Scottish Paintings & Sculpture ft. J.D. Fergusson at 150 | Auction 06 June 2024

6TH JUNE 2024

LIVE IN EDINBURGH & ONLINE

SCOTTISH PAINTINGS & SCULPTURE

FEATURING J.D. FERGUSSON AT 150

THURSDAY

06 JUNE 2024

DAY SESSION

LOTS 1-99 AT 2PM EVENING SESSION

LOTS 100-191 AT 6PM

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Sale Number LT791

Lyon & Turnbull 33 Broughton Place EDINBURGH EH1 3RR

VIEWING

Friday 31st May 1pm-4.30pm

Sunday 2nd June 12noon-4pm

Monday 3rd June 10am-4.30pm

Tuesday 4th June 10am-4.30pm

Wednesday 5th June 10am-4.30pm Day of sale from 10am

Front Cover Lot 158

Inside Front Cover Lot 146 [detail]

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DROIT DE SUITE

§ indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under 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. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, charges are calculated on a sliding scale.

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CATALOGUE DESCRIPTIONS

All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. Our specialists will be happy to prepare condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.

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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.

Alice Strang Senior Specialist alice.strang@lyonandturnbull.com

Charlotte Riordan

1

JOHN MCGHIE (SCOTTISH 1867-1952) ON THE WEST COAST

Signed, oil on canvas

71cm x 91cm (28in x 36in)

£1,500-2,000

2 §

ROBERT RUSSELL

MACNEE R.G.I. (SCOTTISH 1880-1952) A SUNLIT FARMYARD SCENE

Signed, oil on canvas

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

£600-800

3

ARCHIBALD KAY R.S.A., R.S.W (SCOTTISH 1860-1935) THE ROSA BURN, BRODICK Signed, oil on canvas

51cm x 91cm (20in x 36in)

£1,000-1,500

4

JAMES WHITELAW

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

HARVEST FIELD IN HELENSBURGH

Signed, inscribed on a label verso, oil on board

25.5cm x 35.5cm (10in x 14in)

£800-1,200

5

DUNCAN CAMERON (SCOTTISH 1837-1916)

THE BASS ROCK

Signed, oil on canvas

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

£1,000-1,500

6

JOSEPH MILNE (SCOTTISH 1857-1911)

CATTLE WATERING

Signed, oil on canvas

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

£600-800

7 JOSEPH MILNE (SCOTTISH 1857-1911) BY THE QUAYSIDE

Signed, oil on canvas

28cm x 43.5cm (11in x 17in)

£600-800

JOHN ROBERTSON REID R.I., R.B.A., R.O.I. (SCOTTISH 1851-1926) ON THE HARBOUR QUAY

With signed authentication note to stretcher verso, oil on canvas

41cm x 76cm (16in x 30in)

£800-1,200

9 § JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998)

VIEW ON THE STAR INN ROAD ABOVE FOWLES

Signed, signed and inscribed with title to label verso, watercolour 54cm x 74cm (21.25in x 29in)

£1,000-1,500

10 § JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998)

WESTER LEYS, COUPAR ANGUS

Signed and inscribed, watercolour 56cm x 75cm (22in x 29.5in)

Exhibited: Fine Art Society Ltd, Recent Paintings and Watercolours, March 1982

£1,500-2,000

Signed, oil on canvas

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

£2,000-3,000

DAVID GAULD R.S.A. (SCOTTISH 1865-1936) WATERMILL IN FRANCE

12 §

FRANK WATSON WOOD (SCOTTISH 1862-1953)

BERWICK ROAD BRIDGE WITH BOYS FISHING FROM THE QUAY

Signed and dated 1925, watercolour

38cm x 74cm (15in x 29in)

£1,800-2,500

13 §

FRANK WATSON WOOD (SCOTTISH 1862-1953)

BERWICK RAIL BRIDGE FROM THE NORTH

Signed and dated 1925, watercolour

39cm x 74cm (15.25in x 29in)

£1,500-2,000

JOHN GUTHRIE SPENCE SMITH R.S.A. (SCOTTISH 1880-1951)

SPRING

Signed, oil on board

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

Exhibited: Royal Glasgow Institute of the Fine Arts, 1938

£1,500-2,000

15

ROBERT WATSON (BRITISH 1865-1916)

SHEEP ON A ROCKY OUTCROP

Signed and dated 1918, oil on canvas

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

£1,200-1,800

16

WILLIAM DARLING MCKAY R.S.A. (SCOTTISH 1844-1924)

POTATO HARVESTING, EAST LOTHIAN

Signed with traces of title to label verso, oil on canvas

41cm x 56cm (16in x 22in)

£600-900

17

PETER GRAHAM R.A., H.R.S.A. (SCOTTISH 1836-1921) WAVES BREAKING ON A ROCKY COAST

Signed, oil on canvas

71cm x 101cm (28in x 39.5in)

£2,000-3,000

18

WILLIAM ALFRED GIBSON (SCOTTISH 1866-1931) DUTCH WATERWAY

Signed, oil on canvas

41cm x 51cm (16in x 20in)

£800-1,200

19 §

ALFRED FONTVILLE DE BREANSKI (BRITISH 1877-1955)

ON AN ARGYLL RIVER

Signed, signed and inscribed verso, oil on canvas

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

£1,500-2,000

20

CHARLES MARTIN HARDIE R.S.A. (SCOTTISH 1858-1916) MID-DAY REST

Signed with initials and dated ‘91, oil on board

23cm x 30.5cm (9in x 12in)

£600-800

21

DUNCAN CAMERON (SCOTTISH 1837-1916)

ABERLADY BAY

Signed, inscribed on label verso, oil on canvas

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

£600-900

EUGEN DEKKERT (SCOTTISH FL.1899-1940)

ARRIVAL OF THE FLEET

Signed, oil on board

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

£1,500-2,000

23 §

WILLIAM MILLER FRAZER

R.S.A. (SCOTTISH 1864-1961)

FEEDING THE DUCKS

Signed and dated ‘01, oil on canvas

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

£1,000-1,500

ROBERT HOPE R.S.A. (SCOTTISH 1869-1936)

RETURN FROM THE FIELDS Signed,

£800-1,200

25

HENRY GARLAND (BRITISH 1854-1890) HIGHLAND CATTLE ON A DROVE ROAD

Signed, oil on canvas 51cm x 84cm (20in x 33in)

£1,500-2,000

27 §

JOHN RANKINE BARCLAY (SCOTTISH 1884-1963)

PONT D’ALEXANDRE IV, PARIS

Signed, inscribed and dated ‘Paris 1920’, charcoal and watercolour on handmade paper

39cm x 52cm (15.5in x 20.5in)

Exhibited: Royal Society of Painters in Watercolours

£600-800

ROBERT BURNS A.R.S.A. (SCOTTISH 1869-1941) A SUNLIT SNOWCOVERED LANDSCAPE

Signed, watercolour

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

£800-1,200

28 §

JOHN RANKINE BARCLAY (SCOTTISH 1884-1963)

FIGURES IN THE PARK, LUXEMBOURG GARDENS

Signed, inscribed and dated ‘Paris 1920’, charcoal and watercolour

39cm x 52cm (15.5in x 20.5in)

£600-800

29

GEORGE HENRY

R.A., R.S.A., R.S.W. (SCOTTISH 1858-1943) THE MEADOW

Signed, watercolour 27cm x 38cm (10.5in x 15in)

Provenance: La Société des Beaux-Arts, Glasgow

Note: A label verso states that this watercolour was purchased from Alex Reid for £35

£2,000-3,000

30

GEORGE HENRY

R.A., R.S.A., R.S.W. (SCOTTISH 1858-1943)

GATHERING BERRIES

Signed, watercolour

23cm x 30.5cm (9in x 12in)

£1,000-1,500

31 § FRANK WATSON WOOD (SCOTTISH 1862-1953)

H.M.S. ORION AND 3RD DIVISION GRAND FLEET 1914-1918

Signed, inscribed and dated 1923, watercolour

25cm x 67cm (9.75in x 26.25in)

£1,000-1,500

32

TOM SCOTT R.S.A. (SCOTTISH 1854-1927) BURNING HEATHER ON THE HILLS

Signed and dated 1913, watercolour

25.5cm x 36cm (10in x 14in)

£600-800

33

TOM SCOTT R.S.A. (SCOTTISH 1854-1919) BRIG O’BLAIR

Signed, inscribed and dated ‘88, watercolour

29cm x 46cm (11.5in x 17.75in)

£600-800

34 §

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

ACHNACREE MOSS AND BEN CRUACHAN

Signed with initials, watercolour

30.5cm x 51cm (12in x 20in)

£700-1,000

35 §

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

ACHNACREE MOSS AND BEN CRUACHAN IN THE AUTUMN

Signed, inscribed and dated ‘Nov. 1920’ verso, watercolour

26cm x 40.5cm (10.25in x 15.75in)

Provenance: Bourne Fine Art, Edinburgh

£600-800

36 §

JAMES MCBEY (SCOTTISH 1883-1959)

BERWICK-ON-TWEED

Signed, inscribed and dated ‘6

June 1925’, pen and ink and watercolour

16.5cm x 36cm (6.5in x 14.25in)

Provenance: Alex. Reid & Son, Glasgow

£600-800

37

GEORGE BLACKIE STICKS (SCOTTISH 1843-1938) LOCH VENACHAR, SUNSET

Signed, inscribed and dated 1874 verso, oil on canvas

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

£1,200-1,500

ROBERT GEMMELL HUTCHISON

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

CHILDREN IN THE DUNES

Signed, oil on canvas

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

Provenance: Professors Arthur and Dorothy Holmes, Edinburgh; Given by the above to Ms Hopper, Hove and thence by descent to the present owner.

£8,000-12,000

39

PATRICK WILLIAM ADAM R.S.A. (SCOTTISH 1854-1929)

NO.1 HOUSE, ALASSIO

Signed and dated 1926, oil on canvas

96.5cm x 63.5cm (38in x 25in)

£2,000-3,000

GEORGE BLACKIE STICKS (SCOTTISH 1843-1938)

TANTALLON CASTLE

Signed and dated 1873, oil on canvas

25.5cm x 51cm (10in x 20in)

£600-900

41

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

MUSSEL GATHERERS

Signed, oil on canvas

36cm x 53.25in (14in x 21in)

£800-1,200

Few Scottish watercolourists can claim a style as distinctive as that of James Watterston Herald. His innovation was to depict his subject by painting only the light, in its manifold hues, using fluid and suggestive strokes of watercolour or pastel. This effect was often achieved by working on a black, grey or brown ground, which allowed his coloured highlights to sing.

Herald was largely self-taught, which does something to explain the originality of his technique. It is also evident that throughout his life he was content to follow his own path with little heed to convention or popular artistic trends. Yet his talent spoke for itself, and he was hailed by his contemporaries as a rival to Melville as a watercolourist, and to Whistler as a pastel artist. Herald worked in Edinburgh in the 1880s and London in the 1890s, but from 1901 returned to his native Angus where he would remain forthwith: it better suited his reclusive tendencies. His removal from the London art scene likely prevented his reputation from flourishing in the manner it might otherwise have during his lifetime. Fortunately, today his importance is better appreciated.

Across Edinburgh, London and Angus, Herald took much pleasure in depicting residents amongst local architecture and topography. Figures Promenading on the Beach captures all the atmosphere and romance of an afternoon on the sands. Modern life and leisure are also at the heart of St John’s and Princes Street at Dusk, which looks towards

Edinburgh’s West End, against which the neo-Gothic church of St. John’s is rendered in silhouette. In the foreground a child breaks away from the march of smartly-dressed shoppers to inspect the contents of a flower vendor’s basket. Herald masterfully evokes the bustle of city life while also delighting in the observation of spontaneous interaction.

Buffalo Bill at Arbroath commemorates the arrival of the celebrity phenomenon and his 800-strong troupe of cowboys and Native American Indians, who performed a mock attack on a wagon train for the touring show ‘Buffalo Bill’s Wild West and Congress of Rough Riders of the World’. This composition is believed to depict Bill’s 1904 visit to Culloden Farm on August 22nd, and Herald portrays a gaggle of townsfolk listening excitedly to a robed figure promoting the spectacle.

Fiddle players recur throughout Herald’s oeuvre. Herald was himself a fiddler and regularly played at local taverns; sometimes a tune would earn him a drink, and Herald may be making a humorous allusion to this very scenario in Horsemen and Violinist Outside an Inn The Young Violinist is a superlative example of Herald’s pastel technique, replete with deftly-handled light and shadow. Dappled sun filters through gauzy drapes, casting green flecks across the violinist’s dress and pooling in pale pink on the polished floor. Her music carries across a sprawling terraced garden which Herald suggests using successive lines of green and yellow glimpsed through the window.

Signed, watercolour

44.5cm x 62.5cm (17.5in x 24.5in)

Provenance: Sotheby’s Gleneagles, Scottish & Sporting Pictures & Sculpture, 28 August 2002, lot (sold £12,000)

£3,000-5,000

JAMES WATTERSTON HERALD (SCOTTISH 1859-1914)

BUFFALO BILL AT ARBROATH

43

JAMES WATTERSTON HERALD (SCOTTISH 1859-1914)

THE YOUNG VIOLINIST

Signed, pastel on coloured paper

52cm x 32cm (20.5in x 12.5in)

Provenance: Christie’s Scotland, The Scottish Sale, 26 October 2006, Lot 135 (sold £7,800)

£4,000-6,000

44

JAMES WATTERSTON HERALD (SCOTTISH 1859-1914)

FIGURES PROMENADING ON THE BEACH

Signed, watercolour on buff paper

18cm x 23cm (7in x 9in)

£600-800

45

JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) HORSEMEN AND VIOLINIST OUTSIDE AN INN

Signed, watercolour

20.5cm x 31cm (8in x 12in)

£800-1,200

46

JAMES WATTERSTON HERALD (SCOTTISH 1859-1914)

FIGURES ON A TERRACE

Watercolour

28cm x 22cm (11in x 8.5in)

£700-900

47

JAMES WATTERSTON HERALD (SCOTTISH 1859-1914)

ST. JOHN’S AND PRINCES

STREET AT DUSK

Signed, watercolour

33cm x 23cm (13in x 9 in)

£800-1,200

48

JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) PROMENADE

Signed, pastel

53cm x 71cm (21in x 28in)

£1,000-1,500

49 SCOTTISH SCHOOL DEER ON A MOUNTAIN HILLSIDE

Watercolour

50cm x 70cm (19.75in x 27.5in)

£1,000-1,500

50

GEORGE BLACKIE STICKS (SCOTTISH 1843-1938)

Signed and dated ‘83, signed, inscribed and dated verso, oil on canvas

46cm x 38cm (18in x 15in)

£1,000-1,500

BEN BLAVEN, SKYE

51

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)

£2,000-3,000

52

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

A HIGHLAND RIVER LANDSCAPE WITH WATER-MILL

Signed, oil on board

34cm x 32cm (13.5in x 12.5in)

£800-1,200

53

JAMES FAED JR (SCOTTISH 1856-1920)

HEATHER BLOOMING IN THE HIGHLANDS

Signed and dated 1902, oil on panel

25.5cm x 41cm (10in x 16in)

£800-1,200

54

ATTRIBUTED TO JAMES NASMYTH (SCOTTISH 1808-1890)

NEAR LOCH KATRINE

Inscribed and dated ‘April 10, 1888’ verso, titled to an old label verso, oil on panel 23cm x 33cm (9in x 13in)

£500-800

55

ATTRIBUTED TO PATRICK NASMYTH (SCOTTISH 1787-1831)

A DAY’S FISHING

Oil on panel

23cm x 30.5cm (9in x 12in)

£800-1,200

56

THOMAS FAED R.A., H.R.S.A. (SCOTTISH 1826-1900)

’O TIBBIE I HAE SEEN THE DAY’

Signed and dated 1860, with contemporary handwritten poem verso, oil on board

43cm x 36cm (17in x 14in)

Note: The two couplets quoted verso are from a poem by Robert Burns

£1,000-2,000

57

ROBERT GEMMELL HUTCHISON

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

NEW SHOES

Signed, oil on canvas

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

£2,000-3,000

59

STUART PARK (SCOTTISH 1862-1933)

STILL LIFE OF FUCHSIA

Signed, oil on canvas

38cm x 48cm (15in x 19in)

£600-800

58

LOUISE ELLEN PERMAN (SCOTTISH 1854-1921) A STILL LIFE OF ORIENTAL POPPIES

Signed, oil on canvas

51cm x 74cm (20in x 29in)

£800-1,200

ANNIE ROSE LAING (SCOTTISH 1869-1946)

THE EMBROIDERY

Signed, oil on canvas

54cm x 46cm (21.25in x 18in)

£3,000-5,000

61

JOHN REID MURRAY (SCOTTISH 1886-1906)

THE LATEST NEWS

Signed, oil on canvas

66cm x 56cm (26in x 22in)

£1,500-2,000

62

ROBERT GEMMELL HUTCHISON

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

LITTLE MISCHIEF

Signed, oil on canvas

23cm x 16cm (9in x 6.25in)

£800-1,200

63 §

JAMES MCBEY (SCOTTISH 1883-1959)

PORTRAIT OF A WOMAN IN FURS

Signed, dated and inscribed ‘To Mrs Mackay, from James McBey, May 1924’, oil on canvas

75cm x 56cm (29.5in x 22in)

£2,000-3,000

64

WILLIAM MOUNCEY (SCOTTISH 1852-1901) A QUIET AFTERNOON, GALLOWAY

Signed, oil on canvas

41cm x 51cm (16in x 20in)

Provenance: Ian MacNicol, Glasgow

£800-1,200

65

JAMES WHITELAW

HAMILTON R.S.A., R.S.W. (SCOTTISH 1860-1932) IN THE FARMYARD

Signed, oil on canvas

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

£1,000-1,500

66

ALEXANDER JAMIESON

R.O.I. (SCOTTISH 1873-1937) IN THE PARK

Inscribed verso, oil on board

15cm x 23cm (6in x 9in)

£600-900

§

JOHN MURRAY THOMSON

R.S.A., R.S.W., P.S.S.A. (SCOTTISH 1885-1974)

WORKING PARTNERS

Signed, oil on canvas

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

Exhibited: Royal Scottish Academy, Edinburgh, 1964, no.273

£600-900

68

EDWARD BAIRD (SCOTTISH 1904-1949) NEAR LUNAN BAY

Signed, inscribed and dated 1939, pen and ink and watercolour 24cm x 33cm (9.5in x 13in)

Provenance: Allan Ogilvie, Montrose

Exhibited: Memorial Exhibition of Paintings and Drawings by Edward Baird, Montrose, 1950,. no.50

The Scottish Arts Council, Edward Baird and William Lamb, 1968, no.37

£600-900

69 §

JOHN MACLAUCHLAN MILNE

R.S.A. (SCOTTISH 1886-1957) A VILLAGE STREET

Signed, watercolour

33cm x 39cm (13in x 15.25in)

£800-1,200

While the precise location of this work is unconfirmed, it is almost certainly from Kingoodie, where Maclauchlan Milne lived with his first wife, after they married in 1911. Kingoodie lies on the north shore of the River Tay, a few miles west of Dundee. At one time there was a quarry there and the cottages depicted were where the quarry workers lived. The signature of this picture includes the artist’s initial ‘J’, which is typical of his early works. It is likely to date from approximately 1911, which was a tumultuous year for the artist. His father, landscape artist Joseph Milne, died in January and Maclauchlan Milne married six months later. The couple are unlikely to have stayed long in Kingoodie. When Maclauchlan Milne began exhibiting at the Royal Glasgow Institute and at the Royal Scottish Academy the following year, his work was submitted from his new wife’s parents’ address in Seafield Road, Dundee. We are grateful to Maurice Millar, author of The Missing Colourist: The Search for John Maclauchlan Milne RSA (privately published in 2022 and available via The Missing Colourist website) for writing this text.

DOROTHY JOHNSTONE

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

SEATED GIRL

Oil on canvas

68cm x 66cm (26.75in x 26in)

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

Exhibited: Aberdeen Art Gallery & Museums, Dorothy Johnstone Centenary Exhibition, 1992, no.6

£800-1,200

JOHN DUNCAN R.S.A., R.S.W. (SCOTTISH 1866-1945)

THE MAN OF THE MOON LOST

Signed, tempera on board

41cm x 30.5cm (16in x 12in)

Exhibited: Royal Scottish Society of Painters in Watercolours, no.328

£600-900

72 §

DAVID MACBETH SUTHERLAND R.S.A. (SCOTTISH 1883-1973) FIRST COAST, GUINARD, WESTER ROSS

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

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

Exhibited: Aberdeen Art Gallery & Museum, D. M. Sutherland 18831973, October 1974, no.23

£800-1,200

73 §

DAVID MACBETH SUTHERLAND R.S.A. (SCOTTISH 1883-1973)

PLOCKTON, WESTER ROSS

Signed, oil on board

35.5cm x 46cm (15in x 18in)

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

Note: Dated 1957 verso

£800-1,200

From the Collection of Drs Antony & Zarrina Kurtz

74

JAMES FERRIER PRYDE

(SCOTTISH 1866-1941)

QUEEN ELIZABETH’S BEDROOM Gouache and pencil, squared up 15cm x 12cm (5.75in x 4.75in)

Provenance: J. Leger & Son, London, 1951; Redfern Gallery, London, where acquired by Dr. Zarrina Kurtz, 1990; The Collection of Drs Antony and Zarrina Kurtz.

Exhibited: Scottish National Gallery of Modern Art, Edinburgh, James Pryde, 14 August-11 October 1992, no.82

£1,500-2,500

75

EDWIN ALEXANDER R.S.W. (SCOTTISH 1870-1926)

BEES ON PUSSY WILLOW

Signed with monogram, watercolour on buff paper

25.5cm x 19cm (10in x 7.5in)

Provenance: Steigal Fine Art, Edinburgh

£500-700

76 §

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

BRAEMAR CASTLE, ROYAL DEESIDE

Signed, oil on board

80cm x 121cm (31.5in x 47.5in)

£2,000-3,000

This painting is the original artwork for the London North Eastern Railway (LNER) and London Midland Scottish Railway (LMS) Royal Deeside poster of 1937, which was part of the celebrated ‘It’s quicker by rail’ publicity campaign. The idyllic scene, with Braemar Castle at its centre, was intended to attract people to travel to the area by train, whether along the east coast with LNER or along the west coast with LMS.

An example of the resultant poster is in the collection of the National Railway Museum, York (acc.no.19788984). Such is the success of its design that it was given a full-page colour reproduction in Richard Furness’s book Poster to Poster: Railways Journeys in Art Volume I Scotland (JDF & Associates Ltd, Tirley, 2009, p. 80).

McIntosh Patrick had a long and fruitful relationship with various railway companies and eventually the nationalised railway, from the 1930s until 1960. He encouraged people to catch a train to visit places including Crieff, Dunfermline, Dunnottar Castle, Edinburgh, Loch Leven, North Berwick, Pitlochry and St Andrews. (see Furness op.cit.)

We are grateful to Andrew McLean of the National Railway Museum, York for his help with our research.

Royal Deeside LNER / LMS poster 1937, based on the current painting by James McIntosh Patrick of Braemar Castle © NRM/Pictorial Collection / Science & Society Picture Library - All rights reserved (1978-8984)

77

JAMES FERRIER PRYDE (SCOTTISH 1866-1941)

YOUNG GIRL SEATED

Signed and dated ‘97, pastel

28cm x 28cm (11in x 11in)

Exhibited: Roland, Browse and Delbanco, London

£2,500-3,500

78

GEORGE DENHOLM ARMOUR

O.B.E. (SCOTTISH 1864-1949)

THE BULL FIGHT

Signed, mixed media

37cm x 25.5cm (14.5in x 10in)

£800-1,200

79 §

SIR WILLIAM MACTAGGART

P.P.R.S.A., R.A., F.R.S.E., HON.R.S.W. (SCOTTISH 1903-1981)

SUMMER FLOWERS

Signed, oil on board

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

Provenance: The Stone Gallery, Newcastle-upon-Tyne

£3,000-5,000

WORKS ON PAPER

2024 marks the 150th anniversary of the birth of John Duncan Fergusson in Leith, near Edinburgh. He is arguably best known as one of the four ‘Scottish Colourists’, along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe, who are revered as the masters of modern Scottish art.

Fergusson has the most international reputation of the group, not least due to key periods spent living in Paris before World War One and during the 1930s, as well as in London between 1914 and 1929. He had three solo exhibitions in America during the 1920s.

Fergusson was the only sculptor amongst the Colourists and made and exhibited sculptures for over 35 years. His practice also embraced the performing arts, with designs for costumes and theatre sets for the productions of his wife, the dance pioneer Margaret Morris. As the longest-

John Duncan Fergusson, Self-portrait, contained within his sketchbook Lot 89

lived of the quartet, Fergusson also played an important role in the Scottish art world after World War Two, from a base in Glasgow.

Fergusson has a special significance for Lyon & Turnbull, not least because his first studio was at 16 Picardy Place in Edinburgh, four minutes’ walk from our New Town saleroom. Furthermore, our Associate Director, Alice Strang, curated the 2013-14 National Galleries of Scotland touring retrospective of his work and edited the accompanying publication.

Lyon & Turnbull celebrated this milestone year with a touring exhibition of Fergusson’s paintings and sculpture, in partnership with the Fleming Collection and held in our London and Glasgow galleries this Spring. Culture Perth & Kinross, the custodians of the single most important public collection of Fergusson’s work, has also recently opened a new space dedicated to his achievements and those of Morris, in Perth Art Gallery.

We are delighted to continue the celebration of this remarkable artist by offering the following group of works on paper, including drawings, watercolours and one of Fergusson’s sketchbooks, to the market; selected paintings and sculptures follow in the Evening Sale.

Fergusson was an inveterate sketcher and skilled draughtsman. He gained immense pleasure from drawing café clientele, Morris’s pupils and other subjects, indoors and en plein air. As seen in the following lots, his sitters ranged from female nudes and dancers, to beautiful women captured wearing attractive hats and socialising. The addition of watercolour brought colour and brushstrokes into play, whilst the fully realised The Plage and Cliffs, Pourville brings a touch of Art Deco to a cliffside scene.

We are grateful to Amy Waugh, Culture Perth & Kinross, for her help with our research.

PART I

80 §

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961)

DANCER

Conté

28cm x 12.5cm (11in x 5in)

£1,500-2,000

81 §

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961) NUDE

Conté

14cm x 8.5cm (5.5in x 3.25in)

Provenance: Acquired from the Artist’s widow, Margaret Morris and thence by descent to the present owner

Exhibited: Alexander Meddowes Fine Art Broker, Edinburgh. no. 16 (as ‘Nude, Paris, 1910’)

£700-900

82 §

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

WOMAN IN A BONNET WITH FLOWERS

Conté

21cm x 13.5cm (8.25in x 5.25in)

Provenance: Acquired from the Artist’s widow, Margaret Morris and thence by descent to the present owner

Exhibited: Alexander Meddowes Fine Art Broker, Edinburgh, Unseen Works by the Scottish Colourist John Duncan Fergusson 1871-1964, 2 December 2013-10 January 2014, no.30

£700-900

83 §

JOHN DUNCAN FERGUSSON

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

SEATED LADY

Conté

25.5cm x 19cm (10in x 7.5in)

Provenance: Acquired from the Artist’s widow, Margaret Morris and thence by descent to the present owner

£800-1,200

84 §

JOHN DUNCAN

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

PORTRAIT STUDY

Watercolour

20cm x 15cm (8in x 6in)

£800-1,200

85 §

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

FIGURES AMONGST THE PALM TREES

Watercolour

17.5cm x 14cm (7in x 5.5in)

£2,000-3,000

86 §

JOHN DUNCAN FERGUSSON

R.B.A. (SCOTTISH 1864-1961) SEATED NUDE

Charcoal on brown paper

21cm x 18.5cm (8.25in x 7.25in)

£800-1,200

87 §

JOHN DUNCAN FERGUSSON

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

IN A PARIS CAFÉ

Charcoal

20cm x 10.5cm (7.75in x 4.5in)

Exhibited: St. Andrews Fine Art, Annual Exhibition, 1989, no.64

£1,000-1,500

88 §

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; Pitlochry Festival Theatre, Pitlochry, J. D. Fergusson (1874-1961) Memorial Exhibition, 21 April - 7 July 1962, no.11

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.

£4,000-6,000

JOHN DUNCAN FERGUSSON

R.B.A. (SCOTTISH 1864-1961)

SELF-PORTRAIT

One of approximately 55 pencil drawings of heads, figures etc. within a sketchbook with dark blue cover 21cm x 13.5cm (8.25in x 5.25in)

Provenance: Acquired from the Artist’s widow, Margaret Morris and thence by descent to the present owner £5,000-7,000

An artist’s sketchbook, such as the present lot, gives an intimate glimpse into their ideas and working process. It is of Fergusson’s favourite brand, bought from The Paris American Art Company on boulevard du Montparnasse, style (with navy covers) and size (slightly narrower than A5). It could be tucked into a jacket pocket alongside a conté crayon or two, carried around all of the time and retrieved as soon as a scene or subject caught his eye. As someone who revelled in Paris’s social scene, from its parks and gardens to its numerous cafés, Fergusson was rarely short of a subject to capture at speed and with spontaneity.

This example contains mainly head and shoulder sketches of men and women, caught in attitudes from smiling to smoking and with varying degrees of observation and humour. A bowlerhatted gentleman is seen seated at a table, enjoying a drink, the glasses and trimmed moustache and beard of another man are delineated in short, distinct lines, whilst the profiles of a range of hats worn by women celebrate Parisian chic. Dispersed throughout are a number of self-portraits, as Fergusson drew himself in part-profile, with a focus on his neckwear, distinctive hair parting and hairline, before he was drawn to another model.

Further examples of similar sketchbooks can be found in the collection of Culture Perth & Kinross.

90

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 present 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

Note: 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)

£4,000-6,000

91

GEORGE LESLIE HUNTER (SCOTTISH 1877-1931)

STANDING FEMALE NUDE

Signed, pen and ink and crayon 39cm x 28cm (15.25in x 11in)

Provenance: William Hardie Limited, Glasgow, no.23 £2,000-3,000

FRANCIS CAMPBELL BOILEAU CADELL

R.S.A., R.S.W. (SCOTTISH 1883-1937)

IONA

Signed, watercolour

17.5cm x 25.5cm (7in x 10in)

£2,000-3,000

93 §

SIR WILLIAM GEORGE GILLIES

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

HANGINGSHAW HERIOT

Signed, pencil and watercolour

25.5cm x 36cm (10in x 14in)

Provenance: The Scottish Gallery, Edinburgh, March 1968, no.10

£800-1,200

94 §

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

SPINNINGDALE

Signed, pen and ink and watercolour

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

Provenance: Dr Robert A. Lillie, Edinburgh, no.172

Note: A label verso suggests a date of 1939

£2,000-3,000

95 §

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

TEMPLE GARDEN, EVENING

Signed, signed and inscribed on a label verso, watercolour

42cm x 55cm (16.5in x 21.5in)

Exhibited: Scottish Arts Council, Royal Scottish Academy, Edinburgh, William Gillies Retrospective Exhibition, February 1970 and tour, no.169

£1,000-1,500

96

JOHN QUINTON PRINGLE (SCOTTISH 1864-1925)

SUNSET OVER WOODLAND Oil on canvas

15cm x 20cm (6in x 8in)

Provenance: Sir Harry Jefferson Barnes and thence by descent until acquired by the present owner

Note: Sir Harry Jefferson Barnes was the Director of the Glasgow School of Art between 1964 and 1980. He grew up in Sheffield and went on to study at the Slade School of Fine Art under Randolph Schwabe. Barnes became Assistant Master in Painting and Drawing at the Glasgow School of Art in 1944. He was appointed Director in 1964 and set up the Mackintosh School of Architecture in 1965.

£3,000-5,000

ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998) FROM THE TERRACE

Signed and dated ‘80, oil on canvas

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

£2,000-3,000

98 § SIR WILLIAM MACTAGGART

P.P.R.S.A., R.A., F.R.S.E., HON. R.S.W. (SCOTTISH 1903-1981) EVENING ON THE SOLWAY

Signed, oil on board

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

Exhibited: Royal Scottish Academy, Edinburgh, 1978, no.166

£4,000-6,000

99 §

MARY NICOL NEILL ARMOUR R.S.A., R.S.W. (SCOTTISH 1902-2000) STILL LIFE WITH IRIS

Signed and dated 1987, oil on canvas

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

Provenance: Fine Art Society Ltd, May 1988, GA14/13

£2,000-3,000

END OF DAY SESSION

EVENING SESSION: THURSDAY

06 JUNE 2024 FROM 6PM

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

HARVEST TIME

Signed and dated 1901, oil on board

41cm x 56cm (16in x 22in)

£2,000-3,000

Signed, signed and inscribed verso, oil on canvas

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

£1,000-1,500

ALFRED DE BREANSKI

SENIOR (BRITISH 1852-1928)

SUNRISE NEAR DUNKELD

JOHN ROBERTSON REID R.I., R.B.S., R.O.I. (SCOTTISH 1851-1926) THE LITTLE FISHERMAN

Signed and dated 1885, oil on canvas

44cm x 59cm (17.5in x 23.25in)

£800-1,200

103 § ANDREW LAW (SCOTTISH 1873-1967) MALLARD

Signed, oil on canvas

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

£1,000-1,500

WILLIAM PAGE ATKINSON WELLS (SCOTTISH 1872-1923)

HARVEST TIME

Signed, oil on canvas

33cm x 61cm (13in x 16in)

Provenance: James Craig, Glasgow

£1,500-2,000

105

JOSEPH MILNE (SCOTTISH 1857-1911)

A BUSY HARBOUR SCENE

Signed and dated ‘91, oil on canvas 30.5cm x 38cm (12in x 15in)

Note: Sailing ships and fishing boats in harbours were recurring themes throughout Joseph Milne’s career as a landscape artist from 1880 to 1911, particularly in the early 1890s. His maritime paintings depicted locations ranging from the River Thames and the River Tyne to Tayport, Perth and Leith; to Tarbert, Loch Fyne and the River Clyde on the west coast; and barges at Dordrecht in the 1880s. Many of his shipping pictures now have generic titles, with no particular location specified. When he painted this picture in 1891, he also produced another of sailing ships in Tayport Harbour. Joseph Milne first exhibited at the Royal Scottish Academy in 1877 at the age of 18, and at the Royal Glasgow Institute in 1880. He exhibited annually until 1902, before leaving Scotland in 1903. He exhibited seven pictures at the Royal Academy in London (1887 to 1908). His final Royal Glasgow Institute exhibit in 1902 was of Leith Harbour (no. 19a). Joseph was succeeded by his son, the artist John Maclauchlan Milne, R.S.A. (1885 – 1957).

We are grateful to Maurice Millar, author of The Missing Colourist: The Search for John Maclauchlan Milne RSA (privately published in 2022 and available via The Missing Colourist website) for writing this text.

£2,000-3,000

106

ROBERT WEIR

ALLAN R.S.A., R.W.S., R.S.W. (SCOTTISH 1852-1942)

A SUMMER MORNING

Signed, inscribed with the title on contemporary label verso, oil on canvas 76cm x 152cm (30in x 60in)

£4,000-6,000 107

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

DEEPENING THE RIVER

Signed and dated 1879, oil on canvas

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

£4,000-6,000

108

HORATIO MCCULLOCH

R.S.A. (SCOTTISH 1805-1867) A COASTAL SCENE WITH BEACHED FISHING BOATS

Signed, oil on canvas 41cm x 61cm (16in x 24in)

Provenance: St. Andrews Fine Art, Annual Exhibition, 1988

£800-1,200

109

HORATIO MCCULLOCH

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

A RUINED CASTLE ON THE BANKS OF A LOCH

Signed, oil on canvas

56cm x 71cm (22in x 28in)

£800-1,200

110

ALEXANDER NASMYTH (SCOTTISH 1758-1840)

THE FISHING PARTY, LOCH KATRINE

Oil on canvas

69cm x 89cm (27.25in x 35in)

Provenance: Rt. Hon. Charles Hope; Rev. David Robertson; Beaton-Brown Fine Paintings, London.

£6,000-8,000

SIR HENRY RAEBURN R.A. (SCOTTISH 1756-1823)

PORTRAIT OF MRS GEORGE WOOD

Oil on canvas

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

£12,000-18,000

Provenance: Lockett Thompson; Sotheby’s London, 31 March 1976, lot 36 (sold £1,100); The Fine Art Society Ltd, London 1977, no. 7093; Sotheby’s London, 21 November 1984, lot 57 (sold £4,950); Christie’s Scotland, 26 October 2006, lot 12 (sold £31,200).

Exhibited: Barbizon House, London, 1937

Literature: Ed. Lockett Thompson, Barbizon House: An Illustrated Record, London, 1938, illustrated no.34

Note: Dr David Mackie has confirmed the attribution of this portrait. The sitter was Isabella Campbell before her marriage to George Wood.

SIR HENRY RAEBURN R.A. (SCOTTISH 1756-1823)

HALF-LENGTH PORTRAIT OF A LADY

With later inscription verso, oil on canvas

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

£3,000-5,000

Note: The later inscription verso suggests that the sitter is Mrs Robert Muirhead. Dr David Mackie records that a portrait of this sitter was exhibited at the Loan Exhibition of Scottish Art and Antiquities, London, in 1931 but that no other record of it has been found and there is no additional evidence to substantiate this claim.

112

The isle is full of noises, Sounds and sweet airs that give delight, and hurt not. Sometimes a thousand twanging instruments Will hum about mine ears; and sometimes voices, That, if I then had waked after long sleep, Will make me sleep again; and then, in dreaming, The clouds, methought, would open and shew riches Ready to drop upon me; that when I waked, I cried to dream again.

113

SIR JOSEPH NOEL PATON

R.S.A. (SCOTTISH 1821-1901)

CALIBAN

Oil on board, circular 24cm (9in) diameter

Note: A series of engravings ‘Compositions from Shakespeare’s Tempest’ after paintings by Paton were issued by William P. Nimmo & Co. in May 1845. Caliban, Plate XI, was accompanied by the the above quotatio.:

£8,000-12,000

Subjugated native, vengeful conspirator: in this remarkable roundel Sir Joseph Noel Paton encapsulates all the idiosyncrasies of one of Shakespeare’s most ambiguous and complex characters. Caliban, former master of the island on which The Tempest is set, is robbed of his sovereignty and enslaved to Prospero. Over the play’s course he makes violent designs against Miranda and falls under Stephano’s sway, and delivers monologues about the island with great pathos and poeticism.

In this composition we find Caliban crouched on the shore. Mischievous fairies twist in the air, teasing with their pretty music: one strikes a cymbal above Caliban’s head. In torment, with shining eyes and wrought hands, Caliban can no longer distinguish between the fairies’ intoxicating song and the ‘sounds and sweet airs’ of the island. In true Shakespearean fashion, nothing - not even the island - is as it first appears.

Sir Joseph Noel Paton was renowned for his Shakespearean fairy scenes. His meticulous and descriptive style was ideally suited to the narrative subjects in which he specialised, exemplified in Caliban by the miniscule seashells and barnacles arranged around the driftwood-strewn beach, the rosy sunset casting glittering highlights across the waves, and the diaphanous silhouettes of the fairies, almost indistinguishable from the clouds.

Following studies at the Royal Academy Schools in London, Paton was invited by his friend John Everett Millais to join the Pre-Raphaelite Brotherhood. Paton declined, electing instead to return to Scotland to cultivate his expert knowledge of folklore and legend. He did, however, continue to paint in a Pre-Raphaelite style, and his subject-matter was predominantly fantastical, mythological or moralising. Upon viewing Paton’s 1849 masterpiece The Quarrel of Oberon and Titania (National Galleries of Scotland acc.no.NG293), Lewis Carroll noted with excitement in his diary: ‘we counted 165 fairies!’ Amongst his admirers was Queen Victoria, who in 1864 commissioned Queen Victoria in the Death Chamber of the Prince Consort and named him Queen’s Painter and Limner.

When he was still in his twenties, Paton published a series of engravings inspired by The Tempest in 1845, including one composition which appears to be based upon the present lot. The National Galleries of Scotland also holds a preparatory pencil sketch for Caliban, which they were bequeathed in 1946 from the collection of the Scottish Symbolist painter John Duncan (acc.no.D 4252/32 C). A similar composition by Paton dating to 1868 is held in the collection of Glasgow Life (acc.no.1804))

114

LOUIS BOSWORTH HURT (SCOTTISH 1856-1929)

HIGHLAND CATTLE IN A MOUNTAIN GLEN

Signed, oil on canvas

61cm x 101cm (24in x 40in)

£8,000-12,000

115

JAMES CASSIE R.S.A., R.S.W. (SCOTTISH 1819-1879)

STUDY OF A HEAVY HORSE ON A CLIFF-TOP

Signed and dated 1857, oil on canvas

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

£2,000-3,000

116

JAMES CASSIE R.S.A., R.S.W. (SCOTTISH 1819-1879)

STUDY OF A PRIZE COW ON A CLIFF-TOP

Signed and dated 1844, oil on board

42cm x 53cm (16.5in x 21in)

£1,000-1,500

William McTaggart’s artistic innovations represent the inception of modern art in Scotland. This distinction is particularly remarkable given that the artist had little contact with European art movements and remained in his home country for the great majority of his life. Over the course of his career he nurtured a visual language that explored the atmosphere of the natural world in all its gaiety and fragility, an idea that was increasingly expressed through breezy coastal scenes peopled by tumbling, carefree children.

Weary by the Wayside is a relatively early work dating to the period directly after McTaggart’s graduation from the Trustees Academy amongst an inordinately talented cohort including William Quiller Orchardson, John Pettie, Hugh Cameron, Peter Graham, John MacWhirter and Alexander Burr. Many of these artists moved to London, but McTaggart remained in Edinburgh, taking a studio in Charlotte Square. The more traditional subject-matter of a girl and her attendant terrier belie the picture’s technical ingenuity; the paint has been applied in highly energetic flicks, in which we can detect the genesis of McTaggart’s ‘broken colour’ technique synonymous with his later work.

117

Exhibitions of work by Pre-Raphaelites Holman Hunt and Millais were held in Edinburgh in the 1850s and ‘60s, and their influence can be detected in the jewel-like colouring and allegorical nature of The Young Trawlers. Pushing out a boat to catch fish, the more boisterous children lean over into the water, with one already brandishing a prize catch, while the younger and more tentative children hesitate in the shallows. McTaggart, who had many children himself, evidently delighted in portraying their innocent spontaneity, and his paintings of youthful activity feel tender and wellobserved.

WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) WEARY BY THE WAYSIDE

Signed with monogram, inscribed and dated 1865 verso, oil on board 30.5cm x 25.5cm (12in x 10in)

£3,000-5,000

As McTaggart matured he moved away from representational painting and prioritised working en plein air to best capture atmospheric effect, earning himself the moniker ‘The Scottish Impressionist’. In On the Beach, Bay Voyach McTaggart treats the figures and Machrihanish landscape with equal attention, emphasising qualities of dynamism and transience, so that the motion of the beach-goers is almost indistinguishable from that of the whipping wind and rolling sea. James Caw, McTaggart’s biographer, characterised McTaggart’s Machrihanish paintings by their ‘enhanced brilliance of lighting, greater purity of colour and increased freedom of handling (James Caw, William McTaggart: A Biography and an Appreciation, Glasgow, 1917, p.130). The present lot appears to be a study for the 1894 painting Macrihanish, Bay Voyach which is held in the Fleming Collection (FWAF/RF143).

John Duncan Fergusson, Modern Scottish Painting, Glasgow, 1943, p.31

118

WILLIAM MCTAGGART

R.S.A., R.S.W. (SCOTTISH 1835-1910) ON THE BEACH, BAY VOYACH

Oil on panel

20cm x 34cm (8in x 13.5in)

Provenance: Ivor McTaggart; Ewan Mundy Fine Art Ltd, Glasgow

Note: Literature: James L. Caw, William McTaggart: A Biography and an Appreciation, Glasgow, 1917, p.268

£4,000-6,000

Provenance: Christie’s, 23 March 1962, Lot 180, where purchased, and then by family descent; The Estate of Sir John and Lady Clare Keswick, Portrack House, Dumfriesshire

119

WILLIAM MCTAGGART, R.S.A., R.S.W. (SCOTTISH 1835-1910) THE YOUNG TRAWLERS Oil on board

23cm x 30.5cm (9in x 12in)

£4,000-6,000

Note: The Christie’s cataloguing states that the painting was exhibited at the Royal Scottish Academy in 1869, but this would appear to be inaccurate. Sir James Caw, McTaggart’s biographer, states that the painting exhibited in 1869 was the larger signed and dated version of the present Lot.

120

EDWARD ARTHUR WALTON R.S.A., P.R.S.W., H.R.S.W. (SCOTTISH 1860-1922)

MISS EMMY MYLNE

Signed, oil on canvas

101cm x 76cm (40in x 30in)

£6,000-8,000

121 §

SHOLTO JOHNSTONE DOUGLAS (SCOTTISH 1871-1958)

PORTRAIT OF MRS ASHTON CRITCHLEY OF STAPLETON TOWER, ANNAN

Signed, oil on canvas

240cm x 152cm (94.5in x 60in)

Provenance: Christie’s Scotland, Edinburgh, Scottish Art, 23 October 2008, Lot 24 (sold £10,000)

£6,000-8,000

This painting was exhibited at the Royal Academy with the following caption: ‘Mary, at twenty-six years of age, was consigned to the charge of the Earl and Countess of Shrewsbury, and remained a captive in their custody for nearly sixteen years. There was little love lost between the Countess and her royal prisoner. The former, familiarly known as ‘Bess of Hardwick’, was a woman of strong character and imperious disposition, and at one time she was not free from jealousy as to the effect of the Queen’s personal attractions upon her husband the Earl.’

122

JOHN CALCOTT HORSLEY (BRITISH 1817-1903)

MARY QUEEN OF SCOTS IN CAPTIVITY

Signed and indistinctly dated 1871, oil on canvas 137cm x 185cm (54in x 72.75in)

Provenance: Sotheby’s Gleneagles, Scottish and Sporting Pictures, August 29 2007, lot 2 (sold £45,600)

Exhibited: Royal Academy of Arts, London, 1871, no.193; Royal Academy of Arts, London, 1904, no.132.

£10,000-15,000

ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905)

THREE-QUARTER LENGTH PORTRAIT OF THE ARTIST JOHN RUSSELL GREIG IN HIS STUDIO

Oil on canvas laid down on board

122cm x 81cm (48in x 32in)

Provenance: The collection of the sitter, John Russell Greig

Note: John Russell Greig (1870-1963), a close friend and executor of Brough’s estate, organised memorial exhibitions in Aberdeen and London. Brough’s estate was left to Greig’s daughter and several of his finest paintings passed on to her.

£4,000-6,000

124

ROBERT BROUGH R.A., A.R.S.A.

(SCOTTISH 1872-1905)

STUDY OF A BEGGAR

Signed and inscribed ‘to my friend Mann’, further inscribed verso ‘Sketch for beggar in Anne of Brittany picture bought by Italian Government, Venice’, oil on canvas

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

Note: St. Anne of Brittany was painted in 1896 and exhibited in Munich in the same year, where it was purchased by the Italian Government for the Modern Art Gallery in Venice. (Sant’Anna di Brettagna, International Museum of Modern Art, Ca’ Pesaro, Venice)

£2,000-3,000

125

STUART PARK (SCOTTISH 1862-1933)

STILL LIFE OF WHITE ROSES

Signed, oil on canvas

41cm x 51cm (16in x 20in)

£2,000-3,000

EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933)

A JAPANESE TEA GARDEN

Signed and dated ‘94, oil on canvas laid down on panel 61cm x 41cm (24in x 16in)

£30,000-50,000

Provenance: William Davidson (1861-1945) and thence by descent to the present owner

Exhibited: The Scottish Arts Council, Kelvingrove Art Gallery & Museum, Glasgow, The Glasgow Boys 18801900, 5 July - 15 September 1968, no.65; The Scottish Arts Council, Glasgow Art Gallery, Mr Henry and Mr Hornel Visit Japan, 2 December 197814 January 1979, no. 81 (EH50), ill.p.48 and tour to

A Japanese Tea Garden is a beautiful and rare painting from Hornel’s landmark trip to Japan in 1893-94. Moreover, it comes from a distinguished private collection and has not been seen in public since it was shown in the Scottish Arts Council’s touring exhibition Mr Henry and Mr Hornel visit Japan of 1978-79.

Hornel’s decision to travel to Japan, with his friend and fellow Glasgow Boy George Henry, was the culmination of a growing interest in the country, its culture and its art. As Jean Walsh has explained:

“Henry and Hornel regarded Japan as the model society, one whose people embodied an enviable honesty, simplicity and spirituality, completely at one with their natural surroundings. The Boys admired what they saw as the external manifestation of this inner beauty and harmony in Japanese art.” (Jean Walsh, ‘A Reed Shaken by the Wind: From Kirkcudbright to Japan’, Roger Billcliffe et al, Pioneering Painters: The Glasgow Boys, Culture and Sport Glasgow and the Royal Academy of Arts, 2010, pp.58-59)

Hornel himself explained the impetus behind the trip:

“A reed shaken by the wind; to those acquainted even slightly with Japanese art the words express the spirit and motif of its dainty achievements. Japanese art, rivalling in splendour the greatest art in Europe, the influence of which is now fortunately being felt in all the new movements in Europe, engenders the desire to see and study the environment out of which this great art sprung, to become personally in touch with the people, to live their life and discover the source of their inspiration.” (E. A. Hornel, lecture for the Corporation Art Galleries, Glasgow, 9 February 1895, quoted by Walsh, op.cit., p.59)

With financial support from the art dealer Alexander Reid and ship-owner and collector William Burrell, both of Glasgow, Hornel and Henry set sail from Liverpool in February 1893 and arrived in Nagasaki in April; they were to return to Scotland after eighteen months away. As Europeans, they were required by law to live in within the

Scottish Arts Council Gallery, Edinburgh, 3 February-11

March 1979, McLaurin Art Gallery, Ayr, 17 March-8

“He was more of a compositor, taking bits he wanted from a variety of photos he took or composed while out in Japan and those he purchased from commercial photographers, like Ogawa and Tammamura…He would have also seen 126

April 1979, Inverness Museum and Art Gallery, 14 April-6 May 1979 and The Fine Art Society, London, 21

May-15 June 1979

Literature: William Buchanan et al, The Glasgow Boys Part Two: The History of the Group and Illustrations, The Scottish Arts Council, Edinburgh, 1971, pp.62 & 65, pl.47

confines of the ‘Concessions’. However, by working as house agents for some time, they were able to gain access to wider aspects of the country and its residents.

Hornel delighted in direct contact with Japanese culture and the trip proved to be a turning-point in his oeuvre. As can be seen in A Japanese Tea Garden, he revelled in the customs, clothing and decorative schemes that he witnessed. Richly evocative paintings, teeming with luminous colour and beguiling detail were realised in thickly applied oil paint, and met a triumphant reception when exhibited at Reid’s gallery La Société des Beaux-Arts in 1895. All but one of the forty-four works sold. The critic of the Glasgow Evening News exclaimed:

“Though lust of the eye is his first and last consideration he has deigned to be more intelligible in form and incident than ever before; and to most people, we fancy, those scenes of a sunny and apparently happy land of tearooms, gardens, cherry blossoms…dancing girls, samisens and junks will have even a literary appeal…There is not in the collection a single picture commonplace or feeble. They are all without exception strong, original, impressive, balanced and complete.” (Glasgow Evening News, 25 April 1895). Such was the impact of the trip that Hornel returned to Japan in 1922 and established a garden in the Japanese style at his home, Broughton House in Kirkcudbright.

A Japanese Tea Garden is also of note in regard to Hornel’s use of photography to inform his imagery. Antonia Laurence Allen has explained that the hair styles, profiles, the little table, lanterns and kakemono which appear in it were all popular features used in contemporary photographs of Japanese landscapes and interiors. (emails to Alice Strang of 3 and 29 April 2024).

She continues:

Ogawa’s books. He knew the commercial photographers and he knew William Burton who worked with Ogawa on publications. Hornel and Henry joined the photo society of Japan in 1893 when they arrived and both Ogawa and Burton were members. Hornel certainly would have seen images by Ogawa that were published in Everyday Life (1893) and Views of Tokyo in Collotype (Antonia Laurence Allen, op.cit.)

Ben Reiss has elaborated further, stating:

“There are direct links between poses in a good number of the photos and poses in lots of paintings, showing pretty conclusively that the photos he took or collected in Japan were crucial to his artistic success. You can go further, and state that it was really his exposure to photography in Japan that properly opened his eyes to the potential of the camera for his art (although he was using painting from photos before his trip).” to Alice Strang of 3 October 2023)

A Japanese Tea Garden formerly belonged to William Davidson (1861-1945), a Glasgowbased businessman and 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, as well as 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 this collection are now in the holdings of the Hunterian Art Gallery, University of Glasgow.

Further works by Hornel from the 189394 trip to Japan can be found in public collections, including the National Galleries of Scotland, Fleming Collection, National Trust for Scotland, Yale Center for British Art, Aberdeen Art Gallery and Kelvingrove Art Gallery and Museum.

We are grateful to Marianne Fossaluzza, University of Aberdeen, Antonia Laurence Allen, National Trust for Scotland and Ben Reiss, Historic Environment Scotland, for their help with our research.

Mr Henry and Mr Hornel Visit Japan, catalogue for the touring exhibition of 1978-79, featuring A Japanese Tea Garden (no.81 / EH50)

127

EDWARD ATKINSON

(SCOTTISH 1864-1933)

CHILDREN WITH GOATS

Signed and dated 1903, oil on canvas 61cm x 61cm (24in x 24in)

£12,000-18,000

HORNEL

128

EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933)

EASTER EGG ROLLING

Signed and dated 1906, oil on canvas 76cm x 91cm (30in x 36in)

Note: This charming early version of a favourite subject depicts two girls in Brighouse Bay, near Kirkcudbright, engrossed in an Easter game, presumably on Easter Sunday itself. Particular care is taken over the friends’ companionable pose, as they clasp eggs in their hands and look out to check on the progress of their rolling. They are set within an idyllic Spring scene, into which the viewer is drawn from the brightly-coloured eggs of the foreground to the graceful curve of the bay in the distance.

£15,000-20,000

EDWARD ATKINSON HORNEL

(SCOTTISH 1864-1933)

Signed and dated 1918, inscribed with title on label verso, oil on canvas

35.5cm x 25.5cm (14in x 10in)

£3,000-5,000

BONNIE FEATHERS MAK’ BONNIE BIRDS

130 CONSTANCE

WALTON R.S.W. (SCOTTISH 1865-1960) ROSES

Signed, watercolour 53cm x 74cm (20.75in x 29in)

Provenance: Mrs George Marshall, Glasgow, by 1901

Exhibited: Glasgow International Exhibition, 2 May-9 November 1901

£1,000-1,500

§

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

Signed with initials, watercolour 34cm x 48.5cm (13.25in x 19.25in)

£700-900

131

KATHARINE CAMERON

132

ALEXANDER NASMYTH (SCOTTISH 1758-1840)

PONTE DELLA MOLA NEAR ROME

Signed and inscribed ‘Edinburgh,’ watercolour

24cm x 33cm (9.5in x 13in)

£2,000-3,000

133

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

DINAN WITH THE ST. MALO STEAMER

Signed, inscribed and dated 1903, watercolour

36cm x 53.5cm (14in x 21in)

Provenance: T.H. Coats, Nitshill; Ian MacNicol, Glasgow

Exhibited : Glasgow Art Gallery, Exhibition of a Century of Art in Glasgow

£1,500-2,000

TO A SNOW-COVERED VILLAGE

Signed, oil on canvas

53cm x 66cm (21in x 26in)

£2,000-3,000

134

DAVID GAULD R.S.A. (SCOTTISH 1865-1936) PATH

DAVID GAULD R.S.A. (SCOTTISH 1865-1936) FRENCH VILLAGE IN THE SNOW

Signed, oil on canvas

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

£2,000-3,000

136

LOUIS BOSWORTH HURT (SCOTTISH 1856-1929) IN THE HIGHLANDS

Signed and dated 1898, oil on canvas

91cm x 152.5cm (36in x 60in)

£10,000-15,000

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

Signed and dated 1957, oil on canvasboard

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

Provenance: Ian MacNicol, Glasgow

£1,500-2,000

R.S.A. (SCOTTISH 1861-1931)

FEEDING THE SWANS

Signed, oil on canvas

61cm x 73.5cm (24in x 29in)

Provenance: Richard Green , London (RH 524)

£6,000-8,000

138

WILLIAM STEWART MACGEORGE

139

THE CANAL, BRUGES

Signed, oil on canvas

71cm x 91cm (28in x 36in)

£2,000-3,000

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

140 §

HASWELL MILLER A.R.S.A. (SCOTTISH 1890-1975) ST IVES HARBOUR

Signed and dated 1920, oil on canvas 76cm x 66cm (30in x 26in)

Note: Miller exhibited three oils of St. Ives at the Royal Scottish Academy, Edinburgh, in 1920. £800-1,200

JOSEPHINE

RAY AS MADAME DE BARRY

Signed and inscribed ‘For Patsy I Ev from W. Russell Flint’, signed, inscribed and dated 1967 verso, watercolour

37cm x 27cm (14.5in x 10.5in)

£8,000-12,000

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

Signed and dated Jan 1965, signed, inscribed and dated ‘Cecilia 1965’ verso, watercolour

27cm x 19cm (10.5in x 7.5in)

£6,000-8,000

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

143 §

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

Signed, watercolour 49cm x 66cm (19.25in x 26in)

Note: A signed limited edition print of 500 of this work was issued in 1943. The model was Consuelito Carmona, shown resting after a session of Spanish dancing.

£6,000-8,000

P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) TENSION, LUCENAY-LES-TROIS-TOURS

Signed, watercolour

50cm x 67.5cm (19.75in x 26.5in)

Provenance: Richard Green, London (RH 2619 MS)

£5,000-8,000

144 §

SIR WILLIAM RUSSELL FLINT

145

BESSIE MACNICOL (SCOTTISH 1869-1904) THE PINK HAT

Signed and dated ‘98, oil on canvas 51cm x 41cm (20in x 16in)

£15,000-20,000

Bessie MacNicol attended the Glasgow School of Art between 1887 and 1892. She went on to Fra Newbery’s summer schools at Lundin Links, Fife and later travelled to Paris to continue her training at the Académie Colarossi. In 1893, MacNicol exhibited for the first and only time at the Royal Academy of Arts, London and then the Royal Glasgow Institute where she would continue to exhibit until her death in 1904.

By 1894, MacNicol had returned to Glasgow and acquired a studio at 175 St Vincent Street. It was during the following years that she earned her place among the Glasgow School painters.

The influence of MacNicol’s training at the Académie Colarossi is clear in many of her paintings from the 1890s and nearly all of these are figurative works. Elegant sitters wearing an array of wide petticoats, lace, feathers, fur and millinery became a recurring theme.

The Pink Hat, an accomplished portrait of 1898, depicts a fashionable sitter wearing a turban of material styled as a tammy with pom pom, complete with a sheer veil wrapped down and around the sitter’s neck. Wide flat brush strokes create an austere background while MacNicol’s suggestive paint handling highlights the rolls of fabric upon the sitter’s head and the lace and frills of material where the dark cape is tied with a bow.

MacNicol is well represented in public collections, including Aberdeen Art Gallery, Edinburgh Museums & Galleries, Kelvingrove Art Gallery & Museum and Perth Art Gallery. In his book, Scottish Painting Past and Present (T.C. and E. C. Jack, Edinburgh, 1908, p.436), James Caw, Director of the National Galleries of Scotland, recognised MacNicol as ‘probably the most accomplished ladyartist that Scotland has yet produced.’

146 §

STANLEY CURSITER

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

GREEN SHADOWS

Signed, oil on board

3.5cm x 25.5cm (12in x 10in)

£3,000-5,000

147 §

DOROTHY JOHNSTONE A.R.S.A. (SCOTTISH 1892-1980) THE BURGUNDY CLOCHE HAT

Inscribed on the overlap ‘Sutherland, 8 Bellevue Crescent’, oil on canvas 76cm x 63.5cm (30in x 25in)

Note: Johnstone (née Sutherland) lived at 8 Bellevue Crescent, Edinburgh, from 1926 to 1931.

£2,000-3,000

148

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

LA MADELEINE AND THE RUE ROYALE, PARIS

Signed, oil on board 54cm x 79cm (21.25in x 31in)

£4,000-6,000

149

JOHN DUNCAN R.S.A., R.S.W. (SCOTTISH 1866-1945) ON THE WEST COAST

Signed, tempera on canvas laid down

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

£2,000-3,000

150

JOHN DUNCAN R.S.A., R.S.W. (SCOTTISH 1866-1945) PORT BHAN

Signed, oil on board

30.5cm x 41cm (12in x 16in)

£800-1,200

151 §

WILLIAM MERVYN GLASS R.S.A., P.S.S.A. (SCOTTISH 1885-1965)

DUTCHMAN’S CAP, IONA

Signed with initials, oil on board 36cm x 46cm (14in x 18in)

Provenance: The Open Eye Gallery, Edinburgh £1,500-2,000

152 §

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

MARWICK HEAD, ORKNEY

Signed and dated 1950, oil on canvas

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

£5,000-7,000

153 §

WILLIAM MERVYN GLASS R.S.A., P.S.S.A. (SCOTTISH 1885-1965) LUNGA FROM IONA

Signed with monogram, inscribed on the backboard, oil on board

38cm x 46cm (15in x 18in)

Provenance: George W. Service, Glasgow and thence by descent to the present owner

£1,500-2,500

PART II

PAINTINGS AND SCULPTURE

2024 marks the 150th anniversary of the birth of John Duncan Fergusson in Leith, near Edinburgh. He is arguably best known as one of the four ‘Scottish Colourists’, along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe, who are revered as the masters of modern Scottish art.

Fergusson has the most international reputation of the group, not least due to key periods spent living in Paris before World War One and during the 1930s, as well as in London between 1914 and 1929. He had three solo exhibitions in America during the 1920s.

Fergusson was the only sculptor amongst the Colourists and made and exhibited sculptures for over 35 years. His practice also embraced the performing arts, with designs for costumes and theatre sets for the productions of his eventual wife, the dance pioneer Margaret Morris. As the longest-lived of the quartet, Fergusson also played an important role in the Scottish art world after World War Two, from a base in Glasgow.

Fergusson has a special significance for Lyon & Turnbull, not least because his first studio was at 16 Picardy Place in Edinburgh, four minutes’ walk from our New Town saleroom. Furthermore, our Associate Director, Alice Strang, curated the 2013-14 National Galleries of Scotland touring retrospective of his work and edited the accompanying publication.

Lyon & Turnbull celebrated this milestone year with a touring exhibition of Fergusson’s paintings and sculpture, in partnership with the Fleming Collection and held in our London and Glasgow galleries this Spring. Culture Perth & Kinross, the custodians of the single most important public collection of Fergusson’s work, has also recently opened a new space dedicated to his achievements and those of Morris, in Perth Art Gallery. We are delighted to continue the celebration of this remarkable artist by offering the following group of paintings and sculptures to the market.

We are grateful to Amy Waugh, Culture Perth & Kinross, for her help with our research.

John Duncan Fergusson in his Paris studio, c.1910. Courtesy of Culture Perth & Kinross Museums & Galleries

In 1907, Fergusson decided to move from Edinburgh to Paris, where he was to live until 1913. This was made possible thanks to an inheritance following his father’s death the year before and was encouraged by meeting the American artist, Anne Estelle Rice, in Paris-Plage in the summer. He declared ‘Paris is simply a place of freedom’ and rented a studio at 18 boulevard Edgar Quinet in Montparnasse, the celebrated artists’ quarter. His wife, Margaret Morris, explained that ‘it overlooked the cemetery, [was] very peaceful and …[had]… a rent at that time of £12 a year.’ (Margaret Morris, The Art of J. D. Fergusson, J. D. Fergusson Art Foundation, 2010, p. 55).

Fergusson himself recalled:

“My studio at 18 Bd. Edgar Quinet was comfortable, modern and healthy. My concierge most sympathetic. Life was as it should be and I was very happy. The Dôme, so to speak, round the corner; L’Avenue quite near; the ‘Concert Rouge’ not far away – I was very much interested in music; the Luxembourg Gardens to sketch in; Colarossi’s class if I wanted to work from the model. In short, everything a young painter could want.” (Quoted in Morris, op.cit., p.55)

He captured the neighbourhood in a hand-drawn map that survives in the artist’s archive held by Culture Perth & Kinross (acc.no. 1994.1244.7) in which many of these places are noted (see figure illustration).

154 §

JOHN DUNCAN FERGUSSON

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

BOULEVARD EDGAR QUINET

Signed, inscribed and dated ‘Paris 1909’ verso, oil on board

36cm x 27cm (14in x 10.5in)

£40,000-60,000

Fergusson’s hand-drawn map of Montparnasse, featuring Boulevard Edgar Quinet. Courtesy of Culture Perth & Kinross Museums & Galleries: 1994.1244.7

Boulevard Edgar Quinet comes from of a series of vibrant Parisian street scenes which Fergusson began shortly after arriving in the French capital. His excitement about his new surroundings is clear, as he revelled in the depiction of the city’s architecture and citizens. His brushwork became bolder and his palette brighter in deftly captured scenes of daily life.

Anchored between the shop blind on the left and the boundary provided by the tree on the right, in the present painting Fergusson presents us with a setting through which the viewer’s gaze is drawn, from empty foreground to a tree-centred bustle of activity and over roofs to a hazy sky. With a confident command of modernist technique, form is indicated by way of distinct brushstrokes, whilst highlights of bright colours, including red and turquoise, enliven the composition and suggest a response to the brighter light of France compared to that of Scotland.

Further examples of contemporary Parisian street scenes can be found in the collections of Culture Perth & Kinross, Manchester Art Gallery and the Royal Academy of Music, London.

Rose in the Hair of 1908 is a tour de force example of how Fergusson’s practice flourished in the context of the very birth of modern art, following his move from Edinburgh to Paris. Indeed, his reputation is based on the seven years he spent in the French capital between 1907 and 1913, where he occupied a unique position amongst British artists within the avant-garde art scene.

Fergusson absorbed and evolved the latest developments in the work of artists including Pablo Picasso, Henri Matisse and André Derain. In fact, the undiluted colour and unrefined technique of the Fauves, or ‘wild beasts’ was of great interest to him. He and his then partner, the artist Anne Estelle Rice, became key figures in the AngloAmerican ‘Rhythmist’ group, known for their progressive arts journal Rhythm, of which he was founding Art Editor in 1911and whose works were shown in group exhibitions in London and Cologne in 1912.

The controlled, realist technique of the portraits Fergusson had made in Edinburgh, which were full of Edwardian sophistication, gave way to the bold, gestural and suggestive brushstrokes seen in Rose in the Hair, which evoke a far more modern concept of womanhood. Feminine confidence, beauty and style remain but are now celebrated by way of layered colours and a sense of spontaneity. The combination of a female figure with a decorative background was to inform much of his future work, whilst the simplification of form, structural use of outlining and bright palette show why Fergusson was elected a member of the cutting-edge Salon d’Automne the year after it was painted, in recognition of his contribution to the modern movement.

major works created between 1907 and 1910. What is clear is the rapport between model and artist, and that it was through paintings such as this that Fergusson threw off the shackles of conservative Edinburgh, emerged as an artist of daring originality and embarked upon the journey which was to culminate in his masterpiece, Les Eus of c.1913 (Hunterian Art Gallery, University of Glasgow).

During this period, Fergusson preferred to paint friends and lovers. It has been suggested that the sitter for Rose in the Hair is Anne Estelle Rice, but this has not been proven. Other possibilities could be the American writer Elizabeth Dryden or the haute couture business-owner Yvonne de Kerstratt, who also sat for him frequently; all three women feature in

Fergusson kept Rose in the Hair all his life and selected it for inclusion in solo exhibitions of his work staged by T. & R. Annan & Sons Ltd in Glasgow in 1949 (priced at £100) and at L’Institut Français d’Ecosse in Edinburgh in 1950. It also featured in the touring Memorial Exhibition organised by the Arts Council Scottish Committee of 1961-62, following the artist’s death in Glasgow.

We are grateful to Susan Moore and to Amy Waugh, Culture Perth & Kinross, for their help with our research.

155 §

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

ROSE IN THE HAIR, 1908

Signed, titled, inscribed and dated verso, oil on board

64cm x 53.5cm (25in x 21in)

Provenance: Acquired from Margaret Morris, the Artist’s wife, by the father of the present owner

£100,000-150,000

Exhibited: T. & R. Annan & Sons Ltd, Glasgow, Exhibition of Paintings by John Duncan Fergusson, September-October 1949, no.25; L’Institut Français d’Ecosse, Edinburgh, Paintings of France and Scotland by John Duncan Fergusson, 1 February-10 March 1950, no.21; Royal Scottish Academy, Edinburgh, J. D. Fergusson 1874-1961: Memorial Exhibition of Paintings and Sculpture, 11 November2 December 1961 and tour, no.39

156 §

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

TORSE DE FEMME (TORSO OF A WOMAN)

157 §

JOHN DUNCAN FERGUSSON

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

GOAT, 1921 (CAST 1991)

Bronze

10cm (4in) high

Provenance: Acquired from the Artist’s widow, Margaret Morris and thence by descent to the present owner

£3,000-5,000

1918 (CAST 1991)

Numbered 10/10, bronze with green patina 14cm x 7cm x 5cm excluding base (32.5cm x 15cm x 15cm including base)

Provenance: Acquired from Margaret Morris, the Artist’s wife, by the father of the present owner

£6,000-8,000

Torse de Femme embodies key themes in Fergusson’s sculptural practice, namely the appreciation of an idealised, cropped female form and a sleek modernism, based on curves and planes, with particular attention paid to the breasts, bottom and the base of the spine. It pays testament to the sculptors with whose work he would have been familiar in pre-war Paris, such as Constantin Brancusi, Alexander Archipenko and Jacob Epstein. Its angularity also speaks to Vorticism, whose members Wyndham Lewis, Christopher Nevinson and Edward Wadsworth Fergusson knew through the Margaret Morris Club that Morris ran alongside her dance school and theatre in London.

This sculpture was inspired by a distinctive breed of goat owned by Fergusson and Morris’s patron, the businessman George Davison. Morris’s Summer School of 1919 was held at his home, Wern Fawr, in Harlech, north Wales and she recalled: ‘There were mountain goats, used to living and breeding among rocky crags…What fascinated Fergus [sic]

was the way their hair grew…it was long but stood out in frills round their legs, like trousers. Fergus made endless sketches of them….[and]…when back in London he got a lump of plasticine and…carved it into a goat he called Trousers and got it cast in brass.’ (Margaret Morris, The Art of J. D. Fergusson: A Biased Biography, Blackie, Glasgow, 1974)

JOHN DUNCAN FERGUSSON

R.B.A.

(SCOTTISH

184-1961)

BLONDE IN THE SOUTH

Signed, dated and inscribed ‘Paris 28 Nov. ’37’ verso, further inscribed with title to contemporary label verso, oil on canvas

64cm x 54cm (25.25in x 21.25in)

Exhibited: The Fine Art Society Ltd, London, J. D. Fergusson 1874-1961, 10 September-4 October 1974, no.86 and tour to Kelvingrove Art Gallery & Museum, Glasgow, 12 October-3 November 1974 and The Fine Art Society Ltd, Edinburgh, 9 November-30 November 1974

Lyon & Turnbull, Glasgow, John Duncan Fergusson: Selected Works from Private Collections, 4-28 February 2014

Lyon & Turnbull, London, Colourists at Connaught, September 2017

£60,000-80,000

Fergusson’s love affair with the south of France really began in 1913, when he left Paris and moved to the then little-known Cap d’Antibes. He later explained “I had grown tired of the north of France; 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) His future wife, Margaret Morris, visited him there for Christmas 1913 and during the summer of 1914. However, the outbreak of World War One prompted her return to London, where she had a dance school and theatre. Fergusson joined her in the English capital shortly afterwards, where he was to live until a return to Paris in 1929 for a further decade.

Morris held her Summer School in Antibes for the first time in 1923 and, such was the couple’s love of the region, they returned there for many summers until a final visit in 1960, the year before Fergusson’s death. Blonde in the South encapsulates the sun-kissed, outdoor lifestyle that they enjoyed in the south of France, revelling in its climate, quality of light and natural beauty. Morris’s pupils danced barefoot on the beaches and in the forests and provided inspiration, subject matter and sitters for Fergusson, who captured their youth, beauty and joie de vivre in drawings and watercolours that, like Blonde in the South, he later worked up into fully-realised paintings in his studio.

The 1930s was a propitious decade for Fergusson, not least with the acquisition of his painting La Déesse de la Rivière (River Goddess) by the French state in 1931. By 1936 Fergusson was President of Le Groupe d’Artistes Anglo-Américains, whilst four solo exhibitions in London meant he also maintained a high profile in Britain. Blonde in the South is infused with the optimism of much of Fergusson’s oeuvre. It combines his appreciation of beautiful women with his love of the south of France, where carefree summer months resulted in many of his most joyful paintings.

159 §

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961)

MONTGERON

Signed, inscribed and indistinctly dated verso, oil on panel

27.5cm x 35cm (10.75in x 13.75)

Provenance: Margaret Morris Fergusson, the Artist’s widow; Private Collection, Scotland; Ewan Mundy Fine Art, Glasgow; Private Collection, Scotland.

Exhibited: Duncan Miller Fine Arts, London, J. D. Fergusson: The Scottish Colourist, 22 June-8 July 2011, no.19

£20,000-30,000

This work is believed to date from 1909, a key year in Fergusson’s career. He exhibited at the Venice Biennale for the first time and moved to the inspiring environment of a new light and orderly studio, at 83 rue Notre Dame des Champs. Moreover, his involvement with the heady creativity of pre-World War One Paris was epitomised by election to the avant-garde Salon d’Automne that year.

Montgeron is a commune some 19 kilometres to the south-east of Paris. Fergusson is known to have painted there during the summer of 1909. In this work he uses a favoured conceit of trees placed in the frontal plane to frame a scene within. Architecture is reduced to its geometric essence and planes of colour are outlined in black, showing the dramatic progress he had made since moving to Paris two years earlier. A larger version of this work, painted on canvas and dated 1909, is in the collection of Glasgow Life (Kelvingrove Art Gallery and Museum, acc.no.3172).

160 §

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

THE ARTIST’S SISTER

Oil on board

26cm x 31cm (10.25in x 12.25in)

Provenance: Sotheby’s Glasgow, Scottish and Sporting Pictures, 1 February 1994, Lot 177, where acquired by the father of the present owner

£10,000-15,000

Fergusson was the eldest of four siblings, along with Elizabeth, Christina and Robert. His sisters sat for him regularly during the early years of his career. The Artist’s Sister is an early example of how Fergusson related female beauty with the natural world, exemplified by placing flowers in his sibling’s hair; this theme was to assume great importance within his practice. Fergusson’s enjoyment of his material, applying oil in thick brushstrokes, is evident in this painting. Related portraits of the artist’s sisters are held in the collection of Culture Perth & Kinross.

161

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

STILL LIFE WITH FRUIT AND FLOWERS

Signed, oil on canvas

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

Provenance: Ian MacNicol, Glasgow

Exhibited: McLellan Galleries, Glasgow, Memorial Exhibition of Paintings by S .J. Peploe RSA, February 1937

£200,000-300,000

Still Life with Fruit and Flowers is an exceptional painting: it was created when Peploe was working most closely with his friend and fellow Scottish Colourist F. C. B. Cadell, and is in the still life genre for which he is most celebrated. Its stunning palette, cropped and asymmetrical composition, and frank technique mean that it encapsulates the ‘modern’ in modern Scottish art. It is on such bold works that Peploe’s leading reputation within twentieth-century art history is based.

Peploe and Cadell had met in Edinburgh by 1909 and both received their second solo exhibitions at The Scottish Gallery in the capital the following year. They stayed in touch during Peploe’s sojourn in Paris from 1910 until 1912 and whilst Cadell saw active service during World War One. Following his demobilisation in 1919, Cadell moved to 6 Ainslie Place in Edinburgh’s New Town, a few minutes’ walk from Peploe’s home at 13 India Street and studio at 54 Shandwick Place.

The artists’ friendship intensified and their working relationship became closer. Still Life with Fruit and Flowers shows how they even shared a taste for props, such as the orange-rimmed plate, be-ribboned black fan and blueglazed jug, the likes of which also appeared in Cadell’s contemporary paintings. The stunning lilac background which is such a feature of the present work is surely a direct reference to the colour with which Cadell painted the first floor at Ainslie Place. As T. J. Honeyman recorded: “Cadell’s studio was about the only one S. J. [sic] ever visited. They often criticised each other’s work, suggesting an improvement here and there, counselling eliminations of some passage or advising a fresh attempt.” (T. J. Honeyman, Three Scottish Colourists, London, 1950, p.66)

The still life genre was of the utmost important to Peploe throughout his career. He first emerged as an artist of importance at his inaugural solo exhibition in 1903 with a series of still lifes realised in thick, creamy paint, set

before a dark background and full of implied narratives of a sophisticated lifestyle. The time he spent in Paris before the War changed his work dramatically, as he submerged himself in the very latest developments in French art, from Cubism to Fauvism. With a medical exemption from war service, Peploe used the years of the conflict for development and exploration, including of the work of Paul Cézanne.

Elizabeth Cumming has explained the importance of Peploe’s post-war still lifes, writing:

“The end of the war seems to have spurred him to embark on a new series of brightly coloured flower paintings, integrating his unapologetic new academicism with his confidence of colour. The result spelt modernity. Despite his increasing fascination with Cézanne, Peploe was remaining loyal to the decorative values set out by Matisse…Such carefully orchestrated blasts of colour were extraordinary… As [the collector Ion] Harrison recalled thirty years later ‘I had never seen anything in art similar to these pictures and I did not understand them. They really startled me for, to my eyes, they were so ultra-modern.’” (Elizabeth Cumming, ‘Exploring the Poetics of Form: the Post-war Paintings of S. J. Peploe’ in Alice Strang et al, S. J. Peploe, National Galleries of Edinburgh, 2012, p.68)

Peploe’s paintstaking working process, by which he would arrange and re-arrange his props for sometimes days on end, resulted in the perfect pitch of inter-relationships between form and colour seen in Still Life with Fruit and Flowers. The focal point of the loosely arranged flowers in the jug makes the most of the yellow and red of the flowerheads, and their profiles, against the lilac background. The rounded form of the jug, in whose surface the windows behind the artist are reflected, anchors the composition. The cropping and overlaying of elements, from fruit on the left, to the run of bowl to plate and jug, provides rhythmic stops and fluid sightlines over the image. Peploe’s enjoyment of realising curved volume is clear in the apples in the foreground, whilst the light entering the scene from the lower left casts deftly rendered shadows that lead the eye to the right and beyond the canvas.

Still Life with Fruit and Flowers can be considered the triumphant result of some twenty years of dedication and courageous experimentation in the genre, about which Peploe was to declare in 1929: “There is so much in mere objects, flowers, leaves, jugs, what not – colours, forms, relation – I can never see mystery coming to an end.” (quoted in Stanley Cursiter, Peploe: An Intimate Memoir of an Artist and of his Work, Thomas Nelson and Sons Ltd, Edinburgh, 1947, p.73). It was selected for inclusion in the memorial exhibition of Peploe’s work mounted at the McLellan Galleries, Glasgow in 1937, following the artist’s death in Edinburgh in 1935.

Labels on the reverse of Still Life with Fruit and Flower’s frame

Pink Roses in a Blue and White Vase is a quintessential still life painting of the mid to late 1920s by S. J. Peploe and, what is more, it bears the later work Still Life with Fruit and Flowers on its verso.

In his still lifes of the 1920s, Peploe brought to bear all the experience he had gained in the genre as an emerging artist in Edinburgh before the war, his experimentation in prewar Paris and the development of his practice during the conflict. Peploe’s exploration of the work of artists, from Edouard Manet to Vincent van Gogh and Paul Cézanne, were combined with his own innovation in a significant series of works which spanned the decade.

Peploe found endless inspiration in favoured still life props, such as the blue-and-white Chinese porcelain vase, informally arranged roses and white drapery seen here. Using an elevated viewpoint and corner positioning, Peploe weights the composition to the left, whilst the roses entering from the right suggest the space beyond the confines of the canvas. The precision of his earlier efforts in the genre has given way to the looser, more expressive technique of the period. Detail is implied rather than specifically rendered, such as in the patterning of the vase and dish. Confidently applied brushstrokes are drawn across the texture of the support, layering rather than blending colours in passages which verge on the abstract, especially in the background. A more gentle palette than that used in

162

SAMUEL JOHN PEPLOE R.S.A.

(SCOTTISH 1871-1935)

PINK ROSES IN A BLUE AND WHITE VASE

Signed, oil on canvas and verso with Still Life with Fruit and Flowers

56cm x 51cm (22in x 20in)

Provenance: Acquired by the father of the present owner

£180,000-220,000

previous years sees a harmonious blend of mid-tone pink, blue, yellow and brown. The overall effect is one of a relaxed and confident master at work.

The later Still Life with Fruit and Flowers shows how Peploe maintained his fascination with the still life genre into the 1930s. New, more rustic, props were introduced, such as the earthenware vase featured here. Fruit and flowers continue to bring bright colour and compositional high notes to the image, whilst a strong use of black to outline form can be related to contemporary works by his friend and fellow Scottish Colourist, F. C. B. Cadell.

The current work takes us from the 1920s into the 1930s, following Peploe as his reputation and stature grew. Acquisitions of his work were made by several public collections, including for Manchester and Aberdeen Art Galleries. His work was shown in a group exhibition alongside Cadell, Fergusson, Hunter and others in Paris in 1931, from which one of his paintings was acquired for the French national collection. It is little wonder that, following his death in Edinburgh in 1935, David Foggie described him in The Scotsman as “one of the most interesting and inspiring of Scottish painters..one of the few whose works were highly esteemed not only in Scotland, but in England and abroad.” (David Foggie, ‘Peploe’s Art: A Scotsman under French Influence’, The Scotsman, 14 October 1935)

163

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

Oil on canvas

51cm x 71cm (20in x 28in)

Provenance: Alex. Reid & Lefevre Ltd, London; Sotheby’s Gleneagles, Scottish and Sporting Paintings, Drawings and Watercolours, 28 August 1984, Lot 964 £40,000-60,000

Peploe enjoyed a practice based on working en plein air as well as in a studio. Trees, forests and woods are a mainstay subject of the former strand in his oeuvre and he was drawn to them in locations as varied as Antibes, Cassis, Kirkcudbrightshire and the Scottish Highlands.

From the exploration of Sisley and Pissarro in Spring, Comrie of c.1902 (Kirkcaldy Museum & Art Gallery), to the post-impressionism of Landscape at Cassis, 1924 (National Galleries of Scotland) and the looser, broader River of c.1932 (Aberdeen Art Gallery & Museums), the expressive potential of trees, their trunks, branches and leaves, whether singular or growing in groups, provided Peploe with an endless variety of form and character with which to connect with nature and to establish a sense of place. The weather on his beloved Iona is too windy to permit the growth of trees.

Somewhat ironically, it was the green light reflected into his Queen Street studio in Edinburgh from the trees across the road that prompted Peploe to move studio in 1917 to 54 Shandwick Place. This was to prove his studio of longest standing and he remained there until 1934. Yet it was during the 1920s that his landscape painting developed apace. As Alice Strang has written:

“During the 1920s and early 1930s, Peploe found inspiration in the Scottish landscape of Dumfries and Galloway, Perthshire and Inverness-shire. He returned to Kirkcudbright and painted in Douglas Hall and New Abbey as well. Calvine and St Fillans drew him northwards, whilst the final and most northerly places that he painted were Boat of Garten and Rothiemurchus, where he painted his last picture. Peploe’s interest in trees as subject matter became increasingly pronounced.” (Alice Strang et al, S. J. Peploe, National Galleries of Scotland, Edinburgh, 2012, p. 24)

Wooded Landscape reveals Peploe’s mastery of oil paint in portraying a sense of natural beauty, embodied by the trees thriving under sunlight, their features, as well as those of the ground and sky, realised in rigorous, unhesitating brushstrokes. The fall of light, through varying degrees of vegetation, and creating dark shadows that heighten the contrast with the brightness elsewhere, results in an inviting scene into which the viewer is encouraged to enter.

Such was the regard for Peploe’s landscapes that his work, La forét, a view of trees in Cassis, was acquired for the French national collection in 1931.

Still Life with Chinese Bowl and Fruit 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 expressiveness of technique which earned him the sobriquet of ‘Scottish Colourist’.

When paintings of its ilk were shown in Alexander Reid’s gallery in Glasgow in 1925, the critic of the Glasgow Herald declared:

“If his colour schemes are sometimes daring they are always harmonious…presenting the essence of his subject with directness and vigour that is yet elastic, sprightly and joyous.” (Glasgow Herald, 17 December 1925)

Carefully composed upon a table-top positioned before a panelled door in his studio, Hunter has gathered together a

164

GEORGE LESLIE HUNTER (SCOTTISH 1877-1931)

STILL LIFE WITH CHINESE BOWL AND FRUIT

Signed, oil on board 68cm x 56cm (27in x 22in)

Provenance: Ian MacNicol, Glasgow £50,000-70,000

faithful cast of still-life props. The titular famille rose bowl, made for the export market, is accompanied by a Chinese red-glaze (possibly flambe-glaze) bottle vase. They are shown amongst a range of fruits, whose varying colours and forms he clearly revels in, as well as a single pink rose, positioned so that the viewer can gaze directly into its very heart. A selection of textiles, from lace doily under the bowl, to drapery arranged over part of the table and hanging behind it, add to the feeling of sensual richness.

In 1923, it was remarked of Hunter that he “loves paint and the flatness of paint. 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); this could be used as a description of Still Life with Chinese Bowl and Fruit.

Villefranche encapsulates the pleasure and inspiration Hunter found in the south of France during the 1920s, especially its architecture, natural beauty and climate.

Villefranche-sur-Mer is a town on the Côte d’Azur. Hunter spent extensive periods in the region, particularly between 1927 and 1929 and principally from a base in St-Paul-deVence. He enjoyed himself immensely and declared “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 ACC978972/25/6/3, quoted in Derek Ogston, Leslie Hunter: Paintings and Drawings of France and Italy, Baillieknowe Publishing, Kelso, 2004, 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, Introducing Leslie Hunter, Faber and Faber Ltd, London, 1937, pp.121-122)

In Villefranche, Hunter makes the most of its hillside location, creating a composition anchored by the red-tiled villa in the centre foreground, whilst neighbouring properties climb upwards to a skyline punctuated by natural features, a church tower and a lone palm-tree. The sunny, verdant view is crowned by the blue sky of a perfect summer’s day. Touches of colour provide energy and rhythm, whilst the thicklypainted surface adds a layer of sensuality to an idyllic scene.

165

GEORGE LESLIE HUNTER (SCOTTISH 1877-1931)

VILLEFRANCHE

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

Provenance: T. & R. Annans & Sons Ltd, Glasgow

Exhibited: Royal Scottish Academy, Edinburgh, Festival Exhibition: Peploe, Cadell, Hunter, 1949 £50,000-70,000

166

GEORGE LESLIE HUNTER (SCOTTISH 1877-1931)

MARIGOLDS WITH THE YELLOW CUP

Signed, oil on board

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

Provenance: T. & R. Annan & Sons Ltd, Glasgow

£50,000-80,000

Unknown Photographer. George Leslie Hunter, National Galleries of Scotland, Edinburgh: S.Ph.VII 1406-1

Marigolds with the Yellow Cup is the sister picture to the painting Peonies in a Chinese Vase in the Fleming Collection, London (acc.no.(FWAF/RF144). Their work has been exhibited under the title ‘Still Life with Fruit and Marigolds in a Chinese Vase’ and was chosen as the cover image for Bill Smith and Jill Marriner’s monograph Hunter Revisited: The Life and Art of Leslie Hunter (Atelier Books, Edinburgh, 2012). Their description of the Flemings painting can equally be applied to Marigolds with the Yellow Cup, namely:

“Hunter’s mastery of colour and texture reveals a new sensuous quality. While perspective is flattened, it is not to the severe extent of Matisse’s oversimplification. His liberated sense of pattern comes together, striking colour chords that vibrate across the surface. Hunter’s inspired brushwork ensures the richness of colour glows with energy. Clive Bell, the noted English art critic, was greatly impressed when he viewed the painting in an exhibition at Reid and Lefevre’s London gallery in the 1930s of work by contemporary British artists - some well-known, some less so – and commented ‘That is the finest picture in this exhibition. I do not know who painted it.’” (see Smith and Marriner, op.cit., pp.125-126)

Marigolds with the Yellow Cup is a leading example of Hunter’s still life paintings of the 1920s, when he was at the peak of his career. He brings together still life objects of contrasting form, nature by way of fruit and flowers, pattern – especially in the tablecloth and Persian curtain hanging on the wall to the right - colour throughout, asymmetrical balance and painterly bravado.

As Smith and Marriner have pointed out:

“Hunter had reached a point whereby colour, form and harmony were instinctively assured, allowing him to experiment with a variety of features as integral parts of a stronger design. Of course not all this change can be attributed to Matisse. Indeed the root of this transformation lies more fully in Hunter’s extensive knowledge of Cézanne’s oeuvre. The late still life paintings of Cézanne frequently include a floral-patterned curtain that drops behind a table, acting as a distinctive colour field with which other distinctly-coloured areas of the composition can interact… The combined effect of the form and grouping of the central still life elements has a wonderful sculptural quality, while the colours almost vibrate with energy. This new emphasis is borne out by his stated intention in early 1923 to devote himself to line and form.” (Smith and Marriner, ibid., p.110)

Mull from the North End of Iona is a rare example of a preWorld War One painting of the Hebridean island which was to become a mainstay of inspiration for the rest of Cadell’s career. Furthermore, it was acquired from the artist by his great patron, the Glasgow ship-owner George W. Service and has not been exhibited in public since then.

Cadell visited Iona, off the west coast of Scotland, for the first time in 1912. He returned in the summers of 1913 and 1914, before serving with the 9th Battalion, The Royal Scots and the 5th Battalion, Argyll and Sutherland Highlanders. As Alice Strang has explained:

“The ever-changing light conditions on Iona, the effect of sunshine on the shallow water along the beaches of dazzling white sand, the intensity and range of colour of the surrounding sea, sky and land, the complexity of its rock formations and wide range of views within and beyond the island, inspired Cadell time after time and he returned to Iona most summers until about 1933.” (Alice Strang, F. C. B. Cadell, National Galleries of Scotland, Edinburgh, 2011, p.19).

As seen in this painting, Cadell’s early Iona works were executed with glossy, creamy oil paint with freely applied and often short brushstrokes. The technique is more expressive than the more precisely realised images of the post-war years. To the fore are the subtle tones of pink and lilac which provided the foundation of Cadell’s distinctive palette, whatever the genre, and even informed the decorative scheme of his New Town studios in Edinburgh’s George Street and Ainslie Place. Touches of blues and greens

1932

Courtesy National Library of Scotland, Edinburgh: Acc.11224/2

express sunshine breaking through cloud, the differing depths of the sea and vegetation amongst rocks and sand.

It was during these pre-war visits that Cadell fell in love with Iona. Whilst on active service, his friend and fellow Scottish Colourist S. J. Peploe wrote to him: “When the war is over I shall go to the Hebrides, recover some virtues I have lost. There is something marvellous about those western seas. Oh, Iona. We must all go together next summer.” (Letter from S. J. Peploe to F. C. B. Cadell of 2 August 1918, quoted in Strang, op.cit., p.77). Indeed, Cadell took Peploe there in 1920 and the latter also returned for regular summer visits for the rest of his life, often choosing to paint in the beautiful North End, as Cadell did in the current work.

Cadell met George Service, who summered on Iona with his eight children and their nanny, during his first trip to the island in 1912. Service became one of Cadell’s greatest supporters and appears frequently in the artist’s Register of Pictures, which he maintained between 1907 and 1930 to record works which he sold or gave away and which is on long-term loan to the National Galleries of Scotland. As Strang continues:

“Service would don his tartan dress jacket for the night of his annual purchase of paintings by Cadell…He often bought several paintings at a time, mainly, but not exclusively of Iona…which he hung in his homes in Glasgow and Dunbartonshire.” (Strang, ibid., pp.79-80) Mull from the North End of Iona has descended directly from Service to the present owner.

Cadell photographed by Ion Harrison outside Cnoc cùil Phàil, Iona,

167

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

MULL FROM THE NORTH END OF IONA

Signed and dated ‘14, oil on canvas board

38cm x 46cm (15in x 18in)

Provenance: Acquired from the Artist by George W. Service, Glasgow and thence by descent to the present owner

£25,000-35,000

168

R.S.A., R.S.W. (SCOTTISH 1883-1937)

THE EDGE OF THE WOOD

Signed, oil on board

45cm x 37cm (17.75in x 14.5in)

Provenance: Alex. Reid & Lefevre, Glasgow

Exhibited: Scottish National Gallery of Modern Art, Edinburgh: F. C. B. Cadell, 22 October 2011-18 March 2012

£30,000-50,000

Cadell painted landscapes throughout his career, including several of the wooded terrain around Auchnacraig in Mull in the late 1920s. This painting can be related to his friend and fellow Scottish Colourist S. J. Peploe’s studies of trees at Calvine, Perthshire which he made during the summer of 1933. It may also reveal an awareness of the work of the Canadian Group of Seven artists, who showed to great acclaim in the British Empire Exhibitions in Wembley in 1924 and 1925.

FRANCIS CAMPBELL BOILEAU CADELL

169

FRANCIS CAMPBELL

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

JACK AND TOMMY: A COUPLE IN CONVERSATION

Signed with initials and dated ‘15, pen and ink and watercolour

35cm x 25cm (13.75in x 9.875in)

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

£7,000-10,000

The Health Inspection, A Couple in Conversation and Kilted Soldier and Lady come from Cadell’s celebrated Jack and Tommy series of works on paper of 1915, in which he captured aspects of life in the army and navy during his military training.

Cadell joined the 9th Battalion, The Royal Scots in 1915 and was commissioned as a 2nd Lieutenant in the 5th Battalion of the Argyll and Sutherland Highlanders two years later. The only one of the four Scottish Colourists to see active service during World War One, he was posted to the French front, was wounded twice and was awarded the General Service and Victory medals.

As Alice Strang has explained about the Jack and Tommy series:

“About fifty were shown in the Society of Eight’s exhibition of 1916, whilst twenty were published by Grant Richards, London, in 1916 in a book entitled Jack and Tommy. These witty, quickly executed images, depicting solders and sailors on duty and on leave, had titles such as ‘Delicate Banter’, ‘Their Lordships’ and ‘Tommy and the Flapper’. The brisk, economic brush-and-ink technique of these drawings seems to have been based on illustrations Kees van Dongen made in the early 1900s, for journals such as L’assiette au beurre and Gil-Blas. Of the £100 Cadell made in sales

Front cover of Jack and Tommy: Twenty Drawings by F. C. B. Cadell, Grant Richards Ltd, London, 1916

from the exhibition, he donated almost half to the Scottish Branch of the Red Cross.” (Alice Strang, F. C. B. Cadell, National Galleries of Scotland, Edinburgh, 2011, p.35)

When reviewing the 1916 exhibition, the critic of The Studio declared:

“The novelty of the Society of Eight Exhibition in their galleries in Shandwick Place, was a series of clever cartoons of soldiers and sailors… These bold sketches, in which, with a minimum of line in black, with sometimes a dash of colour introduced, a marvellous completeness of effect is produced.’ (The Studio, vol.LXVII, 1916, p.59)

Further works from the Jack and Tommy series are to be found in the collection of the National Galleries of Scotland.

Our thanks are due to Kerry Watson, National Galleries of Scotland, for her help with our research.

170

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

JACK AND TOMMY: KILTED SOLDIER AND LADY

Signed with initials and dated ‘15, charcoal and watercolour 33cm x 26cm (13in x 10.25in)

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

£5,000-7,000

171

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

JACK AND TOMMY: THE HEALTH INSPECTION

Signed with initials and dated ‘15, charcoal and watercolour 33cm x 25.5cm (13in x 10in)

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

£4,000-6,000

The Scottish Island of Iona, off the west coast of Mull, continues to attract landscape artists, as it has done for over 200 years. John Maclauchlan Milne was part of this pilgrimage in 1937, 1938 and 1939. His visits were recorded in the Guest Register of the St Columba Hotel. He had achieved his sought-after membership of the Royal Scottish Academy in February 1937 and perhaps felt that it was time for him to follow the example of those earlier artists. His fellow Colourists, Samuel Peploe and Francis Cadell had been frequent visitors to Iona: Cadell since 1912 and Peploe since 1920.

Iona is a small island, only 6.5km long. The white sand beaches of the North end (Tràigh Bhan and Tràigh an t-Suidhe) contrast with the stony beach at the South end. Whilst the precise location of this painting is not known, the North end was a favourite location and Milne painted and exhibited several pictures of those white sand beaches. Very few of his Iona pictures are dated.

172 §

JOHN MACLAUCHLAN MILNE

R.S.A. (SCOTTISH 1885-1957)

IONA

Signed, oil on canvas

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

Provenance: Purchased from the Artist by the father of the present owner

Exhibited: Dundee Art Galleries & Museums, John Maclauchlan Milne RSA 1885-1957: A Centenary Exhibition, 14 September-19 October 1985, no.15 (titled ‘Iona’ and dated to the late 1920s)

Roseangle Gallery, Dundee, An Exhibition of the Work of John Maclauchlan Milne 1885-1957, 25 June-23 July 2022, no.41 (titled ‘Iona Beach’ and dated to the late 1930s)

£20,000-30,000

John Maclauchlan Milne by Edward Drummond Young. National Galleries of Scotland, Edinburgh: PGP 788.20

Milne’s studio exhibition in Dundee in October 1937 was reviewed in The Courier. Under the heading ‘Sojourn in Iona’ the reviewer wrote:

“He has painted chiefly on the north and west of the little island, brilliantly capturing the glowing colours of sky and wine-dark ocean when the wind blows from the Treshnish Isles and Staffa.”

Milne’s Iona paintings began appearing as part of his solo exhibition in Glasgow in September/October 1937 at the Pearson & Westergaard Gallery; at his studio exhibition in October and at the Royal Glasgow Institute that same year; and then at The Empire Exhibition in Glasgow the following year (May 1938). His Iona painting from the 1938 Royal Scottish Academy exhibition was purchased by IBM to represent Scotland in their Contemporary Art of 79 Countries display at The World’s Fair, New York, July/August 1939.

We are grateful to Maurice Millar, author of The Missing Colourist: The Search for John Maclauchlan Milne RSA (privately published in 2022 and available via The Missing Colourist website) for writing this catalogue note.

The striking diagonal composition of Red Flowers, from the drapery in the left-hand foreground to the red flowerhead at the upper right, is combined with a primary palette of red, white and blue. Adventurous aspects, such as the textile occupying almost a quarter of the image and the assured signature applied – and indeed underlined – across it, show an artist working with confidence. A more classical approach is taken to the arrangement of the figurine and other items upon a reflective table-top. Maclauchlan Milne’s enjoyment of the curves of stems, leaves and petals is clear and is

173 §

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

RED FLOWERS

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

Provenance: Purchased from the Artist by the father of the present owner

Exhibited: Dundee Art Galleries & Museums, John Maclauchlan Milne RSA 1885-1957: A Centenary Exhibition, 14 September-19 October 1985, no.35Roseangle Gallery, Dundee, An Exhibition of the Work of John Maclauchlan Milne 1885-1957, 25 June23 July 2022, no. 23 £10,000-15,000

echoed, in part, in the decoration of the jug. As pointed out by the artist’s biographer, Maurice Millar, he began to paint still lifes in about 1925 and is believed to have continued working in the genre until at least 1934. (email to Alice Strang of 14 April 2024). The current painting is a fine example, imbued, as it is, with colour and verve.

We are grateful to Maurice Millar, author of The Missing Colourist: The Search for John Maclauchlan Milne RSA (privately published in 2022 and available via The Missing Colourist website) for his help with our research

174 §

JOHN MACLAUCHLAN

MILNE R.S.A.

(SCOTTISH 1885-1957)

JARDIN DU LUXEMBOURG

Signed, oil on board

33cm x 46cm (13in x 18in)

Provenance: Sotheby’s Gleneagles, Scottish and Sporting Pictures and Sculpture, 5 September 2001, Lot 1287

Bonhams Edinburgh, The Winter Fine Sales, 4 December 2009, Lot 56

Exhibited: Roseangle Gallery, Dundee, An Exhibition of the Work of John Maclauchlan Milne 1885-1957, 25 June23 July 2022, no.17

£15,000-20,000

This joyful painting of a fountain in the Luxembourg Gardens in Paris shows how taken Maclauchlan Milne was with the French capital, including its verdant and welltended parks. The Gardens were established in 1612, cover 55 acres and remain popular to this day. Maclauchlan Milne would also have been drawn to the Musée du Luxembourg there, which was then devoted to the work of living artists.

Maurice Millar, the artist’s biographer, has explained that Maclauchlan Milne’s dated pictures of Paris are from 1920, 1921 and 1922, although by no means all were classified in this way. (email to Alice Strang of 14 April 2024). Millar continues:

“Maclauchlan Milne had his first solo exhibition at the gallery of Thomas Murray & Sons in Dundee in early April 1921 and this show included several Paris pictures.

Sometime in 1921-22 he took over a studio at 132a Nethergate, Dundee. This would be his Scottish base until he left for Arran in 1940. Probably it was his first studio exhibition… [that was]…reported in the press in May 1922 under the heading ‘Paris in Dundee’, which stated: ‘A residence in Paris gave him a greatly broadened technique and a fierce joy in pure colour.’” (Maurice Millar, op.cit.).

Indeed, it was said of Maclauchlan Milne’s Paris paintings that they ‘betray a daring in treatment and colouring’ when two were shown at the Royal Glasgow Institute in 1922. This description could be applied to Jardin du Luxembourg without hesitation.

We are grateful to Maurice Millar, author of The Missing Colourist: The Search for John Maclauchlan Milne RSA (privately published in 2022 and available via The Missing Colourist website) for his help with our research

Having lived in France for fourteen years and following the birth of her three sons there, Redpath returned to the Scottish Borders in 1934. She lived first at 52 Orchard Terrace, Hawick, before moving to nearby 5 Beaconsfield Terrace. She resumed painting in earnest and was soon embedded in the Edinburgh art world, as a member of the Society of Scottish Artists and the Scottish Society of Women Artists. Her work was shown regularly in group exhibitions in Edinburgh, Glasgow and, from 1946, in London. Her first solo exhibition in Scotland was held at the Gordon Small Gallery in the Scottish capital in 1947, the year in which she was elected an Associate of the Royal Scottish Academy.

Interior with Patterned Rug dates from this propitious period in Redpath’s career. She continued the tradition of the interior in Scottish art history, following in the footsteps of forebears including David Wilkie, Wiliam Quiller Orchardson and more recently F. C. B. Cadell, and made a distinct contribution to the genre in her own right. Having been struck by the effect of a colourful rug hung on white plaster walls in Florence whilst on an Edinburgh College of Art travelling scholarship, Redpath thereafter took great care over the decoration and furnishing of her homes. They in turn became the subject of some of her most celebrated works, not least The Mantelpiece of c.1947 in the collection of the National Galleries of Scotland.

Anne Redpath, The Mantelpiece, c.1947, oil on plywood, 61 x 60cm. National Galleries of Scotland, Edinburgh: Bequeathed by Dr R. A. Lillie 1977. GMA 1960.

© Artist’s Estate, courtesy the Royal Scottish Academy of Art & Architecture, Edinburgh

Redpath’s training at Edinburgh College of Art, where she was an outstanding student, and her direct exposure to modern French art during the 1920s and early 1930s, particularly that of Henri Matisse and Eduoard Vuillard, also contributed to the achievements realised in works such as Interior with Patterned Rug. From a slightly raised, oblique viewpoint, Redpath orchestrated a complex composition of white painted furniture, carefully rendered still life objects dispersed across the image, the patterned rug which takes up almost half of the canvas surface area and a deft use of colour to draw the eye around the room.

As Philip Long has pointed out:

“The similarity of Redpath’s work from the 1940s to aspects of Matisse’s painting is clear, in particular the tendency to flatten forms and make them decorative elements in an overall pictorial design and the ability to use colour to create harmonies, striking juxtapositions and to express volume.”

(Philip Long, Anne Redpath 1895-1965, National Galleries of Scotland, Edinburgh, p.19) The present painting is at once highly personal, providing a glimpse into a domestic space, as well as international in its art historical scope.

175 §

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) INTERIOR WITH PATTERNED RUG

Signed, oil on panel laid down 80cm x 95cm (31.5in x 37.5in)

£30,000-50,000

176 §

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

Signed, oil on board

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

£12,000-18,000

177 §

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

Pastel on sandpaper

28cm x 21.5cm (11in x 8.5in)

£15,000-20,000

Eardley’s instinctive rapport with the children of the Townhead district of Glasgow, whether observed in the streets or portrayed in her studio, is clear in the affectionate yet unsentimental paintings and works on paper in which they feature.

As her friend and biographer Cordelia Oliver explained:

“Above all, her subject was the working-class Glasgow child whom she made live as no one before her. The artist herself, gentle by nature and indeed, almost too modest (although her work always shows the ruthlessness of utter integrity) was taken for granted by the shy, dour, giggling, hopping, skipping, baby-minding and comic-reading raggle-taggle hordes she constantly drew – and gave ‘pieces’ to. It was this that made her able to light the spark that always flies between painter and sitter in the making of a fine portrait.”

(Cordelia Oliver, ‘Joan Eardley RSA’, Joan Eardley RAS (19211963): A Memorial Exhibition, Scottish Committee of the Arts Council of Great Britain, 1964, exh.cat., p.2)

Audrey Walker, Eardley with children in her studio with a painting of Brian and Pat Samson in the background Gracefield Art Centre, Dumfries. Courtesy of the Walker Family

Not least due to her young subjects’ energy, Eardley worked at speed, often using pastel to introduce areas of rich colour and sometimes, as in The Patterned Skirt, on sandpaper, whose abrasiveness adds a tactility and sense of material realism. The girl’s thoughtful gaze at first the artist and now the viewer is compounded by the neat holding of her hands in her lap. A varied, gestural use of pastel captures the vivid patterning and palette of the titular garment, conveying a sense of the immediacy of and moment of execution.

Eardley herself stated:

“The character of Glasgow lies in its back streets which are for me pictorially exciting…The back streets mean almost entirely…playing children – all over the streets…They usually come up and say ‘Will you paint me?’ In fact I am always having knocks on the door and this question. Some of them I don’t feel particularly interested in and so I just send them away, but the ones that I want to paint, I try to get to sit still…and do the best I can.” (quoted by Oliver, op.cit., p.9)

21.5cm x 16.5cm (8.5in x 6.5in)

Provenance: Cyril Gerber Fine Art, Glasgow

Browse & Darby, London (S5276)

£4,000-6,000

178 §

JOAN EARDLEY R.S.A.

(SCOTTISH 1921-1963)

GIRL IN WHITE SINGLET

Pastel

179 §

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

Signed, pastel on conjoined sheets

11.5cm x 17.5cm (4.5in x 7in)

Provenance: The Scottish Gallery, Edinburgh, cat.no. 315

£5,000-7,000

180 §

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

FIGURES IN AN ORCHARD

Signed, mixed media

49cm x 72cm (19.25in x 28.25in)

Provenance: Acquired by the Great-Aunt of the present owner

£4,000-6,000

JOAN

JOAN EARDLEY R.S.A.

(SCOTTISH 1921-1963)

CATTERLINE

Oil on board

28cm x 52cm (11in x 20.5in)

Provenance: The Artist’s Estate, no.EO 307; The Scottish Gallery, Edinburgh (2160)

£15,000-20,000

Catterline is believed to depict South Row in the titular fishing village on the north-east coast of Scotland that inspired many of Joan Eardley’s most celebrated works. Eardley first visited Catterline in 1951 and made frequent painting trips there between 1952 and 1954, before renting the small cottage at No. 1 South Row. She thereafter divided her time between Catterline and Glasgow, eventually using No.1 as a store and buying No. 18 in 1959.

The modest dwellings, ten in all, make up the longest of the three ‘rows’ in the village, all built in the 18th century on a slope and facing north-east over the bay. With the others, ‘they form a little necklace of cottages which fringe the

top of a steep cliff’ and several remained without water or electricity until the 1980s. (Patrick Elliott, Joan Eardley: Land & Sea – A Life in Catterline, National Galleries of Scotland, Edinburgh, 2021, pp.14 & 26)

Catterline reveals the deep connection Eardley developed with the village, its natural environment, the impact of the cycle of the seasons there and its often-heightened weather conditions. With a technique as varied and expressive as the scene before her and the sensations experienced whilst painting it, the little houses hold their place amidst the physicality of the earth in the foreground and the drama played out across the sky above their rooves.

In 1961, Eardley declared:

“When I’m painting in the north-east I hardly ever move out of the village…I find that the more I know of the place, or of one particular spot, the more I find to paint…I don’t think I’m painting what I feel about scenery, certainly not scenery with a name; because that is the north east, just vast wastes, vast seas, vast areas of cliff…well – you’ve just got to paint it.‘ (quoted in Patrick Elliott and Anne Glastro, Joan Eardley: A Sense of Place, Edinburgh, 2016, p.11)

© Artist’s Estate

George Oliver, The Row, Catterline. National Galleries of Scotland, Edinburgh: 2016AB29792

182 §

IAN FLEMING R.S.A., R.S.W., R.G.I., L.L.D. (SCOTTISH 1906-1990) THE BROWN SAIL, ARBROATH

Signed, oil on canvas

76cm x 101cm (30in x 40in)

Exhibited: Royal Scottish Academy, Edinburgh, 1953, no.280

£4,000-6,000

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

Signed and dated 1979/80, watercolour 57cm x 79cm (22.5in x 31in)

Provenance: Christie’s Scotland, Edinburgh, The Scottish Sale, 26 October 2006, Lot 203 (sold £3,840)

£2,000-3,000

JOHN HOUSTON

SUNSET OVER THE COAST

185 §

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

A FRESH BREEZE

Signed and dated ‘60, oil on board

30.5 x 41cm (12in x 16in)

Provenance: The Scottish Gallery, Edinburgh

£1,500-2,000

184 §

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

SUNDOWN EAST LOTHIAN

Signed and dated ‘69, oil on board

30.5cm x 41cm (12in x 16in)

£1,500-2,000

186 §

SIR WILLIAM GEORGE GILLIES

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

JAPANESE STILL LIFE

Signed, oil on board

37cm x 18cm (14.5in x 7in)

Provenance: William J. Macaulay, Edinburgh

Exhibited: Aitken Dott & Son, Edinburgh, William J. Macaulay Collection, 1979, no.18

£1,500-2,000

187 §

JOHN BYRNE R.S.A. (SCOTTISH 1940-2023)

THE STREETS OF NEW YORK I

Signed, mixed media

35cm x 25.5cm (13.75in x 10in)

£2,000-3,000

188 §

JOHN BYRNE R.S.A.

(SCOTTISH 1940-2023)

THE STREETS OF NEW YORK II

Signed, mixed media

35cm x 25.5cm (13.75in x 10in)

£2,000-3,000

189 §

JACK VETTRIANO O.B.E. (SCOTTISH 1951-)

WE CAN’T TELL RIGHT FROM WRONG

Signed lower right, oil on canvas

80cm x 70cm (31.5in x 27.5in)

Exhibited: Corrymella Scott Gallery, Jack Vettriano: Exhibition of New Paintings, Edinburgh, August 1995

£20,000-30,000

WILLIAM JOHNSTONE O.B.E. (SCOTTISH 1897-1981) AFTER BOMB DAMAGE

Signed, inscribed and dated 1929-1969 verso, oil on canvas

136cm x 244cm (53.5in x 96in)

£10,000-15,000

Lyon and Turnbull are pleased to offer After Bomb Damage (1929-69) by William Johnstone, one of the most monumental oils by the artist to appear on the market for some time.

Johnstone was known to re-visit and re-work his oils overs years, or even decades, as is the case here. As Dr Beth Williamson notes, the scale, initial dates, darkness and subject of this painting sits well with other paintings by Johnstone such as A Point in Time and Golgotha, Johnstone’s most noted masterworks. Indeed, it seems positioned somewhere between these two in terms of palette and tone with hints of the blues of A Point in Time and the geometric shapes of Golgotha Williamson highlights the important role of Johnstone’s fascination with the concept of time, postulating that this fed into his methodology of re-visiting and making additions to artworks across several years. It is known he explored different perspectives of how we understand time such as J.W. Dunne’s An Experiment in Time (1927) and Percy Wyndham Lewis’s Time and Western Man (1927).

1929, the date this painting was begun, was of course the year of the Wall Street Crash. The economic collapse put paid to Johnstone’s ambitions to settle in America, forcing he and his first wife Flora’s return to Scotland initially, and latterly London. It has also been said to mark a period which saw him begin to turn away from his art practice in disillusionment. Johnstone was a staunch individualist, opposed

to conforming to the dictates of his dealers. An ideologue and an innovator, he discovered instead a passion for teaching, holding the position of Principal at the Camberwell School of Art and Design between 1938 and 1945 and later at the Central School of Arts and Crafts until the 1960s.

Dr Williamson notes that both A Point in Time and Golgotha are anti-war paintings, and the title of this work would seem to place it within the same body of work. Johnstone’s art is in essence deeply psychological, and in his painting one can perhaps perceive

the reverberating impact of World War 1. Though Johnstone was fortunate not to see active service, the residual trauma that affected the nation and the seismic break in the order of things left a deep mark on the artist. 1929 accelerated a crumbling in the sense of order; the looming spectre of further global unrest beginning to take form.

When Johnstone returned to this painting latterly in the 60s, he would also have seen plenty of the titular bomb damage first hand. Johnstone held the post of Principal at the Camberwell School of Art and Design between 1938 and 1946. During WWII the Junior School

was evacuated (1941-42), first to Chipstead and later to Northampton with other students from the school, although Printing continued. Johnstone reopened the school in the autumn of 1943, and there are student accounts of it as badly bombed, poorly lit and cold.

We are grateful to the kind assistance of Dr Beth Williamson in cataloguing this lot.

Her cultural biography of William Johnstone is forthcoming with Edinburgh University Press.

191 §

JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013)

SELF-PORTRAIT WITH BLACK CAT

Signed, oil on canvas, unframed 122cm x 122cm (48in x 48in)

£6,000-8,000

INDEX OF ARTISTS

Adam, Patrick William 39

Alexander, Edwin 75

Allan, Robert Weir 106

Armour, George Denholm 78

Armour, Mary Nicol Neill 99

Baird, Edward 68

Barclay, John Rankine 27, 28

Bellany, John 191

Breanski Senior, Aldred de 101

Breanski, Alfred Fontville de 19

Brough, Robert 123, 124

Burns, Robert 26

Byrne, John 187, 188

Cadell, Francis Campbell Boileau 92, 167- 171

Cameron, Duncan 5, 21

Cameron, Katherine 34, 35, 131

Cassie, James 115, 116

Cursiter, Stanley 137, 146, 152

Dekkert, Eugen 22

Douglas, Sholto Johnstone 121

Duncan, John 71, 149, 150

Eardley, Joan 177-181

Faed JR, James 53

Faed, Thomas 56

Farquharson, David 100, 107

Fergusson, John Duncan 80-89, 154-160

Fleming, Ian 182

Flint, Sir William Russell 141-144

Frazer, William Miller 23

Garland, Henry 25

Gauld, David 11, 134, 135

Gibson, William Alfred 18

Gillies, Sir William George 93-95, 186

Glass, William Mervyn 151, 153

Graham, Peter 17

Hamilton, James Whitelaw 4, 65

Hardie, Charles Martin 20

Henry, George 29, 30

Herald, James Watterston 42-48

Hope, Robert 24

Hornel, Edward Atkinson 126-129

Horsley, John Calcott 122

Houston, John 183

Hunter, George Leslie 90, 91, 164-166

Hurt, Louis Bosworth 114, 136

Hutchison, Robert Gemmell 38, 57, 62

Jamieson, Alexander 66

Johnstone, Dorothy 70, 147

Johnstone, William 190

Kay, Archibald 3

Kay, James 139, 148

Laing, Annie Rose 60

Lamond, William Bradley 41

Law, Andrew 103

MacGeorge, William Stewart 138

MacNee, Robert Russell 2

MacNicol, Bessie 145

MacTaggart, Sir William 79, 98, 184, 185

McBey, James 36, 63

McCulloch, Horatio 52, 108, 109

McGhie, John 1

McKay, William Darling 16

McTaggart, William 117-119

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

Miller, Josephine Haswell 140

Milne, John MacLauchlan 69, 172-174

Milne, Joseph 6, 7, 105

Morrocco, Alberto 97

Mouncey, William 64

Murray, John Reid 61

Nasmyth, Alexander 110, 132

Nasmyth, James (Attributed to) 54

Nasmyth, Patrick (Attributed to) 55

Park, Stuart 59, 125

Paterson, James 133

Paton, Sir Joseph Noel 113

Patrick, James McIntosh 9, 10, 76

Peploe, Samuel John 161-163

Perman, Louise Ellen 58

Pringle, John Quinton 96

Pryde, James Ferrier 74, 77

Raeburn, Sir Henry 111, 112

Redpath, Anne 175, 176

Reid, John Robertson 8, 102

Scott, Tom 32, 33

Scottish School 49

Smith, John Guthrie Spence 14

Sticks, George Blackie 37, 40, 50

Sutherland, David Macbeth 72, 73, 147

Thomson, John Murray 67

Tonge, Robert 51

Vettriano, Jack 189

Walton, Constance 130

Walton, Edward Arthur 120

Watson, Robert 15

Wells, William Page Atkinson 104

Wood, Frank Watson 12, 13, 31

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

DUFFY AYERS (BRITISH 1915-2017)

WELSH MUG & IVY [DETAIL]

Signed lower left, oil on board

20.5cm x 29.5cm (8in x 11.75in)

Provenance: Property from Great House, Dedham, Essex

£300-500 + fees

Welcome to The Art Edit, a platform for affordable paintings, works on paper, prints and more. From the traditional to the cutting-edge, discover pictures by collectable artists such as Käthe Kollwitz, Julian Opie, Alasdair Gray, George Leslie Hunter, Margaret Morris, Sir William George Gillies, Alberto Morrocco, and Doris Zinkeisen.

AUCTION 26 JUNE | LIVE ONLINE

For more information please contact Chantal de Prez 0131 557 8844 | chantal.deprez@lyonandturnbull.com

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

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

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

warranties are given.

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

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

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

B. REGISTERING TO BID

1. NEW BIDDERS

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

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

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

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

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

2. RETURNING

BIDDERS

We may at our discretion ask You for current identification as described in paragraph B.1.(a) above, a finance

reference or a deposit as a condition of allowing You to bid. If You have not bought anything from us in the last two years, or if You want to spend more than on previous occasions, please contact our Finance Department on +44(0)131 557 8844.

3. FAILURE TO PROVIDE THE RIGHT DOCUMENTS

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

4. BIDDING ON BEHALF OF 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. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, 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. More information on Droit de Suite is available at www.dacs.org.uk.

E. WARRANTIES

1. SELLER’S WARRANTIES

For each Lot, the Seller gives a warranty that the Seller; (a) Is the owner of the Lot or a joint owner of the Lot acting with the permission of the other co-owners, or if the Sellers is not the owner of or a joint owner of the Lot, has the permission of the owner to sell the Lot, or the right to do so in law, and; (b) Had the right to transfer ownership of the Lot to the Buyer without any restrictions or claims by anyone else. If either other above warranties are incorrect, the Seller shall not have to pay more than the Purchase Price (as defined in the glossary) paid by You to us. The Seller will not be responsible to You for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expense. The Seller gives no warranty in relation to any Lot other than as set out above and, as far as the Seller is allowed by law, all warranties from the Seller to You, and all obligations upon the Seller which may be added to this agreement by law, are excluded.

2. AUTHENTICITY GUARANTEE

We guarantee that the authorship, period, or origin (collectively, “Authorship”) of each Lot in this Catalogue is as stated in the BOLD or CAPITALISED type heading in the

Catalogue description of the Lot, as amended by oral or written saleroom notes or announcements. We make no warranties whatsoever, whether express or implied, with respect to any material in the Catalogue other than that appearing 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 payment whichever is later. Please note we do not accept cheques. 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/imports-

We accept no liability for any Lots which may be subject to CITES but have not be identified as such.

I. OUR LIABILITY TO YOU

(a) We give no warranty in relation to any statement made, or information give, by us, our representatives or employees about any Lot other than as set out in the authenticity warranty and as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are exclude. The Seller’s warranties contained in paragraph E.1 are their own and we do not have a liability in relation to those warranties.

(b) (i) We are not responsible to You for any reason whether for breaking this agreement or any other matter relating to Your purchase of, or bid for, any Lot other than in the event of fraud or fraudulent misrepresentation by us other than as expressly set out in these conditions of sale; or

(ii) We do not give any representation, warranty or guarantee or assume any liability for a kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance, except as required by local law, any warranty of any kind is excluded by this paragraph.

(c) in particular, please be aware that our written and telephone bidding services, Lyon & Turnbull Live, Condition Reports, currency converter and saleroom video screens are free services and we are not responsible for any error (human or otherwise) omission or breakdown in these services.

(d) We have no responsibility to any person other than a Buyer in connection with the purchase of any Lot

(e) If in spite of the terms of this paragraph we are found to be liable to You for any reason, we shall not have to pay more than the Purchase Price paid by You to us. We will not be responsible for any reason for loss of profits, business, loss of opportunity or value, expected savings or interest, costs damages or expenses.

J. OTHER TERMS

1. OUR ABILITY TO CANCEL

In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if;

(i) Any of our warranties are not correct, as set out in paragraph E3, (ii) We reasonably believe that completing the transaction is or may be unlawful; or

(iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage our reputation.

2. RECORDINGS

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

3. COPYRIGHT

We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission. We do not offer any guarantee that You will gain any copyright or other reproductions to the Lot.

4. ENFORCING THIS AGREEMENT

If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force.

5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES

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

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.

GUIDE TO BIDDING & PAYMENT

REGISTRATION

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

1 – Government issued photo ID (Passport/Driving licence)

2 – Proof of address (utility bill/bank statement). We may, at our option, also ask you to provide a bank reference and/or deposit.

By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale.

BIDDING IN THE SALEROOM

At the Sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. Please ensure that the auctioneer repeats your bidder number correctly when confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer’s attention immediately. All lots will be invoiced to the name and address given on your registration form, which is non-transferable.

BIDDING OUTSIDE THE SALEROOM

BY PHONE

A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk.

IN WRITING

Bid forms are available at the sale and/ or the back of the catalogue. These should be submitted in person, by post, or by fax as soon as possible prior to the sale and we will bid on your behalf up to the limit indicated. In the event of receiving two identical bids the first one received will take precedence All bids must be received an hour before the sale. This service is provided entirely at the bidder’s risk.

ON THE INTERNET

- ABSENTEE BIDDING

Leave a bid online through our website, call us on 0131 557 8844 or email info@lyonandturnbull.com

- BID LIVE ONLINE

Bid live online, for free, with Lyon & Turnbull Live. Just click the button from the auction calendar, sale page or any lot page online to register.

PAYMENT

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

Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received. Payment may be made by the following methods:

BANK TRANSFER

Account details are included on any invoices we issue or upon request from our accounts department.

ONLINE CREDIT OR DEBIT CARD PAYMENTS

We no longer accept card payments by phone. Please use our online payment service (provided by Opayo).

You will find a link to this service in any email invoice issued or you can visit the payments section of our website.

CASH

No cash payments will be accepted for this auction.

COLLECTION

OF PURCHASED LOTS

Please refer to page 2 of this catalogue.