British & European Paintings | 24th November 2016 | 11am

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LYON & TURNBULL AUCTIONEERS EDINBURGH BRITISH & EUROPEAN PAINTINGS

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

24TH NOVEMBER, 2016

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

Thursday, 24th November, 2016 33 Broughton Place Edinburgh EH1 3RR

British & European Paintings

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British & European Paintings Thursday, 24th November, 2016 at 11am Sale Number LT479

Viewing Times Sunday, 20th November 12 noon - 4pm Monday, 21st November 10am - 5pm Tuesday, 22nd November 10am - 5pm Wednesday, 23rd November 10am - 5pm Morning of sale strictly by appointment only

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

Catalogue: ÂŁ15

Front Cover Lot 60 (detail)

Inside Front Cover Lot 65 (detail)

Inside Back Cover Lot 57 (detail)

Buyer’s Guide This sale is subject to our standard Conditions of Sale (available at the back of every catalogue and on our website).

If you have not bought at auction before we will be delighted to advise you.

Buyer’s Premium & Other Charges The buyer shall pay the hammer price together with a premium, at the following rate, thereon.

25% of the hammer price of each lot up to and including £100,000, plus 20% from £100,001 upwards.

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

Additional VAT † VAT at the standard rate payable at the standard rate on the hammer price * 5% import VAT payable on the hammer price No VAT is payable on the hammer price or premium for books bought at auction.

Droit de Suite § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the buyer on the hammer price and in addition to the buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale.

More information on Droit de Suite is available at www.dacs.org.uk

Registration All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, by fax or on our website. Please note that all first time bidders at Lyon & Turnbull will be asked to supply the following documents in order to facilitate registration: 1 – Government issued photo ID (Passport/ Driving licence) 2 – Proof of address (utility bill/ bank statement).

We may, at our option, also ask you to provide a bank reference and/ or deposit.

By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website).

Bidding & Payment For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue.

Removal of Purchases Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser.

Catalogue descriptions All item descriptions, dimensions and estimates are provided for guidance only.

It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. If potential buyers are unable to inspect lots in person (public viewing times listed in every catalogue), our specialists will be happy to prepare detailed condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.

Import/Export Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot.

Endangered Species Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside the EU. For more information visit http://www.defra.gov.uk/ahvla-en/ iimports-exports/cites

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

Iain Gale

Nick Curnow

Charlotte Riordan

Carly Shearer

iain.gale@lyonandturnbull.com

nick.curnow@lyonandturnbull.com

charlotte.riordan@lyonandturnbull.comC

carly.shearer@lyonandturnbull.com

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4 Lyon & Turnbull

1 HE81/4 EDMUND THORNTON CRAWFORD R.S.A. (SCOTTISH 1806-1888) A REST AT THE ROADSIDE Signed with initials and dated 1876, oil on panel 24cm x 28cm (9.5in x 11in)

£400-600

2 HE81/9 [§] WILLIAM MILLER FRAZER R.S.A. (SCOTTISH 1864-1961) AT PULBOROUGH, SUSSEX Signed, oil on artist’s board 25.5cm x 35.5cm (10in x 14in)

£500-700

British & European Paintings 5

3 HF15/1 JOHN HENDERSON (SCOTTISH 1866-1924) A HILL STREAM Signed, inscribed on verso, oil on canvas 91cm x 115cm (36in x 45.25in)

£1,000-1,500

4 HF50/2 GEORGE BLACKIE STICKS (BRITISH 1843-1938) DUNSTANBOROUGH CASTLE, NORTHUMBERLAND Signed and dated 1897, inscribed on reverse, oil on canvas 71cm x 107cm (28in x 42in) £2,000-3,000

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5 HF710/6 ALEXANDER NASMYTH AND STUDIO (SCOTTISH 1758-1840) STIRLING CASTLE Oil on panel 46cm x 61cm (18in x 24in)

£1,000-1,500

6 HF8/1 WILLIAM BEATTIE BROWN (SCOTTISH 1831-1909) ON THE BLACKWATER, ROSS-SHIRE Signed, inscribed with title and date 1898 on the stretcher, oil on canvas 50.75cm x 76cm (20in x 30in) Provenance: Nigel Stacy-Marks Gallery, Perth

£800-1,200

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7 HE412/1 COLIN HUNTER (SCOTTISH 1841-1904) A SCOTTISH FISHING HARBOUR Signed, inscribed on verso, oil on canvas 54.5cm x 93cm (21.5in x 36.5in)

£3,000-5,000

8 Lyon & Turnbull

ANIMAL PORTRAITS OF THE 19TH CENTURY 19th century agricultural conversation pieces, like the four offered here for sale, highlight a highly idiosyncratic but sought after area of the collector’s market.

Their immense naïve charm accounts for much of their popularity, as do the fascinating circumstances behind their original development.

In the 18th century Britain’s population exploded, almost doubling in size thanks to the boom in industrialisation. A solution was needed for the food shortages that resulted; the response being what we now refer to as the Agricultural Revolution. It was at this stage that farmers

8 HE406/3 THOMAS WEAVER (BRITISH 1774-1843) TROJAN, A NINE YEAR OLD Signed, inscribed and dated ‘Shrewsbury 1820,’ oil on canvas 63.5cm x 76cm (25in x 30in)

£4,000-6,000

began developing methods of selective breeding, the aim being to produce larger, fatter animals that would feed more people.

Both out of pride and in order to advertise the advancements made to their herds, farmers began commissioning portraiture of their favourite animals.

Livestock portraiture became a lucrative sub-genre in its own right, with artists making a career solely from this type of commission.

Though there was likely to be an element of exaggeration in these portraits, these animals were bred to have extremely enhanced features and are quite unrecognisable to the

cattle we know today.

Breeding these animals to freakish extents like the colossal Durham Ox (which stood at 5ft 6inches at the shoulder) was banned in the 1850s, though not before the famous bull had been trundled all over the country to be shown at local shows.

Indeed, etchings after his portrait by the artist John Boultbee sold in their hundreds to the fascinated general public.

Many of the figures involved in this booming art industry had no formal training, and the majority of works consequently have a naivety and colloquialism that still charms viewers to this day.

John Boultbee, however, had been trained at the Royal Academy School by Sir Joshua Reynolds, and found an admirer and collector in George III. He is best known for his depiction of Leicestershire farmer Robert Bakewell’s famous herd of longhorn cattle.

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9 HE406/4 FOLLOWER OF JAMES WARD (BRITISH 1769-1859) STUDY OF A BULL Oil on panel 39cm x 49.5cm (15.5in x 19.5in)

£3,000-5,000

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10 HE406/5 FOLLOWER OF THOMAS WEAVER (BRITISH 1774-1843) PIGEON, THE PRIZE COW OF MR PRICE, 1816 Indistinctly inscribed, inscribed with title verso, oil on canvas 51.5cm x 61cm (20.25in x 24in)

£3,000-5,000

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11 HE406/2 JOHN BOULTBEE (BRITISH 1753-1812) STUDY OF TWO COWS Signed, inscribed verso with reference to the Duke of Bedford, 1802, oil on canvas 71cm x 91.5cm (28in x 36in)

£3,000-5,000

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12 HF638/8 FOLLOWER OF THOMAS ROWLANDSON (BRITISH 1756-1827) PLIGHTING HIS TROTH Watercolour and coloured ink 27cm x 42cm (10.75in x 16.5in)

£500-700

13 HF614/18 ROBERT DIGHTON (BRITISH 1752-1814) THE BANKS OF THE SHANNON OR TEDDY AND PATTIE Signed and inscribed on the mount, pencil and watercolour 33cm x 25.5cm (13in x 10in) Provenance: Sotheby’s London 1978 Note: The picture illustrates the popular ballad “The Banks of the Shannon”. It was engraved and published in 1787 and in a later edition in 1799 by Bowles and Carver, a copy of which is in the British Museum.

£600-800

14 HE987/7 ATTRIBUTED TO SAMUEL COLLINGS (ENGLISH fl. 1780-1790) THE SERVANTS’ REVEL Pencil, ink and watercolour 26cm x 36cm (10.25in x 14.25in)

£1,000-1,200

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15 HE988/5 GEORGE ROMNEY (BRITISH 1734-1802) MARY STUART GOING TO THE SCAFFOLD Grey ink and wash, oval 21cm x 25.5cm (8.25in x 10in) Note: Drawn c. 1775 Provenance: The artist’s sale 1894 (preserved in the artist’s house since his death in 1802) Xavier Haas, Paris C.M. Hadfield 1937 Sotheby’s sale 26 March 1975, lot 203

£3,000-5,000

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16 HF557/2 JEMIMA WEDDERBURN BLACKBURN (BRITISH 1823-1909) A MORNING RIDE, ROSHVEN Signed with initials, dated 1880 and inscribed, pencil and watercolour on board, unframed 16cm x 16.5cm (6.25in x 6.5in)

£300-500

17 HF557/4 JEMIMA WEDDERBURN BLACKBURN (BRITISH 1823-1909) WILLIAM AND MARGARET Oil on carved panel 30.5cm x 33cm (12in x 13in)

£200-400 18 HF557/6 JEMIMA WEDDERBURN BLACKBURN (BRITISH 1823-1909) ALAN BLACKBURN WITH A TOY YACHT Dated 1874, pencil and watercolour 16cm x 10cm (6.25in x 4in)

£200-400

British & European Paintings 15

19 HF557/3 JEMIMA WEDDERBURN BLACKBURN (BRITISH 1823-1909) ROSHVEN BAY Watercolour, unframed 18cm x 25.5cm (7in x 10in)

£600-800

20 HF557/5 JEMIMA WEDDERBURN BLACKBURN (BRITISH 1823-1909) ROSHVEN BAY FROM A WINDOW Inscribed and dated 1889, watercolour 15cm x 33cm (6in x 13in)

£500-800

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21 HF638/1 EDWARD CHARLES WILLIAMS (BRITISH 1807-1881) WINDSOR CASTLE BY MOONLIGHT Oil on canvas 91.5cm x 147cm (36in x 58in) Provenance: Weston Gallery, Norwich

£2,000-3,000

22 SV842/40 JOSÉ WEISS (BRITISH 1859-1919) A RIVER LANDSCAPE AT DUSK Signed, oil on canvas 41cm x 61cm (16in x 20in)

£500-700

British & European Paintings 17

23 HE81/11 GEORGE AUGUSTUS WILLIAMS (BRITISH 1814-1901) SHIPPING IN AN ESTUARY WITH A FISHERMAN AND A WINDMILL Oil on canvas 13cm x 17cm (5in x 6.75in)

£600-800

24 HE81/16 ROBERT NOBLE R.S.A., P.S.S.A. (SCOTTISH 1857-1917) A RIVER VIEW WITH A BRIDGE Signed, oil on canvas 51cm x 76cm (20in x 30in)

£700-900

18 Lyon & Turnbull

25 HC109/1 ATTRIBUTED TO SEBASTIAN PETHER (BRITISH 1790-1844) MOONLIGHT SCENE WITH FIGURES ON A LAKE Oil on canvas 45.5cm x 61cm (18in x 24in)

and another, similar, a pair (2) £2,000-3,000

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26 HE81/2 ROBERT MCGREGOR R.S.A. (SCOTTISH 1847-1922) HAYMAKING Signed, inscribed on verso, oil on board 21cm x 35.5cm (8.25in x 14in)

£500-800

27 HF637/1 JOHN HORACE HOOPER (BRITISH 1851-1906) A FISHERMAN AT DUSK Signed, oil on canvas 51cm x 91cm (20in x 36in) £1,000-1,500

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28 HE988/2 ANDREW DOUGLAS (SCOTTISH 1870-1935) CATTLE IN A FIELD Signed, oil on artist’s board 27cm x 42.5cm (10.75in x 16.75in)

£800-1,200

29 HE81/15 GEORGE SMITH R.S.A. (SCOTTISH 1870-1934) CATTLE WATERING Signed, oil on board 30.5cm x 40.5cm (12in x 16in)

£500-700

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30 HC52/24 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.S.W., R.W.S. (SCOTTISH 1865-1945) OCTOBER SUNSET ON LOCH TAY Signed with initials, signed and inscribed verso, oil on canvas 40.5cm x 61cm (16in x 24in)

£1,200-1,800

31 HE988/3 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.S.W., R.W.S. (SCOTTISH 1865-1945) CASTLE AND LOCH Signed, pencil and wash 23cm x 35cm (9in x 13.75in)

£700-900

32 HF727/2 [§] SIR FRANK BRANGWYN R.A. (BRITISH 1867-1956) INDUSTRY Ink 9cm x 37cm (3.5in x 14.5in) Exhibited: The Fine Art Society, London, December 1973

£500-700

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33 HF802/1 HENRY JOHN BODDINGTON (BRITISH 1811-1865) SNOWDONIA Oil on canvas 120cm x 170cm (47.5in x 67in)

£5,000-7,000

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34 HF603/1 [§] PENELOPE BEATON A.R.S.A., R.S.W. (SCOTTISH 1886-1963) AUTUMN LANDSCAPE Oil on board 61cm x 81cm (61cm x 82cm)

£1,000-1,500

35 HF659/1 [§] TOM CARR H.R.H.A. (IRISH 1909-1999) PLOUGHING Signed, oil on artist’s board 51cm x 76cm (20in x 30in)

£700-900

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ORKNEY AND SHETLAND IN ART The landscapes and wildlife of Orkney and Shetland have long been a magnetic draw for British artists.

Among the early topographical painters were artists such as Edward Dayes, who drew directly from nature and is best known for his influence on the young Turner.

Subsequent British Victorian genre painters such as Elias Bancroft were less interested in geology and raw nature than in the life of the Shetland islanders, in which they found a different form of Romanticism.

36 HF614/36 EDWARD DAYES (BRITISH 1763-1804) ROCKS ON THE SHORE OF THE BAY AT SCAPA Signed and inscribed on the mount, pencil and watercolour 29cm x 41cm (11.5in x 16.25in) Provenance: The Rt Hon Lord Stanley of Alderley Leger Galleries 1967

£1,500-2,000

In the summer of 1885 Glasgow Boys James Guthrie and Arthur Melville travelled together to Orkney, probably to stay with the Clouston family of wealthy merchants, and produced some memorable works and a few years afterwards, the Edinburgh artist James Kinnear began to paint extensively on Orkney, as is shown in the two quintessential works on offer here.

It was only natural that Sir John Everett Millais’s son .Johnny (J.G.) would travel to the far north, in his case the

Shetlands, in his endless pursuit of the wildlife of Britain, a fascination which he shared with his contemporary George Edward Lodge.

The fact that the Royal Navy was based in Scapa Flow during the Great War provided yet another incentive for other artists including John Lavery and the still underrated Muirhead Bone. And surely the most famous home grown Orcadian artist must be Stanley Cursiter, later Director of the National Galleries of Scotland and Painter in Scotland to the King.

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37 HF614/24 JAMES KINNEAR (SCOTTISH fl. 1870-1917) STROMNESS, ORKNEY ISLANDS, LOOKING TO THE SOUTH ISLES Signed and dated 1902, oil on canvas 34.5cm x 50cm (13.5in x 19.75in) Provenance: Phillips, Edinburgh January 1989

£600-900

38 HF614/27 JAMES KINNEAR (SCOTTISH fl. 1870-1917) TWILIGHT, SUNDOWN ON STROMNESS, ORKNEY Signed, inscribed and dated 1902, watercolour 49cm x 73.5cm (19.25in x 29in) Provenance: Phillips, Edinburgh March 1990

£500-800

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39 HF614/19 ELIAS MOLINEAUX BANCROFT (BRITISH 1846-1926) A SHETLAND HOME Signed, inscribed and dated 1881, watercolour, heightened with white 53.5cm x 74cm (21in x 29.5in) Provenance: Sotheby’s Gleneagles, August 1980

£700-900

40 HF614/20 JOHN GUILLE MILLAIS (BRITISH 1865-1931) BASKING SEALS AND A BIRD OF PREY Signed and dated ‘Shetlands 1901’, grisaille watercolour, heightened with white 42cm x 31.5cm (16.5in x 21.5in)

£300-500

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41 HF614/22 EDWARD HARGITT (BRITISH 1835-1895) HOY FROM THE BLACK CRAIG, ORKNEY Signed and inscribed, pencil and watercolour, heightened with white 33cm x 101.5cm (13in x 40in) Provenance: The Fine Art Society, London 1985

£500-700

42 HF614/29 [§] ALEXANDER CAMERON (SCOTTISH fl. 1921-1951) A WET DAY KIRKWALL, FROM THE PEERIE SEA Signed, inscribed on reverse, oil on board 25.5cm x 34cm (10in x 11.25in) Note: Painted circa 1910 Provenance: Bourne Fine Art, Edinburgh 1994

£300-500

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43 HF614/41 [§] GEORGE EDWARD LODGE (BRITISH 1860-1954) MUCKLE FLUGGA Signed, inscribed verso ‘Muckle Flugga lighthoust, Unst Shetland - the extreme north point of the British Isles’, oil on board 29.5cm x 44cm (11.75in x 17.25in)

£500-800

44 HF614/30 [§] SIR MUIRHEAD BONE H.R.S.A., H.R.W.S., H.A.R.I.B.A., H.R.E. L.L.B., D.LITT. (SCOTTISH 1876-1953) THE HINDENBURG AND DERFFLINGER AT SCAPA: DECEMBER 1918 Signed and inscribed, pencil 15cm x 26.5cm (6in x 10.5in) Provenance: Colnaghi’s, Bond Street Bourne Fine Art 1995

£300-500

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45 HE951/1 [§] HENRY SCOTT (BRITISH 1911-2005) A CLIPPER AT SEA Signed, oil on canvas 50cm x 76cm (19.75in x 30in)

£1,200-1,800

46 HE81/17 WILLIAM WILSON (SCOTTISH fl. 1884-1892) FISHING VESSEL AND MERCHANTMAN OFF THE COAST Signed, oil on canvas 61.5cm x 91.5cm (24in x 36in)

£800-1,200

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47 HE608/1 WILLIAM THORNLEY (BRITISH 1857-1898) SHIPPING IN THE THAMES ESTUARY Signed, oil on canvas 35.5cm x 30.5cm (14in x 12in)

and a companion, a pair ‘Off Boulogne’ (2) £800-1,200

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48 HE920/1 GEORGES RICARDCORDINGLEY (FRENCH 1873-1939) SYDNEY HARBOUR Signed, oil on board 24cm x 37cm (9.5in x 14.5in) Exhibited: Fine Art Society, London 2001

£3,000-5,000

49 HF638/9 FOLLOWER OF CHARLES MERYON (FRENCH 1821-1868) THE EASTINDIAMAN WOODCOTE OUTWARD BOUND FROM CAPETOWN Pencil and watercolour, heightened with white 43cm x 61cm (17in x 24in)

£1,200-1,800

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50 HE253/4 ATTRIBUTED TO L. SCHUNEMANN (DUTCH fl. 1651-1681) PORTRAIT OF KATHERINE STEWART, LADY CARDROSS Inscribed, oil on canvas 124cm x 97cm (49in x 38.25in) Provenance: The collection of Alan Leslie Exhibited: Scottish National Portrait Gallery, Edinburgh 1883 Note: The sitter, who died in 1725, was the daughter of Sir James Stewart of Kirkhill. She married Henry Erskine, 3rd Lord Cardross on 3 March 1671.

She was buried at Holyrood Abbey, Edinburgh. Her husband’s portrait, also by Schunemann hangs in the Scottish National Portrait Gallery, Edinburgh.

£5,000-7,000

L. Schunemann was a notable figure amongst the wave of Continental artists who were active in Scotland during the late 17th and early 18th century. This influx has been attributed to the re-modelling of the Palace of Holyroodhouse by the architect Sir William Bruce following the restoration of the monarchy under Charles II. The new palace was to be a symbolic affirmation of the King’s presence and power in Scotland and was re-designed elaborately in the Baroque style, requiring the enlistment of many European sculptors and artists. The fashion for this style began to spread throughout Scotland and noblemen who had previously been unable to afford to import their own craftsmen took full advantage of this sudden profluence. Likewise, artists were drawn from abroad by this new demand.

Schunemann, a German by birth, is known to have been active in Scotland in the 1660s. He enjoyed the patronage of high ranking nobility, including the Earl of Wemyss and the Duke of Rothes. Eleven works by or

attributed to the artist currently reside in national collections, including portraits of Archibald Campbell (1629– 1685), 9th Earl of Argyll, and John Leslie (1630–1681), 7th Earl and 1st Duke of Rothes.

The husband of the sitter in the portrait offered here for sale, Henry Erskine (c.1649– 1693), 3rd Lord Cardross, Privy Councillor and General of the Mint, hangs in the Scottish National Portrait Gallery.

The portrait bears the influence of Dutch artist Sir Peter Lely who was the King’s Principal Painter in Ordinary from 1661. A three quarter length study, it is redolent with the symbolism that was typical of portraiture at this time. Lady Cardross is shown wearing a fine silver gown which is decorated with pearls, a representation of purity and innocence. This may suggest that the portrait was painted around the time of her marriage, a theory further supported by the fact she is holding a small pink rose in her hand. Roses were used to denote youth, beauty and, of course, love. The fact this is a budding rather than

full blown rose suggests that both the sitter and their marriage were both still in in the bloom of youth. To the figure’s left is a garden fountain. In addition to employing a foreign artist, Henry Erskine likely had the grounds of his estate modelled in the latest continental style and would have been keen to showcase the trappings of his wealth and cosmopolitanism in this significant commissioned portrait.

This sale represents a rare opportunity to purchase a scarce and substantial example of work by one of the prominent artists working in Scotland during this fascinating period of the country’s history.

British & European Paintings 33

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51 HF624/2 FOLLOWER OF PIERFRANCESCO CITTADINI (ITALIAN 1616-1681) PORTRAIT OF A LADY, HALFLENGTH, IN A BROWN DRESS Oil on canvas, with a coat of arms 76cm x 63.5cm (30in x 25in)

£2,000-4,000

52 HE947/2 CIRCLE OF JOHN SCOUGALL (SCOTTISH c. 1645-1737) PORTRAIT OF SIR ANDREW RAMSAY, BT OF ABBOTSHALL Oil on canvas 72.5cm x 58.5cm (28.5in x 23in) Note: The sitter (1619-1688) was a Privy Counsellor and first Lord Provost of Edinburgh.

His daughter Janet, married, in 1669, Sir John Lauder, Lord Fountainhall.

This appears to be the original for an engraving of the sitter published in the Journals of Sir John Lauder.

£1,000-2,000

British & European Paintings 35

53 HF624/1 CIRCLE OF SIR GODFREY KNELLER (BRITISH 1646-1723) PORTRAIT OF A GENTLEMAN, HEAD AND SHOULDERS, IN HALF ARMOUR Oil on canvas 67cm x 56cm (26.5in x 22in)

£3,000-5,000

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54 HE544/1 ATTRIBUTED TO COSMO ALEXANDER (SCOTTISH 1724-1772) PORTRAIT OF A LADY, HOLDING A JACOBITE PORTRAIT MINIATURE Oil on canvas 74.5cm x 61.5cm (29in x 24in)

£2,000-3,000

55 HE935/1 CIRCLE OF SIR JOSHUA REYNOLDS (BRITISH 1723-1792) PORTRAIT HEAD OF A BOY Oil on canvas 45cm x 38cm (17.75in x 15in) Note: The subject is a member of the Harcourt family of Stanton Harcourt

£700-900

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56 HE919/1 COSMO ALEXANDER (SCOTTISH 1724-1772) PORTRAIT OF ALEXANDER AND MARY BAYNE-MELDRUM Oil on canvas 63cm x 76cm (24.75in x 30in) Provenance: Alexander Bayne; Mary BayneDalgleish; Wilhelmina Barns-Graham collection, Balmungo Note: Balmungo, near St Andrews, was by 1866 home of the Bayne-Meldrum family. The mother of the celebrated Scottish painter Wilhelmina BarnsGraham (1912-2004) was Wilhelmina Menzies-Bayne-Meldrum (b.1889).

£4,000-6,000

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57 HC106/1 ATTRIBUTED TO JOHN SINGLETON COPLEY (AMERICAN/BRITISH 1738-1815) PORTRAIT OF MA JOR PATRICK CAMPBELL Oil on canvas 76cm x 63.5cm (30in x 25in) Provenance: Burwood House sale, Esher, October 1927 The Georgian Galleries, London The Walkinshaw family of Edinburgh Sold Dowells auction house, Edinburgh, July 1937, Lot 129 Doig, Watson and Wheatley, Edinburgh Collection of Colonel RM Guild, Edinburgh, August 1937.

Note: We are indebted to the research of a number of authorities, including J. Craig Nannos (Col. Retd), Professor Gregory Urwin of Temple University, Philadelphia, J.A. Houlding, Ed Brumby, René Chartrand and Ian McCulloch.

£20,000-30,000 Potential confirmation of the identity of the sitter is born out by a similar painting of a British Officer, with the same face, also said to be a portrait of Major Patrick Campbell, now in the de Young Collection, San Francisco, (the San Francisco painting, 85.125in x 60.25in) (illustrated below) which was previously attributed to Copley, before losing that attribution in 1972 when the renowned Copley scholar Jules Prown concluded it differed from Copley’s style “in its muted and soft

coloration, the gentle treatment of the background and the absence of the strong value contrasts.”

This of course, is entirely true when considering Copley’s career as a portraitist in America. His later, London paintings though are very different. So the question of the date and the place at which the work was executed becomes crucial and it is necessary to look at the history of the sitter, along with the provenance of both paintings.

The San Francisco painting of Major Campbell was put up for sale in 1927 and purchased by The Georgian Galleries of King Street London, from a sale at Burwood House, Surrey. As much is stated in an advertisement in the Connoisseur magazine for October 1927 (illustrated below). It also states that the view is of Barcaldine Castle, Campbell’s ancestral home.

Burwood was purchased in 1927 by the 1st Lord Iveagh (Cecil Guinness), who died that same year.

It is also clear from the advert that by this time the painting had been sent by the Georgian Galleries to New York for sale, presumably on account of it

being thought to be by Copley.

Bought as such by the collector Warner S McCall of St Louis, it was sold by the John Levy Gallery of New York to Mr and Mrs Edmond Herrscher and presented by them to the de Young in August 1933.

The Sitter Patrick Campbell of Barcaldine, the supposed sitter in both portraits, was the third son of Duncan Campbell of Barcaldine and Glenure. It would appear that Patrick’s father, Duncan, fell out with three of his other sons, all of whom who joined the military and died while in service.

Patrick Campbell obtained a lieutenant’s commission in the 103rd Regiment of Foot toward the end of the Seven Years’ War in 1762, aged around seventeen. The regiment was sent to Belle-Îsle, off the coast of Brittany.

In 1763, at the end of the Seven Years War, aged 18, Campbell became a compulsory ‘reduced’ half-pay lieutenant, but was keen to rejoin the regular army. His uncle, the wealthy Scottish businessman Robert Campbell, based in London, suggested that the boy might be found another commission —but his father Duncan thought otherwise; it was too expensive. Instead, Patrick was called back to the Highlands and operated a cattle-droving partnership.

His ambition, however, was to return to the army. Eight years later, in November 1775, he got his wish when, aged around 28, raising a Highland ‘levy’ of infantrymen, he purchased a commission in Colonel Simon Fraser’s newly formed 71st Highland Regiment, with the rank of captain.

It seems possible that the San

Francisco picture was painted for Patrick Campbell to mark his being commissioned into the army in 1775. Paid for perhaps by his wealthy uncle Robert, who had backed the idea all along.

The view of Barcaldine Castle of course looks nothing like the castle today. Abandoned in 1735 it fell into ruins (being bought back by the Campbells in 1896 and rebuilt). The landscape though does seem to marry up with that around Barcaldine and has a look of the west Highlands. It also has something of the Roman Campagna and this too would work with ascribing it to Copley in 1775, when the influence of Italy was fresh in his mind.

Having purchased his commission, Patrick would have had almost six months in London before the regiment sailed in April 1776 and it is possible that during this time that his portrait now in San Francisco was painted.

The fact that the portrait would have been painted in London and not in America, would explain its style.

Copley’s style changed completely in London where he arrived in 1774 before setting off for the continent, where he remained until September 1775. On his return, according to the scholar of Copley’s English style, Emily Ballew Neff, he aligned himself with the Reynolds camp. He would thus have been working in London at his new studio in George Street from October 1775, at precisely the same moment that Patrick Campbell was there as a newly commissioned officer. We know that Copley was looking at the work of Reynolds at this

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British & European Paintings 39

40 Lyon & Turnbull

time. There is also no doubt that the painting now on offer is by an artist who has absorbed the teachings of Reynolds. Such an opinion has recently been expressed by Professor David Mannings of Aberdeen University, a world authority on Reynolds, who also offered the opinion that the painting might easily be the work of Copley.

For relevant comparisons of light, shade and handling see Copley’s Mrs Seymour Fort of c1778 in Connecticut and Clark Gayton, Admiral of the White of 1779 in NMM Greenwich. The 1777 painting of The Copley Family also bears comparison.

Major Campbell’s pose is a cross between the Apollo Belvedere and the statue of Octavian in Rome in the adlocutio pose adopted by commanders when addressing their troops. Having just been in Rome, Copley would have been acutely aware of such antique sculpture.

So how do we happen to have two paintings of Major Campbell? The answer surely lies in Campbell’s own story.

In April 1776 Fraser’s Highlanders, now the 71st foot, mustered at Glasgow and arrived in August 1776 at New York.

Doubts have been raised as what appear to be dark blue,

dark green, or even black facings on the officer’s coat in both paintings, as the facing colour of the 71st was white.

We do know though that, although he does not wear the short Highland regimental version of the red coat, the man depicted is an officer in a Highland regiment as he wears his sash on his left shoulder.

Only Highland officers were granted this privilege, other officers wearing their sashes around the waist. Thus, the sitter is a conundrum.

It is possible though that from November to April 1775-1776, when the San Francisco portrait was painted, the facing colours of Fraser’s 71st had not yet been decided upon. What uniform then would Copley have painted his sitter in other than his old coat from his previous regiment, the 103rd? Although the uniform of the 103rd has yet to be visually documented, the leading expert René Chartrand has proposed that its regimental facing colour might have been a dark green, which fits with both of the portraits.

It is also not without significance that the coat in both portraits is firmly of the early 1768 pattern and indeed that the gorget is also larger than those worn during the Revolutionary War. Patrick Campbell of Barcaldine

commanded the Grenadier company of the 71st which formed part of a composite Highland grenadier battalion.

During its brief existence this 4th British Grenadier Battalion was active in the New York area. Campbell’s first action would have been the landing on Long Island. The Grenadiers also landed on Manhattan and supported the Light Infantry and 42nd Highlanders in the Battle of Harlem Heights.

Might not the smaller, Scottish portrait celebrate Campbell’s involvement in the assaults of the New York campaign? It shows a howitzer (French or American) and in the background what appears to be a siege gun, but the landscape is not specific. This second portrait might have been commissioned at the smaller scale to be transported by sea, the larger San Francisco painting remaining in London.

It might also be the case that the face in the smaller picture would have been modelled on that in the first as well as preliminary studies made from the original sitting in 1775.

This would also explain the use of the dark facings in the second portrait as these would have been in Copley’s original notes for his first painting (the San Francisco portrait).

Interestingly, the uniform coat is exactly the same in the two paintings with the epaulette hanging down on the left shoulder. Indeed in the Scottish painting, it is clear from a pentimento, that the artist has moved the original position of the fusil in order to reveal the epaulette more fully.

We know that Copley painted a posthumous portrait of the mother in a group portrait of The Pepperell Family of 1778, using sketches he had made while she was still alive. David Mannings has also pointed out that it was Reynolds’s practice to paint smaller portraits

which could be transported on board ship.

There appears to be one other portrait by Copley with exactly the same dimensions as the Scottish portrait, in which the sitter is depicted full length.

This is the portrait of John Wombwell sold at Sotheby’s New York in 2009.

Wombwell was a merchant in Spain in the 1770s and it seems likely that his portrait might have been painted by Copley for export, around 1775. If Campbell’s portrait had a similar purpose, however, it never reached him, for by 1782 he was dead.

On October 26, 1779, through the sale of his farming interest in the Scottish Highlands, Campbell had put up £1,100 to purchase his promotion to Major. He then sailed south to participate in the British capture of Georgia, but ill health caused him to return north. He eventually found quarters in the house of Thomas Pearsall, a wealthy Quaker in New York and while there fell in love with Pearsall’s daughter Sarah. Despite her father’s opposition, the two were married on 1st January 1781 and that December had one son, named after Patrick’s father. Patrick’s health however, had suffered during his military service, and leaving the army to settle in New York, he died there in September 1782.

Interestingly, another portrait of Major Patrick Campbell of the 71st foot, a miniature, is featured along with the two portraits under discussion, in the Frick Art Reference Library, in which the sitter is wearing white facings. It bears a striking facial resemblance to both the Scottish and San Francisco portraits and it has been suggested that it might have been painted shortly before Campbell sailed for America.

British & European Paintings 41

58 HE987/5 CIRCLE OF SIR HENRY RAEBURN R.A., R.S.A. (SCOTTISH 1756-1823) PORTRAIT OF THOMAS REID Oil on canvas 76cm x 63.5cm (30in x 25in) Note: After the original in Fyvie Castle. A copy hangs in the Hunterian Museum.

£3,000-5,000

59 HF638/10 RICHARD ANSDELL (BRITISH 1815-1885) PORTRAIT OF JOHN ASPINALL OF STANDEN HALL, LYTHAM Signed, oil on canvas 44.5cm x 28.5cm (17.5in x 11.25in)

£800-1,200

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60 HF803/1 SIR JOHN EVERETT MILLAIS P.R.A. AND STUDIO (BRITISH 1829-1896) THE YEOMAN OF THE GUARD, 1876 Bears inscription on reverse, oil on canvas 138cm x 103cm (54.5in x 40.5in) Note: This painting is one of several versions painted by Millais and his studio of the work now in the Tate Gallery, London referred to by Millais’s son in his biography of his father.

A copy by James Malcolm Stewart of only the head and shoulders, dated 1898, is in the Royal Collection. The painting depicts John Charles Montague, who had been a corporal and later sergeant in the 16th Lancers and served for more than twenty years in India. He distinguished himself on several occasions and wears his campaign, good conduct and long service medals. When he retired in 1847 he was appointed a Yeoman of the Guard.

Montague died in May 1878.

£30,000-50,000

John Everett Millais was a child prodigy and one of the founders of the PreRaphaelite painters. His painting Christ in the House of his Parents caused some controversy when shown in 1850. Perhaps his most famous painting of this period was Ophelia. In the late 1850s he moved from PreRaphaelitism to a realist style which became hugely popular, making him one of the wealthiest artists of his time.

Among his best known works apart from his painting of The Yeoman of the Guard were The North West Passage (1874), The Two Princes Edward and Richard in the Tower (1878), and Bubbles (1886).

This picture was painted in 1876, when Millais was then at the height of his fame. Its differences to his ground breaking Pre-Raphaelite work of the 1850s, are attested by his son: “In the summer of 1876 was painted ‘The Yeoman of the Guard’, a picture which, like the ‘The North-West Passage’, could hardly have been expected from the same hand as that which created ‘Lorenzo and Isabella’ and ‘The Eve of St. Agnes’, so widely different is it from either of them in character and sentiment. In ‘The Yeoman’ we have a splendid type of the fine old British warrior of which the nation is so proud a subject entirely after Millais’ own heart. He delighted to paint it, and always considered the picture amongst the four best that ever came from his brush. It was in 1875 that the idea of

this work originated. Millais, having received a commission from a dealer to execute a very large picture of the Yeomen of the Guard searching the vaults beneath the two Houses previous to the opening of Parliament, made a preliminary visit to the Tower of London to see the “Beef Eaters” and study their costume. He was much struck with the splendid colour and tasteful design of the uniform, and thinking that under artificial light its pictorial strength would be lost, he abandoned his original idea, and decided to paint a single figure in all the glory of the open air.

The difficulty was to find a model who came up to his ideal wearer of this historic costume; but this at last he found in Major Robert Montagu, a grand old man who most kindly came and sat for the head and hands.

The Major had done yeoman service for his country in many campaigns, and his fine dignified head and figure were exactly what the artist required.

Now, to sit to an artist for two hours involves a greater strain that is commonly supposed. It is not surprising there fore that this old gentleman, who was over eighty and very infirm, found the work almost too much for him; yet having once commenced he would not give in. He was supplied with soup etc. every three-quarters of an hour; and to relieve the strain on his gallant sitter Millais worked at a higher pressure than he had ever done before. The head and

hands were dashed in, and completely finished in a few days; and yet, like so much of his best work, it suffered nothing from the rapidity with which it was executed. My uncle, Henry Hodgkinson, who was one of my father’s most devoted admirers, and already owned ‘Pizarro seizing the Inca of Peru’ and ‘The Woodman’s Daughter’ (both fine examples of the painter’s earlier manner), had long wished for a specimen of his more recent works, but his limited means restrained him from indulging the desire.

Now, however, when he saw ‘The Yeoman’ for the first time, he could no longer resist the temptation. The picture must be his at any cost; and he bought it. A proud man was he that day and ever afterwards of this possession….

When, later on, the artist expressed a desire that it should be left to the nation, he unselfishly jumped at the suggestion and carried it out by his will.” (The Hodgkinson version of the painting was given to the Tate by Mrs Hodgkinson in 1897.)

From The Life and Letters of John Everett Millais by his son John Guille Millais.

British & European Paintings 43

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61 HE987/1 FOLLOWER OF CONSTANTIN (CARL CHRISTIAN CONSTANTIN) HANSEN (DANISH 1804-1880) PORTRAIT OF A GENTLEMAN Oil on canvas 38cm x 32cm (15in x 12.5in)

£2,000-4,000

62 No lot

British & European Paintings 45

63 HF638/4 ATTRIBUTED TO EDWARD KENNETH CENTER (BRITISH b. 1903) PORTRAIT OF SIR FRANK BRANGWYN IN HIS STUDIO Oil on canvas 71cm x 91.5cm (28in x 36in)

£800-1,200

64 HF727/1 [§] SIR WILLIAM NICHOLSON (BRITISH 1872-1949) MABEL CROCHETING Pencil 20.5cm x 16cm (8in x 6.25in) Exhibited: Great King Street Gallery, Edinburgh

£800-1,200

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British & European Paintings 47

65 HD944/1 CHARLES FREDERICK GOLDIE O.B.E. (NEW ZEALAND 1870-1947) KA PAI TE KAI PAIPA, PORTRAIT OF TE HEI, A MAORI CHIEFTAINESS Signed and dated 1941, inscribed with title verso, oil on canvas 40.5cm x 51cm (16in x 20in) Note: The sitter was a chieftainess of the Ngatiraukawa tribe.

She was painted by Goldie several times in the course of 13 years.

£50,000-80,000

Born in Auckland, New Zealand in 1870, Charles Goldie displayed an early aptitude for painting and won prizes at the Auckland Society of Arts and the New Zealand Art Students’ Association. On leaving school he worked in his father’s business while continuing art studies under the painter Louis John Steele, who had trained at the École des Beaux-Arts in Paris and who inspired Goldie to look to France.

Sir George Grey, the New Zealand Premier, was so taken by Goldie’s two still-life paintings exhibited at the Auckland Academy of Art in 1891, that he convinced the painter’s father to allow his son to travel to Paris, and in July 1893 Goldie enrolled at the Académie Julian. For almost five years, until January 1898, he studied in the Parisian atelier under the renowned Salon painter William-Adolphe Bouguereau.

Goldie Returned to New Zealand in 1898 and established the ‘French Academy of Art’ with Steele.

Together they produced a masterwork, a painting of Maoris arriving in New Zealand based on Gericault’s “Raft of the Medusa”, which was bought by Auckland Art Gallery. But Goldie’s true metier was to be in portraiture.

From 1901 he began to make trips to visit Maori people, sketching and photographing them whenever he could.

Mostly, following in a tradition set by Steele, he painted senior Maori elders. As his fame grew, however, models began to come to sit for him in his Auckland studio, draped in a cloak or in a combination of a blanket and velvet.

The sitter in the offered painting, Te Hei, was also captured by the artist in two portraits executed in 1907: a front-facing work and a profile study entitled “Touched by the Hand of Time”. An additional painting depicting the sitter was also executed in 1909 (this was one of the works stolen from Wellington’s National Art Gallery in 1969). The fact that Goldie returned to re-engage with Te Hei after 11 years is indicative of the long-standing relationships he maintained with his sitters, and the extent to which he felt invested in documenting his subjects with artistic integrity over the years.

Goldie faced criticism in the early 1910s for his photorealism and during the Great War he began to produce smaller scale paintings on panel which were often copies of his earlier larger paintings, whose sitters were by now deceased. Following

his marriage in 1920, he produced little work over a decade, but resumed painting around 1930 in a looser style, giving his new works moralizing or provocative titles. In 1934 and 1935 he exhibited at the R.A. in London and in the latter year was appointed O.B.E. This work, entitled “Ka Pai te Kai Paipa (Smoking is Great)” is typical of his later output, being a version of an earlier portrait. A classic of its type, it dates from 1941, shortly before Goldie gave up painting completely and six years prior to his death in 1947.

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66 HE920/2 JOHN WELLS SMITH (BRITISH fl. 1870-75) THE SISTERS Signed with monogram, oil on canvas 33cm x 25.5cm (13in x 10in)

£2,000-3,000

67 SV623/43 CIRCLE OF GEORGE WILLIAM HORLOR (BRITISH 1823-1895) HARVEST TIME Oil on canvas 51cm x 60cm (20in x 23.5in)

£500-700

British & European Paintings 49

68 HF731/1 DUNCAN CAMERON (SCOTTISH 1837-1916) HARVEST BY THE LOCH Signed, oil on canvas 49cm x 74.5cm (19.25in x 29.25in)

£1,500-2,000

69 HG151/2 EDWARD HARGITT (BRITISH 1835-1895) DROVER’S ROAD Signed and dated 1893, oil on canvas 91cm x 137cm (36in x 54in)

£2,000-3,000

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70 HG151/1 JAMES HALL CRANSTOUN (SCOTTISH 1821-1907) SHIPPING IN ARBROATH HARBOUR Signed and dated 1860, oil on canvas 74cm x 94.5cm (29in x 37in)

£2,000-3,000

71 HE412/2 EDGAR BUNDY (BRITISH 1862-1922) THE QUEST Signed, inscribed on a label verso, oil on canvas 51cm x 76cm (20in x 30in)

£2,000-4,000

British & European Paintings 51

72 HE608/2 ELIZABETH THOMPSON, LADY BUTLER (BRITISH 1846-1933) IN A GENOESE GARDEN Signed and inscribed on a label verso, oil on panel 12cm x 21.5cm (4.75in x 8.5in) Note: Painted before she became Lady Butler, this charming small-scale oil on panel study captures a sense of Elizabeth Thompson’s youthful talents, particularly her eye for composition, painting the land where she spent much of her childhood. Here, she depicts the informal moment of an elegant lady luxuriating in the lush surroundings and views of her Genoese garden, accompanied by a faithful canine companion. Following art school training in London, Lady Butler made her name with military battle scenes, finding a niche that particularly fit with the current Victorian enthusiasm for military adventure and valour. She wrote of her work, ‘I never painted for the glory of war, but to portray its pathos and heroism.’

£1,000-1,500

73 HE576/1 WILLIAM POWELL FRITH R.A. (BRITISH 1819-1909) THE TAVERN, CREMORNE GARDENS Bears inscription on label verso, oil on panel 25cm x 40.5cm (9.75in x 16in) Provenance: Arthur Wiliam Chapman His son Christie’s sale May 1950 lot 116 Collection Nicholas Argenti 1950

£1,200-1,800

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74 SV623/105 HENRY STACY MARKS R.A. (BRITISH 1829-1898) BIRDS Signed, watercolour each 7.5cm x 13cm, six in one frame

£400-600

75 HE81/6 ROBERT MCGREGOR R.S.A. (SCOTTISH 1847-1922) SUPPERTIME Signed, oil on board 23cm x 16.5cm (9in x 6.5in)

£400-600

76 HF710/7 CHARLES AUGUSTUS HENRY LUTYENS (BRITISH 1829-1915) CHERUBS WITH FLOWER GARLANDS Signed, oil on canvas 31cm x 91cm (12in x 36in)

£500-800

British & European Paintings 53

77 HE72/3 [§] MARY ARMOUR R.S.A., R.S.W. (SCOTTISH 1902-2000) A STILL LIFE OF FRUIT AND FLOWERS Signed, oil on board 51cm x 42cm (20in x 16.5in)

£1,500-2,000

78 HE956/1 STUART PARK (SCOTTISH 1862-1933) A STILL LIFE OF RED AND WHITE ROSES Signed, oil on canvas, oval 53.5cm x 79cm (21in x 31in)

£800-1,200

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79 HF525/1 HENDRIK REEKERS (DUTCH 1815-1854) STILL LIFE OF FLOWERS ON A STONE LEDGE Signed and dated 1853, oil on canvas 77.5cm x 59cm (30.5in x 23.25in)

£70,000-90,000

‘Still Life of Flowers on a Stone Ledge’ is an exquisite example of the continuation of the Dutch still-life tradition into the nineteenth century, by a painter considered to be the foremost painter of such a subject in that century.

Hendrik Reekers was, and remains, particularly recognised for these later, beautifully detailed compositions of flowers.

The son of an established artist who specialised in genre subjects, Hendrik Reekers’ first teacher was his father, though he later studied with leading still-life painter Georgius Jacobus Johannes van Os. Reekers began exhibiting relatively early, in 1832, and continued throughout his career; he displayed a range of oils and

watercolours but was always particularly focussed on stilllife subjects, and especially flowers. As well as consistently exhibiting in Amsterdam and the Hague, Reekers also travelled to Paris and Versailles and had a picture exhibited at the British Institution in London in 1847, though it is unclear whether he travelled to London with this painting.

In ‘Still Life of Flowers on a Stone Ledge’ Reekers creates a masterful composition, a perfectly balanced sweep that fills the panel, from the tall tulips down, allowing the display of a dazzling variety of flowers and range of perspectives of the blooms, revealing both the beauty and bounty of nature and the impressive skill of the artist to render it so accurately.

Different flowers are shown in developing stages from small wisps of growth and the serrated edges of fresh green leaves to the lush petals of fully blossoming flowers, in this richly luxurious bouquet.

British & European Paintings 55

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80 HE963/1 [§] LAWRENCE BIDDLE (BRITISH 1888-1968) FLOWERPIECE Signed and dated 1947, oil on panel 36cm x 53.5cm (14in x 21in) Exhibited: Fine Art Society, London 1947

£800-1,200

81 HE919/2 18TH CENTURY DUTCH SCHOOL STILL LIFE OF FLOWERS IN A VASE ON A LEDGE Signed with monogram and dated 1765, oil on canvas 76cm x 64cm (30in x 25in)

£1,500-2,500

British & European Paintings 57

82 HE919/3 FOLLOWER OF NICOLAES BERCHEM (1620-1683) PEASANTS WITH CATTLE, SHEEP AND A MONKEY BY A RUIN IN A LANDSCAPE Oil on canvas 89cm x 112cm (35in x 44in)

£3,000-5,000

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83 SV917/39 CIRCLE OF JEAN LOUIS ERNEST MEISSONIER (FRENCH 1815-1891) TARGET PRACTICE Bears signature, oil on panel 23.5cm x 43cm (9.25in x 17in)

£1,500-2,500

84 HE987/4 THEODORE ROUSSEAU (FRENCH 1812-1867) BARBIZON LANDSCAPE Oil on panel 15cm x 23cm (6in x 9in) Provenance: Alex Reid and Lefevre, Glasgow

£1,500-2,500

British & European Paintings 59

85 HF504/4 MATTEO LOVATTI (ITALIAN 1861-after 1909) THE PROPOSAL Signed and inscribed ‘Roma’, watercolour 50cm x 73cm (19.75in x 28.75in)

£800-1,200

86 HE253/6 18TH CENTURY ITALIAN SCHOOL PORTRAIT OF DR AUGUSTINUS CARUS Inscribed, oil on canvas 84cm x 63.5cm (33in x 25in) Note: According to the inscription, the sitter was a member of the congregation fo the Oratory of St Philip Neri at Barcin

£600-800

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87 SV623/95 TITO CONTI (ITALIAN 1842-1924) BARGES ON THE THAMES Signed, inscribed and dated ‘Tamise 1882’, watercolour 51cm x 71cm (20in x 28in)

£500-800

88 HF802/2 18TH CENTURY ITALIAN SCHOOL SOUTHERN ITALIAN LANDSCAPE WITH FIGURES ABOVE A BAY Inscribed ‘Orizonte’ to old handwritten label verso, oil on canvas 50cm x 64.5cm (19.5in x 25.5in)

£2,000-4,000

British & European Paintings 61

89 HF555/1 C. HERBERT (BRITISH LATE 19TH CENTURY) THE GOLDEN TEMPLE, ARMITSAR Signed, watercolour and bodycolour 58cm x 103cm (23in x 40.5in) Note: The Golden Temple, or to give it its proper name Sri Harmandir Sahib, meaning ‘Abode of God’ is the holiest Gurdwara (place of worship) of the Sikh religion.

Amritsar had been founded in 1577 by the fourth Sikh guru, Guru Ram Das, but it was the fifth Sikh Guru, Guru Arjan who designed the Harmandir Sahib and upon its completion, installed the Adi Granth, the holy scripture, inside.

The temple also houses the Akal Takht throne installed by the Sixth Guru, which is the seat of God's temporal authority.

The Gurdwara was renovated in 1764 and in the early nineteenth century, Maharaja Ranjit Singh covered the upper stories with gold, giving rise to its English name.

£3,000-5,000

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90 SV940/17 MIKHAIL GUERMACHEFF (RUSSIAN 1867-1930) WINTER SUNSET Signed, bears label on stretcher with signature and inscription, oil on canvas 53cm x 63.5cm (21in x 25in)

£2,000-4,000

91 HE920/3 JOHAN MARI TEN KATE (DUTCH 1831-1910) SURPRISE IN THE FIELD Signed, watercolour 22.5cm x 30.5cm (9in x 12in)

£1,200-1,800

British & European Paintings 63

92 HE85/2 F. DE WIT (DUTCH 19TH CENTURY) HOME SWEET HOME, COUNTRYSIDE SCENE AT TIRLEMONT Signed, inscribed and dated 1880, indistinctly inscribed on a label verso ‘oost west t huis best’, oil on canvas 91cm x 146cm (37in x 58in)

£3,000-5,000

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93 SV842/36 BERNARD DE HOOG (DUTCH 1867-1943) LEARNING TO READ Signed, oil on canvas 51cm x 41cm (20in x 16in)

£1,000-1,500

94 SV842/39 ALBERT JOHAN NEUHUYS (DUTCH 1844-1914) A POSY FOR GRANDMA Signed, oil on canvas 38cm x 61cm (15in x 24in)

£700-1,000

British & European Paintings 65

95 SV842/35 BERNARD POTHAST (DUTCH 1862-1966) THE FAMILY COUNCIL Signed, oil on canvas 61cm x 76cm (24in x 30in)

£3,000-5,000 END OF SALE

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Index Alexander, C., 56 Alexander, C., attributed to, 54 Ansdell, R., 59 Armour, M., 77 Bancroft, E.M., 39 Beaton, P., 34 Berchem, N., follower of, 82 Biddle, L., 80 Boddington, H.J., 33 Bone, Sir M., 44 Boultbee, J., 11 Brangwyn, Sir F., 32 Brown, W.B., 6 Bundy, E., 71 Cameron, A., 42 Cameron, C., 68 Cameron, Sir D.Y., 30, 31 Carr, T., 35 Center, E.K., attributed to, 63 Cittadini, P., follower of, 51 Collings, S., attributed to, 14 Constantin, C.C., follower of, 62 Conti, T., 87 Copley, J.S. attributed to, 57

Cranstoun, J.H., 70 Crawford, E.T., 1 Dayes, E. 36 de Hoog, B., 93 de Wit, F., 92 Dighton, R., 13 Douglas, A., 28 Dutch School, 81 Frazer, W.M., 2 Frith, W.P., 73 Goldie, C.F., 65 Guermacheff, M., 90 Hansen, C., follower of, 61 Hargitt, E., 41, 69 Henderson, J., 3 Herbert, C., 89 Hooper, J.H., 27 Horlor, G.W., circle of, 67 Hunter, C., 7 Italian School, 86, 88 Kinnear, J., 37, 38 Kneller, Sir G., circle of, 53

Lodge, G.E., 43 Lovatti, M., 85 Lutyens, C.A.H., 76 Marks, H.S., 74 McGregor, R. 26, 75 Meissonier, J.L.E., circle of, 83 Meryon, C., follower of, 49 Millais, J.G., 40 Millais, Sir J.E., 60 Nasmyth, A. (and studio), 5 Neuhuys, A.J., 94 Nicholson, Sir W., 64 Noble, R., 24 Park, S., 78 Pether, S., attributed to, 25 Pothast, B., 95 Raeburn, Sir H., circle of, 58 Reekers, H., 79 Reynolds, Sir J., circle of 55 Ricard-Cordingley, G., 48 Romney, G., 15 Rousseau, T., 84 Rowlandson, T., follower of, 12

Schunemann, L., attributed to, 50 Scott, H., 45 Scougall, J., circle of, 52 Smith, G., 29 Smith, J.W., 66 Sticks, G.B., 4 ten Kate, J.M., 91 Thompson, E. (Lady Butler), 72 Thornley, W., 47 Ward, J., follower of, 9 Weaver, T., 8 Weaver, T., follower of, 10 Wedderburn, J., 16-20 Weiss, J., 22 Williams, E.C., 21 Williams, G.A., 23 Wilson, W., 46

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

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

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

Studio of ... / Workshop of ...

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

Attributed to...

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

Circle of ...

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

Follower of ...

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

Manner of ...

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

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

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.

Scottish Paintings & Sculpture Thursday, 8th December, 2016

GEORGE LESLIE HUNTER (SCOTTISH 1879-1931) THE GREEN VASE Oil on board, inscribed on label verso 59cm x 46cm (23.25in x 18in)

Enquiries Nick Curnow +44 (0131) 557 8844 nick.curnow@lyonandturnbull.com

£20,000-30,000

33 Broughton Place, Edinburgh EH1 3RR l +44 (0)131 557 8844 l www.lyonandturnbull.com

Select Jewellery & Watches 6pm, Tuesday, 6th December, 2016 The Lighthouse, Mitchell Lane, Glasgow

Viewing London La Galleria November 15th and 16th 10.00 to 16.00 For viewing in Edinburgh and Glasgow please contact the department on 0131 557 8844 for details.

Enquiries Ruth Davis +44 (0)131 557 8844 ruth.davis@lyonandturnbull.com Trevor Kyle +44 (0)131 557 8844 trevor.kyle@lyonandturnbull.com

www.lyonandturnbull.com

Panerai Radiomir A gentleman's 18ct rose gold wrist watch ÂŁ3,000-5,000

Conditions of Sale SELLERS 1. DEFINITIONS

3. PREPARATION FOR SALE

In these Conditions of Sale (Sellers):

(a) Lyon & Turnbull shall decide the way in which a lot may be included in the sale, how any lot is described and illustrated in the catalogue or any report, and the marketing, promotion, date, place and conduct of the sale.

“Auctioneer” means Lyon & Turnbull Ltd or its authorised auctioneer, as appropriate; “Buyer“ is the person who makes the highest possible bid or offer accepted by the auctioneer, and/or such person’s principal where bidding as agent; “Buyer‘s Premium” is the commission payable by the Buyer on the Hammer Price at the rates set out in the Sale Catalogue Guide to Prospective Buyers and an amount in respect of applicable VAT; “Hammer Price” is the highest bid accepted by the auctioneer by the fall of the hammer or in the case of a post-auction sale, the agreed sale price; “Item” means each and every item consigned for sale following express written agreement between Lyon & Turnbull and the Seller; “Lot“ means each Item offered for sale by Lyon & Turnbull; “Lower Estimate” means the low estimate provided by Lyon & Turnbull to the Seller in relation to each Item, or in relation to any Item which Lyon & Turnbull holds on behalf of the Seller; “Lyon & Turnbull” means the company which has its registered office at 33 Broughton Place, Edinburgh, EHI 3RR registered in Scotland No. 191166

(b) Lyon & Turnbull will instruct, consult with, and rely on, any outside experts or restorers, agents or other third parties, and carry out such other due diligence, inquiries, research or tests in relation to the property or its provenance, either before the Proposed Sale as it may deem appropriate in its reasonable discretion. (c) Any oral or written estimate or evaluation or report provided by Lyon & Turnbull is a genuinely held opinion only. It may not be relied on as a prediction of the selling price or value of the Item, and may in Lyon & Turnbull’s absolute discretion be revised at any time. (d) The Seller acknowledges that attribution of Items is a matter of opinion and not of fact, and is dependent upon (amongst other things) information provided by the Seller, the condition of the property, the degree of research, examination or testing that is possible or practical in the circumstances, and the status of generally accepted expert opinion at the time of cataloguing 4. TERMS OF SALE

“Net Sale Proceeds” are the Hammer Price, less commissions and other charges, of the Lot sold, to the extent received by Lyon & Turnbull in cleared funds;

The Seller acknowledges that lots are sold subject to these Conditions and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot.

“Proposed Sale” means the intended sale through which the items will be sold on

5. STANDARD SELLER FEES AND CHARGES (Subject to VAT)

“Purchase Price” is the Hammer Price and applicable Buyer‘s Premium;

(1) Commission: 15% is charged on the selling price of each lot, (subject to a minimum charge of £45). Loss and damage warranty: 1.5% on value of lots sold.

Photography: min charge £30. Online Listing: £10 per lot.

“Reserve” means the lowest price below which an item cannot be sold; “Upper Estimate” means the high estimate provided by Lyon & Turnbull to the Seller in relation to each Item, or in relation to any Item which Lyon & Turnbull holds on behalf of the Seller; “Terms of consignment” means the stipulated terms and rates of commission on which the Auctioneer accepts instructions from Sellers or their agents; “You”, “Your” means the seller. The Seller means you are the owner of the lot or, if you are not the owner of the lot (whether or not you have notified us that you are acting as an agent for a principal), you are duly authorised by the owner of the lot to sell it.

“Without reserve” where there is no minimum price at which a lot may be sold (whether at auction or by private treaty).

“Us”, “Our”, “We” etc refers to Lyon & Turnbull Ltd The singular includes the plural and vice versa as appropriate.

2. WARRANTY OF TITLE AND AVAILABILITY The Seller warrants:(a) that you are the true owner of the property consigned or are properly authorised by the true owner to consign it for sale and are able to transfer good and marketable title to the property free from any third party claims. (b) that all requirements have been complied with, legal or otherwise, relating to any export or import of the property consigned, all duties and taxes in respect of the export or import of the lot have (unless agreed in writing with us) been paid and, so far as you and any principal for whom they are acting in relation to the lot are aware, all third parties have complied with such requirements in the past. (c) that you have provided Lyon & Turnbull with any and all information concerning the item’s provenance or any concerns expressed by third parties concerning its ownership, condition, authenticity, attribution, and export or import history; and (d) Unless the Seller advises Lyon & Turnbull in writing to the contrary on delivery of the item to Lyon & Turnbull, there are no restrictions on Lyon & Turnbull rights to reproduce photographs or other images of the item in connection with the sale or any other marketing which will be done in accordance with good taste and decency.

(2) Transport: Items for sale must be consigned to the sale room by any stated deadline and at your expense.

We may be able to assist you with this process. When organised on the Seller’s behalf the provision of transport will be contracted to third parties. Fees for transport will be deducted at the initial settlement.

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

6. RESERVES (a) You are entitled to place, prior to the auction, a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve. The lot will be sold without reserve unless a reserve has been agreed. (b) Firm reserves may be no greater than lower pre-sale estimate level. (c) A reserve once set cannot be changed except with our agreement. (d) You may not bid or instruct or permit any other person to bid on your behalf on your own property. If the Seller breaches this prohibition, Lyon & Turnbull may treat the Seller as bound as Seller and as Buyer but without the benefit of Lyon & Turnbull Authenticity Guarantee or the reserve, and/or pursue other remedies. (e) We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the hammer price been the reserve.

7. LOSS & DAMAGE WARRANTY (a) Subject to condition 7(c) below Lyon & Turnbull will assume liability for loss or damage to an item, commencing at the time that item is taken into physical control and possession by Lyon & Turnbull and ceasing on the earliest date of; (i) when risk passes to the Buyer of the lot following its sale; (ii) for unsold lots, when the lot is released to the Seller, or, within 3 months of the sale;or (iii) 6 months from the date of delivery to Lyon &

Turnbull for items still in the possession of Lyon & Turnbull but not consigned for sale (unless part of a long-term storage agreement). (b) Lyon & Turnbull shall charge a loss and damage warranty fee of 1.5% of the hammer price, plus VAT. (c) If any loss or damage should occur to the lot during the period identified in paragraphs (a) above, Lyon & Turnbull’s liability to compensate the Seller in respect of that loss shall be restricted to a maximum of the upper estimate, or actual loss incurred, whichever is lower.

This compensation will be subject to a deduction of a 1.5% loss & warranty fee (subject to VAT).

8. UNSOLD ITEMS (1) If an item is unsold it may, with your consent, be reoffered at a future sale. Where in our opinion an item is not suitable for a future sale we may either request (a) you collect such items from the saleroom promptly on being so informed. We shall be entitled to charge you for storage costs, charges shall be made at a reasonable daily rate;or (b) suggest that the item be transferred to a secondary saleroom for sale without reserve. All transferred lots will be sold for the best price on the day, this may not bear any reflection on the item’s original estimate. Lyon & Turnbull are not liable for any items (whether it be selling price or loss & damage) when transferred.

(2) Aftersales: We reserve the right to accept an afterauction offer on a lot on behalf of the seller, at the agreed reserve price or above, for up to 48 hours after the original auction. In which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these Conditions apply.

9. LOT WITHDRAWAL If a Seller wishes to withdraw a lot organised for sale, a withdrawal fee will apply; (a) if withdrawn over 28 working days prior to the sale, this will be charged at 10% of the mid estimate along with any ancillary charges incurred (such as photography), all subject to VAT at the current rate. (b) if withdrawn within 28 working days of the sale, this will be charged at 20% of the mid estimate along with any ancillary charges incurred (such as photography), all subject to VAT at the current rate. (c) Lyon & Turnbull may withdraw a lot from the proposed sale without any liability if: (i) Lyon & Turnbull reasonably believes that there is any doubt as to the lot‘s authenticity or attribution; or (ii) it reasonably doubts the accuracy of any of the Seller’s warranties; or (iii) the Seller breaches any provisions of the Conditions of Sale in any material respect; or (iv) the lot suffers from loss or damage so that it is not in the state in which it was when Lyon & Turnbull took delivery of it. (d) if an item is withdrawn from sale under Condition 9(c) (i), or (iv), the Seller shall not be charged a withdrawal fee and the item shall be returned to the Seller or dealt with pursuant to Clause 8, as the Seller decides.

10. AUTHORITY TO DEDUCT COMMISSION AND EXPENSES AND RETAIN PREMIUM AND INTEREST. The Seller authorises us to deduct commission at the stated rate, and all expenses incurred for your account from the hammer price, and consents to our right to retain beneficially the premium paid by the Buyer in accordance with these Conditions of Sale and any interest earned on the sale proceeds until the date of settlement.

11. NON-PAYMENT BY THE BUYER (a) Lyon & Turnbull will, where it considers appropriate, take reasonable steps to investigate the ability of bidders to pay for lots and will use reasonable endeavours, in consultation with the Seller, to enforce payment of the Hammer Price by any Buyer. (b) Lyon & Turnbull, in consultation with the Seller, will decide whether to pursue any of the remedies available to it, including those set out in Condition 10 of the Condition of Sale (Buyers) including the right to cancel the sale and return the property to the Seller. Lyon & Turnbull will inform the Seller of any action which it contemplates taking against the Buyer.

(c) lf the Seller elects to take action against any Buyer on its own behalf Lyon & Turnbull will provide the Seller with such assistance as may be reasonably necessary to pursue that action. (d) The Seller hereby agrees to inform Lyon & Turnbull of any action which it chooses to take against the Buyer to enforce payment of the amount due to the Seller. (e) In the event that a Buyer fails to pay for a lot in accordance with the Conditions of Sale for Buyers, that lot will be treated in the same way as an unsold or collected lot.

12. SETTLEMENT PAYMENTS Subject to full payment by the Buyer, payment of the net proceeds of sale due to you will be made over to you 28 working days following a sale. Provided we have received cleared funds. Payment will be made by cheque or BACS (if requested).

14. THIRD PARTY LIABILITY

16. AGENCY

All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

Lyon & Turnbull acts as agent solely for and in the interests of the Seller. We do not act for Buyers in this role and does not give advice to Buyers. When Lyon & Turnbull make a statement about a lot it is doing so on behalf of the Seller of the lot.

15. GENERAL

17. DATA PROTECTION

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

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

(b) Any notice to any Buyer, Seller, bidder or viewer may be given by email, or if not available then first class mail, in which case it shall be deemed to have been received by the addressee 48 hours after posting.

(a) The same Conditions of Sale (Sellers) shall apply to sales by private treaty.

(c) Notices to Lyon & Turnbull should be in writing and addressed to Nick Curnow at 33 Broughton Place, Edinburgh EH1 3RR, quoting the reference number specified at the beginning of the sale catalogue.

(b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers.

(d) Should any provision of these Conditions of Sale be held unenforceable for any reason, the remaining provisions shall remain in full force and effect.

(c) Lyon & Turnbull undertakes to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids.

(e) These Conditions of Sale are not assignable by either party without the other’s prior written consent, but are binding on the seller’s successor and representatives. No act, omission or delay by Lyon & Turnbull shall be deemed a waiver or release of any of its rights.

13. SALE BY PRIVATE TREATY

(d) For the purposes of a private treaty sale, if a lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale.

(f) The contract between the parties may be varied by the parties by agreement and in writing.

The Auctioneer normally acts as agent only and disclaims any responsibility for default by Sellers or Buyers.

If you would like further information on Lyon & Turnbull policies on personal data, or to make corrections to your information, please contact us on +44 (0)131 557 8844.

18. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Seller agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

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

1. DEFINITIONS In these Conditions of Sale (Buyers): "Auctioneer" means Lyon & Turnbull Ltd or its authorised auctioneer, as appropriate; "Hammer price" means the level of bidding reached (at or above any reserve) when the Auctioneer brings down the hammer; "Lot" means each Item offered for sale by Lyon & Turnbull; "Purchase Price" is the Hammer Price and applicable Buyer's Premium; "Reserve" means the lowest price below which an item cannot be sold; "Total amount due" means the hammer price in respect of the lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions;

(f) Commission Bids: While prospective Buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we shall, if so instructed, clearly and in writing execute bids on their behalf. Neither the Auctioneer nor our employees nor agents shall be responsible for any failure to do so.

Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made. (g) Telephone Bids: If a prospective Buyer makes arrangements with us prior to the commencement of the sale we will use reasonable efforts to contact them to enable them to participate in bidding by telephone.

We do not accept liability for failure to do so or for errors and omissions in connections. (h) Online Bidding: We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding.

4. INCREMENTS

applies to items that have been imported from outwith the European Union and do not fall within the reduced rate category outlined above.

7. DROIT de SUITE This symbol [§] indicates works which may be subject to the Droit de Suite or Artist's Resale Right, which took effect in the United Kingdom on 14th February 2006.

We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the hammer price and in addition to the Buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the auctioneer. Resale royalties are not subject to VAT. Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale. More information on Droit de Suite is available at www.dacs.org.uk.

“You”, “Your” means the Buyer

Bidding increments shall be at the Auctioneer's sole discretion.

“Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd

5. THE PURCHASE PRICE

(1) Within 7 days of a lot being sold you will:

The singular includes the plural and vice versa as appropriate.

For each lot purchased a Buyer's Premium of 25% of the hammer price is payable on each lot up to and including £100,000, plus 20% from £100,001 upwards. VAT at the appropriate rate is charged on the Buyer's Premium. No VAT is payable on the hammer price or premium for printed books or unframed maps bought at auction.

(a) Pay to us the total amount due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. We do not accept American Express.

2. AGENCY Lyon & Turnbull acts as agent solely for and in the interests of the Seller. We do not act for Buyers in this role and does not give advice to Buyers. When Lyon & Turnbull make a statement about a lot it is doing so on behalf of the Seller of the lot.

The Auctioneer normally acts as agent only and disclaims any responsibility for default by Sellers or Buyers.

3. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security and credit references or arrangements before entering the auction room to view or bid; (b) The maker of the highest bid accepted by the Auctioneer conducting the sale shall be the Buyer and any dispute shall be settled at the Auctioneer's absolute discretion. (c) Once made, no bid may be withdrawn. (d) Our right to bid on behalf of Sellers is expressly reserved up to the amount of any reserve. (e) The right to refuse any bid is also reserved.

Live online bidding is subject to an additional 3% premium (charged by the live bidding service provider Invaluable). This additional premium is subject to VAT at the appropriate rate as above.

6. VALUE ADDED TAX Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by Buyers of relevant lots.

(1) Lots affixed with (†): Value Added Tax on the hammer price is imposed by law on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the European Union and is not operating under a Margin Scheme.

(2) Lots affixed with (*): A reduced rate of Value Added Tax on the hammer price of 5% is payable. This indicates that a lot has been imported from outwith the European Union. This reduced rate is applicable to Antique items.

(3) Lots affixed with [Ω]: Standard rate of Value Added Tax on the hammer price and premium is payable. This

8. PAYMENT

(b) Please note there is a surcharge of 2% when using credit cards. (c) Please note that we cannot accept cash payments over £5,000.

(2) Any payments by you to us may be applied by us towards any sums owing by you to us howsoever incurred and without agreement by you or your agent, whether express or implied..

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

(2) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any cheque used for payment whichever is later. We can provide you with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us.

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

(4) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for lots not collected by the appropriate time.

(5) Export of goods: Buyers intending to export goods should ascertain (a) whether an export licence is required and (b) whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the lot.

(3) Estimates: Estimates are placed on each lot to help Buyers gauge the sums involved for the purchase of a particular lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon.

(4) Catalogue Alterations: Lot descriptions and estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred.

10. REMEDIES FOR NON·PAYMENT OR FAILURE TO COLLECT PURCHASES

(5) Electrical Goods: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given.

(1) If any lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the Sellers and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies:

(6) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with current safety regulation. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. Lyon & Turnbull provide no guarantee as to the originality of any wood/material contained within the item.

(a) to proceed against you for damages for breach of contract;

(7) Special terms may be used in catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue. These notices and terms will also form part of our terms and conditions of sales.

(b) to rescind the contract for sale of that lot and/or any other lots sold by us to you; (c) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). (d) to remove, store and insure the lot in the case of storage, either at our premises or elsewhere and to recover from you all costs incurred in respect thereof; (e) to charge interest at a rate not exceeding 1.5% per month above the current base rate on all sums outstanding for more than 7 working days after the sale; (f) to retain that or any other lot sold to you until you pay the total amount due; (g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) to apply any proceeds of sale of other lots due or which become due to you towards the settlement of the total amount due by you and to exercise a lien over any of your property in our possession for any purpose until the debt due is satisfied.satisfied.

11. DESCRIPTIONS AND CONDITION (1) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective Buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective Buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and only accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer or our employees or agents accept liability for the correctness of such opinions and no warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are given. Please note that photographs/images provided may not be fully representative of the condition of the lot and should not be relied upon as indicative of the overall condition of the lot.

(2) Condition reports: Condition reports are provided on our website or upon request. The absence of a report does not imply that a lot is without imperfections.

Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavor to respond to all requests although we offer no guarantee. Any statement in relation to the lot is merely an expression of opinion of the Seller or Lyon & Turnbull and should not be relied upon as an inducement to bid on the lot. Lots are available for inspection prior to the sale and you are strongly advised to examine any lot in which you are interested prior to the sale. Our condition reports are not prepared by professional conservators, restorers or engineers. Our condition report does not form any contract between Lyon & Turnbull and the Buyer. The Condition Reports do not affect the Seller’s obligations in any way.

12. BOOKS, CLOCKS & WATCHES, DIAMONDS & GEMSTONES (1) Books-Collation: If on collation any NAMED item in the sale catalogue proves defective, in text or illustration the Buyer may reject the lot provided he returns it within 21 days of the sale stating the defect in writing.

This, however, shall not apply in the case of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings NOR in respect of damage to bindings, stains, foxing, marginal worm holes or other defects not affecting the completeness of the text NOR in respect of Defects mentioned in the catalogue, or at the time of sale, NOR in respect of lots sold for less than £300.

(2) Clocks & Watches: All lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/newer parts. Furthermore, Lyon & Turnbull makes no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Buyers should also be aware that Lyon & Turnbull cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches cannot be shipped to the USA and only imported personally.

(3) Diamonds & Gemstones: Please note that diamonds and gemstones cannot be accurately graded and measured when mounted in jewellery. Unless it is stated in the catalogue and condition report that the item is accompanied by an independent report by a named gemmological laboratory, the information provided about the colour, clarity and size of a gemstone is the opinion of our department jewellery specialists. Please note in the event that Lyon and Turnbull has been given or has obtained certificates for any lot in the sale, Lyon and Turnbull nor the Seller accepts any liability for contradictions or differing certificates obtained by Buyers on any lots post sale.

Diamonds and gemstones are not unmounted by the department, therefore any information provided in this instance is an approximate understanding of the quality of the gemstone under these limitations. Without an independent report the department are generally unable to give an opinion on any potential treatments a gem material has been subjected to. Many gemstones and diamonds have been subjected to a variety of treatments to enhance their appearance and unless stated buyers should presume gemstones/diamonds have been exposed to some sort of treatment.

13. CITES Please be aware that all lots marked with the symbol Y are subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http://www.defra.gov.uk/ahvla-en/ imports-

exports/cites/ Lyon & Turnbull accepts no liability for any lots which may be subject to CITES but have not be identified as such.

14. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers. (c) Lyon & Turnbull undertakes to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private treaty sale, if a lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale.

15. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation, safety and security arrangements.

Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.

16. GENERAL (a) We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. (b) Any notice to any Buyer, Seller, bidder or viewer may be given by email if not available then first class mail in which case it shall be deemed to have been received by the addressee 48 hours after posting. (c) Notices to Lyon & Turnbull should be in writing and addressed to Gavin Strang at 33 Broughton Place, Edinburgh EH1 3RR, quoting the reference number specified at the beginning of the sale catalogue. (d) Should any provision of these Conditions of Sale be held unenforceable for any reason, the remaining provisions shall remain in full force and effect. (e) These Conditions of Sale are not assignable by either party without the other's prior written consent. No act, omission or delay by Lyon & Turnbull shall be deemed a waiver or release of any of its rights. (f) The contract between the parties may be varied by the parties by agreement and in writing.

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

If you would like further information on Lyon & Turnbull policies on personal data, or to make corrections to your information, please contact us on +44 (0)131 557 8844..

The Buyer hereby agrees to the release by Lyon & Turnbull of the Buyer’s name and contact details to the seller or the seller’s solicitor in the event of any dispute between Lyon & Turnbull and the Buyer and/or Lyon & Turnbull and the Seller. Lyon & Turnbull will give prior written notice of the release of any such details to the Seller of the Seller’s solicitor.

18. FORCE MA JEURE Lyon & Turnbull shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract.

19. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law. (b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

Guide to Bidding & Payment Payment

Registration All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, by fax or on our website. Please note that all first time bidders at Lyon & Turnbull will be asked to supply the following documents in order to facilitate registration: 1 – Government issued photo ID (Passport/ Driving licence) 2 – Proof of address (utility bill/ bank statement).

We may, at our option, also ask you to provide a bank reference and/ or deposit.

By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale.

Bidding At the Sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you.

Please ensure that the auctioneer repeats your bidder number correctly when confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer’s attention immediately. All lots will be invoiced to the name and address given on your registration form, which is non-transferable.

By phone A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavor to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk.

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

These should be submitted in person, by post, or by fax as soon as possible prior to the sale and we will bid on your behalf up to the limit indicated. In the event of receiving two identical bids the first one received will take precedence.

All bids must be received an hour before the sale. This service is entirely at the bidder’s risk.

On the internet A fully-illustrated catalogue is available on our website.

Registered bidders may leave absentee bids through the website and will receive email confirmation of their bid.

Live online bidding (powered by Invaluable) is also available, accessible either through our website or at www.invaluable.com. Please note that an additional 3% premium is charged by Invaluable for this live online service.

Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received. Payment may be made by the following methods: Bank Transfer Account details are included on any invoices we issue or upon request from our accounts department.

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

Online Card Payments We no longer accept card payments by phone. Please use our online payment service (provided by Cardstream/Credorax. You will find a link to this service in any email invoice issued 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.

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

Cash payments limited to £5,000.

© Lyon & Turnbull Ltd. 2016. 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 & Turnbull Ltd.

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LYON & TURNBULL AUCTIONEERS EDINBURGH BRITISH & EUROPEAN PAINTINGS

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

24TH NOVEMBER, 2016

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

Thursday, 24th November, 2016 33 Broughton Place Edinburgh EH1 3RR

British & European Paintings