511 Modern British & Contemporary Art by Lyon & Turnbull

Wednesday, 17th January 2018 33 Broughton Place Edinburgh

Modern British & Contemporary Art

Lyon & Turnbull

Modern British & Contemporary Art

Modern British & Contemporary Art Wednesday, 17th January, 2018 at 11am Sale Number LT511

Viewing Times Sunday, 14th January 12pm - 4pm Monday, 15th January 10am - 5pm Tuesday, 16th January 10am - 5pm Morning of sale by appointment only

Enquiries Lyon & Turnbull Ltd. 33 Broughton Place Edinburgh EH1 3RR Tel. 0131 557 8844 Fax. 0131 557 8668 Email. info@lyonandturnbull.com www.lyonandturnbull.com

Catalogue: ÂŁ15

Front Cover Lot 80 (detail)

Inside Front Cover Lot 79 (detail)

Inside Back Cover Lot 19 (detail)

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

Buyer’s Premium & Other Charges

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Catalogue descriptions

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

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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. If potential buyers are unable to inspect lots in person (public viewing times listed in every catalogue), our specialists will be happy to prepare detailed condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.

25% up to £100,000/20% thereafter. VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale). Additional VAT † VAT at the standard rate payable at the standard rate on the hammer price * 5% import VAT payable on the hammer price No VAT is payable on the hammer price or premium for books bought at auction. Droit de Suite § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the buyer on the hammer price and in addition to the buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. More information on Droit de Suite is available at www.dacs.org.uk

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 the EU. For more information visit http:// www. defra.gov.uk/ahvla-en/ importsexports/cites

Modern British & Contemporary Art

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

Charlotte Riordan

Nick Curnow

Carly Shearer

Iain Gale

Head of Sale

Head of Department

Specialist

charlotte.riordan@lyonandturnbull.com

nick.curnow@lyonandturnbull.com

carly.shearer@lyonandturnbull.com

iain.gale@lyonandturnbull.com

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1 [§] EDWARD MORLAND LEWIS (WELSH 1903-1943) WELSH LANDSCAPE Signed, inscribed with title verso, oil on board 22cm x 26cm (8.5in x 10.25in)

£1,000-1,500

2 [§] EDWARD MORLAND LEWIS (WELSH 1903-1943) A SPANISH TOWN Oil on board 26cm x 19cm (10.25in x 7.5in)

£700-900

3 [§] EDWARD MORLAND LEWIS (WELSH 1903-1943) WELSH VILLAGE SCENE Oil on canvas 46cm x 62cm (18in x 24.5in)

£1,500-2,500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section of this catalogue on page 5

Modern British & Contemporary Art

4 [§] DAVID BOMBERG (BRITISH 1890-1957) PORTRAIT OF ANNIE LOU STAVELEY Signed and dated 1938, oil on canvas 66cm x 58.5cm (26in x 23in)

£3,000-5,000

Born in Birmingham in 1890 and brought up in Whitechapel, Bomberg was the son of Polish immigrants. Having displayed an innate early talent, he was sponsored by the Jewish Educational Aid Society to study at the Slade under Tonks, alongside the likes of Gertler and Stanley Spencer. In 1913 however, he was expelled from the Slade with the consensus of his teachers being that his style was too radical. Nevertheless, persisting in this vein, in the period immediately preceding the First World War, he painted a number of notable geometric semi-abstract paintings, becoming associated with Percy Wyndham Lewis’s Vorticist movement. Included in the ‘Cubist Room’ at the Camden Town group show in Brighton in 1913, the following year, Bomberg helped to organize the Whitechapel’s 20th Century Art show. A founding member of the London Group, he was invited to show at the 1915 Vorticist exhibition. His best known work of this period, The Mud Bath, is now in the Tate.

During the war Bomberg served on the Western Front and the experience had a long-standing effect upon his art. In 1919, with the slaughter he had witnessed in the first conflict of the ‘machine age’ compounded by his disappointment at the rejection of a design for a Canadian War Memorial, he disappeared from public life. Instead he travelled extensively, notably to Palestine from 1923-27 and also to Russia, Greece, Spain and Morocco.

From 1929 Bomberg abandoned semiabstraction and turned to an expressive figuration, using a muted palette and fluid brush strokes, to create deeply personal portraits and landscapes. The present work is an outstanding example of his work of the 1930s, during which period he perfected this new-found freedom. From 1945 to 1953, he taught at Borough Polytechnic in London and had an important influence on an emerging generation of young

artists, including Frank Auerbach and Leon Kossoff. With them and other students he formed the Borough Group, active from 1947 to 1949. Bomberg died in 1957 and remained for some years best known for his work of the Vorticist period. However, in 1988 he was rediscovered in a retrospective at the Tate and in the last few decades, he has come to be seen in his rightful position of an important pioneer of British postwar Expressionism.

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5 [§] TOM SHANKS R.S.W., R.G.I. (SCOTTISH B.1921) ARRAN FROM CUMBRAE Signed, oil on board 51cm x 76cm (20in x 30in)

£800-1,200

6 [§] MARY NICOL NEILL ARMOUR R.S.A., R.S.W. (SCOTTISH 1902-2000) RENOYLE, CONNEMARA Signed and dated 1987, oil on canvasboard 28cm x 43.5cm (11in x 17.25in) Provenance: Roger Billcliffe Fine Art

£600-800

Modern British & Contemporary Art

7 [§] DUNCAN GRANT (BRITISH 1885-1978) WALK IN THE PARK Signed with initials, indistinctly signed and inscribed verso, oil on board 21cm x 17cm (8.25in x 6.75in)

£1,500-2,000

8 [§] NADIA BENOIS (RUSSIAN 1896-1975) VIEW OF GOLFERS IN THE SOUTH OF FRANCE Signed and dated ‘37, oil on canvas 32cm x 58cm (12.5in x 22.75in)

£1,500-2,500

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9 [§] MARY NICOL NEILL ARMOUR R.S.A., R.S.W. (SCOTTISH 1902-2000) STILL-LIFE WITH RUSSET APPLES Signed and dated ‘69, oil on canvas 49cm x 59cm (19.25in x 23.25in) Provenance: Roger Billcliffe Fine Art

£3,000-5,000

10 [§] MARY NICOL NEILL ARMOUR R.S.A., R.S.W. (SCOTTISH 1902-2000) MAGNOLIAS Signed and dated 1988, oil on canvas 48.5cm x 48.5cm (19in x 19in)

£2,000-3,000

11 [§] LAURA SYLVIA GOSSE (BRITISH 1881-1968) STILL LIFE WITH MARROW AND ONIONS Signed, oil on canvas 44cm x 84cm (17.25in x 33in)

£1,200-1,800 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section of this catalogue on page 5

Modern British & Contemporary Art

12 [§] SIR WILLIAM GILLIES C.B.E., A.R.A., R.S.A., R.S.W. (SCOTTISH 1898-1973) YORKSTON ROAD, C.1940 Signed, watercolour 57cm x 78cm (22.5in x 30.75in)

£3,000-5,000

13 [§] JOHN G. BOYD R.G.I. (SCOTTISH 1940-2001) WESTBOURNE SCHOOL Signed, oil on canvas 49cm x 50cm (19.25in x 19.75in)

£400-600

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14 [§] CYRIL WILSON (SCOTTISH 1911-2001) DUOS AND SOLOS Signed and dated ‘70 in pencil to margin, numbered 39/70, lithograph 64cm x 46cm (25.25in x 18in)

£250-350

15 [§] BRYAN PEARCE (BRITISH 1929-2007) THE LADY CHAPEL - CHY AN EGLOS FROM MEMORIAL GARDENS A-P, signed and dated ‘72 in pencil to margin, inscribed with title verso, etching 16cm x 13.5cm (6.25in x 5.25in)

£300-500

16 [§] JOSEF HERMAN O.B.E. (POLISH-BRITISH 1911-2000) COCKLE GATHERERS Signed and numbered 117/150 in pencil to margin, lithograph 57cm x 77cm (22.5in x 30.25in)

£300-500

Modern British & Contemporary Art

17 [§] DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970) CLOWNS Signed and dated 1929, charcoal on buff-coloured paper 42cm x 28cm (16.5in x 11in)

£1,000-1,500

18 [§] MERLYN EVANS (WELSH 1910-1973) THE CONQUEST OF TIME Signed and dated ‘34 in plate, signed and inscribed with title and numbered 6/50 in pencil to margin, etching 25cm x 20cm (9.75in x 8in) (plate size)

£400-600

Note: Born in Cardiff but raised in Glasgow, Evans studied at Glasgow School of Art and in 1930, exhibited at the Royal Scottish Academy. In 1931, he was awarded the Haldane Travelling Scholarship and visited Berlin, Copenhagen and Paris. Later that year he won a free place at the Royal College of Art in London. In 1934 Evans became art master at Wilson’s Grammar School in Camberwell. From here, he made frequent trips to Paris where he met Mondrian, Kandinsky, Giacometti, Max Ernst and William Hayter. He also exhibited with the London Group and at the International Surrealist Exhibition during this period. Evans moved to South Africa to take up a teaching post in 1938 and enlisted in the Signals Corps in the South African Army in 1942. In 1946 he moved back to London where his artistic career developed. In 1949 he had his first one-man exhibition at the Leicester Galleries, where he exhibited in 1952, 1953 and 1955. In 1956 the Whitechapel Gallery held a retrospective of his work. He continued to exhibit regularly during the 1960s and in 1963 took a studio in St Ives for the summer, where he went annually thereafter. Evans took a post as the exchange artist in residence at the Art Institute of Chicago in 1967 which allowed him to visit New York. Here he met Mark Rothko, Barnett Newman and Robert Motherwell. On his return to London, Marlborough Fine Art held a one-man exhibition for him entitled Events and Abstractions. The Welsh Arts Council commissioned a triptych of his aquatints the following year and in 1972 the Victoria and Albert Museum held an exhibition of his graphic work. This work relates to an oil painting of the same title which is held in the collection of Tate, UK. The oil is currently on loan to the Scottish National Gallery of Modern Art and features in their current exhibition, A New Era: Scottish Modern Art, 1900-1950.

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ERNST LUDWIG KIRCHNER Ernst Ludwig Kirchner was a leading member of the group of artists historically referred to as the German Expressionists. He began his studies in 1901 in Dresden, studying architecture for four years, before enrolling at a progressive art school in Munich. In 1905 Kirchner co-founded the Die Brücke (The Bridge) group, alongside Fritz Bleyl, Erich Heckel, and Karl Schmidt-Rottluff, with Otto Müller, Emil Nolde, and Max Pechstein joining the group later on. In 1911, Kirchner moved with the Brücke group to Berlin. The following year Franz Marc included works by Brücke artists in the second show of the Blaue Reiter (the Blue Rider) at Heinrich Thannhauser’s Moderne Galerie in Munich, and a link between the two avant-garde groups was established. The groups both produced illustrated periodicals, and Kirchner’s skill as a graphic artist is especially apparent; as

important a feature in his practise as his painting. Feeling himself to be part of an established German tradition, Kirchner was inspired by the woodcuts of Albrecht Durer, and had produced his own prints since his early days in Munich (indeed Die Brucke are credited with the invention of the medium of the linocut). Japanese prints and the simplicity of African and Oceanic art were also of significant influence.

tailoring, or soliciting on the streets in their furs. The circus, as depicted in the work offered here for sale, was the perfect cipher for the chaotic undertones which were beginning to swirl. High and low class mingled together, and the vitality and energy of the human form was captured in his jagged, scratched markmaking. Our performer, a female acrobat, is trapped inside a claustrophobic ring of observers.

The move to Berlin proved to be pivotal in Kirchner’s work, providing the artist with ample inspiration. He felt (or perhaps sensed in the years which foreshadowed the First World War) that powerful, primal forces moved beneath the veneer of Western respectability, and this was no more apparent than in this newly wealthy, densely populated city. He walked frequently, sketching the passers by moving in and out of the department stores in their sharp

This dry point etching was produced in 1913 for Kirchner’s first major print exhibition at the Kunstverein Jena in 1914. The Kunstverein Jena was established in 1903, by archaeologist Botho Graef, Kirchner’s patron. It is exceedingly scarce; one of only three known examples. Further, it bears the inscription ‘Eigendruck’, translating roughly as ‘own print’, or artist’s proof. Also present are stamps from the Kunstverein Jena, and from the Galerie

Ferdinand Möller, a dealer in Modernist art throughout the 1930s-40s. This in itself was a treacherous practise as the Nazi regime had labelled the work of Modern and avant-garde artists ‘un-German’ and ‘degenerate’. This print’s Kunstverein Jena stamp is crossed out, signifying the etching’s de-accessioning at the orders of the Nazi party in 1937, the year they held their infamous Entartete Kunst (‘Degenerate Art’) exhibition in Munich. Though Kirchner enjoyed solo shows throughout the 1930s in Basel, Bern, Hamburg, Munich, Detroit, and New York, he never fully recovered from the mental and physical collapse which saw him discharged from the army during World War 1. Aghast at his inclusion in the 1937 Nazi organised exhibition of banned artwork, the artist committed suicide in 1938.

Modern British & Contemporary Art

19 ERNST LUDWIG KIRCHNER (GERMAN 1880-1938) KOMPLIMENT DER ABTRETENDEN ARTISTIN, 1913 Signed and inscribed ‘Eigendruck’ in pencil to margin, bears artist’s studio stamp, Kunstverein Jena stamp and Galerie Ferdinand Moller stamps verso, drypoint 17.5cm x 20.4cm (7in x 8in) Literature: Dube R. 166 - Schiefler R. 153; Gerken 596, Bd. III

£20,000-30,000

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20 [§] WILLIAM SCOTT C.B.E., R.A. (BRITISH 1913-1989) STILL LIFE Studio proof, signed in pencil and dated 1988, lithograph, unframed 58cm x 78cm (22.75in x 30.75in)

£2,000-3,000

21 [§] HENRY MOORE O.M., C.H., F.B.A. (BRITISH 1898-1986) FRIDAY NIGHT, CAMDEN TOWN, 1975 Studio proof, signed in pencil to margin, inscribed with title in pencil in different hand lower margin, lithograph, unframed 55cm x 55cm (21.75in x 21.75in)

£400-600

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section of this catalogue on page 5

Modern British & Contemporary Art

22 [§] REG BUTLER (BRITISH 1913-1981) TOWER Signed and dated ‘68 in pencil to margin, numbered 15-65, lithograph 65cm x 50cm (25.5in x 19.75in) Note: Butler studied architecture and later became an Associate of the Royal Institute of British Architects. In 1948 he was briefly an assistant to Henry Moore and later that year began to make his own sculpture. In 1949 Butler held the first of five solo exhibitions at the Hanover Gallery, London. He first showed at the Venice Biennale in 1952 and the following year won the prestigious ‘Unknown Political Prisoner’ competition to design a monument for Berlin. His work is found in most major public collections worldwide and the Tate held a memorial exhibition of his work three years after his death.

£500-700

23 [§] PRUNELLA CLOUGH (BRITISH 1919-1990) GRAMMAR OF ORNAMENT Signed and numbered 22-30 in pencil to margin, lithograph, unframed 70cm x 55.5cm (27.5in x 21.75in)

£300-500

24 [§] JOHNNY FRIEDLAENDER (GERMAN 1912-1992) CHÈVRE, 1963 Plate 9 from ‘Petit Bestiaire’ portfolio which comprises 11 plates in total, signed in pencil, edition of 240, etching and aquatint 31.5cm x 20cm (12.5in x 8in)

£200-300

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25 [§] WILLIAM JOHNSTONE O.B.E. (SCOTTISH 1897-1981) BORDER LANDSCAPE Signed with initials, pen and wash 24cm x 35cm (9.5in x 13.75in)

£300-500

26 [§] WILLIAM JOHNSTONE O.B.E. (SCOTTISH 1897-1981) UNTITLED (ABSTRACT) Signed with monogram, ink 77cm x 57cm (30.25in x 22.5in)

£300-500

27 [§] IAN MCKENZIE SMITH O.B.E., R.S.A., P.R.S.W. (SCOTTISH B.1935) SATOMI Signed with initials and numbered 60/60 in pencil to margin, screenprint 43cm x 56cm (17in x 22in)

£200-300

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section of this catalogue on page 5

Modern British & Contemporary Art

28 [§] PHILIP REEVES P.P.R.S.W., R.S.A., R.E. (SCOTTISH 1931-2017) FACADE WITH COLUMN Signed, mixed media and collage 24cm x 26cm (9.5in x 10.25in)

£400-600

29 [§] PHILIP REEVES P.P.R.S.W., R.S.A., R.E. (SCOTTISH 1931-2017) BEACH WALL Signed, mixed media collage 19cm x 14cm (7.5in x 5.5in)

£300-500

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30 [§] HENRI MATISSE (FRENCH 1869-1954) TEENY, 1938 Monogrammed and dated ‘38 in plate, linocut on wove paper 30cm x 23cm (12in x 9in)

£400-600

31 [§] HENRI MATISSE (FRENCH 1869-1954) SEATED YOUNG WOMAN WITH A BOUQUET OF FLOWERS 1923, signed in pencil to margin and numbered 47-60, lithograph 29cm x 20.5cm (11.5in x 8in)

£8,000-12,000

HENRI MATISSE ‘What I dream of is an art of balance, of purity and serenity devoid of troubling or disturbing subject matter...like a comforting influence, a mental balm - something like a good armchair in which one rests from physical fatigue.’ Henri Matisse is generally considered one of the most important artists of the twentieth century, and a leading figure in modern art. He made prints throughout his career, starting working in lithography in 1906, and returning to it again and again. The offered work dates from a particularly productive period, when from 1922-25 Matisse created fifty lithographs,

mainly of women and decorative patterns. Artistically, Matisse viewed printmaking as an extension of drawing, and thus a direct expression of the artist’s thoughts. Formally, it was an opportunity to re-focus on line and composition. The painterly qualities of lithography particularly suited Matisse’s technique, and his interest in rich detail and texture. In fact, Matisse preferred a version of lithography called transfer lithography where instead of drawing directly onto the stone, the artist was able to utilise transfer-paper, drawing directly onto the paper, the image was

then transferred onto the stone and printed. This meant the image was not reversed and often the grain of paper was captured within the image. Seated Young Woman with a Bouquet of Flowers reflects Matisse’s key interests in print-making. The subject is a young woman, surrounded by decorative patterns. He creates a bold composition, by angling different patterns against each other. There are the expected visual patterns – the floral pattern in the sitter’s blouse, and on the vase, and the bold horizontal striping of the blinds behind her, but

these are juxtaposed with patterning created by the artist to add depth and texture, his graphic mark-making in the table surface and the distant sky. It has been suggested that even when working in monochromatic prints, Matisse’s works have the sense of being colourful. That is true here. We can easily imagine the bold colours that would feature in an oil painting version, especially in the bold patterning, yet the monochromatic simplicity allows Matisse’s compositional insight, and ability to manipulate the qualities of lithography, to really shine.

Modern British & Contemporary Art

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32 [§] ALASDAIR GRAY (SCOTTISH B.1934) WILMA AND DAVID - CHRISTMAS DAY Signed, inscribed and dated 1984, pencil, ink and watercolour 55.5cm x 58cm (21.75in x 22.75in) Note: The inscription reads: Wilma and David 9.30 A.M. (no) P.M. on Christmas Day in Betsy’s sitting room - 12 Bower St. Glasgow G12. 1984. A. Gray

£2,000-2,500

33 [§] ALASDAIR GRAY (SCOTTISH B.1934) SEATED WOMAN WITH HEADSCARF Signed and dated 1966, biro and ink wash 59cm x 45cm (23.25in x 17.25in)

£1,500-2,500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section of this catalogue on page 5

Modern British & Contemporary Art

34 [§] IAN FLEMING R.S.A., R.S.W. (SCOTTISH 1906-1994) ST. MONANCE Signed, inscribed and dated 1946, ink and wash 37.5cm x 50cm (14.75in x 19.75in) Exhibited: The Fine Art Society Ian Fleming Nov. 1991

£300-400

35 [§] MARGARET MORRIS (SCOTTISH 1891-1980) SPAIN - FUENTERRABÍA - 1930 pencil 23cm x 19cm (9in x 7.5in) Provenance: Cyril Gerber Fine Art

£300-500

36 [§] BET LOW A.R.S.A., R.S.W. (SCOTTISH 1924-2007) ROAD FROM LENDALFOOT TO BALLANTRAE - 1954-55 Signed, charcoal 14cm x 22.5cm (5.5in x 8.75in)

£200-300

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37 [§] SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916-1992) COCK AND HEN Signed, oil on canvas 91cm x 102cm (36in x 40in) Exhibited: Roland, Browse and Delbanco, London and thence by descent Note: The original catalogue of 1960 accompanies this lot

£3,000-5,000

38 [§] WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (SCOTTISH 1915-1997) LOCH VOIL Signed verso, oil on canvas 50cm x 77cm (19.75in x 30.25in)

£2,000-3,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section of this catalogue on page 5

Modern British & Contemporary Art

39 [§] WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (SCOTTISH 1915-1997) BOATS Signed and dated ‘50, mixed media on paper 42cm x 59cm (16.5in x 23.25in)

£1,000-1,500

40 [§] WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (SCOTTISH 1915-1997) UNTITLED Signed and dated ‘61, mixed media on paper 57cm x 77cm (22.5in x 30.25in)

£800-1,200

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41 [§] HENRY INLANDER (AUSTRIAN-BRITISH 1925-1983) UNTITLED Signed, oil on canvas 100cm x 127cm (39.5in x 50in)

£500-700

42 [§] WILLIAM BURNS (SCOTTISH 1921-1972) SEA KIRK III Signed, oil on board 50cm x 40cm (19.75in x 15.75in)

£1,000-1,500

Modern British & Contemporary Art

43 [§] JOHN HOUSTON O.B.E., R.S.A., R.S.W., R.G.I. (SCOTTISH 1930-2008) FLOWERS AND VILLAGE Signed and dated 1959, signed verso, oil on canvas 75cm x 62cm (29.5in x 24.5in) Exhibited: June 1960, Aitken Dott, Edinburgh

£2,000-3,000

44 [§] WILLIAM CROSBIE R.S.A. (SCOTTISH 1915-1999) STILL LIFE WITH BLUE AND WHITE JUG Signed and dated LXIII, oil on canvas 76cm x 67cm (30in x 26.5in)

£1,800-2,500

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45 [§] BET LOW A.R.S.A., R.S.W. (SCOTTISH 1924-2007) MOONRISE - NORTHERN ISLES Signed, watercolour 45cm x 47.5cm (18in x 18.75in)

£1,000-1,500

46 [§] BET LOW A.R.S.A., R.S.W. (SCOTTISH 1924-2007) WINTER LANDSCAPE Signed, gouache 26cm x 35cm (10.25in x 13.75in)

£600-800

Modern British & Contemporary Art

47 [§] GEORGE DEVLIN (SCOTTISH 1937-2014) SUMMER FIELD ’Royal Glasgow Institute of Fine Arts’ label verso, oil on canvas 127cm x 153cm (50in x 60in)

£800-1,200

48 [§] GEORGE DEVLIN (SCOTTISH 1937-2014) STORMY SEAS Signed, oil on board 151cm x 100cm (59.5in x 39.5in)

£600-800

49 [§] EVERT FÄRHM (SWEDISH 1901-1971) AFTER THE STORM Signed and dated ‘49, oil on board 45cm x 53cm (17.25in x 21in)

£400-600

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50 [§] WINIFRED NICHOLSON (BRITISH 1893-1981) AWAKE Inscribed with title and dated 1973 on stretcher verso, oil on canvas 61cm x 51cm (24in x 20in) Provenance: The artist’s family; With the Crane Kalman Gallery (bears gallery label verso)

£30,000-50,000

Winifred Nicholson is one of the best-loved British artists of the early twentieth century. Never tiring of her exploration of the genres of still life and landscape, Nicholson often hybridised the two. She developed what was to become a characteristic conceit – that of a still life arrangement on a window sill with an abruptly foreshortened view beyond. “I like painting flowers,” Nicholson once stated, “I have tried to paint many things in many different ways, but my paintbrush always gives a tremor of pleasure when I let it paint a flower … to me they are the secret of the cosmos.” This sincerity which underpins her paintings accounts for their endless ability to provide their audience with pleasure, but their gentle warmth should

not lead her admirers to underestimate her work. Nicholson deftly utilised Impressionist, Modernist, and Romantic tendencies to create a unique style and distinct touch which, though often bordering on the naïve, would be near impossible to imitate. This clear artistic voice was evident from an early stage and her technique, particularly the adoption of a muted palette, was to be hugely influential on her husband, the artist Ben Nicholson, though he was to eventually leave both the marriage and his early style behind upon meeting Barbara Hepworth in the 1930s. Her influence can also be traced in the works of contemporaries including Ivon Hitchens and Christopher Wood, with whom she was close. This keen eye and technical understanding

also came to bear in her relationships with prominent French Modernists of the period. Nahum Gabo, Jean Hélion, and Giacometti became friends, and Nicholson cannily purchased work by all of them. She was also the first British collector to buy a work by Mondrian, as well as accompanying the artist to Britain from Paris in 1938. From the late 1960s, Nicholson entered into the most experimental phase of her career. Colour and light had always been the driving force behind her artistic explorations, Nicholson once articulating in a letter to her daughter that “…all painting is to me painting of air and sky – that holds colours and light – not pictures of objects.” This became increasingly true and, as light and colour is broken

down into its purest form within a prism, her work became more pared back and abstracted. This work, Awake, painted in 1973, exemplifies this stage of her development. The title and the artwork are inseparably intertwined: the hazy colour palette and loose, textured daubs of brushwork successfully evoking the thin light of the early morning, and our own instinctive response to it. This work came from the artist’s family’s own collection, before being exhibited at the prestigious Crane Kalman Gallery.

Modern British & Contemporary Art

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51 [§] ALBERTO MORROCCO O.B.E., R.S.A., R.S.W. (SCOTTISH 1917-1998) TABLE WITH FLOWERS AND CEZANNE BOOK, C.1959 Signed, oil on canvas 28cm x 35.8cm (11in x 14in)

£3,000-5,000

52 [§] ALBERTO MORROCCO O.B.E., R.S.A., R.S.W. (SCOTTISH 1917-1998) BEACH WITH WHITE TOWER, C.1957 Signed, oil on board 53cm x 67cm (21in x 26.25in)

£4,000-6,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section of this catalogue on page 5

Modern British & Contemporary Art

53 [§] DAME ELIZABETH BLACKADDER O.B.E., A.R.A., R.S.A., R.S.W., R.G.I. (SCOTTISH B.1931) SANTA CROCE Signed in plate, lithograph 24cm x 33cm (9.5in x 13in) Exhibited: The Open Eye Gallery, Edinburgh

£300-500

54 [§] ALBERTO MORROCCO O.B.E., R.S.A., R.S.W. (SCOTTISH 1917-1998) VERA IN A SUN HAT Signed and inscribed with title, graphite on paper 42cm x 30cm (16.5in x 11.75in)

£800-1,200

55 [§] ANNE REDPATH O.B.E., A.R.A., R.S.A., R.S.W. (SCOTTISH 1895-1965) A CORSICAN VILLAGE Signed, lithograph 23.5cm x 32cm (9.25in x 12.5in) Exhibited: The Open Eye Gallery, Edinburgh

£300-500

Lyon & Turnbull

56 KRISHNA SHAMRAO KULKARNI (INDIAN 1916-1994) WOMAN IN RED SARI Signed with initials, gouache 79cm x 51cm (31in x 20in) Note: Kulkarni trained at the Sir J.J. School of Art, Bombay. From there he had a busy career, working, exhibiting and teaching. He was a visiting Professor at the Delhi Polytechnic Art Department from 1945 to 1962, and during that time, also founded the Triveni Kala Sangam, where he ultimately served as Director of the Art Department until 1968. In the late 1950s he travelled extensively through Mexico, Guatemala, Peru and Brazil. The contact he had there with Mayan and Inca civilizations became an important influence on his later work. He exhibited work internationally in locations as diverse as London, Paris, Venice, New York, Tokyo and Sao Paulo, as well as representing India at the International Art Programme in the U.S.A. on three separate occasions.

£1,500-2,500

57 A. P. SANTHANARAJ (INDIAN 1932-2009) UNTITLED Signed and dated ‘92, oil on canvas 60cm x 44cm (23.5in x 17.25in) Note: A. P. Santhanaraj studied at the Government College of Arts and Crafts, Chennai and went on to teach at the same institution, ultimately serving as its Principal from 1985-1990. His artistic reputation was particularly strong in South India, where he was considered a highly influential artist of the generation that followed K.C.S. Panniker and S. Dhanapal out of the Madras College of Arts and Craft. Throughout his career, Santhanaraj received several awards, including a Gold Medal from Government College of Art and Craft, Madras in 1953, the National Award in 1957 and a distinction for services to art education from the Tamil Nadu Art and Culture Department. He was also awarded highprofile commissions, executing portraits for Parliament House, New Delhi, and murals for the Madras State Museum. Large-scale reviews of his work were exhibited in Delhi in 1990 and 2001.

£2,000-3,000

Modern British & Contemporary Art

58 A. P. SANTHANARAJ (INDIAN 1932-2009) UNTITLED (RED FIGURES) Signed and dated ‘92, oil on canvas 60cm x 44cm (23.5in x 17.25in)

£2,000-3,000

59 KRISHNA SHAMRAO KULKARNI (INDIAN 1916-1994) SEATED WOMAN Signed with initials, oil on canvas 54cm x 30cm (21.25in x 11.75in)

£800-1,200

60 A. P. SANTHANARAJ (INDIAN 1932-2009) LANDSCAPE Signed and indistinctly dated, oil on canvas 98cm x 150cm (38.5in x 59in)

£4,000-6,000

Lyon & Turnbull

61 FOLIO OF 16 MODERN BRITISH PRINTS AFTER ORIGINAL ARTWORKS ISSUED BY DESIGN RESEARCH UNIT, LONDON IN THE 1970S All bearing facsimile signatures, all unframed and in original folio sleeves, featuring the work of Enzo Mari; Deiter Rot; Ceri Richards; Donald Hamilton Fraser; Barbara Hepworth; John Hoyland (1975); Victor Pasmore; Joe Tilson (1971); Henry Moore; Ben Nicholson; Robyn Denny (1974); Kenneth Martin (1977); Patrick Heron (1976); Jean-Michel Folon; Sandra Blow (1973); Bridget Riley Varying sizes Note: Donald Gardner, the owner of these prints was active as a designer in the advertising world through the historic years of the 1930’s to the 1970’s. He became a director of Stewarts advertising agency, along with Marcus “Brum” Brumwell. Brum and his wife Rene, along with Donald, mixed in the London social world of the 1950’s and 1960’s and knew figures as diverse as Ernst Freud, Harold Wilson and Judi Dench. Brum and Rene were especially friendly with the St Ives set, most notably Ben Nicolson and Barbara Hepworth. These prints are a series of intimate personal Christmas gifts to friends and colleagues. Each print was commissioned with the consent and input of the artist, many of whom were personal friends.

£800-1,200

62 [§] BERNARD MEADOWS (BRITISH 1915-2002) THE WATCHERS Signed and dated ‘76 in pencil to margin, numbered 3/10, etching 14cm x 12cm (5.5in x 4.75in)

£350-450

Modern British & Contemporary Art

63 [§] JOHN MCLEAN (SCOTTISH B.1939) UNTITLED Signed and dated ‘88 in pencil, numbered 81/100, screenprint 52cm x 89cm (20.5in x 35in)

£250-350

64 [§] SONIA DELAUNAY (UKRAINIAN-FRENCH 1885-1979) COMPOSITIONS 38 Gouache 22cm x 18cm (8.75in x 7in) Note: This is from Compositions Couleurs Idees.

£600-800

65 [§] WILHELMINA BARNS-GRAHAM C.B.E. (SCOTTISH 1912-2004) MILLENIUM SERIES RED II, 2000 Signed and dated 2000 in pencil, number 53/75, screenprint 30cm x 24cm (12in x 9.5in)

£600-800

Lyon & Turnbull

66 [§] SIR EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) MAQUETTE FOR GREAT ORMOND STREET Signed, numbered ‘019’, impressed ‘Great Ormond Children’s Hospital, 1993 Charity Edition’, bronze on a wooden base 28.5cm x 23cm (11.25in x 9in) including base

£10,000-15,000

Modern British & Contemporary Art

67 [§] SIR EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) GREAT ORMOND STREET HEAD Plaster, in two component parts 13cm x 10cm (5in x 4in)

£500-700

68 [§] SIR EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) HEAD, HAND AND FOOT (SMALL) Plaster each approx. 5cm x 5cm (2in x 2in) (3)

£300-500

69 [§] SIR EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) CLASSICAL FOOT (LARGE) Plaster 14cm x 33cm (5.5in x 13in)

£800-1,200

70 [§] SIR EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) ABSTRACT FACTORY FORM Plaster 6cm x 11cm (2.5in x 4.25in)

£300-500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section of this catalogue on page 5

Lyon & Turnbull

71 [ยง] JOHN HOYLAND R.A. (BRITISH 1934-2011) MIBI Signed, inscribed and dated 22-11-83 verso, acrylic on canvas, unframed 61cm x 56cm (24in x 22in)

ยฃ6,000-8,000

Modern British & Contemporary Art

72 [§] JOHN HOYLAND R.A. (BRITISH 1934-2011) UNTITLED (FROM ‘THE 8TH STREET SERIES’) Signed and dated ‘78, bears studio blind stamp, acrylic on paper, unframed 76cm x 56cm (30in x 22in)

£2,500-4,500

73 [§] JOHN HOYLAND R.A. (BRITISH 1934-2011) THE SORCERER Signed and dated ‘89 in pencil to margin, A-P numbered 10/10, etching and aquatint, unframed 90cm x 69.5cm (35.5in x 27.25in)

£500-700

74 [§] ALBERT IRVIN O.B.E., R.A. (BRITISH 1922-2015) MARIUS Signed verso, acrylic on canvas board 14cm x 20cm (5.5in x 8in)

£1,000-1,500

Lyon & Turnbull

75 [§] PAUL NEAGU (ROMANIAN-BRITISH 1938-2004) TEN YEARS OF HYPHEN, MEDAL, 1985 Edition of 17, cast bronze 10cm diameter (4in) and a signed limited edition screenprint by the artist ‘9 Catalytic Stations’ (2)

£500-700

76 [§] OSSIP ZADKINE (RUSSIAN-FRENCH 1890-1967) ACROBAT, 1964 Signed in plate, hand-signed and numbered 11-35, lithograph 92cm x 76cm (36.25in x 30in) and another by the same artist (2)

£400-600

Modern British & Contemporary Art

77 [§] IAN HAMILTON FINLAY (SCOTTISH 1925-2006) SAILING BARGE, REDWING with Ian Gardner, no. 33/300, unframed in original signed folio sleeve, screenprint 33cm x 30.5cm (13in x 12in) and two further prints by the artist in their original signed sleeves, ‘Homage to Malevich’ and ‘Interior-Homage to Vuillard’ (3)

£600-800

78 [§] IAN HAMILTON FINLAY (SCOTTISH 1925-2006) AFFICHE, TOO MANY LAWS TOO FEW EXAMPLES (1993) Screenprint 60cm x 82cm (23.5in x 32.25in)

£400-600

Lyon & Turnbull

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section of this catalogue on page 5

Modern British & Contemporary Art

79 [§] DAVID HOCKNEY O.M., C.H., R.A. (BRITISH B.1937) PAPER POOLS Signed and dated ‘80 and numbered 524-1000 in pencil, published by Tyler Graphics, Ltd., Mount Kisco, New York, bears blindstamp, on Arches Cover paper, lithograph; Together with ‘Paper Pools’, the accompanying book, signed by the artist in red ink and stamp numbered 524 on the justification, with blue canvas covers and original slipcase 27cm x 23cm (9in x 10.25in)

£7,000-10,000

Think of David Hockney, and immediately picture the sunshine-soaked, boldly-hued scenes of California homes and swimming pools that he is widely known for. After formative years spent in comparatively dreary Yorkshire, Hockney was immediately captivated by the bold colours and widespread luxury of Los Angeles. Private swimming pools were an extravagance in the U.K., but in the City of Angels, Hockney found them everywhere: he had discovered a subject. Paper Pools is a book chronicling a very specific moment in Hockney’s creative process, a short period in 1978 when en route to California from England, he made a detour to Tyler Graphics studios in upstate New York, to visit friend and previous collaborator Kenneth Tyler. Here he was introduced to a new medium, the paper pulp process. This involved dyeing wet pulped rags, which were applied in various ways to recentlycreated and still wet

paper, until they were finally fully pressed and dried; there were opportunities for the artist to manipulate the application of colour at all stages. The result was a cross between papermaking, print-making and painting. Hockney found learning this new technique and its specific restrictions, creatively freeing. He realised the process could be very conducive to variations on a theme, and the swimming pool and the effects of different lights and movements on the water was captivating him once again – as he swam in and looked at Tyler’s outdoor pool each day. In the resulting series, Paper Pools, Hockney creatively addresses a formal, and paradoxical problem: how to depict the elusive, ever-changing qualities of a body of water, in a flat, stationary two-dimensional form. There is something conceptually satisfying in such a water-heavy process being used to attempt this. In these works, colour

does not sit; it is fused, completely integrated into the medium. Water is the same; light and movement are subsumed into it, and thus its appearance and qualities change. The beautiful book fully illustrates this process, with a reflective text written by Hockney and accompanied by various illustrations – reference polariods he took of the swimming pool in different lights, line drawings capturing the physical process, reproductions of each work in the series as well as some in-process photographs; of the works still at the wet pulp stage before they were pressed. There is a vivid sense of the finished product, but also of the process that went into it: physical effort, litres of water, eclectic equipment, artistic imagination and a strong

feeling of camaraderie. To celebrate the publication of the work, Hockney produced a six-colour, hand-drawn lithograph, which he has signed and numbered. It revives his favoured subject, boldly depicting the swimming pool and diving board in strong colours. The gently rippling water is depicted with surface watery, wavy marks, overlaying the deeper, overlapping shadows – there is depth and movement, as Hockney manipulates different effects of lithographic mark-making. Paper Pools is a celebration of the artistic innovation and imagination of a very particular moment in Hockney’s career, but also an encapsulation of some of the key themes and subjects of his wider oeuvre.

Lyon & Turnbull

80 [§] DAVID HOCKNEY O.M, C.H., R.A. (BRITISH B.1937) EXTENDING FEBRUARY, 1990 Signed and dated ‘90 in pencil, numbered 28/50, diptych (2 sheets), homemade (screen) print 43cm x 55cm (17in x 21.5in)

£3,000-5,000

81 [§] DAVID HOCKNEY O.M, C.H., R.A. (BRITISH B.1937) PARADE, FROM BLUE GUITAR, 1977 Signed and numbered 61/200 in pencil, original color etching and aquatint from two copper plates on white wove paper 45cm x 36cm (17.75in x 14.25in)

£800-1,200

Modern British & Contemporary Art

82 [§] DAVID HOCKNEY O.M., C.H., R.A. (BRITISH B.1937) PORTRAIT STUDY WITH SPECTACLES Signed with initials and indistinctly inscribed ‘Colorado 1965’, pen and ink 44cm x 31cm (17.25in x 12.25in) Exhibited: Kasmin gallery, New Bond Street, London (bears gallery label verso)

£3,000-5,000

Lyon & Turnbull

83 [§] SIR PETER BLAKE C.B.E., R.A. (BRITISH B.1932) P.S. I LOVE YOU (CHUCK BERRY) Signed and inscribed with title and numbered 3/75 in gold pen to margin, silkscreen print 74cm x 56cm (29.25in x 22in)

£1,200-1,800

84 [§] GERALD LAING (BRITISH 1936-2011) JEAN HARLOW Signed and inscribed with title and dated 2001 in pencil, numbered 75/200, bears artist’s blindstamp, screenprint 120cm x 85cm (47.25in x 33.5in)

£800-1,200

Modern British & Contemporary Art

85 [§] ANN FINLAYSON (BRITISH CONTEMPORARY) STILL BLACK DIAMOND Acrylic on canvas, unframed 122cm x 151cm (48in x 59.5in) Note: Ann Finlayson was a direct contemporary of Bridget Riley

£1,000-1,500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section of this catalogue on page 5

Lyon & Turnbull

86 [ยง] SIR TERRY FROST R.A. (BRITISH 1915-2003) UNTITLED (CURVES) C.1975-76, watercolour 73cm x 52cm (28.75in x 20.5in) Literature: Illustrated on page 94 of Terry Frost: Act & Image - Works On Paper Through Six Decades, published by Belgrave Gallery, London, 2000.

ยฃ3,000-5,000

Modern British & Contemporary Art

87 [§] EILEEN AGAR R.A. (ARGENTINIAN-BRITISH 1899-1991) APOLLO Signed, oil on canvas 40cm x 29cm (15.75in x 11.5in) Provenance: Collection of the Co-op Bank, Manchester; Private collection, England

£2,000-4,000

Born in Buenos Aires in 1899 to a Scottish businessman father and an American mother, Agar moved to London in 1911. After a time with Leon Underwood she enrolled part time at the Slade under Henry Tonks. From 1925 she travelled in Europe extensively; to Paris, Spain and Italy. Renting a villa in Portofino, Agar visited Rapallo where she met W.B. Yeats, Osbert Sitwell, Max Beerbohm and most significantly, Ezra Pound. Keen to free herself from traditional English art, Agar moved to Paris in 1928. Here, Pound introduced her to Brancusi and, at an art gallery reception, she met André Breton and Paul Eluard. She had by now begun to paint in a different, two-dimensional, strongly Cubist style and, returning to London in 1930, was persuaded by Henry Moore to show with the London Group. She had also begun to experiment with collage and, under the influence of Paul Nash and Julian Trevelyan, began to focus on natural forms and to create objects. In 1936, on Nash’s suggestion, Roland Penrose and Herbert Read chose to include her in the International Surrealist Exhibition and although she had not considered herself part of the movement she was happy to be counted within its ranks – the only British woman to feature in the show. She shared the Surrealists’ interest in automatic techniques and the use of unexpected materials and photographs.

Agar now suddenly began to enjoy a higher profile within the international art world. A holiday in 1937 was spent in both Cornwall and France with Penrose, Lee Miller, Eluard and her idol Picasso, (with Agar and Penrose having a prolonged affair). It seems probable that this work dates from the late 1950s or early 1960s. It bears strong similarities to the part-automatist painting Head of Dylan Thomas of 1960-2 and might have been produced in the same period as the 1956 oil on canvas Maenad, which shares the same dimensions and which was shown

in the National Galleries of Scotland retrospective in 1999. Her technique at this time, to drip and pour paint from a height on to the canvas, was as close as Agar came to Abstract Expressionism. Throughout the 1960s and into the following decades, she continued to move forward, experimenting with acrylics and constantly challenging herself. Agar was given a retrospective exhibition in London in 1971 and ten years later a show of her recent work at the New Art Centre. She died in London in 1991, at the age of 91.

Lyon & Turnbull

88 [§] SIR EDUARDO PAOLOZZI K.B.E., R.A., R.S.A. (SCOTTISH 1924-2005) DUCK FARM - 1999 Signed, dated, titled and inscribed ‘A/C-,’ handcoloured lithograph, unframed 35cm x 50cm (13.75in x 19.75in) and two further signed lithographs by the same hand (3)

£300-500

89 [§] SIR EDUARDO PAOLOZZI K.B.E., R.A., R.S.A. (SCOTTISH 1924-2005) KEW - 1999 Signed, titled and inscribed ‘A/C’ in pencil, titled in plate, lithograph, unframed 25.5cm x 33.5cm (10.25in x 13in) and two further lithographs by the same hand ‘Newton after Blake’ and ‘Circus’ (3)

£300-500

90 [§] SIR EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) UNTITLED Taken from the ‘General Dynamic F.U.N. Portfolio’, signed and numbered 51/350 in pencil to margin, photolithograph 25.5cm x 38cm (10in x 11in) including margins Note: The ‘General Dynamic F.U.N.’ portfolio of screenprints and photolithographs in colours, was originally created in 1970, and published in five separate colour combinations with 70 in each edition, published by Editions Alecto, London, with an introduction by J.G. Ballard

£200-300

Modern British & Contemporary Art

91 [§] SIR EDUARDO PAOLOZZI K.B.E., R.A., R.S.A. (SCOTTISH 1924-2005) SCREENPRINT FOR THE EDINBURGH FESTIVAL Signed and dated 1973 in pencil to margin and numbered 46/100, screenprint 82cm x 60cm (32.25in x 23.5in)

£300-500

92 [§] JOHN FRANCIS MOONEY (SCOTTISH B.1948) SORE EYE, EROS NO.1 Mixed media on paper 49cm x 75cm (19.25in x 29.5in)

£300-500

Lyon & Turnbull

93 JENNY MATTHEWS (SCOTTISH B.1964) ECHINACEA Signed, watercolour 72cm x 52cm (28.25in x 20.5in)

£600-800

94 [§] TESSA NEWCOMB (BRITISH B.1955) CHICKENS IN A SHED Signed with initials in pencil and numbered 5/70, colour print 42cm x 53cm (16.5in x 20.75in)

£120-180

95 [§] DAME ELIZABETH BLACKADDER O.B.E., A.R.A., R.S.A., R.S.W., R.G.I. (SCOTTISH B.1931) PASSION FLOWER Signed and numbered 43/50 in pencil to margin, etching and aquatint 27cm x 23cm (10.5in x 9in)

£500-700

Modern British & Contemporary Art

96 [§] DAVID SHEPHERD C.B.E., F.R.S.A. (BRITISH 1931-2017) AFRICAN ELEPHANTS Signed and dated ‘94, signed and dated verso, oil on canvas 11cm x 16.5cm (4.5in x 6.5in) Provenance: Gifted by the artist to cameraman Ivan Oberholzer, Savuti Bush Camp, Botswana

£4,000-6,000

97 [§] DAVID SHEPHERD C.B.E., F.R.S.A. (BRITISH 1931-2017) LION Signed, oil on canvas 9cm x 13cm (3.5in x 5in) Provenance: Gifted by the artist to cameraman Ivan Oberholzer, Savuti Bush Camp, Botswana

£3,000-5,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section of this catalogue on page 5

Lyon & Turnbull

98 [§] ALEXANDER GOUDIE R.P. (SCOTTISH 1933-2004) LA DEMOISELLE AU CHAPEAU ROUGE c.1976-77, signed, mixed mdia on paper 48cm x 47cm (19in x 18.5in) Exhibited: ‘Festival Exhibition 1977’, Aitken Dott, Edinburgh

£600-800

99 [§] EDWARD PIPER (BRITISH 1938-1990) DECK CHAIR Signed and dated ‘II.IX.82’, watercolour, pen and ink 50cm x 37cm (19.75in x 14.5in)

£500-700

100 [§] DUNCAN SHANKS R.S.A., R.S.W., R.G.I. (SCOTTISH B.1937) SELF-PORTRAIT - 1975 Signed, gouache 45.5cm x 29cm (18in x 11.5in) Exhibited: The Scottish Gallery, Duncan Shanks, Works on Paper 1957-2013, June 2015.

£400-600

Modern British & Contemporary Art

101 [§] GEOFF MACEWAN (SCOTTISH B.1943) WINTER Signed and inscribed with title verso, oil on canvas 152cm x 121cm (59.75in x 47.5in) Note: Born in Edinburgh, Geoff MacEwan trained to be an artist at London’s Goldsmiths College, followed by a 2 year postgraduate fellowship at the Slade School where he was a contemporary of Derek Jarman and Maggie Hambling. McEwan’s last major one-man show in Scotland was of paintings based on Dante’s Commedia at the Talbot Rice Centre, Edinburgh (1986). At that time he belonged to Andrew Brown’s stable of artists at his 369 Gallery that included Caroline McNairn, Fiona Carlisle, Callum Innes and Rob McLaurin. McEwan exhibits regularly, most recently at Oxford’s Ashmolean Museum and Christchurch Gallery, annually at galleries in Palma and Valencia and at ARCO Madrid. His work is held in private collections in Spain and the UK and in major public collections including: The Victoria and Albert Museum, London; The Gallery of Modern Art, Edinburgh; The Ashmolean Museum, Oxford; The National Library of Scotland; The Scottish Poetry Library, Edinburgh, St John’s College, Oxford; The Miro Foundation, Palma de Mallorca; The Reina Sofia Museum, Madrid; Arte y Naturaleza, Madrid; Benveniste Gallery, Madrid; Joan Oliver Gallery, Mallorca.

£1,000-1,500

102 [§] GEOFF MACEWAN (SCOTTISH B.1943) WAITING FOR SPRING Signed and inscribed with title and dated ‘90 verso, oil on canvas 46cm x 56cm (18in x 22in)

£500-700

Lyon & Turnbull

Modern British & Contemporary Art

103 [§] PAT DOUTHWAITE (SCOTTISH 1939-2002) PORTRAIT OF ANGELS PUIGBO Signed verso, titled on old typewritten label verso, oil on board 122cm x 91cm (48in x 36in)

£5,000-7,000

104 [§] PAT DOUTHWAITE (SCOTTISH 1939-2002) UNTITLED Signed and dated ‘78, pastel 60cm x 48cm (23.5in x 19in)

£400-600

105 [§] PAT DOUTHWAITE (SCOTTISH 1934-2002) INSECT ON A TWIG Signed and dated ‘87, charcoal and chalk on paper 100cm x 70cm (39.25in x 27.5in)

£400-600

Lyon & Turnbull

106 NABANITA SAHA (INDIAN B.1974) EXODUS II Signed and dated ‘11, oil on canvas 152cm x 182cm (59.75in x 71.5in) Note: Nabanita Saha gained her B.V.A. from the Government College of Art & Craft in Kolkatta in 1999, and earned an M.F.A. in Graphics from the Faculty of Fine Arts, M.S. University, Baroda. Throughout her education and career she has been awarded several honours including the 2012 Elizabeth Greenshields Grant from Canada, the 2002 All India Fine Arts and Crafts Society award (State Level), and the National Scholarship 2001 to 2003. Saha has exhibited extensively in India in both solo and group exhibitions, as well as further afield in Korea and Switzerland. Her work features in collections throughout India and internationally.

£1,000-1,500

107 NABANITA SAHA (INDIAN B.1974) EXODUS I Signed and dated ‘11, oil on canvas 152cm x 182cm (59.75in x 71.5in)

£1,000-1,500

Modern British & Contemporary Art

108 [§] KAREL ZIJLSTRA (DUTCH B.1958) DRAKENBOOT No. 1-1, bronze Height: 96cm (37.75in)

£1,500-2,500

108A PRODOSH DAS GUPTA (INDIAN 1912-1991) ABSTRACT FORM Signed and dated 1973, numbered 2/5, bronze 42cm (16.5in) high

£3,000-5,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section of this catalogue on page 5

Lyon & Turnbull

109 [§] CAROLINE MCNAIRN (SCOTTISH 1955-2010) UNTITLED (FIGURE) Signed, pastel 53cm x 38cm (21in x 15in)

£400-600

110 [§] HOCK-AUN TEH (MALAYSIAN-SCOTTISH B.1950) UNTITLED (BLUES) Signed with monogram, oil on canvas 74cm x 55cm (29in x 21.5in)

£500-700

111 [§] GRAHAM DURWARD (BRITISH B.1966) HAGIOGRAPHY Signed and numbered 10/30 in pencil, lithograph 63cm x 56cm (24.75in x 22in)

£200-300

Modern British & Contemporary Art

112 [§] JOHN MACKIE (SCOTTISH B.1953) NIGHTFALL, HANOVER STREET Signed and dated ‘08, pastel 59cm x 80cm (23.25in x 31.5in)

£1,000-1,500

113 [§] ANN ORAM R.S.W. (SCOTTISH B.1956) HILL VILLAGE OSTUNI, APULIA Signed, oil on board 106cm x 128cm (41.75in x 50.5in)

£2,500-3,500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section of this catalogue on page 5

Lyon & Turnbull

114 [§] JAMES MORRISON R.S.A., R.S.W. (SCOTTISH B.1932) WINTER SEA Signed and dated 1979, oil on board 78cm x 108cm (30.75in x 42.5in)

£3,000-5,000

115 [§] CRAIG MACKAY (SCOTTISH B.1960) SHEIGRA, SUTHERLAND Signed and inscribed with title, photographic print 13cm x 12.5cm (5in x 4.75in) and another by the artist ‘Aultanrynie, Sutherland’ (2)

£250-350

Modern British & Contemporary Art

116 [ยง] JOHN BYRNE R.S.A. (SCOTTISH B.1940) PASSAGE OF NIGHT Signed and inscribed with title verso and dated 1987, oil on canvas 214cm x 187cm (84in x 73.5in)

ยฃ3,000-5,000

Lyon & Turnbull

117 [§] BARBARA RAE C.B.E., R.A., R.S.A. (SCOTTISH B.1943) EVENING VINEYARD Signed, mixed media on paper 26cm x 29cm (10.25in x 11.5in)

£1,500-2,000

118 [§] BARBARA RAE C.B.E., R.A., R.S.A. (SCOTTISH B.1943) LA CANADA Signed, mixed media on paper 26cm x 29cm (10.25in x 11.5in)

£1,200-1,800

Modern British & Contemporary Art

119 [§] JAMES DOWNIE ROBERTSON R.S.A., R.S.W. (SCOTTISH 1931-2010) WINTER LANDSCAPE Signed, gouache 31cm x 31cm (12.25in x 12.25in) Provenance: The Collection of Billy Connolly

£300-500

120 [§] JOHN BYRNE R.S.A. (SCOTTISH B.1940) GUITAR STILL LIFE Signed, oil on board 18cm x 13cm (7in x 5in)

£1,000-1,500

121 [§] JOHN BYRNE R.S.A. (SCOTTISH B.1940) BLUE FISH Signed and dated ‘95, pastel 15cm x 18.5cm (6in x 7.25in) Provenance: Duncan Miller Fine Art

£400-600

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122 [§] JOHN BYRNE R.S.A. (SCOTTISH B.1940) GUARDIAN ANGEL (PERPLEXED) Signed, mixed media on paper 45cm x 34cm (17.25in x 13.5in)

£600-800

123 [§] JOHN BYRNE R.S.A. (SCOTTISH B.1940) WRITER’S CRAMP Signed, watercolour, ink and bodycolour 30cm x 22cm (11.75in x 8.75in)

£2,000-3,000

An acclaimed illustrator, painter and playwright, John Byrne is one of Scotland’s most diverse and accomplished artists. Byrne was born in 1940 in Paisley, and attended the Glasgow School of Art from 1958 to 1963. There he quickly excelled and was awarded the Bellahouston Award, the school’s most prestigious painting prize. Byrne is also known for writing the award-winning television series Tutti Fruitti and the theatrical trilogy The Slab Boys. Other notable achievements include

his album cover designs for The Beatles, Gerry Rafferty and Billy Connolly. His work appears in several collections both in Scotland and abroad, including the Scottish National Portrait Gallery in Edinburgh and Kelvingrove Art Gallery. In 2007 Byrne was made a full member of the Royal Scottish Academy and is also an Honorary Fellow of the Glasgow School of Art. Byrne’s debut play, Writer’s Cramp, was one of the most successful and popular shows at

the Edinburgh Fringe in 1977. Described as a satirical vision of the whole panorama of British postwar culture, the play follows the ill-fated career of the Scottish writer F.S. McDade, from his boarding school experience through to World War II and various publishing misfortunes. In this watercolour, Writer’s Cramp, Byrne reflects the satirical nature of the play through the protagonist’s exaggerated features and the setting. Surrounded by a cluster of books,

letters and cigarettes he appears to be deep in thought rather than at work. However, his sinister grin suggests that he has just arrived at an idea, leaving the viewer to speculate as to its nature. Byrne’s success rests on his distinctive style and thought-provoking work, inviting the viewer to engage with the narrative. The work is thought to be one of the few surviving pieces that were exhibited at the Glasgow Print Studio in the 1990’s.

Modern British & Contemporary Art

Lyon & Turnbull

124 [§] HUGH MCINTYRE (SCOTTISH B.1943) SHORE GRASSES Signed, oil on board 27.5cm x 37.5cm (11in x 14.75in)

£300-500

125 [§] JAMES FULLARTON (SCOTTISH B.1946) TROON SEAFRONT Signed, oil on board 21cm x 25cm (8.25in x 9.75in)

£300-500

126 [§] MARY GALLAGHER (SCOTTISH B.1953) CURRAGHS Signed, oil on board 75cm x 90cm (29.5in x 35.5in)

£800-1,200

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section of this catalogue on page 5

Modern British & Contemporary Art

127 JON SCHUELER (AMERICAN 1916-1992) DECEMBER GALE: SUN LEAPING Signed and inscribed with title and dated ‘74 verso, oil on canvas 152cm x 132cm (59.75in x 52in)

£4,000-6,000

Lyon & Turnbull

Modern British & Contemporary Art

128 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) THE ACCORDIANIST Signed, oil on canvas 122cm x 89cm (48in x 35in)

£6,000-8,000

129 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) WHITHER GOEST THOU? Signed and inscribed with title, watercolour and pencil 76cm x 57cm (30in x 22.5in)

£2,500-3,500

130 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) THE ARTIST HOLDS THE BIRD OF PARADISE Signed and inscribed with title, signed and inscribed with title and dated 1985 label verso, watercolour and pencil 74cm x 55cm (29in x 22.5in)

£2,000-3,000

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131 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) THE MANOR Signed, oil on canvas, unframed 76cm x 102cm (30in x 40in)

£2,000-3,000

132 [§] DAVID ALAN REDPATH MICHIE O.B.E., R.S.A., R.G.I. (SCOTTISH 1928-2015) ENTRANCE TO A MOSQUE, SARAJEVO Signed and dated 1980, oil on canvas 70cm x 91cm (27.5in x 35.75in)

£1,000-1,500

133 [§] DAVID ALAN REDPATH MICHIE O.B.E., R.S.A., R.G.I. (SCOTTISH 1928-2015) BARNUM Signed, oil on canvas 29cm x 44cm (11.5in x 17.5in)

£500-700

Modern British & Contemporary Art

134 [§] JOHN G. BOYD R.G.I. (SCOTTISH 1940-2001) LOVERS Signed, oil on canvas 90cm x 75cm (35.5in x 29.5in)

£1,200-1,500

135 [§] ROB MACLAURIN (SCOTTISH B.1961) SLOVENIAN FOREST Oil on board 40cm x 40cm (15.75in x 15.75in)

£300-500

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136 [§] NAEL HANNA (IRAQI-SCOTTISH B.1959) STILL LIFE OF POPPIES ON A BLUE GROUND Signed, acrylic on canvas board 74cm x 104cm (29in x 41in)

£3,000-5,000

137 [§] NAEL HANNA (IRAQI-SCOTTISH B.1959) STILL LIFE OF RED FLOWERS Signed with initials and dated ‘99, oil on board 44cm x 44cm (17.25in x 17.25in) unframed

£1,000-1,500

Modern British & Contemporary Art

138 [§] GLEN SCOULLER (SCOTTISH B.1950) SPRING LIGHT, THE LIGHTHOUSE Signed, titled on artist’s label verso, watercolour 44cm x 76cm (17.25in x 30in)

£800-1,200

139 [§] ETHEL WALKER (SCOTTISH B.1941) JAPANESE VASE Signed, oil on board 12cm x 10cm (4.75in x 4in)

£300-500

140 DONALD MANSON (SCOTTISH B.1948) SUMMER TABLE Signed, acrylic on canvas 70cm x 100cm (27.5in x 39.5in)

£500-700 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section of this catalogue on page 5

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Modern British & Contemporary Art

141 [§] JAMES MORRISON R.S.A., R.S.W. (SCOTTISH B.1932) LE PETIT OBIOU FROM THE EAST Signed and dated ‘23.VIII.80’, oil on board

56cm x 87cm (22in x 34.25in)

Lot 143 [§] GEOFF UGLOW (BRITISH B.1978) VIEW OF EDINBURGH Signed and dated VII verso, oil on canvas

£1,000-1,500

142cm x 162cm (56in x 63.75in)

£5,000-7,000

142 [§] JOHN CUNNINGHAM R.G.I. (SCOTTISH 1926-1998) WEST COAST BEACH Signed, oil on canvas 40cm x 60cm (15.75in x 23.5in)

£2,000-3,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section of this catalogue on page 5

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144 [§] JOHN PIPER C.H. (BRITISH 1903-1992) CAREW CASTLE Signed, 1982, AP from an edition of 100, Levinson number 334, silkscreen in colours 44.6cm x 64.5cm (17.5in x 25.5in)

£700-900

145 [§] JOHN LOWRIE MORRISON O.B.E. (SCOTTISH B.1948) RUM FROM PORTUAIRK, ARDNAMURCHAN Signed and dated ‘99, signed and inscribed with title verso, oil on board 58cm x 58cm (23in x 23in)

£2,500-3,500

146 [§] JOHN HOUSTON O.B.E., R.S.A., R.S.W., R.G.I. (SCOTTISH 1930-2008) SUNSET OVER FIFE, 1995 Signed and inscribed with title in pencil to margin, numbered 18/40, lithograph 74cm x 108cm (29in x 42.5in)

£400-600

Modern British & Contemporary Art

147 [§] NEIL MACPHERSON R.S.A., R.G.I. (SCOTTISH B.1954) DANCE OF THE WHISTLING PEAT DIGGERS Signed and inscribed with title, mixed media and collage 98cm x 124cm (38.5in x 48.75in) Note: First prize Royal Overseas League Commonwealth exhibition, 1986

£800-1,200

148 [§] JOHN HOUSTON O.B.E., R.S.A., R.S.W., R.G.I. (SCOTTISH 1930-2008) AUTUMN IN FIFE Signed, signed and inscribed with title stretcher verso, oil on canvas 76cm x 91.5cm (30in x 36in)

£4,000-6,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section of this catalogue on page 5

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149 [§] BRENDA LENAGHAN R.S.W. (SCOTTISH B.1941) AT THE TABLE Signed, oil on board 33cm x 33cm (13in x 13in)

£400-600

150 [§] ALEXANDRA GARDNER (SCOTTISH B.1945) STILL LIFE IN PINK AND GREY, 1993 Signed, oil on canvas 28cm x 23cm (11in x 9in)

£400-600

151 [§] PETER GRAHAM R.O.I. (SCOTTISH B.1959) STILL LIFE WITH PATTERNED CLOTH Signed and dated ‘93, oil on canvas 76cm x 102cm (30in x 40in)

£500-700

Modern British & Contemporary Art

152 [§] ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I. (SCOTTISH B.1931) JAPANESE STILL LIFE WITH PERSIMMON Signed, watercolour and collage 15cm x 38cm (6in x 15in)

£2,000-3,000

153 [§] KEVIN HENDERSON (SCOTTISH CONTEMPORARY) DEAD FLOWERS Oil on canvas 71cm x 66cm (28in x 26in)

£400-600

154 [§] VICTORIA CROWE O.B.E., R.S.A., R.S.W. (SCOTTISH B.1946) DUAL - HYDRANGEA Signed, oil on board 26cm x 38cm (10.25in x 15in) Exhibited: The Scottish Gallery, Victoria Crowe Reflection - New Work, August 2010.

£1,000-1,500

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155 [§] JAMES FULLARTON (SCOTTISH B.1946) STILL LIFE WITH POPPIES AND PEARS Signed, oil on canvas 76cm x 92cm (30in x 36in)

£2,000-3,000

156 [§] CAROLINE MCNAIRN (SCOTTISH 1955-2010) RITES OF PASSAGE Signed and inscribed with title and numbered 19/34 in pencil to margin, bears inscription: ‘From Caroline to Caroline for making me look better - a fair exchange’, screenprint 48cm x 65cm (19in x 25.5in) including margins

£300-500

157 [§] BRENDA LENAGHAN R.S.W. (SCOTTISH B.1941) FIGURES, FLOWERS AND PARROTS Signed, oil on board 57cm x 57cm (22.5in x 22.5in)

£400-600

Modern British & Contemporary Art

158 [§] JACK MORROCCO (SCOTTISH B.1953) NUDE WITH RED DRAPE Signed, oil on canvas 61cm x 46cm (24in x 18in)

£2,000-3,000

159 [§] PETER MCLAREN (SCOTTISH B.1964) TULIPS AND POPPIES II Signed and inscribed with title and dated ‘05 verso, oil on board 90cm x 76cm (35.5in x 30in)

£1,500-2,500

160 [§] DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926-1998) NUDE FIGURE WITH FLOWERS Signed and dated ‘63, signed and inscribed with title and dated verso, oil on canvas 61cm x 74cm (24in x 29in)

£1,000-1,500

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161 [§] CATRIONA CAMPBELL (SCOTTISH B.1940) HEAVENLY CHOIR Signed, oil on board 89.5cm x 89.5cm (35.25in x 35.25in)

£1,000-1,500

162 [§] ALISON DUNLOP R.S.W. (CANADIAN B.1958) SILENT WITNESS Signed and dated ‘98, watercolour 94cm x 61cm (37in x 24in)

£500-700

163 [§] RODERICK BUCHANAN (SCOTTISH B.1965) UP YER KILT - ENGLAND SUIT 2002, photo collage 26.7cm x 42.7cm (10.5in x 16.75in)

£150-250

Modern British & Contemporary Art

164 [§] ROSEMARY HOGARTH (SCOTTISH B.1983) UNTITLED Oil on canvas 221cm x 185cm (87in x 72.75in)

£800-1,200

165 [§] ROSEMARY HOGARTH (SCOTTISH B.1983) TRUFFLES Inscribed with title verso, oil on canvas, unframed 121cm x 100cm (47.5in x 39.25in)

£600-800

Lyon & Turnbull

166 [§] ANNA KING (SCOTTISH B.1984) FROM LEITH WALK Oil and pencil on paper and board 50cm x 200cm (19.75in x 78.75in)

£2,000-3,000

167 [§] ANNA KING (SCOTTISH B.1984) INCHKEITH COURT (II) Oil and pencil on paper and board 50cm x 150cm (19.75in x 59in) Exhibited: Gallery Heinzel, 2011

£1,200-1,800

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section of this catalogue on page 5

Modern British & Contemporary Art

168 [§] JIM LAMBIE & MARTIN BOYCE (SCOTTISH CONTEMPORARY) MASK (THE PIPERS) Folded card 27cm x 23cm (10.5in x 9in) Note: 40 of these masks were made collaboratively by Martin Boyce & Jim Lambie in 2009.

£300-500

169 [§] JIM LAMBIE & MARTIN BOYCE (SCOTTISH CONTEMPORARY) MASK (BUCKS FIZZ) Folded card 27cm x 23cm (10.5in x 9in) Note: 40 of these masks were made collaboratively by Martin Boyce & Jim Lambie in 2009..

£300-500

170 [§] CALLUM INNES (SCOTTISH B.1962) UNTITLED Signed with initials and dated 15-2-90 in pencil, watercolour 76cm x 56cm (30in x 22in)

£1,000-1,500

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171 [§] AGATA OLEKSIAK (“OLEK”) (POLISH-AMERICAN B.1978) INJUSTICE Signed and inscribed with title and dated 2012 verso, crocheted wool on canvas 100cm x 100cm (39.5in x 39.5in) Note: These works are being sold on behalf of Anti-Slavery International.

£600-800

172 [§] MR PENFOLD (BRITISH CONTEMPORARY) BRICABRAC Signed and inscribed with title and dated 2012 verso, acrylic on canvas 120cm x 150cm (47.25in x 59in) Note: These works are being sold on behalf of Anti-Slavery International.

£600-800

Modern British & Contemporary Art

173 NOBUYOSHI ARAKI (JAPANESE B.1940) UNTITLED (SKYSCAPE) Signed verso in Japanese ink, gelatin silver print handcoloured with watercolour, unframed 30cm x 45cm (12.75in x 17.75in) and another by the same hand (2)

£2,000-3,000

174 [§] REMI-ROUGH (BRITISH CONTEMPORARY) ABSTRACT Signed verso, spray paint, acrylic and bitumen on canvas 120cm x 150cm (47.25in x 59in) Note: These works are being sold on behalf of Anti-Slavery International.

£1,000-1,500

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175 [§] CLAIRE HARRIGAN R.S.W. (SCOTTISH B.1964) FIVE PEARS Mixed media on paper 40cm x 32cm (15.75in x 12.5in)

£300-500

176 [§] CHRISTOPHER LE BRUN P.R.A. (BRITISH B.1951) UNTITLED Signed and numbered 11-35, lithograph, unframed 92cm x 76cm (36.25in x 76in)

£300-500

177 [§] BARBARA RAE C.B.E., R.A., R.S.A. (SCOTTISH B.1943) STORAGE TANKS, LEITH Signed and dated ‘89, mixed media on paper 24.5cm x 30cm (9.75in x 11.75in)

£600-800

Modern British & Contemporary Art

178 [§] ANDY GOLDSWORTHY (BRITISH B.1956) ELM LEAVES DIPPED IN WATER, SCAUR WATER, 1994 Two unique cibachrome prints of differing sizes, the smaller of which inscribed and dated October 1994 in pencil 77cm x 74cm (30.25in x 29in) and 23.5cm x 23.5xm (9.25in x 9.25in) (2)

£2,000-3,000

179 [§] RUT BLEES LUXEMBURG (GERMAN B.1967) MOUNT PLEASANT Signed, titled and dated 1997 verso, numbered 2-5, C-print mounted on aluminium 51cm x 61cm (20in x 24in)

£800-1,200 Note: Rut Blees Luxemburg is a German photographer. Her technique is to take photographs at night, mostly exploring the urban landscape. She is a Tutor at the Royal College of Art. Luxemburg studied photography at London College of Communication and gained her last formal education at the University of Westminster. She employs long exposures to allows her to use the light emanating from the street only, for instance from office blocks or street lights in her photos. Luxemburg created a series of images for the London Underground in 2007. Her photograph, Towering Inferno was used as the cover art for The Streets’ debut album Original Pirate Material. She also contributed A Modern Project for use as the cover of Bloc Party’s second album, A Weekend in the City.

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ALAN DAVIE Alan Davie was born in Grangemouth, Scotland in 1920. His father was a schoolmaster and amateur painter and Alan studied at Edinburgh College of Art in the late 1930s. Jazz had always played an important part in his life and having served with the army in WWII, in 1947 Davie worked as a full time jazz saxophonist and at the same time started to make jewellery, write poetry and design textiles. The following year, now married, he began to travel, visiting Venice, where he was intrigued by the work of Pollock and De Kooning, in the Guggenheim collection. Inspired to start painting again, Davie painted several pictures on rolls of cheap paper in his hotel room. Two were immediately bought by

Peggy Guggenheim, who also introduced him to London gallery Gimpel Fils. American abstract expressionism, married with an interest in African art and the influence of Picasso and Klee, formed the roots of Davie’s work throughout the 1950s. From the mid fifties an interest in Zen Buddhism and oriental mysticism added further nuances, along with further exposure to the Americans at the time of his first show in New York in 1956. Largely ignored at this time in his homeland, Davie began to sell overseas and finally elevated from poverty, bought a house in Cornwall where he mingled with a number of St Ives artists.

From the 1960s Davie maintained that his work, despite its appearance, was not abstract but consisted of emotive common symbols, which spoke directly to the viewer. His role, he insisted was that of a ‘shaman’, acting as a link between the viewer and the intractable. Taking his cue from the Surrealists, his method was an essentially spontaneous, almost automatic, attempt to unlock the unconscious. Davie’s work contains numerous overlapping references to magic, religion and primitive art, in particularly that of the Navajo, Carib, Australian Aborigine, ancient Egyptian, Celt and Pict. This very late painting, Insignias for the Little White Horse, is typical of his mature work.

Against a monochrome blue ground, itself suggestive of the spiritual, animals and objects float suspended. Among these, the white horse of the title, the bird and the snake, all resonate with ancient significance in tribal art. While it is tempting to interpret the central motif as an open mouth, as ever with Davie, the moment that one attempts to decipher his hieroglyphs, multiple other meanings become evident. In his later years Davie received many plaudits. His CBE in 1972 was followed by retrospectives in London and New York in 1993, Chicago in 1994 and Edinburgh in 2000 and a major show at Tate Britain in April 2014, the month of his death.

Modern British & Contemporary Art

180 [§] ALAN DAVIE C.B.E., H.R.S.A. (SCOTTISH 1920-2014) INSIGNIA FOR THE LITTLE WHITE HORSE Signed and inscribed with title and dated 2007 verso, oil on canvas 76cm x 96cm (30in x 37.75in)

£7,000-10,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section of this catalogue on page 5

Lyon & Turnbull

181 [§] THOMAS RUFF (GERMAN B.1958) NUDE Signed and numbered 35-50 in pencil verso, pigment print, unframed 75cm x 60cm (25.5in x 23.5in)

£1,000-1,500

182 BERT STERN (AMERICAN 1929-2013) MARILYN MONROE, CRUCIFIX (2012) Signed and numbered 18-25, signed with monogram and dated 2012 verso, studio stamped, pigment print, with accompanying signed certificate of authenticity, unframed 48cm x 33cm (19in x 13in)

£1,000-1,500

Modern British & Contemporary Art

183 ROBERT KELLY (AMERICAN B.1956) VAJIRA XI Signed and inscribed with title and dated 1984, collage with paint/mixed media 127cm x 107cm (50in x 42in) Exhibited: Victoria Munroe Gallery, New York

£1,500-2,500

184 [§] CALLUM INNES (SCOTTISH B.1962) VI, VII, VIII, IX, X Suite of 5 photopolymer intaglio etchings, each signed and inscribed with title and numbered 13/20 in pencil to margin 65cm x 58cm (25.5in x 22.75in) Exhibited: The Ingleby Gallery, Edinburgh

£2,000-3,000

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185 [§] IAN DAVENPORT (BRITISH B.1966) OVAL: BLACK, LIGHT BLUE, BLACK 2002, edition of 45, screenprint 76cm x 70cm (30in x 27.5in) and two further screenprints from the same series, ‘Oval: Black’ and ‘Oval: Yellow, Lemon Yellow, Yellow’ (3) Exhibited: The Ingleby Gallery, Edinburgh

£1,000-1,500

186 [§] CRAIG MULHOLLAND (SCOTTISH B.1969) JETTY, 1992 Signed with initials, oil and acrylic on board 66cm x 66cm (26in x 26in) Exhibited: The Compass Gallery, Glasgow, 1993

£1,000-1,500

Modern British & Contemporary Art

187 [§] ADRIAN WISZNIEWSKI (SCOTTISH B.1958) ’FOR MAX’, 1988 A book of 25 linocuts, edition 2/100, signed and numbered by artist on colophone page, published by Paragon Press, 1988 each lino cut 26.6cm x 21.5cm (10.5in x 8.5in)

£400-600

188 [§] ADRIAN WISZNIEWSKI (SCOTTISH B.1958) BEAST IN A BOX Signed with initials, signed, inscribed and dated verso, pencil, ink and watercolour 14cm x 20cm (5.5in x 7.75in)

£400-600

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section of this catalogue on page 5

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Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section of this catalogue on page 5

Modern British & Contemporary Art

101

189 [§] KEN CURRIE (SCOTTISH B.1960) SIGNS AND SYMPTOMS 1995-1996, signed, inscribed with title and dated verso, oil on canvas 100cm x 78cm (39.5in x 30.75in) Literature: Ken Currie, Details of a Journey, Tom Normand, Lund Humphries 2002, illustrated page 83 Provenance: Raab Boukamel Gallery, London, purchased by the current owner, 1996

£6,000-8,000

THE NEW GLASGOW BOYS The New Glasgow Boys were an influential group of artists who studied at the Glasgow School of Art in the 1980’s. The group has been praised for achieving national and international success and renewing an interest in figurative painting during a period when Western art was dominated by Abstract Expressionism, Conceptual and Pop Art. Their paintings are honest and powerful. 2017 marked the 30th anniversary of the Scottish National Gallery of Modern Art’s ground breaking exhibition The Vigorous Imagination: New Scottish Art. The exhibition showcased the work of the New Glasgow Boys including Peter Howson, Ken Currie, and Steven Campbell.

KEN CURRIE Born in 1960 Ken Currie is a Scottish artist and was one of the New Glasgow Boys along with his contemporaries Peter Howson, Adrian Wisniewski and Steven Campbell. Graduating from the Glasgow School of Art in 1983, his work has appeared in several public collections including

the Tate Modern in London, the National Galleries of Scotland and abroad. In 2013 Currie held a solo show at the Scottish National Portrait Gallery. His paintings are documents of the human body and the effects of time, greed and injury. Signs and Symptoms 19956 is a confrontational and powerful work.

The figure is painted with a ghostly luminosity which is heightened by the stark dark background. Currie is highly aware of and influenced by the tradition of Western art, drawing inspiration from a variety of artists including Goya and Velazquez. Similarly to Francis Bacon, he is

fascinated by the human face as a mechanism of expressing trauma, pain and powerful psychological expression. Currie’s masterful portrait is a dramatic piece that draws the viewer in with its thought provoking qualities.

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190 [§] PETER HOWSON O.B.E. (SCOTTISH B.1958) TENDER TOUCH, 1989 Signed, oil on canvas 75cm x 50cm (29.5in x 19.75in) Provenance: Cyril Gerber Fine Art, Glasgow, purchased by the current owner, 1993

£3,000-5,000

PETER HOWSON Peter Howson is one of Scotland’s most celebrated artists. Howson was born in London in 1958 and moved to Scotland as a young child. He studied at the Glasgow School of Art from 1975-77 and completed his master’s degree in 1979. Howson became a leading member of the New Glasgow Boys, a generation of young Scottish artists that responded to the dominance of abstract, conceptual and pop art. He is known for his dramatic insight into

the human condition and in particular his distinctive depictions of the male form. He draws inspiration from his turbulent upbringing and his experience recording the conflicts in Bosnia and former Yugoslavia. His work features in several public collections including the Victoria & Albert Museum, Tate, the National Galleries of Scotland and the Museum of Modern Art in New York. Other than appearing in a number of prestigious galleries, his work is also popular amongst celebrities such

as David Bowie, Sylvester Stallone and Madonna. In 2009 Howson was appointed Officer of the Order of the British Empire for services to the visual arts. Tender Touch was painted during a crucial moment in his rise to fame. Between 19851993 Howson had over twenty solo exhibitions around the world, marking his intense and successful artistic output. The painting depicts Howson’s characteristically monumental figures set against a rural

backdrop. During his childhood Howson often sought an escape from his troublesome life in the calming beaches and sea in the Ayrshire coast. Thus, the coastline becomes a reoccurring feature in his work and one imbued with great personal significance. Howson uses a dark palette to depict the evening scene, creating a sombre and eerie atmosphere which is heightened by the ambiguity of the figure’s intentions.

Modern British & Contemporary Art

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Modern British & Contemporary Art

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191 [§] STEPHEN CONROY (SCOTTISH B.1964) STUDY FOR ‘FIGURE STUDY’ Signed and dated 2011 verso, oil on board 102cm x 102cm (40in x 40in)

£7,000-10,000

STEPHEN CONROY Stephen Conroy is a Scottish painter and leading member of the New Glasgow Boys. Born in 1964, Conroy studied at the Glasgow School of Art between 198287. He quickly gained recognition and achieved considerable success before beginning his post graduate study. In 1986 his degree show sold out and he also won the

first prize for painting at the Royal Academy’s British Institute Fund Awards. Conroy was the youngest artist included in the notable Vigorous Imagination exhibition Edinburgh in 1987. Two years later he held a solo exhibition at Marlborough Fine Art in London. His work is included in a number of collections around Britain

and abroad, including the Metropolitan Museum of Art in New York and the National Portrait Galleries in London and Edinburgh. Study for ‘Figure Study’ is a compelling and absorbing portrait. Conroy’s isolated figure, set against a stark background, echoes the work of Francis

Bacon and Lucian Freud. However, Conroy diverges from their fleshy and raw style, making it his own. Conroy’s portrait confronts and reinterprets the history of European portraiture through his focus on the single isolated figure and simple yet thoughtprovoking narrative.

END OF SALE

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Index A

AGAR, E., 87

GALLAGHER, M., 126

MACEWAN, G., 101, 102

RAE, B., 117, 118, 177

ARAKI, N., 173

GARDNER, A., 150

MACKAY, C., 115

REDPATH, A., 55

ARMOUR, M., 6, 9, 10

GEAR, W., 38, 39, 40

MACKIE, J., 112

REEVES, P., 28, 29

GILLIES, SIR W., 12

MACLAURIN, R., 135

REMI-ROUGH, 174

GOLDSWORTHY, A., 178

MACPHERSON, N., 147

ROBERTSON, J.D., 119

BARNS-GRAHAM, W., 65

GOSSE, L.S., 11

MANSON, D., 140a

RUFF, T., 181

BELLANY, J., 128, 129, 130, 131

GOUDIE, A., 98

MATISSE, H., 30, 31

BENOIS, N., 8

GRAHAM, P., 151

MATTHEWS, J., 93

BLACKADDER, DAME E., 53, 95,

GRANT, D., 7

MCCLURE, D., 160

SAHA, N., 106, 107

152

GRAY, A., 32, 33

MCINTYRE, H., 124

SANTHANARAG, A.P., 57, 58, 60

BLAKE, SIR P., 83

GUPTA, P.D., 108A

MCLAREN, P., 159

SCHUELER, J., 127

MCLEAN, J., 63

SCOTT, W., 20

BOMBERG, D., 4 BOYCE, M., 168, 169

MCNAIRN, C., 109, 156

SCOULLER, G., 138

BOYD, J.G., 13, 134

HANNA, N., 136, 137

MEADOWS, B., 62

SHANKS, D., 100

BUCHANAN, R., 163

HARRIGAN, C., 175

MICHIE, D., 132, 133

SHANKS, T., 5

BURNS, W., 42

HENDERSON, K., 153

MOONEY, J.F., 92

SHEPHERD, D., 96, 97

BUTLER, R., 22

HERMAN, J., 16

MOORE, H., 21

SMITH, I.M., 27

BYRNE, J., 116, 120, 121, 122, 123

HOCKNEY, D., 79, 80, 81, 82

MORRIS, M., 35

STERN, B., 182

HOGARTH, R., 164, 165

MORRISON, J., 114, 141

HOUSTON, J., 43, 146, 148

MORRISON, J.L., 145

CAMPBELL, C., 161

HOWSON, P., 190

MORROCCO, A., 51, 52, 54

TEH, H., 110

CLOUGH, P., 23

HOYLAND, J., 71, 72, 73

MORROCCO, J., 158

CONROY, S., 191

MULHOLLAND, C., 186

CROSBIE, W., 44

CROWE, V., 154

INLANDER, H., 41

CUNNINGHAM, J., 142

INNES, C., 170, 184

NEAGU, P., 75

CURRIE, KEN., 189

IRVIN, A., 74

NEWCOMB, T., 94

WALKER, E., 139

NICHOLSON, W., 50

WILSON, C., 14

DAVENPORT, I., 185

JOHNSTONE, W., 25, 26

DAVIE, A., 180

UGLOW, G., 143

WISZNIEWSKI, A., 187, 188 O OLEKSIAK, A., 171

ORAM, A., 113

ZADKINE, O., 76

DELAUNEY, S., 64

DEVLIN, G., 47, 48

KELLY, R., 183

DOUTHWAITE, P., 103, 104, 105

KING, A., 166, 167

DUNLOP, A., 162

KIRCHNER, E.L., 19

PAOLOZZI, SIR E., 66, 67, 68, 69,

DURWARD, G., 111

KNIGHT, DAME L., 17

70, 88, 89, 90, 91

KULKARNI, K.S., 56, 59

PEARCE, B., 15

E EVANS, M. 18

ZIJLSTRA, K., 108

PENFOLD, MR., 172 L

PHILIPSON, SIR R., 37

LAING, G., 84

PIPER, E., 99

LAMBIE, J., 168, 169

PIPER, J., 144

FÃ&#x201E;RHM, E., 49

LE BRUN, C., 176

FINLAY, I.H., 77, 78

LENAGHAN, B., 149, 157

FINLAYSON, A., 85

LEWIS, E.M., 1, 2, 3

FLEMING, I., 34

LOW, B., 36, 45, 46

FRIEDLAENDER, J., 24

LUXEMBURG, R.B., 179

FROST, SIR T., 86 FULLARTON, J., 125, 155

A LIFE ILLUSTRATED WORKS BY JOHN BURNINGHAM & THE BLUNDALL PUPPET COLLECTION AUCTION 28 FEBRUARY 2018 AT 10AM IN EDINBURGH A unique and exciting sale of original artwork and travel posters by author and illustrator John Burningham. This collection will be offered alongside the John Blundall Puppet Collection, previously exhibited in The Mitchell Library in Glasgow.

JOHN BURNINGHAM (b.1936) U IS FOR UMBRELLA [DETAIL] From John Burninghamâ&#x20AC;&#x2122;s ABC, 1964

JAPANESE LACQUER CABINET ON STAND 18TH CENTURY, THE STAND 19TH CENTURY 111cm wide, 170cm high, 62cm deep

Â£3,000-4,000

FINE FURNITURE & WORKS OF ART AUCTION 31 JANUARY 2018 AT 10AM IN EDINBURGH

ERICH HERMES (1881–1971) L’INVERNO IN SVIZZERA [DETAIL] | Lithograph, condition A-; backed on linen 100cm x 63cm (39.5in x 24.5in)

£7,000-9,000

WINTER SPORTS

VINTAGE SKI & TRAVEL POSTERS AUCTION 31 JANUARY 2018 AT 10AM IN EDINBURGH A selection of 43 posters will be offered as part of the Fine Furniture & Works of Art auction on 31 January 2018.

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Conditions of Sale SELLERS 1. DEFINITIONS In these Conditions of Sale (Sellers): “Auctioneer” means Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or its authorised auctioneer, as appropriate; “Buyer” is the person who makes the highest possible bid or offer accepted by the auctioneer, and/or such person’s principal where bidding as agent; “Buyer’s Premium” is the commission payable by the Buyer on the Hammer Price at the rates set out in the Sale Catalogue Guide to Prospective Buyers and an amount in respect of applicable VAT; “Hammer Price” is the highest bid accepted by the auctioneer by the fall of the hammer or in the case of a postauction sale, the agreed sale price; “Item” means each and every item consigned for sale following express written agreement between Lyon & Turnbull and the Seller; “Lot” means each Item offered for sale by Lyon & Turnbull; “Lower Estimate” means the low estimate provided by Lyon & Turnbull to the Seller in relation to each Item, or in relation to any Item which Lyon & Turnbull holds on behalf of the Seller; “Lyon & Turnbull” means the company which has its registered office at 33 Broughton Place, Edinburgh, EHI 3RR registered in Scotland No. 191166 “Net Sale Proceeds” are the Hammer Price, less commissions and other charges, of the Lot sold, to the extent received by Lyon & Turnbull in cleared funds; “Proposed Sale” means the intended sale through which the items will be sold on “Purchase Price” is the Hammer Price and applicable Buyer’s Premium; “Reserve” means the lowest price below which an item cannot be sold; “Terms of consignment” means the stipulated terms and rates of commission on which the Auctioneer accepts instructions from Sellers or their agents; “Upper Estimate” means the high estimate provided by Lyon & Turnbull to the Seller in relation to each Item, or in relation to any Item which Lyon & Turnbull holds on behalf of the Seller; “Without reserve” where there is no minimum price at which a lot may be sold (whether at auction or private treaty); “You”, “Your” means the seller. The Seller means you are the owner of the lot or, if you are not the owner of the lot (whether or not you have notified us that you are acting as an agent for a principal), you are duly authorised by the owner of the lot to sell it. “Us”, “Our”, “We” etc refers to Lyon & Turnbull Ltd

The singular includes the plural and vice versa as appropriate. 2. WARRANTY OF TITLE AND AVAILABILITY The Seller warrants:(a) that you are the true owner of the property consigned or are properly authorised by the true owner to consign it for sale and are able to transfer good and marketable title to the property free from any third party claims. (b) that all requirements have been complied with, legal or otherwise, relating to any export or import of the property consigned, all duties and taxes in respect of the export or import of the lot have (unless agreed in writing with us) been paid and, so far as you and any principal for whom they are acting in relation to the lot are aware, all third parties have complied with such requirements in the past.

4. TERMS OF SALE The Seller acknowledges that lots are sold subject to these Conditions and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot. 5. STANDARD SELLER FEES AND CHARGES (Subject to VAT) (1) Commission: 15% is charged on the selling price of each lot, (subject to a minimum charge of £45). Loss and damage warranty: 1.5% on value of lots sold. Photography: min charge £30. Online Listing: £10 per lot. (2) Transport: Items for sale must be consigned to the sale room by any stated deadline and at your expense. We may be able to assist you with this process. When organised on the Seller’s behalf the provision of transport will be contracted to third parties. Fees for transport will be deducted at the initial settlement.

(c) that you have provided Lyon & Turnbull with any and all information concerning the item’s provenance or any concerns expressed by third parties concerning its ownership, condition, authenticity, attribution, and export or import history; and

(3) Illustrations: The cost of any illustrations will be borne by the Seller , unless agreed otherwise prior. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue.

(d) Unless the Seller advises Lyon & Turnbull in writing to the contrary on delivery of the item to Lyon & Turnbull, there are no restrictions on Lyon & Turnbull rights to reproduce photographs or other images of the item in connection with the sale or any other marketing which will be done in accordance with good taste and decency.

1(a) You are entitled to place, prior to the auction, a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve. A lot will be sold without reserve unless a reserve has been agreed.

3. PREPARATION FOR SALE (a) Lyon & Turnbull shall decide the way in which a lot may be included in the sale, how any lot is described and illustrated in the catalogue or any report, and the marketing, promotion, date, place and conduct of the sale. (b) Lyon & Turnbull will instruct, consult with, and rely on, any outside experts or restorers, agents or other third parties, and carry out such other due diligence, inquiries, research or tests in relation to the property or its provenance, either before the Proposed Sale as it may deem appropriate in its reasonable discretion. (c) Any oral or written estimate or evaluation or report provided by Lyon & Turnbull is a genuinely held opinion only. It may not be relied on as a prediction of the selling price or value of the Item, and may in Lyon & Turnbull’s absolute discretion be revised at any time. (d) The Seller acknowledges that attribution of Items is a matter of opinion and not of fact, and is dependent upon (amongst other things) information provided by the Seller, the condition of the property, the degree of research, examination or testing that is possible or practical in the circumstances, and the status of generally accepted expert opinion at the time of cataloguing.

(b) Firm reserves may be no greater than lower pre-sale estimate level. (c) A reserve once set cannot be changed except with our agreement. (d) You may not bid or instruct or permit any other person to bid on your behalf on your own property. If the Seller breaches this prohibition, Lyon & Turnbull may treat the Seller as bound as Seller and as Buyer but without the benefit of Lyon & Turnbull Authenticity Guarantee or the reserve, and/or pursue other remedies. (e) We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the hammer price been the reserve. 7. LOSS & DAMAGE WARRANTY (a) Subject to condition 7(c) below Lyon & Turnbull will assume liability for loss or damage to an item, commencing at the time that item is taken into physical control and possession by Lyon & Turnbull and ceasing on the earliest date of;

(iii) 6 months from the date of delivery to Lyon & Turnbull for items still in the possession of Lyon & Turnbull but not consigned for sale (unless part of a longterm storage agreement). (b) Lyon & Turnbull shall charge a loss and damage warranty fee of 1.5% of the hammer price, plus VAT. (c) If any loss or damage should occur to the lot during the period identified in paragraphs (a) above, Lyon & Turnbull’s liability to compensate the Seller in respect of that loss shall be restricted to a maximum of the upper estimate, or actual loss incurred, whichever is lower. This compensation will be subject to a deduction of a 1.5% loss & warranty fee (subject to VAT). 8. UNSOLD ITEMS (1) If an item is unsold it may, with your consent, be re-offered at a future sale. Where in our opinion an item is not suitable for a future sale we may either request (a) you collect such items from the saleroom promptly on being so informed. We shall be entitled to charge you for storage costs, charges shall be made at a reasonable daily rate;or (b) suggest that the item be transferred to a secondary saleroom for sale without reserve. All transferred lots will be sold for the best price on the day, this may not bear any reflection on the item’s original estimate. Lyon & Turnbull are not liable for any items (whether it be selling price or loss & damage) when transferred. (2) Aftersales: We reserve the right to accept an after-auction offer on a lot on behalf of the seller, at the agreed reserve price or above, for up to 48 hours after the original auction. In which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these Conditions apply. 9. LOT WITHDRAWAL If a Seller wishes to withdraw a lot organised for sale, a withdrawal fee will apply; (a) if withdrawn over 28 working days prior to the sale, this will be charged at 10% of the mid estimate along with any ancillary charges incurred (such as photography), all subject to VAT at the current rate. (b) if withdrawn within 28 working days of the sale, this will be charged at 20% of the mid estimate along with any ancillary charges incurred (such as photography), all subject to VAT at the current rate. (c) Lyon & Turnbull may withdraw a lot from the proposed sale without any liability if: (i) Lyon & Turnbull reasonably believes that there is any doubt as to the lot’s authenticity or attribution; or

(i) when risk passes to the Buyer of the lot following its sale;

(ii) it reasonably doubts the accuracy of any of the Seller’s warranties; or

(ii) for unsold lots, when the lot is released to the Seller, or, within 3 months of the sale;or

(iii) the Seller breaches any provisions of the Conditions of Sale in any material respect; or

Modern British & Contemporary Art

(iv) the lot suffers from loss or damage so that it is not in the state in which it was when Lyon & Turnbull took delivery of it.

relation to an item prior to any Proposed Sale, excluding the normal method of commission bids.

(d) if an item is withdrawn from sale under Condition 9(c) (i), or (iv), the Seller shall not be charged a withdrawal fee and the item shall be returned to the Seller or dealt with pursuant to Clause 8, as the Seller decides.

(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.

10. AUTHORITY TO DEDUCT COMMISSION AND EXPENSES AND RETAIN PREMIUM AND INTEREST The Seller authorises us to deduct commission at the stated rate, and all expenses incurred for your account from the hammer price, and consents to our right to retain beneficially the premium paid by the Buyer in accordance with these Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. 11. NON-PAYMENT BY THE BUYER (a) Lyon & Turnbull will, where it considers appropriate, take reasonable steps to investigate the ability of bidders to pay for lots and will use reasonable endeavours, in consultation with the Seller, to enforce payment of the Hammer Price by any Buyer. (b) Lyon & Turnbull, in consultation with the Seller, will decide whether to pursue any of the remedies available to it, including those set out in Condition 10 of the Condition of Sale (Buyers) including the right to cancel the sale and return the property to the Seller. Lyon & Turnbull will inform the Seller of any action which it contemplates taking against the Buyer. (c) lf the Seller elects to take action against any Buyer on its own behalf Lyon & Turnbull will provide the Seller with such assistance as may be reasonably necessary to pursue that action. (d) The Seller hereby agrees to inform Lyon & Turnbull of any action which it chooses to take against the Buyer to enforce payment of the amount due to the Seller. (e) In the event that a Buyer fails to pay for a lot in accordance with the Conditions of Sale for Buyers, that lot will be treated in the same way as an unsold or collected lot. 12. SETTLEMENT PAYMENTS Subject to full payment by the Buyer, payment of the net proceeds of sale due to you will be made over to you 28 working days following a sale. Provided we have received cleared funds. Payment will be made by cheque or BACS (if requested). 13. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Sellers) 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) Lyon & Turnbull undertakes to inform the Seller of any offers it receives in

not give advice to Buyers. When Lyon & Turnbull make a statement about a lot it is doing so on behalf of the Seller of the lot. The Auctioneer normally acts as agent only and disclaims any responsibility for default by Sellers or Buyers.

14. THIRD PARTY LIABILITY

18. DATA PROTECTION

All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation 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.

In connection with the management and operation of our business and the marketing and supply of Lyon & Turnbull’s services, or as required by law, we may ask the Seller to provide personal information about themselves or obtain information about the Seller from third parties (e.g. credit information). Lyon & Turnbull will not give out personal information except as may be required by law.

15. GENERAL (a) We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. (b) Any notice to any Buyer, Seller, bidder or viewer may be given by email, or if not available then first class mail, in which case it shall be deemed to have been received by the addressee 48 hours after posting. (c) Notices to Lyon & Turnbull should be in writing and addressed to the Managing Director at 33 Broughton Place, Edinburgh EH1 3RR, quoting the reference number specified at the beginning of the sale catalogue. (d) Should any provision of these Conditions of Sale be held unenforceable for any reason, the remaining provisions shall remain in full force and effect. (e) These Conditions of Sale are not assignable by either party without the other’s prior written consent, but are binding on the seller’s successor and representatives. No act, omission or delay by Lyon & Turnbull shall be deemed a waiver or release of any of its rights. (f) The contract between the parties may be varied by the parties by agreement and in writing. 16. RECISSION OF SALES Lyon & Turnbull may rescind the sale where it reasonably believes that the lot falls within the terms as defined by Lyon & Turnbull’s Authenticity Guarantee (see Buyer’s conditions), in this event Lyon & Turnbull shall send the Seller notice of such rescission. The Seller agrees to return to Lyon & Turnbull the Net Sale Proceeds received from the sale of such lot with any additional expenses incurred by Lyon & Turnbull. Lyon & Turnbull will return the property to the Seller upon receipt of the Net Sale Proceeds and Expenses, unless prevented in doing so by reasons outwith Lyon & Turnbull’s control. 17. AGENCY Lyon & Turnbull acts as agent solely for and in the interests of the Seller. We do not act for Buyers in this role and does

If you would like further information on Lyon & Turnbull policies on personal data, or to make corrections to your information, please contact us on 0131 557 8844. 19. 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 Seller 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. BUYERS The Auctioneer carries on business with bidders, Buyers and all those present in the auction room prior to, or in connection with, a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein. 1. DEFINITIONS In these Conditions of Sale (Buyers): “Auctioneer” means Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or its authorised auctioneer, as appropriate; “Hammer price” means the level of bidding reached (at or above any reserve) when the Auctioneer brings down the hammer; “Lot” means each Item offered for sale by Lyon & Turnbull; “Purchase Price” is the Hammer Price and applicable Buyer’s Premium; “Reserve” means the lowest price below which an item cannot be sold; “Total amount due” means 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; “You”, “Your” means the Buyer; “Us”, “Our”, “We” etc. refers to Lyon &

111

Turnbull Ltd The singular includes the plural and vice versa as appropriate. 2. AGENCY Lyon & Turnbull acts as agent solely for and in the interests of the Seller. We do not act for Buyers in this role and does not give advice to Buyers. When Lyon & Turnbull make a statement about a lot it is doing so on behalf of the Seller of the lot. The Auctioneer normally acts as agent only and disclaims any responsibility for default by Sellers or Buyers. 3. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security and credit references or arrangements before entering the auction room to view or bid; (b) High Value Lots and High Cumulative Value of Lots: If you wish to bid on any High Value Lot (a lot with a lower estimate of £30,000 or above) or if you are bidding on several lots with a total lower estimate value of £30,000 or above, you are invited to complete the High Value Lot pre-registration. After you have successfully registered as a bidder with Lyon & Turnbull, you should complete the High Value Lot pre-registration before the date of sale by contacting the Office Manager or on the date of sale at the registration area. Unless otherwise agreed by us, you will be permitted to bid for High Value Lots only if Lyon & Turnbull has confirmed your payment of deposit and your completion of the High Value Lot pre-registration before the sale. The Deposit required will be 10% of the lower estimate. Upon pre-registration, you should pay the deposit or such other sum as determined by Lyon & Turnbull dependant on circumstances, by way of bank transfer or credit card(s) acceptable to Lyon & Turnbull. Please note that Lyon & Turnbull does not accept payment from third parties and this also applies to agents. If you are not successful in any bid and do not owe Lyon & Turnbull any debt, the deposit will be refunded to you by way of wire transfer or such other methods as determined by Lyon & Turnbull. Please make sure that you provide your bank details in the pre-registration form. The exchange rate provided to us by the bank on the date of exchange is final. We will arrange to refund the deposit to you within seven days after the date of sale, however we do not guarantee when you will receive the payment due to the variance in time for banks to process fund transfers. Upon successful pre-registration, you will be given a numbered High Value Lot paddle for identification purposes. The auctioneer will usually only accept bids made with the High Value Lot paddle or by its High Value Lot registered bidder. This applies to saleroom, telephone and

112

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absentee bids. Lyon & Turnbull has the right to change the High Value Lot pre-registration procedures and requirements from time to time without notice. (c) 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. (d) Once made, no bid may be withdrawn. (e) Our right to bid on behalf of Sellers is expressly reserved up to the amount of any reserve. (f) The right to refuse any bid is also reserved. (g) Commission Bids: While prospective Buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we shall, if so instructed, clearly and in writing execute bids on their behalf. Neither the Auctioneer nor our employees nor agents shall be responsible for any failure to do so. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made. (h) Telephone Bids: If a prospective Buyer makes arrangements with us prior to the commencement of the sale we will use reasonable efforts to contact them to enable them to participate in bidding by telephone. We do not accept liability for failure to do so or for errors and omissions in connections. (h) Online Bidding: 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. 4. INCREMENTS Bidding increments shall be at the Auctioneer’s sole discretion. 5. THE PURCHASE PRICE For each lot purchased a Buyer’s Premium of 25% of the hammer price of each lot up to and including £100,000, plus 20% from £100,001 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 is subject to an additional 3% premium (charged by the live bidding service provider Invaluable). This additional premium is subject to VAT at the appropriate rate as above. 6. 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. (1) 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. (2) 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 outwith the European Union. This reduced rate is applicable to Antique items. (3) 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 outwith the European Union and do not fall within the reduced rate category outlined above. 7. DROIT de SUITE This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the hammer price and in addition to the Buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the auctioneer. Resale royalties are not subject to VAT. Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale. More information on Droit de Suite is available at www.dacs.org.uk. 8. PAYMENT (1) Within 7 days of a lot being sold you will: (a) 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.

expense take away any lots that you have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any cheque used for payment whichever is later. We can provide you with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us. (3) No purchase can be claimed or removed until it has been paid for. (4) 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. (5) 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. 10. REMEDIES FOR NON·PAYMENT OR FAILURE TO COLLECT PURCHASES (1) 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 (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).

(b) Please note that we do not accept cash payments over £5,000.

(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;

(2) Any payments by you to us may 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.

(e) to charge interest at a rate not exceeding 1.5% per month above the current base rate on all sums outstanding for more than 7 working days after the sale;

9. TITLE AND COLLECTION OF PURCHASES

(f) to retain that or any other lot sold to you until you pay the total amount due;

(1) 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.

(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;

(2) You shall at your own risk and

(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. 11. DESCRIPTIONS AND CONDITION (1) 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. (2) 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 endeavor 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 Lyon & Turnbull 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 Lyon & Turnbull and the Buyer. The Condition Reports do not affect the Seller’s obligations in any way. (3) 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. (4) Catalogue Alterations: Lot descriptions

Modern British & Contemporary Art

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.

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.

(5) 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.

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/ahvlaen/imports-exports/cites

(6) 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. Lyon & Turnbull provide no guarantee as to the originality of any wood/material contained within the item. (7) 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. 12. BOOKS, CLOCKS & WATCHES (1) 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. (2) 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, Lyon & Turnbull makes 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 Lyon & Turnbull cannot guarantee a watch

13. CITES

Lyon & Turnbull accepts no liability for any lots which may be subject to CITES but have not be identified as such. 14. 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) Lyon & Turnbull undertakes 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. 15. 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 accommodation, 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. 16. GENERAL (a) We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. (b) Any notice to any Buyer, Seller, bidder or viewer may be given by email if not available then first class mail in which case it shall be deemed to have been received by the addressee 48 hours after posting. (c) Notices to Lyon & Turnbull should be in writing and addressed to the Managing Director at 33 Broughton Place, Edinburgh EH1 3RR, quoting the reference number specified at the beginning of the sale catalogue. (d) Should any provision of these Conditions of Sale be held unenforceable for any reason, the remaining provisions shall remain in full force and effect. (e) These Conditions of Sale are not assignable by either party without the other’s prior written consent. No act, omission or delay by Lyon & Turnbull shall be deemed a waiver or release of

any of its rights. (f) The contract between the parties may be varied by the parties by agreement and in writing. 17. AUTHENTICITY GUARANTEE Lyon & Turnbull guarantees 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 salesroom notes or announcements. Lyon & Turnbull makes 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 Lyon & Turnbull in its reasonable opinion deems 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: (i) 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 (ii) 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 Lyon &Turnbull’s reasonable opinion) to have caused damage to the lot or likely to have caused loss of value to the lot; or (iii) 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: (i) notify Lyon & Turnbull 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 (ii) return the Lot to Lyon & Turnbull’s 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. Lyon & Turnbull has discretion to waive any of the above requirements.

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Lyon & Turnbull 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 Lyon & Turnbull and the original purchaser of the lot. Lyon & Turnbull 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. 18. DATA PROTECTION In connection with the management and operation of our business and the marketing and supply of Lyon & Turnbull’s services, or as required by law, we may ask the Buyer to provide personal information about themselves or obtain information about the Buyer from third parties (e.g. credit information). Lyon & Turnbull will not give out personal information except as may be required by law. If you would like further information on Lyon & Turnbull policies on personal data, or to make corrections to your information, please contact us on 0131 557 8844. 19. FORCE MAJEURE Lyon & Turnbull 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. 20. 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.

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Lyon & Turnbull

Guide to Bidding & Payment Registration

Droit de Suite

Payment

All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, by fax or on our website. Please note that all first time bidders at Lyon & Turnbull will be asked to supply the following documents in order to facilitate registration:

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.

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:

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 entirely at the bidder’s risk.

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

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 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.

On the internet A fully-illustrated catalogue is available on our website. Registered bidders may leave absentee bids through the website and will receive email confirmation of their bid. Live online bidding (powered by Invaluable) is also available, accessible either through our website or at www. invaluable.com. Please note that an additional 3% premium is charged by Invaluable for this live online service.

Bank Transfer Account details are included on any invoices we issue or upon request from our accounts department. Credit or Debit Cards Payment can be made by Visa Debit, Maestro, Mastercard or Visa Credit cards. Online Card Payments We no longer accept card payments by phone. Please use our online payment service (provided by Cardstream/Credorax).

Cheque Cheques should be made payable to Lyon and Turnbull Ltd. We reserve the right to wait until cheques have been cleared by our bankers before releasing bought goods. Cheques can be cleared prior to sale on request. Cheques drawn by third parties cannot be accepted. If paying by post please include the slip from your invoice. Cash Cash payments can be made at the accounts desk during or after a sale. Cash payments limited to £5,000.

Modern British & Contemporary Art

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Lyon & Turnbull

33 Broughton Place, Edinburgh EH1 3RR Tel. +44 (0)131 557 8844 Fax. +44 (0)131 557 8668 info@lyonandturnbull.com www.lyonandturnbull.com

182 Bath Street, Glasgow G2 4HG Tel. +44 (0)141 333 1992 Fax. +44 (0)141 332 8240

22 Connaught Street, London W2 2AF Tel. +44 (0)207 930 9115