012, p.23) Still Life with Tulips dates from this exceptional immediate post-war period, before Peploe settled into the rose still lifes which he painted, exhibited and sold in great numbers during the 1920s. During this period he worked particularly

Throughout, Peploe plays with notions of the space beyond the canvas, with just the angled corner of the table included, whilst the cropped fan, red tulip above it and emerging tulips to the right allude to a continuation of the narrative beyond the viewer’s gaze. The realisation not only of the translucency of the water in the vase and the stems within it, but also its reflection of the space within which the artist was working, is a tour de force passage. Given the brilliance of his tulip still lifes, it is little surprise that his painting, Tulips, of 1923, was acquired for the British national collection in 1927 (Tate, acc.no. NO4224), the year in which Peploe attained the rank of full Member of the Royal Scottish Academy. His appointment was announced in the Glasgow Herald, which described him as ‘an artist of the new movement, Mr Peploe is outstanding in Scotland, and his work has received recognition in London and abroad as well as at home.’ (10 February 1927) Indeed, Peploe’s legacy is primarily based on his mastery of the still life genre, of which Still Life with Tulips is an exceptional example.

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144 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) LUXEMBOURG GARDENS, PARIS Signed, oil on board 26cm x 21cm (10.25in x 8.25in) Provenance: The Scottish Gallery, Edinburgh, where purchased by Ion R. Harrison and thence by descent to the present owner Exhibited: The Scottish Gallery, Edinburgh, Paintings and Drawings by S. J. Peploe RSA, 18 August - 13 September 1947, no.68 (as ‘Paris’) McLellan Galleries, Glasgow, Pictures from a Private Collection, 2 - 27 March 1951, no.15 (as ‘Luxembourg Gardens with Figure’)

£30,000-50,000

Luxembourg Gardens, Paris reveals Peploe’s love of the French

shadow and perspective. A palette of mainly unmixed colours

capital, which began as a student attending the Académie

is based on tones of green and brown, with highlights of

Julian in the 1890s, continued whilst a resident between

colour used to pick out the flowers and to provide structure

1910 and 1912 and was the location of inter-war group

when used in single, defining brushstrokes.

exhibitions which resulted in the acquisition of the paintings Paysage – Iona and La Forêt for the French national collection in 1924 and 1931.

Luxembourg Gardens, Paris is painted on an intimate scale, on a board which was easy to transport and to use whilst working en plein air. This approach allowed for an immediacy

As Frances Fowle has explained: ‘Peploe had a lifelong love

and freshness of response to subject matter which Peploe

of France…we can tell from Peploe’s letters that in his own

was to maintain to the end of his career. It was acquired by

mind he associated France and the French with creativity,

the celebrated collector of the Scottish Colourists’ work, the

openness and flair…Peploe firmly believed that France

Glasgow ship-owner Ion Harrison. In 1950 he recalled ‘It

somehow unlocked the creative, expressive side of his

was through Cadell that I first met Peploe and it was when

temperament. Above all, he adored Paris.’ (Frances Fowle,

Cadell was starting to paint a portrait of my wife that Peploe

‘Peploe in France: A Suitable Milieu’ in Alice Strang et al, S. J.

joined us at Croft House for a weekend. This was a very great

Peploe, National Galleries of Scotland, Edinburgh, 2012, p.43)

privilege for us, for Peploe did not care for visiting people

This image of Paris’s celebrated Jardin du Luxembourg encapsulates the affection Peploe felt for the city, its chic citizens, sophisticated lifestyle and outstanding beauty. In a sun-dappled leisurely scene, an elegant lady is observed strolling along a path, surrounded by trees and carefully cultivated plants. The free application of paint, by way of a thickly-loaded brush, expresses areas of indicative form, Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

unless he knew them very well. It was a very happy weekend indeed and Peploe was pleased to see his pictures hanging together in their surroundings.I held him in great esteem and regarded him as a very great artist.’ (Ion Harrison, ‘As I Remember Them’ in T. J. Honeyman, Three Scottish Colourists: Peploe, Cadell, Hunter, Faber and Faber Ltd, London, 1950, p.123)

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

126

MORE SUN, MORE COLOUR: J. D. FERGUSSON IN THE SOUTH OF FRANCE In 1913, after six years at the very heart of the Parisian art world and with the demolition of his studio imminent, Fergusson felt: ‘I wanted more sun, more colour; I wanted to go south, to Cassis.’ (J. D. Fergusson, ‘Memories of Peploe’, Scottish Art Review, vol.viii, no.3, 1962, p.31) He moved to the then little known Cap d’Antibes and despite having to return to Britain after the outbreak of World War One, an association thus began with the area which was to last for the rest of his life. Earlier that year Fergusson had met the dance pioneer Margaret Morris in the French capital and thereafter their personal and professional lives were entwined. In 1917, Morris had held her first Summer School, in Combe Martin in Devon, but from 1920 they were held in France, initially in Dinard, in Pourville in 1921 and repeatedly in Antibes from 1923. As Alice Strang has explained: ‘She and her pupils dancing outdoors, sunbathing and swimming in the sea inspired Fergusson to make numerous sketches and watercolours, which he later worked

J. D. Fergusson and Margaret Morris, Antibes, 1956. Photograph by Professor James Fullarton Arnott. Courtesy of Culture Perth & Kinross Museums & Galleries.

up into paintings in his studio, exemplifying the couple’s creative collaboration.’ (Alice Strang et al, J. D. Fergusson, National Galleries of Scotland, Edinburgh, 2013, p.22). The works presented here convey the idyllic freedom

twelve feet high and water about fifteen feet deep. Lovely

of these summer months, with Fergusson’s sensuous

for diving, but no way out. [Davison’s gardener] Holt got

appreciation of the female form clear in images of lithe and

many bags of cement, and made rough steps and a small

scantily-clad dancers sunbathing beside palm trees, with

platform, from which he got a spring-board fixed with a

views over cliffs to sailing boats on an azure sea. Created

ladder at the end. All was in order by the time my Summer

spontaneously on the spot, in pencil, watercolour and

School started. Classes were in the château grounds…and

pastel, they show his skills as a draughtsman, with deft

everyone bathed off the rocks and afterwards sun-bathed

pencil strokes and touches of colour creating accents at lips,

in the woods or on the rocks. When they got too hot, they

cheeks and the turn of shoulders, bosoms and buttocks.

dived into the sea again. Fergus [sic] got much inspiration

Meg by the Sea, Cap d’Antibes bears a label on its backboard referring to the ‘Chateau des Enfants’. This was the villa on the Cap d’Antibes of Fergusson and Morris’s patron, George Davison, in whose grounds Summer School classes were

and did…sketches…from which he painted many pictures.’ (Margaret Morris, The Art of J. D. Fergusson: A Biased Biography, Blackie & Son Ltd, Glasgow 1974, reprinted 2010, p.140).

held. In 1974 Morris recalled: ‘The château woods ran to

The couple spent many summers in Antibes during the

a bay facing due south, with cliffs of jagged rocks about

1950s, with their final visit in 1960, mere months before Fergusson’s death in Glasgow in early 1961.

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145 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) THE PLAGE AND CLIFFS, POURVILLE Charcoal and watercolour 33cm x 27cm (13in x 10.5in) Provenance: Margaret Morris, the artist’s wife, from whom purchased by the present owner’s father Exhibited: Glasgow University Print Room, Glasgow, J. D. Fergusson Watercolours and Drawings, 25 April - 26 May 1961, no.30 Note: The entry for this work in the 1961 exhibition catalogue states that it is ‘signed, dated and inscribed on reverse ‘J. D. Fergusson 1926 “The plage and cliffs’”. An inscription to label verso also suggests a date of 1926.

£5,000-7,000

146 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) MEG BY THE SEA, CAP D’ANTIBES Watercolour and bodycolour 25.5cm x 20cm (10in x 8in)

£5,000-7,000

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

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147 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) STILL LIFE, THE JUMBLE Inscribed on the backboard ‘J. D. Fergusson Paris, 1931, this board is glued to Still Life - The Jumble’, oil on board 26.5cm x 34.5cm (10.5in x 13.5in) Provenance: Margaret Morris, the artist’s wife Private Collection, Scotland Exhibited: Reid & Lefevre, London, Painting and Sculpture by J. D. Fergusson, February 1936, no.2 T. & R. Annan & Sons, Glasgow, Paintings by J. D. Fergusson, September - October 1949, no.17 L’Institut Français d’Ecosse, Edinburgh, Paintings of France and Scotland by J. D. Fergusson, February - March 1950, no. 36 Royal Scottish Academy, Edinburgh, J. D. Fergusson 1874-1961: Memorial Exhibition of Paintings and Sculpture, 11 November - 2 December 1961 and tour, no.106 Note: Although inscribed ‘1931’ on the backboard, the entry for this work in the 1961 Memorial Exhibition catalogue states: ‘In his Stafford Gallery one-man show of 1912 Fergusson exhibited a picture with the same title of which this may be a later re-working.’ (op.cit., p.39)

£8,000-12,000

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

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148 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) FIGURES IN A PARK Oil on board 11.5cm x 14cm (4.5in x 5.5in) Provenance: St. Andrews Fine Art, St. Andrews (SS1176)

£3,000-5,000

149 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) ANTIBES Oil on board 14.5cm x 12.5cm (5.75in x 5in) Provenance: Sothebys Gleneagles, Scottish & Sporting Pictures & Sculpture, 28 August 2002, lot 1089

£4,000-6,000

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150 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) SUMMER, CAP D’ANTIBES Inscribed verso, pencil, pastel and watercolour 17cm x 21cm (.75in x 8.25in) Provenance: Bourne Fine Art, Edinburgh and London

£4,000-6,000

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

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JOHN MACLAUCHLAN MILNE: FROM ST TROPEZ TO ARRAN

151 § JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1885-1957) BALCONY, SOUTH OF FRANCE Signed, oil on canvasboard 54m x 46cm (21.25in x 18in)

John Maclauchlan Milne has come to be referred to as the ‘fifth’ Scottish Colourist, in addition to F. C. B. Cadell, J. D. Fergusson, G. L. Hunter and S. J. Peploe. All five artists spent extensive amounts of time in France in the first decades of the twentieth-century, absorbing the lessons of their French predecessors and contemporaries and

Provenance: Portland Gallery, London Private Collection Exhibited: Portland Gallery, London, The Life and Works of John Maclauchlan Milne, 17 June - 9 July 2010, no.30 (as ‘Balcony, South of France’)

£20,000-30,000

finding inspiration in the light, climate and picturesque characteristics of the country with which Scotland had an ‘Auld Alliance’. The works by Maclauchlan Milne offered here show how he found inspiration in the south of France in the 1920s, which encouraged him to develop a vibrant palette and confident technique which he deployed to create joyous, sun-drenched scenes of Mediterranean life, as seen in Wine Boats, St Tropez, On the Terrace, South of France and Harbour Scene, South of France. He then applied this development in his practice to images of the Scottish isles of Iona and Arran from the 1930s onwards, where he was thrilled by the distinctive geology of and views from the former and the pinnacle of the farming cycle in the latter, as illustrated by Iona and Cornfield, North Sannox, Arran. As Alice Strang has explained: ‘Like his friend Samuel John Peploe, Maclauchlan Milne was greatly inspired by the French PostImpressionist painter Paul Cézanne and this, combined with his experience of France, brought about a dramatic change in his work after the war…[which]…gave way to brightly coloured, boldly painted French landscape scenes. These earn him the right to be called a ‘Scottish Colourist’ and indeed he painted alongside Peploe and Cadell in France and described Hunter as a good friend.’ (Alice Strang, Consider the Lilies: Scottish Painting 1910-1980, Dundee, 2007, exh. cat.,p.88). From 1922, Maclauchlan Milne had a studio in the centre of Dundee, at 132a Nethergate. However, the contraction of the art market during the 1930s and his love of the west of Scotland, saw the artist move to Arran in 1940. The island landscape and seascape, in particular the area around Sannox and Corrie, became a new source of inspiration for his late work.

The south of France in the 1920s had plenty of attractions to the artist, not least the warmth of its climate, the quality of its light and the modest cost of living. Maclauchlan Milne spent much of the second-half of the decade in the region and it was here that his palette brightened and his technique grew to an impressive pitch of confidently rendering expressive reality. Balcony, South of France encapsulates the appeal that the area and its lifestyle held for the artist. In an idyllic scene, Maclauchlan Milne draws the eye from the tree in the very foreground on the right, up the inviting steps on the left, to the terrace midway in the composition. Its umbrellas provide shelter from the Mediterranean sunshine and hint at leisurely days spent outdoors, whilst the shuttered villa which rises behind it suggests cool rooms perfect for a mid-day siesta. One can only imagine the longing for foreign travel that paintings such as this must surely have aroused in visitors to exhibitions staged by institutions such as the Royal Scottish Academy in Edinburgh and the Royal Glasgow Institute, to which Maclauchlan Milnne sent his latest creations.

Following a period bereft of much attention following a memorial exhibition in 1958, punctuated by a solo exhibition mounted at Dundee Art Gallery in 1985, interest in Maclauchlan Milne’s achievements has been steadily growing, not least with the publication of Maurice Millar’s monograph, The Missing Colourist: The Search for John Maclauchlan Milne RSA and the staging of an exhibition dedicated to his work held at the Roseangle Gallery in Dundee, both in 2022.

The reverse of the support of this painting bears a Blanchet, Paris stamp, suggesting that it was acquired by the artist whilst he was in France. The artists’ materials purveyor occupied imposing premises at 38 rue Bonaparte in the French capital between 1905 and 1964. We are grateful to Maurice Millar, author of ‘The Missing Colourist: The Search for John Maclauchlan Milne RSA’ for his help in researching these works.

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

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152 § JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1885-1957) IONA Inscribed verso ‘Iona seascape signed Elsie Maclauchlan Milne (Artist’s wife)’, watercolour 28cm x 38cm (11in x 15in) Note: Maurice Millar, John Maclauchlan Milne’s biographer, has explained that the artist’s second wife, Elizabeth ‘Elsie’ Livingstone Mackellar, is known to have authenticated some of her husband’s unsigned work. The artist visited the Hebridean island of Iona in 1937, 1938 and 1939, before he moved from Dundee to Arran. This work depicts Cathedral Rock at the north end of Iona, a location also favoured by the Scottish Colourist S. J. Peploe.

£1,500-2,000

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153 § JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1885-1957) HARBOUR SCENE, SOUTH OF FRANCE Signed, watercolour 28cm x 38cm (11in x 15in)

£2,000-3,000

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

136

154 §

John Maclauchlan Milne’s biographer, Maurice Millar, has

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

explained that this painting dates from the artist’s first trip

CORNFIELD, NORTH SANNOX, ARRAN Signed, oil on board 41cm x 51cm (16in x 20in) Exhibited: Roseangle Gallery, Dundee, John Maclauchlan Milne (1885-1957), 25 June - 23 July 2022, no.46

£10,000-15,000

to the isle of Arran, off the Scottish west coast, in 1939. He is known to have worked in the North Sannox area of the island that year, not least through the acquisition by Glasgow Corporation of the related painting North Glen Sannox (Glasgow Life acc.no.2213) in 1940. Moreover, the backboard of Cornfield, North Sannox bears a label from the Dundee framers Fraser & Son, suggesting it was framed in the city before the artist moved to Arran in 1940. It may well have been included in Maclauchlan Milne’s last studio exhibition in Dundee, held in April of that year, which the press reported comprised mostly of ‘scenes in Arran and Iona’ (The Courier and Advertiser, 15 April 1940, p.4). Cornfield, North Sannox depicts a location a few miles north of Thirlestane, the boarding house in the hamlet of Corrie, where Maclauchlan Milne stayed in 1939. In a sun-kissed image, the artist realised a favoured scene, when a good harvest has been completed and the countryside looks at its plentiful best.

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

138

Wine Boats, St Tropez is a tour de force example of Maclauchlan Milne’s work in the south of France. From 1919 until 1932, the artist spent significant amounts of time in the region, with St Tropez finding particular favour as a place to work. Other leading Scottish artists of the inter-war period were also drawn to the French Mediterranean, including Charles Rennie Mackintosh, James McIntosh Patrick, Anne Redpath and all four artists known as the ‘Scottish Colourists’. Such was its appeal to Maclauchlan Milne, that he spent most of the mid to late 1920s in France, intermittently returning to his base in Dundee to exhibit and sell his works in his native country. His French paintings met with immediate success and a solo exhibition at the leading Glasgow gallery, Reid and Lefevre, in 1928 included several of them, with more shown at its sister gallery in London the following year. Philip Long has explained how Maclauchlan Milne’s French work of the period ‘tends to emphasise the underlying solidity and structure of the Mediterranean villages he commonly portrayed, rather than defining forms by means of brilliant colour contrasts, as did Cadell, or, as was Hunter’s tendency, through a loose network of expressively applied brushstrokes.’ (Philip Long, ‘Introduction’, The Life and Works of John Maclauchlan Milne, London, 2010, pl.9). Wine Boats, St Tropez – and its companions - have maintained their appeal some hundred years after they were created, thanks in this case to its brightly coloured, vividly rendered depiction of a quay-side scene. In a handwritten letter from High Corrie on the isle of Arran, postmarked 16 October 1956, John Maclauchlan Milne wrote to Jack Lipsey following his acquisition of the present painting, stating: ‘I am so glad that you like the picture of the wine boats, it has good design and colour.’ The artist’s biographer, Maurice Millar, has mooted that Wine Boats, St Tropez may be the painting of that title shown in the Exhibition of Pictures by Stewart Carmichael, Alec Grieve and J. Maclauchlan Milne held at the Albert Institute, Dundee, 24 February - 19 March 1933, no.79.

139

155 § JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1885-1957) WINE BOATS, ST. TROPEZ Signed, oil on canvas 51cm x 61cm (20in x 24in) Provenance: Acquired from the Artist by Jack Lipsey, Glasgow, in 1956 and thence by descent to the present owner Exhibited: Portland Gallery, London, The Life and Works of John Maclauchlan Milne, 17 June - 9 July 2010 no.35

£40,000-60,000

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

140

JOAN EARDLEY: THE IMPORTANCE OF PEOPLE & PLACES From the olive groves of France, to the vistas of the Scottish Borders, the sea of the Scottish north-east coast and the children of Glasgow, the works presented here represent people and places of great importance to Joan Eardley. Olive Grove and Plough was drawn during Eardley’s holiday in France with her Glasgow School of Art friend Dorothy Steel, its former owner. They met through the art school in the late 1940s and holidayed in the French village of Cologne du Gers in 1951. They developed a close and enduring relationship which culminated in a holiday in Mentone in 1962, shortly before Eardley’s death the following year; Steel went on to success as a ballet dancer.

Unknown artist, Joan Eardley, Catterline. Courtesy of National Galleries of Scotland

fishing calendar and varying weather conditions in works whose expressiveness verges on the abstract. Both formerly

Landscape with Trees comes from a series of studies

belonged to Joyce Laing, a pioneer of art therapy and

relating to the paintings The Little Larchwood (I) and (II),

champion of ‘outsider art’. She too enjoyed an enduring

both of c.1955 (see Christopher Andreae, Joan Eardley,

friendship with Eardley, whose work she exhibited as part of

Lund Humphries, Farnham, 2013, p.145). It is likely to

the Pittenweem Art Festival – of which she was a founder

have been executed in situ whilst Eardley was visiting her

– in 1984. In 2012 Laing donated her ‘Art Extraordinary’

friend, the photographer Audrey Walker, as Christopher

collection to Glasgow Life.

Andreae has explained: ‘The ‘little larchwood’ paintings were done during one of Joan’s visits to Caverselee, the shepherd’s cottage in the Borders used as a country retreat by the Walker family’. (op.cit.) Eardley and Walker met in 1952; their lengthy correspondence and Walker’s photographic portraits of the artist provide insight not only into their profound rapport but also into Eardley’s working practice for the rest of her life.

Portrait of Jimmie is a sensitive yet unsentimental image of Jimmie Samson, the only red-headed boy of the twelve brothers and sisters of the Samson family, some of whom were amongst Eardley’s favourite sitters. The Samsons lived near to her studio in the Townhead district of Glasgow and she would pay them modest modelling fees which they spent in the local sweetshop. Eardley’s images of the neighbourhood’s youngsters are celebrated for their

Breaking Waves and Storm at Sea are passionate images

realistic portrayal of childhood, from joie de vivre to petty

inspired by the fishing village of Catterline, which Eardley

politics. This headshot captures a young boy in a moment

visited for the first time in 1951. She went on to split

of reflection, his simplified haircut and facial features

her time between there and Glasgow, eventually buying

realised by way of thick layers of paint and scant but

two properties and creating a body of work in which

essential shading. It was included in the National Galleries of

she captured the turns of the seasons, the farming and

Scotland’s exhibition of Eardley’s work mounted in 2007-08.

141

156 § JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) PORTRAIT OF JIMMIE Signed, numbered on the backboard with the inventory number EE39, oil on board 29cm x 22.5cm (11.5in x 9in) Provenance: Barclay Lennie Fine Art Ltd, Glasgow (DCXVII) by 1990, where purchased by the original owner A gift to the present owner Exhibited: National Galleries of Scotland, Edinburgh, Joan Eardley, 6 November 2007 - 13 January 2008, pl.47 (as ‘Head of a Boy’)

£20,000-30,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

142

157 § JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) LANDSCAPE WITH TREES Signed, pastel 20cm x 25cm (8in x 9.75in) Provenance: The Artist’s Estate Acquired from the above by Cyril Gerber Fine Art, Glasgow from where acquired by the present owner in 2003

£4,000-6,000

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

158 § JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) STORM AT SEA Oil on board 24cm x 28.5cm (9.5in x 11.25in) Provenance: Joyce Laing OBE, a friend of the artist, from whom purchased by the present owner

£4,000-6,000

144

159 § JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) BREAKING WAVES, SUNRISE Oil on board 28cm x 46cm (11in x 18in) Provenance: Joyce Laing OBE, a friend of the artist, from whom purchased by the present owner

£8,000-12,000

145

160 § JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) OLIVE GROVE AND PLOUGH Pastel on brown paper 53cm x 65cm (20.75in x 25.5in) Provenance: Dorothy Steel, a ballet dancer and friend of the artist, from whom acquired by the present owner

£3,000-5,000

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

146

161 § SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) THE LIGHTS OF KLAMPENBORG Signed, oil on board 71cm x 91cm (28in x 36in) Provenance: The Artist’s family and by descent Exhibited: The Scottish Gallery, Edinburgh, Festival Exhibition, 1966, no.9 Scottish National Gallery of Modern Art, Edinburgh, Sir William MacTaggart: A Retrospective Exhibition, 1968, no.59

£4,000-6,000

162 § DENIS PEPLOE R.S.A. (SCOTTISH 1914-1993) FLOWERS, BLUE BACKGROUND Signed, oil on canvas 61cm x 51cm (24in x 20in)

£1,500-2,000

147

163 § ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998) CLOWN WITH LUTE AND PIGEON With artist’s label to frame verso, oil on board 48.25cm x 61cm (19in x 24in) Exhibited: The Scottish Gallery, Edinburgh, Alberto Morrocco: New Paintings, Festival Exhibition, 9 August - 4 September 1996, no.32

£8,000-12,000

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

148

164 § ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) MARGUERITES IN A WHITE VASE Oil on canvasboard 61cm x 51cm (24in x 20in) Provenance: Acquired from The Scottish Gallery, Edinburgh in 1965 and thence by descent to the present owner Exhibited: The Scottish Gallery, Edinburgh, Anne Redpath, 19 November 4 December 1965, no. 20 Lyon & Turnbull, Glasgow, Select Works by Anne Redpath and Joan Eardley from Private Collections, 16 March - 10 April 2015 Note: This painting dates from c.1964

£20,000-30,000

Anne Redpath, seated half-length, photographed for The Scotsman, c.1955-60. Courtesy of Royal Scottish Academy of Art & Architecture, Edinburgh (Davie Michie Bequest, Anne Redpath Archive)

As the undisputed matriarch of Edinburgh’s art world after

Redpath explained about her works of this period: ‘I think

World War Two, Redpath’s mature career was characterised

I have always been interested, for instance, in the textural

by a pattern of regular solo and group exhibitions in

quality of paint and painting and while, in a way they are

Edinburgh, London and elsewhere. Her professional

more abstract to see than they were before, yet they are

standing continued to grow, not least by becoming the first

still quite real and I don’t think they ever will be completely

Scottish woman artist to be elected an Associate member

lost in abstraction.’ (quoted by Alice Strang, Queen of

of the Royal Academy of Arts in London in 1960 and with

Edinburgh: Anne Redpath and her Circle, lecture given at the

the acquisition of her painting, Landscape at Kyleakin, by the

Scottish National Gallery, Edinburgh on 24 January 2023).

newly established Scottish National Gallery of Modern Art in 1962 (GMA 814).

Moreover, Terence Mullay declared in his review of her solo exhibition at the Scottish Gallery, Edinburgh in 1960:

Redpath remained as active as ever in the affairs of

‘Anne Redpath’s latest exhibition…confirms her position

institutions such as Edinburgh College of Art, the Society of

as one of the finest painters to-day…[Her work]…provides

Scottish Artists and the Royal Scottish Academy, on whose

an admirable example of how paint can be handled with

council she served four times between 1953 and 1962. As

enormous verve and can be all the more exciting for being

a result, she was aware of, if not directly involved in, the

closely controlled…Above all, it is her use of colour that is

presentation of contemporary European art in the annual

so moving… Her painting appeals both to the emotions and

group exhibitions staged in the Scottish capital, including

to the head.’ (Daily Telegraph and Morning Post, 25 August

the work of Georges Braque, Oskar Kokoschka and Nicolas

1960, p. 19)

de Staël.

Redpath’s death in 1965 was marked in multiple ways,

This keeping abreast of developments in Continental

including memorial displays and exhibitions were mounted

painting can be seen in the expressive handling of paint in

by the Royal Scottish Academy, Scottish Gallery and

the late work Marguerites in a White Vase. Deploying her

Scottish Art Club. The Scottish Committee of the Arts

material and using a palette - based on harmonious tones

Council of Great Britain mounted a major touring memorial

of white, blue and grey with brightly coloured highlights - as

exhibition of eighty-six works, which opened in Edinburgh

only an artist of great experience and technical ability could

later that year, as did an exhibition at the Scottish Gallery

achieve, it is an example of the still life genre infused with

in which Marguerites in a White Vase was shown; it was

joie de vivre for which she is renowned.

acquired from there by the painting’s previous owner.

149

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

150

165 § DAME ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH 1931-2021) STILL LIFE WITH GOLD HAND Signed and dated 1994, mixed media and gold leaf on hand-made paper 56cm x 46cm (22in x 18in) Provenance: Mercury Gallery Ltd, London

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

151

166 § DAME ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH 1931-2021) BRIDGE OVER THE SEINE, PARIS Signed and dated 1955, watercolour 56.5cm x 83cm (22.25in x 32.5in) Literature: Anne Wishart (Ed.), The Society of Scottish Artists: The First 100 Years, The Society of Scottish Artists, Edinburgh, 1991, repr.col.p.30

£2,000-3,000

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

£4,000-6,000

152

168 § JOHN BYRNE R.S.A. (SCOTTISH 1940-) SELF-PORTRAIT Signed, oil on board 61cm x 25.5cm (24in x 10in)

£5,000-7,000

153

169 § JOHN BYRNE R.S.A. (SCOTTISH 1940-) LE CITRON Signed, acrylic, ink and gouache on board 32cm x 15cm (12.5in x 6in) Exhibited: Mall Galleries, London, The ING Discerning Eye Exhibition, November 1999

£2,000-3,000

170 § JOHN BYRNE R.S.A. (SCOTTISH 1940-) SELF-PORTRAIT Signed, pen and ink 18cm x 9cm (7in x 3.5in)

£800-1,200

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

154

171 § JOHN G. BOYD R.P., R.G.I. (SCOTTISH 1940-2001) BOAT HOUSE Signed, oil on canvas 101.5cm x 110cm (40in x 43.25in)

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

INDEX OF ARTISTS

Faed, Thomas 52

Maxwell, John 84

Farquharson, David 30, 43

Mcgregor, Robert 11, 56, 99

Fergusson, John Duncan 80, 81, 82, 83, 145, 146, 147, 148, 149, 150

Melville, Arthur 115, 117

Adam, Patrick William 96 Alexander, Edwin John 68

Flint, Sir William Russell 69, 73, 74, 75, 76

Allan, Robert Weir 62

Fraser The Elder, Alexander 102

Milne, John Maclauchlan 151, 152, 153, 154, 155

Armour, Mary Nicol Neill 87, 88, 89

Frazer, William Miller 64

Milne, Joseph 94

Blackadder, Dame Elizabeth 165, 166

Gauld, David 47, 48, 95, 113

Morris, Margaret 85

Blacklock, William Kay 123

Gibson, William Alfred 1, 38

Morrocco, Alberto 163

Bough, Sam 46

Giles, James 101

Noble, James Campbell 70

Boyd, John G. 171

Gillies, Sir William George 90

Oppenheimer, Charles 24, 25, 26, 27, 125

Breanski Jnr, Alfred Fontville De 12, 13

Graham, Peter 98

Paterson, James 112, 114

Breanski Senior, Alfred De 14

Hamilton, James Whitelaw 6, 37

Patrick, James Mcintosh 55

Brown, William Beattie 18, 29, 44, 45

Henderson, Joseph 35

Peploe, Denis 162

Byrne, John 168, 169, 170

Henderson, Joseph Morris 8

Peploe, Samuel John 142, 143, 144

Cadell, Francis Campbell Boileau 139, 140, 141

Henry, George 72

Perman, Louise Ellen 63

Herald, James Watterston 60

Pratt, William 10

Cameron, Hugh 9

Hornel, Edward Atkinson 65, 66, 118, 119

Raeburn, Sir Henry 107, 108, 109

Cameron, Katharine 67

Houston, George 7

Ramsay, Allan 105, 106

Cameron, Sir David Young 128, 129

Hunter, George Leslie 132, 133, 134, 135, 136, 137, 138

Redpath, Anne 164

Cassie, James 93 Coventry, Gertrude Mary 5, 20

Hurt, Louis Bosworth 40, 100

Roberts, David 111

Cowie, James 58

Shanks, William Sommerville 120

Crosbie, William 86

Hutchison, Robert Gemmell 31, 32, 33, 49, 50, 122, 124, 130, 131

Crozier, William 167

Kay, James 71 Kidd, William 103

Stewart, William 34

Cursiter, Stanley 57 Dow, Thomas Millie 127

Lamond, William Bradley 36

Downie, Patrick 3, 4

Leyde, Otto 51

Dudgeon, Thomas 110

Macgeorge, William Stewart 97

Dyce, William 104

Macnicol, Bessie 126

Eardley, Joan 156, 157, 158, 159, 160

Mactaggart, Sir William 91, 92, 161

Ellis, Tristram 23

Macwhirter, John 19

Michie, James Beattie 77, 78, 79

Richardson Junior, Thomas Miles 53, 54

Smith, George 41 Sticks, George Blackie 16, 17, 28 Strang, William 121 Tonge, Robert 42 Watson, Robert 39 Watson , William 15, 116 Wells, William Page Atkinson 2 Wright, Margaret Isobel 61

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

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

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

GILLIAN AYRES (BRITISH B.1930-)

TERRY O’NEILL C.B.E. (BRITISH 1938-2019)

UNTITLED, C. 1957-59 Oil on canvas board

Silver gelatin print, possibly printed later, signed in ink lower right

64cm x 55cm (25.25in x 21.5in)

the sheet 50.6cm x 50.3cm (20in x 19.75in)

£3,000-5,000 + fees

£6,000-8,000 + fees

KATE MOSS - 1993

AUCTION 10 JANUARY 2024 LIVE IN EDINBURGH & ONLINE

LONDON 020 7930 9115 | E DI N B URG H 0131 557 8844 | G L A S G OW 0141 333 1992 | www.lyonandturnbull.com

JEWELLERY & WATCHES

AUCTION 06 DECEMBER 2023 LIVE IN EDINBURGH & ONLINE

A DIAMOND SINGLE-STONE RING The pear-shaped diamond weighing approximately 3.85ct

£10,000-15,000 + fees

A PAIR OF EMERALD AND DIAMOND EARRINGS

AN EMERALD AND DIAMOND CLUSTER RING

£1,200-1,800 + fees

£1,000-1,500 + fees

LO N D ON 020 7930 9115 | E DI N B URG H 0131 557 8844 | G L A S G OW 0141 333 1992 | www.lyonandturnbull.com

JOHN DUNCAN FERGUSSON (1874-1961) JONQUILS AND SILVER, 1905 The Fleming-Wyfold Art Foundation, London © Culture Perth & Kinross Museums & Galleries

A SCOTTISH COLOURIST AT 150: JOHN DUNCAN FERGUSSON An exhibition in partnership with The Fleming Collection

22 Connaught Street LONDON 19 February – 1 March 2024 182 Bath Street GLASGOW 11 – 22 March 2024

LONDON 020 7930 9115 | E DI N B URG H 0131 557 8844 | G L A S G OW 0141 333 1992 | www.lyonandturnbull.com

160

CONDITIONS OF SALE 22.3 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

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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

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(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

161 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 ANOTHER PERSON (a) As an authorised Bidder: If You are bidding on behalf of another person, that person will need to complete the registration requirements above before You can bid, and supply a signed letter authorising You to bid for him/her. (b) As agent for an undisclosed principal: If You are bidding as an agent for an undisclosed principle (the ultimate Buyer(s)) You accept personal liability to pay the Purchase Price and all other sums due, unless it has been agreed in writing with us before commencement of the auction that the Bidder is acting as an agent on behalf of a named third party acceptable to us and we will seek payment from the named third party. 5. BIDDING IN PERSON If You wish to bid in the saleroom You must register for a numbered bidding paddle before You begin bidding. Please ensure You bring photo identification with You to allow us to verify Your registration. 6. BIDDING SERVICES The bidding services described below are a free service offered as a convenience to our clients and we are not responsible for any error (human or otherwise), omission or breakdown in providing these services. (a) Phone bids Your request for this service must be made no later than 12 hours prior to the auction. We will accept bids by telephone for Lots only if our staff are available to take the bids. If You need to bid in a language other than English You should arrange this Well before the auction. We do not accept liability for failure to do so or for errors and omissions in connections. (b) Internet Bids For certain auctions we will accept bids over the internet. For more information please visit our Website. We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding. (c) Written Bids While prospective Buyers are strongly

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

C. DURING THE SALE

1. ADMISSION TO OUR AUCTIONS We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. We may refuse admission at any time before, during or after the auction. 2. RESERVES Unless indicated by an insert symbol (∆), all Lots in this Catalogue are offered subject to a Reserve. A Reserve is the confidential Hammer Price established between us and the Seller. The Reserve is generally set at a percentage of the low Estimate and will not exceed the low Estimate for the Lot. 3. AUCTIONEER’S DISCRETION The maker of the highest bid accepted by the Auctioneer conducting the sale shall be the Buyer and any dispute shall be settled at the Auctioneer’s absolute discretion. The Auctioneer may move the bidding backwards of forwards in any way he or she may decide or change the order of the Lots. The Auctioneer may also; refuse any bid, withdraw any Lot, divide any Lot or combine any two or more Lots, reopen or continuing bidding even after the hammer has fallen. 4. BIDDING The Auctioneer accepts bids from: (a) Bidders in the saleroom; (b) Telephone Bidders, and internet Bidders through Lyon & Turnbull Live or any other online bidding platform we have chosen to list on and; (c) Written bids (also known as absentee bids or commission bids) left with us by a Bidder before the auction. 5. BIDDING INCREMENTS Bidding increments shall be at the Auctioneer’s sole discretion. 6. CURRENCY CONVERTER The saleroom video screens and bidding platforms may show bids in some other major currencies as

Well as sterling. Any conversion is for guidance only and we cannot be bound be any rate of exchange used. We are not responsible for any error (human or otherwise) omission or breakdown in providing these services. 7. SUCCESSFUL BIDS Unless the Auctioneer decides to use their discretion as set out above, when the Auctioneer’s hammer falls, we have accepted the last bid. This means a contract for sale has been formed between the Seller and the successful Bidder. We will issue an invoice only to the registered Bidder who made the successful bid. While we send out invoices by post/or email after the auction, we do not accept responsibility for telling You whether or not Your bid was successful. If You have bid by written bid, You should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of our bid to avoid having to pay unnecessary storage charges. 8. RELEVANT LEGISLATION You agree that when bidding in any of our sales that You will strictly comply with all relevant legislation including local laws and regulations in force at the time of the sale for the relevant saleroom location.

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

1. THE PURCHASE PRICE For each Lot purchased a Buyer’s Premium of 26% of the Hammer Price of each Lot up to and including £20,000, plus 25% from £20,001 to £500,000, plus 20% from £500,001 thereafter. VAT at the appropriate rate is charged on the Buyer’s Premium. No VAT is payable on the Hammer Price or premium for printed books or unframed maps bought at auction. Live online bidding may be subject to an additional premium (level dependent on the live bidding service provider chosen). This additional premium is subject to VAT at the appropriate rate as above. 2. VALUE ADDED TAX Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by Buyers of relevant Lots. (a) Lots affixed with (†): Value Added Tax on the Hammer Price is imposed by law on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the European Union and is not operating under a Margin Scheme. (b) Lots affixed with (*): A reduced rate of Value Added Tax on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outwit the European Union. This reduced rate is applicable to Antique items. (c) Lots affixed with [Ω]: Standard rate of Value Added Tax on the Hammer Price and premium is payable. This

applies to items that have been imported from outwit the European Union and do not fall within the reduced rate category outlined above. 3. ARTIST’S RESALE ROYALTY (DROIT DE SUITE) This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the Hammer Price and in addition to the Buyer’s Premium. It will not apply to works where the Hammer Price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the Auctioneer. Resale royalties are not subject to VAT. Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale. More information on Droit de Suite is available at www.dacs.org.uk.

E. WARRANTIES

1. SELLER’S WARRANTIES For each Lot, the Seller gives a warranty that the Seller; (a) Is the owner of the Lot or a joint owner of the Lot acting with the permission of the other co-owners, or if the Sellers is not the owner of or a joint owner of the Lot, has the permission of the owner to sell the Lot, or the right to do so in law, and; (b) Had the right to transfer ownership of the Lot to the Buyer without any restrictions or claims by anyone else. If either other above warranties are incorrect, the Seller shall not have to pay more than the Purchase Price (as defined in the glossary) paid by You to us. The Seller will not be responsible to You for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expense. The Seller gives no warranty in relation to any Lot other than as set out above and, as far as the Seller is allowed by law, all warranties from the Seller to You, and all obligations upon the Seller which may be added to this agreement by law, are excluded. 2. AUTHENTICITY GUARANTEE We guarantee that the authorship, period, or origin (collectively, “Authorship”) of each Lot in this Catalogue is as stated in the BOLD or CAPITALISED type heading in the Catalogue description of the Lot, as amended by oral or written saleroom notes or announcements. We make

162 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 antimoney 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 moneylaundering, terrorist activities, or other crimes.

F. PAYMENT

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

earlier of the following: (i) When You collect the Lot; or (ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise with You in writing. (e) You shall at Your own risk and expense take away any Lots that You have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any cheque used for payment whichever is later. We can provide You with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us. (f) No purchase can be claimed or removed until it has been paid for. (g) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. 2. IN THE EVENT OF NONPAYMENT If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the Sellers and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (a) To proceed against You for damages for breach of contract; (b) To rescind the contract for sale of that Lot and/or any other Lots sold by us to You; (c) To resell the Lot(s) (by auction or private treaty) in which case You shall be responsible for any resulting deficiency in the Total Amount Due (after crediting any part payment and adding any resale costs). (d) To remove, store and insure the Lot in the case of storage, either at our premises or elsewhere and to recover from You all costs incurred in respect thereof; (e) To charge interest at a rate of 5% a year above the Bank of Scotland base rate from time to time on all sums outstanding for more than 7 working days after the sale; (f) To retain that or any other Lot sold to You until You pay the Total Amount Due; (g) To reject or ignore bids from You or Your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) To apply any proceeds of sale of other Lots due or which become due to You towards the settlement of the Total Amount Due by You and to exercise a lien over any of Your property in our possession for any purpose until the debt due is satisfied. You will be deemed to have granted such security to us and we may retain

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

G. COLLECTION & STORAGE

(1) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. Information on collection is set out in the Catalogue and our Website (2) Unless agreed otherwise, You must collect purchased Lots within seven days from the auction. Please note the Lots will only be released upon full payment being received. (3) If You do not collect any Lot within seven days following the auction we can, at our discretion; (i) Charge You storage costs at the rates set out on our Website. (ii) Move the Lot to another location or an affiliate or third party and charge You transport and administration costs for doing so and You will be subject to the third party storage terms and pay for their fees and costs. (iii) Sell the Lot in any way we think reasonable.

H. TRANSPORT & SHIPPING

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

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

J. OTHER TERMS

1. OUR ABILITY TO CANCEL In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if; (i) Any of our warranties are not correct, as set out in paragraph E3, (ii) We reasonably believe that completing the transaction is or may be unlawful; or (iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage our reputation. 2. RECORDINGS We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law if You

do not wish to be videotaped, You may make arrangements to bit by telephone or a written bid or bid on Lyon & Turnbull Live instead. Unless we agree otherwise in writing, You may not videotape or record proceedings at any auction. 3. COPYRIGHT We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission. We do not offer any guarantee that You will gain any copyright or other reproductions to the Lot. 4. ENFORCING THIS AGREEMENT If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force. 5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES You may not grant a security over or transfer Your rights of responsibilities under these terms on the contract of sale with the Buyer unless we have given our written permission. This agreement will be binding on Your successors or estate and anyone who takes over Your rights and responsibilities. 6. REPORTING ON WWW.LYONANDTURNBULL.COM Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www.lyonandturnbull. com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website. 7. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers. (c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private treaty sale, if a Lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale. 8. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the premises, safety and security arrangements. Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.

9. DATA PROTECTION Where we obtain any personal information about You, we shall use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) You may have given at the time Your information was disclosed). A copy of our Privacy Policy can be found on our Website www.lyonandturnbull.com or requested from Client Services, 33 Broughton Place, Edinburgh, EH1 3RR or by email from data enquiries@ lyonandturnbull.com. 10. FORCE MAJEURE We shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract. 11. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

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

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

22.3

164

GUIDE TO BIDDING & PAYMENT REGISTRATION

BIDDING OUTSIDE THE SALEROOM

PAYMENT

BY PHONE

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

1 – 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.

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

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

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

Inside Back Cover: Lot 101 [detail]

LOND ON | EDINB URGH | GL A SGOW LYONA NDT UR NBULL.COM