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Wednesday, 18th April 2018 33 Broughton Place Edinburgh

Modern British & Contemporary Art


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Modern British & Contemporary Art Wednesday, 18th April, 2018 at 11am Sale Number LT517

Viewing Times Sunday, 15th April 12 noon - 4pm Monday, 16th April 10am - 5pm Tuesday, 17th April 10am - 5pm Morning of sale by appointment only

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

Catalogue: ÂŁ15

Front Cover Lot 229 (detail)

Inside Front Cover Lot 225 (detail)

Inside Back Cover Lot 70 (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 first time bidders at Lyon & Turnbull will be asked to supply the following documents in order to facilitate registration:

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

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

1 – Government issued photo ID (Passport/ Driving licence)

* 5% import VAT payable on the hammer price

2 – Proof of address (utility bill/ bank statement).

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

We may, at our option, also ask you to provide a bank reference and/ or deposit. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website). Bidding & Payment For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue. Removal of Purchases Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser.

Import/Export Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot. Endangered Species Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside the EU. For more information visit http:// www.defra.gov.uk/ahvla-en/ imports-exports/cites


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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.

Charlotte Riordan

Nick Curnow

Carly Shearer

Head of Sale

Head of Department

Specialist

charlotte.riordan@lyonandturnbull.com

nick.curnow@lyonandturnbull.com

carly.shearer@lyonandturnbull.com

How to Find Us in Edinburgh

Lyon & Turnbull Saleroom

York Place tram stop

Waverley Station, Princes Street


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1 [§] GEORGES BRAQUE (FRENCH 1882-1963) CHAR AUX CHEVAUX NOIR, 1950 Signed and numbered 16/75 in pencil to margin, lithograph 35cm x 26cm (13.75in x 10.25in)

£400-600

2 [§] JULIAN TREVELYAN R.A. (BRITISH 1910-1988) CRETAN WITCHES FIGHTING Signed and inscribed with title in pencil to margin, numbered 1/30, intaglio print 40cm x 52cm (16.5in x 20.5in) and a further print by the same artist ‘Moscow’ (2)

£600-800


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3 [§] WILLIAM SCOTT C.B.E., R.A. (BRITISH 1913-1989) BLUE AND WHITE (FROM THE PORTFOLIO ‘A POEM FOR ALEXANDER’) Signed and dated ‘72 in pencil and numbered 2/72, screenprint, printed by Kelpra Studios, published by Leslie Waddington Prints Ltd, unframed 59cm x 78cm (23.25in x 30.75in) Note: The concept of the ‘Poem for Alexander’ portfolio dealt with Euclid’s ten universal mathematical ‘truths’. In these prints, Scott plays with symmetrical arrangements using hand drawn lines to amuse us with geometry.

£800-1,200

4 [§] WILLIAM JOHNSTONE O.B.E. (SCOTTISH 1897-1981) UNTITLED (ABSTRACT) Signed with initials, ink and wash 78cm x 59cm (30.75in x 23.25in)

£400-600

5 [§] WILLIAM JOHNSTONE O.B.E. (SCOTTISH 1897-1981) UNTITLED (ABSTRACTION) Signed with initials, ink and wash 60cm x 79cm (23.5in x 31in)

£400-600 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4


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6 [§] WILLIAM GEAR R.A., F.R.S.A, R.B.S.A. (SCOTTISH 1915-1997) BLACK AND PINK, 1951 Signed and dated ‘51, gouache 42cm x 32cm (16.5in x 12.5in) Exhibited: ‘Colour and Form: William Gear, 1915-1997’, Royal Birmingham Society of Artists Gallery, November 2017

£1,000-1,500

7 [§] WILLIAM GEAR R.A., F.R.S.A, R.B.S.A. (SCOTTISH 1915-1997) UNTITLED (SPATTER), 1959 Acrylic and ink on paper 28cm x 30cm (11in x 11.75in) Exhibited: ‘Colour and Form: William Gear, 1915-1997’, Royal Birmngham Society of Artists Gallery, Nov 2017

£800-1,200


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8 [§] JAMES CUMMING R.S.A. R.S.W. (SCOTTISH 1922-1991) OVULE Signed, acrylic on canvas 75cm x 61cm (29.5in x 24in) Literature: No. 13, p.56, ‘James Cumming’, published by Mercat Press & The Scottish Gallery

£700-900

JAMES CUMMING Born in Dunfermline, James Cumming was a Scottish artist, and influential lecturer known for his highly intellectual and expressive paintings. At school Cumming was taught by George Watson where he showed an early promise in art. Determined to become a painter, Cumming won the Andrew Grant Scholarship to attend the Edinburgh College of Art between 1939-1947. His studies were interrupted by the Second World War and in 1941 he joined the RAF, serving in India and Burma. Following the war Cumming returned to the ECA, completing his Diploma and then postgraduate degree in 1949. He was awarded a travelling Scholarship to Callanish on the Isle of Lewis, during which he was inspired to paint his series of Hebridean paintings. Cumming was also associated with the Edinburgh School of painters which included Sir Robin Philipson and William Gillies. However his Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

distinctive ‘painterly’ yet thinly applied textures set him apart from the heavy impasto of his contémporaries. His abstract paintings were inspired by the origins of life, symbols and microbiology, his art has been described as ‘part- archaeological, part- sociologically-scientific’. Throughout his career he worked with a restricted colour palette, drawing his visual language from scientific research and investigations into recent discoveries with electronic microscope. Between 1950 and 1982 Cumming lectured at the Edinburgh College of Art during the time when John Bellany and Richard Wright were students. He is remembered as an ambitious artist who strove to create an original and distinct vision. His life and work are frequently celebrated, with the most recent exhibitions being held at the Scottish Gallery and the Talbot Rice Gallery in Edinburgh.


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9 [§] JAMES CUMMING R.S.A. R.S.W. (SCOTTISH 1922-1991) BASQUE CRUCIBLE AND CARAFE Signed, gouache 47cm x 36.5cm (18.5in x 14.25in) Exhibited: Cat. no. 84, The Scottish Gallery, Edinburgh, 1985; Cat. no. 37, The Lamp of Lothian Trust exhibition at Haddington House, 1986

£250-350

10 [§] HENRY MOORE O.M., C.H., F.B.A. (BRITISH 1898-1986) NATIVITY 1981, E/A, signed in pencil to margin, lithograph, published by Curwen Press 40cm x 44.5cm (15.75in x 17.5in) (full sheet)

£400-600


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11 [§] HENRY MOORE O.M., C.H., F.B.A. (BRITISH 1898-1986) RECLINING FIGURE CAVE 1979 S/P, signed in pencil to margin, lithograph, published by Curwen Press 54cm x 64cm (21.25in x 25.25in) (full sheet)

£1,500-2,500

12 [§] COLIN THOMS (SCOTTISH 1912-1997) PORTRAIT OF MY GRANDMOTHER ON HOLIDAY Signed and dated ‘83, oil on canvasboard 47cm x 58cm (18.5in x 22.75in)

£400-600


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BET LOW Lyon & Turnbull are pleased to present for sale the studio conténts of Bet Low. Sold now on behalf of The Bet Low Trust, a registered Scottish charity set up by the artist in 1994 and continued, since her death, by a committee. The Trust awards scholarships to students or practising artists in Scotland in the fields of drawing or painting. These fascinating works from her studio tell a story of two of Scotland’s distinct faces; from the streets of post-industrial Glasgow, to the cliff edge of our farthest flung isles. These works also reveal to us the dual preoccupations that drove her as an artist; from her politicised roots and deep engagement in the artistic community, to her meditative, almost spiritual connection to the Scottish landscape. The City: Low was born in 1924 in Gourock, a town at the mouth of the River Clyde. In 1942, she enrolled at the Glasgow School of Art. Here, whilst training under teachers like David Donaldson and Benno Schotz, she befriended contémporaries including Joan Eardley and Ian Hamilton Finlay, as well as influential émigré artists Josef Herman and Jankel Adler, whose studio she eventually took on. Like Eardley, Low followed up her diploma with a formative residency under James Cowie at Hospitalfields, Arbroath. Also in common with these peers, Low possessed a single-minded focus towards her art practise that meant she only briefly entertained the idea, as many artists do, of becoming an art teacher. Instead she resolutely pursued an independent artistic career, starting by immersing herself in the creative community of Glasgow’s Unity Theatre. Here she painted and designed sets, illustrated periodicals and depicted the theatre’s characterful members of cast and crew, some of whom are featured in the portraiture shown here. The theatre shared the same building at the Refugee Centre, which proved influential on Low’s developing socialist ideologies. Though quite literally freezing in the proverbial bohemian garret during this time, the single-minded Low was in her element. Over these formative years, Low fostered an enduring love of philosophy, politics and progressive discussion. In 1946 she joined the Clyde Group of Writers and Artists, whose manifesto sought to bring art and poetry to the masses, via a proactive series of exhibitions and events. It was during this period that Low produced the bold, expressionistic ink drawings and linocuts of a Glasgow that has since disappeared. They remain remarkable snapshots of social history; depicting markets, street protesters and sooty tenement backcourts. Later, the ever industrious Low set up The New Charing Cross Gallery in the early 1960s with fellow artist John Taylor. They invited art lover

and collector Cyril Gerber to its board, who of course went on to found the Compass Gallery which carried on their good work, and continued to promote Low and her peers. Both galleries had finally provided a much needed platform for the city’s more progressive artists. The 1960s also coincided with serious exploration into the field of abstraction. These works - sometimes monochromatic and later moving into tonal experimentation - convey a sense of movement, be they natural forces; perhaps water or air, or metaphysical; like the pulse of a music wave. The Country: Low is best known for her atmospheric depictions of the Scottish landscape. She was especially interested in capturing and conveying the play of light as it traverses landforms and bodies of water. Above all, these works convey the transience of experience; evoking the sensation of a breeze on the face, a mizzle of mist on the skin, the sense of wonder felt when the light slants through a cloud ‘just so’, creating an effect so simply stunning it bonds itself to our memory. Much of her best work in this area was painted in Orkney. While there, she became the friend of the poet George Mackay Brown, their connection unsurprising given the sense of the poetic that permeates her own work. Together they collaborated on ‘poem paintings’, celebrating the beauty of the Orcadian landscape. Though critically regarded, loved by the canniest collectors of Scottish art, and increasingly on the radar of the next young generation of artists, Bet Low remains something of a well-kept secret; her market as yet failing to reflect her standing in the story of Scottish art. This is beginning to change, with prices notably and deservedly beginning to spike upwards in the last couple of years. This sale represents the opportunity to invest in both classic examples of her mature style and scarcer, early material from her atelier which positions her in the heart of an exciting period in Glasgow’s artistic history. A last word from her friend and supporter, the critic Cordelia Oliver: “It still seems to me that few other painters in Scotland have been able to pursue a line of visual thought so purposefully and relentlessly without tedious repetition”. An apt description which, curiously, can’t help but put one in mind of some of Low’s more celebrated contémporaries, Eardley and Hamilton Finlay.


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WORKS FROM THE STUDIO OF BET LOW [PART ONE] 13 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) MRS SUGAR - A WEE TAIT OF SUGAR Indian ink 27cm x 18cm (10.5in x 7in) Note: Bears ‘Bet Low Trust’ stamp verso

£300-500

14 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) BACK COURT SINGER, BLACK STREET, TOWNHEAD Signed, Indian ink 17cm x 13cm (6.75in x 5in)

£300-500

15 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) OLD LADY AND DOG Indian ink 12cm x 8cm (4.75in x 3.25in) Note: Bears ‘Bet Low Studio’ stamp verso

£250-350 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4


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16 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) ’THE SELF-STYLED AUSTRALIAN JOURNALIST’ Signed and inscribed with title and dated 1946/47 verso, oil on board, studio stamped verso 44cm x 35cm (17.25in x 13.75in)

£500-700

17 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) JOCK, UNITY THEATRE Signed, signed and inscribed “Jock, J. Stewart, photographer’ verso, and dated c.1951, oil on board, studio stamped verso 44cm x 34cm (17.25in x 13.5in)

£500-700


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18 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) BATH TIME Signed, conté 12cm x 16.5cm (4.75in x 6.5in) and a further work by the same hand, ‘Crossed Legs, Arms Folded’ (2)

£500-700

19 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) THE WATERCOLOUR SET Conté 23.5cm x 18cm (5.25in x 7in) and a further work by the same hand, ‘Fast Asleep’ (2)

£500-700 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4


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20 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) THE ARCHES, GLASGOW C.1946-47, signed, charcoal 10.5cm x 10.5cm (4in x 4in)

£300-500

21 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) STREET INCIDENT, COWCADDENS Signed, indian ink 8.5cm x 8cm (3in x 3.25in) and two further works by the same hand, ‘Hearse’, and ‘Derrick, Port Dundas’ (3)

£600-800


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22 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) DARK IMAGES Signed, watercolour 51cm x 63.5cm (20in x 25in)

£600-800

23 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) SUBMERGED Signed, gouache 34cm x 32cm (13.5in x 12.5in)

£800-1,200


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24 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) BLUE ABSTRACT, NO. 48 Signed, gouache 52cm x 64cm (20.5in x 25.25in)

£800-1,200

25 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) CRESCENT FORMS Signed, mixed media 16.5cm x 14cm (6.5in x 5.5in) and two further works by the same hand, also depicting crescents (3)

£800-1,200

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4


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WORKS FROM THE COLLECTION OF BET LOW 26 [§] RICHARD NORMAN R.S.W. (SCOTTISH CONTEMPORARY) KITCHEN TABLE Signed and dated June ‘94, gouache and pastel 30cm x 21cm (11.75in x 8.25in)

£300-500

27 [§] TOM MACDONALD (SCOTTISH 1914-1985) OIL LAMP Signed and dated ‘59, oil on board 59cm x 31cm (23.5in x 12.25in)

£300-500

28 [§] RICHARD NORMAN R.S.W. (SCOTTISH CONTEMPORARY) DOMESTIC INTERIOR Signed, pencil and watercolour 25cm x 26cm (9.75in x 10.25in)

£300-500


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29 [§] JAMES COWIE R.S.A. (SCOTTISH 1886-1956) STILL LIFE WITH GLOVES, GLASS AND BOOK C.1930, mixed media on paper 21cm x 28cm (8.25in x 11in) Exhibited: The Fine Art Society, Edinburgh, December 1987

£700-900

30 [§] WILLIAM SENIOR (SCOTTISH FL.1940-60) GREEN STILL LIFE WITH FLOWERS IN A BLACK JUG Signed, oil on canvas 64cm x 77cm (25in x 30.25in)

£400-600


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31 [§] JACK KNOX R.S.A. (SCOTTISH 1936-2015) DRAWING (APPLE BASKET) Signed and dated ‘75, signed and inscribed with title verso, charcoal on buff paper 36cm x 49cm (14.25in x 19.25in) Provenance: From the Collection of Bet Low

£400-600

32 [§] JACK KNOX R.S.A. (SCOTTISH 1936-2015) PEPPERS Signed and dated ‘75, conté 15cm x 19cm (6in x 7.5in)

£300-500

33 [§] JACK KNOX R.S.A. (SCOTTISH 1936-2015) ASPARAGUS Signed and dated ‘75, conté 17.5cm x 15.5cm (7in x 6in)

£300-500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4


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34 [§] PHILIP REEVES P.R.S.W., R.S.A., R.E. (SCOTTISH 1931-2017) ABANDONED PLANT, 1970 Signed, mixed media and collage 60cm x 73cm (23.5in x 28.75in)

£600-800

35 [§] PHILIP REEVES P.R.S.W., R.S.A., R.E. (SCOTTISH 1931-2017) OVER MALVERN Signed, mixed media 25cm x 30cm (9.75in x 11.75in)

£400-600


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36 CHARLIE BOYLE (SCOTTISH CONTEMPORARY) PINK ABSTRACT Signed and dated ‘66, oil on canvas 100.5cm x 152cm (39.5in x 59.75in)

£300-500

37 [§] JACK KNOX R.S.A. (SCOTTISH 1936-2015) MARGARET IN BLUE ROOM Signed and inscribed with title, artist’s label verso, oil on canvas 120.5cm x 122cm (47.5in x 48in)

£500-700


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38 [§] JOHN INGLIS P.R.S.W., R.G.I. (SCOTTISH B.1953) 76 ORKNEY BOX I, 1975 Watercolour 10cm x 14cm (4in x 5.5.in) Exhibited: Compass Gallery, Glasgow, December 1975

£300-500

39 [§] ROGER HILTON (BRITISH 1911-1975) COMPOSITION Pastel 19cm x 14cm (7.5in x 5.5in)

£700-900

40 [§] JOHN TAYLOR (SCOTTISH B.1936) ABSTRACT FORM Signed, gouache 34cm x 26cm (13.5in x 10.25in)

£300-500


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41 [§] ATTRIBUTED TO JANKEL ADLER (POLISH 1895-1949) PORTRAIT OF THE MUSICIAN ERIC HUDES, MANCHESTER, C.1940 Oil on canvas board 36cm x 27cm (14.25in x 10.5in) Note: Though it is not known exactly when the artist acquired this artwork, Low was a friend of Adler, and later took on his studio when he left Glasgow. The work is annotated by Low’s hand on its backboard as being by Adler, and depicting Eric Hudes. She has dated the work ‘c.1940, or earlier’. Low also bought work from her friend Cyril Gerber, owner of the Compass Gallery, over the years. Gerber dealt frequently in Adler’s work.

£800-1,200

42 [§] DONALD BAIN (SCOTTISH 1904-1979) CITY STREET Signed, pastel 14cm x 19cm (5.5in x 7.5in)

£250-350


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WORKS FROM THE STUDIO OF BET LOW [PART TWO]

43 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) WARSAW / PEACE PROTEST - 1954 Linocut and two further linocuts by the same hand, ‘The Sabbath, Wester Ross, 1949’ and ‘Ruchill Hospital, 1950’ (3)

£600-800


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44 [ยง] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) THE RABBI Signed, ink and wash 23cm x 26.5cm (9in x 10.5in) and two further works of similar subjects (3)

ยฃ400-600


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45 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) FIGURE STUDY OF TWO GENTLEMEN Signed, indian ink, unframed 11cm x 14cm (4.25in x 5.5in) and three further unframed works by the same hand of different portrait sketches (4)

£500-700

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4


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46 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) STONES UNDERWATER Signed, signed and inscribed with title and dated 1960 verso, studio stamped verso, watercolour 49cm x 60cm (19.25in x 23.5in)

£800-1,200

47 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) SEAFFIE Signed, charcoal 17.5cm x 15cm (7in x 6in) and two further portrait drawings by the same hand, ‘John Low’ and ‘Russell’ (3)

£600-800


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48 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) ’STREET MUSICIANS’, ‘STREET PROTESTORS’ & ‘THE BARRAS’ ’Street Musicians’, pastel and gouache, 14cm x 16cm (10in x 6.25in); ‘Street Protestors’, signed, pastel and gouache, 11.5cm x 16cm (4.5in x 6.25in); ‘The Barras’, linocut, 17.5cm x 15cm (6.75in x 6in) (3) £600-800

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4


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49 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) STILL LIFE, STROMNESS Signed, studio stamped verso, watercolour 37cm x 50cm (14.5in x 19.75in)

£500-700

50 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) STONY LANDSCAPE, COLONSAY ISLAND, II Signed, ink and wash 37cm x 38cm (14.5in x 15in)

£600-800


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51 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) WINTER, ARRAN - C.1955 Signed, inscribed with title and dated ‘mid50’s’ verso, oil on paper, studio stamped verso 13cm x 33cm (5in x 13in) Exhibited: The Royal Scottish Academy

£500-700

52 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) NIGHTFALL - EDGE OF THE HILL (1978) Signed, oil on board 12cm x 35cm (4.25in x 13.75in) Note: Bears studio stamp and ‘Bet Low Trust’ stamp verso

£600-800

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4


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53 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) BLUE WAVE FORM Signed, watercolour 38.5cm x 50cm (15.25in x 19.75in)

£700-900

54 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) ROCK POOL, 1960 Signed and inscribed with title and dated ‘Oct 1960’ verso, oil on board, studio stamped verso 25cm x 56cm (10in x 22in)

£500-700


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55 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) AUTUMN HILLSIDE Signed, signed and studio stamped verso, oil on canvas 70cm x 70cm (27.5in x 27.5in)

£2,000-3,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4


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56 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) INEVITABLE PROGRESSION, NO. 1 - 1964 Signed, watercolour 63.5cm x 51cm (25in x 20in) Exhibited: Solo show, ‘New Charing Cross Gallery’, Glasgow, 1965

£600-800

57 [§] BET LOW A.R.S.A, R.S.W. (SCOTTISH 1924-2007) ROAD THROUGH THE MOORS Signed, watercolour 39cm x 51cm (15.25in x 20in) Exhibited: S.S.W.A. Exhibition, recipient of the Truant Award, 1984

£1,200-1,800


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CHRISTOPHER WOOD Christopher Wood is one of the best loved artists of the Modern British period and remains highly sought after by collectors. His artistic output was small but influential, and his dramatic life story, culminating in his tragic early death in 1930, engendered a personality cult which continues to enthrall historians and collectors to this day. Born in Knowsley, Liverpool, Wood moved to Paris after briefly studying architecture. In 1921 he attended the Académie Julian, a school which produced many successful artists and was as effective at stimulating networks as it was at nurturing artistic talent. The handsome young Wood, whose artwork was becoming admired for its charming naivety, excelled in both of these areas. He quickly gained the attention and patronage of Chilean diplomat Antonio de Gandarillas. Gandarillas provided crucial financial support, and introduced Wood to Picasso and Jean Cocteau, though also to the use of opium, which was to play a tragic role in his later life. It was in the mid-1920s, however, that Wood truly began to make his mark. Man With Cards dates from c.1925, a year considered pivotal to his transition into a “serious” artist. It is likely to have been painted while in France, possibly Paris. It could be posited that this work contains an early appearance of what was to become a classic trope for Wood: the fisherman. Traditionally associated with boundlessness, escapism and freedom from society’s rules, some have interpreted Wood’s fishermen as a covert reference to his homosexuality; Wood was openly bi-sexual and indeed was cohabiting with Gandarillas at this time. Whether a fisherman or some other form of fringe figure, the sitter seems lost in a reverie, playing with (Wood’s own) pack of cards. This is one of the earliest known appearances of playing cards in his work. This became another important part of his visual lexicon; evocative of Fate and life’s unpredictability. His cards are now housed in Tate’s collection. Wood began his first serious heterosexual love affair the year this work was painted, and the presence of two somewhat surreal female figures in the top right of the composition perhaps allude to this development in his life. His work often contains a sense of the uncanny or a barely perceptible undercurrent of tension, and these strangely-hued figures peering into the frame appear almost as if figments of the sitter’s imagination. Many art historians perceive evidence of the more hallucinatory and visionary aspects of Wood’s opium addiction at work in such elements, and it is certainly true to say that Wood became increasingly keen on weaving his work with elements of fantasy and memory. The late 1920s saw Wood continue to establish himself - especially in London - exhibiting as a member of the London Group in 1926 and the Seven and Five Society between 1926-30. Through this he forged an important friendship with Ben and Winifred Nicholson, exhibiting with the couple at the Beaux Arts Gallery in 1927. Both artists had a considerable impact on Wood’s art, and his mature artistic style was ultimately cemented during a trip with Ben Nicholson to St Ives. Here, the pair met a local artist called

Alfred Wallis. The freeness and gentle naivety of Wallis’ self-taught ‘primitive’ approach was the final piece in the eclectic puzzle of Wood’s own visual language. The modernism absorbed during his Parisian years, the romanticism of the English artistic tradition to which he was both drawn and simultaneously sought to circumvent, and the child-like quality of the work of ‘Outsider’ figures like Alfred Wallis combined to set his work apart from his peers. As such, Wood’s art is considered to represent an important and unique ‘bridge’ between England and the Continent at that time – subsumed by neither one style nor the other. Wood died prematurely and tragically; throwing himself under a train in 1930 at the age of 29, presumed to be struggling with opium withdrawal symptoms. His career was cut short; capping the number of artworks produced and increasing the scarcity and demand to this day. A well-known figure in art circles of the time, his legacy was cemented and his influence on the next generation has been well-noted. In 1938 his paintings were included in the British Pavilion at the Venice Biennale. In the same year a major exhibition was organised by the Redfern Gallery at the New Burlington Galleries, which attempted to re-unite Wood’s complete works, and is said to have provided key inspiration to the Neo-Romanticist movement including Paul Nash, John Minton and John Craxton. Man with Cards is listed as number 125 in Eric Newton’s 1936 catalogue raisonné of the artist, and, along with the rest of his estate, was taken into the care of the Redfern Gallery from 1938. It was purchased from the gallery in 1956, and has remained in the same family’s private collection since. It will appear in the forthcoming catalogue raisonné by Robert Upstone, who Lyon & Turnbull would like to thank for his kind assistance in cataloguing this lot.

58 CHRISTOPHER WOOD (BRITISH 1901-1930) MAN WITH CARDS 1925, oil on canvas 70cm x 57cm (27.5in x 22.5in) Literature: No. 125, ‘Christopher Wood, 1901-1930’, Eric Newton, published 1938; This work is to be included in Robert Upstone’s forthcoming catalogue raisonné of the artist Exhibited: The Yorkshire Artist’s Exhibition, 1955 Provenance: This work moved, with the rest of the artist’s estate, to the Redfern Gallery, London, when they were amassing his works for their exhibition ‘Christopher Wood: Exhibition of Complete Works’ in 1938. The exhibition comprised 350 oils, though a further 100, including this work, were not featured; Sold by the Redfern Gallery in 1956; thence by descent to the present owner. Note: We are grateful to the kind assistance of Robert Upstone in cataloguing this lot.

£50,000-70,000


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Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4


40 Lyon & Turnbull

59 [§] JOHN CRAXTON R.A. (BRITISH 1922-2009) PAINTED HARPSICHORD, DATED 1976 Oil on harpsichord case, signed and dated ‘76 on the inside lid 230cm long, 91cm high, 90cm wide Note: This instrument was manufactured by John Barnes of Edinburgh for the Hope Scott Trust in 1976/7. In 1973 the Trust were approached by the Scottish Baroque Ensemble for help to fund the purchase of a new harpsichord to which they agreed. Mr Barnes was commissioned to build two manual instruments in the style of Joannes Ruckers as adapted by French makers in the 1730s. At a trustees meeting in July 1974 it was decided to ask four artists if they would be interested in decorating the case. The artists were Alexander Zyw, James Morrison, John Craxton and Barbara Balmer. Having considered the submitted designs the trustees chose Craxton to decorate the case. Both case and instrument were completed by August 1977 and the instrument was given on permanent loan to the Scottish Baroque Ensemble for its first performance at the Signet Library in Edinburgh in November 1977, to great acclaim. The instrument is no longer suitable for professional use, however the case by John Craxton remains in excellent condition.

£3,000-5,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4


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60

[§] PAT DOUTHWAITE (SCOTTISH 1939-2002) THE YELLOW DRESS Signed and dated ‘70, pastel on brown paper 65cm x 48cm (25.5in x 19in)

£800-1,200

61 [§] PAT DOUTHWAITE (SCOTTISH 1939-2002) MY INDIAN Signed and dated ‘85, oil on canvas 152cm x 121cm (59.75in x 47.5in)

£3,000-5,000


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62 UNKNOWN (20TH CENTURY) WHAT A HARMLESS ARE THE ANIMALS Professor A. Eckhoff, bearing inscriptions throughout, pencil and watercolour 74cm x 52cm (29in x 20.5in)

£500-700

THE OUTSIDER ART COLLECTION OF DR. A. C. DALZELL: Beginning & Ending of an Era ‘Outsider Art’ is defined as the production of art and imagery by individuals practising outwith cultural and societal norms. It originates from the research of mentally ill inpatients by psychiatrists in the early 20th century, the art of whom influenced contemporary figures such as Jean Dubuffet and Andre Breton. Dubuffet characterised the output as ‘Art Brut’ (or, ‘Raw Art’), becoming greatly impressed by what he regarded as the purity of their creativity. Their work was produced without training, indeed without awareness of itself as art at all, the result being what Dubuffet saw as a wholly unfettered directness; completely lacking in inhibition and undistorted by cultural bias. Now an avidly collected field with its own dedicated art fair held annually in New York and Paris, the remit of ‘Outsider Art’ has expanded to include any untrained figure producing work on society’s margins, through disability or eccentricity, for example. The collection Lyon & Turnbull will offer in April represents a rare body of examples dating from that earliest definition of the genre. Dr. Alec C. Dalzell 1905-1990, painter and psychiatrist, was appointed Medical Superintendent of Friern Hospital in 1945. Already the Surrealist Exhibition of 1936 had strongly influenced his ideas about the root source of art, and fuelled his interest in the links between creativity and mental illness, the boundary between illness and art. He had also been influenced by Hans Prinzhorn’s book, The Artistry of the Mentally Ill (1922), and several of the styles represented in his collection have a family resemblance to the ‘schizophrenic masters’ illustrated in Prinzhorn’s work. By 1945 there were a large number of displaced, war-traumatised persons in Friern Hospital including many Jews and others from Eastern Europe, Poland and the Ukraine. Images from this group appear to have particularly interested Dalzell; for example the biographical carpet-picture by ‘Prof. Erkhoff’, or another patient’s extensive text and graphic diary of Hospital life made by using blue crayon on toilet paper.

The collected images are highly individual, full of precision and intent. Dr. Dalzell believed that meaningful activity for patients was therapeutic. His collection was shown to staff and students within the hospital a number of times. Perhaps because these works interested him more as a painter than as a doctor, they do not appear to have been collected to illustrate particular pathologies. The comments attached to the corners of some of the work refer only to the mood of a patient while making the work. By the 1960’s sedation (by chlorpromazine for example) had become an accepted way to control patients. Heavily sedated patients were no longer able to produce work characterised by the kind of impulsive energy, or intricate hypnotic detail that prompted Dalzell to make his collection. Indeed, the art room activity variety of Occupational Therapy which he had encouraged became known as ‘diversionism’. Of his collection of censored written work, letters and journals collected from various hospitals in South London beginning in the 1930’s, Dalzell said that, as with the visual pieces, it had been the artistry of the writers that had interested him. He recalled a moment when reading a stream-of-consciousness novel given to him by one of the Bloomsbury Group and thinking: ‘my patients can do that’. After the 1960’s, Friern Hospital was slowly wound down. In 1993 the old asylum was converted into luxury flats and renamed Princess Park Manor. This unique collection comes to market directly via Dr Dalzell’s descendants.


44 Lyon & Turnbull

63 UNKNOWN (20TH CENTURY) THE YELLOW BEAST Watercolour on paper 34cm x 50cm (13.5in x 19.75in)

£300-500

64 UNKNOWN (20TH CENTURY) NUDE FIGURES Signed ‘ Hyman Bloom’, watercolour and pencil 38cm x 26cm (15in x 10.25in)

£300-500


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65 UNKNOWN (20TH CENTURY) PRIMITIVE FACE - BLUE EYES Indistinctly inscribed ‘Bloom’ upper left corner, pastel 36cm x 26cm (14.25in x 10.15in)

£300-500

66 UNKNOWN (20TH CENTURY) MONKEY CAGE Indistinctly inscribed ‘K. Wood’, a further handwritten inscription has been glued to the top left: ‘None of his usual hesitation before starting this one, he had no help at all. He knew exactly what he wanted to do. His only comment - “The monkeys are not trying to get out, they are enjoying themselves”, 17th May, 1949’, watercolour 27cm x 37cm (10.5in x 14.5in)

£400-600


46 Lyon & Turnbull

67 UNKNOWN (20TH CENTURY) MAN IN THE STREET Signed ‘R. Perry’ and dated 31.3.54, watercolour and pastel 27cm x 37cm (10.5in x 14.5in)

£250-350

68 UNKNOWN (20TH CENTURY) FLYING FIGURES Initialled ‘IJ’, inscribed verso ‘ Miss Inger Jensen, ‘Rotar’, Feb: 1959’, watercolour and gouache 36cm x 55cm (14.25in x 21.5in)

£300-500

69 UNKNOWN (20TH CENTURY) MILITARY FIGURE Inscribed ‘S. Rosenthal’ verso, with further abstract watercolour sketch verso, watercolour and pastel 38cm x 28cm (15in x 11in)

£300-500


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70 UNKNOWN (20TH CENTURY) THE VOICE OF INVISIBLE JUSTICE Inscribed “THE VICTIMIZERS AND PEACE-BREAKERS BROKEN THEMSELVES - BUT CARRY ON WITH THE GOOD WORK FOR ALL - THE VOICE OF INVISIBLE JUSTICE”, watercolour and ink 50cm x 35cm (19.75in x 13.75in)

£400-600


48 Lyon & Turnbull

71 UNKNOWN (20TH CENTURY) GIRL WITH CAT Indistinctly signed ‘Lily Gibeon’ and inscribed with title, bears handwritten note verso inscribed ‘Lily Gibeon (severe schizophrenia): Her paintings nearly always portray herself. Though quiet and colourless herself, her paintings are full of colour, force and are done at great speed’, mixed media 50cm x 31cm (19.75in x 12.25in)

£400-600

72 UNKNOWN (20TH CENTURY) GRINNING GREEN CAT Bears a watercolour painting of a still life of flowers verso, watercolour 27cm x 37cm (10.5in x 14.5in)

£200-300

73 UNKNOWN (20TH CENTURY) GIRL AT WINDOW Watercolour and pastel on black paper 53cm x 35cm (20.75in x 13.75in)

£400-600


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74 UNKNOWN (20TH CENTURY) THE DIGGERS DUG AND DUG Bears handwritten inscription in ink verso, dated May 31st 1955, pencil drawing on blank postcard, unframed 14cm x 8cm (5.5in x 3.25in)

£200-300

75 UNKNOWN (20TH CENTURY) BEAUTIFUL CHANDELIER Bears handwritten inscription in pencil verso, dated April 15th 1955, pencil drawing on blank postcard, unframed 14cm x 8cm (5.5in x 3.25in)

£200-300

76 UNKNOWN (20TH CENTURY) THE UNKNOWN YOUTH Bears handwritten inscription in pencil verso, dated April 14th 1955, pencil drawing on blank postcard, unframed 14cm x 8cm (5.5in x 3.25in)

£200-300

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4


50 Lyon & Turnbull

77 UNKNOWN (20TH CENTURY) FEAR Signed ‘A. Friend’ and dated April 2nd 1963, inscribed with title, pastel 50cm x 30cm (19.75in x 11.75in)

£200-300

78 UNKNOWN (20TH CENTURY) LADDER Indecipherably inscribed, watercolour, with hand-serrated edge 39cm x 58cm (15.25in x 22.75in)

£250-350


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79 UNKNOWN (20TH CENTURY) SONG OF ALLIE’S FRATERNITY Signed ‘Professor A. Eckoff’, bearing various inscriptions, watercolour and mixed media 57cm x 36cm (22.5in x 14.25in)

£500-700 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4


52 Lyon & Turnbull

80 UNKNOWN (20TH CENTURY) STRIPED CAT WITH KITTEN Gouache on paper 36cm x 50cm (14in x 19.75in)

£400-600

81 UNKNOWN (20TH CENTURY) THREE RED CATS Watercolour 27cm x 36cm (10.5in x 14in)

£200-300

82 UNKNOWN (20TH CENTURY) CROWD OF FACES, WITH CAT Monogrammed ‘S.P.R.’, watercolour and pencil 24cm x 37cm (9.5in x 14.5in)

£250-350


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83 UNKNOWN (20TH CENTURY) A BLUE CAR Signed with initials ‘J.H.W. and dated 1962, drawing of pink candles verso in the same medium, pastel, on a greytoned paper 30cm x 50cm (11.75in x 19.75in)

£200-300

84 UNKNOWN (20TH CENTURY) A DANGEROUS JOURNEY Signed ‘Donald H?’ and inscribed with title, watercolour 70cm x 54cm (27.5in x 21.25in)

£300-500


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85 UNKNOWN (20TH CENTURY) GREEN AND RED CAT, SMILING Watercolour 27cm x 37cm (10.5in x 14.5in)

£200-300

86 UNKNOWN (20TH CENTURY) THE BLACK CAT Watercolour 24cm x 37cm (9.5in x 14.5in)

£200-300


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87 UNKNOWN (20TH CENTURY) A GREAT MUSICIAN AND SCIENTIST Bears handwritten inscription in pencil verso, dated April 25th 1955, pencil drawing on blank postcard, unframed 14cm x 8cm (5.5in x 3.25in) and another by the same hand ‘The Lovely Lady’ (2)

£400-600

88 UNKNOWN (20TH CENTURY) MANSION MADE OF SOLID ROCKS Bears handwritten inscription in ink verso, dated May 31st 1955, pencil drawing on blank postcard, unframed 8cm x 14cm (3.5in x 5.5in)

£200-300


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89 UNKNOWN (20TH CENTURY) LADY WITH FLOWERPOT Watercolour 27cm x 36cm (10.5in x 14in)

£200-300

90 A collection of letters, some illustrated- Outsider Art, including Wickham, J. Foundation. True Story. 22 manuscript pages, dated August 1936, containing a detailed account of one patient’s experiences before entering the hospital; Labram, J. manuscript letter, 12pp., in a stamped envelope addressed to the Archbishop of Canterbury, dated 24/2/38; [McGuire, L.J.?] A series of religious drawings in ink and coloured pencil, with manuscript text quoting Bible verses, religious music, poems and songs, on three leaves of paper, trimmed and attached together; [Idem] Various other items by the same artist, often in coloured pencil, and some focusing on the theme of the ‘Healing Physician of Life’, one showing a patient receiving Communion wine in a hospital bed whilst also receiving a cut or injection to the back, entitled A Life-Incident in 1.Infirmary Aug.1934, many of these pieces combine religious and hospital-based imagery; Thomson, David History of David Thomson, patient in Bexley Asylum. 2 manuscript foolscap leaves written by Thomson, describing the reasons for his entering the hospital; Heenen, James Poem, typed on one side of notepaper, possibly entitled Blessed, asking a friend or loved one to send items: “Why be a rich man. Why own a large house. Why send / filanthropy [sic.]. That doesn’t eat the fruit”; Anonymous 2 typed leaves entitled Your Weapon: “At last! Information about the little weapon you carry in you [sic.] pocket...”; and many others, several writing to the King & Queen, or other well-known persons, for help with their situation (a quantity)

£1,000-2,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4


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91 [§] MARTIN BRADLEY (BRITISH B.1931) ROOSTER Signed and dated 1955, signed verso, oil on canvas 60cm x 50cm (23.5in x 19.75in)

£800-1,200

92 [§] PABLO PICASSO (SPANISH 1881-1973) PORTRAIT IMAGINAIRE Signed and dated 7.5.69 in plate, inscribed ‘F.’ and numbered 61/250, offset lithograph in colours, on Arches paper, published by Harry N. Abrams, New York 70cm x 49cm (27.5in x 19.25in)

£1,000-1,500


58 Lyon & Turnbull

93 [§] GEOFF MACEWAN (SCOTTISH B.1943) ARRAN Signed and inscribed with title and dated ‘87 verso, oil on canvas 134cm x 118cm (52.75in x 46.5in)

£1,000-1,500

94 [§] GEOFF MACEWAN (SCOTTISH B.1943) THE GAZE Signed and dated ‘85 verso, oil on canvas 73cm x 60cm (28.75in x 23.5in)

£600-800


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95 [§] MICHAEL PRAED (BRITISH B.1941) LANDSCAPE, 80 Signed, signed and inscribed with title verso, oil on board 62cm x 91cm (24.5in x 35.75in)

£250-350

96 [§] ANTHONY WHISHAW R.A. (BRITISH B.1930) ROCK AN’ ROLL Oil on canvas 29cm x 40cm (11.5in x 15.75in) Exhibited: No.37, ‘The Peter Davis Collection’, The Scottish National Gallery of Modern Art

£400-600

97 [§] RODERICK K. NEWLANDS (SCOTTISH CONTEMPORARY) SUNDAY AFTERNOON Signed verso, oil on canvas 101cm x 127cm (39.75in x 50in)

£250-350


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98 [§] JAMES DOWNIE ROBERTSON R.S.A., R.S.W., R.G.I. (SCOTTISH 1931-2011) GARDEN Signed and dated ‘70, oil on board 77cm x 102cm (30.25in x 40in)

£800-1,200

99 [§] JAMES DOWNIE ROBERTSON R.S.A., R.S.W., R.G.I. (SCOTTISH 1931-2011) PENISCOLA, SPAIN Signed and dated ‘68, pastel 25cm x 30cm (9.75in x 11.75in)

£400-600

100 [§] DUNCAN SHANKS R.S.A., R.S.W., R.G.I. (SCOTTISH B.1937) ROCKY SHORE Signed artist’s label verso, mixed media on paper 26cm x 26cm (10.25in x 10.25in) Exhibited: The Fine Art Society, Edinburgh, 1984

£400-600


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101 [§] LIL NEILSON (SCOTTISH 1938-1998) CATTERLINE SKYLINE Signed, oil on board 27cm x 30cm (10.5in x 12in)

£600-800

102 [§] LIL NEILSON (SCOTTISH 1938-1998) COTTAGES, CATTERLINE Signed with monogram, oil on board 29cm x 34cm (11.5in x 13.5in)

£600-800


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103 [§] SIR WILLIAM GEORGE GILLIES C.B.E., R.A., R.S.A., P.R.S.W. (SCOTTISH 1898-1973) FARMHOUSE AND CORNSTOOKS Oil on board 44cm x 75cm (17.25in x 29.5in) Exhibited: The Scottish Gallery, Edinburgh, 1992

£4,000-6,000

104 [§] DONALD BAIN (SCOTTISH 1904-1979) SUMMER NEAR THE OCHILS -1945 Signed, oil on canvas 70cm x 90cm (27.5in x 35.5in)

£500-700


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105 [§] HAMISH MACDONALD (SCOTTISH 1935-2008) FARM HOUSE Signed and indistinctly inscribed, oil on board 60cm x 78cm (23.5in x 30.75in)

£2,000-3,000

106 [§] ALBERTO MORROCCO O.B.E., R.S.A., R.S.W. (SCOTTISH 1917-1998) TABLE WITH FLOWERS AND CEZANNE BOOK, C.1959 Signed, oil on canvas 28cm x 35.8cm (11in x 14in)

£2,000-3,000


64 Lyon & Turnbull

107 [§] ALBERT IRVIN O.B.E., R.A. (BRITISH 1922-2015) HOLYROOD II Signed and inscribed with title in pencil to margin, numbered 87/95, screenprint 130cm x 90cm (51in x 35.5in)

£400-600

108 [§] SIR EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) SUN CITY (FROM ‘THE UNIVERSAL ELECTRONIC VACUUM’ PORTFOLIO) Signed and numbered 8/75 in pencil to margin, screenprint, printed by Kelpra Studios, published by Editions Alecto, unframed 102cm x 67.5cm (40in x 26.5in)

£300-500


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109 [§] SIR EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) METROPOLIS HEAD Plaster 17cm x 8cm x 9cm (6.25in x 3.25in x 3.5in)

£500-700

110 [§] SIR EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) SELF-PORTRAIT HEAD Plaster 15cm x 14cm x 8cm (6in x 5.5in x 3.25in)

£600-800

111 [§] SIR EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) TORSO, PLAQUE Plaster 15cm x 18cm x 4cm (6in x 7in x 1.75in)

£400-600 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4


66 Lyon & Turnbull

112 [§] IAN HAMILTON FINLAY (SCOTTISH 1925-2006) 8 CERAMIC TILES From an unknown edition size, featuring ‘H)OUR LADY’; ‘THEY RETURNED HOME TIRED BUT HAPPY. THE END’; ‘THREE NORFOLK DISHES’; ‘THE HARBOUR’; ‘MIDWAY THROUGH A DARK WOOD’; ‘ELEGY FOR WHIMBREL AND PETREL’; ‘BATTLE FO MIDWAY’; ‘TREE SHELLS’, and a further tile, not by Finlay; ‘MACKINTOSH ROSE’, produced by Dovecot Studios, Edinburgh all 15.5cm x 15.5cm (6in x 6in), except ‘THEY RETURNED HOME’ 10cm x 20cm (4in x 8in) (9)

£1,000-1,500


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68 Lyon & Turnbull

113 [§] PAUL NEAGU (ROMANIAN/BRITISH 1938-2004) MAN MADE MAN Two unsigned, hand-coloured screenprints, unframed each 76cm x 56cm (30in x 22in) (2)

£600-800

114 [§] PAUL NEAGU (ROMANIAN/BRITISH 1938-2004) HUMAN - 1972 A/P, signed, inscribed with title, and dated 1972, etching 49cm x 32cm (19.25in x 12.5in)

£400-600 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4


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Paul Neagu (right) with fellow Romanian Avant-garde artist Horia Bernea at Glencoe, Scottish Highlands.

PAUL NEAGU ‘…the eye is fatigued, perverted, shallow, its culture is degenerate, degraded and obsolete, seduced by photography, film, television, . . . (art has to) give up its purely visual aesthetic if it wants to survive. . . you can take things in better, more completely, with your ten fingers, pores and mucous membranes than with only two eyes…’ Paul Neagu’s 1969 Palpable Art Manifesto! Philosophical to the core, and yet interested in his father’s trade of cobbling and the Romanian tradition of wood-working, we can see some of these wide-ranging influences come together in the offered selection of Paul Neagu’s art. Working across mediums from performance, print-making, painting, sculpture and mixed media, his philosophical views and thoughts on art can always be traced and identified. As his manifesto shows, Neagu strongly believed that there was a tyranny of the visual in fine art, and he rebelled against this by allowing viewers to touch his works, drawing them in to an immersive experience of his art, requiring and encouraging them to use their other senses. Neagu was already starting to gain recognition in his home country of Romania, when a chance meeting with Richard Demarco afforded him the opportunity to exhibit in Edinburgh, as part of the Festival in 1969. He had already been working on creating objects he termed ‘tactile’ and ‘palpable’ in Bucharest, that fit with the arguments and ideas later put forth in the manifesto. In the Edinburgh exhibition, he suspended his constructed objects from the ceiling, in an unlit room with walls painted black – to experience the artworks, visitors had to move through the space and sense of the objects by touch. Following this exhibition, he moved to London in 1970, where he was to remain based for the rest of his life. Cuant Dublu pre-dates his official creation of ‘tactile’ or ‘palpable’ objects, as it was made in 1967, but it very much fits in with his ethos, and Neagu’s specific preoccupations of these following years, being an object that requires to be handled to be experienced. The wooden box frame has to be opened to reveal the textural inner circles which are, at once reminiscent of machinery, medals, geological formations and cosmic moonscapes. The rugged finish of both the interior and exterior of this object announce it as a hand-made item, crafted by the artist’s hands to ultimately be experienced by the viewers’. The theme of the hand, as source of both creation/creativity and touch is

explored more explicitly in the 1970 wood and gesso construction, The Hand. By taking the hand as his subject matter, Neagu adds more layers to the tactile nature of this construction, drawing the viewer from the visual to the tactile through to the philosophical. From the smooth wood to the rigid, even texture of the grid, the viewer is drawn to experience both the visual and tactile nature of the object, while also contémplating the meaning of the hand, the hand that makes and experiences in this moment, but in a wider sense the practicality, complexity and miracle of these tools we have at our constant disposal. Exploration of The Hand also moves us towards Neagu’s preoccupation with cells and compartmentalisation, through his use here of a grid format to depict a part of the human body. Neagu used cell and grid structures as a visual nod to his understanding of our compartmentalising of information, and also to our simultaneous connected and disconnectedness, in the different parts of our own body, but also in the world around us, we are at once distinct and interconnected, at all levels. We can see this in The Hand, but it is also a recurrent theme in his printmaking, such as the offered artist’s proof of 1972 etching Human and the two unsigned MAN MADE MAN lithographs, in both, the human form seems to evolve out of the grid, be made of cellular blocks and still be a complete, unified whole. Neagu had his first U.K. museum show at the Museum of Modern Art, Oxford in 1975, just five years after arriving in London. This was followed by further major shows in London at the ICA in 1979, and the Serpentine Gallery in 1987. Also in 1987, he was awarded a major public art commission, to be located at London’s Charing Cross Station, which was sadly never built, though he did later develop two public sculptures for locations in Romania. His work features in many public collections, most notably the British Museum, Tate, the V & A and the Scottish National Gallery of Modern Art. Neagu taught throughout his career, lecturing at the Hornsey, the Slade and Chelsea, ultimately becoming Associate Professor at the Royal College of Art in 1976. His teaching and ethos was highly influential on students including Antony Gormley, Anish Kapoor, Rachel Whiteread, Tony Cragg and Richard Deacon.


70 Lyon & Turnbull

115 [ยง] PAUL NEAGU (ROMANIAN/BRITISH 1938-2004) CUANT DUBLU Signed, inscribed with title and dated 1967, wooden box construction with mixed media interior 8.5cm x 45.4cm x 44cm (3.25in x 18in x 17.25in) (48cm high when open) Exhibited: Bears label from National Museum of Art of Romania exibition

ยฃ700-1,000


Modern British & Contemporary Art 71

116 [§] PAUL NEAGU (ROMANIAN/BRITISH 1938-2004) THE HAND Signed and inscribed with title and dated 1970 verso, further inscribed verso ‘For Fred Stiven (at Echt) and Jennie, his wife. With love, Paul ‘N (Neagu ‘P), London 2Nov.974’, wood and gesso boxed construction 46cm x 34cm x 4.5cm (18in x 13.5in x 1.75in) Exhibited: Bearing label verso; Sigi Krauss Gallery, London, 1970

£2,000-3,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4


72 Lyon & Turnbull

117 ROY LICHTENSTEIN (AMERICAN 1923-1997) THE ENEMY WOULD HAVE BEEN WARNED Off-set lithograph, published by Stedelijk Museum Amsterdam, 1991 and two further works from the same series (3)

£300-500

118 AFTER ANDY WARHOL (1928-1987) FLOWERS 1970, seriagraph in colours, typographically inscribed beneath the depiction, ‘Andy Warhol/ Flowers / Fleurs / serigraphie 1964 / coll. de: musée de krefeld / édition NOUVELLES IMAGES /45700 Lombreuil France / sérigraphie /M57/ © gal. Castelli / printed in France’ 70cm x 70cm (27.5in x 27.5in) and a further work after the artist in a different colour-way (2)

£600-800


Modern British & Contemporary Art 73

119 [§] CRAIGIE AITCHISON C.B.E., R.A., R.S.A. (SCOTTISH 1926–2009) GET WELL SOON Signed and dated 1969, numbered 62/150, screenprint, unframed 80cm x 45.5cm (31.5in x 18in)

£500-700

120 [§] CRAIGIE AITCHISON C.B.E., R.A., R.S.A. (SCOTTISH 1926-2009) CANARIES ON A TREE Edition 300, screenprint 28cm x 23.5cm (11in x 9.25in)

£500-700

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4


74 Lyon & Turnbull

121 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) BOAT AT HARBOUR Signed, watercolour 54cm x 75cm (21.25in x 29.5in)

£2,000-2,500

122 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) ENIGMA Signed, inscribed with title verso, ink and wash, unframed 76cm x 57cm (30in x 22.5in)

£600-800

123 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) FISHWIFE Signed, watercolour, unframed 76cm x 57cm (30in x 22.5in)

£1,000-1,500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4


Modern British & Contemporary Art 75

124 [§] SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916-1992) THE SPELL Watercolour 46cm x 79cm (18in x 31in)

£2,000-3,000

125 [§] JOHN HOUSTON O.B.E., R.S.A., R.S.W., R.G.I. (SCOTTISH 1930-2008) SUMMER HEDGEROW Signed and dated 1961, oil on board 77cm x 97cm (30.25in x 38.25in)

£3,000-5,000


76 Lyon & Turnbull

126 [§] ALAN WATSON (SCOTTISH B.1957) WHALERS Signed and dated 8/11/88, charcoal 83cm x 121cm (32.5in x 47.5in)

£300-500

127 [§] JOHN HOUSTON O.B.E., R.S.A., R.S.W., R.G.I. (SCOTTISH 1930-2008) NIGHT SKY OVER THE BASS ROCK Signed and inscribed with title in pencil to margin, numbered 7/100, lithograph 25.5cm x 38cm (10in x 15in)

£300-500

128 [§] JOHN HOUSTON O.B.E., R.S.A., R.S.W., R.G.I. (SCOTTISH 1930-2008) BEFORE THE STORM Signed and inscribed with title in pencil to margin, numbered 18/50, etching 33cm x 47cm (13in x 18.5in)

£250-350


Modern British & Contemporary Art 77

129 [§] FIONA MCINTYRE (BRITISH CONTEMPORARY) BEACH AT DUSK Signed, mixed media on board 23cm x 26cm (9in x 10in)

£300-500

130 [§] FIONA MCINTYRE (BRITISH CONTEMPORARY) BIG WINTER MOON, BAOSBHEINN Signed, mixed media on board 25cm x 28cm (9.75in x 11in)

£300-500

131 [§] BARBARA RAE C.B.E., R.A., R.S.A. (SCOTTISH B.1943) WINTER HILLSIDE - KYLESKU Signed and inscribed with title in pencil to margin, numbered 2/30, colour etching 50cm x 67cm (19.75in x 26.5in)

£400-600


78 Lyon & Turnbull

132 [§] NORMAN KIRKHAM R.G.I. (SCOTTISH B.1936) SIDALCEA Signed, inscribed with title verso, oil on canvas 51cm x 40cm (20in x 15.75in) Provenance: From the Collection of Bet Low

£500-700

133 [§] NORMAN KIRKHAM R.G.I. (SCOTTISH B.1936) SODA SIPHON & DRAM Signed, oil on canvas 49cm x 28cm (19.25in x 11in) Provenance: The Collection of Bet Low

£400-600

134 [§] DOROTHY STIRLING (SCOTTISH B.1939) EVENING FLIGHT Signed, oil on board 29cm x 28cm (11.5in x 11in) Provenance: The Collection of Bet Low

£400-600


Modern British & Contemporary Art 79

135 [§] ANN ORAM R.S.W. (SCOTTISH B.1956) STAR GAZER LILIES Signed and dated ‘89, mixed media on paper 54cm x 42cm (21.25in x 16.5in)

£500-700

136 [§] DAVID MICHIE R.S.A., R.G.I., O.B.E. (SCOTTISH 1928-2005) SUMMER WINDOW Signed, oil on canvas 60cm x 92cm (23.5in x 36.25in)

£1,000-1,500


80 Lyon & Turnbull

137 [§] JOHN LOWRIE MORRISON O.B.E. (SCOTTISH B.1948) SPRING AT CRINAN Signed, signed and inscribed with title and dated 2010 verso, oil on canvas 59cm x 59cm (23in x 23in)

£2,000-3,000

138 [§] MARY GALLAGHER (SCOTTISH B.1953) A DOZEN YELLOW TULIPS Signed, signed verso, oil on canvas 56cm x 56cm (22in x 22in)

£400-600


Modern British & Contemporary Art 81

139 [§] PAM CARTER (SCOTTISH B.1952) MOORED BOATS Signed, oil on canvas 64cm x 64cm (25in x 25in)

£600-800

140 [§] PAM CARTER (SCOTTISH B.1952) SKYE BRIDGE Signed, oil on canvas 44cm x 49cm (17.5in x 19.25in)

£400-600

141 [§] PAM CARTER (SCOTTISH B.1952) THE RED BOAT Signed, oil on canvas 64cm x 64cm (25in x 25in)

£500-700


82 Lyon & Turnbull

142 [§] JOHN BELLANY O.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) BATTERSEA MADONNA Signed, signed and inscribed verso, oil on canvas, unframed 234cm x 114cm (92in x 45in)

£12,000-18,000

143 [§] JOHN BELLANY O.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) BIRD OF PARADISE GREETS THE SEAHORSE Signed, signed, inscribed and dated 1985 verso, oil on canvas, unframed 152.5cm x 122cm (60in x 48in)

£8,000-12,000


Modern British & Contemporary Art 83

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4


84 Lyon & Turnbull

144 [§] PETER HOWSON (SCOTTISH B.1958) EDDIE Signed and dated ‘96, pastel 98cm x 78cm (38.75in x 30.75in)

£1,000-1,500

145 [§] PETER HOWSON (SCOTTISH B.1958) PORTRAIT OF EDDIE QUIST-ARCTON 1996, oil on canvas 51cm x 41cm (20.25in x 16.25in)

£3,000-5,000

146 [§] PETER HOWSON (SCOTTISH B.1958) PAUL 1992, signed, pastel 63cm x 47.5cm (24.75in x 18.75in)

£800-1,200


Modern British & Contemporary Art 85

147 [§] DAVID BOWIE (BRITISH 1947-2016) UNTITLED (SELF PORTRAIT) Signed and dated 2002 in pencil to margin, numbered 113/175, photolithograph 28cm x 21cm (11in x 8.25in)

£2,000-3,000

148 [§] DAVID BOWIE (BRITISH 1947-2016) SELF-PORTRAIT Signed and dated ‘98 in pencil to margin, from an unknown edition size, photolithograph 40cm x 32cm (15.75in x 12.5in)

£1,000-1,500

149 REX RAY (AMERICAN 1956-2015) ARTWORK FOR BOWIE’S ‘REALITY’ ALBUM Signed and dated 2003 by Bowie in pencil to margin, offset lithograph 47cm x 47cm (18.5in x 18.5in)

£400-600


86 Lyon & Turnbull

150 [§] STEPHEN SHANKLAND (SCOTTISH CONTEMPORARY) RUNNING LATE II Signed and inscribed with title verso and dated 2004, oil on board 74cm x 100cm (29in x 39.5in) Note: Shankland was winner of the 2004 BP Portrait Awards

£1,000-1,500

151 [§] STEPHEN SHANKLAND (SCOTTISH CONTEMPORARY) SUPER HERO 2004, signed and inscribed with title verso, oil on board 31cm x 47cm (12.25in x 18.5in)

£300-500


Modern British & Contemporary Art 87

152 [§] GORDON MITCHELL R.S.A., R.S.W., R.G.I. (SCOTTISH B.1952) THE RAINBOW Signed, oil on canvas 98cm x 150cm (38.5in x 59in) Exhibited: Roger Bilcliffe Gallery, Glasgow

£3,000-5,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4


88 Lyon & Turnbull

153 [§] DAVID TONER (SCOTTISH B.1944) WINTER MOOR, LEWIS Signed, oil on board 28.5cm x 28.5cm (11.25in x 11.25in) Exhibited: ‘Christmas Exhibition, 1984’, The Scottish Gallery , Edinburgh

£400-600

154 [§] DAVID TONER (SCOTTISH B. 1944) DARK HARBOUR, SKYE Signed, oil on board 28.5cm x 28.5cm (11.25in x 11.25in) Exhibited: ‘Christmas Exhibition, 1984’, The Scottish Gallery, Edinburgh

£400-600

155 [§] SHONA BARR (SCOTTISH B.1965) GARDEN AT MONTJUIC 1991, oil on canvas 60cm x 60cm (23.5in x 23.5in)

£400-600


Modern British & Contemporary Art 89

156 [§] ARCHIE FORREST (SCOTTISH B.1950) ALCATRAZ FROM RUSSIAN HILL Signed, inscribed with title and dated ‘85 verso, oil on canvas 65cm x 65cm (23.5in x 25.5in)

£2,000-3,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4


90 Lyon & Turnbull

157 NABANITA SAHA (INDIAN B.1974) EXODUS I Signed and dated ‘11, oil on canvas 152cm x 182cm (59.75in x 71.5in)

£500-700

Note: Nabanita Saha gained her B.V.A. from the Government College of Art & Craft in Kolkatta in 1999, and earned an M.F.A. in Graphics from the Faculty of Fine Arts, M.S. University, Baroda. Throughout her education and career she has been awarded several honours including the 2012 Elizabeth Greenshields Grant from Canada, the 2002 All India Fine Arts and Crafts Society award (State Level), and the National Scholarship 2001 to 2003. Saha has exhibited extensively in India in both solo and group exhibitions, as well as further afield in Korea and Switzerland. Her work features in collections throughout India and internationally.

158 NABANITA SAHA (INDIAN B.1974) EXODUS II Signed and dated ‘11, oil on canvas 152cm x 182cm (59.75in x 71.5in)

£500-700


Modern British & Contemporary Art 91

159 A. P. SANTHANARAJ (INDIAN 1932-2009) LANDSCAPE Signed and indistinctly dated, oil on canvas 98cm x 150cm (38.5in x 59in) Note: A. P. Santhanaraj studied at the Government College of Arts and Crafts, Chennai and went on to teach at the same institution, ultimately serving as its Principal from 1985-1990. His artistic reputation was particularly strong in South India, where he was considered a highly influential artist of the generation that followed K.C.S. Panniker and S. Dhanapal out of the Madras College of Arts and Craft. Throughout his career, Santhanaraj received several awards, including a Gold Medal from Government College of Art and Craft, Madras in 1953, the National Award in 1957 and a distinction for services to art education from the Tamil Nadu Art and Culture Department. He was also awarded high-profile commissions, executing portraits for Parliament House, New Delhi, and murals for the Madras State Museum. Largescale reviews of his work were exhibited in Delhi in 1990 and 2001.

£4,000-6,000

160 A. P. SANTHANARAJ (INDIAN 1932-2009) UNTITLED (RED FIGURES) Signed and dated ‘92, oil on canvas 60cm x 44cm (23.5in x 17.25in)

£1,000-1,500


92 Lyon & Turnbull

161 [§] MARTIN KANE (SCOTTISH B.1958) SOLITARY FIGURE Signed, oil on canvas 60cm x 75cm (23.5in x 29.5in)

£400-600

162 [§] ROD JUDKINS (BRITISH CONTEMPORARY) ORDINARY DAY Signed verso, oil on canvas 117cm x 84cm (46in x 33in)

£300-500

163 [§] DAVID HOSIE (SCOTTISH B.1962) PARADISE LOST Signed, signed and inscribed with title verso, oil on canvas 92cm x 92cm (36.25in x 36.25in)

£500-700


Modern British & Contemporary Art 93

164 [§] HUGH BYARS (SCOTTISH B.1957) THE TWO SISTERS Signed and dated ‘91, oil on canvas 102cm x 76cm (40in x 30in)

£500-700

165 [§] HUGH BYARS (SCOTTISH B.1957) SELF PORTRAIT Signed and dated ‘91, oil on board 51cm x 46cm (20in x 18in)

£300-500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4


94 Lyon & Turnbull

166 [§] CRAIG MACKAY (SCOTTISH B.1960) ACHFARY, SUTHERLAND Signed and inscribed with title, photographic print 12cm x 11.5cm (4.75in x 4.5in) and another by the artist ‘Eilean Donan, Lochalsh’ (2)

£250-350

167 PATRICIA RAMAER (BRITISH CONTEMPORARY) THE BLACK CUILLINS 2014, signed label verso and numbered 1/10, glass plate negative doubled with digital photography, mounted on board, unframed 100cm x 150cm (39.5in x 59in)

£300-500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4


Modern British & Contemporary Art 95

168 [§] DAN HOLDSWORTH (BRITISH B.1974) DRY SKI SLOPE Signed and dated 1998 verso, numbered 2/5, C-print on aluminium 93cm x 115cm (36.5in x 45.25in)

£400-600

169 [§] DAN HOLDSWORTH (BRITISH B.1974) UNTITLED (A MACHINE FOR LIVING) , 1999 From an edition of 5, C-print on aluminum 94cm x 115cm (37in x 45.25in) Note: Dan Holdsworth creates large-scale photographs and digital art characterized by the use of traditional techniques and unusually long exposure times, and by radical abstractions of geography. He has exhibited internationally including solo shows at BALTIC Centre for Contemporary Art, Gateshead, and Barbican Art Gallery, London; and group shows at Tate Britain, London, and Centre Pompidou, Paris. His work is held in collections including the Tate Collection, Saatchi Collection, and the Victoria and Albert Museum, London. He lives and works in Newcastle upon Tyne and London.

£600-800


96 Lyon & Turnbull

170 NOBUYOSHI ARAKI (JAPANESE B.1940) UNTITLED (SKYSCAPE) Signed verso in Japanese ink, gelatin silver print handcoloured with watercolour, unframed 30cm x 45cm (12.75in x 17.75in) and another by the same hand (2)

£1,000-1,500

171 [§] CONRAD SHAWCROSS R.A. (BRITISH B.1977) PRE-RETROSCOPE (TERRESTIAL) Signed and dated 16/1/03 verso, photographic print documenting the artist’s kinetic sculptural work ‘PreRetroscope (Terrestial)’, 2002 75cm x 75cm (29.5in x 29.5in)

£2,000-3,000


Modern British & Contemporary Art 97

172 [§] GEOFFREY MANN (SCOTTISH CONTEMPORARY) ECHO FLIGHT - 2006 Optical Glass sculpture in original case, with accompanying framed print, signed and dated ‘06 in pencil 10cm x 20cm x 10cm (4in x 8in x 4in) (2) Note: Geoffrey Mann is a Scottish artist and lecturer whose fascination with transposing the ephemeral nature of time and motion has created a studio practice that challenges the existing divides between art, craft and design. In 2008, Geoffrey was awarded the World Craft Council Prize for Glass and in 2009 won the Jerwood Contemporary Makers Prize. He has exhibited in national and international venues including MoMA New York; International Bombay Sapphire Awards, London and Milan, Jerwood Contemporary Makers exhibition, MAD New York and the European Glass Contéxt in Denmark.

£500-700


98 Lyon & Turnbull

173 [§] PETER MCLAREN (SCOTTISH B.1964) AFTER VELASQUEZ - PHILIP IV - MUSEO DEL PRADO Signed and dated ‘86, watercolour 49cm x 38cm (19.25in x 15in) Note: This work was exhibited in and purchased from McLaren’s degree show at the Edinburgh College of Art.

£600-800

174 [§] STEPHEN FARTHING (BRITISH B.1950) MARY QUEEN OF SCOTS Signed and dated 1996 verso, oil on canvas and mixed media 206cm x 173cm (81in x 68in)

£800-1,200


Modern British & Contemporary Art 99

175 [§] DYLAN LISLE (SCOTTISH B.1978) TWO FIGURES DRAPED IN RED Signed with monogram, oil on canvas 98cm x 98cm (38.5in x 38.5in)

£800-1,200

176 [§] DYLAN LISLE (SCOTTISH B.1978) BEFORE THE SNOW Signed with monogram, oil on canvas 49cm x 49cm (19.25in x 19.25in)

£600-800

177 [§] DYLAN LISLE (SCOTTISH B.1978) SERPENTINE Signed with monogram, oil on canvas 28cm x 28cm (11in x 11in)

£400-600


100 Lyon & Turnbull

178 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) HARBOUR PARTY Signed, watercolour 56cm x 37cm (22in x 14.5in)

£1,500-2,500

179 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) BEAUTY IV Signed, oil on canvas 76cm x 61cm (30in x 24in) Exhibited: The Open Eye Gallery, Edinburgh

£2,500-3,500


Modern British & Contemporary Art 101

180 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) BRIDE OF THE SEA - LUCIA DE LAMMERMOOR Signed, oil on canvas 152cm x 152cm (60in x 60in)

£8,000-12,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4


102 Lyon & Turnbull

181 [§] DONALD MCINYTRE (SCOTTISH 1923-2009) TWO GIRLS BY THE SEA Signed, oil on board 37cm x 55cm (14.5in x 21.5in)

£1,200-1,800

182 [§] DOUGLAS DAVIES R.S.W. (SCOTTISH B.1946) HILLSIDE Signed, acrylic on board 23.5cm x 24.5cm (9.25in x 9.5in)

£300-500

183 [§] JOHN G. BOYD R.G.I. (SCOTTISH 1940-2001) THE DOG Signed, oil on canvas 74cm x 100cm (29in x 39.5in)

£1,000-1,500


Modern British & Contemporary Art 103

184 [§] DONALD MCINYTRE (SCOTTISH 1923-2009) SUMMER STORM Signed, oil on board 54cm x 80cm (21.25in x 31.5in)

£2,500-3,500

185 [§] PETER MCLAREN (SCOTTISH CONTEMPORARY) BROUGH OF BIRSAY Inscribed with title verso, oil on board 90cm x 123cm (35.5in x 48.5in)

£1,500-2,500


104 Lyon & Turnbull

RUVUMA DEVELOPMENT AID TANZANIA Lyon & Turnbull are delighted to handle the sale of the next group of paintings on behalf of Ruvuma Development Aid Tanzania. The charity, made up entirely of volunteers, fund-raises for the Ntimbanjayo Memorial School in the Ruvuma Region of Tanzania. Purchasing land at Namanditi back in 2007, Ruvuma Development Aid have been building a Nursery and Primary school over the years, as and when funds allowed. The school opened in 2011, with eight classrooms, a double dormitory, an admin block, library, hall and kitchen area. There are now 200 children at the school of whom 53 are orphans or from the poorest backgrounds. These students are being sponsored.

This year the charity hope to raise enough funds to build the first of four classrooms for a Secondary school on the same site. The standard 7 class which has 18 sponsored children, will progress to secondary education in January 2019, so the aim is to have one classroom complete by the end of this year. Each classroom will cost £10,350 with a further £2,500 required for desks and text books. For more information about this worthy cause, please visit and ‘like’ their Facebook page at www.facebook.com/rudatanzania

186 JAMES MORRISON R.S.A., R.S.W. (SCOTTISH B.1932) WINTER HEDGEROW Signed and indistinctly dated, oil on board 50cm x 67cm (19.75in x 26.5in) Note: This work is sold on behalf of the charity Ruvuma Development Aid, Tanzania.

£1,000-1,500

187 CHARLES MCQUEEN R.S.W., R.G.I. (SCOTTISH B.1940) IMPENDING STORM, FIFE Signed, signed and inscribed with title verso, mixed media on board 36cm x 33cm (14in x 13in) Note: This work is sold on behalf of the charity Ruvuma Development Aid, Tanzania.

£600-800


Modern British & Contemporary Art 105

188 CHRISTINE WOODSIDE R.S.W., R.G.I. (SCOTTISH B.1946) FLYING HIGH Signed, oil on board 27cm x 29cm (10.5in x 11.5in) Note: This work is sold on behalf of the charity Ruvuma Development Aid, Tanzania.

£500-700

189 LYS HANSEN (SCOTTISH B.1936) SWEET SUMMER SENSING Signed and dated ‘09, mixed media on paper 77cm x 54cm (30.25in x 21.25in) Note: This work is sold on behalf of the charity Ruvuma Development Aid, Tanzania.

£500-700

190 JOE MCINTYRE (SCOTTISH B.1940) STILL LIFE WITH WHITE TEAPOT Signed, oil on panel 27cm x 29.5cm (10.5in x 11.5in) Note: This work is sold on behalf of the charity Ruvuma Development Aid, Tanzania.

£400-600


106 Lyon & Turnbull

191 RONALD FORBES R.S.A., R.G.I. (SCOTTISH B.1947) TRAVELLER WITH SPHINX Signed and dated 2000, charcoal on paper 38cm x 46cm (15in x 18in) Note: This work is sold on behalf of the charity Ruvuma Development Aid, Tanzania.

£300-500

192 [§] PETER WHITE (SCOTTISH B.1959) MAN WITH STRIPED HAT Signed and dated 1998 verso, oil on canvasboard 30cm x 30cm (11.75in x 11.75in)

£300-500

193 [§] PETER WHITE (SCOTTISH B.1959) UNTITLED (TWO FIGURES) Signed and dated 1990 verso, oil on cotton 92cm x 76cm (36.25in x 30in)

£500-700


Modern British & Contemporary Art 107

194 [§] SARA ROSSBERG (GERMAN B.1952) HANDS OF GOLD Oil on canvas 61cm x 40cm (24in x 15.75in)

£1,500-2,500

195 [§] ROBERT FAWCETT (BRITISH B.1966) LYING ON THE BED III Oil on copper 30cm x 42cm (12in x 16.5in)

£400-600


108 Lyon & Turnbull

196 [§] HARRY HOLLAND R.C.A. (SCOTTISH B.1941) FEMALE NUDE I C.1984-85, charcoal 50cm x 32cm (19.75in x 12.5in)

£400-600

197 [§] HARRY HOLLAND R.C.A. (SCOTTISH B.1941) NUDE Charcoal 50cm x 32cm (19.75in x 12.5in)

£400-600

198 [§] ROBERT FAWCETT (BRITISH B.1966) LYING ON THE BED I Oil on copper 30cm x 42cm (11.75in x 16.5in)

£400-600


Modern British & Contemporary Art 109

199 [§] KEN HOWARD O.B.E., R.A. (BRITISH B.1932) LADY IN A BLACK DRESS Signed, oil on canvas 120cm x 59cm (47.25in x 23.25in)

£4,000-6,000

200 [§] KEN HOWARD O.B.E., R.A. (BRITISH B.1932) MODEL IN THE ARTIST’S STUDIO Signed, oil on canvas 60cm x 49cm (23.5in x 19.25in)

£1,000-1,500


110 Lyon & Turnbull

201 [§] WILLIAM SELWYN (WELSH B.1933) WELSH HIGHLAND RAILWAY A/P, signed in pencil to margin, off-set lithograph 61cm x 73cm (24in x 28.75in)

£300-500

202 [§] PATRICK PROCKTOR R.A. (BRITISH 1936–2003) LADY HILLINGDON Signed and numbered 21/50 in ink, screenprint, published by Curwen Press 50cm x 34.5cm (19.5in x 13.5in)

£200-300

203 [§] MARDI BARRIE R.S.W. (SCOTTISH 1931-2004) CROWDED TABLE, DRAPED INTERIOR Oil on canvas 76cm x 102cm (30in x 40in)

£500-700


Modern British & Contemporary Art 111

204 [§] GEOFFREY ROPER (BRITISH B.1942) AERONAUT, 1994 Inscribed with title and dated canvas verso, inscribed stretcher verso ‘Mark our passage as a race of men we shall not see such ships again”, oil on canvas 183cm x 106cm (72in x 41.75in)

£1,000-1,500

205 [§] ETHEL WALKER (SCOTTISH B.1941) CHINESE BLACK Signed, oil on board 91cm x 116cm (35.75in x 45.5in)

£2,000-3,000


112 Lyon & Turnbull

206 DONALD MANSON (SCOTTISH B. 1948) SPRING RHUBARB Signed, acrylic on panel 72.cm x 101.5cm (28.5in x 40in)

£600-800

207 [§] MARJ BOND R.S.W. (SCOTTISH B.1939) MAPSA FISHERMAN Signed, oil on board 88cm x 90cm (34.5in x 35in)

£600-800

208 [§] JANET PATTERSON (BRITISH B.1941) GARDEN Signed and dated ‘86, watercolour 91cm x 120cm (35.75in x 47.25in)

£300-500


Modern British & Contemporary Art 113

209 [§] GRAHAM DURWARD (BRITISH B.1966) ABSRACT FIGURE Signed and indistinctly dated (‘81?), mixed media on paper 78cm x 53cm (30.75in x 20.75in)

£400-600

210 [§] KEN HOWARD O.B.E., R.A. (BRITISH B.1932) ST MARK’S SQUARE, VENICE Signed, oil on canvas board 23cm x 30cm (9in x 12in)

£600-800

211 [§] ROBBIE BUSHE R.S.A. (SCOTTISH B.1964) MANIC MONDAY Signed and dated ‘90, gouache 138cm x 97cm (54.25in x 38.25in)

£400-600


114 Lyon & Turnbull

212 [§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) DIVA Signed, ink and wash 20cm x 15cm (8in x 6in)

£400-600

213 [§] DAVID HOSIE (SCOTTISH B.1962) BRIGHTON CHILDREN - 2004 Signed, mixed media on card 39cm x 33cm (15.25in x 13in), and another by the same hand ‘Brighton Evening’ (2)

£300-500


Modern British & Contemporary Art 115

214 [§] ALAN HORSLEY (SCOTTISH CONTEMPORARY) UNTITLED (TRIO) - 2012 Solid cast clear glass figures with metallic oxide inclusions and pate-de-verre detailing each approx. 28cm high x 48cm wide (11in x 19in)

£1,000-1,500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4


116 Lyon & Turnbull

215 [§] TRACEY EMIN C.B.E., R.A. (BRITISH B.1963) SOMETIMES THE DRESS IS WORTH MORE MONEY THAN THE MONEY - 2001 Hand signed in plate, from an edition of 2000, offset lithograph, with COA sticker from White Cube on original tube, unframed 84cm x 60cm (33in x 23.5in)

£600-800

216 [§] SUE ARROWSMITH (BRITISH B.1968) UNTITLED Pencil and ink on paper 77cm x 56cm (30.25in x 22in)

£300-500

217 [§] KATE WHITEFORD O.B.E. (SCOTTISH B.1952) ”TRACES, SHADOWS, CONTOURS, LOGOS” Artist’s book published by Graeme Murray, Edinburgh, as part of Whiteford’s 1988 Whitechapel Gallery exhibition, featuring 16 silkscreen printed images, no. 50/500, and including a loose signed silkscreen print, dated ‘88, numbered 50/50 27cm x 22.5cm (10.5in x 9in)

£300-500


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218 [§] JENNIFER MCRAE (SCOTTISH B.1959) FABIO ON RED Signed with initials and dated ‘09, oil on canvas 20.25cm x 15cm (8in x 6in)

£1,500-2,000

JENNIFER MCRAE Jennifer McRae is a contemporary painter best known for her distinctive portraits. Born in 1959, McRae studied painting at Gray’s School of Art in Aberdeen from 1987-1992, where she received a First Class degree in Fine Art. After completing her studies she moved to Edinburgh and joined the Printmaker’s Workshops in which she continued to develop her skills. In 2002 she was awarded a bursary placement at the Prince’s Drawing School in London.

McRae’s talent lies in her ability of capturing the individuality and mood of each sitter, and her acute attention to detail. Her distinct style continues to be widely recognised and greatly admired. As a result, she has been commissioned to paint a number of well-known figures including Judi Dench, Michael Frayn and Sir Chris Hoy. As well as receiving numerous awards, including the BP Portrait Award, McRae’s work can be found in several public and private collections including the National Portrait Gallery, and the Scottish National Portrait Gallery. Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4


118 Lyon & Turnbull

219 [§] STEPHEN MANGAN (SCOTTISH B.1964) UNTITLED Oil on board 80cm x 96cm (31.5in x 37.75in)

£2,500-3,500

220 [§] RAY RICHARDSON (BRITISH B.1964) OLD ONE EYES BACK Signed and inscribed with title and dated 1991 verso, oil on canvas 106cm x 102cm (41.75in x 40.25in)

£600-800


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221 [§] CRAWFURD ADAMSON (SCOTTISH B.1953) WET DAY Oil on canvas 136cm x 115cm (53in x 45.25in)

£800-1,200

222 [§] RAY RICHARDSON (BRITISH B.1964) DON’T CALL IT A COMEBACK Signed and inscribed with title and dated ‘91 verso, oil on canvas 80cm x 79cm (31.5in x 31in)

£300-500


120 Lyon & Turnbull

223 [§] ALAN DAVIE C.B.E., H.R.S.A. (SCOTTISH 1920-2014) CLASSICAL HEAD - SELF-PORTRAIT Signed and indistinctly dated ‘46 / ‘49, watercolour 37cm x 27cm (14.5in x 10.25in) Exhibited: Open Eye Gallery, Edinburgh

£1,000-1,500

ALAN DAVIE Few British artists of the 20th century are quite as intriguing as Alan Davie. Low key and independent, Davie operated outwith the art world ‘scene’ until his death in 2014 which means that, despite his popularity amongst critics and collectors, he isn’t the household name he perhaps deserves to be. Born in Grangemouth, Scotland in 1920, Davie studied at the Edinburgh College of Art, developing a fascination with Continental artists including Paul Klee and Wassily Kandinsky. The quintessential polymath, his artistry encompassed jewellery-making, poetry and, most significantly of all, jazz music. He was an extremely talented musician and constantly sought to find ways to break down the boundaries of expression; seeking to literally convey music on canvas. The list of his friends and admirers is quite extraordinary given his lack of ego and choice to plough a furrow out of the limelight. He met and was admired by the great collector Peggy Guggenheim in Venice in the late 1940s and was close to members of the American

Abstract Expressionist movement including Jackson Pollock. However, Davie gradually moved away from gestural expression to a more clarified vision, as shown in this fantastic example which is amply demonstrative of the complexity of his ideas. Taking reference points from a vast area of art history - Celtic, Buddhist, African, Hindi and Modernist to name but a few - he created a language of emblems and symbols with the aim of capturing the “mysterious and spiritual forces normally beyond our comprehension”. Davie’s esotericism and eccentricity earned him the reputation as something of a “shaman”, a fitting title for an artist who sought to live his entire life as an exploration of the magic that underpins art, music and philosophy. The artist has had retrospectives at the Barbican, London, Tate St Ives and Tate Britain. He was appointed CBE in 1972 and elected a senior Royal Academician in 2012.


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224 [§] ALAN DAVIE C.B.E., H.R.S.A. (SCOTTISH 1920-2014) OPUS 0.163 - MIRACULOUS FRUIT MAKERS, 1960 Signed and dated upper left, titled verso, oil on paper 42cm x 53.5cm (16.5in x 21in) Exhibited: ‘Collector’s Choice’, Gimpel Fils, London; July 1967 Provenance: The artist’s studio; Collection of Caroline Duveen, UK; Gimpel Fils, London; Private Collection, London

£6,000-8,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4


122 Lyon & Turnbull

225 [§] ALAN DAVIE C.B.E., H.R.S.A. (SCOTTISH 1920-2014) PRAYER FOR RAIN NO.5: OPUS 1188 April 1976, gouache 52cm x 78cm (20.5in x 30.75in)

£4,000-6,000

226 [§] JOHN BEARD (WELSH/AUSTRALIAN B.1943) RIF RAF II Signed and inscribed with title and dated 1992 verso, oil on canvas 110cm x 90cm (43.25in x 35.5in)

£2,000-3,000


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227 [§] RICHARD WALKER (SCOTTISH CONTEMPORARY) WALL OF LIGHT Signed and inscribed with title and dated 1994, oil and mixed media on canvas 158cm x 117cm (62.25in x 46in)

£1,000-1,500

228 [§] ADRIAN WISZNIEWSKI A.R.S.A. (SCOTTISH B.1958) CRAB Watercolour and gouache 75cm x 56cm (29.5in x 22in)

£1,000-1,500


124 Lyon & Turnbull

229 [§] MANUEL MARÍN (SPANISH 1942–2007) UNTITLED (LARGE MOBILE) Signed with impressed mark to base, polychrome steel mobile sculpture 130cm high x 167cm wide (51in x 65.5in)

£3,000-5,000


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230 [§] MANUEL MARÍN (SPANISH 1942–2007) UNTITLED (TABLE-TOP MOBILE) Signed with impressed mark to base, polychrome steel mobile sculpture 26cm high x 76cm wide (10.25in x 30in)

£1,500-2,000

231 [§] ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1965) RHYME Signed and inscribed with title and dated 2008 verso, oil on canvas 40.5cm x 40.5cm (16in x 16in) Exhibited: The Ingleby Gallery, Edinburgh

£4,000-6,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4


126 Lyon & Turnbull

SIR HOWARD HODGKIN Considered to be one the most important British artists of the twentieth century, Sir Howard Hodgkin was a central figure in the country’s modern art movement. Born in 1932 in Hammersmith London, Hodgkin was determined to become a painter from the young age of five. During the Second World War Hodgkin, along with his sister and mother, were evacuated to Long Island, USA. There his ambitions to paint were reinforced after seeing pictures by Matisse, and Picasso at the Museum of Modern Art in Manhattan. After returning to England he attended Eton College where he first began to collect Indian miniatures. After running away from school twice, Hodgkin was transferred to Bryanston School in Dorset however he soon ran away again to pursue his ambition of becoming a painter.

232 [§] HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017) BAMBOO, 2000 A.P., signed with initials and dated in pencil, numbered 3/18, screenprint on wovepaper 84cm x 91cm (33in x 35.75in)

£3,000-5,000

Hodgkin first trained at Camberwell School of Art followed by four years studying at Bath Academy of Art. In the mid-1950s a wave of Abstract Expressionism exhibitions in London had an important impact on the development of his style, and to extent liberated him as an artist. Hodgkin has exhibited at numerous notable institutions including the Hayward Gallery and Gagosian. He was also granted numerous major shows including exhibitions at the Metropolitan Museum of Modern Art, Tate Britain as well as representing Britain at the 1984 Venice Biennale. In 1976 Hodgkin’s first retrospective was curated by Nicolas Serota at the Museum of Modern Art in Oxford and in 1992 he was knighted for his services to the arts.

Note: Hodgkin’s work is characterised by his sensitivity to colour and ability to stimulate an emotive response in the viewer. His rich and complex paintings are rooted in an everyday reality and his own private experiences. Despite the sweeping energetic brush strokes conveying a sense of spontaneity, they are a result of an extensive process of careful layering and over painting. In Bamboo Hodgkin infuses his understanding of late nineteenth century French painting, especially work by Edouard Vuillard, with his own personal experiences of travelling to exotic locations. The impact of the vivid colour is intensified by his habit of incorporating the frame as part of the picture. Usually his titles seem opaque to the viewer, but for the artist they are the clue to the image.


Modern British & Contemporary Art 127

233 [§] HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017) LOTUS Signed and dated ‘80, numbered 77/100, screenprint, printed by Kelpra Studio, published by Bernard Jacobson Plate size 73cm x 90cm (28.75in x 35.5in) Note: Hodgkin’s affiliation with Indian art blossomed early on in his life. During his time in Eton he was first introduced to Indian art by the drawing master Wilfrid Blunt. Soon after, Hodgkin became an avid collector of Indian prints and paintings, and over the years frequently visited the country. Hodgkin references his travels by painting India’s national flower.

£1,200-1,800

234 [§] HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017) FOR ANTONY, 2015 Signed with initials and dated in pencil, numbered 38/100, sugar lift etching from three copper plates 26.5cm x 42.5cm (10.5in x 16.75in) Note: This work features Hodgkin’s characteristic broad gestural brushstrokes. These, however, convey a deceiving sense of spontaneity, as it could take up to a year for Hodgkin to prepare to execute a single brushstroke. The title references his partner Antony Peattie whom he lived with until his death in 2017. After coming out as homosexual in the late 1970’s, his work became characterised by a heightened sense of eroticism. Painted during a mature point in their relationship the print simultaneously exudes a sense of tranquillity and distress.

£1,200-1,800


128 Lyon & Turnbull

235 [§] PETER HOWSON (SCOTTISH B.1958) NUDE Signed and dated ‘86, oil on paper 36cm x 58cm (14.25in x 22.75in)

£800-1,200

236 [§] PETER HOWSON (SCOTTISH B.1958) GUEST Signed, pastel 22cm x 29cm (8.75in x 11.5in)

£600-800

237 [§] PETER HOWSON (SCOTTISH B.1958) MOSES AND THE BURNING BUSH Signed and dated 2012, ink and wash and bodycolour 40cm x 30cm (15.75in x 11.75in)

£1,000-1,500


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238 [ยง] KEN CURRIE (SCOTTISH B.1960) BOILER ROOM Charcoal 168cm x 99cm (68in x 39in)

ยฃ3,000-5,000


130 Lyon & Turnbull

239 [§] PETER HOWSON (SCOTTISH B.1958) A FOOL Oil on canvas 21.5cm x 15.5cm (8.5in x 6.25in)

£1,000-1,500

240 [§] PETER HOWSON (SCOTTISH B.1958) UNTITLED Signed, pastel 58cm x 43cm (22.75in x 17in)

£1,500-2,500

END OF SALE


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INDEX & GLOSSARY ADAMSON, C., 221 ADLER, J., 41, AITCHISON, C., 119, 120 ARAKI, N., 170 ARROWSMITH, S., 216 BAIN, D., 42, 104 BARR, S., 155 BARRIE, M., 203 BEARD, J., 226 BELLANY, J., 121, 122, 123, 142, 143, 178, 179, 180, 212 BOND, M., 207 BOWIE, D., 147, 148 BOYD, J.G., 183 BOYLE, C., 36, BRADLEY, M., 91 BRAQUE, G., 1, BUSHE, R., 211 BYARS, H., 164, 165 CARTER, P., 139-141 COWIE, J., 29, CRAXTON, J., 59, CUMMING, J., 8, 9 CURRIE, K., 238 DAVIE, A., 223-225 DAVIES, D., 182 DOUTHWAITE, P., 60, 61 DURWARD, G., 209 EMIN, T., 215

FARTHING, S., 174 FAWCETT, R., 195, 198 FORBES, R., 191 FORREST, A., 156 GALLAGHER, M., 138 GEAR, W., 6, 7 GILLIES, SIR W.G., 103 HAMILTON FINLAY, I., 112 HANSEN, L., 189 HILTON, R., 39 HODGKIN, H., 232-234 HOLDSWORTH, D., 168, 169 HOLLAND, H., 196, 197 HORSLEY. A., 214 HOSIE, D., 163, 213 HOUSTON, J., 125, 127, 128 HOWARD, K., 199, 200, 210 HOWSON, P., 144, 145, 146, 235-237, 239, 240 INGLIS, J., 38, IRVIN, A., 107 JOHNSTONE, W., 4,5, JUDKINS, R., 162 KANE, M., 161 KIRKHAM, N., 132, 133 KNOX, J., 31, 32, 33, 37 LICHTENSTEIN, R., 117 LISLE, D., 175-177 LOW, B., 13-25, 43-57

MACDONALD, H., 105 MACDONALD, T., 27 MACEWAN, G., 93, 94 MACKAY, C., 166 MANGAN, S., 219 MANN, G., 172 MANSON, D., 206 MARÍN, M., 229, 230 MCINYTRE, D., 181, 184 MCINTYRE, F., 129, 130 MCINTYRE, J., 190 MCLAREN, P., 173, 185 MCQUEEN, C., 187 MCRAE, J., 218 MICHIE, D., 136 MITCHELL, G., 152 MOORE, H., 10,11, MORRISON, J., 186 MORRISON, J. LOWRIE, 137 MORROCCO, A., 106 NEAGU, P., 113-116 NEILSON, L., 101, 102 NEWLANDS, R.K., 97 NORMAN, R., 26, 28

PAOLOZZI, SIR E., 108-111 PATTERSON, J., 208 PHILIPSON, SIR R., 124 PICASSO, P., 92 PRAED, M., 95 PROCKTOR, P., 202

Names or Recognised Designation of an Artist without any Qualification In our opinion a work by the artist

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

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

Follower of… 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

SAHA, N., 157, 158 SANTHANARAJ, A.P., 159, 160 SCOTT, W., 3, SELWYN, W., 201 SENIOR, W., 30, SHANKLAND, S., 150, 151 SHANKS, D., 100 SHAWCROSS, C., 171 STIRLING, D., 134 TAYLOR, J., 40, THOMS, C., 12, TONER, D., 153, 154 TREVELYAN, J., 2, UNKNOWN, 62-90

ORAM, A., 135

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.

RAE, B., 131 RAMAER, P., 167 RAY, R., 149 REEVES, P., 34, 35 RICHARDSON, R., 220, 222 ROBERTSON, J. DOWNIE, 98, 99 ROPER, G., 204 ROSSBERG, S., 194

WALKER, E., 205 WALKER, R., 227 WARHOL, A., 118 WATSON, A., 126 WATT, A., 231 WHISHAW, A., 96 WHITE, P., 192, 192 WHITEFORD, K., 217 WISZNIEWSKI, A., 228 WOOD, C., 58, WOODSIDE, C., 188

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


132 Lyon & Turnbull

Lyon & Turnbull launches a new live bidding system – Lyon & Turnbull Live

This new facility allows users to enjoy the convenience and excitement of a live auction from any location, and all without the requirement to pay the additional premiums charged by other live bidding providers. Register to bid live in an upcoming auction through our website or download the app from the Apple App Store or Google Play to browse and bid from any mobile device.

Features include: •

Quick registration for upcoming auctions

Track upcoming lots and receive timely notifications

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Bid live using our simple swipe-to-bid interface

Watch sales in real time


Modern British & Contemporary Art 133

AUCTION 07 JUNE 2018 AT 6PM IN EDINBURGH • OPEN FOR CONSIGNMENTS NORAH NEILSON GRAY (BRITISH, 1882-1931) EXOTIC | Oil on canvas, signed upper right 108cm x 84cm (42.5in x 33in)

£8,000-12,000


134 Lyon & Turnbull

Conditions of Sale SELLERS

versa as appropriate.

1. DEFINITIONS

2. WARRANTY OF TITLE AND AVAILABILITY

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, EH1 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

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.

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. 4. TERMS OF SALE

(b) Firm reserves may be no greater than lower pre-sale estimate level. (c) A reserve once set cannot be changed except with our agreement. (d) You may not bid or instruct or permit any other person to bid on your behalf on your own property. If the Seller breaches this prohibition, Lyon & Turnbull may treat the Seller as bound as Seller and as Buyer but without the benefit of Lyon & Turnbull Authenticity Guarantee or the reserve, and/or pursue other remedies. (e) We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the hammer price been the reserve. 7. LOSS & DAMAGE WARRANTY (a) Subject to condition 7(c) below Lyon & Turnbull will assume liability for loss or damage to an item, commencing at the time that item is taken into physical control and possession by Lyon & Turnbull and ceasing on the earliest date of; (i) when risk passes to the Buyer of the lot following its sale; (ii) for unsold lots, when the lot is released to the Seller, or, within 3 months of the sale;or (iii) 6 months from the date of delivery to Lyon & Turnbull for items still in the

possession of Lyon & Turnbull but not consigned for sale (unless part of a 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 (ii) it reasonably doubts the accuracy of any of the Seller’s warranties; or (iii) the Seller breaches any provisions of the Conditions of Sale in any material respect; or (iv) the lot suffers from loss or damage so that it is not in the state in which it was when Lyon & Turnbull took delivery of it.


Modern British & Contemporary Art 135

(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.

antee (see Buyer’s conditions), in this ev ent Lyon & Turnbull shall send the Seller notice of such rescission. The Seller agree s to return to Lyon & Turnbull the Net Sale Proceeds received from th e sale of such lot with any additional expen ses incurred by Lyon & Turnbull. Lyon & Tu rnbull will return the property to the Seller upon receipt of the Net Sale Proc eeds and Expenses, unless prevented in d oing so by reasons outwith Lyon & Turn bull’s control. 17. AGENCY Lyon & Tur nbull act

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.

s as agent solely for and in the interest s of the Seller. We do not act for B uyers in this role and does not give advice to Buyers. When Lyon & Turnbull make a st

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 contémplates 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.

atement about a lot it is he purposes of a private treaty sale, if a lot is sold in any other currency th an Sterling, the exchange rate is to be t aken on t

doing so on behalf of the Seller of the lot. The Auctioneer normally acts a s agent only and disclaims any responsi bility for default by Sellers or Buyers. 1 8.DATAPROTECTION Inconnectionwiththe

he date of sale. 14. THIRD PARTY LIABI LITY All members of the public on o ur premises are there at their own risk and must note the lay-out of the accommodation and security arrang ements. Accordingly, neither the

managementandoperationofourbusinessand the marketing and supply of Lyon & Turnb ull’s services, or as required by law, we may a sk the Seller to provide personal informati on about themselves or obtain information about the Seller from thi

Auctioneer nor our employees or ag ents shall incur liability for death or p ersonal injury or similarly for the safet y of the property of persons visiting p rior to, during or after a sale. 15. GENERAL (a) We shall have the right at our discretion, to refuse admission to our premises or attendance at our a uctions by any person. (b) Any notice to a ny Buyer, Seller, bidder or viewer ma y 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 shoul d be in writing and addressed to the Manag ing Director at 33 Broughton Place, Edinbu rghEH13RR,quotingthereferencenumber specified at the beginning of the sale catalogue. (d) Should any provision of t hese Conditions of Sale be held unenforce able for any reason, the remaining prov isions shall remain in full force and ef fect. (e) These Conditions of Sale are not assignable by either party without the o ther’s prior written consent, but are b inding on the seller’s successor and representatives. No act, omission or de lay by Lyon & Turnbull shall be deeme d a waive r or release

(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.

of any of its rights. (f) The contract b etween the parties may be varied by the par ties by agreement and in writing. 16. RE CISSION OF SALES Lyon & Turnbull may r escind the sale where it reasonably believes that the lot falls within the term s as defined

(d) For the purposes of a private treaty

by Lyon & Turnbull’s Authenticity Guar

rd part ies (e.g. credit information). Lyon & Tu rnbull will not give out personal info rmation except as may be required by law. If you would like further informat ion on Lyon & Turnbull policies on pe rsonal data, or to make corrections to y our information, ple ase contact us on 0131 557 8844. 19. LAW AND JURISDI CTION (a) Governing Law: These Conditio ns of Sale and all aspects of all mat ters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in acco rdance with, Scots law (b) Jurisdi ction: The Seller agrees that the Courts o f Scotland are to have exclusive jur isdictio n to settle all disputes arising in connec tion with all asp ects of all matters or transactions to wh ich these Conditions of Sale relate or apply. BUYERS The Auctioneer carries on business with bidd ers, Buyers and all those present in the auction room prior to, or in connecti on with, a sale on the followi ng General Conditions and on such other terms, conditions and notices as may be referred to herein. 1. DEFINITI ONS In these Conditions of Sale (Buyers): “Auctioneer” means Lyon & Turn bull Ltd (Registered in Scotland No: 19 1166 | Registered address: 33 Broughto n Place, E dinburgh, EH1 3RR) or its authorised auct ioneer,asappropriate; “Hammerprice”mea

ns the level of bidding reached (at or ab ove any reserve) when the Auctioneer br ings down the hammer; “Lot” means each Item offered for sale by Lyon & Turnbull; “Purchas e Price” is the Hammer Price and appli cableBuyer’sPremium; “Reserve”meansthe lowest price below which an i tem cannot be sold; “Total amo unt du e” means the hammer price in respect of the lot sold together with any premiu m,ValueAddedTaxorothertaxeschargeabl e and any additional charges payable by a defaulting Buyer under these Conditions; “You”, “Your” means th e Buyer; “Us”, “Our”, “We” etc. refe rs to Lyon & Turnbull Ltd The singular includes the plural and vice versa as ap propriate. 2. AGENCY Lyon & Turnbull acts as agent solely for and in the interests of the Seller. We do not act for Buye


136 Lyon & Turnbull

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 premium (5% 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.

responsible for the acts or omissions of carriers or packers whether or not recommended by us.

(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.

(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.

7. DROIT de SUITE This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the hammer price and in addition to the Buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the auctioneer. Resale royalties are not subject to VAT. Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale. More information on Droit de Suite is available at www.dacs.org.uk. 8. PAYMENT (1) Within 7 days of a lot being sold you will: (a) Pay to us the total amount due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. (b) Please note that we do not accept cash payments over £5,000. (2) Any payments by you to us may be applied by us towards any sums owing by you to us howsoever incurred and without agreement by you or your agent, whether express or implied. 9. TITLE AND COLLECTION OF PURCHASES (1) The ownership of any lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (2) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any cheque used for payment whichever is later. We can provide you with a list of shippers. However, we will not be

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

(5) Export of goods: Buyers intending to export goods should ascertain (a) whether an export licence is required and (b) whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the lot. 10. REMEDIES FOR NON·PAYMENT OR FAILURE TO COLLECT PURCHASES (1) If any lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the Sellers and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (a) to proceed against you for damages for breach of contract; (b) to rescind the contract for sale of that lot and/or any other lots sold by us to you; (c) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). (d) to remove, store and insure the lot in the case of storage, either at our premises or elsewhere and to recover from you all costs incurred in respect thereof; (e) to charge interest at a rate not exceeding 1.5% per month above the current base rate on all sums outstanding for more than 7 working days after the sale; (f) to retain that or any other lot sold to you until you pay the total amount due; (g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) to apply any proceeds of sale of other lots due or which become due to you towards the settlement of the total amount due by you and to exercise a lien over any of your property in our possession for any purpose until the debt due is satisfied. 11. DESCRIPTIONS AND CONDITION

(1) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective Buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective Buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and only accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer or our employees or agents accept liability for the correctness of such opinions and no warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are given. Please note that photographs/images provided may not be fully representative of the condition of the lot and should not be relied upon as indicative of the overall condition of the lot. (2) Condition reports: Condition reports are provided on our website or upon request. The absence of a report does not imply that a lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavor to respond to all requests although we offer no guarantee. Any statement in relation to the lot is merely an expression of opinion of the Seller or Lyon & Turnbull and should not be relied upon as an inducement to bid on the lot. Lots are available for inspection prior to the sale and you are strongly advised to examine any lot in which you are interested prior to the sale. Our condition reports are not prepared by professional conservators, restorers or engineers. Our condition report does not form any contract between Lyon & Turnbull and the Buyer. The Condition Reports do not affect the Seller’s obligations in any way. (3) Estimates: Estimates are placed on each lot to help Buyers gauge the sums involved for the purchase of a particular lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon. (4) Catalogue Alterations: Lot descriptions and estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred. (5) Electrical Goods: are sold as “works of


Modern British & Contemporary Art 137

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) wine: may only be sold to persons aged of 18 years and over. By registering to bid, you affirm that you are at least that age. On collection, you must provide positive proof of age should this be requested. Buyers of wines must make appropriate allowances for natural variations of ullages, conditions of corks and wine. Lyon and Turnbull can provide no guarantees as to how the wine may have been stored. There is always a risk of cork failure and allowance by the buyer must be made. Wine is sold “as is” and quality of the wine is entirely at the risk of the Buyer and no warranties are given. (8) 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. 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 contémplation 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.


138 Lyon & Turnbull

Guide to Bidding & Payment Registration

How to Bid

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:

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.

You will find a link to this service in any email invoice issued or you can visit the payments section of our website.

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 nontransferable.

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 is also available: • L&T Live – Access through our website or download the live bidding app L&T Live, service offered for no additional fee. • Invaluable – Access through invaluable.com. Invaluable charge an additional 5% for their service. • The-Saleroom – Access through The-Saleroom.com. The-Saleroom charge an additional 3% for their 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. Online Card Payments We no longer accept card payments by phone. Please use our online payment service (provided by Cardstream/Credorax).

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.


Modern British & Contemporary Art 139


140 Lyon & Turnbull

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

517 Modern British & Contemporary Art  

Auction 18 April 2018 Catalogue

517 Modern British & Contemporary Art  

Auction 18 April 2018 Catalogue