Fine Paintings Auction - 1st December 2010

EDINBURGH Fine Paintings

Wednesday 1st December 2010 33 Broughton Place Edinburgh

Fine Paintings Wednesday 1st December 2010 at 11am Sale Number LT302

In association with

The Royal Glasgow Institute of the Fine Arts

Viewing Friday 26th November 10am - 5pm Sunday 28th November 2pm - 5pm Monday 29th November 10am - 5pm Tuesday 30th November 10am - 5pm (restricted viewing) Morning of sale strictly by appointment only

Specialists Nick Curnow nick.curnow@lyonandturnbull.com Elena Ratcheva elena.ratcheva@lyonandturnbull.com Rebecca Wall rebecca.wall@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 EAA292/1 CHARLES OPPENHEIMER R.S.A., R.S.W. (SCOTTISH 1876-1961) ON THE DEE, KIRKCUDBRIGHT Signed, watercolour 46cm x 56cm (18in x 22in)

£1,500-2,000

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2 EAA289/3 SIR JAMES LAWTON WINGATE R.S.A. (SCOTTISH 1846-1924) HARVEST, ARRAN Signed, oil on canvas 32cm x 50cm (12.5in x 19.75in)

£500-700

3 EAA267/21 JOSEPH MORRIS HENDERSON R.S.A. (SCOTTISH 1864-1936) THE CULLIN HILLS, FROM MORAR NEAR MALLAIG Signed, oil on canvas 49cm x 74cm (19.25in x 29in)

£700-900

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4 EAC169/1 ROBERT RUSSELL MACNEE R.I. (SCOTTISH 1880-1952) CHICKENS ON A SUNLIT PATH Signed and dated ‘24, oil on canvas 36cm x 46cm (14in x 18in)

£2,000-3,000

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5 EAA570/2 DAVID WEST R.S.W. (SCOTTISH 1868-1936) MELROSE BAY, MACDUFF Signed, watercolour 51cm x 68cm (20in x 26.75in)

£1,500-2,000

6 EAC99/9 PATRICK DOWNIE R.S.W. (SCOTTISH 1854-1945) OFF THE AYRSHIRE COAST Signed, watercolour 36cm x 52cm (14in x 20.5in)

£1,000-1,500

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7 EAA449/6 THOMAS MARIE MADAWASKA HEMY (BRITISH 1852-1937) SHIPPING ON THE THAMES, TOWER OF LONDON IN THE DISTANCE Signed and dated 1883, watercolour 63cm x 101.5cm (25in x 40in)

£2,000-3,000

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

8 EAA416/10 HUGH MUNRO R.G.I. (SCOTTISH 1875-1928) IONA AND RAIN Signed and dated ‘19, oil on canvas 51cm x 71cm (20in x 28in)

£2,000-3,000

9 EAA289/2 SIR JAMES LAWTON WINGATE R.S.A. (SCOTTISH 1846-1924) SUNLIT ESTUARY Signed, oil on canvas 40cm x 50cm (16in x 19.75in)

£600-800

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10 EAC169/2 WILLIAM MILLER FRAZER R.S.A. (SCOTTISH 1864-1961) WIND IN THE REEDS Signed, oil on canvas 61cm x 91cm (24in x 36in)

£3,000-5,000

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

11 EAA570/3 THOMAS BUNTING (SCOTTISH 1851-1928) BALMORAL CASTLE FROM THE DEE Signed, watercolour 36cm x 55cm (14in x 21.75in)

and a companion a pair (2) £2,000-3,000

12 EAA570/5 JACKSON SIMPSON (SCOTTISH 1893-1963) FISHING FROM THE BOAT Signed, watercolour 32cm x 43cm (12.5in x 17in)

£500-700

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13 EAC99/5 JOSEPH FARQUHARSON R.A. (SCOTTISH 1846-1935) PASSING STORM Signed and dated 1909, oil on canvas 51cm x 76cm (20in x 30in)

£2,000-3,000

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14 EAA875/5 WILLIAM STEWART MCGEORGE R.S.A. (SCOTTISH 1861-1931) ON THE SOLWAY Signed, oil on board 31cm x 41cm (12in x 16in)

£800-1,200

15 EZ794/22 WILLIAM WATT MILNE (SCOTTISH fl. 1888-1915) THE CROSS BY THE ROAD Signed, oil on panel 25.5cm x 36cm (10in x 14in)

£1,000-1,500

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

16 EZ338/9 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) STREET SCENE, EXETER Signed, oil on board 61cm x 51cm (24in x 20in)

£6,000-8,000

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

17 EAA875/1 JOE MILNE (SCOTTISH 1857-1911) REPAIRING THE BARGES Signed and dated 1921, oil on canvas 41cm x 61cm (16in x 24in)

£1,500-2,000

18 EAC99/10 CHARLES JAMES LAUDER R.S.W. (SCOTTISH 1840-1920) SHIPPING ON THE CLYDE Signed and dated ‘79, oil on canvas 25.5cm x 46cm (10in x 18in)

£1,000-1,500

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

19 EAC73/1 SIR DAVID YOUNG CAMERON R.A., R.S.A. (SCOTTISH 1865-1945) SCHIEHALLION Signed, oil on canvas 76cm x 117cm (30in x 46in)

£10,000-15,000

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20 EAC99/12 WILLIAM MILLER FRAZER R.S.A. (SCOTTISH 1864-1961) FISHING FROM A PUNT Signed, oil on canvas 33cm x 46cm (13in x 18in)

£1,500-2,000

21 EAC96/1 WILLIAM DARLING MCKAY R.S.A. (SCOTTISH 1844-1924) HAYMAKERS AT WORK NEAR GLADSMUIR WITH THE PENTLANDS IN THE DISTANCE Signed with initials, oil on canvas, artist label verso 40cm x 57cm (15.75in x 22.5in)

£1,000-1,500

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

22 EY122/1 ERSKINE NICOL R.S.A., A.R.A. (SCOTTISH 1825-1904) THE LAST DROP Signed and dated 1872, oil on canvas 64cm x 51cm (25in x 20in)

£8,000-12,000 17

PORTRAITS FROM MOURNE PARK Mourne Park is the secluded and history-filled seat of the Kilmorey family, who have been in the Newry and Mourne area of Northern Ireland since the mid 1500s. Predecessor Sir Nicholas Bagnall was granted extensive lands and a title in Newry and Mourne in 1552 by Edward VI for his military help against Irish chiefs in their clashes with the Tudor dynasty. The Bagnall family married into the Nedham (Needham today) family and the Bagnall name died out in 1708. The Nedham family hailed from Shropshire, where their main seat stood at Shavington. Mourne Park was a summer house until the 3rd Earl of Kilmorey’s extravagant lifestyle and spending led to its sale and the family moving to Ireland permanently in the nineteenth century.

The present group of three portraits have been in the Kilmorey family’s possession since each of them were painted. They beautifully illustrate the changes English portraiture underwent in the just over hundred years that separate them.

The first work is typical of Elizabethan courtly portraiture, with its very formal composition, lack of concern for rational anatomy and real depth of character but immense interest in costume and portraying the sitter in an appropriately formal

23 EAA567/1 ATTRIBUTED TO ROBERT PEAKE THE ELDER (BRITISH c. 1551-1619) THREE-QUARTER LENGTH PORTRAIT OF THE FIRST VISCOUNT OF KILMOREY Inscribed and dated 1598, oil on panel 127cm x 102cm (50in x 40in)

£10,000-15,000

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The attribution of lot 23 to the portraitist Robert Peake is based on the strong stylistic similarities between this likeness of Nedham to other works by Peake of the English nobility such as Elizabeth D’Oyly, in the Norwich Castle Museum and Elizabeth Poulet in the Berger Collection in Denver. The composition of the male sitter also bears strong resemblance to the Portrait of John Braddyll of Portfield and Whalley (15571616) from 1580s also attributed to Peake by Philip Mould, London.

and dignified manner. The portrait of the 4th Viscount of Kilmorey attributed to John Hayls possesses the dynamism and psychological depth which filtered into portraiture by the middle of the seventeenth century, whereas the Portrait of the Duke of Schomberg attributed to Kneller demonstrates fully the sumptuous technique and keen attention to texture and drama which made Godfrey Kneller the foremost portrait painter of the late 17th and early 18th century.

The Nedhams’ connection to Ireland goes back to the Plantation of Ireland during James I and Charles I’s reigns. The process of ‘Planting’ Ireland began during the reign of Henry VIII but made significant progress under James I, Charles I and Cromwell. It involved confiscating land from Gaelic clans and Hiberno-Norman dynasties and populating it with settlers from England, Scotland and Wales, who were Protestant and English-speaking, thus altering the demographic of Ireland, most successfully in Ulster and Munster. The Nedhams were one of the families which took part in the ‘colonisation’ of Ireland under James I and for his support, the sitter, Sir Robert Nedham was granted the feudal Barony of Orhera in 1613 and was created Viscount Kilmorey by Charles I in 1625.

The three-quarter length format and style place it firmly at the centre of Elizabethan portraiture. Born in Lincolnshire, Peake was appointed sergeant painter to James I in 1607, sharing the office with John De Critzt.

Peake was already a popular society portraitist by the 1580s but he undertook the official task of painting the royal likeness when he entered in the service of James I. A significant portrait of James I’s second son, then Prince Charles, Duke of York, and the future Charles I was

commissioned from Peake by the Vice-Chancellor of Cambridge University in 1613 for £13.6s.8d which still hangs in Cambridge University Library today. The present work depicts Robert as a young man with the Nedham (Needham) family coat of arms to the left and a cloak over his left shoulder.

His visage is quiet but confident and his manner and dress refined – a courtier similarly at ease at court and in the countryside.

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

24 EAA567/2 JOHN HAYLS (BRITISH ?-1679) THREE-QUARTER LENGTH PORTRAIT OF THE FOURTH VISCOUNT OF KILMOREY Oil on canvas 127cm x 102cm (56in x 40in)

ÂŁ10,000-15,000

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Lot 24 depicts Charles Nedham, 4th Viscount of Kilmorey, the grandson of the 1st Viscount of Kilmorey depicted in lot 23, who succeeded to the title after the death of his half-brother Robert Nedham, the 3rd Viscount in 1657. In 1659 along with other Royalists, some of them from the aristocracy, he was involved in the unsuccessful uprising on behalf of King Charles II known as the Booth Uprising.

Nedham liaised with the Earl of Derby and Sir George Booth, a particularly active Royalist in that uprising, at Warrington. Richard Cromwell's intelligence managed to infiltrate the conspiracy and many of those involved were intercepted before the insurgence had taken place. Nedham was arrested the same year and he died in prison in 1660, unlike Booth and Derby who both escaped conviction and survived the Tower of London, later returning to their lands and flourishing when Charles

II was indeed reinstated as King in May 1660.

The painting, attributed to John Hayls is very different from the depiction of his grandfather by Peake. The sitter is portrayed in a most dynamic composition, his body facing away from the viewer and into his private space yet turning his head to look back towards us, as if interrupted mid-stride. He is clearly depicted as a man of action, his sword prominently in the centre of the foreground. Diarist Samuel Pepys wrote of Hayls quite frequently and commissioned first a portrait of his wife and then one of himself from Lely's contemporary and rival. Pepys's description of sitting for Hayls: 'I sit to have it full of shadows, and do almost break my neck looking over my shoulder to make the posture for him to work by.

(17th March 1666)' curiously echoes the very dramatic posture of Charles

Nedham, much more so than Pepys's own portrait, now in the National Portrait Gallery in London. Pepys was to become a firm friend to the artist. Hayls was greatly influenced by Anthony Van Dyck, both in his handling of paint and in his compositions - he was known to use a Van Dyck composition directly and just add his sitter's head. The unusual pose of glancing back at the viewer may be related to two of Van Dyck's Self-Portraits where the artist depicts himself from the waist-up looking over his shoulder. Hayls demonstrates his great skill in observing the variety of textures in his sitter's dress -the gleaming armour, intricate embroidery on the sleeve and luxurious velvet of the green cloak.

There is far more intensity in the sitter's expression and gaze, than in the portrait of his grandfather father several decades earlier.

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

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25 EAA567/3 STUDIO OF SIR GODFREY KNELLER (BRITISH 1646-1723) THREE-QUARTER LENGTH PORTRAIT OF THE DUKE OF SCHOMBERG Oil on canvas 127cm x 101cm (50in x 40in)

£4,000-6,000

The Duke of Schomberg (1616-1690) is spectacular subject matter for a formal portrait, depicting one of the great professional soldiers and military leaders of 17th century Europe, the ‘Ablest Soldier of his Age’, as Matthew Glozier has subtitled his recent biography of the Heidelberg-born Mashal Schomberg. An orphan from an early age, he began his career in the service of Frederick Henry, Prince of Orange, eventually serving Sweden, France, the Dutch Republic, Brandenburg and Britain in their military endeavours. He was a Marshal of France and a General in the English and Portuguese armies, was awarded the title of Count of Mértola by the King of Portugal, the Order of the Garter and created Duke of Schomberg in the English Peerage.

As historians have noted, Schomberg was one of the

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last international soldiers and military leaders, prospering at a time when borders in Europe were more permeable and there was a constant need for experienced military leaders.

That became less the case towards the end of the

seventeenth century when different governments took more control of their armies.

An inflexible Protestant, Schomberg married a French Huguenot woman and eventually led William II’s armies against the Jacobite supporters of James II in

Ireland, second-in-command to the Prince of Orange. He died at the Battle of the Boyne on 1st July 1690 whilst crossing the Boyne river and rallying his men and is buried in St Patrick’s Cathedral.

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

26 EAA900/118 FOLLOWER OF SIR PETER LELY (BRITISH 1618-1680) HALF LENGTH PORTRAIT OF LADY ANNA GORDON Oil on canvas, oval 76cm x 63cm (30in x 25in)

and a companion, a pair, of James, third Earl of Perth (2) £2,000-3,000

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27 EAC176/1 COSMO ALEXANDER (SCOTTISH 1724-1772) HALF LENGTH PORTRAIT OF MR BANNERMAN OF FENDRAUGHT Re-inscribed on the reverse and dated 1741, oil on canvas 76cm x 63cm (30in x 24.75in)

£800-1,200

28 EAC178/1 JOHN ALEXANDER (SCOTTISH c. 1690-1757) HALF LENGTH PORTRAIT OF LADY JANE KEITH Inscribed with numeral ‘7’.

Feigned oval, oil on canvas 76cm x 63cm (30in x 25in)

£800-1,200

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29 EAA391/62 ATTRIBUTED TO JOHN HAYLS HALF LENGTH PORTRAIT OF A YOUNG MAN IN ARMOUR AND WHITE CRAVAT Oil on canvas 76cm x 63.5cm (30in x 25in)

£4,000-6,000

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30 EAC74/7 PHILIP JAMES DE LOUTHERBOURG (FRENCH 1740-1812) THE CARTERS, PATTERDALE Signed, oil on canvas 41cm x 58.5cm (16in x 23in) Provenance: David Messum Fine Paintings, Beaconsfield

£1,500-2,000

31 EAC74/6 JULIUS CAESAR IBBETSON (BRITISH 1759-1817) RUSTIC FAMILY IN A HILLY LANDSCAPE Oil on canvas 31cm x 38cm (12in x 15in) Collection: Sir Geoffrey Hutchison Provenance: Martyn Gregory, London

£1,500-2,000

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32 EAC74/9 RICHARD WILSON R.A. (BRITISH 1714-1782) ROSAMUND’S POND, ST.JAMES’S PARK Oil on canvas 41cm x 51cm (16in x 20in) Purchased: Sotheby’s 14th November 1990, lot 97

£4,000-6,000

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33 EAC74/2 WILLIAM COLLINS R.A. (BRITISH 1788-1847) FISHERBOYS ON THE CLIFFS Oil on panel 46cm x 38.5cm (18in x 15.25in) Provenance: Colnaghi & Co, London

£2,000-3,000

34 EAC74/1 WILLIAM COLLINS R.A. (BRITISH 1788-1847) SHRIMPERS HASTENING HOME Signed and dated 1846, oil on panel 38cm x 31cm (15in x 12in) Exhibited: Royal Academy 1846.

Bought J.Gillott Esq

£1,500-2,000

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35 EAA420/1 ATTRIBUTED TO DEAN WOLSTENHOLME HUNTERS AND GROOM IN A WOODED LANDSCAPE Oil on canvas 63.5cm x 86.5cm (25in x 34in)

£1,500-2,500

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36 EAA420/3 REV JOHN THOMSON OF DUDDINGSTON H.R.S. (SCOTTISH 1778-1840) DISTANT VIEW OF EDINBURGH FROM DONIBRISTLE Oil on canvas 80cm x 120cm (31in x 47.25in) Provenance: W. Bryce Brechin, Portobello Literature: Robert W Napier, John Thomson of Duddingston, 1919, pp. 459, 460 Note: Napier notes that the painting was valued for probate in 1876 for 130 guineas

£5,000-8,000

Reverend John Thomson of Duddingston is a wonderfully poetic figure in the history of Scottish Art. Working from his studio in the tower on the banks of the Duddingston Loch, at the foot of the primordial Arthur’s Seat, he produced paintings which some argue are the first truly Scottish landscapes. His prolific and in some respects ‘amateur’ output, in the sense that he did not formally train as an artist, has been pivotal for the development of the genre in Scottish painting. The present painting shows the Pentland Hills and Arthur’s Seat seen from across the Firth of Forth, in Donibristle Park in Fife. This was clearly a successful composition because a smaller oil of the same subject matter is recorded by Baird in the collection of the artist’s

nephew, Lockhart Thomson of Derreen, Murrayfield.

Born in Ayrshire, the fourth son of Reverend Thomson of Dailly, Thomson studied theology in Glasgow University and at Edinburgh, where he also received lessons in painting from Alexander Nasmyth. Thomson was ordained in 1802 and returned to his birthplace in Dailly in Ayrshire where he combined preaching of the gospel and pastoral care for the congregation with dedicated excursions to scenic spots for painting where he would sit for hours sketching, like his teacher Nasmyth. He would then complete the painting back in the studio. He visited the English lakes in 1802, later transforming his on-thespot sketches into fully worked up watercolours. His interest in art certainly alienated some members of the Ayrshire community who were said to travel seven miles out every Sunday to the Burgher Kirk in Maybole where the pastor had less unorthodox interests. Another anecdote recalls Thomson sketching a particularly picturesque character seated amongst the rustic congregation whilst a senior member of the clergy performed communion. One of his older fellow ministers, urged by his colleagues is said

to have chastised Thomson for the impropriety of a priest sketching during a sermon only to be presented at the end with yet another character sketch, this time of his own cross and sombre features.

Thomson became an exceedingly popular minister and artist when he transferred to Duddingston in the capital and where he served for thirty-two years. He was able to renew old friendships and involve himself in the artistic and intellectual circles of Edinburgh. He continued to draw and paint and was able to supplement his modest stipend with the sale of his paintings, becoming very comfortable in the process.

He remained unwavering in his goal to depict the landscape as seen, with fluid brushstrokes and at times in dramatic weather conditions.

He became known for ‘those terrible skies which only Thomson can paint’. In this he was probably influenced by wider British developments in landscape painting, whilst many saw his paintings as a visual representation of the spirit of a Romantic age which produced the writings of Sir Walter Scott. In 1818 he was commissioned, alongside celebrated English artist Turner to produce eleven

plates each for Scott’s text to Provincial Antiquities of Scotland. Turner stayed with him on the loch and went sketching with Thomson and Hugh ‘Grecian’ Williams. The Englishman is said to have remarked upon Thomson’s outlook on Duddingston loch ‘By God, sir, I envy you that piece of water’.

Thomson had a keen eye for detail and anecdotal stories from his memoir, by W Baird, tell of the young lad rising at two in the morning to travel to Hadyard or Kirkhill to witness the sun rise. That may be poetic license but without doubt, John Thomson was indeed most interested in representing Nature as it is.

Baird felt that ‘without truth he [Thomson] regarded the most elaborately executed landscape as but a fantastic and idle dream’. It is that continuous insistence on observing and painting nature and his surroundings as faithfully as possible that situates John Thomson firmly among the most important of Scottish artists and landscapists.

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

37 EAA396A/2 JAMES STARK (BRITISH 1794-1859) IN WINDSOR FOREST Oil on panel 25cm x 26cm (9.5in x 14in)

£1,000-1,500

38 LB374/1 PATRICK NASMYTH (SCOTTISH 1787-1831)

BY A WATERMILL Signed, oil on board 30.5cm x 41cm (12in x 16in)

£2,000-3,000

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39 EZ338/10 ROBERT HERDMAN R.S.A., R.S.W. (SCOTTISH 1829-1888) THE YOUNG SHEPHERDESS Signed with a mongram and dated 1857, oil on canvas 76cm x 62cm (30in x 24in)

£4,000-6,000

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40 EAC45/1 WILLIAM JOSEPH SHAYER (BRITISH 1811-1892) FISHERFOLK ON THE BEACH Signed and dated 1845, oil on canvas 45cm x 60.5cm (17.75in x 24in)

£2,500-3,500

41 EAA485/2 MANNER OF SIR WILLIAM ALLAN A HIGHLAND JIG Oil on canvas 71cm x 91cm (28in x 36in)

£2,000-3,000

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42 EAC75/1 JAMES WARD R.A. (BRITISH 1769-1859) THE CHASE Signed and dated 1855, oil on canvas 62.5cm x 76cm (24.75in x 30in)

£6,000-8,000

35

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

43 EAC74/3 WILLIAM ETTY R.A. (BRITISH 1787-1849) VENUS AND CUPID Oil on panel 28cm x 18.5cm (11in x 7.25in) Exhibited: Royal Academy 1865 Literature: Catalogue of Pictures at Somerley

£2,000-3,000

44 EAC154/1 JOHN BERNEY CROME (BRITISH 1794-1842) FIGURE BY A WOODLAND STREAM Oil on canvas 51cm x 41cm (20in x 16in)

£800-1,200

36

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

45 EAB530/87 DAVID OCTAVIUS HILL R.S.A. (1802-1870) THE MARKET CROSS, AYR Signed, oil on panel 46cm x 71cm (18in x 28in) Note: Possibly exhibited R.S.A. 1836, no. 9.

Note: In 1809 Henry Cowan organised the erection of a statue of Robert the Bruce in Ayr.

ÂŁ2,000-3,000

37

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

46 EAA485/4 CHARLOTTE NASMYTH (SCOTTISH 1804-1884) FIGURES IN A HIGHLAND GLEN Signed and dated 1845, inscribed verso ‘Painted for Mrs Walford from an affectionate friend Charlotte Nasmyth 1845’, oil on canvas 46cm x 61cm (18in x 24in)

£1,500-2,500

47 EAC171/1 REV JOHN THOMSON OF DUDDINGSTON H.R.S (SCOTTISH 1778-1840) INVERLOCHY CASTLE Oil on canvas 46cm x 67cm (22in x 34in) Provenance: The Fine Art Society, No. 1108/76, August 1971.

Collection: The Rt. Hon. Sir John H. A. Macdonald, GCB, LLD, Lord Justice Clerk of Scotland.

Literature: R.Napier, Reverend John Thomson of Duddingston, 1919, p.417

£1,000-1,500

38

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

48 EAC99/19 PAUL JONES (BRITISH 19TH CENTURY) THE DAY’S BAG Signed and dated 1876, oil on panel 15cm x 20.5cm (6in x 8in)

and a companion a pair (2) £1,500-2,000

39

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

49 EAA223/1 JAMES ECKFORD LAUDER R.S.A. (SCOTTISH 1811-1869) HARD AT IT Signed and indistinctly dated 185?, also signed with a monogram, oil on canvas 67cm x 50cm (26.5in x 19.75in)

£1,000-2,000

50 EAB530/84 WILLIAM BROMLEY R.A. (BRITISH 1785-1841) A TASTY MORSEL Inscribed on label verso, oil on canvas 31cm x 25,5cm (12in x 10in)

£800-1,200

40

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

51 EAC175/3 THOMAS FAED R.A., R.S.A. (1826-1900) JEANIE DEANS Signed, oil on canvas 35cm x 29cm (13.75in x 11.5in)

£2,000-3,000

52 EAA570/8 REV JOHN THOMSON OF DUDDINGSTON H.R.S. (SCOTTISH 1778-1840) HAWTHORNDEN CASTLE Oil on canvas 61cm x 46cm (24in x 18in)

£1,500-2,000

41

PAINTINGS FROM THE JOHN GUEST COLLECTION

John Guest MBE MUniv was a British industrialist who came to invent the now famous ‘Speedfit’ push fit fitting concept which is used in a host of industrial and domestic applications. Born as a Yorkshireman, he moved to the Middlesex area as a young boy. Having left school at 14, he was a member of the Home Guard and later enjoyed three years of service in the British Army after the Second World War. With no formal school qualifications he undertook a tool-making apprenticeship which gave him a passion for Engineering that would stay with him for the rest of his life.

He founded John Guest Ltd in 1961. The company was, and still is today, headquartered in West Drayton. From his first day of work to his last, John Guest had a set of values and a business philosophy from which he never veered. He was a true champion of British engineering and even today all John Guest

53 LB400/2 ALFRED AUGUSTUS GLENDENNING (BRITISH 1840-1910) THE YOUNG SHEPHERD AND HIS FLOCK Signed, oil on canvas 49cm x 74cm (19in x 29in)

£2,000-3,000

42

products are designed and manufactured out of the UK . John Guest Ltd has a turnover of over £100 million, employs over 1200 people, and its product are sold in every corner of the globe. Notable awards for the company have included four Queen’s Awards for Export and Innovation, and a British Design Award. In 2011, the firm he created celebrates its 50th Anniversary, a landmark John Guest would have been proud to achieve.

His great affection for the British Isles is reflected in his painting purchases. He loved British landscapes, firstly buying A.A. Glendenning paintings from Christopher Cole's art gallery in Beaconsfield, and then via Richard Green's art gallery in New Bond Street. More recently, he acquired a passion for still lifes which he started to buy by attending Sotheby's in New Bond Street.

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

54 LB400/4 ERNEST WALBOURN (BRITISH 1872-1927) GATHERING POPPIES Signed, oil on canvas 60cm x 90cm (23.75in x 35.5in)

£4,000-6,000

43

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

55 LB400/6 ALFRED AUGUSTUS GLENDENNING (BRITISH 1840-1910) ON THE THAMES AT PANGBOURNE Signed, oil on canvas 59cm x 106cm (23.25in x 41.75in)

£3,000-5,000

56 LB400/8 JOHN WAINWRIGHT (BRITISH fl. 1845-1973) STILL LIFE OF SUMMER FLOWERS Signed and dated 1866, oil on canvas 63cm x 54cm (24.75in x 21.25in)

£7,000-10,000

44

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

45

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

57 LB400/10 ERNEST WALBOURN (BRITISH 1872-1927) PUNTING Signed, oil on canvas 14cm x 26cm (5.5in x 10in)

£600-800

58 LB400/7 DANIEL SHERRIN (BRITISH 1868-1940) ON THE BANKS OF THE SEVERN Signed, oil on canvas 48cm x 74cm (19in x 29in)

£800-1,200

46

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

59 LB400/11 HAROLD CLAYTON (BRITISH 1896-1976) ROSES, CAMELLIAS AND WHITE IRIS Signed, oil on canvas 54cm x 64cm (21.25in x 25in)

£7,000-10,000

47

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

60 LB400/13 MARIA BROOKS (BRITISH 1837-1913) PROFILE OF A GIRL Signed verso, oil on canvas 19cm x 14cm (7.5in x 5.5in) oval

£800-1,200

61 LB400/14 HELEN ALLINGHAM R.W.S. (BRITISH 1848-1926) PORTRAIT OF A YOUNG GIRL Signed, watercolour 15cm x 12cm (6in x 4.75in) oval

£1,000-1,500

48

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

62 LB400/15 HEYWOOD HARDY A.R.W.S., R.P., R.W.A. (BRITISH 1842-1933) AT THE INN Signed, oil on canvas 44cm x 67cm (17.25in x 26.25in)

£7,000-10,000

49

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

63 LB400/1 ALFRED AUGUSTUS GLENDENNING (BRITISH 1840-1910) MIDHURST COMMON, SUSSEX Signed, oil on canvas 44cm x 80cm (17.25in x 31.5in)

£2,000-3,000

64 LB400/12 CECIL KENNEDY (BRITISH 1905-1997) AUTUMN Signed, oil on canvas 61cm x 50cm (24in x 19.75in) Provenance: Richard Green, London

£20,000-30,000

50

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

51

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

65 LB400/5 OCTAVIUS OAKLEY (BRITISH 1800-1867) THE GIRL IN A RED CAPE Watercolour 28cm x 22cm (11in x 8.75in)

£600-800

66 LB400/3 ALFRED AUGUSTUS GLENDENNING TAMING A DOVE Signed, watercolour 44cm x 22cm (17.25in x 8.75in)

£400-600

52

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

67 LB400/16 WILLIAM MELLOR (BRITISH 1851-1931) FAILY GLEN, NORTH WALES Signed, inscribed verso, oil on canvas 89cm x 70cm (35in x 27.5in)

£2,000-3,000

53

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

68 LB400/17 DANIEL PASMORE (BRITISH 1829-1891) SCENE FROM WOODSTOCK SIR HENRY LEE AND HIS DAUGHTER Signed, oil on canvas 34cm x 44cm (13.25in x 17.25in)

£600-800

OTHER PROPERTIES 69 LB374/2 ROBERT ALEXANDER HILLINGFORD (BRITISH 1828-1904) THE INTRUDER Signed with a monogram, oil on canvas 36cm x 51cm (14in x 20in)

£800-1,200

54

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

70 EAB393A/9 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) SHIPPING ON THE CLYDE Signed, oil on board 51cm x 61cm (20in x 24in) Provenance: The Estate of the Late Jean Gordon Welsh

£4,000-6,000

55

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

71 EAA517/1 WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) THE TREE FRINGED ROAD Signed and dated 1890, watercolour 33cm x 51cm (13in x 20in) Provenance: Mrs Strickland, Halifax Literature: James L Caw, William McTaggart, p.263

£2,000-3,000

72 EAC99/18 SAM BOUGH R.S.A. (SCOTTISH 1822-1878) HOLMWOOD COMMON Signed, inscribed and dated 1874, watercolour 25.5cm x 46cm (10in x 14in)

£1,000-1,500

56

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

73 LB395/1 JOHN MCGHIE (SCOTTISH 1867-1952) THE INCOMING TIDE Signed, oil on canvas 45cm x 60cm (17.75in x 23..5in)

£6,000-8,000

57

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

74 EAC155/3 WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) HALF LENGTH PORTRAIT OF BAILLIE DUNCAN MACDONALD AND HIS DOG Signed and dated 1896, oil on canvas 43cm x 33cm (17in x 13in) Literature: James L Caw, William McTaggart, 1917, p.270

£3,000-5,000

75 EAA490/2 ATTRIBUTED TO SIR JOHN WATSON GORDON THREE QUARTER LENGTH PORTRAIT OF JANE MCARTHUR MOIR Oil on canvas 127cm x 101.5cm (50in x 40in)

£1,200-1,800

58

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

76 EAC99/6 JOSEPH HENDERSON R.S.W. (SCOTTISH 1832-1908) PICNIC BY THE SEA Signed, oil on canvas 46cm x 61cm (18in x 24in)

£2,000-3,000

59

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

77 EAB393A/13 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) THE TAIL OF THE BANK BY NIGHT Signed, gouache 18.5cm x 26cm (7.5in x 10..25in) Provenance: The Estate of the Late Jean Gordon Welsh

£400-600

78 EAB393A/6 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) JAMES WATT WHARF Signed, gouache 18cm x 25.5cm (7in x 10in) Provenance: The Estate of the Late Jean Gordon Welsh

£800-1,200

60

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

79 EAA449/5 JOSHUA ANDERSON HAGUE (BRITISH 1850-1916) GATHERING SEAWEED Signed, oil on canvas 63cm x 91cm (25in x 36in)

£1,500-2,000

61

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

80 LB392/1 WILLIAM BROMLEY GATHERING CHRISTMAS HOLLY Signed and dated 1856, oil on panel 19.5cm x 14.4cm (7.75in x 5.75in)

£1,500-2,000

81 LB374/3 HENRI DE BEUL (BELGIAN 1845-1900) THE YOUNG FARM GIRL Signed and dated 1872, oil on panel 46cm x 36cm (18in x 14in)

£600-800

62

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

82 EAA485/1 ROBERT DUDDINGSTONE HERDMAN A.R.S.A. (SCOTTISH 1863-1922) JOY OF SUMMER Signed with a monogram and dated 1906, oil on canvas 112cm x 91cm (44in x 36in)

£6,000-8,000

63

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

83 LB396/2 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) UNLOADING THE BOATS Signed and dated ‘97, watercolour 46.5cm x 59cm (18.25in x 23.25in)

£600-800

84 EAC74/4 ALBERT GOODWIN R.W.S. (BRITISH 1845-1932) CLOVELLY Signed and inscribed, pastel 25.5cm x 34.5cm (10in x 13.5in)

£300-400

64

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

85 EAC155/4 ARTHUR MELVILLE A.R.S.A., R.S.W., A.R.S. (SCOTTISH 1855-1904) BARGES ON THE SEINE AT BERCY Signed, inscribed and dated ‘Bercy 1889’, watercolour 36cm x 53cm (14in x 21.5in)

£4,000-6,000

65

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

86 EAC99/1 JOSEPH HENDERSON R.S.W. (SCOTTISH 1832-1908) ON THE SEA SHORE Signed, oil on canvas 46cm x 61cm (18in x 24in)

£2,000-3,000

66

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

87 EAA511/1 JEAN-BAPTISTE CAMILLE COROT (FRENCH 1796-1875) SOUVENIR D’UN PORT MEDITERANÉEN Signed, oil on canvas 36cm x 46.5cm (14.5in x 18.25in) Note: This painting dates circa 1868-1872 This painting has been examined and authenticated by Martin Dieterle and will be included in his forthcoming sixth supplement to the Corot catalogue raisonné

£30,000-50,000

67

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

88 EAC39/2 TOM SCOTT R.S.A. (SCOTTISH 1854-1927) HOWDEN HILL, SELKIRK Signed and inscribed, dated on a label verso ‘November 1915’, watercolour 18cm x 25.5cm (7in x 10in)

£800-1,200

89 EAC39/1 TOM SCOTT R.S.A. (SCOTTISH 1854-1927) NEWARK CASTLE Signed, inscribed and dated 1920, grisaille 26cm x 34cm (10.25in x 13.5in)

£600-800

68

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

90 EAC39/3 TOM SCOTT R.S.A. (SCOTTISH 1854-1927) HOMEWARD BOUND Signed and dated 1919, watercolour 24cm x 34cm (9.5in x 13.5in)

£800-1,200

91 EAA875/4 GEORGE CLAUSEN R.A., R.W.S. (BRITISH 1852-1944) NOON-DAY REST Signed with initials, watercolour 18cm x 25.5cm (7in x 10in)

£800-1,200

69

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

92 EAA253/1 ROBERT JOBLING (BRITISH 1841-1923) STAITHES FISHER CHILDREN Signed, oil on canvas 39cm x 29cm (15.25in x 11.5in)

£1,000-1,500

93 EAC74/5 WILLIAM HENRY HUNT O.M., R.W.S. (BRITISH 1790-1864) GIRL READING Watercolour 36cm x 28cm (14in x 11in) Provenance: Mangate Gallery

£400-600

70

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

94 EAA396A/1 BERNARD DE HOOG (DUTCH 1867-1943) THE SEWING LESSON Signed, oil on panel 18cm x 15cm (7in x 6in)

£1,000-1,500

95 EAC154/2 CHARLES HODGE MACKIE R.S.A., R.S.W.,P.S.S.A. (1862-1920) PORTRAIT OF THE ARTIST’S DAUGHTER Signed, oil on canvas laid down 43cm x 33cm (17in x 13in)

£800-1,200

71

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

96 EAA289/7 D** W** GILL (BRITISH 19TH CENTURY) A STILL LIFE OF ASSORTED FLOWERS ON A MOSSY BANK Inscribed and dated verso ‘Manchester 1861’, oil on canvas, circular 36cm (14in) diam.

£800-1,200

97 EAA989/18 ALEXANDER LEGGATT (SCOTTISH C.1828-1884) LULLABY Signed on artist’s label on stretcher, oil on canvas 50cm x 60cm (19.75in x 23.5in)

£700-900

72

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

98 EAC143/42 THOMAS FRANCIS DICKSEE (BRITISH 1819-1895) KATE FROM THE TAMING OF THE SHREW Signed and dated 1852, oil on canvas 89cm x 79cm (35in x 31in)

£7,000-9,000

73

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

99 EAC99/17 GEORGE EDWARD LODGE (BRITISH 1860-1954) GROUSE ON A ROCKY OUTCROP Signed, watercolour 28cm x 42cm (11in x 16.5in)

£1,500-2,000

100 EW282/17 ARCHIBALD THORBURN (BRITISH 1860-1935) BLACKBIRD Signed and dated 1917, watercolour 19cm x 28cm (7.5in x 11in)

£4,000-6,000

74

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

101 LB348/47 THOMAS BUSH HARDY R.B.A. (BRITISH 1842-1897) HAY BARGES OFF THE TOWER (ST PAUL’S IN THE DISTANCE) Signed, inscribed and dated 1896, watercolour 22cm x 70cm (8.75in x 27.5in)

£1,500-2,000

102 EAC99/3 WALLER HUGH PATON R.S.A., R.S.W. (SCOTTISH 1828-1895) DULLATER Signed, inscribed and dated 11th August 1876, watercolour, arched top 34cm x 52cm (13.25in x 20.5in)

£1,000-1,500

75

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

103 EAC163/1 DAVID FARQUHARSON A.R.A., A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1840-1907) DUNBLANE CATHEDRAL FROM THE RIVER Signed, inscribed and dated 1881, oil on canvas 31cm x 51cm (12in x 20in)

£2,000-3,000

104 EAC154/3 WILLIAM WATT MILNE (SCOTTISH fl. 1888-1915) THE FISHERGIRL Signed, oil on canvas 41cm x 51cm (16in x 20in)

£1,500-2,000

76

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

105 EAA875/6 ROBERT WEIR ALLAN R.S.A., R.W.S., R.S.W. (SCOTTISH 1852-1942) HARVEST-TIME SKYE Signed and indistinctly dated, oil on panel 25.5cm x 35.5cm (10in x 14in)

£600-800

106 LB396/1 GEORGE HOUSTON HAYSTACKS, DALRY, AYRSHIRE Signed, oil on canvas 44.5cm x 59cm (17.5in x 23.25in) Provenance: Ian MacNicol, Glasgow

£2,000-3,000

77

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

107 EAC169/3 WILLIAM HARDIE HAY (BRITISH 1859-1934) THE CHILDREN’S PARADISE Signed, oil on canvas 51cm x 67cm (24in x 36in)

£1,500-2,000

108 EAC99/8 WILLIAM BRADLEY LAMOND R.B.A. (SCOTTISH 1857-1924) THE FISHING FLEET AT SEA Signed, oil on canvas 31cm x 46cm (12in x 18in)

£1,000-1,500

78

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

109 EAA420/12 GEORGE HENRY R.A., R.S.A., R.S.W. (SCOTTISH 1858-1943) IN THE PARK Signed and dated 1938, oil on canvas 63.5cm x 76cm (25in x 30in)

£6,000-8,000

79

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

110 EAA875/2 WILLIAM STEWART MCGEORGE R.S.A. (SCOTTISH 1861-1931) A GALLOWAY IDYLL Signed, inscribed and dated ‘To Mrs Spence, June 1905’ verso, oil on canvas 41cm x 31cm (16in x 12in)

£3,000-5,000

111 EAA449/4 JOSHUA ANDERSON HAGUE (BRITISH 1850-1916)

BY THE MILL-STREAM Signed, oil on canvas 76cm x 63cm (30in x 25in) Exhibited: Manchester, Memorial Exhibition of Works of the Late Anderson Hague, 1919

£1,500-2,000

80

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

112 EZ338/17 EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) BRIGHOUSE BAY Signed and dated 1917, oil on canvas 51cm x 61cm (20in x 24in)

£7,000-10,000

81

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

113 EAC99/4 STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) OFF A ROCKY COAST Signed and dated 1912, watercolour 53.5cm x 74cm (21in x 29in)

£2,000-3,000

114 EAC43/4 JAMES PATERSON R.S.A., R.S.W., R.W.S. (SCOTTISH 1854-1932) COWS GRAZING Signed, watercolour 24cm x 31cm (9.5in x 12in) Provenance: The artist’s family

£500-700

82

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

115 EAA544/1 STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) CASSIS Signed and dated 1920, watercolour 34.5cm x 49.5cm (13.5in x 19.5in)

£3,000-5,000

83

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

116 EAB90/4 MASON HUNTER A.R.S.A., R.S.W. (SCOTTISH 1854-1921) HARVEST LANDSCAPE Signed, oil on canvas 51cm x 76cm (20in x 30in)

£600-900

117 EAA875/3 JAMES HAMILTON MACKENZIE A.R.S.A., R.S.W., A.R.E. (SCOTTISH 1875-1926) LEAVING THE FOLD Signed, oil on canvas 63cm x 81.5cm (25in x 32in)

£2,000-3,000

84

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

118 EAC99/11 WILLIAM MILLER FRAZER R.S.A. (SCOTTISH 1864-1961) SPRING-TIME IN EAST LOTHIAN Signed, oil on canvas 38cm x 53.5cm (15in x 21in)

£1,500-2,000

119 EZ794/25 ROBERT BURNS A.R.S.A. (SCOTTISH 1869-1941) STREAM IN GALLOWAY Signed with a monogram and dated ‘90, oil on canvas 51cm x 61cm (20in x 24in)

£600-800

85

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

120 EAC78/1 JOE MILNE (SCOTTISH 1857-1911)

BY THE MILL Signed, oil on canvas 31cm x 46cm (12in x 18in)

£800-1,200

121 EAC99/7 EDMUND THORNTON CRAWFORD R.S.A. (SCOTTISH 1806-1885) THE SHIPWRECK Signed, oil on canvas 38cm x 61cm (15in x 24in)

£1,000-1,500

86

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

122 EAC44/1 ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928) IN GLENFINLAS N.B Signed, signed and inscribed verso, oil on canvas 41cm x 61cm (16in x 24in)

£3,000-5,000

87

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

123 EAC44/2 ALFRED DE BREANSKI JUNIOR (BRITISH 19TH/20TH CENTURY) IN GLEN ETIVE N.B Signed, signed and inscribed verso, oil on canvas 41cm x 61cm (16in x 24in)

£1,500-2,000

88

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

124 EZ338/20 ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928) THE BLACK POOL, PASS OF GLENCOE Signed, oil on canvas 102cm x 152cm (40in x 60in)

£10,000-15,000

89

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

125 EAA420/6 STUART PARK (SCOTTISH 1862-1933) THE FLOWER GIRL Signed with a monogram, oil on canvas 38cm x 31cm (15in x 12in)

£1,000-1,500

126 EAC99/2 KATE WYLIE (SCOTTISH 1877-1941) A STILL LIFE OF ANENOMES Signed, oil on canvas 61cm x 46cm (24in x 18in)

£1,000-1,500

90

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

127 EZ794/23 HUGH MUNRO R.G.I. (SCOTTISH 1873-1928) A BUSY GLASGOW STREET Signed, oil on board 59cm x 44.5cm (23.25in x 17.5in)

£1,000-1,500

128 EAA253/3 JOSEPH FARQUHARSON R.A. (SCOTTISH 1846-1935) ROSES IN FINZEAN Signed, oil on canvas 45cm x 29cm (17.5in x 11.5in)

£2,000-3,000

91

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

129 EAA433/1 ROBERT GEMMELL HUTCHISON R.B.A.,R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) TIRED OUT Signed, watercolour 23cm x 30.5cm (9in x 12in)

£2,000-3,000

130 EAA289/5 KATE CAMERON R.S.W., R.E. (SCOTTISH 1874-1965) STILL LIFE OF ORCHIDS Signed, watercolour 41cm x 52cm (16in x 20.5in)

£600-800

92

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

131 EZ338/8 JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) THE ENTRANCE GATES Signed, watercolour 18cm x 38cm (7in x 15cm)

£600-800

132 EAC99/15 HANS HANSEN R.S.W. (SCOTTISH 1853-1947) AFTER THE OPERA Signed, watercolour 27cm x 37cm (10.5in x 14.75in)

£1,500-2,000

93

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

94

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

133 EAA266/1 DAME LAURA KNIGHT R.A., R.W.S. (BRITISH 1877-1970) GATHERING SEAWEED SENNEN COVE Signed, oil on canvas.

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

£20,000-30,000

Dame Laura Knight was the first woman artist to be awarded the title of Dame Commander of the Order of the British Empire in 1929 and in 1936 she became the first woman elected to the Royal Academy. Today she is best known for her striking depictions of the glamorous London ballet, theatre and circus, painting backstage during the Diaghilev ballet’s seasons in London and taking lessons at Tillers Dancing Academy in St Martin’s Lane in order to draw there. She also travelled with the Mills and Carmos Circus. An accomplished portrait painter, she painted wartime commissions and was the official artist at the Nuremberg War-Crime Trials.

Knight’s roots however lie firmly in the Naturalist tradition of landscape and genre painting, which she first encountered at art school .

Whilst studying at Nottingham School of Art, she saw an exhibition at the Nottingham Castle Museum, which included work by Newlyn, St Ives and Falmouth artists. She later recalled that ‘my favourite picture was Frank Bramley’s Hopeless Dawn. Tears came into my eyes I thought it so wonderful. There was also a little grey picture of Newlyn Bridge by Stanhope Forbes.

I did not know anyone could paint like that.’

Knight lived and painted in the artist colonies of Staithes in North Yorkshire and Newlyn in Cornwall, before moving to London in 1919. Her time outside the capital allowed her to develop her style, reaching maturity during her time in Cornwall. Her subject matter shared the concerns of the plein-airist Newlyn, Staithes and Glasgow school of painters – to depict the everyday life of the rural population, whilst her technique was a loose naturalistic one, with acute awareness of light, the increasing use of bright colour and vigorous brushwork. This approach was in sharp contrast to many of the Academic paintings still shown at the Royal Academy each year, often depicting imagined historical or mythological subject matter in a highly finished and classically modelled technique. Artist Alfred Thornton, who was secretary of the New English Art Club, where many Newlyn and Glasgow artists exhibited described its exhibitions thus: ‘Into a hothouse of sentimentality in the late ‘eighties it blew again the fresh breath of the open air, of the vitality of the thing seen, of reality faced and its beauty sought out.’

Knight’s development in Cornwall, and is part of a series of paintings she composed between 1915 and 1919 all sharing an elevated viewpoint, dramatic diagonal composition, vibrant colour and the subject of ordinary country folk’s daily work. It most likely shows Sennen Cove, not far from Land’s End and Lamorna Cove, where Knight also liked to paint. The owner of the land at Lamorna, Colonel Paynter built a small wooden hut for her on the cliffs in which to store her canvases and materials and to offer shelter when the weather was inclement.

Knight insisted on painting en plein air and only placed the finishing touches to her works in the studio. The bay is purposefully painted from a very high viewpoint, laying out the cove below in a dynamic diagonal composition which pulls the viewer into the pictorial space and guides them around the curve of the lapping water. The strong light sharply outlines the lines in the sand, which are picked out further by textured impasto.

The backbreaking work of gathering seaweed is set against a scene of dramatic natural beauty, the shimmering waves lapping and the vibrant green on the shore.

The present painting perfectly demonstrates the height of

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134 EAC99/14 WILLIAM MILLER FRAZER R.S.A. (SCOTTISH 1864-1961) MOORED FISHING BOATS Signed, oil on canvas 34cm x 51cm (13.5in x 20in)

£1,200-1,500

135 EAC175/2 WILLIAM STEWART MCGEORGE R.S.A. (SCOTTISH 1861-1931) WOODCUTTERS Signed with initials, signed and inscribed with title on label verso. Oil on canvas 36cm x 46cm (14in x 18in)

£2,000-3,000

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136 LB391/1 WILLIAM STRANG R.A., R.P.E. (SCOTTISH 1859-1921) GOING TO CHURCH Signed, oil on canvas 36cm x 57cm (14in x 22.5in)

£2,000-3,000

137 EAA575/1 DAVID GAULD R.S.A. (SCOTTISH 1865-1936) CALVES IN A STABLE INTERIOR Signed, oil on canvas 41cm x 51cm (16in x 20in)

£2,000-3,000

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138 EAC169/6 TOM ROBERTSON R.O.I., R.B.A., R.I. (SCOTTISH 1850-1947) A CRATE OF 11 PAINTINGS Signed, and inscribed with a label verso. Oil on canvas, unframed. Titles include: Silent Night; Killin; The Land of the Mountains; Loch Long; Loch Crinan; The River Lochy; Moonlight La Rochelle; Glen Lochy; On the Banks of the Lochy; Fairlie Head, Firth of Clyde 56cm x 71cm (22in x 28in)

ÂŁ5,000-7,000

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139 EAC169/7 TOM ROBERTSON R.O.I., R.B.A., R.I. (SCOTTISH 1850-1947) A CRATE OF 20 PAINTINGS Signed and inscribed with a label, verso. Oil on canvas, unframed.

Titles include: Moonlight, Loch Tay; Moonlight, Killin; Loch Crinan; Moonrise, Crinan Canal; Off the Breton Coast, Finisterre; On the Ayrshire Coast; Silvery Moonlight; Moonrise, Auchmore Bridge, Killin; Evening, Loch Linnhe; Off Les Sables d’Olonne, Moonlight; Off Jura; Nocturne, Killin; Killin Bridge; Chill October, Loch Tay; Old Thatched Cottage, Killin; Off Les Sables d’Olonne; A Highland Farmyard; Clearing After Rain, Loch Tay; On the Road to Crinan, Moonrise 41cm x 61cm (16in x 20in)

£5,000-7,000

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140 EZ870/6 FERNAND MAILLAUD (FRENCH 1862-1948) HOME FROM THE FIELDS Signed, oil on canvas 54cm x 66cm (21.25in x 26in)

£600-800

141 EAA516/9 FRANZ VON ZÜLOW. (AUSTRIAN 1883–1963) A COUNTRY CHURCH Signed and dated ‘26, oil on board, unframed 39.5cm x 49.5cm (15.5in x 19.5in) Note: The attribution to Zülow has been confirmed by Professor Fritz Koreny, University of Vienna from a photograph

£1,000-1,500

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142 EAC169/4 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (1865-1945) GANAVAN Signed with initials, oil on board 15cm x 14cm (6in x 9.5in)

£2,000-3,000

143 EAC155/1 JOSEPH CRAWHALL R.S.W. (SCOTTISH 1861-1913) CAMEL Bronze bas-relief 18.5cm x 21.5cm (7.25in x 8.5in) Literature: Adrian Bury, Joseph Crawhall the man and artist, 1958, p.242

£800-1,200

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144 EAC51/1 MARCEL DYF (FRENCH 1899-1985) TROIS PEUPLIERS À NEAUPHLE Signed, oil on canvas 46cm x 55cm (18in x 21.75in) Provenance: E. Stacy-Marks Ltd., Eastbourne, where purchased in 1971 for 750 guineas

£6,000-8,000

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145 EZ338/12 DONALD MCINTYRE (BRITISH 1923-2009) WHISTLEFIELD Signed, oil on board 36cm x 46cm (14in x 18in)

£1,000-1,500

146 EAC101/1 ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1999) THE BEACH AT FINDHORN Signed and dated ‘76, oil on board 33cm x 34cm (13in x 13.5in) Exhibited: Aitken Dott & Son, Christmas Exhibition 1976, no.82

£2,000-3,000

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147 EAC64/2 WILLIAM MERVYN GLASS R.S.A., S.S.A. (SCOTTISH 1885-1965) COTTAGE BY SUILVEN FROM THE EAST Signed with initials, oil on board 33cm x 51cm (13in x 20in)

£700-900

148 EAC58/1 DAVID MCCLURE R.S.A., R.S.W., R.G.I. (1926-1999) TOSCANO, SPRING I Signed and dated ‘56, gouache 47cm x 66cm (18.5in x 26in)

£800-1,200

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149 EAA449/1 HENRI GAUDIER-BRZESKA (FRENCH 1891-1915) STANDING FEMALE NUDE Charcoal 51cm x 38cm (20in x 15in)

£8,000-12,000

Gaudier-Brzeska had an astonishingly short working life as a sculptor and a draughtsman, producing most of the body of his work whilst living in London between 1911 and 1913, when he was called to the Western Front. His rare and precocious talent was extinguished all too soon, in a charge at Neuville St. Vaast in France, in 1915 when Gaudier-Brzeska was just twenty four. The son of a carpenter, Henri Gaudier was born in 1891 in St Jean de Braye, a village near Orleans and the Loire. He distinguished himself at school with his ability to learn languages and won two scholarships, the first for two months, the second for two years to travel to England to study the language and business. He drew constantly, visiting London and the British Museum on several occasions even then.

After studying in Germany, he

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moved to Paris by 1909 and his letters reveal his conscious artistic development: ‘I have taken a decision – I am not going to do any more colour work but will restrict myself entirely to plastic. I have never been able to see colour detached from form… the drawing and the modelling were all I have been concerned with.’

Gaudier did not undertake formal art training, instead preferring to let his aesthetic and technique develop through constant drawing and sketching everything in sight. He was also in Paris at a time of intense artistic development. It is highly likely that he saw Picasso’s exhibition of new work at Ambroise Vollard’s gallery in Paris in 1909. His drawings and sculpture show that he had understood and digested the rapid advances of the avant-garde - both Fauvism and Cubism. We see those and especially the analytical approaches of Cubism and the interest in non-western art fully employed by Gaudier by 1911, successfully pushing the boundaries of representation

further. The principles and aesthetic of Cubism were reinterpreted by the Futurists in Italy and the Vorticists in England. Gaudier-Brzeska’s move to London in 1911 put him in contact with the latter’s Wyndham Lewis and Nevinson, providing an artistic milieu for the artist who contributed to Lewis’s magazine Blast! Vorticism’s particular interest in distilling action by representing it as a force lent itself to GaudierBrzeska’s own aesthetic agenda, much more so than the Futurists for example who were far more interested in the fragmenting and compartmentalising movement.

The human body was a constant object of interest for the artist. One of the most remarkable of his sculptures, the Red Stone Dancer, demonstrates Gaudier’s uncanny ability to effortlessly simplify the geometry of the body, all the while retaining the powerful sense of force latent in his subject matter.

His female figure drawings were observed from life at an evening sketch class in Chelsea, the present lot most

likely created in one of those sittings. Two types of drawings emerged from those sessions, those executed in ink and concentrating on a linear representation of form, and those executed in charcoal, like lot 149 which undertook to present volume in a different way. Brzeska had significant knowledge of the non-Western collections of the British Museum and found abundant material for inspiration and distillation of his own ideas of representation. The model in the present drawing is both reminiscent of Greek caryatid figures and of African tribal carvings. The directional shading of the pencil emphasises the primitive aspects of the line but also reveals Gaudier-Bzreska’s understanding and interest in Picasso’s experiments of understanding and analysing the structure of his subjects.

The Victoria & Albert Museum holds a group of charcoal drawings in its collection which are very similar to the present lot and probably show the same model from the life class in Chelsea.

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150 EZ338/13 JOHN HOUSTON R.S.A., R.S.W., S.S.A. (SCOTTISH 1930-2008) LANDSCAPE WITH WINDMILL, EVENING Signed and dated 1962, watercolour 38cm x 28cm (15in x 11in) Exhibited: Aitken Dott & Son, Festival Exhibition 1962, no. 21

£600-800

151 EAA446/1 WILLIAM GEAR (SCOTTISH 1915-1997) VERTICAL LANDSCAPE Signed and dated ‘48, mixed media 48cm x 30cm (19in x 11.75in)

£1,000-1,500

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152 EZ338/11 MARGARET ROSS HISLOP R.S.A., R.B.A. (SCOTTISH 1894-1972) THE GREEN COMPORT Signed, oil on canvas 46cm x 61cm (18in x 24in)

£1,000-1,500

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153 EAA416/11 JOHN GARDINER CRAWFORD R.S.W. (SCOTTISH b. 1941) LIMEKILNS - MORNING LIGHT Signed, acrylic on gesso 77cm x 52cm (30.25in x 20.5in) Exhibited: Royal Society of British Artists, London, 1984

£1,000-1,500

154 LB390/1 SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., R.S.W., R.A. (SCOTTISH 1898-1973) PORTRAIT OF THE ARTIST ROBERT SCOTT IRVINE, 1925 Oil on canvas 91cm x 71cm (36in x 28in)

Note: This is a very rare portrait by Sir WIlliam Gillies from the time when he was teaching evening classes at Edinburgh College of Art, long before he became Principal of the school. It depicts the artist Robert Scott Irvine (1906-1988), then a student in his final year at ECA. The two men were to become and remain fast friends.

Scott Irvine became the youngest member to be elected to the Royal Scottish Society of Painters in Watercolour at the age of 28 and until his death was the oldest surviving member. Scott-Irvine’s works are in the collections of the Aberdeen Art Gallery, City of Edinburgh Council, Royal Scottish Academy, University of Edinburgh, McManus Galleries and Museum and the Scottish Arts Club.

£2,000-3,000

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155 EAA416/1 JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) ROCKY OUTCROP, ARRAN Oil on canvas 63cm x 76cm (25in x 30in)

£10,000-15,000

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156 EAA420/27 GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980) CICADA Signed and dated 1963, oil on canvas 109cm x 95cm (43in x 37.5in)

£20,000-30,000 Graham Sutherland is one of the most important British artists of the 20th century, forging a very individual approach to painting and citing William Blake, Turner and Samuel Palmer as significant influences over his art. He was firmly situated within the artistic climate of the mid-1900s, exhibiting at the International Surrealist Exhibition in London in 1936, remaining firm friends with Francis Bacon and keeping in contact with Picasso, after meeting him in France in the late 1940s.

Sutherland briefly followed an engineering apprenticeship at the Midland Railway Works in Derby before pursuing his interest in painting and enrolling at Goldsmiths School of Art, where he subsequently taught. The greatest early influence on his work was the Welsh countryside, it figures largely in his large canvases from the 1930s. The subject matter allowed the artist to develop

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his tendency to abstraction and anthropomorphism.

Earlier still however and very formative was the time that Sutherland spent with his family in Swanage, Dorset in the two years before the First World Way: ‘I got into the habit of looking at things closely – observing, analysing and drawing everything in the countryside’.

This practice played a major part in developing the young artist’s visual imagination and became a life-long passion.

He continued to pursue his interest for intense observation right into the later parts of his career, as exemplified in the present work, which dates from 1963 and was probably painted in France. Sutherland first visited the Riviera in 1947, meeting with Matisse and Picasso. He returned to the South of France every year from then on and finally bought a house in Menton in 1955, where he was to remain and work for the next twenty years. It is common for artists to travel to the Mediterranean and to lighten their palette as a response to the very different light conditions.

What is interesting with Sutherland is that he introduced brighter colours to his post-Second World War work and in a sense anticipated his move to the Mediterranean. He recalls that ‘When I did start working in France, in 1947, I must confess that I did wonder how I had come to anticipate, by this lightening of key, the clarity of the steady southern light.

Colour has two major functions. It is form and mood ... it is fascinating to make complete changes of colour in the background of a painting and see how the whole atmosphere changes’.

The landscape surrounding the artist changed from the rich, varied and ‘moist’ one of Pembrokeshire, to the arid juxtapositions of plateau and the maritime alps of the Riviera. This had the effect of simplifying his compositions, away from landscape painting and towards focusing on a single, almost ‘still life’ object against an almost minimalist landscape, as exemplified in the present canvas.

Sutherland would go for long

walks in the arid and sun beaten landscape around Menton and draw natural forms he came across, gourds, pomegranates, woven and anthropomorphic roots, thorn bushes and most pertinently for the current composition – cicadas and mantis. He was particularly interested in painting magnified images of the latter, endowing them, like his tangled roots, with human qualities. These canvases from the late 1940s have undeniably informed the present painting, which takes the subject of the creature and imbues it with both human and machine qualities, in a single monolithic form under the life-giving sun: ‘I love the sun. I like working in the sun….. It is life-giving… [objects] are more alive, more thoroughly and mysteriously themselves when I find them in sunlight’.

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157 EAA416/3 DENIS PEPLOE R.S.A. (1916-1993) DRUMBUIE Signed, oil on canvas 46cm x 61cm (18in x 24in)

£1,000-1,500

158 EAA416/9 WILLIAM CROZIER A.R.S.A. (SCOTTISH 1897-1930) THE QUARRY Signed, oil on canvas 41cm x 51cm (16in x 20in)

£800-1,200

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159 EAC155/8 SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., R.S.W., R.A. (1898-1973) BORDER HILLS Signed, oil on canvasboard 42cm x 51cm (16.5in x 20in)

£4,000-6,000

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160 EZ338/7 MARY ARMOUR R.S.A., R.S.W. (SCOTTISH 1902-2000) ON THE COAST Signed and dated ‘61, oil on canvas 51cm x 61cm (20in x 24in)

£800-1,200

161 EAA459/1 JOHN HOUSTON R.S.A., R.S.W., S.S.A. (1930-2008) HEDGEROW AND WILD FLOWERS, FIFE Signed, oil on canvas 58cm x 86.5cm (23in x 34in)

£2,000-3,000

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162 EAA416/7 SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) SEASCAPE Signed and dated ‘62, oil on board 41cm x 51cm (16in x 20in) Provenance: Stone Gallery, Newcastle 1962

£3,000-5,000

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163 EAA416/12 WILLIAM CROZIER A.R.S.A. (SCOTTISH 1897-1930) TREE LINED MOUNTAIN PATH Signed, oil on board 33cm x 38cm (13in x 15in)

£800-1,200

164 EAA416/14 EARL HAIG O.B.E., A.R.S.A., F.R.S.A. (SCOTTISH 1918-2009) LAUDERDALE Signed, oil on canvas 85cm x 110cm (33.5in x 43.5in)

£1,500-2,000

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165ยง EZ338/1 PETER MCLAREN (SCOTTISH b. 1964) THE CYCLIST Oil on board 183cm x 122cm (72in x 48in)

ยฃ3,000-5,000

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166 EZ338/5 SIR ROBIN PHILIPSON R.A., R.S.A., R.S.W., R.G.I., L.L.D. (SCOTTISH 1916-1992) THRENODY Signed on the stretcher, oil on canvas 51cm x 51cm (20in x 20in)

£3,000-5,000

167 EAC175/1 SIR ROBIN PHILIPSON P.R.S.A., R.S.W., R.G.I., L.L.D. (SCOTTISH 1916-1992) SHADOWED POOL Pastel 23cm x 28cm (9in x 11in)

£2,000-3,000

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168 EZ338/4 SIR ROBIN PHILIPSON R.A., R.S.A., R.S.W., R.G.I., L.L.D. (SCOTTISH 1916-1992) CATHEDRAL Signed, oil on canvas 91cm x 61cm (36in x 24in) Exhibited: Browse and Darby, Robin Philipson 1993, no.4 Note: This painting dates from 1957

ÂŁ6,000-8,000

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169§ EAC146/2 MARY FEDDEN R.A. (SCOTTISH b. 1915) BLACKBIRD ON A BRANCH Signed and dated ‘09, watercolour 14cm x 20cm (5.5in x 8in) Note: Sold with a note from the artist concerning this painting

£1,000-1,500

170§ EAC146/1 MARY FEDDEN R.A. (SCOTTISH b. 1915) BLACKBIRD ON A BRANCH WITH BERRIES Signed and dated ‘08, watercolour 22cm x 24cm (8.75in x 9.5in) Note: Sold with a note from the artist concerning this painting

£1,000-1,500

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171§ EAC151/1 ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I. D.LITT. (SCOTTISH b. 1931) DAHLIAS AND CARNATION Signed and dated 1981, watercolour 23cm x 36cm (9in x 14in)

£2,000-3,000

172 EZ338/15 JOHN HOUSTON R.S.A., R.S.W., S.S.A. (SCOTTISH 1930-2008) TOWARDS SKYE Signed and dated 1974, watercolour 31cm x 36cm (12in x 14in) Exhibited: Aitken Dott & Son, Festival Exhibition 1975, no.66

£800-1,200

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

Joan Eardley emerges as one of the most important Scottish artists of the twentieth century, maintaining an assertive and unique aesthetic that encompassed a range of subject matter, as exemplified by the group of works by Eardley in this sale (lots 173-177).

Born in Sussex, Joan fled London with her family when the threat of the Second World War became real. Living in Glasgow, the aspiring artist enrolled at Glasgow School of Art, having already spent a term at Goldsmiths’ in south London. She also studied at Hospitalfield, under James Cowie, with whom she frequently clashed over the painting style which was far too expressionistic for Cowie who would lecture her on the dangers of gestural expression in painting.

Photograph by Audrey Walker from the collection at Gracefield Arts Centre, Dumfries

Nevertheless the artist maintained and developed her very personal approach to paint application, often embedding

Joan Eardley at work

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appropriate found objects such as flower heads or wheat in the oil paint, further enhancing the impastoed surface of her paintings and creating an impression of immediacy and spontaneity.

Eardley’s subject matter covers both the urban and the rural.

She is just as celebrated for her depiction of the tenements of Townhead and its errant dishevelled local children as she is for painting the wilds of rural Catterline, an East Coast village where she took a cottage in 1954. Lots 173, 175 and 177 represent the urban element of her work, from the higgledypiggledy buildings in Glasgow punctuated with significant colour and observed with a flowing and economical line of drawing, to the children she encountered running riot in alleys around her studio on Cochrane Street.

Eardley welcomed the local children in her studio, always ready with comics and ‘a piece’ [sandwich]. She would then quickly sketch them whilst they played, or on rare occasions settled down with their books and food, or just to rest as appears to be the case in lot 175. Her depiction of childhood is an important contribution to that genre as it neither patronises nor burdens her subjects with adult concerns but rather depicts them with an immediacy, compassion and camaraderie that stemmed from getting to know them well from day to day and gaining their trust and respect. Eardley’s interest in painting the tenement children also stemmed from her desire to synthesise the essence of the city of Glasgow itself, which she felt they embodied very well, with their worldly and streetwise attitude.

Eardley had always been interested in communicating the idea of the ‘primitive’ with her paintings, something which she achieved through the use of anti-naturalistic, almost Fauve-ist colour, bold and expressive brushstrokes and the refusal to simply copy nature. Her landscapes go furthest in pursuing this aesthetic, so much so that many touch on abstraction and take as their subject matter the painting surface itself, in particular where Eardley introduces real objects amongst the paint. By selecting one of the least ‘spoiled’, or modernised villages along the north east coast of Scotland to work in, she found a haven for her landscape painting, from the golden fields of harvest to the turbulent sea waves and snow nestled among the cottages. Eardley’s Catterline canvases are both descriptive and evocative in their sophisticated use of tone and thus mood. Experimenting with the horizon further allowed her to advance towards abstraction, always stopping short however on the figuration side.

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

173 EAC43/3 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) CHILD’S HEAD Oil on board 27cm x 27cm (10.5in x 10.5in) Exhibited: Compass Gallery, Glasgow, Christmas Exhibition 1977, no.67

£8,000-12,000

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174 EAC155/6 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) HAYSTACK Signed, oil on board 58.5cm x 55cm (23in x 21.75in)

and painted verso ‘Summer field’ £20,000-30,000

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175 EAB393A/75 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) PENSIVE BOY Oil on canvas 76cm x 63.5cm (30in x 25in) Provenance: The artist’s studio, painted c.1954, ref. no. EE21 Exhibited: Stirling University, Joan Eardley, 1969, no.8 The Scottish Gallery, Joan Eardley, 1981, no.21 Provenance: The Estate of the Late Jean Gordon Welsh Note: Jean Gordon Welsh (1930-2009) was one of the foremost Scottish architects of her day. After studying at Glasgow School of Art, she was elected ARIBA in 1955 and joined William Nimmo in practice in 1956.

William Nimmo & Partners was originally based in Wishaw and moved to Glasgow in 1969. Her output was prodigious and some of her notable projects include: the Royal Scottish Academy of Music and Drama in Glasgow (with Leslie Martin); the Faslane Naval Base; and the restructuring and refurbishment of Britannic House in London for BP’s global headquarters, all in the 1980s. Jean was awarded the status of Freeman of the City of London and retired from practice in the 1990s.

£30,000-50,000

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176 EAC155/5 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) CORN SHEAVES Oil on board 69cm x 63.5cm (27in x 25in)

and painted verso ‘Harbour Catterline’ Provenance: Sotheby’s Gleneagles, 27 August 1991

£20,000-30,000

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177 LB388/1 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) TALL SLIM BUILDINGS Pastel 13.7cm x 12.6cm (5.5in x 5in) Provenance: Roland, Browse & Delbanco, 1971

£2,000-3,000

178 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)

£1,000-1,500

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179 EAA416/6 SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., R.S.W., R.A. (SCOTTISH 1898-1973) STILL LIFE WITH LAMP Signed, oil on canvas 80cm x 100cm (31.5in x 39.5in) Exhibited: Aitken Dott & Son, Edinburgh, Festival Exhibition 1958, no.4

£10,000-15,000

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180 EAA416/4 SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., R.S.W., R.A. (SCOTTISH 1898-1973) MOUNT LOTHIAN Signed, oil on canvas 61cm x 113cm (24in x 44.5in) Exhibited: Art Gallery of Hamilton Royal Scottish Academy 1953, no.211

£10,000-15,000

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181 EAA446/2 WILLIAM GEAR (SCOTTISH 1915-1997) SOUVENIR OF RHODES Signed and dated ‘84, mixed media 29cm x 44cm (11.5in x 17.25in)

£800-1,200

182 EAA446/3 DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926-1998) NUDE - DREAM OF SUMMER Signed and dated ‘63, signed and inscribed verso, oil on board 46cm x 61cm (18in x 24in)

£1,200-1,800

132

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

183ยง EAA449/3 JOHN BELLANY R.A. (SCOTTISH b. 1942) WOMAN BY THE SEA Signed, oil on canvas 61cm x 51cm (24in x 20in) Provenance: Ewan Mundy Fine Art Ltd, Glasgow

ยฃ2,000-3,000

133

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184§ EZ656/2 JOHN BELLANY (SCOTTISH b. 1942) EYEMOUTH ROADSTAID Signed and inscribed, oil on canvas, unframed 91cm x 121cm (35.75in x 47.5in)

£2,000-3,000

185§ EZ656/3 JOHN BELLANY (SCOTTISH b. 1942) ‘NEATH SUILVEN Signed and inscribed, oil on canvas, unframed 91cm x 121cm (35.75in x 47.5in)

£2,000-3,000

134

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

186ยง EAB551/1 LEON MORROCCO (SCOTTISH b. 1942) A STILL LIFE OF FRUIT FLOWERS AND PHEASANT Signed and dated 1989/90, pastel 150cm x 100cm (59in x 39.75cm)

ยฃ3,000-5,000

135

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

187§ EAA502/1 JAMES MORRISON R.S.A., R.S.W., L.L.D. (SCOTTISH b. 1932) WAVE, NORTH SEA Signed and dated 1979, oil on board 76cm x 109cm (30in x 43in) Provenance: Thackeray Gallery, London

£2,000-3,000

188§ EAC155/7 JAMES MORRISON R.S.A., R.S.W. L.L.D. (SCOTTISH b. 1932) EVENING Signed and dated 1978, oil on board 33cm x 46cm (13in x 18in) Provenance: Compass Gallery, Glasgow, 13/12/1978

£1,000-1,500

136

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189 EZ338/3 SIR ROBIN PHILIPSON R.A., R.S.A., R.S.W., R.G.I., L.L.D. (SCOTTISH 1916-1992) POPPIES AGAINST AN UNFINISHED PAINTING Signed, inscribed and dated 1987/88 verso, oil on board 101.5cm x 101.5cm (40in x 40in)

£30,000-50,000

137

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

190 EAB90/1 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) STILL LIFE WITH SILVER TEAPOT Signed, oil on canvas 68.5cm x 56cm (27in x 22in)

£40,000-60,000

George Leslie Hunter was born on the Isle of Bute off the west coast of Scotland in 1877 and emigrated to San Francisco with his family in 1892. He did not undertake formal art training, and was largely self-taught, working as an illustrator to support himself financially and develop his drawings and painting skills. He was evidently aware of the rapid developments in art underway in the French capital at the beginning of the twentieth century and was able to travel to and stay in Paris for the first time in 1904. The first of many trips to France, this particular visit seems to have formulated his intention to become an artist as he maintained both his illustrating job and his painting when he returned to California and subsequently moved back to Scotland in 1907.

Still life was by far the most popular of subject matters for the artist, almost exclusively occupying him in his early career. It is a convenient genre to work on as it can be executed in the studio on a fairly small scale, giving the artist larger degrees of control over his composition and more opportunity to experiment, unlike painting a model or a pre-composed landscape for example.

Cézanne famously stated in

138

his conversations with Michael Doran that all the objects of his compositions became spheres, cylinders and cones and are moveable, so the artist would have easily been able to experiment with a variety of arrangements, light sources and relationships between the different masses.

second decade of the century is a plain, often dark background, dramatic chiaroscuro and the combination of both humble and luxurious objects assembled on the canvas, not unlike Kalf’s frequent assemblage of both kitchen utensils and crystal and silverware.

Hunter’s early still life paintings from 1910 to 1919 exhibit his overarching interest in the early masters of the genre, Willem Kalf and Jan Davidsz de Heem. He would have first seen their work in the museums of Glasgow. S J Peploe, who was to become a close friend later on in the artist’s career also notably admired the work of Kalf and the later still-life specialist Chardin – bringing back stacks of reproductions of the former’s work from a trip to Holland in 1895. Hunter first met Peploe through mutual friends Edward Archibald Taylor and his wife Jessie Marion King in Paris in 1910 but they did not become close friends until much later on in the 1920s. Their shared interest in the Dutch 17th century still life painters was not through mutual influence but nevertheless firmly informed both of the artists’ early works and undoubtedly nurtured their friendship later on in their careers. Typical of Hunter’s paintings from the

Hunter’s frequent trips to Paris whilst living in Scotland also meant that he came into contact with the work of Chardin and most importantly that of Edouard Manet, which certainly informed his painting technique with his broader and flatter brushstrokes which Hunter can be seen to use here.

An introduction to art dealer Alex Reid launched Hunter’s career. His first solo exhibition in Glasgow in 1916 was a success and placed him in contact with an enclave of collectors who would support the artist over the next fifteen years, allowing him to travel more freely and as a result to develop his painting further, towards the light palette and even looser application we observe in the canvases from the 1920s onwards.

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

139

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

191 EAB393A/77 GEORGE LESLIE HUNTER (SCOTTISH 1877-1933) ON THE BEACH SOUTH OF FRANCE Signed, mixed media 31cm x 38cm (12in x 15in) Provenance: The Estate of the Late Jean Gordon Welsh

£7,000-10,000

140

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

192 EAC83/1 SIR WILLIAM MACTAGGART P.R.S.A., R.A., R.S.W. (SCOTTISH 1903-1981) STILL LIFE WITH FRUIT BOWL AND BANANAS Signed, oil on board 50cm x 60cm (19.75in x 23.5in)

£4,000-6,000

141

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

193 EZ338/16 JOHN HOUSTON R.S.A., R.S.W., S.S.A. (SCOTTISH 1930-2008) EVENING SKY OVER CORNFIELD Signed and dated 1972, oil on canvas 127cm x 152.5cm (50in x 60in)

£4,000-6,000

142

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

194 EZ338/6 MARY ARMOUR R.S.A., R.S.W. (SCOTTISH 1902-2000) TWO CALIFORNIAN POPPIES Signed and dated ‘74, oil on canvas 53.5cmn x 76cm (21in x 25in)

£4,000-6,000

143

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

195 EZ794/21 JOHN HOUSTON R.S.A., R.S.W., S.S.A. (SCOTTISH 1930-2008) WALKING FIGURE Signed, oil on canvas 31cm x 41cm (12in x 16in) Exhibited: Aitken Dott, Festival Exhibition 1967, no.33

£1,000-1,500

196 EZ338/14 JOHN HOUSTON R.S.A., R.S.W., S.S.A. (SCOTTISH 1930-2008) STORM OVER THE SEA Signed and dated 1973, watercolour 25.5cm x 25.5cm (10in x 10in) Exhibited: Aitken Dott & Son, Festival Exhibition 1975, no.89

£500-800

144

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

197§ LB370/1 JOHN HOYLAND (BRITISH b. 1934) 25.9.66 Oil on canvas, unframed 183cm x 366cm (72in x 144in) Exhibited: British Council “Exhibition of Young British Painters”, Palais des Beaux Arts, Brussels, 1967

£10,000-15,000

145

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

198 EZ338/2 SIR ROBIN PHILIPSON R.A., R.S.A., R.S.W., R.G.I., L.L.D. (SCOTTISH 1916-1992) FOUNTAIN Signed and dated 1957, watercolour 56cm x 46cm (22in x 18in) Exhibited: Royal Scottish Society of Painters in Watercolour 1957

£1,000-1,500

199 EAA490/1 SIR ROBIN PHILIPSON R.A., R.S.A., R.S.W., R.G.I., L.L.D., D.LITT. (SCOTTISH 1916-1992) HUMANKIND Signed verso, oil on canvas 46cm x 46cm (18in x 18in)

£3,000-5,000

146

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

200ยง EAC142/1 ETHEL WALKER (SCOTTISH b. 1941) BEACH AT CUNA Signed, oil on board 91cm x 122cm (36in x 48in)

ยฃ2,500-3,500

147

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

201 EZ338/19 JOHN BRATBY R.A. (BRITISH 1928-1992) HOLLY’S HOBBY HORSE Signed, oil on board 122cm x 91cm (48in x 36in)

£1,000-1,500

202 EZ794/24 MARY ARMOUR R.S.A., R.S.W. (SCOTTISH 1902-2000) STILL LIFE WITH LEMONS Signed, oil on canvas 61cm x 51cm (24in x 20in)

£3,000-5,000

148

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

203ยง EAC177/2 ARCHIE FORREST (SCOTTISH b. 1950) STILL LIFE WITH CHERRIES Signed, oil on canvas 61cm x 81.5cm (24in x 32in)

ยฃ3,000-5,000

149

150

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

Stepping from the labyrinthine streets of Venice into the lightflooded expanse of Piazza San Marco, one’s eyes are dazzled by the change from soft shade into brilliance, the glittering mosaics of the Basilica’s façade only slowly focusing into clear narrative scenes. It is a phenomenon repeated throughout la Serenissima, and one masterfully captured by Cadell in this painting of 1910. Our gaze is first overcome by the bravura brush strokes, the fierce red and orange rays of a morning sun over water, and it is only as we lower our eyes that we discern the darker forms of two gondolas and, emerging across the Bacino, Palladio’s masterpiece, the Church of San Giorgio Maggiore. The work, painted early in the artist’s career when, with the patronage of Patrick Ford, he embarked on an artistic pilgrimage with a rich cultural precedent, shows a freshness as engaging and puzzling as that of the city of Venice itself: no matter how many times she is portrayed on canvas or film, the city continues to enchant us, appearing at once familiar but also as mercurial as light playing across the surface of the lagoon.

A trip to Venice had, for several hundred years, become a centre-piece of the Grand Tour, an integral part of a young gentleman’s personal development, and an artist’s education.

While the former might immerse himself in the pleasures of Carnivale, the latter could observe the Venetian school’s championing of colour against the Florentine propensity for line and draughtsmanship. As Tom Hewlett observes, the time he spent in Venice marked something of a turning-point for Cadell: The effect of Venice on Bunty and his work was dramatic. The combination of the vivid Mediterranean colours with the brilliant sunshine during the day, and the soft warm tones of evening, provided the ideal inspiration for his natural colourist talent.

It is fascinating to note that while the artist was undertaking exercises in colour as modern as those of Monet (who, at 68, had visited the city for the first time two years previously, in

1908, and was retouching similar scenes in his studio at the same time as the 27 year old Scot was painting in Venice), on the reverse of the painting we find, almost lost within a blaze of colour, the soft forms of nudes quite Renaissance in character, as though even while absent-mindedly testing colours, images captured from the artistic heritage that surrounds one in Venice were unconsciously coursing through his brush.

The negotiation of colour versus line is a debate that each artist must resolve at some point in their career, however, and while this work of 1910 might show the influence of Monet, by the end of the First World War it was to Cézanne that Cadell’s work owed greater debt. A more structured approach emerges, his brushwork more controlled, with geometric form playing as great a role as a palette tending towards primary colours. One need only contrast his Interior of the Salute, Venice, of 1910, with 1922’s Interior, Iona Cathedral, to observe the transformation which has taken place in his work. While in the former Roman arches and Corinthian columns provide a backdrop, melting into the gold light cast from a chandelier, in the latter the curve of the arch frames the composition, and the columns which punctuate the picture plane provide the work’s dominant motif. Nevertheless, Iona, in the Western Isles, did prove a fresh source of inspiration for Cadell, away from the urbane Edinburgh interiors for which he has perhaps become most well known. As Harris and Halsby note: The stark white sands and the impressive views, together with the dramatically changeable weather conditions, were ideal subjects for Cadell’s style, and these landscapes tend to be more relaxed and painterly compared with his formal studio works.

In such works as this, jewel-like in colour yet with the measuring influence of pattern, Cadell finally transcended a debate waged both within his own work and that of his predecessors for quite some time.

204 EAA416/8 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) MORNING ON THE BACINO, VENICE Indistinctly signed and dated 1910, oil on panel 30.5cm x 46cm (12in x 18in)

£20,000-30,000

151

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

152

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

205 EAC155/2 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) MULL FROM IONA Signed, signed and inscribed verso, oil on board

206 EAB90/2 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) HAYSTACKS, IONA Signed, watercolour 17cm x 25.5cm (6.75in x 10in)

£5,000-7,000

38cm x 45cm (15in x 17.75in) Provenance: G.W. Service Esq Private collection

£30,000-50,000

153

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

207§ EZ338/18 GLEN SCOULLER (SCOTTISH b. 1950) AVENUE DE CEDRES, LA VERDIÈRE Signed, oil on canvas 76cm x 102cm (30in x 40in)

£1,500-2,000

154

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

208ยง EAC177/1 GEORGE DEVLIN R.S.W. (SCOTTISH b. 1937) HEBRIDEAN TWILIGHT Signed, oil on canvas 127cm x 142cm (50in x 56in) Exhibited: ROI, 2006

ยฃ4,000-6,000

155

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

209§ EAC110/1 GERARD BURNS (SCOTTISH b. 1961) A NEW JOURNEY Signed, oil on canvas 60cm x 60cm (23.5in x 23.5in) Note: “A New Journey” by Gerard Burns features his niece in a scene near his home in North Lanarkshire. The work was commissioned by the Rt Hon Alex Salmond MP MSP, First Minister of Scotland, to use as his official 2009 Christmas card.

Proceeds from the sale of the painting are to be donated to the following four charities: Cross Out Child Poverty, J-A-C-K’s Fund, Mary’s Meals, and CLIC Sargent.

£4,000-6,000

156

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

210§ EZ656/5 JOHN BELLANY (SCOTTISH b. 1942) LARGS Signed and inscribed, oil on canvas, unframed 91cm x 121cm (35.75in x 47.5in)

£2,000-3,000

211§ EZ656/4 JOHN BELLANY (SCOTTISH b. 1942) LA VIE EN ROSE Signed and inscribed, oil on canvas, unframed 91cm x 121cm (35.75in x 47.5in)

£2,000-3,000

157

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

212 EAC189/1 ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998) THE JUGGLER’S TABLE Signed and inscribed ‘84, oil on board 73.9cm x 69.1cm (29.1in x 27.2in)

£10,000-12,000

158

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

213 EAC189/2 ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998) WOMAN COMBING HER HAIR Signed and dated ‘96, oil on board 53.1cm x 65cm (20.9in x 25.6in)

£6,000-9,000

159

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

214 EAA547/1 ANNE REDPATH O.B.E., R.S.A., A.R.A., A.R.W.S., R.O.I., L.L.D. (SCOTTISH 1895-1965) A STILL LIFE OF LILIES Signed, watercolour 25.5cm x 37cm (10in x 14.5in)

£3,000-5,000

215 EAA313/1 WILLIAM JOHNSTONE O.B.E. (SCOTTISH 1897-1981) RED ABSTRACT Signed and dated 1971, oil on canvas 60.5cm x 73cm (23.75in x 28.75in)

£2,000-3,000

160

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

216ยง EAC68/1 JACK VETTRIANO O.B.E. (SCOTTISH b. 1951) THE GAMBLERS Signed, oil on canvas 41cm x 31cm (16in x 12in) Exhibited: The Edinburgh Gallery, Jack Vettriano, Tales of Love and other Stories, 1992

ยฃ12,000-18,000

161

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

217ยง EAC68/2 JACK VETTRIANO O.B.E. (SCOTTISH b. 1951) LOVE, DEVOTION AND SURRENDER Signed, oil on canvas 51cm x 41cm (20in x 16in)

ยฃ20,000-30,000

162

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

218ยง EAA449/2 JACK VETTRIANO O.B.E. (SCOTTISH b. 1951) THE RULES OF THE GAME Signed, oil on canvas 51cm x 61cm (20in x 24in)

ยฃ15,000-20,000 END OF SALE

163

LY O N & T U R N B U L L Glossary of Cataloguing Terms

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

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

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

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

Studio of ... / Workshop of ...

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

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.

164

LY O N & T U R N B U L L Index

Alexander, C., 27 Alexander, J., 28 Allan, R.W., 105 Allan, Sir W., manner of, 41 Allingham, H., 61 Bellany, J., 183, 184, 185, 210, 211 Blackadder, E., 171 Bough, S., 72 Bromley, W., 5, 80 Brooks, M., 60 Bunting, T., 11 Burns, G., 209 Burns, R., 119 Caddell, F.C.B., 204, 205, 206 Cameron, K., 130 Cameron, Sir D.Y., 19, 142 Clausen, G., 91 Clayton, H., 59 Collins, W., 33 34 Corot, J-B.C., 87 Crawford, E.T., 121 Crawford, J.G., 153 Crawhall, J., 143 Crome, J.B., 44 Crozier, W., 158, 163 Cursiter, S., 113, 115 de Beul, H., 81 de Breanski, A. Junior, 123 de Breanski, A. Senior, 122, 124 de Hoog, B., 94 de Loutherbourg, P.J., 30 Devlin, G., 208 Dicksee, T.F., 98 Downie, P., 6 Dyf, M., 144 Eardley, J., 173-177 Etty, W., 43 Faed, T., 51 Farquharson, D., 103 Farquharson, J., 13, 128

Fedden, M., 169, 170 Forrest, A., 203 Frazer, W.M., 10, 20, 118, 134 Gaudier-Brzeska, H., 149 Gauld, D., 137 Gear, W., 151, 181 Gill, D.W., 96 Gillies, Sir W.G., 154, 159, 179, 180 Glass, W.M., 147 Glendenning, A.A., 53, 55, 63, 66 Goodwin, A., 84 Gordon, Sir J.W., attributed to, 75 Hague, J.A., 79, 111 Haig, E., 164 Hansen, H., 132 Hardy, H., 62 Hardy, T.B., 101 Hay, W.H., 107 Hayls, J., 24 Hayls, J., attributed to, 29 Hemy, T.M.M., 7 Henderson, J., 76, 86 Henderson, J.M., 3 Henry, G., 109 Herdman, R., 39 Herdman, R.D., 82 Hill, D.O., 45 Hillingford, R.A., 69 Hislop, M.R., 152 Hornel, E.A., 112 Houston, G., 106 Houston, J., 150, 161, 172, 178, 193, 195, 196 Hoyland, J., 197 Hunt, W.H., 93 Hunter, G.L., 190, 191 Hunter, M., 116 Hutchison, R.G., 129 Ibbetson, J.C., 31 Jobling, R., 92

Johnstone, W., 215 Jones, P., 48 Kay, J., 16, 70, 77, 78, 83 Kennedy, C., 64 Kneller, Sir G., studio of, 25 Knight, Dame L., 133 Lamond, W.B., 108 Lauder, C.J., 18 Lauder, J.E., 49 Leggatt, A., 97 Lely, Sir P., follower of, 26 Lodge, G.E., 99 Mackenzie, J.H., 117 Mackie, C.H., 95 MacNee, R.R., 4 MacTaggart, Sir W., 162, 192 McClure, D., 148, 182 McGeorge, W.S., 14, 110, 135 McGhie, J., 73 McIntyre, D., 145 McKay, W.D., 21 McLaren, P., 165 McTaggart, W., 71, 74 Mellor, W., 67 Melville, A., 85 Millaud, F., 140 Milne, J., 17, 120 Milne, J.M., 155 Milne, W.W., 15, 104 Morrison, J., 187, 188 Morrocco, A., 146, 212, 213 Morrocco, L., 186 Munro, H., 8, 127

Paton, W.H., 102 Patrick, J.M., 131 Peake the Elder, R., attributed to, 23 Peploe D., 157 Philipson, Sir R., 166, 167, 168, 189, 198, 199 Redpath, A., 214 Robertson, T., 138, 139 Scott, T., 88, 89, 90 Scouller, G., 207 Shayer, W.J., 40 Sherrin, D., 58 Simpson, J., 12 Stark, J., 37 Strang, W., 136 Sutherland, G., 156 Thomson, Rev. J. of Duddingston, 36, 47, 52 Thorburn, A., 100 Vettriano, J., 216, 217, 218 von Z端low, F., 141 Wainwright, J., 56 Walbourn, E., 54, 57 Walker, E., 200 Ward, J., 42 West, D., 5 Wilson, R., 32 Wingate, Sir J. L., 2, 9 Wolstenholme, D., attributed to, 35 Wylie, K., 126

Nasmyth, C., 46 Nasmyth, P., 38 Nicol, E., 22 Oakley, O., 65 Oppenheimer, C., 1 Park, S., 125 Pasmore, D., 68 Paterson, J., 114

165

Fine Jewellery and Silver Tuesday 30th November, 2010 33 Broughton Place, Edinburgh EH1 3RR Viewing times Friday 26th November 10am - 5pm Saturday 27th November 10am - 4pm Sunday 28th November 2pm - 5pm Monday 29th November 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

A diamond and carved sapphire set delphinium spray 8cm long by 6cm wide

ÂŁ2,000-3,000

w w w. lyo n a n d t u r n b u l l . co m

Fine American & European Paintings & Sculpture 12/05/10

Upcoming

Auction Sunday December 5th at 2pm Exhibitions: Thursday, December 2nd & Friday, December 3rd 10am-5pm Saturday, December 4th Noon-5pm Inquiries: alasdair nichol direct tel: 267.414.1211 anichol@freemansauction.com david weiss direct tel: 267.414.1214 dweiss@freemansauction.com maya o’donnell-shah direct tel: 267.414.1210 mshah@freemansauction.com HUBERT ROBERT french ( 1733-1808) "LES DEUX AMIES" Signed and dated '1780/H.Robert' on the balustrade, bottom right; and "LA JEUNE DESSINATRICE" signed and dated 'H. Robert/1780' on the pedestal, bottom center left.

Each oil on copper, a pair (2) 36 x 29 in. (91 x 73cm)

$300,000-500,000 (£200,000-330,000)

Catalogue $35

FREEMAN’S 1808 Chestnut Street Philadelphia, PA 19103 Telephone: 215.563.9275 Fax: 215.563.8236 www.freemansauction.com 126 Garrett Street Charlottesville, VA 22902 Telephone: 434.296.4096 Fax: 434.296.4011 www.freemanssouth.com

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8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES

(h) The singular includes the plural and vice versa as appropriate.

(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:

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, which must be raised before the next lot is offered, 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.

(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 of 1.5% per month above the current base rate on the total amount due, to the extent it remains unpaid for more than four 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

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 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. 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.

11. WARRANTY OF TITLE AND AVAILABILITY

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 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.

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

12. AGENCY

GENERAL

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

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

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 Marketing Service: £10 per lot.

(2) If a vendor wishes to withdraw a lot consigned for sale, a withdrawal fee will apply; this will be charged at 15% of the mid estimate with any photography charges incurred and all subject to VAT at the current rate.

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,

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 (Books, Jewellery, paintings, guns, firearms etc) in which case the descriptions must be interpreted in accordance with any glossary or guidance notes appearing in the catalogue. These notices and terms will also form part of our terms and conditions of sales.

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