Scottish Paintings & Sculpture | Auction 05 June 2025 | Edinburgh & Live Online

5TH JUNE 2025 EDINBURGH LIVE & ONLINE

SCOTTISH PAINTINGS & SCULPTURE THURSDAY 05 JUNE 2025 DAY SESSION LOTS 1-110 AT 2PM EVENING SESSION LOTS 111-206 AT 6PM

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Front Cover Lot 128 [detail] Inside Front Cover Lot 175

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

Lot 158 [detail]

Lot 187 [detail]

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BUYER'S GUIDE

This sale is subject to our Standard Conditions of Sale (available at the back of every catalogue and on our website).

If you have not bought at auction before we will be delighted to help you.

BUYER’S PREMIUM

REGISTRATION

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

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

26% up to £20,000 25% from £20,001 to £500,000 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.

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/importsexports/cites COLLECTION OF PURCHASED LOTS All collections will be by appointment only (this applies to both carriers and personal collections). To make an appointment call 0131 557 8844 or email info@lyonandturnbull.com.

Please ensure payment has been made prior to collection. This can be done by bank transfer, and debit/credit card online (powered by Stripe) - details will be shown on your invoice.

Please note we are unable to take payments over the phone.

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MEET THE SPECIALISTS

At Lyon & Turnbull we want to make buying at auction as easy and enjoyable as possible. Our specialist team are on hand to assist you, whether you are looking for something in particular for your home or collection, require more detailed information about the history or 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 Riordan Senior Specialist charlotte.riordan@lyonandturnbull.com

Carly Shearer Senior Specialist carly.shearer@lyonandturnbull.com

Chantal de Prez Associate Specialist chantal.deprez@lyonandturnbull.com

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

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

JOSEPH MILNE (SCOTTISH 1859-1911)

CHILDREN PLAYING, MACHRIHANISH

ON THE VILLAGE POND

Signed and dated 1922, oil on canvas

Signed, oil on canvas

29cm x 49.5cm (11.5in x 23.5in)

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

£1,000-1,500

Provenance: The McEwan Gallery, Ballater

£700-1,000

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

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3 JAMES CAMPBELL NOBLE R.S.A. (SCOTTISH 1846-1913) A BUSY DUTCH FISHING PORT Signed, oil on canvas 46cm x 61cm (18in x 24in)

£800-1,200

4 DUNCAN CAMERON (SCOTTISH 1837-1916) AFTERNOON ON THE FORTH OF CLYDE LOOKING TOWARDS ARRAN Signed, inscribed on label verso, oil on canvas 41cm x 61cm (16in x 24in)

£600-800

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5 DAVID FARQUHARSON A.R.A., A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1840-1907) THE NORTH ESK, INVERMARK Signed and dated 1895-6, signed, inscribed and dated to contemporary label verso, oil on canvas 36cm x 61cm (14in x 24in)

£1,000-1,500

6 PATRICK DOWNIE R.S.W. (SCOTTISH 1854-1945) GATHERING WRACK ON THE AYRSHIRE COAST Signed, oil on canvas 30.5cm x 41cm (12in x 16in)

£1,000-1,500

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

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7 GEORGE BLACKIE STICKS (BRITISH 1843-1938) GLEN TILT Signed and dated 1892, signed, inscribed and dated verso, oil on canvas 46cm x 38cm (18in x 15in)

£600-800

8 ALEXANDER BROWNLIE DOCHARTY (SCOTTISH 1862-1940) WATERFALLS, AUTUMN Signed, oil on canvas 76cm x 61cm (30in x 24in)

£600-800

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9 JAMES GILES R.S.A. (SCOTTISH 1801-1870) VIEW ON DEESIDE, LOCHNAGAR LOOKING UP GELDER Oil on canvas 61cm x 122cm (24in x 48in) Provenance: George Young, Lord Young (1819-1907) Exhibited: Royal Scottish Academy, Edinburgh, 1880, no.253 (lent by Lord Young)

£1,500-2,500

10 WILLIAM BEATTIE BROWN R.S.A. (SCOTTISH 1831-1909) A SHOWERY DAY, LOCH INSH, INVERNESS-SHIRE Signed, inscribed with title to label verso, oil on canvas 61cm x 91cm (24in x 36in)

£1,000-1,500

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11 ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928) THE BANKS AND BRAES O’ BONNY DOUNE Signed, inscribed with title on label verso, oil on canvas 41cm x 56cm (16in x 22in)

£2,000-3,000

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

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12 WILLIAM BRADLEY LAMOND R.B.A. (SCOTTISH 1857-1924) ON THE HARBOUR QUAY Signed, oil on canvas 30.5cm x 46cm (12in x 18in)

£600-800

13 JOHN REID MURRAY (SCOTTISH 1886-1906) THE YOUNG GOATHERD Signed, oil on board 22cm x 30.5cm (8.5in x 12in)

£500-800

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14 JOHN MCGHIE (SCOTTISH 1867-1952) THE LATEST CATCH Signed, oil on canvas 30.5cm x 41cm (12in x 16in)

£1,500-2,000

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

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15 § LEONARD SQUIRRELL R.W.S. (BRITISH 1893-1978) ‘GUID PASSAGE’ - THE FORTH ROAD BRIDGE FROM ROSYTH Signed and dated 1974, watercolour 33cm x 48cm (13in x 19in) This watercolour was painted to celebrate the newly-opened Forth Road Bridge.

£1,000-1,500

16 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) BEN LUI Signed, pencil and watercolour 23cm x 26.5cm (9in x 10.5in) Provenance: Moss Galleries, London Exhibited: Moss Galleries, London, Sir David Young Cameron, 18-29 October 1988

£1,000-1,500

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

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17 WILLIAM PAGE ATKINSON WELLS R.B.A. (SCOTTISH 1872-1923) PICNICKING Signed, oil on canvas 34cm x 44.5cm (13.5in x 17.5in)

£2,000-3,000

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18 DAVID FARQUHARSON A.R.A., A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1840-1907) AMONG THE BRACKENS Signed and dated ‘90, oil on canvas 61cm x 91cm (24in x 36in) Exhibited: Royal Scottish Academy, Edinburgh, 1892, no.46

£1,500-2,500

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

£800-1,200

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

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20 DUNCAN CAMERON (SCOTTISH 1837-1916) THE BRAES OF BALQUHIDDER AND LOCH VOIL Signed and dated ‘95, inscribed with title to contemporary label verso, oil on canvas 76cm x 127cm (30in x 50in) Exhibited: Royal Scottish Academy, Edinburgh, 1875, no.345

£1,500-2,000

21 JOSEPH MILNE (SCOTTISH 1859-1911) AUTUMN Signed and dated 1884, oil on canvas 41cm x 61cm (16in x 24in)

£600-800

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22 ROBERT WATSON (BRITISH 1865-1916) SHEEP ON A ROCKY OUTCROP Signed and dated 1913, oil on canvas 51cm x 76cm (20in x 30in)

£1,000-1,500

23 WILLIAM BEATTIE BROWN R.S.A. (SCOTTISH 1831-1909) A MOUNTAIN STREAM AT DUSK Signed, oil on canvas 36cm x 56cm (14in x 22in)

£600-800

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24 ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928) THE GWYNANT VALLEY, NORTH WALES Signed, signed and inscribed verso, oil on canvas 51cm x 76cm (20in x 30in)

£2,000-3,000

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

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25 TOM SCOTT R.S.A. (SCOTTISH 1854-1919) FISHERMEN ON THE RIVERBANK Signed and dated 1902, watercolour 35.5cm x 61cm (14in x 24in)

£2,000-3,000

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

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26 TOM SCOTT R.S.A. (SCOTTISH 1854-1919) SELKIRK FROM LESLIE COTTAGE Signed and dated 1913, watercolour 18cm x 23cm (7in x 9in)

£700-900

27 TOM SCOTT R.S.A. (SCOTTISH 1854-1919) THE FORD Signed and dated ‘97, watercolour 40.5cm x 25.5cm (16in x 10in)

£800-1,200

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28 TOM SCOTT R.S.A. (SCOTTISH 1854-1919) ON THE YARROW ROAD NEAR LESLIE COTTAGE Signed and dated 1919, watercolour 25.5cm x 36cm (10in x 14in)

£800-1,200

29 TOM SCOTT R.S.A. (SCOTTISH 1854-1919) THE FORD AT MIDDLESTEAD NEAR SELKIRK Signed and dated 1921, watercolour 27cm x 37cm (10.5in x 14.5cm)

£600-800

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

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30 TOM SCOTT R.S.A. (SCOTTISH 1854-1919) A BORDER BURN Signed and dated 1921, signed, inscribed and dated to label verso, watercolour 35.5cm x 48.5cm (14in x 19in)

£800-1,200

31 TOM SCOTT R.S.A. (SCOTTISH 1854-1919) ETTRICK IN WINTER Signed and dated 1914, watercolour 24cm x 34.5cm (9.5in x 13.5in)

£700-1,000

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32 WILLIAM STRANG R.A., R.P.E. (SCOTTISH 1859-1921) FARM COTTAGES, DUSK Certified with a label verso by the Artist’s wife Agnes Strang, oil on panel, and a companion, White Buildings on a Hill (2) each 24cm x 33cm (9.5in x 13in)

£800-1,200

33 WILLIAM STRANG R.A., R.P.E. (SCOTTISH 1859-1921) FARM COTTAGES, FRANCE Signed, oil on panel 25.5cm x 33cm (10in x 13in)

£600-800

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

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34 ARCHIBALD DAVID REID A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1844-1908) AUXERRE Signed, oil on canvas 84cm x 122cm (33in x 48in) Reid exhibited a painting of Auxerre at the Royal Scottish Academy, Edinburgh in 1903 (no.192).

£1,500-2,500

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35 PETER GRAHAM R.A., H.R.S.A. (SCOTTISH 1836-1921) HIGHLAND CATTLE ON THE BANKS OF A LOCH Signed and dated ‘81, oil on canvas laid down on panel 51cm x 76cm (20in x 30in)

£1,200-1,800

36 THOMAS CORSAN MORTON (SCOTTISH 1859-1928) THE FARMER’S DAUGHTER Signed and dated 1890, oil on canvas 46cm x 61cm (18in x 24in)

£600-800

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

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37 GEORGE HOUSTON R.S.A, R.S.W., R.G.I. (SCOTTISH 1869-1947) DEPARTING SNOWS Signed, oil on canvas 46cm x 61cm (18in x 24in)

£1,000-1,500

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38 WILLIAM DARLING MCKAY R.S.A. (SCOTTISH 1844-1924) WAITING FOR THE POST Signed with initials, inscribed with title to label verso, oil on canvas 41cm x 30.5cm (16in x 12in)

£800-1,200

39 WILLIAM COTTON FAED (SCOTTISH 1858-1937) DAYDREAMING Signed and dated 1881, oil on board 25.5cm x 20cm (10in x 8in) William Cotton Faed was the second surviving son of James Faed (1821-1911) and he exhibited regularly at the Royal Scottish Academy during the 1880s.

£1,000-1,500

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40 JAMES ELDER CHRISTIE (SCOTTISH 1847-1914) YOUTHFUL POACHERS Signed, oil on canvas 102cm x 76cm (40in x 30in)

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

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41 JOSEPH MORRIS HENDERSON R.S.A. (SCOTTISH 1864-1936) ON THE LOCHY, KILLIN Signed, oil on canvas 51cm x 61cm (20in x 24in)

£600-800

42 WILLIAM KENNEDY (SCOTTISH 1859-1918) HORSE-DRAWN BARGE ON A CANAL Signed, oil on canvas 41cm x 61cm (16in x 24in)

£1,200-1,800

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43 MARGARET CAMPBELL MACPHERSON (SCOTTISH 1860-1931) IN THE ORCHARD Signed, with Artist’s Gallery label and title ‘Dans le verger’ and the Artist’s Parisian address label to stretcher verso, oil on canvas 54.5cm x 82cm (21.5in x 32.25in)

£3,000-5,000

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

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44 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) SNOW ON THE BROOMIELAW Signed, signed and inscribed verso, oil on canvas 76cm x 63.5cm (30in x 25in)

£2,000-3,000

45 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) A SNOW-COVERED WINTER LANDSCAPE Signed, oil on canvas 61cm x 51cm (24in x 20in)

£1,000-1,500

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46 § JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) VIEW FROM CRAIGIE KNOWE Signed, oil on canvas 46cm x 56cm (18in x 22in) Sold with a letter from the Artist dated January ‘70 to the original purchaser.

£4,000-6,000

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

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47 JAMES HAMILTON MACKENZIE A.R.S.A., R.S.W., A.R.E. (SCOTTISH 1875-1926) HOME FROM THE FIELDS Signed, oil on canvas 63.5cm x 76cm (25in x 30in)

£800-1,200

48 DAVID GAULD R.S.A. (SCOTTISH 1865-1936) CALVES BY A WATER BUTT Signed, oil on canvas 41cm x 61cm (16in x 24in)

£1,500-2,000

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

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49 DAVID GAULD R.S.A. (SCOTTISH 1865-1936) SUMMER PASTURE IN THE SHADE Signed, oil on canvas 61cm x 76cm (24in x 30in)

£1,500-2,000

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50 § ALFRED DE BREANSKI JUNIOR (BRITISH 1877-1955) A HIGHLAND LOCH AT SUNSET Signed, oil on canvas 51cm x 76cm (20in x 30in)

£1,200-1,800

51 WILLIAM MOUNCEY (SCOTTISH 1852-1901) TWILIGHT Signed, oil on canvas 51cm x 61cm (20in x 24in) Provenance: Bourne Fine Art, Edinburgh.

£800-1,200

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52 ROBERT WEIR ALLAN R.S.A., R.S.W., R.W.S. (SCOTTISH 1852-1942) THE WIND AND THE SEA Signed, inscribed with title on contemporary label verso, oil on canvas 85cm x 120cm (33.5in x 47.25in) Provenance: Calton Gallery, Edinburgh (no.5013)

£2,000-3,000

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

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53 LOUISE ELLEN PERMAN (SCOTTISH 1854-1921) YELLOW ROSES Signed, oil on canvas 46cm x 76cm (18in x 30in) Provenance: The George Street Gallery, Perth, 1987 (no.477)

£800-1,200

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

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54 JAMES STUART PARK (SCOTTISH 1862-1933) GERANIUMS Signed, oil on canvas, oval 61cm x 51cm (24in x 20in)

£800-1,200

55 JAMES STUART PARK (SCOTTISH 1862-1933) STILL LIFE OF RED AND WHITE ROSES Signed, oil on canvas, oval 51cm x 61cm (20in x 24in)

£1,500-2,000

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56 CIRCLE OF DAVID ALLAN HEAD AND SHOULDER PORTRAIT OF A YOUNG GIRL WITH FLOWERS IN HER HEADDRESS Oil on panel, oval, and a companion, a pair, A Young Boy Holding a Book (2) each 25.5cm x 20cm (10in x 8in)

£800-1,200

57 JOSEPH FARQUHARSON R.A. (SCOTTISH 1846-1935) ‘SANDY’ Signed, oil on board, and a companion, a pair, Paddy (2) Sandy: 25cm x 21cm (9.75in x 8.25in) Paddy: 25cm x 20cm (9.75in x 8in)

£1,500-2,000

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58 WILLIAM DARLING MCKAY R.S.A. (SCOTTISH 1844-1924) A BREAK FROM THE HARVEST Signed with initials, oil on canvas 25.5cm x 41cm (10in x 16in)

£800-1,200

59 ALEXANDER CARSE (SCOTTISH C.1770-1843) ABODE OF A VILLAGE TAILOR Inscribed and dated 1820 to label verso, oil on panel 25.5cm x 38cm (10in x 15in)

£500-800

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

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60 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) RIVER LANDSCAPE, PERTHSHIRE Signed, pencil and watercolour 19cm x 30.5cm (9.5in x 12in) Provenance: Moss Galleries, London, 1988

£500-800

61 ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905) BRITTANY PEASANTS Signed, inscribed and dated 1897 verso, oil on unstretched canvas 20cm x 25.5cm (8in x 10in)

£600-900

Following his studies at the Académie Julian in Paris, Robert Brough spent a period working in Brittany, inspired by the formative effect this locale had had on the work of the artist Paul Gauguin. Brough was charmed by the traditional way of life of the Breton people and by the distinctive quality of light and vivid colouring of the landscape.

Both Gauguin and Brough implemented the ‘Synthetist’ style: flat planes of harmonious colour and rhythmic composition over more naturalistic representation. Brough’s Brittany work firmly acknowledges Syntheticism but is tempered by an observational grounding, owing to his fascination with Breton lives and customs. His paintings from this period constitute a sensitive record of a traditional people, rendered with an innovatively modern, almost post-Impressionist eye.

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62 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) BRIDGE ACROSS THE RIVER Signed, oil on canvas 68.5cm x 94cm (27in x 37in)

£3,000-5,000

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

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63 JOSEPH MILNE (SCOTTISH 1859-1911) THE CLYDE FROM FINNIESTON Signed, inscribed with title to stretcher, oil on canvas 51cm x 76cm (20in x 30in)

£1,000-1,500

64 WILLIAM PAGE ATKINSON WELLS R.B.A. (SCOTTISH 1872-1923) HARBOUR QUAY, DEVON Signed, oil on panel 30.5cm x 43cm (14in x 17in) Provenance: Bourne Fine Art, Edinburgh

£2,000-3,000

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65 JAMES PATERSON R.S.A., R.S.W., R.W.S. (SCOTTISH 1854-1935) RICHMOND BRIDGE, SURREY Signed, inscribed and dated 1884, watercolour 33cm x 51cm (13in x 20in) Provenance: Belgrave Gallery Ltd., London

£800-1,200

66 JAMES PATERSON R.S.A., R.S.W., R.W.S. (SCOTTISH 1854-1935) A RIVER LANDSCAPE WITH DISTANT CHURCH SPIRE Signed, watercolour 35cm x 24cm (13.75in x 9.5in)

£800-1,200

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

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67 DAVID WEST R.S.W. (SCOTTISH 1868-1936) ON THE MORAY COAST Signed, watercolour 63.5cm x 97cm (25in x 38in)

£1,200-1,800

68 § WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) LEFT BANK, PARIS Signed and dated 1954, watercolour 42cm x 58cm (16.5in x 22.75in)

£600-800

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69 § WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) PLACE SAINT-ANDRÉ DES ARTS, PARIS Signed and dated 1957, pen and ink and watercolour 46cm x 62.5cm (18in x 24.5in) Exhibited: Bourne Fine Art, Edinburgh, Festival Exhibition, 1997

£700-900

70 § STANLEY CURSITER C.B.E., R.S.A., R.S.W. (SCOTTISH 1887-1976) AN ESTAMINET IN A FRENCH VILLAGE Signed and dated 1920, watercolour 25.5cm x 35.5cm (10in x 14in)

£600-800

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

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71 JOHN MACWHIRTER R.A., H.R.S.A., R.I., R.E. (SCOTTISH 1839-1911) GATHERING FIREWOOD Signed with the monogram, oil on canvas 119cm x 56cm (46.75in x 22in)

£2,000-3,000

72 GEORGE BLACKIE STICKS (BRITISH 1843-1938) GLENCOE Signed and dated 1877, oil on canvas 46cm x 41cm (18in x 16in)

£600-800

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

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73 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) A DUTCH QUAYSIDE THE LATEST CATCH Signed and indistinctly dated, oil on canvas 63.5cm x 110cm (25in x 43.25in)

£1,000-1,500

74 JOHN DUNCAN R.S.A., R.S.W. (SCOTTISH 1866-1945) ON THE WEST COAST Signed, oil on canvasboard 30.5cm x 41cm (12in x 16in)

£1,000-1,500

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75 DAVID GAULD R.S.A. (SCOTTISH 1865-1936) SUMMER PASTURES Signed, oil on canvas 122cm x 152.5cm (48in x 60in) Provenance: James Begg, Paisley Presented to Paisley Art Institute by the above in 1922

£5,000-8,000

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

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76 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) ON THE BENTS, CARNOUSTIE Signed, oil on board 30.5cm x 41cm (12in x 16in) Provenance: McEwan Gallery, Ballater, 1991

£3,000-5,000

52

77 DAVID ROBERTS R.A., H.R.S.A. (SCOTTISH 1796-1864) FIGURES OUTSIDE A CHURCH, AMIENS Signed and dated 1830, pen and ink and watercolour 30.5cm x 22cm (12in x 8.5in) Provenance: With the remains of a Thos. Agnew & Sons Ltd, London label verso David Roberts is thought to have visited Amiens when he travelled to northern France in 1825. This accomplished watercolour, dated 1830, is most likely to have been painted from on-the-spot sketches rather than in-situ.

It is very similar to an oil composition, ‘a small picture of the Church of St Remy at Amiens’, which Roberts painted for Mr Scarnel in 1829 and which is included in Roberts’s Record Book.

The church of St Remy is situated south-west of the Cathedral of Nôtre Dame in the city and this watercolour most likely shows the tower of St Remy in the centre, with the Cathedral in the distance left, and the former cloister of the Convent of the Cordeliers on the right.

Roberts was very interested in the regional dress of different areas in northern France and Belgium as exemplified by his focus on the characteristic head dresses of the figures here.

£1,000-1,500

78 JAMES PATERSON R.S.A., R.S.W., R.W.S. (SCOTTISH 1854-1935) YELLOW ROSES Signed and dated 1929, watercolour 37cm x 26cm (14.5in x 10.25in)

£800-1,200

53

79 § JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1885-1957) A MEDITERRANEAN HILLTOP VILLAGE Charcoal and watercolour 43cm x 56cm (17in x 22in)

£1,500-2,000

80 § SIR WILLIAM MACTAGGART P.P.R.S.A., R.A., F.R.S.E., H.R.S.W. (SCOTTISH 1903-1981) LANDSCAPE WITH REDPANTILED COTTAGES Signed, mixed media 33cm x 51cm (13in x 20in)

£1,500-2,000

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

54

J.D. Fergusson and Margaret Morris, Antibes, 1956.

Photograph by Professor James Fullarton Arnott.

Courtesy of Culture Perth & Kinross Museums & Galleries.

The works on paper by the Scottish Colourist John Duncan Fergusson presented here show his skill and enjoyment of the drawn line and the brushed stroke, in drawings and watercolours that cover subjects from chic Parisians to sunworshippers and sensual nudes.

Mademoiselle E is an example of the elegant women who caught Fergusson’s eye, often in cafés, whilst he was living in the French capital between 1907 and 1913. Rarely without a sketchbook and a conté pencil or two in his pocket, he would sketch at speed to capture key facial features and elements such as a fashionable hat, by which to conjure up a character on the page. Samuel John Peploe and his Wife Margaret Mackay Walking in the Luxembourg Gardens is a testament to Fergusson’s great friendship with his fellow Colourist. Peploe and Margaret joined him in Paris between 1910 and 1912, where according to Fergusson - Peploe declared that they had ‘some of the greatest nights of his life’.

A full and frank appreciation of the female form is clear in works including Standing Nudes, Nude Seated on a Balcony and Reclining Nude, La Petite Farandole, Cap d’Antibes (Margaret Morris). A more nuanced admiration for feminine beauty can

Fergusson left Paris in 1913 for the Cap d’Antibes, thus

be seen in In the Garden, which, along with Palm Trees, Cap

beginning a lifelong love of the area in the south of France.

d’Antibes, bears colour notes to inform future works.

This affection was shared by his future wife, the dance pioneer Margaret ‘Meg’ Morris after she visited him there that Christmas. Her celebrated summer schools were held in Antibes on multiple occasions from 1923 and these happy, carefree months spent mainly outdoors were captured in watercolours such as The Red Belt, A Couple and Bathers at Eden Roc. Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

Throughout this group, one is aware of the artist’s touch upon his paper, whether applied through a pencil or a brush, creating intimate works which bring us to the heart of Fergusson’s creative process. Through works on paper such as these, he communicated feelings not only of friendship and love, but also an overall joie de vivre which characterises his oeuvre as a whole.

55

81 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) MADEMOISELLE ‘E’ Conté 20.5cm x 12cm (8in x 4.75in) Provenance: Duncan R. Miller Fine Arts, London and thence by descent to the present owner

£800-1,200

82 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) DANCER Charcoal 26.5cm x 16.5cm (10.5in x 6.5in)

£1,500-2,000

83 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) SAMUEL JOHN PEPLOE AND HIS WIFE MARGARET MACKAY WALKING IN LUXEMBOURG GARDENS Charcoal 20.5cm x 16.5cm (8in x 6.5in) Provenance: Sotheby’s Hopetoun House, Fine Paintings, 15 April 2002, lot 163 Private Collection, Scotland

£1,500-2,000

56

84 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) PALM TREES, CAP D’ANTIBES Inscribed with colour notes, charcoal and watercolour 17.5cm x 12cm (7in x 4.75in) Provenance: Sotheby’s Hopetoun House, Scottish Pictures, 19 April 2004, lot 77 Private Collection, Scotland

£1,500-2,000

85 § 86 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) WOMAN BATHING, CHÂTEAU DES ENFANTS, EDEN ROC, CAP D’ANTIBES (MARGARET MORRIS, PREPARING TO JUMP) Watercolour 24cm x 19cm (9.5in x 7.5in) Provenance: Christie’s Edinburgh, The Scottish Sale, 1 November 2001, lot 103 (as ‘Meg Bathing, Château des Enfants, Eden Roc, Cap d’Antibes’) Private Collection, Scotland

£1,500-2,000

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) WOMAN WALKING, CAP D’ANTIBES (MARGARET MORRIS) Charcoal and watercolour 17cm x 11.5cm (6.75in x 4.5in) Provenance: Sotheby’s Hopetoun House, Scottish Pictures, 19 April 2004, lot 77 (as ‘Meg, Cap d’Antibes’) Private Collection, Scotland

£1,500-2,000

57

87 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) IN THE GARDEN Inscribed with colour notes, pencil and watercolour 21cm x 15cm (8.25in x 6in)

£2,000-3,000

88 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) CAP D’ANTIBES Watercolour 23cm x 18cm (9in x 7in) Provenance: Abbott & Holder, London, 1992

£1,500-2,000

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

58

89 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) BATHERS AT EDEN ROC Inscribed with colour notes, pencil and watercolour 21cm x 16cm (8.25in x 6.25in) Provenance: Phillips, Edinburgh, The Scottish Sale: Made in Scotland, 25 August 2001, lot 1141 Private Collection, Scotland

£2,000-3,000

90 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) STANDING NUDES Charcoal and watercolour 20cm x 13cm (8in x 5in) Provenance: Phillips, Edinburgh, The Scottish Sale: Made in Scotland, 25 August 2001, lot 1154 Private Collection, Scotland

£2,000-3,000

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

59

91 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) THE RED BELT Watercolour 19cm x 15cm (7.5in x 6in) Provenance: Christie’s Edinburgh, Fine Paintings and Drawings, 18 November 1993, lot 818, where acquired by the present owner

£1,000-1,500

92 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) A COUPLE Watercolour 19cm x 15cm (7.5in x 6in) Provenance: Christie’s Edinburgh, Fine Paintings and Drawings, 18 November 1993, lot 818, where acquired by the present owner

£800-1,200

60

93 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) NUDE SEATED ON A BALCONY Charcoal on buff paper 33cm x 25.5cm (13in x 10in) Provenance: Christie’s Edinburgh, The Scottish Sale, 31st October 2002, lot 141 Private Collection, Scotland

£2,000-3,000

94 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) WOMAN BATHING, CHÂTEAU DES ENFANTS, EDEN ROC, CAP D’ANTIBES (MARGARET MORRIS, THE JUMP) Watercolour 24cm x 18cm (9.5in x 7in) Provenance: Christie’s Edinburgh, The Scottish Sale, 1 November 2001, lot 103 (as ‘Meg Bathing, Château des Enfants, Eden Roc, Cap d’Antibes’) Private Collection, Scotland

£2,000-3,000

95 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) RECLINING NUDE, LA PETITE FARANDOLE, CAP D’ANTIBES (MARGARET MORRIS) Charcoal on buff paper 14cm x 20cm (5.5in x 8in) Provenance: Christie’s Edinburgh, The Scottish Sale, 1 November 2001, lot 106 (as ‘Margaret Morris, La Petite Farandole, Cap d’Antibes’) Private Collection, Scotland

£1,500-2,000

61

96 § 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) BORDERS HILL FARM Signed, pencil and watercolour 26.5cm x 36cm (10.5in x 14in)

£1,500-2,500

97 § 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) A BORDERS LANDSCAPE Signed, pencil and watercolour 27cm x 36cm (10.5cm x 14in) It has been suggested that this may be a view of St. Mary’s Loch in the Scottish Borders.

£1,500-2,500

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

62

98 § SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., P.P.R.S.W., R.A. (SCOTTISH 1898-1973) AFTERNOON NEAR HOWGATE Signed, pencil and watercolour 24.5cm x 34.5cm (9.75in x 13.5in)

£800-1,200

99 § SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., P.P.R.S.W., R.A. (SCOTTISH 1898-1973) FROM THE MELDONS ROAD Signed, pencil and watercolour 25.5cm x 33.5cm (10in x 13.25in) Exhibited: The Scottish Gallery, Edinburgh, Christmas Exhibition, 1968, no.11

£800-1,200

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

63

100 § JOHN RANKINE BARCLAY (SCOTTISH 1884-1963) A STUDY IN WHITE - PORTRAIT OF KATHLEEN BUCHAN Signed, oil on canvas 91cm x 71cm (36in x 28in)

£800-1,200

64

101 § DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926-1998) PAOLA AT THE WINDOW Signed and dated ‘62, oil on board 38cm x 51cm (15in x 20in)

£1,000-1,500

102 § MARY NICOL NEILL ARMOUR R.S.A., R.S.W. (SCOTTISH 1902-2000) SUMMER FLOWERS Signed, oil on board 76cm x 61cm (30in x 24in)

£2,000-3,000

103 § DENIS PEPLOE R.S.A. (SCOTTISH 1914-1993) STILL LIFE WITH FLOWERS Signed lower right, oil on canvas 61cm x 48cm (24in x 19in) This work is believed to date to c.1957.

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

66

104 § SIR WILLIAM MACTAGGART P.P.R.S.A., R.A., F.R.S.E., H.R.S.W. (SCOTTISH 1903-1981) SUNSET ON THE WEST COAST Oil on panel 36cm x 46cm (14in x 18in)

£1,000-1,500

105 § SIR WILLIAM MACTAGGART P.P.R.S.A., R.A., F.R.S.E., H.R.S.W (SCOTTISH 1903-1981) WHEATFIELD, MONTGRÉSIN Signed and inscribed with title verso, oil on board 36cm x 46cm (14in x 18in)

£1,000-1,500

67

106 § SIR WILLIAM MACTAGGART P.P.R.S.A., R.A., F.R.S.E., H.R.S.W. (SCOTTISH 1903-1981) A WOODED LAKE WITH DISTANT CHURCH SPIRE Signed and dated ‘58, oil on board 38cm x 46cm (15in x 18in)

£3,000-5,000

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

68

69

107 § JOHN HOUSTON R.S.A., R.S.W., S.S.A. (SCOTTISH 1930-2008) STILL LIFE WITH BLUE VASE Indistinctly signed, oil on canvas 51cm x 76cm (20in x 30in) Exhibited: St. Andrews Fine Art, 11th Annual Exhibition, 1987, no.124

£2,000-3,000

108 § JOHN HOUSTON R.S.A., R.S.W., S.S.A. (SCOTTISH 1930-2008) FIGURES ON THE BEACH, SUNSET Signed and dated ‘82, oil on canvas 30.5cm x 46cm (12in x 18in)

£1,000-1,500

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

70

71

109 §

110 §

WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (SCOTTISH 1915-1997)

JOHN BELLANY C.B.E., R.A. (BRITISH 1942-2013)

ABSTRACT COMPOSITION

SEA SONG

Signed, inscribed and dated Jan ‘67 verso, oil on canvas

Signed, oil on canvas

122cm x 61cm (48in x 24in)

Provenance: Beaux Arts, Bath, where dated on Gallery label to 1992

£3,000-5,000

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

£3,000-5,000

END OF DAY SESSION

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

EVENING SESSION LOTS 111-206 THURSDAY 05 JUNE 2025 AT 6PM

74

111 DAVID WEST R.S.W. (SCOTTISH 1868-1936) THE ENTRANCE TO THE FINDHORN Signed and dated 1893, oil on canvas 75cm x 127cm (30in x 50in)

£2,000-3,000

75

112 JOHN MCGHIE (SCOTTISH 1867-1952) FRUITS OF THE SEA Signed, oil on canvas 71cm x 91cm (28in x 36in)

£3,000-5,000

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

76

113 ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928) IN THE HIGHLANDS Signed, oil on canvas 54cm x 69cm (21.25in x 27.25in)

£2,000-3,000

114 ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928) CASTLE ABOVE THE LOCH, SUNSET Signed, oil on canvas 29.5cm x 22cm (11.5in x 8.5in)

£600-800

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

77

115 ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928) LOCH KATRINE Signed, signed and inscribed verso, oil on canvas, and a companion, a pair, Glencoe (2) each 25.5cm x 36cm (10in x 14in) Provenance: The Lyver and Boydell Galleries, Liverpool

£2,000-3,000

78

116 ROBERT MCGREGOR R.S.A. (SCOTTISH 1847-1922) HARVEST TIME Signed, oil on canvas 46cm x 68cm (18in x 26.75in)

£1,500-2,000

117 WILLIAM PAGE ATKINSON WELLS R.B.A. (SCOTTISH 1872-1923) THE GOOSE GIRL, ISLE OF MAN Signed and dated ‘08, oil on canvas 25.5cm x 36cm (10in x 14in) Provenance: Ewan Mundy Fine Art, Glasgow

£2,000-3,000

79

118 WILLIAM MARSHALL BROWN R.S.A., R.S.W. (SCOTTISH 1863-1936) UNLOADING THE CATCH, LEITH Signed, oil on canvas 101cm x 127cm (40in x 50in)

£3,000-5,000

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

80

119 ALEXANDER NASMYTH H.R.S.A (SCOTTISH 1758-1840) THE OLD PACKHORSE AT LOCH KATRINE Oil on canvas 31cm x 26.5cm (12.25in x 10.5in)

£1,000-1,500

120 HORATIO MCCULLOCH R.S.A. (SCOTTISH 1805-1867) TOWER ABOVE THE LOCH Signed, oil on canvas 38cm x 31cm (15in x 12in)

£800-1,200

81

121 ALEXANDER NASMYTH H.R.S.A. (SCOTTISH 1758-1840) FIGURES ON A COUNTRY ROAD BENEATH A RUINED TOWER Oil on panel, inscribed on contemporary label verso 28cm x 40.5cm (11in x 16in) Provenance: Believed to have been purchased by the present owner’s father from Green and Stone, London in 1971

£2,000-3,000

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

82

122 JAMES ARCHER R.S.A. (SCOTTISH 1823-1904) THREE-QUARTER LENGTH PORTRAIT OF AN ELEGANT YOUNG LADY Signed with the monogram, oil on canvas 122cm x 91cm (48in x 36in)

£1,500-2,500

123 THOMAS FAED R.A., H.R.S.A. (SCOTTISH 1826-1900) EL BURRO

124 SIR DAVID WILKIE R.A. (SOTTISH 1785-1841) STUDY FOR ‘THE JEW’S HARP’

Signed and indistinctly dated 1858, oil on canvas, roundel 20cm (8in) diameter

£600-900

Signed with initials and dated 1808, oil on panel 17.75cm x 12.75cm (7in x 5in) Provenance: Painted for Henry Phipps, 1st Earl of Mulgrave (1755-1831) Christie’s, 12 May 1832, lot 64, where acquired by William Seguier (£44 2s) for Henry Petty-Fitzmaurice, 3rd Marquess of Lansdowne (1780-1863) and thence by descent Sold at an unknown date following the National Gallery of Scotland Ramsay, Raeburn and Wilkie 1951 exhibition Exhibited: David Wilkie, 1812, no.23 Royal Academy of Arts, London, Works by Old Masters and by Deceased Masters of the British School, 7 January - 11 March 1884, no.35 Grosvenor Gallery, London, A Century of British Art from 1737 to 1837, 1887-88, no.321 National Gallery of Scotland, Edinburgh, Loan Exhibition of Pictures by Sir Henry Raeburn and Other Deceased Painters of the Scottish School, 1901, no.40 Whitechapel Art Gallery, London, Scottish Art and History, 31 May - 9 July 1912, no.21 National Gallery of Scotland, Edinburgh, Ramsay, Raeburn and Wilkie, 1951, no.27

£4,000-6,000

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

Hamish Miles and Alex Kidson note in their forthcoming Wilkie monograph, to be published by the Paul Mellon Centre, that this painting is ‘one of the sketches that Lord Mulgrave acquired under an agreement he made with David Wilkie in 1807’. It is evidently a reduction from the prime composition rather than a working sketch, since there is evidence that ‘The Jews Harp’ itself was in a state of rough completion by 15 July 1808, whilst the present work appears to have been carried out between 20 and 22 July. On the last of those days Wilkie noted in his journal: ‘To the Admiralty and saw Lord and Lady Mulgrave, and showed them a small sketch of the picture I had begun, which they seemed to like.’

84

125 ERSKINE NICOL R.S.A., A.R.A. (SCOTTISH 1825-1904) THE LAST DROP Signed and dated 1872, oil on canvas 63.5cm x 48.5cm (25in x 19in)

£3,000-5,000

Erskine Nicol’s paintings typify the genre-style character

head perplexedly, while an older man points an authoritative

studies that were in high demand during the Victorian

finger, a grimace on his face. This work was painted in the

period. Nicol was born in Leith, but from an early age he fell

same year that Nicol was elected an Associate of the Royal

in love with Ireland, and accordingly his pictures often depict

Scottish Academy.

Scottish and Irish life through the lens of nineteenth-century social issues. His work is distinguished from that of his contemporaries by its mischievous wit, inviting us to delight in character archetypes that will be familiar to most viewers.

The Last Drop dates to 1872, by which point Nicol was a prolific and successful exhibitor across Scotland and England. Of his portraits, William McKay wrote that ‘His brush seldom portrayed beauty… but his adroit touch is

The Pedagogue was executed early in Nicol’s career, and

singularly happy in its application to the suntanned faces of

may constitute a tongue-in-cheek allusion to Nicol’s own

pronounced physiognomy and dilapidated costume’. (William

experience of working as a teacher at Leith High School

D. McKay, The Scottish School of Painting, Duckworth & Co.,

and, later, in Dublin. A ruddy-cheeked youth scratches his

London and Charles Scribner’s Sons, New York, 1906, p.347)

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

86

126 ERSKINE NICOL R.S.A., A.R.A. (SCOTTISH 1825-1904) THE PEDAGOGUE Signed, signed, inscribed and dated 1855 to contemporary label verso, oil on panel 30.5cm x 25.5cm (12in x 10in)

£1,500-2,500

87

127 ROBERT HOPE R.S.A. (SCOTTISH 1869-1936) LADY OF THE LAKE Signed, oil on canvas 91cm x 71cm (36in x 28in)

£2,000-3,000

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

88

‘Bough’s balance of realism with the scenic makes his

economic viability of sail-powered boats. Bough’s portrayal

pictures resonate with the viewer - the familiar and the

of a harbour crowded with sailboats, their intricate masts

extraordinary combined’.

and rigging rendered with affectionate exactitude, may be

Samuel Bough: 1822-1878, The Fine Art Society,

somewhat romanticised, yet on the far-right horizon he has

Thoughtwell Ltd, Edinburgh, 2014, p.5

painted a chugging Wemyss-bound steamboat, heralding the

Like a stage curtain, the sun rises over West Wemyss to

advent of industrial modernity.

reveal the aftermath of a storm. The wind is still high, and

A fervent admiration for J.M.W. Turner’s maritime paintings

the boats roll on the churning sea, which glints in the low

led Bough to specialise in harbour scenes from the mid-

light. The composition’s theatrical quality is furthered by

1850s onwards. Indeed, he would on occasion compose

Bough’s signature technique of painting ‘into the sun’, so

pictures from an identical vantage-point previously used

that much of the foreground is cast into dramatic shadowy

by Turner. Bough was a self-taught artist and likely found it

silhouette under the pinks, blues and golds of the lightening

instructive to paint and draw inspired by Turner exemplars

sky. So dark is the water that we, like the sailors, must

(for example in 1837 Bough, aged only fifteen, painted

scan the waves to assess the damage incurred overnight:

Berwick-upon-Tweed from the same vantage point as Turner

inspection reveals the floating fragmentary remains of

had. A further version painted in 1863 is in the National

sailboats and barrels. Yet life must go on: to the left, a cluster

Galleries of Scotland (NG 2121)). Bough’s reverence for

of fishing boats deliver the morning catch to the waiting

Turner might account for certain similarities between

hands on the harbour, to be sorted and carried to markets

West Wemyss Harbour and Turner’s 1840 masterpiece The

inland.

Slave Ship (Museum of Fine Arts Boston, 99.22), which

West Wemyss is situated on the north shore of the Firth of Forth, and takes its name from the Wemyss family, who have been resident in the area since the twelfth century. From the seventeenth century onwards West Wemyss harbour served as a major entrepôt for the exportation of coal mined on the family’s estate, and the importation of wood, flax and iron.

The honing of steamboat technology over the course of the nineteenth century signalled the beginning of the end of the

is rendered on a comparably monumental scale of 91cm x 123cm. Bough’s painting does not set out to bear an equivalent political charge to Turner’s; instead, it is as if Bough felt enticed by the technical challenges presented by the rosy sky, rolling sea, and narrative dynamism achieved by the master of Romantic painting, but determined to interpret these components in his own distinctly Scottish style. The expert animation of the harbour and sky in West Wemyss Harbour demonstrates this painting’s importance, underlining Bough’s prowess as a maritime painter which is arguably unparalleled amongst his Scottish contemporaries.

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

128 SAMUEL BOUGH R.S.A. (SCOTTISH 1822-1878) WEST WEMYSS HARBOUR - A GUSTY DAY Signed and dated 1854, oil on canvas, arched top 101.5cm x 127cm (40in x 50in) This painting is probably the one exhibited at the Royal Scottish Academy, Edinburgh, in 1856 under the same title (no.199).

£20,000-30,000

90

129 JOSEPH FARQUHARSON R.A. (SCOTTISH 1846-1935) HOMEWARD BOUND IN THE SNOW, SUNSET Signed, oil on canvas 33cm x 46cm (13in x 18in)

£7,000-10,000

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

91

130

131

JOSEPH FARQUHARSON R.A. (SCOTTISH 1846-1935)

JOSEPH FARQUHARSON R.A. (SCOTTISH 1846-1935)

RETURNING AT TWILIGHT

SUNSET AND SHEEP

Signed, oil on canvas

Signed, oil on canvas

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

29cm x 44.5cm (11.5in x 17.5in)

£3,000-5,000

Provenance: Alice Toole Bowie Maring (1896-1982), Birmingham, Alabama Given by her to Birmingham Museum of Art, Alabama in 1967 (acc.no.1967.11) De-accessioned by the above in 2024

£3,000-5,000

93

132

133

LOUISE RAYNER (BRITISH 1829-1924)

LOUISE RAYNER (BRITISH 1829-1924)

OLD HOUSES, HEAD OF WEST BOW

THE ROYAL MILE, EDINBURGH

Signed, watercolour

Signed, watercolour

56.5cm x 46cm (22.25in x 18in)

47cm x 73cm (18.5in x 28.75in)

Provenance: MacConnal-Mason & Son Ltd, London Lyon & Turnbull, The Drambuie Collection Part I, 26 January 2006, lot 127

Provenance: Mrs B. B. Spencer Lyon & Turnbull, The Drambuie Collection Part I, 26 January 2006, lot 86

£6,000-8,000

Exhibited: Richard Green, London, An Exhibition of Victorian and Romantic Paintings, 1995, no.24

£7,000-10,000

Edinburgh’s mile-long High Street spans the Castle, perched

artistic family, with both parents and five of their daughters

at the top of the Old Town, and Holyrood Palace, in the

earning a living by their art. Louise first exhibited an oil at

lee of Arthur’s Seat. The street, better known as ‘The Royal

the Royal Academy of Arts in 1852 at the age of twenty,

Mile’, will be familiar to any tourist who has paid Edinburgh

and by 1860 she had committed exclusively to watercolour

even the briefest of visits owing to its central location,

painting as her medium of choice. Louise would accompany

historical significance and iconic architecture. Louise Rayner’s

her brother Richard, an architect, as his profession took him

watercolour The Royal Mile, Edinburgh demonstrates how little

around Britain, which is likely how the pair came to visit

the area has changed in around 175 years.

Edinburgh. The detail and subtle tone of Louise’s Edinburgh

Rayner was born in Derbyshire in 1832, but by the early 1840s her family had moved to London. The Rayners were an

watercolours demonstrates her mastery of the notoriously unforgiving medium.

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

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134 JOSEPH HENDERSON R.S.W. (SCOTTISH 1832-1908) MENDING THE NETS Signed, oil on canvas 46cm x 61cm (18in x 24in)

£1,500-2,000

135 DAVID FARQUHARSON A.R.A., A.R.S.A., R.S.W., R.O.I. (SCOTTISH 1840-1907) FOREST AND LAKE Signed and dated 1878, signed, inscribed with title and dated verso, oil on canvas 36cm x 46cm (14in x 18in)

£1,500-2,000

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

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136 § JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) MILLHILL DAM, CARSE OF GOWRIE Signed, oil on canvas 63.5cm x 76cm (25in x 30in) Provenance: Mrs E. C. Mackintosh Exhibited: Royal Scottish Academy, Edinburgh, 1968, no.108 (from where acquired by Mrs E. C. Mackintosh)

£4,000-6,000

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137 JOHN RITCHIE (SCOTTISH 1828-1905)

so too in the work of painters such as William Powell Frith,

STREET SCENE ON A WINTER DAY - A SLIDE

Thomas Faed and John Ritchie.

Signed and dated 1854, oil on canvas 61cm x 112cm (24in x 44in)

Street Scene on a Winter Day - A Slide is expansive in its

Provenance: James Keith M. Newman Ltd, London

scope, allowing Ritchie to comprehensively illustrate the

Exhibited: Royal Scottish Academy, Edinburgh, 1854, no.225 (lent by the publisher Mr James Keith)

£10,000-15,000

hijinks of a group of boys who have come across an ice slide on the streets of Edinburgh. Ritchie revels in the spectrum of emotion from the determined expressions of those sliding in from the right-hand side, to the shock of the boys in the centre who spot the impending pile-up, culminating in the

Nineteenth-century Britain underwent an unprecedented

gleeful tumble of limbs on the left as the children fall to the

demographic expansion and redistribution. Accordingly,

ground. It is just as well that the boy crouching in the very

Victorian depictions of the crowded unpredictability of

centre of the composition wears a scarf tied around his

urban life felt distinctly contemporary. Social-realists

ears, which protects his head from the chill of the snowball

populated their works with ‘larger than life’ characters from

that has just found its target. Outraged, he wheels round

across the class spectrum who were often jostling to further

to identify his assailant, who has wisely positioned himself

their own agenda, charging a work with narrative potential.

to the lower centre: he is already poised, on all fours, with

So it was in the prose of Dickens, Gaskell and Thackeray;

a further snowball. One adventurous soul wears a wicker

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138 trug as a protective shield on his back, the vegetables it

JOHN RITCHIE (SCOTTISH 1828-1905)

previously carried abandoned on the snow. Evidence of

CURLING ON THE WATER OF LEITH

further summarily forgotten errands can be found in the

Signed and dated 1856, oil on canvas

letter-bundle and loaves of bread flying through the air, and the upturned basket of onions. A pamphlet affixed to the far-left wall reminds the viewer of the ongoing Crimean War,

85cm x 107cm (33.5in x 42in) Provenance: Lyon & Turnbull, The Drambuie Collection Part I, 26 January 2006, lot 88

£10,000-15,000

which had raged since October 1853, but Ritchie’s painting celebrates the suspension of worldly duties and cares for the simple pleasure of playing in the snow - even if only for a few moments. It is evident that the ice slide has proven a delightfully irresistible prospect for these boys.

By the end of the eighteenth century, curling had become Scotland’s favourite game. (David B. Smith, ‘An Account of the Duddingston Curling Society, 1795-1854’, Book of the Old Edinburgh Club, New Series 7, 2008, pp.87-126).)

Although the precise location of Curling on the Water of Leith has yet to be confirmed, it appears the setting is Canonmills

Loch, which lay at the foot of Edinburgh’s New Town and was frequently the setting for curling matches in the winter. Painted two years after Street Scene on a Winter Day, Ritchie’s curling scene demonstrates a shift away from pure narrative towards an exquisite evocation of atmosphere, using thin washes and glazes to evoke the sense of chill evening light. The figures are incidental to the composition, their preoccupation overshadowed by the intensely visualised winter landscape.

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

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139 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)

£8,000-12,000

140 WILLIAM PAGE ATKINSON WELLS R.B.A. (SCOTTISH 1872-1923) SUMMER AFTERNOON Signed and dated ‘08, oil on canvas 81cm x 101.5cm (32in x 40in) Provenance: Dr William J. C. Watt Presented to the Paisley Art Institute by the above

£8,000-12,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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141 WILLIAM STEWART MACGEORGE R.S.A. (SCOTTISH 1861-1931) MARKETPLACE, LUGANO Signed, oil on canvasboard 30.5cm x 41cm (12in x 16in)

£1,000-1,500

142 WILLIAM STEWART MACGEORGE R.S.A. (SCOTTISH 1861-1931) THE POPLARS Signed, oil on canvas 39cm x 49.5cm (15.5in x 19.5in)

£1,500-2,000

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143 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) KILCHURN CASTLE, LOCH AWE Signed, oil on canvas 38cm x 76cm (15in x 30in) Provenance: Martyn Gregory, London

£4,000-6,000

144 EDWARD ARTHUR WALTON R.S.A., P.R.S.W., H.R.W.S. (SCOTTISH 1860-1922) EVENING NEAR ROSNEATH Signed and dated 1880, inscribed with title on stretcher verso, oil on canvas 46cm x 30.5cm (18in x 12in)

£2,000-3,000

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145 EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) GATHERING PRIMROSES Signed and indistinctly dated 191X, oil on canvas 76cm x 91cm (30in x 36in)

£10,000-15,000

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146 EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) GIRL BY A WINDOW Signed and dated ‘96, signed and inscribed verso ‘A mon ami Jas. Dick’, oil on canvas 30.5cm x 25.5cm (12in x 10in)

£5,000-7,000

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

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147

Gemmell Hutchison was born in Edinburgh in 1855. He abandoned

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

early training as a seal engraver to pursue painting, and enrolled at the

FEEDING THE GULLS Signed, inscribed with title to label verso, oil on board 20cm x 25.5cm (8in x 10in) Provenance: McEwan Gallery, Ballater, 1991

£2,000-3,000

Manufacturer’s School of Art in Edinburgh. His tutor, William McTaggart, proved immensely influential on the young Gemmell Hutchison, who developed his own interpretation of British Impressionism.

In 1905 Robert Gemmell Hutchison travelled to Holland to view paintings of the Hague School, and was particularly struck by Jozef Israëls’ (18241911) depictions of the daily routines of fishermen, peasants and children.

Upon his return to Scotland, he resolved to paint en plein air with a looser, lighter, more painterly approach. He eschewed the tragedy that permeated Israëls’ work in favour of gentleness and innocence. Gemmell Hutchison came to specialise in sympathetic depictions of children playing on beaches, and the Dutch caps they often wear have come to be seen as one of the artist’s signature motifs.

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

£5,000-7,000

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

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149 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) TUG OF WAR Signed, oil on canvas 61cm x 97cm (24in x 38in) Provenance: Lyon & Turnbull, Fine Paintings, 28 May 2009, lot 35

£40,000-60,000

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

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150 MAURICE WILLIAM GREIFFENHAGEN R.A. (BRITISH 1862-1931) THE MERMAID Signed and dated 1918, inscribed with title and Artist’s address verso, oil on canvas 104cm x 106.5cm (41in x 42in) Provenance: J. A. D. McKean, Paisley Presented to Paisley Art Institute by the above in 1919 Exhibited: Royal Glasgow Institute, 1928, no.116

£15,000-20,000

Mermaids have appeared in folklore across the world for centuries. The mystery of the ocean with its great depths and unpredictable turbulence inevitably gives rise to speculation as to what may lie beneath. With the head and torso of a woman and the lower body of a fish, these compelling creatures have unsettled narratives, being viewed as both symbols of good luck and safety for

taught at Glasgow School of Art as Professor of the Life Classes,

sailors and as an indication of impending danger. These meanings

though he attended the school as little as was feasible to allow

have enmeshed with the lore around sirens, the beautiful and

the maintenance of his own art practice in London. The students

cruel female creatures of the sea who use their song to lure

were left day-to-day in the capable hands of his assistant

men to their deaths. Mermaids are also imbued with a sense of

professors, including fellow artist David Forrester Wilson (see

longing: they yearn for a life on land which they can’t physically

Lot 154). Greiffenhagen uses The Mermaid as an opportunity to

survive, while humans, in turn, covet the mermaid exoticism and

display his talent for both compelling design and proficient life

beauty; it is an eternally doomed relationship. This atmosphere

drawing, alongside his enjoyment of rich colour and ability to

of longing is what Greiffenhagen so dramatically captures here.

create a unified decorative scheme, with the background rich

The sinuous bodies of both figures are captured in a dynamic

and shimmering around the central drama.

tension with each other, with the mermaid’s auburn hair and glistening tail filling the right-hand side of the composition and compelling the sailor towards her. The aquatic background throws their pale skin and her glittering scales into sharp relief, its sumptuous dark blues enriching the scene as the shimmering reflections are picked up in dotted highlights. The mermaid is depicted combing out her long lustrous hair, a common symbol associated with both vanity and the sea that highlights her beauty and allure.

Greiffenhagen’s most famous work is An Idyll of 1891, a dramatic decorative work of a shepherd grabbing a woman in a moment of passion, surrounded by pastureland dotted with red poppies. It gained great popularity and ultimately inspired D.H. Lawrence’s debut novel, The White Peacock. Lawrence felt that this painting was a visual representation of the word passion and wrote from that place. This symbolist understanding of art as a means to convey emotion and feeling rather than represent life is a further lens through which to understand The Mermaid.

Maurice Greiffenhagen had a strong sense of design. He worked

There is a story here, but we don’t quite know what it is; instead,

extensively on book illustrations and commercial posters, as

there is a strong atmosphere of suspense and desire. A striking

well as painting, throughout his career. From 1906 until 1926 he

image, this lush painting celebrates the enduring allure, drama and mystery of beautiful women and the sea.

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

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151 § DOROTHY JOHNSTONE A.R.S.A. (SCOTTISH 1892-1980) THE YOUNG FISHERGIRL Signed, oil on canvas 46cm x 38cm (18in x 15in)

£1,500-2,000

152 § ARCHIBALD A. MCGLASHAN R.S.A. (SCOTTISH 1888-1980) THE BLUE HAT - PORTRAIT OF MRS ALEXANDER MUIR Signed, oil on canvas 71cm x 54cm (28in x 21.25in)

£800-1,200

153 HARRINGTON MANN R.P., R.E. (SCOTTISH 1864-1937) MARY STUDHOLME Inscribed on a label verso, mixed media 32cm x 21.5cm (12.5in x 8.5in) Caroline Maria Lupton (1872-1930), who went by the stage name Marie Studholme, was an English actress and singer famed for her supporting and sometimes starring roles in Edwardian musical comedy. She was particularly active between 1891 and 1915, becoming one of producer George Edwardes’ famous ‘Gaiety Girls’ and originating several roles in musical comedies. Her looks earned her renown and she became one of the most celebrated ‘postcard beauties’ of the day.

£1,500-2,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

David Forrester Wilson is a difficult artist to pin down. In recent years, his name has become, rather surprisingly, associated with the great Pop Art icon Andy Warhol, who it turns out was a great fan of his work and owned a selection of his paintings. They were included in the auction of the artist’s personal collection in 1988 and one particularly Symbolist composition, The Wind, which had been displayed prominently at The Factory, went on to achieve $110,000, ten times its pre-sale estimate. Vanity allows comparisons to this work in its rich celebration of beauty, colour and sensuality - quite at odds with the more naturalistic landscapes that Forrester Wilson also produced in his career.

Despite the evocative nature of his Symbolist paintings and the rather eclectic nature of his contemporary collectors, Forrester Wilson himself lived a very stable existence,

154

living in Milngavie, Ayr, the city of Glasgow and ultimately

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

Islay over the course of his life, as he painted, exhibited

VANITY

trained at the Glasgow School of Art and travelled in

Signed and dated 1918 twice, inscribed to stretcher verso ‘Forrester Wilson, School of Art, 167 Renfrew St, Glasgow’, with a preliminary sketch verso, oil on canvas

Europe, as advised by his teachers to develop his practice,

115cm x 130cm (43.25in x 51.25in)

before ultimately joining the teaching staff, working under

Exhibited: Royal Scottish Academy, Edinburgh, 1919, no.125

Maurice Greiffenhagen and eventually succeeding him on

£30,000-50,000

and taught. The son of a lithographer, Forrester Wilson

his retirement (see Lot 150). Forrester Wilson looked to a wide range of artists for inspiration, from his original teacher the Belgian Symbolist painter Jean Deville to his Scottish predecessors, the Glasgow Boys, including James Guthrie and John Lavery, as well as his contemporaries, including The Four: Charles Rennie Mackintosh, Frances and Margaret Macdonald and Herbert MacNair. Forrester Wilson was also influenced by the work of artists including J.M. Whistler and Jules Bastien-Lepage and this open-mindedness is evidence of his own desire to evolve and learn, both in his own practice and as he taught the next generation.

The artist was committed to exhibiting his work and made regular submissions to both the Royal Scottish Academy in Edinburgh and the Royal Glasgow Institute, as well as exhibiting internationally in Chicago and Pittsburgh, U.S.A. Throughout the 1920s Forrester Wilson exhibited a number of works with poetic titles that evoked concepts, sounds and sensations, rather than a particular subject or narrative, aligning with the broader ideals of the wider Symbolist movement. A reaction against previously prevailing naturalist and realistic depictions of the world, Symbolist works were concerned more with feeling and atmosphere, conveying emotion across art, poetry and literature.

The word ‘vanity’ is defined as ‘an excess of pride in one’s appearance or achievements’ or ‘something worthless’ or ‘with a lack of real value.’ Here, this title in combination with the image, evokes a feeling of indulgence and maybe even a subversion, a typically Symbolist reaction against the idea that an artwork requires meaning. It is difficult to assert a narrative here. Forrester Wilson underpins the dramatic composition with skilled drawing and design, taking his life school talent out of an academic context and into the creation of this mysterious and languid scene.

Classical elements are present as well as rich colour, but the large space and lack of interaction between the two figures subverts a clear storyline. Instead, we are drawn into this unspecified locale of light skies, dense trees and pale stone, where there is a sense of leisure and idleness in the expanse of pale skin, lush, draping fabrics and the presence of a majestic peacock, its extravagant tail just temporarily at rest. It is maybe not surprising that this was painted in 1918, when established narratives were failing and people were looking for beauty, for a way to escape to an image outside of their time. Despite its dramatic scale and composition, the overall feeling is of peace, so, despite the title’s ostensibly negative connotations, perhaps a little Vanity proves not so bad after all.

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155 § MARGARET HISLOP R.S.A., R.B.A. (SCOTTISH 1894-1972) FANTASY - VENICE BY MOONLIGHT Signed and inscribed with title verso, oil on board, and a companion, a pair, The Casino (2) each 29cm x 39.5cm (11.5in x 15.5in)

£800-1,200

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

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

£3,000-5,000

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157 ALEXANDER JAMIESON R.O.I. (SCOTTISH 1873-1937) IN THE GARDENS, FONTAINEBLEAU Signed and dated 1911, signed and dated to stretcher and canvas verso, oil on canvas 66cm x 81cm (26in x 32in)

£7,000-10,000

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

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Of all the Glasgow Boys, George Henry is one of the

158

most notable for the diversity and innovation of his

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

artistic output. From realist works inspired by the French

A SUMMER IDYLL

naturalist school, through avant-garde forays into folkloric

Signed and dated 1922, oil on canvas

subject matter that demonstrated an engagement with

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

Symbolism and Post-Impressionism, Henry’s abundant skill

£7,000-10,000

encompassed the fast-moving developments in European art at the end of the nineteenth century.

A further genre mastered by Henry, though more quietly celebrated by art history books, was his success within the

From 1890 onwards, The Glasgow Boys saw their work

area of society portraiture. Following in the footsteps of

gradually absorbed into the Royal Scottish Academy, as well

Walton, Guthrie and Lavery before him, Henry knew that

as shown in London’s Royal Academy, New English Art Club

a reliable income - and indeed public acceptance - lay the

and the Grosvenor Gallery with increasing regularity. This

way of the society portrait. Initially deployed as a method

was accompanied by press attention and positive critical

to raise funds to repay creditors in Glasgow, Henry would

regard. Success in Europe and America towards the end

ultimately lean into portraiture as the predominant means

of the decade lifted their reputations even further and,

of supporting his career, trailing his peers to London and

as their stock rose, so too did the volume of their portrait

establishing a studio there.

commissions.

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159 GEORGE HENRY R.A., R.S.A., R.S.W. (SCOTTISH 1858-1943) LADY WITH GREEN SCARF Signed and dated 1917, oil on canvas 107cm x 81cm (42in x 32in) Provenance: Mrs Fergus Morton and Mrs J. W. H. Gow Presented to Paisley Art Institute by the above in 1937 in memory of their father, James Begg, a former President of the Institute

£5,000-7,000

The Edwardian era was a popular time for portraiture. In

Lyon & Turnbull are delighted to present to market two

the period immediately preceding the First World War it

exceptionally fine portraits by George Henry: Beauty and the

was undergoing a revival, a ‘luxurious finale’ to a gilded

Beast and Lady with a Green Scarf.

age in Britain. At a time that saw the popularisation of the photographic portrait, a likeness in paint became a more rarified signifier of status. Likewise, an expanding middle class viewed portraiture as a means by which to cultivate their aspirations. Portrait artists held a lot of social cachet in this period. Indeed, it could be said that no respectable dinner party was complete without one. Many, including Whistler, Sargent and Lavery, attained celebrity within society circles. It was felt that a portrait by the right artist had the power to ‘make’ a reputation.

Portraiture at the time contained subsets of trends, led in the main by the two greatest figures of influence, Whistler and Sargent. The Glasgow Boys were famously devotees of the Whistlerian aesthetic, and this is most clearly borne out in Beauty and the Beast. This is manifest in the drama of simple shapes against a minimalistic background, the balanced pre-occupations of aestheticism with factual likeness, and above all, the restrained palette of harmonious tones. It is an unusually arresting portrait of a young girl on the cusp of womanhood, in which the artist is playfully

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160 GEORGE HENRY R.A., R.S.A., R.S.W. (SCOTTISH 1858-1943) BEAUTY AND THE BEAST Signed, oil on canvas 122cm x 96.5cm (48in x 38in) Provenance: William Muir McKean, Paisley Presented to Paisley Art Institute by the above in 1932 Exhibited: Royal Scottish Academy, Edinburgh, 1944, no.369 Royal Glasgow Institute, 1944, no.293

£10,000-15,000

overt about the subtext connoted by the painting’s title.

is given to the bravura brushwork of the fabulous scarf the

The strong, glancing light is nothing short of dramatic, and

sitter wears. This portrait feels less a psychological study of

in impactful contrast with the childlike ‘prettiness’ of the

the subject than an artist revelling in his powers as a painter,

pink bows and white lace of her hair ribbon and dress. The

the former sacrificed to the latter to extremely decorative,

shadows which portentously loom behind the sitter serve to

rather than detrimental, effect. This brushwork could be

enhance the allegory at the portrait’s heart. Her expression

seen as a move towards a more modern simplicity in style,

is hard to place – simultaneously direct and reticent, the

all ‘wriggle and chiffon’, as Walter Sickert so superbly

overall effect being subtly enigmatic.

summarised the trend at the time.

Lady with a Green Scarf, dated 1917, is perhaps more in the manner of Sargent. There is a stronger feeling of Henry’s naturalist roots in the sense of movement in the pose; the figure turning, lost in reverie perhaps, toying with her fan.

The space she occupies is not descriptive; instead, the focus Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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161 § CHARLES OPPENHEIMER R.S.A., R.S.W. (SCOTTISH 1876-1961) WATERSIDE, KIRKCUDBRIGHT Signed, inscribed with title to Artist’s label verso, oil on canvas 63.5cm x 76cm (25in x 30in) Provenance: Acquired by the present owner’s family in 1963 Exhibited: Royal Scottish Academy, Edinburgh, 1933, no.89

£10,000-15,000

Water-side, Kirkcudbright can be dated from between these years and was the second in a series of images of Kirkcudbright harbour and the buildings that lie behind and to its side. The first painting, Low Tide, Kirkcudbright, is in the collection of the Atkinson Gallery in Southport (acc.no.SOPAG:547). These two and successive paintings helped secure his place in the RSA.

Water-side, Kirkcudbright was painted at a critical time in Charles Oppenheimer’s artistic career in the early 1930s.

Oppenheimer moved to Kirkcudbright in Galloway in late 1908, swapping the smoke and grime of Edwardian Manchester for the special light and calm of this small, rural harbour town. He left behind his family’s mosaic business determined on a career as a

Water-side, Kirkcudbright was illustrated in The Scotsman newspaper on 21 April 1933. It was bought from the RSA exhibition of that year and was subsequently auctioned in Sussex thirty years later. It has remained in the present owner’s family since.

full-time, professional artist. His painting flourished. He achieved a

The rise and fall of the tide in the Dee Estuary, the different

growing reputation marked by election in 1911 to membership of

seasonal light, the reflections in the water and ripples of a breeze

the Royal Scottish Society of Painters in Watercolour. Then came

inspired Oppenheimer whose mastery of colour and tone is

the Great War.

evident in the rendering of the weather-worn white of the harbour

Oppenheimer had to return to Manchester in 1915 to help run the mosaic business in the absence of his brother, Lehmann, who

buildings in the middle ground stained by the tide and the browns, blacks and greys of MacLellan’s Castle behind.

had enlisted in his forties, partly to dispel suspicions of the family’s

Oppenheimer said that the finest buildings grow out of the land

loyalties because of its German sounding name. Charles, who had

and come to form part of the landscape in which they are set.

previous military experience as a volunteer, also served on the

Water-side, Kirkcudbright, illustrates his concept. He responds to

Western Front first in the Royal Garrison Artillery and then in the

the interlocking shapes and the intricate colours turning nature

Intelligence Section of 1 Corps. His war service saw him variously

and human construction into a harmonious whole. He painted

as a gunner, dispatch rider and photographer, this latter risky

the same view under snow in Winter Morning, Kirkcudbright which

activity from aloft in a biplane leaning over the side to photograph

is currently untraced. It was also illustrated in The Scotsman two

the enemy trenches and emplacements below. Oppenheimer was

years later in April 1935 being in that year’s RSA exhibition.

to have become an official war artist upon the recommendation of many of his peers but the Armistice in 1918 came just before he was to take up his appointment in Italy.

Resuming his career back in Kirkcudbright, it took a while to reestablish his reputation. His success in so doing was recognised when he became an Associate of the Royal Scottish Academy (RSA) in 1927 and was elected to full membership in 1934.

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

His strong emotional response to this scene explains Oppenheimer’s passionate championing of these buildings threatened with demolition in the 1950s but now happily housing the town’s Harbour Cottage Gallery.

With thanks to Euan Robson, author of Charles Oppenheimer: From Craftsman to Artist (Atelier Books, Edinburgh, 2012) for writing this essay.

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162 §

163

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

JOSEPH CRAWHALL R.S.W., N.E.A.C. (SCOTTISH 1861-1913)

LE GUILVINEC Signed, inscribed and dated July 1959, watercolour 57cm x 44.5cm (22.5in x 17.5in)

£3,000-5,000

IN THE PADDOCK Signed, gouache on linen 27.9cm x 37.5cm (11in x 14.75in) Provenance: The Fine Art Society from where acquired by the present owner in 1985 Exhibited: The Fine Art Society, Festival Exhibition: Camels, Cobwebs and Honeysuckle, 1985. no.24 Literature: Vivien Hamilton, Joseph Crawhall 1861-1913: One of the Glasgow Boys, John Murray, London, 1990, pp.135-36, ill.no.115.

£20,000-30,000

A watercolour virtuoso, Joseph Crawhall is best known for his highly personal and, at times, witty depictions of animals and birds.

Traditionally associated with the Glasgow Boys, Crawhall shared in the group’s collective appreciation for light, colour, composition and design. Unlike his contemporaries, however, he aimed to simplify his style, capturing everyday scenes with few lines and minimal brushstrokes. Sir John Lavery once said of Crawhall: ‘No artist I have known could say more with fewer brushstrokes’.

By all accounts, Crawhall maintained a keen interest in horses and enjoyed nothing more than a day out at the races, often accompanied by an excited niece or nephew. Accordingly, he made a number of paintings along this theme. In her study of Crawhall’s

life and work, Vivien Hamilton speculates that In the Paddock’s ‘pose, accuracy and detail suggests that Crawhall might have made use of photography.’ Based on the style and subject, Hamilton suggests a date between 1894 and 1900. The scene portrays a mounted rider surveying his surroundings, while behind two women in deep discussion sit under a parasol, both dressed for a summer’s day in straw hats and white dresses. Hamilton reflects that In the Paddock [is] unusual in his treatment of the theme in that, whilst concentrating on horse and rider, they suggest the social aspect of the occasion.’ (Vivien Hamilton, op.cit., pp.135-137) Like the mounted rider, Crawhall was quiet by nature, preferring to sit back and observe his surroundings in contemplation.

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A SCOTTISH COLOURIST IN FIFE: GEORGE LESLIE HUNTER & LARGO George Leslie Hunter can be considered the most independent of the four artists known as the Scottish Colourists, along with F. C. B. Cadell, J. D. Fergusson and S. J. Peploe.

Although born in Rothesay on the Isle of Bute, Hunter emigrated to California whilst a teenager and began his career in San Francisco.

However, the destruction of his work in the city’s earthquake of 1906 prompted a move to Glasgow, which was to remain the base of a nomadic lifestyle until his death in 1931.

It is not known what first drew Hunter to work in Fife in eastern Scotland, which is bordered by the Firth of Tay, the Firth of Forth and the North Sea. However, between 1919 and 1924 he spent part of each spring and summer in the region, with its fertile and in parts coastal landscape, as well as its picturesque architecture the focus of his creative endeavours, as seen in Fife Landscape. As Hunter’s biographers Bill Smith and Jill Marriner

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

have pointed out ‘It was there that he made the break to paint en plein air. The artistic ground he gained as a result marked an important turning point in his development in terms of modern colour.’ (Bill Smith and Jill Marriner, Hunter Revisited: The Life and Art of Leslie Hunter, Atelier Books, Edinburgh, 2011, p.79).

‘Largo’ comes from the Gaelic word meaning hillside and is the name of a region in the East Neuk of Fife. It consists of the villages of Upper and Lower Largo and Lundin Links. It was in this area that Hunter painted Boats and Figure, Largo and Figures on the Pier, Largo. Given their intimate scale, they were probably made on the spot in direct response to the views before him, of modest fishing boats moored at Lower Largo harbour. Particular attention is paid to the

Both paintings passed through the hands of the renowned dealer Alexander Reid, in whose Glasgow gallery, La Société des Beaux Arts, Hunter received his first solo exhibition in 1913. Reid did much to support Hunter’s career, championing him alongside his fellow Colourists in exhibitions mounted in London and Paris, whilst his son, A. J. McNeill Reid, organised a solo exhibition at the Feragil Galleries in New York in 1929.

vertical mooring posts, the draw of mooring ropes and the

Paintings of Largo by Hunter can be found in various public

colourful figures arrayed along the pier. The depiction of

collections including those of Aberdeen Art Gallery and

water in motion is signified by expressive brushstrokes,

Museums, The Fleming Collection, London, The Hunterian,

whilst highlights of bright colour, especially of red, enliven

University of Glasgow, Kelvingrove Art Gallery and Museum,

the compositions.

Glasgow, Perth Art Gallery and the National Galleries of Scotland.

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164 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) FIGURES ON THE PIER, LARGO Signed, oil on panel 19.5cm x 29cm (7.75in x 11.25cm) Provenance: Alexander Reid, Glasgow Richard Green, London (BJ 71 MS)

£15,000-20,000

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

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165 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) BOATS AND FIGURE, LARGO Signed, oil on panel 19.5cm x 29cm (7.75in x 11.25in) Provenance: Alexander Reid, Glasgow Richard Green, London (SP 5150 MS)

£10,000-15,000

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

127

166 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) A FIFE LANDSCAPE Signed and dated ‘24, pen and ink and coloured chalk 25.5cm x 33cm (10in x 13in)

£1,500-2,000

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167

A PAINTER’S COUNTRY: GEORGE LESLIE HUNTER & THE SOUTH OF FRANCE

GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) HARBOUR, SOUTH OF FRANCE Signed, pen and ink and coloured chalk 31cm x 39cm (12in x 15.25in) Provenance: Alex. Reid & Lefèvre Ltd, London (as ‘Harbour Scene’)

£5,000-7,000

Between 1927 and 1929 Hunter spent extensive periods in

of France, show how much Hunter enjoyed the climate,

the south of France, already familiar painting ground for his

architecture and natural beauty of the region. All executed in

fellow Scottish Colourists F C B Cadell, J D Fergusson and S

pen, ink and coloured chalks, they reveal Hunter’s deftness

J Peploe. He wrote to his dealer, Alexander Reid, from Saint-

of touch, whether depicting a boat, building, tree or hillside.

Paul in 1927: ‘I like this country very much…I only came

Compositional devices such as a brightly-coloured boat in

up here a week ago and am settled in a nice little studio

the foreground, or a verdant tree stretching up the left-hand

attached to the hotel, where I can paint still life as well as

side are combined with red roofs, green shutters and yellow-

landscape…Fruit is just coming on and flowers are abundant.

painted houses to create idyllic, sunkissed scenes.

This is a painter’s country.’ (Quoted in T. J. Honeyman, Introducing Leslie Hunter, Faber and Faber Limited, London, 1937, p. 119).

All three works bear Alex. Reid & Lefèvre Ltd labels. The company was a merger of Alexander Reid’s Glasgow-based business, run by his son A. J. McNeill Reid following his

Favoured working locations also included Antibes, Saint

father’s retirement in 1925 and that of the London-based

Tropez and Cassis and works such as Harbour, South of

Ernest Lefèvre in 1926. It continued to champion Hunter’s

France, Street in Antibes and Houses on a Hillside, South

work for the rest of his life and in 1932 mounted a Memorial Exhibition in its Glasgow gallery in his honour.

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

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168 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) STREET IN ANTIBES Signed, pen and ink and coloured chalk 36cm x 31.5cm (14in x 12.25in) Provenance: Alex. Reid & Lefèvre Ltd., Glasgow

£3,000-5,000

169 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) HOUSES ON A HILLSIDE, SOUTH OF FRANCE Signed, pen and ink and coloured chalk 38cm x 30.5cm (15in x 12in) Provenance: Alex. Reid & Lefèvre Ltd., London (as ‘Landscape’).

£3,000-5,000

130

A SCOTTISH COLOURIST SCULPTOR: GOAT

BY JOHN DUNCAN FERGUSSON

John Duncan Fergusson is the only one of the four artists

completely sure-footed. What fascinated Fergus [sic] was

known as the Scottish Colourists – along with F. C. B. Cadell,

the way their hair grew…it was long but stood out in frills

Leslie Hunter and S. J. Peploe – to have worked in three

round their legs like trousers. Fergus made endless drawings

dimensions. Indeed, he made sculpture over some 50 years,

of them but said they must be done as sculpture, so when

with his first created in Paris in 1908 and the last thought

back in London he got a lump of plasticine and…carved it

to date from about 1955. The importance of this aspect of

into a goat he called Trousers and got it cast in brass. Later

Fergusson’s practice is clear in the inclusion of sculptures in

he had it enlarged for exhibition.’ (Margaret Morris, The Art

many of his exhibitions between 1912 and 1948.

of J. D. Fergusson: A Biased Biography, J. D. Fergusson Art

Goat comes from Fergusson’s most productive period

Foundation, Perth, 2010, pp.128-129).

of sculpture-making, the years approximately 1918 to

Due to the cost of having sculptures cast, Fergusson would

1922, when he was based in London. It was inspired by

often exhibit plaster versions of them, with a note that

a distinctive breed of goat owned by the businessman

the purchase price included foundry fees. Neither he nor

George Davison, who was a major patron to Fergusson and

Morris kept extant records of the piecemeal and sometimes

his partner, the dance pioneer Margaret Morris. Morris’s

posthumous casting of his sculptures but a plaster and brass

Summer School of 1919 was held at Davison’s home, Wern

version of Goat, at 21.5cm high, are in the collection of Perth

Fawr, in Harlech, north Wales and she recalled:

Art Gallery, presented by the J. D. Fergusson Art Foundation

‘For Fergus, the outstanding feature of the…Summer School at Harlech was the goats that G. D. [sic] had recently acquired. They were mountain goats, used to living and breeding among rocky crags…They jumped from rock to rock

in 1991. The Foundation was established by Morris in 1963, two years after Fergusson’s death, partly to secure and promote Fergusson’s legacy. Also in 1991, an unnumbered edition of ten casts of Goat, at a height of 10.5cm, was cast under the Foundation’s authority, from which the present work is number ten.

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170 § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) GOAT, 1921 (CAST 1991) Bronze, numbered 10/10 10.5cm x 7.5cm x 5.5cm (4in x 3in x 2in) Provenance: Acquired from the J. D. Fergusson Art Foundation in 1991 and thence by descent to the present owner

£3,000-5,000

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

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171 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) FIRS AT THE MASSIF DES CALANQUES, CASSIS Signed, oil on canvas 51cm x 61cm (20in x 24in) Provenance: James Hay Gauldie (1872-1956) and thence by descent to the present owners Exhibited: Kirkcaldy Museum & Art Gallery, Second Inaugural Loan Exhibition, July - August 1928 (as ‘Landscape, Cassis, France’) The Scottish Gallery, Edinburgh, Memorial Exhibition of Paintings by S. J. Peploe R.S.A., 1936, no.52 (as ‘Cassis’) The Royal Scottish Academy, Edinburgh, Festival Exhibition: S. J. Peploe R.S.A, F. C. B. Cadell R.S.A and Leslie Hunter, 25 August - 17 September 1949, no.39 (incorrectly titled ‘Antibes’)

£80,000-120,000

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

Firs at the Massif des Calanques, Cassis by S. J. Peploe dates from the third of four trips he made to the French port during a period of over twenty-five years, such was the inspiration it provided for him and for his fellow Scottish Colourists J. D. Fergusson and F. C. B. Cadell. His first was in the company of Fergusson in 1913. Having moved back to Edinburgh after spending the years 1910 to 1912 in Paris, this visit allowed Peploe to re-immerse himself in the world of avant-garde French art and Mediterranean sunshine. On his return in 1924, this time with Cadell, he happily wrote to his wife Margaret ‘Cadell and I get on very well and play billiards at night…or go down to the Liautaud [Hotel] for a drink…Cadell works away in his bedroom persistently.’ (quoted in Guy Peploe, S. J. Peploe 1871-1935, Mainstream Publishing, Edinburgh, 2000, pp.68-69) In 1928, during which stay the present work was made, Peploe came to Cassis after painting with fellow Colourist Leslie Hunter in Antibes, further east along the Côte d’Azur. Peploe’s final period of time in Cassis was from Easter until the early summer of 1930.

In the present painting, the artist’s enjoyment of the arabesque curving of the trunks is akin to his depiction of tulip stems in the celebrated still lifes of the late 1910s and early 1920s. The brilliance of the Riviera sunshine is emphasised by the deep shadows cast across bark and

Peploe enjoyed a practice based on working en plein

ground, whilst the trunk at the very foreground at the lower

air as well as in a studio. Trees, forests and woods are a

right hints at the continuation of the scene beyond the

mainstay subject of the former strand in his oeuvre and

confines of the canvas. The Calanques National Park is an

he was drawn to them in locations as varied as Antibes,

area of outstanding natural beauty, known for its ‘majestic

Cassis, Kirkcudbrightshire and the Scottish Highlands; the

cliffs, endless sea…[and]…exceptional flora and fauna’ (Cassis

windy weather on his beloved Iona prevents the growth of

Tourist Office website).

trees on the island. The expressive potential of trees, their trunks, branches and leaves, whether singular or growing in groups, provided Peploe with an endless variety of form and character with which to connect with nature and to establish a sense of place.

The importance of Peploe’s paintings of trees in the region of Cassis was made plain in the acquisition of La forêt for the French national collection from the landmark exhibition Les Peintres Ecossais: S. J. Peploe, J. D. Fergusson, Leslie Hunter, F. C. B. Cadell, Telfer Bear, R. O. Dunlop, held at the Galeries Georges Petit in Paris in March 1931. (Centre Pompidou, acc.no.JP 527 P). Firs at the Massif des Calanques, Cassis was included in the Memorial Exhibition of Peploe’s work mounted by The Scottish Gallery in Edinburgh in 1936, the year after the artist’s death. It was also selected for the Royal Scottish Academy’s landmark Festival Exhibition of the work of Peploe, Hunter and Cadell in 1949, which was the first time the three artists had been shown together in a public gallery and in the country of their birth. Incorrectly titled ‘Antibes’, a hand annotated copy of the exhibition catalogue in the archive of the National Galleries of Scotland notes ‘A. R. Sturrock R S A says this is a very fine picture.’ It was one of forty-four works by Peploe on display and was lent by James Hay Gauldie. Paintings of trees from the 1928 Cassis trip are held in the collections of the City Art Centre, Edinburgh and Kirkcaldy Galleries.

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172 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) PARISIENNE IN PROFILE Signed, charcoal 27.5cm x 21cm (10.75in x 8.25in) Provenance: The Artist’s family The Scottish Gallery, Edinburgh, 2014 (GCOS 28610)

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

137

173 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) GIRL IN AN INTERIOR Signed, oil on canvas laid down 28cm x 21cm (11in x 8.25in) Provenance: James Hay Gauldie (1872-1956) and thence by descent to the present owners

£7,000-10,000

Girl in an Interior is an early example of the Scottish Colourist

George Street in the Scottish capital, brought him acclaim

F. C. B. Cadell’s work and encompasses several strands that

and success in the pre-First World War period.

were to become celebrated within his practice. A standing female figure, possibly his sister Jean Dunlop Cadell (18841967) given her red hair, is positioned on the border of one space as it gives on to another. This compositional device was to be used to great effect when Cadell depicted items such as a Louis XV-style armchair on the threshold between the front and rear adjoining rooms in his home at 6 Ainslie Place in Edinburgh’s Georgian New Town during the 1920s.

Girl in an Interior shows how the emerging artist’s confidence in the use of colour, here seen most effectively in the hightoned blue of the door to the figure’s left and the gestural application of paint with brushstroke and layers clearly visible, was growing. Cadell’s enjoyment of his material is clear in passages such as the expressive swipes of his brush in horizontal and diagonal motions in the lower right and upper central areas of the image. This kind of bravado was to

Elegant women portrayed in stylish interiors, often modelled

develop into triumphant paintings including the Self-portrait

by his childhood neighbour Bethia Hamilton Don Wauchope

of c.1914, now in the collection of the National Galleries of

(1864-1944) and depicted in Cadell’s earlier studio at 130

Scotland (acc.no.PG 3755).

138

The Scottish Colourist F. C. B. Cadell’s love of the Hebridean

Cadell photographed by Ion Harrison outside Cnoc cùil Phàil, Iona, 1932. Courtesy National Library of Scotland, Edinburgh: Acc.11224/2

island of Iona, as seen in The Machair Bay (Bay at the Back of the Ocean) was such that he painted there nearly every summer from his first visit in 1912 until at least 1933, except during the First World War. The outstanding natural beauty of the tiny island had attracted artists in growing numbers since the midnineteenth century, amongst them Cadell’s friends William Caldwell Crawford, John Duncan and James Paterson.

Coupe has identified, the vertical rock step at the right-hand edge of the painting is the end of Eilean Didil (see Philip MacLeod Coupe, Paintings of Iona by F. C. B. Cadell and S. J. Peploe, privately published, 2014, p.201).

He may also have decided to venture from the West

This work is a classic example of Cadell’s depiction of

coast of the mainland and across the Sound of Iona from

the pristine white sand, luminous blues of the sea, fertile

neighbouring Mull due to his friendship with Ivar Campbell,

vegetation and varied geology of Iona, all captured under the

whose uncle, the 9th Duke of Argyll, owned the island. In

gentle Hebridean light of the area. The eye is led from the

his turn, Cadell introduced his fellow Scottish Colourist S.

sandy foreshore rising through the composition to the high

J. Peploe to the enchantments of Iona in 1920 and he too

horizon line and sun-kissed sky. Cadell enjoyed working en

returned regularly until the 1930s.

plein air and The Machair Bay is painted on a standard sized

In contrast to Peploe’s preference for the North End of the island, Cadell painted across Iona, from coastal views on the east and west, to the village and the Cathedral, to haystacks and croft buildings. The present painting depicts The Machair Bay on the west coast of Iona, which is also known as the ‘Bay at the Back of the Ocean’. As Philip MacLeod

and easy to transport board measuring 15 x 18”, on a white gesso ground. This absorbs paint allowing the artist to work quickly, an advantage when weather conditions could vary from one moment to another and necessitating the legend inscribed by Cadell in his favourite colour of blue paint on its reverse: ‘Absorbent Ground NEVER varnish’.

139

As can be seen in the present work and as Jessica Christian and

174

Charles Stiller have explained:

FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937)

‘Cadell was particularly attracted by the colours of Iona. He quite often interpreted them in daring and very personal combinations of bold and intense lime or mint greens, lemons, oranges, apricots, pink and purples, which in his hands could express Iona to perfection.’

(Jessica Christian and Charles Stiller, Iona Portrayed: The Island through Artists’ Eyes 1760-1960, The New Iona Press, Inverness, 2001, p.59).

Cadell most often stayed in the cottage Cnoc cùil Phàil, overlooking the Sound half a mile north of the Cathedral. Whilst on Iona he regularly wore Highland dress and a tammy. He became a well-known and liked visitor, nicknamed ‘Himself’ and was happy to be watched whilst at work. Cadell exhibited his paintings and watercolours of Iona regularly and they remain as popular today as when they were created whilst the artist was ‘warmed by the sun, blown by the wind’, as he wrote in an unfinished poem of 1913 (Cadell papers, National

THE MACHAIR BAY, IONA (BAY AT THE BACK OF THE OCEAN) Signed lower left, signed with initials and inscribed verso, oil on board 37cm x 44.5cm (14.5in x 17.5in) Provenance: Ewan Mundy Fine Art Ltd, Glasgow, from whom acquired by the present owner in 1999 Exhibited: Possibly The Society of Eight, Nineteenth Exhibition, The New Gallery, Edinburgh, 1931, no.103 (‘The Machair Bay’, £8 8/-) Possibly The Society of Eight, Twenty-Second Exhibition, The New Gallery, Edinburgh, 1934, no.15 (‘The Machair Bay, Iona’, £12) Literature: Philip MacLeod Coupe, Paintings of Iona by F. C. B. Cadell and S. J. Peploe, privately published, 2014, repr.col p.201, pl.183 (as ‘Eilean nan Slat, Bay at the Back of the Ocean’)

£25,000-35,000

Library of Scotland, Acc.11224).

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

140

175 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) INTERIOR - SANTA MARIA DELLA SALUTE, VENICE Signed, oil on canvas 117cm x 91cm (46in x 36in)

£80,000-120,000

Provenance: Acquired from the Artist by Sir Patrick Ford (1880-1945) Lyon & Turnbull, Edinburgh, Fine Paintings, 2 June 2011, lot 91 and thence by descent to the present owner Exhibited: Possibly The Scottish Gallery, Edinburgh, Exhibition of Pictures of Venice &c. by Mr F. C. B. Cadell, 16 - 26 November 1910, no.15 or no.38 (both ‘Interior Santa Maria della Salute, Venice’ and not for sale) Possibly Royal Glasgow Institute, Annual Exhibition, 1931, no.484 (‘Sta Maria della Salute - Venice’, £300) Possibly Royal Scottish Academy, Edinburgh, Annual Exhibition, 1932, no.285 (‘Santa Maria della Salute, Venice’) Possibly National Gallery of Scotland, F. C. B. Cadell 1883-1937, April 1942, no.176 (‘Church Interior, 1910’ lent by Sir Patrick J. Ford, Bart.) and tour to Glasgow Art Gallery, June 1942, no.87 (‘Church Interior, 1910’ lent

by Sir Patrick J. Ford, Bart.)

Literature: Tom Hewlett, Cadell: The Life and Works of a Scottish Colourist 1883-1937, The Portland Gallery and Bourne Fine Art, London and Edinburgh,1988, p. 28, ill.p.29, pl.17.

Tom Hewlett and Duncan Macmillan, F. C. B. Cadell: The Life and Works of a Scottish Colourist 1883-1937, Lund Humphries, Farnham, 2011, p.40, ill p.42, pl.31.

his annual total income (on loan from a private collection to the National Galleries of Scotland).

Interior – Santa Maria della Salute appears as ‘Oil (large)’, differentiated from ‘Interior of the Salute’ an ‘Oil (small)’. In the absence of contemporary illustrations, this had led to some confusion over the present work’s exhibition history though given its scale and significance it is more likely to have been selected for display than its diminutive sibling. Both are believed to have been included in Cadell’s solo show, Exhibition of Pictures of Venice, & c., mounted at The Scottish Gallery in Edinburgh in November 1910.

Interior - Santa Maria della Salute, Venice is one of the most significant paintings to have resulted from the Scottish Colourist F. C. B. Cadell’s breakthrough trip to the Italian city in 1910. Financed by a cheque for £150 from his schoolfriend Patrick Ford, the beauty and splendour of Venice, whether experienced outside along its canals or within its piazzas, or inside its magnificent churches and palaces, had an immediate and dramatic effect upon Cadell’s practice.

Built to commemorate Venice’s deliverance from the plague and consecrated in 1687, the ‘Basilica della Salute’ is one of the city’s most important architectural landmarks and stands at the entrance to the Grand Canal.

For an artist with a pronounced interest in the genre of the interior, its soaring arches and columns, two domes, statuary, side chapels, altars, chandeliers and patterned marble floor provided rich subject matter.

Royal Scottish Academy, Edinburgh, Festival Exhibition: S. J. Peploe R.S.A., F. C. B. Cadell R.S.A. and Leslie Hunter, 1949, no.107 (as ‘Church Interior’ and lent by the Trustees of the late Sir Patrick Ford, Bt., H.R.S.A.) City Art Centre, City of Edinburgh Museums & Galleries, long-loan 2015 - 2025 City Art Centre, Edinburgh, Scottish Art: People, Places, Ideas, May – September 2015 City Art Centre, Edinburgh, Hidden Gems, October 2017 – May 2018 City Art Centre, Edinburgh, The Italian Connection, September 2019 – August 2020

F. C. B. Cadell, Santa Maria della Salute, Venice, 1910. Oil on board, 44 x 36cm.

National Galleries of Scotland, Edinburgh: Presented in 2014 in honour of Sir Patrick Ford (1880-1945)

In the present painting a sense of scale is created by contrasting the seated and standing figures with their imposing surroundings. A swirl of brushstrokes suggests the highly-ornate flooring and particular attention is paid to highlights of red and gold in the décor, as the eye is lifted ever upwards to admire the capitals of the columns. Natural light flooding in from tiers of windows gleams upon stonework and metalwork, creating an atmosphere at once peaceful and impressive.

Such was the attraction that Santa Maria della Salute had for Cadell that he also painted a small oil of its interior and one of its exterior, on modestly-sized boards which would have been easy to transport and use whilst working ‘en plein air’; the latter was one of three Venetian works presented to the National Galleries of Scotland in 2014 in Ford’s honour. In contrast, the canvas of the present work measures 46 x 36”, an imposing scale to match that of its subject and one that would have been created as a fully contemplated studio painting.

This trio of works were three of the six that Ford received in return for his patronage, as recorded in the Register of Pictures Cadell compiled between 1907 and 1930, listing sales and gifts of works as well as Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

Ford continued his generous support of Cadell’s career and appears frequently in the Register of Pictures. Moreover, he was the financial underwriter of the Society of Eight, the exhibiting society of which Cadell was a co-founder in 1912 and whose annual exhibitions provided the most significant and sustained showcase of the artist’s work for the rest of his life.

Interior – Santa Maria della Salute was included in the milestone exhibition of work by Cadell, S. J. Peploe and Leslie Hunter that was mounted by the Royal Scottish Academy in 1949. It was the first group show of the artists now known as the Colourists (minus J. D. Fergusson) in a public as opposed to a private gallery and was the first time that the three artists were shown together in the country of their birth. 122 works were included, thirty-eight of which were by Cadell, of which four were lent by the Trustees of the late Sir Patrick Ford, Bt. following his death four years earlier. The Scotsman’s review of 22 August 1949 declared: ‘The exhibition by Peploe, Cadell, and Hunter will certainly open the eyes of many visitors …[to]…these fine painters, the most individual and gifted of their generation in Scotland…Their different though inter-related work presents a peculiarly Scottish brand of… post-impressionism, and is of a quality that takes a worthy place in European art of the twentieth-century…This is an exhibition which will give great pleasure, and does full justice to one of the most attractive and important phases of Scottish painting.’

142

John Maclauchlan Milne by Edward Drummond Young.

Courtesy National Galleries of Scotland, Edinburgh: PGP 788.20

A FIFTH SCOTTISH COLOURIST: JOHN MACLAUCHLAN MILNE IN THE SOUTH OF FRANCE Sometimes referred to as the fifth Scottish Colourist, alongside F. C. B. Cadell, J. D. Fergusson, G. L. Hunter and S. J. Peploe, John Maclauchlan Milne certainly shared with the quartet an enjoyment of painting in the south of France in the 1920s and an open-ness to the impact that the brilliant

After serving in the First World War, Maclauchlan Milne

light of the region had on his palette and technique, resulting

lived in Paris for a while. From this point on until about 1931

in the use of brighter colours and a more expressive

he spent significant amounts of time in France, not just in its

application of paint than had been seen in his earlier work.

capital city but from 1924 also in the Midi, with St Tropez

As Alice Strang has explained: ‘Like his friend Samuel John Peploe, Maclauchlan Milne was greatly inspired by the French Post-Impressionist painter Paul Cézanne and this, combined with his experience of France, brought about a dramatic change in his work after the war…[which]…gave way to brightly coloured, boldly painted French landscape scenes. These earn him the right to be called a ‘Scottish Colourist’ and indeed he painted alongside Peploe and F. C.

finding particular favour with him as a place to paint. It is from this creative decade that A Quiet Street in the South of France, Au Marché, Circus Scene, Antibes, Haymaking and A Street in St Tropez derive. Maclauchlan Milne’s enjoyment of the sunkissed climate, community life and agricultural calendar are clear in works steeped in sunshine and deep shadow and depicting picturesque settings from street scenes, to bustling markets and panoramic views.

B. Cadell in France and described George Leslie Hunter as a

During the 1930s, the artist turned his eye to the Scottish

good friend.’ (Alice Strang, Consider the Lilies: Scottish Painting

Courtesy and was elected a full Academician of the Royal

1910-1980, Dundee, 2007, exh.cat., p.88).

Scottish Academy in 1937. During the Second World War

Born in Buckhaven, the son and nephew of the artists Joseph Milne and William Watt Milne, Maclauchlan Milne is believed to have received early instruction from his father.

he moved to the island of Arran and Memorial Displays of his work were held at the Royal Scottish Academy and Royal Glasgow Institute following his death in 1957.

A period in Canada was followed by settling in Dundee and

We are grateful to Maurice Millar, author of The Missing

the launch of his career in 1912 when he exhibited at the

Colourist: The Search for John Maclauchlan Milne RSA

Royal Glasgow Institute and Royal Scottish Academy for the

(privately published in 2022 and available via The Missing

first time.

Colourist website) for his cataloguing of this work.

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176 § JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1885-1957) CIRCUS SCENE, ANTIBES (ENTERTAINMENT IN A PARK) Signed, oil on board 46cm x 56cm (18in x 22in) Provenance: James Hay Gauldie (1872-1956) and thence by descent to the present owners Exhibited: The McManus Galleries, Dundee, John Maclauchlan Milne: A Centenary Exhibition, 14 September - 19 October 1985, no.12 (as ‘Entertainment in a Park’) 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.

£20,000-30,000

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

145

177 § JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1885-1957) A STREET IN ST TROPEZ Signed, oil on board 46cm x 38cm (18in x 15in) Provenance: Sotheby’s Gleneagles, Silver & Jewels, Wemyss Ware, Scottish & Sporting Paintings, Drawings & Watercolours, 27 & 28 August 1990, lot 1051

£15,000-25,000

John Maclauchlan Milne painted several street scenes in the south of France. Although the present painting is undated, another related work is dated 1927 and this fits with the artist’s visits to the area from 1924 to about 1931. Maclauchlane Milne had a solo exhibition with art dealers Reid & Lefèvre in Glasgow in March 1929. A press report in the Glasgow Bulletin singled out a work titled Street in St Tropez as an example of the artist’s ‘liveliness of spirit’. The backboard of the present work has the mark of the artist suppliers Blanchet of 36 Rue Bonaparte, Paris. This style of mark was in use from 1907 to 1960 and it is evident on several of Maclauchlan Milnes pictures from the 1920s.

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 cataloguing of this work.

178 § JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1885-1957) HAYMAKING Signed and dated ‘31, oil on canvas 51cm x 66cm (20in x 26in) Provenance: Christie’s Edinburgh, The Scottish Sale, 30 October 2003, lot 189 Private Collection, Scotland Exhibited: Portland Gallery, London, The Life and Works of John Maclauchlan Milne, 17 June – 9 July 2020, no.32, illus.col.p.45

£20,000-30,000

John Maclauchlan Milne began painting harvesting pictures early in his career, in Fife in the years before the First World War. It was a theme to which he returned many times.

This painting is dated 1931, which was a year of success and change for the artist. In March he had a solo exhibition at Percy Moore Turner’s Independent Gallery in London.

One of his works, Fleurs of 1930, was acquired by the French State for the Musée du Luxembourg in Paris. However the support that he had enjoyed from collectors in Dundee, which had underwritten his trips to France, was ending. Haymaking may be one of his last French paintings; in future he would paint in Scotland.

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 cataloguing of this work.

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

146

179 § JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1885-1957) AU MARCHÉ Signed, oil on canvasboard 51cm x 61cm (20in x 24in) Provenance: Sotheby’s Gleneagles, Scottish and Sporting Pictures, 1 September 2004, lot 879 Private Collection, Scotland

£20,000-30,000 This is one of a number of pictures by Maclauchlan Milne which capture street scenes of figures, shopfronts and commercial activity. This painting presents a busy market scene, mixing sunshine and shadow. Other related paintings include L’Epicerie, 1929 and A French Market, whilst others have titles including St Tropez in 1926 and Cassis from 1924. The artist first travelled to the south of France in 1924, returning several times in the 1920s. 1931 was probably the year of his his last continental trip.

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 cataloguing of this work.

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

147

180 § JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1885-1957) A QUIET STREET IN THE SOUTH OF FRANCE Signed and dated ‘27, oil on canvas 43.5cm x 54cm (17.5in x 21.25in) Provenance: Sotheby’s Gleneagles, Scottish and Sporting Pictures, 1 September 2004, lot 878 Private Collection, Scotland

£20,000-30,000 Maclauchlan Milne mounted an exhibition of his work in his Dundee studio in March 1927, the year in which he painted the present work and a press report discussed his depictions of Cannes, St Raphael and St Tropez (and others of Largo and the Cairngorms).

An exhibition with art dealers Alex. Reid & Lefèvre Ltd in Glasgow in September to October of that year was reviewed by The Glasgow Herald on 28 September 1927, which explained: ‘Mr Milne recently spent a considerable period in the south of France, and the majority of the works he has on view are the fruits of his visit to the environs of St Tropez..’

The press report names nine of the 39 paintings, comprising 24 oils and 15 watercolour sketches. Although A Quiet Street in the South of France is not one of those mentioned, these other nine named paintings were all from that region.

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 cataloguing of this work.

148

181 § JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1885-1957) A DAY AT THE SEASIDE Signed, oil on canvas 25.5cm x 35.5cm (10in x 14in) Provenance: Sotheby’s Hopetoun House, Scottish and Sporting Prints, Paintings, Drawings and Watercolours, 13 November 1979, lot 384

£1,500-2,000

John Maclauchlan Milne painted various pictures, in oil and in watercolour, of figures on the shore – children playing, workers gathering seaweed, cockle gatherers and other images without figures which focus on wild seas and breaking waves. Generally, these pictures are not titled to specific locations, or the original titles have not survived.

This painting is undated, but it is similar to various other works from the period 1908 to 1920.

Within this, the form of signature suggests the years 1915 to 1920, accepting that the artist was serving with the Royal Flying Corps in northern France from January 1917 until June 1919.

Other dated works of the period 1915 to 1916 include A Fifeshire Landscape (shown at the Royal Glasgow Institute in 1915, no.347), A Fifeshire Moor (shown at the Royal Scottish Academy in 1915, no.66), Golden Fringe of Fife of 1916 and Boarhills, near St Andrews, also of 1916. Therefore the tentative conclusion is that the present work and those other related pictures of figures on the shore, were from locations on the coast of Fife. At that time Maclauchlan Milne was living in Dundee.

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 cataloguing of this work.

149

182 § SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., P.P.R.S.W., R.A. (SCOTTISH 1898-1973) THE DARK TABLE Signed, oil on canvas 79cm x 107cm (31in x 42in) Provenance: John Angus Exhibited: Royal Scottish Academy, Edinburgh, 1967, no.300 Royal Scottish Academy and Scottish Arts Council Gallery, W. G. Gillies Retrospective Exhibition, 7-28 February 1970, no.92 (dated to 1967 and lent by John Angus)

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

150

JOAN EARDLEY: THE DEEP IMPORTANCE OF PEOPLE & PLACE

Eardley in her studio at 204 St. James Road Townhead in Glasgow with chalk sketches of children. Photograph by Audrey Walker c. 1950s

Of all her subject matter, Eardley’s sensitive depictions of

The two children who appear in the exquisite drawing

the local children in Glasgow are arguably her best loved

offered here are very likely members of the Samson family.

images, and probably her most famous. She favoured some

This little pair recur as a repeat study by Eardley in a

sitters over others - those brimming with character that

handful of drawings. The little boy in the blue jumper - his

were able to sit naturalistically. The Samson family lived in

short thatch of hair captured in cross-hatched lines - is

Rottenrow, round the corner from her studio. The twelve

cradled in the arms of his older sister, who clasps her hands

siblings lived in extreme poverty in a two-roomed flat.

protectively around his middle. Eardley, both to her credit

They loved to pose for the ‘unusual’, ‘kind’ Eardley, whose

as regards the dignity of her sitters, and favourably in terms

studio was always warmed by a potbellied stove and who

of the longevity of her imagery, assiduously favoured truth

distributed cheese and syrup sandwiches, sweets and

over sentimentality. Nonetheless there is an unavoidable

sixpences to her keen sitters.

sense of pathos in the truth contained within this image.

Though her expression is merely a suggestion, the little girl glances down, the heavy weight of responsibility for her younger sibling palpable. It is a fine, highly resolved example of Eardley’s Townhead studies of a scale that is scarce to market.

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

151

183 § JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) BLUE JERSEY Pastel on glass paper 27cm x 22cm (10.5in x 8.5in)

£20,000-30,000

152

184 § JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) JEANNIE Signed, gouache, pen and chalk 38cm x 26.75cm (15in x 10.5cm) Provenance: Bourne Fine Art, Edinburgh Literature: Paul Harris and Julian Halsby, The Dictionary Of Scottish Painters 1600-1960, Canongate / Phaidon Press in association with Bourne Fine Art, 1990, ill. p.55

£40,000-60,000

Originally hailing from Sussex, Eardley and her family moved

as in the work offered here, in a basic but cosily cluttered

to Scotland when she was a teenager, and her adopted

cottage interior. This is a wonderful and scarce example of

country became her predominant and enduring source of

this early period of her career.

inspiration. Famously, her work is intrinsically tied to the locations of Townhead in Glasgow and Catterline village in Angus. Less well known, but nonetheless of significance within Joan’s work, is a connection to the Isle of Arran.

Eardley is known for sensitive observational studies of poorer and more vulnerable members of society. Never objectifying, this subject matter must rather be regarded as a reflection of her compassion and deep humanity. In this

Though it is unrecorded exactly when and on how many

work we see Jeannie in repose in a wooden chair, surveying

occasions Eardley visited Arran, it is known that her painting

the artist with reciprocal intent, a reflection, perhaps, of the

excursions there were made during her years as a student

unencumbered directness of her personality, as well as her

at the Glasgow School of Art in the early 1940s, at the

comfort in Eardley’s presence. Sheets of newspaper cover

invitation of her friend and fellow artist Margot Sandeman.

the windowpanes behind her, shielding the interior from

Sandeman came from an artistic family and had frequented

the worst of the draughts that constantly sought a way in.

Arran all her life. The creative and emotional companionship

A jumble of tea-time paraphernalia sits to her side on an old

which she extended on these trips was of great significance

tea chest. This example showcases Eardley’s facility across

to Eardley. Their friendship would endure until the latter’s

media, in this case pen, ink, chalk and gouache. Her student

early death in 1963.

works, including the Arran sketches, are characterised by

While on Arran, the two women stayed in a tiny vernacular building known as the ‘Tabernacle’, rented from a Mrs Kelso.

Mrs Kelso’s relative lived next door, and ‘Wee Jeannie’, as she was known, swiftly became drawn into Eardley’s orbit, both as a friend and an artistic muse. Endeared by

a strong sense of draughtsmanship which showcase the confident solidity of line for which she was to become known. Additionally, one sees the burgeoning use of strong colour. The vivid ultramarine blue used here would later recur in her work.

her down-to-earth manner and ‘couthy’ sense of humour,

Scratchy pen marks and the scumbling texture of her chalks

Jeannie became an integral part of Arran’s appeal to the

readily describe the dilapidated and threadbare essence of

young Eardley. She sketched her on several occasions, often,

the interior and Jeannie’s clothes, yet the highlights of bold colour work remind us of her artistic place as a modernist.

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

153

154

It was another pivotal friendship that led Eardley to the

which Eardley duly did, dividing her time between Catterline

discovery of Catterline in Aberdeenshire. Her friend Annette

and Glasgow thereafter. In 1955 she purchased No.1 South

Soper, a local teacher and artist in the Stonehaven area, was

Row herself, which she renovated with the assistance of

hosting Eardley whilst she convalesced from the mumps. On

Angus Neil. This marked the beginning of a significant shift

a drive down the coast, the pair stumbled across the tiny

in her artwork in what would tragically be the final decade of

fishing village. Shortly after, Soper would go on to purchase

her life.

the Watch House, a cottage set apart from the rest of the village on the clifftop, as a place for her and Eardley to paint.

From 1952 she gave Eardley free rein to use the cottage,

‘In order to get an idea of how Eardley responded to the landscape one has to remember that Hugh Adam Crawford (at The Glasgow School of Art) had taught his students to feel their painting in their bodies.’ explains

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

155

185 § JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) FISHING NETS, CATTERLINE With the Artist’s Estate number EE125 inscribed verso, oil on board 98cm x 168cm (38.5in x 66.25in) Provenance: Roland, Browse & Delbanco, London Cyril Gerber Fine Art, Glasgow The Collection of Gillian Raffles Exhibited: Scottish National Gallery of Modern Art, Edinburgh, Joan Eardley - A Sense of Place, 3 December 2016 - 25 May 2017, no.84 Literature: Christopher Andreae, Joan Eardley 2013, Lund Humphries, Farnahm, p. 77, illus.col. pl.68 Fishing Nets, Catterline is believed to date to c.1962. It features in the Youtube video released on 1 December 2016 by the National Galleries of Scotland to accompany their Joan Eardley: A Sense of Place exhibition and its associated publication.

£30,000-50,000

curator Fiona Pearson in the exhibition catalogue for her

and the brushwork expressive and highly gestural. The

2007 retrospective of Eardley at the National Galleries of

tenacious Eardley gave up doing battle with the elements,

Scotland. ‘In response to the huge expanses of sea and

instead choosing to immerse herself within them; weighting

sky, Eardley’s works become physically larger and more

her canvases down with rocks and tying herself to the easel,

imposing.’ The monumental oil represented here, Fishing

allowing the storms to do their worst as she scraped with

Nets, Catterline, attests to this.

her palette knife and dribbled paint with the wet end of

Painted c.1962, Eardley’s later oils have an almost semiabstract quality. This work is divided by the compositional ‘rule of thirds’, with the grey sky looming densely over the ragged twists of netting, which are staked into the muddy ground of the foreshore. The palette is exaggeratedly earthy

her brush. This extraordinary visual image of Eardley - quite literally in her element - becomes intrinsically linked with one’s appreciation of her Catterline oils.

156

186 § JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) CHILDREN IN A DOORWAY, TOWNHEAD Pastel and charcoal 12.5cm x 16.5cm (5in x 6in) Provenance: Given by Angus Neil (1924-92) to the mother of the present owners

£6,000-8,000

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

Another 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 Sandeman, Neil would be a lifelong companion.

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

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

187 §

studies of children to

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

cityscapes and shorelines; all excellent examples of her astute observational skills and intuitive mark-

BICYCLES BY THE SEA Pastel on two conjoined sheets 20cm x 12.5cm (8in x 5in)

her astounding consistency

Provenance: Given by Angus Neil (1924-92) to the mother of the present owners

of quality.

£5,000-7,000

making ability, as well as

157

158

188 § JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) THE JETTY Pastel 13cm x 16.5cm (5in x 6.5in) Provenance: Given by Angus Neil (1924-92) to the mother of the present owners

£4,000-6,000

189 § JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) ROW OF WINDOWS, TOWNHEAD Pastel and charcoal on three conjoined sheets 11cm x 25cm (4.25in x 9.75in) Provenance: Given by Angus Neil (1924-92) to the mother of the present owners

£2,500-4,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

159

190 § JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) RED PUFFER Pastel on two conjoined sheets 12.5cm x 22.5cm (5in x 8.75in) Provenance: Given by Angus Neil (1924-92) to the mother of the present owners

£4,000-6,000

191 § JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) FIGURES ON A JETTY Pastel 12.5cm x 16.5cm (5in x 6.5in) Provenance: Given by Angus Neil (1924-92) to the mother of the present owners

£3,000-5,000

160

192 § JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) CHILDREN WITH PRAM Pastel and charcoal 12.5cm x 16.5cm (5in x 6.5in) Provenance: Given by Angus Neil (1924-92) to the mother of the present owners

£2,000-3,000

193 § 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 (1924-92) to the mother of the present owners

£3,000-5,000

194 § JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) GIRL WITH DOLL Pastel and charcoal 16.5cm x 12.5cm (6.5in x 5in) Provenance: Given by Angus Neil (1924-92) to the mother of the present owners

£8,000-12,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

162

195 § JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) GLASGOW TOWNSCAPE Charcoal and pastel 10.5cm x 13cm (4in x 5in) Provenance: Given by Angus Neil (1924-92) to the mother of the present owners

£3,000-5,000

196 § JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) FIGURES ON A HILLY STREET, SUNSET Pastel and charcoal 18cm x 13.5cm (7in x 5.25in) Provenance: Given by Angus Neil (1924-92) to the mother of the present owners

£3,000-5,000

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

197 § JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) STREET SCENE Oil on canvas, laid down

Provenance: Found in the Artist’s former house at No.1 South Row, Catterline, in 1967, when the property was purchased by the grandmother of the present owner

72.5cm x 53cm (28.5in x 20.75in)

Literature: Christopher Andreae, Joan Eardley, Lund Humphries, Farnham, 2013, illus. col. p.46, pl.32

£7,000-10,000

Christopher Andreae dated this work to the 1940s (op.cit.).

164

198 § 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) BORDER FARM IN SPRING SUNSHINE Signed, oil on board 81.5cm x 91cm (32in x 36in)

ANNE REDPATH: A DAUGHTER OF THE SCOTTISH BORDERS

Provenance: The Scottish Gallery, Edinburgh Acquired from the above by The Misses MacLagan in 1965, and thence by descent to the present owners Exhibited: The Royal Scottish Academy, Edinburgh, Annual Exhibition, 1939, no.425 The Scottish Gallery, Edinburgh, Anne Redpath, 19 November – 4 December 1965, no.4

£20,000-30,000

Anne Redpath was born in Galashiels in the Scottish Borders

An exhibition label on the reverse of this painting posits that

and grew up in nearby Hawick. After studying concurrently

it was painted in about 1936 and it was included in the Royal

at Edinburgh College of Art and Moray House College of

Scottish Academy’s Annual Exhibition of 1939. Redpath was

Education, her exhibiting career began in 1919 when she

ambitious and committed in equal measure and regularly

showed with the Edinburgh Group. Her marriage a year later

sent her work to the group exhibitions staged in Edinburgh.

to the architect James Beattie led to the couple living in

She revived her relationship with the Society of Scottish

France for fourteen years, where their three sons were born.

Artists as well as with the Academy and also began to show

On her return to Scotland in 1934, Redpath settled back into Hawick and resumed painting in earnest. The rolling

with the Royal Scottish Society of Painters in Watercolours and with the Scottish Society of Women Artists.

countryside of the Scottish Borders, dotted with farm

Redpath remained in Hawick until 1949, when she moved

buildings, provided plenty of subject matter for her brush,

to Edinburgh. She became the first female painter to achieve

as can be seen in Border Farm in Spring Sunshine, A Borders

the rank of full Academician at the Royal Scottish Academy

Landscape and Borders Hill Farm. A low viewpoint in the first

– in 1952 – and in 1960 became the first Scottish woman

work invites the viewer to travel across water and up a hill

to be elected an Associate of the Royal Academy of Arts in

to the crowning gathering of buildings on the high horizon.

London. Border Farm in the Spring Sunshine was included in

Redpath’s palette is as gentle as the light depicted in an

the exhibition mounted by The Scottish Gallery in Edinburgh

idyllic scene of Spring calmness.

in 1965, following the artist’s death that January. Redpath is now recognised as the doyenne of post-Second World War Scottish painting.

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

165

166

199 § 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) A HARBOUR IN THE MEDITERRANEAN Mixed media 25.5cm x 35.5cm (10in x 14in)

£2,000-3,000

200 § 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) FLOWERS IN A TEAPOT Signed, watercolour and ink 24.5cm x 32.5cm (9.5in x 12.75in) Provenance: The Michie Family Exhibited: The Scottish Gallery, Edinburgh, The Michie Family, 4-30 June 2012, no.19

£2,000-3,000

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

167

201 § 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) JUG OF MIXED FLOWERS Oil on board 51cm x 66cm (20in x 26in) Provenance: The Artist’s family The Scottish Gallery, Edinburgh (GOOW 2193)

Five years later, Redpath moved from Hawick in the Scottish Borders to Edinburgh, where she lived for the rest of her life.

She took great care over the decoration and furnishing of her home, including the display of objects that she loved to collect and which often featured in her paintings. Mixed Flowers in a

With a note verso from David Michie, the Artist’s son, certifying its authenticity.

Jug is an attractive example of her late still lifes, in which the

£15,000-20,000

they are gathered are presented on a tilted table-top that gives

loosely arranged flowers and the patterned vessel in which way to a gloriously abstract background. Redpath is seen as

Of all the genres of fine art, Anne Redpath is most closely

the marvellous colourist and painter on which her reputation is

associated with that of the still life. Indeed, the first work that

based, in her use of a palette based on tones of pink and grey

she exhibited in public was titled ‘Still life’ and was displayed

interspersed with spots of brighter colour; the blue flowerhead

at the Royal Scottish Academy in 1919, the same year that she

is key to the composition as a whole. The thick and gestural

completed her post-graduate studies at Edinburgh College of

application of paint points to a freedom during the creative

Art.

process which adds to an overall feeling of joy.

Following marriage and fourteen years spent in France where

Redpath’s professional success culminated in election to the

her three sons were born, Redpath returned to Scotland where

Royal Scottish Academy and the Royal Academy of Arts in

she emerged as an artist of importance. This was recognised

London, as well as the award of an Honorary Doctorate from

by the first purchase of her work for a public collection, when

the University of Edinburgh and the OBE. Her death in 1965

the still life The Lace Cloth was acquired by the Royal Scottish

was marked by a touring Memorial Exhibition organised by the

Academy in 1944.

Arts Council of Great Britian.

168

202 § ELIZABETH VIOLET BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT. (SCOTTISH 1931- 2021) STILL LIFE WITH RIBBONS AND ABACUS Signed and dated 1980, mixed media on handmade paper 61cm x 61cm (24in x 24in)

£3,000-5,000

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

169

203 § ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1999) SICILIAN WOMEN Oil on board 52cm x 47cm (20.5in x 18.5in) Exhibited: The Scottish Gallery, Edinburgh, Christmas Exhibition, 1965, no.49 A date of c.1959 has been suggested for this work.

£6,000-9,000

170

171

204 §

205 §

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

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

BOYS, MELON AND DOVE

WATERMELON, FIG AND TUNISIAN TILE

Signed, oil on board

Signed and dated ‘89, oil on canvas

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

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

Provenance: Loomshop Gallery, Leven, 1973 and thence by descent to the present owners

Provenance: The Scottish Gallery, Edinburgh (GOOW2425)

£8,000-12,000

£12,000-18,000

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

172

206 § JOHN BELLANY C.B.E., R.A. (BRITISH 1942-2013) BASS ROCK Signed, oil on canvas 152.5cm x 122 cm (60in x 48in)

£6,000-8,000

END OF SALE

173

INDEX OF ARTISTS Allan, David, Circle of

56

Allan, Robert Weir

52

Archer, James

122

Armour, Mary Nicol Neill

102

Barclay, John Rankine

100

Bellany, John

110, 206

Blackadder, Elizabeth Violet

202

Bough, Samuel

128

Brough, Robert

61

Brown, William Beattie

10, 23

Brown, William Marshall

118

Cadell, Francis Campbell Boileau 173-175 Cameron, Duncan

4, 20

Cameron, Sir David Young 16, 60, 62, 73, 139, 143 Carse, Alexander

59

Christie, James Elder

40

Crawhall, Joseph

163

Cursiter, Stanley

70

De Breanski, Alfred, Junior

50

De Breanski, Alfred, Senior 11, 24, 113-115 Docharty, Alexander Brownlie

8

Downie, Patrick

6

Duncan, John

74

Eardley, Joan

183-197

Faed, Thomas

123

Faed, William Cotton Farquharson, David

Fergusson, John Duncan 81-95, 170 Frazer, William Miller

1

Gauld, David

48, 49, 78

Gear, William

109

Gemmell Hutchison, Robert 76, 147149 Giles, James

9

5, 18, 135

Farquharson, Joseph 57, 129, 130, 131

116

McKay, William Darling

38, 58

Milne, John Maclauchlan 79, 176181 Milne, Joseph

2, 21, 63

Morrocco, Alberto 162, 203205 Morton, Thomas Corsan

36

Graham, Peter

Mouncey, William

51

Murray, John Reid

13

35

Greiffenhagen, Maurice William 150 Henderson, Joseph

134

Henderson, Joseph Morris

41

Henry, George

158-160

Hislop, Margaret

155

Hope, Robert

127

Hornel, Edward Atkinson

145, 146

Houston, George

37

Houston, John

107, 198

Hunter, George Leslie

164-169

Jamieson, Alexander

157

Johnstone, Dorothy

151

Kay, James 44-45, 156 Kennedy, William

42

Lamond, William Bradley

12

MacGeorge, William Stewart

141, 143

Mackenzie, James Hamilton

47

MacTaggart, Sir William 80, 104106 MacWhirter, John

71

Mann, Harrington

153

McClure, David

101

McCulloch, Horatio

120

McGhie, John

14, 112

GLOSSARY OF CATALOGUING TERMS The following expressions with their accompanying explanations are used by Lyon & Turnbull as standard cataloguing practice.

Our use of these expressions does not take account of the condition of the lot or the extent of any restoration.

Buyers are recommended to to inspect the property themselves.

Written condition reports are usually available on request.

Dimensions are given height before width.

152

Gillies, Sir William George 98, 99, 182

Macpherson, Margaret Campbell 43

39

McGlashan, Archibald A. McGregor, Robert

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

Nasmyth, Alexander

119, 121

Nicol, Erskine

125, 126

Noble, James Campbell

3, 19

Oppenheimer, Charles

161

Park, James Stuart

54-55

Paterson, James

65, 66, 78

Patrick, James Mcintosh

46, 136

Peploe, Denis

103

Peploe, Samuel John

171-172

Perman, Louise Ellen

53

Rayner, Louise

132-133

Redpath, Anne 96-97, 198-201 Reid, Archibald David

34

Ritchie, John

137-138

Roberts, David

77

Scott, Tom

25-31

Squirrell, Leonard

15

Sticks, George Blackie

7, 72

Strang, William

32-33

Walton, Edward Arthur

144

Watson, Robert

22

Wells, William Page Atkinson 17, 64, 117, 140 West, David

67, 111

Wilkie, Sir David

124

Wilson, David Forrester

154

Wilson, William

68-69

Circle of…

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

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

Follower of…

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

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

Manner of…

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

Contemporary Art AUCTION 13 AUGUST 2025

LIVE IN EDINBURGH & ONLINE

JACK VETTRIANO O.B.E. (SCOTTISH 1951- 2025) A MARVELLOUS NIGHT FOR A MOONDANCE, 1990 £15,000-20,000 + fees

For more information or to discuss selling works at auction please contact Charlotte Riordan | 0131 557 8844 charlotte.riordan@lyonandturnbull.com

MODERN, POST-WAR & CONTEMPORARY ART, DESIGN, CRAFT & STUDIO CERAMICS AUCTION 31 OCTOBER & 01 NOVEMBER MALL GALLERIES LONDON & LIVE ONLINE

OPEN FOR CONSIGNMENTS For more information or to discuss selling works at auction please contact us via 020 7930 9115 or email Philip.Smith | philip.smith@lyonandturnbull.com Simon Hucker | simon.hucker@lyonandturnbull.com

DAME LUCIE RIE D.B.E. (AUSTRIAN/BRITISH 1902-1995) FOOTED BOWL, c.1986 £6,000-8,000 + fees

176

CONDITIONS OF SALE 24.2 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.

3. WITHDRAWAL Lyon & Turnbull may, at its discretion, withdraw any Lot at any time prior to or during the sale of the Lot. Lyon & Turnbull has no liability to You for any decision to withdraw.

4. JEWELLERY, CLOCKS & OTHER ITEMS (a) Jewellery: (i) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to enhance their look, through methods such as heating and oiling. These methods are accepted practice but may make the gemstone less strong and/or require special care in future. (ii) All types of gemstones may have been improved by some method. You may request a gemmological report for

any Lot which does not have a report if the request is made to us at least three weeks before the date of the sale and You pay the fee for the report in advance of receiving said report. (iii) We do not obtain a gemmological report for every gemstone sold in our sales. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports may be described in the Sale Particulars. Reports will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent.

The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report. (iv) For jewellery sales, all Estimates are based on the information in any gemmological report or, if no gemmological report is available, You should assume that the gemstones may have been treated or enhanced. (b) Clocks & Watches: All Lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/ newer parts. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary.

Buyers should also be aware that we cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted.

These watches cannot be shipped to the USA and only imported personally. Clocks may be sold without pendulums, weights or keys. (c) Alcohol: may only be sold to persons aged of 18 years and over. By registering to bid, You affirm that You are at least that age. All collections must be signed for by a person over the age of 18. We Reserve the right to ask for ID from the person collecting. Buyers of alcohol must make appropriate allowances for natural variations of ullages, conditions of corks and wine. We can provide no guarantees as to how the alcohol may have been stored. There is always a risk of cork failure and allowance by the Buyer must be made. Alcohol is sold “as is” and quality of the alcohol is entirely at the risk of the Buyer and no

warranties are given. (d) Books-Collation: If on collation any named item in the sale Catalogue proves defective, in text or illustration the Buyer may reject the Lot provided he returns it within 21 days of the sale stating the defect in writing.

This, however, shall not apply in the case of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings nor in respect of damage to bindings, stains, foxing, marginal worm holes or other defects not affecting the completeness of the text nor in respect of Defects mentioned in the Catalogue, or at the time of sale, nor in respect of Lots sold for less than £300. (e) Electrical Goods: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. (f) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations (items manufactured prior to 1950 are exempt from any regulations). Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. We provide no guarantee as to the originality of any wood/material contained within the item.

B. REGISTERING TO BID 1. NEW BIDDERS (a) If this is Your first time bidding at Lyon & Turnbull or You are a returning Bidder who has not bought anything from us within the last two years You must register at least 48 hours before an auction to give us enough time to process and approve Your registration.

We may, at our discretion, decline to permit You to register as a Bidder. You will be asked for the following: (i) Individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of Your current address (for example, a current utility bill or bank statement) (ii) Corporate clients: Your Certificate of Incorporation or equivalent document(s) showing Your name and registered address together with documentary proof of directors and beneficial owners, and; (iii) Trusts, partnerships, offshore companies and other business structures please contact us directly in advance to discuss requirements. (b) We may also ask You to provide a financial reference and/or a deposit to allow You to bid. For help, please contact our Finance Department on +44(0)131 557 8844.

2. RETURNING BIDDERS We may at our discretion ask You for current identification as described in paragraph B.1.(a) above, a finance

177 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 26% of the Hammer Price of each Lot up to and including £20,000, plus 25% from £20,001 to £500,000, plus 20% from £500,001 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

178 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 antimoney 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 moneylaundering, 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. C OLLECTION & 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/importsexports/cites We accept no liability for any Lots which may be subject to CITES but

179 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.

24.2

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.

PAYMENT

IN WRITING

ONLINE CREDIT OR DEBIT CARD PAYMENTS

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

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.

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 2 of this catalogue.

- BID LIVE ONLINE Bid live online, for free, with Lyon & Turnbull Live. Just click the button from the auction calendar, sale page or any lot page online to register.

Inside Back Cover: Lot 159 [detail]

LOND ON | EDINB URGH | GL A SGOW LYONA NDT UR NBULL.COM