Issuu

POST-WAR & CONTEMPORARY ART IN SCOTLAND

DARKNESS & LIGHT

30TH SEPTEMBER 2026 LIVE FROM EDINBURGH & ONLINE

DARKNESS & LIGHT POST-WAR & CONTEMPORARY ART IN SCOTLAND

WEDNESDAY 30 SEPTEMBER 2026 FROM 10AM

Printed by Park

Sale Number LT938

Lyon & Turnbull 33 Broughton Place EDINBURGH EH1 3RR

Front Cover Lot 101 [detail]

VIEWING IN EDINBURGH 33 Broughton Place EH1 3RR

Inside Front Cover Lot 174 [detail]

Sunday, 27 September 2026, 10am-4pm Monday, 28 September 2026, 10am-4pm Tuesday, 29 September 2026, 10am-4pm Day of Sale 9am - 12 noon

Communications, a Carbon Neutral Company, on FSC® certified paper. Park works to the EMAS standard and its Environmental Management System is certified to ISO 14001. This publication has been manufactured using 100% offshore wind electricity sourced from UK wind. 100% of the inks used are vegetable oil based, 95% of press chemicals are recycled for further use and, on average 99% of any waste associated with this production will be recycled and the remaining 1% used to generate energy. This document is printed on Magno Satin paper made of material from well-managed, FSC®certified forests and other controlled sources.

CONTACT EDINBURGH +44 (0) 131 557 8844 GLASGOW +44 (0) 141 333 1992 LONDON +44 (0) 20 7930 9115 info@lyonandturnbull.com

Lot 178

Lot 49

Lot 4

Lot 104

Lot 128

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 help you.

BUYER’S PREMIUM

REGISTRATION

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

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

All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, or on our website. Please note that first-time bidders, and those returning after an extended period, will be asked to supply the following documents in order to facilitate registration:

ADDITIONAL VAT

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

28% up to £25,000 27% from £25,001 to £500,000 26% thereafter

† VAT at the standard rate payable on the hammer price ‡ Reduced rate of 5% import VAT payable on the hammer price Ω Standard rate of import VAT on the hammer price

2 – Proof of address (utility bill/bank statement). We may, at our option, also ask you to provide a bank reference and/ or deposit. (Particularly for bidding on lots marked by the high value lot symbol )

Lots affixed with ‡ or Ω symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2.

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).

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

BIDDING & PAYMENT

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 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. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, charges are calculated on a sliding scale. More information on Droit de Suite is available at www.dacs.org.uk.

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. See Collections & Storage section for more info specific to this particular auction. CATALOGUE DESCRIPTIONS All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. Our specialists will be happy to prepare condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.

IMPORT/EXPORT Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot. ENDANGERED SPECIES Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside Great Britain. For more information visit http://www. defra.gov.uk/ahvla-en/imports-exports/ cites COLLECTION OF PURCHASED LOTS All collections will be by appointment only (this applies to both carriers and personal collections). To make an appointment call 0131 557 8844 or email info@lyonandturnbull.com. Please ensure payment has been made prior to collection. This can be done by bank transfer, and debit/credit card online (powered by Stripe) - details will be shown on your invoice. Please note we are unable to take payments over the phone.

26.2

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 condition of a lot, or just want to find out more about the auction process.

Carly Shearer Head of Sale carly.shearer@lyonandturnbull.com

Simon Hucker Senior Specialist simon.hucker@lyonandturnbull.com

Nick Curnow Head of Fine Art nick.curnow@lyonandturnbull.com

Romey Clark Associate Specialist romey.clark@lyonandturnbull.com

Alice Strang Senior Specialist alice.strang@lyonandturnbull.com

Charlotte Cockburn Sale Co-ordinator charlotte.cockburn@lyonandturnbull.com

A COLLECTOR’S COLLECTION BY BILL HARE & ANDREW PATRIZIO

Scotland, geographically and demographically, may be a

Most of the younger Scottish artists who came to the fore in

relatively small and, some may even say, an insignificant

the immediate post-war period were much more ambitious

country. Yet when it comes to science, technological

in attitude and experimental in practice than their pre-war

innovation, philosophy and literature it has, over the

predecessors. They wanted their challenging and highly

centuries, punched unexpectedly well above its weight.

innovative art to deal directly and engage authentically

Turning to the visual arts, the historical scenario is a little

with the major issues of that traumatically scarred time –

more complicated. There have been periods when Scottish

the terrible aftermath of the horrors of World War Two

art has been stuck in its own parochial doldrums. By contrast

and the ever-growing threat of total atomic annihilation

however, there have also been at least two very notable

threatened by Cold War conflict. This clearly can be seen in

eras where Scottish art has successfully engaged on equal

the work of the Independent Group duo of Eduardo Paolozzi

footing with the wider international art scene. Most notably

(1924-2005) and William Turnbull (1922-2012). Both in this

they have been during the 18 and early 19 centuries - The

instance were seeking to represent the human head in an

Scottish Enlightenment’s “Golden Age of Scottish Painting”

appropriate post-atomic fashion – Paolozzi with his Brutalist

and that other occasion, much closer to home, the post-

fragmented Shattered Head (lot 39) and Turnbull by his raw

World War Two period from 1945 onwards. In both cases

gestural expressionist Head (lot 48). Furthermore, being

this occurred despite Scottish art labouring against the

also concerned with the nascent multi-media consumerism

recurring difficulties and shortcomings which continually

and popular entertainment coming into British society from

forced the most ambitious and talented artists to further

across the Atlantic, Paolozzi, a Surrealist at heart, turned to

their careers out with Scotland. One of the main reasons

the use of collaged imagery taken from glossy American film

for this recurring artistic exodus has been the lack of major

fan magazines as seen in Sweater Girl (Lana Turner) (lot 38).

home-grown private collectors. It is therefore truly a rare

The other outstanding Scottish artists from this period were

and very welcome experience to come across this collection

Robert Colquhoun (1914-62), Robert MacBryde (1913-66)

(The Collection) of modern and contemporary Scottish art

and Joan Eardley (1921-63). Interestingly the “Two Roberts”,

which must be one of the largest and most comprehensive

as they were soon to be popularly known, took the well-

built up over the years by an exceptionally dedicated private

trodden road to London, as seen in the famous photograph

collector. Within this impressive body of work most of the

of them in their studio by John Deakin (lot 20). On the

major figures in post-war Scottish art are represented by

other hand, English-born Eardley was evacuated as an art

well-chosen examples of their work.

student to Glasgow School of Art and then decided to remain

This short introduction will not attempt to cover all the items to be found in this very large body of collected art works. If it did so, it would undoubtedly end up merely a long list of names and titles. Rather, the essay will aim to discuss briefly a select set of examples which can be deemed representative of the most important artists’ work seen within the sociohistorical and artistic context of their individual careers.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

in Scotland for the rest of her sadly short career. In their different ways these painters were keen to capture the harsh “kitchen sink” austerity of life for those living at the bottom of British society in the immediate post-war period. This can be seen in Eardley’s affective portrait of one of the members of her famous Glasgow street kids’ family that she regularly depicted, Portrait of Andrew Sampson (lot 13). It is also found

Lot 39

in Colquhoun’s Cubist-Expressionist Grieving Women (lot

Conceptualism and Minimalism. Two young Scottish painters

21), where the dark red and acid yellow colour combinations

however, resisted this trend and defiantly committed their

adds powerfully to the emotional aura of high tragedy in the

art to depicting the figure within the human drama of life,

painting. The other major figure from this period, Alan Davie

using modern portraiture and history painting as their

(1920-2014) is represented in The Collection by Woman

preferred modes of personal expression. This important

Bewitched by the Moon No.3 (lot 44). Davie, although he also

partnership between John Bellany (1942-2013) and

taught at the Central School of Art in London along with

Alexander (Sandy) Moffat (1943- ), who graduated together

Paolozzi and Turnbull, was a decidedly maverick outsider.

from Edinburgh College of Art, is embodied in a dual double

In his highly expressive painting he too seeks a way of

portrait (lot 68) which could be seen, amongst other things,

representing the deep apprehension and vulnerability of

as a manifesto of shared painterly intent. Later Bellany

Western society in the 1950s. His concern is not on a socio-

went on to become a challenging champion of figuration on

political materialistic basis but on a spiritual psychological

the London art scene in the 1970 and 80s with his highly

one. Using a Jungian approach, along with oriental mysticism,

autobiographical symbolist expressionism, where self-

Davie’s work symbolically bodies forth the imagery of the

portraiture regularly featured, as seen in Self-Portrait with Cat

paranoid mind within the collective human subconscious

(lot 50).

terrified by the nightmare of history.

There is little or nothing from the 1970s in The Collection,

David Sylvester, the renowned English art critic, judged

with the majority of works comes from the 1980s onwards.

that there were only two British artists at that time who

This is not surprising as The Collection has a marked bias

could hold their own within the international art world, then

towards figurative art. The person who is credited with being

dominated by American Abstract Expressionism. They were

most responsible for this return to the depicting the figure

Francis Bacon and Alan Davie. Unfortunately there is no

in Scottish modern painting is undoubtedly Sandy Moffat.

other work by Davie in The Collection from the 1960s. This

As Head of Drawing and Painting at Glasgow School of Art

is probably due to Davie’s work from this decade beginning

in the 1980 and 90s he inspired a generation of younger

to take on a marked abstract direction. From the overall

artists to turn to human and socially relevant subject

evidence of The Collection, abstract painting held less of an

matter in their paintings. This bond of shared endeavour

appeal to The Collector and its story is held elsewhere. The

between Moffat and his students is well illustrated by his

Pop Art phenomenon of the 1960s also had little appeal to

studio-based depiction of Peter Howson (1958- ), standing

the Scottish art world but the Counter-Culture movement

in front of Howson’s celebrated Noble Dosser portrait on the

and Conceptualism did attract such admired Scottish artists

easel. Furthermore, many of Moffat’s students – soon to be

as Ian Hamilton Finlay (1925-2006) and Bruce McLean

critically labelled as the “New Glasgow Boys” – went on to

(1944-). McLean’s strong commitment to performance art for

have very successful careers, especially during the 1980s,

instance is illustrated in an unusual black and white painting

when neo-figurative painting was the highly fashionable

with a typical quirky McLean title, Two Handbags, Two Ladders

international movement in the contemporary Western art

(lot 155). Conceptual artist and concrete poet, Ian Hamilton

world.

Finlay, famed for his horticultural/maritime inspired art, is represented here by an elegant typographical ceramic text piece, Five Fore-and-Afters: The Rosie (lot 76).

The 1980s in Scotland was a time of parliamentary disappointment and wide-spread frustration and anger with the failure of the Devolution Referendum in 1979 and

Throughout the 1960s, apart from Pop Art, serious

the relentless dismantling of Scotland’s heavy industries

figuration in painting was under threat from Abstraction,

causing high unemployment and socio-political unrest. The

Lot 68

economic and psychological impact of this on working class

slightly older generation there is also good representation

communities was one of the main concerns of the art of

from Joyce Cairns (1947-) a product of Gray’s School of

Howson and Ken Currie (1960- ) in the 1980s. This can be

Art, Aberdeen. Notably, in their different ways all these

seen in such work as the former’s The Lonely Hero (lot 133)

painters were concerned at the time with the representation

and the latter’s large pastel drawing Wailing Women (lot 64).

of the female figure and the pictorial world in which she is

While these two “Boys” artistic attention focussed on the

presented. Cairns, for instance, would typically employ a

socio-economic impact of urban deprivation, the paintings

range of masquerades in which to present herself centre-

of Steven Campbell (1953-2007) and Adrian Wiszniewski

stage in a highly imaginary maritime setting as in Night Flight

(1958-) were markedly different in subject and tone. For

(lot 132). With a different approach, Watt and Roberts both

instance, Campbell tended to set his slap-stick mock-heroic

would sometimes be drawn to use the compositional strategy

scenarios in a Victorian romantic landscape with absurdist

of “absence of presence.” Here the female figure is actually

titles attached to them. While Wiszniewski usually had his

omitted but her lingering presence is strongly suggested

fey young dandies elegantly lounging about in enclosed

by the empty space left behind as in Watt’s Blackthorne (lot

arbours and communicating with each other in a secret sign

14). While these two artists painted with a highly finished

language, Totem (lot 10).

academic naturalistic technique, Flockhart by contrast

In the late 1980s and 90s Glasgow School of Art also produced many important woman painters who are included in The Collection, such as Alison Watt (1965-), Helen Flockhart (1963-) and Julie Roberts (1963-). From a

employed a faux naïve manner; this allowed her to build up the painted patterned surface until it gained the texture of embroidery as demonstrated in her Portrait with Wildflower and Moth (lot 96).

The triumph of Neo-Figuration proved to be relatively short-

A high proportion of the art in The Collection is by

lived and by the 1990s new approaches to artistic expression

contemporary artists. This is commendable, as having work

were coming to the fore. Ironically, it was Glasgow School

in such an important collection can be a great boost of

of Art again that lead the way in this latest development in

encouragement to young Scottish artists in the early stages

the recent history of Scottish art. Painting was now being

of their careers. At the same time, it also demonstrates

challenged by different forms of Conceptualism, such as

the more independent and adventurous dimension to The

Installation, Performance, Photography and Text-based art.

Collector’s own taste where selection is not so likely to be

The two of the most successful practitioners of these new

based on the artist’s well-established reputation.

modes were Christine Borland (1965-2026) and Douglas Gordon (1966- ). Both created elaborate installation pieces but also produced single works of art as seen here. At that time Borland, who tragically passed away this summer, was particularly interested in medical and criminal forensics and this can be found in the way she mixes them with her subtle use of delicate materials, such as fine porcelain and white linen as seen in Tickle Holes (lot 163). Gordon, on the other hand, was fascinated by the photographic image, whether still or moving, and the way it affects not only our sense of our visual reality but also in the manner we see and judge ourselves and other people. The latter issue is directly confronted in Gordon’s double photographic self-portrait, Monster (lot 105), where we are invited not only to decide which is real and which is mirror image but also which of the two is the monstrous one.

In 2016 we co-curated an Edinburgh Festival exhibition called The Scottish Endarkenment in an attempt to offer an alternative reading of Scottish art made precisely over the same period as that covered in The Collection. Some works from The Collection were generously lent including Jock McFadyen’s Calton Hill (lot 128), a work which we both quickly agreed should be the one used on the exhibition poster. The exhibition proved to be a popular and critical success, being included in The Guardian’s top 10 best international exhibitions of that year. Furthermore, the National Gallery of Scotland were also impressed and wished to acquire McFayden’s Calton Hill for the National Collection, where it now resides. With the cooperation of the artist, another version replaced it and is the one now in The Collection. The Collection undoubtedly offers a rare; but unfortunately, soon to be a last, opportunity to see and admire a group of singularly high-quality works of modern and contemporary art from a very distinguished era in Scottish art history. For this we have to thank its exceptionally well-informed and dedicated Collector. BILL HARE & ANDREW PATRIZIO

Lot 105

1§ GRAHAM MURRAY (SCOTTISH 1907-1987) PORT GLASGOW AND THE CLYDE Signed lower left, oil on canvas 61cm x 107cm (24in x 42in) Provenance: Alex Reid & Lefevre, London; Cyril Gerber Fine Art, Glasgow, where acquired by the current owner, September 2006. Exhibited: Royal Glasgow Institute, 1946, no. 635.

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

2§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) COLOURFUL SLUM STREET Pastel on buff paper 12cm x 19.5cm (4.75in x 7.75in) Provenance: Roland, Browse & Delbanco, London; Louise Spence Fine Art, London, where acquired by the current owner, April 2011.

£3,000-5,000

3§ JAMES MORRISON R.S.A., R.S.W., L.L.D. (SCOTTISH 1932-2020) DEVONSHIRE TERRACE WEST - 1957 Signed and dated lower left, oil on canvas 65.5cm x 45.5cm (25.75in x 18in) Provenance: Great Western Auctions, Glasgow, 14 June 2003, Lot 123.

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

4§ DERRICK GUILD R.S.A. (SCOTTISH 1961-) LABEL QUEEN MARINA - 2003 Signed, titled and dated on canvas overlap, oil on canvas 71cm x 61cm (28in x 24in) Provenance: Open Eye Gallery, Edinburgh.

£2,000-3,000

5§ ALEXANDER GOUDIE (SCOTTISH 1933-2004) STUDY OF THE (LAS MENINAS) INFANTAS, AFTER VELAZQUEZ Signed upper right, mixed media 112cm x 132.5cm (44.25in x 52.25in) Provenance: Roger Billcliffe Gallery, Glasgow, where acquired by the current owner, October 2008.

£2,000-3,000

6§ ALEXANDER GUY (SCOTTISH 1962-) PIETA (AFTER VAN DER WEYDEN) - 1991 Signed, titled and dated verso, oil on canvas 213cm x 243.5cm (84in x 95.5in), unframed Provenance: Shapes Auction, Edinburgh, 1 October 2005, Lot 554.

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

7§ JOHN BYRNE R.S.A. (SCOTTISH 1940-2023) SELF-PORTRAIT Signed lower right, gouache 23.5cm x 18.5cm (9.25in x 7.25in) Provenance: Cyril Gerber Fine Art, Glasgow.

£1,500-2,000

8§ WILLIAM CROSBIE R.S.A. (SCOTTISH 1915-1999) SELF PORTRAIT AS JOHN THE BAPTIST Signed lower right, oil on card laid down on panel 30.5cm x 14cm (12in x 5.5in) Provenance: Bonhams, Edinburgh, Fine Paintings, 5 December 2005, Lot 83.

£1,000-1,500

9§ ALEXANDER MILLIGAN GALT R.G.I. (SCOTTISH 1913-2000) AGNES RESTING - 1948 Signed and dated lower left, oil on canvas-board 59cm x 39cm (23.25in x 15.25in) Provenance: Panter & Hall, London, where acquired by the current owner, July 2007.

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

10 § ADRIAN WISZNIEWSKI R.S.A. (SCOTTISH 1958-) TOTEM - 1987 Signed upper right, oil on canvas 203cm x 85.5cm (80in x 33.75in) Provenance: Nigel Greenwood Gallery, London (label verso); Shapes Auctions, Edinburgh, 2 August 2008, Lot 410. Exhibited: The Walker Art Gallery, Liverpool, Artist in Residence, 1986-7.

£4,000-6,000

11 § ADRIAN WISZNIEWSKI R.S.A. (SCOTTISH 1958-) MAN’S HEAD III - 1994 Signed with initials and dated upper right, gouache on paper 34cm x 25cm (13.5in x 9.75in) Provenance: Galerie Fortlaan 17, Ghent.

£1,000-1,500

12 § DAME ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH 1931-2021) SEATED NUDE - 1978 Signed and dated lower right, oil on canvas 20.5cm x 35.5cm (8in x 14in) Provenance: Mercury Gallery, London (6 December 1978); Collection of Dr. J. G. Cooney; Austin/Desmond Fine Art, London, where acquired by the current owner, August 2005.

£1,500-2,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

13 § JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) PORTRAIT OF ANDREW SAMPSON Pastel and pencil on dark paper 13.5cm x 13.5cm (5.25in x 5.25in) Provenance: Sotheby’s, Hopetoun House, Scottish Pictures, 19 April 2004, Lot 133.

£4,000-6,000

14 § ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH 1965-) BLACKTHORNE - 2012 Signed, titled and dated on canvas overlap, oil on canvas 30.5cm x 30.5cm (12in x 12in), unframed Provenance: Public Catalogue Foundation (now Art UK) Auction, London, 19 November 2012.

£5,000-7,000

15 § STEPHEN CONROY (SCOTTISH 1964-) HEAD STUDY I - 2006 Signed and dated to canvas overlap, oil on canvas 28.5cm x 23.5cm (11.25in x 9.25in) Provenance: Marlborough Fine Art, London, where acquired by the museum in 2008; Christie’s, Amsterdam, Property of Scheringa Museum of Realist Art, 18 September 2012, Lot 25.

£2,000-3,000

16 § STEPHEN CONROY (SCOTTISH 1964-) HEAD STUDY II - 2006 Signed and dated to canvas overlap, oil on canvas 28cm x 23cm (11in x 9in) Provenance: Marlborough Fine Art, London, where acquired by the museum in 2008, Christie’s Amsterdam, Property of Scheringa Museum of Realist Art, 18 September 2012, Lot 26.

£1,500-2,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

17 § ROBERT COLQUHOUN (SCOTTISH 1914-1962) SELF-PORTRAIT - 1938 Signed and dated lower centre, pencil drawing 26.5cm x 20cm (10.5in x 7.75in) Provenance: A gift to the artist’s mother and by descent to Mrs Sheila Wilson, the artist’s sister; Peter Nahum at The Leicester Galleries, London; Christie’s London, The Poetry of Crisis: The Peter Nahum Collection of British Surrealist & Avant-Garde Art 1930-51, 15th November 2006, Lot 252. Exhibited: Glasgow Print Studio, Colquhoun and MacBryde: A Retrospective, September 1990; Scottish National Gallery of Modern Art, Edinburgh, The Two Roberts: Robert Colquhoun and Robert MacBryde, 22 November 2014 - 24 May 2015. Literature: The Green Book, Bristol, 1990, Vol. 3, No. 6, illu. p. 22, article by George Barker.

£2,000-3,000

18 § ROBERT COLQUHOUN (SCOTTISH 1914-1962) HALF LENGTH PORTRAIT OF ROBERT MACBRYDE Black crayon and pencil on buff paper 26cm x 21.5cm (10.25in x 8.5in) Provenance: Mrs Anne Blake, the artist’s niece; Peter Nahum at The Leicester Galleries, London; Christie’s, London, The Poetry of Crisis: The Peter Nahum Collection of British Art, 15 November 2006, Lot 250. Exhibited: Glasgow Print Studio, Colquhoun and MacBryde: A Retrospective, September 1990, Scottish National Gallery of Modern Art, Edinburgh, The Two Roberts: Robert Colquhoun and Robert MacBryde, 22 November 2014 - 24 May 2015.

£2,000-3,000

19 § ROBERT MACBRYDE (SCOTTISH 1913-1966) PORTRAIT OF ROBERT COLQUHOUN IN AN ARMCHAIR Ink on paper 26.5cm x 43cm (10.5in x 17in) Provenance: Mrs Sheila Wilson (Robert Colquhoun’s sister); Peter Nahum at The Leicester Galleries; Christie’s South Kensington, The Poetry of Crisis: The Peter Nahum Collection of British Surrealist and Avant-Garde Art 1930-1951, 15 November 2006, Lot 251. Exhibited: Glasgow Print Studio, Colquhoun and MacBryde: A Retrospective Sept. 1990 (illu).

£2,000-3,000

20 § AFTER JOHN DEAKIN (BRITISH 1912-1972) THE TWO ROBERTS SLEEPING Photograph 13.5cm x 26cm (5.5in x 10.25in) Provenance: Peter Nahum at The Leicester Galleries, London; Dreweatts 1759, Newbury, The Collection of Peter & Renate Nahum, 24 February 2009, Lot 201. Exhibited: The Fine Art Society, London, Soho in the Fifties, December 1988.

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

21 § ROBERT COLQUHOUN (BRITISH 1914-1962) GRIEVING WOMEN Signed lower left, monotype 44.5cm x 30.5cm (17.5in x 12in) Provenance: England & Co. Gallery, London, where acquired by the current owner, January 2015. Exhibited: Redfern Gallery, London, July 1948.

£1,500-2,000

ROBERT COLQUHOUN was one of the most distinctive

The human figure was a recurring subject throughout

British painters of the post-war period, best known today as

Colquhoun’s career. Rather than concentrating solely

one half of the ‘Two Roberts’, alongside Robert MacBryde.

on physical likeness, he used the figure to explore mood,

Born in Kilmarnock in 1914, Colquhoun studied at Glasgow

emotion and the formal possibilities of painting. His

School of Art from 1933, where he met MacBryde, with

figures remain recognisable, but their bodies and faces are

whom he formed a lifelong personal and artistic partnership.

often simplified or distorted, allowing colour, shape and

In 1938-39, the pair travelled through France and Italy on a

composition to become as important as the subject itself.

travelling scholarship, an experience that brought them into

His encounter with the Polish painter Jankel Adler in 1943

contact with European art and ideas that would inform their

provided an important link to European modernism, and

developing approach to painting.

Adler encouraged Colquhoun to paint more freely from his

In 1941, they moved to London, where they became part

imagination rather than relying solely on direct observation.

of the city’s wider artistic circle, alongside figures including

In The Card Player (Lot 23), painted in 1944, the activity

Francis Bacon, Lucian Freud, John Minton and Keith

is immediately familiar – a solitary figure sits at a table,

Vaughan. They eventually established a shared studio at 77

engaged in a game of cards. The work belongs to the wartime

Bedford Gardens, which became an important meeting place

period, and its dark palette and enclosed interior contribute

for artists and writers. The pair were taken up by the Lefevre

to its subdued and solitary mood. The sparsely decorated

Gallery, where Colquhoun held his first solo exhibition in

interior and the figure’s turned-away face make the player

1943. His reputation grew rapidly, and by the later 1940s he

difficult to identify. The cards, chair and table, however, are

was regarded as one of the leading artists of his generation.

clearly recognisable, grounding the scene in the familiar

The close relationship between the ‘Two Roberts’ is reflected in their work, with portraiture providing an intimate record of their personal and artistic connection. Three works within this sale – Colquhoun’s Half-length Portrait of Robert MacBryde (Lot 18) and Self-Portrait (Lot 17), alongside MacBryde’s Portrait of Robert Colquhoun (Lot 19) – offer a particularly

details of everyday life. The ordinary details of the scene are therefore more legible than the identity of the player themself. This tension gives the work its atmosphere, with the human figure becoming a means of conveying a sense of isolation and psychological uncertainty through form and colour.

revealing insight into their relationship and Colquhoun’s

In Grieving Women (Lot 21), the figure becomes a vehicle

approach to portraiture. Seen together, the portraits bring

for a different kind of emotional expression. Two women

the two artists into direct dialogue, whilst also highlighting

occupy the centre of the composition, physically connected

the importance of the human figure within Colquhoun’s

through the clasping of their hands. One leans towards her

wider practice.

companion, whilst the other stands with lowered eyes and a restrained expression. Their physical proximity suggests consolation or mutual support, yet their separation within the enclosed space creates a contrasting sense of isolation. Colquhoun avoids a highly descriptive treatment of either woman, instead conveying their emotional state through pose, simplified form and colour. Grief is suggested less through dramatic gesture than through the women’s posture, proximity and lowered gazes.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

22 § BET LOW R.S.A., R.S.W., R.G.I. (SCOTTISH 1924-2007) GIRL BUSY PAINTING Titled and dated to an artist’s label verso, black conté on buff paper 28cm x 42cm (11in x 16.5in) Provenance: Blythswood Gallery, Glasgow. This work dates to c.1956 and has an alternative title ‘The Artist’s Daughter.’

£400-600

23 § ROBERT COLQUHOUN (BRITISH 1914-1962) THE CARD PLAYER - 1944 Signed and dated upper left, oil on canvas 75cm x 50cm (29.5in x 19.75in) Provenance: Sotheby’s, London, 20th Century British Art, 13 December 2007, Lot 7. Exhibited: Scottish National Gallery of Modern Art, Edinburgh, The Two Roberts: Robert Colquhoun and Robert MacBryde, 24 May - 22 November 2014, illu. no. 29; Scottish National Gallery of Modern Art, Edinburgh, A New Era: Scottish Modern Art 1900 - 1950, 2 December 2017 - 10 June 2018, no. 12, illu. p. 38.

£20,000-30,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

24 § ROBERT COLQUHOUN (BRITISH 1914-1962) DANCER BY A STOVE - 1958 Signed upper right, oil on canvas 118.5cm x 88cm (46.75in x 34.5in) Provenance: Phillips, London, Modern British & Irish Drawings & Sculpture, 25 November 1997, Lot 26; Peter Nahum at The Leicester Galleries, where acquired by the current owner. Exhibited: Whitechapel Art Gallery, London, Robert Colquhoun, March - May 1958, number 87. This work was painted in April 1958 but relates to the monotype, Women Leaning on a Stove, 1946, in the Arts Council Collection.

£50,000-70,000

By Dancer by a Stove (Lot 24), painted in April 1958,

Together, the three works trace the remarkable flexibility of

Colquhoun’s treatment of the figure had become markedly

Colquhoun’s treatment of the figure: from the psychological

more abstract. The composition recalls his earlier interest in

ambiguity of The Card Player, through the shared grief of

figures positioned around a stove, including the monotype

Grieving Women, to the increasingly abstracted movement of

Woman Leaning on a Stove, 1946, in the Arts Council

Dancer by a Stove.

Collection. The dancer is not defined by the details of their appearance; instead, their body is shaped through broad areas of light and dark. The restricted palette of greys and whites is particularly striking – where colour had often provided much of the emotional intensity in Colquhoun’s earlier work, here expression is carried almost entirely by tone, silhouette and structure. The result is a figure that appears to emerge from the surrounding space rather than simply occupy it.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

25 § JOHN BYRNE R.S.A. (SCOTTISH 1940-2023) CELIE Signed lower left, oil on board 122cm x 122cm (48in x 48in), unframed Provenance: Great Western Auctions, Glasgow, 14 June 2003, Lot 150.

£3,000-5,000

26 § WILLIAM CROSBIE R.S.A. (SCOTTISH 1915-1999) ELYJAH UNDER THE JUNIPER TREE Signed upper left, signed verso, oil on canvas 76.5cm x 127cm (30in x 50in) Provenance: Ewan Mundy Fine Art, Glasgow. Exhibited: Scottish Arts Council, Edinburgh, Painters in Parallel: Scottish Painting Since 1950, Edinburgh, 15 August – 10 September 1978, Perth Museum & Art Gallery, 1996.

£8,000-12,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

27 § HELEN FLOCKHART R.G.I. (SCOTTISH 1963-) ASSEMBLY Signed lower right, oil on linen 103cm x 130cm (40.5in x 52.25in) Provenance: Compass Gallery, Glasgow.

£3,000-5,000

28 § DAVID HOSIE (SCOTTISH 1962-) MAN WITH FLOWERS - 1994 Signed upper right, titled upper left, further signed, titled and dated verso, oil on board 183cm x 106.5cm (72in x 42in) Provenance: Jill George Gallery, London; Bonhams, London, Modern Pictures, 19 April 2005, Lot 163. Exhibited: National Portrait Gallery, London, BP Portrait Award 1996, no. 192.

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

29 § WILLIAM CROSBIE R.S.A. (SCOTTISH 1915-1999) CHOISCH MI CUIDE Signed lower left, ink drawing 23.5cm x 35.5cm (9.25in x 14in) Provenance: Ewan Mundy Fine Art, Glasgow, where acquired by the current owner, June 2008. This work dates to c.1943 and is an illustration for Dain Do Eimhir by Sorley MacLean, a book of Gaelic poetry, published by William MacLellan, Glasgow.

£800-1,200

30 § JOSEF HERMAN O.B.E., R.A. (POLISH/BRITISH 1911-2000) MAN SITTING Ink and wash 25cm x 19cm (9.75in x 7.5in) Provenance: Compass Gallery, Glasgow, Cabinet Paintings, October 2004.

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

31 § JULIE ROBERTS (WELSH 1963-) FOUR WORKS: RODIN DEATH MASK, EDITH PIAF, JEAN COCTEAU & EDWARD MUNCH - 2001/2003 RODIN DEATH MASK Signed, dated 2003 twice and titled lower right, pencil on paper; EDITH PIAF Signed and dated 2003 in pencil lower right, titled in pencil lower left, pencil on paper; JEAN COCTEAU Signed, dated and titled in pencil lower right, pencil on paper; and EDVARD MUNCH Signed and dated 2001 in pencil lower right, titled in pencil lower left, pencil on paper (4) Rodin 24cm x 28cm (9.5in x 11in); Piaf 22cm x 28.5cm (8.75in x 11.25in); Cocteau 14.5cm x 17.5cm (5.75in x 7in); and Munch 25.5cm x 34cm (10in x 13.5in)

£1,200-2,000

32 § SCOTT MCMURDO (SCOTTISH CONTEMPORARY) INTROSPECTION 3 (PORTRAIT OF CYRIL GERBER) Charcoal 77.5cm x 65cm (30.5in x 25.5in) Provenance: Cyril Gerber Fine Art, Glasgow, where acquired by the current owner, January 2012.

£500-700

33 § CHARLES AVERY (SCOTTISH 1973-) UNTITLED (METAS) - 2010 Bronze sculpture with cardboard hat on perspex pedestal with plinth; and accompanying text work, pencil and gouache on paper (2) Sculpture: 34cm x 41cm x 24cm (13.5in x 16.25in x 9.5in) Work on paper: the sheet 76cm x 48cm (30in x 19in) Provenance: doggerfisher, Edinburgh, where acquired by the current owner, January 2011. Please note, there are four parts to the sculpture (head, hat, perspex pole and plinth) and then the framed work on paper, so five parts total (5). Exhibited: Onomatopoeia, Part 1, on tour to: EX3 - Contemporary Art Centre, Florence; Kunstverein, Hanover; Frac Ile-de-France Le Plateau, Paris, 2010/2011.

£1,000-1,500

34 § JULIE ROBERTS (WELSH 1963-) FOUR WORKS: VICTOR HUGO, MADAME HUGO, INGRES DEATH MASK & CHRYSANTHEMUMS - 2003 Signed, titled and dated lower left, graphite on paper; MADAME HUGO Signed, titled and dated lower right, pencil on paper; INGRES DEATH MASK Signed, titled, dated and inscribed ‘graphite on paper’ along lower edge, graphite on paper; CHRYSANTHEMUMS Signed, titled and dated lower right, pencil drawing (4) Victor & Madam Hugo each 28cm x 38cm (11in x 15in), oval; Ingres Death Mask 22cm x 29cm (8.75in x 11.5in) and Chrysanthemums 28cm (11in) diameter

£1,200-1,800

35 ‡ § MICHAEL FULLERTON (SCOTTISH 1971-) STARLET - THE ONE WHO GOT THE JOB IF YOU KNOW WHAT I MEAN (ACTRESS, MGM, C.1935) - 2013 Signed with initials to the overlap, dated to a label verso, oil on linen 61cm x 46cm (24in x 18in), unframed Provenance: Greene Naftali, New York, where acquired by the current owner, January 2014.

£800-1,200

36 ‡ § DERRICK GUILD R.S.A. (SCOTTISH 1961-) BURNT DRAWING Oil on canvas 30.5cm x 30.5cm (12in x 12in) Provenance: Allan Stone Gallery, New York.

£400-600

37 ‡ § KEN CURRIE R.S.A. (SCOTTISH 1960-) A GENTLEMAN - 2007 Signed, titled and dated verso, oil on canvas 167.5cm x 137cm (66in x 54in), unframed Provenance: Flowers Gallery East, London, where acquired by the current owner, June 2008.

£2,500-3,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

38 § SIR EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) SWEATER GIRL (LANA TURNER) - 1950 Signed and dated lower right, collage and mixed media on paper 30.5cm x 23cm (12in x 9in) Provenance: Offer Waterman Fine Art, London, where acquired by the current owner, June 2008. Exhibited: British Council, London, Paolozzi Works on Paper, 1996, cat. no. 19 (exhibition label affixed verso).

£10,000-15,000

Some might say that EDUARDO PAOLOZZI invented Pop Art

Sweater Girl (Lana Turner) is the perfect encapsulation of the

– long before Andy Warhol and Roy Lichtenstein’s earliest

‘Bunk’ aesthetic. Paolozzi has torn a page from a celebrity

experiments in appropriating the language of advertising and

magazine, preserving Turner’s lips and decolletage – as these

cartoons as ‘High Art’. It might have been Richard Hamilton

are the ciphers of her status. Her eyes – which could be

who first described the idea of ‘Pop’, but this was Hamilton

argued is where her individuality might reside – have been

putting a name to the Independent Group’s activities at the

replaced by those of an unknown man, possibly another film

ICA in the early 50s and in particular Paolozzi’s ‘Bunk’ lecture

star (the image is well-lit, the eyes dreaming) but equally

of 1952, where he used an epidiascope to flash up a series

they could be the eyes of the viewer, the person consuming

of collages he’s made in the preceding five years - images

Turner’s image. The hair, in turn, belongs to another female

cut from magazines, comics, pulp fiction and packaging - to

star, rendered entirely anonymous – but importantly in

create a dazzling visual commentary on contemporary

colour, adding another level of play around the real and the

life, full of surreal juxtapositions: the old world and new in

fabricated. The work, then, is all about the nature of celebrity,

absolute foment, as a brave new world and bright Technicolor

a full decade before Warhol’s Liz and Marilyn, before Jackie

future beckoned. In one of the ‘Bunk’ collages, I Was a Rich

and Death & Disaster. Paolozzi hints at the interior life, the

Man’s Plaything, a puff of smoke emerges from a gun, inside

human story, behind the image, through the rough collaging

which is written ‘Pop’.

and a spattering of Abstract Expressionist paint, whereas Warhol leaves all that outside the image, its absence, though, inevitably becoming a presence. This is perhaps what makes Warhol ‘pure’ Pop, whereas Paolozzi retains one foot in the Surreal, but their aims appear the same: to look at contemporary obsessions with celebrity and glamour and to see it as both mask and mirror.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

EDUARDO PAOLOZZI’S Shattered Head was made in the

Shattered Head featured in Paolozzi’s 1958 solo exhibition at

midst of a remarkable decade-long burst of creativity for the

Erica Brausen’s Hanover Gallery, at the time very much the

artist, during which he transformed himself from enfant-

crucible for all that was avant-garde in British Art. The show

terrible of British sculpture to major international star. His

itself was a tour de force – with almost every work eventually

work was being collected by the world’s most important

acquired by a major museum. Each sculpture was unique,

museums and he featured in some of the most ground-

assembled by Paolozzi from a combination of scrap metal,

breaking shows of the 1950s, not least Peter Selz’s seminal

found objects or sheets of bronze cast from wax impressed

New Images of Man at MoMA in New York in 1959. Here

with junk. As a result, works from this highly significant

Paolozzi’s distressed human figures, seemingly collaged

moment in his career are very hard to find: Shattered Head,

out of the wreckage of war and welded together with the

was one of the few that Paolozzi made in an edition. It is

angst of the nuclear future, were shown alongside the

small but extremely powerful, a shape-shifting image that

likes of Giacometti, Richier, Dubuffet, Bacon, de Kooning,

reveals itself differently each time, sometimes more human,

Pollock and Westermann, amongst others. Just to list these

sometimes less – a man looking to the skies that threaten

artists’ names is to encapsulate all the ideas swirling around

with unseen violence whilst being pulled back towards the

in Paolozzi’s sculptures of the era and in Shattered Head

bomb-crater that birthed him, a cipher for the world of the

in particular. It is the ultimate image of existential crisis,

late 1950s but also perhaps today.

Ginsberg’s [contemporaneous] Howl made flesh. Except the head is not a rendition of the flesh. Initially it appears to be a human head, covered perhaps in bandages, ravaged by atomic fallout or napalm, but these ‘bandages’ are in fact its sole substance, these molten metal strips are substitute for both skin and bone. This a person made from debris, an

39 §

android from a used future and a shattered past.

SIR EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) SHATTERED HEAD - 1956 Bronze on a concrete base, from the un-numbered edition of 3 cast by Fiorini & Carney, London 29cm x 23cm x 14cm (11.5in x 9in x 5.5in), excluding base Provenance: Offer Waterman, London, where acquired by the current owner, April 2009. Please note, a further 6 numbered casts were cast by Susse Fondeur (Susse Frères), Paris in 1958. Exhibited: The Hanover Gallery, London, Contemporary Sculpture, cat.no. 46. (exhibition label affixed to base). Literature: Collins, Judith, Eduardo Paolozzi, Lund Humphries, 2014, no. 90, illu. pg 112.

£15,000-20,000

Judith Collins indicates that by 1957, the importance of Paolozzi’s work in bronze was being recognised and presumably to meet demand, he was using a variety of different foundries across London and Paris. She elaborates: “This scattered approach began to introduce confusion about original unique casts and numbered editions. A good example is the six numbered casts of Shattered Head, made by Susse Frères, which follow three unnumbered casts made by Fiorini & Carney [as here], which were in turn cast from the original made in Hampstead and given to Dorothy Morland.” (Collins, Judith, Eduardo Paolozzi, Lund Humphries, 2014, pg.113) Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

40 § SIR EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) NINE HEADS COLLAGE - 1990 Signed and dated lower centre, collage with mixed media 49.5cm x 37.5cm (19.5in x 14.75in) Provenance: Flowers East, London; Bonhams, London, 20th Century British Art, 12th March 2008, Lot 122. Exhibited: British Arts Council, London, Eduardo Paolozzi: Artificial Horizons & Eccentric Ladders - Works on Paper 1946-1995, 1996, no. 63 (lent by artist).

£2,000-3,000

41 § SIR EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) NEWTON AFTER BLAKE - 1998 Bronze sculpture, A/C, with incised signature, date, titled and edition to the base, cast at the Royal College of Arts Foundry, with their mark to the underside 23cm x 30cm x 25cm (9in x 11.75in x 9.75in) Provenance: Bowman Sculpture, London, where acquired by the current owner, June 2008.

£8,000-12,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

42 ‡ § CALUM COLVIN O.B.E., R.S.A. (SCOTTISH 1961-) THE COMBAT (AFTER WILLIAM ETTY) - 1998 Cibachrome print 118.5cm x 150.5cm (46.75in x 59.25in) Provenance: Acquired from the Artist, via Cyril Gerber, July 2008. Exhibited: The Scottish National Gallery of Modern Art, Edinburgh, Calum Colvin: Sacred & Profane, 1998; then touring to National Machado de Castro Museum, Coimbra, Portugal,1998, and Martha Schneider Gallery, Chicago, 1999.

43 §

£500-700

Signed lower right, inscribed, titled and dated verso, oil on canvas

PETER HOWSON O.B.E. (SCOTTISH 1958-) THE WINCHERS - 1985 127cm x 91.5cm (50in x 36in) Provenance: Shapes Auctions, Edinburgh, 2 August 2008, Lot 406. Exhibited: McLellan Galleries, Glasgow Museums & Art Galleries, Peter Howson: A Retrospective, 2 July - 5 September 1993, cat. no. 528.

£3,000-5,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

“

I don’t practice painting or drawing as an art, in the sense of artifice, of making an imitation of something. It’s something I do from an inner compulsion, that has to come out. Alan Davie

44 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (SCOTTISH 1920-2014) WOMAN BEWITCHED BY THE MOON NO. 3, OPUS O.176 - 1956 Signed, titled and dated verso, oil on board 122cm x 101cm (48in x 39.75in) Provenance: James Hyman Fine Art, London, where acquired by the current owner, June 2006. Exhibited: Dovecot Studios, Edinburgh, Alan Davie: Beginning of a Far-off World, 24 June - 24 September 2022.

£20,000-30,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

”

45 § ALASDAIR WALLACE (SCOTTISH 1967-) ORPHEUS Signed and titled to backboard, acrylic on paper affixed to board 55cm x 52cm (21.5in x 20.5in) Provenance: Compass Gallery, Glasgow, where acquired by the current owner, December 2010.

£1,500-2,000

46 § JOHN BYRNE R.S.A. (SCOTTISH 1940-2023) BOY HOLDING A LEAF Signed ‘Patrick’ lower left, ink and watercolour 26.5cm x 48cm (10.5in x 19in) Provenance: Cyril Gerber Fine Art, Glasgow.

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

47 § JOHN BYRNE R.S.A. (SCOTTISH 1940-2023) SAILOR BOY WITH GUITAR - 1967 Signed ‘Patrick’ lower left, oil on panel 40cm x 50cm (15.75in x 19.75in) Provenance: Portal Gallery, London; Bourne Fine Art, Edinburgh, where acquired by the current owner, May 1999. Exhibited: Paisley Museum & Art Galleries, John Byrne @ 60: The Unsolved Artist, 17 June - 1 October 2000.

£3,000-5,000

“

You can never understand every work of art completely. Each time you encounter it you have a new experience. The mystery is in this elusiveness. William Turnbull

48 § WILLIAM TURNBULL (BRITISH 1922-2012) HEAD - 1955 Signed and dated lower left, watercolour on paper 65.5cm x 43cm (25.75in x 17in) Provenance: James Hyman Fine Art, London, where acquired by the current owner, June 2006. Exhibited: James Hyman Gallery, London, William Turnbull: Heads & Figures 1953-56, 23 September - 12 November 2004, no. 8 (illu.).

£6,000-8,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

”

49 ‡ § JOHN BYRNE R.S.A. (SCOTTISH 1940-2023) THE BEATLES Signed ‘Patrick’ lower left, oil on canvas 125cm x 120cm (49.25in x 47.25in) Provenance: Duncan R. Miller Fine Arts, London (1997); Great Western Auctions, Glasgow, Winter Fine Art & Antiques, 1 December 2012, Lot 371. This image was apparently originally created in 1968 by Byrne as a possible White Album cover.

£20,000-30,000

JOHN BYRNE’S distinctive portrait

artist whose work was exhibited at the

centre) is immediately recognisable

of The Beatles brings together his

Portal Gallery in London from 1967.

by his round spectacles and elongated

fascination with popular music,

The gallery attracted a fashionable

features. George Harrison (centre) is

character and the imaginative

clientele from the worlds of film,

surrounded by flowers and butterflies,

possibilities of portraiture. Born in

music and photography, including The

creating a more decorative and

Paisley in 1940, Byrne studied at The

Beatles, particularly Ringo Starr, who

contemplative presence, whilst

Glasgow School of Art from 1958

is thought to have owned paintings

Paul McCartney (right) has a more

to 1963, going on to become one

by Byrne under the ‘Patrick’ persona.

theatrical appearance, distinguished

of Scotland’s most versatile artists,

Byrne would subsequently produce

by his broad-brimmed hat and direct

working across painting, illustration,

album artwork for a number of

gaze. Rather than simply depicting the

theatre and album-cover design. His

musicians, including this image which

four musicians, Byrne emphasises their

playful approach to characterisation

was apparently originally created in

distinctive features and gives each

became a defining feature of his

1968 as a possible cover for the White

figure a separate visual personality.

practice.

Album.

The crowded arrangement and

The Beatles held a particular place

In this composition, Byrne presents the

within Byrne’s engagement with pop

four Beatles as individual characters.

culture, especially during the period

Ringo Starr (left) appears relaxed and

in which he adopted the persona of

informal, with his head resting against

‘Patrick’ – the fictional self-taught

his hand, whilst John Lennon (upper

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

elaborate decorative motifs give the work an imaginative, almost theatrical quality, characteristic of Byrne’s playful approach to portraiture.

50 § JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) SELF-PORTRAIT WITH CAT Oil on canvas 171cm x 150cm (67.25in x 59in), unframed Provenance: Lyon & Turnbull, Edinburgh, Contemporary Paintings & Prints, 1 September 2006, Lot 139.

£10,000-15,000

51 § JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013) THE RAINBOW Signed verso, oil on canvas 125cm x 90cm (49.25in x 35.5in) Provenance: Bonham’s, Edinburgh, Scottish Art, 11 October 2017, Lot 24. This work dates from c.1972.

£8,000-12,000

52 § ALASDAIR GRAY (SCOTTISH 1934-2019) GAZ MACALLISTER & SARAH ECKFORT Signed and inscribed lower right, pencil, pen, and acrylic 79.5cm x 54cm (31.25in x 21.25in) Provenance: Sotheby’s, Gleneagles, Scottish and Sporting Pictures, 26 August 2008, Lot 237.

£1,500-2,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

53 §

54 §

JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013)

STEVEN CAMPBELL (SCOTTISH 1953-2007)

OLD MAN

Acrylic on paper

Signed upper left, signed, titled and inscribed ‘R.C.A. London SW7’ verso, oil on board

208cm x 152cm (81.75in x 59.75in)

50cm x 40cm (19.75in x 15.75in) Provenance: Halls Auctioneers, Shrewsbury, Pictures Sale, 27 June 2012, Lot 274.

£5,000-7,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

PROPOGATING BY ELECTROLYSIS - 1984

Provenance: Butterfields, San Francisco, Modern, Contemporary & Latin America Art, 22 April 1999, Lot 2535.

£5,000-7,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

55 § PETER HOWSON O.B.E. (SCOTTISH 1958-) DRUMBEAT - 1993 Signed lower right, signed, titled and dated verso, oil on canvas 91.5cm x 152.5cm (36in x 60in) Provenance: Sotheby’s London, Fine Scottish and Sporting Pictures and Sculptures, 1 September 1999, Lot 1392. It is believed that this was commissioned from the artist by the The National Piping Centre, Glasgow.

£30,000-50,000

56 § KEITH MCINTYRE (SCOTTISH 1959-) SLIDE SHOW IN PRINCE ST. NEW YORK - 1989 Signed and dated lower right, oil on paper 109cm x 202cm (43in x 79.5in) Provenance: Lyon & Turnbull, Edinburgh, Modern & Contemporary Art, 5 April 2007, Lot 160.

£800-1,200

57 ‡ § PETER THOMSON R.G.I. (SCOTTISH 1962-) THE COMET Signed lower right, inscribed to frame verso, acrylic on board 59cm x 93cm (23.25in x 36.5in) Provenance: Compass Gallery, Glasgow.

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

58 § PETER THOMSON R.G.I. (SCOTTISH 1962-) DRINKERS Signed lower right, acrylic on board 26.5cm x 20cm (10.5in x 8in) Provenance: Cricket Hill Gallery, New York.

£600-800

59 § PETER THOMSON R.G.I. (SCOTTISH 1962-) LINE DANCING Signed lower left, acrylic on board 79cm x 98cm (31in x 38.5in) Provenance: Cyril Gerber Fine Art, Glasgow.

£800-1,200

Robert Heller describes this as the first of “three self-styled

Howson himself feels that the central panel

‘Apocalyptic Triptychs’” by PETER HOWSON. Inspired by George

“brings together greed and drunkenness with the

Mackay Brown’s poem The Scottish Bestiary about a mouse, moth and

beauty of the moth (a death’s head, of course)

stag, Howson dedicates a panel to each animal in a presentation that

and the serene Scottish sky.” While in the third,

Heller suggests indicates that “Howson’s view of Scotland seems

two quintessential Scottish symbols, the stag and

to be one part gentle romanticism (the mouse panel is charmingly

whisky, “are brought together in a horrendous

painted) to two parts of coarse, alcoholic, abusive inhumanity.”

way. The drunks make fun of the once-proud stag.”

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

Heller views this as a “culmination of

60 §

his beginnings, early development and

PETER HOWSON O.B.E. (SCOTTISH 1958-)

emergence as a mature artist (though still

THE SCOTTISH TRILOGY - 1987

maturing – like a top class malt whisky).”

Oil on three canvas panels

(Heller, R. Peter Howson, 2003, pg 32-33).

Provenance: Collection of Susan Kasen Summer and Robert Summer; Bonhams, Edinburgh, The Scottish Sale, 22-24 August 2002, Lot 1029.

each panel 122cm x 91cm (48in x 35.75in)

Literature: Heller, Robert, Peter Howson, Momentum, 2003, illu. pg. 32.

£40,000-60,000

61 § VARIOUS ARTISTS (STEVEN CAMPBELL, JOHN BELLANY, PETER HOWSON, JACK KNOX, BRUCE MCLEAN, JUNE REDFERN & ADRIAN WISZNIEWSKI) THE SCOTTISH BESTIARY - 1986 The complete portfolio of 20 prints by 7 artists, 11/15, aside from the standard edition of 60, with printed text by George Mackay Brown, signed in pencil by the author and each artist and numbered on the colophon page, housed in original green buckram folder and slipcase, printed at Peacock Printmakers, Aberdeen, published by Charles Booth-Clibborn, under the imprint of The Paragon Press (20) each sheet 56.5cm x 76cm (22.25in x 30in), unframed Provenance: William Hardie Gallery, Glasgow. This portfolio is from the extra edition of 15 printed for the publisher, artists and author. The first published portfolio by Paragon Press, ”The Scottish Bestiary is, undoubtedly, one of the most important print-making ventures to be undertaken in Scotland this century.” Bill Hare, 1986.

£1,000-1,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

62 § PETER HOWSON O.B.E. (SCOTTISH 1958-) SARACEN HEADS - 1987/88 The set of 25 etchings, 23/30, each signed, dated, and numbered in pencil to margin, most also titled in pencil to margin, printed by Alfons Bytautas at Edinburgh Printmakers, published by Flowers Graphics, London (25) each sheet 56.5cm x 38cm (22.25in x 15in) Provenance: Sotheby’s Olympia, 20th Century British & Irish Art, 23 November 2006, Lot 95.

£1,500-2,000

63 § KEN CURRIE R.S.A. (SCOTTISH 1960-) STUDY FOR ARCADE - 1988 Signed and dated lower right, signed, titled and dated to backboard, pastel 98cm x 81cm (38.5in x 32in) Provenance: Boukamel Contemporary Art, London; Great Western Auctions, Glasgow, 14 June 2003, Lot 69.

£3,000-5,000

Born in North Shields to Scottish

language. This engagement culminated

linear handling of the human figure and

parents, KEN CURRIE (1960-) studied

in 1987 with a major series of large-

an almost electric handling of light and

at Glasgow School of Art from 1978

scale history paintings for Glasgow’s

surface. The everyday setting becomes

to 1983 and rose to prominence as

People’s Palace, commemorating the

psychologically charged, transforming

part of the generation of figurative

Calton Weavers and the history of

a familiar scene of popular leisure

painters who became known as

working-class struggle in the city.

into something more ambiguous and

the ‘New Glasgow Boys’. Alongside Steven Campbell (1953-2007), Adrian Wiszniewski (1958-) and Peter Howson (1958-), Currie helped establish Glasgow as an important centre for contemporary figurative painting during the 1980s. Although diverse in style, these artists shared a renewed commitment to the human figure at a time when figurative painting was enjoying an international resurgence.

Currie’s emergence onto the wider

unsettling.

British art scene was cemented by

By the end of the 1980s and into the

the landmark exhibition The Vigorous

following decade, Currie’s practice

Imagination: New Scottish Art, held

underwent a profound visual and

at the Scottish National Gallery

conceptual transformation. While his

of Modern Art as part of the 1987

earlier political convictions became

Edinburgh International Festival.

increasingly difficult to reconcile

By this period, his paintings were

with a rapidly changing world, Currie

increasingly concerned with the social

chose to reflect on the more overtly

consequences of Glasgow’s industrial

ideological character, later remarking,

decline. His celebrated monumental

“it’s not for me to proselytise.” Deeply

Glasgow Triptych (1986) and 1989

affected by the political upheaval

From the outset, Currie’s work was

series A Scottish Triptych highlight

and humanitarian crises unfolding in

shaped by a strong social and political

most profoundly this examination of

Eastern Europe, his attention shifted

consciousness. His early work looked

working-class experience.

from collective histories towards

to Glasgow’s industrial heritage and working-class communities for inspiration, frequently depicting workers and industrial landscapes in a stark, Expressionistic visual

Study for Arcade, 1988 (lot 63), belongs firmly to this period. Depicting a couple within the artificial illumination

broader questions of violence, mortality and physical and moral corruption.

of an amusement arcade, the work demonstrates Currie’s characteristic

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

64 § KEN CURRIE R.S.A. (SCOTTISH 1960-) WAILING WOMEN - 1989 Pastel 113cm x 92cm (44.5in x 36.2in) Provenance: Raab Boukamel Galleries, London; Private Collection; Sotheby’s Gleneagles, Scottish and Sporting Pictures, 26 August 2008, Lot 250.

£4,000-6,000

Wailing Women, 1989 (lot 64), anticipates this transition.

Copse, 1997 (lot 66), is a compelling example of this

The composition depicts a group of women accompanied by

developed visual language. The work depicts the head of a

weapons and propaganda, set against a landscape littered

phantom-like man, his starkly pale face emerging from an

with the aircraft remains. Significantly, the scene cannot be

ominous, near-impenetrable darkness. Vertical lacerations of

readily located within a specific place or historical moment.

shadow appear to cut across and distort the face, obscuring

This absence of identifiable geographical or temporal

the sitter’s identity and lending the figure an unsettling,

markers lends the work a distinctly eerie, almost timeless

spectral quality. Although menacing at first glance, Currie’s

quality, suggesting a cycle of violence and human suffering

ability to apply paint with such luminosity, provides an

that belongs equally to the past, present or future.

ethereal and almost inviting essence to the figure, transfixing

From the 1990s onwards, Currie increasingly stripped his

any viewing who gazes upon their face.

compositions of narrative detail, crowded groups and linear

Yet, despite the recurring presence of damaged bodies, death

form, concentrating instead on isolated figures emerging

masks and macabre imagery, Currie has resisted describing

from dark, indeterminate spaces. His palette became

his work simply as an exploration of death:

hauntingly luminous and his treatment of flesh increasingly visceral and transient. The human body became a vehicle through which to explore vulnerability, illness, violence and the inevitability of physical decay and death. Like Francis Bacon before him, Currie has repeatedly returned to the

“I don’t really think my work is about death,” he counters. “It’s mortality that interests me, the fact that we are capable of dying… It’s the fact that we are mortal, and the implications that has for the way we live our lives.”

human face and body as sites of profound psychological

This preoccupation with mortality and the vulnerability of

expression, capable of communicating trauma and unease

the human figure has continued to underpin Currie’s practice

beyond conventional portraiture.

over the past two decades. Increasingly, his attention has

An important source for this development was Currie’s fascination with death masks. To Currie, the death mask captured individual identity at the threshold between presence and absence. His interest began after encountering the death mask of Heinrich Himmler at the Imperial War Museum and developed further between 1995 and 1997, when he studied examples held by the University of Edinburgh’s anatomy department. Echoing the presentation of Himmler’s death mask, its pale features starkly illuminated against a black velvet background, Currie’s faces and bodies

turned towards portraiture, exploring the tension between identity, physical presence and impermanence. Notably, the Scottish National Portrait Gallery commissioned Three Oncologists (2002), while Currie’s later sitters have included the theoretical physicist Professor Peter Higgs and the forensic anthropologist Professor Dame Sue Black. However, whether depicting a recognised public figure or an anonymous sitter, Currie imbues his subjects with a profound psychological intensity through his handling of form, expression and light.

increasingly emerge from deep, impenetrable darkness, their

(David McAllister, Ken Currie: As an artist, it’s not for me to proselytise,

luminous surfaces acquiring an uncanny physical presence

Prospect Magazine, May 2024).

that would become a defining feature of his later work.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

65 § KEN CURRIE R.S.A. (SCOTTISH 1960-) EUROPE SO FAR - 1982 Signed, titled, dated and inscribed ‘Glasgow School of Art Student Painting’ verso, oil on canvas 206cm x 144cm (81in x 56.75in) Provenance: Galleri Christian Dam, Copenhagen; Boukamel Contemporary, London; Bruun Rasmussen Auctioneers, Copenhagen, Modern Auction, 6 April 2006, Lot 337.

£20,000-30,000

Europe So Far (lot 65) is from an important, early series

concerns of Scotland in the nineteen eighties” and that:

of what Julian Spalding has described as ‘gruesome,

“in perceiving what we recognised as a period of reaction

introspective’ works painted during the early 1980s, while

in Britain, with the ascendancy of the New Right, we saw

Currie was still a student at Glasgow School of Art.

parallels in particular in Weimar Germany and realised that

Currie describes his desire, alongside some of his art school contemporaries and under the tutelage of Alexander Moffat, “to construct a new programme of painting relevant to the

there could not be a better time in which to produce this new kind of painting. We realised that we had to become ‘total artists’ capable of everything from Rivera-like murals to hard-hitting realist easel paintings ... – we saw the artist at the hub of revolutionary change.” (Ken Currie, Third Eye Centre/RAAB Gallery, Berlin, 1988).

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

66 §

67 ‡ §

KEN CURRIE R.S.A. (SCOTTISH 1960-)

COPSE - 1997

THE PATRIOT - 1989

Signed, dated, titled, inscribed and numbered ‘No. 346’ verso, oil and photographic silk-screen print on canvas

Signed, titled and dated to backboard, conté, pencil and charcoal on paper

100cm x 78.5cm (39.5in x 31in) Provenance: Boukamel Contemporary Art, London (label verso); Sotheby’s Hopetoun House, Scottish Pictures, 18 April 2005, Lot 207.

£2,000-3,000

152.5cm x 89cm (60in x 35in) Provenance: Raab Boukamel, London; DAM Copenhagen; Great Western Auctions, Glasgow, 19 February 2005, Lot 74. An artist’s annotation to the backboard indicates that this was originally created and intended to act as the central panel of a triptych. Exhibited: RAAB Gallery & Riverside Studios, London, Ken Currie, September 1991 (illu.).

£3,000-5,000

68 §

69 §

ALEXANDER MOFFAT O.B.E., R.S.A. (SCOTTISH 1943-) & JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013)

NEIL MACPHERSON R.S.A., R.S.W, R.G.I. (SCOTTISH 1954-)

PORTRAIT OF JOHN BELLANY & PORTRAIT OF SANDY MOFFAT - 1986 PORTRAIT OF JOHN BELLANY, BY ALEXANDER MOFFAT: Signed lower left, signed and dated verso, oil on canvas; PORTRAIT OF SANDY MOFFAT, BY JOHN BELLANY: Signed upper right, signed verso, oil on canvas, framed together as a diptych (2) each canvas 91cm x 60.5cm (36in x 24in) Provenance: Christie’s, South Kensington, Twentieth Century British Art, 24 October 2007, Lot 31.

£1,500-2,000

THE YEAR OF THE SUN Signed lower right, oil on canvasboard 65cm x 49.5cm (25.5in x 19.5in) Provenance: Compass Gallery, Glasgow, where acquired by the current owner, January 2006.

£2,000-3,000

70 § ALEXANDER MOFFAT O.B.E., R.S.A. (SCOTTISH 1943-) PORTRAIT OF PETER HOWSON - 1987 Signed lower left, signed and dated verso, oil on canvas 183cm x 106.5cm (72in x 42in) Provenance: Cyril Gerber Fine Art, Glasgow.

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

71 ‡ § PETER HOWSON O.B.E. (SCOTTISH 1958-) THE BANK CLERK - 1990 Signed lower right, titled to backboard, chalk on dark paper 29.5cm x 21cm (11.75in x 8.25in) Provenance: Flowers Gallery, London; Private Collection; Maureen McGovern, where acquired by the current owner, April 2018. Literature: Heller, Robert, Peter Howson, Momentum, 2003, illu. pg 46.

£1,500-2,000

72 ‡ § KENNY HUNTER R.S.A. (SCOTTISH 1962-) THE WASTELAND - 2008 Resin, oil can, jesmonite and paint, from the edition of 3 101.5cm x 60cm (40in x 23.5in) Provenance: Conner Contemporary Art, Washington D.C., where acquired by the current owner, October 2008.

£1,000-1,500

73 ‡ § PETER HOWSON O.B.E. (SCOTTISH 1958-) GOLF CRISIS - 1990 Oil on canvas 152.5cm x 91.5cm (60in x 36in), unframed Provenance: Flowers East, London. Exhibited: Glasgow Museums & Art Galleries, Peter Howson: A Retrospective, 2 July - 5 September 1993, no. 557, Festival Hall, Navy Pier, Chicago, Art Chicago, 1996, Newton Stewart Library, Dumfries, Peter Howson, 1997, Festival Hall, Navy Pier, Chicago, Art Chicago, May 2002. Literature: Heller, Robert, Peter Howson, Mainstream Publishing, 1993, illu. p. 95.

£8,000-12,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

74 § BRUCE MCLEAN (SCOTTISH 1944-) CLUBBY FEEL - 1991 Signed upper right edge, coloured stove enamelled screenprint on three steel plates, produced by Coriander Studio, London total size 112cm x 168cm (44in x 66in), unframed Provenance: William Jackson Gallery, London.

£800-1,200

75 § ALAN MICHAEL (SCOTTISH 1967-) CASUAL Gouache 70.5cm x 50cm (27.75in x 19.75in) Provenance: Glasgow School of Art, MFA Fundraising Auction, December 2011.

£500-700

76 § IAN HAMILTON FINLAY (SCOTTISH 1925-2006) FIVE FORE-AND-AFTERS: THE ROSIE . . . Ceramic tile 15.5cm x 15.5cm (6in x 6in), unframed Provenance: Glasgow School of Art, MFA Fundraising Auction, December 2009.

£300-500

77 § DAVID MACH H.R.S.A., R.A. (BRITISH 1956-) SOUTH BANK - 1998 Signed and dated lower centre, collage and drawing on board 121cm x 121cm (47.5in x 47.5in) Provenance: Jill George Gallery, London, where acquired by the current owner, December 2006.

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

TONY SWAIN (b.1967 Lisburn) trained at Glasgow School of Art and Liverpool School of Art. His practice combines painting with newsprint, bringing together imagination with physical fact, based on a daily ritual of reading a newspaper and keeping it in his studio. Solo exhibitions

78 §

include Dilemma To Rely On, Gallery Baton, Seoul (2024)

TONY SWAIN (NORTHERN IRISH 1967-)

and Temperature is here too, Tate Britain, London (2009), as

INTRODUCTION TO AN UNDISCLOSED DURATION - 2009

well as many mounted at The Modern Institute, Glasgow

Acrylic and collage on newsprint

(2004, 2006, 2011, 2015, 2017, 2022). Group exhibitions

60cm x 189cm (23.5in x 74.5in)

include Innovative Printmaking, Glasgow Print Studio

Provenance: The Modern Institute, Glasgow, where acquired by the current owner, May 2009.

(2018) and NOW, Scottish National Gallery of Modern Art,

Exhibited: Tate Britain, London, Art Now, 2 May - 16 August 2009.

Edinburgh (2017). Swain’s work is held in public collections

£600-800

including the Museum of Modern Art, New York, National Galleries of Scotland, Edinburgh and Tate. He was one of six artists who represented Scotland at the 52nd Venice Biennale (2007). Swain lives and works in Glasgow.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

79 § TONY SWAIN (NORTHERN IRISH 1967-) UNTITLED - 2009 Acrylic on newsprint 34cm x 23cm (13.25in x 9in) Provenance: The Modern Institute, Glasgow, where acquired by the current owner, May 2009. Exhibited: Tate Britain, London, Art Now, 2 May - 16 August 2009.

£400-600

80 § ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH 1965-) HEAD STUDY (WINTER) - 1997 Signed verso, pastel on grey paper 17.5cm x 18cm (7in x 7in) Provenance: Cyril Gerber Fine Art, Glasgow.

£1,500-2,000

81 § HARRY HOLLAND (SCOTTISH 1941-) PUSH Signed lower right, oil on board 89cm x 43cm (35in x 17in) Provenance: Jill George Gallery, London (label verso); Martin Tinney Gallery, Cardiff.

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

82 § ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH 1965-) PORTRAIT OF STEPHEN CONROY - 1987 Signed and dated to canvas overlap, oil on canvas 101cm x 55cm (39.75in x 21.75in) Provenance: Ewan Mundy Fine Art, Glasgow, where acquired by the current owner, January 2014.

£6,000-8,000

83 § IAIN FAULKNER (SCOTTISH 1973-) SELF-PORTRAIT Signed with initials lower left, inscribed to canvas overlap, oil on canvas 90cm x 90cm (35.5in x 35.5in) Provenance: Albemarle Gallery, London.

£1,000-1,500

84 § ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH 1965-) SELF-PORTRAIT WITH BINOCULARS Signed centre right, oil on canvas 101.5cm x 45cm (40in x 18in) Provenance: Flowers East, London; Christie’s, South Kensington, Twentieth Century British Art including Works from the Studio of Hilda Carline, 16 October 2003, Lot 575.

£15,000-20,000

detail Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

85 ‡ § PAUL MCPHAIL (SCOTTISH 1966-) BLACK FACE MASK - 1995 Signed, titled and dated verso, oil on canvas 177.5cm x 142.5cm (70in x 60in), unframed Provenance: Houldsworth Fine Art, London; Private Collection; Christies, London, Post War and Contemporary Art, 13 December 2007, Lot 278.

£10,000-15,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

86 ‡ § KARLA BLACK (SCOTTISH 1972-) IT’S PROOF THAT COUNTS - 2010 Sugar paper, paint, nail varnish, concealer and thread 36cm x 54.5cm (14.25in x 21.5in), unframed Provenance: The Glasgow School of Art, MFA Fundraising Auction, December 2010, Lot 202. This work is accompanied by the MFA Auction catalogue and the artist’s written instructions for storage and display, dated 30.11.10.

£800-1,200

87 ‡ § NEAL TAIT (SCOTTISH 1965-) £3.95 PER MONTH Inscribed with title to a label verso, oil on canvas 51cm x 46cm (20in x 18in) Provenance: Phillips, New York, Contemporary Art (Part II), 18 May 2007, Lot 431.

£500-700

88 § JOYCE CAIRNS P.P.R.S.A., R.S.A., R.S.W., M.A. (R.C.A.) (SCOTTISH 1947-) SELF-PORTRAIT WITH SEAGULL Signed lower right, oil on panel 60cm x 39.5cm (23.5in x 15.5in) Provenance: The Royal Scottish Academy, Edinburgh, where acquired by the current owner, November 2006.

£1,000-1,500

89 § ALASDAIR GRAY (SCOTTISH 1934-2019) GIRL RECLINING Pen and acrylic on paper 61cm x 31cm (24in x 12in) Provenance: Sotheby’s, Gleneagles, Scottish and Sporting Pictures, 26 August 2008, Lot 235.

£1,500-2,000

90 § ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH 1965-) PORTRAIT OF ANNIE KELLY Oil on canvas-board 24.5cm x 16cm (9.75in x 6.25in) Provenance: Cyril Gerber Fine Art, Glasgow, where acquired by the current owner, August 2010.

£3,000-5,000

91 § CLAIRE BARCLAY (SCOTTISH 1968-) UNTITLED (HANDS) - 2007 Dated to a label verso, watercolour 21cm x 28cm (8.25in x 11in) Provenance: doggerfisher, Edinburgh. Exhibited: Fruitmarket Gallery, Edinburgh, Openwide, 7 February - 12 April 2009.

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

PAUL MCPHAIL was born in Glasgow in 1966 and attended

McPhail often worked on a monumental scale when painting

the Glasgow School of Art in the late 1980s, completing his

his large figurative nudes. This considerable scale draws

postgraduate studies in 1990. His time at art school proved

the viewer directly into the scene, creating an immediate

instrumental in shaping his career as an artist. His talent

physical presence. Rather than simply intimidating the

was recognised from an early stage, and he received several

viewer, however, the scale can create a sense of intimacy and

awards, including the Lautrec Bursary Award in 1986 and the

connection between the viewer and the sitter, encouraging a

National Portrait Award in 1989, among others.

deeper engagement with the vulnerability of the subject.

It was also at the Glasgow School of Art that McPhail met his

Black Face Mask (lot 85) depicts a tightly cropped human

future wife, Jenny Saville. Although Saville was a few years

face covered in boot-black paint, filling the entire canvas.

below McPhail, the influence these two young artists had on

McPhail produced a series of works in this style during the

one another during this period is evident. Both were deeply

mid-1990s, obscuring his sitters’ faces with whitewash or

interested in the human body and flesh, encouraging one

red paint. Discussing the reasoning behind these works in an

another to push beyond conventional ideas of beauty and

article in The Herald in 1996, McPhail explained: “It’s about

the idealised body associated with the classical nude in art

concealment and erasure… It’s strange how the human eye

history. The pale skin, graceful poses and hourglass figures of

is trained to read an image even if it’s concealed, obscured,

idealised female nudes, such as Botticelli’s The Birth of Venus,

or out of focus. People instinctively try to put things back

are replaced by a far more confronting and uncompromising

together. My heads tease the eye.”

representation of the body.

Although the identity of the sitter in Black Face Mask has

In Nude Study (lot 92), McPhail challenges the conventions

never been confirmed, Saville was known to sit for McPhail,

of the male gaze by presenting a fully nude woman with

particularly during his earlier work in the 1990s, around the

red, blotchy, flesh-like skin, seated on a wooden chair in

period in which this painting was produced. During the same

a messy interior with her legs spread apart. Rather than

period, both Saville and McPhail also used McPhail’s sister as

presenting the female body as an idealised object of beauty,

a model. While the identity of the sitter remains uncertain,

he emphasises its physicality and vulnerability. McPhail,

the deliberate concealment of the face places greater

however, didn’t just paint women in this way, choosing to

emphasis on the physical presence of the face and raises

portray the real bodies of both men and women. In Portrait

questions surrounding identity and recognition.

of the Artist’s Father (lot 94), for example, we again see folds of skin and large thighs, alongside the influence of artists such as Lucian Freud. The painting of his father is particularly personal, allowing McPhail to explore the ageing body and the ways in which the human form changes over time.

McPhail’s work can be characterised as an uncompromising form of realism that asks the viewer not simply to look at the sitter, but to confront the physicality and vulnerability of the human subject. The human body is a recurring theme throughout his practice, allowing him to explore a range of ideas, including the conventions of the nude, ageing and imperfect bodies, and the complexities of identity. His refusal to idealise the body encourages the viewer to engage with it as something tangible and vulnerable and rejects the long standing idea of the ideal nude.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

92 § PAUL MCPHAIL (SCOTTISH 1966-) NUDE STUDY Signed lower right, oil on canvas 183cm x 183cm (72in x 72in), unframed Provenance: Cyril Gerber Fine Art, Glasgow, where acquired by the current owner, January 2008.

£20,000-30,000

100

93 § STEPHEN CONROY (SCOTTISH 1964-) BOXER - 1986 Signed with monogram lower left, signed, titled and dated verso, oil on canvas 24.5cm x 24cm (9.75in x 9.5in) Provenance: Phillips, Edinburgh, Fine Paintings, 3 May 1996, Lot 19.

£800-1,200

94 § PAUL MCPHAIL (SCOTTISH 1966-) PORTRAIT OF THE ARTIST’S FATHER Oil on canvas 184cm x 153cm (72.5in x 60.25in), unframed Provenance: Lyon & Turnbull, Edinburgh, Contemporary Paintings & Prints, 29 August 2007, Lot 51.

£15,000-20,000

101

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

102

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

103

95 § CRAIG MULHOLLAND (SCOTTISH 1969-) BARTOX Oil on canvas 228cm x 214cm (89.75in x 84.25in)

£2,000-3,000

96 § HELEN FLOCKHART R.G.I. (SCOTTISH 1963-) PORTRAIT WITH FLOWERS AND MOTH Signed lower right, oil on canvas 80cm x 64.5cm (31.5in x 25.25in) Provenance: Cricket Hill Gallery, New York.

£3,000-5,000

97 § HELEN FLOCKHART R.G.I. (SCOTTISH 1963-) FLOURISH Oil on panel 37.5cm (14.75in) diameter Provenance: Compass Gallery, Glasgow, where acquired by the current owner, 2014.

£3,000-5,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

104

98 §

99 §

MARIE HARNETT (SCOTTISH 1983-)

CHAMPAGNE AND LINGERIE, FROM ‘SERIES 1’ - 2008

MIRROR, FROM ‘SERIES 3’ - 2008

Dated to a label verso, pencil

7cm x 13cm (2.75in x 5in)

6cm x 11cm (2.5in x 4.25in)

Provenance: Alan Cristea Gallery, London, where acquired by the current owner, February 2009.

Exhibited: Alan Cristea Gallery, London, Young Contemporaries, January - February 2009; Cristea Roberts Gallery, London, Marie Harnett: Drawings, March - April 2011.

£400-600

Exhibited: Alan Cristea Gallery, London, Young Contemporaries, January - February 2009.

£400-600

105

100 § DOUGLAS GORDON (SCOTTISH 1966-) SELF-PORTRAIT OF YOU+ME (BETTE DAVIS) - 2006 Burnt photograph and mirror, unique 57cm x 48cm (22.5in x 19in) Provenance: Yvon Lambert, Paris; Gagosian Gallery, New York; Phillips, London, Contemporary Art Day Sale, 30 June 2008, Lot 672.

£3,000-5,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

106

101 § KENNY HUNTER R.S.A. (SCOTTISH 1962-) NON-PROGRESS - 2006 Jesmonite and wood on sculptor’s table 146cm x 84cm x 84cm (57.5in x 33in x 33in) Provenance: Acquired directly from the Artist, 2006. Exhibited: The Talbot Rice Gallery, Edinburgh & Fleming Collection, London, Divided Selves: The Scottish Self-Portrait from the 17th Century to the Present, 2006 (illu. no. 79).

£2,000-3,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

107

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

108

102 § RODERICK BUCHANAN (SCOTTISH 1965-) UP YER KILT / ENGLAND SUIT - 2002 Dated to a label verso, photo collage 10.5cm x 16.75cm (4.25in x 6.5in) Provenance: Lyon & Turnbull, Edinburgh, The Studios of Cunningham & Wyllie, 27 August 2013, Lot 220; Private Collection, Edinburgh; Lyon & Turnbull, Edinburgh, Modern British and Contemporary Art, 17 January 2018, Lot 163.

£400-600

103 § MARK I’ANSON (SCOTTISH 1968-) DOLL (BS & KAT) - 2008 Dated to a label verso, acrylic 26cm x 26cm (10.25in x 26.25in) Provenance: Thackeray Gallery, London, where acquired by the current owner, July 2008. Exhibited: Fleming Collection Hospitality Box, Emirates Stadium, London.

£800-1,200

104 § DOUGLAS GORDON (SCOTTISH 1966-) HALFWAY - 2017 Photographic print, mounted on 2mm dibond aluminium, 3/11, signed to an artist’s label verso, with printed edition and inventory number DG/W/2017/11 52.5cm x 45cm (20.75in x 17.75in), unframed Provenance: Glasgow International (Festival of Contemporary Art), April 2018.

£1,500-2,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

110

In Monster DOUGLAS GORDON depicts himself twice, once in a straight portrait, and then again in a distorted view, where dressed and staged completely the same, just his face is distorted using Sellotape. This creates a striking duality between the presentable, rational man and a monstrous other, held within the same body. Raising the question, is the monster hidden within the man?

film Psycho, until it lasted 24 hours, warping any sense of suspense created by the original. The duality of experience

Although Monster is particularly self-referential, mostly

is also a key focus for Gordon, particularly internal conflict

Gordon references other cultural phenomenon in his

between the self and other, and our rational and monstrous

art, the best known being his video installation 24-Hour

traits. It has been argued that this focus is a particularity

Psycho, where he slowed down Alfred Hitchcock’s feature

in the Scottish cultural psyche and can be traced back to

111

105 ‡ § DOUGLAS GORDON (SCOTTISH 1966-) MONSTER - 1997 Transmounted c-print, edition 9/11, inv.#DOGO-0447.9 82cm x 123cm (32.25in x 48.5in) Provenance: Yvon Lambert, New York; Patrick Painter Editions, Bas Jan Ader Estate, Hong Kong; David Klein Gallery, Detroit; Phillips, New York, Contemporary Art Day Sale, 16 November 2012, Lot 233. Exhibited: Los Angeles, The Museum of Contemporary Art, Douglas Gordon, 16 September 2001 - 20 January 2002 (another example exhibited), London, Hayward Gallery, What have I done, 1 November 2002 - 5 January 2003 (another example exhibited) Literature: R. Ferguson, M. Darling, F. McKee, and N. Spector, Douglas Gordon, The Museum of Contemporary Art, Los Angeles, 2001, p. 127 (illu.), J. Debbaut, D. Gordon, and F. McKee, Douglas Gordon: Kidnapping, Stedelikj van Abbemuseum, Eindhoven, 1998, p. 130-131 (illu.), K. M. Brown, Douglas Gordon, Tate Modern, London, 2004, p. 70 (illustrated)

£10,000-15,000

literary texts such as The Private Memoirs and Confessions of

Douglas Gordon trained at Glasgow School of Art and the

a Justified Sinner by James Hogg and The Strange Case of Dr

Slade School of Art, before winning the Turner Prize in 1996.

Jekyll and Mr Hyde by Robert Louis Stevenson. In his artistic

He now lives and works in Berlin, Glasgow and New York.

practice, Gordon is exploring its contemporary relevance, both personally and visually. Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

112

106 § CALUM COLVIN O.B.E., R.S.A. (SCOTTISH 1961-) A PORTFOLIO: TURKISH BATH, NARCISSUS, HEROES I, HEROES II, INCUBUS, CENOTAPH (TRIPTYCH), GARDEN OF EARTHLY DELIGHTS (TRIPTYCH) & MALE NUDE - 1986-88 The complete set of 12 cibachrome prints, A/P, from the edition of 10 + 2 AP’s, each signed, dated and editioned in pencil verso, published by The Salama Caro Gallery, in collaboration with The Photographer’s Gallery, London, each in a card mount and all housed in original blue box (12) each sheet 40.5cm x 30.5cm (16in x 12in), unframed Provenance: Acquired from the Artist, via Cyril Gerber, July 2008.

£800-1,200

113

107 § JOCK MCFADYEN R.A. (SCOTTISH 1950-) BROUGHTY FERRY Signed lower right, oil on canvas 206cm x 133cm (80.75in x 52.25in) Provenance: Jill George Gallery, London, where acquired by the current owner, March 2007.

£3,000-5,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

114

108 § ADRIAN WISZNIEWSKI R.S.A. (SCOTTISH 1958-) CURTAIN CALL - 1985 Signed lower right, oil on canvas 160.5cm x 361cm (63.25in x 142in), unframed Provenance: William Jackson Gallery, London; Lyon & Turnbull, Edinburgh, Contemporary, 27 September 2008, Lot 45.

£4,000-6,000

115

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

116

109 ‡ § PAUL REID (SCOTTISH 1975-) THE CYCLOPS - 2008 Signed lower right, oil on canvas 100.5cm x 75cm (39.5in x 29.5in) Provenance: The Scottish Gallery, Edinburgh, where acquired by the current owner, December 2008. The Scottish Gallery, Edinburgh, Paul Reid - New Drawings & Paintings, 3-24 December 2008.

£2,000-3,000

110 § PAUL REID (SCOTTISH 1975-) CYCLOPS STUDY Signed lower right, charcoal on paper 52cm x 40.5cm (20.5in x 16in) Provenance: The Scottish Gallery, Edinburgh, where acquired by the current owner, December 2008. Exhibited: The Scottish Gallery, Edinburgh, Paul Reid - New Drawings and Paintings, 3-24 December 2008.

£500-700

111 § LOUISE HOPKINS (BRITISH 1965-) UNTITLED, 726 Oil on furnishing fabric 70cm x 84cm (27.5in x 33in), unframed Provenance: doggerfisher, Edinburgh, where acquired by the current owner, June 2007. Exhibited: 52nd Venice Biennale, Palazzo Zenobio (Scotland Pavilion), 10 June - 2 November 2007.

£500-700

117

112 § STEVEN CAMPBELL (SCOTTISH 1953-2007) CHAIN OF EVENTS - 1983 Signed and dated lower right, oil on canvas 249cm x 272cm (98in x 107in), unframed Provenance: John Weber Gallery, New York; Barbara Toll Gallery, New York/Middendorf Gallery, Washington D.C., where acquired by the current owner. Please note, that due to the scale, this artwork is viewable by appointment at our store. To arrange to view, please contact Carly Shearer at carly.shearer@lyonandturnbull.com or 0131 557 8844.

£7,000-9,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

118

113 ‡ § LUCY MCKENZIE (SCOTTISH 1977-) ENO III Pencil on paper 42cm x 29.5cm (16.5in x 11.5in) Provenance: Private Collection; Phillips, New York, Contemporary Art Part II, 9 November 2010, Lot 476.

£400-600

114 ‡ § LUCY MCKENZIE (SCOTTISH 1977-) TIN TIN 5 Coloured pencil 59.4cm x 41.9cm (23.4in x 16.5in) Provenance: Metro Pictures, New York; Private Collection, New York; Christie’s, New York, First Open, 26 September 2013, Lot 257.

£800-1,200

115 ‡ § SIR EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) THE CULTURE CARRIERS - STAMP OUT ART PROJECT - 1971 1 envelope with screen-printed stamp Space Man (Blue), signed with initials; and four printed copies of various letters and lists, published by Edizioni O. (5) the envelope: 15cm x 23cm (6in x 9in) the sheets: 28cm x 21.5cm (11in x 8.5in), all unframed Provenance: Collection of Anthony Haden-Guest; Alpha 137 Gallery, New York, where acquired by the current owner, December 2016.

£200-300

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

119

116 § MARK I’ANSON (SCOTTISH 1968-) HERO (III) - 2007

117 ‡ §

9cm x 13.5cm (3.5in x 5.25in)

KENNY HUNTER R.S.A. (SCOTTISH 1962-)

Provenance: Thackeray Gallery, London, where acquired by the current owner, July 2007.

FEEDBACK LOOP - 2003

£400-600

Aluminium, wood and paint, from the edition of 9 80cm x 16cm x 16cm (31.5in x 6.25in x 6.25in) Provenance: Conner Contemporary Art at PULSE New York, where acquired by the current owner, March 2008.

£1,000-1,500

118 ‡ § MARK I’ANSON (SCOTTISH 1968-) (STUDY FOR) HEALTH OF THE NATION V - 2007 Signed, titled and dated to backboard, pencil and acrylic on paper 44cm x 42.5cm (17.25in x 16.75in) Provenance: Thackeray Gallery, London, where acquired by the current owner, July 2007.

£600-800

Dated to a label verso, pencil and acrylic

120

119 ‡ § MOYNA FLANNIGAN (SCOTTISH 1963-) ONCE UPON OUR TIME NO.25 - 2004 Watercolour on vellum on wood 13.5cm x 10cm (5.5in x 4in) Provenance: Sara Meltzer Gallery, New York.

£500-700

120 ‡ § MOYNA FLANNIGAN (SCOTTISH 1963-) I THINK ABOUT IT ALMOST ALL THE TIME - 2002 Signed, titled and dated on canvas overlap, oil on canvas 66.5cm x 85cm (26.25in x 33.5in), unframed Provenance: Sara Meltzer Gallery, New York; Phillips de Pury & Company New York, Contemporary Art Part II, 12 May, 2006, Lot 325.

£1,000-1,500

121

121 ‡ § KENNY HUNTER R.S.A. (SCOTTISH 1962-) THE RETURN - 2003 Plastic, jesmonite and paint 195cm (77in) high Provenance: Conner Contemporary Art, Washington D.C., where acquired by the current owner, May 2008. Exhibited: Aberdeen Art Gallery, Gates of the West, 2004.

£2,000-3,000

122 ‡ § KIRSTY WHITEN (SCOTTISH 1977-) LITTLE LORD L - 2005 Signed, titled and dated verso, oil on board 173cm x 122cm (68in x 48in), unframed Provenance: Scotlandart.com, where acquired by the current owner, October 2005.

£500-700

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

122

123 ‡ § KENNY HUNTER R.S.A. (SCOTTISH 1962-) UNTITLED (DREAD) - 2005 Acrylic on panel 23cm x 30.5cm (9in x 12in), unframed Provenance: Conner Contemporary Art, Washington D.C., where acquired by the current owner, November 2008.

£400-600

124 ‡ § ALAN MICHAEL (SCOTTISH 1967-) UNTITLED (SHOES) - 2006 Signed, titled and dated on canvas overlap, oil on canvas 101.5cm x 76cm (40in x 30in) Provenance: David Kordansky Gallery, Los Angeles; Private Collection; Sotheby’s, New York, Contemporary Art Day Sale, 14 November 2012, Lot 582.

£800-1,200

125 ‡ § KENNY HUNTER R.S.A. (SCOTTISH 1962-) BONNE ANNÉE MONSIEUR BAUDRILLARD - 2002 Bronze sculpture 33cm x 30.5cm (13in x 12in) Provenance: Conner Contemporary Art, The Armory Show, New York City, where acquired by the current owner, March 2009.

£800-1,200

123

126 § JOCK MCFADYEN R.A. (SCOTTISH 1950-) FROM THE GREENWAY Oil on canvas 61cm x 91.5cm (24in x 36in) Provenance: Public Catalogue Foundation (now Art UK) Auction, London, 9 November 2012.

£3,000-5,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

124

127 § ANGELA PALMER (SCOTTISH 1957-) SELF-PORTRAIT NO. 3 - 2008 Engraving on 16 glass plates 27cm x 27cm x 14cm (10.75in x 10.75in x 5.5in) Provenance: Waterhouse & Dodd, London, where acquired by the current owner, May 2008.

£3,000-5,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

125

128 § JOCK MCFADYEN R.A. (SCOTTISH 1950-) CALTON HILL Oil on canvas 205.5cm x 183cm (81in x 72in), unframed Provenance: Gift from the Artist, December 2016.

£6,000-8,000

126

129 § KEN CURRIE R.S.A. (SCOTTISH 1960-) STUDY (READING A NEWSPAPER) - 2009 Signed, titled, dated and numbered 830 in black ink to backboard, oil on canvas 51cm x 61cm (20in x 24in) Provenance: Cyril Gerber Fine Art, Glasgow, where acquired by the current owner, June 2012.

£3,000-5,000

Study (Reading a Newspaper), 2009 (lot 129), is a compelling

confines of the composition. By excluding the object of his

example of Currie’s ability to imbue his subjects with a

attention, Currie concentrates entirely on the figure and

profound psychological intensity through his handling of

the quiet intensity of his expression. Removed from any

form, gesture and light. The unidentified man is shown in

clear narrative or setting, the sitter becomes both intimately

darkness absorbed in the act of reading, his head lowered

observed and curiously unknowable, transforming an

intently towards a newspaper that remains beyond the

ordinary, fleeting moment into a meditation on human presence and introspection.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

130 § IAN HUGHES (SCOTTISH 1958-2014) TWO PAINTINGS: HEAD NO. 1 & HEAD NO. 3 Signed lower right, inscribed with title to a label verso; and oil on canvas (2) each 35.5cm x 30.5cm (14in x 12in) Provenance: Lyon & Turnbull, Contemporary Paintings & Prints, 29 August 2007, Lot 125.

£400-600

131 § LUCY SKAER (BRITISH 1975-) UNTITLED - 2009 Banknote prints, 18/100, ref. LS134 to a gallery label verso (3) each note 11.5cm x 18.5cm (4.5in x 7.25in) framed together 55cm x 32cm (21.5in x 12.5in) Provenance: doggerfisher, Edinburgh, where acquired by the current owner, November 2009.

£500-700

128

132 § JOYCE CAIRNS P.P.R.S.A., R.S.A., R.S.W., M.A. (R.C.A.) (SCOTTISH 1947-) NIGHT FLIGHT Signed lower right, mixed media 56cm x 67.5cm (22in x 26.5in) Provenance: Cyril Gerber Fine Art, Glasgow, where acquired by the current owner, October 2004.

£1,000-1,500

133 § PETER HOWSON O.B.E. (SCOTTISH 1958-) THE LONELY HERO - 1987 Signed lower right, signed, titled and dated verso, oil on canvas 91.5cm x 61cm (36in x 24in) Provenance: Great Western Auctions, Glasgow, 19 April 2003, Lot 66.

£8,000-12,000

129

130

LUCY SKAER (b.1975 Cambridge)

City, New York and Salzburg. Group

Georges Pompidou, Paris, Museum of

trained at Glasgow School of Art. Her

exhibitions include Until the Moon

Modern Art, New York and National

multimedia practice is both material

Comes Over the Mountain, FLAG Art

Galleries of Scotland, Edinburgh. She

and conceptual and includes the

Foundation, New York (2026) and

was nominated for the Turner Prize

re-interpretation of found imagery.

Carnegie International, Carnegie

in 2009 and was one of six artists

Solo exhibitions include those staged

Museum of Art, Pittsburgh (2018).

who represented Scotland at the 52nd

in Amsterdam, Berlin, Brussels,

Skaer’s work is represented in public

Venice Biennale (2007). Skaer lives and

Edinburgh, Ghent, London, Mexico

collections including the Centre

works in Glasgow.

134 § LUCY SKAER (BRITISH 1975-) FOOL’S INGOTS - 2011 Bronze sculpture in 5 parts, edition 1/3 (5) the largest 27cm x 6cm x 9cm (10.75in x 2.5in x 3.5in) Provenance: Galerie Nelson-Freeman, Paris, Blanks & Ballast, where acquired by the current owner, April 2011.

£1,500-2,000

135 § LUCY SKAER (BRITISH 1975-) DIAGRAM AND BANNERS (BLOOD) - 2002 Mixed media on paper 254cm x 200cm (100in x 78.75in) Provenance: Carl Freedman Gallery, London; Private Collection; Christie’s, London, Post-War & Contemporary Art 1900 to Now, 20th November 2011. Exhibited: Whitechapel Gallery, London, Edge of Real: A Painting Show, 2004, Saatchi Gallery, London, The Triumph of Painting, 2005 (illu. pg. 299).

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

132

136 § PAUL CHIAPPE (SCOTTISH 1984-) UNTITLED 12 Titled to a label verso, pencil on paper 82cm x 127cm (32.25in x 50in) Provenance: Madder 139, London, where acquired by the current owner, July 2008.

£800-1,200

137 ‡ § TOBY PATERSON R.S.A. (SCOTTISH 1974-) ROOM SOUND - 2014 Signed, titled and dated verso, acrylic on aluminium 26cm x 28cm x 12cm (10.25in x 11in x 4.75in) Provenance: The Modern Institute, Glasgow, where acquired by the current owner, October 2014.

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

133

138 § TOBY PATERSON R.S.A. (SCOTTISH 1974-) BRUTALIST CHURCH - 2005 Acrylic on perspex 99cm x 164cm (39in x 64.5in) Provenance: The Modern Institute, Glasgow, where acquired by the current owner, August 2010. Exhibited: The Curve, Barbican Art Gallery, London, After the Rain, 2005, Baltic Centre for Contemporary Art, Newcastle, British Art Show 6, 2006, Echo Room, Madrid, 2007, The Fruitmarket Gallery, Edinburgh, 2010.

£800-1,200

139 § TOBY PATERSON R.S.A. (SCOTTISH 1974-) VANISHING STRUCTURE Photomontage 29cm x 33cm (11.5in x 13in) Provenance: Glasgow School of Art, MFA Fundraising Auction, December 2010.

£300-500

134

140 § MICHAEL WILKINSON (BRITISH 1965-) AFTER PISTOLETTO (SACCO D’IMMONDIZIA) - 2007 Catalogue page with etched mirror 28cm x 25cm (11in x 9.75in) Provenance: The Modern Institute, Glasgow, where acquired by the current owner, May 2009.

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

135

141 ‡ § MOYNA FLANNIGAN (SCOTTISH 1963-) EAT IT, EAT IT, EAT IT - 2005 Titled lower left, signed, dated and numbered 10 in pencil verso, ink and wash 25cm x 35cm (9.75in x 13.75in), unframed Provenance: Sara Meltzer Gallery, New York. Exhibited: Sara Meltzer Gallery, New York, A Pie in the Kisser, 2005.

£300-500

142 ‡ § MOYNA FLANNIGAN (SCOTTISH 1963-) TWO WORKS: HEAD ON A PLATE/SHARING FOOD/ EATING & SALOME - 2005 Titled in ink, signed, dated and inscribed ‘8 Top’ and ‘8 Bottom’ respectively in pencil verso, ink and wash (2) each sheet 11cm x 38cm (4.25in x 15in), unframed Provenance: Sara Meltzer Gallery, New York. Exhibited: Sara Meltzer Gallery, New York, A Pie in the Kisser, 2005.

£400-600

136

143 §

JONATHAN OWEN (b.1973 Liverpool) trained at Leeds

JONATHAN OWEN (BRITISH 1973-)

Metropolitan University and Edinburgh College of Art (ECA).

ERASER DRAWING (BELMONDO) - 2019

Working across sculpture, drawing and installations, Owen

Dated to a label verso, partially-erased book page

is interested in the transformation of readymade objects

30.5cm x 47cm (12in x 18.5in) Provenance: Ingleby Gallery, Edinburgh, where acquired by the current owner, June 2021.

£500-700

and images, as well as collapse, destabilisation and erasure as creative processes. Solo exhibitions include those held at Holmwood House, Glasgow (2026) and at Ingleby Gallery, Edinburgh (2011, 2014, 2016, 2021). Group exhibitions include Drawn through Time, Djanogly Gallery, Nottingham (2026) and GENERATION, Scottish National Gallery of Modern Art, Edinburgh (2014). Untitled from his Edinburgh Art Festival commission, More Lasting than Bronze (2016) was acquired by the National Gallery of Victoria, Melbourne; Owen’s work is represented in other public collections including the National Galleries of Scotland, Edinburgh and Aberdeen Art Gallery. He is a Lecturer at ECA and lives and works in Edinburgh.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

137

144 § JONATHAN OWEN (BRITISH 1973-) ERASER DRAWING (STUDIO) - 2014 Dated to a label verso, partially-erased book page 28cm x 23cm (11in x 9in) Provenance: Ingleby Gallery, Edinburgh, where acquired by the current owner, July 2014.

£500-700

145 § JONATHAN OWEN (BRITISH 1973-) ERASER DRAWING (DR. NO) - 2020 Dated to a label verso, partially-erased book page 35.5cm x 52cm (14in x 20.5in) Provenance: Ingleby Gallery, Edinburgh, where acquired by the current owner, June 2021.

£500-700

138

146 § SIMON STARLING (BRITISH 1967-) LA SOURCE (TEST) - 2010 Photogravure, 9/50, signed, dated and numbered in pencil to margin the sheet 86cm x 124.5cm (34in x 49in) Provenance: The Glasgow School of Art, MFA Fundraising Auction, December 2012.

£400-600

147 ‡ § SIMON STARLING (BRITISH 1967-) RECURSIVE PLATES (JIM LAMBIE, SHAVED ICE, 2012/ANEE COLLIER, NEGATIVE (CALIFORNIA), 2013) - 2015 Unique daguerreotype on silver-plated copper, inventory no. TMI-STARS-39154 23.5cm x 19cm (9.25in x 7.5in) Provenance: The Modern Institute, Glasgow, with their certificate label affixed verso, where acquired by the current owner, April 2016.

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

139

148 § HENRY KONDRACKI R.S.A. (SCOTTISH 1953-) TV SHADOWS - 2011 Signed lower right, signed verso and to stretcher, dated to a label verso, acrylic on canvas 18cm x 24cm (7in x 9.5in) Provenance: Compass Gallery, Glasgow, The Force + Form of Memory, November 2011.

£400-600

149 ‡ § PAUL CHIAPPE (SCOTTISH 1984-) UNTITLED - 2013 Pencil and acrylic on paper the sheet 12.5cm x 14cm (5in x 5.5in) Provenance: Josée Bienvenu Gallery, New York City, where acquired by the current owner, June 2014.

£300-500

150 § PAUL CHIAPPE (SCOTTISH 1984-) DOWN MEMORY LANE - FIFE LEADER - 2010 Dated April 28, 2010 in header, pencil 39.5cm x 30cm (15.5in x 11.75in) Provenance: Amber Roome Contemporary Art, Edinburgh, where acquired by the current owner, May 2006. Exhibited: John Michael Kohler Arts Center, Sheboygan, U.S.A., September 2012.

£500-700

140

151 § DAVID SHRIGLEY O.B.E. (BRITISH 1968-) UNTITLED (THE GHOST IS LOSING) - 2014 Sketch no. 21, SHRIG 1848, ink on paper 41.5cm x 29.5cm (16.25in x 11.5in) Provenance: Stephen Friedman Gallery, London, where acquired by the current owner, July 2014. Exhibited: Sketch Restaurant, London, no. 21.

£1,000-1,500

152 § DAVID SHRIGLEY O.B.E. (BRITISH 1968-) EXCELLENT NEWS Pen and ink 24cm x 26cm (9.5in x 10.25in) Provenance: Phillips, London, Saturday at Phillips, 6 September 2008, Lot 118.

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

141

153 § DAVID HOSIE (SCOTTISH 1962-) FAMILY PORTRAIT - 1991 Signed lower left, signed, dated and titled verso, oil on canvas 184cm x 141.5cm (72in x 55.75in) Provenance: Jill George Gallery, London, where acquired by the current owner, December 2006.

£800-1,200

142

154 § KATIE ORTON (SCOTTISH CONTEMPORARY) EN DURER’S URN #2 - 2007 Signed, dated and titled to underside, cardboard, fablon, acrylic paint and varnish 164cm x 100cm x 86cm (64.5in x 39.5in x 34in) Provenance: Collective Gallery, Edinburgh.

£1,000-1,500

143

155 § BRUCE MCLEAN (SCOTTISH 1944-) TWO HANDBAGS, TWO LADDERS Acrylic on canvas 213.5cm x 167cm (84in x 66in), unframed Provenance: With Art Palace, New York (label verso); Christie’s, South Kensington, Twentieth Century British Art, 24 October 2007, Lot 195A.

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

144

156 § NEIL CLEMENTS (IRISH 1982-) DEE Oil on shaped canvas 250.5cm x 140cm (98.75in x 55.25in), unframed Provenance: doggerfisher, Edinburgh, where acquired by the current owner, November 2008.

£1,000-1,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

145

157 § MARTIN BOYCE (SCOTTISH 1967-) UNTITLED (KEEP OUT/NO EXIT) - 2009 Paint on steel grid, 1 of 3 unique variations (2) each panel 35cm x 23.5cm (13.75in x 9.25in), unframed Provenance: Glasgow School of Art, MFA Fundraising Auction, December 2009.

£2,000-3,000

158 § CHARLES AVERY (SCOTTISH 1973-) ART ATOM - 2007 Coloured perspex, ed. 15 33.5cm x 42.5cm x 42.5cm (13.25in x 16.75in x 16.75in) Provenance: Acquired directly from the Artist.

£1,000-1,500

top view

side view

146

159 §

160 §

CHARLES AVERY (SCOTTISH 1973-)

UNTITLED (STONE-MOUSE SELLERS)

NANCY HASELSWON - 1998

Pencil, ink and gouache on card

Signed and dated ‘12/1998’ lower right, pencil and pastel on paper

81cm x 117.5cm (32in x 46.25in) Provenance: Galleria Sonia Rosso, Turin at Frieze London, November 2008.

59cm x 42cm (23.25in x 16.5in)

£1,500-2,000

£500-700

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

Provenance: Acquired directly from the Artist.

147

148

149

161 ‡ § MARTIN BOYCE (SCOTTISH 1967-) A BLIZZARD OF PAGES - 2013 Titled within the work, jesmonite, plywood, stain, oil & steel relief 81cm x 61cm (31.75in x 24in), including intrinsic metal frame Provenance: The Modern Institute, Glasgow, where acquired by the current owner, July 2013.

£2,000-3,000

162 § ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH 1965-) HEAD STUDY (JENNY) - 1997 Signed lower left, signed, titled and dated to backboard, pastel on paper 18cm x 18cm (7in x 7in) Provenance: Cyril Gerber Fine Art, Glasgow.

£2,000-3,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

150

163 § CHRISTINE (SCOTTISH 1965-2026) TICKLE HOLES - 2005 White linen, shotgun holes and Ayrshire whitework embroidery, presented with embroidery hoop the fabric 122cm x 75cm (48in x 29.5in) Provenance: Galeria Toni Tàpies, Barcelona, where acquired by the current owner, June 2007. This sculpture is accompanied by the book, Christine Borland Preserves and a glass display shelf in three parts (5).

£800-1,200

164 ‡ § CHRISTINE BORLAND (SCOTTISH 1965-2026) CONVERSATION PIECES: LIVER BIRDS - 1998 Hand-painted porcelain sculpture, consisting of an adult human-scale pelvis and infant human-scale skull, with accompanying display shelf (3) 17cm x 25cm x 16cm (6.75in x 9.75in x 6.25in) approx. Provenance: Sean Kelly Gallery, New York, where acquired by the current owner, December 2006. Please note, the sculpture is in two parts and is accompanied by a display shelf in three parts, two wooden brackets and a glass sheet, so five parts total (5)

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

151

CHRISTINE BORLAND (1965-2026 Darvel, Ayrshire) trained at Glasgow School of Art (GSA) and the University of Ulster. A collaborative, research-based interdisciplinary practice saw her

165 ‡ §

often work with experts in science and medicine, as well as in museums,

CHRISTINE BORLAND (SCOTTISH 1965-2026)

collections and archives. Solo projects and commissions include The

CONVERSATION PIECES: CONVOLVULUS - 1998

Edinburgh Seven Tapestry, Practice Cloths (2004), Edinburgh Futures Institute, Positive Pattern (2017), The Institute of Transplantation,

Hand-painted porcelain sculpture, consisting of an adult human-scale pelvis and infant human-scale skull, with accompanying display shelf (3)

Freeman Hospital, Newcastle and To Be Set & Sown in the Garden

17cm x 25cm x 16cm (6.75in x 9.75in x 6.25in) approx.

(2001), University of Glasgow. Solo exhibitions include Divine Imperfect (2012), Pier Arts Centre, Stromness and Preserves (2006), Fruitmarket Gallery, Edinburgh. Borland’s work is represented in public collections including the National Galleries of Scotland, Edinburgh, Tate and the

Provenance: Sean Kelly Gallery, New York, where acquired by the current owner, December 2006. Please note, the sculpture is in two parts and is accompanied by a display shelf in three parts, two wooden brackets and a glass sheet, so five parts total (5).

for the Turner Prize in 1997. Her academic career included posts at

Exhibited: Mackintosh Museum, Glasgow School of Art, Studio 58: Women Artists in Glasgow since World War II, 7 July - 30 September 2012.

GSA, the University of Glasgow and Northumbria University.

£800-1,200

Migros Museum für Gegenwartskunst, Zurich. Borland was nominated

152

166 ‡ § PAUL CHIAPPE (SCOTTISH 1984-) UNTITLED 51:7 - 2014 Pencil on card stock 8cm x 5.5cm (3.25in x 2.25in) Provenance: Josée Bienvenu Gallery, New York City, where acquired by the current owner, June 2014.

£300-500

167 ‡ § PAUL CHIAPPE (SCOTTISH 1984-) UNTITLED 44 - 2010 Pencil on paper 14cm x 13.5cm (5.5in x 5.25in) Provenance: Madder 139, London, where acquired by the current owner, June 2010. Exhibition: The City Art Centre, Edinburgh, A Parliament of Lines, May 2012; New York, Drawing Center, 2014.

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

153

168 § MARK I’ANSON (SCOTTISH 1968-) L TO R; J MACHARDY, W. QUINN, H MACASKILL - 2009 Signed, titled and dated to backboard, pencil 27cm x 37cm (10.5in x 14.5in) Provenance: Thackeray Gallery, London, where acquired by the current owner, September 2009.

£700-900

169 § CAROL RHODES (SCOTTISH 1958-2018) TWO BUILDINGS - 2012 Pencil on paper 32.5cm x 39cm (12.75in x 15.25in) Provenance: The Glasgow School of Art, MFA Fundraising Auction, December 2012.

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

154

170 ‡ § JULIE ROBERTS (WELSH 1963-) THE ELECTRICAL DEPARTMENT - 2004 Signed and dated lower right, titled lower left, gouache 57cm x 77cm (22.5in x 30.25in)

£600-800

171 § WHYN LEWIS (SCOTTISH 1973-) DIS-ENCHANTED - 2004 Signed, titled and dated verso, oil on mahogany 18cm x 18cm (7in x 7in), unframed Provenance: Compass Gallery, Glasgow.

£600-800

172 § GRAEME WILCOX (SCOTTISH 1967-) BOY NEXT DOOR Signed and titled to canvas overlap, oil on canvas 50cm x 38cm (19.75in x 15in) Provenance: Cricket Hill Gallery, New York, where acquired by the current owner, March 2002.

£600-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

156

173 § HEATHER NEVAY R.G.I. (SCOTTISH 1965-) THE DRESSING TABLE Signed with initials lower right, oil on board 23cm x 15cm (9in x 6in) Provenance: Compass Gallery, Glasgow.

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

157

174 § JOCK MCFADYEN R.A. (SCOTTISH 1950-) DRACULA’S GARDEN Oil on board 81cm x 122cm (31.75in x 48in) Provenance: Jill George Gallery, London, where acquired by the current owner, March 2007.

£3,000-5,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

158

175 § MICHAEL FULLERTON (SCOTTISH 1971-) FRUITS OF PASSION 1985 - 2003 Signed, dated and titled on the canvas overlap, oil on linen 152.5cm x 122 (60in x 48in), unframed Provenance: Counter Gallery, where acquired by the current owner, June 2004. Exhibited: Transmission Gallery, Glasgow, Glasgow School of Art, Campbell’s Soup, April 2005.

£1,500-2,000

176 § MARTIN KANE (SCOTTISH 1958-) ISOLATION Signed lower right, oil on canvas 61cm x 76cm (24in x 30in) Provenance: Jill George Gallery, London, where acquired by the current owner, December 2006.

£600-800

159

177 § PETER MCLAREN (SCOTTISH 1964-) UPWARD LOOKING FIGURE Signed lower right, mixed media on paper 96.5cm x 63.5cm (38in x 25in) Provenance: Sotheby’s, Gleneagles, Scottish and Sporting Pictures, 1 September 2004, Lot 812.

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

160

JOHN BEAGLES (b.1970 London) and GRAHAM RAMSAY (b.1968 Kirkcaldy) are a collaborative visual artist duo based in Glasgow. Beagles trained at the Slade School of Fine Art in London and at Glasgow School of Art (GSA). Ramsay trained at the University of Leeds and at GSA, where he met Beagles; they have worked together since 1996. Their multi-media practice includes film, performance and music. Solo exhibitions include Black Pudding Self Portrait at the Scottish National Portrait Gallery, Edinburgh (2024) and NHOTB & RAD at the Gallery of Modern Art, Glasgow (2023). Group exhibitions include Zenomap at the Venice Biennale (2003) and Romantic Detachment at MoMA PS1, New York (2004). Beagles & Ramsay are represented in public collections including the National Galleries of Scotland, Edinburgh and Glasgow Life. Until 2023, Beagles was Director of Taught Postgraduate Study in Art and of the MA in Contemporary Art Practice at the University of Edinburgh. Ramsay is Reader in Contemporary Art Practice at GSA.

178 § BEAGLES & RAMSAY (SCOTTISH CONTEMPORARY) GLITTER DESERT I - 2007 C-print mounted on di-bond, 2/3 134.5cm x 99.5cm (53in x 39.25in), unframed Provenance: ART futures, London, March 2008, work no. 390.

£10,000-15,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

162

179 § BEAGLES & RAMSAY (SCOTTISH CONTEMPORARY) ROBOT - 2009 Signed by both artists and dated to a label verso, acrylic on paper 31.5cm x 22.5cm (12.5in x 9in) Provenance: Glasgow School of Art, MFA Fundraising Auction, December 2009.

£1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 8

163

INDEX OF ARTISTS Avery, Charles 33, 158, 159, 160 Barclay, Clair 91 Beagles & Ramsay 178, 179 Bellany, John 50, 51, 53, 68 Black, Karla 86 Blackadder, Dame Elizabeth 12 Borland, Christine 163, 164, 165 Boyce, Martin 157, 161 Buchanan, Roderick 102 Byrne, John 7, 25, 46, 47, 49 Cairns, Joyce 88, 132 Campbell, Steven 54, 112 Chiappe, Paul 1 36, 149, 150, 166, 167 Clements, Neil 156 Colquhoun, Robert 17, 18, 21, 23, 24 Colvin, Calum 42, 106 Conroy, Stephen 15, 16, 93 Crosbie, William 8, 26, 29 Currie, Ken 37, 63, 64, 65, 66, 67, 129 Davie, Alan 44 Deakin, John (After) 20 Eardley, Joan 2, 13 Faulkner, Iain 83 Finlay, Ian Hamilton 76 Flannigan, Moyna 119, 120, 141, 142

Fullerton, Michael 35, 175

McLean, Bruce 74, 155

Galt, Alexander Milligan 9

McMurdo, Scott 32

Gordon, Douglas 100, 104, 105

McPhail, Paul 85, 92, 94

Goudie, Alexander 5

Michael, Alan 75, 124

Gray, Alasdair 52, 89

Moffat, Alexander 68, 70

Guild, Derrick 4, 36

Morrison, James 3

Guy, Alexander 6

Mulholland, Craig 95

Harnett, Marie 98, 99

Murray, Graham 1

Herman, Josef 30

Nevay, Heather 173

Holland, Harry 81

Orton, Katie 154

Hopkins, Louise 111

Owen, Jonathan 143, 144, 145

Hosie, David 28, 153

Palmer, Angela 127

Howson, Peter 4 3, 55, 60, 62, 71, 73, 133

Paolozzi, Sir Eduardo 3 8, 39, 40, 41, 115

Hughes, Ian 130

Paterson, Toby 137, 138, 139

Hunter, Kenny 7 2, 101, 117, 121, 123, 125

Reid, Paul 109, 110

I’Anson, Mark 103, 116, 118, 168

Roberts, Julie 31, 34, 170

Kane, Martin 176

Skaer, Lucy 131, 134, 135

Kondracki, Henry 148

Shrigley, David 151, 152

Lewis, Whyn 171

Starling, Simon 146, 147

Low, Bet 22

Swain, Tony 78, 79

MacBryde, Robert 19

Tait, Neal 87

Mach, David 77

Thomson, Peter 57, 58, 59

MacPherson, Neil 69

Turnbull, William 48

McLaren, Peter 177

Wallace, Alasdair 45

McFadyen, Jock 107, 126, 128, 174

Watt, Alison 14, 80, 82, 84, 90, 162

McIntyre, Keith 56

Whiten, Kirsty 122

McKenzie, Lucy 113, 114

Wilkinson, Michael 140

Flockhart, Helen 27, 96, 97

Wilcox, Graeme 172

GLOSSARY OF CATALOGUING TERMS The following expressions with their accompanying explanations are used by Lyon & Turnbull as standard cataloguing practice. Our use of these expressions does not take account of the condition of the lot or the extent of any restoration. Buyers are recommended to to inspect the property themselves. Written condition reports are usually available on request. Dimensions are given height before width.

Rhodes, Carol 169

Wiszniewski, Adrian 10, 11, 108 Various Artists 61

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

Signed… / Dated… / Inscribed… / In our opinion the work has been signed/dated/inscribed by the artist

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

Bears Signature… / Date… / Inscription… / In our opinion the signature/date/ inscription appears to be by a hand other than that of the artist

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

CHARLES RENNIE MACKINTOSH (1868-1928) LANTERN, CIRCA 1900 £20,000-30,000 + fees

AUCTION 14-15 OCTOBER 2026 LIVE IN EDINBURGH & ONLINE To find out more please contact: John Mackie | john.mackie@lyonandturnbull.com

PAOLO SCHEGGI (ITALIAN 1940-1971) ZONE RIFLESSE, 1963 [detail] £60,000-80,000 + fees Sold by the Hugo Burge Foundation to support its charitable endeavours

AUCTION 30 OCTOBER 2026 LIVE IN LONDON & ONLINE

MODERN, POST-WAR & CONTEMPORARY ART, DESIGN, CRAFT & STUDIO CERAMICS To find out more please contact: Philip Smith | philip.smith@lyonandturnbull.com Simon Hucker | simon.hucker@lyonandturnbull.com

SCOTTISH PAINTINGS & SCULPTURE AUCTION 03 DECEMBER 2026 NOW OPEN FOR CONSIGNMENTS LIVE IN EDINBURGH & ONLINE For more information please contact Nick Curnow | nick.curnow@lyonandturnbull.com Alice Strang | alice.strang@lyonandturnbull.com

FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) DUTCHMAN’S CAP FROM THE NORTH SHORE OF IONA PLAYING, 1960£30,00050,000 + FEES

AUCTION 13 JANUARY 2027 NOW OPEN FOR CONSIGNMENTS LIVE IN EDINBURGH & ONLINE To find out more please contact: Carly Shearer | carly.shearer@lyonandturnbull.com

GREG DEDA (CANADIAN 1965-) AFTERNOON TEA - 2012 | Sold for £35,480 inc. fees, Contemporary Art August 2026

168

CONDITIONS OF SALE 26.2 FOR BUYERS (UK) These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used. 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. In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate. “You”, “Your” means the Buyer. Lyon & Turnbull Ltd. acts as agent for the Seller. Lyon & Turnbull Ltd. acts as agent for the Seller. On occasion where Lyon & Turnbull Ltd. own a lot in part or full the property will be identified in the catalogue with the symbol (🄰) next to its lot number.

A. BEFORE THE SALE A1. DESCRIPTIONS OF LOTS 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. All dimensions and weights are approximate only. A2. OUR RESPONSIBILITY

FOR OUR DESCRIPTION OF LOTS We do not provide any guarantee in relation to the nature of a Lot apart from our authenticity warranty contained in paragraph E.2 and to the extent provided below. (a) 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 endeavour 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 us 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 us and the Buyer. The Condition Reports do not affect the Buyer’s obligations in any way. (b) 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. (c) 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. A3. WITHDRAWAL Lyon & Turnbull may, at its discretion, withdraw any Lot at any time prior to or during the sale of the Lot. Lyon & Turnbull has no liability to You for any decision to withdraw.

A4. JEWELLERY, CLOCKS & OTHER ITEMS (a) Jewellery: (i) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to enhance their look, through methods such as heating and oiling. These methods are accepted practice but may make the gemstone less strong and/or require special care in future. (ii) All types of gemstones may have been improved by some method. You may request a gemmological report for any Lot which does not have a report if the request is made to us at least three weeks before the date of the sale

and You pay the fee for the report in advance of receiving said report. (iii) We do not obtain a gemmological report for every gemstone sold in our sales. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports may be described in the Sale Particulars. Reports will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report. (iv) For jewellery sales, all Estimates are based on the information in any gemmological report or, if no gemmological report is available, You should assume that the gemstones may have been treated or enhanced. (b) 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, we make 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 we 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. Clocks may be sold without pendulums, weights or keys. (c) Alcohol: 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. All collections must be signed for by a person over the age of 18. We Reserve the right to ask for ID from the person collecting. Buyers of alcohol must make appropriate allowances for natural variations of ullages, conditions of corks and wine. We can provide no guarantees as to how the alcohol may have been stored. There is always a risk of cork failure and allowance by the Buyer must be made. Alcohol is sold “as is” and quality of the alcohol is entirely at the risk of the Buyer and no warranties are given. (d) 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. (e) Electrical Goods: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. (f) 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. We provide no guarantee as to the originality of any wood/material contained within the item.

B. REGISTERING TO BID B1. NEW BIDDERS (a) If this is Your first time bidding at Lyon & Turnbull or You are a returning Bidder who has not bought anything from us within the last two years You must register at least 48 hours before an auction to give us enough time to process and approve Your registration. We may, at our discretion, decline to permit You to register as a Bidder. You will be asked for the following: (i) Individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of Your current address (for example, a current utility bill or bank statement) (ii) Corporate clients: Your Certificate of Incorporation or equivalent document (s) showing Your name and registered address together with documentary proof of directors and beneficial owners, and; (iii) Trusts, partnerships, offshore companies and other business structures please contact us directly in advance to discuss requirements. (b) We may also ask You to provide a financial reference and/or a deposit to allow You to bid. For help, please contact our Finance Department on +44 (0)131 557 8844. B2. RETURNING BIDDERS We may at our discretion ask You for current identification as described in paragraph B.1. (a) above, a finance reference or a deposit as a condition of allowing You to bid. If You have not

169 bought anything from us in the last two years, or if You want to spend more than on previous occasions, please contact our Finance Department on +44 (0)131 557 8844. B3. FAILURE TO PROVIDE THE RIGHT DOCUMENTS If in our opinion You do not satisfy our Bidder identification and registration procedures including, but not limited to, completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register You to bid, and if You make a successful bid, we may cancel the contract between You and the Seller. B4. BIDDING ON BEHALF OF ANOTHER PERSON (a) As an authorised Bidder: If You are bidding on behalf of another person, that person will need to complete the registration requirements above before You can bid, and supply a signed letter authorising You to bid for him/ her. (b) As agent for an undisclosed principal: If You are bidding as an agent for an undisclosed principle (the ultimate Buyer (s)) You accept personal liability to pay the Purchase Price and all other sums due, unless it has been agreed in writing with us before commencement of the auction that the Bidder is acting as an agent on behalf of a named third party acceptable to us and we will seek payment from the named third party. B5. BIDDING IN PERSON If You wish to bid in the saleroom You must register for a numbered bidding paddle before You begin bidding. Please ensure You bring photo identification with You to allow us to verify Your registration. B6. BIDDING SERVICES The bidding services described below are a free service offered as a convenience to our clients and we are not responsible for any error (human or otherwise), omission or breakdown in providing these services. (a) Phone bids Your request for this service must be made no later than 12 hours prior to the auction. We will accept bids by telephone for Lots only if our staff are available to take the bids. If You need to bid in a language other than English You should arrange this Well before the auction. We do not accept liability for failure to do so or for errors and omissions in connections. (b) Internet Bids For certain auctions we will accept bids over the internet. For more information please visit our Website. 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.

(c) Written 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. Bids must be expressed in the currency of the saleroom. The Auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the Reserve. If You make a written bid on a Lot which does not have a Reserve and there is no higher bid than Yours, we will bid on Your behalf at around 50% of the lower Estimate or, if lower, the amount of Your bid.

C. DURING THE SALE C1. ADMISSION TO OUR AUCTIONS We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. We may refuse admission at any time before, during or after the auction. C2. RESERVES Unless indicated by an insert symbol (∆), all Lots in this Catalogue are offered subject to a Reserve. A Reserve is the confidential Hammer Price established between us and the Seller. The Reserve is generally set at a percentage of the low Estimate and will not exceed the low Estimate for the Lot. C3. AUCTIONEER’S DISCRETION The maker of the highest bid accepted by the Auctioneer conducting the sale shall be the Buyer and any dispute shall be settled at the Auctioneer’s absolute discretion. The Auctioneer may move the bidding backwards of forwards in any way he or she may decide or change the order of the Lots. The Auctioneer may also; refuse any bid, withdraw any Lot, divide any Lot or combine any two or more Lots, reopen or continuing bidding even after the hammer has fallen. C4. BIDDING The Auctioneer accepts bids from: (a) Bidders in the saleroom; (b) Telephone Bidders, and internet Bidders through Lyon & Turnbull Live or any other online bidding platform we have chosen to list on and; (c) Written bids (also known as absentee bids or commission bids) left with us by a Bidder before the auction. C5. BIDDING INCREMENTS Bidding increments shall be at the Auctioneer’s sole discretion.

C6. CURRENCY CONVERTER The saleroom video screens and bidding platforms may show bids in some other major currencies as Well as sterling. Any conversion is for guidance only and we cannot be bound be any rate of exchange used. We are not responsible for any error (human or otherwise) omission or breakdown in providing these services. C7. SUCCESSFUL BIDS Unless the Auctioneer decides to use their discretion as set out above, when the Auctioneer’s hammer falls, we have accepted the last bid. This means a contract for sale has been formed between the Seller and the successful Bidder. We will issue an invoice only to the registered Bidder who made the successful bid. While we send out invoices by post/or email after the auction, we do not accept responsibility for telling You whether or not Your bid was successful. If You have bid by written bid, You should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of our bid to avoid having to pay unnecessary storage charges. C8. RELEVANT LEGISLATION You agree that when bidding in any of our sales that You will strictly comply with all relevant legislation including local laws and regulations in force at the time of the sale for the relevant saleroom location.

D. THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY D1. THE PURCHASE PRICE For each Lot purchased a Buyer’s Premium of 28% of the Hammer Price of each Lot up to and including £25,000, 27% of the Hammer Price from £25,001 up to and including £500,000, 26% 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 may be subject to an additional premium (level dependent on the live bidding service provider chosen). This additional premium is subject to VAT at the appropriate rate as above. D2. 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. (a) 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. (b) 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 outwit the European Union. This reduced rate is applicable to Antique items.

(c) 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 outwit the European Union and do not fall within the reduced rate category outlined above. D3. ARTIST’S RESALE ROYALTY (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. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, 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. More information on Droit de Suite is available at www.dacs.org.uk.

E. WARRANTIES E1. SELLER’S WARRANTIES For each Lot, the Seller gives a warranty that the Seller; (a) Is the owner of the Lot or a joint owner of the Lot acting with the permission of the other co-owners, or if the Sellers is not the owner of or a joint owner of the Lot, has the permission of the owner to sell the Lot, or the right to do so in law, and; (b) Had the right to transfer ownership of the Lot to the Buyer without any restrictions or claims by anyone else. If either other above warranties are incorrect, the Seller shall not have to pay more than the Purchase Price (as defined in the glossary) paid by You to us. The Seller will not be responsible to You for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expense. The Seller gives no warranty in relation to any Lot other than as set out above and, as far as the Seller is allowed by law, all warranties from the Seller to You, and all obligations upon the Seller which may be added to this agreement by law, are excluded. E2. AUTHENTICITY GUARANTEE We guarantee 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 saleroom

170 notes or announcements. We make 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.

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.

In the event we, in our reasonable opinion, deem 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.

E3. YOUR WARRANTIES (a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes.

This Guarantee does not apply if: (a) 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 (b) 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 our reasonable opinion) to have caused damage to the Lot or likely to have caused loss of value to the Lot; or (c) 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: (a) notify us 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 (b) return the Lot to our 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. We have discretion to waive any of the above requirements. We 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 us and the original purchaser of the Lot. We 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

(b) Where You are bidding on behalf of another person You warrant that: (i) You have conducted appropriate customer due diligence on the ultimate Buyer (s) of the Lot (s) in accordance with all relevant anti-money laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so; (ii) The arrangements between You and the ultimate Buyer (s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and; (iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer (s) are under investigation or have been charged with or convicted of money-laundering, terrorist activities, or other crimes.

with You in writing. (e) 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 payment whichever is later. Please note we do not accept cheques. We can provide You with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us. (f) No purchase can be claimed or removed until it has been paid for. (g) 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. F2. IN THE EVENT OF NON-PAYMENT 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;

any amount left from that sale to You. If there is a shortfall, You must pay us the balance; and (i) Take any other action we see necessary or appropriate.

G. COLLECTION & STORAGE (1) 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. Information on collection is set out in the Catalogue and our Website (2) Unless agreed otherwise, You must collect purchased Lots within seven days from the auction. Please note the Lots will only be released upon full payment being received. We will assume your authority to release your item(s) to a recognised shipper providing they can provide your invoice details. (3) If You do not collect any Lot within seven days following the auction we can, at our discretion; (i) Charge You storage costs at the rates set out on our Website. (ii) Move the Lot to another location or an affiliate or third party and charge You transport and administration costs for doing so and You will be subject to the third party storage terms and pay for their fees and costs. (iii) Sell the Lot in any way we think reasonable.

H. TRANSPORT & SHIPPING

(c) To resell the Lot (s) (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).

F1. MAKING PAYMENT (a) Within 7 days of a Lot being sold You will 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. Please note that we do not accept cash payments over £5,000 per Buyer per year.

H1. TRANSPORT AND SHIPPING We will include transport and shipping information with each invoice sent to You as well as displayed on our Website. You must make all transport and shipping arrangements.

(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;

H2. EXPORT OF GOODS Buyers intending to export goods should ascertain;

(b) Any payments by You to us can 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.

(f) To retain that or any other Lot sold to You until You pay the Total Amount Due;

F. PAYMENT

(c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name. (d) 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. The risk in and the responsibility for the Lot will transfer to You from whichever is the earlier of the following: (i) When You collect the Lot; or (ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise

(e) To charge interest at a rate of 5% a year above the Bank of Scotland base rate from time to time on all sums outstanding for more than 7 working days after the sale;

(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. You will be deemed to have granted such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any way we think appropriate. We will use the proceeds of the sale against any amounts You owe us and we will pay

(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. H3. CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http:// www.defra.gov.uk/ahvla-en/importsexports/cites We accept no liability for any Lots which may be subject to CITES but have not be identified as such.

171

I. OUR LIABILITY TO YOU (a) We give no warranty in relation to any statement made, or information give, by us, our representatives or employees about any Lot other than as set out in the authenticity warranty and as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are exclude. The Seller’s warranties contained in paragraph E.1 are their own and we do not have a liability in relation to those warranties. (b) (i) We are not responsible to You for any reason whether for breaking this agreement or any other matter relating to Your purchase of, or bid for, any Lot other than in the event of fraud or fraudulent misrepresentation by us other than as expressly set out in these conditions of sale; or (ii) We do not give any representation, warranty or guarantee or assume any liability for a kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance, except as required by local law, any warranty of any kind is excluded by this paragraph. (c) in particular, please be aware that our written and telephone bidding services, Lyon & Turnbull Live, Condition Reports, currency converter and saleroom video screens are free services and we are not responsible for any error (human or otherwise) omission or breakdown in these services. (d) We have no responsibility to any person other than a Buyer in connection with the purchase of any Lot (e) If in spite of the terms of this paragraph we are found to be liable to You for any reason, we shall not have to pay more than the Purchase Price paid by You to us. We will not be responsible for any reason for loss of profits, business, loss of opportunity or value, expected savings or interest, costs damages or expenses.

J. OTHER TERMS J1. OUR ABILITY TO CANCEL In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if; (i) Any of our warranties are not correct, as set out in paragraph E3, (ii) We reasonably believe that completing the transaction is or may be unlawful; or (iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage our reputation. J2. RECORDINGS We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law if You

do not wish to be videotaped, You may make arrangements to bit by telephone or a written bid or bid on Lyon & Turnbull Live instead. Unless we agree otherwise in writing, You may not videotape or record proceedings at any auction. J3. COPYRIGHT We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission. We do not offer any guarantee that You will gain any copyright or other reproductions to the Lot. J4. ENFORCING THIS AGREEMENT If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force. J5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES You may not grant a security over or transfer Your rights of responsibilities under these terms on the contract of sale with the Buyer unless we have given our written permission. This agreement will be binding on Your successors or estate and anyone who takes over Your rights and responsibilities. J6. REPORTING ON LYONANDTURNBULL.COM Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www.lyonandturnbull. com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website. J7. 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) We undertake 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. J8. 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 premises, 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.

J9. DATA PROTECTION Where we obtain any personal information about You, we shall use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent (s) You may have given at the time Your information was disclosed). A copy of our Privacy Policy can be found on our Website www.lyonandturnbull.com or requested from Client Services, 33 Broughton Place, Edinburgh, EH1 3RR or by email from data enquiries@ lyonandturnbull.com. J10. FORCE MAJEURE We shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract. J11. 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.

K. DEFINITIONS & GLOSSARY The following words and phrases used have (unless the context otherwise requires) the meaning to given to them below. The go Glossary is to assist You to understand words and phrases which have a specific legal meaning which You may not be familiar with. K1. DEFINITIONS “Auctioneer” Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate; “Bidder” a person who has completed a Bidding Form “Bidding Form” our Bidding Registration Form our Absentee Bidding Form or our Telephone Bidding Form. “Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to by the words “You” and “Your”

“Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on behalf of the Seller. “Estimate” a statement of our opinion of the range within the hammer is likely to fall. “Hammer Price” the level of bidding reached (at or above any Reserve) when the Auctioneer brings down the hammer; “High Cumulative Value of Lot” several Lots with a total lower Estimate value of £30,000 or above; “High Value Lot” a Lot with a lower Estimate of £30,000 or above; “Lot” each Item offered for sale by Lyon & Turnbull; “Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses; “Reserve” the lowest price below which an item cannot be sold whether at auction or by private treaty; “Sale” the auction sale at which a Lot is to be offered for sale by us. “Seller” the person who offers the Lot for Sale. We act as agent for the Seller. “Total Amount Due” the Hammer Price in respect of the Lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions; “VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom. “Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com K2. GLOSSARY The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings: “Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to “Knocked Down” when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale. “Lien” a right for the person who has possession of the Lot to retain possession of it. “Risk” the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value. “Title” the legal and equitable right to the ownership of a Lot.

“Buyer’s Premium” the sum calculated on the Hammer Price at the rates stated in Catalogue. “Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website

26.2

GUIDE TO BIDDING & PAYMENT

REGISTRATION

BIDDING OUTSIDE THE SALEROOM

PAYMENT

BY PHONE

Our accounts teams will continue to be available to process payments and answer queries. We will be able to accept online payments through our website and bank transfer. On-site payment facilities are available by appointment.

1–G overnment issued photo ID (Passport/Driving licence) 2–P roof 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 IN THE SALEROOM At the Sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. Please ensure that the auctioneer repeats your bidder number correctly when confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer’s attention immediately. All lots will be invoiced to the name and address given on your registration form, which is non-transferable.

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. 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 provided entirely at the bidder’s risk. ON THE INTERNET

Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received. Payment may be made by the following methods: BANK TRANSFER Account details are included on any invoices we issue or upon request from our accounts department. ONLINE CREDIT OR DEBIT CARD PAYMENTS We no longer accept card payments by phone. Please use our online payment service (provided by Stripe). You will find a link to this service in any email invoice issued or you can visit the payments section of our website. CASH No cash payments will be accepted for this auction. COLLECTION OF PURCHASED LOTS Please refer to page 8 of this catalogue.

- ABSENTEE BIDDING Leave a bid online through our website, call us on 0131 557 8844 or email info@lyonandturnbull.com - BID LIVE ONLINE Bid live online, for free, with Lyon & Turnbull Live. Just click the button from the auction calendar, sale page or any lot page online to register.

Inside Back Cover: Lot 52

LO NDO N | E D IN BURGH | GLA S GO W LYON AN DTUR N BULL .C OM

Darkness & Light: Post-War & Contemporary Art in Scotland | Auction 30 September 2026