Fine Paintings Auction 10th June 2010

EDINBURGH Fine Paintings and Prints

Thursday 10th June 2010 33 Broughton Place Edinburgh

Fine Paintings and Prints including property of Lehman Brothers Holdings Inc. Thursday 10th June 2010 at 11am Sale Number LT284

Viewing Friday 4th June 10am - 5pm Sunday 6th June 2pm - 5pm Monday 7th June 10am - 5pm Tuesday 8th June 10am - 5pm (restricted viewing) Wednesday 9th June 10am - 5pm Morning of sale strictly by appointment only

Specialists Nick Curnow nick.curnow@lyonandturnbull.com Elena Ratcheva elena.ratcheva@lyonandturnbull.com Ben Hanly ben.hanly@lyonandturnbull.com

Catalogue: £10 BUYERS’ PREMIUM 25% up to £25,000 20% thereafter.

VAT will be charged on the premium at the rate imposed by law. *17.5% VAT chargeable on the lot itself †5% import VAT on the lot §Droit de Suite (artists’ retail rights) applies (see our Terms and Conditions of Sale and Information for Buyers).

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LY O N & T U R N B U L L Fine Paintings

1 EZ438/7 WILLIAM MILLER FRAZER R.S.A. (SCOTTISH 1864-1961) CARRADALE, KINTYRE Signed, oil on canvas 25.5cm x 35.5cm (10in x 14in)

£1,000-1,500

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2 EZ278/2 HERBERT ROYLE (BRITISH 1870-1958) HARVEST-TIME Signed, oil on board 38cm x 46cm (15in x 18in)

£800-1,200

3 EZ378/1 FRANÇOIS PIETER TER MEULEN (DUTCH 1843-1927) SHEEP IN PASTURE Signed, oil on canvas 56cm x 74cm (22in x 29in)

£800-1,200

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4 EAB93/2 JOHN CAMPBELL MITCHELL R.S.A. (SCOTTISH 1862-1922) A SUMMER SEA, MACHRIHANISH Signed and dated 1921, signed, inscribed and dated verso, oil on canvas 46cm x 76cm (18in x 30in)

£800-1,200

5 EAB97/2 JOHN MACWHIRTER R.A., R.S.A., R.I., R.E (SCOTTISH 1839-1911) LOCH KATRINE AND BEN VENUE Signed with a monogram, oil on board 36cm x 51cm (14in x 20in)

£800-1,200

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6 EZ513/1 PATRICK DOWNIE R.S.W. (SCOTTISH 1871-1945) SHIPPING OFF THE COAST Signed, watercolour 36cm x 53cm (14in x 21in)

£800-1,200

7 EZ555/2 MCNEIL MACLEAY A.R.S.A (SCOTTISH fl. 1829-d. 1848)

BY THE LOCH Signed and dated 1862, gouache 19cm x 32cm (7.5in x 11.5in)

£500-700

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8 EY916/1 SAM BOUGH R.S.A. (SCOTTISH 1822-1878) ON THE CLYDE Signed, oil on panel 11.5cm x 25cm (4.5in x 9.5in)

£800-1,200

9 LB186/8 JOHN WATSON MCLEA (SCOTTISH fl. 1832-1861) THE BATTLE SQUADRON IN LEITH ROADS, 1855 Indistinctly signed verso, oil on board 22cm x 30cm (8.75in x 11.75in) Note: On 12 November 1855 Sir Charles Freemantle’s Squadron arrived off port, formed two lines ... after which the order was given to form a single line of battle.

£800-1,200

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10 EZ385/1 SAM BOUGH R.S.A. (SCOTTISH 1822-1878) ST. ANDREWS Signed and dated 1863, watercolour 36cm x 51cm (14in x 20in)

ÂŁ2,000-3,000

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11 EAB139/1 WILLIAM HENRY HUNT O.W.S. (BRITISH 1790-1864) THE GAMEKEEPER Signed and dated 1826, pen and ink, pencil and watercolour 43cm x 30cm (17in x 12in) Provenance: William Ward of Richmond The Honorable George Duncan 1892 Exhibited: This is probably the painting exhibited at the O.W.S. 1826 no.69 as ‘A gamekeeper in the service of Charles Dixon Esq’

£1,500-2,000

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12 EZ589/6 ELIZABETH NASMYTH (SCOTTISH 1793-?)

A PANORAMIC HIGHLAND LANDSCAPE WITH DISTANT LOCHSIDE TOWN Oil on canvas 46cm x 61cm (18in x 24in)

£800-1,200

13 EZ601/3 EDMUND THORNTON CRAWFORD R.S.A. (SCOTTISH 1806-1885) AT THE COTTAGE DOOR Signed, oil on canvas 36cm x 51cm (16in x 20in)

£800-1,200

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14 EZ385/8 HUGH ‘GRECIAN’ WILLIAM WILLIAMS (SCOTTISH 1773-1829) VIEW ON THE CLYDE TAKEN NEAR KILPATRICK Signed and dated 1813, signed, inscribed and dated verso, watercolour 35cm x 46cm (13.75in x 18in)

£1,500-2,000

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15 EY814/1 ATTRIBUTED TO GASPAR PIETER VERBRUGGEN THE YOUNGER (FLEMISH) A STILL LIFE OF ASSORTED FLOWERS IN A BRONZE VASE Oil on canvas 34cm x 29cm (13.5in x 11.5in)

and a companion a pair (2) Provenance: The collection of Samuel Johnston Melvin, Paisley and thence by descent to the present owner.

£1,500-2,000

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16 EZ607/10 18TH CENTURY FRENCH SCHOOL A STILL LIFE OF ASSORTED FLOWERS IN AN URN, FRUIT, BIRDS AND BUTTERFLY ON A STONE LEDGE Oil on canvas 91cm x 127cm (36in x 50in) Provenance: The Kinnaird Estate, Perthshire

£5,000-8,000

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17 EY814/44 ATTRIBUTED TO HERMAN VAN SWANEVELT (DUTCH) A SHEPHERD AND FLOCK ON A WOODED COUNTRY PATH

BY MOONLIGHT Oil on panel 16cm x 22cm (6.25in x 8.5in)

and a companion a pair ‘A cattle drover at sunset’ (2) Provenance: The collection of Samuel Johnston Melvin, Paisley and thence by descent to the present owner.

£1,500-2,000

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18 LB186/18 MANNER OF MICHELANGELO DI CAMPIDOGLIO A STILL LIFE OF ASSORTED FRUIT AND FLOWERS ON A LEDGE Oil on canvas 84cm x 107cm (33in x 42in)

£3,000-5,000

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19 EAB528/122 FOLLOWER OF GIOVANNI FRANCISCO BARBIERI, IL GUERCINO ST. JEROME Oil on canvas 110cm x 86cm (43.25in x 33.75in) Provenance: Craighall Castle, Perthshire

£3,000-5,000

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20 EZ607/2 ITALIAN SCHOOL THREE QUARTER LENGTH PORTRAIT OF A DOGE Oil on canvas 113cm x 86cm (44.5in x 33.75in) Provenance: The Kinnaird Estate, Perthshire

£3,000-5,000

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21 EY814/46 CARLO GRUBACS (ITALIAN 1810-c. 1870) ST. MARK’S SQUARE, VENICE Indistinctly signed, oil on canvas 20.5cm x 27cm (8in x 10.25in)

and a companion, a pair, ‘The Rialto Bridge, Venice’ (2) Provenance: The collection of Samuel Johnston Melvin, Paisley and thence by descent to the present owner.

£6,000-8,000

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22 EAB528/112 FOLLOWER OF SALVATOR ROSA A WOODED LANDSCAPE WITH MOTHER AND CHILD ON A PATH Oil on canvas 60cm x 43cm (23.5in x 17in) Provenance: Craighall Castle, Perthshire

£3,000-5,000

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23 EY814/45 ATTRIBUTED TO ANDRIES VERMEULEN (DUTCH) FIGURES ON A FROZEN CANAL Oil on panel 16cm x 26cm (6.25in x 10.25in) Provenance: The collection of Samuel Johnston Melvin, Paisley and thence by descent to the present owner.

£800-1,200

24 LB186/9 18TH CENTURY ENGLISH SCHOOL SHIPPING OFF THE EDDYSTONE LIGHTHOUSE Oil on canvas 38cm x 61cm (15in x 24in)

£1,200-1,800

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25 EZ666/1 JOSEPH HIGHMORE (BRITISH 1692-1780) HALF LENGTH PORTRAIT OF A GENTLEMAN Signed and dated 1732, feigned oval, oil on canvas 74cm x 61cm (29.5in x 24in)

£1,500-2,000

26 EY661/1 18TH CENTURY ENGLISH SCHOOL HALF LENGTH PORTRAIT OF A YOUNG GIRL WITH PET DOG Oil on canvas 61cm x 51cm (24in x 20in)

£600-800

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27 EZ607/1 DOMINIC SERRES R.A. (BRITISH 1719-1793) THE VAN AND REAR OF ALL HIS MAJESTY’S SHIPS AND TRANSPORTS, HAVANA Signed and dated 1767, oil on canvas 61cm x 152cm (24in x 60in) Provenance: The Kinnaird Estate, Perthshire

£20,000-30,000

Dominic Serres was the foremost British marine painter of the eighteenth century. A founding member of the Royal Academy and Marine Painter to George III, Serres was actually born in France and brought to England as prisoner of war in about 1745 after travelling the world in his young years, managing to sail to Cuba as a ship’s captain, where he was captured. He remained in England after the peace treaty between France and England and was thoroughly assimilated in the English way of life. Serres is thought to have trained as a painter in Northamptonshire and later in London under Charles Brooking. He began his career with a print publishers recording the developments of the Seven Year War but his skill and passion for naval drawing and painting soon attracted the patronage of leading naval commanders who wished to commemorate their achievements in dramatic naval battles. His clients included Hawke, Keppel, Hervey (Earl of

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Bristol), Hyde Parker, Barrington, Rodney and Jervis (Earl of St Vincent) among many others. The second half of the seventeenth century was a decisive and turbulent time for the British Empire and the development of its naval dominance and Serres was never short of subject matter.

By entering the service of George III, his art took on a more propagandistic aspect, recording the navy’s might and many triumphs and campaigns.

The present painting is indeed exemplary of this type of important representation of power and it depicts ‘The Van and Rear of All his Majesty’s Ships and Transports’, stationed by Cuba, with ‘The Pan or Cape Land of the Matanzes, at a large distance being a high Table-Land’. The present expansive view was painted in 1767 to commemorate a substantial campaign to Havana during the Seven

Years War. Cuba’s capital was the centre of the Spanish possessions in the Western Hemisphere and an important hub for Spain’s mercantile and military forces. Spain had increasingly allied itself with France in its colonial war against England and George III finally declared war on Spain in 1762. Amid great secrecy an enormous fleet of more than 180 was gathered, under the command of Admiral Sir George Pocock, and sailed through the dangerous Old Straits of Bahama, from Jamaica, to take Havana by surprise. The campaign was an utter success with Havana surrendering in the middle of August that year, but the city was returned the following year in the Treaty of Paris.

One of the lieutenants aboard the 66 gun man-of-war Orford was Philip Orsbright.

He recorded in notes and drawings all the stages of the approach, siege and capture of the following weeks. Upon

his return to England he approached Serres to use his detailed drawings and notes to produce a full set of paintings by 1764 which were then published as engravings in 1764-65 and offered for two guineas per set. The present work represents Plates I and II in the album ‘The Van and Rear of All his Majesty’s Ships and Transports’ and was painted by Serres, probably as a commission from the family of Admiral Keppel. Another painting by Serres of the same date as the present work and related to the Havana campaign engravings, The Capture of Havana, 1762: the English Battery Before Morro Castle, is currently on view at the National Maritime Museum in London, on loan from a private collection. The present lot and the work currently hanging in London may have been commissioned by the same person in 1767.

The three frigates leading the

van, and represented here are the Richmond by Capt Elphinstone, the Mercury by Captain Goodall and Alarm by Captain Alms. The ships on the right of the composition on the other hand are the Namur carrying Admiral Sir George Pocock, who led the naval campaign, Valiant with Hon Augustus Keppel and the Culloden by Captain John Barker.

The present painting and the Havana series of paintings as a whole represent an important turning point in Serres’s reputation and career. The Keppel family dominated the ‘Havannah’ campaign and following Serres’s production of Orsbright’s drawings, various members commissioned versions of certain views from the set to display in their country houses. Their example was later followed by other commanders and captains who also wished to commemorate their naval triumphs and chose Serres as the most fashionable and preferred marine painter in England.

The full set of twelve engravings of ‘The Capture of Havannah, 1762.’ is in the collection of the National Maritime Museum, London and only seven of Serres’ paintings of this series, excluding the present one, have been known to scholars until now.

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28 EAB528/118 18TH CENTURY ITALIAN SCHOOL HALF LENGTH PORTRAIT OF A LADY Inscribed verso ‘Madeleine Sinclair’ oil on canvas 45cm x 35cm (17.75in x 13.75in)

and a companion by the same hand (2) Provenance: Craighall Castle, Perthshire

£2,000-3,000 Only one illustrated

29 EY947/3 18TH CENTURY ITALIAN SCHOOL HEAD AND SHOULDER STUDY OF A BOY Oil on canvas 36cm x 29cm (14in x 11.5in)

£600-800

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30 EY792/102 ATTRIBUTED TO SUNQUA (CHINESE 19TH CENTURY) JUNKS AND FISHING BOATS OFF THE CHINA COAST Inscribed ‘Sunqua’, oil on canvas 25.5cm x 36cm (10in x 14in)

and a companion by the same hand (2) £1,500-2,000

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THE FOLLOWING THREE LOTS ARE FROM THE COLLECTION OF LEHMAN BROTHERS HOLDINGS INC. 31 EAB58/2 SAMUEL WALTERS (BRITISH 1811-1882) THE S.S FRANKFIELD OFF TABLE BAY, SOUTH AFRICA Signed and dated 1847, oil on canvas 71cm x 107cm (28in x 42in) Provenance: Richard Green Literature: A.S. Davidson, Samuel Walters, Coventry 1992, pp.121-122, 165, colour illustration.

£8,000-12,000

The son of the shipwright and marine painter Miles Walters (1774-1849), Samuel Walters was very fittingly born at sea on a passage between Bideford and London in 1811.

The family had moved to Liverpool by 1832 and Samuel trained and painted with his father and some of their collaboratory works are signed Walters and Son. He exhibited his paintings for the first time at the Liverpool Academy Annual Exhibition in 1830 and continued to exhibit there for thirty-five years, becoming a member in 1841.

He also exhibited at the Royal Academy in London between 1842 and 1861, specialising in coastal views. The midnineteenth century saw Merseyside enjoying a tremendous shipping boom.

During the period 1830-1930 Liverpool was probably the greatest emigration port in world history, handling an astounding nine million passengers from as far afield as Russia. Passenger lists indicate that transfer on the Frankfield, the subject of the present lot, between Liverpool and Port Philip in southern Victoria in Australia, for example cost between £10 and £20 in 1841. Walters gained commissions for ship portraits from all the major

shipping companies and his work shapes an extraordinary portrait of nineteenth century ocean commerce and travel.

The present work shows the ship Frankfield, her name on the bow as well as on the flag at the main. The full-rigged ship was built in New Brunswick, Canada in 1840 for Thomas Wilson & Co of Liverpool for their Australian service and weighed 750 tonnes. Many shipping companies had their vessels built in New Brunswick for economic reasons. The present canvas dates from 1847, the ship’s last year of service as it was wrecked in December of that year. There are two earlier compositions

by Walters of the vessel in different situations. One of these is presently in the collection of the Walker Art Gallery, Liverpool. Dated 1841, it shows the Frankfield at Mersey with another ship, Brutus owned by Wilson & Co in the foreground. In the present work Frankfield is shown under shortened sail with topsails reefed, in a fresh breeze and moderately rough seas. Table Bay is in the background and the ship appears to be returning to Liverpool. Table Bay is a natural inlet overlooked by Cape Town; is at the northern

end of the Cape Peninsula and was named after the flattopped Table Mountain which dominates it. Walters is not known to have visited Table Bay, but his uncle, Lieutenant Samuel Walters RN did, sketching the scene in his journal. The background shown here was also used by his father, Miles in the 1820’s and it was available from contemporary prints.

The 1840s saw Walter’s style mature and works from that decade are considered as ‘middle period’. Distinguishing paintings from this time in particular is the breaking up and broadening of the rather rigid brush strokes of his ‘early period’, denoting the water and wave crests through a looser and more spontaneous handling of paint. The overall effect is one of greater fluidity and movement both in sea and sky and a more subtle balance between light and shade.

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32 EAB58/1 THÉOPHILE POILPOT (FRENCH 1848-1915) L’EMBARQUEMENT DE LA NORMANDIE AU HAVRE Signed, inscribed and dated,’Esquisse du diorama 1889’, oil on canvas 111cm x 200.5cm (43.75in x 79in) Provenance: Hirschl & Adler, New York, no.6355

£20,000-30,000

Théophile Poilpot was the son of an artist, also called Théophile Poilpot, and specialised in battle scenes, genres paintings, portraits and seascapes. A student of celebrated Academic painters Gerôme and Gustave Boulanger at the Ecole de Beaux Arts Paris, he was a regular exhibitor at the Salon from 1874 and at the Salon des Artistes Français, where he got an honourable mention in 1883. He was decorated Chevalier in 1889 and subsequently Officer of the Legion d’Honneur in 1895.

Whilst he is chiefly known for his large scale battlescenes, such as The Battle of Iena or the Battle of Balaclava, he also ventured into North American subject matter, such as Bull Run, held in Washington or the Merrimac

and Monitor in New York. He excelled in the construction of multi-figural compositions as exemplified by the present painting.

There is indeed a transatlantic link here, as the painting depicts the departure of the ship La Normandie from Le Havre to New York in 1889. Like Liverpool, Le Havre was a major European port for transatlantic travel until the advent of commercial air travel in 1970s. The steamship La Normandie is seen docked and loading her passengers, with groups in the foreground exchanging their farewells. The ship was built for the Compagnie Générale Transatlantique (French Line) by Barrow Shipbuilding Co in Barrow, north-west England. She was laid down as the Ville de New

York, but was launched on 28 October 1882 as Normandie at 6,283 tons and 139m long. Its service speed was 15.75 knots - the fastest in CGT’s fleet and designed to match the fast oceanliners of the British Cunard Line or the White Star Line. It offered accommodation to over one thousand passengers, most of them in steerage class. It sailed on its maiden voyage on 1883 from Le Havre to New York and went on to sail to Panama and Vera Cruz in the 1890’s and 1900’s. It was scrapped at Bo’ness in 1912.

La Normandie is not to be confused with another great French oceanliner, the SS Normandie, which entered service in 1935 and broke the record for transatlantic crossing by making the journey in four days and three hours, snatching the highlysought after Blue Riband for the French from the Italians.

The present painting is an important depiction of transatlantic travel and the manner in which it changed the way people saw their world. It attests to the great pride in which nations held their shipping companies and the opportunities created for Europeans to travel, immigrate and create new lives for themselves overseas.

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33 EAB58/3 JAMES RICHARD MARQUIS R.H.A (BRITISH d. 1885) SUMMER ON THE RIVER LIFFEY, CO.DUBLIN Signed and dated 1863, arched top, oil on canvas 91cm x 121.5cm (36in x 48in) Provenance: Pyms Gallery, London

£3,000-5,000

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34 EZ278/4 JOHN RUSSELL (BRITISH 19TH CENTURY) SALMON ON A RIVERBANK Signed, oil on canvas 46cm x 91cm (18in x 36in)

£800-1,200

35 EZ278/3 HENRY LEONIDAS ROLFE (BRITISH 19TH CENTURY) THE DAY’S BAG Signed and dated 1868. oil on canvas 46cm x 61cm (18in x 24in)

£1,000-1,500

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36 EZ589/1 JAMES HARDY JNR (BRITISH 1832-1889) THE YOUNG GHILLIE Signed and dated ‘68, watercolour 36cm x 28in (14in x 11in)

and a companion a pair (2) £2,500-3,500

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37 LB290/1 ARCHIBALD THORBURN (SCOTTISH 1860-1935) PARTRIDGE IN FLIGHT Signed and dated 1911, watercolour 27cm x 37cm (10.5in x 14.5in)

£10,000-15,000

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38 EZ589/22 DAVID FARQUHARSON A.R.A., A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1840-1907) FOREST GLADE Signed and dated 1904, oil on canvas 61cm x 41cm (24in x 16in)

£600-800

39 EZ609/26 WILLIAM GREAVES (BRITISH 1852-1938) IN SHERWOOD FOREST Signed, oil on canvas 89cm x 70cm (35in x 27.5in)

£800-1,200

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40 EZ235/1 SOPHIE ANDERSON (FRENCH 1823-1903) REVERIE Signed, watercolour 29cm x 24cm (11.5in x 9.5in)

£2,000-2,500

41 LB187/7 ATTRIBUTED TO EDWARD CLIFFORD (BRITISH 1844-1907) HALF LENGTH PORTRAIT OF HÉLÈNE LAURA BEARE Indisitinctly signed with initials, watercolour 27cm x 20.25cm (10.5in x 8in)

£1,000-1,500

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42 EZ623/5 WILLIAM ALFRED GIBSON (SCOTTISH 1866-1931) ON THE ZUYDER ZEE Signed, oil on board 30.5cm x 40.5cm (12in x 16in)

£1,500-2,000

43 EZ438/2 JOHN WILSON CARMICHAEL (BRITISH 1800-1868) OFF THE ENGLISH COAST Signed and dated 1840, oil on canvas 41cm x 61cm (16in x 24in)

£1,500-2,000

36

LY O N & T U R N B U L L Fine Paintings

44 EZ589/12 ROBERT MCGREGOR R.S.A. (SCOTTISH 1847-1922) MUSSEL GATHERERS ON THE BRITTANY COAST Signed, oil on canvas 25.5cm x 36cm (10in x 14in)

£2,000-3,000

45 EZ623/4 DAVID MARTIN (SCOTTISH fl. 1884-1935) LANDING THE FISH Signed, signed and inscribed verso, oil on canvas 25.5cm x 41cm (10in x 16in)

£500-800

37

LY O N & T U R N B U L L Fine Paintings

46 EY947/2 NELLIE HARVEY (SCOTTISH C.1865-1949) INTREPID EXPLORERS Signed, watercolour 31cm x 47cm (12in x 18.5in)

£600-800

47 EZ609/21 WILLIAM HOUGH (BRITISH 1819-1897) PRIMROSES AND BIRD’S NEST ON A MOSSY BANK Signed, watercolour 25.5cm x 36cm (10in x 14in)

£600-800

38

LY O N & T U R N B U L L Fine Paintings

48 EAB35/1 DAVID GAULD R.S.A. (SCOTTISH 1865-1936) COTTAGES BY THE RIVER Signed, oil on canvas 61cm x 76cm (24in x 30in)

£1,500-2,000

39

LY O N & T U R N B U L L Fine Paintings

49 EY916/2 WILLIAM CALDWELL CRAWFORD P.S.S.A. (SCOTTISH 1879-1960) NORTH END OF IONA LOOKING NORTH-WEST Stamped verso with the studio stamp, No.16, oil on canvas 51cm x 66cm (20in x 26in)

£500-700

50 EY939/7 THOMAS CORSON MORTON (SCOTTISH 1859-1928) SUN GLITTER ON THE FORTH Signed, pastel 48cm x 63cm (19in x 25in)

£600-800

40

LY O N & T U R N B U L L Fine Paintings

51 EAB53/1 STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) STROMNESS HARBOUR Signed, inscribed with title verso, oil on board 40.5cm x 46cm (16in x 18in)

£6,000-8,000

41

LY O N & T U R N B U L L Fine Paintings

52 EZ589/4 WILLIAM BEATTIE-BROWN R.S.A. (SCOTTISH 1831-1909) A HIGHLAND RIVER LANDSCAPE WITH TOWER Signed, oil on canvas laid down 51cm x 76cm (20in x 30in)

£1,000-1,500

53 EZ562/3 JAMES FRASER TAYLOR (SCOTTISH fl. 1877-1913) THE POTATO HARVEST Signed and dated 1882, oil on canvas 61cm x 96cm (24in x 37.75in) Note: This may be the painting exhibited at the Royal Scottish Academy 1883, no.726

£2,000-3,000

42

LY O N & T U R N B U L L Fine Paintings

54 EZ597/1 DAVID FARQUHARSON A.R.A., A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1840-1907) WINTER SUNSET Signed and dated 1880, oil on canvas 51cm x 76cm (20in x 30in)

£3,000-5,000

43

LY O N & T U R N B U L L Fine Paintings

55 EZ385/3 ROBERT MCGOWN COVENTRY A.R.S.A., R.S.W. (SCOTTISH 1855-1941) MUSSEL GATHERERS Signed and dated 1883, oil on canvas 41cm x 66cm (16in x 26in)

£2,000-3,000

56 EZ385/4 WILLIAM BRADLEY LAMOND R.B.A. (SCOTTISH 1857-1924) CATTLE WATERING AT DUSK Signed, oil on canvas 36cm x 54cm (14in x 21.25in)

£1,000-1,500

44

LY O N & T U R N B U L L Fine Paintings

57 EZ610/1 BERNARDUS JOHANNES BLOMMERS (DUTCH 1845-1914)

BY THE SEASIDE Signed watercolour 61cm x 51cm (24in x 20in)

£15,000-20,000

45

LY O N & T U R N B U L L Fine Paintings

58 EZ601/1 JOSEPH DENOVAN ADAM R.S.A., R.S.W. (SCOTTISH 1842-1896) HIGHLAND CATTLE ON A MOUNTAIN PATH Signed and dated 1877, oil on canvas 41cm x 56cm (16in x 22in)

£800-1,200

59 EZ585/2 SAMUEL JOHN CARTER (BRITISH 1835-1890) FAWN IN A CLEARING Signed, oil on canvas 51cm x 61cm (20in x 24in)

£1,500-2,000

46

LY O N & T U R N B U L L Fine Paintings

60 EZ559/1 FREDERICK THOMAS UNDERHILL (BRITISH fl. 1851-1896) THE YOUNG FISHERMAN Signed, oil on canvas 91cm x 71cm (36in x 28in)

£2,000-3,000

47

LY O N & T U R N B U L L Fine Paintings

61 EZ562/2 SIR JAMES LAWTON WINGATE R.S.A. (SCOTTISH 1846-1924) HARVEST-TIME Signed, oil on canvas 46cm x 61cm (18in x 24in)

£1,000-1,500

62 EAB191/1 ANDREW MELROSE (AMERICAN 1836-1901) DUMBARTON CASTLE ON THE CLYDE Signed, inscribed verso, oil on canvas 41cm x 51cm (16in x 20in)

£2,000-3,000

48

LY O N & T U R N B U L L Fine Paintings

63 EZ585/22 JOHN MCGHIE (SCOTTISH 1867-1952) THE RETURNING FISHING FLEET Signed, oil on canvas 41cm x 51cm (16in x 20in)

£5,000-7,000

49

LY O N & T U R N B U L L Fine Paintings

64 EZ585/46 JOSEPH MORRIS HENDERSON R.S.A. (SCOTTISH 1864-1936) SUMMER ON THE AYRSHIRE COAST Signed, oil on canvas 51cm x 75cm (20in x 30in)

£800-1,200

65 LB329/1 BENJAMIN SIGMUND (BRITISH 1854-1904) A REST BY THE WAY Signed, oil on canvas 51cm x 91cm (20in x 36in)

£2,000-3,000

50

LY O N & T U R N B U L L Fine Paintings

66 EZ562/1 JOHN MACWHIRTER R.A., R.S.A., R.I. (SCOTTISH 1839-1911) HARVESTING - ARRAN Signed with a monogram, oil on canvas 36cm x 51cm (14in x 20in)

£1,000-1,500

67 EZ589/8 JOHN SMART R.S.A.,R.S.W., R.B.A. (SCOTTISH 1838-1899) A WOODED LANDSCAPE WITH CASTLE RUIN Signed and dated 1863, oil on canvas 56cm x 91cm (22in x 36in)

£1,000-1,500

51

LY O N & T U R N B U L L Fine Paintings

68 EZ623/6 WILLIAM ALFRED GIBSON (SCOTTISH 1866-1931) THE STRAND AT KATWIJK Signed, oil on canvas 31cm x 51cm (12in x 20in)

£1,500-2,000

69 EZ623/3 NARCISSE VIRGILE DIAZ DE LA PEÑA (FRENCH 1808-1876) FIGURE ON A WOODLAND PATH Signed, oil on panel 16cm x 22cm (6.25in x 8.625in)

£1,000-1,500

52

LY O N & T U R N B U L L Fine Paintings

70 EAB53/4 WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) FOLLOWING THE FINE ARTS Signed and dated 1873, oil on canvas 35.5cm x 51cm (14in x 20in) Exhibited: Glasgow Loan Exhibition 1878 East End, Glasgow 1903 Alexander Reid, Glasgow 1906 Literature: J.L. Caw, William McTaggart, 1917, p.235

ÂŁ20,000-30,000

53

LY O N & T U R N B U L L Fine Paintings

71 EZ589/10 ROBERT MCGREGOR R.S.A. (SCOTTISH 1847-1922) FEEDING THE PIGS Signed, oil on board 36cm x 25.5cm (14in x 10in)

£1,000-1,500

72 EAB78/5 ROBERT MCGREGOR R.S.A. (SCOTTISH 1847-1922) THE YOUNG GARDENER Signed, oil on panel 31cm x 20cm (12in x 8in)

£700-900

54

LY O N & T U R N B U L L Fine Paintings

73 EZ609/1 STUART PARK (SCOTTISH 1862-1933) A STILL LIFE OF RHODODENDRON Signed, oil on canvas, oval 61cm x 51cm (24in x 20in)

£4,000-6,000

55

LY O N & T U R N B U L L Fine Paintings

74 EZ609/3 JAMES GARDEN LAING R.S.W. (SCOTTISH 1852-1915) EAST LYNN Signed, inscribed and dated ‘92, watercolour 25.5cm x 34cm (10in x 13.5in)

£600-800

75 EZ609/16 JOHN ROBERTSON REID R.I., R.B.A., R.O.I. (SCOTTISH 1851-1926) FISHING BOATS OFF POLPERRO Signed and dated 1910, watercolour 46cm x 53cm (14in x 21in)

£800-1,200

56

LY O N & T U R N B U L L Fine Paintings

76 EAB53/3 STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) WAVES BREAKING OFF A ROCKY COAST Signed, oil on canvas 51cm x 61cm (20in x 24in)

£6,000-8,000

57

LY O N & T U R N B U L L Fine Paintings

77 EZ555/1 BASIL BRADLEY.R.W.S. (BRITISH 1842-1904) GUN-DOGS AT REST Signed and dated 1883, watercolour 34cm x 24cm (13.5in x 9.5in)

and a companion a pair (2) ÂŁ1,500-2,000

58

LY O N & T U R N B U L L Fine Paintings

78 EZ589/3 JAMES GARDEN LAING R.S.W. (SCOTTISH 1852-1918) A STORMY LANDING, HOLLAND Signed, watercolour 51cm x 38cm (20in x 15in)

£600-800

79 LB330/1 BASIL BRADLEY R.W.S. (BRITISH 1842-1904) THE DAY’S BAG Signed and dated 1884, watercolour 65cm x 45cm (25.5in x 17.75in)

£1,000-1,500

59

LY O N & T U R N B U L L Fine Paintings

80 EAB67/1 FRANS VAN SEVERDONCK (BELGIAN 1809-1899) SHEEP AND HENS IN A LANDSCAPE Signed, signed and authenticated verso, oil on panel 37cm x 52cm (14.5in x 20.5in)

£2,000-3,000

81 EZ585/31 ROBERT VON STUTTERHEIM (GERMAN 1878-1961) THE COBBLER’S SHOP Signed, oil on canvas 82cm x 107cm (32.25in x 42.25in)

£1,500-2,000

60

LY O N & T U R N B U L L Fine Paintings

82 EZ585/23 JOHN MCGHIE (SCOTTISH 1867-1952) A FIFE FISHERLASS Signed, oil on canvas 71cm x 91cm (28in x 36in)

£6,000-8,000

61

LY O N & T U R N B U L L Fine Paintings

83 EZ385/5 TOM MCEWAN R.S.W. (SCOTTISH 1846-1914) THE KITTEN’S SHARE Signed, signed, inscribed and dated 1901 verso, oil on canvas 46cm x 36cm (18in x 14in)

£600-800

84 EZ609/9 JESSIE MCGEEHAN (SCOTTISH 1872-1961) WASHING DAY Signed, oil on canvas 56cm x 41cm (22in x 16in)

£2,000-3,000

62

LY O N & T U R N B U L L Fine Paintings

85 EZ609/17 KATE WYLIE (SCOTTISH 1877-1941) STILL LIFE Signed, oil on canvas 56cm x 69cm (22in x 27in)

£2,000-3,000

85A EZ589/2 KATE WYLIE (SCOTTISH 1877-1941) STILL LIFE OF PANSIES Signed, oil on canvas 31cm x 36cm (12in x 14in)

£1,000-1,500

63

LY O N & T U R N B U L L Fine Paintings

86 EZ589/7 JAMES WHITELAW HAMILTON R.S.A., R.S.W. (SCOTTISH 1860-1932) CHURCH BY THE STREAM Signed, oil on canvas 63cm x 76cm (25in x 30in)

£1,000-1,500

87 EAB191/2 ALEXANDER BROWNLIE DOCHARTY (SCOTTISH 1862-1940) A WOODED HIGHLAND STREAM Signed, oil on canvas 63cm x 76cm (25in x 30in)

£1,200-1,500

64

LY O N & T U R N B U L L Fine Paintings

88 EAB191/3 FRANK HENRY MASON R.B.A., R.I. (BRITISH 1876-1965) THE SANTA MARIA Signed, oil on canvas 69cm x 91cm (27in x 36in)

£2,500-3,500

89 EY939/3 JOHN REID MURRAY (1886-1906) THE STEADING Signed, oil on canvas 25.5cm x 35.5cm (10in x 14in)

£1,000-1,500

65

LY O N & T U R N B U L L Fine Paintings

90 EAB54/1 STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) MIDLOTHIAN LANDSCAPE MOORFOOT HILLS NEAR PATHHEAD Signed, watercolour 38cm x 53cm (14.75in x 21in) Exhibited: Pier Arts Centre, Stromness, Orkney, ‘Stanley Cursiter Centenary Exhibition’, 1987, no.55

£1,000-1,500

91 LB335/1 ALEXANDER HENRY HALLAM MURRAY (BRITISH 1854-1934) THE EIGER, JUNGFRAU AND MONK FROM LATTERBRAU Watercolour 52cm x 83cm (20.5in x 32.75in) Provenance: Paisnel Gallery, London

£1,000-1,500

66

LY O N & T U R N B U L L Fine Paintings

92 EY991/1 TOM SCOTT R.S.A. (SCOTTISH 1854-1927) SELKIRK INTHE SNOW Signed and dated 1915, watercolour 38cm x 53.5cm (15in x 21in)

£3,000-5,000

67

LY O N & T U R N B U L L Fine Paintings

93 EZ575/1 JAMES PATERSON R.S.W., R.S.A., R.W.S. (SCOTTISH 1854-1932) BENMORE NEAR KEILATTER Signed and dated 1930, watercolour 28cm x 38cm (11in x 15in)

£800-1,200

94 EZ385/6 THOMAS MILES RICHARDSON JNR (BRITISH 1813-1890) HIGHLAND CROFTERS Watercolour 27cm x 56cm (10.5in x 22in)

£1,000-1,500

68

LY O N & T U R N B U L L Fine Paintings

95 EZ609/23 STUART PARK (SCOTTISH 1862-1933) A STILL LIFE OF WHITE ROSES Signed, oil on canvas 38cm x 61cm (15in x 20in)

£3,000-5,000

69

LY O N & T U R N B U L L Fine Paintings

96 EZ601/2 MAURICE CANNING WILKS A.R.H.A., R.U.A. (IRISH 1911-1984) GALWAY COTTAGES Signed, inscribed verso, oil on canvas 41cm x 51cm (16in x 20in)

£2,000-3,000

97 EZ585/3 DAVID THOMAS MUIRHEAD A.R.A., A.R.W.S. (SCOTTISH 1867-1930) STONEHAVEN Signed, oil on canvasboard 61cm x 75cm (24in x 30in)

£800-1,200

70

LY O N & T U R N B U L L Fine Paintings

98 EZ585/33 WILLIAM MERVYN GLASS R.S.A., S.S.A. (SCOTTISH 1885-1965) ON THE WEST COAST Oil on canvas 71cm x 91cm (28in x 36in)

£1,200-1,800

99 EAB129/1 SAMUEL JOHN LAMORNA BIRCH R.A., R.W.S. (BRITISH 1869-1955) LOCH FYNE Signed, oil on canvas 31cm x 38cm (12in x 15in)

£400-600

71

LY O N & T U R N B U L L Fine Paintings

100 EAB57/1 WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) SAILING VESSEL OFF THE COAST Signed and dated 1881, oil on canvas 17cm x 31cm (6.75in x 12in)

£3,000-5,000

72

101 EZ623/2 WILLIAM ALFRED GIBSON (SCOTTISH 1866-1931) A MOORLAND PATH Signed, pencil, watercolour and bodycolour

101A LB330/7 SIR EDWARD JOHN POYNTER (BRITISH 1836-1919) HEAD OF A YOUNG WOMAN Signed with a monogram, sanguine

17cm x 24.5cm (6.75in x 9.75in)

19cm x 17cm (7.5in x 6.75in)

£400-600

£1,000-1,500

LY O N & T U R N B U L L Fine Paintings

102 EAB53/2 STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) HOY AND THE ENTRANCE TO SCAPA FLOW Signed, oil on board 25cm x 35.5cm (10in x 14in) Provenance: The Petit Salon, Edinburgh (see label verso)

£3,000-5,000

73

LY O N & T U R N B U L L Fine Paintings

103 EAB141/7 GEORGE EDWARD LODGE (BRITISH 1860-1954) GROUSE IN FLIGHT Signed, gouache 28.5cm x 45cm (11.5in x 17.75)

£800-1,200

104 EZ589/11 ROBERT MCGREGOR R.S.A. (SCOTTISH 1847-1922) TRAVELLING SALESMAN Signed and dated ‘82, oil on canvas 23cm x 31cm (9in x 12in)

£2,000-3,000

74

LY O N & T U R N B U L L Fine Paintings

105 EAB72/1 JOSEPH MILNE (SCOTTISH 1857-1911) LANDSCAPE NEAR NEWBURGH ON TAY Signed and dated ‘92, oil on canvas 25.5cm x 35.5cm (10in x 14in)

£700-900

106 EZ589/5 DAVID FULTON R.S.W. (SCOTTISH 1848-1930) THE LITTLE FISHERGIRL Signed and dated ‘82, oil on canvas 36cm x 61cm (14in x 24in)

£1,500-2,000

75

LY O N & T U R N B U L L Fine Paintings

107 EZ609/14 KATE WYLIE (SCOTTISH 1877-1941) STILL LIFE Signed, oil on canvas 61cm x 46cm (24in x 18in)

£1,000-1,500

108 EAB148/1 HENRY GARLAND (BRITISH c. 1854-1890) WAITING FOR THE FLEET Signed, oil on canvas 46cm x 36cm (18in x 14in)

£1,500-2,000

76

LY O N & T U R N B U L L Fine Paintings

109 EAB112/1 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) THE NEW TOY Signed, oil on board 34cm x 23.5cm (13.5in x 9.25in)

£6,000-8,000

77

LY O N & T U R N B U L L Fine Paintings

110† LB258/3 SYLVIA GOSSE (BRITISH 1881-1968) MRS. ALEXANDRA RUSSELL Signed, signed with initials and titled on labels verso, oil on canvas 60cm x 50cm (24in x 20in) Provenance: Thomas Agnew’s and Sons, London, whence purchased by the present owner

£2,000-4,000

111 EY900/6 JAMES MCBEY (SCOTTISH 1883-1959) PORTRAIT OF TWO SISTERS Signed and dated February 1927, oil on canvas 76cm x 63cm (30in x 25in)

£2,000-3,000

78

LY O N & T U R N B U L L Fine Paintings

112 EAB119/1 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W. (SCOTTISH 1865-1945) THE SILVER LOCKET Signed, oil on canvas 82cm x 71cm (32.25in x 28in)

£800-1,200

113† LB258/6 WILLIAM ROBERTS (BRITISH 1895-1980) A SLADE MODEL Signed, inscribed verso, oil on canvas 46cm x 33cm (18in x 13in) Provenance: Thos. Agnew & Sons Ltd, London

£1,000-1,500

79

LY O N & T U R N B U L L Fine Paintings

114 EY939/4 WILLIAM MCCANCE (SCOTTISH 1894-1970) STILL LIFE WITH MELON Signed and dated ‘27, oil on canvas 41cm x 51cm (16in x 20in) Exhibited: Reading Museum and Art Gallery 1960 Dundee City Museum and Art Galleries 1975 McKechnie Institute Girvan, Ayrshire Arts Festival 1986 Provenance: Artist’s family

£2,000-3,000

115 EAB140/1 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) MISSY Signed and inscribed, oil on canvas 23cm x 30.5cm (9in x 12in)

£600-800

80

LY O N & T U R N B U L L Fine Paintings

116 EY947/1 WILLIAM CRUICKSHANK R.C.A. (CANADIAN 1849-1922) FIR TREES AND MOUNTAINS Inscribed on the stretcher, oil on canvas 31cm x 46cm (12in x 18in) Note: A label verso states ‘Painted by William Cruickshank R.C.A. in circa 1915. Given to Aunt Winifred by the family on her departure from Canada in 1933.’

£800-1,200

117 LB40/2 ROGER FRY (BRITISH 1866-1934) TREES IN SUNLIGHT Signed, oil on board 24cm x 29cm (9.5in x 11.5in)

£2,000-3,000

81

LY O N & T U R N B U L L Fine Paintings

118 EY939/6 ROBERT CECIL ROBERTSON (SCOTTISH fl. 1932-1940) CROWDED ANCHORAGE, SOOCHOW Signed with initials and inscribed verso, oil on canvas 46cm x 60cm (18in x 23.5cm) Provenance: Artist’s family Note: Robertson was married to the artist Eleanor A Moore

£600-800

119 EY939/5 ROBERT CECIL ROBERTSON (SCOTTISH fl. 1932-1940) THE ISLAND TEAHOUSE, KASHING Oil on canvas 46cm x 58.5cm (18in x 23in) Provenance: Artist’s family Note: Robertson was married to the artist Eleanor A Moore

£600-800

82

LY O N & T U R N B U L L Fine Paintings

120 EY655/1 ANNE REDPATH O.B.E., R.S.A., A.R.A., A.R.W.S., R.O.I., R.B.A., L.L.D. (SCOTTISH 1895-1965) STILL LIFE WITH VINE Signed, oil on board 42cm x 53cm (16.5in x 20.75in)

£15,000-20,000

83

LY O N & T U R N B U L L Fine Paintings

121 EY900/5 JAMES MCBEY (SCOTTISH 1883-1959) KILMACOLM Signed, inscribed and dated ‘22 October 1931, pen and ink and watercolour 20cm x 44.5cm (8in x 17.5in)

£600-800

122 EY900/4 JAMES MCBEY (SCOTTISH 1883-1959) DUTCH WASHERWOMAN Signed and dated 1914, pen and ink and watercolour 13.5cm x 28cm (5.5in x 11in)

£800-1,200

84

LY O N & T U R N B U L L Fine Paintings

123 EY939/2 SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., R.S.W., R.A. (SCOTTISH 1898-1973) THE RAINBOW Signed, inscribed with the title on a label verso, oil on canvas 61cm x 66cm (24in x 26in) Exhibited: Scottish Society of Artists, 1943, no.72

ÂŁ6,000-8,000

85

LY O N & T U R N B U L L Fine Paintings

124 EZ271/5 ANNE REDPATH O.B.E., R.S.A., A.R.A., A.R.W.S., R.O.I., R.B.A., L.L.D. (SCOTTISH 1895-1965) STILL LIFE Signed and inscribed ‘Greetings from Anne Redpath’, gouache 8cm x 8cm (3.25in x 3.25in)

£600-800

125 EAB153/1 ROBERT MCGOWN COVENTRY A.R.S.A., R.S.W. (SCOTTISH 1855-1941) GATHERING FIREWOOD Signed, oil on panel 25.5cm x 20cm (10in x 8in)

£1,500-2,000

86

LY O N & T U R N B U L L Fine Paintings

126 EZ385/2 MARY ARMOUR R.S.A., R.S.W. (SCOTTISH 1902-2000) STILL LIFE WITH FIGURE Signed and dated ‘47, oil on canvas 51cm x 66cm (20in x 26in) Exhibited: Royal Scottish Academy 1948, no.160

£2,000-3,000

87

LY O N & T U R N B U L L Fine Paintings

127 EY916/3 JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) PLAYING ON THE ROCKS Signed, watercolour 28cm x 38cm (11in x 15in)

£800-1,200

128 LB330/3 CHARLES EDWARD DIXON (BRITISH 1872-1934) SHIPPING IN THE CITY Signed, watercolour 25.5cm x 39cm (10in x 15.5in)

£2,000-3,000

88

LY O N & T U R N B U L L Fine Paintings

129 EZ629/1 STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) SUSANNAH AND THE ELDERS Oil on canvas 51cm x 61cm (20in x 24in)

£2,000-3,000

89

LY O N & T U R N B U L L Fine Paintings

130 EZ598/1 JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) AT BALSHANDO FARM Signed, signed, inscribed and dated 1989 on label verso, watercolour 38cm x 56cm (15in x 22in)

£2,000-3,000

131 EAB125/1 PAUL MAZE (FRENCH 1887-1979) TWO CHILDREN ON A PARK BENCH Signed, oil on board 26cm x 40cm (10in x 15.75in)

£600-900

90

LY O N & T U R N B U L L Fine Paintings

132 EAB62/1 ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1999) HOUSE AT JAVEA Signed and dated ‘71, oil on canvas 46cm x 53.5cm (18in x 21in)

£4,000-6,000

91

LY O N & T U R N B U L L Fine Paintings

133 LB125/3 JOHN MCNAIRN (SCOTTISH 1910-2009) BORDER LANDSCAPE Signed, inscribed on a label verso,’With Best Wishes from Stella and John McNairn’, oil on board 31cm x 91cm (12in x 36in)

£2,000-3,000

134§ EY974/1 NORMAN EDGAR R.G.I. (SCOTTISH b. 1948) LARGS Signed, oil on canvas 51cm x 76cm (20in x 30in)

£1,000-1,500

92

LY O N & T U R N B U L L Fine Paintings

135 EAB76/1 ANNE REDPATH O.B.E., R.S.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) FARM AT ASHKIRK Signed, and inscribed on the backboard, oil on board 38cm x 51cm (15in x 20in) Provenance: Katie Horsman, a good friend of Anne Redpath

ÂŁ15,000-20,000

93

LY O N & T U R N B U L L Fine Paintings

136 EZ608/1 SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., R.S.W., R.A. (SCOTTISH 1898-1973) HAILES CASTLE, EAST LINTON Signed, pen and ink and watercolour 51cm x 63.5in (20in x 25in)

£2,000-3,000

137 EZ293/20 WILLIAM MERVYN GLASS R.S.A., S.S.A. (SCOTTISH 1885-1965) HEBRIDEAN SHORES Signed with initials, signed and inscribed verso, oil on board 38cm x 46cm (15in x 18in)

£1,000-1,500

94

LY O N & T U R N B U L L Fine Paintings

138 EY588/1 JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) COTTAGES BY A LOCH ON THE WEST COAST Signed and dated ‘36, oil on canvas 71cm x 91cm (28in x 36in)

£8,000-12,000

95

LY O N & T U R N B U L L Fine Paintings

139 EZ558/1 MARY ARMOUR R.S.A., R.S.W., R.G.I. (SCOTTISH 1902-2000) A STILL LIFE OF FRUIT AND FLOWERS Signed and dated ‘68, oil on canvas 51cm x 61cm (20in x 24in)

£4,000-6,000

139A LB330/10 EDWARD SEAGO (BRITISH 1910-1974) A MEDITERRANEAN STREET Signed, watercolour 41cm x 31cm (16in x 12in)

£800-1,200

96

LY O N & T U R N B U L L Fine Paintings

140 EAB93/1 SIR WILLIAM MACTAGGART P.R.S.A., R.A. F.R.S.E., R.S.W. (SCOTTISH 1905-1981) YACHTS NEAR OSLO Signed and dated ‘37, oil on board 46cm x 38cm (18in x 15in) Provenance: Stamped with the studio mark verso, no.27

£4,000-6,000

97

LY O N & T U R N B U L L Fine Paintings

141 EY939/1 SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., R.S.W., R.A. (SCOTTISH 1898-1973) LANDSCAPE NEAR TEMPLE Signed, oil on board 43cm x 53.5cm (17in x 21in)

£3,000-5,000

142 EY916/4 SIR WILLIAM MACTAGGART P.R.S.A., H.R.S.W., H.R.A., L.L.D. (SCOTTISH 1903-1981) THE BASS ROCK Signed, oil on board 18cm x 25.5cm (7in x 10in)

£1,000-1,500

98

LY O N & T U R N B U L L Fine Paintings

143 LB342/1 MARY ARMOUR R.S.A., R.S.W. (SCOTTISH 1902-2000) STILL LIFE WITH FLOWERS AND PEARS Signed and dated ‘47, oil on board 50cm x 60cm (19.75in x 23.5in)

£4,000-6,000

99

LY O N & T U R N B U L L Fine Paintings

144 EAB141/8 ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1999) PIAZZA Signed, mixed media 16cm x 20cm (6in x 8in)

£800-1,200

145 EZ294/4 JOHN HOUSTON R.S.A., R.S.W., S.S.A. (1930-2008) THE BASS ROCK Signed and dated 1963, watercolour 66cm x 81cm (26in x 31.75in)

£1,500-2,000

100

LY O N & T U R N B U L L Fine Paintings

146 LB331/1 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) SUMMER, 1962 Gouache 31cm x 38cm (12.25in x 15in) Provenance: Mercury Gallery, London

£5,000-7,000

101

LY O N & T U R N B U L L Fine Paintings

147 EZ639/1 JOHN HOUSTON R.S.A., R.S.W., S.S.A. (SCOTTISH 1930-2008) STILL LIFE OF SUMMER FLOWERS Signed, oil on canvas 91cm x 71cm (36in x 28in)

£3,000-5,000

102

LY O N & T U R N B U L L Fine Paintings

148 LB333/1 SHEILA FELL R.A. (BRITISH 1931-1979) HOUSES ON BUTTERMERE Oil on canvas 91cm x 70cm (35.75in x 27.5in) Note: Partial label verso suggests that the painting may have been with Roland Browse and Delbanco, London Provenance: Lady Kennet

ÂŁ6,000-8,000

103

LY O N & T U R N B U L L Fine Paintings

149 EZ585/40 SIR ROBIN PHILIPSON R.A., R.S.A., R.S.W., R.G.I., L.L.D., D.LITT. (SCOTTISH 1916-1992) CARDINALS AND CRUCIFIXION Watercolour 56cm x 63.5cm (22.25in x 25in)

£2,000-3,000

150 EZ585/41 SIR ROBIN PHILIPSON R.A., R.S.A., R.S.W., R.G.I., L.L.D., D.LITT. (SCOTTISH 1916-1992) JUDGEMENT OF PARIS PLEIN AIR - THE SECRET Pastel 39cm x 45cm (15in x 17.5in) Exhibited: Royal Academy 1992, no.4

£2,000-3,000

104

LY O N & T U R N B U L L Fine Paintings

151 EZ495/1 SIR ROBIN PHILIPSON R.A., R.S.A., R.S.W., R.G.I., D.L.ITT., L.L.D. (SCOTTISH 1916-1992) BASKET OF FRUIT Signed, inscribed and dated verso ‘Painted for Norman Scott 1986.’ oil on board 46cm x 46cm (18in x 18in)

£10,000-15,000

105

LY O N & T U R N B U L L Fine Paintings

THE FOLLOWING TWELVE LOTS ARE FROM THE COLLECTION OF LEHMAN BROTHERS HOLDINGS INC. 152§ EAB58/7 HOWARD HODGKIN C.B.E. (BRITISH b. 1932) SAND Lithograph with hand colouring, signed with initials, dated ‘83 and numbered 1/50, pub. Petersburg Press 1983 79cm x 102cm (31in x 40.25in)

£1,200-1,800

153§ EAB58/6 HOWARD HODGKIN C.B.E. (BRITISH b. 1932) BLOOD Lithograph with hand colouring, signed with initials, dated ‘83 and numbered 1/50, pub. Petersburg Press 1983, 79cm x 102cm (31in x 40.25in)

£1,200-1,800

106

LY O N & T U R N B U L L Fine Paintings

154ยง EAB58/8 HOWARD HODGKIN C.B.E. (BRITISH b. 1932) FOR BERNARD JACOBSEN Lithograph with hand colouring, signed and numbered 74/80, pub.

B.Jacobsen 1979, 107cm x 76cm (42in x 30in) (on two sheets)

ยฃ2,000-3,000

107

LY O N & T U R N B U L L Fine Paintings

155§ EAB58/9 HAMISH FULTON (BRITISH b. 1946) KENT, ENGLAND, CIRCULAR WALK Photograph with text 1976 63cm x 50cm (24.75in x 19.75)

£700-900

156§ EAB58/12 HAMISH FULTON (BRITISH b. 1946) KENT, ENGLAND, WHITEHALL WOOD Photograph with text 1976 50cm x 63cm (19.75in x 24.75in)

£700-900

108

LY O N & T U R N B U L L Fine Paintings

157ยง EAB58/4 LUCIAN FREUD (BRITISH b. 1922) HEAD OF BRUCE BERNARD Etching, signed with initials and numbered 7/50, pub.

James Kirkham and Brooke Alexander 1985 29.5cm x 30cm (11.5in x 11.75in)

ยฃ8,000-10,000

109

LY O N & T U R N B U L L Fine Paintings

158§ EAB58/11 HAMISH FULTON (BRITISH b. 1946) KENT, ENGLAND, LANDMARK Photograph with text 1976 50cm x 63cm (19.75in x 24.75in)

£700-900

159§ EAB58/10 HAMISH FULTON (BRITISH b. 1946) KENT, ENGLAND, HODE LANE Photograph with text 1976 63cm x 50cm (24.75in x 19.75in)

£700-900

110

LY O N & T U R N B U L L Fine Paintings

160ยง EAB58/5 LUCIAN FREUD (BRITISH b. 1922) IB Etching, signed with initials and numbered 15/50, pub.

James Kirkham and Brooke Alexander 1984 29.5cm x 29.5cm (11.5in x 11.5in)

ยฃ5,000-7,000

111

LY O N & T U R N B U L L Fine Paintings

161 EAB58/13 JIME DINE (AMERICAN b. 1935) WRENCH (FROM TEN WINTER TOOLS) Signed, numbered 1/100 and dated 1973, lithograph 69.5cm x 55cm (27.25in x 21.5in)

and nine other lithographs (10) ÂŁ6,000-8,000 Two from the set of ten illustrated

112

LY O N & T U R N B U L L Fine Paintings

162§ EAB58/15 DEBORAH BELL (BRITISH b. 1974) MEMO RED LION Signed and dated 2006, mixed media 76cm x 55cm (30in x 21.75in)

£800-1,200

163 EAB58/14 ROSS BLECKNER (AMERICAN b. 1949) DREAM AND DO NO.3 Screenprint, signed and numbered 41/75 95cm x 118cm (37.75in x 46.75in)

£500-700

113

LY O N & T U R N B U L L Fine Paintings

164 EAB83/1 WILLIAM GEAR (SCOTTISH 1915-1997) COMPOSITION Signed and dated ‘83, mixed media 23cm x 17.75cm (9in x 7in)

£600-900

165 EY891/17 JOHN HOUSTON R.S.A., R.S.W., S.S.A. (SCOTTISH 1930-2008) STILL LIFE WITH POPPY Signed, oil on canvas 61cm x 51cm (24in x 20in)

£1,500-2,000

114

LY O N & T U R N B U L L Fine Paintings

166 EY634/1 SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.A., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916-1992) SUMMERTIME Signed verso, oil on board 19.5cm x 15cm (7.75in x 6in)

£1,000-1,500

167 EZ585/39 SIR ROBIN PHILIPSON R.A., R.S.A., R.S.W., R.G.I., L.L.D., D.LITT. (SCOTTISH 1916-1992) MAN AND WOMAN V Signed and inscribed verso, oil on board 23cm x 23cm (9in x 9in)

£2,000-3,000

115

LY O N & T U R N B U L L Fine Paintings

168 EZ447/1 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) DENIS Blue conté 12cm x 12cm (4.75in x 4.75in) Provenance: The artist’s family (from an album compiled by the artist’s wife and thence by descent) Exhibited: The Scottish Gallery, S.J.Peploe Drawings, 1994, no.19

£600-800

169 LB336/1 EDWARD BAIRD (SCOTTISH 1904-1949) PORTRAIT OF A BOY (IVOR PIRIE) Pastel 25cm x 21cm (10in x 8.25in) Exhibited: Scottish National Gallery of Modern Art, Edinburgh, Edward Baird, 1992

£400-600

116

LY O N & T U R N B U L L Fine Paintings

170ยง EZ284/1 BRENT MILLAR (SCOTTISH CONTEMPORARY) FISH AND LILY POND Signed, oil on canvas 152cm x 101.5cm (60in x 40in)

ยฃ2,000-4,000

117

LY O N & T U R N B U L L Fine Paintings

171ยง EAB69/1 ELIZABETH VIOLET BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT. (SCOTTISH b. 1931) ANEMONES, RANUNCULUS AND NARCISSI Signed and dated 1998, pencil and watercolour 44cm x 53cm (17.25in x 20.75in)

ยฃ2,500-4,000

118

LY O N & T U R N B U L L Fine Paintings

172 EZ656/8 SIR KYFFIN WILLIAMS R.A. (WELSH 1918-2006) PONIES IN A FIELD Signed with initial, watercolour on paper 40.5cm x 57.5cm (16in x 22.5in) Provenance: Bernard Dunstan R.A

ÂŁ5,000-7,000

119

LY O N & T U R N B U L L Fine Paintings

173 LB341/2 BERNARD MEADOWS (BRITISH, 1915-2005) DRAWING FOR SCULPTURE, 1977 Pencil and wash on paper 11.4cm x 17.8cm (4.5in x 7in)

and another by the same hand (2) Provenance: Taranman, London Villand and Galanis, Paris

ÂŁ800-1,200

120

LY O N & T U R N B U L L Fine Paintings

174ยง EZ656/1 JOHN BELLANY (SCOTTISH b. 1942) SCARLET TULIP Signed and inscribed, oil on canvas, unframed 121cm x 91cm (47.5in x 35.75in)

ยฃ4,000-6,000

121

LY O N & T U R N B U L L Fine Paintings

175ยง EZ656/6 JOHN BELLANY (SCOTTISH b. 1942) STILL LIFE Signed and inscribed, oil on canvas, unframed 91cm x 121cm (35.75in x 47.5in)

ยฃ3,000-5,000

122

LY O N & T U R N B U L L Fine Paintings

176ยง EZ656/11 JOHN BELLANY (SCOTTISH b. 1942) FROM THE MOUNTAIN TO THE SEA Signed and inscribed, oil on canvas, unframed 91cm x 91cm (35.75in x 35.75in)

ยฃ2,000-3,000

123

LY O N & T U R N B U L L Fine Paintings

177 EAB101/1 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) STILL LIFE WITH FRUIT AND ANEMONES Signed, oil on board 41cm x 31cm (16in x 12in) Provenance: Estate of the late Mrs Hilda Millar.

Mrs Millar was the widow of James Morrison McChlery, auctioneer and artist. The present painting is one of a group of four Hunter works acquired by Morris McChlery in London in the late 1960s. One painting from the group was gifted

by Mrs Millar to the City of Glasgow Council in memory of her husband following his death in 1969; it is held in the city's Kelvingrove Art Gallery

£30,000-50,000

Born in Rothesay, on the island of Bute, George Leslie Hunter’s still lifes are undoubtedly among the most vibrant and modern of Scottish paintings of the early 20th century. Largely selftaught, Hunter started his career as a magazine illustrator before turning for inspiration to the work of 17th century Dutch masters and the later Fantin Latour and Edouard Manet. Hunter’s early still life’s echo the latter’s pre-occupation with broadly modelled forms emerging from a dark backbackground.

It is not known how the artist’s work became known to the dealer Alexander Reid but this partnership, which resulted in Hunter’s first solo exhibition in Glasgow in 1916 and the creation of a circle of regular collectors of Hunter’s work, gave the artist much more financial freedom and allowed him to visit the Continent, Paris and the South of France in particular on regular intervals. These

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visits allowed the artist to come into contact with the most recent developments in France, namely the growing eminence of Paul Cézanne and the newly exhibited work of Matisse and Picasso.

Matisse’s palette and approach to texture, pattern and a non-linear representation of space in particular was to have a radical influence on Hunter’s work and can be seen in the present canvas, in the bold emphasis on the pattern of the fabric on the right, as well as the strong dark brush strokes outlining the vase, the flowers and the pear, emphasising the importance of line and pattern in creating volume and a perception of pictorial architecture.

Hunter did not, however, create a mere pastiche of the Frenchman’s work. When the Scotsman’s paintings were shown in New York in 1929, the critic for the New York Evening Post noted; '... it would be difficult not to think of Matisse at first viewing of

this exhibition. Yet, after looking at it longer one sees that there has been an influence of Matisse, but that here is a new individual palette and personality.' (T. J. Honeyman, Introducing Leslie Hunter, 1937, p. 135).

The present work exemplifies Hunter’s late, vibrantly colourful style at its best.

125

LY O N & T U R N B U L L Fine Paintings

178 EZ602/1 LESLIE HUNTER (SCOTTISH 1877-1931) A STILL LIFE OF FRUIT AND VASE ON A TABLE-TOP Signed, oil on panel 35.5cm x 46cm (14in x 18in) Provenance: Christie’s at Hopetoun House, October 15th, 1969 when acquired by the current vendor

£20,000-30,000

126

LY O N & T U R N B U L L Fine Paintings

179 LB341/1 GEORGE KEYT (SRI LANKAN 1901-1993) RECLINING LADY Signed and dated ‘58, oil on panel 53.5cm x 65cm (21in x 25in)

£6,000-8,000

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128

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180 EZ603/1 SAMUEL JOHN PEPLOE R.S.A. (1871-1935) NEAR DOUGLAS HALL Signed, oil on panel 32cm x 41cm (12.5in x 16in) Note: This painting dates from 1917 for a similar view see Art Gallery of New South Wales no.9034.

We are grateful to Guy Peploe for his assistance in cataloguing this lot.

£30,000-50,000

Samuel John Peploe’s oil Near Douglas Hall succinctly demonstrates the Colourist’s masterful use of strong colour, his tight compositions and meticulous execution.

Peploe was educated at the Trustees' Academy in Edinburgh, at the Academie Julian in Paris under the neoclassicist William Bouguereau, and later at the Academie Colarossi.

He began visiting and painting in northern France and the Hebrides with J D Fergusson as early as 1901 and eventually moved to Paris in 1910. The exposure to the rich artistic climate of the continent, the light palettes of Cézanne and the Impressionists had a dramatic effect on his work.

It was in that decade that his landscapes and still life’s underwent a dramatic change, with the introduction of bolder, lighter colours, more painterly brushstrokes.

Peploe returned to Scotland in 1915 with his family as war on the Continent made life more unpredictable, and his health was considered too poor for conscription. It was in the second half of the decade that he painted a small series of landscapes around Douglas Hall, Kirkcudbright, Laggan and Dalbeattie in the southwest of the country. The area was already a popular destination for artists in the nineteenth century and Peploe found much to occupy him here. In these landscapes, as exemplified here, Peploe used a much more natural palate and a more structured approach to the composition. The dark outline emphasised the linear planes of the flat picture plane, focusing on the medium rather than the subject matter.

conventional aerial or geometrical perspective strategies of earlier traditional painters. The perfectly harmonised shades of green are layered along the pictorial plane to lead our eye into the idyllic haystack landscape and to the hills beyond. The swell of the land in the distance is impossible to separate from Cézanne’s beloved Mont St Victoire in Provence, which Peploe would have been thoroughly familiar with, from his time spent in France in the first half of the decade.

Peploe uses the diminishing posts along the path to convey depth, rather than more

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130

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181 EY907/1 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) IONA Signed, oil on board 33cm x 41cm (13in x 16in) Provenance: A gift from Mrs Peploe

£30,000-50,000

The island of Iona became a place of personal inspiration for Samuel John Peploe and it has often been referred to as his Mont St Victoire. Peploe first visited Iona in 1920 with fellow Colourist Cadell. He was to return most years until his death in 1935. The dramatic landscape with enormous craggy rocks emerging from white sands, under a constantly shifting light more than made up for the wild weather of the island, which was known to frustrate him. He wrote to his friend William Macdonald in 1923, 'We had miserable weather in Iona this year - worst in living memory - gales and rain the whole time. I got very little done. But that kind of weather suits Iona; the rocks and distant shores seen through falling rain, veil behind veil, take on an

elusive, mysterious quality, and when the light shines through one has visions of rare beauty. I think I prefer it these days to your blue skies and clear distances' (Stanley Cursiter, Peploe, London, 1947, p. 71).

seemingly provided an emotional sustenance for the artist: ‘the island was of far more significance for Peploe.

It was a sanctuary. He felt in tune with this place.' (Guy Peploe, S. J. Peploe 18711935, 2000, p. 65)

Peploe engaged with these surroundings passionately.

The ruggedness of the rocks and expansive beaches had a tremendously liberating effect on his technique. His compositions were simplified even further, often coming close to abstraction and establishing an invaluable precedent for Scottish Modernist artists to follow.

The paintings he produced on the island were incredibly popular with collectors and did much to ensure his financial stability in the second half of his career.

More importantly, Iona also

S J Peploe’s iconic West Coast view of Iona holds a special place in the history of the Scottish Arts Club as it was personally donated to the Club by the widow of the artist. It is not known if Peploe was a member of the Club or not but it seems inevitable that he would have enjoyed the hospitality of the elegant Georgian Club house as a guest of other artist members.

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INDEX Adam, J.D., 58 Anderson, S., 40 Armour, M,. 126, 139, 143 Baird, E., 169 Beattie-Brown, W., 52 Bell, D., 162 Bellany, J., 174, 175, 176 Birch, S.J.L., 99 Blackadder, E.V., 171 Bleckner, R., 163 Blommers, B.J., 57 Bough, S., 8, 10 Bradley, B., 77, 79 Cameron, Sir D.Y., 112 Carmichael, J.W., 43 Carter, S.J., 59 Clifford, E., attributed to, 41 Coventry, R.M., 55, 125 Crawford, E.T., 13 Crawford, W.C., 49 Cruickshank, W., 116 de le Peña, N.V.D., 69 di Campidoglio, M., manner of, 18 Dine, J., 161 Dixon, C.E., 128 Doharty, A.B., 87 Downie, P., 6 Eardley, Joan 146 Edgar, N., 134 English School, 24, 26 Farquharson, D., 38, 54 Fell, S., 148 Frazer, W.M., 1

French School, 16 Freud, L., 157, 160 Fry, R., 117 Fulton, D., 106 Fulton, H., 155, 156, 158, 159

il Guercino, G., follower of, 19 Italian School, 20, 28

MacWhirter, J., 5 Marquis, J.R., 33 Martin, D., 45 Mason, F.H., 88 Maze, P., 131 McBey, J., 111, 121, 122 McCanc, W., 114 McEwan, T., 83 McGeehan, J., 84 McGhie, J., 63, 82 McGregor, R., 104 McGregor, R., 44 McGreor, R., 71, 72 McLea, J.W., 9 McNairn, J., 133 McTaggart, Sir., 140, 142 McTaggart, W., 70, 100 Meadows, B., 173 Melrose, A., 62 Millar, B., 170 Milne, J., 105, 138 Milne, J.M., 127 Mitchell, J.C., 4 Morris, J., 64 Morrocco, A., 132, 144 Morton, T.C., 50 Muirhead, D.T., 97 Murray, A.H.H., 91 Murray, J.R., 89

Keyt, G., 179

Nasmyth, E., 12

Laing, J.G., 74, 78 Lamond, W.B., 56 Lawton, Sir J., 61 Lodge, G.E., 103

Park, S., 73, 95 Paterson, J., 93 Patrick, J.M., 130 Philipson, Sir R., 149, 150, 151, 167 Poilpot, T., 32 Poynter, Sir E.J., 101A

Garland, H., 108 Gauld, D., 48 Gear, W., 164 Gibson, W.A., 42, 68, 101 Gillies, Sir W.G., 123, 136, 141 Glass, W.M., 98 Gosse, S., 110 Greaves, W., 39 Grubacs, C., 21 Hardy, J. Jnr., 36 Harvey, N., 46 Highmore, J., 25 Hodgkin, H., 152, 153, 154 Hough, W., 47 Houston, J., 145, 147, 165 Hunt, W.H., 11 Hunter, G.L., 177 Hunter, L., 178 Hutchison, R.G., 109, 115

Macleay, M., 7 MacWhirter J., 66

The following expressions with their accompanying explanations are used by Lyon & Turnbull as standard cataloguing practice. Our use of these expressions does not take account of the condition of the lot or the extent of any restoration.

Name(s) or Recognised Designation of an Artist without any Qualification In our opinion a work by the artist

Buyers are recommended to inspect the property themselves. Written condition reports are usually available on request.

Studio of ... / Workshop of ...

In our opinion a work executed in the studio or workshop of the artist, possible under his supervision

Attributed to...

In our opinion probably a work by the artist in whole or in part.

Circle of ...

In our opinion a work of the period of the artist and showing his influence.

Follower of ...

In our opinion a work executed in the artist’s style but not necessarily by a pupil.

Manner of ...

In our opinion a work executed in the artist’s style but of a later date After ...

In our opinion a copy (of any date) of a work of the artist.

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Redpath, A., 120, 124, 135 Reid, J.R., 75 Richardson, T.M., 94 Roberts, W., 113 Robertson, R.C., 118, 119 Rolfe, H.L., 35 Rosa, Salvator, follower of, 22 Royle, H., 2 Rusell, J., 34 Scott, T., 92 Seago, E., 139A Serres, R., 27 Sigmund, B., 65 Smart, J., 67 Sunqua, attributed to, 30 Taylor, J.F., 53 ter Meulen, F.P., 3 Thorburn, A., 37 Underhill, F.T., 60 van Severdonck, F., 80 van Swanevelt, H., attributed to, 17 Verbruggen, G.P., the Younger, attributed to, 15 Vermeulen, A., attributed to, 23 von Stutterheim, R., 81 Walters, S., 31 Whitelaw, J., 86 Wilks, M.C., 96 Williams, H. 'Grecian' W., 14 Williams, Sir K., 172 Wylie, K., 85, 85A, 107

Signed ... / Dated ... / Inscribed ... / In our opinion the work has been signed/dated/inscribed by the artist.

Bears Signature ... / Date ... / Inscription ... / In our opinion the signature/date/inscription appears to be by a hand other than that of the artist.

Dimensions are given height before width.

Fine Jewellery and Silver Tuesday, 8th June, 2010 33 Broughton Place, Edinburgh An Art Nouveau enamelled, pearl and diamond set brooch of open foliate scroll design, set to the centre with four off-round pearls, suspending a similar pearl drop (pearls untested), to a pale green and peach enamelled ground, additionally set with old European and single cut diamond floral clusters 4.9cm x 4.8cm

ÂŁ4,000-5,000

Viewing times Friday 4th June 10am - 5pm Sunday 6th Jne 2pm - 5pm Monday 7th June 10am - 5pm Morning of Sale from 9am Enquiries

Trevor Kyle or Colin Fraser Tel: +44 (0)131 557 8844 E-mail: trevor.kyle@lyonandturnbull.com

Illustrated catalogue ÂŁ15 plus postage and packing

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ESSA

www.essa-scottishart.com

26th - 30th June Silent Auction of Fine and Applied Art in association with; Lyon & Turnbull Fine Art Auctioneers 33 Broughton Place Edinburgh Raising funds for the Exhibiting Societies of Scottish Artists ESSAauction@gmail.com

Fine American & European Paintings & Sculpture 06/13/10

Exhibition: Thursday, June 11th & Friday, June 12th 10am-5pm Saturday, June 12th, 2010 Noon-5pm Inquiries: 267.414.1211 anichol@freemansauction.com DAVID WEISS 267.414.1214 dweiss@freemansauction.com LIBIA ELENA MENDEZ 267.414.1210 lmendez@freemansauction.com ALASDAIR NICHOL

BERNARDUS JOHANNES BLOMMERS (DUTCH 1845-1914) AT THE BEACH Signed and dated 'Blommers 80' bottom right, oil on canvas 31 1/4 x 46 1/4 in. (79.4 x 117.5cm) provenance: Private Collection, Pennsylvania $80,000-120,000

www.freemansauction.com

Fine Antiques Wednesday, 30th June, 2010 33 Broughton Place, Edinburgh

IRISH GEORGE II MAHOGANY SIDE TABLE CIRCA 1750 the moulded rectangular top above an ornate high relief shell and foliate scroll carved frieze centred by a mask motif, raised on acanthus carved cabriole legs terminating in trefoil feet 120cm wide, 77cm high, 64cm deep

ÂŁ8,000-12,000

Viewing times Sunday 27th June 2pm - 5pm Monday 28th and Tuesday 29th June 10am - 5pm Morning of Sale from 9am Enquiries

Victoria Crake or Lee Young Tel: +44 (0)131 557 8844 E-mail: victoria.crake@lyonandturnbull.com

Illustrated catalogue ÂŁ15 plus postage and packing

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CONDITIONS OF SALE

5. VALUE ADDED TAX

Lyon & Turnbull carries on business with bidders, buyers and all those present in the auction room prior to, or in connection, with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.

Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots.

1. DEFINITIONS

(1) Immediately a lot is sold you will:

In these Conditions: (a) "Auctioneer" means the firm of Lyon & Turnbull or its authorised auctioneer, as appropriate; (b) "deliberate forgery” means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which, at the date of the sale, had a value materially less than it would have had if it had been in accordance with the description; (c) "hammer price" means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) "terms of consignment" means the stipulated terms and rates of commission on which Lyon & Turnbull accepts instructions from sellers or their agents; (e) "total amount due" means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) "sale proceeds" means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising; (g) "You", "Your", etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate.

2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer's absolute discretion. (c) Bidders shall be deemed to act as principals. (d) Once made, no bid may be withdrawn. (e) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.

3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion.

4. THE PURCHASE PRICE The buyer shall pay the hammer price together with a premium thereon.

Antiques, Jewellery & Silver and Pictures (Not Fine Sales) 17.5%.

All other sales (Fine/Special/Collections) 25% up to £25,000 / 20% thereafter.

VAT will be charged on the premium at the rate imposed by law.

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6. PAYMENT (a) pay to us the total amount due in cash or in such other way as is agreed by us.

We accept cash, bank transfer (details on request), Switch or Debit Cards and Visa or MasterCard (please note there is a surcharge of 1.5% (VAT included) when using credit cards). We do not accept American Express.

(2) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.

retain possession of) any of your property in our possession for any purpose until the debt due is satisfied.

(2) We shall, as agent for the seller and on their behalf pursue these rights and remedies only as far as is reasonable to make appropriate recovery in respect of breach of these Conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

10. COMMISSION BIDS

(2) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment after which you shall be responsible for any removal, storage and other associated charges.

While prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we shall if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer or our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made.

(3) No purchase can be claimed or removed until it has been paid for.

11. WARRANTY OF TITLE AND AVAILABILITY

(4) It is the buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main saleroom.

The seller warrants to the auctioneer and to you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims.

7. TITLE AND COLLECTION OF PURCHASES (1) The ownership of any lots purchased shall not pass to you until you have made payment in full to us of the total amount due.

8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (1) If any lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (a) to proceed against you for damages for breach of contract; (b) to rescind the sale of that lot and/or any other lots sold by us to you; (c) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs).

Any surplus so arising shall belong to the seller; (d) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (e) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (f) to retain that or any other lot sold to you until you pay the total amount due; (g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) to apply any proceeds of sale of other lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to

12. AGENCY The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.

13. TERMS OF SALE The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot.

14. STANDARD VENDOR FEES AND CHARGES (Subject to VAT) (1) Commission: 15% of the first £3000 and 10% thereafter is charged on the selling price of each lot (subject to a minimum charge of £30). Loss and damage warranty: 1.5% on value of lots sold.

Photography: max £40 mono per lot, max £250 colour. Internet Service: £10 per lot.

(2) If a vendor wishes to withdraw a catalogued lot, a withdrawal fee will apply at the auctioneer’s discretion; this will be charged at 10% mid estimate.

15. DESCRIPTIONS AND CONDITION (1) While we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements

by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer or our employees or agents or the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 “information to buyers”.

(2) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation.

16. FORGERIES Notwithstanding the preceding Condition, any Lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer's premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition.

The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

GENERAL 17. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

18 (1) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate.

(2). Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them.

19. Any notice to any buyer, seller, bidder or viewer may be given by first class mail in which case it shall be deemed to have been received by the addressee 48 hours after posting.

20. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing at the commencement of the catalogue.

21. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect.

22. Scottish law applies to the interpretation of these Conditions.

Waverley Station

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Parking Multi-storey car parking is available at Greenside Place and in the St. James Centre; five minutes walk from the saleroom.

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Smaller items Mailboxes Etc 44/46 Morningside Road Edinburgh EH10 4BF Tel: +44 (0)131 556 6226 Fax: +44 (0)131 652 3673 Email: edinburgh@mbescotland.com

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Packing and Shipping Please note that we do not pack or ship items. The following suggested carriers will be able to arrange packing and shipping; please contact them directly to receive a quote.

You may wish to contact an alternative courier.

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Local Deliveries Local deliveries can be arranged by A&S Pert Removals.

Telephone 07876 343520.

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Lyon & Turnbull saleroom

St Andrew Square

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Furniture and larger items Constantine Constantine House North Caldeen Road Coatbridge North Lanarkshire ML5 4EF Tel: +44(0)1236 750055 Fax: +44(0)1236 750077 E-mail: enquiries@constantinemoving.com A Van Man Transport Unit 5, Benridge Park Holyrood Close, Creekmoor Poole, Dorset BH17 7BD Tel: +44 (0)1202 600 012 Fax: +44 (0)1202 600 206 Email: office@avmt.co.uk Fine Art Carriers Gallery Support Group 37 Cremer Street London E2 8HD Tel: +44 (0)20 7729 6692 Email: info@gallerysupportgroup.com

Arrangements for Sold Lots All bought items will be held free of charge at Broughton Place until the Friday following the sale.

Thereafter lots will be removed to store in Edinburgh and a charge incurred.

Administration fee: £20 + VAT Storage charges per lot per day are: Large Items £5 inc. insurance + VAT Small Items £2.50 inc. insurance + VAT Catering Refreshments will be available at the saleroom on view days and day of sale.

© Lyon and Turnbull Ltd. 2010. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted by any form or by any means without the prior written permission of Lyon and Turnbull Ltd.

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

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

11-12 Pall Mall, London SW1Y 5LU Tel +44 (0)20 7930 9115 Fax +44 (0)20 7930 9629