The Winter Paintings Sale | 28th November 2013

The Winter Paintings Sale Thursday 28th November 2013 33 Broughton Place Edinburgh

The Winter Paintings Sale including The Collection of the late Dr. Renate Davis Thursday, 28th November, 2013 at 6pm Sale Number LT389

Viewing Sunday, 24th November 2pm - 5pm Monday, 25th November 10am - 5pm Tuesday, 26th November 10am - 5pm Wednesday, 27th November 10am - 5pm Thursday, 28th November 10am - 1pm

Specialists Nick Curnow nick.curnow@lyonandturnbull.com Emily Johnston emily.johnston@lyonandturnbull.com Charlotte Riordan charlotte.riordan@lyonandturnbull.com

Premium Lots Please note that we may, at our option, ask anyone wishing to bid on selected high value lots to provide a bank reference and/or a deposit as part of the registration process.

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

VAT will be charged on the premium at the rate imposed by law. †20% VAT chargeable on the lot itself *5% import VAT on the lot §Droit de Suite (artist’s resale rights) applies (see our Terms and Conditions of Sale and Information for Buyers).

For more information on bidding please see Important information for Buyers or contact us on 0131 557 8844 / email info@lyonandturnbull.com

ENQUIRIES AND COMMISSION BIDS Lyon and Turnbull Ltd. 33 Broughton Place Edinburgh EH1 3RR Tel. 0131 557 8844 Fax. 0131 557 8668 email. info@lyonandturnbull.com www.lyonandturnbull.com

LY O N & T U R N B U L L Important information for buyers

Buying at Auction This sale is subject to our standard Terms and Conditions of Sale. If you have not bought at auction before we will be delighted to advise you.

Estimates Estimates are printed below each lot and do not include the buyer’s premium. The sale will be conducted in pounds sterling.

Dimensions Dimensions are for guidance only; it is the buyer’s responsibility to ensure that they are correct.

Buyer’s Premium The buyer shall pay the hammer price together with a premium thereon.

25% up to £25,000 / 20% thereafter.

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

VAT The symbol † by a lot number indicates that VAT is payable by the purchaser at the standard rate on the hammer price.

The symbol * by a lot number indicates that the lot has been temporarily imported from outside the EU and that VAT is payable by the purchaser at the rate of 5% on the hammer price.

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

Droit de Suite This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years.

This royalty will be charged to the buyer on the hammer price and in addition to the buyer’s premium. It will not apply to works where the

hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale.

All royalty charges are paid to the appropriate collecting organisation and no handling costs or additional fees are retained by the auctioneer.

Resale royalties are not subject to VAT. Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale.

More information on Droit de Suite is available at www.dacs.org.uk Damage and Restoration Occasionally, when a lot has suffered extensive damage and/or restoration it is indicated in the catalogue. This is mentioned entirely at our discretion for the benefit of buyers. Where there is no mention of damage and/or restoration this should not be taken to mean that there is none. It is the buyer’s responsibility to ensure that the condition of lots is to their satisfaction (see our Terms and Conditions of Sale).

Condition Reports If potential buyers are unable to inspect lots in person our specialists will be happy to prepare detailed Condition Reports on individual lots as quickly as possible. These are for guidance only and all lots are sold ‘as found’ (see our standard Terms and Conditions of Sale).

Electrical Goods Lots that were once operated by mains electricity are bought entirely at the buyer’s risk. They are offered for sale for display or historical purposes and may not comply with current regulations.

Bidding Please note that all first time bidder’s at Lyon & Turnbull will be asked to supply the following documents in order to facilitate registration:

1 – Government issued photo ID (Passport/ Driving licence) 2 – Proof of address (utility bill/ bank statement) You may present these documents in person or, alternatively, fax or email copies to us. We may, at our option, also ask you to provide a bank reference and/ or deposit.

We reserve the right to reject registration applicants at our discretion.”

At the Sale Potential buyers must register and collect a bidding number before the sale begins, and show that number if successful in purchasing a lot.

Please ensure that the auctioneer repeats the number correctly when confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer’s attention immediately. All lots will be invoiced to the name and address given on your registration form, which is nontransferable. If you have purchased a lot you may take your bidding number to the accounts department and receive an invoice immediately.

If you have not been successful please leave the number at the Registration or Reception desks.

In writing Bid forms are available at the sale and/or the back of the catalogue.

These should be submitted in person, by post, or by fax as soon as possible prior to the sale and we will bid on your behalf up to the limit indicated. In the event of receiving two identical bids the first one received will take precedence. All bids must be received an hour before the sale. This service entirely at the bidder’s risk.

By telephone Bids submitted by telephone must be confirmed in writing.

Telephone bidding If you are unable to attend the sale we can normally arrange for you to bid on the telephone. This service is available on lots with an estimate of £300 and over, entirely at our

discretion and at the bidder’s risk.

All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. All bid requests must be received an hour before the sale.

Methods of Payment Goods purchased will not be released until we have received full payment.

Bank Transfer Please find details in any email invoice we issue or upon request from our accounts department.

Cash Cash payments can be made at the accounts desk during or after a sale.

Credit or Debit Cards Payment can be made by Visa Debit, Maestro, Mastercard or Visa Credit cards. Please note there is a 2% surcharge on credit card payments and we do not accept Amex..

Online Payments We no longer accept card payments by phone, please use our online payment service (powered by Worldpay). You will find a link to this service in any email invoice issue or you can visit the payments section of our website.

Cheque Cheques should be made payable to Lyon and Turnbull Ltd. We reserve the right to wait until cheques have been cleared by our bankers before releasing bought goods. Cheques can be cleared prior to sale on request. Cheques drawn by third parties cannot be accepted. If paying by post please include the slip from your invoice.

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

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1 FG600/20 THOMAS DUDGEON (SCOTTISH fl. 1831-1878) VIEW OF THE CLYDE ESTUARY AND DUMBARTON ROCK Signed and dated 1878, oil on canvas 31cm x 46cm (12in x 16in)

£800-1,200

2 FG596/17 DAVID FARQUHARSON A.R.A., A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1840-1907) GORSE AND MAY Signed and dated ‘04, oil on canvas 31cm x 51cm (12in x 20in)

£600-900

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3 FF654/3 JOHN HENDERSON (SCOTTISH 1860-1924) PICNIC BY THE RIVER Signed, oil on panel 18cm x 25.5cm (7in x 10in)

£1,000-1,500

4 FG325/9 WILLIAM ALFRED GIBSON (SCOTTISH 1866-1931) THE CLOUD Signed, oil on canvas 41cm x 51cm (16in x 20in)

£800-1,200

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5 FF783/1 HENRY THOMAS DAWSON (BRITISH 19TH CENTURY) ROTTERDAM Signed with a monogram and dated ‘Jan. 1878’, oil on canvas 51cm x 76cm (20in x 30in)

£1,500-2,000

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6 FF654/20 JOHN MACWHIRTER R.A., H.R.S.A., R.I., R.E. (SCOTTISH 1839-1911) A HIGHLAND GLEN, INVERNESS-SHIRE Signed with a monogram, oil on canvas 76cm x 51cm (30in x 20in)

£1,000-1,500

7 FF691/1 JAMES FAED JNR (SCOTTISH 1856-1920) IN A HILL GLEN Signed, oil on panel 32cm x 25.5cm (12in x 10in)

£1,000-1,500

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8 FF654/16 LOUIS BOSWORTH HURT (BRITISH 1856-1929) CATTLE WATERING IN A MOUNTAIN LOCH Signed and dated ‘94, oil on canvas 33cm x 49cm (13in x 19in)

£3,000-5,000

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9 FF449/1 WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) ‘TIS A TOUCH OF A FAIRY THAT WAKES THE SPRING OF THE NORTHERN LAND Signed and dated 1886, pencil and watercolour 25.5cm x 35.5cm (10in x 14in) Provenance: McTaggart Watercolour Sale, Dowell’s 23rd March 1889 Mrs Otto Leyde Literature: James Caw, William McTaggart 1917, p.256

£2,000-3,000

10 FF654/17 WALLER HUGH PATON R.S.A., R.S.W. (SCOTTISH 1825-1895) PAST THE POINT Signed and dated 26th July 1878, watercolour heightened with bodycolour 24cm x 34.5cm (9.5in x 13.5in)

£500-700

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11§ FG66/2 ROBERT RUSSELL MACNEE R.G.I. (SCOTTISH 1880-1951) CHICKENS IN A FARM YARD Signed, oil on board 24cm x 29cm (9.5in x 11.5in)

£800-1,200

12§ FF833/1 STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) THE FISHERMAN Signed and dated 1912, oil on board 25.5cm x 35.5cm (10in x 14in)

£1,500-2,000

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13 FF783/2 THOMAS CRESWICK R.A. (BRITISH 1811-1869) MENDING EELPOTS Oil on panel 29cm x 38cm (11.5in x 15in)

and a companion a pair ‘River landscape with river and bridge’ (2) Exhibited: Midland Counties Art Museum, Nottingham Provenance: G.B.Davey

£1,500-2,000

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14 FF922/1 ARCHIBALD KAY R.S.A., R.S.W. (SCOTTISH 1860-1935) THE PEARL FISHER’S CAMP Signed, oil on canvas 94cm x 154cm (37in x 60.5in) Exhibited: Royal Scottish Academy 1916, no. 162.

£3,000-5,000

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15 FF826/1 ATTRIBUTED TO JOHN WILSON EWBANK R.S.A. (SCOTTISH 1779-1847) SAILING VESSELS IN CALM SEAS Oil on panel 27cm x 61cm (10.5in x 24in)

£1,000-1,500

16 FF733/1 ÉDOUARD ADAM (FRENCH 1847-1929) THE S.S. INNGREEN IN HEAVY SEAS Signed, inscribed ‘Havre’ and dated 1882, oil on canvas 61cm x 91cm (24in x 36in)

£1,500-2,000

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17 FF923/22 EDWARD THORNTON CRAWFORD R.S.A. (SCOTTISH 1806-1885) THE ARRIVAL OF THE FLEET Bears inscription on label verso, oil on canvas 30.5cm x 51cm (12in x 20in)

£1,500-2,000

18 FF733/2 ÉDOUARD ADAM (FRENCH 1847-1929) THE S.S. ARGOSY IN HEAVY SEAS Signed, inscribed ‘Fils’ and dated 1890, oil on canvas 61cm x 91cm (24in x 36in)

£1,500-2,000

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19 FG581/1 ATTRIBUTED TO CHARLES MARTIN POWELL (BRITISH 1775-1824) FISHING BOATS BECALMED Oil on canvas laid down 11.5cm x 18cm (4.5in x 7in)

and a companion a pair (2) £600-800

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20 FF736/1 19TH CENTURY CHINESE SCHOOL PORTRAIT OF THE S.S EARN OFF HONG KONG Inscribed and dated ‘Cap. Anderson, Hong Kong 1887, remains of trade label verso, oil on canvas, unframed 65cm x 89cm (25.5in x 35in) Provenance: Captain Anderson was the uncle of the current owner’s grandmother

£3,000-5,000

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21 FG305/6 CIRCLE OF EGBERT VAN DER POEL FIGURES ON A CANALSIDE Oil on panel 71cm x 104cm (28in x 41in) Provenance: Quiddenham Hall, Norfolk, Earls of Albermarle acquired by the mother of the late owner.

£1,500-2,500

22 FG587/2 CIRCLE OF RICHARD WILSON A CLASSICAL LANDSCAPE WITH FIGURES AND DISTANT RUINS Oil on canvas 61cm x 74cm (24in x 29in)

£1,500-2,500

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23 FG600/19 AERNOUT SMIT (DUTCH 1641-1710) THE MORNING GUN Signed and dated, oil on canvas 46cm x 56cm (18in x 22in)

£3,000-5,000

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24 FD682/1 FOLLOWER OF ORAZIO GREVENBROECK (FRENCH 1670-1730) A CAPRICCIO SCENE WITH BOATS ENTERING A HARBOUR PAST RUINED COLONNADE Oil on copper, circular 13cm (5in) diameter)

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

25 FF72/70 JOACHIM VON SANDRART THE ELDER (GERMAN 1606-1688) PORTRAIT OF A YOUNG MAN Signed with a monogram, inscribed and dated 1652, oil on copper, oval 12cm x 10cm (4.75in x 4in) Provenance: Alfred Brod, London October 1961 The Estate of Dr Renate Davis Deceased

£1,000-1,500

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26 FG587/4 ATTRIBUTED TO JACQUES DE LAJOUE (FRENCH 1687-1761) VENUS DESCENDING Oil on canvas 99cm x 130cm (39in x 51.25in)

£3,000-5,000

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27 FG587/1 MANNER OF WILLIAM MARLOW A WOODED RIVER LANDSCAPE WITH FISHERMEN Oil on canvas 55cm x 79cm (21.5in x 31in)

£1,500-2,500

28 FG587/3 ATTRIBUTED TO JAN FRANS VAN BLOEMEN (FLEMISH 1662-1749) A WOODED CLASSICAL LANDSCAPE WITH FIGURES ON A PATH Oil on canvas 74cm x 99cm (29in x 39in)

£2,000-3,000

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29 FF72/100 ATTRIBUTED TO DIRK HALS (DUTCH 1591-1656) A CONVIVIAL PARTY Oil on panel 29.5cm x 38cm (11.5in x 15in) Provenance: The Estate of Dr. Renate Davis Deceased.

ÂŁ6,000-8,000

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30 FG328/6 CIRCLE OF JOHAN JOSEPH ZOFFANY FULL LENGTH PORTRAIT OF SIR WILLIAM YOUNG, GOVERNOR OF ST. DOMENICA Oil on canvas, with label verso ‘The collection of Capt. Young Ottley’ 76cm x 63cm (30in x 25in)

£3,000-5,000

31 FF923/1 19TH CENTURY BRITISH SCHOOL THREE-QUARTER LENGTH PORTRAIT OF A SCOTTISH YEOMANRY OFFICER Oil on canvas 127cm x 96.5cm (50in x 38in)

£600-800

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32 FC932/1 ALLAN RAMSAY (SCOTTISH 1713-1784) PORTRAIT OF THOMAS SHAIRP, 5TH LAIRD OF HOUSTON (d. 1772) Signed and dated 1750 bottom right, oil on canvas 76.25cm x 63.5cm (30in x 25in) Provenance: By family descent to John Shairp (d.1940); Doig, Wilson and Wheatley, Edinburgh; bt. Captain Pringle of Houston; Ian G. Lindsay and thence by descent

£10,000-15,000 Thomas Shairp, the Fifth Laird of Houston, a friend of Ramsay's, commissioned the artist to paint five portraits of himself and his family in 1750. Shairp, who had married his cousin Janet sometime before 1723, their son Thomas, daughter Janet and Thomas' wife Anne were sent the portraits upon completion by Ramsay in his London studio later that year.

His daughter Janet's portrait now hangs in the collection of Aberdeen Art Gallery and his son Thomas' in the Edinburgh City Art Centre. The two further portraits have found a home in private collections.

Ramsay was arguably at the peak of his career by this period. This portrait of Shairp effectively demonstrates the stylistic elements which set Ramsay's work above that of his peers. Following French trends, Ramsay favoured more naturalistic and less artificial compositions. This is

the reason Ramsay's portraits are always such fascinating and lively character studies, the sitter engaging with the viewer with a directness that was rare in British portraiture up to this point.

Consequent to this, Ramsay's most successful works were arguably portraits of those

close to him. Indeed Alastair Smart, one of Ramsay's chief scholars, described the Shairp portrait series as being “among Ramsay's most sensitive things” (p.57, The Life and Art of Allan Ramsay,

by Alistair Smart, 1952).

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33 FF654/2 SIR GEORGE REID P.R.S.A., H.R.S.W., L.L.D. (SCOTTISH 1841-1913) WHITE STILL LIFE Signed with a monogram, oil on canvas 51cm x 28cm (20in x 11in)

£2,000-3,000

34 FG466/1 WILLEM JOHANNES WEISSENBRUCH (DUTCH 1864-1941) A STILL LIFE OF AUTUMN FLOWERS Signed, oil on board 61cm x 43.5cm (24in x 17in)

£1,500-2,000

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35 FF732/1 ROBERT HERDMAN R.S.A., R.S.W. (SCOTTISH 1829-1888) FAVOURITE PETS Signed with initials and dated 1856, oil on canvas, arched top 102cm x 76cm (40in x 30in)

ÂŁ3,000-5,000

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36 FG339/1 JAMES PATERSON P.R.S.W., R.S.A., R.W.S. (SCOTTISH 1854-1932) RICHMOND, YORKSHIRE FROM HUDSWELL Signed, signed and inscribed verso, oil on canvas 63cm x 76cm (25in x 30in)

£2,000-3,000

37 FF654/4 GEORGE SMITH R.S.A. (SCOTTISH 1870-1934) THE TIMBER WAGON Signed, oil on board 31cm x 41cm (12in x 16in)

£700-1,000

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38§ FF654/13 GEORGE HOUSTON R.S.A., R.S.W., R.I. (SCOTTISH 1869-1947) ON THE BANKS OF THE LOCH Signed, oil on canvas 46cm x 61cm (18in x 24in)

£600-800

39 FF922/23 JOHN A. HENDERSON TARBET (SCOTTISH 1864-1937) SPRING’S AWAKENING Signed, oil on canvas 102cm x 127cm (40in x 50in)

£1,200-1,800

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40 FF888/1 JOHN ROBERTSON REID R.I., R.B.A., R.O.I. (SCOTTISH 1851-1926) RETURN OF THE FLEET, MACDUFF Signed and dated ‘86, oil on canvas 56cm x 84cm (22in x 33in)

£2,000-3,000

41 FF32/1 ROBERT HOPE R.S.A. (SCOTTISH 1869-1936) THE VILLAGE GREEN Signed, oil on canvas 51cm x 61cm (20in x 24in)

£1,500-2,500

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42 FG497/4 DAVID FARQUHARSON A.R.A., A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1840-1907) A RIVER LANDSCAPE WITH DISTANT SNOWY PEAKS Signed and dated ‘85, oil on canvas laid down 36cm x 61cm (14in x 24in)

£1,000-1,500

43 FF411/2 WILLIAM ALFRED GIBSON (SCOTTISH 1866-1931) QUIET WATER Signed, indistinctly inscribed and dated 1-1-1919, oil on board 24cm x 32cm (9.5in x 12.5in)

£800-1,200

44 FF654/5 DAVID FARQHARSON A.R.A., A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1840-1907) DUNBLANE CATHEDRAL Signed and dated ‘88, inscribed verso, oil on board 20.5cm x 31cm (8in x 10in)

£600-800

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45 FF826/2 JOHN H. (JOCK) WILSON H.R.S.A. (SCOTTISH 1774-1855) DUTCH BARGES OFF THE COAST Oil on canvas 31cm x 51cm (12in x 20in)

£1,000-1,500

46 FG325/8 WILLIAM ALFRED GIBSON (SCOTTISH 1866-1931) THE HARBOUR Signed, oil on canvas 69cm x 90cm (27in x 35.5in)

£800-1,200

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47 FG600/22 LOUIS GABRIEL EUGÈNE ISABEY (FRENCH 1803-1886) UNLOADING THE CATCH Signed and dated 1851, oil on canvas 63cm x 83cm (24.75in x 32.5in)

£3,000-5,000

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48 FG328/8 SIR EDWIN HENRY LANDSEER R.A. (BRITISH 1802-1873) HEAD AND SHOULDER PORTRAIT OF LORD MELBOURNE Oil on board 25.5cm x 20cm (10in x 8in) Provenance: Bears back label verso: 'Thos. Agnew and Son Ltd, London, no. 23624

£10,000-15,000 One of the most notable figures in 19th century British art, Landseer was famed for his skilled depictions of animals and his patronage by Queen Victoria. He also produced numerous portraits of society figures, with this study of Lord Melbourne being one such example.

Melbourne was Prime Minister of Britain between the years 1834-1841 but is best remembered as the young Queen Victoria’s political mentor, a position he undertook at the age of 58.

Victoria famously adored her advisor, and the pair forged an intense companionship.

Prior to this, Melbourne’s most remarkable claim to fame had been the spectacularly public end of his marriage to the beautiful but flighty Lady Caroline Ponsonby. Ponsonby had conducted an overt and passionate affair with Lord Byron during which she famously described the poet as “mad, bad and dangerous to know.”

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Landseer was first commissioned to paint Lord Melbourne by Lady Holland, the wife of fellow Whig politician Henry Vassall-Fox and hostess of famous literary and political salons. His most famous likeness of Melbourne, however, is held in the collection of the National Portrait Gallery.

Queen Victoria’s verdict of the painting was positive, if

curiously inconsistent, stating that it was “like him but too fat and though flattering is not in my opinion half pleasing enough. It is very well done.”

It is likely this work is a study for one of these portraits, depicting Melbourne from a slightly different angle than that of the fully worked up examples. It would have been executed c. 1836 while the

precociously talented Landseer was still in his early thirties. Lord Melbourne is shown as a handsome man of advancing years, his countenance kindly and his characteristic heavy sideburns and brows easily recognisable.

The face is boldly formed and the hazily defined background an increasingly recognisable characteristic of Landseer’s mature work.

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49 FG445/1 GEORGE PAUL CHALMERS R.S.A., R.S.W. (SCOTTISH 1833-1878) THE RED ROSE Signed, oil on canvas 53cm x 43cm (20.75in x 17in)

£1,500-2,000

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50 FF783/3 WILLIAM JOSEPH SHAYER (BRITISH 1811-1892) STAGECOACH IN THE SNOW Signed, oil on board 30cm x 30cm (11.75in x 11.75in)

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

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51 FF654/1 LOUIS BOSWORTH HURT (BRITISH 1856-1929) HIGHLAND CATTLE BY A MOUNTAIN STREAM Signed and dated 1912, oil on canvas 69cm x 102cm (27in x 40in)

£10,000-15,000

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52 FF923/12 ALFRED DE BREANSKI SNR. (BRITISH 1852-1928) A CHALLENGE FROM CRAGGY HEIGHTS Signed, oil on canvas 51cm x 76cm (20in x 30in) Note: Bears a label verso which states: ‘This painting was part of a large consignment of pictures despatched

by Cooling Galleries Ltd, London to their galleries in Toronto. It was shipped on the S.S. Empire Sailor, early in January 1941. On three successive occasions the ship was torpedoed, bombed and shelled and returned under her own steam for repairs. She eventually arrived in June. All the pictures were delivered in perfect condition.’

£3,000-5,000

53 FE188/5 WALLER HUGH PATON R.S.A., R.S.W. (SCOTTISH 1828-1895) ON THE TAY AT MURTHLY Signed and dated 1870, oil on panel 20cm x 46cm (8in x 18in)

£4,000-6,000

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54 FF922/13 GEORGE SMITH R.S.A. (SCOTTISH 1870-1934) RETURN FROM WORK Signed, oil on canvas 71cm x 91cm (28in x 36in)

£2,000-3,000

55 FF923/15 ROBERT WEIR ALLAN V.P.R.W.S., R.S.W., N.E.A.C. (SCOTTISH 1851-1942) WAITING FOR THE BOATS Signed, oil on board 28cm x 43.5cm (11in x 17in)

£2,000-3,000

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56 FF654/18 ARCHIBALD DAVID REID A.R.S.A, R.S.W., R.O.I. (SCOTTISH 1844-1908) GATHERING WRACK Signed, watercolour 41cm x 56cm (16in x 22in)

£500-700

57§ FG586/18 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) AN ESTUARY SCENE Signed, pencil and watercolour 13cm x 37cm (5in x 14.5in)

£500-800

58 FF924/3 SAM BOUGH R.S.A. (SCOTTISH 1822-1878) VIEW OF ST. MONANS Signed and dated 1873, watercolour 34cm x 51cm (13.5in x 20in)

£1,000-1,500

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59* FF886/1 WILLIAM H. BARTLETT (BRITISH 1858-1932) THE FERRYMAN, ST. IVES Signed and dated 1885, oil on canvas 59cm x 83cm (23.25in x 32.5in)

£10,000-15,000

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Jan Zoetelief Tromp was born in Batavia, an outpost of the former Dutch East Indies where his father was working as an official. Many artists had travelled to the Dutch colonies to paint and to educate the locals in Western art practise and one could postulate that Tromp developed his interest in art amidst this cultural hub.

By 1893 however, Tromp had returned to Holland and enrolled at The Hague

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Academy under Frederick Johannes Jansen, later also studying at the Academy in Amsterdam. He lived the majority of his life in France where he died in 1947.

Tromp carved a highly successful career which spanned genre scenes, landscape and seascapes.

Works like the two shown here were particularly popular; featuring charming children in rural and seaside idylls.

Having married the daughter of Hague School artist Bernadus Blommers, it was perhaps inevitable that his father-in-law’s style would influence Tromp in the development of his own oeuvre. The Hague School had initially been characterised by its sombre palette but latterly, due to the influence of French Impressionism, figures such as Jacob Maris and Jozef Israels began lightening and enriching their tonal range.

Tromp favoured bright light and vivid tonalities, evoking a romantic sense of halcyon summertime within his work.

In a region that had suffered so greatly at the hands of war during the past century, his signature sense of idealised optimism and references to childhood innocence held great appeal to the buying public, as they indeed still do today.

LY O N & T U R N B U L L The Winter Paintings Sale

61§ FF910/2 JAN ZOETELIEF TROMP (DUTCH 1872-1947) DAISY CHAINS Signed and signed verso, oil on canvas 36cm x 51cm (14in x 20in)

£20,000-30,000 60§ FF910/1 JAN ZOETELIEF TROMP (DUTCH 1872-1947)

BY THE SEASIDE Signed and signed verso, oil on canvas 36cm x 51cm (14in x 20in)

£30,000-50,000

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LY O N & T U R N B U L L The Winter Paintings Sale

62 FF175/10 EVERT PIETERS (DUTCH 1856-1934) THE SHELL FISHER Signed, oil on panel 36cm x 25.5cm (14in x 10in)

£1,500-2,000

63 FF620/5 JOHANNES WEILAND (DUTCH 1856-1909) FRUGAL TIMES Signed and dated ’99, watercolour 58cm x 47cm (22.75in x 18.5in)

£600-900

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64 FF808/1 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) THE NEW ARRIVALS Signed, oil on canvas 61cm x 46cm (24in x 18in)

£10,000-15,000

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65 FG305/7 ARTHUR D. LEMON (1850-1912), FINISHED BY JOHN SINGER SARGENT R.A. BRINGING THE CARRARA MARBLE TO SICILY Oil on canvas 42cm x 112cm (16in x 44in) Provenance: From the estate of Diana, Countess of Albemarle.

Note: Inscribed by the artist's widow Blanche on a contemporary label verso 'this is the last work on which Arthur Lemon was engaged. The few finishing touches were done by John Singer Sargent'.

£2,000-3,000

66§ FE188/26 SPENCE SMITH R.S.A. (SCOTTISH 1880-1951) A WOODED RIVER LANDSCAPE Signed, oil on canvas 91cm x 61cm (36in x 24in)

£1,500-2,000

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67§ FF922/2 WILLIAM MILLER FRAZER R.S.A. (SCOTTISH 1864-1961) ST. IVES, HANTS Signed, oil on board 28cm x 35.5cm (11in x 14in)

£700-900

68 FF541/3 LOUIS BOSWORTH HURT (BRITISH 1856-1929) CLIFFS OF NOSS, SHETLAND Incised signature, inscribed verso, oil on board 14cm x 24cm (5.5in x 9.5in)

£1,000-1,500

69 FF541/2 DAVID FULTON R.S.W. (SCOTTISH 1848-1930) PRESWEEP TIME - EARLY SPRING-TIME Signed and dated ‘88, signed and inscribed verso, oil on canvas 53cm x 82.5cm (21in x 32.5in)

£1,000-1,500

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70 FF748/1 EDWIN LONG R.A. (BRITISH 1829-1891) AN ARAB GIRL Signed with a monogram, oil on canvasboard, oval 36cm x 31cm (14in x 12in) Provenance: The Forbes Collection, London 2003

£3,000-5,000

71§ FG330/2 HARIJS EBERSTEINS (LATVIAN 1906-1964) TWO OTTOMAN WOMEN Signed, oil on canvas 81cm x 76cm (32in x 30in)

£2,000-3,000

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72§ FF39/8 HENRY JOHN LINTOTT R.S.A. (BRITISH 1878-1965) SEA WIND Oil on board 76cm x 56cm (30in x 22in) Exhibited: Royal Academy 1941 Russell Cotes Art Gallery, Bournemouth, Exhibition of works by eminent living artists, 1945

£1,000-1,500

73 FF622/1 NIELS SIMONSEN (DANISH 1807-1885) ARAB STUDY Signed with initials, oil on board 17cm x 15cm (6.75in x 6in)

and another study by the same hand (2) £600-900

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74 FF922/10 WILLIAM WALLS R.S.A., R.S.W. (SCOTTISH 1860-1942) LIONESS AND CUBS Signed, oil on canvas 91cm x 122cm (36in x 48in) Exhibited: Royal Scottish Academy, 1915, no. 170

£2,000-3,000

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75 FF922/8 WILLIAM WALLS R.S.A., R.S.W. (SCOTTISH 1860-1942) “CLUNY” - A SCOTTISH TERRIER Signed, oil on board 58cm x 48.5cm (22.75in x 19in)

£1,000-1,500

76 FF39/18 ROBERT ALEXANDER R.S.A., R.S.W. (SCOTTISH 1840-1923)

BY THE HEARTH Signed, oil on canvas 35.5cm x 25.5cm (14in x 10in)

£800-1,200

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77 FF737/1 ARCHIBALD THORBURN (SCOTTISH 1860-1935) SNIPE Signed and dated 1920, watercolour 30cm x 20cm (12in x 8in) Provenance: Rowland Ward Ltd, London

ÂŁ5,000-7,000

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78§ FF737/2 DAVID MORRISON REID HENRY (BRITISH 1919-1977) TEAL IN HARD WEATHER Signed, watercolour 17cm x 25cm (6.75in x 9.75in) Provenance: Rowland Ward, London

£500-700

79§ FF923/17 MARY HOLDEN BIRD (SCOTTISH 1920-1978) LOCH MORAR Signed with monogram, watercolour 34cm x 52cm (13.5in x 20.5in)

£500-700

80§ FF923/7 HANS HANSEN R.S.W. (SCOTTISH 1853-1947) OLD WAVERLEY STATION Signed, watercolour 18cm x 25.5cm (7in x 10in)

£1,500-2,000

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81§ FF923/8 HANS HANSEN R.S.W. (SCOTTISH 1853-1947) SHOPPERS IN A BUSY STREET Signed, watercolour 30.5cm x 20cm (12in x 8in)

£800-1,200

82§ FF923/14 FRANK H. MASON R.B.I., R.I. (BRITISH 1875-1965) THE FERRY, DUNOON Signed, gouache 78cm x 58cm (30.75in x 22.75in)

£800-1,200

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83§ FG82/18 JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D (SCOTTISH 1907-1998) GLAMIS VILLAGE FROM THE RIVER Signed and dated ‘46, pen and ink and watercolour 37cm x 55cm (14.5in x 21.5in)

£4,000-6,000

84§ FG104/1 JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) NEAR LUNDIE, ANGUS Signed, watercolour 53.5cm x 73.5cm (21in x 29in)

£2,000-3,000

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85 FG82/27 JAMES PATERSON R.S.W., R.S.A., R.W.S. (SCOTTISH 1854-1932) A SUMMER STROLL Signed and inscribed ‘Roseneath’, watercolour 30.5cm x 42cm (12in x 16in)

£2,000-3,000

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86§ FF923/16 PATRICK DOWNIE R.S.W. (SCOTTISH 1854-1945) THE GLASGOW INTERNATIONAL EXHIBITION, 1901 Signed, watercolour 28cm x 38cm (11in x 15in)

£2,000-3,000

87 FF922/16 JOHN TERRIS R.S.W., R.I. (SCOTTISH 1865-1914) JOHN KNOX’S HOUSE Signed, watercolour 61cm x 91cm (24in x 36in)

£800-1,200

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88 FF622/2 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) AUTUMN ON THE GARELOCH Signed, oil on board 25.5cm x 35.5cm (10in x 14in)

£1,000-1,500

89 FF923/4 DUNCAN CAMERON (SCOTTISH 1837-1916) THE DESERTED BEACH AT SUNSET Signed, oil on canvas 60cm x 91cm (23.5in x 36in)

£600-800

90§ FG378/2 WILLIAM MILLER FRAZER R.S.A. (1864-1961) A MOORLAND STREAM Signed, oil on canvas 41cm x 61cm (16in x 24in)

£1,000-1,500

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91 FF541/4 ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928) FISHING BELOW THE FALLS Signed, oil on canvas 82cm x 122cm (32.25in x 40in)

£6,000-8,000

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92 FE499/69 SIR WILLIAM FETTES DOUGLAS R.S.A. (SCOTTISH 1822-1891) THE CHESS PLAYERS Oil on panel 22cm x 35.5cm (8.5in x 14in)

£600-900

93 FE499/67 SIR WILLIAM FETTES DOUGLAS R.S.A. (SCOTTISH 1822-1891) THE HARBOUR QUAY Signed with a monogram and dated 1876, oil on panel 17cm x 40cm (6.75in x 15.75in)

£500-800

94 FE499/61 SIR WILLIAM FETTES DOUGLAS R.S.A. (SCOTTISH 1822-1891) THE ERRAND OF MERCY INCHCOLM Signed with a monogram and dated 1862, oil on canvas 54cm x 72cm (21.25in x 28.25in) Exhibited: Royal Scottish Academy 1863, no. 311

£800-1,200

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95 FE499/68 SIR WILLIAM FETTES DOUGLAS R.S.A. (SCOTTISH 1822-1891) THE REVERIE Inscribed on an old label verso, oil on canvas 33cm x 28cm (13in x 11in)

£700-1,000

96 FE499/62 SIR WILLIAM FETTES DOUGLAS R.S.A. (SCOTTISH 1822-1891) ROMAN MODELS AT DINNER Signed, inscribed and dated ‘Rome Jan ‘78’, oil on canvas 60cm x 50cm (24in x 20in) Exhibited: Royal Scottish Academy 1878, no. 633

£1,000-1,500

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97 FB79/11 ALEXIS DE LEEUW (BELGIAN 1848-1883) TIMBER WAGON IN THE SNOW Signed, oil on canvas 76cm x 127cm (30in x 50in)

£1,000-1,500

98 FB79/16 JAMES WEBB (BRITISH 1825-1895) RESCUE AT SEA Signed and dated ‘66, oil on canvas 76cm x 127cm (30in x 50in)

£2,000-3,000

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99 FF923/2 HORATIO MCCULLOCH R.S.A. (SCOTTISH 1805-1867) PANORAMIC VIEW OF PARKLAND WITH CASTLE IN MIDDLE DISTANCE Signed, oil on canvas 66cm x 102cm (26in x 40in)

£1,000-1,500

100 FF922/9 ROBERT NOBLE R.S.A. (SCOTTISH 1857-1917) PRESTONKIRK, EVENING Signed, oil on canvas 91cm x 145cm (36in x 57in) Exhibited: Royal Scottish Academy., 1894, no. 108

£1,000-1,500

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101§ FG98/1 STANSMORE RICHMOND LESLIE DEANS (SCOTTISH 1866-1944) GIRL IN A STRAW HAT Oil on canvas 69cm x 56cm (27in x 22in) Provenance: Family of Robert Macaulay Stevenson and thence by descent Sotheby’s, Glasgow 1985 Exhibited: Lillie Art Gallery, Milngavie 1984, no. 12 Glasgow Art Gallery and Museum, Glasgow Girls 1990 Literature: Glasgow Girls - Women in Art and Design 1880-1920, Ed. Jude Burkhauser 1990, Illustrated fig.281 p. 209

£6,000-8,000

102 FF922/20 ROBERT BURNS A.R.S.A. (SCOTTISH 1869-1941) YOUNG WOMAN AT HER TOILET Signed and dated 1904, oil on canvas 76cm x 61cm (30in x 24in) Exhibited: ‘Scottish Exhibition of Natural History, Art and Industry’, 1911, no. 393

£2,000-3,000

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103 FF922/21 ROBERT ANNING BELL R.A., R.W.S., N.E.A.C. (SCOTTISH 1863-1933) THE PALACE OF SLEEPING BEAUTY Signed and dated ‘19, oil on canvas 102cm x 76cm (40in x 30in) Exhibited: British Empire Exhibition, 1925; also bears ‘Toronto Exhibition’ back label

£3,000-5,000

Artist and designer Robert Anning Bell was a member of the British Arts and Crafts Movement. Particularly well known as a book designer and illustrator, Bell additionally created mosaics for Westminster Cathedral and frequently exhibited his paintings in the Royal Academy, the New English Art Club and the Royal Society of Painters in Watercolours. The artist also held a succession of significant academic posts beginning at the Liverpool University School of Architecture before progressing to Chief of Design at the Glasgow School of Art from 1911, and ultimately Professor of Design at the Royal College of Art from 1918 to 1924.

The fairy tale of Sleeping Beauty had enjoyed renewed popularity in the late 19th century; Tchaikovsky’s famous ballet was first performed in 1890 and Bell himself approached the

subject on several occasions, illustrating the children’s book ‘The Sleeping Beauty, and Dick Whittington and his Cat’ with author Grace Little Rhys in 1895. Between 1885 and 1890 the Pre-Raphaelite artist Edward Burne-Jones had created a monumental, much celebrated series of four panels entitled “The Legend of Briar Rose’. Bell’s painting of 1919, represented here, seems to echo BurneJones’ second panel, ‘The Garden Court’, which shows

the maidens of the castle slumbering under the fairies’ spell. It was accompanied by William Morris’ verse: “The maiden plaisance of the land Knoweth no stir of voice or hand No cup the sleeping waters fill The restless shuttle lieth still.”

Victorian interpretations of Sleeping Beauty frequently seem to focus on this

moment; the women shown frozen in suspended animation, pure and peaceful in repose. Feminist art historians have since alluded to the sensual undertones of such depictions, the male artists electing to keep the beautiful young women eternally trapped in the innocence of sleep rather than allowing them the moment of (latent sexual) awakening granted by the prince’s kiss.

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LY O N & T U R N B U L L The Winter Paintings Sale

GASTON LA TOUCHE Our view of the Parisian ‘Belle Époque’ is somewhat blinkered by our fascination with the interpretation offered by the French Realist and Impressionist schools.

Contemporaries who did not subscribe to the same Baudelairian theory of ‘Modernity’ have received less attention in recent decades, though their quality is none the less compelling. La Touche is one such example and an artist whose work is ripe for renewed appreciation.

Though he elected to follow a different path from many of his contemporaries, he was a known and well-regarded figure in the same circles, frequenting the Café de la Nouvelle Athènes where he conversed with and befriended influential figures such as Manet, Duranty and Zola. What set La Touche aside from his fellow artists was his determination to paint exactly what and how he wanted to, ultimately bucking the trend towards realism in order to create a fantastical, almost fairy tale interpretation of Paris in the late 1800s. The escapism offered by his artworks led to fame and commercial success in his lifetime and he regularly exhibited at the annual Paris Salons, the Société Nationale des BeauxArts and the Société des Peintres et Sculpteurs. Each

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artwork offered here for sale is an exemplary example of the principal motifs which he explored repeatedly throughout his career: from opera to allegory.

La Touche’s interest was particularly piqued by the theatricality of society events.

While Degas aimed his attention towards ballerinas and the orchestral pit, La Touche diverted the focus from the performance and instead made the foyers and opera boxes his stage and the audience his characters. In his work ‘La Loge’ he seeks, as ever, to stimulate his viewer’s imagination.

Illuminated by romantic gaslight his ‘lead’, a glamorous woman, makes her way through the crowds.

All eyes are turned towards her and a handsome figure in a top hat appears to help her out of her striking red jacket.

What his relation is to her, what her role in society might be and whether she draws attention for her elegance or notoriety is left for us to decide. Though not an uncommon subject for artists of the time, La Touche’s feather-light touch and dream-like lighting effects elevate the scene from the modernity of knowing satire to something more ageless and ethereal.

His painting ‘Les Amants sous le Pont’ takes us slightly

further into the realms of fantasy, depicting a pair of lovers floating down a tranquil river in a rowing boat, oblivious to all but each other. Represented in a romantic embrace, the figures are bathed in La Touche’s favoured golden autumnal light, presenting the viewer with an image of highly transportive qualities.

Being a happily married man himself, romance was clearly a subject close to his heart.

His wife was credited with widening the circles of the naturally retiring artist; contributing greatly to his success, particularly amongst North American art dealers and patrons.

Amongst the advice Manet imparted to the young La Touche was a statement that clearly resonated strongly: “In painting there is no black or white, but only the colours of the rainbow”. [1] Embracing this philosophy whole-heartedly, La Touche’s artworks are united by their glowing palette and his refusal to shy away from tackling challenging light effects. Few artists of the period so successfully mastered the depiction of fireworks. In ‘Le Lac des Cygnes’ we see a nude figure swimming, Venus-like, among swans in a fountain in the garden at Versailles. The sky is illuminated by red smoke and the water glitters

with the glow of golden lanterns. Part Classical idyll and part celebration of Louis XIV’s decadent vision, the viewer is left wondering whether they have stumbled upon a bathing nymph or an elicit midnight dip in the 17th century.

Now, as we move from a “Belle Époque” of our own into more austere times, the idealism and timelessness of his images begin to once again appeal strongly. In the wholly allegorical ‘L’Autel de l’Amour’ we find realism dismissed entirely and the implied narrative at its most fantastical. La Touche transports the viewer to a splendid classical palace where fireworks, a carpet of rose petals, curtseying maidens and attentive satyrs welcome the child-god Cupid.

Such scenes were the subject of the artist’s largest canvases and allowed his imagination, and of course that of his viewers, entirely free reign.

[1] p.11 ‘Gaston La Touche: A Painter of Belle Epoque Dreams’, by Selina Baring Maclennan, pub.

Antiques Collectors Club, 2009

LY O N & T U R N B U L L The Winter Paintings Sale

104 FF927/2 GASTON LA TOUCHE (FRENCH 1854-1913) LES AMANTS SOUS LE PONT Signed, inscribed ‘Sous L’Arche’ on stretcher verso, oil on canvas 61cm x 61cm (24in x 24in) Literature: Illustrated as ‘L’Heure Exquise’, in Connoisseur July 1975; plate 77 as ‘Sous l’arche’, ‘Gaston La Touche: A Painter of Belle Epoque Dreams’, by Selina Baring Maclennan, pub. Antiques Collectors Club, 2009

£6,000-8,000

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105 FF927/3 GASTON LA TOUCHE (FRENCH 1854-1913) L’AUTEL DE L’AMOUR Signed, oil on canvas 170cm x 206cm (78in x 81in) Literature: Plate 50 as ‘Homage to Cupid’, ‘Gaston La Touche: A Painter of Belle Epoque Dreams’, by Selina Baring Maclennan, pub. Antiques Collectors Club, 2009

£20,000-30,000

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106 FF927/1 GASTON LA TOUCHE (FRENCH 1854-1913) LA LOGE Signed, oil on canvas 93cm x 90cm (36.5in x 35.5in) Literature: Plate 38 as ‘A l’opera’, ‘Gaston La Touche: A Painter of Belle Epoque Dreams’, by Selina Baring Maclennan, pub. Antiques Collectors Club, 2009

£10,000-15,000

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107 FF927/4 GASTON LA TOUCHE (FRENCH 1854-1913) LE LAC DES CYGNES Signed, oil on canvas 38cm x 46cm (15in x 18in)

£4,000-6,000

108 FE269/2 ROBERT ANNING BELL R.A., R.W.S., N.E.A.C. (SCOTTISH 1863-1933) WOMEN BY A FOUNTAIN Signed and dated ‘05, oil on panel 15cm x 18cm (6in x 7in) Provenance: Andrew McIntosh Patrick Exhibited: The Fine Art Society 2007, The Andrew McIntosh Patrick Collection no.16

£1,000-1,500

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109§ FG442/1 DAVID MACBETH SUTHERLAND R.S.A. (SCOTTISH 1883-1974) CAFE CANTANTA, SEVILLE Signed and dated 1911, oil on canvas 91cm x 71cm (36in x 28in) Provenance: Collection of Marc-André Raffalovich (1864-1934)

£3,000-5,000

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LY O N & T U R N B U L L The Winter Paintings Sale

THE COLLECTION OF THE LATE DR. RENATE DAVIS This autumn Lyon & Turnbull are pleased to present for sale a selection of artworks from the collection of Albert Davis. Davis was born into a family of Russian Jewish immigrants in Manchester and, despite a strong interest in art, became a qualified doctor in 1925.

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In the 1930s he started collecting an eclectic variety of fine art works. At that time, apart from some works by the Great Masters, art was not bought for investment as it has been since the Second World War, and as a successful doctor and single man he was able to start a

small but significant collection. During the war his service included casualty surgery in the London Blitz and medical support for the Unexploded Bomb Squad.

Ironically, some of his collection, including work by Vlaminck, was destroyed by bombing.

After the war he started a family and pursued a successful career as an eminent gynaecologist in London, although by this time he could afford only modest additions to his collection.

Now upon the death of his wife Renate, the collection returns to market for the first time in decades.

LY O N & T U R N B U L L The Winter Paintings Sale

110 FF72/104 ARMAND GUILLAUMIN (FRENCH 1841-1927) LA CREUSE Signed, oil on canvas 38cm x 46.5cm (15in x 18.25in) Provenance: Roland Browse and Delbanco, London December 1958 The Estate of Dr Renate Davis Deceased

111 FF72/74 MAXIME MAUFRA (FRENCH 1861-1918) GROSSE MER, ETRETAT Signed, oil on canvas 38cm x 46cm (15in x 18in) Provenance: Durand Ruel no.5560 Marlborough Fine Art No. 01861 where purchased by the owner The Estate of Dr Renate Davis Deceased

£7,000-10,000

£7,000-10,000

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112§ FF72/80 ARISTIDE MAILLOL (FRENCH 1861-1944) SEATED FEMALE NUDE Signed with a monogram, sanguine 30cm x 20cm (12in x 8in) Provenance: Roland Browse and Delbanco, London June 1962 The Estate of Dr Renate Davis Deceased

£1,500-2,500

113§ FF72/83 ARISTIDE MAILLOL (FRENCH 1861-1944) NUDE DE DOS Signed with the studio stamp, sanguine, with sketches verso 30cm x 21.5cm (12in x 8.5in ) Provenance: The Estate of Dr Renate Davis Deceased

£2,000-3,000

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114§ FF72/82 ARISTIDE MAILLOL (FRENCH 1861-1944) NUDE WITH DRAPE SEEN FROM BEHIND Signed, pencil 23cm x 16cm (9in x 6.25in) Provenance: The Estate of Dr Renate Davis Deceased

£1,500-2,000

115§ FF72/94 ANDRE DERAIN (FRENCH 1880-1954) SEATED NUDE Stamped with the studio stamp 25cm x 17cm (10.75in x 6.75in) Provenance: Piccadilly Gallery, London, 1967 The Estate of Dr Renate Davis Deceased

£600-800

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LY O N & T U R N B U L L The Winter Paintings Sale

This superb sketch by Degas is likely to date to c. 18951900. By this stage Degas was fully immersed in the possibilities of his ballerina studies, focusing his attention behind the scenes in the dressing room and during rehearsals. Honing in on seemingly casual gestures – a girl pulling up a stocking or, as here, adjusting a shoulder strap – he would analytically repeat the movement from numerous angles, sometimes conveying the same action in a rhythmic, frieze-like composition. This study is likely to relate to completed works such as ‘Behind the Scenes’ from c. 1898 or ‘Dancers’ of 1899.

Behind the incidental appearance of these sketches was of course meticulous choreography and stylization.

His ability to capture the essential spontaneity of the dancer’s pose is testament to

his skill and the fluidity of his draughtsmanship. By this stage he had also begun to develop a technique of complicated shading and hatching - as seen in the textured lines that make up this drawing - a method that lent a softness of focus which further enhanced the sense of movement.

As with many of his contemporaries, Degas was working in the light of comments made by the poet and critic Charles Baudelaire in his 1863 essay ‘The Painter of Modern Life’. Much of Degas’ work epitomises Baudelaire’s sentiments, perhaps most notably the assertion that, ““Modernity” signifies the transitory, the fugitive, the contingent.‘’ By describing a fleeting everyday moment, Degas purposefully elevates the mundane and makes us into an audience of voyeurs. The conscious

selection of a fragment of a wider scene makes his engagement with photographic technology evident, being a format he embraced in its own right as well as used as a drawing aid.

116 FF72/73 EDGAR DEGAS (FRENCH 1834-1917) DANSEUSE RAJUSTANT L’EPAULETTE DE SON CORSAGE Signed with the studio stamp, charcoal on buff paper 58cm x 45cm (22.75in x 17.75in) Provenance: Zwemmer Gallery , London November 1941 The Estate of Dr Renate Davis Deceased Literature: Roland Browse and Delbanco, Degas, May 1949, no.13 Literature: Catalogue Vente Degas 111, no.392

£80,000-120,000

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117§ FF72/81 ANDRE DERAIN (FRENCH 1880-1954) PRONE NUDE Stamped with the studio stamp, pencil 22cm x 28cm (8.5in zx 11in) Provenance: Sothebys, 9 December 1971, lot 44 The Estate of Dr Renate Davis Deceased

£600-800

118§ FF72/79 ANDRE DERAIN (FRENCH 1880-1954) SEATED NUDE Signed, pencil 60cm x 44cm (23.5in x 17.25in) Provenance: Piccadilly Gallery, London July 1961 The Estate of Dr Renate Davis Deceased

£400-600

119§ FF72/78 ANDRE DERAIN (FRENCH 1880-1954) RECLINING NUDE Stamped with the studio stamp, pencil on buff paper 30cm x 43cm (11.75in x 17in) Provenance: The Estate of Dr Renate Davis Deceased

£600-800

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123§ FF72/63 SIR JACOB EPSTEIN (BRITISH 1890-1959) PORTRAIT OF ELLEN JANSEN Bronze 32cm (12.5in) Provenance: The Estate of Dr Renate Davis Deceased

£4,000-6,000

Once established in his career, Jacob Epstein was frequently commissioned to create portrait busts.

Subsequently, they represent a significant proportion of his output.

According to biographer June Rose he would first meticulously study his subject from all angles, “noting the shape of the skull, the relation of the features to each other and to the whole, and the dissimilarity between the two sides of the face.” He had a tremendous aptitude for conveying an accurate mental as well as physiological likeness. Since his more experimental beginnings, Epstein had been regarded as a member of the avant-garde and, as such, opposed to the strictures placed upon art practise by the traditional institutions.

This cemented his popularity among more liberal patrons.

herself in 1931. She married the theatrical producer Maurice Browne, a founder of the Chicago branch of the Little Theatre. This constituted a movement which, in reaction to the increasing popularity of cinema, aimed to produce a more intimate “reformminded” theatrical experience. Epstein counters her sharp ‘Louise Brooks’ bob with a serene smile. This remains one of the few busts he created where his sitter displays anything other than a rather enigmatic, reflective expression.

Epstein also depicted his family on several occasions.

This bust of his daughter Kitty (with curls) was conceived in 1944 and was the first of three he created in her likeness. She was the daughter of his long-term mistress, and latterly second wife, Kathleen Garman who, famously, was shot in the shoulder with a pearl-handled pistol by his first wife Margaret. Kitty herself went on to become the artist Lucien Freud’s first wife, and was the muse behind several of his seminal early works such as ‘Girl with Kitten’ and ‘Girl with a White Dog’.

One such client was Ellen Jansen, a poet and member of a bohemian American set, who commissioned the bust

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JOHN PIPER The art of stained glass was one of Piper’s many passions.

Though it was initially through his interest in architecture and archaeology that he focused his studies in this area, it was not long before it began to engage him artistically. In his early twenties Piper began to make watercolour copies of stained glass windows in his local area, a practise he later credited with having taught him “something of the emotional power of colour.” [1] Before long stained glass had become a serious academic pursuit. He made pilgrimages around the UK and Europe, France in particular, to see early medieval examples and modern interpretations by artists like Leger and Chagall.

By the mid-1950s he began receiving commissions for his own designs.

Piper developed a strong ideological stance towards stained glass practise, publishing the book ‘Stained Glass: Art or Anti-Art’ in 1968.

He felt that very little excellent stained glass had historically been produced, stating that it had traditionally been condemned to the status of craft industry as opposed

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to art form. As with Piper’s eclectic approach to all areas of his oeuvre, he felt that stained glass design “is in constant need of direction and control and nourishment of all kinds from art: from painting, sculpture and architecture. It seldom gets it.” [2] Piper proposed that artists should always be at the helm, aided by collaborative craftsmen, and urged, “good artists can be trusted: so clergy be bolder!”[3] Piper designed and executed many commissions alongside glass artist John Reyntiens including windows for Eton College Chapel, St Andrew’s in Plymouth, Llandaff Cathedral, the baptistery in Coventry Cathedral, Liverpool Metropolitan Cathedral and Robinson College, Cambridge.

His designs were seldom figurative however, which makes the study offered here both interesting and a little unusual. Inscribed ‘Blasimon’, it is likely to have been created during a sketching trip to this particular area of France; perhaps a study of a preexisting window or a design inspired by his time there.

Compositionally however, the

design bears close similarities to his first public stained glass commission for Oundle School’s chapel, created in 1954 at the instigation of his friend John Betjeman. Here too we see a trio of closely flanked male forms adopting a subtle contrapposto position, with green and red hues tonally dominating the motif.

[1] p.39, ‘John Piper’, Tate Gallery, 1983 [2] p.7, ‘Stained Glass: Art or AntiArt’, by John Piper, published Studio Vista, London 1968 [3] p.39, ‘Stained Glass: Art or AntiArt’, by John Piper, published Studio Vista, London 1968

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121§ FF72/1 JOHN PIPER C.H. (BRITISH 1903-1992) A PALAZZO, VENICE Signed, pen and ink and watercolour 39cm x 30cm (15.5in x 12in) Provenance: The Estate of Dr Renate Davis Deceased

£4,000-6,000

122§ FF72/105 JOHN PIPER C.H. (BRITISH 1903-1992) DESIGN FOR A STAINED GLASS WINDOW Signed and inscribed, mixed media 55cm x 37cm (21.5in x 14.5in) Provenance: Purchased from the artist 1 July 1964 The Estate of Dr Renate Davis Deceased

£4,000-6,000

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120ยง FF72/62 SIR JACOB EPSTEIN (BRITISH 1890-1959) FIRST PORTRAIT OF KITTY (WITH CURLS) Bronze, conceived in1944 37cm (14.5in) high (excluding base) Literature: Richard Buckle, Jacob Epstein: Sculptor, Faber and Faber, London, 1963, pl.456-458, pp.296-298 (another cast ill. b&w) Evelyn Silber, The Sculpture of Epstein, Phaidon, Oxford, 1986, cat.no.356, p.195 (plaster cast ill. b&w) Provenance: The Estate of Dr Renate Davis Deceased

ยฃ6,000-10,000

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OTHER PROPERTIES 124 FG366/1 AIMÉ JULES DALOU (FRENCH 1838-1902) TRUTH DENIED Bronze, signed, inscribed ‘Cire Perdu, Susse Frs. Edts.

Paris’ with impressed foundry mark 22cm high

£5,000-8,000

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125 FG82/8 BESSIE MCNICOL (SCOTTISH 1869-1904) THE VISIT Signed, watercolour 27cm x 18cm (10.5in x 7in)

£1,500-2,000

126 FG28/1 JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) KIRRIEMUIR FAIR Signed and dated ‘87, watercolour 27cm x 20cm (10.5in x 8in)

£1,500-2,000

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127ยง FG82/33 KATE CAMERON R.S.W., R.E. (SCOTTISH 1874-1965) STILL LIFE WITH PANSIES Signed and dated 1894, watercolour 35.5cm x 35.5cm (14in x 14in) Exhibited: Helensburgh District Arts Club, West of Scotland Artists, 1976, no13 Glasgow Art Gallery & Museum 1976

ยฃ3,000-5,000

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128 FG471/45D STUART PARK (SCOTTISH 1862-1933) A STILL LIFE OF PINK ROSES Signed, oil on canvas 61cm x 51cm (24in x 20in)

£800-1,200

129 FE188/11 STUART PARK (SCOTTISH 1862-1933) STILL LIFE OF PINK ROSES Signed, oil on canvas 38cm x 30.5cm (15in x 12in)

£1,000-1,500

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130 FE188/25 STUART PARK (SCOTTISH 1862-1933) STILL LIFE OF RED AND YELLOW ROSES Oil on canvas 51cm x 76cm (20in x 30in)

£2,000-3,000

131 FF654/21 STUART PARK (1862-1933) A STILL LIFE OF YELLOW AND PINK ROSES Signed with a monogram, oil on canvas 46cm x 76cm (18in x 30in)

£1,500-2,000

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132 FF654/9 ROBERT MCGREGOR R.S.A. (SCOTTISH 1847-1922) LISTENING TO THE SEA Signed, oil on canvas 28cm x 38cm (11in x 15in)

£1,000-1,500

133 FF654/10 ROBERT MCGREGOR R.S.A. (SCOTTISH 1847-1922) TAKING A REST Signed and dated ‘79, signed and inscribed verso, oil on canvas 23cm x 31cm (9in x 12in)

£1,000-1,500

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134 FF923/5 WILLIAM MARSHALL BROWN (SCOTTISH 1863-1936) PLAYING IN THE SHALLOWS Signed, oil on canvas 31cm x 41cm (12in x 16in)

£8,000-12,000

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135 FF622/3 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) THE ARROCHAR ALPS FROM FINNART BRAE Signed, oil on board 61cm x 75cm (24in x 30in)

£2,000-3,000

136 FF654/24 GEORGE BLACKIE STICKS (BRITISH 1843-1938) GLENGARRY CASTLE, EVENING Signed and dated 1892, signed, inscribed and dated verso, oil on canvas 71cm x 91cm (28in x 36in)

£2,000-3,000

137 FG378/1 ROBERT HOPE R.S.A. (SCOTTISH 1869-1936) PENTLAND HILLS Signed, oil on canvas 63cm x 76cm (25in x 30in)

£1,500-2,000

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138 FF733/4 ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905) FISHING FLEET IN PORT Signed with initials, pastel 41cm x 28cm (16in x 11in)

£1,500-2,500

139 FF733/3 SIR JOSEPH NOEL PATON R.S.A. (SCOTTISH 1821-1901) A MOONLIGHT SCENE WITH PUCKISH FIGURE SEATED ON A TOADSTOOL Signed with an ‘i’ and dated 1876, oil on board, arched top 14cm x 9.5cm (5.5in x 3.75in)

£800-1,200

140 FC697/2 WILLIAM KAY BLACKLOCK (BRITISH 1872-1924) PREPARING THE MIDDAY MEAL Signed, watercolour 29cm x 21.5cm (11.5in x 8.5in)

£800-1,200

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141 FG330/5 THOMAS CHARLES BALE (BRITISH 19TH CENTURY) STILL LIFE WITH PIGEONS Signed and dated 1881, oil on canvas 56cm x 66cm (22in x 26in)

and a companion a pair ‘ Still life with ducks’ (2) £2,000-3,000

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142 FF654/26 LOUIS BOSWORTH HURT (BRITISH 1856-1929) HIGHLAND CATTLE WATERING IN A MOUNTAIN GLEN Signed and dated 1910, oil on canvas 61cm x 101cm (24in x 40in)

£6,000-8,000

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143 FF888/2 JOHN ROBERTSON REID R.I., R.B.A., R.O.I. (SCOTTISH 1851-1926) HARVESTING NEAR GLEN ASHDALE, ARRAN Signed and dated ‘09, oil on canvas 46cm x 61cm (18in x 24in)

£1,500-2,000

144 FF654/19 AFTER RICHARD ANSDELL RETURNING FROM THE STAG HUNT Oil on canvas 30cm x 98cm (12in x 38.5in)

£1,000-1,500

145§ FF922/11 HECTOR CHALMERS (SCOTTISH 1848-1943) BARK PEELERS NEAR CULROSS Signed, oil on canvas 106cm x 151cm (41.75in x 59.5in) Exhibited: Probably exhibited Royal Scottish Academy, 1900, no. 23

£1,000-1,500

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146 FF923/20 ARCHIBALD DAVID REID A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1844-1908) THE VILLAGE MEMORIAL Oil on board 25.5cm x 35.5cm (10in x 14in)

and another by the same hand (2) £600-800

147 FF654/25 JOSEPH HENDERSON R.S.W. (SCOTTISH 1832-1908) WAVES BREAKING ON A DESERTED ROCKY COAST Signed, oil on canvas 63cm x 91cm (25in x 36in)

£800-1,200

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148 FF923/24 ALEXANDER YOUNG (SCOTTISH 1865-1923) MENDING THE NETS Signed, oil on canvas 41cm x 69cm (16in x 27.25in)

£1,000-1,500

149 FG445/2 COLIN HUNTER A.R.A., R.I., R.S.W. (SCOTTISH 1841-1904) FISHERMAN, LAC DE BOURGET Signed and dated ‘88, oil on canvas 51cm x 91cm (20in x 36in)

£2,000-3,000

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150§ FG82/37 ROBERT EADIE R.S.W. (SCOTTISH 1877-1954) ON THE CLYDE AT BROOMIELAW Signed, oil on canvas 102cm x 127cm (40in x 50in)

£4,000-6,000

151 FF922/4 WILLIAM WALLS R.S.A., R.S.W. (SCOTTISH 1860-1942) TURF CARRIERS, SHETLAND Signed and dated 1903, inscribed with title label verso, oil on canvas 41cm x 61cm (16in x 24in)

£1,000-1,500

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152 FF780/2 ALEXANDER KELLOCK BROWN R.S.A., R.S.W., R.I. (SCOTTISH 1849-1922) DUCKS BY A FARM POND Signed with initials and dated ‘81, oil on panel 28cm x 15cm (11in x 6in)

and a companion by the same hand ‘A country path’ (2) £800-1,200

153 FF149/1 LÉON AUGUSTIN LHERMITTE (FRENCH 1844-1925) AT THE END OF THE DAY Signed, pastel 50cm x 41cm (19.75in x 16in)

£4,000-6,000

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154 FF922/19 DAVID GAULD R.S.A. (SCOTTISH 1867-1936) CALVES IN A BYRE Signed, oil on canvas 61cm x 76cm (24in x 30in)

£3,000-5,000

155 FF922/3 THOMAS CORSON MORTON (SCOTTISH 1859-1928) GLEN SANNOX Oil on canvas 91cm x 122cm (36in x 48in) Provenance: Alexander Reid and Lefevre

£2,000-3,000

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156 FF654/23 GEORGE BLACKIE STICKS (BRITISH 1843-1938) LAND OF THE MOUNTAIN AND THE FLOOD, ISLE OF SKYE Signed and dated 1898, signed, inscribed and dated verso, oil on canvas 71cm x 91cm (28in x 36in)

£2,000-3,000

157§ FC972/35 HENRY SCOTT (BRITISH 1911-2005) THE CLIPPER WELLINGTON ON THE TWILIGHT WATCH Signed, oil on canvas 61cm x 101cm (24in x 40in) Note: The Wellington, 1247 tons, was built in 1874 by Robt. Duncan, Port Glasgow

£3,000-5,000

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158 FF923/11 ALFRED DE BREANSKI SNR. (BRITISH 1852-1928) THE PASS OF GLENCOE Signed, signed and inscribed verso, oil on canvas 61cm x 91cm (24in x 36in)

£5,000-7,000

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159 FF185/1 PATRICK WILLIAM ADAM R.S.A. (SCOTTISH 1854-1929) JAPANESE ANEMONES Oil on canvas, inscribed on a label verso 24in x 20in (61cm x 51cm )

£1,000-1,500

160§ LT2013/36 HENRY SCOTT (BRITISH 1911-2005) STUDY OF THE TRADE WINDS TEA CLIPPER ‘SPINDRIFT’ Signed, oil on canvas 91cm x 61cm (36in x 61in) Note: The Spindrift was built by Connell & Co of Glasgow in 1867. She measured 219ft. in length with a 35ft. beam and was registered at 889 tons.

£3,000-5,000

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161 FG471/45C DAVID GAULD R.S.A. (SCOTTISH 1865-1936) CALVES BY THE SEA Signed, oil on canvas 51cm x 76cm (20in x 30in)

£2,000-3,000

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162§ FG426/2 DAME LAURA KNIGHT D.B.E., R.A. (BRITISH 1877-1970) DRESSING Signed, oil on canvas 51cm x 46cm (20in x 18in) Exhibited: Royal Academy 1926, no.472 Atkinson Art Gallery, Southport 1954,no.109 Provenance: J. Leger & Son London, July 1955

£8,000-12,000

In 1926 Laura Knight travelled to Baltimore, America to join her husband Harold Knight who was in the process of completing a series of portrait commissions of the surgeons at John Hopkins hospital.

Knight was given permission to draw and paint in the maternity and children’s wards which were racially segregated. There she produced some of the finest portraits of her career, many of black women and children, nurses and patients on the hospital ward. These works show a sensitivity towards the subject that marked Knight out from her contemporary figurative and portrait painters and contributed to her being made the second ever female Associate of the Royal Academy the following year.

The present painting of a young woman perched on the

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edge of a hospital bed is a particularly sensual example of the work from this period.

The theme of the semi-clad nude is recurrent in Knight’s work; many of the paintings surrounding the theme of the ballet and theatre show actors and dancers backstage in the process of dressing or undressing - the tension between being clothed and unclothed is captured by Knight as a moment that is both exciting and natural.

Here, the model, possibly a pregnant patient at the hospital, is shown with one shoe half on, the other under the bed. Her undergarments ride up around her waist and her blue dress rests on the bed. She appears distracted, as though she is glancing at

her reflection in an unseen mirror. Lit by artificial light, the colours are cool and the atmosphere is one of introspection.

The light on the skin of the sitter emphasises her firm smooth flesh and the volume of her body. Knight’s portrait and figurative painting from the mid 1920s show a movement towards sculptural form and solid permanence.

She later wrote ‘I was determined to get the last fraction of richness in the modelling, and a thirddimensional quality, such as I had not previously accomplished.’ The subject of this painting and the sculptural effects are a conscious nod to Knight’s friend Dod Procter whose painting of a sleeping woman

‘Morning’ (Tate Gallery illustrated below) won Picture of the Year at the RA summer exhibition in 1927.

To celebrate her election to the Royal Academy in 1927, British Pathé made a short film of Laura Knight painting in her studio, surrounded by nudes and portrait studies from John Hopkins hospital.

The film shows Knight at the peak of her success, an Academician (before her husband), producing paintings with impact and subtlety. Dressing is a compelling and finely painted example from this period of highly ambitious work.

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163 FF923/21 WILLIAM PRATT (SCOTTISH 1854-1936)

BY THE SEASIDE Signed and dated 1910, oil on canvas 30.5cm x 46cm (12in x 18in)

£2,500-3,500

164 FF923/23 ALEC FRASER (SCOTTISH fl. 1900-14) GATHERING WILD FLOWERS ON THE RIVERBANK Signed, oil on canvas 46cm x 58.5cm (18in x 23in)

£1,200-1,800

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165 FG325/21 ROBERT MCGOWN COVENTRY A.R.S.A., R.S.W. (SCOTTISH 1855-1941) THE GLASGOW EXHIBITION Signed, oil on panel 20cm x 25.5cm (8in x 10in)

£2,500-3,000

166 FF923/13 WILLIAM BRADLEY LAMOND R.B.A. (SCOTTISH 1857-1924) GATHERING POTATOES AT MENZIES HILL Signed, oil on canvas 35.5cm x 46cm (14in x 18in)

£1,000-1,500

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167* FF886/2 SVETOSLAV NIKOLAEVICH ROERICH (RUSSIAN 1904-1993) A TIBETAN WOMAN Indistinctly signed with a monogram, oil on canvas 102cm x 68.5cm (40in x 27in)

£20,000-30,000

Born in St. Petersburg in 1904, Svetoslav Roerich spent much of his adult life abroad.

Studying in Sweden, England and the U.S.A. at Columbia University and the Harvard School of Architecture, he eventually moved to India in the 1930s. His father Nicholas Roerich, a fellow artist to whom there is a museum devoted in New York, was living as a mystic in the Himalayan Mountains at the time. This was an area Svetoslav would also forge a deep connection with. He became close to the local population of the Kulu Valley, attracted by the romanticism of their colourful clothing and traditions and their rustic way of life in the snowy foothills.

The painting offered here for sale is likely to relate to his travels in Tibet or Mongolia.

The sitter offers him a warm smile, a testament to the high regard in which he was held by the locals of the region.

The background is boldly abstracted and typically colourful. Roerich adopted the emotive use of colour

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from the tradition of Indian miniatures, assimilating it with the Post-Impressionist influences he had acquired during his studies in Europe.

The artist purportedly prepared many of the pigments he used personally, based on his knowledge of Himalayan plants.

Svetoslav’s artwork combined Indian artistic heritage, a desire to chart the realities of indigenous populations and a passion, inherited from his father, to explore the spiritual strivings of humanity. He was well-known within Indian society, the friend of important academics and

statesmen, and in 1945 married India’s leading actress Devika Rani. Roerich was devoted to India and remained there until his death in 1993.

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168 FF222/4 OSWALDO GUAYASAMIN (ECUADOREAN 1919-1999) HALF LENGTH PORTRAIT OF LUIS ANTONIO PENAHERRERA Signed, oil on canvas 89cm x 63cm (35in x 25in)

£2,000-3,000

Oswaldo Guayasamin was an important South American artist whose legacy as a vocal fighter against war, inequality and the rights of indigenous populations is globally recognised.

Born and educated in Quito, Ecuador in 1919, Guayasamin quickly rose to renown, winning both the Barcelona

and São Paulo Biennials whilst still in his early thirties.

He also received the French Legion of Honour and was awarded the UNESCO José Martí Prize. His murals can be found in the Central University of Quito, Barajas Airport in Madrid, the UNESCO headquarters in Paris and the Latin American Parliament in São Paulo.

His artwork, which also encompasses sculpture, is largely expressionistic in style with a marked debt to Picasso.

In this work, an official portrait of the Ecuadorian Minister Luis Antonio Penaherrera, he adopts a slightly more naturalistic technique. A vivid, yellowtoned palette and bold backdrop is interestingly

juxtaposed with the minister’s neat and quietly authoritative appearance, conveying a sense of the sitter’s inward dynamism of character. It is a pleasingly period work; highly evocative in mood and tone of its 1950’s origins, from the sitter’s wide-brimmed spectacles to the patterned décor of the setting.

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169§ FE499/24 DAVID SAWYER R.B.A. (BRITISH 20TH CENTURY) ON THE BEACH, PERRANPORTH Signed, oil on board 51cm x 101cm (20in x 40in)

£1,000-1,500

170§ FF648/1 DAVID SAWYER R.B.A. (BRITISH 20TH CENTURY) VAPORETTO AND GONDOLA, SAN GIORGIO MAGGIORE Signed, oil on board 29cm x 38cm (11.5in x 15in)

£800-1,200

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171ยง FG600/16 ANTOINE BOUVARD (FRENCH 1870-1956) A VENETIAN CANAL SCENE Signed, oil on canvas 46cm x 61cm (18in x 24in)

ยฃ5,000-7,000

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172§ FF780/4 RONALD OSSORY DUNLOP (IRISH 1894-1973) COTTAGE IN THE WOODS Signed, oil on canvas 63cm x 76cm (25in x 30in)

£1,000-1,500

173§ FF922/6 JOHN DUNCAN R.S.A., R.S.W. (SCOTTISH 1866-1945) ST. COLUMBA BIDDING FAREWELL TO THE OLD HORSE Signed, mixed media 63cm x 76cm (25in x 30in) Exhibited: Royal Scottish Academy, 1925, no. 423; ‘John Duncan Exhibition’, 1986, Kelvingrove Museum and Gallery, Glasgow

£1,200-1,800

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174 FF923/3 ROBERT GEMMELL HUTCHISON R.S.A., R.S.W. (SCOTTISH 1855-1936) A WELL EARNED NAP Signed, oil on canvas 63cm x 76cm (25in x 30in)

£15,000-20,000

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175 FF654/8 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) LEARNING TO READ Signed, oil on canvasboard 41cm x 31cm (16in x 12in)

£4,000-6,000

176 FG325/13 WILLIAM LEE HANKEY (BRITISH 1869-1952) MOTHER LOVE Signed, oil on canvas 37cm x 45cm (14.5in x 17.75in)

£800-1,200

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177§ FF29/1 SIR HERBERT JAMES GUNN R.A., P.R.P., R.S.W. (SCOTTISH 1893-1964) FULL LENGTH PORTRAIT OF A LADY IN A BLACK DRESS Signed and dated ‘47, oil on canvas 91cm x 71cm (36in x 28in)

£3,000-5,000

178§ FF27/2 JOSZA JARITZ (HUNGARIAN 1893-1986) DARK WOMAN Signed and dated 1918, oil on canvas 71cm x 58cm (28in x 22.75in) Provenance: Crane Kalman Gallery , London , November 1989

£800-1,200

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179§ FG450/1 WINIFRED NICHOLSON (BRITISH 1893-1981) CHEEKY CHICKS 1950 Oil on canvas 63cm x 76cm (24in x 30in) Exhibited: Tate Gallery, London, Winifred Nicholson 1987, no.35 Arts Council, Hayward Gallery London, Winifred Nicholson Tour 1987, no.35 The British Council Visual Art Department, U.K. Presidency of European Council of Ministers Coastlines Crane Kalman, London, The rural poetry of 3 English women artists 1992 Scottish National Gallery of Modern Art, Winifred Nicholson 2003

£50,000-70,000

Though recognition was never an issue for Winifred Nicholson - she was born into an eminent politically and artistically active family, exhibited regularly and sold consistently - interpretation of her career has been somewhat blighted by her status as ‘first wife of Ben Nicholson’. It is only in recent decades that her valuable contribution to 20th century British art has been evaluated in an individual sense. Hitting her artistic stride and finding her niche by the mid-1920s, her work has a rare focus and strength of personality. She is now felt to have been pivotal to her husband’s development

of the use of colour. Echoes of her technique - the purity of colour, the freedom of form - can be detected in the work of artists she frequently worked alongside such as Ivon Hitchens and Christopher Wood.

Nicholson’s work was thematic but never repetitive.

Her most common compositional device was that of the informal still life arrangement set somewhat surreally before a panoramic landscape, the work represented here being an archetypal example. Her work is in many ways deceptive, its sophistication only evident upon a closer reading. It is not naïve but instead fluidly articulate, highly dream-like as opposed to overtly realistic, and emotionally evocative rather than light-heartedly simplistic. There is a sense that her paintings contain much of herself. The parameters of the interior and exterior of the scene are blurred, as too are the parameters of what the artist sees and what she feels.

Nicholson described this process in a letter to her daughter Kate, the same year this picture was painted:

“…All painting is to me painting of air and sky – that holds colours and light – not pictures of objects.”

The foreground and horizon are typically merged here, anchored by the strong yellows and aquamarines in the middle of the composition. A keen colour theorist, Nicholson’s fascination with the quality and play of light led her to visit the West Coast of Scotland on an almost annual basis for many years. Here she found the northern light pleasingly crisp and silvery, slanting through objects as opposed to simply falling directly upon them.

was a battle to keep them from entering the cottage.

Here, Nicholson humorously captures a family of scruffy black hens fleeing the scene having made one such an attempt.

An important work, it contains all of her quintessential elements and encapsulates the virtuosity of her middle period. A favourite among curators and academics for many years, it was a star picture in the National Gallery of Scotland’s 2003 exhibition of Nicholson’s Scottish paintings and was additionally featured on the cover of the catalogue for her 1987 retrospective at the Tate.

Though stylistically a modernist, Nicholson felt that ideologically she was working within the romantic tradition.

The folklore of the Hebridean islands and the timeless lifestyles of the inhabitants struck a chord, enhancing the ethereal element within her work. Her happiness during her time in Scotland is tangible in ‘Cheeky Chicks’ (1951), painted on a trip to the remote island of South Uist where she stayed with a local crofter and his family. Various dogs, cats and livestock roamed about the yard and it

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180§ FG427/37 KEITH VAUGHAN (BRITISH 1912-1977) DARNING SOCKS Pen and ink and wash 23cm x 18cm (9in x 7in) Provenance: Austin/Desmond Fine Art Limited 1987 Note: The work dates from c.1941

£1,000-1,500

181§ FG427/38 KEITH VAUGHAN (BRITISH 1912-1977) THREE FIGURES ROUND A TABLE Pencil 13cm x 18cm (5in x 7in) Provenance: Austin/Desmond Fine Art Limited 1987 Note: The work dates from c.1950

£1,000-1,500

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182§ FG600/80 DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) LITTLE JUG OF FLOWERS Signed and dated 82, inscribed verso, oil on panel 23cm x 18cm (9in x 7in)

£500-700

183§ FE355/5 ALBERTO MORROCCO O.B.E., R.S.A., R.S.W. (SCOTTISH 1917-1998) DONKEYS, ANTICOLI Signed and inscribed ‘Corrado’, watercolour 70cm x 54cm (27.5in x 21.25in)

£1,500-2,500

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184§ FG82/2 JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) OVERLOOKING THE BAY Signed, watercolour 35.5cm x 46cm (14in x 18in)

£3,000-5,000

185§ FF651/3 SIR WILLIAM GEORGE GILLIES C.B.E., R.A., R.S.A., R.S.W., D.LITT. (SCOTTISH 1898-1973) EVENING SKY Signed, watercolour 27cm x 33.5cm (10.5in x 13.25in) Exhibited: The Scottish Gallery, Sir William Gillies & The Edinburgh School, 2006, no.13

£1,500-2,000

186§ FG82/26 SIR WILLIAM GEORGE GILLIES C.B.E., R.A., R.S.A., R.S.W., D.LITT. (SCOTTISH 1898-1973) GARDENSTOWN, BANFFSHIRE Signed, pencil and watercolour 25.5cm x 35.5cm (10in x 14in)

£2,500-3,500

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187§ FG500/2 JOHN G. BOYD R.P., R.G.I. (SCOTTISH 1940-2001) CORNFIELD GROUP Signed, oil on canvas 102cm x 102cm (40in x 40in)

£3,000-5,000

188§ FG500/1 JOHN G. BOYD R.P., R.G.I. (SCOTTISH 1940-2001) TRACTOR GROUP Signed, oil on canvas 102cm x 122cm (40in x 48in)

£3,000-5,000

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189§ FF809/4 WILLIAM GEAR (SCOTTISH 1915-1997) DIAMOND STRUCTURE Signed, inscribed and dated Aug. ‘68 verso, oil on canvas 122cm x 91cm (48in x 36in) Exhibited: The Scottish Arts Council, William Gear 1969

£5,000-7,000

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190§ FB791/20 JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) THE FISHING FLEET IN LEITH Signed, oil on canvas, unframed 91cm x 122cm (36in x 48in)

£2,500-4,000

191§ FB791/21 JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) FISHING BOATS, CAMPBELTOWN Signed, oil on canvas, unframed 91cm x 122cm (36in x 48in)

£2,500-4,000

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192§ FF923/10 SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I., H.R.H.A. (SCOTTISH 1916-1992) ODALISQUE Signed, inscribed label verso, oil on canvas 17cm x 35.5cm (6.75in x 14in)

£1,500-2,000

193§ FG586/5 SIR WILLIAM MACTAGGART P.R.S.A., R.A., R.S.W. (SCOTTISH 1903-1981) RED ROCKS, DUNBAR Signed, oil on board 16.5cm x 25.5cm (6.5in x 10in)

£600-800

194§ FE736/1 NAEL HANNA (SCOTTISH/IRAQI b. 1959) STORMY NIGHT, WEST COAST Signed, oil on canvas 68cm x 98cm (27in x 38.5in)

£1,500-2,000

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195ยง FB791/23 JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) FISH WIFE, EUPHRATES Signed, oil on canvas, unframed 122cm x 91cm (48in x 36in)

ยฃ2,500-4,000

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196 FF28/1 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) PORTRAIT OF A YOUNG MAN Watercolour 23cm x 15cm (9in x 6in) Provenance: The family of the artist and by descent

£3,000-5,000

197 FF28/2 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) ON THE SHORE Watercolour 15cm x 23cm (6in x 9in) Provenance: The family of the artist and by descent

£4,000-6,000

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198ยง FF151/72 SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I., L.L.D., D.LITT. (SCOTTISH 1916-1992) POPPIES ON A BLUE GROUND Signed and dated 1983 on a label verso, oil on board 106.5cm x 183cm (42in x 72in) Exhibited: Edinburgh College of Art, Robin Philipson Retrospective 1989, no.139

ยฃ30,000-40,000

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199§ FF654/11 ELIZABETH BLACKADDER D.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT. (SCOTTISH b. 1931) STILL LIFE WITH POPPY Signed and dated 1983, pencil and watercolour 15cm x 18cm (6in x 7in)

£1,200-1,800

200§ FF654/22 ELIZABETH BLACKADDER D.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT. (SCOTTISH b. 1931) PURSE AND INDIAN BIRDS Signed and dated 1984, mixed media 20cm x 99cm (8in x 39in) Provenance: Mercury Gallery, London

£2,000-3,000

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201§ FG600/51 MARY ARMOUR R.S.A., R.S.W., R.G.I. (SCOTTISH 1902-2000) SUMMER FLOWERS Signed and dated ‘71, oil on canvas 61cm x 63cm (24in x 25in)

£3,000-5,000

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202ยง FF541/1 JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) DESERTED BEACH, WEST OF SCOTLAND Signed, inscribed with title on label verso, oil on board 38cm x 46cm (15in x 18in)

ยฃ7,000-9,000

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203ยง FB791/25 JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) KINDRED STAR Signed, oil on canvas, unframed 91cm x 122cm (36in x 48in)

ยฃ2,000-3,000

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204§ FG568/1 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) DUNIRA HILLSIDE Oil on canvas 33cm x 97cm (13in x 38in) Provenance: Purchased from Douglas Dando, 10th February 1969

£25,000-35,000

Dunira Hillside is likely to have been painted in 1959 when Eardley travelled to Comrie in Perthshire. There she visited the poet and artist Ian Hamilton Finlay and his wife, who were living a simple rural life. Eardley was attracted to primitive existence; she would have been drawn to the Finlays who lived in a shepherd’s cottage, earning enough to sustain themselves through fishing, shepherding and manual labour.

Eardley had learnt to paint open vistas while living on the coast at Catterline - capturing the full panorama that a sea view offers. The lessons from Catterline have here been applied to the hilly landscape of Dunira. Eardley’s preliminary pastel sketches show that she would start in

one place with one sheet of paper but as the vista took her eye out to left and right she would need to add sheets of paper to either side of the original sheet in order to extend the panorama beyond the confines of the first sheet.

Thus, she did not set out to paint a specific scene or view but would select a position from which to paint and from there she would twist and turn, sometimes executing a number of paintings from one spot.

Painting in the open air, amidst hedgerows, burns and ditches Eardley was most at home. She became completely immersed in her environment, standing waist deep in grass until she was half submerged. She would leave her easel and paints on the ground overnight, the chosen spot being so far off the path. Painting outdoors came with its challenges and Eardley often wrote of battling with the elements, knowing

that her art was at its best during rain storms, grey skies and harsh winds. The rough texture of her painting, with spots of thick impasto, scored in areas by a palette knife and other areas of thin sweeping paint, capture expressively, the drama of the Scottish landscape.

Here the rich colours of the autumnal palette: russet red, gold and blue-grey are applied almost in a patchwork with blocks of jewelled colour against the earthy tones. The suggestion of sheep in the landscape is merely hinted at and the landscape itself is loosely defined. In the centre of the composition, a dark rectangle suggests an outbuilding beside a fence. By painting with energy and perhaps a degree of abandon, the landscape becomes alive with expression - piecing together the details of the scene is left to the viewer’s imagination.

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205 FG255/1 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) CATTERLINE Pastel 20cm x 25.5cm (8in x 10in)

£3,000-5,000

206§ FG289/4 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) WINTER Pastel 16.5cm x 21.5cm (6.5in x 8.5in) Provenance: The artist’s studio ED405

£2,500-3,500

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207§ FF924/2 MARY ARMOUR R.S.A., R.S.W., R.G.I. (SCOTTISH 1902-2000) STILL LIFE WITH PINK ROSE Signed and dated ‘70, oil on canvas 61cm x 61cm (24in x 24in) Note: Label states “I purchased this painting at the ‘William and Mary Armour Retrospective’ at the Lillie Art Gallery, Milngavie, September 1971, no. 58.”

£4,000-6,000

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208ยง FF889/3 JOHN MACHLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) EASDALE Signed, oil on board 41cm x 51cm (16in x 20in)

ยฃ10,000-15,000

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209ยง FF537/1 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) LA GROSSE HORLOGE, ROUEN Signed, oil on board 31.5cm x 25.5cm (12in x 10in)

ยฃ3,000-5,000

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210§ FF887/1 ANNE REDPATH O.B.E., R.S.A., A.R.A., A.R.W.S.,R.O.I., R.B.A., L.L.D. (SCOTTISH 1895-1965) TULIPS IN A WHITE JUG Signed, signed and inscribed verso, oil on board 51cm x 43cm (20in x 17in) Literature: Illustrated cover and plate 27 of 'Redpath', by Patrick Bourne, pub.

Atelier Books, 1989 as 'White Tulips in a White Vase'

£70,000-90,000

‘As far back as I can remember I loved painting white‘ Anne Redpath reflected..‘when I was a student in Italy, when I had a room in a pensione on the Lugarno in Florence and the walls were white, rough white plaster. There was a gay, orange and red rug hung on a wall .... coming from the heat of Florence in summer to this cool room with the shutters keeping out the heat, and the lovely bit of colour which had far more intensity because it was against white’. The calming effects of white as well as its ability to highlight the colours around it are adeptly demonstrated in Tulips in a White Jug. During the 1940s Redpath used white with blue, lilac and

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mauve, delighting in the many shades that this palette offered, allowing her to enjoy the physical expressiveness of oil paint, its texture and the visible signs of her brushwork which stand out on a white surface better than any other.

At this time she also employed a technique of soaking the oil out of the paints so that the pigment had a chalky finish, similar to fresco painting.

Despite the pale palette, there is quiet, solid strength in her still life paintings of the 1940s. Tulips in a White Jug, is highlighted as an example of this by Redpath’s biographer, Patrick Bourne, who, (illustrating the painting on the front cover) wrote ‘it successfully conveys an impression of mass and a feeling of sculptural quality.

The objects seem to occupy their own definite space, an illusion in complete contrast to her later paintings where the objects appear to float and the space has been flattened’.

The simplicity of this composition: three white

tulips in a white vase on a white cloth is beguiling.

Closer inspection reveals that the cloth is patterned with letters. Patterns found on rugs, tablecloths and painted furniture feature in many of Redpath’s paintings. Her father was a textile weaver and his designs had a lasting effect on her; in some of Redpath’s paintings the colourful motifs woven into rugs and cloths appear to jump off the fabric surface.

Here, however, the pattern is subtle - a means of breaking up the white surface and introducing a touch of pink.

A resonating harmony is achieved through Redpath’s perfect placing of objects, the light, shadows and colour and the energy with which the paint is applied, in dabs of overlapping patches, blue upon blue, white upon white.

There is a timelessness in Tulips in a White Jug which allows the painting to be seen as both classical and modern.

Deceptively simple at first glance, it has enduring appeal.

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Index Adam, E., 16, 18 Adam, P.W., 159 Alexander, R., 76 Allan, R.W., 55 Ansdell, R., after, 144 Armour, M., 201. 207 Bale, T.C., 141 Bartlett, W.H., 59 Bell, R.A., 103, 108 Bellany, J., 190, 191, 195, 203 Bird, M.H., 79 Blackadder, E., 199, 200 Blacklock, W.K., 140 Bough, S., 58 Bouvard, A., 171 Boyd, J.G., 187, 188 British School, 31 Brough, R., 138 Brown, A.K., 152 Brown, W.M., 134 Burns, R., 102 Cadell, F.C.B., 196, 197 Cameron, D., 89 Cameron, K., 127 Cameron, Sir D.Y., 57 Chalmers, G.P., 49 Chalmers, H., 145 Chinese School, 20 Coventry, R.M., 165 Crawford, E.T., 17 Creswick, T., 13 Cursiter, S., 12 Dalou, A.J., 124 Dawson, H.T., 5 de Breanski, A. Snr., 52, 91, 158 de Lajoue, J., attributed to, 26 de Leeuw, A., 97 Deans, S.R.L., 101 Degas, E., 116 Derain, A., 115, 117, 118, 119

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Douglas, Sir W.F., 92-96 Downie, P., 86 Dudgeon, T., 1 Duncan, J., 173 Dunlop, R.O., 172

Jaritz, J., 178

Eadie, R., 150 Eardley, J., 204, 205, 206 Ebersteins, H., 71 Epstein, Sir J., 120, 123 Ewbank, J.W., attributed to, 15

la Touche, G., 104-107 Lamond, W.B., 166 Landseer, Sir E.H., 48 Lemon, A.D., 65 Lhermitte, L.A., 153 Lintott, H.J., 72 Long, E., 70

Faed, J. Jnr., 7 Farquharson, D., 2, 42, 44 Fraser, A., 164 Frazer, W.M., 67, 90 Fulton, D., 69 Gauld, D., 154, 161 Gear, W., 189 Gibson, W.A., 4, 43, 46 Gillies, Sir W.G., 185, 186 Grevenbroeck, O., follower of, 24 Guayasamin, O., 168 Gullaumin, A., 110 Gunn, Sir H.J., 177 Hals, D., attributed to, 29 Hankey, W.L., 176 Hanna, N., 194 Hansen, H., 80, 81 Henderson, J., 3, 147 Henry, D.M.R., 78 Herald, J.W., 126 Herdman, R., 35 Hope, R., 41, 137 Houston, G., 38 Hunter, C., 149 Hurt, L.B., 8, 51, 68, 142 Hutchison, R.G., 64, 174, 175 Isabey, L.G.E., 47

Kay, A., 14 Kay, J., 88, 135, 209 Knight, Dame L., 162

Macnee, R.R., 11 Mactaggart, Sir W., 193 Macwhirter, J., 6 Maillol, A., 112, 113, 114 Marlow, W., manner of, 27 Mason, F.H., 82 Maufra, M., 111 McClure, D., 182 McCuloch, H., 99 McGregor, R., 132, 133 McNicol, B., 125 McTaggart, W., 9 Milne, J.M., 184, 202, 208 Morrocco, A., 183 Morton, T.C., 155 Nicholson, W., 179 Noble, R., 100 Park, S., 128-131 Paterson, J., 36 Paterson, J., 85 Paton, Sir J.N., 139 Paton, W.H., 10, 53 Patrick, J.M., 83, 84 Philipson, Sir R., 192, 198 Pieters, E., 62 Piper, J., 121, 122 Powell, C.M., attributed to, 19 Pratt, W., 163

Ramsay, A., 32 Redpath, A., 210 Reid, A.D., 56, 146 Reid, J.R., 40, 143 Reid, Sir G., 33 Roerich, S.N., 167 Sargent, J.S., 65 Sawyer, D., 169, 170 Scott, H., 157, 160 Shayer, W.J., 50 Simonsen, N., 73 Smit, A., 23 Smith, G., 37, 54 Smith, S., 66 Sticks, G.B., 136, 156 Sutherland, D.M., 109 Tarbet, J.A.H., 39 Terris, J., 87 Thorburn, A., 77 Tromp, J.Z., 60, 61 van Bloemen, J.F., attributed to, 28 van der Poel, E., circle of, 21 Vaughan, K., 180, 181 von Sandrart, J. the Elder, 25 Walls, W., 74, 75, 151 Webb, J., 98 Weiland, J., 63 Weissenbruch, W.J., 34 Wilson, J.H. (Jock), 45 Wilson, R., circle of, 22 Young, A., 148 Zoffany, J.J., circle of, 30

Contemporary & Post War Art Wednesday, 19th March, 2014 33 Broughton Place, Edinburgh EH1 3RR

WILLIAM GEAR (SCOTTISH 1915-1997) STRUCTURE WITH YELLOW Signed, inscribed and dated '71 verso, oil on canvas 152.5cm x 101.5cm (60in x 40in)

ÂŁ5,000-7,000

Enquiries Charlotte Riordan Tel: +44 (0)131 557 8844 charlotte.riordan@lyonandturnbull.com

Emily Johnston Tel: +44 (0)20 7930 9115 emily.johnston@lyonandturnbull.com

Nick Curnow Tel: +44 (0)131 557 8844 nick.curnow@lyonandturnbull.com

FURTHER ENTRIES ARE INVITED

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Fine Scottish Painting & Sculpture Thursday, 22nd May, 2014 33 Broughton Place, Edinburgh EH1 3RR

CHARLES HODGE MACKIE R.S.A., R.S.W. (SCOTTISH 1862-1920) THE RETURN OF THE FLOCK TO THE FOLD Signed, oil on canvas 152.5cm x 152.5cm (60in x 60in)

£8,000-12,000

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JOHN DUNCAN FERGUSSON R.B.A (SCOTTISH 1874-1961) EASTRE (HYMN TO THE SUN) Bronze 40cm (15.75in) high

ÂŁ12,000-18,000

FURTHER ENTRIES ARE INVITED

Enquiries Emily Johnston Tel: +44 (0)20 7930 9115 emily.johnston@lyonandturnbull.com

Charlotte Riordan Tel: +44 (0)131 557 8844 charlotte.riordan@lyonandturnbull.com

Nick Curnow Tel: +44 (0)131 557 8844 nick.curnow@lyonandturnbull.com

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

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

(2) If a vendor wishes to withdraw a lot organized for sale, a withdrawal fee will apply; (a) If withdrawn over 28 working days prior to the sale, this will be charged at 10% of the mid estimate along with any ancilliary incurred (such as photography), all subject to VAT at the current rate. (b) If withdrawn within 28 working days of the sale, this will be charged at 20% of the mid estimate along with any ancilliary incurred (such as photography), 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, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably

held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer or our employees or agents or the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 “information to buyers”.

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

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

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

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

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

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

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

20. Special terms may be used in catalogue descriptions of particular classes of items (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.

Absentee bid form Sale/customer details 33 Broughton Place Edinburgh EH1 3RR Tel +44 (0)131 557 8844 Fax +44 (0)131 557 8668

Sale Title Sale Date

Sale No.

Title

Initials

Client No.

182 Bath Street, Glasgow G2 4HG Tel +44 (0)141 333 1992 Fax +44 (0)141 332 2928 e-mail: info@lyonandturnbull.com www.lyonandturnbull.com

Surname Address Postcode Telephone

I request Lyon and Turnbull, without legal obligation of any kind on its part, to bid on the following lots up to the prices listed.

Fax

E-mail

£ Sterling limit Lot.No

Description

Ex. Premium & VAT

I understand that if any of my bids are successful the total price payable will be the amount of the final bid plus a Buyer’s premium calculated at the following rates: 25% up to £25,000 / 20% thereafter.

VAT will be charged on the premium.

The premium and VAT is payable by all purchasers.

Lots in the catalogue marked * or † are subject to VAT on the hammer price as well as the premium.

Where there are identical bids for a lot, the first bid received will be have precedence.

Please make certain that your bids are submitted at least two hours before the start of the sale.

Client Signature

Date

Please note telephone bidding is only available on lots estimated at £300 and above.

Lyon and Turnbull office use Date

Time

By

Bidder No.

Received Entered

143

LY O N & T U R N B U L L The Winter Paintings Sale

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.

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 & Pictures Mailboxes Etc 44/46 Morningside Road Edinburgh EH10 4BF The direct link to the ordering form is: http://www.mbeedinburgh.com/ art-and-antiques.php 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. 2013. 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

78 Pall Mall, London SW1Y 5ES Tel +44 (0)20 7930 9115 Fax +44 (0)20 7930 7274