Scottish Paintings & Sculpture

THURSDAY

05 DECEMBER 2024

DAY SESSION

LOTS 1-102 AT 2PM

EVENING SESSION LOTS 103-196 AT 6PM

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Sale Number LT818

Lyon & Turnbull 33 Broughton Place

Front Cover Lot 188 [detail]

Inside Front Cover Lot 146 [detail]

VIEWING

Sunday 1st December 12noon-4pm

Monday 2nd December 10am-4.30pm Tuesday 3rd December 10am-4.30pm Wednesday 4th December 10am-4.30pm Day of sale 10am-12noon

EDINBURGH EH1 3RR CONTACT

LONDON

info@lyonandturnbull.com

BUYER'S GUIDE

BUYER’S PREMIUM

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

26% up to £20,000

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

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

ADDITIONAL VAT

† VAT at the standard rate payable on the hammer price

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

Ω Standard rate of import VAT on the hammer price

Lots affixed with ‡ or Ω symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2.

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

DROIT DE SUITE

§ indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under 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.

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

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

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

REGISTRATION

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

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

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

BIDDING & PAYMENT

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

REMOVAL OF PURCHASES

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

CATALOGUE DESCRIPTIONS

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

IMPORT/EXPORT

Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot.

ENDANGERED SPECIES

Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside Great Britain. For more information visit http:// www.defra.gov.uk/ahvla-en/importsexports/cites

COLLECTION OF PURCHASED LOTS

All collections will be by appointment only (this applies to both carriers and personal collections). To make an appointment call 0131 557 8844 or email info@lyonandturnbull.com.

Please ensure payment has been made prior to collection. This can be done by bank transfer, and debit/credit card online (powered by Opayo) - details will be shown on your invoice. Please note we are unable to take payments over the phone.

MEET THE SPECIALISTS

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

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

Chantal

Charlotte Riordan Senior Specialist charlotte.riordan@lyonandturnbull.com

SIR DAVID MURRAY R.A., H.R.S.A., P.R.I., R.S.W. (SCOTTISH 1849-1933)

UPPER PARK, DEDHAM

Signed and dated ‘91, oil on canvas

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

£1,500-2,000 2

JOHN MCGHIE (SCOTTISH 1867-1952) A BLUSTERY WALK BY THE SEASIDE

Signed, oil on canvas

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

£1,000-1,500

GEORGE HOUSTON

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

SUMMER BY THE LOCH

Signed, oil on board

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

£600-900

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

ON THE RIVER BANK

Signed, oil on canvas

66cm x 91cm (26in x 36in)

£1,500-2,000

ROBERT MCGOWN COVENTRY A.R.S.A., R.S.W. (SCOTTISH 1855-1941) ON THE SEINE, NOTRE DAME IN THE DISTANCE

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

£1,000-1,500

DAVID FARQUHARSON

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

Signed and dated 1879, oil on canvas

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

£2,000-3,000

JAMES MCINTOSH

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

COUNTRY LANE

Signed, watercolour

47cm x 68cm (18.5in x 26.75in)

£800-1,200

8 §

JAMES MCINTOSH

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

NEAR ABERNYTE

Signed, watercolour

54cm x 74cm (21.25in x 29cm)

£1,000-1,500

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

STUDY FROM NATURE AT ABERDOUR

Bears signature, inscribed with a contemporary label verso, oil on canvas

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

£800-1,200

ROBERT WATSON (BRITISH 1865-1916)

SHEEP ON A ROCKY OUTCROP

Signed and dated 1895, oil on canvas

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

£800-1,200

11

GEORGE BLACKIE STICKS (SCOTTISH 1843-1938)

HIGHLAND PANORAMA

Signed and dated 1900, oil on canvas

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

£800-1,200

12

ROBERT WATSON (BRITISH 1865-1916)

HIGHLAND CATTLE WATERING IN A MOUNTAIN STREAM

Signed and dated 1900, oil on canvas

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

£1,000-1,500

ROBERT MCGOWN

COVENTRY A.R.S.A., R.S.W. (SCOTTISH 1855-1941)

FISHING BOATS IN AN ESTUARY

Signed and dated 1893, oil on canvas 61cm x 91cm (24in x 36in)

£2,000-3,000

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

THE JETTY, LE HAVRE

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

£1,500-2,000

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

CALVES BY THE SEA

Signed, oil on canvas

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

£2,000-3,000

ROBERT BURNS A.R.S.A. (SCOTTISH 1869-1941) TREES IN A SNOWY LANDSCAPE

Signed, watercolour

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

£600-900

TOM SCOTT R.S.A. (SCOTTISH 1854-1919)

WINTER LANDSCAPE

NEAR SELKIRK

Signed and dated 1913, inscribed with title on Artist’s label verso, watercolour

33cm x 43cm (13in x 17in)

£500-700

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

Stamped and dated 18th April 1878 with the Trustee’s seal, watercolour

24cm x 51cm (9.5in x 20in)

Provenance: From the sale of the artist’s estate, Dowell’s, Edinburgh, April 1879.

The private collection of the late David Hutcheson, sold in aid of St Mary’s Music School Trust Ltd, SCO 14611.

£700-1,000

19 §

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

WINTER LANDSCAPE, PERTHSHIRE

Signed, oil on canvas

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

Provenance: The Fine Art Society, London, May 1961

£4,000-6,000

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

THE BASS ROCKMORNING AFTER A STORM

Signed, watercolour

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

Provenance: Bourne Fine Art, Edinburgh, 1988; The private collection of the late David Hutcheson, sold in aid of St Mary’s Music School Trust Ltd, SCO 14611.

Exhibited: Royal Scottish Academy, 1866; Carlisle City Art Gallery, 1988.

£800-1,200

21

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

A WINDY DAY

Signed and dated 1854, oil on canvas 28cm x 46cm (11in x 18in)

Provenance: Acquired by the present owner’s grandfather before 1937

£800-1,200

PATRICK NASMYTH (SCOTTISH 1787-1831) TRAVELLER ON A COUNTRY PATH, A RIVER IN THE DISTANCE

Signed and indistinctly dated, oil on panel

26.5cm x 38cm (10.in x 15in)

£700-1,000

SAM BOUGH R.S.A. (SCOTTISH 1822-1878) THE OLD BOBBIN MILL, AMBLESIDE

Signed, watercolour 43cm x 57cm (17in x 22.5in)

£1,200-1,800 22

Provenance: The private collection of the late David Hutcheson, sold in aid of St Mary’s Music School Trust Ltd, SCO 14611.

Exhibited: Royal Manchester Institution, 1878.

JOHN BURR R.B.A., R.O.I., A.R.W.S. (SCOTTISH 1831-1893)

THE RELUCTANT SUITOR

Signed, oil on canvas

43cm x 63.5cm (17in x 25in)

£800-1,200

GEORGE OGILVY

REID R.S.A. (SCOTTISH 1851-1928)

‘AT POORTITH’S BRINK’

Signed, inscribed with title on label

verso, oil on canvas

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

£600-800

SIR GEORGE HARVEY P.R.S.A. (SCOTTISH 1806-1876)

THE SCHULE SKAILIN’

Oil on canvas, laid down 35.5cm x 51cm (14in x 20in)

Note: This appears to be a study for a larger composition in the collection of the National Galleries of Scotland (NG1527) dating to 1846.

£1,500-2,000

GEORGE BLACKIE STICKS (SCOTTISH 1843-1938)

MOONRISE, LINLITHGOW

Signed and dated 1891, signed, inscribed with title and dated verso, oil on canvas

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

£600-800

GEORGE BLACKIE STICKS (SCOTTISH 1843-1938)

KILCHURN CASTLE

Signed and dated ‘83, oil on canvas

44cm x 36cm (17.25in x 14in)

£600-800

ROBERT WATSON (BRITISH 1865-1916) SHEEP ON A HILLSIDE

Signed and dated 1906, oil on board

51cm x 76cm (20in x 30in) £800-1,200

WILLIAM ALFRED GIBSON (SCOTTISH 1866-1931)

CATTLE GRAZING BY A STREAM

Signed, oil on board

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

£1,000-1,500

ARCHIBALD THORBURN (SCOTTISH 1860-1935)

ST KILDA WREN

Signed, extensively annotated and dated May 1917, watercolour on blue-grey paper

18cm x 19cm (7in x 7.5in), unframed

£2,000-3,000

ARCHIBALD THORBURN (SCOTTISH 1860-1935)

BLUE TIT

Signed, watercolour

17.5cm x 15cm (7in x 6in)

£2,000-3,000

ARCHIBALD THORBURN (SCOTTISH 1860-1935)

ST KILDA FIELD MOUSE

Signed with initials, extensively annotated and dated May 1917, watercolour

16cm x 28cm (6.25in x 11in), unframed

£2,000-3,000

34 § ARCHIBALD THORBURN (SCOTTISH 1860-1935) BULLFINCH

Signed, watercolour

17.5cm x 15cm (7in x 6in)

£2,000-3,000

ARCHIBALD THORBURN (SCOTTISH 1860-1935)

ST KILDA’S FIELD MOUSE

Signed with initials, extensively annotated and dated May 4, 1917, watercolour on blue paper

18cm x 24cm (7in x 9.5in), unframed

£2,000-3,000

36 §

ALFRED DE BREANSKI JUNIOR (BRITISH 1877-1955)

LOCH LOMOND

Signed, inscribed verso, oil on canvas

35.5cm x 56cm (14in x 22in)

£800-1,200

SAM BOUGH R.S.A. (SCOTTISH 1822-1878) DINGLEY DELL, MELROSE

Signed and dated 1871, oil on panel

23cm x 36cm (9in x 14in)

Exhibited: Kelvingrove Park, Glasgow, Scottish National Exhibition, 1911

£600-800

ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928)

VIEW OF PRECIPICE WALK, DOLGELLY

Signed, signed and inscribed verso, oil on canvas, and a companion, a pair, ‘Derwentwater from Friar’s Craig’ (2) 33cm x 45cm (13in x 17.5in)

£2,000-3,000

JOSEPH FARQUHARSON R.A.

(SCOTTISH 1846-1935)

BODMIN MOOR, CORNWALL

Signed, with incised date Oct 13, ‘92, oil on canvas

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

£2,000-3,000

JOSEPH FARQUHARSON

R.A. (SCOTTISH 1846-1935)

‘SANDY’

Signed, oil on board

25.5cm x 22cm (10in x 8.5in)

£2,000-3,000

JOSEPH FARQUHARSON

R.A. (SCOTTISH 1846-1935)

‘PADDY’

Signed, oil on board

25.5cm x 20cm (10in x 8in)

£2,000-3,000

ROBERT MCGREGOR R.S.A. (SCOTTISH 1847-1922)

HIS FIRST DAY OUT

Signed, oil on panel

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

£1,000-1,500

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

GEISHA

Signed, oil on panel

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

£800-1,200

EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933)

AMONG THE CHERRY BLOSSOMS

Signed and dated 1918, oil on canvas

41cm x 31cm (16in x 12.25in)

Provenance: Wellington Fine Art, Glasgow

£3,000-5,000

JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) ST ANDREWS

Signed, watercolour

25cm x 35.5cm (9.75in x 14in)

£1,000-1,500

JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) A RIVER PROMENADE

Signed, watercolour

22cm x 32cm (8.5in x 12.5in)

£1,000-1,500

JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) THE BRIDE

Signed, pastel

48cm x 37cm (19in x 14.5in)

£1,000-1,500

JAMES WATTERSTON HERALD (SCOTTISH 1859-1914)

THE DROVER’S RETURN

Signed, pastel on brown paper

48cm x 41cm (19in x 16in)

£800-1,200

LOUISE ELLEN PERMAN (SCOTTISH 1854-1921)

A STILL LIFE OF YELLOW ROSES IN A VASE

Signed, oil on canvas

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

Provenance: Lyon & Turnbull, Jordanstone House Sale, 21 July 2004, lot 122 (as ‘Still Life of Yellow Roses’)

£1,000-1,500

JAMES STUART PARK (SCOTTISH 1862-1933)

PURPLE AND WHITE PANSIES IN A VASE

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

£800-1,200

Signed, oil on canvas

£2,000-3,000

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

SUNLIT PASTURES

JAMES CAMPBELL NOBLE

R.S.A. (SCOTTISH 1846-1913) A BOAT-SLIP ON THE MAAS

Signed, oil on canvas

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

£800-1,200

THOMAS CORSON MORTON (SCOTTISH 1859-1928) AUTUMN

Signed with initials, oil on canvas

30.5cm x 36cm (12in x 14in)

£800-1,200

JOSEPH MILNE (SCOTTISH 1857-1911)

YACHTS ON THE SILVERY TAY

Signed, oil on canvas

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

£800-1,200

JOSEPH MILNE (SCOTTISH 1857-1911) BY THE LOCH

Signed, oil on board

38cm x 54cm (15in x 21in)

£600-800

56 §

JOHN BULLOCH SOUTER (SCOTTISH 1890-1972) SEATED NUDE

Pastel

39cm x 34.5cm (15.25in x 13.5in)

Provenance: Open Eye Gallery, Edinburgh

£1,000-1,500

ROBERT GEMMELL HUTCHISON

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

TEA TIME

Signed, oil on canvas board

63.5cm x 41cm (30in x 16in)

£2,000-3,000

EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933)

BLOSSOM TIME

Signed and dated 1918, oil on canvas

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

£5,000-7,000

59

SIR JAMES GUTHRIE

P.R.S.A., H.R.A., R.S.W., L.L.D. (SCOTTISH 1859-1930)

A HIGHLAND FUNERAL

Signed and dated ‘82, pen and ink and bodycolour

22.5cm x 35.5cm (9in x 14in)

Note: This sketch may well be a preparatory drawing for one of Guthrie’s most celebrated paintings ‘A Funeral Service in the Highlands’ (1882) in the collection of Kelvingrove Art Gallery and Museum, Glasgow (1060).

£2,000-3,000

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

IN THE MARKET

Signed, watercolour and bodycolour

29cm x 44.5cm (11.5in x 17.5in)

£1,000-1,500

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

UNLOADING THE CATCH

Signed, oil on board

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

£1,500-2,000

JOHN MCGHIE (SCOTTISH 1867-1952)

CHILDREN ON A ROCKY BEACH

Signed, oil on canvas

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

£2,000-3,000

EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933)

SAILING THE TOY BOAT

Signed and dated 1918, oil on canvas 61cm x 51cm (24in x 20in)

£5,000-7,000

DAVID FARQUHARSON

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

MAYDAY ON THE ANNAN

Signed and dated ‘87, signed with initials and inscribed verso, oil on canvas

56cm x 91cm (22in x 36in)

£2,000-3,000

GEORGE BLACKIE STICKS (BRITISH 1843-1938)

TANTALLON CASTLE

Signed and dated 1894, oil on canvas

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

£1,500-2,000

ALEXANDER MANN R.O.I. (SCOTTISH 1853-1908) ON THE BEACH, TANGIERS Oil on panel

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

Provenance: The Artist’s Family; The Fine Art Society, London, March 1999.

£1,500-2,000

JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) A BUSY DUTCH HARBOUR SCENE

Signed, oil on board

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

£800-1,200

68 § SIR WILLIAM MACTAGGART

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

Oil on board

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

Provenance: H. MacTaggart and thence by family descent.

£2,000-3,000

69 § SIR HERBERT JAMES

GUNN R.A., R.P., R.S.W. (SCOTTISH 1893-1964) THE GARDENS OF VERSAILLES

Signed, oil on canvas board

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

£1,500-2,000

70 §

DAVID MACBETH

SUTHERLAND R.S.A. (SCOTTISH 1883-1973) LOOKING TOWARDS DUNCRAIG FROM PLOCKTON

Oil on canvas

44cm x 61cm (17.5in x 24in)

Provenance: Bourne Fine Art, Edinburgh

£800-1,200

71 §

SIR WILLIAM

GEORGE GILLIES

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

Signed, oil on canvas

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

Provenance: Robert A, Lillie Collection, no.330

£2,000-3,000

72 §

R.S.A., R.S.W. (SCOTTISH 1902-2000) STILL LIFE WITH BLUE POPPIES

Signed and dated ‘66, oil on board

61cm x 36cm (24in x 14in)

£2,000-3,000

MARY ARMOUR

PATRICK WILLIAM ADAM

R.S.A. (SCOTTISH 1854-1929) VENICE

Signed and dated 1911, watercolour

48cm x 65cm (18.75in x 25.5in)

Provenance: Sotheby’s Gleneagles, Scottish Sporting Paintings & Sculpture, 2nd September 1998, lot 1408; Private Collection, Scotland.

£1,000-1,500

74 §

WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972)

MENTON (RED AND WHITE BOATS)

Signed, pen and ink and watercolour

Provenance: Calton Gallery, Edinburgh, Christmas Exhibition, 1998, no.6269; Lyon & Turnbull, Edinburgh, Fine Paintings, 28th May 2004, lot 1; Private Collection, Scotland.

£800-1,200

75 §

WILLIAM WILSON O.B.E., R.S.W., R.S.W. (SCOTTISH 1905-1972)

MENTON (WHITE BOATS)

Signed and dated 1949 twice and inscribed, pen and ink and watercolour

41cm x 51.5cm (16in x 20.25in)

Provenance: The Scottish Gallery, Edinburgh, no.4591; Private Collection, Scotland.

Exhibited: Calton Gallery, Edinburgh, Festival Exhibition, 1996, no.6097

£800-1,200

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. We are delighted to continue the celebration of this landmark year that we began in our sale on 6 June 2024.

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

PROMENADING FIGURE WITH HAT (WITHIN A SKETCHBOOK CONTAINING APPROXIMATELY 35 DRAWINGS)

Conté, one of approximately 35 drawings within a blue-covered sketchbook 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

TRAINING YOUR EYE TO SEE AND YOUR HAND TO RESPOND: JOHN DUNCAN FERGUSSON AS A DRAUGHTSMAN

Fergusson’s advice to would-be artists was ‘always carry a small…sketch-book, a very soft pencil and make quick rough sketches of anything around you; never correct a sketch, just make another; don’t try to make a good drawing, you won’t – or by accident, you may! Just keep at it, you are training your eye to see and your hand to respond.’ (quoted by Margaret Morris in ed. Jean Geddes, Café Drawings in Edwardian Paris from the Sketchbooks of J. D. Fergusson 1874-1961, Blackie, Glasgow, 1974, p.5)

Indeed, Fergusson followed his own advice, usually had a sketchbook about his person and made sketching and drawing the foundation of his practice. The sketchbook presented here is of his favourite style (with navy covers) and size (slightly narrower than approximately A5) and could easily be tucked into a jacket pocket alongside a conté crayon or two. It could be retrieved as a scene or subject caught his eye and provided fruitful occupation whilst out and about, particularly whilst enjoying the cafés and parks of Paris.

The contents of the sketchbook provide an intimate and direct glimpse into the artist’s creative process, as – with varying

degrees of finish or suggestion – he captured on its pages subjects from male and female heads to standing figures, animals and a still life. Details such as hats, beards, jewellery and spectacles are enjoyed, whilst its back pages provided a useful repository for information, including a list of paintings and sculptures accompanied by their prices.

Fergusson’s surety of line and enjoyment of the human figure can be seen in individual drawings such as Seated Man, in which the subject’s form is speedily realised in hatching and The Broad-Brimmed Hat, where the technique is this time used to emphasise the chic titular headgear of his sitter. The artist’s frank appreciation of the female form is clear in the curvaceous line of Seated Nude and Nude on a Balcony. Nude, Tazza and Fruit can be read as a metropolitan Eve, offering up an apple taken from the still life arrangement before the female model. It has references to Fergusson’s celebrated paintings of nudes made in pre-World War One Paris, showing the importance of the artist’s journey from page to canvas which underlay much of his work.

77 §

JOHN DUNCAN FERGUSSON

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

DRYING OFF AFTER A SWIM, CHÂTEAU DES ENFANTS, EDEN ROC, CAP D’ANTIBES

Charcoal on brown paper

Provenance: Margaret Morris; Christie’s Edinburgh, The Scottish Sale, 1st November 2001, lot 104; Private Collection, Scotland.

£2,000-3,000

78 §

JOHN DUNCAN FERGUSSON

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

NUDE, TAZZA AND FRUIT

Inscribed, charcoal on brown paper

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

Provenance: Sotheby’s Hopetoun House, Fine Paintings, 15th April 2002, lot 167; Private Collection, Scotland.

£2,000-3,000

79 §

JOHN DUNCAN FERGUSSON

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

NUDE ON A BALCONY

Charcoal on brown paper

33.5cm x 26cm (13.25in x 10.25in)

Provenance: Christie’s Edinburgh, The Scottish Sale, 31st October 2002, lot 140; Private Collection, Scotland.

£2,000-3,000

80 §

JOHN DUNCAN FERGUSSON

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

NUDE AT LA PETITE FARANDOLE, CAP D’ANTIBES (MARGARET MORRIS)

Charcoal

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

Provenance: Margaret Morris; Christie’s Edinburgh, The Scottish Sale, 1st November 2001, lot 106; Private Collection, Scotland.

£2,000-3,000

81 §

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

THE BROAD-BRIMMED HAT

Charcoal

Exhibited: The Scottish Gallery, Edinburgh, The Scottish Colourists, November 2000, no.25

£800-1,200

82 §

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

SEATED NUDE

Charcoal on brown paper

33.5cm x 26cm (13.25in x 10.25in)

Provenance: Christie’s Edinburgh, The Scottish Sale, 31st October 2002, lot 142; Private Collection, Scotland.

£1,500-2,000

83 §

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

SEATED MAN

Conté

20cm x 12cm (8in x 4.75in)

£600-800

84 §

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

ON A BALCONY (ANNE ESTELLE RICE)

Charcoal on brown paper

33.5cm x 26cm (13.25in x 10.25in)

Provenance: Christie’s Edinburgh, The Scottish Sale, 31st October 2002, lot 143; Private Collection, Scotland.

£2,000-3,000

WOMAN

GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) THE IMPRESARIO

Pen and ink and coloured chalk

16.5cm x 13cm (6.5in x 5.25in)

£1,000-1,500

SAMUEL JOHN PEPLOE

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

AT TABLE

Conté on brown paper 12cm x 14cm (4.75in x 5.5in)

Exhibited: The Scottish Gallery, Edinburgh, The Scottish Colourists, 2000, no.10

£600-800

GEORGE LESLIE HUNTER (SCOTTISH 1877-1931)

A SEA VIEW FROM THE BALCONY

Pen and ink and coloured chalk

44.5cm x 34.5cm (17.5in x 13.5in)

Provenance: T. J. Honeyman, Glasgow; Sotheby’s Gleneagles, 29th August 2003, lot 1228; Private Collection, Scotland.

Literature: Derek Ogston, Leslie Hunter 1877-1931: Paintings and Drawings of France and Italy, Baillieknowe Publishing, Kelso, 2004, repr.col.p.47, pl.35, cat no.115, p. 93.

Note: Information about this work and Hunter’s time in the south of France can be found before lot 139.

£2,000-3,000

88 §

SIR WILLIAM MACTAGGART

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

Signed, oil on board

28cm x 70cm (11in x 27.5in)

Provenance: Private Collection, Scotland. Exhibited: The Scottish Gallery, Edinburgh, Festival Exhibition, 1966, no. 17.

£2,000-3,000

89 §

LEON MORROCCO R.S.A., R.G.I. (SCOTTISH 1942-)

RESTING MAN AND MOTORINI

Signed and dated ‘07, mixed media

14.5cm x 21cm (5.75in x 8.25in)

£1,000-1,500

90 §

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

Signed and dated 1926, oil on canvas

56cm x 43cm (22in x 17in)

£3,000-5,000

91 §

DONALD BAIN (SCOTTISH 1904-1979) FRUITERIE

Signed, signed, inscribed and dated 1948 verso, oil on canvas

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

£2,000-3,000

92 §

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

OPEN COUNTRY ABOVE TEMPLE

Pen and ink and watercolour 25.5cm x 46cm (10in x 14in)

Provenance: Robert A. Lillie Collection, no.203

£600-900

93 §

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

STREAM THROUGH THE WOODS

Pen and ink and watercolour

47cm x 62cm (18.5in x 24.5in)

£1,000-1,500

94 §

ROBERT HENDERSON

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

PERTHSHIRE LANDSCAPE

Signed, watercolour

43cm x 61cm (17in x 24in)

Exhibited: Royal Scottish Society of Painters in Watercolours

£700-900

95 §

ROBERT HENDERSON

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

BOAT ON A PIER

Pen and ink and watercolour

26cm x 35cm (10.25in x 13.75in)

Provenance: The Artist’s studio

Exhibited: The Scottish Gallery, Summer Exhibition, 1978, no.20.

£600-800

96 §

MARY NICOL NEILL ARMOUR

R.S.A., R.S.W. (SCOTTISH 1902-2000) NOVEMBER STILL LIFE

Signed and dated 1982, oil on canvas

51cm x 51cm (20in x 20in)

Provenance: The Fine Art Society, London, June 1987, no.38; The Scottish Gallery, Edinburgh.

£1,000-1,500

Signed and dated 1960, oil on canvas 71cm x 91cm (28in x 36in)

Exhibited: Royal Scottish Academy, Edinburgh, 1961, no.198

£3,000-5,000

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

98 §

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)

THE RED DECANTER

Signed, oil on board

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

£8,000-12,000

99 §

SIR WILLIAM MACTAGGART

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

SUNFLOWERS

Signed, oil on board

28cm x 20cm (11in x 8in)

£1,000-1,500

100 §

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

Signed and dated 1986, oil on canvas

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

Provenance: Ancrum Gallery, Ancrum

£800-1,200

101 §

WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (SCOTTISH 1915-1997)

ABSTRACT COMPOSITION

Signed and dated ‘62, signed and dated verso ’July ‘62’, oil on canvas

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

£4,000-6,000

Signed, oil on linen

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

Provenance: The Scottish Gallery, Edinburgh

£4,000-6,000

VICTORIA CROWE O.B.E., A.R.S.A., R.S.W., A.R.W.S. (SCOTTISH 1945-)

TRUTH COMES FULL CIRCLE

SCOTTISH PAINTINGS & SCULPTURE

THURSDAY 05 DECEMBER 2024

EVENING SESSION LOTS 103 -196 AT 6PM

103

ALFRED DE BREANSKI

SENIOR (BRITISH 1852-1928)

HENLEY REACH

Signed, signed and inscribed verso, oil on canvas

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

£2,000-3,000

104

GEORGE HOUSTON

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

THE SALMON POOL

Signed, oil on canvas

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

£1,000-1,500

105

JOHN MCGHIE (SCOTTISH 1867-1952)

THE LATEST CATCH

Signed, oil on canvas

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

£6,000-8,000

106 §

ALFRED FONTVILLE DE BREANSKI (BRITISH 1877-1955)

BEN NEVIS

Signed, and inscribed ‘Ben Nevis N.B.’ verso, oil on canvas

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

£1,500-2,500

107 §

ALFRED DE BREANSKI JUNIOR (BRITISH 1877-1955)

EVENING AT STRONACHLACHAR

Signed, signed and inscribed ‘Evening at Stronachlachar N.B.’ verso, oil on canvas

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

£2,000-3,000

108

LOUIS BOSWORTH HURT (SCOTTISH 1856-1929)

HIGHLAND CATTLE BY A MOUNTAIN LOCH

Signed and dated 1911, oil on canvas

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

£4,000-6,000

109

WILLIAM DANIELL R.A. (BRITISH 1769-1837)

VIEW OF THE NEW BRIDGE OVER THE RIVER TWEED AT KELSO Oil on canvas

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

Provenance: Thos. Agnew & Sons, London, no.13548

Note: Daniell published an aquatint of this subject on July 15th 1804.

£15,000-20,000

William Daniell is arguably the foremost topographical artist produced by Britain. Mastering both oil paint and the delicate aquatint printmaking process, Daniell developed his career as a professional artist under the tutelage of his uncle, Thomas Daniell, with whom he was sent to live after the early death of his father in 1779. Thomas Daniell and his then sixteen-year-old apprentice undertook extensive travel to India in 1786, during which time they executed their first series of aquatints, with the guidance of local Indian craftsmen. This extraordinary journey lasted some eight years, ranging from Calcutta to Delhi and as far as Garhwal in the Himalayas.

Upon his return to England, it is reputed that the younger Daniell spent the next seven years working from six in the morning until midnight each day perfecting his aquatint technique. His hard-earned expertise was shown to best effect in A Voyage Round Britain, an eight-volume folio of prints. The journey upon which this masterwork was based was completed in six separate trips, over the period 1813 to 1823. Pencil sketches were made with notes regarding colour and texture, with the prints later produced in remarkable detail in the artist’s London studio. This significant body of work was published by Longman between 1814 and 1825, and remains a testament to the artist’s skill and industriousness. Such was its popularity that many scenes from the folio remain ubiquitous in art collections around the UK to this day.

Daniell’s travels in Scotland were extensive, encompassing the Orkney islands and many of the Hebrides. The oil offered here was published as an aquatint in 1804 as View of the New Bridge over the River Tweed at Kelso, Scotland, and as such represents one of his earliest engagements with the Scottish landscape. Inscribed ‘To John Rennie Esq.r Civil Engineer & F.R. A.S.S. &c. &c. by his obliged and obedient

servant, William Daniell’, the print is a record of the bridge’s construction. In 1797 the old bridge had collapsed in a storm and subsequently the Scottish engineer John Rennie (1761-1821) was called in. It was his first bridge commission and Rennie utilised techniques previously unheard of in bridge construction, using a combination of cast iron and stone to create wide arches. The result was considered a huge success. The Kelso Bridge was so impressive that Rennie won contracts to build three major London bridges: Waterloo (a larger version of Kelso bridge), Southwark and London Bridge (completed from his design after his death).

Daniell expertly captures the atmosphere of this panoramic view, from the elegance and grandeur of the bridge itself to its dramatic reflection in the water below. The imposing ruins of the abbey on the Tweed’s banks dominate the vista,

but close examination reveals a multitude of detail: a horse and carriage cross the splendid new bridge whilst chimneys smoke in Kelso town beyond.

Scotland remained a fertile source of inspiration for Daniell and indeed many of the oils he produced for the Royal Academy exhibitions of 1813 to 1825 were of Scottish subjects, explaining why his name is often synonymous with the country’s landscape and its landmarks. Daniell was elected to the Academy in 1822, beating John Constable in the same ballot by six votes. As well as being greatly respected in his field, he was a well-travelled individual with a peerless work ethic and innovative approach to making his own fortune, which indeed he did, very successfully so.

Daniell’s work is represented in many leading institutions both nationally and internationally.

REV JOHN THOMSON OF DUDDINGSTON (SCOTTISH 1778-1840) LOOKING TOWARDS EDINBURGH FROM PORT SETON

Oil on canvas

63cm x 96cm (24.75in x 37.75in)

Provenance: Bourne Fine Art, Edinburgh, October 1986

£2,000-3,000

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

BEN VROTAN FROM NEAR CORRIEMULZIE

Signed, inscribed with artist’s name and address on canvas verso, further inscribed with title on contemporary label to stretcher, oil on canvas 35.5cm x 58.5cm (14in x 23in)

£2,000-3,000

112

ALEXANDER NASMYTH (SCOTTISH 1758-1840)

THE BLASTED OAK

Indistinctly signed and dated, oil on panel

30.5cm x 33cm (12in x 9in)

£1,000-1,500

113

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

PORTRAIT OF JULIA KERR

Oil on canvas laid down on panel 76cm x 63.5cm (30in x 25in)

Provenance: Christie’s, London, 1908; Cottier & Co before 1911; Christie’s, 1912; With Agnews, London; P. Jackson Higgs, New York; Sotheby’s, New York, 2nd April 1996, lot 95; Sotheby’s, New York, 6th June 2008, lot 77.

Literature: J. Greig., Sir Henry Raeburn R.A. His life and Works with a catalogue of his pictures, Otto Limited, London, 1911, p.50

£6,000-8,000

THOMAS FAED R.A., H.R.S.A.

(SCOTTISH 1826-1900)

THE POOR, THE POOR MAN’S FRIEND

Signed and dated 1867, oil on canvas

78cm x 112cm (30.75in x 44in)

Provenance: Royal Academy of Arts, London, 1867

£6,000-8,000

LOUIS BOSWORTH HURT (SCOTTISH 1856-1929)

HIGHLAND CATTLE BY A MOUNTAIN LOCH

Signed and dated 1903, oil on canvas

66cm x 102cm (26in x 40in)

£6,000-8,000

116

ROBERT GEMMELL HUTCHISON

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

Signed, oil on canvas

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

£10,000-15,000

117 § FRANCIS

(SCOTTISH 1883-1966) HARD AT IT

Signed, oil on canvas

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

£6,000-8,000

PATRICK MARTIN

118

(SCOTTISH 1864-1933)

A WOODLAND ELF

Signed and dated 1910, oil on canvas 51cm x 61cm (20in x 24in)

£7,000-10,000

EDWARD ATKINSON HORNEL

119

ROBERT GEMMELL HUTCHISON

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

TAKING TEA

Signed, oil on board

17cm x 14.5cm (6.75in x 5.75in)

£1,000-1,500

120

ROBERT GEMMELL HUTCHISON

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

SUMMER SUNSHINE

Signed, oil on panel

30.5cm x 24cm (12in x 9.5in)

£4,000-6,000

121 LOUISE RAYNER (BRITISH 1832-1924)

THE GRASSMARKET LOOKING TOWARDS EDINBURGH CASTLE

Signed, watercolour

40cm x 48cm (15.75in x 18.75in)

Provenance: Haynes Fine Art, Broadway; Richard Green, London, AF497.

£5,000-8,000

122 §

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

Signed, oil on canvas

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

Provenance: Bourne Fine Art, Edinburgh

Exhibited: Royal Academy of Arts, London, 1934, no.678.

£3,000-5,000

HEXHAM ABBEY

JOSEPH FARQUHARSON R.A. (SCOTTISH 1846-1935)

SILENCE OF THE SNOW, BUCKET MILL

Signed, oil on canvas

46cm x 35.5cm (18in x 14in)

Note: This work is a small version of the large painting sold by Christie’s, London, Victorian & British Impressionist Art, 12th December 2013, lot 87 for £135,000

£7,000-10,000

124

JOSEPH FARQUHARSON R.A. (SCOTTISH 1846-1935)

SHEEP IN THE SNOW, FINZEAN

Signed, inscribed on old label verso, oil on board

26cm x 33.5cm (10.25in x 13.25in)

£6,000-8,000

125 §

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

CANTEEN

Signed, watercolour

28cm x 38cm (11in x 15in)

Literature: Patricia R., Andrew, A Chasm in Time: Scottish War Art and Artists in the Twentieth, Birlinn Ltd., Edinburgh, 2014, ill. second frontispiece and p.151.

£2,000-3,000

Andrews writes ‘Like many of his watercolours of the War, this shows humans within a wooded landscape. In the foreground is a burnt-out tracked vehicle, with shattered trees in a roped-off area labelled ’Mines’. Beyond, civilisation is present in the form of a ‘Scottish Churches Huts’ mobile canteen, clean and undamaged, providing bodily and spiritual sustenance to the troops.’

126

JAMES PATERSON

R.S.A., R.S.W., R.W.S. (SCOTTISH 1854-1935)

EDINBURGH

Signed, inscribed and dated 1906, watercolour 21cm x 33cm (8.25in x 13in)

Provenance: The Fine Art Society Ltd., Edinburgh

£800-1,200

127 § STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 18871976)

ROQUE BRUNE, MENTONE

Signed and dated 1917, watercolour 23cm x 30.5cm (9in x 12in)

Provenance: Bourne Fine Art, Edinburgh, 1997

£800-1,200

128

EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933)

THE GEISHA GIRL

Signed and dated ‘94, oil on canvas

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

£20,000-30,000

GLASGOW BOYS IN JAPAN: A VOYAGE IN PURSUIT

OF CREATIVITY

Visitors to late-19th-century Japan resided in designated European ‘Concession’ areas, segregated from natives. This frustrated the ambitions of the young Glasgow painters Edward Atkinson Hornel and George Henry, who had voyaged to Japan in February 1893 eager to ‘see and study the environment out of which [Japan’s] great art sprung, to become personally in touch with the people, to live their life, and discover the source of their inspiration.’ Buchanan, W., Mr Henry and Mr Hornel Visit Japan, exh. cat., Glasgow Art Gallery 1978, p.9) The intrepid artists had no option but to take to the streets of Tokyo, Nagasaki and Yokohama armed only with a keen eye for authentic detail and drawing materials with which to note them down (see Billcliffe, R., The Glasgow Boys, Frances Lincoln, London, 2008, p.259).

Hornel’s Japanese canvases retain the immediacy of a sketch. He frequented the tearooms in Tokyo’s Shinbashi quarter, recording the particulars of a geisha’s posture, the design of a kimono or the pattern of a painted screen. However, contrary to the Glasgow Boys’ propensity for naturalistic en plein air composition, Hornel re-configured these observed components to highly decorative effect. Japan intensified his surface texture and colouration, and he renders the titular Geisha Girl with the same attention he affords the pattern and tonal values of the painted screen behind her, so that the foreground and background infuse into a single shimmering decorative plane. The Geisha Girl’s warm jewel tones are characteristic of Hornel’s early works; as he matured his palette cooled, giving way to fresh, airy blues and

greens such as those in Blossom-Time, Sailing the Toy Boat or A Woodland Elf also presented here.

The Geisha Girl dates to 1894 and was either painted while Hornel was still in Japan or shortly after he had returned to Scotland. Its date makes possible its inclusion in the artist’s lauded exhibition of around 40 Japanese pictures held in April 1895 at Alexander Reid’s gallery in Glasgow. Owing to Hornel’s habit of neglecting to title his work, and the absence of a surviving catalogue, few details about this show survive. However, it is known that it was a runaway success, and that almost every picture sold.

(Buchanan, W., op.cit., p.13)

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

GEISHAS IN A GARDEN

Signed, watercolour

55cm x 34cm (21.5in x 13.5in)

£8,000-12,000

When the unfortunate George Henry unpacked his canvases upon his return from Japan to Glasgow he found that they were stuck together or irreparably cracked, and much of his Japanese output in oil was lost. This was an enormous blow to Henry’s morale, and although a large volume of his Japanese watercolours had survived the homeward journey it took time before he could bear to look at them. Happily, their eventual review proved rewarding. The Geisha Garden exemplifies the highly-effective clarification of line and design that Henry developed while in Japan. This was undoubtably informed by the formal qualities of contemporary Japanese art. As Roger Billcliffe observed, Henry used watercolour to ‘easily emulate

the tones and colours of Japanese prints’, and these exemplars can also be connected to The Geisha Garden’s use of essentialised forms and ‘stacked perspective. (Billcliffe, R, op.cit., pp.259262)

It was the popularity of Japanese art in Glasgow that had inspired Henry and Hornel to make the extraordinary voyage to the other side of the world. Through Hornel’s acute observation and Henry’s contact with Japanese exemplars, both artists achieved their objective of better understanding the society that had produced the prints and designs they had so admired in Scotland. Japan had enriched each artists’ output indelibly.

“One of the loveliest pictures Bessie MacNicol ever painted”

130

BESSIE MACNICOL (SCOTTISH 1869-1904) THE VEILED HAT (PORTRAIT OF THE ARTIST’S SISTER)

Signed, oil on board

30.5cm x 21cm (12in x 8.25in)

Provenance: The Fine Art Society Ltd, London and Edinburgh, October 1974, no.98/5833; Ewan Mundy Fine Art Ltd, Glasgow where acquired by the present owner.

Literature: Ailsa Tanner, Bessie MacNicol: New Woman, privately published 1998, p.80, ill.col.pl.46

£15,000-20,000

The Veiled Hat was described as ‘one of the loveliest pictures Bessie MacNicol ever painted’ by Ailsa Tanner, the artist’s biographer. (Tanner, A., Bessie MacNicol: New Woman, privately published 1998, p.80). Tanner has identified the portrait’s subject as Bessie’s sister Minnie Phoebe MacNicol, on account of her ‘very attractive face and very characteristic, slightly protruding teeth, which betray her identity unmistakeably’. (op.cit. p.80)

The sisters’ intimacy is evident in the portrait’s psychological insight. Minnie is dressed in fashionable finery as if ready for a social engagement or a day in town, but her expression suggests a state of reverie, inviting us to wonder what - or who - so preoccupies her. The Veiled Hat is undated, but Tanner suggests that it might have been painted shortly before Minnie’s marriage to theatre worker Victor Lionel Alexander in April 1901, whom she may have met at the Glasgow Athanaeum while studying solo singing. (op.cit, p.80) Perhaps, then, Minnie dreams of Victor.

The suggestion of an inner life in a ‘society’-style portrait is characteristic of James Abbott McNell Whistler, whose work MacNicol ardently admired. In late 19th-century Glasgow Whistler’s paintings were revered as the modern ideal of artistic expression, and his influence can be detected in The Veiled Hat’s sensitive interiority, as well as its soft tonality and painterly technique. Indeed, Whistler was likely to have been interested in MacNicol’s work, as she was invited to

exhibit at the International Society of Painters, Sculptors and Gravers when Whistler was President in 1898.

By the time MacNicol is believed to have completed The Veiled Hat she had been working as an artist for well over ten years, and her technical and compositional confidence is evident in ‘bravura’ flourishes such as the three parallel strokes of cornflower blue articulating the rim of Minnie’s hat, topped with scumbled lavender suggesting sculptural layers of lace and ruffles, or the picture hanging to the upper-left of the composition evoked by a single daub of cream-coloured paint drawn horizontally until the brush was exhausted of pigment. There are also passages of striking subtlety: Minnie’s features are realised with notably spare strokes of paint, so that her face appears diffused through her translucent lace veil, the folds of which are intimated by extending tones from Minnie’s hair or hat through the stillwet paint over her face in fine diagonal strokes.

MacNicol was an artist of exceptional talent whose life was tragically extinguished by complications during childbirth at the age of 34. Following the death of her husband Alexander Frew in 1908, his second wife sold all of Bessie MacNicol’s paintings. (Tanner, op.cit., pp.97-101) The dispersal of her oeuvre, the brevity of her career, and her perceived status as a woman artist have resulted in MacNicol’s importance long being overlooked. Fortunately, her stature as a ‘Glasgow Girl’ painter par excellence is now better understood.

SIR JOHN LAVERY, R.A., R.H.A., R.S.A. (IRISH 1856-1941)

DORA

Signed, indistinctly inscribed ‘Dora’ verso, oil on canvas, framed as tondo

48.3cm x 48.3cm (19in x 19 in)

£20,000-30,000

When he penned his article on Lavery’s work for L’Art et Les Artistes in 1905, the French critic, Camille Mauclair, famously dubbed the painter a ‘feminist before all’ – avant tout un feministe.³

During the Third Republic, a male admirer of women could so be described.

For such a connoisseur, a painter’s task was simply to idealize his muse in the creation of a masterpiece that would enthral the viewer. The objectification of women in this way was thus a social norm. One that was systematically pursued since the age of George Romney, and persisting until the emergence of current feminist theory in the 1970s.⁴

The early twentieth century art critic, however, approached his topic with good authority, for the Irish painter was in the news. Within four years of the purchase by the French government, of Père et fille 1897-1900 (Musée d’Orsay, Paris), a second painting, Printemps, had been acquired for its modern collection.⁵

This was unprecedented. To have one work by a contemporary Irish artist was unusual enough, but to have two, signified a pre-eminence that applied to no other painter working in the British Isles.⁶ Lavery was ‘Anglais’, of course, and with works in major European national collections in Germany, Belgium and Italy, his reputation went before him. Already a Salon star, throughout the 1890s he had been universally honoured, winning the first gold medal awarded by the Carnegie Institute’s Jury of Award at Pittsburgh, in 1896. His subject in the recent French purchase, the personification of spring, shows a young woman who wears a straw hat, ribboned

Provenance: Purchased by the previous owner’s grandfather whilst living in North America and thence by descent; Reeman Dansie Auctioneers, Colchester, 10 November 2021 (as Portrait of a Lady, Dora Little), where acquired by the previous owner; Private Collection, London.

We are grateful to Professor Kenneth McConkey for writing this catalogue entry 131

Exhibited: Carnegie Museum of Art, Pittsburgh, Sixteenth Carnegie International Exhibition, 1912, no.201; Art Institute of Chicago, Paintings by John Lavery, 1912, no.31.

and plumed, according to current fashion, and in itself an expression of the anglomanie that accompanied the entente cordiale between Britain and France in 1904.⁷

In visual terms, the phenomenon - the representation of ‘Fair Women’ - had gathered force and become the theme for occasional exhibitions from the 1890s onwards in Britain, where, as in France, most artists were men and ‘beauty’ was the province of women. Lavery had been drawn into this trend when one of the first such shows was organized by his Glasgow dealer, Thomas Lawrie, in 1893, and he capitalized on the growing modern sense of celebrity around the famous faces of actresses, dancers and concert performers. The ‘Fair Women’ idea moved to the Grafton Galleries, London, in the following year in a hugely popular historic survey exhibition that effectively consolidated the ongoing revival of British eighteenth century portraiture and Romney in particular.⁸ On the back of this surge of interest, tondos and oval cameos of beautiful women returned to fashion in the Edwardian years. Such precedents appealed to Lavery. They enabled the intimate close-up form of address we see in Dora.⁹

Accessories, the flowers of Printemps, were excluded, and colour, in dress and hat, was harmonized in Whistlerian terms, drawing the eye to the face of the sitter. Identity in such cases, was often a complex issue, and many of Lavery’s recent ‘fair women’ models of the period – ‘Phyllis’ or ‘Betty’ for instance – may always remain obscure, emphasising their essential purpose to convey the sense that beauty was not attached

to social role or inherited wealth, so much as in the way someone presents themselves, in a form of address that charms the eye of the beholder. Reading a characteristic stance, the way someone sits, or a facial expression are among the essences of great painting, and Dora’s impassivity leaves us guessing. The face, its character, shape and form, fixing the gaze of the viewer, was much more important than a name, and as here, engagement is direct and penetrating. Is she inscrutable or provocative? Lavery asks these questions with tubes of coloured paste and a piece of fabric. The rest is métier

When Dora was dispatched to Pittsburgh in 1912, Lavery’s work had recently been featured at the Venice Biennale, and he had, after outcries in the press, been finally admitted to membership of the Royal Academy.¹⁰ The thirtysix paintings representing the best of his work and including both French government purchases, were allocated a separate gallery in the Carnegie Institute International Exhibition. The display had been being solicited for several years, since the acquisition of his The Bridge at Grez in 1899.¹¹ Thus, covering nearly thirty highly productive years, the works made a ‘most excellent’ introduction to the year’s survey of contemporary painting and demonstrated ‘versatility as well as the soundness of Lavery’s art’. By the time this assessment was made the exhibition had closed and Dora, along with its illustrious peers was travelling to Chicago, carrying with it the painter’s ‘well merited … distinction’.¹²

1. It is thought that Dora was purchased by an ancestor of the Reeman Dansie vendor at Pittsburgh in 1912. Sadly, purchase records for the Carnegie International Exhibition in that year appear not to have survived.

2. ‘Dora Little’ is unrecorded in the Lavery literature.

3. Camille Mauclair, ‘John Lavery’, L’Art et Les Artistes, 1905, tome 2, p. 7.

4. See for instance, Roy Strong introd., The Masque of Beauty, 1972 (exhibition catalogue, National Portrait Gallery, London) for a useful, but ‘of its time’ survey, that coincides with John Berger’s Ways of Seeing (1972) and the idea of ‘the gaze’, taken up by Laura Mulvey and others.

5. Père et fille, the first French state purchase for its modern collection at the Musée du Luxembourg, occurred in 1900. For further reference see Kenneth McConkey, John Lavery, A Painter and his World, 2010 (Atelier Books, Edinburgh), pp. 71-3, 85-8.

6. George Frederick Watts, who died in 1904, aged 87, from an older generation, was the only exception.

7. A frisson for those ‘in the know’ was that this flower of Englishness was actually Lavery’s German model, Mary Auras.

8. Following Lawrie’s exhibition, the ‘Fair Women’ idea, based on Alfred Lord Tennyson’s ‘Dream of Fair Women’, was taken up by the Grafton Galleries, London in 1894; see William Sharp, Fair Women in Painting and Poetry, 1894 (‘Portfolio Monograph’, Seeley & Co).

9. Although it appears not to have been exhibited until 1912, Dora may well have been painted up to five years earlier.

10. McConkey 2010, pp. 107-8.

11. Kenneth McConkey, Lavery. On Location, 2023 (exhibition catalogue, National Gallery of Ireland, Dublin), pp. 36-7, 212.

12. LM, ‘The Carnegie Institute’s Exhibition: The Foreign Paintings’, Art and Progress, vol 3, no 10, August 1912, p. 682; James B Townsend, ‘Annual Carnegie Display’, American Art News, vol X no 29, 27 April 1912, p. 4. Press cuttings for the International Exhibition in 1912 appear not to have survived in the museum records transferred to the Smithsonian Archives of American Art.

132 § SIR WILLIAM RUSSELL FLINT

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

THE NYMPH OF THE DRÔME

Signed, signed and inscribed on the backboard, watercolour

26.5cm x 37cm (10.5in x 14.5in)

Provenance: Frost & Reed Ltd, London D12602

£2,000-3,000

133 §

SIR WILLIAM RUSSELL FLINT

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

MAGGIE

Signed and dated

‘12.8.60’, watercolour

18.5cm x 23.5cm

(7.25in x 9.25in)

Provenance: Richard Green Gallery, London, RH 1775

£3,000-5,000

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

CECILIA IN HER GOLD COAT

Signed, watercolour, circular 24cm (9.5in) diameter

Provenance: Richard Green Gallery, London, RH 1832

£3,000-5,000

135 §

STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) THE DEVIL’S HEARTH, ORKNEY

Signed and dated 1953, oil on canvas 76cm x 102cm (30in x 40in)

Provenance: William Hardie Limited, Glasgow; The Artist’s nephew and thence by descent. £8,000-12,000

136 §

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

Signed and dated 1954, oil on board 41cm x 46cm (16in x 18in)

£1,500-2,000

ERIC HARALD MACBETH ROBERTSON (SCOTTISH 1887-1941)

Inscribed with the Trustee’s stamp to the stretcher verso, oil on canvas, unframed

107 x 92cm (42in x 36in)

Provenance: By descent from the Artist to the present owner

£8,000-12,000

Note: This work is intentionally unframed. The artist painted the border of the canvas and exhibited it in his Liverpool flat in this manner. It was painted over a period of three days in January 1922.

EVE

138 §

JOHN MAXWELL R.S.A.

(SCOTTISH 1905-1962)

BIRD AND DANDELION HEAD

Oil on canvas

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

Provenance: The Scottish Gallery, 28th November 1977 where acquired by the father of the current owners

Exhibited: Scottish National Gallery of Modern Art, Edinburgh, John Maxwell Memorial Exhibition, 1963, no.196.

£2,000-3,000

John Maxwell was both a devoted primitive painter and an exacting perfectionist. Perhaps it is this ostensible idiosyncrasy that makes his work so compelling. Across his career his subject-matter remained unusually consistent, and the focus with which he repeatedly painted plants, flowers and creatures suggests he felt he was drawing ever-closer to revealing an essential truth about the natural world. Yet in Maxwell’s hands the natural world undergoes a creative metamorphosis, becoming stranger, wilder and more vivid, as if bewitched.

The Maxwell family owned a cinema in rural Kirkcudbrightshire, and one can speculate how, as a boy, John’s imagination was stimulated alternately by the awesome expansiveness of the Galloway landscape and the technicolour visions projected on the silver screen. (see McClure, D., John Maxwell, University of Edinburgh Press, Edinburgh, 1976, p.4) An Edinburgh College of Art travelling scholarship conveyed Maxwell to Spain, France and Italy in

the mid-1920s, where he was awakened to new possibilities of expression by Byzantine Icons and the Italian Primitives. (McClure, D., op.cit., p.10)

These formative influences come to fruition in Bird and Dandelion Heads, in which he pares forms to their most essential. The composition is carefully prepared with cool blues and pale greys, which is then disrupted by a rain of day-glo pigment applied in energetic strokes. Maxwell silhouettes the white bird - perhaps a dove - around a dandelion-head halo, transfiguring the common garden bird and weed into a fluorescent holy spirit and mandorla.

The composition and subject-matter of Bird and Dandelion Head presents striking parallels with Maxwell’s important work Night Flowers, in the collection of the Tate (T00283). This was conceived as part of a series of four paintings inspired by activity in his back garden, which was executed over the course of 1959.

GEORGE LESLIE HUNTER (SCOTTISH 1877-1931)

ENVIRONS OF VENCE

Signed, oil on board

69cm x 56cm (27.25in x 22in)

Provenance: Dr T. J. Honeyman, Corporation of Glasgow Art Galleries and Museums; Christie’s & Edmiston’s, Glasgow, Important Victorian & Modern Scottish Paintings, Watercolours and Drawings, 1 October 1981, lot 77; Acquired from Christie’s by the present owner’s father-in-law in 1982.

Exhibited: Ferargil Galleries, New York, George Leslie Hunter, 24 April11 May 1929 (no.5157, £500); Travelling Exhibition of the College Art Association of America, New York (courtesy Ferargil Galleries).

£30,000-50,000

Between 1927 and 1929 Hunter spent extensive periods in the south of France, principally from a base in St-Paul-deVence. He worked in various locations, including Antibes, Cassis, Nice, Saint Tropez and Juan-les-Pins. He enjoyed the region immensely, writing ‘This is an ideal country to loaf in and I wish I could simply loaf around and enjoy the sunshine and the cooking as most of the people around here do.’ (quoted in Derek Ogston, Leslie Hunter: Paintings and Drawings of France and Italy, Baillieknowe Publishing, Kelso, 2004, p.42).

Seduced by the warmth, food and wine of the region, Hunter found bountiful subject matter for works on paper executed in pen, ink and chalk. Waterside vistas, such as that seen in Juan-les-Pins, were full of incident from trees to boats and buildings climbing up distant hills. In his characteristically fluent line, Hunter captured the sunshine, bright colours and casual human presence of scenes such as that depicted in The Beach, South of France. Even the occasional example of a work executed indoors, namely A Sea View from the Balcony (lot 87), celebrated the natural beauty of the area, the viewer easily imagining themselves seated in the empty chair and gazing out through shutters to the idyllic outlook framed within them.

Hunter also turned his attention inland, including to the old hill town of Vence. Environs of Vence is a rare example of a 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…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)

AN IDEAL COUNTRY: GEORGE LESLIE HUNTER IN THE SOUTH OF FRANCE

In this painting, Hunter revelled in the lush vegetation and striking architecture of the town, leading the viewer’s eye into the scene by way of the inviting open road. The suggestion of a man and dog at the lower right provide a sense of scale to the majestic pine trees and distant hill so typical of the area, as Hunter exploited the pull of his textured support at the application of each brushstroke of oil paint. The use of black to provide linear structure in works on paper is also employed here, whilst areas of rich colour from red to yellow and green enliven the towering composition.

Environs de Vence was included in Hunter’s landmark solo exhibition at the Ferargil Galleries in New York in 1929, priced at £500. As Bill Smith and Jill Marriner have explained: ‘His New York show represents a watershed on two levels, first, confirmation of his assured, mature style and second, the positive response his latest work generated in a new audience…The American press were favourably impressed.’ (Bill Smith and Jill Marriner, Hunter Revisited: The Life and Art of Leslie Hunter, Atelier Books, Edinburgh, pp.149-150 & 152)

The painting also bears labels on the reverse referring to Hunter’s great supporter T. J. Honeyman (1891-1971), who looked after his interests both whilst working for the private gallery Reid & Lefèvre in Glasgow and also once he was appointed Director of Kelvingrove Art Gallery and Museum in the city; his portrait of about 1930 by Hunter is in the gallery’s collection (acc.no. 3658).

140

GEORGE LESLIE HUNTER (SCOTTISH 1877-1931)

THE BEACH, SOUTH OF FRANCE

Signed, pen and ink and coloured chalk 34cm x 42cm (13.5in x 16.5in)

Provenance: Sotheby’s, Hopetoun House, Scottish Sale 19th April 2004, lot 71; Private Collection, Scotland.

£5,000-7,000

141

GEORGE LESLIE HUNTER (SCOTTISH 1877-1931)

JUAN-LES-PINS

Signed, pen and ink and coloured chalk

30.5cm x 38cm (12in x 15in)

Provenance: Christie’s Scotland, The Scottish Sale 30th October 2003, lot 174; Private Collection, Scotland.

£5,000-7,000

George Leslie Hunter’s prowess as a still-life painter is well known and Still Life of Fruit and Flowers is a beautiful example of his work in this genre. It illustrates the praise that the critic of The Times gave to his paintings of the early 1920s, writing on 6 January 1923 that ‘Mr Hunter 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 present painting shows Hunter’s preferred ensemble of a table-top still life arrangement, presented in the corner of his studio. Here, colour and pattern vie for attention, as the brilliant colour of the flower heads and fruit combine with the design of the vase and the material draped in the background to create an asymmetrical but perfectly

‘HE MAKES THE HEART GLAD’: STILL LIFE OF FRUIT AND FLOWERS BY GEORGE LESLIE HUNTER

142

GEORGE LESLIE HUNTER (SCOTTISH 1877-1931)

STILL LIFE OF FRUIT AND FLOWERS

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

Provenance: Christie’s Scotland, The Scottish Sale 31st October 2002, lot 131; Private Collection, Scotland. £20,000-30,000

pitched composition. Expanses of lighter tones, seen in the tablecloth and the panelling provide a contrast with the brilliance and energy of other passages, the whole completed with the confident ‘L. Hunter’ signature at the lower right.

Hunter’s bright palette and vigorous brushstrokes speak of the prolonged periods he spent in Paris before and after World War One and his extensive knowledge of PostImpressionist and early twentieth-century French art, from Paul Cézanne to Henri Matisse. Another critic, this time of The Glasgow Herald, declared on 17 December1925 that ‘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.’ It is with paintings such as Still Life of Fruit and Flowers that Hunter emerged as a ‘Scottish Colourist’ and one of the country’s most important artists of the last century.

A

143

GEORGE LESLIE HUNTER (SCOTTISH 1877-1931)

RED-PANTILED COTTAGES, FIFE

Oil on board, laid down

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

£3,000-5,000

144

GEORGE LESLIE HUNTER (SCOTTISH 1877-1931)

PATH THROUGH THE VILLAGE, FIFE

Signed, oil on canvas

63,5cm x 51cm (25in x 20in)

Provenance: Sotheby’s Hopetoun House, Scottish Pictures 19th April 2004, lot 72

£15,000-20,000

FORTUITOUS DISCOVERY: GEORGE LESLIE HUNTER IN FIFE

Between 1919 and 1926, Hunter spent part of each spring and summer in Fife in eastern Scotland, which is bordered by the Firth of Tay, the Firth of Forth and the North Sea. As Bill Smith and Jill Marriner have written: ‘He came upon an important source of inspiration through his fortuitous discovery of Fife and the possibilities inherent in its colourful landscape and rural architecture…it opened up a whole new realm of possibilities for Hunter. Subsequently he would go to Fife in any season. It was there that he made the break to paint en plein air. The artistic ground he gained as a result marked an important turning point in his development in terms of modern colour.’ (Bill Smith and Jill Marriner, Hunter Revisited: The Life and Art of Leslie Hunter, Atelier Books, Edinburgh, 2011, p.79)

Favoured locations in which to paint coastal and rural scenes included the villages of Lower Largo, Drumeldrie and Ceres. Whilst it is not known what drew Hunter to the area in the first place, Derek Ogston has explained that ‘the light, the ever-changing hues of the sea and the varied colours of its lime-washed houses with their red pantiled roofs are likely to have been an attraction. It is a part of Scotland that has provided scenic material for generations of artists and continues to attract painters.’ (Derek Ogston, The

Life and Work of George Leslie Hunter 1877-1931, Baillieknowe Publishing, Kelso, 2002, p.68)

Red-pantiled Cottages, Fife has a charming focus on the distinctive architecture of Fife, affording an oblique view of a typically modest cottage. A painterly technique stresses the rhythm of the titular roof tiles, as well as the leaves and branches of the carefully tended plants and trees around it. Hunter presents an idyllic scene of country life, realised on an intimate panel measuring 14 x 10 inches.

Path through the Village, Fife is a more expansive view in which picturesque low-rise stone buildings frame a view along a footpath. There is a sense of unseen people living in harmony with nature, under the shade provided by ancient trees and with hints of space and light beyond. Hunter’s palette, based on shades of green and brown, speaks of the fecundity of the area and a benign climate.

Hunter is as readily associated with Fife as his fellow Scottish Colourists Cadell and Peploe are with Iona, as all three painters delighted in and honoured the landscape of their country of birth.

Iona, North Shore epitomises the inspiration Cadell found on the Hebridean island of Iona, as well as his friendship with the Glasgow shipowner George W. Service (1864-1940), who acquired the painting from the artist and from whom it has descended to the present owner.

Cadell visited Iona for the first time in 1912 and returned regularly until at least 1933. Its gentle light, natural beauty and expansive views provided endless subject matter for his paint and watercolour brushes. He made the most of its ever-changing weather conditions and varying topography during trips that could last from between three and five months over the spring and summer. Initially he stayed at the St Columba Hotel, but later he rented various cottages, most frequently Cnoc cúil Phàil which is set looking over the Sound of Iona to Mull.

Congenial outdoor working conditions and the company of friends such as fellow Scottish Colourist S. J. Peploe from 1920, resulted in joyous images of Iona’s natural environment, architectural features and the islanders’ way of life. Cadell was particularly drawn to the North End of the island, as seen in Iona, North Shore. It is a classic image of the island’s famed white sand beaches, through which varied rock formations emerge, the inviting blues and greens of the sea and the beckoning of island views beyond.

As in the present painting, Cadell often worked on easily transportable boards measuring 15 x 18 inches. He came to adopt a technique deployed by his friend, the artist John

F.C.B Cadell outside Cnoc cúil Phàil, Iona, 1932, photographed by Ion Harrison. Courtesy National Library of Scotland, Edinburgh (Acc.11224/2)

CADELL ON IONA: AN ISLAND OF INSPIRATION

Duncan, of using an absorbent white ground. As a result, many of Cadell’s Iona paintings carry the carefully inscribed legend on their reverse of ‘Absorbent Ground Never Varnish’; in this case, it is accompanied by the inscription ‘G. W. Service Esq Myrtle Park’, presumably applied by the artist when it was acquired by his longstanding patron.

Cadell met Service during his first trip to Iona and he became one of his most significant supporters. As Alice Strang has explained: ‘The widowed Service came each year with his eight children and their nanny. They often rented the farmhouse at Traighmòr, although as it was not large enough to accommodate all of them his sons had to sleep in a tent on the grass at the front of the house. 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…which he hung in his homes in Glasgow and Dunbartonshire.’ (Alice Strang, F C B Cadell, National Galleries of Scotland, Edinburgh, 2011, pp.79-80)

The importance of Service to Cadell is borne out by the frequency with which he appears in the artist’s ‘Register of Pictures’ (on loan from a private collection to the National Galleries of Scotland) between 1913 and 1930, which Cadell maintained to record works which he sold or gave away. As well as his Iona purchases, Service’s patronage extended to commissioning portraits of some of his children and acquisitions from exhibitions on the mainland, such as those mounted by the Society of Eight in Edinburgh.

Service’s support sometimes formed the backbone of Cadell’s income, for example when he purchased fourteen works in 1921 for a total of £725, which was 40% of Cadell’s recorded total sales of £1,786 for the year. Service also helped to establish Cadell’s posthumous reputation, not least by lending three of his paintings to the landmark Exhibition of Scottish Art mounted at the Royal Academy of Arts in London in 1939.

Iona paintings and watercolours by Cadell can be found in numerous public collections including those of the National Galleries of Scotland, Aberdeen Art Gallery, the Hunterian Art Gallery (University of Glasgow) and McManus Museum & Art Gallery, Dundee.

145

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

IONA, NORTH SHORE

Signed, inscribed ‘Absorbent Ground / Never varnish / G. W. Service Esq / Myrtle Park.’ on the reverse, oil on board 37cm x 45cm (14.5in x 17.5in)

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

£30,000-50,000

THE BLUE JUG BY F. C. B. CADELL

146 ‡

FRANCIS CAMPBELL BOILEAU CADELL

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

THE BLUE JUG

Signed, inscribed verso ‘Still life (the blue jug), Cadell, 6 Ainslie Place, Edinburgh’, oil on canvas

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

£200,000-300,000

It was with paintings like The Blue Jug that F. C. B. Cadell truly earned his status as a Scottish Colourist. Its brilliance of colour, not least in the red chair which is central to the overall image, the dynamism of its cropped and asymmetrical composition and its deft manipulation of perspective, all show him working at the height of his powers.

Having made his name as an artist in pre-World War One Edinburgh, Cadell was de-mobilised from active service in the Spring of 1919. Shortly afterwards he moved to 6 Ainslie Place in Edinburgh’s New Town, a magnificent Georgian town house across the road from his childhood home at number twentytwo. The decoration and furnishing of his impressive new quarters became the subject of and inspiration for a new era in his work.

As Alice Strang has explained:

‘He painted his front door bright blue to annoy his neighbours… On the first floor, he repeated the lilac walls and the highlypolished black painted floorboards of his…[pre-war]…George Street studio. He added a brilliant lapis lazuli-coloured fire surround within the cream marble mantelpiece in the front drawing room. On the ground floor, walls and woodwork, including shutters, were painted in dark blue, green and brown above a light grey floor, whilst an impressive Robert Adam-style eagle overmantel partnered the black marble mantelpiece in the dining room. (Alice Strang, F. C. B. Cadell, National Galleries of Scotland, Edinburgh, 2011, p.39)

A striking element of these dazzingly modern interiors was the red chair seen in the present work, one of at least three that Cadell painted in this manner which became prominent props in key works of the 1920s. Here we see him exploiting its linear potential to the full, having positioned it at an oblique angle to the canvas surface and setting it before a plain, black background, against which its wooden struts sing in contrast.

Provenance: Joseph Kent Richardson (1877-1972)

Portland Gallery, London where acquired by the present owner in 1994 Exhibited: National Gallery of Scotland, Edinburgh, F. C. B. Cadell 1883-1937, April-May 1942 and tour to Glasgow Art Gallery (lent by Joseph Kent Richardson)

Literature: Tom Hewlett, Cadell: The Life and Works of a Scottish Colourist 1883-1937, London 1988, illustrated p. 94, pl. 85 (as ‘The Red Chair’).

The seat of the chair is used as a novel alternative to a tabletop on which to assemble some of the artist’s most effective still-life objects; the lilac and green fabric, draped over the chair’s back and seat, draws the viewer’s eye from upper centre to lower left of the image, whilst the trio of blue jug, orange and lemon forms a brilliantly coloured focal point. Depth, height and the space beyond the canvas are all realised or hinted at with great skill.

As Alice Strang continues:

‘The cropped composition, flat application of paint and use of increasingly brilliant colour in these …works were in contrast to Cadell’s pre-war interiors which are characterised by a looser handling…[and]…a cooler palette…After the war, Cadell was no longer attempting to capture images of fashionable society, but instead was concerned with an almost abstract concept of space and perspective. This marked change is thought to have been encouraged by Cadell’s new surroundings…[and]…by his close collaboration with Peploe immediately after the war.’ (op.cit., p.40)

Given how closely Cadell and his friend and fellow Scottish Colourist, S. J. Peploe, were working during this period – and indeed living as Peploe’s home was some five minutes’ walk away from Ainslie Place in India Street – it is no surprise to see Peploe also enjoying the structural and colour potential of a red painted chair, as seen in contemporary works such as Still Life with Tulips and Oranges in the collection of Abbot Hall, Kendal.

However, it was Cadell who really exploited the prop to the full, and paintings of his in public collections in which a red chair features prominently include Aspidistra and Bottle on Table and The Blue Fan in the National Galleries of Scotland, as well as Still Life and Rosechatel and Studio Interior in The Hunterian, University of Glasgow. It can be argued that Anne Redpath’s used of brightly painted chairs in her work of the 1940s, such as The Indian Rug (Red Slippers) (National Galleries of Scotland) and Still Life, the Orange Chair (The Fleming Collection) exemplifies the impact that Cadell’s boldness of the 1920s, as seen in The Blue Jug, had on the next generation of Scottish artists.

F. C. B. Cadell, like his fellow Scottish Colourist

S. J. Peploe, was a master of the still life genre, as can be seen in Still Life with Pink Roses in a Blue Jug. Here, Cadell’s boldness of composition, bravura application of oil paint and combination of strong and subtle colours come together to create an image of dynamism and poise.

Cadell lived – and liked to paint – a stylish lifestyle and his still lifes are full of suggested narratives centred on a celebration of beauty - often conveyed by way of attractive cut flowers in boldly coloured vessels - and on the enjoyment of sophisticated past-times, such as those which would necessitate a be-ribboned black fan.

During the 1920s, Cadell’s practice progressed from the bright palette, tight technique and suppression of volume of the works made during his first years at 6 Ainslie Place in Edinburgh’s New Town at the start of the decade, to a broader, more expressive technique and a greater sense of volume as seen in the present painting.

Close attention is paid to elements such as the flower heads, shown from two angles and whose radiating petals Cadell has depicted in gently graduated tones of pink. These are contrasted with the bold green of stem and leaf and are placed against dense black and blue. The strongly realised blue jug, completed with two dabbed brushstrokes to convey a reflection in its glazing, contrasts with the more freely depicted fan in front of which it is positioned. The fan’s ribbon winds its way down to the lower left corner of the composition and ends in deft, spare brushstrokes which are more suggestive than illustrative.

Swathes of the white tablecloth are left empty, whilst certain passages verge on the abstract with a focus on paint application and strength of colour. Notions of depth and perspective are played with as only an artist of great skill, experience and confidence could achieve. Still Life with Pink Roses in a Blue Jug encompasses Cadell’s painterliness, his swagger and boldness, and his enduring appreciation of the beautiful.

1883-1937)

STILL LIFE WITH PINK ROSES IN A BLUE JUG

Signed, inscribed ‘Roses’ verso, oil on board 37cm x 45cm (14.5in x 17.75in)

Provenance: Lyon & Turnbull, Fine Paintings, 1st December 2011, lot 195 where acquired by the present owner £100,000-150,000

FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH

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

STILL LIFE OF RANUNCULUS IN A BLUE AND WHITE VASE

Signed, oil on board

44.5cm x 36cm (17.5in x 14in)

£40,000-60,000

FRANCIS CAMPBELL BOILEAU CADELL

149

FRANCIS CAMPBELL

BOILEAU CADELL

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

THE DUNARA CASTLE OFF IONA

Signed, watercolour

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

£8,000-12,000

Signed with initials, signed, inscribed and dated 1951

verso, oil on canvas

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

£1,500-2,000

150 § WILLIAM MERVYN GLASS R.S.A., S.S.A. (SCOTTISH 1885-1965) IONA

151 §

JOHN DUNCAN FERGUSSON

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

THE PINK TENTS, ROYAN

Signed, inscribed and dated 1907 on the reverse, further inscribed with the title and signed in the artist’s hand verso, oil on board 26cm x 35cm (10.25in x 13.75in)

Provenance: Wellington Fine Art, Glasgow from where acquired by the father of the present owner

£30,000-50,000

The Pink Tents, Royan reveals the dramatic development of John Duncan Fergusson’s practice following his move from Edinburgh to Paris in 1907. Its brilliant colour, bold simplification of form and bravura technique show how he responded to and evolved in his own manner, the very latest developments in the work of artists including Pablo Picasso, Henri Matisse and André Derain.

Throughout his career, Fergusson combined working in a studio with more spontaneous sketching and painting whilst outdoors. In the Scottish capital he had become a familiar figure in Princes Street Gardens, using oil paint to capture scenes quickly on small panels, which demonstrated a familiarity with the French Impressionists, Eugène Boudin and James McNeill Whistler.

Summers spent painting in France with his friend and fellow Scottish Colourist, S. J. Peploe from 1904 resulted in en plein air works characterised by a subtle palette, fluent handling and an emphasis on natural light. This can be seen in Grey Day, Paris-Plage of c.1906 (Kelvingrove Museum & Art Gallery, Glasgow, acc.no.3370) and Berneval, the Cliff (Kirkcaldy Art Galleries, acc.no.KIRMG:569). They also show how Fergusson’s eye was drawn to the formal possibilities

of bathing tents, which preserved one’s modesty when changing in and out of swim wear, and which were popular during the Edwardian period.

Fergusson settled in Paris in 1907. The Pink Tents, Royan resulted from a trip to the seaside resort on the west coast of France two years later. Fergusson was now working with a new kind of confidence, using thick, obvious brushstrokes laden with rich colours to evoke the texture of branches and fabric and to create rhythm throughout the asymmetrical composition. Black outlines delineate form and volume is flattened with a resulting emphasis on silhouette and a heightened sense of painterly design.

Unsurprisingly, this painting dates from a key year in Fergusson’s career. In 1909 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 in the French capital. Moreover, his involvement with the heady creativity of pre-World War One Paris was recognised by his election to the avant-garde Salon d’Automne that year.

Such was the inspiration that Fergusson found in Royan that he was to return to there in 1910, accompanied by his partner, the American artist Anne Estelle Rice and by Peploe.

John Duncan Fergusson decided to move from Edinburgh to Paris in 1907 and was to live in the French capital for the next six years. His future wife, the dance pioneer Margaret Morris, later explained: ‘He settled in Paris, having sold all his possessions in Scotland except the sofa, made to his design – this, he had sent to Paris, where he could always sleep on it before he got a bed. First he stayed at the Haute Loire Hotel in Montparnasse, while he looked for a studio, which he eventually found at 18 Boulevard Edgar Quinet… Fergusson fully appreciated what a wonderful period of modern art he had dropped into in Paris. Soon he met Bourdelle, Friesz and Pascin at the Salon d’Automne and became one of what he described as a very happy group.’ (Margaret Morris, ‘Introduction’ in ed. Jean Geddes, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson 1874-1961, Blackie, Glasgow, 1974, p.5)

Fergusson exclaimed that Paris was ‘simply a place of freedom’ and painted Boulevard Montparnasse, Paris not long after settling in the city. The neighbourhood was replacing Montmartre as the main artists’ quarter and Fergusson took to its cafés and bars with social aplomb. The Cafés Rotonde, Dôme and Closerie des Lilas were all along the Boulevard Montparnasse and Fergusson and his intimates became regular customers at all three. The boulevard was also a short walk away from the Luxembourg Gardens, where Fergusson could see the work of living artists on display at the Musée du Luxembourg.

This painting comes from a series of vibrant street scenes in which Fergusson’s excitement about his new surroundings and the impact of contemporary avant-garde French painting is clear. He revelled in the depiction of the city’s architecture and citizens going about daily life, whilst his brushwork became bolder, his forms became simpler and his palette became brighter. Here, robustly realised trees in shadow give way to brightly lit bustling activity and on to a high façade, which itself gives way to a dazzling sky.

Only two years later, Fergusson was elected a member of the cutting-edge Salon d’Automne in recognition of his contribution to the modern movement. Fergusson declared ‘to me, considering myself a revolutionary, this was a very great honour and…it had the effect of confirming my feeling of independence, the greatest thing in the world, not merely in art but in everything.’ (quoted in Kirsten Simister, Living Paint: J. D. Fergusson 1874-1961, Mainstream Publishing, Edinburgh, 2001, p.39)

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

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

152 §

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

BOULEVARD MONTPARNASSE, PARIS

Signed, inscribed and dated 1907 on the reverse, inscribed with title on Fergusson’s own label verso, oil on board 28cm x 35.5cm (11in x 14in)

Exhibited: Lyon & Turnbull, London and Glasgow, A Scottish Colourist at 150: J. D. Fergusson, February-March 2024

£40,000-60,000

‘I’VE

TAKEN A LITTLE VILLA AT ANTIBES’: JOHN DUNCAN

FERGUSSON

& THE SOUTH OF FRANCE

John Duncan Fergusson moved from Paris to Antibes, in the south of France, in 1913. Thus began an association with the area which was to last for the rest of his life. Shortly afterwards he wrote to his future wife, the dance pioneer Margaret Morris, excitedly explaining: ‘I’ve taken a little villa at Antibes..I went over the coast as far as Italy and this is the best there is for the money…[it]…faces the sun all day. Small garden which I’ll make quite good…the sea at the bottom of the road…There’s a little port for boats…and 10 minutes away…a fine sand beach with pine trees.’ (as quoted in Margaret Morris, The Art of J. D. Fergusson, J. D. Fergusson Art Foundation, Perth, 2010, pp.68-69)

Morris visited Fergusson in this idyllic setting during the summer of 1914, but her stay was cut short by the outbreak of World War One. From 1917, she developed her renowned Summer Schools, which were held in Antibes on multiple occasions from 1923. As can be seen in the works presented here, ‘she and her pupils dancing outdoors, sunbathing and swimming in the sea inspired Fergusson to make numerous sketches and watercolours, which he later worked up into paintings in his studio, exemplifying the couple’s creative collaboration.’ (Alice Strang et al, J. D. Fergusson, National Galleries of Scotland, Edinburgh, 2013, p.22).

Whilst in the south of France, Fergusson and Morris led an active outdoor lifestyle, believing in the health benefits of the sun, exercise and good company. The Summer School was repeatedly held in the grounds of the Chateau des Enfants, the villa built by the couple’s patron, George Davison. Morris recalled ’The château woods ran to a bay facing due south, with cliffs of jagged rocks about twelve feet high and water about fifteen feet deep…Everyone bathed off the rocks and afterwards sun-bathed…When they got too hot, they dived into the sea again. Fergus got much inspiration.’ (Margaret Morris, op.cit., p.140).

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

Such carefree moments are captured in works such as Drying off after a Swim, Sunbather, Chateau des Enfants (Margaret Morris) and Pink and Blue in which Fergusson worshipped at the altar of the body beautiful, working in charcoal and watercolour. The couple and their companions became synonymous with the natural beauty and leisure pursuits which have made Antibes and its surroundings amongst the most desirable holiday locations to this day.

Fergusson continued to extoll the virtues of the area, which saw him and Morris return year after year until a final visit in the summer of 1960. He wrote ‘You can walk round the island; go to the town which is very interesting; bathe off the rocks or on the sand beach; lie among the pine trees and watch the sea – looking over at Nice, Menton with the Alps behind; sit in the sun in the garden; go to Nice or Cannes and see chic people…walk to dozens of places or take the air; go up mountains….really, what more do you want? (as quoted in Morris, op.cit., p.69)

153 §

JOHN DUNCAN FERGUSSON

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

BOTANICAL GARDENS, ANTIBES

Mixed media

23cm x 28cm (9in x 11in)

Provenance: Mme Autan-Lejeune; Private Collection, Scotland.

£10,000-15,000

154 §

JOHN DUNCAN

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

PINK AND BLUE, CHÂTEAU DES ENFANTS, EDEN ROC, CAP D’ANTIBES

Watercolour

24.5cm x 19cm (9.75in x 7.5in)

Provenance: Margaret Morris; Christie’s Edinburgh, 1st November 2001, lot 102; Private Collection, Scotland.

£3,000-5,000

155 §

JOHN DUNCAN

FERGUSSON R.B.A. (SCOTTISH 1874-1961) SUNBATHER, CHÂTEAU DES ENFANTS, EDEN ROC, CAP D’ANTIBES (MARGARET MORRIS)

Watercolour

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

Provenance: Margaret Morris; Christie’s Edinburgh, The Scottish Sale 1st November 2001, lot 100; Private Collection, Scotland.

£4,000-6,000

156 §

JOHN DUNCAN

FERGUSSON R.B.A. (SCOTTISH 1864-1961) BOURNE END

Inscribed on the label verso ‘For Mrs Catto in friendship from Margaret Peploe’, pencil and watercolour

20cm x 25.5cm (8in x 10in)

Provenance: Margaret Peploe; Lyon & Turnbull, Scottish Paintings and Sculpture, 6th June 2019, lot 105

£5,000-7,000

A SCOTTISH COLOURIST AT 150: JOHN DUNCAN FERGUSSON

JOHN DUNCAN FERGUSSON: THE SCULPTURES OF A SCOTTISH COLOURIST

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

Seated Figure and Standing Nude show how Fergusson brought many of the artistic aims explored in his paintings and works on paper to fruition ‘in the round’. Both focus on the female form, celebrating sensuality, fecundity and physical confidence. Particular attention is paid to the breasts, bottom and the base of the spine. They also reveal Fergusson’s particular blending of voluptuousness with a simplification and clarity of form, that emphasises the point at which parts of the body join and which creates a sense of flow towards and outwards from those points of contact.

It is no surprise that Fergusson’s most productive period of sculpture making were the years approximately 1918 to 1922, when he was based in London and when – as Sheila McGregor has pointed out – there was a parallel development in Margaret Morris Movement, the system of choreography devised by his future wife. Morris and her pupils, whether sitting as models or in motion during lessons, rehearsals and performances, provided a rich source of inspiration for Fergusson.

John Duncan

Standing Figure is an example of the painted plaster casts that Fergusson exhibited with the explanation that they could be cast in a foundry on purchase. The cropped female form is a key theme in his sculptural practice, presumed to reference fragmentary classical sculptures as well as contributing to his concept of a universal rather than personal embodiment of female physicality. Seated Figure has a sense of majestic stillness, albeit on an intimate scale. It embodies Fergusson’s interest in non-Western sculpture and his Parisian sketchbooks contain many drawings made of Cambodian and Indian sculpture which he studied in the Trocadéro Museum. It was cast in a numbered edition of nine plus one artist’s proof, with permission from the John Duncan Fergusson Art Foundation, in 2013.

The most significant holding of Fergusson’s sculpture is held by Culture Perth & Kinross, which is the centre of excellence for his and Morris’s work. Other important examples are held in public collections including the Tate, The Hunterian (University of Glasgow), Government Art Collection and the National Galleries of Scotland.

Unknown photographer,

Fergusson with his sculpture, The Patient Woman of 1920, photographed c.1930. Courtesy of Culture Perth & Kinross Museums & Galleries.

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

SEATED FIGURE

Numbered 2/9, bronze

14.5cm (h) x 14.5cm (w) x 9.5cm (d) (5.75in x 5.75in x 3.75in)

Provenance: Plaster cast acquired from the Artist and thence by descent to the present owner; cast in bronze by them in a numbered edition of nine plus one artist’s proof in 2013.

Note: Cast in a numbered edition of nine plus one artist’s proof, with permission from the John Duncan Fergusson Art Foundation, in 2013.

£7,000-10,000

158 §

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

STANDING NUDE

Hand-coloured plaster

19cm (h) x 9cm (w) x 7cm (d) (7.5in x 3.5in x 2.75in)

Provenance: Acquired from the Artist and thence by descent to the present owner

£15,000-20,000

ANNE ESTELLE RICE (AMERICAN 1879-1959)

A BOWL OF FRUIT

Signed with the artist’s eye ideogram and inscribed on the reverse ‘Anne Estelle Rice

Paris ‘11’, oil on board

61.5cm x 53cm (24.25in x 20.75in)

£30,000-50,000

Provenance: Given by the Artist to G. Holbrook Jackson in 1911; Given to Mrs. Margerie Carnegie; Christie’s, London, 6 November, 1981; Fine Art Society Ltd., November 1981; Bourne Fine Art, Edinburgh; Private Collection, Scotland.

Exhibited: Baillie Gallery, London, 1911

Literature: Carol A. Nathanson, The Expressive Fauvism of Anne Estelle Rice, Hollis Taggart Galleries, New York, 1997, repr. b/w. p.22, fig.24

Anne Estelle Rice grew up in in the industrial Schuylkill Valley in Pennsylvania, the daughter of a ‘Scotch-Irish’ father and a Pennsylvania Dutch mother. After training as a graphic artist, painter, designer and muralist in Philadelphia, she began work as an illustrator – one of the few professions that offered the prospect of financial independence for women of her generation. Drawings published in the likes of Collier’s and Harper’s Bazar [sic], and as covers for the venerable Saturday Evening Post, led to a commission to go to Paris in 1905 to illustrate the latest fashions and scenes of Parisian life for the North American

Within three years, Rice had surfaced in the mainstream of French modernism, exhibiting six paintings at the 1908 Salon d’Automne. Elected a Sociétaire of the Salon two years later, she also served as a juror in 1912. Her radical, monumental Egyptian Dancers, inspired by the Ballet Russes, and one of the five murals commissioned for the Wanamaker department store in Philadelphia in 1909 were both accorded place d’honneur in Salon hangs. The artist’s work was also shown at other salons and galleries in Paris, and in London, Cologne, Brussels and Budapest.

Her meeting with the Scottish artist John Duncan Fergusson at Étaples in 1907 had proved critical to both and probably prompted Fergusson’s decision to move to Paris, where Rice became muse and model for many of his most celebrated paintings. Their six-year relationship evolved from one of mentor and protegé into an equal and mutually beneficial partnership. They appear to have experimented with new styles, primarily Fauvism and Cubism, and adopted new subject-matter at around the same time, their approaches becoming increasingly divergent.

A Bowl of Fruit was painted in 1911, when both were exploring what could be described as the romantic nude, figures emblematic of the élan vital at the heart of Henri Bergson’s philosophy. For Rice in particular, fruit and flowers were symbols of sensual pleasure as well as fecundity, and cornucopias such as this feature in Egyptian Dancers of 1910 and several of her illustrations for Rhythm magazine. While this figure’s intensely red lips and nipples recall Fergusson’s nudes, the directness of her gaze does not. A preliminary drawing indicates musculature omitted in the painting (Tate Archive). Here, smooth, golden skin and strong, sinuous contours enhance the figure’s soft sensuality. Her bold Fauve palette and stylized, circular forms rhythmically repeated create a decorative surface as well as suggesting plenitude. Rice’s debt to Paul Gauguin is apparent in the mood and subject-matter of this image of a strong-bodied Polynesian. It is also revealed in the lush colour orchestrations involving rose, orange, pink and violet that transform the figure’s flesh into another kind of luscious fruit. The Salon d’Automne had staged a Gauguin retrospective in 1906, inspiring a new generation of artists to return to the primitive and naïve, and to the spiritual.

A symbolic reading of this composition is encouraged by the presence of Rice’s eye signature, an ideogram adopted around this time and which features on the catalogue cover of her 1911 show at the Baillie Gallery in London. This device may owe something to Gauguin’s sunflower ‘eyes’, the Egyptian eye of Horus or to the Eastern mysticism that interested the Rhythm circle. The introduction to the Baillie catalogue was written by the British critic and essayist Holbrook Jackson, re-used from an earlier appreciation published in the journal Black & White (Holbrook Jackson, ‘Personal Expression in Paint: The Work of Estelle Rice’, Black & White, 11 March 1911). Rice’s ‘work scintillates with a new vision of light-filled colour’, he wrote, concluding on its right, ‘on the obvious grounds of sincerity of craft and distinction of vision, to a front-rank position in modern art.’ By way of thanks, Rice offered him a painting of his choice. He chose A Bowl of Fruit

We are grateful to Susan Moore, author of a forthcoming monograph about Anne Estelle Rice, for writing this catalogue note.

Unknown photographer, Anne Estelle Rice, c. 1910. Courtesy of Culture Perth & Kinross Museums & Galleries.

160

ANNE ESTELLE RICE (AMERICAN 1877-1959)

LANDSCAPE WITH TREES,

Signed, coloured pencil on paper, mounted on cardboard

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

Provenance: Hollis Taggart Galleries, New York; Sotheby’s Hopetoun House, Scottish Pictures 18th April 2005, lot 120 where incorrectly catalogued as John Duncan Fergusson;

Private Collection, Scotland.

Exhibited: Hollis Taggart Galleries, New York, The Expressive Fauvism of Anne Estelle Rice, 29 April - 26 July 1997, cat.no. 31 (as ‘Untitled Landscape with Trees’), repr.col.p.42, pl.12

Note: This work has been dated c.1918-20

£3,000-5,000

Groves of trees, particularly those with rhythmically undulating and expressive trunks, feature in several of Anne Estelle Rice’s sketchbooks and paintings. Sinuous tree trunks appear as framing devices in early frieze-like compositions such as Station of Montgeron of 1908-09 but in the drawings and paintings made in Cassis in the South of France and in Corsica, both first visited in 1913, their repeating, muscular forms animate the composition like figures in a landscape. Rice would have been familiar with the comparably undulant trees of André Derain and his Fauve contemporaries, as well as those of Vincent van Gogh who inspired them.

In this rare large-scale coloured drawing, the forms of trees are stylized further into repeating patterns of supple verticals, mounded canopies and fan-shaped ferns or shrubs, and the palette restricted to blue, yellow and green. The sheet was executed after World War One when Rice was based in London - she had married the British critic O. Raymond Drey in 1913. From early April to mid-July in 1918, she was working around Looe in Cornwall, where the artist, now pregnant, was joined by Katherine Mansfield and painted the writer’s portrait. Later in the summer, she moved on to Cromer and Wroxham on the Norfolk Broads. There were no funds for a studio during her challenging war and early post-war years. Rice did what she could during spring and summer trips, concentrating on small scale works on paper – drawings and watercolours – that could be made on the kitchen table, and often re-using motifs from earlier sketches.

We are grateful to Susan Moore, author of a forthcoming monograph about Anne Estelle Rice, for writing this catalogue note.

JOHN MACLAUCHLAN

MILNE: FROM DUNDEE TO THE SOUTH OF FRANCE

John Maclauchlan Milne was born in Buckhaven, the son and nephew of the artists Joseph Milne and William Watt Milne respectively. In 1938 he declared ‘I cannot look back on a time when I was not familiar with the smell of oil paint and the paraphernalia of a studio.’ (Artist’s statement, Contemporary Scottish Painting, The Gallery, St Andrews, August 1938, cited in The Life and Work of John Maclauchlan Milne, Portland Gallery, London, 2010, exh. cat., p.92). It is thought that Milne received his training from his father, before a period spent in Canada. Whilst there he described himself as an artist, but spent time working as a cowboy in order to earn a living.

Photographer for D. C. Thomson, Dundee. John Maclauchlan Milne in his studio, with his painting L’Eglise de Lavardin, May 1922. Royal Scottish Academy of Art & Architecture Archives (John Maclauchlan Milne Archive: Gifted by the Artist’s Nephew Jimmy Mackellar, 2024)

On his return to the UK, Milne married and settled in Dundee. In 1912 he exhibited at the Royal Scottish Academy and the Royal Glasgow Institute for the first time; he was to do so regularly for the rest of his career, leading to his election as a full member of the former in 1937 and the mounting of Memorial Displays by both institutions in 1958, following his death the previous year.

During World War One, Maclauchlan Milne served with the Royal Flying Corps, including in France and Belgium. Following demobilisation in 1919, he served as President of Dundee Art Society before a spell living in Paris. Indeed, from this point on until 1932 he spent significant amounts of time in France, in the capital as well as the Midi, with St Tropez finding particular favour as a place to work. Other leading Scottish artists of the inter-war period were also drawn to the French Mediterranean, including Charles Rennie Mackintosh, James McIntosh Patrick, Anne Redpath and all four artists known as ‘the Scottish Colourists’, F.C.B.Cadell, J.D.Fergusson, G.L.Hunter and S.J.Peploe.

As Alice Strang has explained: ‘Like his friend Samuel John Peploe, Maclauchlan Milne was greatly inspired by the French Post-Impressionist painter Paul Cézanne and this, combined with his experience of France, brought about a dramatic change in his work after the war…[which]…gave way to brightly coloured, boldly painted French landscape scenes. These earn him the right to be called a ‘Scottish Colourist’ and indeed he painted alongside Peploe and F. C

.B. Cadell in France and described George Leslie Hunter as a good friend.’ (Alice Strang, Consider the Lillies: Scottish Painting 1910-1980, Dundee, 2007, exh.cat., p.88).

The importance of Maclauchlan Milne’s work was recognised during his lifetime and it was included in many solo and group exhibitions including in Glasgow, London, America and Canada. Acquisitions were made for public collections including The McManus: Dundee’s Art Gallery and Museum, Kelvingrove Art Gallery and Museum, Glasgow and by the French state for the Musée du Luxembourg. In addition, his work was sought after by many of Scotland’s leading collectors, including William Boyd, Matthew Justice, Alexander Keiller and John Tattersall.

During the 1930s, Maclauchlan Milne focused on the Scottish landscape, especially that of the west Highlands. During World War Two he moved to Arran, married for the second time and was provided with bountiful subject matter by the island. A solo exhibition of Maclauchlan Milne’s work was mounted at The McManus in 1985 and the first monograph about him was published by M. N. Millar in 2022.

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 research into the artist’s works offered in this sale.

JOHN MACLAUCHLAN MILNE

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

THE HARBOUR, ST TROPEZ

Signed, oil on canvas

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

£30,000-50,000

Provenance: Christie’s Scotland, Edinburgh, The Scottish Sale 19th April 1984, lot 33; William Hardie, Glasgow; The Fleming-Wyfold Art Foundation, London (ref.487); Christie’s, Glasgow, Victorian & Modern Paintings, 1st November 2001, lot 151; Private Collection, Scotland.

Literature: Williaqm Hardie, Gallery: A Life in Art, Waverley Books, Glasgow. 2017, p.76

Bill Smith,, A Picture of Flemings, Robert Fleming Holdings, London, 1985, p.120

M. N. Millar, The Missing Colourist: The Search for John Maclauchlan Milne RSA, privately published, 2002, p.78

Note: John Maclauchlan Milne first travelled to the Côte d’Azur in 1924 and there are dated paintings of St Tropez from that year and others from 1926, and from 1929. Under the heading ‘Glimpses of the Riviera’, a review in The Courier on 31 March 1925 of the artist’s current studio exhibition stated: ‘St Tropez, which was Mr Milne’s painting ground, pushes its bold promontory into the sea not far from Cannes, and all the glories of flowery land and purple sea gleam from canvases.’ Two years later and in response to another studio exhibition in Dundee, The Evening Telegraph on 27 October 1927 declared: ‘St Tropez, one of the less known but most picturesque villages on the Riviera coast, has furnished the material for most of the pictures.’

St Tropez was a favourite painting location for Maclauchlan Milne and there are various undated pictures of the harbour and of other aspects of the town.

Note: In her memoir Belonging (Hogarth Press, London, 1968), Willa Muir remembers learning ‘about a cheap fishingvillage our artist friends had praised, in the south of France, an unspoilt village called St Tropez.’ She and her husband Edwin Muir went there in February 1926 ’before it had been transformed into a fashionable resort.’ They found that ‘more and more St Tropez was filling up with artists from every quarter, including some from Scotland.’

Maclauchlan Milne first went to St Tropez in 1924 and returned several times in following years. He showed his various Côte d’Azur pictures at the Royal Scottish Academy, Royal Glasgow Institute, Society of Scottish Artists, in his annual studio exhibitions and elsewhere. His supporters in Dundee acquired many of these works.

The precise location shown in this painting is not recorded, but it has been suggested that it could be the Boulevard Vasserot, by the Place des Lices in St Tropez, as it was 100 years ago.

162 §

JOHN MACLAUCHLAN MILNE

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

A SQUARE IN THE SOUTH OF FRANCE

Signed, oil on board

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

£20,000-30,000

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

SUMMER FLOWERS

Signed and dated ‘30, oil on canvas

91cm x 63.5cm (36in x 25in)

£8,000-12,000

Note: John Maclauchlan Milne was principally a landscape artist – his legacy comprises pictures from Scotland, Paris, Tuscany and along the Côte d’Azur, however he also produced many still life arrangements of cut flowers, presented in a vase, in various indoor settings.

As a Colourist, these flower pictures often present a variety of colours, as in this example. Only some of his known flower pictures are dated, and these range from 1925 to the late 1930s.

One of the highpoints of his career was in March 1931. Maclauchlan Milne had a solo exhibition at The Independent Gallery in London where one of his flower paintings was purchased for the French national collection. Fleurs of 1930 remains in the collection of the Musée National d’Art Moderne at the Pompidou Centre, Paris. (acc.no. JP523P). Summer Flowers, from the same year, is a classic example of the artist’s still life flower arrangements.

JOHN MACLAUCHLAN MILNE

Note: John Maclauchlan Milne returned to Dundee in June 1919 from military service with the Royal Air Force in France and Belgium. He soon returned to France and his dated paintings from 1920 are mostly from Paris, but there are several from around Lavardin in the Loire Valley; The Goatherd is believed to be one of these. There is a companion piece, Champs aux Chevres, also dated 1920, which features a similar arrangement of figure, goats and trees and others from nearby Langeron.

Maclauchlan Milne’s first solo exhibition was in Murray’s Galleries in Dundee in March / April 1921 and a press report in the Dundee Evening Telegraph of 28 March 1921 explained that the works shown were ‘the result of a year’s painting in the Latin Quarter and the pastoral country south of Paris.’

The Goatherd may well have been included in this exhibition.

164 §

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

THE GOATHERD

Signed and dated 1920, oil on canvas

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

Provenance: Christie’s Scotland, Edinburgh, The Scottish Sale 28th October 2004, lot 263; Private Collection, Scotland.

£30,000-50,000

165 §

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

FIGURES IN A SUNLIT STREET

Signed, oil on canvas

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

Provenance: Christie’s Scotland, Edinburgh, The Scottish Sale 28th October 2004, lot 264; Private Collection, Scotland.

£20,000-30,000

Note: This painting probably dates from the south of France in the mid to late 1920s, when John Maclauchlan Milne was travelling to the Côte d’Azur, returning to Dundee to work up his sketches for exhibitions in his studio in the Nethergate, at the Royal Scottish Academy, Royal Glasgow Institute and, from 1925, at the Society of Scottish Artists and elsewhere. His first trip to the south of France was in 1924. He was 38 years old. He had already spent time living and painting in Paris and in the Loire Valley in the early 1920s. Much later in his life, when Tom Honeyman (previously Director of the Kelvingrove Gallery in Glasgow, and earlier a director of art dealers Reid & Lefèvre) asked Maclauchlan Milne for biographical details for an article for The Scottish Field, Milne remembered his time in Vence, St Paul de Vence and St Tropez ‘…with such men as Segonzac, Kisling and Mendjisky.’ (quoted in M.

N. Millar, The Missing Colourist: The Search for John Maclauchlan Milne RSA, privately published 2022, p.135)

So who suggested that Maclauchlan Milne should visit Cassis and St Tropez in 1924? Moïse Kisling was in Montparnasse with Pablo Picasso at the Café de la Rotonde in August 1916. (see Billy Kluver, A Day with Picasso, The MIT Press, London, 1997). Maclauchlan Milne painted there in 1921. Kisling had already been painting in St Tropez in 1916 and 1917 and Cassis in 1918, so perhaps they met in Paris in 1920/21 or alternatively Maclauchlan Milne was advised by S. J. Peploe or J. D. Fergusson, who had both been painting on the Côte d’Azur in 1913. (see Millar, op.cit., pp.165-166) Figures in a Sunlit Street is redolent of Maclauchlan Milne’s French pictures from the 1920s.

166 §

JOHN MACLAUCHLAN MILNE

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

A VIEW IN THE SOUTH OF FRANCE

Signed, oil on canvas

100cm x 126cm (39.5in x 49.5in)

Provenance: Sotheby’s, Gleneagles, Scottish and Sporting Pictures and Sculpture, 28th August 2002, lot 1094; Private Collection, Scotland.

£40,000-60,000

Note: John Maclauchlan Milne made many trips to the south of France in the 1920s, beginning in 1924. Some of his picture titles show that he roamed from L’Estaque, near Marseille in the west, to St Paul-deVence, near Nice in the east. A View in the South of France relates to some of his various, dated paintings from Cassis and St Tropez in 1924.

Maclauchlan Milne returned to Dundee from military service with the Royal Air Force in June 1919. He returned then removed to France, and his Paris paintings date from 1920 to 1922, along with others from Lavardin in the Loire Valley. He was painting in Scotland in 1923, before returning to France again in 1924, to the Côte d’Azur.

In September 1924 he passed through Paris and was quoted by Arthur Moss in his ‘Over The River’ column in The Paris Times on the 12th of that month: ‘There is a revolution going on in Bonnie Scotland. It’s particularly violent in Dundee and in Edinburgh… This is an artistic revolution. So says the painter Maclauchlan Milne…Mac divides his time between Montparnasse and the city that marmalade made famous. He recently had an exhibition in Scotland of his own vigorous landscapes.’

Maclauchlan Milne began exhibiting his pictures from the south of France in 1925 at the Royal Scottish Academy, Royal Glasgow Institute, Society of Scottish Artists and in his studio exhibitions, and these were a major part of his output into the early 1930s.

JOAN EARDLEY: FROM THE CITY TO THE COUNTRYSIDE

Joan Eardley’s exceptional skills of observation, technique and affinity with both people and nature is clear in the selection of paintings and works on paper presented here. They reveal how she worked sensitively and spontaneously from the city to the countryside and include examples of her celebrated portrayals of the Townhead district of Glasgow and of the fishing village of Catterline on Scotland’s north-east coast.

Eardley maintained a studio at 204 St James Road in Townhead from 1952 until her premature death in 1963. She became a regular sight in its somewhat rundown streets, sketching buildings, people and scenes of daily life in chalk and pastel, which she then worked up into paintings in the studio. She was drawn to the neighbourhood’s vibrancy and close-knit community and soon established a rapport with the local children, some of whom she would pay a modest fee for sitting for her.

Quickly executed pastels, such as Little Girl, Girl in Striped Jersey and The Striped Skirt illustrate Eardley’s unsentimental approach to her young subjects. They are caught in unselfconscious poses and with natural facial expressions, with particular emphasis paid to the colour and pattern of their clothing. Eardley’s mixed use of pastel, from confident outline to curling gesture and smudged fields of contrasting tones, gives a sense of the energy and moment of the creative process which celebrates but does not sugarcoat childhood.

In paintings including Boy in Blue Jersey and Boys Playing Cards a deeper, more contemplative atmosphere is suggested. In the former, the young model is portrayed in a moment of thought, hands clasped together and head tilted to look at something beyond the viewer’s sight. In Boys Playing Cards an air of concentration is focussed on the boy seen in profile, perhaps as he plans his next move, rather than presenting the whole game and all its participants.

In 1952, Eardley visited Catterline for the first time. It became a new stimulus where she could depict the immensities of nature in the open air, painting and sketching ‘on the spot’ in all seasons and weathers. She bought a cottage there in 1955 and thereafter divided her time between the village and Glasgow. Eardley immersed herself into the community and its way of life. The activities of its working harbour provided rich subject matter, as seen in Salmon Fishing Nets – Study. As Patrick Elliott has explained: ‘…the salmon-fishing season on Scotland’s east

coast lasted from 16 February until 31 August…in order to conserve stocks, the fishermen were required by law to remove the long nets by noon on the Saturday and were not permitted to replace them before 6am on the following Monday. The long nets were cleaned and dried on the stony beach on the Saturday afternoon….the nets were hung up on the Makin Green, a rough grassy patch near the salmon bothy, on giant larch poles five or six metres tall.’ (Patrick Elliott, Joan Eardley: Land & Sea – A Life in Catterline, National Galleries of Scotland, Edinburgh, 2021, pp.107 & 111). Executed in pastel, Eardley joined three sheets of support in order to complete the current composition.

In Stacks and Setting Sun I Eardley turned her eye to the surrounding fields to capture the fruition of the farming year as the day drew to a close. This time executed in oil on board, her expressive technique verges on abstraction, albeit anchored with figurative elements such as the fencing at the lower left. Eardley’s powerful response to the quickly changing scene before her is clear in the energetic brushstrokes and depiction of the fading, warm tones of sunlight.

Whether working in the city or in the countryside, Eardley position as one of Britain’s leading twentieth-century artists is assured.

Unknown photographer, Joan Eardley, Catterline. Courtesy National Galleries of Scotland, Edinburgh: Gift from Buchanan (PGP 810.2)

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

BOY IN BLUE JERSEY

Oil on board

36.5cm x 16cm (14.25in x 6.25in)

Exhibited: The Scottish Gallery, Edinburgh, Christmas Exhibition, 1967, no.50

£15,000-20,000

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

Signed, pastel

30.5cm x 18cm (12in x 7in)

Provenance: The Scottish Gallery, Edinburgh, no.9871

Note: Dated 1956 on gallery label verso

£4,000-6,000

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

FISHING BOATS ON THE CLYDE

Pastel on brown paper

14cm x 14cm (5.5in x 5.5in)

Provenance: The Artist’s studio

Exhibited: The Scottish Gallery, Edinburgh, Joan Eardley

R.S.A. - Paintings and Drawings, 2007

£3,000-5,000

170 §

JOAN

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

SALMON FISHING NETS - STUDY

Pastel on three conjoined sheets

17.5cm x 46cm (7in x 18in)

Exhibited: The Scottish Gallery, Edinburgh, Joan Eardley - The Artist’s Studio, 1958, no.2

Note: This work dates from c.1958

£4,000-6,000

171 §

JOAN KATHLEEN HARDING EARDLEY R.S.A. (SCOTTISH 1921–1963)

THE WINDMILL Pen and wash

30cm x 33cm (12in x 13in)

Exhibited: The Scottish Gallery, Edinburgh, Joan Eardley Paintings, Watercolours, Pastels and Drawings, June 1988, no.39

£2,000-4,000

172 §

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

BOYS PLAYING CARDS

Oil on board

23cm x 23cm (9in x 9in)

Provenance: The Scottish Gallery, Edinburgh, Joan Eardley - Paintings and Drawings, 1996, no.13

£7,000-10,000

173 §

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

THE STRIPED SKIRT

Pastel on glass paper

28cm x 23cm (11in x 9in)

Provenance: St. Andrews Fine Art, July 1998.

Exhibited: The Scottish Gallery, Edinburgh, Festival Exhibition, 1964, no. 79

£8,000-12,000

174 §

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

STACKS AND SETTING SUN

Oil on board

32cm x 38cm (12.5in x 15in)

Exhibited: The Scottish Gallery, Edinburgh, Festival Exhibition, 1958, no.20

£7,000-10,000

175 §

JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) GIRL IN STRIPED JERSEY

Inscribed with inventory number ‘ED877’, pastel

25.5cm x 20cm (10in x 8in)

Provenance: Roland Browse & Delbanco, London

£15,000-20,000

SIR WILLIAM GEORGE GILLIES

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

Signed, oil on canvas

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

Exhibited: Scottish Arts Council, William Gillies Retrospective Exhibition, Royal Scottish Academy, Edinburgh, 7-28 February 1970, no.82

£5,000-7,000

177 §

SIR WILLIAM GEORGE GILLIES

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

LANDSCAPE

Indistinctly signed, oil on canvas laid down 56cm x 71cm (22in x 28in)

Provenance: Society of Eight, Edinburgh 1935, where purchased by James Henderson, and thence by family descent.

£3,000-5,000

178 §

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

FROM TEMPLE PARK, ROMAN CAMP

Signed, watercolour

32cm x 51.5cm (12.5in x 20.25in)

£1,000-1,500

Provenance: Ancrum Gallery, Ancrum Robert A. Lillie, Milngavie, no.66.

Exhibited: The Arts Council of Great Britain Scottish Committee, Paintings from the collection of Dr. R.A. Lillie;

179 §

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

TEMPLE

Watercolour

42cm x 56cm (16.5cm x 26in)

Provenance: The Scottish Gallery, Edinburgh, no.1439

£1,500-2,500

180 §

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)

FARM AT SPITTAL ON RULE

Signed, oil on canvas laid down on board

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

£15,000-20,000

After fourteen years spent living in France and establishing a family, Redpath returned to the Scottish Borders in 1934. With all three of her sons attending school, Redpath resumed painting in earnest. She was ambitious and committed in equal measure, sending work regularly to the group exhibitions staged in Edinburgh. She revived her relationships with the Society of Scottish Artists (SSA) and the Royal Scottish Academy (RSA) and also began to show with the Royal Scottish Society of Painters in Watercolours and the Scottish Society of Women Artists (SSWA, now Visual Arts Scotland). It was during the 1940s that Redpath emerged as an artist of importance. This was recognised by the first acquisition of one of her works for an Edinburgh public collection, when the RSA purchased The Lace Cloth for £50 in 1944. That year she painted and exhibited – at the SSA – Farm at Spittal on Rule and was elected President of the SSWA. The titular farm is some six miles northeast of Hawick, where Redpath had grown up and where she also lived from 1934 until 1949.

Exhibited: Society of Scottish Artists, 1944; Portland Gallery, London, Anne Redpath Centenary Exhibition June-July 1995, no.16;

Literature: Patrick Bourne, Anne Redpath 1895-1965: Her Life and Work, Atelier Books, Edinburgh, 1989, pl.31, p.36

With a simplification of form as gentle as her palette, Redpath depicted the array of farm buildings scattered over the inclined site. More freely painted passages, such as the sky and the foreground, point to the untrammelled expressiveness which was to develop later in her practice, whilst the mixture of deep black with sensitively combined hues of grey, white and violet reveal a sensitivity to colour which was a defining characteristic of her oeuvre. Three years later, Redpath received her first solo exhibition in Scotland, at Gordon Small’s gallery in Edinburgh. The review of it in The Scotsman on 13 March 1947 praised the ‘individuality of colour and intimate gaiety’ of the work shown, which could be taken as a description of the present painting.

181 §

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)

AFRICAN VIOLETS

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

Provenance: Stone Gallery, Newcastle-upon-Tyne; Cyril Gerber Fine Art, Glasgow. £8,000-12,000

182 §

DENIS PEPLOE R.S.A. (SCOTTISH 1914-1993)

CUL MOR AND CUL BEAG

Signed, and titled on the canvas overlap, oil on canvas

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

Provenance: The Fine Art Society, Edinburgh 001155 E/30 9 Acquired from the above by the parents of the present owner in 1989.

£3,000-5,000

183 §

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)

WHITE GLOXINIA

Signed, watercolour

56.5cm x 77.5cm (22.25in x 30.5in)

Provenance: Property of a Private Aficionado.

Note: This work is believed to date to c.1964. £1,500-2,000

184 §

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)

FRENCH LANDSCAPE

Signed, pencil and watercolour

37.75cm x 49.5cm (14.75in x 23.5in)

£2,000-3,000

185 §

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)

ROADSIDE COTTAGES, CORSICA

Watercolour

28cm x 38cm (11in x 15in)

Exhibited: The Scottish Gallery, Edinburgh, Anne Redpath Exhibition, 1965, no.23

£2,000-3,000

186 §

ELIZABETH BLACKADDER

O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT. (SCOTTISH 1931- 2021)

JAPANESE BOXES AND CARNATIONS

Signed and dated 1978, watercolour

55cm x 77cm (21.5in x 30.25in)

Exhibited: Royal Scottish Academy, Edinburgh, 1978, no.333

£3,000-5,000

187 §

ELIZABETH BLACKADDER

O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT. (SCOTTISH 1931-2021)

CAT AND CACTUS

Signed and dated 1983, watercolour

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

£1,500-2,000

188 §

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

PICNIC ON THE BEACH

Signed and dated ‘92, oil on canvas 61cm x 91cm (24in x 36in)

£20,000-30,000

Alberto Morrocco’s significance in 20th-century Scottish art manifests threefold: in his immediately recognisable artwork, through the influence of his long tenure as Head of Painting & Drawing at Duncan of Jordanstone College of Art & Design in Dundee and, as time has shown, as the figurehead of an artistic family, with his son and nephew going on to be successful artists in their own right. Born in Aberdeen to Italian parents, he trained at Gray’s School of Art under the tutelage of James Cowie and Robert Sivell, becoming steeped in a particular Scottish art tradition that harked back to historic approaches of the country of his parents’ birth. This Scottish-Italian fusion would continue to evolve through his art, as this rigorous training and commitment to formal qualities mingled with the inspiration of his own later travels to Italy.

Morrocco’s distinctive style is characterised by his specific recurring characters: the sleeping melon-seller, the skinny boy in the street and heavily-modelled women carrying their babies and chatting across their balconies; and his distinctive motifs: the expressive sunflowers, heavily patterned carts, juicy vibrant fruit, even the precarious knifes, included for the quality of their pleasing abstract shapes and the ‘frisson’ of tension they provide against the soft flesh of fruit. Travels

to the country of his parents’ birth exposed him to these subjects which he captured in sketchbooks before adding his own ‘point-of-view’ in the studio, evolving his types: ‘it happened just by observation really, and by exaggeration and selection.’ (Keller, V., & Young, C., Alberto Morrocco, Mainstream Publishing, Edinburgh, 1993, p. 62) But the most immediate thing that Italy brought him was the bright light and hot colours of the Mediterranean; the vibrant and sizzling pinks, oranges and yellows that he contrasts against the cool but bright blues and greens. We are transported away from the muted tones of Scotland, and his earlier restrained palette, to a land and culture where the climate allows for life to be lived outside, the fruit is ripe and delicious and siestas are required to avoid the strength of the midday sun. It makes sense, then, that his paintings are so enduringly popular and why he has been described at times as a hedonistic painter, an artist concerned particularly with life’s pleasures.

189 §

ALBERTO MORROCCO

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

SIESTA

Signed, oil on canvas 152cm x 160cm (60in x 63in)

Provenance: The Artist’s children; Private Collection, Scotland.

Literature: Victoria Keller, & Clara Young, Alberto Morrocco, Mainstream Publishing, Edinburgh, 1993. pl.59, p.65

Note: This painting dates from c.1971.

£40,000-60,000

Yet, the artist himself admits that at times all that vibrancy must be balanced, not unlike a pleasing and successful composition, and that even he can ‘eventually become almost sated with powerful colour and feel a need to refresh myself by using colour in a sort of minor key as a kind of relief - it’s almost a physical thing.’ (Keller, V., Young, C., p.58) Siesta is a dramatic, statement of a painting, painted on a significant scale. It has power in its quietness, the presence of its restraint. Morrocco depicts his favoured heavily modelled figures, their sculptural, rounded limbs asserting their space

against a calm sea of grey and over the gently undulating white drapery. A siesta is a moment of rest, an escape from the heat of the day, and this is an escape for the figures and for us too, a moment to sink into, a calm celebration of form and balance. It feels classical, almost timeless, yet the hints of Morrocco’s ‘point of view’ endure, his beloved sunflowers present and fresh fruit acknowledged in the considered trio of pears. This is just a cooler, calmer version of Morrocco’s world and though he may be painting in a minor key, the result is major.

Signed and dated ‘91, oil on canvas

71cm x 76cm (28in x 30in)

Provenance: The Open Eye Gallery, Edinburgh

£20,000-30,000

190 §

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

FESTA SICILIANA

191 §

ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1999)

WOMAN WITH MIXING BOWL

Signed, oil on board

55cm x 38cm (21.5in x 15in)

Provenance: Agnew’s, London CM70/8

Note: A note verso says that the painting dates from 1948

£6,000-8,000

192 §

SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916-1992)

MEADOW

Watercolour on conjoined paper

79cm x 135cm (31in x 53in)

£2,500-4,000

‘What attracted me to the poppies was their splendour - the sheer power and yet the delicacy of their colour - the cold and warm reds and the very subtle translucent lights.’ (Sir Robin Philipson, quoted in Gordon Smith, W., Sir Robin Philipson, Atelier Books, Edinburgh, 1995, p.112) Poppies bloomed from the tip of Philipson’s brush in the final ten years of his career and the resulting paintings were so effective that the artist became synonymous with the flower. After a prolific and successful career as Head of the School of Drawing and Painting at Edinburgh College of Art, Philipson retired in 1982, enabling him to commit himself fully to his easel. Poppies recurred as subject matter, with their sculptural blooms and intense hue proving to be irresistible to the artist.

193 §

SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.L.ITT., L.L.D. (SCOTTISH 1916-1992)

POPPIES AND STRIPES

Signed and dated 1991/92 on the backboard, oil on board

91cm x 96.5cm (36in x 38in)

Note: With the artist’s label verso

£10,000-15,000

Philipson later recalled: ‘I began by modelling their form in whites and a range of neutral colours. When this “white” stage was quite dry, the strong colours were created by layering thin glazes of pale transparent paint over the top, sometimes up to ten or more on top of the other. Some of the blacks are built up in the same way over a bed of very rich blue or crimson.’ (Gordon Smith, op.cit., p. 104) W. Gordon-Smith observed that the ‘choreographed, large-scale paintings of these fragile blooms which…[Philipson]…set to his own dynamic music’ were the ‘achievements of his artistic lifetime’. (Gordon Smith, op.cit., p.112)

194 § JOHN BELLANY C.B.E., R.A. (1942-2013)

FISHING BOAT, LEITH HARBOUR

Signed, oil on canvas

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

£3,000-5,000

195 §

ALAN DAVIE (SCOTTISH 1920-2014)

OPUS O.1062 MEDITATION ON JAIN COSMOLOGY NO. 6 (TREE)

Signed, inscribed and dated Aug ’85 verso, oil on canvas

213.5cm x 173cm (84in x 68in)

Exhibited: Gimpel & Weitzenhoffer, New York, Alan Davie, May 1986; Barbican Art Gallery, London, The Quests from the Miraculous, JulySeptember 1993, catalogue no. 89; Galerie Georg Nothelfer, Berlin, Alan Davie, November 2003.

£6,000-8,000

Signed, oil on canvas

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

Provenance: Portland Gallery London

Note: This work was painted in 1999

£20,000-30,000

196 §

JACK VETTRIANO (SCOTTISH B.1951)

BOY’S NIGHT

INDEX OF ARTISTS

Adam, Patrick William 73

Armour, Mary 72, 96

Bain, Donald 91

Bellany, John 194

Blackadder, Elizabeth 186, 187

Blyth, Robert Henderson 94, 95, 125

Bough, Sam 17, 20, 21, 23, 37

De Breanski Junior, Alfred 36, 107

De Breanski Senior, Alfred 38, 103

De Breanski, Alfred Fontville 106

Burns, Robert 16

Burr, John 24

Cadell, Francis Campbell Boileau 145, 146, 147, 148, 149

Coventry, Robert McGown 5, 13

Crowe, Victoria 102

Cursiter, Stanley 127, 135, 136

Daniel, William 109

Davie, Alan 195

Eardley, Joan 167, 168, 169, 170, 171, 172, 173, 174, 175

Faed, Thomas 114

Farquharson, David 6, 64

Farquharson, Joseph 39, 40, 41, 123, 124

Fergusson, John Duncan 76, 77, 78, 79, 80, 81, 82, 83, 84, 151, 152, 153, 154, 155, 156, 157, 158

Flint, Sir William Russell 132, 133, 134

Gauld, David 15, 51

Gear, William 101

Gibson, William Alfred 30

Gillies, Sir William George 71, 92, 93, 176, 177, 178, 179

Glass, William Mervyn 150

Gunn, Sir Herbert James 69

Guthrie, Sir James 59

Harvey, Sir George 26

Henderson, Joseph Morris 4

Henry, George 129

Herald, James Watterston 45, 46, 47, 48

Hope, Robert 43

Hornel, Edward Atkinson 44, 58, 63, 118, 128

Houston, George 3, 104

Houston, John 97, 100

Hunter, George Leslie 85, 87, 139, 140, 141, 142, 143, 144

Hurt, Louis Bosworth 108, 115

Hutchison, Robert Gemmell 57, 116, 119, 120

Johnstone, Dorothy 90

Kay, James 14, 60, 61, 67

Lavery, Sir John 131

MacNicol, Bessie 130

MacTaggart, Sir William 68, 88, 99

Mann, Alexander 66

Martin, Francis Patrick 117

Maxwell, John 138

McGhie, John 2, 62, 105

McGregor, Robert 42

Milne, John Maclauchlan 161, 162, 163, 164, 165, 166

Milne, Joseph 54, 55

Morrocco, Alberto 188, 189, 190, 191

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

Morrocco, Leon 89

Morton, Thomas Corson 53

Murray, Sir David 1

Nasmyth, Alexander 112

Nasmyth, Patrick 22

Noble, James Campbell 52

Oppenheimer, Charles 122

Park, James Stuart 49

Paterson, James 126

Paton, Waller Hugh 9, 111

Patrick, James Mcintosh 7, 8, 19

Peploe, Denis 182

Peploe, Samuel John 86

Perman, Louise Ellen 50

Philipson, Sir Robin 192, 193

Raeburn, Sir Henry 113

Rayner, Louise 121

Redpath, Anne 98, 180, 181, 183, 184, 185

Reid, George Ogilvy 25

Rev John Thomson of Duddingston 110

Rice, Anne Estelle 159, 160

Robertson, Eric Harold Macbeth 137

Scott, Tom 18

Souter, John Bulloch 56

Sticks, George Blackie 11, 27, 28, 65

Sutherland, David Macbeth 70

Thorburn, Archibald 31, 32, 33, 34, 35

Vettriano, Jack 196

Watson, Robert 10, 12, 29

Wilson, William 74, 75

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

WATCHES

AUCTION 04 DECEMBER LIVE IN EDINBURGH & ONLINE

BACKES & STRAUSS, LONDON. A FINE & RARE 18K PINK GOLD AND DIAMOND SELF-WINDING WRISTWATCH

REGENT MODEL, REF. RE.36434.MA./D.2R, NO.003, MADE CIRCA 2011 £8,000-12,000 + fees

AUCTION 22 JANUARY 2025

LIVE IN EDINBURGH & ONLINE

KEN CURRIE (SCOTTISH B.1960) THE CALTON ACTIVIST, 1987

£4,000-6,000 + fees

FOR BUYERS (UK)

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

Special terms may be used in Catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms, etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the Catalogue. These notices and terms will also form part of our terms and conditions of sales.

In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate. “You”, “Your” means the Buyer. Lyon & Turnbull Ltd. acts as agent for the Seller. Lyon & Turnbull Ltd. acts as agent for the Seller. On occasion where Lyon & Turnbull Ltd. own a lot in part or full the property will be identified in the catalogue with the symbol (��) next to its lot number.

A. BEFORE THE SALE

1. DESCRIPTIONS OF LOTS

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

2. OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS

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

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

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

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

WITHDRAWAL

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

4. JEWELLERY, CLOCKS & OTHER ITEMS

(a) Jewellery:

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

(ii) All types of gemstones may have been improved by some method. You may request a gemmological report for

any Lot which does not have a report if the request is made to us at least three weeks before the date of the sale and You pay the fee for the report in advance of receiving said report.

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

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

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

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

warranties are given.

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

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

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

B. REGISTERING TO BID

1. NEW BIDDERS

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

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

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

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

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

2. RETURNING

BIDDERS

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

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

3. FAILURE TO PROVIDE THE RIGHT DOCUMENTS

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

4. BIDDING ON BEHALF OF 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.

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;

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.

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

TRANSPORT AND SHIPPING

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

2. EXPORT OF GOODS

Buyers intending to export goods should ascertain;

(a) Whether an export licence is required; and

(b) Whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the Buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the Lot.

3. CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION

Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http:// www.defra.gov.uk/ahvla-en/importsexports/cites

We accept no liability for any Lots which may be subject to CITES but

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

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

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.