Scottish Paintings & Sculpture | 14th June 2017 | 6pm

LYON & TURNBULL AUCTIONEERS EDINBURGH

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SCOTTISH PAINTINGS & SCULPTURE 14TH JUNE 2017

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

Wednesday, 14th June, 2017 33 Broughton Place Edinburgh

Scottish Paintings & Sculpture

Scottish Paintings & Sculpture Wednesday, 14th June, 2017 at 6pm Sale Number LT492

Viewing Times Sunday, 11th June 12–4pm Monday, 12th June 10am–5pm Tuesday, 13th June 10am–5pm Morning of the sale from 9am-1pm

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: £15

Front Cover Lot 31 (detail) Inside Front Cover Lot 21 (detail) Inside Back Cover Lot 89 (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% up to £100,000/20% thereafter.

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

Catalogue descriptions

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:

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.

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.

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/ imports-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 find out more about the auction process.

Nick Curnow

nick.curnow@lyonandturnbull.com

Charlotte Riordan

charlotte.riordan@lyonandturnbull.com

Carly Shearer

carly.shearer@lyonandturnbull.com

Iain Gale

iain.gale@lyonandturnbull.com

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Parking Multi-storey car parking is available at Greenside Place, a five minute walk from the saleroom York Place Tram Stop Waverley Station

4 Lyon & Turnbull 1 JOSEPH MILNE (SCOTTISH 1857‑1911) TARBERT, LOCH FYNE Signed, oil on panel 23.5cm x 30.5cm (9.5in x 12in)

£600‑800

2 JAMES CAMPBELL NOBLE R.S.A. (SCOTTISH 1846‑1913) BARGES ON A CANAL Signed, oil on canvas 51cm x 61cm (20in x 24in)

£1,000‑1,500

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 5 3 PATRICK DOWNIE R.S.W. (SCOTTISH 1871‑1945) A BRIGANTINE IN A BREEZE OFF FIRTH OF CLYDE Signed and dated 1935, signed, inscribed and dated verso, gouache 38cm x 51cm (15in x 20in)

£600‑800

4 JAMES WHITELAW HAMILTON R.S.A., R.S.W. (SCOTTISH 1860‑1932) EVENING CALM Signed, oil on canvas 41cm x 51cm (16in x 20in)

£1,000‑1,500

6 Lyon & Turnbull 5 JAMES WATTERSTON HERALD (SCOTTISH 1859‑1914) A HIGHLAND ROUP Signed, watercolour 26.5cm x 37cm (10.5in x 14.5in)

£1,000‑1,500

6 JAMES WATTERSTON HERALD (SCOTTISH 1859‑1914) HARD AT IT Signed, watercolour 18.5cm x 23cm (7.25in x 9in)

£800‑1,200

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 7

7 WILLIAM MCTAGGART R.S.A., R.S.W (1835‑1910) BATTY’S DEN Signed and dated ‘79, pencil and watercolour 34cm x 52cm (13.5in x 20.5in) Literature: Sir James Caw, William McTaggart 1917, p.244 Provenance: Miss Gibson, Broughty Ferry

£2,000‑3,000

8 Lyon & Turnbull 8 DUNCAN CAMERON (SCOTTISH 1837‑1916) HARVEST-TIME Signed, oil on canvas 51cm x 76cm (20in x 30in)

£2,000‑3,000

9 [§] JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886‑1957) TATTIE HAWKIN Signed, oil on canvas 36cm x 46cm (14in x 18in)

£1,000‑2,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 9

10 ROBERT HOME R.B.A. (SCOTTISH 1861‑1937) HERIOT ROW FROM QUEEN STREET Signed, oil on canvas 70cm x 90cm (27.5in x 35.5in) Provenance: Phillips, Edinburgh, Fine Art Society May 1992, lot.513

£2,000‑3,000

10 Lyon & Turnbull 11 [§] JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886‑1957) SEA AND WIND Signed, watercolour 28cm x 38cm (11in x 15in)

£1,500‑2,000

12 [§] JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886‑1957) MAKING HAY Signed, watercolour 33cm x 41cm (13in x 16in)

£400‑600

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 11

13 WILLIAM STEWART MACGEORGE R.S.A. (SCOTTISH 1861‑1931) BLUEBELL TIME Signed, oil on panel 31cm x 41cm (12in x 16in)

£3,000‑5,000

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14 SIR DAVID WILKIE R.A. (SCOTTISH 1785‑1841) A MOUNTED RIDER IN BATTLE Pen and ink 6.5cm x 9.5cm (2.75in x 3.75in) and another drawing by the same hand (2) Provenance: Spink, London Lady Barbara Noble (Mounted rider sketch)

£400‑600

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 13

15 ALEXANDER KAY (SCOTTISH 1860‑1935) PROSPECT OF EDINBURGH FROM RAVELSTON Signed and dated 1839, pen and ink and watercolour 43cm x 65cm (17in x 25.5in)

£800‑1,200

14 Lyon & Turnbull 16 ATTRIBUTED TO DAVID ALLAN (SCOTTISH 1744‑1796) FULL LENGTH PORTRAIT OF A MOTHER AND CHILD Signed with initials and dated Edinburgh 1786, oil on canvas 75cm x 63cm (30in x 25in)

£2,000‑3,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 15 17 JOHN THOMAS SETON (SCOTTISH FL.1758‑1806) PORTRAIT OF CAPTAIN DAVID SKENE OF 28TH FOOT Oil on canvas 127cm x 102cm (50in x 40in) Note: David Skene was the younger brother of the two Generals Robert and Philip Skene who built Pitlour in 1784. David Skene died on 11 May 1788.

£3,000‑5,000

16 Lyon & Turnbull

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 17 18 SIR HENRY RAEBURN R.A. (SCOTTISH 1756‑1823) HALF LENGTH PORTRAIT OF ROBERT CUNNINGHAM GRAHAM OF GARTMORE AND FINLAYSTON Oil on canvas 75cm x 62cm (29.5in x 24.5in) Provenance: By descent in the Cunningham Graham family Exhibited: On extended loan from Lady Patricia Cunningham Graham to Culzean Castle (National Trust for Scotland) 1982-2016 Reference: David Mackie, Raeburn Life and Art (a complete catalogue of the artist’s work in 6 volumes) unpublished Ph.d thesis, University of Edinburgh, no. 340B

£5,000‑8,000

Robert Cunningham Graham o’Gartmore and Finlayston (1735-1797) was the Receiver General for Jamaica and MP for Stirlingshire from 17941796 as well as being Rector of Glasgow University from 1785-7 and a noted poet.

The sitter was a supporter of the French Revolution and a leading advocate for political reform.

There is a primary version, near full-length, in the Scottish National Portrait Gallery. The portrait on offer is a smaller repetition

by Raeburn, showing only the central part of the composition. The primary version of the painting was discussed in a letter of 17 November 1794 from Raeburn to the man who commissioned it, Cunningham Graham’s friend, Hugh Innes of Balmacara, Ross-shire. The existence of this part-replica speaks for the success of the portrait with the sitter and his friends. Further evidence for this is suggested by the creation of an enamel copy in miniature of the “A” version by Henry Bone in the collection of the Hunterian Museum, Glasgow.

The primary version came to light when included in the 1939 Exhibition of Scottish Art at the Royal Academy. The version offered here, became known when it was lent by

the sitter’s family to the National Trust for Scotland in 1982, to be hung at Culzean Castle. Neither work features in the Raeburn literature before Mackie’s complete catalogue. The “A” version of the portrait was requested

by Baroness Thatcher from the SNPG for display at 10 Downing Street, where it hung during her time as Prime Minister.

The creation of the version offered here may have been occasioned by the sitter’s death in 1797. The extensive use of bitumen suggest that it was painted c.1800 when the artist had developed a new and darker style of painting.

Raeburn may have used the original version as his model.

This version is just over half the size of the primary version and the reduction in scale has caused some essential changes to the composition: the sitter’s left arm is lowered out of sight and the book now appears on the table. Studio assistants working for Raeburn at that early date are not known, and although the involvement of assistants in Raeburn’s practice is poorly understood, it seems always to have been limited. In the primary version the leading eye of the portrait has a cast and there is also disparity between the two sides of the sitter’s face, created by shadow.

Many consider Raeburn’s portraits of the 1790s to be his finest. They communicate appearance, character, psychological and emotional state, and mental force.

Their skilled and inventive use of pose and lighting give an enduring sense of human presence and human uniqueness.

The portrait offered here has been examined by Dr David Mackie and will be included in his forthcoming complete catalogue of Raeburn.

We would like to acknowledge the assistance of Dr. David Mackie, St Catharine’s College, Cambridge in cataloguing this picture.

18 Lyon & Turnbull 19 WILLIAM EWART LOCKHART R.S.A., A.R.W.S., R.S.W., R.E. (SCOTTISH 1846‑1900) AN ANDULASIAN QUACK DOCTOR Signed and dated 1871, oil on canvas 48cm x 36cm (18in x 14in) Note: Proably the painting exhibited at the R.S.A 1872, no.1

£2,000‑3,000

20 GEORGE OGILVY REID R.S.A. (SCOTTISH 1851‑1928) A RED LOSER Signed, oil on canvas 78cm x 69cm (30.75in x 27.25in)

£2,000‑3,000 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 19

21 JOHN RITCHIE (SCOTTISH FL.1844‑1871) SLIDERS BELOW THE CASTLE Signed and dated 1854, oil on canvas 61cm x 112cm (24in x 44in) Exhibited: Royal Scottish Academy 1854, no.225 Provenance: Christie’s Glasgow 21 November 1989, where purchased by the current vendor

£15,000‑25,000

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22 WILLIAM KENNEDY (SCOTTISH 1859‑ 1918) A TROOPER OF DRAGOON GUARDS Signed, oil on board 28cm x 36.5cm (11in x 14.5in) and a pair ‘A trooper of the 10th Hussars’ (2)

£800‑1,200

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 21

23 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865‑1945) AMSTERDAM HARBOUR Indistinctly signed, oil on canvas 63.5cm x 107cm (30in x 42in) Note: There is a ‘Munchener Secession’ exhibition label on the frame verso.

It is easy to focus on the local when thinking about Scottish art, but it is always worth remembering that at the turn of the century, as now, Scottish artists were exhibiting, experiencing success and garnering recognition in art centres across the world.

Despite his strong commitment to the depiction of the Scottish landscape and the Scottish art establishment, David Young Cameron was one such artist.

DY experienced a level of success that allowed him to travel regularly, locating subjects for his paintings and etchings across Europe and North Africa, while his work was celebrated on the Continent with

medals and honourable mentions in Paris. He particularly involved himself with the growing avant-garde art movement in Germany, through the Berlin and Munich Secessions, groups that had developed out of a desire to break away from nineteenth-century conventions in art and display. These new groups were committed to excellence in the arts, and were particularly interested in an international and multidisciplinary approach. DY exhibited at the Berlin Secession in 1900 and Munich’s International Kunstausstellung in 1905, being elected an Extraordinary Corresponding Member of each secession in the meantime.

Amsterdam Harbour bears a Munich Secession label verso, demonstrating that this painting was acknowledged and celebrated in its day as the work of a modern, forward-looking artist.

£5,000‑7,000

22 Lyon & Turnbull 24 JAMES FAED JUNIOR (SCOTTISH 1856‑1920) IN CADZOW FOREST Signed and indistinctly dated, oil on canvas 76cm x 63.5cm (30in x 25in)

£2,000‑3,000

25 ALFRED DE BRÉANSKI SENIOR (BRITISH 1852‑1928) AN AUTUMN MORNING, BORROWDALE Signed, signed and inscribed verso, oil on canvas 76cm x 51cm (30in x 20in)

£3,000‑5,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 23

26 ROBERT MCGREGOR R.S.A. (SCOTTISH 1847‑1922) GATHERING MUSSELS Signed and dated 1919, oil on canvas 61cm x 101.5cm (24in x 40in) Exhibited: The Fine Art Society 1977

£3,000‑5,000

24 Lyon & Turnbull 27 GEORGE HOUSTON R.S.A., R.S.W., R.I. (SCOTTISH 1869‑1947) ON THE WEST COAST Signed, oil on canvas 71cm x 91cm (28in x 36in)

£2,000‑3,000

28 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865‑1945) AUTUMN IN MENTEITH Signed, oil on canvas 58cm x 106cm (23in x 41.75in) Provenance: Sir William McLintock, a gift from The Jockey Club 1934

£4,000‑6,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 25

29 JOSEPH FARQUHARSON R.A. (SCOTTISH 1846‑1935) THE JOYLESS WINTER’S DAY Signed, oil on canvas 51cm x 91cm (20in x 36in)

£20,000‑30,000

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30 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860‑1936) ON THE BEACH, MACHRIHANISH Signed, oil on canvas 63cm x 76cm (25in x 30in)

£10,000‑15,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 27

31 [§] JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907‑1998) FOWLIS CASTLE Signed, signed and inscribed verso, oil on canvas 46cm x 61cm (18in x 24in) Provenance: The Fine Art Society Ltd, London September 1965

£6,000‑8,000

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32 JAMES PATERSON P.R.S.W., R.S.A., R.W.S. (SCOTTISH 1854‑1932) RIVER LANDSCAPE, MONIAIVE Dated ‘29 Jan 1889’, oil on board 16.5cm x 37cm (6.5in x 14.5in) Provenance: The artist’s family Belgrave Gallery, London

£2,000‑4,000

33 WILLLIAM WATSON (BRITISH 1831‑1921) SHEEP ON A ROCKY OUTCROP Signed and dated 1863, oil on canvas 61cm x 91cm (24in x 36in)

£2,500‑3,500 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 29 34 THOMAS FAED R.A., H.R.S.A. (SCOTTISH 1826‑1900) DANS LE CHAMP DE BLÉ Signed and dated 1871, oil on canvas 31cm x 18cm (12in x 7in)

£1,500‑2,000

35 GEORGE HENRY R.A., R.S.A., R.S.W. (SCOTTISH 1858‑1943) IN THE GALLERY Signed, oil on canvas 51cm x 31cm (20in x 12in)

£3,000‑5,000

30 Lyon & Turnbull

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 31 36 WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835‑1910) THE PAST AND THE PRESENT Signed and dated 1860, signed, inscribed and dated verso ‘The Past and the Present, Feb. 1860’, oil on canvas 77cm x 92cm (30.5in x 36in) Exhibited: Royal Scottish Academy 1860, no.159 Aitken Dott & Son 1907 Bourne Fine Art 1988, no.1 National Gallery of Scotland, William McTaggart 1989, no.13 Literature: James Caw, William McTaggart pp.26-31, illus.p.28 Lindsay Errington, William McTaggart 1989, pp.28-33, illus.pl.25 Per Kvaerne, William McTaggart : Singing Songs of Scottish Heart 2007, pp.53-7 Provenance: Robert Craig Esq. Sale: Dowell’s, Edinburgh 31 October 1874 Sale: Christie’s 21 May 1903 The Collection of McOrmish Dott, 1917 Sir John McTaggart Bt. Bourne Fine Art, Edinburgh Private Collection

£40,000‑60,000

‘His most important picture this year, at once larger and more complex than any he had yet attempted’ The Past and the Present has a clear poetic theme, the passage of time, and the indifference of youth to history, age and death.

This notion is romantically revealed in the subject, the group of children building new structures over the top of old, deteriorating gravestones, overlooked by an elderly gentleman, and emphasised in the approach, with the children illuminated in strong sunlight and the old man almost hidden in the shadows. The youth are concerned with the present, and building plans for the future, with no thought to the history of this land or materials, and the fact that they too will one day age and die. This sentimental evocation was McTaggart’s intention from his very early sketches for the picture, although the emotive title came later, in the suggestion of an early patron, and the

later purchaser of the picture, Robert Craig.

By the time he was working on this painting, McTaggart, had sought out the inspiration of the Pre-Raphaelites, having made the effort to see Holman Hunt and Millais’s work in Manchester and Edinburgh. As a response to these paintings, McTaggart began to work differently, utilising intense colour and carefully worked textures in his paintings, and depicting scenes that had a poetic or symbolic implication, as here.

This change is clear in The Past and the Present, and as Dr. Lindsay Errington illustrates, the title has a poetic symbolism in terms of its place in McTaggart’s development, and the wider developments of Scottish painting: ‘the delicate tonal interrelations, cast shadows and reflected lights – are now brought out of the studio and into the strong summer light, and translated into bright colours. Only the areas of

shadow, in the flesh, and on the darkened north wall of the church, are still treated with the transparent brown, traditional to Scottish art.

In terms of its technique, his picture is indeed The Past and The Present.’ This

was a temporary approach for McTaggart occurring at this specific point in his career, as by the 1960s he was developing the impressionistic style that is now instantly recognisable as his.

32 Lyon & Turnbull 37 JAMES WATTERSTON HERALD (SCOTTISH 1859‑1914) A MILITARY REVIEW ON PRINCES STREET, EDINBURGH Signed with initials and dated ‘92, watercolour 32cm x 25cm (12.5in x 9.75in)

£1,500‑2,000

38 JAMES WATTERSTON HERALD (SCOTTISH 1859‑1914) THE RETURN OF THE FLEET Signed, inscribed and dated ‘Jersey ‘98’, watercolour 32cm x 23cm (12.5in x 9in)

£1,000‑1,500

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 33 39 BESSIE MACNICOL (SCOTTISH 1869‑1904) THE DEBUTANTE Signed and dated ‘98, watercolour 24cm x 16.5cm (9.5in x 6.5in) Provenance: The Fine Art Society plc 1986 no.18495

£1,000‑1,500

40 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1855‑1936) THE RED SCARF Signed, watercolour 33cm x 24cm (13in x 9.5in)

£800‑1,200

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For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 35 41 SIR JAMES GUTHRIE P.R.S.A., H.R.A., R.S.W., L.L.D. (SCOTTISH 1859‑1930) THE MORNING PAPER Signed and dated ‘90, pastel 52cm x 62cm (20.5in x 24.5in) Exhibited: Guthrie Pastel Exhibition, London 1890 and Glasgow 1981 (probably as ‘Girl reading’) Royal Scottish Academy, Memorial Collection 1931 Arts Council, Decade 1890-1900, various venues 1967 no.72 Fine Art Society, The Glasgow School of Painting 1970 Helensburgh, Helensburgh and the Glasgow School 1972 Kelvingrove Art Gallery and Museum Glasgow, The Glasgow Boys 1880-1900, 2010, no.123 Royal Academy of Arts, London 2011 Literature: Sir James Caw, Sir James Guthrie 1932, p. 234 Provenance: Captain J.M.S.Steuart, Abertay Andrew McIntosh Patrick until 2007 Private Collection

£100,000‑150,000

Sir James Guthrie was perhaps the most accomplished of all the Glasgow Boys in his use of pastel and the works which he produced in the medium can mostly be said to divide into two periods.

Having experimented with pastel early on in his career, Guthrie returned to it in 1888, taking his subjects from the village of Cambuskenneth near Stirling, where the Boys spent the summers of 1887-1890. In these Cambuskenneth pictures, apart from landscapes, Guthrie produced charming images of the old town and the ferry crossing along with several pictures of women at work in a rope factory, which demonstrate a greater chiaroscuro than had previously been seen in his work in the medium.

Apparently pleased with the results, Guthrie showed some of these works at both the Glasgow Institute and the R.S.A. in late 1889 and early 1890.

Taking up pastel again in 1890, Guthrie began to draw scenes at Helensburgh and on the Firth of Clyde and that same year was invited to join a society of pastelists in London. Caw points out (Sir James Guthrie, 1932) how Guthrie’s pastels of this period had an effect upon his subsequent work and also the fact that there is a profound difference between the works of 1888 and 1890.

The Helensburgh series, produced in 1890, to which group the painting offered here belongs, was, says Caw, although equally ‘direct in handling’ as the earlier works, somehow more abstract. As subjects he chose landscapes, farming scenes and images of workers on the shore and also on the newly constructed West Highland Railway. These enormously accomplished outdoor scenes and images of everyday life, in particular tennis parties, were complimented by a series of a dozen or so figure pieces depicting interiors, ‘mostly

studies of girlish beauty.’ The Window Seat depicted a girl sewing and Tea a young lady in a large black hat with a cup in her hand beside a tea table. Other titles included Causerie, The Fan and Jenny and Caw opined that on the strength of these drawings, ‘pastel assumed in his [Guthrie’s] hands a beauty and charm of a kind which differentiates the results he attained in it from those of others, whether belonging to the past or amongst his own contemporaries.’

After five months, according to Caw, Guthrie had produced enough drawings to send to show at the Dowdeswell Gallery in London. Uncatalogued, the exhibition comprised some fifty pastels, which, although well received by the major London critics, singularly failed to sell. The following year however, when shown in Lawrie’s Gallery in Glasgow’s St Vincent Street, Guthrie’s pastels sold out. A catalogue was at last produced but

even when Caw was writing his biography in the early 1930s, this proved impossible to find and today remains a rarity.

Sadly, the sell out Glasgow show marked the end of Guthrie’s foray into pastels.

It is possible to speculate on the reasons for this, but quite possibly it was only due to the recent fallow period in his career as a commissioned portraitist in oils being replaced by a time from 1891, during which his order book was always full.

As such they can, in their captivating and inventive use of a notoriously difficult medium, be said to mark the highpoint of Guthrie’s career as a ground-breaking artist, before he settled down to the life of a hugely successful portrait painter.

36 Lyon & Turnbull 42 [§] SIR WILLIAM GEORGE GILLIES C.B.E., R.A., R.S.A., R.S.W., P.P.R.S.W., L.L.D. (SCOTTISH 1898‑1973) SKYE FROM DORNIE Signed, pencil and watercolour 11.5cm x 18cm (4.5in x 7in) Exhibited: Aitken Dott & Son, Christmas Exhibition 1969, no.138

£1,000‑1,500

43 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858‑1942) IN HARBOUR Signed, gouache 29cm x 49.5cm (11.5in x 19.5in)

£1,000‑1,500

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 37 44 [§] STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887‑1976)

BY THE WELL AVIGNON Watercolour 24cm x 34.5cm (9.5in x 13.5in)

£2,000‑3,000

45 [§] STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887‑1976) DRIFTERS Signed and dated 1913, watercolour 24.5cm x 26cm (9.75in x 10.25)

£1,000‑1,500

38 Lyon & Turnbull

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 39 46 EDWARD ATKINSON HORNEL (SCOTTISH 1864‑1933) THE FAN Signed with initials and dated ‘94, oil on canvas laid down 35.5cm x 28cm (14in x 11in)

£20,000‑30,000

The influence of Japan on late 19th century European art is well known and in Scotland the effect was no less profound than anywhere else. Whistler was the greatest exponent of the far eastern style and it was in part due to his contact with the Glasgow Boys that they developed such a strong affinity for the Far East. Also, of course, the city’s museums and galleries boasted rich collections of Japanese artefacts and prints.

In particular the two friends among the Boys known as ‘the inseperables’, George Henry and E. A. Hornel, took inspiration from the art of Japan. In 1893 Hornel and Henry decided to visit the Far East. They travelled to London and set sail in February of that year, financed initially by Alexander Reid and William Burrell and spent most of their time in Tokyo, Nagasaki and Yokahama, attempting to integrate into Japanese society.

Within a short time however, stylistically stifled, they had agreed to spend less time together and their work subsequently took on marked differences. Henry became more linear and Hornel more attuned to colour and the use of paint, in what London critics had termed disparagingly his ‘Persian carpet’ style. His subject matter during the trip consisted largely of local girls in poses which were clearly in conscious imitation of Japanese prints but which nevertheless exhibit an individual style which would have a bearing on his later work.

A painting from the period entitled Dancing Geisha, now in a private collection (illustrated in Billcliffe’s Glasgow Boys p259) bears a marked similarity to the current picture and it seems possible that the models were the same girl. It is known that during their stay in Japan, Hornel became closely attached to one

particular young Japanese girl and perhaps the somewhat coquettish nature of the picture on offer here and the dancing Geisha may owe something to this.

On his return from the East, Hornel was given a show

by Reid in 1895, which was

well received and financially successful. Clearly the effect of the Japanese period had a lasting impact on Hornel’s art and while his best known work of later years generally tackled more sobre, domestic subjects, he was always drawn to Japanese themes.

40 Lyon & Turnbull 47 EDWARD ATKINSON HORNEL (SCOTTISH 1864‑1933) THE PIGGY-BACK Signed and dated 1919, oil on canvas 61cm x 51cm (24in x 20in)

£10,000‑15,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 41 48 EDWARD ATKINSON HORNEL (SCOTTISH 1864‑1933) THE BIRD’S NEST Signed and dated 1918, oil on canvas 76cm x 63cm (30in x 25in)

£10,000‑15,000

42 Lyon & Turnbull 49 EDWARD ATKINSON HORNEL (SCOTTISH 1864‑1933) BLOSSOM-TIME Signed and dated 1921, oil on canvasboard 51cm x 31cm (20in x 12in)

£4,000‑6,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 43 50 [§] WILLIAM MERVYN GLASS R.S.A., P.S.S.A. (SCOTTISH 1885‑1965) LOCH SCRIDIAN AND BEN BUIE Signed with initials, inscribed verso, oil on canvas 38cm x 46cm (15in x 18in)

£2,000‑3,000

51 [§] SIR WILLIAM MACTAGGART P.P.R.S.A., R.A., R.S.W. (SCOTTISH 1903‑1981) WIGTOWN COAST Signed, oil on board 51cm x 61cm (20in x 24in)

£2,000‑3,000

44 Lyon & Turnbull

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 45 52 CHARLES RENNIE MACKINTOSH (SCOTTISH 1868‑1928) THE ROAD THROUGH THE ROCKS, PORT VENDRES Signed, watercolour 27.5cm x 38cm (10.75in x 15in) Provenance: Dr M Poleres McCunn (Mrs Aiden Thomson) Dr Thomas Howarth, Christie’s 17 February 1994, Lot 76 Exhibited: McLellan Galleries, Glasgow, Charles Rennie Mackintosh, Margaret Macdonald Mackintosh, Memorial Exhibition 1933, no. 57 School of Architecture, University of Toronto, Charles Rennie Mackintosh, Works from the Collection of Professor Thomas Howarth, 1967, no. 54 Art Gallery of Toronto, Charles Rennie Mackintosh, Memorial Exhibition, 1978, no. 163 National Galleries of Scotland, Charles Rennie Mackintosh in France, 2005, no.24 Literature: Roger Billcliffe, Mackintosh Watercolours, 1978, ill.p. 140 Note: Roger Billcliffe dates this watercolour c.1926‑27 and points out that ‘ This is probably Mackintosh’s earliest surviving view of Port Mailly on the outskirts of Port Vendres’

£20,000‑30,000

‘This man ought to be an artist!’

– Sir James Guthrie, on seeing Charles Rennie Mackintosh’s watercolours at Glasgow School of Art. In Mackintosh Watercolours, Roger Billcliffe indicates that this inferred division between art and architecture was the opposite of how Mackintosh viewed his work, but it is an interesting introduction to the particular artistic talent of a man still known best for his architectural designs.

Mackintosh drew throughout his life. Earlier in his career

these drawings recorded details to be utilised in his design ideas and work, but as he aged he began to use pencil and watercolour to create finished artistic works in their own right, starting with the imaginative, symbolist pictures of the early 1890s and moving through a focus on botanical subjects in his later works.

The Road through the Rocks dates from c. 1926-27, following his move to the South of France on the advice of friends, particularly the Scottish Colourist painter,

J.D. Fergusson. Here he turned his unique approach to the countryside, where the interaction between the natural and man-made intrigued him. In the work seen here, this man-made intervention is one of the forts stationed along the coast and border with Spain.

Mackintosh captures both its harmonious insertion into the landscape and the smooth, angular contrast it offered against the undulating hills and jagged cliff edges, capturing the seemingly organic pattern of man and

nature with an architect’s eye.

The Road through the Rocks was included in the 1933 Memorial Exhibition dedicated to Charles and his wife, Margaret Macdonald Mackintosh, where nearly all the later watercolours were purchased by personal friends. It was later in the collection of Professor Thomas Haworth, an eminent collector and promoter of Mackintosh’s work, who amassed the largest private collection of his work, as well as publishing many works on Mackintosh.

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53 JOSEPH CRAWHALL R.S.W. (SCOTTISH 1861‑1913) OVER THE FENCE Signed with inititials, pen and ink 10.5cm x 16.5cm (4.25in x 6.5in) and another by the same hand ‘’Cockfield’ (2) Provenance: Eileen Lavery (both drawings) Bourne Fine Art, Edinburgh 1998

£1,200‑1,800

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 47 54 [§] ROBERT MACBRYDE (SCOTTISH 1913‑1966) & ROBERT COLQUHOUN (SCOTTISH 1914‑1962) COSTUME STUDY FOR DEATH Signed by both artists and inscribed, mixed media 34cm x 26cm (13.5in x 10.25in) and another by the same hands ‘King VI’ (2)

£800‑1,200

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55 [§] WILLIAM MCCANCE (SCOTTISH 1894‑1970) COMPOSITION WITH FRUIT Oil on canvas 28cm x 38cm (11in x 15in) Provenance: Dr Margaret McCance Exhibited: Reading Museum & Art Gallery 1960, no.6 Dundee City Museum & Art Gallery 1975 Note: This painting dates from c.1924

£2,000‑4,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 49 56 [§] JAMES COWIE R.S.A., L.L.D. (SCOTTISH 1886‑1956) TANAGRA OUT OF DOORS Signed, pencil and coloured chalk on brown paper 38cm x 20cm (15in x 8in) Provenance: The artist’s family Exhibited: The Scottish Gallery, Retrospective Exhibition 1986, no.13 Literature: Richard Calvocoressi, James Cowie 1979, ill.pl.50

£1,500‑2,500

57 [§] JAMES COWIE R.S.A., L.L.D. (SCOTTISH 1886‑1956) STUDY OF A GIRL’S HEAD Oil on linen laid down on canvas 28cm x 23cm (11in x 9in) Provenance: Cyril Gerber Fine Art, March 1988 Note: This painting has been authenticated by the artist’s daughter Dr. Barbara Cowie, see label verso

£1,000‑1,500

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John Duncan Fergusson John Duncan Fergusson was the most international and political of the four Scottish Colourists. The selection of works by him offered in this sale chart some of the interesting early developments of his career. Largely self-taught as an artist, Fergusson was originally based in Edinburgh, and developed his painterly and observation skills on the sights and population of the capital. At this time, he often worked on a small, portable scale, and on board for ease of transport. In The National Gallery from Princes Street Gardens he captured this key Edinburgh artistic institution and its situation in the very heart of the city with deft brushstrokes and delicate tones, creating a wonderful impression, and a captivating painting.

Fergusson’s flâneur approach to life and painting translated perfectly to Paris, when he decided to move to this artistic centre in 1907. It is from this period that many of his characteristic elegant conté sketches of the figures of Parisian café culture date, as Fergusson participated in this scene and captured the personalities he met and observed there – the elegant ladies in elaborate hats, suited and moustachioed gentleman, even musicians with their instruments.

The dynamic Self-Portrait is more worked up, with

gouache layered over the initial conté lines. Fergusson was never particularly welloff and by depicting himself he saved the cost of a model, while allowing more time to work into the depiction, beyond the simple lines of a quickly observed sketch.

The portrait has a sense of drama, in his strong lines, but also in the way he chooses to depict himself, with a bold hat which frames his face and offers a striking contrast with his angular facial structure.

Fergusson was interested in contemporary fashions, often making the effort to include fashionable touches in his female studies, particularly hats, so it is interesting to see him turn this particular focus on himself.

Fergusson was keen to explore other landscapes of France and in 1910 spent the summer at the coastal resort of Royan, accompanied by his friend and fellow painter, SJ Peploe. The two artists encouraged and supported each other, and there are many wonderful records in paint of the sights of the summer. In Breaking Waves, Fergusson uses a variety of blue tones, alongside hints of green and fresh white with lashings of texture and dynamic brushwork to depict the turbulence and drama of the sea, the rocky coastline and strong, crashing waves of the Atlantic Ocean.

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 51

58 [§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874‑1961) THE NATIONAL GALLERY FROM PRINCES STREET GARDENS Oil on board 12cm x 15cm (4.75in x 6in) Provenance: Margaret Morris Neita Woodthorpe Ewan Mundy Fine Art, Glasgow Note: This painting dates from c.1905

£10,000‑15,000

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59 [§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874‑1961) BREAKING WAVES Signed, inscribed and dated ‘Royan 1910’ on the reverse, oil on panel 26.5cm x 35cm (10.5in x 13.75cm)

£15,000‑20,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 53 60 [§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874‑1961) SELF PORTRAIT Conté and gouache 32.5cm x 24cm (12.75in x 9.5in) Provenance: Compass Gallery, Glasgow June 1975

£3,000‑5,000

54 Lyon & Turnbull 61 [§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874‑1961) WOMAN IN A CAFÉ Conté, inscribed verso 20.5cm x 12cm (8in x 4.75in)

£1,500‑2,000

62 [§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874‑1961) THE MUSICIAN Conté, inscribed on the backboard

by Margaret Morris 20cm x 12cm (8in x 4.75) Exhibited: Compass Gallery, Glasgow, JD Fergusson – One-man Exhibition 1972, no.85

£800‑1,200 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 55 63 [§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874‑1961) THE MILLINER Conté 19cm x 12cm (7.5in x 4.75in)

£1,500‑2,000

64 [§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874‑1961) MEN ABOUT TOWN Conté 21cm x 16cm (8.25in x 6.25in) Exhibited: The Scottish Gallery, Edinburgh 2007

£2,500‑4,000

56 Lyon & Turnbull 65 [§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874‑1961) DISTINGUISHED Conté 13cm x 11cm (5.25in x 4.25in) Exhibited: The Scottish Gallery, Edinburgh 2014

£1,000‑1,500

66 [§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874‑1961) PORTRAIT STUDY Conté on coloured paper 14cm x 12cm (5.5in x 4.75in)

£1,000‑1,500

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 57 67 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871‑1935) MOTHER AND CHILD Conté and oil on paper 20.5cm x 15.5cm (8in x 6in) Provenance: The Lefevre Gallery, London The Hon. James Bruce Exhibited: Scottish National Gallery of Modern Art, SJ Peploe: A commemorative exhibition 1985, no.165 Note: The painting depicts Margaret Peploe and Willy

£2,500‑4,000

68 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871‑1935) THE FLOWER MARKET Conté and gouache on coloured paper 11.5cm x 17.5cm (4.5in x 7in) Provenance: The Lefevre Gallery, London The Hon. James Bruce Exhibited: Scottish National Gallery of Modern Art, SJ Peploe – A commemorative exhibition, 1985 no.162 Note: This work dates from 1911

£2,500‑4,000

58 Lyon & Turnbull 69 [§] JAMES MORRISON R.S.A., R.S.W., L.L.D. (SCOTTISH B.1932) A SNOW COVERED LANDSCAPE, ANGUS Signed and dated 11.2.1991, mixed media 100cm x 150cm (39.5in x 59in)

£4,000‑6,000

70 [§] JAMES MORRISON R.S.A., R.S.W., L.L.D. (SCOTTISH B.1932) MANISUWA, LIMPOPO Signed and dated 25.IV.98, oil on board 86.5cm x 145cm (34in x 57in)

£2,000‑3,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 59

71 [§] SIR WILLIAM GEORGE GILLIES C.B.E., R.A., R.S.A., R.S.W., P.P.R.S.W., L.L.D. (SCOTTISH 1898‑1973) STILL LIFE WITH SOLOMON’S SEAL Signed, oil on canvas 51cm x 73.5cm (20in x 29in) Exhibited: Arts Council, William Gillies 1970 , no.96

£12,000‑18,000

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72 [§] ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895‑1965) BELL JAR AND IVY Signed, oil on board 41cm x 52cm (16in x 20.5in)

£10,000‑15,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 61 73 [§] ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895‑1965) STILL LIFE, A COMPORT OF GRAPES Signed, oil on board 47cm x 39cm (18.5in x 15.25in)

£8,000‑12,000

74 [§] ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., R.O.I., R.B.A. (SCOTTISH 1895‑1965) STILL LIFE OF WHITE CYCLAMEN Oil on board 28cm x 34cm (11in x 13.5in)

£4,000‑6,000

62 Lyon & Turnbull 75 [§] ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1865‑1965) FIGURES WITH DISTANT CHURCH Signed, pencil and watercolour 49.5cm x 35cm (19.5in x 13.75in)

£3,000‑5,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 63 76 [§] SIR WILLIAM GEORGE GILLIES C.B.E., R.A., R.S.A., R.S.W., P.P.R.S.W., L.L.D. (SCOTTISH 1898‑1973) STOW Signed, pencil and grisaille 25.5cm x 35.5cm (10in x 14in)

£400‑600

77 [§] SIR WILLIAM GEORGE GILLIES C.B.E., R.A., R.S.A., R.S.W., P.P.R.S.W., L.L.D. (SCOTTISH 1899‑1973) NEAR TEMPLE Signed, pen and ink and watercolour 53.5cm x 63.5cm (21in x 25in)

£1,500‑2,500

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For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 65 78 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871‑1935) A STILL LIFE OF APPLES AND PEARS Signed, oil on canvas 44.5cm x 41cm (17.5in x 16in) and verso ‘Portrait of a young woman’ Provenance: Alex Reid & Lefevre Ltd, London

£150,000‑200,000

This subtly tonal still life is typical of Peploe’s work of the late 1920s and early 1930s.

By this time he had left behind the vivid primaries of his earlier paintings of the late war years and early 1920s and adopted an altogether more muted palette.

Hailed in 1926 by the Scotsman as a ‘Scottish Cezanne’, Peploe shows himself in this picture and others known to have been painted during this period, to have mastered a rare harmony of colour and form.

Clearly he recognised his profound debt to the French painter, always keeping a copy of one of Cezanne’s works pinned to the wall of his studio, which at this time was at 54 Shandwick Place in Edinburgh. Peploe

had moved here in 1917, during the war and would remain here until 1934 and his move to nearby Castle Street. Perhaps Peploe’s most obviously Cezanne-esque still life is that now in Aberdeen Art Gallery, dated to 1930, in which the brushwork is less apparent than in the picture shown here and the forms altogether more clearly defined.

The work on offer here builds on that experience and bears more of a resemblance in handling to another still life in the collection of Kirkcaldy Art Gallery, dated to 1931 and it may be from a similar date. It was an important year for the Colourists, for it was in 1931 that the four painters showed together for the second time in a Paris group exhibition, Les Peintres Eccossais, at

the Galerie Georges Petit, along with Telfer Bear and Dunlop. With an introduction by the British Prime Minister, Ramsay Macdonald, the show contained ten works

by Peploe, including still lifes with roses and fruit, and views of Iona. From this group Peploe sold a landscape, Le Foret, a view of Cassis, to the French government and on his return to Scotland held a successful solo show at Reid and Lefevre in Glasgow.

It is interesting to note that another still life, on long loan to Birmingham Museums, includes the same wine glass shown in the current picture and is largely painted with the same palette.

While this has been dated to 1927-1929, it may well be slightly later, given its

similarity. More importantly, when establishing dates, the Kirkcaldy picture is united with the current painting by the bold facets used on the fruit, the brushwork of the highlights on the apples and the use of broad strokes of brown and violet in the areas of darkest shade.

All three works possess a delicacy of touch and a sensitivity which emphasises the fragility and mutability of their subject matter in a way which perfectly echoes the underlying principles of Peploe’s prevailing French inspiration.

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79 [§] SIR WILLIAM MACTAGGART R.A., P.P.R.S.A., F.R.S.E., R.S.W. (SCOTTISH 1903‑1981) FROM MY STUDIO WINDOW Signed, inscribed with the studio stamp verso no.60, oil on board 51cm x 61cm (20in x 24in)

£3,000‑5,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 67

80 [§] SIR WILLIAM GEORGE GILLIES C.B.E., R.A., R.S.A., R.S.W., P.P.R.S.W., L.L.D. (SCOTTISH 1899‑1973) SPRING FLOWERS Signed, oil on canvas 76cm x 91cm (30in x 36in) Exhibited: Royal Academy 1967

£3,000‑5,000

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For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 69 81 [§] JOAN EARDLEY R.S.A. (SCOTTISH 1921‑1963) A STILL LIFE OF WILD FLOWERS Oil on canvas laid down 41cm x 31cm (16in x 12in) Provenance: T.R.Craig Esq C.B.E. and thence by descent Note: Craig was a friend and supporter of Eardley’s friend Angus Neil and family tradition says that it was acquired through him. A very similar still life was sold in these rooms 28 November 2006, lot 171 for £28,000

£15,000‑20,000

By 1962, Joan Eardley’s ill health was keeping her indoors in her Catterline cottage, no longer able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1962-3.

Though Eardley resented her confinement, these oils nonetheless burst with all

the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful.

The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of

her distinctive prowess as a painter.

1963 was the year Eardley was elected to the Royal Scottish Academy, and finally gained recognition south of the border with a hugely successful show in Rowland, Browse and Delbanco, London. Her life was tragically cut short at just 42 years of age in the August of that year.

70 Lyon & Turnbull 82 [§] JOAN EARDLEY R.S.A. (SCOTTISH 1921‑1963) AN ITALIAN FARMHOUSE Signed, pen and ink and pastel 33cm x 50cm (13in x 19.75in)

£5,000‑7,000

83 [§] JOAN EARDLEY R.S.A. (SCOTTISH 1921‑1963) TENEMENTS AND CRANE Pastel 12cm x 18cm (4.75in x 7in) Provenance: Cyril Gerber Fine Art, Joan Eardley 1985, no.39 Note: This painting is listed in the Artist’s Inventory No.ED28

£2,000‑3,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 71 84 [§] JOAN EARDLEY R.S.A. (SCOTTISH 1921‑1963) HEAD STUDIES Coloured chalk, inscribed with the studio number ED895 22cm x 15cm (8.75in x 6in)

£4,000‑6,000

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For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 73 85 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871‑1935) BARRA Oil on panel 25.5cm x 31cm (10in x 12in) with a study of a mother and child verso Provenance: Wemyss Honeyman Collection Private Collection, Scotland 1998 Note: It has been variously suggested that this study was painted in 1898 and 1903.

£40,000‑60,000

Peploe first travelled to the Isle of Barra in the Outer Hebrides in 1894, staying in the studio of his friend Robert Cowan Robertson, and returning on further occasions until 1903. He was accompanied on these trips by his brother WW Peploe who was also an artist but better remembered as a poet. Both were inspired by the great beauty of the tiny island, particularly the perfect horseshoe of Castlebay with its stone buildings huddled together against the Atlantic elements, including the tower of the picturesquely titled Church of Our Lady Star.

On these trips Peploe worked en plein air and always on a small scale; painting directly onto wooden panels.

These works are early in his career, and are astonishing in their modernism. The technique itself is notable – swiftly executed to convey a

sense of the wind buffeting the waves in the bay and shaking the grasses on the hills, daubed in fluid, darting brushwork of un-mixed colour and glossy impasto.

The style is extraordinary and wild; verging on PostImpressionism in a manner no other British artist was practising at the time. As historian and critic Duncan MacMillan noted in reference to this particular picture, “There is nothing quite like it in contemporary British art and little enough in France either… it is quite clear from the patterns of brushwork that somewhere Peploe has seen and understood Van Gogh’s painting.” This early exposure to the great French artist was possibly a result of Peploe’s relationship with Alexander Reid, the Glaswegian art dealer and friend of the Van Gogh brothers.

Works such as this provide a fascinating and exciting insight into Peploe’s development. Even as early as 1894 he was painting in an extremely avant-garde and experimental fashion;

on the cusp of developing his friendship with JD Fergusson and heading to Paris. His role as an artistic pioneer cannot be overstated.

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The view seen here is taken from the pier at the fishing village of Lower Largo in the East Neuk of Fife, which was a particularly favourite location for Hunter and he painted the same scene and indeed the same fishing boats, a number of times in the 1920s.

Perhaps the best known of these paintings is Summer Day Largo now in Kelvingrove Art Gallery, and a similar work was sold by Lyon & Turnbull in 2016. This painting however features more detail in the boats and a less azure sea, altogether more typical of the region.

Hunter first visited the little Fife fishing village of Lower Largo in 1919 and was

drawn back there over the years, mainly during the summer months, until 1924, staying both on the coast and further inland at Ceres.

While the buildings and marine life of the harbour provided abundant subject matter inspiration, the clear northern light from the sea clearly had a liberating effect upon his palette. We also know that in 1923 Hunter painted a series of pictures and made extensive sketches at Drumeldrie, a small hamlet near Largo, which at that time seemed to fire his imagination with its mixture of architecture and farmland.

in particular to Van Gogh, although his awareness of Cezanne’s innovative artistic theories is also evident. While his later paintings of Largo depict the sea with flat, near geometric brushtrokes and with an almost Fauvist feel, the earlier ones, such as that offered here, embrace a looser and less stylised form of Post Impressionism.

86 GEORGE LESLIE HUNTER (SCOTTISH 1877‑1931) FISHING BOATS LOW TIDE Signed, oil on panel 21cm x 27cm (8.25in x 10.5in)

£15,000‑20,000

The painting on offer clearly expresses Hunter’s debt to the Post-Impressionists and

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 75 87 GEORGE LESLIE HUNTER (SCOTTISH 1879‑1931) BEACHED BOATS Signed, pen and ink and coloured chalk 30.5cm x 38cm (12in x 15in) Provenance: The Fine Art Society, Glasgow, Masterpieces of the Colourists, November 1989

£3,000‑5,000

88 GEORGE LESLIE HUNTER (SCOTTISH 1879‑1931) LOWER LARGO, BOATS ON A BEACH Signed, pen and ink and coloured chalk 20cm x 28cm (8in x 11in) Provenance: The Fine Art Society, Glasgow, Masterpieces of the Colourists, November 1989

£3,000‑5,000

76 Lyon & Turnbull

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 77 89 GEORGE LESLIE HUNTER (SCOTTISH 1879‑1931) THE POOL Signed, oil on canvas 63.5cm x 76cm (25in x 30in) Provenance: Alex Reid & Lefevre Ltd, Glasgow T.R.Craig Esq C.B.E. and thence by descent

£30,000‑50,000

The shores of Loch Lomond became an important destination for George Leslie Hunter from the summer of 1924. At this point he was looking for a subject that would challenge him, and allow for the exploration of new approaches and techniques in his painting, and he decided to try Loch Lomond. This was to be a very successful decision, with the artist finding the challenge he needed in the ever-changing foliage and reflections of the loch‑side.

His works in this year often feature the houseboats on the loch, which so captivated Hunter, with their bright colours and strong, block-y shapes contrasting with the endless nature around them.

It was a watershed moment for the artist.

In 1931, Hunter made the decision to return to Loch Lomond, renting a houseboat there for the summer. He was happily in love with the much younger Marnie Scrafton, who was a regular visitor, and from this happy place he was able to produce some wonderfully lush paintings.

The Pool presumably dates from this summer, with its striking similarity to the tones and composition of other works known to be created in the same year. Unusually for Hunter, it does not feature any house-boats or boats, instead he chooses to focus on the fresh vitality of the foliage and the dappled light it creates. The stepped perspective draws the viewer deep into the cool shelter of the trees, a quiet glade, away from any holiday hustle-and-

bustle taking place at the edge of the loch. A riot of fresh colours, The Pool is a

joyful evocation of a Scottish summer day – beautiful, light and fresh.

78 Lyon & Turnbull 90 [§] WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (SCOTTISH 1915‑1977) STANDING FEMALE NUDE Signed and dated ‘38, pen and ink 42cm x 25.5cm (16.5in x 10in) Provenance: Estate of Rendall Wells

£400‑600

91 GEORGE LESLIE HUNTER (SCOTTISH 1877‑1931) BOATS AT HIGH WATER Pen and ink and coloured chalk 23cm x 30cm (9in x 11.75in) Provenance: T.J.Honeyman William Hardie Gallery, Glasgow

£2,000‑4,000 For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 79 92 [§] WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (SCOTTISH 1915‑1977) STANDING NUDE Signed and dated ‘38, pen and ink 41.5cm x 25.5cm (16.25in x 10in) and another by the same hand ‘Standing nude from the back’ (2) Provenance: Estate of Rendall Wells

£700‑900

80 Lyon & Turnbull 93 [§] WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (SCOTTISH 1915‑1977) RECLINING NUDE Pen and ink 41cm x 25.5cm (16in x 10in) and another pen and ink drawing by the same hand (2) Provenance: Estate of Rendall Wells

£700‑900

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 81

94 [§] WILLIAM DRUMMOND BONE R.S.W., A.R.S.A. (SCOTTISH 1907‑1979) SUMMER DAYS Signed, inscribed verso, oil on board 127cm x 102cm (50in x 40in) Note: A painting of this title was exhibited at the R.S.A 1937, no.475 when Bone lived at Eglington Terrace, Ayr

£2,000‑3,000

82 Lyon & Turnbull

95 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883‑1937) EILEAN ANNRAIDH FROM THE NORTH END, IONA Signed, oil on board 38cm x 46cm (15in x 18in) Provenance: Alexander Ritchie Margaret Thomson (his niece) Dr Bryce Teggart (her nephew) The estate of the late Rachel Teggart (his daughter) Literature: E.Mairi MacArthur, Iona Celtic Art p,42 ‘The Ritchies bought generously from Cadell, who sometimes lodged with them, and a close and affectionate relationship developed’

£30,000‑50,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 83

96 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883‑1937) CROFT AND CATTLE Signed, inscribed on the backboard, watercolour 17.5cm x 25.5cm (7in x 10in) Provenance: As per inscription ‘Given to W.Wilton Johns by his friend Robert J. Skinner, 1933’ Exhibited: Portland Gallery London, F.C.B.Cadell 2011, no.32

£10,000‑15,000

84 Lyon & Turnbull

97 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883‑1937) A YACHT IN THE SOUND OF IONA Signed, watercolour 14cm x 18cm (5.5in x 7in)

£5,000‑7,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 85

98 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883‑1937) FIGURE ON A DESERTED SANDY BEACH Signed, watercolour 14cm x 18cm (5.5in x 7in)

£5,000‑7,000

86 Lyon & Turnbull

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 87 99 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883‑1937) THE BLUE MOUNTAIN Signed, oil on canvas 63.5cm x 76cm (25in x 30in) Provenance: Alex Reid & Lefevre Ltd, Glasgow T.R.Craig Esq C.B.E. and thence by descent Exhibited: The Scottish Arts Council, Three Scottish Colourists 1970

£80,000‑120,000

The paintings produced by S.J. Peploe and F.C.B. Cadell over twenty years from 1912 to 1933 on the tiny Scottish island of Iona are among the finest of their oeuvres.

Both artists were much taken by the unique character of the island, which had been attracting artists for many years, including John Duncan and James Paterson.

With its often bright green water and pale white sands Iona offered the perfect landscape location, in the bright Hebridean summers, for artists such as the two Colourists, whose palettes naturally reflected the hues of warmer climes. The two artists would paint views

from the island across to Staffa and Mull and on the island itself the nunnery and abbey along with farms and crofts, the island offered a plentiful supply of subjects.

While Cadell had visited the island to paint before the Great War it was only in 1920 that Peploe accompanied him for the first time.

While Peploe painted almost exclusively in the north of the island, Cadell tended to experiment with location. Distant features of his paintings include the Dutchman’s Cap, Lunga and Rhum in the north and in the south images of the shoreline including the Marble Quarry

and views of and from the south of the island. From the extreme south he would have seen the tidal island of Erraid, famous from the works of R.L. Stevenson, situated just off the Ross of Mull.

It seems possible that this view was painted either while on an excursion to Erraid or from a vantage point on the south east coast of Iona itself, perhaps close to the Marble Quarry. The painting bears similarities, not least of composition and viewpoint, to one other known painting

by Cadell of the Paps of Jura from this direction, Traigh Geal, Erraid, painted circa 1925 (private collection).

88 Lyon & Turnbull

100 [§] SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916‑1992) THE SCREENS V Signed verso, oil on canvas 76cm x 76cm (30in x 30in) Provenance: Compass Gallery, Glasgow November 1973

£4,000‑6,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 89 101 [§] SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916‑1992) SPECTATORS 11 Watercolour with Philipson’s label to backboard 25.5cm x 25.5cm (10in x 10in) Exhibited: The Scottish Gallery, Edinburgh Festival Exhibition 1983, no.58

£2,000‑3,000

102 [§] SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916‑1992) THRENODY OF OUR TIME Oil on board 12cm x 20cm (5in x 8in)

£1,200‑1,800

90 Lyon & Turnbull

103 [§] SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916‑1992) GIRL WITH A ROSE Signed and dated 1989/90 verso, oil on board 93cm x 96.5cm (36.5in x 38in) Exhibited: R.A. Summer Exhibition 1992, no.6

£3,000‑5,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 91 104 [§] SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916‑1992) GIRL READING Signed verso, inscribed and dated 1980 on label to backboard, oil on board 25.5cm x 20.5cm (10in x 8in)

£3,000‑5,000

105 [§] SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916‑1992) WOMEN OBSERVED Watercolour, with Philipson’s label verso 26cm x 20cm (10.25in x 8in) Exhibited: Aitken Dott & Son, Christmas Exhibtion 1977, no.82

£1,000‑1,500

92 Lyon & Turnbull

106 [§] SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916‑1992) COCK AND HEN Signed, oil on canvas 91cm x 102cm (36in x 40in) Exhibited: Roland, Browse and Delbanco, London and thence by descent Note: The original catalogue of 1960 accompanies this lot

£5,000‑7,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 93 107 [§] SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916‑1992) SUMMER FRUIT Pastel 22cm x 37cm (8in x 14.5in)

£1,500‑2,000

108 [§] SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916‑1992) UNDERWATER Signed, watercolour 45cm x 71cm (18in x 28in)

£2,000‑3,000

94 Lyon & Turnbull

109 [§] JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886‑1957) IN THE TUILERIES GARDENS Signed, oil on canvas 51cm x 61cm (20in x 24in)

£20,000‑30,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 95

110 [§] ALBERTO MORROCCO R.S.A., R.S.W., R.P.R.G.I., L.L.D. (SCOTTISH 1917‑1998) LANDSCAPE NEAR ASCIANO Signed and dated ‘85, oil on canvas 51cm x 76cm (20in x 30in) Exhibited: Thackeray Gallery, London 1985

£3,000‑5,000

96 Lyon & Turnbull 111 [§] JOHN HOUSTON O.B.E., R.S.A., R.S.W., R.G.I., S.S.A. (SCOTTISH 1930‑2008) OCTOBER LANDSCAPE Signed and dated 1960, watercolour 63cm x 93cm (24.5in x 36.5in) Exhibited: Royal Scottish Society of Painters in Watercolours

£1,800‑2,200

112 [§] VICTORIA CROWE O.B.E., R.S.A. (SCOTTISH B.1945) ITALIAN JOURNEY – INTERIORS AND VISTAS Signed, mixed media 68.5cm x 99cm (27in x 39in) Provenance: The Scottish Gallery, Victoria Crowe 2001

£1,000‑1,500

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 97

113 [§] DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926‑1998) BIRD OF PASSAGE Signed and signed on backboard verso, oil and collage on gesso 69cm x 86cm (27.25in x 33.75in)

£3,000‑5,000

98 Lyon & Turnbull

114 [§] JOHN CUNNINGHAM R.G.I. (SCOTTISH 1927‑1998) OLD PORT, LA CIOTAT Signed, oil on canvas 63cm x 76cm (25in x 30in)

£4,000‑6,000

For details of fees payable in addition to the hammer price of each lot, please see the ‘Buyer’s Guide’ section of this catalogue on page 2.

Scottish Paintings & Sculpture 99

115 [§] WILLIAM JOHNSTONE O.B.E. (SCOTTISH 1897‑1981) NO.7 Signed and inscribed verso, oil on canvas 63.5cm x 76cm (25in x 30in) Exhibited: Arts Council of Great Britain, London, William Johstone 1981, no.68 Note: This painting dates from c.1960

£2,000‑3,000

100 Lyon & Turnbull

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Scottish Paintings & Sculpture 101 116 [§] JOHN BELLANY O.B.E., R.A., H.R.S.A. (SCOTTISH 1942‑2013) WOMAN WITH CAT AND DOG Signed, signed and dated 1967 verso, oil on board 122cm x 91cm (48in x 36in)

£8,000‑12,000

John Bellany’s work is characterised by a heavy use of symbolism. For his collectors, part of the pleasure – and frustration!

– is that much is left unexplained, meaning viewers must content themselves with conjecture and head-scratching. While a lot of the embedded symbolism references his own personal visual language, rooted in the folklore of the fishing villages of Scotland’s east coast, he occasionally also alludes to traditional art historical themes and motifs.

This work of 1967 is from a period where direct portraiture and characterisation played a

larger role in his oeuvre.

Though the motif of ‘The Fish Wife’ or ‘Woman of the Sea’ was to become a recurring theme, here we see the sitter represented as a distinct individual. Women played a big part in Bellany’s life, from his grandmother to his wife Helen, and both were repeatedly represented or referenced in his work.

This lady is neither of those figures and the likeness, whoever it may be, is deliberately caricaturish and entirely unsympathetic.

Two animals feature here: an extremely idiosyncratic rendering of a cat and a dog, both of which come loaded with art historical references.

Cats, for example, have

historically represented the easily angered or irritated; the fine line between the domesticated and the wild, anarchy and order. They are generally associated with temptation and the feminine. At the other end of the spectrum, dogs are traditionally symbolic of matrimonial fidelity, loyalty, and the masculine.

In this painting, both play differing but distinct roles.

The tiny, effete lapdog is contained in the sitter’s grasp, dominated by her much larger form. The cat meanwhile moves freely in the foreground, making aggressive eye contact and hissing at the viewer.

Index A Allan, D., attributed to, 16 B Bellany, J., 116 Bone, W.D., 94 C Cadell, F.C.B., 95, 96, 97, 98, 99 Cameron, D., 8 Cameron, Sir D.Y., 23, 28 Colquhoun, R., 54 Cowie, J., 56, 57 Crawhall, J., 53 Crowe, V., 112 Cunningham, J., 114 Cursiter, S., 44, 45 D de Bréanski, A., Senior, 25 Downie, P., 3 E Eardley, J., 81, 82, 83, 84 F Faed, J., Junior, 24 Faed. T., 34 Farquharson, J., 29 Fergusson, J.D., 58, 59, 60, 61, 62, 63, 64, 65, 66

G Gear, W., 90, 92, 93 Gillies, Sir W.G., 42, 71, 76, 77, 80 Glass, W.M., 50 Guthrie, Sir J., 41 H Hamilton, J.W., 4 Henry, G., 35 Herald, J.W., 5, 6, 37, 38 Home, R., 10 Hornel, E.A., 46, 47, 48, 49 Houston, G., 27 Houston, J., 111 Hunter, G.L., 86, 87, 88, 89, 91 Hutchison, R.G., 30, 40 J Johnstone, W., 115 K Kay, A., 15 Kay, J., 43 Kennedy, W., 22

M MacBryde, R., 54 MacGeorge, W.S., 13 Mackintosh, C.R., 52 MacNicol, B., 39 MacTaggart, Sir W., 51, 79 McCance, W., 55 McClure, D., 113 McGregor, R., 26 McTaggart, W., 7, 36 Milne, J., 1 Milne, J.M., 9, 11, 12, 109 Morrison, J., 69, 70 Morrocco, A., 110

S Seton, J.T., 17 W Watson, W., 33 Wilkie, Sir D., 14

N Noble, J.C., 2 P Paterson, J., 32 Patrick, J.M., 31 Peploe, S.J., 67, 68, 78, 85 Philipson, Sir R., 100, 101, 102, 103, 104, 105, 106, 107, 108

L Lockhart, W.E., 19

R Raeburn, Sir H., 18 Redpath, A., 72, 73, 74, 75 Reid, G.O., 20 Ritchie, J., 21

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

Circle of …

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

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.

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

Attributed to…

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

Studio of … / Workshop of …

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

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.

Fine Furniture & Works of Art Wednesday, 5th July, 2017

FINE AND SMALL EARLY GEORGE III MAHOGANY SECRETAIRE CABINET ATTRIBUTED TO GILLOWS CIRCA 1760 Provenance: Property of a Gentleman and Lady of Title £4,000‑6,000

Enquiries Douglas Girton +44 (0) 131 557 8844 douglas.girton@lyonandturnbull.com

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

Contemporary & Post-War Art Thursday, 17th August, 2017

JULIAN SCHNABEL (AMERICAN B.1951) JACQUELINE Sculptural maquette in wax and mixed media From the Collection of John Brazenall £20,000‑30,000

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

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

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8. UNSOLD ITEMS (1) If an item is unsold it may, with your consent, be re-offered 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) If 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).

13. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Sellers) 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.

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

15. 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, 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. (c) Notices to Lyon & Turnbull should be in writing and addressed to the Managing Director 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, 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. (f) The contract between the parties may be varied by the parties by agreement and in writing.

16. RECISSION OF SALES Lyon & Turnbull may rescind the sale where it reasonably believes that the lot falls within the terms as defined by Lyon & Turnbull’s Authenticity Guarantee (see Buyer’s conditions), in this event Lyon & Turnbull shall send the Seller notice of such rescission. The Seller agrees to return to Lyon & Turnbull the Net Sale Proceeds received from the sale of such lot with any additional expenses incurred by Lyon & Turnbull. Lyon & Turnbull will return the property to the Seller upon receipt of the Net Sale Proceeds and Expenses, unless prevented in doing so by reasons outwith Lyon & Turnbull’s control.

17. 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.

18. 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 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.

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.

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 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.

Conditions of sale for 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 (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) 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; “You”, “Your” means the Buyer “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd The singular includes the plural and vice versa as appropriate.

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) High Value Lots and High Cumulative Value of Lots: If you wish to bid on any High Value Lot (a lot with a lower estimate of £30,000 or above) or if you are bidding on several lots with a total lower estimate value of £30,000 or above, you are invited to complete the High Value Lot pre-registration. After you have successfully registered as a bidder with Lyon and Turnbull, you should complete the High Value Lot pre-registration before the date of sale by contacting the Office Manager or on the date of sale at the registration area. Unless otherwise agreed by us, you will be permitted to bid for High Value Lots only if Lyon and Turnbull has confirmed your payment of deposit and your completion of the High Value Lot preregistration before the sale. The Deposit required will be 10% of the lower estimate. Upon pre-registration, you should pay the deposit or such other sum as determined

by Lyon and Turnbull dependant on circumstances, by way of bank transfer or credit card(s) acceptable to Lyon and Turnbull. Please note that Lyon and Turnbull does not accept payment from third parties and this also applies to agents.

If you are not successful in any bid and do not owe Lyon and Turnbull any debt, the deposit will be refunded to you by way of wire transfer or such other methods as

determined by Lyon and Turnbull. Please make sure that you provide your bank details in the pre-registration form. The exchange rate provided to us by the bank on the date of exchange is final. We will arrange to refund the deposit to you within seven days after the date of sale, however we do not guarantee when you will receive the payment due to the variance in time for banks to process fund transfers.

Upon successful pre-registration, you will be given a numbered High Value Lot paddle for identification purposes. The auctioneer will usually only accept bids made with the High Value Lot paddle or by its High Value Lot registered bidder. This applies to saleroom, telephone and absentee bids.

Lyon and Turnbull has the right to change the High Value Lot pre-registration procedures and requirements from time to time without notice. (c) 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. (d) Once made, no bid may be withdrawn. (e) Our right to bid on behalf of Sellers is expressly reserved up to the amount of any reserve. (f) The right to refuse any bid is also reserved. (g) 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. (h) 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 Bidding increments shall be at the Auctioneer’s sole discretion.

5. THE PURCHASE PRICE For each lot purchased a Buyer’s Premium of 25% of the hammer price of each lot up to and including £100,000, plus 20% from £100,001 thereafter. 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.

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 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.

8. PAYMENT (1) Within 7 days of a lot being sold you will: (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. (b) Please note there is a surcharge of 2% when using credit cards. (c) Please note that we do not 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.

10. REMEDIES FOR NON·PAYMENT OR FAILURE TO COLLECT PURCHASES (1) If any lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the 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: (a) to proceed against you for damages for breach of contract; (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.

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.

(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.

(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.

(6) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations (items manufactured prior to 1950 are exempt from any regulations). 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.

(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.

12. BOOKS, CLOCKS & WATCHES (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.

13. CITES Please be aware that all lots marked with the symbol Y may be 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 the Managing Director 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. AUTHENTICITY GUARANTEE Lyon & Turnbull guarantees that the authorship, period, or origin (collectively, “Authorship”) of each lot in this catalogue is as stated in the BOLD or CAPITALISED type heading in the catalogue description of the lot, as amended by oral or written salesroom notes or announcements. Lyon & Turnbull makes no warranties whatsoever, whether express or implied, with respect to any material in the catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below.

In the event Lyon &Turnbull in its reasonable opinion deems that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the lot the hammer price and applicable Buyer’s Premium paid for the lot by the original purchaser.

This Guarantee does not apply if: (i) the catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the catalogue description indicated that there was a conflict of such opinions; or (ii) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in Lyon &Turnbull’s reasonable opinion) to have caused damage to the lot or likely to have caused loss of value to the lot; or (iii) there has been no material loss in value of the lot from its value had it been in accordance with its description in the Bold or Capitalised type heading.

This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the lot must: (i) notify Lyon & Turnbull in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the lot number, date of the auction at which it was purchased and the reasons for such dispute; and (ii) return the Lot to Lyon & Turnbull’s registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale.

Lyon & Turnbull has discretion to waive any of the above requirements. Lyon & Turnbull may require the original purchaser of the lot to obtain, at the original purchaser of lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to Lyon & Turnbull and the original purchaser of the lot. Lyon & Turnbull shall not be bound by any reports produced by the original purchaser of the lot, and reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original purchase price paid (the successful hammer price, plus the buyer’s premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest.

18. 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 0131 557 8844.

19. FORCE MAJEURE 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.

20. 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 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.

Payment 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.

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.

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SCOTTISH PAINTINGS & SCULPTURE 14TH JUNE 2017

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Wednesday, 14th June, 2017 33 Broughton Place Edinburgh

Scottish Paintings & Sculpture