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Scottish Paintings & Sculpture

Thursday, 7th December 2017 33 Broughton Place Edinburgh

Scottish Paintings & Sculpture

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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 4.


Scottish Paintings & Sculpture

Scottish Paintings & Sculpture Thursday, 7th December, 2017 at 6pm Sale Number LT508

Viewing Times Sunday, 3rd December 12pm - 4pm Monday, 4th December 10am - 5pm Tuesday, 5th December 10am - 5pm Wednesday, 6th December 10am - 5pm Day of 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: ÂŁ15

Front Cover Lot 105 (detail)

Inside Front Cover Lot 7 (detail)

Inside Back Cover Lot 63 (detail)

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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

Registration

Catalogue descriptions

The buyer shall pay the hammer price together with a premium, at the following rate, thereon.

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 fist 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.

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

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/ importsexports/cites

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 4.


Scottish Paintings & Sculpture

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

Charlotte Riordan

Carly Shearer

Iain Gale

Head of Department

Specialist

Specialist

Specialist

nick.curnow@lyonandturnbull.com

charlotte.riordan@lyonandturnbull.com

carly.shearer@lyonandturnbull.com

iain.gale@lyonandturnbull.com

How to Find Us in Edinburgh

Lyon & Turnbull Saleroom

York Place tram stop

Waverley Station, Princes Street

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1 ARTHUR PERIGAL R.S.A., R.S.W. (SCOTTISH 1816-1884) A VIEW OF BANFF FROM GARSENYBRAE Signed and dated 1874, oil on canvas 66cm x 110cm (26in x 43.25in)

£2,000-3,000


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2 JAMES CAMPBELL NOBLE R.S.A. (SCOTTISH 1846-1913) BARGES ON A DUTCH CANAL Signed, oil on board 31cm x 41cm (12in x 16in)

£800-1,200

3 DUNCAN CAMERON (SCOTTISH 1837-1916) ON THE SEA-FRONT LARGS Signed, oil on canvas 51cm x 76cm (20in x 30in)

£1,500-2,000


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4 ATTRIBUTED TO ALEXANDER NASMYTH PORTRAIT OF A YOUNG GIRL IN LANDSCAPE Inscribed on a label verso ‘The artist’s daughter Alexander Nasmyth’, oil on panel 30.5cm x 25.5cm (12in x 10in)

£1,500-2,000

5 DAVID FARQUHARSON A.R.A., A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1840-1907) COTTAGE, GLENEAGLES Signed, inscribed and dated 1879 verso, oil on canvas 46cm x 36cm (18in x 14in)

£800-1,200


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6 WILLIAM CLARK OF GREENOCK (SCOTTISH 1803-1883) SHIPPING OFF THE CLOCH LIGHTHOUSE Inscribed on a label verso, oil on panel 33cm x 49cm (13in x 19in)

£4,000-6,000


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7 JOHN (JOCK) WILSON H.R.S.A. (SCOTTISH 1774-1855) FRENCH FISHING BOATS OFF GRIS-NEZ Signed with initials and dated 1852, inscribed on hand-written label verso, oil on canvas 67cm x 98cm (26.5in x 38.5in)

£5,000-8,000

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 4.


Scottish Paintings & Sculpture

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8 EDMUND THORNTON CRAWFORD R.S.A. (SCOTTISH 1806-1885) DUTCH HAYBOATS OFF DORDRECHT Signed and dated 1867, inscribed on hand-written label verso, oil on panel 56cm x 95cm (22in x 37.5in) Exhibited: Royal Scottish Academy 1867, no. 679

£5,000-7,000


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9 SIR WILLIAM FETTES DOUGLAS P.R.S.A. (SCOTTISH 1822-1891) THE KITCHEN MAID Signed with a monogram and dated ‘75, oil on panel 12.5cm x 18cm (5in x 7in)

£2,000-3,000

10 JAMES ECKFORD LAUDER R.S.A. (SCOTTISH 1811-1869) HARD AT IT Signed with a monogram, oil on canvas 68cm x 50cm (27.25in x 19.75in)

£800-1,200


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11 ERSKINE NICOL R.S.A., A.R.A. (SCOTTISH 1825-1904) AN IRISH ANGLER Signed with a monogram, oil on panel 28cm x 20cm (11in x 8in)

£3,000-5,000


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12 THOMAS FAED R.A., H.R.S.A. (SCOTTISH 1826-1900) LISTENERS NE’ER HEAR GUDE O’ THEMSELVES Signed, oil on canvas 29cm x 38cm (11.5in x 15in) Note: This a finished version of the painting in Bury Art Gallery, see Mary McKerrow, The Faeds 1982, p.103

£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 4.


Scottish Paintings & Sculpture

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13 SIR GEORGE HARVEY P.R.S.A. (SCOTTISH 1806-1876) SHAKESPEARE BEFORE SIR THOMAS LUCY ON A CHARGE OF DEER STEALING Signed with a monogram and dated 1837, oil on panel 101cm x 165cm (40in x 65in) Exhibited: Royal Scottish Academy 1837, no.177

£3,000-5,000


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14 WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) HARVEST-TIME Signed and dated 1893, oil on canvas 63cm x 73cm (24.75in x 28.75cm)

£8,000-12,000

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 4.


Scottish Paintings & Sculpture

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15 ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928) LOCH AWE Signed, signed and inscribed verso, oil on canvas 20cm x 30.5cm (8in x 12in)

£2,000-3,000

16 ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928) HEAD OF LOCH LOMOND Signed, signed and inscribed verso, oil on canvas 51cm x 76cm (20in x 30in)

£3,000-5,000


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17 JOHN ROBERTSON REID R.I., R.B.A., R.O.I. (SCOTTISH 1851-1926) HIS LATEST CATCH Signed and dated 1919, inscribed verso ‘Polperro Cornwall’, oil on canvas 112cm x 127.5cm (40in x 50in)

£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 4.


Scottish Paintings & Sculpture

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18 JOSEPH FARQUHARSON R.A. (SCOTTISH 1846-1935) STARTLED Signed, oil on canvas 152.5cm x 101.5cm (60in x 40in)

£8,000-12,000


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JAMES KAY Born on the isle of Arran in 1858, James Kay is known for his dynamic and energetic industrial seascapes. In his early years he worked in Glasgow where he shared a studio with David Gauld and Stuart Park. Although not considered a Glasgow Boy, he remained a close associate of those artists throughout his career. Similarly to his contemporaries, Kay worked and lived in Paris where he absorbed the mood and vitality of the French Impressionists.

He was also greatly influenced by The Hague School, which manifests in his realist manner and the use of dark and grey tones. In 1894 Kay first exhibited in the Paris Salon and also achieved some popularity in Holland with his coastal paintings and townscapes.

Kay was an enthusiastic traveller and drew inspiration from his extensive travels, however the sea remained his foremost fascination. Rather than romanticising the sea Kay depicts the honest atmosphere of the bustling industrial city. Kay’s mastery lies in his ability to capture the energy and drama of the docks.

Although he shared many of the same influences as his contemporaries Kay was successful in creating his own unique artistic vision and his work was highly regarded both in Scotland and abroad. He was elected to the Royal Scottish Academy and the Royal Scottish Society of Painters alongside winning gold medals of the Société des Artistes Français and at Rouen.


Scottish Paintings & Sculpture

19 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) TOIL AND GRIME Signed and dated ‘97, signed and inscribed verso, oil on canvas 77cm x 127cm (30.25in x 50in) Exhibited: Société des Amis des Arts, Rouen 1903 where it was awarded a silver medal and diploma. A painting of this title was exhibited at the Royal Scottish Academy 1904, no.279

£5,000-7,000

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20 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) SHIPPING AND TUGBOATS ON THE CLYDE Signed, oil on board 51cm x 61cm (20in x 24in)

£5,000-7,000


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21 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) DAZZLE SHIPS ON THE CLYDE Signed, oil on board 24cm x 34cm (9.5in x 13.5in)

£2,000-3,000

Dazzle Ships on the Clyde is an example of one of Kay’s exemplary industrial seascapes. The broad loose brushstrokes and bright tones reflect his Impressionist influence however the subject of the piece brings it back to Britain. Separating the vast sky and sea is a small fleet of dazzle ships.

Dazzle camouflage was introduced in 1914 as a system of distorting the appearance of British ships in order to confuse the enemy submarines. The nature of the design, consisting of interlocking and contrasting colours, was heavily indebted to Cubism.

The painting demonstrates Kay’s energetic style and confidence in creating a sense of vitality and drama in his scenes.


Scottish Paintings & Sculpture

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22 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) A PARISIAN STREET SCENE Signed, oil on board 51cm x 61cm (20in x 24in)

£6,000-8,000


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23 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) CHILDREN AND ANIMALS IN WOODLAND Signed and dated ‘98, oil on canvas 46cm x 30.5cm (18in x 12in)

£1,000-1,500

24 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) INTERIOR WITH STILL LIFE Signed, oil on board 51cm x 61cm (20in x 24in)

£800-1,200


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25 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)

£15,000-20,000

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. 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.


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26 ROBERT GEMMELL HUTCHISON R.S.A., R.S.W., R.B.A., R.O.I. (SCOTTISH 1855-1936) THE GOLDFISH BOWL Signed, oil on canvas 76cm x 63.5cm (30in x 25in)

£4,000-6,000


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27 STUART PARK (SCOTTISH 1862-1933) A STILL LIFE OF DAFFODILS Signed, oil on canvas, oval 50cm x 60cm (20in x 24in)

£1,000-1,500

28 STUART PARK (SCOTTISH 1862-1933) A STILL LIFE OF ROSES Signed, oval, oil on canvas 50cm x 60cm (20in x 24in)

£1,000-1,500


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29 EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) THE DANDELION CLOCK Signed and dated 1900, oil on canvas

30 EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) THE LARK’S SONG Signed and dated ‘09, oil on canvas laid down on board

61cm x 61cm (24in x 24in)

51cm x 41cm (20in x 16in)

£10,000-15,000

£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 4.


Scottish Paintings & Sculpture

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31 JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) THE DROVER’S RETURN Signed, pastel 48cm x 39cm (18.75in x 15.25in)

£1,000-1,500

32 JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) BY THE RIVER Oil on panel 30.5cm x 28cm (12in x 11in) Exhibited: English-Speaking Union, Edinburgh, 100 Years of Scottish Painting 1970, no.64

£2,000-3,000


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33 JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) REST IN THE WOODS Signed, pastel 41cm x 49cm (16in x 19.25in)

£2,000-3,000


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34 JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) THE YOUNG MUSICIAN Watercolour 24cm x 34cm (9.5in x 13.5in)

£1,500-2,500

35 JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) YARMOUTH Signed, inscribed and dated 1906, watercolour 45cm x 36cm (17.75in x 15in)

£2,000-3,000


Scottish Paintings & Sculpture

36 SIR DAVID WILKIE R.A. (SCOTTISH 1785-1841) FIGURES AND HORSEMEN OUTSIDE AN INN pen and ink 15.5cm x 20cm (6in x 8in)

£400-600

37 JAMES PATERSON P.R.S.W., R.S.A., R.W.S. (SCOTTISH 1854-1932) EL BURGADO Signed, inscribed and dated 1914, watercolour 38cm x 53cm (15in x 21in)

£2,500-3,500

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38 WILLIAM ALFRED GIBSON (SCOTTISH 1866-1931) A WOODED LANDSCAPE WITH FIGURES IN A PUNT Signed, oil on canvas 27cm x 37cm (10.5in x 14.5in)

£500-800

39 WILLIAM ALFRED GIBSON (SCOTTISH 1866-1931) SNOW COVERED DUTCH CANAL SCENE Signed, oil on board 41cm x 51cm (16in x 20in)

£1,500-2,000


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40 JOSEPH FARQUHARSON R.A. (SCOTTISH 1846-1935) COMING DOWN FROM THE HILLS Signed, oil on canvas 102cm x 76cm (40in x 30in)

£5,000-7,000


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41 [§] JAMES MCBEY (SCOTTISH 1883-1959) PORTRAIT OF A GIRL IN A RED DRESS Signed and dated 23 May 1927, oil on canvas 101.5cm x 81cm (40in x 32in)

£3,000-5,000

42 [§] JOHN MCGHIE (SCOTTISH 1867-1952) THE FISHERGIRL Signed, oil on canvas 46cm x 36cm (18in x 14in)

£1,500-2,000


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43 HARRINGTON MANN R.P., R.E. (SCOTTISH 1864-1937) GIRL’S HEAD Signed, oil on panel 31cm x 24cm (12in x 9.5in) Exhibited: V11 ième Exposition Internationale des Beaux Arts à Munich 1887

£3,000-5,000


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44 JOHN CAMPBELL MITCHELL R.S.A. (SCOTTISH 1862-1922) LEADER HAUGHS NEAR LAUDER Signed and dated 1911, signed and inscribed verso, oil on canvas 31cm x 36cm (12in x 14in)

£600-900

45 JOHN CAMPBELL MITCHELL R.S.A. (SCOTTISH 1862-1922) SEASCAPE Signed and dated 1917, oil on canvas 31cm x 51cm (13in x 20in)

£600-900


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46 GEORGE HOUSTON R.S.A., R.S.W., R.I. (SCOTTISH 1869-1947) WAVES BREAKING ON A ROCKY COASTLINE Signed, oil on canvas 71cm x 91cm (28in x 36in)

£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 4.


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47 [§] STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) THE RACKWICK ROAD, HOY Signed and dated 1924, watercolour 24cm x 35cm (9.5in x 13.75in)

£800-1,200

48 [§] STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) FARM COTTAGES Signed and dated 1921, indistinctly inscribed ‘Rousay’ on the backboard, watercolour 24cm x 35cm (9.5in x 13.75in)

£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 4.


Scottish Paintings & Sculpture

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49 WILLIAM WATT MILNE (SCOTTISH FL.1888-1915) THE WOODCUTTERS CAMP Signed, oil on board 23cm x 30.5cm (9in x 12in) and a companion a pair (2)

£1,500-2,000


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50 WALLLER HUGH PATON R.S.A., R.S.W. (SCOTTISH 1828-1895) OLD HOMES AND NEW TENANTS Signed and dated 1877, inscribed extensively on the backboard, watercolour, arched top 12cm x 19cm (4.75in x 7.5in) and two other watercolours by the same hand ‘Decay of the forest’ and ‘At Tyndrum’ (3)

£800-1,200


Scottish Paintings & Sculpture

51 ARTHUR MELVILLE R.W.S., A.R.S.A. (SCOTTISH 1855-1904) THE WOUNDED COVENANTER Signed, inscribed and dated ‘RBA, 1885’, watercolour 78cm x 55cm (30.75in x 21.75in)

£3,000-5,000

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Provenance: The artist’s Trustees Literature: Agnes Mackay, Arthur Melville 1951, p.147 Exhibited: R.B.A. 1885 Laing Art Gallery Newcastle, Memorial Exhibition 1906, no.4 Nottingham Art Gallery, Memorial Exhibition 1907, no.42 Dundee Art Galleries and Museum, Arthur Melville 1977-78, no.13


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52 [§] JOHN BULLOCH SOUTER (SCOTTISH 1890-1972) ROSES IN A GLASS BOWL Signed, oil on board 41cm x 31cm (16in x 12in)

£800-1,200

53 [§] JOHN BULLOCH SOUTER (SCOTTISH 1890-1972) YELLOW ROSES IN A JUG Signed, oil on board 46cm x 36cm (18in x 14in)

£800-1,200


Scottish Paintings & Sculpture

54 [ยง] KATHERINE CAMERON R.S.W., R.E. (SCOTTISH 1874-1965) ROSES IN TWILIGHT Signed, watercolour 56cm x 29cm (22in x 11.5in)

ยฃ2,000-3,000

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55 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)

£5,000-8,000

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 4.


Scottish Paintings & Sculpture

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56 GEORGE HENRY R.A., R.S.A., R.S.W. (SCOTTISH 1858-1943) GATHERING BERRIES Signed, watercolour 23.5cm x 30.5cm (9.25in x 12in)

£500-800

57 [§] WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) MOUSEHOLE Signed and dated 1947, pen and ink and watercolour 36cm x 49cm (14in x 19.25in)

£1,500-2,000


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58 GEORGE HOUSTON R.S.A., R.S.W., R.I. (SCOTTISH 1869-1947) HARVEST-TIME, AYRSHIRE Signed, oil on canvas 76cm x 135cm (30in x 53in)

£3,000-5,000

59 GEORGE HOUSTON R.S.A., R.S.W., R.I. (SCOTTISH 1869-1947) BLUE-BELLS, LOCH FYNE Signed, oil on canvas 71cm x 91cm (28in zx 36in)

£1,500-2,500


Scottish Paintings & Sculpture

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60 GEORGE HOUSTON R.S.A., R.S.W., R.I. (SCOTTISH 1869-1947) LOCHGOILHEAD Signed, oil on canvas 71cm x 91cm (28in x 36in)

£2,000-3,000


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61 GEORGE HENRY R.A., R.S.A., R.S.W. (SCOTTISH 1858-1943) MARSHES, GALLOWAY Signed and dated 1885, oil on canvas 51cm x 61cm (20in x 24in) Provenance: James T R Ritchie Esq and by descent

£7,000-10,000


Scottish Paintings & Sculpture

GEORGE HENRY George Henry was born in Irvine in Ayrshire in 1858 and studied at Glasgow School of Art. He took lessons under W. Y. Macgregor in his Glasgow studio and in 1881 joined his fellow Glasgow artists James Guthrie, E. A. Walton and Joseph Crawhall painting at Brig o’ Turk in the Trossachs. Some of the works produced at his time were shown at the Paisley Art Institute in December the following year, which saw him working alone at Brig o’ Turk and also on the Firth of Clyde. In 1883 Henry worked on his own during the Summer at Eyemouth and the following year was painting at Cockburnspath, working alongside fellow Glasgow Boys; Walton, Guthrie and Melville.

Guthrie’s influence on Henry’s development is evident in these summer expeditions, as his work becomes notably less academic, moving in the direction of the sort of loose realism which became one of the Boys’ hallmarks. But the most profound development in Henry’s style came as a result of a meeting the following year, when travelling to Kirkcudbright with Guthrie, Henry first met E. A. Hornel. Their friendship over the coming decades was to be hugely productive on both sides, resulting in some of the most innovatory work created within the Glasgow Boys group. It is particularly fascinating to see the current painting in the context of their early years painting together.

Stylistically, the work bears a direct relationship to a group of paintings produced by Thomas Millie Dow and Hornel in 1885-1887. Henry is clearly taken with the beauty of chance design in nature and in particular the way the crossing of the two trees forms a natural ‘V’. With its delicacy of handling and extraordinary luminosity, it has more in common with plein-air realism than the planar compositions of the Pont Aven school which were to have such a profound influence on the artist’s ground-breaking Galloway Landscape of 1889.

Marshes, Galloway represents a unique moment in Henry’s art: that instant in which the artist, having found his voice, pushes it to the limit, only to become aware that everything is about to change.

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62 GEORGE HENRY R.A., R.S.A., R.S.W., (SCOTTISH 1858-1943) SWAN LAKE Signed and dated 1919, watercolour 56cm x 23cm (22in x 9in) and a companion, a pair ‘The bluebell wood’ (2)

£3,000-5,000


Scottish Paintings & Sculpture

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63 [ยง] SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., P.P.R.S.W., R.A. (SCOTTISH 1898-1973) LAIDE Signed, pencil and watercolour 56cm x 76cm (22in x 30in)

ยฃ4,000-6,000


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64 [§] JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1897-1998) LOCH CRERAN Signed, inscribed on the stretcher verso, oil on canvas 41cm x 51cm (16in x 20in)

£2,000-3,000

65 [§] WILLIAM GRANT MURRAY A.R.C.A. (SCOTTISH 1877-1950) THE OLD PIER, ST. ANDREWS Signed with a monogram, oil on canvas 25.5cm x 33cm (10in x 13in)

£600-900


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66 EDWARD ARTHUR WALTON R.S.A., P.R.S.W., H.R.W.S. (SCOTTISH 1860-1922) THE DUCK-POND Signed, oil on canvas 51cm x 61cm (20in x 24in)

£4,000-6,000


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67 ROBERT GEMMELL HUTCHISON R.S.A., R.S.W., R.B.A., R.O.I. (SCOTTISH 1860-1936) THREE GIRLS HARVESTING Signed, watercolour 51cm x 61cm (20in x 24in)

£2,000-3,000

68 [§] JOHN MCGHIE (SCOTTISH 1867-1952) AT THE SEASIDE Signed, oil on canvas 51cm x 61cm (20in x 24in)

£1,500-2,000


Scottish Paintings & Sculpture

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69 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) HARBOUR SCENE Signed and dated 1918, pen and ink and watercolour 24cm x 36cm (9.5in x 14in)

£3,000-5,000


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70 [ยง] JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) IRISES Signed, oil on canvas 61cm x 46cm (24in x 18in)

ยฃ2,500-3,500


Scottish Paintings & Sculpture

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71 [§] ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998) VERA IN BED Signed, oil on board 31cm x 38cm (12in x 15in)

£2,000-3,000

72 [§] JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) HARBOUR SCENE, SOUTH OF FRANCE Signed, watercolour on brown paper 26cm x 34cm (10.25in x 13.5in)

£1,000-1,500


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SIR WILLIAM RUSSELL FLINT One of the most celebrated British watercolourists of the 20th century, Sir William Russell Flint is known for his remarkable technical skill and precision. Born in Edinburgh in 1880, Flint was first introduced to painting by his father before developing his skills at Banks and Co. Printers where he enrolled in a six year apprenticeship as a lithographic draughtsman. 73 [§] SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.I. (SCOTTISH 1880-1969) ON THE BEACH DINARD Signed, watercolour 25.5cm x 33cm (10in x 13in)

ÂŁ2,000-3,000

Although he is known for his watercolours he also painted in oil and tempera, and produced etchings. Flint was a member of the Royal Academy, and served as president of the Royal Watercolour Society for twenty years from 1936. He was further recognised in 1947, with a knighthood for his services to art, and later a solo exhibition at the Royal Academy.

Painting in several countries including France, Italy, Switzerland and Scotland, Flint was captivated by the distinctive and unique character of the distant lands. However, his foremost fascination was the female form. This manifested in a wide range of depictions; spanning from flamenco dancers to his picturesque gypsies and languorous nudes. Today his work is exhibited in numerous institutions around the world including the British Museum, the Victoria and Albert Museum and the Art Institute of Chicago.


Scottish Paintings & Sculpture

On the Beach Dinard

Seated Nude

This depicts a sun drenched beach bustling with fashionable women immersed in various activities. The controlled broad washes perfectly capture the atmospheric effects of the idyllic scene. Flint produced a number of paintings depicting beaches from his visits to the coasts of England, Scotland, France and the Mediterranean Sea. The painting perfectly encapsulates the light-hearted spirit of age, whilst displaying his technical virtuosity.

Flint’s interest in the representation of the female form intensified during a trip to Rome in 1912. His skilfully rendered paintings of the sensual nude were in great demand during his time. Seated Nude is a chalk drawing dating from 1908 in which Flint effortlessly captures the models striking beauty. This exquisite drawing perfectly encapsulates Flint’s ongoing interest in feminine grace, imbuing the picture with a sense of sensuousness and mystery. The figure is simultaneously revealing and concealing herself, which is almost mirrored in his technique, with the soft shading of her body juxtaposed against the hard lines of the drapery tangled around her.

74 [§] SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.I. (SCOTTISH 1880-1969) SEATED NUDE Signed, coloured chalk 17cm x 23cm (6.75in x 9in) Provenance: Frost & Reed, London 1946

£800-1,200

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75 [§] SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.I. (SCOTTISH 1880-1969) SOLOMON BUILDING THE TEMPLE Signed and dated 1908, watercolour 22cm x 18cm (8.75in x 7in) Provenance: The Fine Art Society Ltd, London November 1967 Literature: Thomas a Kempis, The Imitation of Christ

£1,000-1,500

Flint’s early ambitions were focused on book and story illustrations. His paintings appear in a number of books and his reputation as a successful illustrator quickly grew. Solomon Building the Temple is an example of Flint’s work before the outbreak of the First World War.

In the foreground Solomon is depicted seated in profile on a throne keeping a watchful eye on the workers.


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76 [§] SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.I. (SCOTTISH 1880-1969) WHITE TOWER MONTREUIL Signed, watercolour 33cm x 53cm (13in x 31in)

£4,000-6,000

77 [§] SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.I. (SCOTTISH 1880-1969) AUTUMN GLORY SOUTH DEVON Signed, signed and inscribed to labels verso, watercolour 23cm x 37cm (9in x 14.5in) Note: A label verso signed and dated July 1946 states ‘This watercolour is for my old friend Augustus Walker with warm esteem and thanks for many pleasurable visits to his exhibitions’

£1,000-1,500


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78 [§] SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.I. (SCOTTISH 1880-1969) WOODED SHORE, LOCH EARN Signed, watercolour 35.5cm x 53.5cm (14in x 21in) Exhibited: Royal Society of Painters in Watercolours

£1,500-2,500

79 [§] SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.I. (SCOTTISH 1880-1969) BREEZY BIRCHES LOCH EARN Signed, watercolour 24cm x 37cm (9.5in x 14.5in)

£1,000-1,500


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80 [§] SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.I. (SCOTTISH 1880-1969) HILLSIDE BIRCHWOOD PERTHSHIRE Signed, watercolour 24cm x 37cm (9.5in x 14.5in)

£1,000-1,500

81 [§] SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.I. (SCOTTISH 1880-1969) RAIN IN SNOWDON Signed and dated 15-9-60, signed, inscribed and dated on the backboard, unframed, watercolour 27cm x 38cm (10.5in x 15in) Exhibited: Royal Academy of Arts, Sir William Russell Flint, 1962, No. 173. Notes: Inscribed verso, ‘For Arthur, From his devoted, respectful, and affectionate client and friend, Willie. February 1963.’

£1,000-1,500


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82 [§] SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.I. (SCOTTISH 1880-1969) FISHING PARTY ON THE ARDÈCHE BELOW AIGUÈZE Signed, watercolour 28cm x 38cm (11in x 15in) Note: This watercolour is further signed and inscribed on the backboard ‘Up river from Pont St.Esprit, Rhône - A very amusing group, hopeless amateurs’ Provenance: Frost & Reed D13576

£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 4.


Scottish Paintings & Sculpture

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83 [§] SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.I. (SCOTTISH 1880-1969) CHATEAU GAILLARD Signed, signed, inscribed and dated 1966 on the backboard, watercolour 24cm x 33.5cm (9.5in x 13.25in) Note: The backboard is further inscribed ‘Painted very happily on Whit Sunday’ Provenance: Frost & Reed d.13577

£3,000-5,000


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84 [§] SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.I. (SCOTTISH 1880-1969) WOODLAND MORNING LANGUEDOC Signed, signed and inscribed on the backboard, watercolour 37.5cm x 56cm (14.75in x 22in)

£1,500-2,500

85 [§] SIR WILLIAM MACTAGGART P.P.R.S.A., R.A., F.R.S.E. (SCOTTISH 1903-1981) PORTOBELLO Signed, oil on board 27cm x 56cm (10.5in x 22in) Provenance: Aitken Dott, Edinburgh

£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 4.


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86 [§] SIR WILLIAM MACTAGGART P.P.R.S.A., R.A., F.R.S.E. (SCOTTISH 1903-1981) AFTER THE STORM Signed, oil on board 31cm x 51cm (12in x 20in)

£3,000-5,000

87 [§] 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) ANENOMES AND FRUIT Signed, oil on canvas 91cm x 76cm (36in x 30in) Exhibited: Society of Eight 1936, no.5

£3,000-5,000


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89 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) WAITING FOR FATHER Signed, oil on board 23cm x 31cm (9in x 12in)

£8,000-12,000

88 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1855-1936) SEWING BY THE WINDOW Signed, oil on canvas 61cm x 46cm (24in x 18in)

£8,000-10,000


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90 [§] STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) THE RED DRESS Signed and dated 1920, oil on canvas 86cm x 101.5cm (34in x 40in)

£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 4.


Scottish Paintings & Sculpture

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STANLEY CURSITER Stanley Cursiter spent almost three decades at the head of the art-world in Scotland, acting as Keeper and then Director of the National Galleries of Scotland. The forwardlooking measures he developed there, as well as at points in his own painting, have since tended to overshadow appreciation of the wider body of his work. In his own time, however, he was particularly known for his sumptuous portraits and conversation pieces.

The Red Dress dates from 1920, when Scotland’s cultural landscape was still reeling from the shock of the war. In response (after a brief but highly effective experiment with the avant garde tendencies of the Vorticist movement), Cursiter returned his focus to these portraits and eternally popular conversation pieces, indulging in elegance, youth and beauty as a restorative balm to the horrors of war. They often feature family members, and have an intimate, cosy feel, with subjects engaged in charming domestic tasks, such as sewing and playing

musical instruments. In the 1920s these paintings evoked a sense of nostalgia for the luxuries and leisure of the pre-war period and a tightly-held hope that the future world would once again return to pleasant domesticity and parties. There is a masterful balance to the minimal composition of The Red Dress, with the elegant model and bright, shiny fruit set against a deep, sumptuous background. The sitter looks directly and straightforwardly at us, while her informal dress allows the artist to reveal his talent with paint, depicting the many

gathers, folds, lights and shadows of the loose, cascading fabric. The success and ease of the composition does not reveal Cursiter’s meticulous effort in preparing his paintings, painstakingly working through different arrangements and colour trials in his sketchbooks, before attempting to achieve the finished piece. In this painting, its process and subject, we can develop a sense of Cursiter’s ideals; his joy in seeing and depicting beauty and elegance, and the celebration of a set of artistic skills well-utilised.


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91 [§] WILLIAM CROSBIE R.S.A. (SCOTTISH 1915-1999) STILL LIFE OF MIXED FLOWERS Signed and dated ‘42, oil on board 51cm x 36cm (20in x 14in)

£3,000-5,000

92 [§] JOHN CUNNINGHAM R.G.I. (SCOTTISH 1927-1998) ANENOMES AND FRUIT Signed, oil on canvas 61cm x 54cm (24in x 21.25in)

£2,000-3,000


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93 [ยง] ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998) FLOWERS IN A BLUE JUG Signed, oil on canvas 75cm x 66cm (29.5in x 26in)

ยฃ5,000-7,000


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94 [§] 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) LILIES Signed, watercolour 56cm x 62cm (22in x 24.5in) Exhibited: Royal West of England Academy 1964

£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 4.


Scottish Paintings & Sculpture

95 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) LE PATRON Conté 12cm x 10cm (4.75in x 4in) Exhibited: The Scottish Gallery, Edinburgh, S,J. Peploe drawings 1994, no.22 Provenance: The artist’s family

£500-700

96 [§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1875-1961) ON THE BEACH, SOUTH OF FRANCE Watercolour 27cm x 19cm (10.5in x 7.5in) Provenance: Margaret Morris, the artist’s wife

£1,500-2,500

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97 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) PORTRAIT STUDY OF NAN IVORY Signed, signed and inscribed on stretcher verso, oil on canvas 47.5cm x 39.5cm (18.75in x 15.5in)

£80,000-120,000

This striking portrait of Nan Ivory features the soft, feathery brushstrokes of F.C.B. Cadell’s pre-war technique, before he moved into a more design-focused, Decoinfluenced approach. It has an Edwardian flair, with flashes of Whistler and Singer Sargent, and the close-crop perspective and soft technique add a personal, intimate feeling, compounding the fact that this is a portrait of a known sitter, rather than the use of a model for dramatic effect. Whereas after the war, Cadell began to focus on design

in both his compositional decisions and painting, getting sparser in his brushstroke, and utilising women as glamorous props to offset the grandeur of the rooms he is depicting, rather than as engaging subjects in themselves. As a an earlier work, Portrait Study of Nan Ivory retains an intimacy and personality, yet the elegance we so strongly associate with Cadell is fully evident, in the sitter’s distant gaze, sweeping hat, fashionable jewellery and the artist’s confident handling of the paint.

It was originally thought that Cadell painted this elegant portrait of Nan Ivory as a wedding gift for the sitter’s new husband, the artist’s close friend and long-standing patron, Ted Stewart. However, since the appearance of that suggestion in the most recent issue of our magazine International View, new information has come to light. It has been revealed that before she married Ted Stewart in February 1916, Nan had been briefly engaged to another close friend of Cadell’s, James Hamilton-Henderson in 1914. The family of Ted

and Nan were unaware of the portrait and feel it unlikely that such a striking portrait of their grandmother would have voluntarily have left the family. Knowing that she was engaged previously, and particularly to a friend of Cadell’s, it seems now that the portrait may in fact have been a gift for her previous intended. It would also explain why it had left the original family; the moving on of a reminder of a union that was not to be.


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98 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

£40,000-60,000


Scottish Paintings & Sculpture

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 these artists whose palettes naturally reflected the hues of warmer climes. The island offered a plentiful supply of subjects: from views across the sand and sea to Staffa and Mull, to island landmarks the

nunnery and abbey, along with charming rural farms and crofts. 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). The Blue Mountain is a distinctive depiction of Iona in Cadell’s oeuvre. Working on a slightly larger scale, he is still focussed on capturing the topography of the landscape surrounding the western island, and the wonderful light that emerges in that part of the world, but it is evoked with a different approach.

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Here, his colours are cool and clear and his brushwork deliberate and sparse. Icy blues, lilacs and light greens pattern around the white foreground sand and burgundy brown rocks, while the paint is thinly applied, with directional brushwork creating texture and a graphic quality. The technique and colour may be a little experimental but the result is captivating, revealing another facet of this artist’s talent and a different atmosphere of this dramatic locale.


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99 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) IONA ABBEY Signed, oil on canvas 76cm x 63.5cm (30in x 25in) Provenance: G.W.Service and by descent through the family Literature: Tom Hewlett, Cadell - The life and works of a Scottish Colourist 1988, Ill.p.57 Philip Coupe, Paintings of Iona - Cadell and Peploe 2014, Ill PL.17 p.35 Note: This painting dates from 1922

£60,000-80,000

Cadell’s paintings of Iona are a wonderful homage to this fascinating place, capturing and celebrating its beauty and atmosphere. His paintings are often surprisingly true to life, and here Cadell brings his discerning eye to bear on Iona Abbey, a key landmark of the island, and a structure that signifies the important religious history of the place.

The isle of Iona, and the abbey in particular, have been the centre of Christian worship since the arrival of St Columba and his companions in 563 AD. It was the starting point of the spread of the Christian faith throughout Scotland and ultimately became a focus of religious pilgrimage.

The distinctive beauty of the island, its everchanging weather patterns and very particular light, have repeatedly drawn artists to its shores. Cadell first visited in 1912 and captivated by its wonderful atmosphere, was to return nearly every summer for the rest of his life. An important early patron of his work, G.W. Service, supported the artist by purchasing many of his Iona paintings, including this one in 1922.

In this painting, Cadell has focussed his attention on evoking the inside of this significant structure. The viewer is immediately transported to the cool interior of Iona Abbey, and through Cadell’s eyes and deft brushstroke, a whole world of colour and texture is revealed within these walls. A visual feast, Iona Abbey is a celebration of pilgrimage, in both a religious and artistic sense.


Scottish Paintings & Sculpture

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100 [§] 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)

£10,000-15,000

John Duncan Fergusson was the most international and political of the four Scottish Colourists. 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. Fergusson’s flâneur approach to life and painting translated perfectly to Paris, when he decided to move to this artistic centre in 1907.

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, S. J. 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 4.


Scottish Paintings & Sculpture

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101 [ยง] SIR WILLIAM GEORGE GILLIES C.B.E., R.A., R.S.A., R.S.W.,L.L.D. (SCOTTISH 1898-1973) THE HARBOUR QUAY, ANSTRUTHER Signed, oil on canvas 46cm x 56cm (18in x 22in)

ยฃ4,000-6,000


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102 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) THE BURG FROM BELOW ARD ANNRAIDH, IONA Signed, oil on board 37.5cm x 46cm (15in x 18in) Literature: Philip Coupe, Paintings of Iona - Cadell and Peploe 2014, Ill..Pl.149 p. 68 ‘A short walk to the west....there is a grassy slope which leads down to the shore close to some standing rocks known as the Monks’ Rocks, below a little cliff, all of which are in the foreground of this painting. Part of Eilean Annraidh appears in the midlle distance on the left and the Burg and Ben More in the distance.’

£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 4.


Scottish Paintings & Sculpture

103 [§] DONALD BAIN (SCOTTISH 1904-1979) LE PORT Signed, signed, inscribed and dated 1950, oil on board 24cm x 29cm (9.5in x 11.5in)

£1,000-1,500

104 [§] DAVID ABERCROMBIE DONALDSON R.S.A., R.P., L.L.D. (SCOTTISH 1916-1996) MARYSIA OBSERVED Oil on canvas 51cm x 51cm (20in x 20in) Exhibited: The Scottish Gallery, Edinburgh Festival Exhibition 1973, no.46

£2,000-3,000

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105 [§] SIR WILLIAM GEORGE GILLIES C.B.E., R.A., R.S.A., R.S.W.,L.L.D. (SCOTTISH 1898-1973) ANSTRUTHER Signed, oil on canvas 46cm x 56cm (18in x 22in)

£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 4.


Scottish Paintings & Sculpture

106 [ยง] SIR WILLIAM GEORGE GILLIES C.B.E., R.A., R.S.A., R.S.W., L.L.D. (SCOTTISH 1898-1973) HARBOUR SCENE Oil on board, and painted verso with signed wooded landscape 51cm x 63.5cm (20in x 25in) Note: This painting probably depicts Pittenweem.

ยฃ4,000-6,000

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107 [§] JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) FARM BUILDINGS With the artist’s estate no. ED 134, pen and ink and watercolour 26cm x 32cm (10.25in x 12.75in) Exhibited: The Scottish Gallery, Edinburgh, Joan Eardley Paintings and Drawings 1996, no.5

£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 4.


Scottish Paintings & Sculpture

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108 [ยง] DAME ELIZABETH VIOLET BLACKADDER C.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT. (SCOTTISH B.1931) STILL LIFE WITH BASKET Signed and dated 1967, oil on canvas 63.5cm x 76cm (25in x 30in)

ยฃ4,000-6,000


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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 4.


Scottish Paintings & Sculpture

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109 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) A STILL LIFE OF FRUIT AND FLOWERS WITH PERSIAN CURTAIN Signed, oil on board 68.5cm x 56cm (27in x 22in)

£100,000-150,000

Recent scholarship has affirmed the position of the four Scottish Colourists in the development of Modernism in the early 20th century. Works such as this from the high-point of Hunter’s career in the mid-1920s represent the unequivocal evidence of their involvement. Academics now agree that the Colourists have been somewhat erroneously written out of the art history of the period, when in fact their presence during and immediately after the fermentation of Modernism, and their understanding of the artistic developments in Paris ongoing, was unrivalled by their English counterparts. Hunter was in Paris as early as 1907 where he became a fervent admirer of Cezanne and a devotee to the principles which underpinned the artist’s practice, particularly as regards form and

perspective. Further visits in the early 1920s and exposure to the increasing strides Matisse was making - pushing colour to the extreme as both a formal and decorative device - resulted in Hunter assimilating these qualities into his own work. By 1923-26 he had emphatically hit his stride as an artist, creating a style that was progressive and distinctly his own. Thanks to a series of critically and commercially well-received exhibitions in Glasgow, Edinburgh, London and Paris he was, by this time, a relatively well recognised and celebrated Modernist. Scratch the surface and the high regard in which his work from this period was held is not difficult to glean. There are telling exhibition reviews discussing his “recognised position among the younger generation of artists,” and praising his “daring and harmonious” compositions. In a letter

to a friend in 1924, Hunter references a particularly notable commendation from the prominent Parisian art dealer Etienne Bignou: “Bignou told McNeill (a collector) he thought Matisse the only man in Paris the equal of Peploe and myself.” The recording of history can be both biased and fallible, but the primary evidence clearly indicates that Hunter’s status was prominent in certain influential circles of the time. When considering a work like the example offered here for sale, such praise is easy to understand. One of a series of muchcelebrated still lifes, it features some of his recurring components; a highly patterned and decorative Persian curtain, a gleaming mahogany table top, an arrangement of roses, and an elegant porcelain fruit dish. It’s an ambitious composition, but each element is expertly balanced. Hunter

had spent much time developing a sense of line to match his masterful use of colour, and this work demonstrates the summation of those efforts. He succeeds in drawing the viewer’s eye across the varying passages of paint, from decorative, textured impasto to broader fields across which the eye smoothly travels. Given what we know about Hunter’s struggles with ill physical and mental health, and the disheartening opposition all of the Colourists faced from the staid art institutions of Scotland, paintings like this sing with the confidence of hard-won and welldeserved recognition from the art world’s progressive elites.


94

Lyon & Turnbull

110 [ยง] JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) BOY WITH ELASTIC BAND Pastel on sandpaper 27.5cm x 22cm (10.75in x 8.75in) Exhibited Aitken Dott & Son, Christmas Exhibition 1962

ยฃ15,000-20,000


Scottish Paintings & Sculpture

95

111 [§] JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) BOY IN BROWN Signed with the Estate’s stamp (under mount), pastel 17cm x 11cm (6.75in x 4.25in)

£2,000-3,000


96

Lyon & Turnbull

112 [§] WILLIAM JOHNSTONE O.B.E. (SCOTTISH 1897-1981) BORDERS LANDSCAPE Signed and indistinctly dated 1936 verso, oil on panel 41cm x 51cm (16in 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 4.


Scottish Paintings & Sculpture

113 [ยง] SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I. (SCOTTISH 1916-1992) NAVE Signed, watercolour 137cm x 50cm (54in x 19.75in)

ยฃ2,000-4,000

97


98

Lyon & Turnbull

114 [§] JACK VETTRIANO (SCOTTISH B.1951) ONLY THE DEEPEST RED 1 Signed, oil on canvas 38cm x 30cm (15in x 12in) Exhibited: Portland Gallery, The International Art & Design Fair, New York, 2001

£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 4.


Scottish Paintings & Sculpture

99

115 [ยง] JACK VETTRIANO (SCOTTISH B.1951) STUDY FOR BETWEEN DARKNESS AND DAWN Signed, oil on canvas 38cm x 32cm (15in x 12in) Note: This painting dates from 1998

ยฃ20,000-30,000


100

Lyon & Turnbull

116 [§] JOHN BELLANY O.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) DEW-GENEN-NY Signed and dated verso 1978, oil on canvas, unframed 167.5cm x 127cm (66in x 50in) Note: DEW-GENEN-NY was an Aberdeen built John Lewis and Sons pocket class trawler built for Robert Alexander George , Jacqueline Webster of Penzance in 1976

£12,000-18,000

John Bellany is arguably one of the best loved artists in the UK. A proud Scot through and through, he was nevertheless one of the relatively few Scottish artists of the 20th century whose career truly transitioned across the border and into the London market. He was a fixture at the Royal Academy, and a feature in many prominent collections, including that of high profile art lovers like David Bowie and Sean Connery.

Recognisable motifs abound in his work, from gulls to fishing boats, and from the Bass Rock to the rolling hills of Italy. His paintings are steeped in oblique symbolism. This was especially the case up until the late 1970s, the first half of his career, from which the works offered here date. Works of this period have a dream-like, or perhaps more accurately, nightmarish quality.

At this stage Bellany was plumbing the darker recesses of the human psyche, and a purposeful sense of eeriness and the uncanny permeates his work. His symbolism was at its densest to fathom; gulls as large as humans and shrouded, faceless figures are all set against an ocean of dead calm, as if players on a stage.

The tone of his work mellowed and brightened in later years, but as a young man existential issues were clearly at the forefront of his artistic exploration, as was the excavation of his family’s fisher folk history. These elusive narratives provide the viewer with an endlessly fascinating tableau to pick over, but their meaning always slips, tantalising and dreamlike, from our comprehension. Just as the artist intended.

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 4.


Scottish Paintings & Sculpture

101


102

Lyon & Turnbull

117 [§] JOHN BELLANY O.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) EYEMOUTH Signed, oil on canvas, unframed 152.5cm x 122cm (60in x 48in)

£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 4.


Scottish Paintings & Sculpture

MODERN BRITISH

& CONTEMPORARY ART Select entries are invited until the deadline of Friday 1st December. The auction will take place on 17th January at Lyon & Turnbull, 33 Broughton Place Edinburgh EH1 3RR.

For a complimentary current-market valuation please contact specialist Charlotte Riordan on 0131 557 8844 or email charlotte.riordan@lyonandturnbull.com

[ยง] SIR TERRY FROST R.A. (BRITISH 1915-2003) UNTITLED (CURVES) [DETAIL] Circa 1975/76, watercolour 73cm x 52cm (28.75in x 20.5in)

ยฃ3,000-5,000

103


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Index & Glossary B

F

K

P

BAIN, D. 103

FAED, T. 12

KAY, J. 19, 20, 21, 22, 23, 24

PARK, S. 27, 28

BELLANY, J. 116, 117

FARQUHARSON, D. 5

BLACKADDER, DAME E.V. 108

FARQUHARSON, J. 18, 40

L

PATON, W.H. 50

BREANSKI, A. DE, SNR 15, 16

FERGUSSON, J.D. 96, 100

LAUDER, J.E. 10

PATRICK, J.M. 64

FLINT, SIR W.R. 73, 74, 75, 76, C

77, 78, 79, 80, 81, 82, 83, 84

PATERSON, J. 37

PEPLOE, S.J. 95

M

PERIGAL, A. 1

MACTAGGART, SIR W. 85, 86

CADELL, F.C.B. 97, 98, 99, 102

PHILIPSON, SIR R. 113

CAMERON, D. 3

G

MCTAGGART, W. 14

CAMERON, K. 54

GIBSON, W.A. 38, 39

MANN, H. 43

R

CLARK, W. 6,

GILLIES, SIR W. G. 63, 87, 101,

MCBEY, J. 41

REDPATH, A. 94

CRAWFORD, E.T. 8

105, 106

MCGHIE, J. 42, 68

REID, J.R. 17,

MELVILLE, A. 51

CROSBIE, W. 91 CUNNINGHAM, J. 92

H

MILNE, J.M. 70, 72

S

CURSITER, S. 47, 48, 90

HARVEY, SIR G. 13,

MILNE, W.W. 49

SOUTER, J.B. 52, 53

HENRY, G. 56, 61, 62

MITCHELL, J.C. 44, 45

D

HERALD, J.W. 31, 32, 33, 34, 35

MORROCCO, A. 71, 93

V

DONALDSON, D.A. 104

HORNEL, E.A. 25, 29, 30

MURRAY, W.G. 65

VETTRIANO, J. 114, 115

DOUGLAS, SIR W.F. 9

HOUSTON, G. 46, 58, 59, 60 HUNTER, G.L. 69, 109

N

W

HUTCHISON, R.G. 26, 55, 67,

NASMYTH, A. 4

WALTON, E.A. 66

88, 89

NICOL, E. 11

WILKIE, SIR D. 36

NOBLE, J.C. 2

WILSON, J. 7

E EARDLEY, J 107, 110, 111

WILSON, W. 57

J JOHNSTONE, W. 112

Glossary of Cataloguing Terms The following expressions with their accompanying explanations are used by Lyon & Turnbull as standard cataloguing practice. Our use of these expressions does not take account of the condition of the lot or the extent of any restoration. Buyers are recommended to to inspect the property themselves. Written condition reports are usually available on request. Dimensions are given height before width Names or Recognised Designation of an Artist without any Qualification

Circle of…

In our opinion a work by the artist

In our opinion work of the period of the artist and showing their influence

Attributed to…

Follower of…

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

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

Studio of… / Workshop of… In our opinion a work executed in the studio or workshop of the artist, possibly under their supervision

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

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


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RARE BOOKS, MANUSCRIPTS, MAPS & PHOTOGRAPHS TO INCLUDE A SMALL COLLECTION OF WORKS ILLUSTRATED BY SIR WILLIAM RUSSELL FLINT Select entries are invited until the deadline of Friday 21st December. The auction will take place on 11th February at Lyon & Turnbull, 33 Broughton Place Edinburgh EH1 3RR. For a complimentary current-market valuation please contact specialist Simon Vickers on 0131 557 8844 or email simon.vickers@lyonandturnbull.com


JEWELLERY, SILVER, WATCHES & WINE AUCTION 06 DECEMBER AT 11AM IN EDINBURGH

THEO FENNELL - A LIMITED EDITION MULTI-GEM SET FOX PENDANT Length of pendant (including bale): 29mm

£1,000-1,500


EBONY-VENEERED REPEATING BRACKET CLOCK, THOMAS WARDEN, LONDON LATE 17TH CENTURY 24cm wide (handle up), 38cm high, 17cm deep

£3,000-5,000

FINE FURNITURE & WORKS OF ART Select entries are welcomed until the deadline of Monday 5th December. The auction will take place on 31st January at Lyon & Turnbull, 33 Broughton Place Edinburgh EH1 3RR.

For a complimentary current-market valuation please contact specialist Douglas Girton on 0131 557 8844 or email douglas.girton@lyonandturnbull.com


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Conditions of Sale SELLERS 1. DEFINITIONS In these Conditions of Sale (Sellers): “Auctioneer” means Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or its authorised auctioneer, as appropriate; “Buyer” is the person who makes the highest possible bid or offer accepted by the auctioneer, and/or such person’s principal where bidding as agent; “Buyer’s Premium” is the commission payable by the Buyer on the Hammer Price at the rates set out in the Sale Catalogue Guide to Prospective Buyers and an amount in respect of applicable VAT; “Hammer Price” is the highest bid accepted by the auctioneer by the fall of the hammer or in the case of a postauction sale, the agreed sale price; “Item” means each and every item consigned for sale following express written agreement between Lyon & Turnbull and the Seller; “Lot” means each Item offered for sale by Lyon & Turnbull; “Lower Estimate” means the low estimate provided by Lyon & Turnbull to the Seller in relation to each Item, or in relation to any Item which Lyon & Turnbull holds on behalf of the Seller; “Lyon & Turnbull” means the company which has its registered office at 33 Broughton Place, Edinburgh, EHI 3RR registered in Scotland No. 191166 “Net Sale Proceeds” are the Hammer Price, less commissions and other charges, of the Lot sold, to the extent received by Lyon & Turnbull in cleared funds; “Proposed Sale” means the intended sale through which the items will be sold on “Purchase Price” is the Hammer Price and applicable Buyer’s Premium; “Reserve” means the lowest price below which an item cannot be sold; “Terms of consignment” means the stipulated terms and rates of commission on which the Auctioneer accepts instructions from Sellers or their agents; “Upper Estimate” means the high estimate provided by Lyon & Turnbull to the Seller in relation to each Item, or in relation to any Item which Lyon & Turnbull holds on behalf of the Seller; “Without reserve” where there is no minimum price at which a lot may be sold (whether at auction or private treaty); “You”, “Your” means the seller. The Seller means you are the owner of the lot or, if you are not the owner of the lot (whether or not you have notified us that you are acting as an agent for a principal), you are duly authorised by the owner of the lot to sell it. “Us”, “Our”, “We” etc refers to Lyon & Turnbull Ltd

The singular includes the plural and vice versa as appropriate. 2. WARRANTY OF TITLE AND AVAILABILITY The Seller warrants:(a) that you are the true owner of the property consigned or are properly authorised by the true owner to consign it for sale and are able to transfer good and marketable title to the property free from any third party claims. (b) that all requirements have been complied with, legal or otherwise, relating to any export or import of the property consigned, all duties and taxes in respect of the export or import of the lot have (unless agreed in writing with us) been paid and, so far as you and any principal for whom they are acting in relation to the lot are aware, all third parties have complied with such requirements in the past.

4. TERMS OF SALE The Seller acknowledges that lots are sold subject to these Conditions and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot. 5. STANDARD SELLER FEES AND CHARGES (Subject to VAT) (1) Commission: 15% is charged on the selling price of each lot, (subject to a minimum charge of £45). Loss and damage warranty: 1.5% on value of lots sold. Photography: min charge £30. Online Listing: £10 per lot. (2) Transport: Items for sale must be consigned to the sale room by any stated deadline and at your expense. We may be able to assist you with this process. When organised on the Seller’s behalf the provision of transport will be contracted to third parties. Fees for transport will be deducted at the initial settlement.

(c) that you have provided Lyon & Turnbull with any and all information concerning the item’s provenance or any concerns expressed by third parties concerning its ownership, condition, authenticity, attribution, and export or import history; and

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

(d) Unless the Seller advises Lyon & Turnbull in writing to the contrary on delivery of the item to Lyon & Turnbull, there are no restrictions on Lyon & Turnbull rights to reproduce photographs or other images of the item in connection with the sale or any other marketing which will be done in accordance with good taste and decency.

1(a) You are entitled to place, prior to the auction, a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve. A lot will be sold without reserve unless a reserve has been agreed.

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

(b) Firm reserves may be no greater than lower pre-sale estimate level. (c) A reserve once set cannot be changed except with our agreement. (d) You may not bid or instruct or permit any other person to bid on your behalf on your own property. If the Seller breaches this prohibition, Lyon & Turnbull may treat the Seller as bound as Seller and as Buyer but without the benefit of Lyon & Turnbull Authenticity Guarantee or the reserve, and/or pursue other remedies. (e) We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the hammer price been the reserve. 7. LOSS & DAMAGE WARRANTY (a) Subject to condition 7(c) below Lyon & Turnbull will assume liability for loss or damage to an item, commencing at the time that item is taken into physical control and possession by Lyon & Turnbull and ceasing on the earliest date of;

(iii) 6 months from the date of delivery to Lyon & Turnbull for items still in the possession of Lyon & Turnbull but not consigned for sale (unless part of a longterm storage agreement). (b) Lyon & Turnbull shall charge a loss and damage warranty fee of 1.5% of the hammer price, plus VAT. (c) If any loss or damage should occur to the lot during the period identified in paragraphs (a) above, Lyon & Turnbull’s liability to compensate the Seller in respect of that loss shall be restricted to a maximum of the upper estimate, or actual loss incurred, whichever is lower. This compensation will be subject to a deduction of a 1.5% loss & warranty fee (subject to VAT). 8. UNSOLD ITEMS (1) If an item is unsold it may, with your consent, be 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 after-auction 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

(i) when risk passes to the Buyer of the lot following its sale;

(ii) it reasonably doubts the accuracy of any of the Seller’s warranties; or

(ii) for unsold lots, when the lot is released to the Seller, or, within 3 months of the sale;or

(iii) the Seller breaches any provisions of the Conditions of Sale in any material respect; or


Scottish Paintings & Sculpture

(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.

relation to an item prior to any Proposed Sale, excluding the normal method of commission bids.

(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.

(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.

10. AUTHORITY TO DEDUCT COMMISSION AND EXPENSES AND RETAIN PREMIUM AND INTEREST The Seller authorises us to deduct commission at the stated rate, and all expenses incurred for your account from the hammer price, and consents to our right to retain beneficially the premium paid by the Buyer in accordance with these Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. 11. NON-PAYMENT BY THE BUYER (a) Lyon & Turnbull will, where it considers appropriate, take reasonable steps to investigate the ability of bidders to pay for lots and will use reasonable endeavours, in consultation with the Seller, to enforce payment of the Hammer Price by any Buyer. (b) Lyon & Turnbull, in consultation with the Seller, will decide whether to pursue any of the remedies available to it, including those set out in Condition 10 of the Condition of Sale (Buyers) including the right to cancel the sale and return the property to the Seller. Lyon & Turnbull will inform the Seller of any action which it contemplates taking against the Buyer. (c) lf the Seller elects to take action against any Buyer on its own behalf Lyon & Turnbull will provide the Seller with such assistance as may be reasonably necessary to pursue that action. (d) The Seller hereby agrees to inform Lyon & Turnbull of any action which it chooses to take against the Buyer to enforce payment of the amount due to the Seller. (e) In the event that a Buyer fails to pay for a lot in accordance with the Conditions of Sale for Buyers, that lot will be treated in the same way as an unsold or collected lot. 12. SETTLEMENT PAYMENTS Subject to full payment by the Buyer, payment of the net proceeds of sale due to you will be made over to you 28 working days following a sale. Provided we have received cleared funds. Payment will be made by cheque or BACS (if requested). 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

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.

14. THIRD PARTY LIABILITY

18. DATA PROTECTION

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 or similarly for the safety of the property of persons visiting prior to, during or after a sale.

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.

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

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. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Seller agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply. BUYERS The Auctioneer carries on business with bidders, Buyers and all those present in the auction room prior to, or in connection with, a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein. 1. DEFINITIONS In these Conditions of Sale (Buyers): “Auctioneer” means Lyon & Turnbull Ltd (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 &

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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 & 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 & Turnbull has confirmed your payment of deposit and your completion of the High Value Lot pre-registration 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 & Turnbull dependant on circumstances, by way of bank transfer or credit card(s) acceptable to Lyon & Turnbull. Please note that Lyon & 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 & Turnbull any debt, the deposit will be refunded to you by way of wire transfer or such other methods as determined by Lyon & 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


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absentee bids. Lyon & 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.

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).

(c) Please note that we do not accept cash payments over £5,000.

(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;

(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.

(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;

9. TITLE AND COLLECTION OF PURCHASES

(f) to retain that or any other lot sold to you until you pay the total amount due;

(1) The ownership of any lots purchased shall not pass to you until you have made payment in full to us of the total

(g) to reject or ignore bids from you or your agent at future auctions or to

(b) Please note there is a surcharge of 2% when using credit cards.

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


Scottish Paintings & Sculpture

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/ahvlaen/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.

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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.


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Guide to Bidding & Payment Registration

Droit de Suite

Payment

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:

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 endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk.

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:

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.

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.

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.

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 4.


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

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

22 Connaught Street, London W2 2AF Tel. +44 (0)207 930 9115

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 4.

508 Scottish Paintings & Sculpture  

Viewing Times Sunday, 3rd December 12pm - 4pm Monday, 4th December 10am - 5pm Tuesday, 5th December 10am - 5pm Wednesday, 6th December 10...