Scottish Paintings & Sculpture | Auction 04 December 2025 from 14:00 & 18:00 GMT

4TH DECEMBER 2025 LIVE IN EDINBURGH & ONLINE

SCOTTISH PAINTINGS & SCULPTURE

THURSDAY 04

DECEMBER

2025

DAY SESSION LOTS 1-108 AT 2PM EVENING SESSION LOTS 109-207 AT 6PM

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Sale Number LT863

Lyon & Turnbull

33 Broughton Place

EDINBURGH EH1 3RR

VIEWING IN EDINBURGH

33 Broughton Place EH1 3RR

Sunday 30th November, 12noon-4pm

Monday 1st December, 10am-4pm

Tuesday 2nd December, 10am-4pm Wednesday 3rd December, 10am--4pm Day of sale from 9am

CONTACT

Front Cover Lot 201 [detail]

Inside Front Cover Lot 163

EDINBURGH +44 (0) 131 557 8844

GLASGOW +44 (0) 141 333 1992

LONDON +44 (0) 20 7930 9115

info@lyonandturnbull.com

135 [detail]

BUYER'S GUIDE

BUYER’S PREMIUM

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

27% up to £20,000

26% from £20,001 to £800,000

20% thereafter

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

ADDITIONAL VAT

† 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

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.

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

DROIT DE SUITE

§ indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under 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.

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.

REGISTRATION

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

2 – Proof of address (utility bill/bank statement). We may, at our option, also ask you to provide a bank reference and/ or deposit. (Particularly for bidding on lots marked by the high value lot symbol ) By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website).

BIDDING & PAYMENT

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

REMOVAL OF PURCHASES

Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. 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 Opayo) - details will be shown on your invoice. Please note we are unable to take payments over the phone.

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.

Nick Curnow Head of Sale nick.curnow@lyonandturnbull.com

Alice Strang Senior Specialist alice.strang@lyonandturnbull.com

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

Carly Shearer Senior Specialist carly.shearer@lyonandturnbull.com

Romey Clark Associate Specialist romey.clark@lyonandturnbull.com

1

JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) BEACHED FISHING BOATS

Signed and dated ‘95, oil on canvas 61cm x 91cm (24in x 36in)

£1,000-1,500

2

JOHN GUTHRIE SPENCE SMITH R.S.A. (SCOTTISH 1880-1951)

NEAR CRAIGMILLAR

Signed, inscribed with title verso, oil on board

38cm x 48cm (15in x 18in)

£1,000-1,500

JOSEPH MILNE (SCOTTISH 1857-1911)

MUSSEL

GATHERING, SUNSET

Signed, oil on canvas

46cm x 61cm (18in x 24in)

£2,000-3,000

Beach scenes of cockling, gathering mussels or seaweed (‘wrack’), or children playing, all featured in Joseph Milne’s work, although these usually have generic titles, without specific location names. Although unidentified, Milne seems to have used the present view in several works - looking west along this beach, with sailing boat masts in the far distance. This may be at North Berwick, although this is not confirmed. Milne was a professional landscape artist all his career. He trained at the Royal Scottish Academy Life Class in the 1880s, along with his younger brother William Watt Milne, both winning prizes. The elder Milne exhibited annually at the Academy (from 1877 to 1902); at the Royal Glasgow Institute of the Fine Arts (from 1880 to 1902); and at the Royal Academy of Arts in London on six occasions (1887 to 1908). We are grateful to Maurice Millar, author of The Missing Colourist: The Search for John Maclauchlan Milne RSA (privately published in 2022 and available via The Missing Colourist website) for his help with our research.

4

DUNCAN CAMERON (SCOTTISH 1837-1916)

HARVEST TIME

Signed, oil on canvas

30.5cm x 46cm (12in x 18in)

£1,000-1,500

5 JOSEPH HENDERSON R.S.W. (SCOTTISH 1832-1908) ON THE BEACH

Signed, oil on canvas

46cm x 76cm (18in x 30in)

£1,500-2,000

6 §

JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) MYLNEFIELD NEAR INVERGOWRIE

Signed, watercolour

51cm x 73cm (20in x 28.75)

Provenance: Roger Billcliffe Fine Art, Glasgow

£1,200-1,800

7

GEORGE BLACKIE STICKS (BRITISH 1843-1938)

THE OLD KEEP OF THE GLENS, LOCH GOIL

Signed and dated 1887, signed, inscribed and dated verso, oil on canvas

46cm x 38cm (18in x 15in)

£1,000-1,500

8

JAMES CAMPBELL NOBLE

R.S.A. (SCOTTISH 1846-1913)

CANAL THROUGH THE TOWN

Signed, oil on canvas

61cm x 51cm (24in x 20in)

£600-800

9

WILLIAM DARLING MCKAY R.S.A. (SCOTTISH 1844-1924)

FIGURES BY THE BRIDGE EAST LINTON

Signed and inscribed, oil on canvas

33cm x 43cm (13in x 17in)

£700-900

10

WILLIAM DARLING MCKAY R.S.A. (SCOTTISH 1844-1924)

AN AFTERNOON STROLL

Signed with initials, oil on canvas

30.5cm x 41cm (12in x 16in)

£600-800

11

DUNCAN CAMERON (SCOTTISH 1837-1916) COASTAL VIEW

Signed, oil on canvas

61cm x 91cm (24in x 36in)

£1,000-1,500

12 §

THOMAS BONAR LYON (1873-1955)

UNLOADING THE CATCH

Oil on canvas

51cm x 61cm (20in x 24in)

This is probably a view of Ayr harbour.

£800-1,200

13

TOM SCOTT R.S.A. (SCOTTISH 1854-1927) WICK FISHING STATION

Signed, watercolour

26cm x 36cm (10.25in x 14in)

£500-800

14

TOM SCOTT R.S.A. (SCOTTISH 1854-1927) SUMMER MORNING AT LESLIE COTTAGE

Signed and dated 1918, watercolour

26cm x 36cm (10.25in x 14in)

£500-800

15

GEORGE HOUSTON R.S.A., R.S.W., R.I. (SCOTTISH 1869-1947) LOCH AWE

Signed, oil on canvas

71cm x 91cm (28in x 36in)

£1,200-1,800

16

ROBERT HOPE R.S.A. (SCOTTISH 1869-1936) HOME FROM PASTURE

Signed, oil on canvas

63.5cm x 76cm (25in x 30in)

£800-1,200

17

LOUISE ELLEN PERMAN (SCOTTISH 1854-1921) YELLOW ROSES

Signed, oil on canvas

44.5cm x 54.5cm (17.5in x 21.5in)

£700-900

18

LOUISE ELLEN PERMAN (SCOTTISH 1854-1921)

A STILL LIFE OF ROSES ON A LEDGE

Signed, oil on canvas

61cm x 51cm (24in x 20in)

£1,000-1,500

19

STUART PARK (SCOTTISH 1862-1933)

STILL LIFE OF PINK ROSES

Signed, circular, oil on canvas

51cm (20in) diameter

£1,500-2,000

20

LOUISE ELLEN PERMAN (SCOTTISH 1854-1921) PINK ROSES

Signed, oil on canvas

61cm x 30.5cm (24in x 12in)

£700-1,000

21 § CHARLES OPPENHEIMER

R.S.A., R.S.W. (SCOTTISH 1876-1961) BUCKLAND BRIDGE, KIRKCUDBRIGHT

Signed, watercolour

28cm x 38cm (11in x 15in)

£1,500-2,000

22

JOHN HENDERSON (SCOTTISH 1860-1924) AFTERNOON

Signed, inscribed with title on contemporary label verso, oil on panel

23cm x 30.5cm (9in x 12in)

£700-1,000

23

TOM SCOTT R.S.A. (SCOTTISH 1854-1927)

YARROW NEAR DRYHOPE

Signed, inscribed and dated 1913 to Artist’s label verso, watercolour

52cm x 65cm (20.5in x 25.5in)

£600-900

24

TOM SCOTT R.S.A. (SCOTTISH 1854-1927)

KELSO BRIDGE

Signed, inscribed and dated 1901, watercolour

24cm x 34cm (9.5in x 13.5in)

£700-900

25

TOM SCOTT R.S.A. (SCOTTISH 1854-1927)

ON THE LEADER NEAR LAUDER - A SPRING DAY

Signed and dated 1902, signed, inscribed with title and dated to Artist’s label verso, watercolour

25.5cm x 35.5cm (10in x 14in)

£600-900

26

PATRICK DOWNIE R.S.W. (SCOTTISH 1854-1945)

SHIPPING OFF AILSA CRAIG

Signed and dated 1935, watercolour

36cm x 51cm (14in x 20in)

£600-800

27

DAVID WEST R.S.W (SCOTTISH 1868-1936)

ON THE MORAY COAST, COVESEA LIGHTHOUSE IN THE DISTANCE

Signed, watercolour

51cm x 63.5cm (20in x 25in)

£600-800

28

GEORGE HOUSTON R.S.A., R.S.W., R.I. (SCOTTISH 1869-1947) BY THE LOCHSIDE

Signed, watercolour

36cm x 51cm (14in x 20in)

Provenance: Lyon and Turnbull, Edinburgh, The Drambuie Collection Part I, 26 January 2006, lot 95

£600-800

29 §

JAMES MCINTOSH PATRICK

R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998)

ABOVE BALSHANDO FARM

Signed, inscribed and dated 1988 on Artist’s label verso, watercolour

53cm x 76cm (21in x 30in)

£800-1,200

30

DAVID FARQUHARSON A.R.A., A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1840-1907) COTTAGES, GLEN FALLOCH

Signed and dated 1905, inscribed with title to contemporary label verso, oil on canvas

41cm x 61cm (16in x 24in)

£600-800

31

WILLIAM WATSON (BRITISH 1866-1921) SHEEP IN THE HEATHER, LOCH TAY

Signed and dated 1912, oil on canvas

36cm x 51cm (14in x 20in)

Provenance: Nigel StacyMarks Ltd., Perth (W.963)

£1,500-2,000

32

ROBERT WEIR ALLAN

R.S.A., R.S.W., R.W.S. (SCOTTISH 1852-1942) SAFE HAVEN

Signed, oil on canvas

53.5cm x 91cm (21in x 36in)

£1,000-1,500

of previous years had varied from Dordrecht in Holland (1883/4), Fife (Buckhaven and Tayport), Yorkshire and London, he was confirmed as an Edinburgh painter. He continued to live in the Scottish capital until leaving for London in 1903. When the family returned to Scotland in 1908, his eldest son John Maclauchlan Milne had begun to follow his father as a professional landscape artist. We are grateful to Maurice Millar, author of The Missing Colourist: The Search for John Maclauchlan Milne RSA (privately published in 2022 and available via The Missing Colourist website) for his help with our research.

£800-1,200

33

JOSEPH MILNE (SCOTTISH 1859-1911)

SHEEP GRAZING ON THE COAST

Signed and dated ‘88, oil on canvas

30.5cm x 46cm (12in x 18in)

This painting from 1888 combines two of Joseph Milne favourite subjects – grazing animals (sheep or cattle) in a country setting with trees; and a shoreline, be it riverbank, lochside or seashore. As examples, in 1886 his Royal Scottish Academy exhibits included By the River Tay and Shores of Tay. In 1889 he showed On the Fife Shore at the Academy.

By 1888 Milne had been exhibiting for over ten years as a professional artist and although his painting locations

34

TOM SCOTT R.S.A. (SCOTTISH 1854-1919) ON THE TEVIOT AT KIRKBANK

Signed, inscribed and dated ‘96, watercolour

16.5cm x 35cm (6.5in x 13.75in)

£600-800

35

TOM SCOTT R.S.A. (SCOTTISH 1854-1927) MILL POND NEAR EARLSTON

Signed, inscribed with title and dated 1901 on Artist’s label verso, watercolour

25.5cm x 35.5cm (10in x 14in)

£600-900

36

WILLIAM ALFRED GIBSON (SCOTTISH 1866-1931)

BY THE LOCH, EARLY AUTUMN

Signed, oil on canvas board

24.5cm x 32cm (9.75in x 12.5in)

Provenance: The Estate of the Late Peter D. R. Powell

£600-800

37

DAVID GAULD R.S.A. (SCOTTISH 1865-1936)

DUNLOP, WINTER

Signed, inscribed on contemporary label verso, oil on canvas 41cm x 51cm (16in x 20in)

Provenance: The Estate of the Late Peter D. R. Powell

£1,200-1,800

38

JOSEPH HENDERSON R.S.W. (SCOTTISH 1832-1908)

BREAKING WAVES

Oil on canvas

71cm x 112cm (28in x 44in)

£1,500-2,500

39

ALEXANDER FREW (SCOTTISH 1863-1908) KYLES OF BUTE

Signed and dated 1891, oil on canvas

36cm x 51cm (14in x 20in)

Frew married Glasgow Girl Bessie MacNicol (1869-1904) in 1899. He was a keen sailor who exhibited at the Royal Academy of Arts in London, the Royal Scottish Academy in Edinburgh and at the Royal Glasgow Institute of the Fine Arts. The couple bought the artist D. Y. Cameron’s former house in Hillhead, Glasgow where they lived until MacNicol died in childbirth in 1904.

Frew died four years later.

£800-1,200

SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945)

DUNVEGAN CASTLE, SKYE

Signed, oil on canvas

81cm x 105cm (32in x 41.25in)

Provenance: Charles J. Rosenbloom

Bourne Fine Art, Edinburgh

Exhibited: Carnegie Institute, Pittsburgh (lent by Charles J. Rosenbloom)

£6,000-8,000

41 §

WILLIAM MILLER FRAZER R.S.A. (SCOTTISH 1864-1961)

FEEDING THE DUCKS

Signed and dated ‘01, oil on canvas

63.5cm x 76cm (25in x 30in)

£800-1,200

DAVID GAULD R.S.A. (SCOTTISH 1865-1936)

CALVES IN A BYRE

Signed, oil on canvas

61cm x 76cm (24in x 30in)

£1,500-2,000

43

DUNCAN CAMERON (SCOTTISH 1837-1916) STIRLING FROM THE RIVER

Signed, inscribed with title to contemporary label verso, oil on canvas

51cm x 76cm (20in x 30in)

£1,500-2,000

44

WILLIAM ALFRED GIBSON (SCOTTISH 1866-1931) NEAR VALKENBERG

Signed, oil on board

30.5cm x 46cm (12in x 18in)

Provenance: The Estate of the Late Peter D. R. Powell

£800-1,200

45

DAVID FOGGIE R.S.A. (SCOTTISH 1878-1948) WOMAN BATHING

Signed and dated 1924, oil on canvas

76cm x 63.5cm (30in x 25in)

Provenance: Wenlock Fine Art, Much Wenlock, Shropshire

£3,000-5,000

46 §

JOHN BULLOCH SOUTER (SCOTTISH 1890-1972) THE PINK BONNET

Signed and dated ‘31, pastel

59cm x 39cm (23in x 15.5in)

£1,500-2,000

DOROTHY JOHNSTONE A.R.S.A. (SCOTTISH 1892-1980)

ELSPETH

Signed and dated 1958, oil on canvas

66cm x 69cm (26in x 27in)

Exhibited: Royal Scottish Academy, London, Annual Exhibition, 1958, no.118

Royal Glasgow Institute of the Fine Arts, Glasgow, Annual Exhibition, 1959, no.328 (£60)

Royal Academy of Arts, London, Summer Exhibition, 1967

The sitter for this portrait was Elspeth Bates (née Cormack). She sat for Johnstone over a period of six days in late December 1957 to early January 1958.

£3,000-5,000

48

DAVID GAULD R.S.A. (SCOTTISH 1865-1936)

SNOW-COVERED VILLAGE

Signed, oil on canvas

54cm x 65cm (21.25in x 25.5in)

£1,200-1,800

49

ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) THE EVENING MEAL

Signed, oil on canvas

41cm x 30.5cm (16in x 12in)

Provenance: The Fine Art Society plc, 1986 (no.8724)

Sotheby’s, Gleneagles, Scottish and Sporting Paintings, Drawings and Watercolours, 31 August 1993, lot 988

£2,000-3,000

50

ROBERT GEMMELL HUTCHISON

R.B.A., R.O.I., R.S.A., R.S.W.

(SCOTTISH 1860-1936)

SAILING THE TOY BOAT

Signed, oil on panel

15cm x 20cm (6in x 8in)

£2,000-3,000

JAMES CASSIE R.S.A., R.S.W. (SCOTTISH 1819-1879)

THE MOUTH OF THE YTHAN - LOW WATER

Signed and dated 1867, oil on canvas

48cm x 81cm (19in x 31.75in)

Provenance: G. B. Simpson, Broughty Ferry

Exhibited: Royal Scottish Academy, Edinburgh, Annual Exhibition, 1868, no.346

£1,500-2,000

52

JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942)

THE BRITISH ADVANCE AT FLANDERS

Signed, oil on canvas

63.5cm x 76cm (25in x 30in)

£3,000-5,000

53

ARTHUR MELVILLE A.R.S.A., R.S.W., A.R.S. (SCOTTISH 1855-1904) RIFF ARAB BLOWING A TRUMPET

Watercolour

36cm x 20cm (14in x 8in)

Provenance: The Trust Collection

£1,500-2,500

55

DAVID FARQUHARSON A.R.A., A.R.S.A.,

R.S.W., R.O.I. (SCOTTISH 1840-1907)

CROCKERN FARM NEAR TWO BRIDGES

Signed and dated, inscribed with title to contemporary label verso, oil on board

30.5cm x 41cm (12in x 16in)

£1,000-1,500

56

54

PATRICK DOWNIE R.S.W. (SCOTTISH 1854-1945) GATHERING WRACK (SUNSET)

Signed, oil on canvas

76cm x 63.5cm (30in x 25in)

Provenance: Wellington Fine Arts, Glasgow

£800-1,200

JAMES FAED JNR (SCOTTISH 1856-1920)

A WINTER EVENING

Signed, oil on canvas

21.5cm x 18cm (8.5in x 7in)

Exhibited: Bourne Fine Art at the McGill Duncan Gallery, Castle Douglas, Galloway Paintings, 2012, no.2

£600-900

57

DAVID W. GUNN (SCOTTISH FL.1924-1929)

EVENING LIGHT CHARLESTOWN HARBOUR

Inscribed with title to stretcher verso, oil on canvas 82cm x 102cm (32in x 40in)

Provenance: The Estate of the Late Peter D. R. Powell

The artist may be David William Gunn (1865-1935) who was a little known member of the 1922 Group, an exhibiting society established that year in Edinburgh, formed of graduates from Edinburgh College of Art. £800-1,200

58

JAMES PATERSON R.S.A., R.S.W., R.W.S. (SCOTTISH 1854-1935)

WINDMILL, SANTA CRUZ

Signed and inscribed ‘Santa Cruz’, signed, titled and inscribed ‘Moniaive’ on the reverse, oil on canvas

61cm x 51cm (24in x 20in)

Provenance: Fine Art Society Ltd, Edinburgh and London, 1973

The Estate of the Late Peter D. R. Powell

£1,500-2,000

59 §

STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976)

THE PULPIT

Signed, oil on canvas

61cm x 51cm (24in x 20in)

Provenance: Given by the Artist to the Late Reverend John M. Rose

This painting depicts the interior of St. Magnus Cathedral, Kirkwall, Orkney.

£1,500-2,000

60

JOHN CRAWFORD WINTOUR

A.R.S.A. (SCOTTISH 1825-1882)

GUY’S CLIFF MILL, WARWICKSHIRE

Inscribed with title to contemporary label verso, arched top, oil on canvas 102cm x 127cm (40in x 50in)

Exhibited: Royal Scottish Academy, Edinburgh, Annual Exhibition, 1861, no.533

£1,000-1,500

61 §

JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) AUCHENBOWIE HOUSE, STIRLING

Signed, oil on canvas

63.5cm x 76cm (25in x 30in)

Provenance: Shapes Auctioneers, Edinburgh, Paintings & Works of Art, 4 March 2006, lot 178 Zyg Art, Edinburgh from where acquired by the present owner in 2008

£2,000-3,000

62

EDWARD ARTHUR WALTON R.S.A., P.R.S.W., H.R.W.S. (SCOTTISH 1860-1922)

FEEDING THE DUCKS

Signed, watercolour

20cm x 28cm (8in x 11in)

£1,500-2,000

63

JOSEPH HENDERSON R.S.W.

(SCOTTISH 1832-1908)

TRAVELLERS’ ENCAMPMENT

Signed, oil on canvas

66cm x 91cm (26in x 36in)

Provenance: Wellington Fine Arts, Glasgow

£1,500-2,000

64

TOM SCOTT R.S.A. (SCOTTISH 1854-1927)

THE MILL LADE

Signed, indistinctly inscribed on label verso, watercolour

48cm x 36cm (18in x 14in)

£500-700

65

JAMES WATTERSON HERALD (SCOTTISH 1859-1914)

RETURN OF THE FLEET

Signed, watercolour

35.5cm x 25.5cm (14in x 10in)

£600-800

66

ROBERT WEIR ALLAN

R.S.A., R.S.W., R.W.S. (SCOTTISH 1852-1942)

OUTSIDE THE MOSQUE

Signed, watercolour

51cm x 36cm (20in x 14in)

£800-1,200

ROBERT GEMMELL

HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) SWIMMING OFF THE ROCKS

Signed, oil on canvas

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

£3,000-5,000

68

DAVID FORRESTER WILSON R.S.A. (SCOTTISH 1873-1950) FANTAIL DOVES

Signed, oil on canvas

51cm x 76cm (20in x 30in)

£1,000-1,500

69

ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936)

SWEET DREAMS

Signed, oil on canvas

76cm x 94cm (30in x 37in)

£6,000-8,000

70

ROBERT MCGREGOR R.S.A. (SCOTTISH 1847-1922) A MID-MORNING SNACK

Signed and dated 1879, oil on panel

30.5cm x 23cm (12in x 9in)

£800-1,200

71

JOSEPH HENDERSON R.S.W. (SCOTTISH 1832-1908)

HER BIG SISTER

Signed, oil on canvas

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

£1,200-1,800

72

DUNCAN CAMERON (SCOTTISH 1837-1916) DUNBLANE CATHEDRAL

Signed, oil on canvas

41cm x 61cm x (16in x 24in)

£1,500-2,000

73

DAVID GAULD R.S.A. (SCOTTISH 1865-1936)

CALVES IN A BYRE

Signed, oil on canvas

71cm x 91cm (28in x 36in)

£2,000-3,000

74

DAVID FARQUHARSON

A.R.A., A.R.S.A., R.S.W. R.O.I. (SCOTTISH 1840-1907) THE SMITHY

Signed, oil on board

23cm x 36cm (9in x 14in)

£1,000-1,500

75

WILLIAM MOUNCEY (SCOTTISH 1852-1901)

GATHERING FIREWOOD

Signed and dated ‘99, oil on canvas 61cm x 51cm (24in x 20in)

£600-800

76 §

WILLIAM WILSON

O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972)

GONDOLAS, VENICE

Signed, watercolour

48cm x 61cm (18in x 24in)

£1,000-1,500

77 §

WILLIAM WILSON

O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972)

PONT AVEN

Signed, pen and ink and watercolour

35cm x 54.5cm (13.75in x 21.5in)

Exhibited: The Scottish Gallery, Edinburgh, William Wilson, 1962, no.30

£1,000-1,500

78

SAMUEL BOUGH R.S.A. (SCOTTISH 1822-1878)

A CAPRICCIO VIEW OF EDINBURGH

Signed and dated 1863, watercolour

71cm x 122cm (28in x 48in)

£2,000-3,000

79

SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) THE BLUE MINCH

Signed, oil on canvas

36cm x 61cm (14in x 24in)

Provenance: Walter KIinkoff Gallery, Montreal

£1,000-1,500

80 §

IAN FLEMING R.S.A., R.S.W., R.G.I., L.L.D. (SCOTTISH 1906-1990) LOCH LONG-SIDE

Signed and dated 193746, pencil and watercolour

38cm x 56cm (15in x 22in)

Provenance: The Estate of the Late Peter D. R. Powell

£700-1,000

81 §

STANLEY CURSITER

C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976)

OLD MAN OF HOY

Watercolour

51cm x 61cm (20in x 24in)

Provenance: Bourne Fine Art, Edinburgh, from where acquired by the present owner in 1992

£2,000-3,000

82 §

STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) THE FAN

Signed and inscribed, lithograph

25.5cm x 16cm (10in x 6.25in)

£600-800

83 §

STANLEY CURSITER

C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) A NUDE

Signed and inscribed, lithograph 21.5cm x 15cm (8.5in x 6in)

£600-800

JOHN MAXWELL R.S.A. (SCOTTISH 1905-1962)

THE WINDOW

Signed and dated ‘44, pen and ink, pastel and watercolour

48.9cm x 36cm (19in x 14in)

Exhibited: Scottish National Gallery of Modern Art, Edinburgh, John Maxwell Memorial Exhibition, 17 August-7 September 1963, no.86

£2,000-3,000

85

FRANCIS CAMPBELL BOILEAU CADELL

R.S.A., R.S.W. (SCOTTISH 1883-1937)

THE BRIDGE

Signed, watercolour

30.5cm x 25.5cm (12in x 10in)

£1,500-2,000

86 §

HARRY KEAY (SCOTTISH 1914-1994)

ROOFS OF MURRAYGATE, DUNDEE

Signed and dated 1937, oil on canvas

51cm x 36cm (20in x 14in)

Provenance: The Estate of Eric Robinson

£600-900

87 §

WILLIAM CROSBIE R.S.A. (SCOTTISH 1915-1999) STILL LIFE WITH BANANAS

Signed and dated LXXII, oil on panel

61cm x 51cm (24in x 20in)

£1,000-1,500

WILLIAM MCCANCE (SCOTTISH 1894-1970) SEATED WOMAN

Pencil, authenticated by the Artist’s widow, Dr Margaret McCance, on the label verso 32cm x 25cm (12.5in x 9.75in)

Exhibited: Cyril Gerber Fine Art, Glasgow, William McCance: Paintings, Drawings and Watercolours, September 1989

This work has been dated to c.1919.

£800-1,200

89

90 §

WILLIAM MCCANCE (SCOTTISH 1894-1970)

LUCY READING

Signed and dated 1927, pencil 22cm x 17cm (8.75in x 6.75in)

Exhibited: Cyril Gerber Fine Art, Glasgow, William McCance: Paintings, Drawings and Watercolours, September 1989

£800-1,200

HARRINGTON MANN R.P., R.E. (SCOTTISH 1864-1937)

PORTRAIT STUDY OF THE ARTIST GEORGE PIRIE PRSA (SCOTTISH 1863-1946)

Signed, signed verso, pencil 12cm x 11cm (4.75in x 4.25in)

£1,000-1,500

§

WILLIAM MCCANCE (SCOTTISH 1894-1970)

TENT SHELTER ON THE LAWN, SUMMERHILL, LYME REGIS

Signed with initials and dated ‘24, oil on board

25.5cm x 33cm (10in x 13in)

Exhibited: Cyril Gerber Fine Art, Glasgow, William McCance: Paintings, Drawings and Watercolours, September 1989

£2,000-3,000

92

WILLIAM PAGE ATKINSON WELLS

R.B.A. (SCOTTISH 1872-1923) FISH IN THE BAY

Signed, oil on canvas

51cm x 61cm (20in x 24in)

Provenance: Cyril Gerber Fine Art, Glasgow

£1,500-2,000

93 §

JOHN BULLOCH SOUTER (SCOTTISH 1890-1972)

NUDE BATHING

Signed, oil on board

46cm x 36cm (18in x 14in)

£1,200-1,500

SIR WILLIAM GEORGE GILLIES

C.B.E., L.L.D., R.S.A., P.P.R.S.W., R.A. (SCOTTISH 1898-1973)

STILL LIFE WITH POT AND WINE GLASS

Signed, oil on board

46cm x 43cm (18in x 16.75in)

Provenance: Dr Robert A. Lillie, Edinburgh, no.360

Cyril Gerber Fine Art, Glasgow

The Scottish Gallery, Edinburgh

Dr R. A. Lillie was a major patron of William Gillies. He bequeathed a significant number of his works to the National Galleries of Scotland in 1977.

£2,000-3,000 95 §

CONSTANCE WALTON R.S.W. (SCOTTISH 1865-1960)

A STILL LIFE OF CHRYSANTHEMUMS

Signed, watercolour

24cm x 46cm (9.5in x 18in)

£1,000-1,500

JOSEPH CRAWHALL R.S.W. (SCOTTISH 1861-1913)

THE HUNTSMAN

Signed, watercolour

18cm x 22cm (7in x 8.75in)

Provenance: Mrs Guthrie Gardiner, Brechin and by descent to the present owner

Exhibited: Brechin Fine Art Exhibition

Kirkcaldy Art Gallery & Museum, Loan Exhibition, July-August 1928

The Fleming Collection, London, The Glasgow Boys, September - December 2010

£1,000-1,500

97

GEORGE LESLIE HUNTER (SCOTTISH 1877-1931)

ROWING BOATS, LARGO

Signed, pen and ink and crayon

36cm x 41cm (14in x 16in)

£2,000-3,000

98 §

MARY

NICOL NEILL ARMOUR R.S.A., R.S.W. (SCOTTISH 1902-2000) POPPIES AND STILL LIFE

Signed and dated 1946, oil on board

61cm x 51cm (24in x 20in)

Provenance: Cyril Gerber Fine Art, Glasgow

Private Collection, Newcastle

Exhibited: The Scottish Gallery, Edinburgh, Modern Masters VII, 2-23 December 2017, no.1

£2,000-3,000

99 §

SIR WILLIAM GEORGE GILLIES

C.B.E., L.L.D., R.S.A., P.R.S.W., R.A. (SCOTTISH 1898-1973)

NOVEMBER WESTLOOK

Signed and dated 1956, pencil and watercolour

25.5cm x 36cm (10in x 14in)

£800-1,200

100 §

SIR WILLIAM GEORGE GILLIES

C.B.E., L.L.D., R.S.A., P.P.R.S.W., R.A. (SCOTTISH 1898-1973)

TOXSIDE

Signed and dated 1965, pencil and watercolour

25cm x 35cm (9.75in x 13.75in)

Provenance: Aitken Dott & Son, Edinburgh (no.1098)

£800-1,200

£1,000-1,500

JOHN HOUSTON R.S.A., R.S.W., S.S.A. (SCOTTISH 1930-2008) WHITE TULIPS

Signed, oil on canvas

41cm x 41cm (16in x 16in)

102 §

ANNE REDPATH O.B.E., R.S.A., A.R.A., A.R.W.S., L.L.D., R.O.I., R.B.A. (SCOTTISH 1895-1965) BEHIND THE OLD CHURCH, VILLEFRANCHE

Signed and dated 1934, pencil and watercolour

38cm x 47cm (15in x 18.5in)

Provenance: Acquired from the Artist by Alfred A. Haley in 1935

£3,000-5,000

103 §

ANNE REDPATH O.B.E., R.S.A., A.R.A., A.R.W.S., L.L.D., R.O.I., R.B.A. (SCOTTISH 1895-1965) HAYSTACKS

Watercolour

36cm x 43cm (14in x 17in)

Provenance: The Scottish Gallery, Edinburgh (GCOS 26548)

£1,500-2,000

Signed and dated ‘92, oil on board 18cm x 18.5cm (7in x 7.25in)

Provenance: The Open Eye Gallery, Edinburgh

£1,500-2,500

ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998) THE YOUNG CLOWNS

105 § SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916-1992) COCKFIGHT

Signed and dated 1988 verso, inscribed with a handwritten label also verso ‘To Jimmy and Margaret with many good wishes. Robin’, oil on board

76cm x 76cm (30in x 30in)

£2,000-3,000

106 §

SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916-1992)

WOMAN RESTING - APHRODITE

Signed, inscribed and dated 1987/1988 on the backboard, oil on board

51cm x 61cm (20in x 24in)

£2,000-3,000

107 §

NICOL NEILL ARMOUR

R.S.A., R.S.W. (SCOTTISH 1902-2000)

STILL LIFE WITH ANENOMES

Signed and dated ‘73, oil on canvas

61cm x 51cm (24in x 20in)

£1,500-2,000

MARY

LEON MORROCCO R.S.A., R.G.I. (SCOTTISH B.1942)

STUDIO ON THE BEACH

Signed and dated ‘98, oil on board

30.5cm x 84cm (12in x 33in)

£3,000-5,000

108 §

EVENING SESSION LOTS 109-207 THURSDAY 04 DECEMBER 2025 AT 6PM

Signed, oil on canvas

71cm x 91cm (28in x 36in)

£3,000-5,000

ROBERT MCGOWN COVENTRY A.R.S.A., R.S.W. (SCOTTISH 1855-1941)

PITTENWEEM HARBOUR

Signed, oil on canvas

71cm x 91cm (28in x 36in)

£3,000-5,000

110

JOHN MCGHIE (SCOTTISH 1867-1952) FRUITS OF THE SEA

WILLIAM BRADLEY LAMOND (SCOTTISH 1857-1924)

FISHING FROM THE ROCKS

Signed and dated ‘95, oil on board

36cm x 66cm (14in x 26in)

£2,000-3,000

112

ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928)

GLEN SHIEL

Signed, signed and inscribed verso, oil on canvas

25.5cm x 36cm (10in x 14in)

Provenance: Frost & Reed Ltd., London

£1,500-2,000

113

WILLIAM BRADLEY LAMOND (SCOTTISH 1857-1924)

GATHERING WRACK (STORMY SKY)

Signed, oil on canvas

50cm x 76cm (20in x 30in)

£1,500-2,000

DAVID GAULD R.S.A. (SCOTTISH 1865-1936)

KIRKCUDBRIGHT FARM

Signed, oil on canvas board

36cm x 46cm (14in x 18in)

£2,000-3,000

HAYMAKING

Signed with initials, oil on canvas

41cm x 56cm (16in x 22in)

£2,000-3,000

WILLIAM DARLING MCKAY R.S.A. (SCOTTISH 1844-1924)

ATTRIBUTED TO ALLAN RAMSAY (SCOTTISH 1713-1784)

HALF-LENGTH PORTRAIT OF A YOUNG WOMAN SAID TO BE MISS LETTICE BERRIDGE

Oval, oil on canvas

76cm x 63.5cm (30in x 25in)

£2,000-3,000

SIR HENRY RAEBURN R.A. (SCOTTISH 1756-1823)

HALF-LENGTH PORTRAIT OF MISS MAITLAND IN WHITE DRESS WITH BLUE SASH

Oil on canvas

76cm x 63.5cm (30in x 25in)

Provenance: James Henry Todd, Bury, Sussex

Sotheby’s, 3 July 1918, lot 58

Sotheby’s, London, British Paintings 1500-1850, 10 November 1993, lot 74

£6,000-8,000

The sitter was possibly related to Admiral Sir Frederick Lewis Maitland (1777-1839), to whom, as Commander of HMS Bellerophon, Napoleon surrendered on 15 July 1815 before being taken to St. Helena. Raeburn painted portraits of both the Admiral and his wife Catherine Connor.

This painting is being sold to support the American Friends of Highland Culture, a charity established in 2024. Its aim is to ‘educate and inspire a deeper appreciation for Highland heritage and to actively support organizations in Scotland’s Highland region’, including the re-development of the West Highland Museum in Fort William. For more information please visit www.highlandculture.org.

118

ALEXANDER NASMYTH H.R.S.A. (SCOTTISH 1758-1840)

TRAVELLERS ON A COUNTRY PATH, POSSIBLY AYR BEYOND

Oil on canvas 22cm x 32cm (8.75in x 12.5in)

Provenance: Arthur Ackermann & Son Ltd, London

The Fine Art Society Ltd, Edinburgh and London (21/110)

Acquired from the above by the present owner

Exhibited: The Fine Art Society, Edinburgh, John Knox: The Light Sublime, 23 March – 10 May 2023

£3,000-5,000

119

JOHN KNOX (SCOTTISH 1778-1845)

KILMAHEW, DUMBARTONSHIRE

Oil on canvas

25.5cm x 36cm (10in x 14in)

Provenance: Bourne Fine Art, Edinburgh Private Collection, London

£1,500-2,500

120

SAMUEL BOUGH R.S.A. (SCOTTISH 1822-1878)

ON THE SANDS DYSART

Signed and dated 1858, oil on panel

33cm x 46cm (13in x 18in)

£3,000-5,000

David Roberts was one of the most accomplished artists of the Victorian era. Born in Stockbridge, Edinburgh in 1796, his relatively humble origins meant that initially his early artistic promise was funnelled into a profession that might supply him with a steady income – that of ‘house painting’. During this period it was a role that grew to demand much skill and creativity; a time which popularised the use of optical illusions and trompe l’oeil within interiors. Painters were required to accurately mimic the appearance of woodwork, marble, fabric and intricate plasterwork. Roberts, far more than an ‘Auld Reekie Slusher’, formed part of these revolutionary design developments.

This grounding in interiors set him in good stead and he swiftly progressed to add further artistic accomplishments to his repertoire. Following in the path forged by Alexander Nasmyth before him, Roberts soon became renowned for his forays into architectural design, as well as a long-term sideline as a theatrical set painter between 1816 and 1830. Wearing his architect hat, he narrowly lost out on the commission to design the Scott Monument in Edinburgh, though some elements of his design were carried through.

Before long, Roberts was established as a successful artist in London and was frequently called upon to give expert advice to the government in both artistic and architectural matters, for example regarding the decoration of the New Palace of Westminster, and to judge the competition entries for the new Public Offices in Whitehall. It is also notable when considering Roberts’ achievements that he was an avid campaigner for the preservation of antiquarian remains and was instrumental in protecting John Knox’s House on Edinburgh’s Royal Mile and Roslin Chapel in Midlothian from existential threats.

Despite the litany of accomplishments and breadth of his artistic endeavours, it is Roberts’ work as an artist-topographer for which he is best remembered. He was, during his lifetime, often mentioned in the same breath in terms of quality and renown as figures like J. M. W. Turner and Samuel Prout.

St. Paul’s, Sunset immediately recalls the works of Turner; the view of the dome silhouetted against the pink sky clearly inspiring both artists’ most Picturesque tendencies. More restrained than the dream-like hyperbole of Turner, this is

nonetheless a beautiful, Romantic interpretation, astounding – as ever with Roberts - in its technical prowess. As Michael Pidgley notes in his catalogue essay which accompanied the 1986-87 Barbican retrospective of Roberts’ work, the Victorian era prized and appreciated ‘honest toil’, which his oeuvre certainly exudes in spades. Roberts’ works are breath-taking in their technical fastidiousness, but nonetheless appreciative of the character and charm of their locale, as evidenced by the two fine examples offered here, including Eglise de St Jacques, Dieppe. It has been suggested that St Paul’s, Sunset is a study for St. Paul’s from the River looking West, Sunset of 1863 (untraced).

The present work was formerly in the collection of Ursula and Gordon Bowyer. Both architects, they were a remarkable couple who were deeply involved with the foundation of modernism in post-war Britain. Formed over six decades, their collection reflects both an unerring eye for innovation as well as a deep love of London’s historic architecture. This was reflected in their choice of home, an eighteenth-century house in Greenwich, as well as their interest in 18th and 19th-century prints of scenes of the city.

“Mr Roberts is an artist possessing talents of the highest class; in his works profound art and the most scientific display of detail are equally perceptible; not as subservient the one to the other, but as co-operating to produce a perfect whole.”

Excerpt from The Gallery of Modern British Artists, Simpkin and Marshall, London, 1835

DAVID ROBERTS R.A. (SCOTTISH 1796-1864)

ST. PAUL’S, SUNSET

Oil on canvas

28cm x 61cm (11in x 24in)

Provenance: David Roberts, Studio Sale, 1865

The Artist’s Son-in-law and by descent to David Bicknell, the Artist’s Great-grandson

The Fine Art Society, London

The Collection of Gordon & Ursula Bowyer

Exhibited: Barbican Art Gallery, London, David Roberts, 6 November 1986 - 4 January 1987, no.43, p.102, illustrated in colour pl.34

£20,000-30,000

The Bowyers met during the Second World War whilst training at Regent Street Polytechnic in the English capital, were married in 1950 and made their professional names by designing the Sports Pavilion of the Festival of Britain the following year. They went on to specialise in domestic commissions, most notably the mirrored terrace at 17 and 17a Montpellier Row in Blackheath, which they built in 1958 for their friend, the Labour politician Jim Callaghan.

By the time Gordon retired in 1993, the Bowyers’ practice had completed 550 projects of incredible and infinite variety, from minor interventions to major schemes, from social housing projects to a string of stylish boutiques for the hair stylist Vidal Sassoon across Europe and America. And as avid collectors of art and design, it was inevitable that they would also design for museum and galleries, including the Japanese Gallery, Oriental Antiquities Gallery and the Prints and Drawings Gallery at the British Museum.

DAVID ROBERTS R.A. (SCOTTISH 1796-1864)

EGLISE DE ST.JACQUES, DIEPPE

Inscribed and indistinctly dated ‘Aug’, pen and ink and watercolour, heightened with white 23cm x 30.5cm (9in x 12in)

Provenance: The Collection of Gordon & Ursula Bowyer

£3,000-5,000

123

LOUISE RAYNER

(BRITISH 1829-1924)

AN EDINBURGH CLOSE

Signed, watercolour

45cm x 32cm (17.75in x 12.5in)

£5,000-7,000

124

LOUISE RAYNER (BRITISH 1829-1924)

JOHN KNOX’S HOUSE, THE ROYAL MILE, EDINBURGH

Signed, watercolour

33cm x 47cm (13in x 18.5in)

£2,000-4,000

SLEEPING LION

Signed with the monogram, oil on canvas 41cm x 61cm (16in x 24in)

Provenance: Simon Dickinson, London (X12853)

£8,000-12,000

SIR EDWIN HENRY LANDSEER R.A. (BRITISH 1802-1873)

WHITE BOXER

Bears a monogram, oil on canvas

44.5cm x 43cm (17in x 17.5in)

Provenance: Simon Dickinson, London (X12855)

£4,000-6,000

FOLLOWER OF EDWIN HENRY LANDSEER

127

SAMUEL BOUGH R.S.A.

(SCOTTISH 1822-1878) RIVER MOORINGS

Signed and indistinctly dated, oil on canvas

63.5cm x 104cm (25in x 41in)

£2,000-3,000

128

WILLIAM DARLING

MCKAY R.S.A.

(SCOTTISH 1844-1924) THE PEFFER SANDS

Signed with initials, oil on canvas

51cm x 66cm (20in x 26in)

£2,000-3,000

129

GEORGE HOUSTON R.S.A., R.S.W., R.G.I. (SCOTTISH 1869-1947)

NOCTURNE, LOCH FYNE

Signed, oil on canvas

71cm x 91cm (28in x 36in)

£2,000-3,000

130 §

JESSIE MCGEEHAN (SCOTTISH 1872-1961)

THE LITTLE FRUIT GATHERERS

Signed and dated ‘92, oil on canvas

56cm x 46cm (22in x 18in)

A painting with this title was exhibited at the Royal Scottish Academy in 1892, no.72.

£3,000-5,000

131

JAMES RIDDEL A.R.S.A., R.S.W. (SCOTTISH 1857-1928)

THE CRITICS

Signed, inscribed with title to contemporary label verso, oil on canvas

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

Provenance: Paisley Art Institute

A painting with this title was exhibited by Riddel at the Royal Scottish Academy in 1909, no.294.

£3,000-5,000

132

SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) MEALFOURVONIE

Signed, oil on canvas

51cm x 76cm (20in x 30in)

Provenance: W. P. Stewart Esq.

Paisley Art Institute to whom bequeathed by the above in 1917

£4,000-6,000

David Young Cameron was born in Glasgow in 1865 and began his training at the Glasgow School of Art in 1881. Although his first success came through etchings in the early 1890s, Cameron also worked extensively in oil and watercolour. He and his wife Jeanie Ure Maclaurin lived in the Scottish Highlands, where he drew much of

his inspiration from the surrounding landscape. Unlike the Glasgow Boys, Cameron was less interested in the decorative aspect of painting, focusing instead on the changing quality of light and the atmospheric character of the Highland environment. His belief that colour, tone and light were more important than the ‘story’ a painting

conveyed often placed his work outside the mainstream of the Glasgow School.

Cameron was a prolific artist whose success was recognised throughout his lifetime. He was elected both a Royal Scottish Academician and a Royal Academician and was knighted in 1922.

SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) THERMAE OF CARACALLA, ROME

Signed, oil on canvas

81.5cm x 122cm (32in x 48in)

Provenance: James Begg Esq. Bequeathed by the above to Paisley Art Institute in 1926 (A 143) £5,000-8,000

134

STANSMORE RICHMOND LESLIE DEAN (SCOTTISH

1866-1944)

GIRL IN A STRAW HAT

Oil on canvas

68.5cm x 55.75cm (27in x 22in)

Provenance: Peter J. B. Shakeshaft by 1990

Exhibited: Lillie Art Gallery, Milngavie, Stansmore

Dean Stevenson, 16 September-6 October 1984, no.12

Glasgow Art Gallery and Museum, Glasgow Girls: Women in Art and Design 1880-1920, 1990, illustrated in colour p.209, fig.281

£10,000-15,000

Art shaped every stage of Stansmore Dean’s life, from childhood and marriage, through to her death in 1944. Her father, Alexander Davidson Dean, was an engraver and artist and Dean followed in his footsteps by enrolling at the Glasgow School of Art in 1883, studying there until 1889. These six formative years proved pivotal, not only for the high-quality training she received, but also for the artistic community of which she became a part.

During this time, Dean formed relationships with key figures such as Charles Rennie Mackintosh, David Gauld and Bessie MacNicol, amongst others. Her talent did not go unnoticed and in 1890 she became the first woman to receive the prestigious Haldane Travelling Scholarship, which allowed her to study in Paris at the Académie Colarossi, under the guidance of Auguste Courtois.

Dean’s unusual first name, Stansmore, a family name, often led to her being mistaken for a man when she exhibited her work. It is thought that this misjudgement may have helped her gain entry to these exhibitions in the first place. Nevertheless, her skill as a painter quickly earned recognition, regardless of her gender. Her work was accepted by the Paris Salon, the International Society in London and the Royal Scottish Academy in Edinburgh.

Like many of the Glasgow Boys, including her husband

Robert Macaulay Stevenson, whom she married in 1902, Dean was strongly influenced by James Abbott McNeill Whistler. This source of inspiration is evident in several of her works, including the current striking portrait, Girl in Straw Hat Whistler’s emphasis on tonal harmony and balanced composition is reflected in Dean’s use of muted tones. The limited colour palette, where the hat and blouse nearly match, and the earthy hues of the hair and background that almost merge into one, create a deeply atmospheric and gentle effect, quintessential of Whistler’s practice. Illustrated in Jude Burkhauser’s landmark book Glasgow Girls, Woman in Art and Design 1880-1920, Burkhauser also notes Whistler’s likely influence on this portrait.

France also had a profound influence on Dean. She frequently spent her summers in the south of the country or in Brittany and, in 1910, she and Stevenson relocated to Montreuil-sur-Mer in the Pas-de- Calais, where they lived until 1926. The impact of her time in France is evident in the current work, particularly in the distinctive softness of her style and her ability to capture the texture of cloth and hair through subtle, minimal brushwork.

Dean painted as much as she could throughout her lifetime, between raising Stevenson’s child from his first marriage, living through two World Wars and continuing whilst her eyesight began to fail in later years. As with many female artists of her generation, Dean’s work was somewhat undervalued during her lifetime, yet today her talent is rightly acknowledged.

135

JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942)

SWEET SUMMERTIME - ELEGANT FIGURES OUTSIDE CENTRAL STATION, GLASGOW

Signed, inscribed with title to contemporary label verso, oil on canvas

25.5cm x 36cm (10in x 14in)

£4,000-6,000

136

EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) THE PEACOCK

Signed and dated 1901, oil on canvas

76.2cm x 63.5cm (30in x 25in)

Provenance: Ian MacNicol, Glasgow, where acquired by the present owner’s father

£15,000-20,000

137

PATRICK WILLIAM ADAM R.S.A. (SCOTTISH 1854-1929) THE DRAWING ROOM

Signed and dated 1915, oil on canvas

89cm x 63.5cm (35in x 25in)

Exhibited: Royal Scottish Academy, Edinburgh, Annual Exhibition, 1915, no.281

£5,000-7,000

138

GEORGE HENRY R.A., R.S.A., R.S.W. (SCOTTISH 1858-1943) THE TORTOISESHELL MIRROR

Signed and dated 1903, oil on canvas

86.5cm x 66cm (34in x 26in)

Provenance: Richard Edmiston Esq.

Bequeathed by the above to Paisley Art Institute in 1933 (A 188a)

£6,000-8,000

139

AFTER A STORM ON RANNOCH MOOR

Signed, oil on canvas

61cm x 102cm (24in x 40in)

£6,000-8,000

LOUIS BOSWORTH HURT (SCOTTISH 1856-1929)

LOUIS BOSWORTH HURT (SCOTTISH 1856-1929)

HIGHLAND CATTLE IN A MOUNTAIN GLEN

Signed and dated 1898, oil on canvas 103cm x 152.5cm (40in x 60in)

£6,000-8,000

Eric Robertson is a fascinating figure in Scottish Art and his works rarely come onto the market. Le Ronde Eternel was painted in 1920, an important date for both the artist and the Edinburgh Group, his loose association of fellow artists and friends, who organised shared exhibitions in the Scottish capital from 1912 until 1921. These exhibitions gained considerable exposure: ‘we find undoubted signs of energy in place of ennui’ one critic noted, but also a level of notoriety, as another exclaimed: ‘usually people look to the Edinburgh Group, as we know them, for something unique, rather than universal; for something of pagan brazenness rather than parlour propriety. Half of Edinburgh goes… secretly desiring to be righteously

shocked, and the other half goes feeling deliciously uncertain it may be disappointed by not finding anything sufficiently shocking.’

Robertson was a vital member of the group, alongside his wife, the artist Cecile Walton, and he drew some of the scandal, for both his paintings and his complicated personal life. Originally a pupil of John Duncan, he appears to have fallen out of favour with the older artist due to his suggestive, rather than classical, depiction of the nude. In Le Ronde Eternel, which translates to ‘the eternal circle,’ we can see both sides of this: the decorative effect, gentle palette and dreamy, symbolist quality that we can associate with Duncan, but also the element of suggestion, with the nudity of the left-hand figure made

141

ERIC HAROLD MACBETH

ROBERTSON (SCOTTISH 1887-1941)

LE RONDE ETERNEL

Signed and dated 1920, oil on canvas 168cm x 52.5cm (66in x 60in)

Provenance: Lyon & Turnbull, Edinburgh, Scottish Paintings & Sculpture, 4 December 2020, lot 168, where acquired by the present owner

Literature: Duncan Macmillan, Scottish Art 1460-1990, Mainstream Publishing, Edinburgh, 1990, p.334

Julian Halsby and Paul Harris, A Dictionary of Scottish Painters 1600 to the Present, Canongate Books, Edinburgh, 1990, illustrated p.198

£8,000-12,000

more explicit by its clear contrast with two other partially clothed figures. The figure on the right has been identified as the dancer Lucy Smith.

Le Ronde Eternel is one of two completed related paintings, along with Love’s Invading, from a planned series of five, derived from Robertson’s 1915 drawing, The Daughters of Beauty. John Kemplay describes the drawing as portraying a ‘host of young women, some of his acquaintance and some of his imagination, set against a backdrop of architectural features of Edinburgh and Dumfries, the town in which he was born.’ During the First World War, Robertson served in France with the Friends’ ambulance service, but returned to the subject afterwards to complete the larger scale paintings.

JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998)

HIGH SUMMER NEAR RAIT

Signed, oil on canvas

51cm x 61cm (20in x 24in)

£3,000-5,000

£1,000-1,500

GEORGE HOUSTON R.S.A., R.S.W., R.I. (SCOTTISH 1869-1947)

A WINTER LANDSCAPE

Oil on canvas

46cm x 61cm

144

EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933)

GATHERING WILD FLOWERS

Signed and dated 1917, oil on canvas

51cm x 61cm (20in x 24in)

£6,000-8,000

(SCOTTISH 1861-1931)

Signed and inscribed, further inscribed with title to contemporary label verso, oil on canvas

58cm x 76cm (23in x 30in)

£3,000-5,000

WILLIAM STEWART MACGEORGE R.S.A.

KIRKCUDBRIGHT HARBOUR

146

DAVID GAULD R.S.A. (SCOTTISH 1865-1936)

CALVES IN THE BARN

Signed, oil on canvas

51cm x 76cm (20in x 30in)

Provenance: McTear’s, Glasgow, Scottish Paintings, 13 December 2015, lot 14

From the John Shaw Collection, being sold to benefit the University of Glasgow

£2,000-3,000

147

DAVID GAULD R.S.A. (SCOTTISH 1865-1936)

TWO AYRSHIRES IN SUMMER SUNSHINE

Signed, oil on canvas

61cm x 91cm (24in x 36in)

Provenance: McTear’s, Glasgow, Scottish Paintings, 14 December 2016

From the John Shaw Collection, being sold to benefit the University of Glasgow

£3,000-5,000

148

WILLIAM MCTAGGART R.S.A., R.S.W (SCOTTISH 1835-1910)

EARLY SUMMER, EAST LOTHIAN

Stamped with the Artist’s signature, oil on canvas

61cm x 79cm (24in x 31in)

Provenance: J. H. McTaggart, Loanhead

Ewan Mundy Fine Art Ltd., Glasgow

Exhibited: The Fine Art Society plc, Edinburgh, Lothian Landscapes, April-May 1991

Literature: James L. Caw, William McTaggart: A Biography and an Appreciation, James Maclehose and Sons, Glasgow, 1917, p.266

This painting has been dated to 1893.

£4,000-6,000

149

ATTRIBUTED TO ISOBEL LILIAN GLOAG (1865-1917)

ANGELS BEARING GIFTS

Oil on canvas, and a companion, a pair, similar (2)

Each 122cm x 36cm (48in x 14in)

£8,000-12,000

150

MAURICE GREIFFENHAGEN R.A. (SCOTTISH 1862-1931)

MISS SYBIL WALLER

Signed and dated 1898, oil on canvas

76cm x 63.5cm (30in x 25in)

Exhibited: International Society, 1899

Royal Academy of Arts, London, Winter Exhibition, 1933

£10,000-15,000

151

DAVID GAULD R.S.A. (SCOTTISH 1865-1936) FRENCH VILLAGE BY A RIVER

Signed, oil on canvas

71cm x 91cm (28in x 36in)

£3,000-5,000 152

ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) WASHING DAY

Signed, inscribed with title on contemporary label verso, oil on board

25.5cm x 26.5cm (10in x 10.5in)

£3,000-5,000

ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936)

LADYBIRD, LADYBIRD, FLY AWAY HOME

Signed, inscribed with title on contemporary label verso, oil on board

36cm x 25.5cm (14in x 10in)

£6,000-8,000

“He is indeed one of the most original painters of this time, perhaps the most original that Scotland has ever

produced. The Glasgow School owed much to him, he owed little or nothing to any of them.

”

Agnes Ethel Mackay, Arthur Melville: Scottish Impressionist (1855-1904), F. Lewis, Leigh-on-Sea, 1951

154

ARTHUR MELVILLE

A.R.S.A.,

R.S.W., A.R.S. (SCOTTISH 1855-1904) OLD ENEMIES

Signed and dated 1880, oil on canvas 165cm x 112cm (65in x 44in)

Provenance: James Thomson Tullis, Glasgow

Private Collection, Scotland

Exhibited: Royal Scottish Academy, Edinburgh, Annual Exhibition, 1881, no.712

Royal Academy of Arts, London, Summer Exhibition, 1882, no.199

Aberdeen Art Gallery, Aberdeen, Aberdeen Society of Artists, 1893

Royal Glasgow Institute of the Fine Arts, Glasgow, Annual Exhibition, 1905, no.106

Royal Institute of Painters in Watercolours, London, Exhibition of the Collected Works of Arthur Melville RWS ARSA, January-February 1906, no.18

Royal Glasgow Institute of the Fine Arts, Glasgow, Exhibition of the Works of Arthur Melville RWS ARSA, 1907, no.123

National Galleries of Scotland, Edinburgh, Arthur Melville: Adventures in Colour, 10 October 2015 - 17 January 2016, no.7, illustrated in colour p.38

Literature: Agnes Mackay, Arthur Melville: Scottish Impressionist 1855-1904 with a Catalogue of his Works, F. Lewis, Leigh-on-Sea, 1951, no.207

£20,000-30,000

In 1878, Arthur Melville travelled to Paris to study at the Académie Julian. During this period, he took the opportunity to explore the surrounding countryside, visiting small French towns such as Granville, Cancale, and Grez-sur-Loing. There, he closely observed the daily lives of local villagers, which would come to influence much of his early work.

Melville was greatly inspired by the French Barbizon School, particularly artists like Jean-Baptiste-Camille Corot and Jean-François Millet, who pioneered the depiction of peasant workers in rural landscapes. He was also influenced by Jules BastienLepage, known for his naturalistic

approach and his practice of painting en plein air. These influences are evident in Old Enemies of 1880. This large-scale genre painting, which was likely based on sketches done at the time, captures a dramatic moment in a rural French marketplace. In the scene, the mother protectively shields her two young children from an approaching flock of turkeys. The frightened expressions on the children’s faces, especially the young girl clutching her mother’s hand, gives the work a strong emotional charge. The mother’s defensive posture, standing firmly between the birds and her children, heightens this sense of tension.

The woman’s clothing, along with the backdrop of medieval-style buildings, grounds the painting in a specific regional and historical context. Old Enemies is considered one of Melville’s most important early works both in the French realist style, as well as through his use of oil paint. It marked a turning point in his career as it was his first major oil painting to be exhibited at the Royal Scottish Academy in 1881 (no.712), and subsequently at the Royal Academy in London in 1882 (no.199). Whilst on display at the former it was even noted that the painting was hung on the ‘line’, meaning at eye-line, which was saved for what the Academy deemed the strongest works in the exhibition.

155

JOHN MCGHIE (SCOTTISH 1867-1952)

Signed, oil on canvas

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

This is a portrait of the Artist’s daughter aged 14.

£2,000-3,000

156 §

GEORGE FIDDES WATT R.S.A., R.P., L.L.D. (SCOTTISH 1873-1960) MURIEL

Signed and dated 1905, oil on canvas

133cm x 76cm (52.25inx 30in)

Exhibited: Royal Scottish Academy, Edinburgh, Annual Exhibition, 1905, no.260

£4,000-6,000

ANNIE

157

SIR JOHN LAVERY R.A., R.S.A., R.H.A. (IRISH 1856-1941)

AU BAL, THE BLACK GOWN

Signed and dated 1885, watercolour 28cm x 23.5 cm (11in x 9.5in)

Provenance: Sotheby’s Gleneagles, Scottish and Sporting Paintings, Drawings and Watercolours, 28 August 1984, lot 678

(as ‘Lady with a Letter’)

Ewan Mundy Fine Art Ltd, Glasgow and by descent to the present owners

£3,000-5,000

After three years in France, John Lavery came back to Glasgow with canvases depicting the daily life of the rural commune of Grez-sur-Loing. Having left a city in the doldrums in 1881, that to which he returned was booming once more and he quickly realised that the life and leisure pursuits of its wealthy middle class opened up more exciting possibilities than rustic subjects drawn from landscape.

There was also greater tolerance for a range of media in the west of Scotland. Less respected in France than in Britain, watercolour painting, led by his friends Joseph Crawhall, Arthur Melville and Edward Arthur Walton, was an important art form attracting critical attention. It was one that he quickly mastered for major works such as A Rally 1885 (Glasgow Museums acc.no.1916).

Au Bal, as its title suggests, looks back to the fashionable beau monde of the Third Republic. Two years earlier, a large oil, After the Dance (Private Collection), had addressed a similar subject, showing a young woman holding a fan and a dance card (see Kenneth McConkey, John Lavery, A Painter and his World, Atelier Books, Edinburgh, 2010, illustrated p.20).

He would tackle the subject again in a memorable sequence of sketches four years later, at the Grand Costume Ball in Glasgow, when he stood with his easel at the edge of the dance floor. Here, however, in a moment of repose, he isolates a young unidentified model whose face we recognize from other works of 1885.

We are grateful to Professor Kenneth McConkey for writing this catalogue entry.

158

SIR JOHN LAVERY R.A., R.S.A., R.H.A. (IRISH 1856-1941)

MRS BROWN-POTTER

Oil on board

35.6cm x 25.4 cm (14in x 10in)

Provenance: Given to the present owners by 1990

£4,000-6,000

By 1900, two years after his move to London, Lavery’s career as a portrait painter had flourished. Crowned with the purchase of Père et Fille (Musée d’Orsay, Paris, acc.no.RF 1318) for the French government, his work was now in public collections in Germany, Italy, Belgium and the United States. Only in London did he experience hostility from the Academic establishment when he was Vice-President and prime mover of the new International Society of Sculptors, Painters and Gravers, in close association with James McNeill Whistler. Impressionism, Symbolism and other radical tendencies found a place in its exhibitions along with the work of Lavery’s Glasgow associates.

His most important work at the society’s third show in 1901 was the dramatic profile portrait of the American actor, Cora Brown-Potter, that must have begun with the present trial sketch (see for instance, ‘Mr Lavery’s Portrait of Mrs Brown Potter’, The Tatler, 11 December 1901, p. 501). A popular figure on the English stage, Mrs Brown-Potter (née Mary Cora Urquhart, 1857-1936) was born in New Orleans to wealthy dealers in hardware. After her marriage to millionaire coffee importer, James Brown-Potter, she moved to New York where she joined the elite Social Register, with

ambitions to perform on stage. In this she had already gained renown when, at a private function in Washington, the recitation of a poem by Algernon Charles Swinburne led to some ‘pruriently modest ladies’ leaving the room (as reported in ‘Drama in America’, The Era, 20 March 1886, p. 15).

A few months later Brown-Potter was the toast of London Society attending summer balls at Marlborough House and the Lyceum, hosted by the Prince of Wales and Henry Irving respectively. Admired by Oscar Wilde, her ascent to leading roles was swift and she held her position as actor and producer up until the First World War. Around 1900, at the time of Lavery’s portrait, she was intending to back a play about Beau Brummell that Wilde was asked to work on.

The current oil sketch is the likely result of Lavery’s first encounter with the performer. Essentially, swift notes of this type familiarised the artist with every new personality and were often gifted to a sitter at the end of their sittings. In this case the small full-face version was rejected in favour of Brown-Potter’s striking profile.

We are grateful to Professor Kenneth McConkey for writing this catalogue entry.

159

SIR JOHN LAVERY R.A., R.S.A., R.H.A. (IRISH 1856-1941)

MGM STUDIOS

Signed, oil on canvas

51cm x 61 cm (20in x 24in)

Provenance: By descent from the Artist to the present owner

£8,000-12,000

Following the death of his daughter, Eileen, Lady Sempill, in July 1935, Lavery’s grand-daughter, Ann Forbes-Sempill, came to stay with him at 5 Cromwell Place in Kensington. Then in her mid-teens, Ann’s chat and that of her friends centred around the latest Hollywood movies (indeed, Lady Sempill told the present writer that in those days she was an avid Gary Cooper fan). So fascinated was the artist that, as his eightieth birthday approached, he decided to see the studios for himself, with a view, perhaps, of painting the stars. When he arrived in January 1936 at the MGM lot, the Leslie Howard/Moira Shearer production of Romeo and Juliet was underway and although he managed four quick oil sketches, he quickly realised that so swiftly were sets thrown up, lit, shot and dismantled, that the chaotic environment tested

even his abilities (see Kenneth McConkey, John Lavery, A Painter and his World, Atelier Books, Edinburgh, 2010, pp.198-200).

The present example, produced in a matter of minutes, in the midst of the throng, is one from this series. Others include the garden and death scenes from the play (see Kenneth McConkey, Lavery on Location, National Gallery of Ireland, Dublin, 2023, pp. 10-11 for the MGM garden set). Here we see something more informal, possibly from another production, as players congregate for a moment’s respite between scenes.

We are grateful to Professor Kenneth McConkey for writing this catalogue entry.

Signed and dated 1918, oil on canvas

91cm x 76cm (36in x 30in)

£6,000-8,000

160

WILLIAM STRANG R.A., R.P.E.

(SCOTTISH 1859-1921)

THE MILL GIRL

161

ROBERT BROUGH A.R.S.A. (SCOTTISH 1872-1905)

BUSY QUAY IN BRITTANY

Oil on panel

26.5cm x 35.5cm (10.5in x 14in)

Provenance: Anne Parsons (née Messel), Countess of Rosse (1902-1992)

Sotheby’s, Nymans House Sale, West Sussex, 27 June 1994, lot 64 as a pair

Christie’s, Edinburgh, Fine Paintings & Drawings, 17 November 1994, lot 894

Exhibited: Aberdeen Art Gallery, Aberdeen, Robert Brough ARSA 1872-1905, 1995, no.46

£6,000-8,000

162

FRANCIS DERWENT WOOD R.A. (BRITISH 1871-1926) BUST OF ROBERT BROUGH (1872-1905)

Inscribed and dated ‘F. Derwent Wood 1904’, further inscribed with the sitter’s name and accreditation ‘Robert Brough A.R.S.A.’, bronze 23cm (9in) high

Provenance: By descent to Lord Anthony Armstrong Jones and consigned to benefit the National Trust acquisition of Nymans House, West Sussex.

Neil Wilson, Campbell Wilson Fine Art Private Collection, Scotland

This reduction bronze is believed to be unique and was commissioned by John Singer Sargent (1856-1925) from Derwent Wood as a gift to Lady Maude Messel (1875-1960) in memory of the artist. There are three known full-size versions, one each in the collections of the National Galleries of Scotland (acc.no.PG 1477) and Aberdeen Art Gallery (acc.no.ABDAG004740), whilst the third is believed to be in a private American collection.

£3,000-5,000

163 §

CHARLES OPPENHEIMER R.S.A., R.S.W. (SCOTTISH 1876-1961)

SUNSHINE AFTER SNOW, KIRKCUDBRIGHT

Signed, oil on canvas

78cm x 99cm (30.75in x 39in)

Provenance: Andrew Nimmo Smith, Selkirk

By descent to McTear’s Auctioneers, Glasgow, 19 July 2012, lot 171

The Fine Art Society, Edinburgh

£20,000-30,000

This painting depicts the rear of Charles Oppenheimer’s house and garden in Kirkcudbright, at 14 High Street, next door to that of E. A. Hornel, who lived at Broughton House. In the painting, one can see an extension to the original building, a small annex on the right, which was known as 14a.

The English detective author Dorothy L. Sayers (1893–1957) is known to have taken this house for the summer on several occasions in the late 1920s and early 1930s, during which time she used it as a writer’s retreat. She is believed to have drawn inspiration from the surrounding area and the people she met in the artists’ colony.

Her 1931 novel Five Red Herrings is set among the streets of Kirkcudbright and the surrounding area, and it is thought that she modelled several of the characters in the book on real-life members of the artist community. As she lived right beside Oppenheimer, it is very plausible that she used him as inspiration for one of the characters. For example, the description of where the character Michael Water’s studio was located happens to match exactly the location of Oppenheimer’s own studio.

It has been suggested that Oppenheimer painted this work in the winter of 1933 or early Spring of 1934, and there is a framer’s label on the reverse dating to April 1934. It has further been suggested that this painting may have been exhibited at the Royal Academy of Arts in London in 1935 under the title February Sunshine, Kirkcudbright, as indicated by an exhibition label affixed to the reverse dating to January 1935.

The present painting was bought by the barrister Andrew Nimmo Smith and hung in his house, The Haining, located in Selkirk. When Nimmo Smith passed away in 2009, he bequeathed the house and its grounds to The Haining Charitable Trust. In 2012, this painting appeared on BBC Two’s Antiques to the Rescue television programme, where the presenter is seen discussing Oppenheimer’s snow scene. Some of the contents of the house, including the painting, were sold in 2012 to raise money for the upkeep of the estate.

“His rise to frame has none of the hidden flash of the meteor. It has had the quiescent growth of those meadows and trees he loves so intimately and paints so well.”

The Artist Magazine, August 1947

164 §

STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976)

THE MIRROR

Signed and dated 1913, oil on canvas

89cm x 101.5cm (35in x 40in)

Provenance: Richard Green, London (SP570)

Exhibited: Royal Scottish Academy Galleries, Edinburgh, Twentieth Annual Exhibition of the Society of Scottish Artists, 1913, no.285, £40

Royal Glasgow Institute of the Fine Arts, Glasgow, Annual Exhibition, 1914, no.258, £50

Literature: ‘The Scottish Artists’ Society Exhibition’, Edinburgh Evening News, 12 December 1913

‘The Society of Scottish Artists’ Exhibition’, The Scotsman, 13 December 1913

‘Studio-Talk: Edinburgh’, The Studio, vol.61, 1914, p.66, illustrated in black and white p.65

£30,000-50,000

The Mirror of 1913 by Stanley Cursiter is a major painting from the period during which he emerged as a leading Scottish artist of his generation. Elected to the Society of Scottish Artists in 1906, it was a highlight of their Annual Exhibition, held in the Royal Scottish Academy Galleries in 1913-14. This was a landmark exhibition of international modern and contemporary art in Scotland, including –thanks to loans negotiated by Cursiter – works by the Italian Futurists Luigi Russolo and Gino Severini. The Mirror was also shown in the company of Post-Impressionists including Paul Cézanne, Paul Gauguin, Paul Sérusier and Vincent Van Gogh, as well as Henri Matisse and Pablo Picasso, as the society’s Hanging Committee successfully brought examples of the best in modern European art to an Edinburgh audience.

Painted on an ambitious scale, The Mirror is a tour de force full-length female nude, combined with reflection and an accomplished still-life passage. Cursiter’s sitter addresses the viewer via the titular mirror, whilst the double views of her face and watch provide focal points in the composition. A feathery technique can be compared to that of the Scottish Colourist F. C. B. Cadell’s work of the period, with careful attention played to the rounding of form and associated shadows.

Of the 461 exhibits, The Mirror was singled out for praise in several reviews, including that of The Studio. Its anonymous critic declared ‘Mr Stanley Cursiter’s The Mirror…was one of the most outstanding works of the collection, particularly in

the modelling of the head and the upper part of the figure.’ (‘Studio-Talk: Edinburgh’, The Studio, vo.61, 1914, p.66)

Meanwhile, The Edinburgh Evening News review stated:

“In the first gallery two outstanding figure subjects are Mr F. C. B. Cadell’s Fancy Dress and Mr Cursitor’s The Mirror. Both these artists are young men, and both are impregnated with the modern spirit…Mr Cursitor’s picture of a nude female figure seated on a chair covered with white material has many excellent points…the head is a charming bit of work.”

(‘The Scottish Artists’ Society Exhibition’, Edinburgh Evening News,12 December 1913)

The Scotsman critic continued, stating

“Mr Stanley Cursiter, one of the younger artists, may be complimented on the step forward he has taken in his art. He has never before been so strongly represented in any exhibition as he is here…he will surprise his friends by his life-size study of the nude, with mirror reflection, in which… the colour has power and vitality.” (‘The Society of Scottish Artists’ Exhibition’, The Scotsman, 13 December 1913)

Only a few months after the Society exhibition ended the First World War began and Cursiter joined the 1st Battalion of the Scottish Rifles (Cameronians). He went on to become Director of the National Galleries of Scotland, Secretary of the Royal Scottish Academy and The King’s (and later The Queen’s) Painter and Limner in Scotland.

The Horse Fair of 1928 by Agnes Miller Parker is a rare and remarkable statement of British modernism, created by a Scottish artist in London between the wars. Moreover, it is one of what is believed to be a handful of such works by her, created during an especially productive period in the late 1920s in which she explored Vorticism, Cubism and their offshoots to create ‘original, complex and ambitious paintings.’ (Alice Strang, ‘From Annand to Zinkeisen: FortyFive Scottish Women Painters and Sculptors’, Modern Scottish Women: Painters & Sculptors 1885-1965, National Galleries of Scotland, Edinburgh, p.21). The Horse Fair was acquired from the artist by her friend, the Scottish writer and social activist Naomi Mitchison (18971999), in whose family it has remained ever since.

Miller Parker was born in Irvine and trained in Painting and Drawing at Glasgow School of Art, where she met fellow student William McCance (1894-1970). They married in 1918 and moved to London two years later. They lived with the avant-garde artist William Roberts (1895-1980) in Earl’s Court before moving to Chiswick, near Hammersmith, where they became friends with Mitchison (née Haldane) and her husband Gilbert Richard ‘Dick’ Mitchison (1890–1970). Other friends included the artists Blair Hughes-Stanton (1902-81) and his wife Gertude Hermes (1901-83). As art critic of The Spectator from 1923 until 1926, McCance kept abreast of the modern art movement and he and Miller Parker came into a contact with numerous artists and writers.

Mitchison gleefully recalled this period in their lives, writing in 1979:

Robert Graves, who might be delightful or might bite…Here was Dylan Thomas holding forth, never sober. Here sometimes was Augustus John…who…had a glass of beer in each hand.” (Naomi Mitchison, You May Well Ask: A Memoir 1920-1940, Victor Gollancz Ltd, London, 1979, pp.80-81)

In 1925, the McCances were described as ‘that clever couple from Scotland who believe in cubist methods’, whilst Hugh MacDiarmid declared that ‘Mr and Mrs McCance’ were ‘unquestionably the most promising phenomena of contemporary Scotland in regard to art.’ (Daily Chronicle, 30 November 1925, cited in Hal Bishop, ‘Parker, Agnes Miller (1895-1980)’, Oxford Dictionary of National Biography, Oxford, 2004, accessed 4 November 2025 and Christopher Murray Grieve, ‘William and Agnes McCance’, Scottish Educational Journal, November 1925, see Alan Riach (ed.), Contemporary Scottish Studies, Carcanet Press Ltd, Manchester, 1995, p.167).

“Hammersmith was presumably thought in other circles to be very avant-garde and we had a good share of love and hate affairs, rushing in and out of one another’s lives…There was always argument, admiration, dressing up and parties…Here was

However, Mitchison disparagingly described McCance and Miller Parker’s relationship thus: ‘Mac himself was something of a phoney, demanding to be taken as a D. H. Lawrence-type genius; his wife, who in fact provided the family income and was a far better artist, was forced into practising mousemanship.’ (Naomi Mitchison, op.cit., p. 79).

Mitchison went on to describe the cottage that she and Dick, the McCances and Margery and Dominick Spring Rice jointly owned on Bledlow Ridge called Pounds Scots, explaining:

“It really was a cottage, barely modernised, with interesting sloping ceilings on which the taller inhabitants bumped their heads, a wood fire constantly needing to be fed, a steep and narrow staircase and quite a squash when we were all there…There were of course no servants; it was assumed that the three women would do all the work whilst the men went for bracing intellectual walks. After a few years, that came to an end.” (Naomi Mitchison, ibid., pp. 79-80)

William McCance (1894-1970), Agnes Miller Parker, 1925 National Galleries of Scotland, Edinburgh: Purchased 1988 (GMA 3433). © The Estate of William McCance

Naomi Mitchison photographed by Dorothy Hickling (1880-1946), 1920s. Private Collection

She also based the character of the engraver Phoebe Fraser on Miller Parker in her novel We Have Been Warned (Constable, London, 1935).

In 1928, the year in which she painted The Horse Fair, Miller Parker, McCance, Hughes-Stanton and Hermes held a group exhibition at St George’s Gallery in London. The Kilmarnock Herald and North Ayrshire Gazette declared:

“Two…Scottish artists, William McCance and Agnes Miller Parker (Mrs McCance) have been exhibiting in London and have favourably impressed the leading critics… Both are extraordinarily significant artists, immersed in consideration of abstract form, and at the very opposite pole from the pictorial platitudinising which is generally accepted as synonymous with Art in Scotland. Both, too, are keenly conscious of their Scottish nationality and that, together with a thorough knowledge of modern

165 §

AGNES MILLER PARKER (SCOTTISH 1895-1980)

THE HORSE FAIR, 1928

Signed, tempera on canvas 81cm x 109cm (31.75in x 43in)

Provenance: Acquired from the Artist by Naomi Mitchison (1897-1999) and thence by descent to the present owners

On loan to the National Galleries of Scotland, Edinburgh 2016 - 2025

Exhibited: Scottish National Gallery of Modern Art, Edinburgh, Modern Scottish Women: Painters and Sculptors 1885-1965, 7 November 2015 – 26 June 2016

Scottish National Gallery of Modern Art, Edinburgh, A New Era: Scottish Modern Art 1900-1950, 2 December 2017 – 10 June 2019, illustrated in colour p.100

Scottish National Gallery, Edinburgh, A Point in Time: The 1920s, September 2023 – July 2025

Literature: Louise Newton, ‘Inspirational Women of Scotland: Alice Strang and her Quest for Scotland’s ‘Lost’ Artists’, The Caledonian, Summer 2017, illustrated in colour p.19. Alice Strang, ‘My Favourite Painting’, Country Life, 15 June 2020, illustrated in colour p.56

£80,000-120,000

technique, is what Scotland needs most. Were they to repeat their exhibition in Glasgow it might well form the starting point for a new Scottish school.” (12 April 1928)

Two years later, Miller Parker participated in the first and only exhibition of The Neo Society, at Godfrey Phillips Galleries in London. She showed five paintings, three of which, like The Horse Fair, were realised in tempera including The Uncilivzed Cat, now in the Fleming-Wyfold Art Foundation collection (acc.no.3259).

At just over a metre in width, The Horse Fair is perhaps Miller Parker’s most ambitious painting. Writing with it in mind, Alice Strang has explained:

“The work that McCance and Miller Parker produced during this decade shows an unusually imaginative and vigorous response to the evolving Cubist and Surrealist movements…Miller Parker’s… part-simplification, part-mechanisation of form, realised through the acute observation and skilful orchestration of human and animal interaction is remarkable.” (Alice Strang, ‘A New Era: An Introduction’, A New Era: Scottish Modern Art 1900-1950, National Galleries of Scotland, Edinburgh, 2017, p.10).

Writing about The Horse Fair in Country Life, John McEwen described Miller Parker’s embracing of the: “…mechanical vision inspired by pre-First World War Italian Futurism and its London off-shoot Vorticism. Miller Parker’s crowd scene shows humans as tubular shaped with hands like implements…indebted to the crowd scenes of William Roberts

who had been a signatory of the Vorticist Manifesto…scrutiny reveals her picture to be about more than trading horses. The diagonal composition descends from the distant bare-backed riders (top left) to two foreground men and their dogs (bottom right). The fair extends over three hills above a village (centre top). To the right of the glimpsed village are a beer tent, duck and chicken pens and ambling calves. Below them is a…cluster of people around some ewes and rams, among them a formidable woman in a summer hat. The most energetic group is the cart horses led by tugging handlers. That they contradict the scale of the adjacent groups emphasises their dynamism, as does the robotic exaggeration of their actions.” (‘John McEwen comments on The Horse Fair’, Country Life, 15 June 2020, p.56)

In 1930, the McCances and the Hughes-Stantons moved to Wales to work at the Gregynog Press. Miller Parker’s reputation as an engraver and wood illustrator came to overshadow that of her as a painter. She and McCance separated in 1955 and she returned to Glasgow. Following their divorce in 1963, she moved to Arran before her death in Greenock in 1980.

The Horse Fair was included in the landmark exhibitions Modern Scottish Women: Painters & Sculptors 1885-1965 of 2015 to 2016 and A New Era: Scottish Modern Art 1900-1950 of 2017 to 2018. It was included in the Scottish National Gallery’s collection display A Point in Time: The 1920s when a suite of new galleries dedicated to Scottish art opened after a major re-development project in 2023. The Horse Fair was on long-loan to the National Galleries of Scotland between 2016 and 2025.

With encouragement from supporters in Dundee, Maclauchlan Milne made his first visit to the South of France in 1924, returning to Scotland that September. His dated paintings of St Tropez and Ramatuelle were part of his subsequent studio exhibition in March, and were shown at the Royal Scottish Academy and the Royal Glasgow Institute of the Fine Arts in 1925. In following years his recorded paintings indicate that, on his various trips until 1931, he roamed along the Côte d’Azur from L’Estaque west of Marseilles to Carros and St Paul de Vence near Nice. Only some of his paintings are dated and many, such as this one, have generic titles which give no hint of the actual location.

In the 1930s his focus was on the Scottish Highlands and later the island of Iona; in the 1940s and ‘50s, he lived and worked on the island of Arran, but the mid- and late-1920s was his period along the Côte d’Azur.

We are grateful to Maurice Millar, author of The Missing Colourist: The Search for John Maclauchlan Milne RSA (privately published in 2022 and available via The Missing Colourist website) for his help with our research.

SOUTH OF FRANCE

Signed, oil on board 41cm x 51cm (16in x 20in)

Provenance: Cyril Gerber Fine Art, Glasgow £10,000-15,000

JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1885-1957)

JOHN DUNCAN FERGUSSON: FROM PEEBLES TO PARIS

John Duncan Fergusson was the Scottish Colourist with the most significant international reputation. He lived most of his adult life in Paris and London, before moving to Glasgow on the outbreak of the Second World War. His first solo exhibition was held in the English capital in 1906; he was elected a Sociétaire of the progressive Salon d’Automne in the French capital in 1909; and was represented in the Venice Biennale four times, beginning in 1909. He had two solo exhibitions in New York and another in Chicago and in 1931 one of his paintings was acquired for the French national collection.

The group of works presented here span some three decades of his long and prolific career, from the period when he first established himself in a studio at 16 Picardy Place in Edinburgh in 1902, to the thrill of moving to Paris in 1907 and the dramatic development of his practice thereafter. Also represented is his period in London, following the start of the First World War, as well as the idyllic months spent in the south of France during the Summer Schools held by his partner, the dance pioneer Margaret Morris, and his happy return to Paris from 1929 to 1939.

Sunlight in the Woods, Peebles, Midday, Peebles and The Haystacks date from the beginning of Fergusson’s career. Having spurned the traditional training available at the Trustees’ School of Art in Edinburgh, he determined to educate himself, including during spells at the Académies Julian and Colarossi in Paris. These three small-scale works are typical of those he painted in the French en plein air manner, responding directly to the rural scenes before him.

Place de l’Observatoire comes from a celebrated series of street scenes that Fergusson created following his move to the French capital in 1907. His use of brilliant colour and a freer technique heralded his emergence as a progressive artist. After Dinner Speaker reveals his enjoyment of Parisian café and restaurant society, whose elegant clientele he captured in sketches and more developed observational images, sometimes infused with humour, as seen here.

The sitter for La Parisienne, is believed to be the haute couture businesswoman Yvonne de Kerstratt, who was a key member of Fergusson’s circle in pre-First World War Paris. He recalled of this period:

“This was the life I had always wanted and often talked about. We were a very happy group: Anne [Estelle] Rice; Jo Davidson; Harry and Bill MacCall, Yvonne and [her brother] Louis de Kerstratt; Roffy the poet; La Torrie, mathematician and aviator…S. J. [Peploe]…said these were some of the greatest nights of his life. They were the greatest nights in anyone’s life.” (J. D. Fergusson, ‘Memories of Peploe’, The Scottish Art Review, vol.VIII, no.3, 1962, p.31)

Yvonne sat for Fergusson on several occasions, including for The Blue Hat, Closerie des Lilas of 1909, now in the collection of Culture Edinburgh (acc.no.CAC1962/2) and became the sculptor Jo Davidson’s first wife. La Parisienne reveals the extraordinary progression of Fergusson’s work once he was experiencing the latest developments in French art at first hand. The flattening and simplification of form, the black outlining and the contrast of bright red and blue show an indepth exploration of the work of avant-garde artists such as Kees van Dongen and Auguste Chabaud.

Fergusson moved to London in 1914 and it was during that year that he created a series of portrait heads including Head of a Young Woman. Always drawn to feminine beauty and strength, Fergusson combines a sheer attractiveness of facial features with a sculptural approach to the sitter’s hair and neck in a way that can be linked to his celebrated sculpture Eástre (Hymn to the Sun) of 1924. In contrast, a more voluptuous approach to the female form is taken in Bather Descending a Staircase. Fergusson, Morris and her dance pupils enjoyed the climate of the south of France, sunbathing and swimming in the sea. This sense of well-being is conveyed in a rhythmical watercolour full of the warmth and sunshine of the region.

The group concludes with La Française, painted in 1931, two years after Fergusson had moved from London to Paris. Here one can sense the arabesques of the Art Deco movement in an image of refinement and beauty. Eight years later, Fergusson and Morris moved to Glasgow, where they did much to galvanise the local art scene. Fergusson died in the city in 1961, recognised as a leading artist of his generation.

33cm x 25.5cm (13in x 10in)

This work dates from 1914.

£10,000-15,000

167 §

JOHN DUNCAN FERGUSSON

R.B.A. (SCOTTISH 1874-1961)

HEAD OF A YOUNG WOMAN Oil on panel

THE SCOTTISH DOYEN OF MODERN ART

Place de l’Observatoire by the Scottish Colourist John Duncan Fergusson is a gem of a painting from a celebrated series of street scenes that he made after moving to Paris in 1907. It formerly belonged to the important collector Dr Jim Thomas Rankin Ritchie (1908-98) of Edinburgh and was on loan to the National Galleries of Scotland from 2001 until 2025.

Born in Leith near Edinburgh, Fergusson settled in the French capital following the start of his relationship with the American artist Anne Estelle Rice (1877-1959). He declared ‘Paris is simply a place of freedom’ and rented a studio in Montparnasse, the renowned artists’ quarter. As seen in Place de l’Observatoire, Fergusson became swept up in the inspiration of Paris’s pre-First World War art world, as he absorbed and evolved the latest developments in the works of artists including Pablo Picasso, André Derain and Henri Matisse. The present work and its fellows were painted spontaneously, in situ, as Fergusson gloried in his new surroundings; those seen here depict an area near the Observatory founded by Louis XIV in 1667 on the Left Bank of the Seine.

artist. Their relationship developed, not least as related in a story enjoyed by friends and family alike about how:

“…having skipped school because of a migraine, his mother hoping that art might allay it, told him of a sale of pictures in Glasgow and he duly attended. When leaving the saleroom with his purchases tucked under his arm, J. D. Fergusson stopped him and asked what he had bought and on seeing all four of his works, remarked, ‘that’s a very good one, that’s a very good one, that’s a very good one, and that’s a very good one’…[Ritchie’s mother]…was more succinct in her remark to her son about his extravagance, ‘for goodness sake, dinnae take another heidache’.” (Margaret Longstaff, ‘Reflections from the Golden City’, Scottish Book Collector, vol. 6, no.8, 1998, p.26)

From this starting point Ritchie amassed a distinguished collection of modern Scottish art, including examples by Fergusson’s fellow Scottish Colourists F. C. B. Cadell and S. J. Peploe and Fergusson’s wife Margaret Morris, as well as many other leading artists of the twentieth-century including John Bellany, Elizabeth Blackadder, Robert Colquhoun, Joan Eardley, William Gillies, Robert MacBryde, William MacTaggart and Robin Philipson.

Deft brushstrokes outline people, trees, buildings and street furniture, such as the anchoring lamp post on the right of the composition. Highlights of colour including the blue of the full-length dress of the woman at the centre of the image, provide rhythm across the work’s surface. The leaves which enter from the upper right partner with the depth of view realised behind them to create a sophisticated perspective in which buildings are seen from the side as well as straight on, whilst the scene is illuminated throughout by the idyllic blue sky. Passages such as the short strokes of green at the far left and the suggestion of foliage across a mid-vertical, verge on the abstract, revealing Fergusson’s newfound confidence and innovative approach to his work. This was to result in his election as a Sociétaire of the progressive Salon d’Automne in 1909, in recognition of his contribution to the modern movement.

Jim Ritchie was a teacher, writer and film-maker. He began collecting in 1928 when he visited Fergusson’s solo exhibition at Alex. Reid & Lefèvre in Glasgow and purchased several works directly from the

It is thought that Ritchie acquired Place de l’Observatoire when it was included in Fergusson’s last lifetime solo exhibition, held at the Annan Gallery, Glasgow in 1957. It consisted of 43 paintings, covering the artist’s career from Tandstickers (Toothpicks) of 1898 to the recently completed Fruit and Flowers at ‘La Fauvette’ of 1957. Place de l’Observatoire was number 33 and can be seen in installation photographs of the exhibition, held in the Fergusson Archive of Culture Perth & Kinross. It was presented in a similar, if not the same, frame as it is currently, as part of an arrangement of six paintings, including the related Boulevard Raspail of 1907, A Pink Rose of 1902 and images of Royan and Cassis.

The exhibition was opened by the Right Hon. Lord Boyd Orr of Brechin. In his speech he stated:

“I hope before the end of June most of the paintings will be sold and that people will be feeling happier and healthier at having seen them. I am sure that it is very good for their mental health and can have nothing but continual good for the enjoyment of life.” (Typescript of Speech by the Right Hon. Lord Boyd Orr, Paintings 1898-1957, Fergusson Archive, Culture Perth & Kinross)

The Scotsman’s review of the exhibition described Fergusson as ‘the Scottish doyen of modern art’ and explained:

Place de l’Observatoire in Fergusson’s exhibition at the Annan Gallery, Glasgow, 1957.

Photo: Annan Photographer, Glasgow, courtesy Culture Perth & Kinross Museum & Galleries

“For the most part these pictures, which have been brought from the artist’s private collection and have a certain sentimental value, are mainly representational in style…The smaller paintings done in Paris and the South of France before the First World War make a most interesting collection. The harmonious hanging of the show is not chronological in order, but aims at grouping contrasting and kindred subjects that please the eye, and at the same time bring out the artist’s love of colour…For the most part the artist has concentrated on joyous reflections of summer days in the city, the country, or at the seaside, and to all of these he imparts his own distinctive personality. The viewer gets to know his style and for confirmation finds the artist’s signature on the back of the picture.” (The Scotsman, 7 May 1957)

From 1997 to 1998 the Scottish National Gallery of Modern Art held an exhibition of Scottish Colourist works from Dr Ritchie’s collection. After his death the following year, The Blue Fan by Cadell was bequeathed to the National Galleries of Scotland (acc.no.GMA 4290). Place de l’Observatoire was on long-loan to the Galleries from 2001 until 2025 and was included in many collection displays, including The Intimate Colourist of 2010, as well as the touring Fergusson retrospective exhibition of 2013 to 2014. Other Parisian street scenes from the series can be found in the collections of Culture Perth & Kinross, the Royal Academy of Music, London and Manchester Art Gallery.

168 §

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

PLACE DE L’OBSERVATOIRE, 1907

Signed, inscribed and dated ‘J. D. Fergusson / Paris 1907’ verso, oil on canvas board

19cm x 24cm (7.5in x 9.5in)

Provenance: Dr Jim Thomas Rankin Ritchie (1908-98), Edinburgh and thence by descent to the present owner

On loan to the National Galleries of Scotland, Edinburgh 2001-2025

Exhibited: Annan Gallery (T. & R. Annan & Sons Ltd), Glasgow, John Duncan Fergusson: Paintings 1898-1957, 7 May – 1 June 1957, no.33, £40

Scottish National Gallery of Modern Art, Edinburgh, The Scottish Colourists: Works from the Dr Ritchie Collection, 27 September 1997 –11 January 1998, no.16

Scottish National Gallery of Modern Art, Edinburgh, The Intimate Colourist, 27 March - 14 November 2010

Scottish National Gallery of Modern Art, Edinburgh, The Scottish Colourists Series: John Duncan Fergusson, 7 December 2013 – 15 June 2014 and tour to Pallant House Gallery, Chichester, 5 July -19 October 2014

£50,000-80,000

169 §

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

SUNLIGHT IN THE WOODS, PEEBLES

Signed, titled and dated 1903 verso, oil on board

23cm x 18cm (9in x 7in)

£4,000-6,000

170 §

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) AFTER DINNNER SPEAKER

Gouache, watercolour and brush and ink on paper

36cm x 28cm (14in x 11in)

This work has been dated to c.1908.

£10,000-15,000

Provenance: Margaret Morris Fergusson, the Artist’s wife

Barclay Lennie Fine Art Limited, Glasgow, 1985 (CVII)

Exhibited: Ewan Mundy Fine Art, Glasgow, July 1991

Duncan R. Miller Fine Arts, London, J. D. Fergusson: The Scottish Colourist, 22 June - 8 July 2011, no.37

Scottish National Gallery of Modern Art, Edinburgh, The Scottish Colourists Series: J. D. Fergusson, 7 December 2013 - 15 June 2014

171 §

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

LA PARISIENNE (YVONNE DAVIDSON)

Mixed media on paper 23cm x 18cm (9in x 7in)

Provenance: Margaret Morris Fergusson, the Artist’s Wife

The Fine Art Society Ltd., 1981 (16006)

Private Collection, Jersey

Exhibited: Duncan R. Miller Fine Arts, London, J. D. Fergusson: The Scottish Colourist, 22 June - 8 July 2011, no.21

This work has been dated to 1909.

£10,000-15,000

172 §

JOHN DUNCAN FERGUSSON

R.B.A. (SCOTTISH 1874-1961)

LA FRANCAISE

Signed, inscribed and dated ‘Paris, June 14, 1931’ verso, with Artist’s original label, oil on board

35cm x 27cm (13.75in x 10.5in)

£10,000-15,000

173 §

23.5cm x 19cm (9.25in x 7.5in)

Provenance: Ewan Mundy Fine Art Ltd, Glasgow

£2,000-3,000

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

BATHER DESCENDING A STAIRCASE

Watercolour

174 §

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

THE HAYSTACKS

Inscribed with title to label verso, oil on card 11cm x 13.5cm (4.25in x 5.25in)

Provenance: Cyril Gerber Fine Art, Glasgow This work has been dated to c.1902.

£3,000-5,000

175 §

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

MIDDAY, PEEBLES

Signed, titled, inscribed ‘Peebles’ and dated 1902 on the backboard verso, oil on board

18.5cm x 23cm (7.25in x 9in)

£4,000-6,000

GEORGE LESLIE HUNTER: FROM LOWER LARGO TO THE SEINE

The Scottish Colourist George Leslie Hunter enjoyed a studio practice combined with working en plein air, as revealed in the works presented here. In the early 1920s he discovered the aesthetic delights of the parish of Largo in the Kingdom of Fife, on Scotland’s south-east coast, containing the villages of Lower and Upper Largo. As can be seen in Lower Largo, the beach provided an array of subject matter for his brush. Much is made of the textured foreground of rocks, seaweed and sand. This gives way to the landmark Crusoe Hotel, so named because Alexander Selkirk, on whom the character Robinson Crusoe was based, was born nearby. In the distance a skyline of village buildings curves around the bay, under a sky containing clouds possibly lit by an unseen sunset. Rowing Boats, Largo (lot 97) shows the view from the nearby pier onto the harbour which was an especially favoured motif of the artist.

George Leslie Hunter by an unknown photographer, undated Courtesy National Galleries of Scotland, Edinburgh (acc.no.S.Ph. VII 1406-1)

176

GEORGE LESLIE HUNTER (SCOTTISH 1877-1931)

LA SEINE, PARIS

Signed, oil on board

38cm x 46cm (15in x 18in)

Provenance: Alex. Reid & Lefevre Ltd., Glasgow

£20,000-30,000

Like his fellow Scottish Colourists, Hunter was drawn repeatedly to Paris, centre of the modern art movement and one of the most beautiful cities in the world. La Seine records a riverside view of the French capital in a daringly expressive technique, enlivened by the use of brilliant notes of blue and yellow in particular, as well as bold outlining in black. This contrasts with the sophistication and complexity of Still Life with Tapestry. Hunter drew together a range of still life props and revelled in the reflective qualities of glazes, the texture of fruit and the challenge of rendering the fall and rise of a patterned, draped textile. Still lifes, landscapes and portraits made up the majority of his oeuvre, by which he gained the reputation as one of Scotland’s leading artists of the twentieth century.

177

GEORGE LESLIE HUNTER (SCOTTISH 1877-1931)

STILL LIFE WITH TAPESTRY

Signed, oil on canvas

63.5cm x 76.2 cm (25in x 30in)

Provenance: Ian MacNicol, Glasgow, where acquired by the present owner’s father

£40,000-60,000

178

GEORGE LESLIE HUNTER (SCOTTISH 1877-1931)

LOWER LARGO

Signed, oil on panel

19.5cm x 25.5cm (7.75in x 10in)

Provenance: William Hardie Gallery, Glasgow

£8,000-12,000

“I CAN NEVER SEE MYSTERY COMING TO AN END”: ICELAND POPPIES

BY S. J. PEPLOE

Iceland Poppies by the Scottish Colourist S. J. Peploe encapsulates his talent as a master of the still life genre. Having trained at the Académie Julian in Paris and in the Royal Scottish Academy Life School in Edinburgh, he made his name with a solo exhibition in the Scottish capital in 1903. Just four years later his first work was acquired for a public collection, namely a still life for the Scottish Modern Arts Association, now in the holdings of Culture Edinburgh (acc. no. CAC4/1964).

Indeed, it is through Peploe’s dedication to the still life that one can trace his extraordinary professional development and success. In 1929 he explained the career-long inspiration he gained from the genre stating: ‘There is so much in mere objects, flowers, leaves, jugs, what not – colours, forms, relation – I can never see mystery coming to an end.’ (as quoted in Stanley Cursiter, Peploe: An Intimate Memoir of an Artist and of his Work, Thomas Nelson and Sons Ltd, London, 1947, p.73).

The poise and sophistication of his still lifes of the early 1900s gave way to an exploration of the very latest innovations in French art through the genre, whilst living in Paris between 1910 and 1912. The Second World War, in which Peploe could not serve on health grounds, provided an opportunity for a deep engagement with the work of Paul Cézanne in this category. By the end of 1918 Peploe had received his first solo exhibition with the leading Glasgowbased art dealer Alexander Reid, whose company was to represent him for the rest of his life; had moved to a studio at 54 Shandwick Place in Edinburgh’s West End; and had been elected an Associate member of the Royal Scottish Academy.

Iceland Poppies dates from an extraordinary period of creativity in the early 1920s when Peploe dedicated himself to the challenge of creating the perfect still life painting. His niece, Margery Porter, provided direct insight into his working method, recalling visits to his studio:

179 ‡

SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935)

ICELAND POPPIES

Signed, oil on canvas

56cm x 46cm (22in x 18.25in)

Provenance: Acquired from the Artist by Lord Kinnaird

Thence by descent to The Fine Art Society plc, London (16748)

Acquired from the above by the present owner in 2002

Exhibited: Alex. Reid & Lefevre Ltd, London, A Few Recent Paintings by S. J.

Peploe R.S.A., February - March 1934, no.16

£200,000-300,000

“How well I recollect my Mother and myself climbing those steep stairs and arriving panting at the top to ring his bell in fear and trembling lest our climb had been in vain. But usually he would usher us in wearing a white painting coat and a crownless hat…The studio was a large one, round which I would prowl entranced, after strict warnings not to disturb the still-life group which would almost inevitably be covering the table. My uncle would arrange and re-arrange these groups for perhaps three days before he was satisfied that the balance and construction were perfect, then he would paint them quite rapidly.” (Undated letter from Margery Porter to T. J. Honeyman, National Library of Scotland, T. H. Honeyman Papers, acc.no.9787/45)

Peploe is known to have patronised a flower stall on Princes Street, a few minutes’ walk from Shandwick Place, where he could buy seasonal blooms. Tulips and roses were often selected, but he also enjoyed the painterly thrill of the forms and colours of other varieties, such as the titular poppies in the present painting.

As David R. Mitchell has explained:

“The Iceland Poppy or Arctic Poppy (Oreomecon nudicaulis) has been popular with gardeners since it was first described for science and named as Papaver nudicaule in 1759. The generic name Papaver originates from the Latin word for poppy, whilst the specific name nudicaule appropriately means ‘naked stem’.

The slightly fragrant papery flowers are found in many colours ranging through white, yellow, orange, salmon and pink. Despite looking delicate they actually stand remarkably well in water, a quality that makes them useful as a cut flower…Robert Pace Brotherston, Gardener to the Earl of Haddington noted…in…The Book of Cut Flowers (1906) ‘they last well from three days to a week’. This quality, combined with the delicate translucent appearance of the blooms, particularly the way in which they reflect but also allow the

passage of natural light through the petals, would no doubt have made them appeal to the artist’s eye.” (David R. MItchell, ‘Iceland Poppies – Samuel Peploe: Scientific & Horticultural Notes, Cultural Observations & Mythology’, 1 November 2025)

As we can see in Iceland Poppies, Peploe enjoyed the frontal and profile views of the flower heads, arranging a combination of petal colours in an asymmetrical composition in which stems provide structure as well as a sense of movement, especially towards the right-hand edge of the canvas. Thickly loaded brushstrokes are applied in short, bold gestures, sometimes ‘wet on wet’ to create subtle tones, mixed as he worked. Circular flower centres add rhythm to an image which opens out to the Chinese blue and white ‘chrysanthemum’ baluster vase and on to the tabletop and studio setting, realised through an expressive technique which verges on the abstract in certain passages. The contrast of, for example, orange and blue and the placing of brilliant tones throughout the image illustrates Peploe’s highly-tuned skills as a colourist. Moreover, within the language of flowers, poppies are associated with peace, hope, beauty and mortality, as well as love, sleep and creativity, adding symbolism to the work.

Throughout the 1920s and 1930s, Peploe received regular solo exhibitions, including in Dundee, Edinburgh, Glasgow, Kirkcaldy, London and New York, in which still lifes were the most well represented genre. In 1927, he became a full Member of the Royal Scottish Academy and a still life featuring tulips was acquired by the Tate Gallery (acc. no.NO4224). His work in the field from the later 1920s was characterised by a rusticity of props, lower-toned palette and looser technique. This development was accompanied by a growing international reputation as Peploe achieved the elusive status of critical appreciation combined with commercial success.

The artist’s deep attachment to his paintings is revealed in a letter of 6 January 1930, in which he explained: ‘Paintings are funny things – they have a life of their own with their moods and changes, dependent, too, on so many things, they need looking after and being loved, like children.’ (Peploe to ‘Sir’, Manchester Art Gallery, 6 January 1930, S. J. Peploe Archive, National Galleries of Scotland, GMA A112).

Iceland Poppies exemplifies Peploe’s brother-in-law Frederick Porter’s description of his approach to still life painting:

“All his still lifes were carefully arranged and considered before he attempted to put them on canvas. When this was done – it often took many days to accomplish – he seemed to have absorbed everything necessary for transmitting them to canvas. The result was a canvas covered without any apparent effort. The painting was direct and showed no appearance of over-painting. If a certain touch were wrong it was soon obliterated by the palette knife. The whole canvas had to be finished in one painting so as to preserve a complete continuity. If, in his judgement, it was not right then the whole painting was scraped out and painted again. Such a method demanded considerable powers of energy and concentration, but the result in Peploe’s case justified it.”

(Frederick Porter, ‘The Art of S. J. Peploe’, The New Alliance, December 1945-January 1946, p.6)

Iceland Poppies was included in Peploe’s last lifetime solo exhibition in London, A Few Recent Paintings by S. J. Peploe R.S.A., held at Alex. Reid & Lefevre Ltd from February to March 1934 (no.16). It was acquired from Peploe by Lord Kinnaird, believed to be Kenneth Fitzgerald Kinnaird (18801972), 12th Lord Kinnaird and 4th Baron Kinnaird of Rossie, Perthshire. He was the son of Arthur Fitzgerald Kinnaird (1847-1923), 11th Lord Kinnaird, the celebrated footballer who served as President of the Football Association for thirty-three years.

Peploe’s death in Edinburgh in 1937 was widely lamented in the press and was marked with memorial exhibitions at the Royal Scottish Academy, Royal Glasgow Institute of the Fine Arts, The Scottish Gallery, Edinburgh and the McLellan Galleries, Glasgow. Examples of his still life paintings are held in numerous public collections including that of the National Galleries of Scotland.

We are grateful to David R. Mitchell, Curator, Muddy Feet Consulting for his help with our research.

Anne Redpath is widely recognised as the doyenne of postWorld War Two Scottish painting. She trained at Edinburgh College of Art and began her career in the city showing at the Royal Scottish Academy and Society of Scottish Artists annual exhibitions and as an invited artist with the Edinburgh Group.

Following her marriage in 1920, Redpath lived in France for fourteen years, where her three sons were born. The watercolour Behind the Old Church, Villefranche of 1934 (lot 102) dates from towards the end of her time there. It reveals not only the maintenance of her practice whilst juggling domestic responsibilities, but also the clarity and deftness of line which singled her out as a draughtsperson of excellence. Haystacks (lot 103) underlines her skills as a watercolourist, filling swathes of the support with colour fields and manipulating varying levels of saturation in passages such as the lower sky to great effect.

On returning to Scotland, Redpath resumed painting in earnest and re-connected with Edinburgh’s artistic community, from a base in Hawick in the Borders. It is from this period that the delightful Spring Flowers in a Jug dates, full of the joie de vivre of the new season. A similar enjoyment of the aesthetic properties of flower heads and petals can be seen in the later Spring Flowers in which the energetic and generous application of paint combines bright and muted tones to create a strikingly modern image.

180 §

ANNE REDPATH O.B.E., R.S.A., A.R.A., A.R.W.S., L.L.D., R.O.I., R.B.A.

(SCOTTISH 1895-1965)

SPRING FLOWERS IN A JUG

Signed, oil on board, with another still life verso ‘Flowers, Vase and Mug’

52.5cm x 40.5cm (20.75in x 16in)

Provenance: Acquired by the step-grandmother of the present owner

£15,000-25,000

Anne Redpath, photographed for The Scotsman, c.1955-60. Courtesy of the Royal Scottish Academy of Art & Architecture, Edinburgh (David Michie Bequest, Anne Redpath Archive)

As her career gathered momentum, Redpath moved to the southside of Edinburgh in 1949 and to the New Town in 1952, where she lived until her death. Regular solo exhibitions were held in the Scottish capital and in London and she was elected to the Royal Scottish Academy and Royal Academy – amongst other honours recognising her professional achievements.

Redpath began to travel abroad once more, including to France and Spain. She made notes, drawings and watercolours on the spot, which she worked up into paintings, such as Andalusia, on returning to her studio in Edinburgh. This painting is exemplary of the brilliant light, warm sunshine, expressive rendering of the countryside and simplification of architectural form that is characteristic of her landscapes.

Flowers in a Blue and White Vase shows how Redpath continued to develop her practice, during this later period working with a freer, more abstract approach to spatial setting, a powerful palette, an energetic manipulation of her medium and an ever-present celebration of the beauty of cut flowers arranged in a patterned vessel.

Redpath’s death in Edinburgh in 1965 was marked in multiple ways: memorial displays and exhibitions were mounted by the Royal Scottish Academy, Scottish Gallery and Scottish Arts Club. The Scottish Committee of the Arts Council of Great Britain mounted a major memorial exhibition of eighty-six works, which opened in Edinburgh before touring to eleven other venues. A retrospective exhibition of Redpath’s work was held at the Scottish National Gallery of Modern Art in 1997.

ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) SPRING FLOWERS

Signed, oil on board

30.5cm x 41cm (12in x 16in)

Provenance: The Artist’s family and by descent to the present owner

£8,000-12,000

182 §

ANNE REDPATH O.B.E., R.S.A., A.R.A., A.R.W.S., L.L.D., R.O.I., R.B.A. (SCOTTISH 1895-1965) ANDALUSIA

Signed, oil on board 51cm x 61cm (20in x 24in)

Exhibited: The Scottish Gallery, Edinburgh, June 1953 Lyon & Turnbull, Glasgow, Select Works by Anne Redpath and Joan Eardley, April 2015

£15,000-20,000

183 §

REDPATH R.S.A., A.R.A., L.L.D.,

A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965)

FLOWERS IN A BLUE AND WHITE VASE

Signed, oil on board

61cm x 51cm (24in x 20in)

Provenance: The Lefevre Gallery, London

£15,000-20,000

ANNE

184 §

ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998) FLOWERS AND ODALISQUE

Signed and dated ‘91, oil on canvas 76cm x 76cm (30in x 30in) £10,000-15,000

185 §

ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998) STILL LIFE ON A BALCONY

Signed and dated ‘85, oil on board 56cm x 61cm (22in x 24in)

Exhibited: The Macaulay Gallery, Stenton, Spring Exhibition, 1985, no.33

£7,000-10,000

186 §

ALBERTO MORROCCO

R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998)

SUNBATHER AND SLIPWAY

Signed and dated ‘75, oil on board

30.5cm x 30.5cm (12in x 12in)

£3,000-5,000

187 §

ALBERTO MORROCCO

R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998)

MOUSTERLIN

Signed, titled and dated July 1959, oil on board

56cm x 61cm (22in x 24in)

£6,000-8,000

A key figure in Eardley’s life was the talented yet erratic Angus Neil (1924-92). A former soldier and joiner, Neil met Eardley during their studies at Hospitalfield in Arbroath in 1947. Eardley was drawn to Neil’s sense of humour and practicality. Across their long friendship, Neil would stay with her for protracted periods in her Townhead studio and Catterline cottage, painting alongside her and – helpfully - warding off unwanted attention during sketching excursions into more dangerous parts of the city. Eardley was also sensitive to his mental health struggles and tolerant of his sometimes challenging behaviour and violent outbursts. Like her fellow Glasgow School of Art student friend, Margot Sandeman, Neil would be a lifelong companion.

188 §

JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)

CHILD IN BLUE AND YELLOW

Pastel

17.5cm x 11.5cm (7in x 4.5in)

Provenance: Given by Angus Neil (1924-1992) to the mother of the present owners

£4,000-6,000

Neil was known to have struggled greatly after the loss of his stalwart friend Eardley to cancer, even being sectioned at one point in Montrose Psychiatric Hospital. He was dependent for a time on the charity and care of members of his circle, notably the artist Carole Gibbons, as well as the local medical community. Lyon & Turnbull are delighted to present to market select works from one of Eardley’s sketchbooks, gifted by Neil to a caring local doctor in Glasgow in the 1960s who gave him room and board during a breakdown. The sketchbook has been much treasured by descendants within the doctor’s family. It gives a wonderful insight into Eardley’s oeuvre, containing representations of virtually every subject one might associate with her: from studies of children to cityscapes and shorelines; all excellent examples of her astute observational skills and intuitive mark-making ability, as well as her astounding consistency of quality.

189 §

JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) CHILDREN AROUND A PRAM

Pastel

12.5cm x 16.5cm (5in x 6.5in)

Provenance: Given by Angus Neil (1924-1992) to the mother of the present owners

£2,000-3,000

190 §

JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) GIRL IN PINK SCRUBBING THE FLOOR

Pastel

12.5cm x 16.5cm (5in x 6.5in)

Provenance: Given by Angus Neil (1924-1992) to the mother of the present owners

£3,000-5,000

191 §

JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) TENEMENTS - BLUE WINDOWS

Mixed media on conjoined sheets

8cm x 30cm (3.25in x 11.75cm)

Provenance: Given by Angus Neil (1924-1992) to the mother of the present owners

£4,000-6,000

192 §

JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) SINK AND LACE CURTAIN

Pastel and charcoal

11cm x 17.5cm (4.25in x 7in)

Provenance: Given by Angus Neil (1924-1992) to the mother of the present owners

£2,000-3,000

193 §

EARDLEY R.S.A. (SCOTTISH 1921-1963) FISHING ON THE PIER

Pastel

12.5cm x 16.5cm (5in x 6.5in)

Provenance: Given by Angus Neil (1924-1992) to the mother of the present owners

£3,000-5,000

JOAN

194 §

JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) TENEMENTS - GREEN GABLE

Pastel on conjoined sheets

12.5cm x 26.5cm (5in x 10.5in)

Provenance: Given by Angus Neil (1924-1992) to the mother of the present owners

£2,500-4,000

195 §

JOAN EARDLEY R.S.A. (1921-1963)

THE PINK AND WHITE DRESS

Pastel

12.5cm x 16.5cm (5in x 6.5in)

Provenance: Given by Angus Neil (1924-1992) to the mother of the present owners

£2,500-4,000

16.5cm x 12.5cm (6.5in x 5in)

Provenance: Given by Angus Neil (19241992) to the mother of the present owners

£2,500-4,000

196 §

JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) THE FISHING LESSON

Pastel

197 §

JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)

BICYCLES

Charcoal

16.5cm x 12.5cm (6.5in x 5in)

Provenance: Given by Angus Neil (1924-1992) to the mother of the present owners

£1,500-2,000

198 §

JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)

FIGURE AND CART

Pastel

11.5cm x 17.5cm (4.5in x 7in)

Provenance: Given by Angus Neil (19241992) to the mother of the present owners

£3,000-5,000

199 §

Signed and dated 1964, pencil and watercolour on paper

56.5cm x 78cm (22.25in x 30.75in)

Provenance: The Collection of Gillian Raffles

£2,000-4,000

DAME ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH 1931-2021) RED HOUSE

Elizabeth Blackadder and her artist husband John Houston found much creative inspiration in travelling. As Philip Long has explained:

“Blackadder’s interest in collecting objects from around the world and her fascination with the art of non-Western cultures had inspired and helped her to develop her own approach. She first became aware of the rich tradition of Japanese screen painting in Chicago in the late 1960s, and her tendency to stylise and abstract from objects and paint them within flat undefined space drew her naturally towards Oriental art.” (Philip Long, ‘Elizabeth Blackadder: The Inspiration of Japan’, Elizabeth Blackadder, National Galleries of Scotland, Edinburgh, 2011, p.80)

Such was Blackadder’s love of Japan that she visited the country in 1985, 1986, 1992 and 1993. Long continues: ‘The architecture of Kyoto (formerly the Imperial capital of Japan) and the preciousness of its shrines provided a special stimulus’ with Blackadder finding visual stimulation in ‘the elegance of these Buddhist buildings’ grid forms and the transparent nature of Japanese screen architecture.’ (Long, op.cit., p.81) Significant paintings, such as Shrine, Fushimi resulted. Japanese subjects abounded in the artist’s work for years after her final visit.

Edinburgh branch of

The present painting formerly belonged to Gillian Raffles (1930-2021), who was one of a very small number of pioneering woman gallerists in Britain’s post-war art scene. She founded the Mercury Gallery in 1964, which became a famous fixture on London’s Cork Street and expanded to Edinburgh in 1982 with a branch on The Mound. It provided a vital platform for Scottish artists and played an important role in the city’s cultural landscape for nearly twenty years.

The gallery showcased a diverse range of works, including paintings, sculptures and works on paper, with a particular emphasis on Scottish artists such as such as Blackadder, Houston and their Edinburgh College of Art student John Bellany.

Gillian’s relationship with Blackadder was to become the most enduring of the gallery’s tenure. Mercury Gallery held as many as 14 solo shows of the artist’s work, approximately every two years from 1965 to 1998. The two women maintained a long and fruitful relationship and carefully avoided inflating prices to ensure accessibility for collectors.

As Raffles noted ‘You never read about Elizabeth in the gossip columns or hear her work is selling for record prices... But I don’t think she has any regrets.’

The acquisition by Raffles of Shrine, Fushimi for her private collection is a testament to their friendship; both women died in 2021.

The

Gillian Raffles' Mercury Gallery, on The Mound

200 §

DAME ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (SCOTTISH 1931-2021) SHRINE, FUSHIMI

Signed and dated 1999, oil on canvas 91cm x 122cm (36in x 48in)

Provenance: The Collection of Gillian Raffles

Exhibited: National Galleries of Scotland, Edinburgh, Elizabeth Blackadder, 2 July 2011 - 2 January 2012, cat. no. 73, illustrated in colour

£10,000-15,000

William Gear was born in Methil, Fife, yet his artistic influence extended far beyond Scotland. He was among the first British artists to fully embrace European abstraction after the Second World War. At a time when many British painters continued to focus on figurative and landscape traditions, Gear looked to bold, non-representational compositions characterised by vivid colours, organic forms and strong structural design. This is evident the present painting, where the composition is made up of different abstract shapes and colours.

201 §

WILLIAM GEAR R.A., F.R.S.A.,

R.B.S.A.

(SCOTTISH 1915-1997) INTERIEUR FORME BLANCHE

Signed and dated ‘49, signed, titled and dated Jan ’49 to verso, oil on canvas 51cm x 61cm (20in x 24in) £6,000-9,000

202 §

WILLIAM JOHNSTONE O.B.E. (SCOTTISH 1897-1981)

UNTITLED

Signed and dated 1926 to verso, oil on board 61cm x 76cm (24in x 30in)

Provenance: William Hardie Ltd., Glasgow

£10,000-15,000

William Johnstone was born into a farming family in the Scottish Borders and was expected to inherit the farm and continue the family profession. Johnstone, however, had other ideas and like many artists felt the ever-forceful need for a creative outlet. Rebelling, he left the farm to pursue his passion for art, enrolling at Edinburgh College of Art in 1919. With no one to take over the farm, his father sold it, a decision that left Johnstone with a lasting sense of guilt. Yet his subsequent achievements, as both an artist and educator, demonstrated that he had chosen the right path.

In 1925, Johnstone travelled to Paris on a scholarship awarded by the Royal Scottish Academy, where he was introduced to Cubism and Surrealism. This experience opened his eyes to new techniques and ideas, inspiring him

to move beyond representation and to explore abstraction, making him one of the first British artists to do so.

Johnstone’s influence extended well beyond his own work. As Principal of Camberwell College of Art (1938–46) and later Principal of the Central School of Arts and Crafts (1947–60), both in London, he played a vital role in shaping British art education. His teaching profoundly affected a generation of artists and he employed many leading figures including Patrick Heron, Eduardo Paolozzi and Victor Pasmore.

Johnstone’s father was quoted as saying to him ‘You belong to the land, and some day, no matter how you resent it, you will have to go back to that land’. And so he did, in 1960, when he returned home to the Borders to concentrate on painting and farming.

§

1942- 2013)

Signed, signed and titled verso, dated 1987 to label verso, oil on canvas, unframed

152.5cm x 152.5 cm (60in x 60in)

Provenance: Beaux Arts, Bath

£6,000-8,000

§

1942-2013)

Signed, oil on canvas

122cm x 91cm (48in x 36in)

£6,000-8,000

204

JOHN BELLANY C.B.E., R.A. (SCOTTISH

SCOTTISH SOIREE

203

JOHN BELLANY C.B.E., R.A. (SCOTTISH

EAGLE SOIREE

Of the ‘New Glasgow Boys’ - Peter Howson, Ken Currie, Adrian Wiszniewski and Steven Campbell - it was Campbell who achieved the swiftest success. Part of the cohort hailed for re-instating Glasgow on the international art map in the 1980s, Campbell’s scope and ambition took him further afield than his peers after graduation. With the Fulbright Scholarship awarded at the end of his studies, he travelled to New York to continue his training at the Pratt Institute. His work was quickly well-received and he went on to participate in several exhibitions in New York, including his first solo show at the prestigious Barbara Toll Gallery in 1983.

Major gallery representation continued upon Campbell’s return to the UK and it is notable that both of the works offered here were exhibited with his long-term London gallery Marlborough Fine Art.

Mum and Dad were Born from the Tracks and No Room on the Bed are representative of an artist in the full, mature flow of his career. They were created in 1990, around the time of Campbell’s extraordinarily successful exhibition On Form and Fiction, held in 1989 to 1990 at the Third Eye Centre (now CCA Gallery) in Glasgow. Comprising an immersive display of wall-to-wall works collaged together in the round, the exhibition was the most well-attended at the venue to date, attracting some 30,000 people, despite only being on display for a matter of weeks.

As demonstrated so fully by On Form and Fiction, Campbell’s early interest in installation and performance – in art as an immersive experience – continued to permeate his craft as a painter. His work was often theatrically large, akin to stage sets. The present examples are, more unusually, on a more intimate domestic scale, though nonetheless transportive.

205 §

CAMPBELL (SCOTTISH 1953-2007)

NO ROOM ON THE BED

Signed and dated 1990 verso, oil on canvas 62.5cm x 91cm (24.75in x 36in)

Provenance: Marlborough Fine Art Limited, London (39794.6) and New York (NOL33.648)

£6,000-8,000

STEVEN

Campbell created vignettes of a mysterious interior world; surreal dreamscapes of layered meaning and reference points, delighting in plunging his viewers down the rabbit hole. Composed of impossible, fractured planes of space, our discombobulation is tempered by frequent recurring symbols and characters, who often resemble the artist himself. A further anchor by which we can attempt to navigate his work are the points of visual humour, like the little disembodied heads of hair in My Parents were Born from the Tracks and indeed the visual play on words conjured between title and subject.

Campbell painted many of his works in spaces lit by artificial rather than natural light, the resulting effect adding to the mysterious liminality of their atmospheres. This is amply embodied in No Room on the Bed, which seems to depict a dreamer within a dream, or maybe a dreamer whose dream has seeped from its confines. Campbell, as usual, completely suspends time and space. A book lies open on the bed, a detailed still life redolent of an Old Master springs in sensual detail. On the right, a landscape of the Campsie hills (where Campbell lived) gradually emerges into our consciousness in moonlit waves, whilst an overhanging tree envelopes the scene from above.

206 §

STEVEN CAMPBELL (SCOTTISH 1953-2007)

MUM AND DAD WERE BORN FROM THE TRACKS

Signed and dated 1990 verso, oil on canvas 94cm x 71cm (37in x 28in)

Provenance: Marlborough Fine Art Limited, London (39782.6)

£7,000-10,000

Campbell’s tragic early death at 54 in 2007 robbed the art world of a powerful and singular voice in figurative painting. Completely distinctive - somehow both ‘of’ and completely apart from the figurative painterly tradition - he left an impressive body of work, the influence of which can be seen echoing on the walls of Scotland’s graduate degree shows to this day.

207 § SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916-1992) ICONOSTASIS 1

Signed on the overlap, oil on canvas

91cm x 91cm (36in x 36in)

Provenance: Roland, Browse & Delbanco, London

£5,000-8,000

INDEX OF ARTISTS

Adam, Patrick William 137

Allan, Robert Weir 32, 66

Armour, Mary Nicol Neill 98, 107

Bellany, John 203, 204

Blackadder, Dame Elizabeth 199, 200

Bough, Samuel 78, 120, 127, 179

Brough, Robert 161

Cadell, Francis Campbell Boileau 85

Cameron, Duncan 4, 11, 43, 72

Cameron, Sir David Young 40, 79, 132, 133,

Campbell, Steven 205, 206

Cassie, James 51

Coventry, Robert McGown 109

Crawhall, Joseph 96

Crosbie, William 87

Cursiter, Stanley 59, 81, 82, 83, 164

De Breanski, Alfred, Senior 112

Dean, Stansmore Richmond Leslie 134

Downie, Patrick 26, 54

Eardley, Joan 188, 189, 190, 191, 192, 193, 194, 195, 196, 197, 198

Faed, James JNR 56

Farquharson, David 30, 55, 74

Fergusson, John Duncan 167, 168, 169, 170, 171, 172, 173, 174, 175

Fleming, Ian 80

Foggie, David 45

Frazer, William Miller 41

Frew, Alexander 39

Gauld, David 37, 42, 48, 73, 114, 146, 147, 151

Gear, William 201

Gemmell Hutchison, Robert 49, 50, 67, 69, 152, 153

Gibson, William Alfred 36, 44

Gillies, Sir William George 94, 99, 100

Gloag, Attributed to Isobel Lilian 149

Greiffenhagen, Maurice 150

Gunn, David W. 57

Henderson, John 22

Henderson, Joseph 5, 38, 63, 71

Henry, George 138

Herald, James Watterson 65

Hope, Robert 16

Hornel, Edward Atkinson 136, 144

Houston, George 15, 28, 129, 143

Houston, John 101

Hunter, George Leslie 97, 176, 177, 178

Hurt, Louis Bosworth 139, 140

Johnstone, Dorothy 47

Kay, James 1, 52, 135

Keay, Harry 86

Knox, John 119

Lamond, William Bradley 111, 113

Landseer, Follower of Edwin Henry 126

Landseer, Sir Edwin Henry 125

Lavery, Sir John 157, 158, 159

Lyon, Thomas Bonar 12

MacGeorge, William Stewart 145

Mann, Harrington 89

Maxwell, John 84

McCance, William 88, 90, 91

McGhie, John 110, 155

McGregor, Robert 70

McKay, William Darling 9, 10, 115, 128

McTaggart, William 148

GLOSSARY OF CATALOGUING TERMS

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

Buyers are recommended to to inspect the property themselves. Written condition reports are usually available on request. Dimensions are given height before width.

Names or Recognised

Designation of an Artist without any Qualification

In our opinion a work by the artist

Attributed to…

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

Studio of… / Workshop of…

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

Melville, Arthur 53, 154

Miller Parker, Agnes 165

Milne, John Maclauchlan 166

Milne, Joseph 3, 33

Morrocco, Alberto 104, 184, 185, 186, 187

Morrocco, Leon 108

Mouncey, William 75

Nasmyth, Alexander 118

Noble, James Campbell 8

Oppenheimer, Charles 21, 163

Park, Stuart 19

Paterson, James 58

Patrick, James Mcintosh 6, 29, 61, 142

Perman, Louise Ellen 17, 18, 20

Philipson, Sir Robin 105, 106, 207

Raeburn, Sir Henry 117

Ramsay, Attributed to Allan 116

Rayner, Louise 123, 124

Redpath, Anne 102, 103, 180, 181, 182, 183

Riddel, James 131

Roberts, David 121, 122

Robertson, Eric Harold Macbeth 141

Scott, Tom 13, 14, 23, 24, 25, 34, 35, 64

Smith, John Guthrie Spence 2

Souter, John Bulloch 46, 93

Sticks, George Blackie 7

Strang, William 160

Walton, Constance 95

Walton, Edward Arthur 62

Watson, William 31

Watt, George Fiddes 156

Wells, William Page Atkinson 92

West, David 27

Wilson, David Forrester 68

Wilson, William 77

Wintour, John Crawford 60

Wood, Francis Derwent 162

Circle of…

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

Follower of…

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

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

Signed… / Dated… / Inscribed… /

In our opinion the work has been signed/dated/inscribed by the artist

Bears Signature… / Date… / Inscription… /

In our opinion the signature/date/ inscription appears to be by a hand other than that of the artist

A Collector’s Passion

Modern British Art from the Hugo Burge Foundation Collection

London Exhibition 5-20 February 2026

Winged Figure II Maquette by Lynn Chadwick on a Stanley Webb Davies sideboard and in front of 5-1963 by William Turnbull

Winged Figure II Maquette by Lynn Chadwick on a Stanley Webb Davies sideboard,in front of 5-1963 by William Turnbull

CONDITIONS OF SALE 25.2

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

1. 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.

2. 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.

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4.

JEWELLERY, CLOCKS & OTHER ITEMS

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(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

1. NEW BIDDERS

(a) If this is Your first time bidding at Lyon & Turnbull or You are a rev turning 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.

2. 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 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.

3. 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.

4. 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.

5. 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.

6. 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

1. 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.

2. 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.

3. 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.

4. 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.

5. BIDDING INCREMENTS

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

6. 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.

7. 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.

8.

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

1. THE PURCHASE PRICE

For each Lot purchased a Buyer’s Premium of 27% of the Hammer Price of each Lot up to and including £20,000, 26% of the Hammer Price from £20,001 up to and including £800,000, 20% from £800,001 thereafter. VAT at the appropriate rate is charged on the Buyer’s Premium. No VAT is payable on the Hammer Price or premium for printed books or unframed maps bought at auction. Live online bidding 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.

2. 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.

3.

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

1. 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.

2. 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 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.

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. 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 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.

3. 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.

(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.

F. PAYMENT

1.

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.

(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.

(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 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.

2. IN THE EVENT OF NONPAYMENT

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

(a) To proceed against You for damages for breach of contract;

(b) To rescind the contract for sale of that Lot and/or any other Lots sold by us to You;

(c) To resell the Lot(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).

(d) To remove, store and insure the Lot in the case of storage, either at our premises or elsewhere and to recover from You all costs incurred in respect thereof;

(e) To charge interest at a rate 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;

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

(g) To reject or ignore bids from You or Your agent at future auctions or to impose conditions before any such bids shall be accepted;

(h) To apply any proceeds of sale of other Lots due or which become due to You towards the settlement of the Total Amount Due by You and

to exercise a lien over any of Your property in our possession for any purpose until the debt due is satisfied. 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 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.

(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

1. 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.

2. EXPORT OF

GOODS

Buyers intending to export goods should ascertain;

(a) Whether an export licence is required; and

(b) Whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the Buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the Lot.

3.

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/imports-exports/cites. We

accept no liability for any Lots which may be subject to CITES but have not be identified as such.

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

1. 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.

2. 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.

3. 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.

4. 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.

5. 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.

6. REPORTING ON

WWW.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.

7. 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.

8. 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.

9.

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.

10.

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.

11.

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.

1. 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”

“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

“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

2. 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.

GUIDE TO BIDDING & PAYMENT

REGISTRATION

All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, 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:

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

2 – Proof of address (utility bill/bank statement). We may, at our option, also ask you to provide a bank reference and/or deposit.

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

BIDDING 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.

BIDDING OUTSIDE THE SALEROOM

BY PHONE

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

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

- 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.

PAYMENT

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.

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 4 of this catalogue.