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33 New Bond Street, London W1S 2RS Telephone: +44 (0)20 7499 4738 Email:




Exhibition opens Wednesday 20th May 2015 At the time of printing all paintings in this catalogue are for sale Contact:

Jonathan Green Mobile: +44 (0)7768 818 182 Email:  Matthew Green Mobile: +44 (0)7770 957 326 Email: 33 New Bond Street, London W1S 2RS Tel: +44 (0)20 7499 4738 Cover: John Duncan Fergusson, Poise, cat. no. 4






1 2 3 4 5


Italian peasant girl The window seat Reflection Poise Poppy Low


6 7 8


Paris Plage The bathing hour, Lido, Venice The raft


9 1 0 1 1 1 2 1 3 1 4



Title page detail: Sir Herbert James Gunn, The raft, cat. no. 8 Opposite: Detail of Samuel John Peploe, Still life with roses & fruit, cat. no. 11

Still life with fruit & roses Still life with fruit & roses Still life with roses & fruit Roses & teacup Still life with fruit & flowers Roses


Opposite: Detail of Stanley Cursiter, Poppy Low, cat. no. 5






Glasgow 1864 – 1937 New York

Italian peasant girl Signed upper right: HARRINGTON MANN Oil on canvas: 17 ⅛ × 11 ¼ in / 43.5 × 28.6 cm Painted c.1894 PROVENANCE:

Sir Geoffrey Millais, then by descent EXHIBITED:

Possibly Edinburgh, The Royal Scottish Academy, 1894, no. 306, as A little Italian peasant or 1895, no. 38, A little Italian

As a student of the Slade School of Art, London from the age of 15, Harrington Mann obtained a Travelling Scholarship which he spent in Italy from 1887–89. According to the English Illustrated Magazine, Mann spent most of his time in Rome, but visited several other towns of art historical significance including Florence and Venice during his stay, sending illustrations of his travels to the Scottish Art Review. While the style of these wash drawings differed from his exhibited oil paintings of this date, Mann continued to produce rural scenes of everyday life recorded directly from nature, as the Glasgow Boys, Sir James Guthrie (1859–1930), Edward Arthur Walton (1860–1922) and Edward Atkinson Hornel (1864–1933) had done the decade before. Having returned to Glasgow following further studies in Paris, Mann exhibited these pastoral paintings, often referring to his Italian journey, at The Royal Scottish Academy, Edinburgh, and the New English Art Club, London. Like Guthrie’s A hind’s daughter, 1883 (Scottish National Gallery, Edinburgh), the present work vividly records a healthy peasant girl whose outdoor work has been temporarily suspended by the artist. The directness of her gaze and upright posture speak to the dignity of her labour, the rich, earthy colouring of her complexion and costume connecting her inextricably with the landscape. The impressionistic, broadly painted setting, which seems to suggest an uneven, grass covered hillside, acts merely as a foil to the peasant child, throwing her figure into relief and enhancing the depth

and luminosity of her colouration. Even at this early stage of his career, Mann’s sense of colour contrast and harmony is superb. His use of dark blue/green to describe the shaded cottage doorway against which she stands, as well as the bib section of her apron, whose strap falls across her right arm, is skilfully intensified by its juxtaposition with the red/ brown umber of her dress, bonnet and flesh-tones. Though not directly illuminated, the soft, warm sunlight on the cottage exterior and the bright diagonal path which divides the landscape, cast naturalistic golden highlights on the child’s face and articulate the silhouette of her garments. Her sun-burnt hands seem to hold up her apron containing vermilion poppies or anemones, slightly brighter, but still in harmony with her dress. Mann’s drawing and design is equally accomplished, the naturalness of his protagonist’s pose and bold, alla prima technique, seemingly as raw and rustic as the peasant girl, disguising the sophistication and refinement of his composition. This outstanding work seems to capture Mann’s transition from rural study to characterful portrayal, prefiguring his success as a fashionable society portrait painter with studios in London and New York. Mann would also write a treatise on the subject, The Technique of Portrait Painting, published in 1933. We are grateful to Professor Kenneth McConkey for his assistance with the cataloguing of this work.


R O B E R T B U R N S ARSA Edinburgh 1869 – 1941 Gorebridge The window seat Signed lower right: Robt Burns; signed with monogram RB and inscribed Edinburgh on the reverse Oil on canvas: 48 ⅛ × 48 ⅛ in / 122.2 × 122.2 cm Painted in 1905–6 PROVENANCE:

Agnew’s, London, 11th January 1906, purchased directly from the artist [Inv. no. 1783], as The Window Wallis & Son, 6th or 16th February 1914 Lyon & Turnbull, Edinburgh Miss Boag-Thomson, Edinburgh, 1960, acquired from the above and then by descent EXHIBITED:

Glasgow, The Royal Glasgow Institute of the Fine Arts, 1906, no. 370, as The window seat London, Agnew’s, Independent British Art, 1906, as At the window, moonrise Possibly Edinburgh, The Royal Scottish Academy, 1906, no. 442, as Summer evening: Moonrise or 1907, no. 158, as At the window Pittsburgh, Carnegie Institute, The Twelth Annual Exhibition, 30th April–30th June 1908, no. 42, as The window seat L I T E R AT U R E :

E. G. Halton, ‘Independent British Art at Messrs. Agnew’s’, The Studio, 1906, p. 29, illustrated p. 25

This captivating painting belongs to a series of lyrical, contemplative works by the Edinburgh artist Robert Burns depicting women waiting and watching in shaded interiors before the light of a large, central window. As a lover of romantic poetry, in particular Scots ballads, Burn’s cycle was likely inspired by his illustration of the celebrated Ballad of Sir Patrick Spens, ‘O lang, lang may the ladyes sit’, exhibited at the Royal Scottish Academy, Edinburgh in 1902, which includes the profile of a beautiful red-haired maiden gazing mournfully out to sea as she waits for the ill-fated return of a ship from Norway.1 Painted four years later, ‘And she: she watched the square like a book’, inspired by The Statue and

the Bust by Robert Browning, portrays our auburn-haired heroine seated in the identical pose as the present work (though turned slightly towards the viewer) and wearing the same elaborate, opalescent peignoir, while looking out upon a Florentine setting appropriate to the poem.2 The series culminated in Adieu (Schubert), exhibited at the RSA in 1908 (the same year that The window seat was shown at the Carnegie Institute in Pittsburgh) and purchased from there by the Walker Art Gallery, Liverpool. Burns later revisted the genre in ‘My love’s in Germanie’, exhibited at the RSA in 1915 and based on the poem of the same title by Hector MacNeil.3

Painted two years before Adieu and in the same year as ‘And she: she watched the square like a book’, The window seat portrays the same pensive, Celtic model and air of romantic expectation in a modern scene unencumbered by literary or musical narrative.4 The subject of the woman’s wistful thoughts remains unseen and is not referred to in the title, instead the window seat itself provides the subject and structure for the composition, filled with the luminous light of the moon and an opulent assortment of decorative detail. The reflective occupant of the window seat rests against the central six-paned sash of a bay window gazing at the passing Yawl which glides across the shimmering, moonlit water. The beautiful, translucent pleats of her elegant, softly clinging nightgown echo the yellow, grey, blue and green ripples of the water exquisitely, flowing in delicate undulating layers to form bright, scumbled peaks and shaded pools of fabric. The cool, elegant colour harmony is also repeated in the fluted glass vase of flowers to the woman’s left, the bright, golden centre drawing our attention like the twinkling lights across the water. Behind and beneath the flowers rests a Japanese fan whose vibrant green and orange pattern reiterates the colours found in the woman’s dress, flesh tones and burnt umber hair, a key note also captured in the unravelling ball of wool. Burns discovered Japanese art while studying in Paris in the early 1890s and its decorative quality of line had an immediate impact on his work.5 Like Natura Naturans, 1891, his archetypal illustration for Patrick Geddes’ Celtic Revival journal Evergreen, The window seat fluently unites the central female figure with the water which surrounds her, in this instance the woman’s dress, rather than her hair, emulating the sinuous stream. Burns was one of the first Scottish arists to combine oriental design and the dynamism of art nouveau with his own Glasgow style and was uniquely placed to do so, as an illustrator for journals such as Ver Sacrum, the official magazine of the Vienna Secession, and an exhibitor at international exhibitions in Munich and Vienna.6 James Abbott McNeil Whistler, also fascinated by Japanese art, was another imporant influence, whose Symphony in White, No. 2: The Little White Girl, 1864 (Tate Britain), depicts a beautiful woman (his red-haired mistress, Joanna Hiffernan) in a state of poignant reverie. Although standing before a mirror, Whistler paints her reflection silhouetted against a seascape in a composition equally composed according to colour harmony and enlivened by the strategic placement of a Japanese fan.

While in Paris, Burns also had the opportunity to admire the Italian colourists Titian and Giorgione in the Louvre, which can also be seen to inform his refined and carefully balanced paintings in composition and use of colour, as James Caw recounts: ‘Influenced in his earlier designs by certain of the earlier Florentines, as is evident in some of his windows, his pictures retain traces of that admiration or are reminiscent of that langourous mood, the dolce far niente, which breathes in Giorgione’s ‘Pastoral Symphony’….charming in tone and pleasing in rhythmic design of mass and colour.’7 In his review of Agnew’s Independent British Art exhibition of 1906, E. G. Halton praised this exceptional work in The Studio as: ‘…a successful attempt to realise the mystery and beauty of the gloaming, rendered even more elusive by the rising mists.’8

1 Private collection. First recorded in the 18th century, the ballad is thought to tell the 13th century tale of Alexander III of Scotland requesting Sir Patrick Spens to escort his daughter Margaret to Norway for her marriage to King Eric. On the return journey his daughter and many nobles drowned. 2 Exhibited at the RSA, Edinburgh, in 1906 and purchased by the Neue Pinakothek, Munich the following year. Private collection, sold Koller, Zurich, 2010. Robert Browning, The Statue and the Bust, 1855, imagines a story of thwarted love between the Grand Duke of Tuscany, Ferdinand de Medici (1549–1608) and a Florentine lady engaged to a member of the Riccardi family, inspired by the bronze equestrian statue by Giambologna in the Piazza della Santissima Annunziata, Florence which gazes at a fictional bust by Della Robbia on the corner of Palazzo Budini Gattai. 3 Private collection. First printed in 1794. 4 Though the identity of Burns’ model is unknown, she bears a strong resemblance to Helen Urquhart, a student of his at Edinburgh College of Art and photographed with him in 1910 (image, Aberdeen Art Gallery). 5 See Martin Andrew Forrest, Robert Burns 1869–1941 Artist and Designer, exh cat, Bourne Fine Art, Edinburgh, 1982. 6 Ibid. Forrest suggests that Burns series was influenced by his knowledge of the Austrian and Belgian Symbolists. 7 James L. Caw, Scottish Painting Past and Present 1620–1908, Kingsmead reprints, Bath, 1975 (first published 1908), p. 412. 8 E. G. Halton, ‘Independent British Art at Messrs. Agnews’, The Studio, 1906, p. 29.




1883 – Edinburgh – 1937

Reflection Signed lower left: FCB Cadell Oil on canvas: 40 × 50 in / 101.6 × 127 cm Painted circa 1915 PROVENANCE:

Morrison McCleary, Glasgow, 27th November 1964 Private collection, UK, acquired from the above EXHIBITED:

Possibly Glasgow, The Royal Glasgow Institute of the Fine Arts, 1915, no. 400, as Reflection (£170)

The setting for this elegant and exquisitely composed interior is the drawing room of 130 George Street, Edinburgh, the home and studio of F.C.B. Cadell, with its modern, monochromatic colour scheme of pale white, grey and lilac walls and sleek black floor.1 The sofa, fireplace, mantelpiece and mirror maintain the decorative theme, a reflection of Cadell’s dramatic and glamorous style, highlighting bright touches of colour in a vase of flowers and within the artist’s own paintings propped against the wall. Executed with impressionistic vigour, Kenneth McConkey suggests Cadell’s application of paint was inspired by the late work of Manet as ‘he endeavours to convey the immediacy of his experience in brilliant slashing strokes’.2 The striking, sophisticated woman standing before the mantelpiece and reflected in its overmantel is Bertia Hamilton Don Wauchope (1864–1944), a ‘wealthy society figure’ and the artist’s muse from circa 1911 to 1926.3 Reflection belongs to a celebrated series of pre-war interiors depicting Bertha fashionably dressed with gold hooped earrings and fabulous black hats, each element of her attire in keeping with Cadell’s refined aesthetic and subtle tonality. Lady in a Black Hat (Manchester City Art Gallery), Portrait of a Lady in Black (National Galleries of Scotland) and The Black Hat (City Art Centre, Edinburgh Museums and Galleries) are perhaps the best known works of the series. In the latter Bertha adopts an almost mirror image of her standing pose in the present work, with gloved hand resting nonchalantly on hip.4

Though Cadell volunteered in 1914 following the declaration of war, he was declared unfit before being able to join the 9th Battalion, The Royal Scots as a Private in 1915, with whom he served on the French front.5 He was later commissioned as 2nd Lieutenant in the 5th Battalion of the Argyll and Sutherland Highlanders and demobilised in the spring of 1919.

1 Cadell moved into his first Scottish studio on George St in 1909 and remained there until 1920. 2 Kenneth McConkey, Edwardian Portraits – Images in an Age of Opulence, 1987, p. 215. 3 See Alice Strang, F.C.B. Cadell, exh cat, National Galleries of Scotland, Edinburgh, 2011, p. 18. 4 Cadell also painted John Lavery’s wife in a stylish black hat, Lady Lavery in Black, private collection. Cadell knew Lavery as a fellow member of the Society of Eight artists’ collective. 5 See Alice Strang, op.cit. p. 35.




Leith 1874 – 1961 Glasgow

Poise Signed, inscribed and dated: “POISE”/J.D. FERGUSSON/1916 on the reverse Oil on canvas: 30 × 28 in / 76.2 × 71.1 cm PROVENANCE:

The Connell Gallery, London, May 1918 Private collection, Giverny, France, then by descent EXHIBITED:

London, The Connell Gallery, Painting & Sculpture by J.D. Fergusson, May 1918, no. 12 L I T E R AT U R E :

C. Marriot, ‘J.D. Fergusson – His Place in Art’, Colour, June 1918, pp. 98–102, illustrated

Having settled in Paris in 1907, John Duncan Fergusson firmly established himself with the French avant-garde. Elected Sociétaire of the Salon d’Automne in 1909, he was joined the year after by his friend and fellow Colourist, Samuel John Peploe, with whom he ‘spent two years experiencing at first hand the birth of modern art’.1 It was in Paris that Fergusson developed a lighter palette and the flattened, boldly outlined depiction of form which would characterise his future work. The art critic, Frank Rutter, later explained that Fergusson’s striking clarity of colour was achieved by the creation of his white, modernist studio: ‘To keep his palette pure and bright he lived in a white studio, all white walls and white furniture. Here, as he explained, not only every note of colour in his sitter had its full value, but he knew if his painting, when finished, looked clean and true against his own white walls, it would look right anywhere else’.2 Though painted in London rather than Paris in 1916, clarity of design and colour are the principal attributes of Poise, which powerfully expresses both the self-assurance of the model and balance of the composition combined. Occupying almost the height of the canvas, the head and torso of the serene, seated figure directly confronts the viewer; her symmetrical, almost sculptural face resting upon the curved fingers of

her right hand. The angle of her wrist, echoing that of her jaw, sets up a sequence of diagonal lines through her folded arms to the obliquely angled armchair, creating a subtle sense of controlled movement and depth, leading us further into the room beyond, while her posture remains as steady and self-confident as her blue-eyed stare. The deep, potent blue of the model’s dress and penetrating gaze is picked up in the shading of the cushions and the abstract painting on the wall behind, as well as delicate decorative elements of blossoming foliage in the middle ground. The rich, radiant pink of her voluptuous lips is also echoed in the floral pattern, in addition to the cushion behind her left shoulder and the fruit bowl behind her right. The lush green from the painting reappears in the apple and ornamental leaves, enticing the eye from the back to foreground and around the room; each colour heightened by its proximity to the white of the wall, frame and mount, chair and collar. The dramatic lighting from the left hand-side highlights the proportional planes of her striking face, modelled like the rest of the interior with dense, directional hatching. While maintaining the fresh, vivid key note colour of rose pink as seen in the lips, flesh-tones and flowers of Summer, and Rose Rhythm: Kathleen Dillon, 1916 (both private collection), Poise, reflecting the sitter’s form, is sharper, more angular, with a greater solidity and more realistic description of space; each element of the interior accentuating and concordant with the graceful central figure. Poise also seems to achieve the perfect balance between the overwhelming decorative detail of Complexity (Mrs Julian Lousada), 1915 (private collection) and the stark, empty backdrop of Simplicity. Kathleen Dillon, 1916 (private collection), both exhibited alongside this painting at Fergusson’s one-man exhibition at the The Connell Gallery, London in 1918. Fergusson moved to London in 1914 at the outbreak of the First World War, living and working at 14 Redcliffe Road close to the dance school and club of his partner, Margaret Morris, on the corner of King’s Road and Glebe Place, in Chelsea.3 As well as helping ‘Fergus’ to find a studio, Margaret inspired numerous art works and provided models in the form of her students (such as Kathleen Dillon) for his preferred subject, the female figure. Fergusson, in his turn, was very much involved in the dance club, designing and painting costumes and backdrops. As well as attending lighting rehearsals, he also offered painting classes for the school’s students. According to Morris: ‘It was Fergus’s idea, in 1914,

that everyone could benefit by trying to draw and paint on free lines...In particular, he believed all dancers should study design and colour in relation to costumes and decor.’4 This universal philosophy seems to underline Fergusson’s approach to life and art, each vital, individual element adding to the harmonious, expressive whole. Visitors to the Margaret Morris Club included artists, writers and musicians of the British avant-garde, such as Jacob Epstein, Wyndham Lewis, Augustus John, Ezra Pound, to a certain extent recreating the stimulating bohemian lifestyle Fergusson had enjoyed in Paris. He met and befriended Charles Rennie Mackintosh (1868–1928) and his wife Margaret Macdonald (1865–1933), who moved to London in 1915. 5 He also renewed his friendship with Katherine Mansfield and John Middleton Murry (with whom he started the journal Rhythm, 1911-12, in Paris before the War) who had taken a flat opposite in Redcliffe Road, where he dined once a week.    It seems possible, based on their relationship and photographs of Mansfield at the time with her short bobbed hair and distinctive fringe, that Poise may be a representation of the celebrated author. Mansfield clearly held Fergusson in high regard as is revealed by her journal entry for 21st August 1917, in which she describes giving Fergusson a treasured brass frog at her studio on Church Street, Chelsea as a token of her esteem: ‘I came home this afternoon and Fergusson came in…This man is in many ways extraordinarily like me. I like him so much; I feel so honest with him that its simply one of my real joys, one of the real joys of my life, to have him come and talk and be with me…There is a division: people who are my people, people who are not my people. He is mine. I gave him for a pledge my little puddock’.6 On the 18th June 1918, Mansfield wrote to Middleton Murry from the Headland Hotel in Cornwall, regarding Colour Magazine and the reproduction of Poise: ‘Colour came…The reproductions are very beautiful – I have had a good look at them – You know ‘Poise’ is extraordinarily fine, but having gone so tremendously far as Fergusson has gone I don’t think the mouth is quite in the picture – It is – it is more ‘in the picture’ than most of his other mouths are – but I think it might be more sensitive…more ‘finely felt.’…Looking at ‘Poise’ again this mouth seems more nearly right than any other – Perhaps that’s what set up the irritation in me. I must say as a picture it properly fascinates me’7. Just the day before Murry wrote to Mansfield from Redcliffe Road, recounting

that Fergusson had asked him to write the introduction for his forthcoming exhibition at The Connell Gallery, in which Poise was exhibited. 8 Fergusson’s previous partner, the artist Anne Estelle Rice, painted Mansfield’s portrait in 1918, which is now in the Museum of New Zealand Te Papa Tongarewa. Two years after he painted Poise, Fergusson passed his medical examination for active service at the age of 44. Concerned about his solo exhibition at the Connell Gallery in March, the artist consulted his friend P.G. Konody who suggested he become a War Artist and arranged an interview at the War Office. Morris recounts the amusing meeting with an unnamed Colonel in her biography of the artist: ‘Fergus hesitated, saying that the one thing which worried him was his dislike of the khaki colour of the uniforms! The colonel said, quite seriously, “I’m afraid we can’t alter that, but what about the Navy?” Fergus replied that blue was his favourite colour and he had sailed boats all his life so would like nothing better than to do paintings of the shipyards and battleships. The colonel said he would arrange it and they parted on the best of terms.’9 In July 1918 the Admiralty granted Fergusson permission ‘to go to Portsmouth to gather impressions for painting a picture’, following which he produced a series of works including Damaged Destroyer (Glasgow Museums) and Portsmouth Docks (University of Sterling).10

1 Alice Strang, J.D. Fergusson, exh cat, National Galleries of Scotland, Edinburgh, 2013, p. 11. 2 Frank Rutter, Some Contemporary Artists, London, 1922, p.162, cited in ibid. 3 Fergusson would remain in London until in 1929 when he returned to Paris. He met Morris in Paris in 1913. 4 Margaret Morris, The Art of J.D. Fergusson. A Biased Biography, Blackie: Glasgow and London, 1974, p. 104. 5 Fergusson and Mackintosh became great friends. Together they tried to create a Salon des Indepéndents in London, as well as develop a project for a block of artists’ studios and flats. Mackintosh also designed a theatre for Morris which was never built. 6 J. Middleton Murry (ed.), Journal of Katherine Mansfield, Constable & CO., London, 1967, p. 124. 7 Cited in Cherry Hankin (ed), Letters between Katherine Mansfield and John Middleton Murry, New Amsterdam Books, 1998, p. 180. 8 See C.H. Hankin (ed.), The letters of John Middleton Murry to Katherine Mansfield, Constable, London, 1983, pp.138-9. 9 Margaret Morris, 1974, op. cit., pp. 127–128. 10 Cited in Alice Strang, J.D. Fergusson, exh cat, National Galleries of Scotland, Edinburgh, 2013, p. 21.



CBE PRSW RSA Kirkwall, Orkney Isles 1887 – 1976 Stromness, Orkney Isles

Poppy Low Signed and dated lower left: Stanley Cursiter 1922 Oil on canvas: 16 ¼ × 18 in / 41.3 × 46 cm PROVENANCE:

Private collection, Glasgow, c. 1940, then by descent

This lovely portrait reflects the flowering of Stanley Cursiter’s art in the 1920s, after he returned from serving on the Somme with the 1st Battalion Scottish Rifles in the First World War. Happily married to the musician Phyllis Hourston, he settled with his wife at 11 Royal Circus in Edinburgh’s Georgian New Town. As his biographer Pamela Beasant comments, ‘His painting took on a new intensity’.1 Cursiter wrote of this period: ‘I was fascinated by problems of technique: ways of doing it, and the materials used; the character of different mediums….I began studying the Old Masters – not only for the interest in the lives they lived, but also their methods of pictorial composition; their materials and painting methods’.2 Poppy Low, with her fashionable black bob and neat features, was a favourite model of Cursiter in the early 1920s. The calligraphic freedom of the brushwork in this painting, as well as the dramatic contrasts of light and dark, suggest that he had been studying the work of Velásquez and Frans Hals, although the subtle palette of whites, creams and lilacs also echoes Whistler. Cursiter has conjured from these influences a highly sophisticated and original painting, mastering a difficult feat: making a strongly foreshortened figure seem at once elegant and spatially convincing. Poppy emerges from the midnight blue sofa, a confection of long limbs and gossamer costume. The gracious setting and mood of poetic reverie celebrate a peace and civilization far from the still-fresh horrors of the First World War. ‘[Cursiter’s] beautiful sitters, and elegantly styled interiors, look back nostalgically to the Edwardian portraiture of Sargent, Orpen and Lavery, and hold out the hope that the middle class prosperity and comfort that they represent will again be attainable, despite the social and political turbulence of the decade in which they were painted’.3

Poppy Low appears in a similar white dress in the celebrated ‘conversation piece’ Chez nous, 1925, a nocturne depicting Cursiter, Phyllis and Poppy in the shadowy drawing room of 11 Royal Circus (Scottish National Portrait Gallery, Edinburgh). In 1924 Cursiter had accepted the post of Keeper of the National Galleries of Scotland. Although he proved a brilliant administrator, it spelled the end of his freedom to be a fulltime painter.

1 Stanley Cursiter: a Life of the Artist, Kirkwall 2007, p.40. 2 Quoted in Beasant op. cit., p.40. 3 Beasant, p.145.


Opposite: Detail of Samuel John Peploe, Paris Plage, cat. no. 6






1871 – Edinburgh – 1935

Paris Plage Signed lower right: Peploe Oil on panel: 9 ⅜ × 7 ¼ in / 23.8 × 18.4 cm Painted circa 1907–1910 PROVENANCE:

The Lefevre Gallery, London A Sharp, Glasgow

Between 1904 and 1910, Samuel John Peploe and J.D. Fergusson spent their summers painting together on the coast of north-western France in Brittany and Normandy. Paris Plage, which they visited in 1907, was not only a popular seaside resort (now known as Le Touquet), but also a popular painting haunt for many artists, including Eugéne Boudin, Pierre Bonnard and later, fellow Colourist, George Leslie Hunter. In his biography on the artist, Stanley Cursiter wrote of this period in Peploe’s career: ‘In the years immediately before 1910 Peploe had spent some time each summer sketching in France, at Étaples and Paris-Plage with his friend J.D. Fergusson. He painted a number of small panels with subjects supplied by the beaches: groups of figures, bathing tents, striped umbrellas, and the sea with green waves dancing over the pale sand. These pictures grew naturally out of the light schemes of colour on which he had been concentrating… The colour is not the foundation of his schemes, but incidental and added to a structure which exists in tone. In the small panels painted at Paris-Plage and Étaples colour is used more in the manner of the Impressionists; the picture exists in colour; the colour is no longer something added to a scheme of tonal relations, but the tonal relations are the outcome of the colours selected’.1 A remarkable study in red, white and blue, Peploe’s panel of Paris Plage captures the bright, fresh vitality of the bracing sunlit street with swift assurance. Bustling with active figures and defined with fluid dashes of luscious paint, this intimate, intuitive townscape fluently articulates the energy and immediacy of plein air painting.

It is thought that Peploe and Fergusson met at a studio club run by Joseph Simpson in Edinburgh around 1900, both having studied in Edinburgh and Paris.2 Fergusson would later describe their relationship as: ‘A happy unbroken friendship between two painters who both believed that painting was not just a craft or profession, but a sustained attempt at finding a means of expressing reactions to life in the form demanded by each new experience’.3

1 Stanley Cursiter, Peploe, An Intimate Memoir of an Artist and his Work, Thomas Nelson and Sons, London, 1947 pp. 19–20. 2 Alice Strang, S.J. Peploe, exh cat, National Galleries of Scotland, Edinburgh, 2012, p. 11. 3 Fergusson, 1962, cited in Alice Strang, 2012, ibid., p. 11.


S I R J O H N L A V E R Y RA RSA PRP NP IS Belfast 1856 – 1941 Kilmaganny, County Kilkenny The Bathing Hour, Lido, Venice Signed lower right: J Lavery. Signed, dated and inscribed JOHN LAVERY/5 CROMWELL PL/LONDON/ 1912 /THE BATHING HOUR/LIDO on the reverse Oil on canvas: 18 × 30 in / 45.7 × 76 cm PROVENANCE:

James Connell, Fine Art Dealers, Glasgow, c. 1920; Private collection, acquired from a Scottish dealer c. late 1940s, then by descent

In 1912 the German author Thomas Mann, published Der Tod in Venedig (Death in Venice). His hero, the writer, Aschenbach, is staying in the Hotel des Bains, on the Lido, a spit of sand protecting the Venetian Lagoon from the ravages of the Adriatic. Sitting on the shore, he is impressed by ‘… the sight of sophisticated society giving itself over to a simple life at the edge of the elements. The shallow grey sea was already gay with children wading, with swimmers, with figures in bright colours lying on sand banks … A long row of capanne ran down the beach, with platforms, where people sat as on verandas, and there was social life, with bustle and with indolent repose …’1 Here too, the aged writer spots Tadzio, the Apollonian youth who enthralls him. Through Aschenbach, Mann was describing a scene which at that very moment captivated the painter, John Lavery. Although he was spending a fortnight’s holiday on the Lido, Lavery, as ever, could not resist packing his travelling easel, and on at least four occasions painted the ‘social life’ which the writer describes, and which was recreated in 1971 for Visconti’s memorable film. It shows ‘the bathing hour’ during which the newly-constructed bathing platform at the modern Moorishstyle Excelsior Hotel, where the Laverys were staying, sprang to life. 2 Children played on the sands, athletic young men took the plunge, and elegant women, holding parasols, paraded before his eyes. For the painter this lotus land was ‘Music that gentlier on the spirit lies/Than tir’d eyelids upon tir’d eyes’.3

Lavery arrived in Venice in September 1912, exhausted. Before his departure he had written to his cousin, Kate Clenaghan, that since his return from Tangier in May he had been intensely busy and was ‘feeling the strain’.4 The previous twelve months had seen the newly-elected Associate of the Royal Academy, completing his portraits of the Russian ballerina, Anna Pavlova, and sittings with Geraldine Churchill and others were arranged for the autumn. He had also been approached by the publisher, Hugh Spottiswoode, with a commission to paint a presentation portrait of the Royal Family for the National Portrait Gallery – all of which necessitated this brief respite. 5 It was not Lavery’s first visit to the ‘Floating City’, but it was the first occasion on which he stayed on the Lido. Following his initial visit in 1892, subsequent sojourns were business affairs, connected with the Biennale – most notably in 1910 when he was chosen to represent Great Britain with a solo exhibition of 53 works.6 In the intervening years the Venetian authorities had acquired two of his paintings – as had the Italian Royal Family and the Galleria Nationale in Rome.7 However although he claimed in 1912 that the break at the Excelsior would do him good, there may have been ulterior motives, for the Lido had become fashionable. Its modern development, begun under the Austrians in the 1830s, had continued apace after the Risorgimento. Political stability coupled with the popular belief in the efficacious quality of sea-bathing, led to the rapid expansion of tourism. The Lido was more fragrant than Venice with its negligible sewage system, occasional outbreaks of cholera, and plagues of mosquitoes, and by 1912 in addition to its two major hotels,

it sported holiday villas occupied by British and German expatriates. 8 Shortly after their arrival the Laverys discovered that Lady Cunard was already there awaiting the arrival of the Asquiths, while the Duchess of Rutland was holidaying on the Lido with her daughter, Lady Diana Manners, also a Lavery sitter. With them was a host of other British and European aristocrats.9 If one wished to make connections, this was the place to be. Nevertheless, the development of the Lido as an elite tourist destination did not please every visitor and looking back to his first sojourn in 1869, Henry James felt that it ‘… has been spoiled. When I first saw it … it was a very natural place, and there was but a rough lane across the little island from the landing-place to the beach. There was a bathing-place … and a restaurant, which was very bad … Today the Lido is part of united Italy and has been made the victim of villainous improvements …’ 10 If the beach at the Lido was ‘still lonely and beautiful…’ on James’s return in 1882, it was no longer so for Lavery and Mann. As is clear from The Bathing Hour, this was no drawback for the gregarious painter. There, he produced four known canvases characterised by their remarkable spontaneity. One, The Lido, Venice, has long remained unlocated; a second, is simply known as On the Beach; while the third, Bathing, The Lido, Venice, shows a scene similar to that of The Bathing Hour, the previously unidentified fourth canvas in the sequence. Bathing … indicates that for this final picture, Lavery made use of the awning of one of the hotel’s capannes to shield his work from the sun’s glare.11 Other features move from painting to painting within the sequence. The white and black-trimmed parasol held by Hazel Lavery in The Bathing Hour, for instance, appears in three of the four pictures; wooden deckchairs, benches and bathing platforms reappear; and Hazel’s eight-year-old daughter, Alice, who falls under the everwatchful eye of her mother in The Bathing Hour, is repeated from On the Beach. Lavery was of course, no stranger to scenes of this kind. During the early 1890s he began a long sequence of beach scenes at Tangier. He also painted at Dieppe and Beg Meil, and would go on to paint coastal views at North Berwick, St

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Jean de Luz and the Riviera. On the Lido however, he came closest to the crowded shorelines of Impressionists such as Eugène Boudin and Claude Monet12 and he may even have verified the observation of the illustrator, Frank Richards, who actually recommended working ‘under the awning’ where ‘… the dark purple shadow is always very inviting – there one can sit and paint in the shade, sipping coffee, cognac or chianti … at one’s pleasure’.13 Yet Lavery’s métier was set by 1912, and his manner – sweeping fluid strokes across the canvas to establish the basic divisions of sand, sea and sky was essentially more Whistlerian than Monet-esque. He worked in the confident virtuoso style of Joaquín Sorolla and John Singer Sargent, deftly placing his figures as on a stage. This does not diminish the fundamental truth of his observation, and the more he looked the more he realized that this particular beach differed from those at Tangier, Pourville and Beg Meil. Here were the subtlest of pale emeralds, the sands tended to silver, and the sky, laden with moisture, was pearl grey. White gowns were the dress code and at a distance they echoed the sparkle that came from the rippling tide.14 Many writers of the period talked of the incredible High Renaissance richness of la Serenissima. Having read Ruskin, ticked the Rialto and the Riva di Schiavoni in Baedeker, and feasted on Tintoretto and Veronese, they retreated, like the poet, Arthur Symons, to rest exhausted eyes on the glistening clarity of the Istrian waters. In essays for The Saturday Review, Symons found that on the Lido, the sea ‘… rippled so gently against the sand at my feet … It shone and seemed to grow whiter and whiter, as it stretched out towards the horizon … it has the delicacy, the quietude of the lagoon, with … the beckoning of a possible escape from the monotony of too exquisite things.’ 15 This escape, this exquisite ennui was Lavery’s subject at the bathing hour. Professor Kenneth McConkey

1 Thomas Mann, Death in Venice, 1928 (trans HT Lowe-Porter, Penguin ed., 1971; first published as Der Tod in Venedig, 1912), p. 31. 2 The Excelsior Hotel opened in 1908, with its own bathing establishment; see Sylvia Sprigge, The Lagoon of Venice, 1961 (Max Parrish), p. 80; Karl Baedeker, Northern Italy, 1913 (T Fisher Unwin), p. 412. 3 Alfred, Lord Tennyson, The Lotus Eaters, (1832), lines 50–1. 4 Letter to Kate Clenaghan, dated 29 August 1912 (Private Collection), quoted in Kenneth McConkey, John Lavery, A Painter and his World, 2010 (Atelier Books), p. 116. Kate Clenaghan (née Lavery) was the painter’s first cousin and she lived on the family farm at Soldierstown in Co Armagh, in Northern Ireland. 5 While in Tangier, Lavery had hosted the marriage of his daughter, Eileen to the solicitor, James Dickinson while supplying information to Walter Shaw Sparrow for his forthcoming monograph, John Lavery and his Work, 1912 (Kegan Paul, Trench, Trubner & Co). 6 Lavery was accompanied by his friend, the Glasgow School painter Alexander Roche, on his first visit to Venice in 1892. Although a small canvasboard depicting Piazza San Marco commemorates the occasion, the short stay was not without its frustrations. Roche, he later recalled, was ‘Baedeker in excelsis’ and ‘there was not a stone he did not have something to tell me about’ (1924 Diary, unpublished draft memoir, Private Collection). 7 Lavery participated in each Biennale exhibition from 1897 to 1910 and during this period his Mrs Lawrie and Edwin, 1892 and A Lady in Pink: Miss Mary Delmar Morgan, 1903 were acquired by the Galleria Civica d’Arte Moderna, Venice. His 1910 retrospective at the Biennale contained 53 works. 8 EV Lucas, A Wanderer in Venice, 1914 (Methuen, 8th ed. 1925), pp. 259–260; see also Richard Mullen and James Munson, ‘The Smell of the Continent’ The British Discover Europe, 2009 (MacMillan), p. 95. 9 A press cutting in Lady Lavery’s scrapbook indicates that in addition to the Rutlands and Lady Cunard, Lord and Lady Angelsea, Lady Helen Vincent, Baroness Adolphe de Meyer, Bernard Berenson and Giovanni Boldini, along with wealthy Americans and members of the Serbian, Greek and Spanish royal families were present, quoted in McConkey 2010, p. 118. An added attraction was the newly reconstructed campanile in St Mark’s Square, which had collapsed in 1902 and after ten years of reconstruction, had been reopened at the end of April. 10 Henry James, Italian Hours, 1909 (Grove Press, New York ed., 1979), p. 28. When James’s essay was first published in 1882, he observed that Venice was attracting ‘Germans’ and ‘larking Londoners’ who filled the hotels. 11 On the Beach was sold Christie’s 12 March 1993; Bathing, The Lido, Venice, was sold Sotheby’s 11 May 2006. 12 Boudin painted in Venice in 1895, and Monet in 1908, and although neither worked on the Lido, they had painted numerous beach scenes on the Normandy coast. For surveys of artist-travellers to Venice in the 19th and early 20th centuries see Julian Halsby, Venice, The Artist’s Vision, A Guide to British and American Painters, 1990 (BT Batsford Ltd,); for the Impressionists see Mark Evans, Impressions of Venice, 1992 (exhibition catalogue, National Museum of Wales, Cardiff). 13 Frank Richards, ‘Letters from Artists to Artists. No X. Venice as a Sketching Ground’, The Studio, vol III, 1894, pp. 170–9. 14 Elsewhere on the Lido, these codes were breached and various commentators regarded the Lido as ‘the parade ground for the most daring bathing costumes’, quoted in John Pemble, Venice Rediscovered, 1995 (Clarendon Press, Oxford), p. 16. 15 Quoted from Arthur Symons, Cities of Italy, 1907 (JM Dent & Co), p. 74.

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Glasgow 1893 – 1964 London

The raft Signed lower left: H.J. Gunn; inscribed with the artist’s name and title on the reverse Oil on canvas laid down on board: 14 × 17 ¼ in / 35.6 × 45.4 cm Painted circa 1925 PROVENANCE:

Peter Wreep, a gift from the artist The Grosvenor Galleries, London J Wright Esq The Trustees of Ampleforth Abbey

Though known primarily as a portrait painter of the midtwentieth century’s leading figures, James Gunn was also an accomplished painter of landscapes such as the elegant seaside study before us. The small-scale scene is beautifully composed with several soft diagonals (perhaps reflecting the axis of the ubiquitous deckchairs and their reclining incumbents), leading our gaze to the central raft. Gunn juxtaposes the light, warm sand sloping towards the sea on the right, with the cool, almost storm grey sky. He reduces the beach further with the oblique line of bright white, wooden beach huts diminishing towards the green and white striped bathing tents which in turn recede into the distance in close proximity to the retreating chairs. In subtle, harmonious shades of blue, grey, yellow and white, enlivened by dashes of red seen in the eponymous raft, Gunn depicts a fine arrangement of great style and delicacy. The location of the scene is most likely Bexhill-on-Sea. During the 1920s, Gunn, his first wife Gwendoline Thorne (whom he married in 1919) and their three daughters Diana, Elizabeth and Pauline, took frequent holidays on the Sussex coast. Gunn also painted several beach scenes in Étretat in 1914, following travels in Spain, Tangier and Gibraltar on the advice and at the expense of his dealer W.B. Paterson. The following year he enlisted in the Artists’ Rifles and painted another scene of bathers close to rows of gleaming white tents, The Eve of the Battle of the Somme, 1916 (Fleming-Wyfold Art Foundation).

From 1914 the artist began signing his paintings H.J. Gunn, as seen in the left corner of the present work, then from 1926 he changed his signature to H. James Gunn. We are grateful to Chloe Gunn for her assistance with the cataloguing of this work.


Opposite: Detail of George Leslie Hunter, Still life with fruit & roses, cat. no. 9


GEORGE LESLIE HUNTER Rothesay 1877 – 1931 Glasgow

Still life with fruit & roses Signed upper right: Hunter Oil on board: 26 ½ × 21 in / 67.3 × 53.3 cm Painted circa 1918 PROVENANCE:

Aitken Dott & Son, Edinburgh Kenneth McKellar, Lanarkshire, June 1961, then by descent Private collection, Sydney

George Leslie Hunter held his first one-man show at the gallery of Alexander Reid in 1916 to rapturous reviews: ‘He has three or four examples of still life that are superlatively strong. Such work is bound to live, for they show a mastery of form and colour that takes one back to the triumphs of the Dutchmen’.1 The formal arrangement, rich colouring and dramatic chiaroscuro of the present work, certainly evoke the illustrious precedent of the Dutch seventeenth century masters, Willem Kalf and Jan Davidsz de Heem, as well as the French eighteenth century painter Jean-Siméon Chardin, whom Hunter had the opportunity to study at the Glasgow Art Gallery. The vital, classic beauty of Willem Kalf’s sumptuous still lifes was particularly influential, his mature work combining gold or silver vessels, cut glass, Chinese porcelain and fruit soberly arranged against a dark background, stimulating Hunter’s early compositions. The luxuriant swathe of material behind this magnificent still life arrangement modulates from black to dark, bluegreen with diagonal highlights accentuating the rippling folds on the right. Another dark blue fabric covers the table-top and hangs elegantly over it into the foreground, interweaving a rich red diamond pattern with flecks of green and burnished gold. These colours are echoed and enhanced by the still life objects, the luscious red and russet grapes, the copper coloured liquid in the glass and the gilded corner of an intricately carved frame. The deep green rose leaves scattered about the table, represented on and projecting out of the Chinese vase, also draw attention to tones within the patterned fabric. Hunter superbly contrasts the subtle

sheen of the lustrous porcelain flower with the thick, impasted petals of the real soft pink and yellow roses, their heavy heads hanging languorously over the beautiful Chinese vase. Hunter’s elaborate composition, with arresting contrasts of light and dark, colour and tone as well as the vitality of his impasted application, suggests it was executed before 1920. The artist’s broad, enthusiastic technique and unerring sense of bold, vibrant colour was also a result of frequent visits to Paris, where he was able to admire the work of Edouard Manet, Henri Matisse and Paul Cézanne.

1 The Bailie, cited in T J Honeyman, Introducing Leslie Hunter, Faber and Faber, London, 1937, p. 76.

10 G E O R G E L E S L I E H U N T E R Rothesay 1877 – 1931 Glasgow

Still life with fruit & roses Signed lower right: L Hunter Oil on board: 24 × 20 in / 61 × 50.8 cm Painted circa 1921 PROVENANCE:

Muirhead Moffat & Co., Glasgow Private collection, UK

The vital influence and inspiration of the Old Masters, in particular Willem Kalf, can still be felt in Hunter’s work of the early 1920s. The choice and placement in the present work of a tilted blue plate containing fruit with cropped vessel behind and oblique knife handle jutting into the foreground, are elements adopted from Kalf’s painting, such as his Still life: Silver-gilt goblet and bowl of fruit, c. 1656–60 in the collection of Glasgow Museums.1 The ornate tarnished silver or brass platter with elaborate feet beneath the plate, also recalls the Old Master’s attention to palpable contrasts of surface texture, its muted reflective shine illustrated in touches of white from the tablecloth, in contrast to the broad, bright highlights of the porcelain plate,2 opaque and transparent vases. The ebullient textural comparison continues in Hunter’s fruit and flowers, the coarse, matt texture of the dominant orange brilliantly pitted against the glossy grapes and high shine of the two-tone apple. With opaque white accents, the soft, folded petals of Hunter’s roses harmonise with the light toned background, in contrast to their smooth, lustrous leaves which maintain the vertical emphasis of the green napkin in the bottom right corner. Hunter skilfully combines the salient principals of still life painting from both Old and modern masters, above all Manet and Cézanne, with the bold simplification of form, high-keyed colour contrast and expressive, vigorous brushwork. Still life with fruit and roses belongs to a series of works Hunter painted in 1920–21, based on and experimenting with the arrangement of still life objects against a fresh, light background. Though the items vary, the paintings are united by the inclusion of a short, porcelain vase in rich, cobalt blue

with flared rim and what appear to be fluted dragon handles, examples of which grace the collections of several important Scottish museums.3 For Hunter experts Bill Smith and Jill Marriner, the theme of this experimental group of paintings is a sense of silhouette: ‘The background and foreground, if not exactly shades of white, consist of pale colours against which he silhouettes a variety of objects chosen for their shape and colour, the freshness of the flowers and fruit enhanced by the light background. Areas of thickly-applied paint create a rich, vibrant surface texture that belies the balanced order of the layout. Hunter is demonstrating his growing mastery of strong colour. Objects are grouped horizontally across the middle of the picture. Hunter deliberately highlights the contrasts in texture and colour of the fruit and roses with the smooth, dark Japanese-style vase as centrepiece, thus binding the composition together. Hunter has finally mastered Cézanne’s concept of painting ‘weight’ in objects, which brings his art in line with that of Peploe and Fergusson, who had been grappling with that concept in pre-war Paris. It can be argued that Hunter’s still life at this point is as strong as – if not surpasses – that of his fellow Colourists’.4

1 See Bill Smith & Jill Marriner, Hunter Revisited. The life and art of Leslie Hunter, Atelier Books, Edinburgh, 2012, p. 75. 2 The platter also features in Hunter’s Still life, Oil on canvas: 68.6 × 55.8 cm, GMRC, Glasgow Museums. 3 Pears and fruit, the blue curtain, oil on canvas: 66 × 58.5 cm, Gracefield Arts Centre, Dumfries and Galloway Council, Pink Rose, fruit and still life, oil on canvas: 67 × 55 cm, Paisley Art Institute Collection, Paisley Museum and Art Galleries and Still life, oil on board: 46 × 50.5 cm, Hunterian Art Gallery, University of Glasgow. 4 Bill Smith & Jill Marriner, op. cit., p. 90.




1871 – Edinburgh – 1935

Still life with roses & fruit Signed Peploe on the reverse and again on the stretcher Oil on canvas: 22 × 20 in / 55.9 × 50.8 cm Painted circa 1922 A still life including a basket with vegetables on a table top is painted on the reverse PROVENANCE:

Willy Peploe, the artist’s son, then by descent EXHIBITED:

Glasgow, McLellan Galleries (catalogue untraced)

This exceptional still life with roses, from the private collection of the artist’s son, was painted in Peploe’s large, luminescent studio at 54 Shadwick Place, Edinburgh, previously occupied by the painter James Patterson (1854–1932).1 Like Fergusson, Peploe painted the stark, bright work space white, allowing him to achieve an astonishing radiance and depth of colour in his painting. During the early 1920s, he painted almost exclusively on an absorbent gesso ground which, though technically difficult, allowed for a variety of finish, typically resulting in a dry, built-up surface with a compelling materiality. The exquisite elegance of the present work eloquently expresses the extraordinary care the artist took over his still life compositions; the intellectual rigour of his investigation into the arrangement of objects, altered and yet maintained like variables in a scientific experiment, until the perfect balance of form and colour could be found. Writing on the occasion of Peploe’s 1985 retrospective at the Scottish National Gallery of Modern Art, the artist’s grandson writes: ‘From about 1914 until his death, Peploe sought to paint the perfect still life...He concentrated on a few simple props: Chinese vases, a black fan, a blue jug, books, the ‘Raeburn’ chair, fruit, and patterned fabrics, often bought at Whytock and Reid...What seems to be repetition should be understood as a finely tuned sensibility playing subtle variations on a theme.’2

Here Peploe achieves the ideal equilibrium between the graceful, curved silhouettes of the cropped oval mirror, the circular table and opening ellipses of blue and white china, and the multi-faceted petals of the more geometric flowers. The cool, light-toned porcelain, white napkin and walls combine with the muted grey table and its reflection in the mirror to provide the perfect foil for the luminous, lush pink, red and orange of the fruit and fresh-cut flowers. From October 1921, The Scottish Gallery in Edinburgh and Alexander Reid in Glasgow agreed to jointly purchase the artist’s work and manage his career, which gave Peploe, if not a regular income, the confidence and security to purchase the flat at 13 India Street that his family had rented for a decade.3 In January 1923, Peploe also exhibited with the Leicester Galleries in London alongside Cadell and Hunter. The following summer, the three Scotsmen were joined by Fergusson at an exhibition in the Galerie Barbazanges, Paris, titled Les Peintres de l’Ecosse Moderne. 1 Peploe painted at 54 Shadwick Place from 1917 until 1934. 2 Guy Peploe, S J Peploe 1871–1935, exh cat, Scottish National Gallery of Modern Art, Edinburgh, 1985, p. 13. 3 Peploe purchased the tenement flat in August 1924. The Scottish Gallery in Edinburgh was part of Aitken Dott & Co, the gilding and picture restoring firm. Alexander Reid’s Glasgow Gallery was La Société des Beaux–Arts. See Alice Strang, S.J. Peploe, exh cat, National Galleries of Scotland, Edinburgh, 2012, p. 12.




1871 – Edinburgh – 1935

Roses & teacup Signed lower right: SJ Peploe Oil on canvas: 22 × 20 in / 55.9 × 50.8 cm Painted circa 1925 PROVENANCE:

J.W. Blyth Esq., Kirkcaldy Sale, Sotheby’s, Gleneagles, 7th August 1979, lot 649 Private collection, Scotland Sale, Christie’s, Glasgow, 12th November 1998, lot 41 Cyril Stein EXHIBITED:

Kirkcaldy, Art Gallery and Museum, Loan Exhibition, July– August 1928, no. 131 Edinburgh, Aitken Dott & Son, Memorial Exhibition of Paintings by SJ Peploe, April–May 1936, no. 67

Stanley Cursiter wrote in his biography of the artist that Peploe, during the 1920s, ‘had now reached a stage at which his new technique was fully formed. The war years had been a time of preparation, intensive study, and concentration on the problems of colour, form, and lighting. He was like a coiled spring awaiting merely the opportunity to expand’.1 While maintaining the oval mirror, table and staggered, rose-filled vases, Peploe alters and adds complexity to this sophisticated still life subject with a cooler tonality and more diffuse arrangement, the transparent glass vessels emphasising line and shadow in this seemingly spontaneous design. The pale pink roses are almost white and thrown into relief by scumbled blue/grey shadows on the wall behind, picking up the colour of twisted fabric hanging to the right of the mirror. Peploe articulates the material’s folds with bold black outlines recalling the tall, straight rose stems and continues to define the roses and their leaves in the front vase in this way. The cropped, crumpled, green napkin on the left, folded at an almost ninety degree angle, connects the horizontal and vertical accents of the objects and recalls the sense of volume of the folded flowers. Though the roses

overlap, the arrangement pushes the still life objects to the boundaries of the picture plane to occupy as much space as possible. Peploe was elected a full member of the Royal Scottish Academy in 1927 and the following year held a one-man exhibition at the Kraushaar Gallery in New York. In 1928 the redevelopment of the Art Gallery in Kirkcaldy was completed and marked by a loan exhibition over the summer, in which this painting was hung. The exhibition had rooms devoted to individual Scottish artists, as well as a gallery hung with modern foreign works, but Peploe was the only living artist with a room to himself. As Cursiter explains: ‘This was in large measure due to the enthusiasm of the Convener of the Art Gallery Committee, Mr J.W. Blyth (the previous owner of this work), ably supported by another member of the Committee, Mr R Wemyss Honeyman, both collectors of discrimination who possess between them what is undoubtedly the finest group of works by Peploe.’2 1 Stanley Cursiter, Peploe An Intimate Memoir of an Artist and his Work, Thomas Nelson and Sons Ltd., London, 1947, p. 51. 2 Ibid., p. 62.


GEORGE LESLIE HUNTER Rothesay 1877 – 1931 Glasgow

Still life with fruit & flowers Signed upper right: L Hunter Oil on board: 16 × 14 in / 40.6 × 35.6 cm Painted circa 19281 PROVENANCE:

Agnews Gallery, London, 1973 [36226] Private collection, Essex, c. 1980

Hunter arrived in Provence in early spring 1927, invigorated by the exhortations of Peploe and Fergusson, and wrote to his friend and patron Matthew Justice: ‘I have been in St Paul a week and have just got into a new little studio attached to this hotel where I can paint still life as well as landscape. Still life that is different from in Glasgow. Fruit is just coming on and flowers are abundant. This is a painter’s country’.2 He wrote again the following year, continuing to delight in the bright sunshine and beautiful scenery which had had such an impact on his art, as well as health and happiness: ‘I’m in love with this country and wish you all could come down here. Nice is charming – like Paris before the war. This country is like California only cooler and is commencing to be known as a summer resort. I am sorry I did not discover it sooner. It must be the best part of Europe with sunshine every day, fruit, flowers, fine colours and everything the heart could desire’.3 This intense and vivacious painting seems to embody Hunter’s passionate response to the remarkable richness of the South of France, its clarity of light, warm climate and bountiful produce yielding the fruits of his favourite subject. With lush, impasted paint and bright arresting colours he vigorously describes the fruit and flowers, barely contained by their deep, graphic outlines. Though simplified to intensify their forms, each item is individuated, their dense, raised surface texture expressing the force of their sensuous potency. The combination of bold, calligraphic black lines that define both volume and design, with vivid areas of contrasting warm and cool colour, creates a powerful sense of depth and projection within the composition. Hunter defines three pale blue/grey areas for the objects setting, intensifying in tone, contrast and

surface animation towards the foreground from the top left wall, through the boldly described curtain to the flickering, hatched folds of the grey table cloth. Here Hunter’s vibrant, loaded brushwork becomes even more lively, the variety of directional mark-making resonating with the geometric patterns of the chequered vase and decorated bowl. The brilliant white swathe of folded fabric running diagonally across and in between the still life objects further heightens the exuberant sense of depth and movement, making each and every colour sing. Hunter’s drawings of the Provençal landscape at Villefranche and Juan-les-Pins at this time, distinguished by their Mediterranean palette and vitality of design, are also fluently articulated with dexterous simplicity in strong, black ink lines, a technique the artist transferred to the representation of still life subject matter. In their recent monograph on the artist, Bill Smith and Jill Marriner suggest that Hunter had found the perfect environment in which to develop his confident, mature style: ‘The Côte d’Azur, famed for its cultivation of flowers for the perfume industry, provided a wonderful location for sustaining Hunter’s love of still life. With an abundant choice of brightly coloured, fresh blooms for the greater part of the year, Hunter was now more than ready to transfer his newlydeveloped style from landscape to still life’.4

1 The present work’s compositional and stylistic similarity to The Black Hat, 1928, oil on board: 43.2 × 35.6 cm (private collection) suggests a date of 1928. 2 Letter from Hunter to Matthew Justice, dateable to summer 1927, NLS Honeyman Papers, cited in Bill Smith & Jill Marriner, Hunter Revisited. The life and art of Leslie Hunter, Atelier Books, Edinburgh, 2012, p. 131. Hunter would paint with Peploe in Cassis the following year. See Stanley Cursiter, Peploe, An Intimate Memoir of an Artist and of his Work, Thomas Nelson & Sons, Edinburgh, 1947, pp. 57–58). 3 Letter from Leslie Hunter to Matthew Justice dateable to 1928, NLS Honeyman Papers, cited in Bill Smith & Jill Marriner, 2012, ibid, p. 136. 4 Bill Smith & Jill Marriner, 2012, p. 143.

14 S A M U E L J O H N P E P L O E


1871 – Edinburgh – 1935

Roses Signed lower right: Peploe Oil on canvas: 24 × 20 in / 61 × 50.8 cm Painted circa 1930 PROVENANCE:

Aitken Dott & Son, Edinburgh John J. Cowen Esq., Edinburgh Richard Green, London, 1984 Private collection, Europe EXHIBITED:

Edinburgh, The Royal Scottish Academy, The Annual Exhibition, 26th April–30th August 1930, no. 296 London, Richard Green, Modern British Paintings, 1985, no. 17

“There is so much in mere objects, flowers, leaves, jugs, what not – colours, forms, relation – I can never see mystery coming to an end”, Peploe wrote in 1929.1 Early in 1930 Peploe revisited Cassis with his wife and stayed until the start of June, before returning to his Edinburgh studio and his enduring passion for still life subject matter. Though composed around a single, central vase of roses, with only a white plate behind, the vivid palette and abstract backdrop of this dramatic work make it one of the artist’s most remarkable. The blue and white china sits on a square, grey table whose corner projects to the right of the composition, setting up a sequence of dynamic diagonals across the canvas in striking contrast to the upright flowers. The geometric shapes of brilliant green, black and lilac fabric, swiftly outlined in bold black or broken blue lines, are stacked against areas of white and pale blue above the table and in vertical panels at the top of the canvas, recalling the bright porcelain and luminous white flowers. The striped mauve and green material cropped by the top of the picture, corresponding with the vibrant leaves, was a studio prop Peploe shared with Cadell, whose Edinburgh studio was within walking distance.2 Perhaps the most arresting elements of this accomplished composition however, are the stunning coral roses, their tight, angular petals only just unfurling and the unexpected dash of mustard yellow on the left.

As well as exhibiting the present work at the Royal Scottish Academy in 1930,3 Peploe held one-man shows at Aitken Dott & Son, Edinburgh and Alex Reid & Lefevre in London. In spring the following year he would take part in another exhibition of Les Peintres Ecossais at the Galeries Georges Petit, Paris, this time including the work of Telfer Bear and R. O. Dunlop in addition to Fergusson, Cadell and Hunter.

1 Stanley Cursiter, Peploe An Intimate Memoir of an Artist and his Work, Thomas Nelson and Sons Ltd., London, 1947, p. 73. 2 Honeyman described Peploe and Cadell’s friendship as ‘a rare thing. In appearance, manner and talk they were poles apart, but in their love of colour, sunshine and freedom of action they were on common ground.’ T.J. Honeyman, Three Scottish Colourists, London, 1950, p. 66. Honeyman continues: ‘Cadell’s studio was about the only one S.J. ever visited. They often criticised each other’s work, suggesting an improvement here and there, counselling eliminations of some passage or advising a fresh attempt.’ Ibid., p. 66. 3 Roses was one of three works Peploe exhibited at the RSA including, Garden – Antibes, no. 198 and Still life, no. 319. Peploe also exhibited a painting entitled Roses at the Royal Glasgow Institute of the Fine Arts in 1930, no.266 (£75), along with a landscape of Iona, no. 259 and Still life, no. 268.


Opposite: Detail of Francis Campbell Boileau Cadell, Reflection, cat. no. 3

ROBERT BURNS ARSA Edinburgh 1869 – 1941 Gorebridge The son of an early landscape photographer, Archibald Burns, Robert was born and brought up in Rock House, Edinburgh, previously the studio of the artist David Octavius Hill (1802–1870). Tragically, both his parents died before he reached the age of sixteen, at which time he moved to live with his grandfather in Glasgow. A talented draughtsman, Burns was awarded a drawing prize at Glasgow Technical College while studying to be an engineer during the day. In the evenings, he attended Glasgow School of Art along with Charles Rennie Mackintosh. In 1889 he left Glasgow for London and briefly enrolled as a student at Professor Fred Brown’s School, Westminster before travelling to Paris the same year to study at the Académie Delécluse. He also married fellow Glasgow School of Art student, Catherine Craig in 1889. In Paris, Burns discovered Japanese art and purchased a large collection of prints which had an immediate impact on his work. He also spent time studying works by Titian and Giorgione in the Louvre which would later inform his romantic paintings of Scots ballads. Burns superbly combined the influence of Japonisme with his Glasgow style to create one of the earliest examples of Art Nouveau in Scotland in his illustration, Natura Naturans, 1891, published in Sir Patrick Geddes journal The Evergreen. He also contributed to Ver Sacrum, the journal of the Vienna Secession. Burns returned to Edinburgh in 1892 and started to exhibit at the Scottish Academy. In 1901 he was elected President of the Society of Scottish Artists and an Associate member of the Royal Scottish Academy the following year (although he resigned in 1920). Burns taught colour for seven years at the Academy Schools, but, as demonstrated by his resignation, felt a much stronger affinity for the Society of Scottish Artists, which exhibited applied art in addition to painting. Burns designed most of the advertising for the Society as well as the cover of their catalogue. He became the first Head of Drawing and Painting at Edinburgh College of Art from 1908–1919 and proved an influential teacher, his students including Anne Redpath (1895–1965). Burns frequently visited the artistic community in Kirkcudbright and encouraged other artists to paint and settle there. From 1920 landscape painting became a prevailing interest with views of Kirkcudbright and Iona in oil and more than seventy watercolours following a three month trip to Morocco in 1921, which Burns exhibited at the Leicester Galleries, London, upon his return. During the last twenty years of his life, Burns returned with passion to applied art, having already produced designs for iron and silversmiths’ works, stained glass windows such as the Presentation in the Temple at St Mary, Bellevue Crescent and murals at St David’s Roman Catholic Church at Dalkeith and Darling’s Shop in Edinburgh (now demolished). Perhaps his most famous designs were for Crawford’s Tea Rooms in Princes Street, Edinburgh. Burns had already worked as a label designer for the Liverpool biscuit manufacturer, William Crawford, when the firm commissioned him to design and organise the interiors of their Edinburgh restaurant on Princes and Hanover Streets, from decorative panels to cake stands. Burns even designed furniture made by the celebrated firm Whytock and Reid. The project was a huge public and critical success when completed in 1927. Burns suffered a series of strokes from 1929 and was confined to bed, but continued to work designing illustrations in colour and black and white, which with the help of his friend the publisher, Alexander Hunter Crawford, became four books, two of which were published: The House that Jack Built, 1937 and Scots Ballads by Robert Burns, Limner, 1939, the latter highly praised by fellow artists George Clausen and his friend Stanley Cursiter. The work of Robert Burns is represented in the Scottish National Gallery, the City of Edinburgh Council and the Royal Scottish Academy of Art & Architecture, Edinburgh as well as the Walker Art Gallery, National Museums Liverpool.

FRANCIS CAMPBELL BOILEAU CADELL RSA RSW 1883 – Edinburgh – 1937 Flamboyant, eccentric and witty, Francis Campbell Boileau Cadell was one of the Four Scottish Colourists. Born into a prosperous Edinburgh family, he was encouraged to train as a painter by Arthur Melville (1855–1904), a leading member of the Glasgow School. He attended the Royal Scottish Academy School from 1897–1899 and spent the following eight years in Paris, where he studied at the Académie Julian from 1898–1902. Whilst in Paris, Cadell was inspired by a number of influences including the Impressionists, Henri Matisse and the Fauves. He also visited the great Paul Cézanne and Vincent Van Gogh exhibitions. Perhaps the greatest influence during this period was James Abbott McNeil Whistler, whose Memorial Exhibition he saw at the Luxembourg in 1905. Cadell moved to Germany with his family in 1906 and enrolled at the Academie der Bildenden Künste in Munich the following year. He returned to Edinburgh in 1908 and held his first one-man exhibition at Doig, Wilson & Wheatley. The following year he made a trip to Venice, financed by Sir Patrick Ford, who became one of his most important patrons. During the First World War he served as a Private in the 9th Battalion, The Royal Scots and then obtained a commission as 2nd Lieutenant in the 5th Battalion of the Argyll and Sutherland Highlanders. After the war, Cadell adopted a new intensity of colour and the use of thickly applied paint. This stylistic development is most evident in his pictures of Edinburgh interiors, which, with their flat areas of boldly juxtaposed colours, reveal most clearly the influence of the Fauves and Matisse. From about 1913 until his health began to deteriorate in 1935, Cadell made Iona his second home. He acquired a croft and visited the island annually in order to paint the landscape out of doors. Many of these landscapes were painted over a wet white ground and this technique resulted in a luminosity and brilliance of colour, one of the most striking features of his work. Cadell was a founder and life-long member of the Society of Eight from its inception in 1912. He was elected a member of the Royal Scottish Society of Painters in Watercolours in 1935 and was made a Royal Scottish Academician in 1936, one year prior to his death. The work of Francis Campbell Boileau Cadell is represented in Aberdeen Art Gallery & Museums; Gracefield Arts Centre, Dumfries and Galloway; Dumfries Museum and Camera Obscura; Lillie Art Gallery, East Dunbartonshire; University of Dundee; Dundee Art Galleries and Museums; Scottish National Gallery of Modern Art, University of Edinburgh, City of Edinburgh Council, Royal Scottish Academy of Art & Architecture (RSA), Edinburgh; Kirkcaldy Galleries, Fife; Kelvingrove Art Gallery and Museum, the Hunterian Art Gallery, University of Glasgow; McLean Museum and Art Gallery, Inverclyde; Paisley Museum and Art Galleries, Renfrewshire; Perth & Kinross Council; Hawick Museum, Scottish Borders Council; The National Trust for Scotland; Touchstones, Rochdale; The Potteries Museum & Art Gallery, Stoke; Brighton and Hove Museums; Doncaster Museum & Art Gallery; Ferens Art Gallery, Hull; Walker Art Gallery, Liverpool; Manchester City Galleries; Museums Sheffield and The Fleming Collection, London.

STANLEY CURSITER CBE PRSW RSA Kirkwall, Orkney Isles 1887 – 1976 Stromness, Orkney A Scottish painter of figure subjects and landscapes, Stanley Cursiter had a distinguished career, culminating in 1948 with his appointment as ‘His Majesty’s Painter and Limner in Scotland’ and the award of CBE. Born in Kirkwall, Cursiter moved to Edinburgh around 1905, where he was apprenticed as a designer to a firm of printers, McLagan and Cummings. During this period he studied five nights a week at the Edinburgh College of Art. After refusing a scholarship to the Royal College of Art in London, he became a full-time student at Edinburgh. Cursiter’s first exhibition was in Kirkwall in 1910, the year in which he met his future wife, Phyllis Hourston. Between 1914 and 1918 he served in the First World War in France, and although he still managed to paint, it was not until 1920 that he completely resumed his career, setting up a studio in Edinburgh. The versatility of Cursiter’s artistic talent resulted in several different styles. His early works were mostly Symbolist pictures, conversation pieces and conventional lithographs. He chose however, to concentrate on conversation pieces and in 1920 recalled how the Edinburgh gallery ‘Messrs Aitken Dott commissioned me to paint twenty pictures of pretty girls in pretty frocks, arranging flowers, leaning against a piano or gracing some similar pictorial theme’. Cursiter was elected an Associate of the Royal Scottish Academy in 1927, a full member in 1937, and President of the Royal Scottish Society of Painters in Watercolours from 1951–2. Cursiter combined the skills of a talented artist and an excellent administrator. From 1924–30, he was Keeper of the National Galleries of Scotland and in 1930 succeeded Sir James Caw as Director, a position he held until 1948, when he resigned in order to devote more time to painting. He also found time to publish two books, Peploe, 1947, and Scottish Art, 1949. As fellow RSA DM Sutherland commented: ‘Stanley Cursiter…had more than a little of the Renaissance man about him…architecture, perspective, geology, agriculture, economy, printing processes, radio, the chemistry of picture restoration, art history and of course painting [were all within his expertise]’ (Stanley Cursiter Centenary Exhibition, catalogue, Stromness, 1987, p.9). Cursiter died in Stromness, Orkney in 1976. The work of Stanley Cursiter is represented in the University of Aberdeen; Blackburn Museum and Art Gallery; Gracefield Arts Centre, Dumfries and Galloway Council; Dundee Art Galleries and Museums; the Scottish National Gallery, the Scottish National Portrait Gallery, the Scottish National Gallery of Modern Art and the Royal Scottish Academy of Art & Architecture, Edinburgh, the Royal Society of Edinburgh, City of Edinburgh Council, University of Edinburgh, Heriot-Watt University, the Royal College of Physicians of Edinburgh, the Royal College of Surgeons of Edinburgh; Kirkcaldy Galleries, Fife; the Hunterian Museum, University of Glasgow, Glasgow Museums Resource Centre, the Royal College of Physicians and Surgeons of Glasgow; McLean Museum and Art Gallery, Inverclyde; Low Parks Museum, South Lanarkshire; Northern Lighthouse Board; Walker Art Gallery, Liverpool; the Royal Collection, the Government Art Collection and the Fleming Collection, London; The Pier Arts Centre, Stromness, Stromness Museum, Orkney Museum, Kirkwall and St Ola Community Centre and Town Hall, Orkney Library and Archive, St Peter’s House, Orkney Islands Council; Paisley Art Institute, Paisley Museum and Art Galleries, Renfrewshire; Tweeddale Museum and Gallery, Scottish Borders Council and Shetland Museum and Archives.

JOHN DUNCAN FERGUSSON RBA Leith 1874 – 1961 Glasgow John Duncan Fergusson RBA was the fourth and most independent member of the group of Scottish Colourists. Intellectually more receptive to the artistic ideas he encountered in Paris, he evolved a distinctive style of his own. Having embarked on a medical career, Fergusson never matriculated and gave up in order to devote himself to art. He first visited Paris in the mid-1890s and attended classes at the Académie Colorossi. During this period he was impressed by the works of Richard Parkes Bonington (1802–1828) in the Louvre and the Impressionists in the Salle Caillebotte in the Musée du Luxembourg. He visited Morocco in 1899 and Spain in 1901, the year in which he became a member of the Royal Society of British Artists. Fergusson held his first one-man exhibition at the Baillie Gallery, London in 1905 and settled in Paris two years later, where he befriended the Anglo-American circle of artists. He was greatly influenced by Henri Matisse (1869–1954) and the Fauves which resulted in the brightening of his palette and a new boldness of line. From 1910 onwards, a new theme dominated his work, that of the female nude in pictures characterised by their rich colouring and rhythmic, geometric patterning. One of these works, entitled Rhythm, gave rise to a literary magazine of the same title, of which he became editor in 1911. He met Margaret Morris, his future wife in 1913, and visited Cassis with Peploe the same year. At the outbreak of the First World War, Fergusson returned to London; he was appointed a War Artist with the Royal Navy in 1918 and painted a series of Portsmouth Docks. He held two exhibitions in New York in 1926 and 1928 and returned to Paris in 1929, where he remained until the outbreak of the Second World War. Fergusson moved back to Glasgow in 1940 where he founded the New Art Club, out of which emerged the New Scottish Group in 1942. His first retrospective exhibition was held at the McLellan Galleries in 1948, and he was made an honorary LL.D. of the University of Glasgow in 1950. The work of John Duncan Fergusson is represented in Aberdeen Art Gallery & Museums; the University of Aberdeen; Rozelle House Galleries, South Ayrshire; Dundee Art Galleries and Museums; the Scottish National Gallery of Modern Art, the Scottish National Portrait Gallery, Edinburgh, City of Edinburgh Council; Kirkcaldy Galleries, Fife; the Hunterian Art Gallery, University of Glasgow, Kelvingrove Art Gallery and Museum, Glasgow; Glasgow Museums Resource Centre; Ferens Art Gallery, Hull; McLean Museum and Art Gallery, Inverclyde; Tate Britain, Imperial War Museums, Arts Council Collection, Government Art Collection, Royal Academy of Music and the Fleming Collection, London; Manchester City Galleries; Paisley Museum and Art Galleries, Renfrewshire; Perth & Kinross Council; Rugby Art Gallery and Museum; the National Trust for Scotland; the University of Stirling; Southampton City Art Gallery; Atkinson Art Gallery, Southport and Ulster Museum, National Museums Northern Ireland.

SIR HERBERT JAMES GUNN RA PRP Glasgow 1893 – 1964 London Herbert James Gunn, later known as Sir James Gunn, achieved fame as a distinguished portraitist; he was also a talented painter of landscapes and seascapes. Born in Glasgow, the son of a prosperous draper, he began his training at the Glasgow School of Art and the Edinburgh College of Art. He then continued his studies in Paris at the Académie Julian under Jean-Paul Laurens. At the outbreak of the First World War, Gunn enlisted with the Artists’ Rifles and served with the 10th Battalion Scottish Rifles in 1917. When the War ended, Gunn settled in London and established himself as an eminent and sought after portraitist. In January 1919, he married a widow, Gwendoline Charlotte Thorne, with whom he had three daughters. They divorced in 1927 and in 1929 Gunn married Pauline Miller, the model for some of his most famous portraits, with whom he had a son and daughter. He exhibited at the Royal Glasgow Institute of Fine Arts, the Royal Scottish Academy, the Grosvenor Gallery and the Royal Academy, London. He won a gold medal at the Paris Salon in 1939 and was elected President of the Royal Society of Portrait Painters in 1953. That same year he was elected an Associate member of the Royal Academy and made a full member in 1961. Gunn was awarded a

Knighthood for services to the arts in 1963. A major retrospective of his work was held at the Scottish National Portrait Gallery, Edinburgh in 1994. There are eleven portraits by the artist in the National Portrait Gallery, London, including his Conversation Piece at the Royal Lodge, Windsor, 1950. His commission for the State Portrait of H. M. Queen Elizabeth in 1953 is in the Royal Collection. The work of Sir Herbert James Gunn is also represented in the collections of the Aberdeen City Council; University of Aberdeen; Queen’s University, Belfast; University of Birmingham; University of Bristol; Cartwright Hall Art Gallery, Bradford; The Fitzwilliam Museum, Cambridge; University of Cambridge; Dumfries Museum and Camera Obscura; The Stewartry Museum, Dumfries and Galloway; Clydebank Museum and Art Gallery, West Dunbartonshire; Dundee Art Galleries and Museums; University of Dundee; Scottish National Portrait Gallery, Royal Scottish Academy of Art & Architecture, Edinburgh, Royal College of Physicians of Edinburgh, City of Edinburgh Council; Essex County Council; the Hunterian Art Gallery, University of Glasgow, Glasgow Museums Resource Centre, Royal College of Physicians and Surgeons of Glasgow; McLean Museum and Art Gallery, Inverclyde; Royal Court House, Jersey; King’s Own Royal Regiment Museum, Lancaster; Walker Art Gallery, Liverpool; the British Museum, Library and Museum of Freemasonry, Government Art Collection, Guardian News & Media Archive, Imperial War Museums, National Maritime Museum, Parliamentary Art Collection, RIBA, Royal Academy of Arts, Royal Holloway, Royal London Hospital Museum & Archive, Royal College of Physicians, Tate Britain, University of London, City of Westminster Archives Centre and the Fleming Collection, London; University of Manchester; National Trust; University of Oxford; Oxford Town Hall; Pewsey Heritage Centre; Plymouth Guildhall; Harris Museum and Art Gallery, Preston; Touchstones, Rochdale; Museums Sheffield; The Potteries Museum & Art Gallery, Stoke on Trent; University of Strathclyde; Surrey County Hall; Ulster Museum, National Museums Northern Ireland and National Museum Wales.

GEORGE LESLIE HUNTER Rothesay 1877 – 1931 Glasgow Often considered the most natural of the Scottish Colourists, George Leslie Hunter was primarily a self-taught artist, renowned for this bohemian appearance, eccentric behaviour and above all, his unwavering devotion to art. The son of a dispensing chemist, he first attended Rothesay Academy, but in 1892 his father decided to emigrate to California, where Hunter remained until 1906. During these years he worked as an illustrator for Californian newspapers and magazines, and it was his innate skill as a draughtsman that was later to provide the foundation of his talent. His first one man exhibition was due to open in San Francisco in 1906, but all the works destined for his show were destroyed by the earthquake. Devastated by this disaster, he returned to Scotland where he became acquainted with Alexander Reid, at whose gallery he held an exhibition in 1916. In 1922, Hunter visited Paris, Venice, Florence and the Riviera Coast, often joined by his friend and colleague John Duncan Fergusson. Following their return, he settled in Fife and painted still lifes and landscapes, many of which were inspired by the house boats at Loch Lomond. Hunter spent much time during subsequent years in the South of France, painting at Saint Paul de Vence, Cassis and St Tropez between 1927–1929. His visits abroad proved highly productive and he exhibited much of his recent work at the Feragil Galleries, New York in 1929, an exhibition that won him considerable critical acclaim. The instability of Hunter’s health however, seemed insurmountable and that same year he suffered the most serious of his breakdowns. Although he continued to paint and produced some of his finest and most sensitive works during these later years, Hunter died after an unsuccessful operation in 1931. The work of George Leslie Hunter is represented in Aberdeen Art Gallery & Museums, University of Aberdeen; Rozelle House Galleries, South Ayrshire; Gracefield Art Centre, Dumfries and Galloway; Lillie Art Gallery, East Dunbartonshire; Dundee Art Galleries and Museums; University of Dundee; Scottish National Gallery of Modern Art, Edinburgh, University of Edinburgh, City of Edinburgh Council; Kirkcaldy Galleries, Fife; Glasgow Museums Resource Centre, Hunterian Art Gallery, University of Glasgow,

Kelvingrove Art Gallery and Museum, Glasgow; Low Parks Museum, South Lanarkshire; Leamington Spa Art Gallery & Museum; Government Art Collection, Tate Britain and the Fleming Collection, London; Manchester City Galleries; National Trust for Scotland; Newport Museum and Art Gallery; Paisley Art Institute, Paisley Museum and Art Galleries, Renfrewshire; Perth & Kinross Council; Museums Sheffield; The Potteries Museum & Art Gallery, Stoke on Trent and Ulster Museum, National Museums Northern Ireland.

SIR JOHN LAVERY RA RSA PRP NP IS Belfast 1856 - 1941 Kilmaganny, County Kilkenny It has been claimed that Sir John Lavery belonged to the Glasgow School, the Ulster School, the Irish School and the British School, indicating the versatility and wide ranging appeal of his artistic accomplishments. His works are greatly admired for his development of the aesthetic value of the sketch, in which each touch of the brush is left undisguised to create a vibrant and atmospheric affect. Born in Belfast, he was orphaned in infancy and brought up by an uncle near Moira, and later, another relative in Ayrshire. As a teenager, Lavery was apprenticed to a Glasgow photographer, and during the late 1870s, attended classes at the Haldane Academy in Glasgow. He then trained at Heatherleys in London and in 1881, settled in Paris, where he studied at the Académie Julian and Académie Colarossi; during this period he was influenced by Jules Bastien-Lepage and painted in a plein-air and naturalist style. Lavery returned to Glasgow in 1885 and became one of the leading members of the Glasgow School. He moved to London in 1896 and helped Whistler to found the International Society in 1898, of which he was a Vice-President until 1908. He was elected an Associate of the Royal Academy in 1911 and became a full Academician in 1921. He was appointed Official War Artist to the Royal Navy in 1917, and was knighted the following year. Lavery travelled extensively during his career, visiting Morocco, Italy, Spain, Germany and Holland, and these visits inspired many of his works. Following the death of his wife, Hazel, in 1935, Lavery set off for Hollywood with the idea of painting the ‘stars’. With the outbreak of the Second World War, he was obliged to return and died at Kilmaganny in 1941. The work of Sir John Lavery is represented in Aberdeen Art Gallery & Museums; Aberystwyth University, School of Art Gallery and Museum, National Library of Wales, Aberystwyth; North Ayrshire Heritage Centre; the Higgins Art Gallery & Museum, Bedford; Belfast City Hall, Queen’s University, Belfast; Berwick Museum & Art Gallery; Burton Art Gallery & Museum, Bideford; Birmingham Museums Trust; Russell-Cotes Art Gallery & Museum, Bournemouth; Brighton and Hove Museums and Art Galleries; Bradford Museums and Galleries; Towneley Hall Art Gallery & Museum, Burnley; Bury Art Museum; the Fitzwilliam Museum, Cambridge, University of Cambridge; National Museum Wales, Cardiff; Colchester Town Hall, Colchester and Ipswich Museum Service; Doncaster Mansion House; Down County Museum, County Down; Dundee Art Galleries and Museums; Scottish National Gallery, Scottish National Portrait Gallery, Royal Scottish Academy of Art & Architecture, Edinburgh, City of Edinburgh Council; Kirkcaldy Galleries, Fife; the Shipley Art Gallery, Gateshead; the Burrell Collection, Glasgow Museums Resource Centre, Hunterian Art Gallery, University of Glasgow, Kelvingrove Art Gallery and Museum, Glasgow; the Mercer Art Gallery, Harrogate; Ferens Art Gallery, Hull; Hythe Local History Room and Town Hall; McLean Museum and Art Gallery, Inverclyde; Leeds Museums and Galleries; Walker Art Gallery, National Museums Liverpool; the Fleming Collection, Government Art Collection, Guildhall Art Gallery, Imperial War Museums, Leighton House Museum, Museum of London, Museums of the Order of St John, National Portrait Gallery, Royal Academy of Arts, Royal Air Force Museum, Royal College of Music, Royal London Hospital Museums & Archives, Tate Britain, Victoria & Albert Museum, Wellcome Library and William Morris Gallery, London; Manchester City Galleries; Middlesbrough Institute of Modern Art (MIMA); National Trust; National Trust for Scotland; Laing Art Gallery, Newcastle; Norfolk Museums Service; Paisley Art Institute, Paisley Museum and Art Galleries, Renfrewshire; Perth & Kinross Council; Touchstones, Rochdale; Museums Sheffield; Southampton City Art Gallery; Ulster Museum, National Museums Northern Ireland and the Hepworth Wakefield.

HARRINGTON MANN RE RP NEAC NPS Glasgow 1864 – 1937 New York Harrington Mann established his reputation as a portrait painter of international fame, though he also painted landscapes, marine and historical subjects. His success and clientele in the United States was significant enough for him to maintain a house in New York as well as his native Britain. The son of a chartered accountant, Mann had an equally international education studying first at the Glasgow School of Art and continuing at The Slade School of Art in London from 1880 under the direction of Alphonse Legros (1837–1911). While a student at the Slade, Mann won an Travelling Scholarship which he spent in Italy from 1887–89, after which he visited Algiers, Tangier and Spain before further studies in Paris as the pupil of Gustave Boulanger (1824–1888) and Jules Joseph Lefevre at the Académie Julian. Mann returned to Glasgow and worked as a designer for JW Guthrie (now Guthrie and Wells) during the 1890s, producing designs for stained glass windows at Trinity Church, Claremont Street in 1893. He also designed murals on the theme of Scottish Song for the Ewing Gilmour Institute for Girls at Alexandria in the Vale of Leven, Dunbartonshire, which housed the workers at the Turkey Red Dye Factory (c. 1888). Mann also drew illustrations for The Daily Graphic and The Scottish Art Review. The subject matter of his paintings at this time ranged from Yorkshire fisherman to large historical scenes such as The attack of the MacDonalds at Killiecrankie, 1689. While associated with The Glasgow Boys in the 1880s (he was certainly good friends with John Lavery, whose portrait and that of his daughter Alice he painted), Mann was on the periphery rather than a full member. He was, however, a member of The Society of Eight. In 1900, Harrington moved from Glasgow to London and began to concentrate on fashionable society portraits, including members of the Royal Family. He particularly excelled at painting children’s portraits. Having spent several profitable seasons in America, Mann began to divide his time between London and New York, setting up a second studio there in 1910. As well as writing an unpublished autobiography, Mann wrote a comprehensive guide to The Technique of Portrait Painting which was published in 1933. Harrington Mann exhibited at many venues throughout his successful career (including International exhibitions in Munich), making his début at London’s Royal Academy in 1885. He also showed his work at the International Society from 1898 onwards. He was a member of numerous artistic societies including the Royal Society of Portrait Painters, the Royal Society of Painters and Etchers, the International Society and the New English Art Club. The work of Harrington Mann is represented in the Dick Institute, East Ayrshire; University of Birmingham; Russell-Cotes Art Gallery & Museum, Bournemouth; Dundee Art Galleries and Museums; Scottish National Portrait Gallery, Edinburgh, City of Edinburgh Council; Kirkcaldy Galleries, Fife; Kelvingrove Art Gallery and Museum, Glasgow Museums Resource Centre, Glasgow, Hunterian Art Gallery, University of Glasgow; Imperial War Museums, National Portrait Gallery, Parliamentary Art Collection, Royal Academy of Arts and Tate Britain, London; National Trust for Scotland; Newcastle University; Nottingham Castle Museum and Art Gallery; Paisley Museum and Art Galleries, Renfrewshire; Ulster Museum, National Museums Northern Ireland; Pannett Art Gallery, Whitby and the Art Gallery of New South Wales, Sydney, Australia.

SAMUEL JOHN PEPLOE RSA 1871 – Edinburgh – 1935 Samuel John Peploe was the eldest of the Scottish Colourists and worked in a style remarkable for its painterly freedom and richness of colour. Together with Francis Campbell Boileau Cadell, George Leslie Hunter and John Duncan Fergusson, whose work was also characterised by the bold handling and use of colour, they were dubbed ‘Les Peintres de L’Ecosse Moderne’ following their first exhibition in Paris in 1924. Peploe first studied at the Edinburgh College of Art in 1893, and then continued his training in Paris, at both the Académie Julian under Adolphe William Bouguereau (1825–1905), and the Académie Colarossi. At this time he was considerably impressed by the work of Jean-Baptiste-Camille Corot (1796–1875), Jean-Baptiste-Siméon Chardin (1699–1779), Gustave Courbet (1819–1877) and Paul Cézanne (1839–1906). He also admired Diego Velázquez (1599–1660), and seventeenth-century Dutch painters, especially Frans Hals (c1582–1666), whose work he saw on a visit to the Rijksmuseum, Amsterdam, in 1895. During this period, Peploe led a cosmopolitan life, working in Britain, and travelling extensively throughout France, in the company of his friend and colleague, Fergusson, with whom he spent several holidays painting at Etaples, Paris Plage, Dunkirk, Berneval, Dieppe and Le Tréport. In 1896, Peploe returned to Edinburgh and settled at his first studio in Shandwick Place, where the dark surroundings suited the sombre palette of his early still lifes, nudes and figure studies. He moved to Devon Place in 1900, where he developed a more sophisticated choice of subject matter, matched by an increasingly rich application of paint, and to York Place in 1905, where lighter space was reflected in the heightened tonality of his work. The work of Samuel John Peploe is represented in Aberdeen Art Gallery & Museums, University of Aberdeen; University of St Andrews; Rozelle House Galleries, South Ayrshire; Birmingham Museums Trust; Cartwright Hall Art Gallery, Bradford; Brighton and Hove Museums and Art Galleries; the Fitzwilliam Museum, Cambridge; Pallant House Gallery, Chichester; Gracefield Arts Centre, The Stewarty Museum, Dumfries and Galloway; Lillie Art Gallery, East Dunbartonshire; Dundee Art Galleries and Museums, University of Dundee; National Museum Scotland, Scottish National Gallery of Modern Art, Scottish National Portrait Gallery, Royal Scottish Academy of Art & Architecture, Edinburgh, City of Edinburgh Council, University of Edinburgh; Kirkcaldy Galleries, Fife; the Burrell Collection, Hunterian Art Gallery, University of Glasgow, Kelvingrove Art Gallery and Museum, Glasgow, Glasgow Museums Resource Centre; Ferens Art Gallery, Hull, University of Hull; McLean Museum and Art Gallery, Inverclyde; Abbot Hall Art Gallery, Lakeland Arts Trust, Kendal; Leeds Museums and Galleries; The Courtauld Gallery, the Fleming Collection, Tate Britain and William Morris Gallery, London; Middlesbrough Institute of Modern Art (MIMA); Manchester City Galleries; National Trust for Scotland; Laing Art Gallery, Newcastle; Paisley Museum and Art Galleries, Renfrewshire; Perth & Kinross Council; The Atkinson, Southport; The Potteries Museum & Art Gallery, Stoke on Trent and Ulster Museum, National Museums Northern Ireland.


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PAYMENT OF PURCHASE PRICE You must pay us the invoice Price for the Work, together with delivery costs, any VAT and any amounts payable to us under clause 7, by bank transfer or such other methods as we agree, within 30 days of the date of the invoice (unless specified otherwise on the invoice or statement). Payment is deemed received when we have cleared funds. Without prejudice to any other right or remedy we may have we are entitled to charge interest on late payments (before as well as after judgment) at the rate set out in the Late Payment of Commercial Debts (Interest) Act 1998 or where that Act does not apply at the rate of 2% per annum above Lloyds Bank plc base rate. 3.2 You are not entitled to withhold payment of any amount payable to us by reason of any dispute or claim by you whether by way of set off, counterclaim or other deduction. In the event of non-payment or other breach, we shall be entitled to obtain and enforce judgment without determination of any claims by you. 3.3 We reserve the right to require you to present such documents as we may require to confirm your identity. Where payment of the price is made by someone other than you (“third party payer”), we may require documents to confirm their identity and their relationship with you. We may decline such payments in our sole discretion. 4. 4.1 5. 5.1

COMMISSSION PAYABLE BY US TO THIRD PARTIES We may pay a commission to any party who has assisted us with the sale of the work to you or who has introduced you to us. You will be provided with details.

DELIVERY OF THE WORK AND PASSING OF RISK The Work will be delivered following receipt of the full Price by us in cleared funds. We will deliver the Work to the address both parties have agreed in writing unless it is agreed in writing that you should collect it from us. You are responsible for all costs of delivery or collection unless we agree otherwise in writing. 5.2 You will be responsible for the Work, for the risk of damage to it or loss of it and also for insuring it, from the time and date agreed for its delivery and you agree that thereafter you will not hold us responsible for insuring the Work or for any loss or damage to the Work. Any loss or damage prior to delivery shall be covered by the terms of our insurance then in effect and we shall have no liability for loss of

profit, business, revenue or incidental, consequential, or exemplary damages. 5.3 If you fail to accept delivery of the Work at the agreed time we may charge you for the reasonable costs of storage, insurance and re-delivery and risk in the Work shall immediately pass to you and you irrevocably authorise us to deposit the Work with you if delivery has not occurred within six months. 5.4 Dates quoted for delivery are approximate and we shall not be liable for delay. Time of delivery shall not be of the essence nor capable of being made of the essence. You will provide us with all necessary information and documentation to facilitate delivery. 6. 6.1

PASSING OF OWNERSHIP Full legal title to the Work will not pass to you until we have received in full in cleared funds all sums due in respect of the Work and any other amount owed by you to us and we are satisfied as to your identity and that of any third party payer. 6.2 If you have possession of the Work before full payment has been made, you undertake as our fiduciary agent and bailee to: 6.2.1 keep possession of it, not sell it, export it or hand it over to any other person or dispose of any interest in it and in the case of a Work consisting of more than one item, keep those items together; 6.2.2 keep all identifying marks showing that we own the Work clearly displayed and store the Work on your premises and at no cost to us, separately from other property with adequate security measures; 6.2.3 at our request, and after we have given you reasonable notice, allow us or a third party acting on our behalf to have access to the Work in order to inspect it; 6.2.4 preserve the Work in the same state as it was on delivery and in particular, not restore, repair, clean or reframe it without our written consent and take all reasonable steps to prevent any damage to or deterioration of the Work; and 6.2.5 keep the Work comprehensively insured for not less than the invoice Price, have our interest noted on the policy as an additional named insured and provide a copy of such notification to us. 7. 7.1

EXPORT AND LOCAL TAXES If the Work is to be exported from the United Kingdom, whether to other countries within the EU or outside the EU, we will normally make appropriate arrangements for export and shipment and may make a reasonable additional charge for doing so. Unless agreed otherwise in writing, the agreement is not conditional upon the granting of any requisite export licence or permission which both parties will use their best endeavours to obtain. 7.2 Each party will to the extent such obligation is applicable to that party in connection with the sale and/or export of the Work : 7.2.1 comply with all requirements of any relevant tax authorities (that is, any authority imposing, administrating or collecting any tax, duty or levy including HM Revenue and Customs), any export licensing authorities and any other relevant official bodies; and 7.2.2 obtain all the relevant documents showing proof of export without delay. 7.3 You will reimburse to us any sum claimed if any relevant tax authority or other official body makes any claim against us for VAT, sales tax, use tax or any other expense or penalties resulting from your failure to comply with any relevant requirements for export and import. 7.4 When upon its sale to you the Work is intended for export, you will be charged for VAT on the Work should it not be exported. 7.5 You will be responsible for paying any taxes including but not limited to import tax, duty, merchandise, sales or use tax that have to be paid in the country of destination whether on shipment or on import or at any other time. 8. 8.1

BREACH BY YOU If you fail to pay the Price in full (or if we agree with you payment by set instalments and you fail to pay any one or more instalment) in accordance with clause 3.1 above, or if prior to you paying the Price in full you fail to comply with the obligations set out in clauses 6 and 7 above, or otherwise do or fail to do anything which may in any way imperil our ownership of the Work or the Work itself, we are entitled (without prejudice to our other rights and remedies at law) to either: 8.1.1 terminate the contract for sale, repossess the Work and claim damages for any loss we have suffered; and/or charge you interest on the amount unpaid at the rate set out in the Late Payment of Commercial Debts (Interest) Act 1998 or where that Act does not apply at the rate of 2% per annum above Lloyds Bank plc base rate from the date when payment was due until payment is made in full; and/or retain any sums paid; and/or to further seek to mitigate the loss by selling the Work on such terms as we may reasonably consider appropriate and to claim the balance from you; or 8.1.2 at our election, treat the sale as cancelled, and repossess the Work, in which case (and only in which case) and as your sole and exclusive right and remedy we shall following the safe return of the Work, refund to you any part of the Price you have paid, after deduction of any sums due to us including but not limited to costs of recovery and restoration of the Work. 8.2 We shall also have the right to repossess the Work and cancel the sale if before you make full payment of the purchase price to us, (1) proceedings occur in the UK or elsewhere involving your solvency (or if you are more than one person,







jointly and/or severally) or (2) we reasonably apprehend that insolvency is about to occur in relation to you or otherwise have genuine doubt with respect to your capacity to pay the Price in full, then we or our agent may, at our option, immediately repossess the Work and/or terminate the sale with or without notice whereupon, without prejudice to any other rights and remedies available to us, you will return the Work to our nominated address (at your sole risk and cost), or, at our option, we or our agent may enter the premises where the Work is kept to regain possession. Nothing herein shall limit other rights available to us pursuant to applicable law. Where we notify you of the exercise of our right to repossession, at our option you will within seven days of such notice, return the Work to our premises at your cost and risk or tell us where the Work is kept and allow us to enter the premises where the Work is (separately) kept and take the Work away at your cost (it being understood that where the Work consists of more than one item, our rights of repossession extend to all such items). LIMITATION OF OUR LIABILITY Any claim against us must be brought within a period of six years from the date of the invoice for the Work or, if we have been guilty of any fraud or deliberately concealed a relevant fact in relation to the Work within six years after you have discovered this, or could have discovered it if you were reasonably diligent. We shall not accept any claim after these periods. We shall not be liable for loss of profits, business, revenue (whether direct or indirect) or indirect or consequential loss or damage, if any, which you may suffer in connection with buying the Work howsoever arising including negligence. Any liability to you for breach of our obligations whether in contract, tort (including negligence) or otherwise, shall be limited to the price paid for the Work provided that nothing in this clause 9 limits or excludes our liability for: (a) death or personal injury caused by our negligence or any of our agents; and/or (b) fraud or fraudulent misrepresentation; and/or (c) our wilful default. RESCISSION We will have the right, but not the obligation, to rescind a sale without notice to you, where an adverse claim is made by a third party, including but not limited to, someone claiming ownership of the Work. Upon notice of our election to rescind the sale, you will promptly return the Work to us and we will then refund the Price paid. The refund of the Price paid will constitute your sole remedy and recourse against us with respect to such claims. COPYRIGHT The copyright subsisting in all images and other materials produced for the sale of the Work is owned by us and such images and materials may only be used with our permission. We will have the right to use such images in our own discretion after the sale of the Work. For the avoidance of doubt, this sale does not transfer or assign or licence any copyright or other intellectual property rights to you. During the period in which the Work is protected by copyright, the copyright remains with the artist (or any person to whom that right has been assigned). You are purchasing the Work, but not the right to produce copies of the Work (including photographs thereof) for publication or do any other act restricted by copyright. If such rights are sought, you should contact the copyright owner. NOTICES Any notice to be given to us or that we must give to you in connection with the sale of the Work must be in writing and sent by post, or delivered by hand, to our address on our invoice or to your last known address as notified to us by you as the case may be and shall be deemed delivered on delivery if by hand or on the third day after posting if posted.

FURTHER INFORMATION: NON – TRADE BUYERS This clause applies only where the sale of the Work is to an individual acting for purposes which are wholly or mainly outside that individual’s trade, business, craft or profession (“the Consumer”). It is not our standard policy to sell works of art exclusively by electronic mail/other methods of distance communication, however, in the exceptional case where a contract for the sale of the Work is concluded exclusively through such distance communication with a Consumer and accordingly the relevant provisions of The Consumer Contracts (Information, Cancellation and Additional Charges) Regulations 2013 apply to the sale of the Work in question then: 13.1 We confirm that Richard Green (Fine Paintings) or Richard Green & Sons Ltd (as the case may be) is the party to whom any complaints or comments should be directed. 13.2 If you have concluded a transaction exclusively at a distance you have the right to cancel the contract for the purchase of the Work in question within 14 days from the day on which you acquire, or a third party other than the carrier and indicated by you acquires, physical possession of the Work. Where the Work consists of more than one item (which are to be delivered separately), such cancellation period will expire after 14 days from acquiring physical possession of the last item. 13.3 If you cancel a contract concluded exclusively at a distance for the purchase of

the Work, we will reimburse to you all payments received from you, including the costs of delivery (except for the supplementary costs arising if you chose a type of delivery other than the least expensive type of standard delivery offered by us). Without prejudice to any other rights or remedies which may be available to us in law or in equity, we may make a deduction from the reimbursement for loss in value of the Work, if the loss is the result of unnecessary handling by you. We will make any reimbursement to which you are entitled without undue delay, and not later than: 13.3.1 14 days after the day we receive the Work back from you; or (if earlier) 13.3.2 14 days after the day you provide evidence that you have returned the Work. 13.4 If we do not receive the Work back from you, we may arrange for collection of the Work from you at your cost. 14.

LAW AND JURISDICTION These terms and conditions and any non-contractual obligations arising from or in connection with them shall in all respects be construed and take effect in accordance with English law and both parties agree to submit to the exclusive jurisdiction of the English Courts subject always to clause 15.

15. ARBITRATION 15.1 Notwithstanding clause 14 above, we may, by giving written notice to you, elect to have any disputes arising out of, or in connection with, the sale and purchase of the Work referred to a single arbitrator in London to be resolved in accordance with the Arbitration Act 1996. The seat of such an arbitration will be London and the language to be used in the arbitral proceedings will be English. In the event that the parties cannot agree upon an arbitrator either party may apply to the President of the Law Society of England and Wales for the time being to appoint as arbitrator a Queen’s Counsel of not less than 5 years’ standing. The decision of the arbitrator shall be final and binding, and enforceable in any Court having jurisdiction over you. 15.2 Save that the parties acknowledge each other’s right to seek, and the power of the High Court or other appropriate courts to grant, interim relief without a need to post a bond or other security, no Court action shall be brought in relation to any claim or dispute until the arbitrator has made a final award. Any dispute concerning this agreement, as well as the Price shall be kept confidential by you. 16. GENERAL TERMS 16.1 Both parties agree that in entering into the agreement neither party relies on, nor has any remedy in respect of, any statement, representation or warranty (“Representation”), negligently or innocently made to any person (whether party to this agreement or not) including without limitation any Representation made prior to or at the same time as the agreement is entered into, other than as expressly set out in the agreement as a warranty. The only remedy for breach of any warranty shall be for breach of contract under the agreement. Nothing in the agreement shall operate to limit or exclude any liability for fraud or fraudulent misrepresentation. 16.2 The benefit of the agreement and the rights thereunder shall not be assignable by you and any attempt to assign your obligations shall be null and void. None of our obligations under this Agreement are transferable to subsequent purchasers or other future possessors of the Work. We may sub-contract or assign our obligations. 16.3 In the case of a consumer contract within the meaning of the Unfair Contract Terms Act 1977, these conditions shall not apply to the extent that they would be rendered void or unenforceable by virtue of the provisions thereof. 16.4 Neither party intends the terms of the Contract to be enforceable by a third party pursuant to the Contracts (Rights of Third Parties) Act 1999. 16.5 We shall not be liable for any breach of the agreement due to causes or events outside our reasonable control. In such circumstances we shall be entitled to exercise our rights under clause 8.1.2.  

January 2015

RICHARD GREEN Richard Green has assisted in the formation and development of numerous private and public collections, including the following:

U N IT E D KINGDOM Aberdeen: Aberdeen Art Gallery and Museums Altrincham: Dunham Massey (National Trust) Barnard Castle: The Bowes Museum Bedford: The Higgins Art Gallery and Museum Canterbury: Canterbury City Council Museums Cheltenham: Art Gallery and Museum Chester: Grosvenor Museum Coventry: Herbert Art Gallery and Museum Cowes: Royal Yacht Squadron, Cowes Castle Dedham: Sir Alfred Munnings Art Museum Goodwood: Goodwood House Hull: Ferens Art Gallery Ipswich: Colchester and Ipswich Museums Launceston: Launceston Castle (English Heritage) Leeds: Leeds Museum and Galleries Lincoln: Usher Gallery London: Chiswick House (English Heritage) The Geffrye Museum of the Home Government Art Collection Kenwood (English Heritage) Museum of London National Maritime Museum National Portrait Gallery National Postal Museum Tate Britain The Palace of Westminster The Wimbledon Lawn Tennis Museum Liverpool: The Walker Art Gallery Lydiard Tregoze: Lydiard House and Park Norwich: Castle Museum and Art Gallery Plymouth: City Museum and Art Gallery Richmond: London Borough of Richmond upon Thames and Orleans House Gallery St Helier: States of Jersey (Office) Southsea: Royal Marines Museum Stirling: Stirling Smith Art Gallery and Museum Winchester: Hampshire County Museums Services York: York City Art Gallery

CA N A DA Fredericton, NB: Beaverbrook Art Gallery Ottawa, ON: The National Gallery of Canada UN I T E D STAT E S OF A M E RI CA Boston, MA: Museum of Fine Arts Channel Islands Harbor, CA: Ventura County Maritime Museum Cincinnati, OH: Cincinnati Art Museum Gainesville, FL: Harn Museum of Art, University of Florida Houston, TX: Sarah Campbell Blaffer Foundation Museum of Fine Arts, Houston Los Angeles, CA: J Paul Getty Museum New Bedford, MA: New Bedford Whaling Museum New Haven, CT: Yale Center for British Art New York, NY: Dahesh Museum of Art Ocala, FL: Appleton Museum of Art, College of Central Florida Omaha, NE: Joslyn Art Museum Orlando, FL: Mennello Museum Pasadena, CA: Norton Simon Museum Rochester, NY: Genesee Country Village and Museum San Marino, CA: The Huntington Library St Louis, MO: The State Historical Society of Missouri Toledo, OH: Toledo Museum of Art Washington, DC: National Gallery of Art The White House Williamstown, MA: Sterling and Francine Clark Art Institute Winona, MN: Minnesota Marine Art Museum Worcester, MA: Worcester Art Museum

E I RE Dublin: National Gallery of Ireland FRA N CE Compiègne: Musée National du Château G E RM A N Y Berlin: Staatliche Kunsthalle Darmstadt: Hessisches Landesmuseum Hannover: Landesmuseum Karlsruhe: Staatlichen Kunsthalle Speyer am Rhein: Historisches Museum der Pfalz Speyer H OLLA N D Amsterdam: Joods Historisch Museum Rijksmuseum Twenthe: Rijksmuseum Utrecht: Centraal Museum S OUT H A F R I C A Durban: Art Museum S PA I N Madrid: Real Academia de Bellas Artes de San Fernando Museo Thyssen-Bornemisza Museo Nacional del Prado SW I TZ E R L A N D Zurich: Schweizerisches Landesmuseum T H A I LA N D Bangkok: Museum of Contemporary Art

B E LG I UM Antwerp: Museum Rockoxhuis Kortrijk: Stadhuis D E N M A RK Tröense: Maritime Museum

Catalogue by Rachel Boyd Hall and Susan Morris (cat. no. 5). Photography by Beth Saunders. Graphic design by Chris Rees. Published by Richard Green. © Richard Green (and any applicable image right owners/artists or their estates) 2015. Database right maker: Richard Green. All rights reserved. Paintings are sold subject to our standard terms and conditions of sale, a copy of which is included in this catalogue, and further copies of which may also be obtained on request and are also available at Richard Green is the registered trade mark of Richard Green Old Master Paintings Limited registered in the EU, the USA and other countries. Printed in England by Hampton Printing (Bristol) Ltd. Event Number: 3458.

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